Suche:j walk

Exclusive vocal c/w instrumental mixes of Betty Lou Landreth’s ‘I Can’t Stop’ on this lead-single for the forthcoming Backatcha re-release of Betty Lou Landreth's in-demand 1979 album, "Betty Lou” (cat# BK037 – to be announced). Expanded to a double album, it features the original studio recordings along with bonus material and alternative takes. The late Betty Lou Landreth had already paid her singing dues long before she walked into Studio A at Detroit’s Superdisc, touring with the USO and performing with R&B and Jazz players on the live circuit.

‘I Can’t Stop’ producers Joel Palmer and Charlie Gabriel recruited some of Motor City’s top fellow musicians for the session, including Gabriel’s longtime friend and housemate, trumpeter Marcus Belgrave, arranger Travis Biggs, drummer J.C. Heard, Motown Funk Brothers’ pianist Joe Hunter and trumpeters Herbie Wilson and John Wilson, keys player Emmanuel Riggins, bassist Hubie Crawford, the Body sisters and many more.

"We just got together to cook up a gumbo. Detroit, New Orleans, funk, jazz, torch, country and some great, great musicians to bring the flavours together."

Joel Palmer, 2021.

Lesley Rankine (Silverfish) and Mark Walk (Skinny Puppy) formed Ruby in 1995. Ruby’s first album, Salt Peter, was released in 1995. The album would produce three singles, all of which would chart in the UK. It was made almost entirely using computers and without a band. Salt Peter’s first single was “Paraffin”, released in November 1995. The compilation New Voices vol. 3 from Rolling Stone featured this song as its second track. It was followed up with what is perhaps Ruby’s best known song, “Tiny Meat”, which was also released in 1995. It would be the only song by the band to chart in the United States, reaching at #22 on the Modern Rock Tracks list. This song was also included in the compilation MTV Fresh 2. Another single, “Hoops” came out in early 1996. Later in that year the promotion-only single for the track “Swallow Baby” was put out for radio play. Additionally, the song “This Is” was used on the soundtrack to the popular 1996 film The Cable Guy.

Salt Peter is a dark, eerie fusion of trip-hop and industrial, with quietly menacing beats and droning synths. Provocative, as well as well- written. Salt Peter remains a promising debut. It is released as a limited edition of 500 individually numbered copies on “Tiny Meat” (transparent red & black mixed) coloured vinyl.

Glamourama Records Classic Lps On 180g Vinyl + 7” Bonus Single On Colored Vinyl Included Inside (plus bonus track “I Gotta Know”. Package includes an exclusive collector’s re-release of a very rare 1960 single including the hits “It’s Now or Never” and “A Mess of Blues”. ELVIS PRESLEY vocals and guitar, plus: Scotty Moore (guitar), Bob Moore (bass), D.J. Fontana or Buddy Harman (drums), Floyd Cramer (piano), The Jordanaires (backing vocals). Recorded at RCA’s Studio B, Nashville, Tennessee, March 20 & 21, 1960. Hank Garland (guitar), Boots Randolph (saxophone & claves), Charlie Hodge (vocal harmony). Recorded at RCA’s Studio B, Nashville, March & April 1960. Produced by Steve Sholes & Chet Atkins. 7” SINGLE: ELVIS PRESLEY, vocals and guitar; Scotty Moore (guitar), Hank Garland (electric bass on “A Mess of Blues”, guitar on “It’s Now or Never”), Bob Moore (bass), D.J. Fontana or Buddy Harman (drums), Floyd Cramer (piano), The Jordanaires (backing vocals), Homer “Boots” Randolph (sax) added on “It’s Now or Never”. Recorded at RCA’s Studio B, Nashville, April 4, 1960 (“It’s Now or Never) & March 21, 1960 (“A Mess of Blues”). Originally issued on the single 7” RCA Victor 47-7777 in 1960

The album is described this way by producer Ripley Johnson: "The band was aiming to capture a timeless, natural sound, not quite of the present, past, or future, but phasing in between the consciousness of now and the stoned dream-state of the eternal. Sort of a back porch jam just as the shrooms are starting to kick in. Handmade and human, but also cosmic and transcendental. The goal is to let the music speak for itself and hopefully find a weird and wonderful audience somewhere out there."That description feels right for an album which seems perfect for those soft ephemeral moments, and that softly wraps you in the feeling of walking at twilight. Mellow but upbeat the album it's easy to imagine the leaves changing colors. It's psych rock, and dificult to describe without getting poetic; dreamy and insular, it's easy to get lost in this album. Produced and recorded by Ripley Johnson (Moon Duo, Wooden Shjips), and mixed by Chris Cohen (Captured Tracks, Deerhoof), the album finds its niche in the hazy sonic landscape of private press country and psych records, and alongside artists like Relatively Clean Rivers, Jim Sullivan, Kenny Knight, and countless other explorers of the pastoral underground. New project produced by Ripley Johnson of Wooden Shjips and Moon Duo fame, fans of either are sure to love this one

Clear Vinyl

Eugene Synegal's early career as a teenager was the guitarist of Sam & The Soul Machine before moving to Los Angeles to join the group Sage and later in the 1970s recording on Lee Dorsey's Night People and The Neville Brothers records.

These previously unreleased recordings were birthed in the early 1970s, sometime during Eugene's trips back and forth between Los Angeles and New Orleans. A couple years after these recordings were immortalized onto 1/4" reel-to-reel tape an unusual crime scene involving Eugene and his girlfriend reads as if it was a chapter taken directly out of a pulp fiction novel. An Australian socialite named Patrica Galea, remained unsolved for 30 years. The robbers took $400, two diamond rings, a $1,400 cigarette lighter and two mink coats. They failed to collect Galea's $6,402 which was hidden in her freezer. This money was sent from Australia and was being used to fund Eugene's album as well as starting a new music publishing company in Hollywood. This was the life of Eugene. Playboy extraordinaire, jet-setter and guitar chops that would turn the head of Hendrix!! Around 2006 the owner of the West Hollywood apartment expressed a desire to learn more about its history and met with detectives who were unable to locate the file since it was buried in the cold cases section. The files were found, the case was reopened, solved and two men were arrested in 2007.

These recently unearthed 1970s recordings by Eugene are a reflection of his pure soul as well as a blend of psychedelia and funk that the band Sage was experimenting with in Los Angeles during that time period.

From a historical sense, these two recordings are significant because it bridges the historical and influential New Orleans music scene during the early 70's with the psychedelic rock and folk scene that was emerging just walking distance from the West Hollywood apartment that Eugene was living in with Galea during that time.

