Suche:greg son

'One Deep River' is Mark's sixth consecutive studio album to be recorded at his British Grove Studios and his first since 2018's 'Down The Road Wherever.' When Covid restrictions eased, Mark reconvened at BG with longtime band members and collaborators such as Guy Fletcher, Danny Cummings, Richard Bennett, Glenn Worf, Jim Cox and others, with the addition of first-time contributor Greg Leisz on pedal and lap steel and acoustic guitar.

Says Mark of the new album, which he co-produced with longtime confidant Fletcher: "It was back to the old-fashioned idea of a band making a record together in the room, which maybe in the more youth-oriented side of the industry has become quite rare, because everyone uses loads of technology. We do too, but what we do is we combine the old and the new. If it works, I use it.

"With these songs, you can see them coming together very quickly, with a band like this. You're in a game where you're making the thing and it's happening whether you like it or not. You could push the pace, but I try and give myself a little bit more breathing room. The fatal thing a lot of the time would be to want to rush everything. Something creative always happens by not panicking."

Of the track 'Ahead Of The Game,' Mark adds: "That all goes back to bands playing live. In some way, I was thinking about Nashville, because when I first went out there, it must have been in the early '80s and all the bands in the bars downtown were playing the hits. And that's fine. What I was trying to say is that's an achievement to actually get to a place where you've got employment, and you've got yourself a gig. I mean, statistically, what are the odds of making it? If you stopped to think about that, you'd hardly take a step further, would you?"

'One Deep River' is Mark's sixth consecutive studio album to be recorded at his British Grove Studios and his first since 2018's 'Down The Road Wherever.' When Covid restrictions eased, Mark reconvened at BG with longtime band members and collaborators such as Guy Fletcher, Danny Cummings, Richard Bennett, Glenn Worf, Jim Cox and others, with the addition of first-time contributor Greg Leisz on pedal and lap steel and acoustic guitar.

Says Mark of the new album, which he co-produced with longtime confidant Fletcher: "It was back to the old-fashioned idea of a band making a record together in the room, which maybe in the more youth-oriented side of the industry has become quite rare, because everyone uses loads of technology. We do too, but what we do is we combine the old and the new. If it works, I use it.

"With these songs, you can see them coming together very quickly, with a band like this. You're in a game where you're making the thing and it's happening whether you like it or not. You could push the pace, but I try and give myself a little bit more breathing room. The fatal thing a lot of the time would be to want to rush everything. Something creative always happens by not panicking."

Of the track 'Ahead Of The Game,' Mark adds: "That all goes back to bands playing live. In some way, I was thinking about Nashville, because when I first went out there, it must have been in the early '80s and all the bands in the bars downtown were playing the hits. And that's fine. What I was trying to say is that's an achievement to actually get to a place where you've got employment, and you've got yourself a gig. I mean, statistically, what are the odds of making it? If you stopped to think about that, you'd hardly take a step further, would you?"

Black Truffle is pleased to announce The Mountains Pass, a major new work from Olivia Block. A key player in Chicago’s vibrant experimental music scene since the late 1990s, Block has developed an extensive body of work grounded in a personalised, at times emotive approach to the studio-based practices of the musique concrète tradition, while also encompassing improvisation, orchestral pieces, sound installations, and a sustained engagement with the piano. On The Mountains Pass, recorded by Greg Norman at Steve Albini’s Electrical Audio and meticulously edited and constructed over the course of three years, Block pushes into new terrain, introducing her singing voice and drums played by Jon Mueller into flowing assemblages that move seamlessly from ruminative organ tones and fragmented piano airs to explosions of sizzling synths and thundering percussion. Like many of Block’s past works, which include, for example, a sculptural installation using the sound of oyster beds, The Mountains Pass draws inspiration from nature and the animal world. Time spent in a particular mountain range in Northern New Mexico informs this suite of pieces, whose lyrics and titles refer particularly to animal life in the area. Beginning with bursts of white noise and delicate synthetic pops and squeaks, opener ‘Northward’ very soon reveals the special direction the album will take, as lyrical piano lines are joined by Block’s fragile voice, singing words written from the perspective of f2754, an endangered Mexican gray wolf who wandered more than five hundred miles from Arizona to New Mexico in 2022. The fragment of song quickly breaks off, leaving us with a ghostly electronic hum. ‘The Hermit’s Peak’ follows, one of two epic pieces at the album’s core. Beginning with chiming, almost harpsichord-like tones, it moves through episodes of spacious, ruminative piano, Jon Mueller’s sparkling cymbals, stuttering cut-up piano sounds, and a climax of keening organ and trumpet tones (performed by Thomas Madeja). Continuing the exploration of vintage keyboard and synth tones heard on Block’s Innocent Passage in the Territorial Sea (Room 40, 2021), the music sometimes suggests the great outer-limits works of 70s Italian prog figures like Franco Battiato or Arturo Stalteri in the languorous drift of synthesizer, organ, and piano tones and the meticulous yet organic flow of its construction. ‘Violet-Green’ opens the second side with another epic journey, its lyrical content concerning ‘a mysterious bird die-off and a forest fire’. Block’s crystalline voice and rich piano chords at times call up the restrained chamber songs of Janet Sherbourne, but fragmented and threaded through passages of woozy pitch-bent keyboards, hypnotic distant thuds, tinkling bells, and searing distorted synth tones. On ‘f2754’, the freedom of the roaming wolf surges through dense layers of rapid keyboard attacks and long organ tones over a propulsive drum performance straight out of Animal Magnetism-era Arnold Dreyblatt. This distinctive sound world is then reencountered in a darkened mirror image in the uneasy, metallic shimmer of the closing ‘Ungulates’, named in reference to a heard of elk roaming through the mountains. Like Battiato’s Clic or Gastr del Sol’s Upgrade & Afterlife, The Mountains Pass inhabits the underexplored terrain where the beauty of song coexists with a radical formal openness, illuminating the deep musicality and warmth that have been present in Block’s work all along.

Pigeons Playing Ping Pong, a veritable tour de force known for turning heads coast-to-coast with their high-octane live concerts, not only grabs life by the horns, but they harness its energy within their hypnotic hybrid of funk, rock and psychedelic groove.With a devout fanbase and trail of sold-out tours behind them, the Maryland quartet takes a major step forward on their seventh full-length offering, Day In Time.Guitarist Jeremy Schon says, "This album is the most cohesive group of songs we've ever had in the studio"."This record is a snapshot of our band as a group and as individuals at this exact moment." says Greg Ormont (vocals, guitar). "The title serves as a reminder that life moves fast, so we better make the most of each day, make each second count."

