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Omena proudly presents 'Ceramics' by Saine, the much awaited follow-up to 'For The Dreamers' released on Omena in 2017.

Manoeuvring between styles and atmospheres comes second nature to Saine, but what's truly highlighted here is emotion - steering away from short-lived trends, the LP offers a non-forced listening experience by an artist exploring the different facets of what his music can be.

Swaying analogue synthesiser arpeggios, playful beat-work and what feels like echoes from an alternate dimension sum up a full-length which pushes and pulls at the fabric of what you've come to expect from Saine.

Richie Culver had been waiting his whole life to record I was born by the sea. His debut album immediately and messily inscribed the artist into the canon of outsider music and experimental electronics, serving both as an arresting statement of intent and a painful reckoning with the difficult path that lead up to it, stealing one last glance back at a place he always knew he had to escape. Between grim lamentations, faded memories and anxiety attacks, all told with searing honesty and disarming openness, I was born by the sea excavates a space for hope, finding Culver digging through Humberside silt to find a world weary optimism, the raw material from which his visual and sound art is shaped. For this collection of expansions and inversions, Culver invites a collection of kindred spirits, contemporary inspirations and old heroes to wade into the salt water of his formative years spent living for impromptu raves and afterparties, connecting vivid memories of his birth place of Withernsea to artists hailing from as nearby as Preston and Bridlington, further afield, from Manchester and London, Berlin and Paris, before returning back to Hull, to where it all began.

For some, responding to I was born by the sea means diving even deeper into the record’s furthest reaches. Space Afrika clear away the pummelling loops of noise from ‘It’s hard to get to know you,’ revealing a cool and cavernous expanse in its wake. Distant chatter, previously heard as though through thin, plasterboard walls, now echoes from outside the maddening claustrophobia of the original’s Sisyphean sonics, illuminated as a dense storm cloud suspended amidst a more open scene, washed clean by a lighter rain, allowing the tender heart of the track to beat clear. London producer MOBBS stretches out ‘Pigeon Flesh’ into an epic, 10-minute, cold-sweat spiral, strung-out tension wrung from disconnected phone tones twisted in unexpected directions, snatches of Culver’s voice turned inside-out and deep fried bass threatening to tip the track over into oblivion, the build-and-release of a nervous breakdown experienced in real time. In an act of subversive self-reflection, Morgane Polanski switches one kind of ennui for another in her adaption of ‘I was born by the sea,’ swapping the sea for the city, English seaside towns in January for summer evenings in Paris and flashing lighthouses and sparkling oil rigs for the Eiffel Tower and the traffic around L’Arc de Triomphe. Even Culver finds time to revisit ‘Dream About Yourself,’ a track taken from his EP Post Traumatic Fantasy, breathing new words into its glacial drift, the half-remembered testimony of a shut-in: Woke up in the evening / Pray for me / Don’t trust anyone / Pray for algorithm. Reframed in a more melancholy light, the track’s reverberant keys even more clearly evoke a mournful nostalgia, fresh pain felt in old wounds.

Others find a parallel universe in Culver’s visceral world building. Rainy Miller flips the script with a scorched, avant-drill rework of ‘Daytime TV’, threading puncturing hi-hats and queasy low-end surge through the track’s steady ambient cascade, invoking the irresistible Preston beat magic of Miller’s own essential debut album, Desquamation. Aho Ssan melts away the crystalline textures of ‘Love Like an Abscess’ with the ominous crackle of a nascent fire, building through swathes of organic Max/MSP squelch and brittle, nails-down-chalkboard scrape, swelling and metastasising the original to spill over Culver’s desperate hymn to corporeal desire, at once flesh and not. Teresa Winter transports us an hour up the coast from Withernsea to her native Bridlington, replacing the sea wall of synthesis on ‘Nervous Energy’ with muffled ASMR murk and fever dream whispers, transforming Culver’s unflinching observations into a haunting call-and-response, filling in the blanks with her own eerie utterances, a fleeting conversation with a ghost. In a touching victory lap, Fila Brazillia, eccentric stalwarts of beloved ‘90s trip hop imprint Pork Recordings, whose performances at Hull institution The Lamp convinced a young Culver of the necessity to make his mark on club culture, resurface for their first remix in 20 years. Steve Cobby and David McSherry lead a low-slung, heartfelt stroll back through a suite of tracks from I was born by the sea, tracing a full circle saunter from Culver’s origins to his current musical practice, the sounds of his present repurposed by the sound of his youth. In a gesture that reflects the emotional complexity of the project, Fila Brazillia find joy at the end of Culver’s troubled reflection, picking out an undeniable groove in the stasis of feeling trapped in your hometown. Underlining Hull’s vital musical legacy, from Baby Mammoth to Throbbing Gristle, Cobby and McSherry demonstrate that, though there are certainly storms, by the sea there is also sun and through the fog, if you listen, you can hear a singular sound, a sound now carried by Richie Culver.