Eugene's unique guitar style paired with a deep-rooted gospel sensibility is a window into the artistry and songwriting capability of this incredibly talented man.

Klasse Indie-Rock von Downunder. Riley Jones, Louis Forster und James Harrison sind seit Ewigkeiten beste Freunde deren gemeinsame Leidenschaft die Musik ist. Folgerichtig manifestierte man den Bund der Freundschaft in einer gemeinsamen Band schon zu High School Zeiten - The Goon Sax waren geboren. "Mirror II" ist bereits das dritte Album der australischen Indieband, gleichzeitig ihr Debüt auf ihrem neuen Label Matador Records und zudem ein Aufbruch in neue Soundwelten. Das 2016 erschienene Debütalbum "Up to Anything" war eine Mischung aus Selbstfindung und musikalischen Feldversuchen zum Nachfolger "We're Not Talking" (2018) hatten man seinen ganz eigenen Sound gefunden hatte. Für "Mirror II" ließen sich die drei Australier drei Jahre Zeit. Louis zog zwischenzeitlich nach Berlin, wo er in einem Kino arbeitete, während Riley und James eine Post-Punk-Band mit dem Namen Soot gründeten. Alle drei experimentierten in dieser Zeit mit teils abstrakter Musik und atonalen Sounds, nun folgt die Rückbesinnung zum Pop. Jedes Bandmitglied bringt dabei seine ganz eigene Art des Songwriting ein. Rileys musikalische Vorbilder wie Les Rallizes Dénudés, Keijo Haino aber auch Kylie Minogue hört man auf "Desire" und "Tag". Louis ist wiederum beeinflusst von avantgardistischem Pop. Er liebt Bands wie HTRK, Young Marble Giants und Stereolab, aber auch Hits von poppigeren Künstlern wie The 1975 oder Justin Bieber. Aus diesen Einflüssen entstanden Songs wie "Psychic" oder "In the Stone". Seine Art Songs zu schreiben brachte ihm immer wieder Vergleiche mit der großen australischen Band The Go-Betweens ein - kein Wunder, schließlich ist Robert Forster sein Vater. Da fällt der Sound nicht so weit vom Stamm. James Harrison ist wiederum ein großer Bewunderer von Syd Barrett, den Walker Brothers, Felt und Jandek, was man den psychedelisch geprägten Tracks "Carpetry" und "Caterpillars" auch anhört.

WHITE COLOURED VINYL

Klasse Indie-Rock von Downunder. Riley Jones, Louis Forster und James Harrison sind seit Ewigkeiten beste Freunde deren gemeinsame Leidenschaft die Musik ist. Folgerichtig manifestierte man den Bund der Freundschaft in einer gemeinsamen Band schon zu High School Zeiten - The Goon Sax waren geboren. "Mirror II" ist bereits das dritte Album der australischen Indieband, gleichzeitig ihr Debüt auf ihrem neuen Label Matador Records und zudem ein Aufbruch in neue Soundwelten. Das 2016 erschienene Debütalbum "Up to Anything" war eine Mischung aus Selbstfindung und musikalischen Feldversuchen zum Nachfolger "We're Not Talking" (2018) hatten man seinen ganz eigenen Sound gefunden hatte. Für "Mirror II" ließen sich die drei Australier drei Jahre Zeit. Louis zog zwischenzeitlich nach Berlin, wo er in einem Kino arbeitete, während Riley und James eine Post-Punk-Band mit dem Namen Soot gründeten. Alle drei experimentierten in dieser Zeit mit teils abstrakter Musik und atonalen Sounds, nun folgt die Rückbesinnung zum Pop. Jedes Bandmitglied bringt dabei seine ganz eigene Art des Songwriting ein. Rileys musikalische Vorbilder wie Les Rallizes Dénudés, Keijo Haino aber auch Kylie Minogue hört man auf "Desire" und "Tag". Louis ist wiederum beeinflusst von avantgardistischem Pop. Er liebt Bands wie HTRK, Young Marble Giants und Stereolab, aber auch Hits von poppigeren Künstlern wie The 1975 oder Justin Bieber. Aus diesen Einflüssen entstanden Songs wie "Psychic" oder "In the Stone". Seine Art Songs zu schreiben brachte ihm immer wieder Vergleiche mit der großen australischen Band The Go-Betweens ein - kein Wunder, schließlich ist Robert Forster sein Vater. Da fällt der Sound nicht so weit vom Stamm. James Harrison ist wiederum ein großer Bewunderer von Syd Barrett, den Walker Brothers, Felt und Jandek, was man den psychedelisch geprägten Tracks "Carpetry" und "Caterpillars" auch anhört.

Rock ‘n’ roll is often hard to define, or even to find, in these
fractured musical times. But to paraphrase an old saying,
you know it when you hear it. And you always hear it with
The Wallflowers. For the past 30 years, the Jakob Dylanled act has stood as one of rock’s most dynamic and
purposeful bands - a unit dedicated to and continually
honing a sound that meshes timeless songwriting and
storytelling with a hard-hitting and decidedly modern
musical attack.
That signature style has been present through the
decades, baked into the grooves of smash hits like 1996’s
‘Bringing Down the Horse’ as well as more recent and
exploratory fare like 2012’s ‘Glad All Over’.
But while it’s been nine long years since we’ve heard from
the group with whom he first made his mark, The
Wallflowers are silent no more. And Dylan always knew
they’d return. “The Wallflowers is much of my life’s work,”
he says simply. That life’s work continues with ‘Exit
Wounds’, the brand-new Wallflowers studio offering. The
collection marks the first new Wallflowers material since
‘Glad All Over’.
‘Exit Wounds’ is an ode to people - individual and
collective - that have, to put it mildly, been through some
stuff. “I think everybody - no matter what side of the aisle
you’re on - wherever we’re going to next, we’re all taking a
lot of exit wounds with us,” Dylan says. “Nobody is the
same as they were four years ago. That, to me, is what
‘Exit Wounds’ signifies. And it’s not meant to be negative at
all. It just means that wherever you’re headed, even if it’s
to a better place, you leave people and things behind, and
you think about those people and those things and you
carry them with you. Those are your exit wounds. And right
now, we’re all swimming in them.”

Velour’s highly praised debut album on WOLF Music sees four of its standout tracks remixed from WOLF family old and new. Mainstays of the label Frits Wentink and Hulk Hodn join forces with new link ups, Footshooter and 20/10, for this crispy 10 inch.

First up to bat, German beatsmith Hulk Hodn fires up the MPC and chops ‘Tom’s Garage’ into a hazy, head nodder before South London’s Footshooter takes ‘Into The Blue’ through a synth heavy whirlwind of broken beat grooves.