Tauche ein in die zeitlose Magie des legendären Gitarristen Roy Buchanan! 1969 wurde Buchanan der Job als Nachfolger von Brian Jones bei den Stones angeboten. Er lehnte dankend ab und überließ Mick Taylor und später Ron Wood den Platz. In den 1970er Jahren erschien eine Reihe von Alben, die teilweise recht erfolgreich waren, und er seinen Status als "the best unknown Guitarist in the World" einbüßte. Das Meisterwerk "You"re Not Alone" veröffentlichte Buchanan 1978 und bietet eine einzigartige Mischung aus Blues, Rock und Soul, die vom ersten Ton an fesselt. Die Mitwirkung herausragender Musiker wie Ray Gomez (Gitarre), der mit seiner technischen Finesse und Vielseitigkeit Buchanans Stil perfekt ergänzt, sowie Willie Weeks (Bass, u.a. Doobie Brothers und Gregg Allman Band)), der für seinen Beitrag zur Fusion von Rock, Jazz und Funk bekannt ist, und Sly & The Family Stone - Drummer Andy Newmark bereichert das Album und fügt ihm verschiedene musikalische Nuancen hinzu. Roy Buchanan hat mit diesem Album eine zeitlose Sammlung von Songs geschaffen, die sowohl alte Fans als auch neue Hörer begeistern wird. Seine unverwechselbare Spielweise und sein einzigartiger Sound machen dieses Album zu einem Muss für jeden Musikliebhaber. Am 14. August 1988 beging Roy Buchanan im Alter von 49 Jahren Selbstmord. Er war nach einem Streit mit seiner Frau vorläufig festgenommen worden, Vollzugsbeamte fanden den Musiker leblos in seiner Zelle. Seine Musik lebt weiter.

The second in our Mr Bongo series opening the vault on classic recordings from the fabled Groove Merchant Records catalogue. This time the spotlight turns to the Hammond B3 organ maestro Lonnie Smith, as we proudly present a reissue of his cosmic jazz-funk journey, ‘Afro-Desia’.

Originally released in 1975, this much-loved album was produced by Groove Merchant label owner Sonny Lester and features the mysterious 'Compliments Of A Friend' on guitar. Considering Smith was part of George Benson’s quartet in the ‘60s, that not so discreet veil appears to have been lifted on who this ‘friend’ might be. However, presumably due to contractual reasons, Benson had to remain covert for this recording. The lineup doesn’t stop there though, with the likes of legendary bassist Ron Carter and Grammy award winning saxophonist Joe Lavano joining the outfit.

An album of two parts, the first side sees Lonnie Smith in a spaced-out, cosmic jazz funk setting. The opener 'Afrodesia' is a funk flexing, steamy groover. Greg Hopkins and Lavano trading off on trumpet and sax respectively, as that bassline walks its way over fluttering jazz percussion and off-kilter electronics. 'Spirits Free' is an epic 15-minute free-wheeling jazz-funk workout. A mind melting trip that rises and falls, in parts spacey and serene, with Smith’s organ playing complimented by stretched out horns. Before long it opens out into unconstrained fluid sections that do its title proud. Pure ‘70s jazz-funk at its most stellar.

Side B takes a more classic soul-jazz flavour, with touches of Latin spice. 'Straight To The Point' kicks off with a carnival zing, full-frontal horn and organ lines providing a fiery party punch. It’s a swinging jazz cut that used to receive spins by DJs at Russ Dewbury's Jazz Room's sessions in Brighton in the ‘90s.

Finally, 'Favors' and 'The Awakening' close out the release. Two sure shot, quintessential Lonnie Smith firing Hammond grooves. Each conjuring up images of packed out, smokey jazz bar jams, every player letting loose with masterful improv sections to whip the crowd up into a frenzy.

A truly wonderful album, and an archetypal release showcasing the height of jazz musician excellence from this era.

OLUMA wurde 2021 von dem Bassisten Gregor Nicolai, dem Schlagzeuger André van der Heide und dem Saxophonisten Roman Polatzky gegründet. Die instrumentalen Kompositionen der neunköpfigen Band lassen sich dem Global Groove zuordnen. Sie schaffen dichte Grooves, die von energetischen Brass-Lines bespielt werden und in virtuose Improvisationen münden. Die vier Bläser können das Publikum aber auch schwebend und leicht in eine träumerische Welt begleiten. Die multikulturelle Szene Berlins mit ihren unterschiedlichsten musikalischen Einflüssen haben André und Gregor geprägt und zusammengebracht. Dazu kommt die Liebe zu handgemachter Groove-Musik, die Leidenschaft zu tanzbaren Beats. Roman trafen sie im Dunstkreis der Musikhochschule Leipzig, wo sich die internationale Band gefunden hat. Der Albumtitel Cooking Time entstand nicht zufällig: Die Musik entsteht in gemeinsamen Songwriting-Sessions, bei denen Beats gebastelt und Ideen eingesungen werden. Die Band gewann den Delay-Nerd und Afrobeat-Liebhaber Umberto Echo für ihre Aufnahmen, der mit Verwendung alter analoger Technik einen nostalgisch anmutenden Sound schafft, welcher auf moderne Produktion trifft. Mit ihrem Debut-Album möchte OLUMA die Idee teilen, dass Musik einen Beitrag zur globalen Verständigung leisten kann und Menschen verbindet. Carolina Vallejo vom Label One World Records hat dafür genau die richtige Umgebung bereit gestellt. OLUMA präsentiert ein klangvolles Zeugnis für die universelle Sprache der Musik. Ihre mitreißenden Auftritte und ihre künstlerische Vielfalt machen sie zu einer der aufregendsten Bands der gegenwärtigen Musikszene.

Gimme, Gimme, Gimme Desire, an everlasting grip of that youthful energy, that fire and fury you felt playing a style of music that gives you a lifelong addiction and appreciation. If you’ve once been part of that certain something, that became part of your identity, it never lets you go. Drummer Sascha, bassist Jan, guitarists Philipp and Tobias know how it is getting older but still feeling the fire. The four friends shook up the scenes out of Frankfurt in the 90s and 00s. They played in different bands, they toured Europe and the US of A, they were mods, punks, hardcore kids. And they never lost their connection and love for their music. That’s why they got together some years back, rehearsing and writing songs just for the heck of it. Out of pure desperation the four of them were thinking about staying a goddamn instrumental band, maybe working with projections and shit to fog the fact that there was something initial missing: a singer. The road was calling their names, and they wanted to play shows and let you and you and you know what they got... So, they gave it one last try to find somebody to fill the void behind the mic. What helped was a platform – basically Tinder for musicians – to find that certain somebody. They kept it simple and only dropped one thing: #blackflag. On the other side of the screen there is Sam, a mystical, ghostly punkrock fairy. Sam shares that same hashtag, and she wants to sing. So, why not give it a try? Sam takes the offer, shows up in the rehearsal space, and the rest is history. Sam owns it. Sam is prepared. Sam can sing, scream, kick ass and has the lyrics to back it all up! On different occasions they now set stages on fire. They played a sweaty show in a packed Molotow cellar at Reeperbahn Festival, they joined the “Female Fronted Is Not A Genre” festival at legendary SO36 in Berlin and took the place by storm. They are ready. They were born ready. And they have that record to prove it. As any classic hardcore/punk LP it’s almost over before it started. Ten songs in twenty minutes. That’s the way. I Am A God sets the tone: “You think that I’m a girl?”, Sam asks, “Let me tell you I am a god/ And you know that I’m heaven sent.” What else would Sam be? The legendary hashtagged Californian hardcore icons drip out of every note here. This is old-school knowledge, played today. Fast, furious, and packed with energy. But it’s way more than just a bland tribute. It’s a middle-finger that finds its own direction. Salary Man allows itself a certain amount of melody – also carried by Sam who obviously can do more than bellow. Or Somewhere that shows that The Pill is a more dimensional band that can even Hüsker Dü things up if they are willing to. The Bitter Pill presents itself surprisingly angular and kind of melancholic. And What’s New almost makes its way into post-hardcore territory. Inbetween Switch and Off give you all the Greg Ginn vs. Dez Cadena your damaged souls were desperately striving for. The debut album Hollywood Smile will be released on April 5th, 2024 by Hamburg’s Sounds Of Subterrania.