Participant is a record label and creative studio run by William Markarian-Martin and Richie Culver

Repress!

Montreal’s eclectic producer CFCF (aka Mike Silver) follows 2019’s effusive corporate jungle opus Liquid Colours with a kaleidoscopic capital-E Electronica album that takes a range of styles from his earliest formative listening years (1997-2000) and throws them in a blender. Elements of jungle, house, UK garage, trance, pop and post-grunge are blended to form a glossy picture of restless youth in an
identity crisis: memoryland.

Inspired as much by Sonic Youth and Smashing Pumpkins as the Chemical Brothers and Basement Jaxx; as much by films like Millennium Mambo, Demonlover, Morvern Callar, Safe and Perfect Blue as late 90’s Prada — CFCF jumps across genres as a means of portraying a breadth of overlapping milieus and identities in this hyperactive Y2K period-piece that both explores and criticizes our own nostalgic impulses. From the opening intro’s announcement of arrival to the final credits, it’s an album as film as RPG, with the listener as its protagonist.

Opener “welcome.WAV” functions as a start-up sound file for the journey ahead: from “Life is Perfecto”, a propulsive breakbeat-dreampop hybrid, to a grotesquely-remixed ultra-French-house version of previously released single “Self Service”, and the recursive, metaphysical garage of “After the After”. Two guest vocalists lend their talents: Montreal neo-shoegaze icons No Joy, fresh off their own genre-defying Y2K exploration Motherhood, laconically lists off advice for aspiring fashion ingenues with bite in the alt-rock-IDM “Model Castings”, while Kero Kero Bonito’s Sarah Bonito sweetly delivers the penultimate “Heaven”, grunge-pop paean to the myth of Icarus.

In CFCF’s words:
“I was feeling fatigued by an overabundance of ‘calming’, productivity-oriented music, and wanted to explore something angsty, messy, and dark, while also applying a pop sheen. I see a loose narrative across the album: your early 20’s, a new city, new people, new temptations and new traps. Losing your sense of self to the whims of your surroundings and trends in music and fashion; the wrong people, and trying to dig yourself out of that hole. There’s a hope of moving forward that glimmers in the last quarter of the album, but it’s out of reach and seems to come at a price. And then the looking back on it later with perspective; or the looking forward to it before with anticipation. As a kid I couldn’t wait to be in my 20’s; in my 30’s it’s bittersweet to look back. That’s the core of memoryland: the gulf between the fantasy, the reality, and the memory, and how we live inside each of those at different points.”

Debut album recorded for launch of new record label by award-winning mastering engineer Kevin Gray!
Recorded all-analogue/all-tube at Gray's new studio, Cohearent Recording, for Cohearent Records!

Shapes and Sound from jazz saxophonist Kirsten Edkins is the debut LP release from Cohearent Records — the new record label companion to famed mastering engineer Kevin Gray's latest enterprise, an all-valve (vacuum tube) recording studio (Cohearent Recording) adjoining his home-based mastering facility in California.

"It's the 'essence of an era' we are trying to recapture with today's musicians, not the sound of specific spaces, engineers or recordings," Gray told music reviewer Michael Fremer.