On the flip, and fresh off the back of his Dekmantel release, Frits Wentink stamps his idiosyncratic expertise on ‘Pose’ for a walking bass bubbler. Closing out proceedings, Velour’s very own Vinzent Wirth, under the moniker 20/10, reworks ‘Luminate’ into a Detroit influenced, jazz tinged, sunset house gem.

Aquaregia mainstays, Troma & PERS1, return for their fourth release on the label. Their Kaede EP exhibits the duo's signature exquisite acid lines though a tracklisting of five dripping dreamscapes.

"Kaede" introduces the release with a bubbling acid line and up-tempo groove. A euphoric journey through a new destination; a mental escapade moving from excitement and anticipation to pure bliss.

"Samara" takes over with a haunting acid line and eerie pads, venturing deeper into the unknown. Atmospheric fog intertwines between the rosy foliage of the Japanese maples; a cool breeze propels the ripened samara, helicoptering from their stems.

"Crimson Breath" relieves the tension with a chilled out and dubby trip. We're taken bankside of a babbling brook, sheltered by an enclosing leafy canopy; comforted in a safe haven.

Next, "Autumn Moon" gently guides us on a psychedelic excursion laced with intricate dribbling acid lines and breaky percussion. A walk through a shadowy limestone cave, water trickling down and plinking from the luminous stalactites.

Greetings to the new generation of ‘Hip-Hop’ and ‘Shake Your Butt’ music. The man behind ‘Timeless Funk’ ain’t exactly no ‘Spring Funky Chicken’, yet he is still the ‘Funkiest Soul’ to rock this here nation.
Rufus Thomas is the Soul King and Grand Daddy of Funk; as his generation knew him then, as we know him today.

In the beginning, the ‘Power of the Most High’ said: ‘Let it be funky’. Then there was Rufus.
Rufus Thomas was born in 1917 in a small town outside of Memphis, Tennessee. At the age of ten he became a tap dancer. In the 1930s, Rufus worked professionally at the infamous Palace Theatre, Memphis, TN, as M.C., performing comedy and dance routines.

During the early 1940s, Rufus began his singing career. He also continued his M.C. acts at various notable nightclubs and theatres, for amateur nights. He was then considered to be a triple threat: dancer, comedian and singer! The notables he crossed hands with in those days were B.B. King, Bobby Bland and Johnny Ace. In the 1950s Rufus became one of the ‘Hip-pest’ DJs in Memphis TN W.I.D.A. radio station and is affiliated with the company to this day. He was quoted as saying ‘I’m young and loose and full of juice’. At those times he recorded ‘Bear-Cat’ for Sun Records, their first R&B hit for the label.
All-right ‘Kiddies,’ now I take you into the light of Rufus in the 1960s. When most of us were on our way to our happy existence, Rufus was already 30 years in the entertainment circuit. He was affiliated with STAX Records. With daughter Carla Thomas, he gave STAX their first hit, the duet, ‘Cause I Love You.’ Rufus’ world famous hits continued under this label, pouring songs out such as ‘Memphis Train,’ ‘Can Your Monkey Do The Dog,’…

The foregoing is merely a scratch on the surface of a remarkable man, who has dedicated most of his life to the entertainment business. It’s kept short and sweet so you know what you are dealing with.
Rufus was quoted as saying, ‘I ain’t a star, I don’t want to be a star. Stars have a habit of falling. I’m like the moon. Clouds may come and cover it occasionally, but it’s always there, and always shining. It’s just sometimes you don’t see it for a while but it’ll be back.’

If it wasn’t for Rufus, Soul Music would be missing one of its loudest sons. If he didn’t exist, somebody

Continued over…

would have to get up and invent him. And Funk? The man practically invented the stuff with James Brown.
Now at the age of 75 ‘The Oldest Teenager Alive’ check him out on this recording of ‘Timeless Funk’. We’ll agree and leave you with this note: Rufus is the ‘Moon’ that brought us what was ‘Funky’ then to what is ‘Funky’ now. So let us get ‘Buck Wild’ on the Funky side of things

Born in rural Mississippi and associated with Memphis, versatile entertainer Rufus Thomas is a legendary figure, having been a tap-dancer, comedian, and DJ before recording for Satellite in 1961—the label that soon became Stax. Thomas’ improvised hit, ‘The Dog,’ led to immortal follow-up, ‘Walking The Dog,’ so massively popular that it became the centrepiece of his debut LP, an irresistible blend of funk and soul with lashings of Thomas’ trademark humour. Whether with originals or standards like ‘Ya Ya’ and ‘Land Of 1,000 Dances,’ Thomas keeps the action tight and in addition to both ‘Dog’ hits, there is further instalment, ‘Can Your Monkey Do The Dog,’ co-penned with Stax’s Steve Cropper. A killer set!

Nimbus West spirit jazz essential: the Creative Arts Ensemble's classic debut One Step Out. One of the most sought after and highly-regarded titles to have appeared on Tom Albach's celebrated Nimbus West imprint, One Step Out is a timeless work of spiritualized jazz. A true gem from the Los Angeles jazz underground, the album was pianist and composer Kaeef Ruzadun Ali's first recording as leader of the Creative Arts Ensemble, the only large ensemble group that emerged directly from Horace Tapscott's legendary Pan Afrikan Peoples Arkestra community jazz group. A Los Angeles native, Kaeef was introduced to the Tapscott circle in the late 1970s. His first experience of the Arkestra's ethos was through PAPA tenorist Michael Session, who took him to the famous "Great House" at 2412 South Western Ave., LA -- a large mansion house which members of the Arkestra had taken over as a space for communal living. Life in the Great House was a continuous stream of music, dance and community events. "When I walked in there," recalled Kaeef, "it was like this whole rush came over me, just from going in the front door -- It was like a very, very warm feeling of love. I went and I came out with 'Flashback Of Time', and that was my first arrangement." Kaeef quickly became a significant contributor of compositions to the Arkestra's songbook -- his piece "New Horizon" would be recorded by Horace Tapscott for the latter's Tapscott Sessions series. But "Flashback Of Time" would eventually appear on One Step Out, played by the new group he had put together from stalwart Arkestra members. Inspired by both Tapscott's example and by the Art Ensemble of Chicago, Kaeef had wanted to follow their lead by assembling a larger unit. Featuring seasoned Arkestra regulars including reedsman Dadisi Komolafe, drummer Woody "Sonship" Theus and altoist Gary Bias, with veterans Henry "The Skipper" Franklin on bass and George Bohannon on trombone, One Step Out is a key document of the Los Angeles radical jazz underground. Featuring the sanctified vocals of Kaeef's sister, B. J. Crowley, the album is a tour de force of spiritually energized independent jazz music.