The last ten years have seen no shortage of bands with their delay pedals set to stun intent on capturing an aura of dreamlike radiance. Yet Texas 'pop-noir' troupe Cigarettes After Sex are no ordinary shoegazers, for a variety of reasons - frontman Greg Gonzalez' androgynous and dulcet tones may be part of the appeal, yet moreover it's the quality of the songwriting here, which never falls prey to the style-over-substance traps of their peers. Indeed, this debut is more than enough to justify the considerable hype around this outfit, being a collection of ditties as sultry as they are atmopsheric.

Necrot continue their ascent to the forefront of American aural extremity, pushing the boundaries of style and continuing to recast metal in their image. Founded by bassist, vocalist and principal songwriter Luca Indrio and drummer Chad Gailey in 2011 – guitarist Sonny Reinhardt joined the next year – the Oakland, California, trio offer Lifeless Birth (in continued collaboration with Tankcrimes) as a culmination of their to-date efforts to encapsulate and push forward the deathly stylings of 2020’s Mortal and their 2017 debut, Blood Offerings. It’s not about giving up a ferocity that’s helped make them a household name among the converted. Instead, Necrot use that same, by-now-characteristic intensity as the backdrop for an expanded songwriting palette. They’ve always been a band who stood out. The maturity they show on Lifeless Birth confirms that’s been the plan all along. It is a vision of what metal can be and do in 2024, tearing down old barriers and keeping those traditional elements that make it stronger. Recorded with Grammy-winning producer Greg Wilkinson (who has helmed all three Necrot albums) and mastered by Brad Boatright at Audiosiege, Lifeless Birth pivots fluidly between technical intricacy, progressive poise and all-out brutality. Scouring lead work will have thrash heads nodding knowingly, and an overarching groove reaches out across the metal microgenres with a righteous call to worship. Its songs are memorable and varied, unpretentious but able to rear up with statelier violence. At the same time, “Drill the Skull,” “Cut the Cord,” “The Curse” and others prove that just because a song is beating you into the ground doesn’t mean it can’t also be forward-thinking. Or catchy. After having their Mortal tour plans scuttled owing to the covid pandemic, family health issues that led Luca, who became a US citizen in 2016 and currently lives in Mexico, to return to Italy for a time canceled what would have been their first tour post-plague. Still, despite this and Chad suffering a broken back, requiring multiple surgeries and intense physical therapy to be able to drum again, period, Luca being struck with Bell’s Palsy the night before he was originally due to fly to the studio to record, and Sonny requiring multiple surgeries on his hands in the months since they finished, Necrot charge forward with material distinguished in its real-world point of view and willingness to look beyond extreme metal tropes in lyrics, the melodies of its guitar solos, and unbridled audience engagement. For a collection of songs that feel so much written for the stage, it should be no surprise tours early in 2024 and summer festivals are to be announced. Mortal (2020, Tankcrimes) was #2 on Billboard's Top New Artist chart, #30 on the Top Current Albums chart, #4 on the Current Hard Music, and #10 on the Heatseeker Albums chart for week of release. Necrot have toured in North America, Europe, Australia and Japan, and shared the stage with Cannibal Corpse, Immolation, The Black Dahlia Murder, Suffocation, Morbid Angel, and hundreds of others. Expect no letup as Lifeless Birth brings Necrot all the more to their own place among metal’s superlatively aggressive proliferators. – JJ Koczan

Thomas Walsh is the founder and frontperson in critically endorsed Irish cult-pop band Pugwash. His classic pop songwriting has garnered him an impressive collection of celebrity recognition from artists like Brian Wilson, Jeff Lynne and Joe Elliot. Guest contributions on the album comes from Dave Gregory (XTC, Dukes Of Stratosphere), Joe Elliott (Def Leppard), Michael Penn, Neil Hannon (The Divine Comedy), Matt Berry (What We Do In The Shadows). ANDY PARTRIDGE - "Pugwash (Thomas Walsh), at their best, are almost Beatle-like in their greatness. They are THAT good”

Das sechste Album von Still Corners heißt "Dream Talk". Wunderschön arrangiert, elegant und wehmütig, ist "Dream Talks" eine Sammlung von zehn sorgfältig gestalteten klassischen SC Songs. Vom herbstlichen Opener "Today is the Day" bis zum heißen Sommernachtsfinale von "Turquoise Moon" haben Still Corners einen Sound geschaffen, der fokussiert, stilvoll und verführerisch ist. Tessa Murray sagt: "Die Entstehung vieler dieser Songs geht auf Träume zurück. Jede Nacht habe ich die Träume, an die ich mich erinnern konnte, aufgeschrieben. Während der Aufnahmen holte ich mein Buch der Träume heraus und sang über verschiedene geloopte Phrasen, an denen Greg gearbeitet hatte. Die sich wiederholende Natur der Loops und des Gesangs fühlte sich fast wie eine Trance an. Viele der Songs sind aus diesem Prozess entstanden, es hat Spaß gemacht, und was ich für eine Art Geschwafel hielt, hat uns am Ende mit seinen verschiedenen Bedeutungen und Bildern überrascht." Schwarzes Vinyl kommt mit einem Download-Code, die CD ist ein Digipak.

"Humble Pie was formed by ex- band member of the Small Faces' Steve Marriott, former Spooky Tooth's Greg Ridley, Peter Frampton, and Jerry Shirley. The supergroup recorded eleven studio albums in total, including the 1970 self-titled album. They recorded it with producer Glyn Johns, who worked with many of the most famous rock artists including the Rolling Stones, the Beatles, Led Zeppelin, the Who and many more. The material was darker than their previous two albums and includes Peter Frampton's gentle ""Earth and Water Song"", a cover of ""I'm Ready"" originally by Willie Dixon, and ""One Eyed Trouser-Snake Rumba"". The front cover features artwork by English illustrator-author Aubrey Beardsley, who is known for his Japanese woodblock influenced grotesque and erotic illustrations. Humble Pie is available in its original gatefold sleeve. "

Humble Pie by Humble Pie, released 29 March 2024, includes the following tracks: "One Eyed Trouser-Snake Rumba", "I'm Ready", "Red Light Mamma, Red Hot!" and more.