This album was produced all-analogue/all-tube at Gray's Cohearent Recording on December 10 and 11, 2021. Dave Connor produced, while Gray and Ryan Wirthlin co-engineered. Edkins on sax was joined by Gerald Clayton (courtesy of Blue Note) on piano, Ahmet Turkmenoglu on bass, Lemar Guillary on trombone and Chris Wabich on drums.

Edkins, a composer and saxophonist from Los Angeles, graduated from Eastman School of Music on scholarship. She studied composition and arranging with Bill Dobbins, as well as Walt Weiskopf and the legendary Ray Ricker. Before her time at Eastman she studied with Bob Sheppard, a jazz recording artist and woodwind specialist. Edkins is a sought-after improviser who has performed with Arturo Sandoval (Al "Tootie" Heath), Tim Hagans, Clay Jenkins, John Beasley, and Geoffrey Keezer.

She has performed with the Clare Fischer Big Band, Bill Holman Big Band, Bernie Dresel Big Band (The BBB), Sara Gazarek and others. She's appeard on television shows such as American Idol, Duets, Knight Rider, Glee, and Bones, plus The Tonight Show. She's also a music educator whose associations include Cal State Fullerton, Stanford Jazz Workshop, Saddleback College and Golden West College. She also direct the American Jazz Institute's community outreach program and teaches saxophone at Occidental College in Eagle Rock.

The album is an excellent showcase for Gray's new recording studio. Cohearent Recording was born from Gray's relentless passion to create the best sound recordings. It was that passion that has inspired Gray's long career cutting lacquers for such noted labels as Blue Note, Music Matters and Analogue Productions.

He spent 15 years building gear for the project. "I had a novel idea: In order to get the vintage sound we all love, (I'd) design and build an all-valve (vacuum tube) recording system from microphones through to the disc cutting head, NO transistors or IC's anywhere in the signal path. That took much longer than anticipated but it is finally complete."

Gray was inspired to use his own living room as the studio space when he realized it was similar in size and shape to legendary jazz recording engineer Rudy Van Gelder's Hackensack N.J. parents' home. Many classic jazz albums were recorded there by Gelder.

Some of the same microphones used on those earlier Gelder recordings are in use in Gray's setup. The custom vaccum tube electronics are different and for Shapes and Sound Gray used a tube-based Studer C37 rather than an Ampex.

Gelder's Hackensack recordings for both Blue Note and Prestige, Gray says, are "some of my favourite jazz records, and they are also exceptionally good sonically."

In the quiet surrounding the pandemic, Madeline Kenney made sonic sketches in the basement studio she shared with her then-partner. She arranged phrases that called her—the sharp knife of a synth cutting a path along a blooming arpeggio, drums stuttering firm and tight. Working this way, she amassed a collection of songs she had no particular aims for. Some formed her 2021 EP Summer Quarter, others languished.

But in 2022, Kenney’s partner left suddenly and without warning, plunging her into the solitary act of untangling what happened. In the wake of her ensuing depression, she revisited these songs and found in them something prescient. She’d already laid the foundation for A New Reality Mind.

That her relationship’s end came without warning is only half true, though. The warnings were in the feelings and fears that inspired Kenney’s critically-acclaimed third album, Sucker’s Lunch (2020), which was co-produced by Jenn Wasner (Flock of Dimes) and centered around the idea of flinging oneself freely into the seemingly-assured destruction of new love, come what may.

If sonically Sucker’s Lunch was letting yourself be pulled into the warm bath of a good story, A New Reality Mind reflects the harsh light of truth coming to break the spell. But as sobering as morning light can be, there’s brilliance to it, too. To see in the clarity of day is a gift. A revolution. Rather than reckoning with love lost, the songs on A New Reality Mind grapple with the self that chose to fall. “I guess I only needed to look twice / Reflected in my attitude, my constant compromise,” Kenney sings on “Red Emotion,” the musical landscape screeching and gasping around her observations of how she made herself small to keep the dream of love alive.