Tony Scott (born Anthony Joseph Sciacca June 17, 1921 – March 28, 2007) was an American jazz clarinetist and arranger with an interest in folk music around the world. For most of his career he was held in high esteem in new-age music circles because of his involvement in music linked to Asian cultures and to meditation. Tony performed with many star as Billie Holiday, Sarah Vaughan and Harry Belafonte and before moving to Italy in the early ‘70’s he just cut two sought after masterpiece moving forward from his early idea of bop and cool jazz. In particular ‘Djanger Bali’ (1967 Saba) - recorded with The Indonesian All Stars - and the self titled Tony Scott (1968 Verve) - featuring Richard Davis on bass, John Berberian on oud and Attila Zoller on guitar – set the pace for a revolution in terms. This set recorded in Africa around the mid 90’s is a pure rhythm festival pushing the boundaries of his afro fusion agenda

Classic black LPs housed in gatefold w/ special canvas cardboard stock and silver hot foil! Nordic pop diva KARIN PARK of ÅRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair's frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener "Hiraeth" is second to none, perfectly assembling a harrowing backdrop for Park's lilting sound of longing. From there, Park's vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord's waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park's credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Årabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway's Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. "Lustmord is the Gustave Doré of music", Karin Park ofers pensively. "Painting magical pictures with a sound that is so vast, it gives space for your own imagination." Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum. FOR FANS OF Lustmord, Årabrot, Dead Can Dance, Hans Zimmer, Sunn O))), Fever Ray, Chelsea Wolfe, Boards of Canada, Heilung, Zola Jesus, Swans.

Limited coloured LPs housed in gatefold w/ special canvas cardboard stock and silver hot foil! Nordic pop diva KARIN PARK of ÅRABROT adds her ethereal, mournful voice and keys to the primordial sound of legendary electronic pioneer LUSTMORD for this sublime and poignant collaboration. ALTER is a ritual of our times. On the pair's frst collaborative work, the nine tracks that make up ALTER are every bit as heart-wrenching as they are terrifying, mining new sonic territory, it is a fascinating study of light and shade that delves deep into vast uncharted darkness. Their ability to create atmosphere on the album opener "Hiraeth" is second to none, perfectly assembling a harrowing backdrop for Park's lilting sound of longing. From there, Park's vocals add all of the emotional depth and power found in names like Kate Bush, Maynard J Keenan and Elizabeth Frasier, perfectly playing against Lustmord's waves of dark drama and creating a wholly unique record that recalls Dead Can Dance, Massive Attack and Portishead at their greatest. Considering Park's credentials, it might be surprising that a collaboration with Lustmord would ft so seamlessly. Utilizing a sound comprised of elements of industrial, synth pop and more, the celebrated Swedish solo artist and member of Norwegian rock band Årabrot utilizes experimentation in her work, blazing trails and bringing to mind the work of her peers The Knife, Scott Walker, Robyn, Depeche Mode and Burial with her darkly-rich compositions. Multiple winner of Norway's Spellemann award, Park co-wrote the Norwegian entry for the 2013 Eurovision, fnishing fourth overall. But it is the sensibility of the sacred music of her youth that Park adds to ALTER, contributing a powerful vocal that guides the listener through the cavernous, mystical depth of their collaborative work. "Lustmord is the Gustave Doré of music", Karin Park ofers pensively. "Painting magical pictures with a sound that is so vast, it gives space for your own imagination." Brian Williams grew up in North Wales, beginning his musical career as Lustmord in 1980 and becoming a pivotal fgure and pioneer in the early industrial music scene in the UK. A former member of SPK during arguably their most crucial era, Williams went on to work with Throbbing Gristle members Chris & Cosey and appeared on early albums by Current 93 and Nurse With Wound amongst others. After relocating to Los Angeles in 1993, Williams worked on dozens of motion picture soundtracks including The Crow, Underworld and Paul Schrader's First Reformed, as well as on several video game, television scores and solo albums. Williams has also contributed to and collaborated with artists as varied as the Melvins, Clock DVA, Jarboe, John Balance of Coil, Clock DVA, Paul Haslinger (Tangerine Dream), Wes Borland (Limp Bizkit), Puscifer and more, including Grammy Award-winners Tool from their much acclaimed eforts 10,000 Days and Fear Inoculum.

Maple Glider is Naarm/Melbourne-based singer-songwriter Tori
Zietsch.
On debut album ‘To Enjoy is the Only Thing’, written whilst Zietsch
lived in Brighton in the UK, she compiles a striking set of vignettes
from her life; growing up in a restrictive religious household, falling in
and out of love, cross-country and international travel, longing,
alienation and more.
Moments both unremarkable and life-altering but always deeply felt,
brought to vivid life by the beauty of Tori’s artistry and wry sense of
dark humour.
Elaborating further on her vision for the project, Zietsch describes:
“To me, ‘To Enjoy is the Only Thing’ feels like walking past tinselcovered trees in mid-September, swimming along the calanques in
the south of France, frost on the hood of a car, darkness at 4pm,
lightness until 10pm, Sibylle Baier’s Colour Green, Devendra
Banhart’s Ma, Adrianne Lenker’s a-sides, a muted feeling, the
perpetual grey fog that swallows the Silver Coast in Portugal, an ugly
green dress, the color red, red wine, red blood, red lips, the red of a
cardinal’s robe, Switzerland, my mother’s diaries, a coroner’s report,
the sun on my face, the end of love.”