This version of Humble Pie comes as a 1xLP in a(n) Gatefold Sleeve packaging.

Il Quadro di Troisi presents La Commedia
Everything changes, all things evolve: four years after their eponymous debut, Il Quadro di Troisi return with a new album and a new line-up.

The perfect circle traced by Eva Geist (aka Andrea Noce) and Donato Dozzy (aka Donato Scaramuzzi) becomes a triangle with the permanent addition of Pietro Micioni, who collaborated in the previous recordings and had been part of ll Quadro’s live set.
Nothing stays the same, and the world is a lot different from what it was in 2020. The global crisis generated by the constant escalation of conflict and by the pandemic was mirrored by a time of individual crisis and personal, often irreversible transformation that underscored the entire period of the album’s composition.
The influence of these turbulent times is felt in the writing: La Commedia is about turning a crisis into an opportunity and using change as a catalyst for rebirth. Much like the characters in classic Italian comedies, who are masters in using irony to face life’s hardships, Il Quadro di Troisi explores the vast and unpredictable terrain between the lighter and darker sides of the human experience, matching the magical with the mundane.

La Commedia is about the many facets of life: each song is named after an archetype (e.g. the truth, the night, the Earth, the prophet), as though our existence were a tarot deck and its reading an exercise in collective consciousness.

La Commedia marks the band’s embrace of a more traditional song form, shaped by a very personal and distinctive musical style. The distinguishing elements of Il Quadro di Troisi’s music – classic Italian songwriting with an electronic spin – meld into a unique mix that is both seductive and eerie, elegant and earthy, contemporary and timeless. La Commedia celebrates the band’s cultural roots while constantly moving into new territory, balancing nostalgia with a forward-thinking approach.

La Commedia is a rare gem that confirms Il Quadro di Troisi’s relevance in the international music scene, as demonstrated by the number of top-level artists featured on the album: from Suzanne Ciani, a legend and a pioneer of independent music with a career spanning five decades, to Aimee Portioli, aka Grand River, a Dutch-Italian musician, composer and sound designer based in Berlin, along with Francesca Colombo’s eclectic violin (the de facto “fourth angle” of Il Quadro di Troisi’s frame), Fiona Brice’s strings, cultural agitator and icon of the Roman underground scene Stefano Di Trapani (aka Demented Burrocacao and a member of Trapcoustic and System Hardware Abnormal, among other projects), Maestro Daniele Di Gregorio, an excellent musician and a longtime collaboration of songwriting legend Paolo Conte, and Tommaso Cappellato, whose professional description goes well beyond “drummer” and who has been working with artists like Rabih Beaini and Maurice Louca.
The cover of the album, as well as those of the singles, was designed by Francesco Messina, another icon of Italian music. Messina is a longtime Franco Battiato collaborator and co-author, a cult musician (his Prati Bagnati del Monte Analogo, made in collaboration with Roul Lovisoni, is considered a seminal record by the alternative Italian music scene), as well as a photographer, visual artist and the author of legendary record covers.

Die französische Sängerin, Multi-Instrumentalistin und Produzentin Halo Maud veröffentlicht ihr neues Album 'Celebrate'. Die zwölf Tracks bieten eine nahtlose Mischung aus Französisch und Englisch, analoger Elektronik, kratzigen Gitarren, verspielten Drums und Dream Pop-Elementen, aufgenommen zwischen Paris und Los Angeles.

A new album of twelve original songs and beautiful orchestrations performed by an all around amazing ensemble. Headhunter drummer Mike Clark and Henry 'The Skipper' Franklin hold down the rhythms
section while Matt Clark lights up the piano and Erik Jekabson soars on trumpet.

New solo album from Seth Avett of the Avett Brothers (his first in 5 years), featuring songs written by lauded folk singer Greg Brown, whose songs have also been performed and recorded by Joan Baez, Willie Nelson, Lucinda Williams, Carlos Santana, Ani DiFranco, Gillian Welch, Mary Chapin Carpenter, and more. For those who may need reminding, Greg Brown is the ultimate songwriter's songwriter. Over a forty-plus-year career, he's occupied the same rarefied air as Loudon Wainwright III and John Prine - a keen-eyed poet and diarist of the human condition. And he's done it mostly on his own. “This is a man who put forty records out because he had to,” Avett says. “He made his own record label. He played the coffee shops, the bars, the little theaters. He built it. He's a world-class artist who did it all under the radar, which is just mind-blowing to me.” As Avett's new solo record makes clear, this collection is an expression of admiration and gratitude for one of his heroes. But it's also a reflection of his own artistry and ability as an interpreter. Though Brown's songs have been a part of his listening diet for decades, Avett gained a more profound appreciation once he put his own voice behind them. And though on the surface it's a covers record, it dovetails seamlessly with the most recent Avett Brothers album The Third Gleam and Seth's solo outing IV, which find him in equally stripped-down settings exploring the light and shadows of his own personal stories.

'Battle Songs of the Damned', das neueste Werk von Mr. Irish Bastard, präsentiert sich als eine kraftvolle Fusion aus Punk-Rock und Irish-Folk. In den Texten des Albums wird die Geschichte der Iren in Amerika lebendig, mit besonderem Augenmerk auf New York's Irish Navy und humorvollen Erzählungen von Raufereien auf Bostoner Hochzeiten. Mr. Irish Bastard verknüpfen in ihrem unverwechselbaren Stil charmanten Witz mit kräftigen Punkrock-Gitarrenklängen und lebhaften Fiddle- sowie Tin Whistle-Melodien und schaffen damit ein mitreißendes Hörerlebnis.

"For a long time, I'd come across these discs without really understanding what connected them, apart from a button and that famous logo designed by René Dessirier. Then, with a little more digging, I discovered the "self-production" link. For choirs, schools, folk singers, young pop groups, popular homes and even great composers who engraved unique copies of certain recording sessions...

The French equivalent of the English "Derby Service", the Kiosque d'Orphée, formerly at 7 Rue Grégoire de Tours in the 6th arrondissement, was taken over by Georges Batard in 1967 and moved to 20 Rue des Tournelles in the 4th arrondissement of Paris. The adventure lasted until 1991. Georges Batard was a sound engineer who used a Neumann tube engraver to engrave acetates from the tapes he received, before printing the precious vinyls in the press factories of the day, where he was able to produce very small runs of between 50 and 500 copies.

Of course, there were other structures for releasing his records, such as Voxigrave or, later, FLVM, but none of them had so many records in their catalog. Le Kiosque d'Orphée was neither a label nor a publisher, but a structure that allowed you to press your own vinyl, at a time when it was quite an adventure to get your first 45 rpm or 33 rpm album released!