These notions of sight and vision pervade the record as Kenney stands before the infinity mirror of selves she’s been to preserve bonds in her life. On “I Drew a Line,” Kenney contends with the stories she’s told herself to keep plodding along, and the way those stories shape her perceived reality. She invokes John Berger’s Ways of Seeing—“Everything around the image is part of its meaning,” we hear him say. “Everything around it confirms and consolidates its meaning.” Here, Kenney isn’t interested in shaming herself for being carried away by the fantasies of the heart, but rather in investigating the unavoidably human propensity to do so. “I, like everyone else, am muddling through my most ordinary disaster of a life,” she acknowledges, a sentiment which reverberates through album opener “Plain Boring Disaster.” “I don’t need to start again,” she sings at the song’s close. “But I can change when it ends.” We may all be doomed to repetitive, ordinary heartbreaks, Kenney realizes, but at least we can cultivate a capacity to witness our missteps and build new realities for ourselves.

This is Kenney’s most expansive work, while also her most solitary. Produced and recorded alone in her basement, these songs are manifestations of what it feels like to be transformed by pain. Textures collide and collude; sonic ornaments emerge and dissipate capriciously; saxophones soar untamed, as on the 80s pop elegy to self-sacrifice, “Reality Mind”. These songs beg you to dance, then pull the rug out from under you once you’ve caught the beat, leaving you dizzy like the whiplash of love’s end.

But in the propulsive power of A New Reality Mind, there’s also acceptance, self-forgiveness, and a willingness to move forward into life, with all its ways of making a sucker of you. “That way of living, I’m over it,” Kenney declares of the habits that hold her back on “Superficial Conversation”. “I do not need to be reminded of what I did,” she assures, the song opening wide and beaming, like a smile expanding to taste a new breath of air.

A growling echo came from deep within the tunnel. There was movement, he was sure of it, but was it living? The wind brushed the darkness, stroking his ears as it passed through the entrance where he stood. Whispers of air danced along the concrete walls and he felt the presence of another. Something stirred down there, but whether it was friend or foe, he could not be sure...

As the name suggests, this EP guides the listener with voices, vocal samples, and choral pads, glueing dub techno soundscapes together. The work brings a dark and brooding, yet warm sonic structure. Distortion provides textured atmospheres, while analogue rhythms build on sturdy 4/4 foundations in meditative cycles.

Guided By Voices: The title track beats with heartthrob kicks, gently arpeggiated melodies, and flecked, illusive vocal samples. Messier808 builds curiosity in the listener, as we try to catch hold of the voices. Each time they remain out of reach. Understated and subtle, the release marks a new outlet - bringing psychedelic, dub, and meditative techno under one roof.
Road to Frederikshavn: Driving, robust and punchy. This track comes with a clarity and forward motion that energises the meditative feel of the previous song. Falling choral pads juxtapose sturdy drums to combine meditation with movement.
Redshift: Bleepy stutters chime like electronic birdsong, looping in with the cyclical soundscapes of the EP, inducing another trance-like state.

This engaging and thoughtful release from the Dutch producer, Messier808, marks the first imprint on The Messier Objects. The tone has been set with breathtaking artwork and intricate soundscapes for what is to become an absolutely intriguing record label and a talented emerging artist.

Repress.

Barely disco and hardly jazz, Rupa Biswas’ 1982 LP is the halfway point between Bollywood and Balearic. Tracked in Calgary’s Living Room Studios with a crack team of Indian and Canadian studio rats alike, Disco Jazz is a perfect fusion of East and West. Sarod and synthesizer intricately weave around one another for 37 transcendent minutes, culminating in the viral hit “Aaj Shanibar.” Remastered from original analogue source material and issued with permission and blessing of the producers and performers.

“What It Means To Be King'' is the first posthumous album from late Chicago legend, King Von. Known as one of the great storytellers in modern hip-hop, Von’s untimely passing in November 2020 came on the verge of him reaching superstardom, with his album “Welcome To O'Block'' hitting number thirteen on the Billboard 200. Fans can finally expect to hear the finished product of the lead single, “Don’t Play That,” which Von himself teased on social media while still with us. Joining Von, the album features appearances from 21 Savage, G Herbo, Fivio Foreign, Moneybagg Yo, Lil Durk, Polo G, A Boogie Wit da Hoodie, Dreezy, OMB Peezy, Boss Top & DqFromDaO. Long Live King Von. Pressed on silver & black marble vinyl; widespine sleeve; 12-page booklet.