My Morning Jacket’s ‘Evil Urges’ is now available as a
beautifully coloured 2-LP set, pressed on cream coloured vinyl
with a black blob and housed in a premium gatefold jacket. My
Morning Jacket’s Grammy-nominated ‘Evil Urges’ is the band’s
most ambitious and controversial album to date. On their fifth
studio album, an emboldened My Morning Jacket created a
fiercely uncompromising, highly eclectic and deeply personal
album that catapulted the band into public consciousness and
solidified their place as innovators and titans of indie rock

Rose City Band is the solo project of Ripley Johnson (Wooden Shjips, Moon
Duo).
Stepping out from behind the psychedelic haze that envelops his other
output, Rose City Band’s lean yet richly textured arrangements lay bare the
beauty of his songcraft. On ‘Earth Trip’, Johnson reveals more of himself
than ever before, colouring the project’s country-rock twang with a
melancholic, wistful undertone. It charts a journey of personal growth and
introspection with surprising honesty, from pining for summers spent with
friends to meditations on space, stillness and the splendour of the natural
world.
It continues Rose City Band’s celebration of summer warmth and the great
outdoors, seen from a new vantage point and with newfound appreciation for
the freedom and joy that nature provides.
Through its daring honesty and masteful arrangements, ‘Earth Trip’ cements
Johnson’s place as a singular songwriter of inimitable skill. Its message of
mindfulness and our interconnectedness to the environment expands on a
long country and blues music tradition that draws a symbiotic relationship
between storyteller and the land, capturing the beauty of the natural world
while also emphasising our responsibility in preserving it for future
generations.
‘Earth Trip’ features an incredible line up of guests including drummer John
Jeffrey (Moon Duo), Sanae Yamada (Moon Duo) on piano, Ryan Jewell and
Barry Walker on pedal steel guitar.
Mixed by Cooper Crain (Bitchin’ Bajas, Cave) at Electrical Audio and
mastering by Amy Dragon at Telegraph Mastering.
Deluxe mini gatefold CD package.
Forest green coloured vinyl and black vinyl are available in deluxe LP
packaging, die-cut jacket with 4-colour printing on both the outside and inside
of the jacket. Also with fully artworked heavy-weight cardstock printed inner
sleeve and digital download card.
“Ripley Johnson has been responsible for some of the past decade’s most
mesmeric and beguiling albums.” - The Guardian
“Johnson’s Rose City Band incarnation may be his most dazzling and
uplifting so far... transforms the fuzz-drenched thrust of Johnson’s usual
music into a beatific choogle, a modest but potent means of escape from the
realities of 2020” - MOJO

Rose City Band is the solo project of Ripley Johnson (Wooden Shjips, Moon
Duo).
Stepping out from behind the psychedelic haze that envelops his other
output, Rose City Band’s lean yet richly textured arrangements lay bare the
beauty of his songcraft. On ‘Earth Trip’, Johnson reveals more of himself
than ever before, colouring the project’s country-rock twang with a
melancholic, wistful undertone. It charts a journey of personal growth and
introspection with surprising honesty, from pining for summers spent with
friends to meditations on space, stillness and the splendour of the natural
world.
It continues Rose City Band’s celebration of summer warmth and the great
outdoors, seen from a new vantage point and with newfound appreciation for
the freedom and joy that nature provides.
Through its daring honesty and masteful arrangements, ‘Earth Trip’ cements
Johnson’s place as a singular songwriter of inimitable skill. Its message of
mindfulness and our interconnectedness to the environment expands on a
long country and blues music tradition that draws a symbiotic relationship
between storyteller and the land, capturing the beauty of the natural world
while also emphasising our responsibility in preserving it for future
generations.
‘Earth Trip’ features an incredible line up of guests including drummer John
Jeffrey (Moon Duo), Sanae Yamada (Moon Duo) on piano, Ryan Jewell and
Barry Walker on pedal steel guitar.
Mixed by Cooper Crain (Bitchin’ Bajas, Cave) at Electrical Audio and
mastering by Amy Dragon at Telegraph Mastering.
Deluxe mini gatefold CD package.
Forest green coloured vinyl and black vinyl are available in deluxe LP
packaging, die-cut jacket with 4-colour printing on both the outside and inside
of the jacket. Also with fully artworked heavy-weight cardstock printed inner
sleeve and digital download card.
“Ripley Johnson has been responsible for some of the past decade’s most
mesmeric and beguiling albums.” - The Guardian
“Johnson’s Rose City Band incarnation may be his most dazzling and
uplifting so far... transforms the fuzz-drenched thrust of Johnson’s usual
music into a beatific choogle, a modest but potent means of escape from the
realities of 2020” - MOJO

Drug Store Romeos formed at college in nearby Farnborough when childhood friends Jonny (Gilbert) and Charlie (Henderson) pinned an ad about finding a bassist for their new band to the school’s notice board – Sarah (Downie) replied and quickly proved herself a better vocalist than either of them. The trio spent the subsequent 24 hours discussing their love of Stereolab over messenger and watching Portishead and Mild High Club videos in the college’s computer lab. The band soon cut their teeth playing live at college, at Guildford Boiler Room and Aldershot West End Centre, rather than the familiarly trodden paths in London although they did frequent Brixton Windmill as often as three times a week at one point; carrying all of their equipment back to Fleet by train as none of the band were old enough to drive. The 3am walk home from Fleet station, with amps and flight cases slung over their shoulder, would become a rite of passage; the quiet countryside influencing their hushed atmospheric sound and nocturnal aesthetics as much as their shared affection for Suburban Lawns, Broadcast, and Tom Tom Club. Lyrical abstractness / concrete meaning. Danceability / lyingdownability. Minimalism / fullness. Introspective melancholy / playfulness. Lo fi / hi fi. Drug Store Romeos play with the senses and flip the expectations, finding the sweet spot every time.

Cloudwalker was entirely written and produced between March and November 2020. The album is a welcome return of Martin Haidinger's more notable style after the floating tranquility of the ambient/drone series of albums like Entre Les Chambres and Deux Nouvelles. What's contained within Cloudwalker mirrors its name. Haidinger takes Gimmik on a somewhat weightless journey above the clouds floating between the electronic music he nurtured in the Toytronic years.
These new tracks represent a production concept where Martin saw himself more like a witness of a moving organism than a planning architect. This approach gave the music the space to evolve more freely, like clouds. It broadened the emotional sound pallet of Gimmik's style without denying its heritage. The same philosophy was implemented when choosing the produc- tion tools, representing technology from 1958 to 2019, including field recording and manipulated real instruments.
The emphasis is clearly on songwriting rather than nano edits and ball bearings down stairs beats. The result is clean melodic electronica, bouncy Electro, engaging maternal downtempo, and expertly crafted modular synthesis. Every detail has the technical Haidinger approach with a strong focus on telling a story, leaving a lot of emotional space for the imagination of the listener. Cloudwalker is a confident and warm return to form from an artist that was sorely missed in his time away.

RECORD STORE DAY 2021 TITLE!!!
THE FANTASTIC ALBUM FEATURING CANNED HEAT'S 1968 SIGNATURE SONG “GOING
COUNTRY”
COLLECTORS EDITION - STRICTLY LIMITED TO 5,000 COPIES WORLWIDE!
FIRST AND ONE TIME ONLY PRESSING ON YELLOW AND PINK DOUBLE VINYL
NCLUDES: GATEFOLD JACKET, PRINTED INNER SLEEVES AND RECORD LABELS

Dead Moon’s beloved third album, released in 1990, when some fellow Pacific Northwest underground rockers were getting ready to be flung head first into the mainstream. But DM remained defiantly underground!
Raw, primordial and true to their own style and fiercely DIY ethic. With classics “Dagger Moon” “Walking On My Grave” and “Johnny’s Got A Gun.” Remastered from the original tapes.