Georges Batard was described as passionate and conscientious. His son, bassist Didier Batard, wrote of him:
"Georges was passionate about recording and reproducing the stereo sound of his great passion, music. He paid close attention to distortion rates, signal-to-noise ratios, response curves, rise times and other damping factors in audio equipment. He was looking for the exact reproduction of concert hall sound in his living room (with the same sound level, if possible...). In the late '50s/early '60s, he found other sound enthusiasts in AFDERS (Association Française pour le Développement de l'Enregistrement et de la Reproduction Sonores). He became its honorary president. Every Saturday afternoon, its members met to test au- dio equipment. Their opinions were published in the monthly Revue du Son.

All you had to do was send in your tapes and choose the number of record copies you'd like to take home with you, so you could finally share your creations and, in a way, exist. You could opt for a generic sleeve, available in several colors, directly customizable with your name and credits, or you could design your dream sleeve yourself in your living room or at a printer's.

This "Do It Yourself" temple gave birth to some superb pouches. Stencilled, hand-written, illustrated with paintings, drawings, illustrations by friends or girlfriends of the time, photo prints hastily stuck in the middle of a blank, white sleeve, on which the traces of time would leave their imprints, so that collectors and the curious would come and buy them decades later, with the promise of a musical discovery, unfortunately not always fulfilled...

What most of these records have in common is the youth of their songwriters, whether or not they've had a career. Stories of buddies, of getting by and dreams of glory made up this catalog. Most of them were amateur productions, both in terms of the level of the musicians and the quality of the recordings, made on a two-track or, the ultimate luxury, a 4-track in a teenager's bedroom or parents' living room.

It was the beginning of the home studio, thanks to the advent of the Revox portable tape recorder. A bit of a shaky DIY system, but, in return, the luxury of setting no limits: one-sided tracks, no outside censorship, no artistic director, no manager, no Barclay or EMI/Pathé Marconi logos...

When you finally had your own record, you could give it away or sell it to friends, family or after concerts. You could also drop it off at the nearest record shop, with undisguised pride.

It was also a calling card that could be sent to radio stations or music labels, in the hope of launching a career...

Many of the protagonists in this story tried to sign with labels, but in those days, bridges were not so easy to build between one's hometown, or even one's village, and the major or more specialized label that might have released these records. At the time, the advertisements published in the press by the Kiosque d'Orphée opened up the field of possibilities for provincial composers. It was now possible to make their own record, without having to go through the process of signing with a label.

Some of the composers who have gone on to make a career have used this channel to release their first record or parallel projects (Claude Engel, Dominique A, Andy Emler, Michel Deneuve, Claude Mairet, Mick Piellard, Tristan Mu- rail...) and sometimes even single or very limited pressings of work or promotional copies (Bernard Parmegiani, Jef Gilson...).

This album is the conclusion of a long investigation, begun six years ago. It took a long time to find the records, scattered all over the place, in the homes of collectors and sometimes the musicians themselves, and then to listen to them, sometimes painstakingly, to unearth these moments of grace.

From this work, 23 tracks remain, but there are dozens of others that could have been included, so we had to choose, and the choice had to be as universal as possible. This selection is obviously not objective, but I hope you'll like it.

Today's music is raw, touching and powerful. "

Jean-Baptiste Guillot - Born Bad Records

Back in print on vinyl! Deerhoof debuts their new guitarist John Dieterich and achieves widespread critical acclaim for the first time. 2002's Reveille is a defiant expression of artistic rebirth, spilling over with madcap exuberance, apocalyptic imagery, newfound technical confidence belying their no-budget DIY recording methods, and jarring stylistic about-faces in which no two songs sound alike. The contrast of Satomi's ever-catchy, ever-charming melodiousness with John and Greg's noisy, cinematic bombast still has the power to thrill and tickle and upset, more than 20 years after its initial release. Includes reimagined cover art with the faint morning glow the band had always envisioned, pressed on clear sun-colored vinyl. Complete lyrics included for the first time, written by Satomi on the center labels.

Recommended If You Like: OOIOO, Blonde Redhead, Guerilla Toss, Rolling Stones, Liars, Marnie Stern, Yoko Ono, Battles. Clear Sun Vinyl. Reissue of Deerhoof’s 2002 album Reveille. First Deerhoof album with guitarist John Dieterich. Back in print on vinyl! Deerhoof debuts their new guitarist John Dieterich and achieves widespread critical acclaim for the first time. 2002’s Reveille is a defiant expression of artistic rebirth, spilling over with madcap exuberance, apocalyptic imagery, newfound technical confidence belying their no-budget DIY recording methods, and jarring stylistic about-faces in which no two songs sound alike. The contrast of Satomi’s ever-catchy, ever-charming melodiousness with John and Greg’s noisy, cinematic bombast still has the power to thrill and tickle and upset, more than 20 years after its initial release. Includes reimagined cover art with the faint morning glow the band had always envisioned, pressed on clear sun-colored vinyl. Complete lyrics included for the first time, written by Satomi on the center labels.

THEODOR is a psychedelic sweet soul band formed by members with diverse musical backgrounds.

Whilst on a road trip to Italy Rob and Lui were listening to tapes of contemporary soul music. The idea was born to record an album channeling a moody and relaxed soundscape. „Right after our trip we called up our good friends Max and Greg, who were immediately on board. We wrote and recorded deep in the pandemic. Those weekend sessions captured this peaceful solitude“ The outcome was their self-titled debut album which will be released in February 2023 on the french label Broc Recordz.

The rich sonic texture and unconventional arrangements of their very first single SHEPARD’S LULLABY gives a hint on what is to be expected on their forthcoming LP. THEODOR created a perfect soundtrack for a hot and humid summer day having a magic dash in your twelve o’clock tea. Playful melodic bass lines and the soulful acoustic drums build the playground for the warm and dreamy keys such as farfisa organs, fender rhodes and 80's synths. The lush instrumentals are spiced by the very different yet complementary voices of Max and Lui.

The album ‘NoLuck’ by Gregory Isaacs is a superb example of the undeniable talent of this Jamaican artist in the realm of reggae. Released in 1992, this album showcases Gregory Isaacs’ characteristic style, blending poignant lyrics with sweet and mesmerizing melodies. ‘No Luck’ comprises songs that often touch on typical reggae themes such as love, relationships, and the struggles of daily life. Iconic tracks like ‘No Luck,’ ‘New Contract,’ and ‘What Will Your Mama Say’ reflect his talent for capturing deep emotions through his unique and expressive voice.

Colouring, das Pseudonym des Sängers und Musikers Jack Kenworthy, kündigt das neue Album 'Love To You, Mate' an, das am 23. Februar über Bella Union veröffentlicht wird.