One of this year’s breakout success stories from the UK’s current thriving independent music scene,
critically acclaimed seven-piece Black Country, New Road present here their highly anticipated second
album ‘Ants From Up There’ via Ninja Tune.
 Debut album ‘For the first time’ was shortlisted for the 2021 Hyundai Mercury Prize. The band
performed ‘Track X’ live on BBC 4.
 ‘Ants From Up There’ was written in lockdown in the early part of 2021 when the band were unable to
go on tour as planned to support their album release. The result is a stunning collection of songs and a
move in direction to a more crossover, alternative sound beyond the experimental and ‘post-punk’
nature of their debut.
 New album expands on their unique concoction to create a singular sonic middle ground that traverses
classical minimalism, indie-folk, pop, alt rock and a distinct tone that is already unique to the band.
 Extensive global touring in 2022, including their biggest London show to date at the Roundhouse, full
UK and European Tour in April/ May. Sold out 2021 shows include Brighton, Liverpool, Manchester,
Birmingham, Glasgow, Bristol and Dublin and more.
 2021 festival dates include End Of The Road, Latitude, Fusion, Roskilde, Dour, Bol Festival, Pohoda,
Le Guess Who, Dour. In 2022 they’ll play Primavera Sound, Dour, Way Out West, Bad Bonn Kilbi, Bol
Festival.
 For fans of IDLES, Black Midi, Squid, Phoebe Bridgers, Jockstrap, Nick Cave, The National,
Radiohead.
 Deluxe 4LP 140g vinyl box set with bonus ‘Live from the Queen Elizabeth Hall’ double LP, black paper
inner sleeves, 4 art prints, lyric booklet and sticker.

Greg Paulus joins forces with fellow Brooklynite Taylor Bense for a new Freerange EP showcasing their left field, raw house sounds across three original tracks plus a bonus Martinez Brothers edit.

With previous releases appearing on labels as diverse as Soul Clap, Let’s Play House, Ghostly International and Kompakt, the producer, DJ and trumpeter is perhaps best known for being one half of No Regular Play who have recorded LP’s and EP’s for Wolf & Lamb, Crew Love, and Let’s Play House. Never one to be confined to one genre, Greg takes influence from Jazz, Funk, Hip Hop and underground house to form a unique sound primed for discerning dance floors. Taylor Bense is an in-house composer and producer at the highly regarded Hyperballad Studios in Brooklyn, where he works and records a wide spectrum of music for everything from high end commercial work to EP’s for Wolf + Lamb and Soul Clap Records. The entire EP was recorded and produced at Hyperballad Studios over the past few years.

Title track Heat Make Sense wears its Prince inspiration on its sleeve with a hooky whistled tune, crunchy live bass fills and punchy, raw beats. Next up we have Switch which features Brooklyn MC’s Stimulus and Malik Work on vocal duties and Greg’s own trumpet adding top lines to the deep pads and rolling groove.

Marino takes us back to golden era jacking Chicago house of the 00’s but with Greg’s trumpet flourishes bringing a live, jazzy energy to the track. Fellow NYC mainstay Big $exy provides his trademark deep baritone vocal to give a little hip house flavour. Closing out the EP we have NYC’s Martinez Brothers providing an uptempo minimal edit of Do You Love Me, a track from Greg’s previous Freerange EP. The MB’s keep things rolling and stripped back for maximum club impact creating a useful DJ tool whilst allowing Greg’s musical and vocal parts to shine.

The first ever release of electronic Jaglara, an obscure dance music being innovated in an area near the Sudan, Ethiopia, and Eritrea border called Fashaga.