One of the most significant collections in Trojan’s immense catalogue, the ‘The Trojan Story’ album dramatically changed the perception of Jamaican music among the general British public outside of the country’s Afro-Caribbean population.

Prior to its release in 1971 there had never been an attempt to present a comprehensive anthology of the island’s musical development, with vintage ska, rock steady and reggae widely regarded as obsolete and of precious little merit.

The treble disc set, which became an instant best-seller, had been the brainchild of Trojan’s label manager and Black Music fan, Rob Bell, who, assisted by Trojan stalwarts, Dandy, Webster Shrowder and Joe Sinclair, produced arguably the most significant Jamaican music retrospectives of all time.

Now, 50 years following its original release, this hugely influential album has been revisited by Bell, along with reggae musician, Rusty Zinn, who have succeeded in improving what was already an almost perfect collection.

Presented in the original eye-catching artwork, the set is further enhanced by a highly illustrated 50-page booklet in which Bell relates the stories behind the release and the 50 tracks featured on the compilation.

• Widely and rightly regarded as one of the best ever soul and funk bands, the now legendary Average White Band tore-up
the rule book and conquered the US, UK & International charts with a series of soul and disco hits between 1974 and 1980.
• AWB’s repertoire has been a source of inspiration and influence for many R&B acts and they are one of the most sampled
bands in history, remaining relevant today, continuing to reach new generations of younger audiences.
• Snoop Dogg, Fatboy Slim, Ice Cube, Puff Daddy, TLC, Rick Ross, will.i.am and Mark Ronson amongst countless others, have
all borrowed sections of their grooves.
• ‘Cover To Cover/Soul To Soul’, is a collection showcasing their take on classic recordings, both Soul and otherwise and
demonstrates why they were totally embraced as an authentic R&B band in the USA.
• ‘Cover To Cover....’ also includes for the first time on vinyl, their 2017 recording of The Isley Brothers ‘Harvest For The
World’, which was produced by and features Chris Jasper.
• Average White Band remain highly influential and this collection, shows why they have remained so powerfully important.





e a5. I Heard It Through The Grapevine [Live – Edit]

[g] b2. I'm Gonna Make You Love Me [Live]

First time on vinyl for this legendary performance, recorded live at CBGB’s, December 1999.



“I decided to create a website for the Ramones in 1999. Joey thought it would be cool to organize a show to involve their fans. It would be a contest and the winning band would get to play with Joey himself on vocals. They won the contest hands down, performed as Joey’s band and became a favorite band of mine. It was great to suddenly have all those new songs to get into. I realized I really liked these guys when I started listening to themafter hearing a Ramones CD and vice versa.” Arturo Vega, Ramones Art & Lighting Director, AKA “The 5th Ramone”

Los Angeles independent label Minky Records is issuing
two crucial, hitherto unheard slices of music recorded in the
’80s by the late L.A. punk rock legend Jeffrey Lee Pierce
and his band The Gun Club.
On June 12, the company will release an exclusive single
version of the Pierce original “Bad Indian” and a cover
of Jody Reynolds’ “Fire of Love.” This Minky 45 will be
accompanied by an even more impressive vault discovery:
Soulsuckers On Parade, a full-length 1984 Pierce solo
recording drawn from an abortive session for the cowpunk
compilation album Don’t Shoot, first released by Zippo
Records in the U.K. The vocalist is supported by an allstar
unit comprising guitarist Dave Alvin, drummer Bill
Bateman, and the late pianist Gene Taylor, then of the hot
L.A. roots combo The Blasters, and bassist Jack Waterson
of Green On Red; Chris D. (Chris Desjardins, who also
produced the date) and The Gun Club’s Kid Congo Powers
guest on background vocals.
Featuring covers of songs originated by Willie Nelson,
Big Joe Turner, and Creedence Clearwater Revival, a wacky,
profane blues Pierce improvisation called “New Way of
Walkin’’, and a rampaging, demented seventeen-minute
original, “Walkin’ Down the Street (Doin’ My Thing)”,
the album will be issued as a limited edition Kelly-green
vinyl LP on Record Store Day (June 12), and an unlimited
expanded CD package (with studio chatter and improvised
vocals and jams) on the same day.

A HANDPICKED COLLECTION OF HIS GREATEST MUSICAL WORKS FROM FILM & TELEVISION, FEATURING MUSIC FROM NOMADLAND, THE FATHER, INSIDIOUS, THIS IS ENGLAND & MANY MORE

"The most syncable modern composer" Synchtank

The new collection Cinema features 28 breath-taking pieces that take the listener through Ludovico's incredible musical journey working in film & television, and includes two previously unreleased tracks** (see tracklist below)
Includes music from films and series such as the Golden Globe & BAFTA Award-winning and Oscar favourite Nomadland, another BAFTA Award-winning and Oscar favourite The Father, This Is England, I'm Still Here, Insidious, Dr Foster, Sense8 & many more
"I felt like he Ludovico and the character of Fern were walking in parallel; their shared love of nature connects them, and I knew then his music would fit perfectly with our movie" Chloé Zhao on Nomadland
Award-winning scores such as Fuori Dal Mondo (Oscar nominated, Echo Klassik award) and Sotto falso nome (Avignon Film Festival) are also included
Einaudi has become the biggest streamed classical artist of all time. His beautifully evocative music lends itself so perfectly to use in films, tv & advertising and has the incredible ability to provoke and enhance emotion.
This is why for many years directors have been using it to complement their images and continue to do so.
Famous fans & collaborators include Shane Meadows (This Is England, Dead Man's Shoes), Russell Crowe (The Water Diviner, Gladiator, Les Miserables), Chloé Zhao (Nomadland), Ricky Gervais (Derek), Eric Toldedano (The Intouchables), Clint Eastwood (J Edgar), Casey Affleck (I'm Still Here) & Darren Aronofsky (Black Swan).

Another Land features the extraordinary playing of legend Dave Holland with a new trio featuring superstar guitarist Kevin Eubanks, and drumming prodigy Obed Calvaire on a funky, rocky, powerful album with writing credits spread between the three.

Shall Not Fade's Time Is Now series continues to showcase the cutting edge of breaks and bass oriented club music. This time they introduce Groovy D; this new solo project of one third of Sheffield-based trio Denham Audio curates a totally fresh take on garage which is soulful, unique and genre-defying.