Das Leben des Songwriters und Produzenten aus Nottingham wurde 2021, wenige Monate vor der Veröffentlichung seines Debütalbums 'Wake', auf den Kopf gestellt, als bei seinem Schwager Krebs diagnostiziert wurde. Was folgte, war ein intimes Jahr des Zusammenseins mit der Familie, in dessen Folge Kenworthy das Projekt eigentlich schon komplett beenden wollte, von Freund und Produzent Gianluca Buccellati (Arlo Parks, Lana Del Rey) dann aber doch zum Weitermachen überredet wurde.

Colouring ist jetzt schon seit einiger Zeit ein Soloprojekt, das neben den Post-Britpop-Größen der 00er-Jahre von The Blue Nile beeinflusst ist, aber auch elektronische und rhythmische Einflüsse von Radiohead und James Blake aufnimmt. So auch die neuen elf Songs, die auch schlurfende Breakbeats, Arpeggio-Gitarrenmelodien und düstere Pianoparts enthalten. “I've always been on the side of making up scenarios rather than being really honest about my life within my music”, fügt Jack hinzu. “This is the first time I've been able to do that. I've been less scared of it because it's not my story. It’s a shared one.”

Klanglich überfrachtet Kenworthy das Album jedoch nicht mit Traurigkeit. Gerade die letzten beiden Songs, 'For Life' und 'Big Boots', sind fröhlichere Stücke, die das Leben und den Zusammenhalt der Freundschaft feiern. “Love To You, Mate is a love letter to my wife, family and Greg for what they all did; a photograph of that time”, erzählt der Songwriter. “I really feel we've made this music together.”

- Ltd. Col. LP: (Clear Vinyl)

Klassisch schwarzes Vinyl
- 2x12" Vinyl
- Deutsche Pressung
- Überarbeitetes Artwork in einem der Bildwelten würdigen Großformat
- Stabile Kastentasche
- Mehrfarbig bedruckte Innenhüllen mit allen Songtexten
- Mehrfarbig bedruckte Vinyletiketten
- Limitiert auf 500 Exemplare weltweit

For their first album, Seth Troxler and Phil Moffa joined forces and became multidimensional creative dissidents Lost Souls Of Saturn. This time, even further into the vortex, they’ve metamorphosed into sci-fi AR comic characters John and Frank who’ve explored the galaxy and returned with this perception-melting new LP.

Although ‘Reality’ still possesses the wigged-out conceptual brilliance which garnered installations and performances at Saatchi Gallery (London), Fondation Beyeler (Basel), The Metropolitan Museum of Art (NYC), and Museum of Contemporary Art Detroit, plus live sets at Field Day, Glastonbury and Kappa Futur, as its title might suggest, there’s vividness amidst the mind-bending. Where its predecessor was a murky exploration of weird and dark cerebral passageways, this album – though still fathoms deep – has a dazzling clarity of sound, as if listeners are beginning to crack the arcane codes, and reach for enlightenment.

A prime example of these newfound beams of light guiding participants through the maze is their recent single; the chugging cosmic techno synth pop of ‘Mirage’, featuring the voice of Adam Ohr. Also guesting on the album is Lvv Gvn, whose honeyed Billie-Holiday-meets-Rickie-Lee-Jones tones adorn the tranquil pixelated broken beat of ‘Click’, Greg Paulus’s trumpet sessions on ‘Zorg Arrival’ and ‘Scram City’, and Protomartyr’s vocalist Joe Casey and guitarist Greg Ahee, who grace the liminal drifting celestial plane of ‘Lilac Chasers’. Sitarist Rishab Sharma, the last disciple of guru Ravi Shankar, also shreds on ‘Scram City’.

Elsewhere, across the LP’s immensely inventive instrumental passages techno, dub, house, jazz, psych and ambient are vapourised into an expansive yet pleasingly concise series of morphing dream states. Fans of Air Liquide, Ravi Shankar, Ray Manzarek, Carl Craig, Pole, The Orb and ‘Son Of A Lung’ era FSOL should find much to like.

Dazzle rolled deep. Very deep. In the 1980s, it wasn't unusual for the Milwaukee-based group to show up at various Midwest night clubs in a caravan of 30-40 cars and vans. Their live following was hard won over a career that spanned 20+ years, many line up changes, and a handful of project names. Friends, family, and fans made the journey with them weekend after weekend, a testimony to both the musical prowess of the group and the tight-knit community that they emerged from.

Donald Smith, band leader, was there the whole time - joined by many of his siblings and friends - first as founder of the Ghetto Players, a early 70's nine-piece which also included siblings Michael, Ronald, and Charles. They played hard funk in the style of early Kool and the Gang, and although they sadly left no recordings, the strength of their live act managed to catch the eye of local Milwaukee R&B music entrepreneur Cobie Joe Payne. Cobie had made a couple of records locally in the early/mid 70s as a singer, including the impossibly weird and amazing rare afro-blues-funk 45 "Sweet Thing", but had never enjoyed national success. When the Ghetto Players disbanded in the early-mid 70s, Donald soon put together a new group, C on the Funk (the 'C' referring to lead vocalist and sibling Charles), under Payne's tutelage. Sister Lorrie Smith came in as the drummer, the line-up being fleshed out by brothers David and Melvin Johnson, and friend Robert Mitchell. After a few years as a strictly live attraction, they drove to Chicago and produced a single, "In the Disco" / "A Place" for Payne's small record label Sweet Thang Records in 1980. Lacking the financial backing needed to supply the local R&B disk jockey's "promotional fees" , this single sadly languished in obscurity, gathering dust inside the local tavern jukeboxes and manilla promo envelopes that comprised Payne's DIY distribution network.

C on the Funk were traveling the Mid West extensively at this point, and making some important friends on the road. Ike Wiley Jr. of the Dazz Band/Kinsman Dazz took particular interest and the band was re-christened Dazzle, partially as a tie-in with Dazz, partially to embrace the new sounds that would distinguish the 70s disco scene from what record collectors and DJs would now refer to as the "Boogie" era. There no doubt was a stigma attached to the word "Disco" as the eighties began, and as we see in this collection C On the Funk's "In the Disco" is remixed and transformed into the psychedelic synth instrumental of Dazzle's "Disco's Out", a title which embodies both the next-step approach Smith and company were pushing for, and humorously comments on the state of black dance music in the early 1980s. The Dazzle recording, done in Chicago in 1982, updated the sound and featured an expanded line up, most notably a second synth player (Charles Washington), and a percussionist/second lead vocalist (Greg McDonald). The added synth textures and deep percussive grooves give the Dazzle recordings an elegant late night vibe that resonate just as well in a good pair of headphones as they do on the dance floor. The trance inducing cough syrup-warble of "Explain" may best exemplify this here. Sadly, a pressing flaw in the 12" halted production and promotion, and the EP and the songs within were lost to the ages. The group, having done a much better line in the live music business, followed that path instead all the way to the early 90s. --bio provided by andy noble

Goatsnake was formed in 1996 by guitarist Greg Anderson (Engine Kid), vocalist Pete Stahl (Scream, Wool), and the mega rhythm section of Greg Rogers (drums) Guy Pinhas (bass) from underground heavy legends the Obsessed. Their now-classic debut album appropriately entitled: I (one) was originally released by Mans Ruin records in 1999. 8 songs that gracefully combine monolithic, Sabbathy riffs with soulful vocals to create a monumental album. It has now been reissued as a single vinyl lp as it was originally released for the first time since 1999.