Among the most raucous, hypnotic, addictive, and celestial dance styles being made anywhere in Africa, this heavy, mysterious sound is being led by one man: Jantra, which translates as "craziness," a moniker bestowed to celebrate both his personality and sound. Jantra is a rather unknown quantity even in Sudan, outside of the circles which have granted him cult status to perform at their humble gatherings or at street parties far from the gaze of the cities.

Jaglara, which roughly translates as improvisation, has no songs. Jantra simply freestyles a combination of his melodies incessantly for hours on end, acting as a live producer and DJ for emphatic crowds, where the energy of his 155 - 168 BPM music is known to inspire the odd gunslinger to raise and fire his pistol in the middle of the dance floor. His music is hopeful in a hopeless world, uplifting in spirit, ancient and new, childish and mature, familiar yet refreshingly obscure, fueled by the hypnotic Sera rhythm. His Yamaha keyboard is specially tweaked to achieve what you're hearing — the perfect, sweet key tone, literally universal in its appeal.

A hybrid reissue-contemporary album, Ostinato combined extracted individual melodic patterns, rhythms, and MIDI data from Jantra's Yamaha keyboard with his older cassette and digital recordings to recreate his lengthy sessions into individual dance tracks for a worldwide audience to reach the enviable frenzy of Sudanese crowds. This promising new dance music emerging from the deepest reaches of Sudan has never made its way outside of Jantra's parties, let alone outside of the country.

This record is confirmation that the many electronic styles being exported from Africa have a worthy sibling and rival—Jantra's signature electronic Jaglara from the Fashaga underground. It is a privilege of the highest order to be exposed to this unheralded, incredibly well kept rural Sudanese secret.

Underground mainstay Guy Gerber is back on his own Rumors label with new EP Leave It On. Across three tracks he showcases his famously emotive and melodic house sounds.

Gerber has been a core part of the underground for years, headlining the world's most revered clubs and festivals, collaborating with P. Diddy, bringing all new party concepts to Ibiza, and serving up serene and synth heavy soundscapes that move people physically and emotionally on labels like Cocoon, Italians Do It Better and Rumors.

This one kicks off with the lush deep house elegance of 'Leave It On' with its languid bass and live sounding drums. Swirling pads and atmospheric vocals bring a romantic feel to this late-night jam. 'Leave Me' then picks up the pace with more percussive but still smooth grooves, this time doused in sweeping chords that bring sunshine and soul. 'Jupiter Blues' closes out with a cosmic exploration, the gently tinkling keys shining like stars as warm, rubbery drums carry you onwards and upwards.

This is another classy EP from Guy Gerber.

Orpheu the Wizard has a magic touch at finding records that fall between the gaps in music - oddities, curios, the weird, the wonderful. But that's just half the trick. It takes a sensitive and selective ear to construct a coherent, accessible narrative from them. So you get DJs who can play for the crowd and "selectors" adept at mining the black gold. In Orpheu, you've got yourself someone who can do both. On a festival main stage, he can keep it weird enough for the heads. In an audiophile setting, he'll keep the flow.

These skill sets come into play on the fifth The Sound of Love International compilation. Jumping between genres, decades, continents, the truly rare, and many B-side cuts that passed you by. But never eclecticism for its own sake; this collection makes sense. Orpheu never loses sight of the listener - he's a friendly and knowledgeable guide to the cosmic outer reaches.

He opens his account with the warm, psychedelic electronics of Drawing Future Life, with ‘1969’. Tucked away on the B-side of an LP of ambient/trance hailing from Fukuoka, this is a very pretty piece of music on a truly rare piece of wax. Then, leapfrogging a couple of decades and timezones, we have Rutuu Poiss' "IHATSIN." Off-kilter, experimental sounds with an endearing melodic hook, followed up by the with lethargic ambient breakbeat of Digital Distortion's "Mellow Bug".