Afterworld Groove EP features female vocalists and a collaboration with Time Is Now regular Interplanetary Criminal; vocal heavy tracks are a highlight of the record, taking the garage sound away from the confines of the club. "Outta Control" is one of these tracks; Emma Cannon's vocals walk the edge between soulful and mournful, contrasting the wild breakbeats and deep, dirty bass. The title track uses housey intoned keys; this is daytime garage, made for summer parties. Taking influence from his Sheffield home, "Keep Movin' On" has a classic bassline sound palette, cheeky stabbing synths and hyperactive breaks.

"Project Zeus" opens the B-side: stutters of snare and punching bass are broken through with a classic, uncontrollable bassline; the tongue-in-cheek sample that forms the drop will undoubtedly bring a smile to British fans. More minimalist B2 "Timeless" is a chorus of bubbling ear candy until the rolling sub bass looms into a deep, headsy climax. Manchester's Interplanetary Criminal joins to close the EP; with vocals from Anna Straker, "Higher" takes a genre-spanning approach in hazey garage percs and soaring pads. The tempo is down, and misty, romantic sax forms the backbone.

A collection of songs / mixtape from Sunun + Jiinx - made up of all their own material, a combination of fully realised songs (some of which you might recognise from earlier outings on BKV, Idle Hands, Euphonic Rhythms etc) as well as unheard demos / ideas and alternate versions. The mix was compiled by Jiinx over a period of nightshifts - sat in his (now cubed) car with the computer running through the stereo. You can hear the dry eyes as the tape moves through sleep deprived jungle to new-age and ambient interludes - with voices (including Sunun's own) moving in and out like real world sounds intruding into a dream (there's also a cameo from Jiinx's daughter). The tape operates in the spaces between waking and sleeping and night and day - and manages to walk the line between euphoric rave afterglow and sleepless sickness and disorientation. Definitely one for the shift workers / ravers / insomniacs. Dedicated to the roofless Beemer.

First Word Records is extremely proud to welcome back Children of Zeus with their sophomore album, 'Balance'.

Following the release of their debut album 'Travel Light' in 2018 (which featured in numerous 'Album of the Year' lists), Tyler Daley and Konny Kon spent the next two years extensively touring the UK, Europe, Australia and South Africa.

With shows on ice over the last 12 months, Children of Zeus took the time to mature their sound; 'Balance' is 50 minutes of future-classic British soul music encompassing hip hop, neo-soul, gospel and r&b. Konny's laidback flow once again merges with Tyler's unmistakable buttery vocals across a set of bass-heavy backdrops and smoothed-out keys, taking the blueprint from their debut and evolving it into a deeper, more-refined sound.

As with previous material, the album is largely produced by the duo themselves, though we also see the return of Grammy-winner Beat Butcha, whose previous production credits include Jay Z, Beyonce, Nipsey Hussle, & Griselda (one of Butcha's productions graces first single 'No Love Song'). Title track 'Balance' comes from upcoming producer & Soulection regular, cay caleb and also features the only vocal feature on the album, from rising UK soul talents Akemi Fox and Georgie Sweet.

The Children of Zeus journey began with a mutual love of 90s Manchester pirate radio; consuming hip hop and beats, r&b and street soul, lovers rock and dancehall, garage and bass music. Then followed decades of performing, creating and collaborating in different guises. Over the past few years, the hip hop soul duo have garnered props far and wide; from Jazzie B to Jazzy Jeff. They've done performances for the likes of Soulection and BBC, in addition to hosting their monthly NTS Radio show and collaborating with artists like Black Milk and Goldie.

From travelling light, to travelling nowhere, it's been a time where we've all had to reflect on the lives we lead. This album is about equilibrium; walking the thin line of life and striving to keep your footing firm at all times, ever pushing forward. Balancing the rough with the smooth and the work with the play.

The Children of Zeus sound is now fully grown. It's time to bring 'Balance' into the universe. This is unashamedly big people music to be played out of big speakers. The definitive sound of UK street soul in 2021. The story continues..

The second album from Brighton based Balearic duo Andres y Xavi. This time with a little help from Rolo McGinty of Peel faves and Balearic Beat legends The Woodentops. This is a love letter to the forgotten side of Ibiza: dusty lanes, olive groves and clearings with sea views that go on for miles.

10 original compositions plus a cover of Talk Talk’s Renee.

The self released and distributed first album found favour with Balearic DJs across the world. Lead track ‘My alibi’ was picked out by the likes of Kenneth Bager, Danny Psychmagik and ‘Never seen Ibiza’ was a firm favourite of Phat Phil Cooper and Balearic Ultras.

Rolo adds guitar and vocals and a Woodentops vibe to two tracks on the album ‘What do you see in me?’ and ‘Walking in the sun’, his personal tribute to Jose Padilla.

First album received support from Kenneth Bager (Music for Dreams), Phat Phil Cooper (NuNorthernSoul), Chris Coco, Mike Salta, Leo Mas, Balearic Ultras, David Pickering (OneMillionSunsets) and many more!

And was described by Dr Rob (Ban Ban Ton Ton) as "Smokey Muscle Shoals organ plays, strings swoon, and Kosmische synths blink like distant stars... an overall “vibe” somewhere between Mo`Wax and the Sunday Best of Bent and Dan Mass... adorned by cascading Indie “neo-acoustic” guitar jangle. Like The Stone Roses by way of Horsebeach."

Growing Bin switches back into reissue mode with an off-kilter obscurity from Austrian eccentrics Molto Brutto. Equal parts amateur funk, indie jangle, art rock and idiot pop, "2" is a real weird bastard with a whole lot of charm. As the Bin continues to grow in all directions, there's plenty of space for new sounds to take root. Alongside patches of Ambient, Balearic, Kosmische and Jazz, Hamburg's audio allotment now stretches to accommodate the strange waves of Molto Brutto.

Basso dug their first LP a decade back in Stuttgart's Second Hand Records, embracing their abrasive style of sandpaper sonics and experimental urges. Interest piqued, he made the journey through their DIY catalogue, capturing excellent collaborations under the Ganslinger alias before bumping into the second of their two LPs. Originally released on their Golfdish imprint in 1988, "2" walks into the pub with an air of accessibility, but quickly unravels into glorious chaos - pissing in the corner and passing out on the bar. Pop structures are suggested then subverted.
Pints of Paisley slosh out of a broken Glass, tape loops spool onto shabby Material, and indie janglers are just a couple of stamps short of a Postcard.