The MENZINGERS are an absolute institution. The Philadelphia punk legends’ multi-decade reputation as road warriors with an unbeatable catalog is cemented as hard truth—and their seventh album, Some Of It Was True , stands as their most immediate-sounding and energetic record to date. The follow-up to 2019’s sensational Hello Exile accomplishes the daunting task of capturing The MENZINGERS’ distinctive live energy in the confines of the studio, resulting in a sound that’s both rich, raw, and complementary to the group’s increasingly prismatic songwriting approach. More than 15 years in, the MENZINGERS are still holding their listeners square in the immediate present, and Some Of It Was True documents that power in thrilling fashion. “We wanted to make a fun record and write songs that we wanted to play live, and that’s exactly what we did,” co-vocalist/guitarist Greg Barnett says “We’ve always said that we want every album to sound live, but we never recorded an album live before. This was the first time we committed to that idea. We wanted to sound like how our band sounds onstage.” Making the process easier: Grammy-nominated producer Brad Cook (Bon Iver, the War on Drugs, Waxahatchee), who joined The MENZINGERS in El Paso’s legendary Sonic Ranch studios and lent his incredible ear for raw, immediate sound to help the band achieve Some Of It Was True‘s in-the-room live feel. “ T H E M E N Z I N G E R S are as real as it gets,” Cook says on his time in the studio with the band. “I had an absolute blast working with these guys and was moved to tears many times. They are truly dedicated to artistic growth, and to each other, in ways I found both refreshing and beautiful. I am now a lifer.”

The MENZINGERS are an absolute institution. The Philadelphia punk legends’ multi-decade reputation as road warriors with an unbeatable catalog is cemented as hard truth—and their seventh album, Some Of It Was True , stands as their most immediate-sounding and energetic record to date. The follow-up to 2019’s sensational Hello Exile accomplishes the daunting task of capturing The MENZINGERS’ distinctive live energy in the confines of the studio, resulting in a sound that’s both rich, raw, and complementary to the group’s increasingly prismatic songwriting approach. More than 15 years in, the MENZINGERS are still holding their listeners square in the immediate present, and Some Of It Was True documents that power in thrilling fashion. “We wanted to make a fun record and write songs that we wanted to play live, and that’s exactly what we did,” co-vocalist/guitarist Greg Barnett says “We’ve always said that we want every album to sound live, but we never recorded an album live before. This was the first time we committed to that idea. We wanted to sound like how our band sounds onstage.” Making the process easier: Grammy-nominated producer Brad Cook (Bon Iver, the War on Drugs, Waxahatchee), who joined The MENZINGERS in El Paso’s legendary Sonic Ranch studios and lent his incredible ear for raw, immediate sound to help the band achieve Some Of It Was True‘s in-the-room live feel. “ T H E M E N Z I N G E R S are as real as it gets,” Cook says on his time in the studio with the band. “I had an absolute blast working with these guys and was moved to tears many times. They are truly dedicated to artistic growth, and to each other, in ways I found both refreshing and beautiful. I am now a lifer.”

The group takes a psychedelic turn, adding lush orchestral arrangements to the group’s tight harmonies and narrative lyrics. The album was recorded at the famed IBC Studios in London. Barry Gibb commented that their recording process was one of impromptu creativity, in which they’d “think up a subject, then write a song on the spot.” The instrumental parts were added later, adding a fullness to the songs. For instance, ‘Bee Gee’s 1st’ opens with strains of oboe and harpsichord on the whimsical “Turn of the Century,” while “Every Christian Lion Hearted Man Will Show You” begins with dark Gregorian chants.

Out of print for quite a few years now, this album is a stunning power-pop gem recorded at a time when this kind of girl group pairing with punk rock was unusual.b This is one of the most iconic albums released on Greg Shaw's Bomp! Records. It now includes bonus tracks on top! Definitely stood the test of time. Check out the titles, these young ladies were wearing their collective hearts on those sleeves of theirs. This kind of girl group pairing with punk rock was unusual at the time and it provided a much-needed antidote to the male dominated skinny tie brigade. Nikki looked like Pam Dawber (Mindy from Mork and Mindy) and sounded like Clare Grogan (of Altered Images) what was not to be instantly smitten by. Born and bred in Detroit, Miss Corvette reportedly ran away from home at age 16 because her mother refused to allow her to attend an MC5 show. Greg Shaw wrote the following in the liner notes to the 20th Anniversary label compilation, Destination Bomp! "Nikki was a tireless worker. Like some coalminer's daughter, she'd travel around the country with her band. Playing 200 shows a year. She knew everybody and was a lot of fun to hang out with so, I figured that if all her friends bought the record... so I signed her. The girl had style and attitude galore plus, she had master guitarist/songwriter and former Romantic Peter James. One of Detroit's most savvy cats." The lady herself kindly supplied the following summary. "We went to LA and signed with Bomp in maybe 1979 but Greg wasn't sure what to do with us. We did the Honey Bop single with Ronny Weiser at Rollin Rock and a couple songs with the Kessel Brothers. We started something with Kim Fowley that did not work out. They kept trying different producers until we finally decided to go back to Detroit and do the album on our own. We didn't have a lot of experience but we knew what we wanted and Detroit was part of that so we recorded the album and had a blast doing it. Peter wanted us to be poppier and I wanted to be more punk. We sort of met in the middle with what I've always called Bubblegum Punk. I can't believe it's been 43 years since this came out and there are still kids discovering it and people who grew up with it that still listen to it. I constantly hear from people all different ages, all over the world about how much they love it album and that really means so, so much to me!" Hear the phenomenon for yourself.

The Zeros is a pioneer punk rock band formed in 1976 in Chula Vista, California. Comparisons with The Ramones are often made when describing the energetic and fierce guitar driven sound of the group. First time single reissue in almost four decades! Incl. artwork replica on retro style record sleeves. This is their debut single, released in 1977 on Greg Shaw's very own Bomp! Records. 'Don't Push Me Around' and 'Wimp' are among the greatest punk rock songs of all time, written by Javier Escovedo. It was followed by another single in 1978, "Beat Your Heart Out"/"Wild Weekend". These first singles recorded by the band instantly catapulted The Zeros into a top draw on the local scene and have become legendary.

This is The Zeros' third single, a pioneer punk rock band formed in 1976 in Chula Vista, California. Comparisons with The Ramones are often made when describing the energetic and fierce guitar driven sound of the group. After a 2-year gap, following their two first singles on Greg Shaw's very own Bomp! Records, the band released this third 45 on Test Tube Records. 'They Say That (Everything's Alright)' is a fabulous song by Hector Peñalosa. "Getting Nowhere Fast" is another classic by Javier Escovedo. In spite of the excellence of these two tracks, The Zeros lost the momentum generated by the first two singles, leaving the third as an afterthought. Soon after, the band broke up. First time reissue! Incl. artwork replica on retro style record sleeves.