Turning you tipsy, this loveable rogue starts to tell you his life story, but you're going to have to fill in some blanks. They miss 'Blackie', but who is he - a dog? What happened on the 'Deadly Vacation'? Is that song really about a 'Goldfish', or did they find out the name of America's horse? Words repeat until they lose all meaning, awkward poetry masks a lost laureate and a drunken Wurlitzer sends the room into a spin.

The pubs are shut, so get happy drunk with Molto Brutto.
Patrick Ryder

Everything has its right moment in space and time. And Rhode & Brown’s debut album “Everything in Motion” is no exception to this rule.

But first things first:
Hailing from Munich, Germany, Friedrich Trede and Stephan Braun are the DJ and producer duo Rhode & Brown. Growing up in two neighbouring villages near Munich both of them had been music enthusiasts since their early childhood. Friedrich played drums in punk bands at school and recorded rap songs in his bedroom, while Stephan, as childhood friend of Harold Faltermeyer's son, had the chance to experiment in the impressive studio of the legendary Donna Summer producer in his early teens.

By the late 2000s older friends started supplying them with DJ mixtapes and helped them sneak into clubs they weren’t allowed to visit, yet – cultivating their love for electronic music and club culture. And, of course, the Internet was their go-to source for finding the latest blog house tunes back then, too.

It wasn’t until October 2009 that their paths would cross for the very first (but almost last) time when introduced by a mutual friend: Back then Stephan was selling his old CDJ-player and Friedrich, who wanted to hone his DJ skills, ended up buying it: „When I got home and unpacked the player I realized that it was the wrong model. I thought Stephan was trying to rip me off - so I called him in a rage and demanded my money back.“ Friedrich laughs. To cut a long story short, the two met again the same evening, money and CD-players were exchanged, but luckily so was their passion for house and disco music. It was at that very moment that Rhode & Brown was born.

A lot has happened since the two played their first gigs together and made baby steps in music production. In the past 10 years they established themselves as one of the most reliable house producers around with rock solid releases on Toy Tonics, Shall Not Fade, Public Possession or their own Slam City Jams imprint. As well as becoming a household name in the DJ world, sharing the booth with the likes of Palms Trax, Dam Swindle, Jamie Tiller or Octo Octa - spreading their infectious "Dancing Deejays" vibes around the globe.

Following the great reception of last years „Aku Aku“ EP, June 2021 will see the release of Rhode & Brown’s debut album on Permanent Vacation. A record that showcases their open minded approach to making music and a passion for the nuances between genres - „We found inspiration for this album in all corners of our record collection. That means we are as much influenced by disco or 80s synth-pop as by house and techno of the last decades or the latest viral trap hit on Spotify“, the guys say.

On "Everything In Motion" you'll hear piano house / Italo disco hybrids alongside dreamy Balearic soundscapes and '90s-infused acid breakbeats flawlessly accompanying '80s synth pop anthems. Always infused with that signature Rhode & Brown magic. The album also finds them collaborating with some of the finest vocalists of the moment: Peaking Lights' own Indra Dunis is lending her voice to the title track for this special laid back California vibe, while Berlin's hottest export DJ City evokes a neon light romance affair on "Memory Palace", with a longing poem that makes you wander the rainy streets at night with your walkman on.

At a time when suddenly everything seems to be standing still, Rhode & Brown undeterred moving forward... true to their LP’s title.

Long awaited new album from the nu- roots reggae sensation Alborosie.
‘For The Culture’ features recent hits ‘For The Culture’, ‘Unprecedented Time’ & ‘Ready’ plus premium guest shots from Collie Buddz, Jo Mersa Marley, Big Mountain and the Wailing Souls.

A unique new album of poetry and music featuring Marianne Faithfull set to the music of Warren Ellis, and featuring Nick Cave, Brian Eno and Vincent Ségal
With She Walks in Beauty, Marianne Faithfull with composer and multi-instrumentalist Warren Ellis releases one of the most distinctive and singular albums of her long, extraordinary life and career. It was recorded just before and during the first Covid-19 lockdown – during which the singer herself became infected and almost died of the disease – with musical friends and family including not only composer Warren Ellis but Nick Cave, Brian Eno, cellist Vincent Ségal and producer-engineer Head. She Walks in Beauty fulfils Faithfull’s long-held ambition to record an album of poetry with music.
It’s a record that draws on her passion for the English Romantic poets, a passion she fostered in her A Level studies with one Mrs Simpson at St Joseph's Convent School in Reading. From there she entered the world of As Tears Go By, of Mick Jagger and the Rolling Stones, Top of the Pops and the left-hand path of pop and stage stardom. Sixties iconography and outrage followed, as did her subsequent battles with addiction before her 1979 return to powerful female and artistic autonomy with Broken English, an album which featured her setting to music Heathcote Williams’ poem of eviscerating rage, Why D’Ya Do It?
Drawing deep on the poetry of Shelley, Keats, Byron, Wordsworth, Tennyson and Thomas Hood, Faithfull’s vocal performances set to Ellis’s subtle collages of sound draw out the heart, the quick, the vibrant living matter in all these great poems, making them fresh, renewing them with the complex, lived-in timbres of her voice, and set to a subtle palette of ambient musical settings. It’s both a radical departure and a return to her original inspirations as an artist and performer.
The greatest poetry is best heard, and Faithfull’s accounts of some of the greatest lyric poetry in our language – Keats’ Ode To A Nightingale and Ode To Autumn – are spine-tingling in their deep understanding of the poetry’s powerful currents of meaning and identification. On Nightingale, her voice opens up like an epic landscape, while in Shelley’s miniature masterpiece, To The Moon, she sounds otherworldly, as if calling down from another medium, and the atonal, otherworldly sound textures provided by Eno on Bridge of Sighs and La Belle Dame Sans Merci become a compelling foil for Faithfull’s haunting interpretations of these rich, dark poems.
“They’ve have been with her her whole life,” says Ellis. “She believes in these texts. That world, she inhabits it, embodies it, and that really comes through. There’s just something about the way she can deliver that is incredibly affecting.”
“Eventually I always end up where I was meant to be,” says Faithfull. “I’ve noticed that. It may take a long time, but I get there. I never forget these things. After all these years, I’ve drawn the strands back and they still mean something and they resonate more, actually, because I now have life experience. Life and near-death experience. Many times! Not just once.” She Walks in Beauty is scheduled for release April 30th, with artwork created for the album by British artist and lifelong friend, Colin Self, and with the full texts of the poems, and commentary, included in the liner notes. While Faithfull continues to recover from the after-effects of Covid-19, and the world around us continues to struggle with the impact of the worldwide pandemic, these are poems and performances to steady and lift the spirit.