Formed in 2017, Flycatcher’s ability to construct sing-a-long melodies and gut-punching instrumentation, while also tackling the dissonance of depression and difficult relationships, proves their power in casting an empathetic, universal eye.

The New Jersey-based quartet, made up of Greg Pease, Justin VanNiekerk (guitar), Jack Delle Cava (bass) and Connor Carmelengo (drums), are known for their undeniably anthemic arrangements. Albums Other Things (2018) and Songs for Strangers (2019) garnered acclaim for their ear-worm choruses, tight textural dynamics and propulsive, driving percussion.

A bona fide legend from the ghettos of western Kingston, Gregory Isaacs was a true reggae original whose voice is one of the greatest of the idiom. His ballads made him a favourite with the ladies, but Gregory addressed social issues with equal conviction, and tales of rude boy life were sung firsthand. Maximum Respect is a digital killer from the early 1990s, cut for the pioneering sound system owner Count Shelley, the durable rhythms provided by Steelie and Clevie and the Firehouse Crew. With love ballads, reality tunes and songs praising the dancehall, Gregory covers all the bases and more. This is a must for all true Gregory fans!

Legendary Jamaican songsmith Gregory Isaacs' 1995 album 'Private Lesson' on Radiation Roots. The set includes laidback cuts 'Preacher Boy', 'Feeling Sad Tonight', Diplomatic Fool', 'She Doesn't Want Me', 'Slave Master' and many more.

Clear Vinyl

On Rock Island, their second LP, Palm produces evidence of a distinct musical language, developed over time, in isolation, and out of necessity. On the island, melodies are struck on what might be shells or spines. Rhythms are scratched out, swept over, scratched again. Individual instruments, and sometimes entire sections, skip and stutter. There is the sense of a music box with wonky tension or a warped transmission in which all the noise is taken for signal.

Like other groups so acclaimed for their compulsive live show, Palm has been burdened by the constant comparison between their recorded material and their touring set. On Rock Island, they render this tired discussion moot, using the album form to present that which could never be completely live, reserving for performance that which could never be completely reproduced.

Despite appearing behind the instruments typical of rock music, Palm trades in sounds of their own making. On these songs, one of the guitars and the drum kit are used as MIDI triggers, producing an index that can be combed through later and replaced with new information. The percussion is sometimes augmented so as to suggest a multiplication of limbs. The strings are manipulated to choke, crack, and hum like other instruments, or other bodies, might.

Working again with engineer Matt Labozza, the band spent the better part of a month in a rented farmhouse in Upstate New York. With the benefits of time and space, Palm recorded the various elements piecemeal, only rarely playing together in groups larger than two or three. While some members tracked, others holed up in the next room, experimenting with quantization, beat replacement, and other methods borrowed from electronic music. Even accounting for the many labors that brought them to be, these materials seem produced by an organic logic. Their complex friction forms a habit of thought, scores a network of grooves on the floor of the mind.

This is music with dimensionality. Sonic objects are deployed, developed, and dissected in various states of mutation. The listener flits about between the field and the lab. The tone is warm in a way only the sun could make, the pace as forceful and as variable as a gale. Whether one locates Rock Island in a sea or in a refinished attic (as in Greg Burak's album cover), whether one escapes to there or is banished, its psychic environs are charted clearly enough. Only at this remove from the mainland can we sense the conditions necessary for such a strange species of sound.

Tired Girls is the third full-length studio album by Bay Area singer-songwriter and multi-instrumentalist Anna Hillburg. Co-produced and recorded with Jason Quever of the Papercuts, the pair created an album for lovers of finely crafted and supremely catchy chamber pop. As always, Hillburg’s voice takes center stage, but for Tired Girls she made a conscious choice to dig deeper into her trumpet skills and make more elaborate horn arrangements than her previous records. Lyrically, Hillburg dives into what it is to be a contemporary woman, and how one perseveres, finds inspiration, creates, loves, and lives. Recorded throughout 2022 at Quever’s studio, the two built dreamy soundscapes with long-time collaborators Logan Kroeber on drums (The Dodos), Josh Miller on bass (Chime School, Extra Classic), and Yea Ming Chen on keys. The entire record has a real “Ladies, trust your gut” feeling, unsurprisingly, as Hillburg says she tends to write songs about “the reality of womanhood and feminism but ya know, why not make that a little ‘dancey’?” As a collection, Tired Girls marks her arrival as an artist who has hit their stride. Each track shows her talent and progression as a songwriter and performer. As a multi-instrumentalist and classically trained trumpet player, Hillburg is a sought-after session and live musician in the vibrant Bay Area music scene, performing regularly with Shannon And The Clams, The Dodos, The Moore Brothers, The Once And Future Band, Will Sprott, Dream Date, Greg Ashley, Shannon Shaw and her All-Star Buddy Band, and more. After writing and recording with her first band, SF power-pop darlings Dream Date, Hillburg set off on her own to record and release her first album, the self-titled 2013 release, Anna Hillburg. Described as “a romantic mix of lounge-inspired rock and avant-folk melodies,” here were the foundations of Hillburg’s signature songwriting style, with elements of baroque pop, catchy hooks, trumpet lines, and whimsical humor that garnered the attention of critics and fans alike. Her second studio album, Really Real, came out in 2018, recorded with Greg Ashley (Gris Gris) and Alicia Vanden Heuvel (The Aislers Set), this pop gem gained even more praise, with writers saying “Hillburg’s writing brings heartfelt lyrics to elegant pop.”

Contemporary techno legend Marcel Dettmann delivers four(!) remixes for Dutch avant-pop artist Mathilde Nobel's Founds on Land. Nobel's LP for Nous'klaer has been one of the label's most adventurous releases, adding a much needed breath of experimental twisted air to the Dutch pop scene. Dettmann transforms opening track "Bliss" from a guitar heavy walloper into a noise wash, floor-filled techno tool driven by a hypnotic staccato saw tooth arpeggio.

Nobel's album single "I Eat Air" which was dominated by chopped voices and a lullaby-esque bell melody becomes a mesmerizing crescendo in Dettmann's hands, retaining the haunting bells and Mathilde's signature vocal processing. Third track "Nehalennia" goes from the album's heaviest offering to a cinematic, minimal techno, bit-crushed, avant-pop song. While remix closer is a spaced out version of "I Eat Air" omitting all drums in-lieu of more bells and chimes and chops off Nobel's haunting voice.

The 4 remixes from Dutch up and comer in the hands of techno maestro Dettmann is a meaningful pairing illustrating Nobel's adept musical prowess and Dettmann's never ending pulse taking of what the new school are bringing to the table. Text by Gregory Markus.