On the B-side, things start to get lively. French Audacity featuring Valerie's "That Fine One" is Gallic garage that has simultaneously got it hugely wrong and mas­sively right. Owing as much to new wave as New York house, this is propulsive and quirky dance music at its finest. Next, we're on a ferry over the channel for DJ Spike and "Gaps In Space." Up-tempo electro with a fondness for sampled vocal cut-ups, like its predecessor.

lnterdance's "Kurz" (another B-side) is the perfect segway - house from 1990 with that sweet, slightly goofy naivete. Things move toward the gnarly with Bad Behaviour and "Living on Smoke," a lesser-known cut on the legendary Atmosphere records. The tempo edges upward on "Systematic Input" by Frequency, hectic hardcore techno that still retains a lightness of touch.

"Lushes" by Diffusion spins us off into space, filigree techno with an emotive trance edge. The chiming intro of "Blue to Be Happy" by MFA lulls us into a sense of false security before massively putting the boot in with a pounding kick drum, bassline, and arpeggiation. From there, it's a sharp left turn into the urban psychedelic dub of R.I.P's "E.O Pan" on cult label Digi Dub.

Sticking with UK sound system music but taking it down a notch, Orpheu closes proceedings with a leftfield reggae excursion from the master of the mixing desk, Mad Professor’s"Oh Hell".

It's a compilation as varied as the many moods and grooves of Love International itself - from sun-dappled olive groves to moments deep in the strobes. This is serious music for party freaks or party music for serious freaks. Tisno is calling.

180g double LPs, 45 RPM. Hot off the back of this year's critically-acclaimed new album 'New York City', Brooklyn punk institution The Men are back already with a Fuzz Club Session album due out digitally and on limited double LP vinyl June 23rd. Recorded live to tape at Brooklyn's Serious Business Studio by Travis Harrison, the live session sees the Men storm through three tracks from 'New York City', one from 'Devil Music', a cover of English punk band Blitz and nine-brand new tracks that have never seen the light of the day until now, ranging from blistering noise-rock and cathartic rock'n'roll to lo-fi country-rock and hypnotising drones. This is the 20th release in the Fuzz Club Session series from London-based label Fuzz Club, which has previously hosted the likes of A Place To Bury Strangers, Night Beats, Holy Wave, The Entrance Band and more.

A showcase of some of The Modern Jazz Quartet’s most iconic Montreux Jazz Festival live performances, recorded between 1985 and 1993!

The audio has Expertly restored and remastered in superlative HD audio; The Montreux Years is released on superior audiophile heavy weight vinyl, MQA quality CD and in HD digital. The release includes brand new liner notes and rare photos from his Montreux shows.

Little Feat is the quintessential “cult” band. Started by Lowell George, 1972’s Sailin’ Shoes captures these musical rebels at one of their early peaks. The songs on Sailin’ Shoes are a masterful collage of inventive narrative, resplendent in countercultural irony and romance. Featuring the classic tracks “Willin’” (covered by Linda Rondstadt and many others), “Easy to Slip” (originally written for the Doobie Brothers) and the title track, it’s an album whose status has grown immeasurably, making it one of the most acclaimed releases of its era. With 1973’s Dixie Chicken, Little Feat found its signature sound as a band, producing a seductive, laid-back, funky record made up of what is arguably Lowell George's best-ever set of songs. With tracks that sound easy but are quite sophisticated, fans will enjoy hits like the rolling "Two Trains," the deeply soulful and funny "Fat Man in the Bathtub" and the country-funkified title track (which was covered nearly as frequently as "Willin'"). These deluxe editions include the original albums remastered and recut from the original tapes, alongside previously unreleased studio outtakes and demos, and complete unreleased live shows. It’s a treasure trove of material for their feverish fan base, and the first ever deep dive into one of the most influential bands from the 70’s Warner catalog.

[a] A1. EASY TO SLIP (2023 REMASTER) [3:19]
[b] A2. COLD, COLD COLD (2023 REMASTER) [3:58]
[c] A3. TROUBLE (2023 REMASTER) [2:15]
[d] A4. TRIPE FACE BOOGIE (2023 REMASTER) [3:14]
[e] A5. WILLIN’ (2023 REMASTER) [2:54]
[f] A6. A APOLITICAL BLUES (2023 REMASTER) [3:25]
[g] B1. SAILIN’ SHOES (2023 REMASTER) [2:49]
[h] B2. TEENAGE NERVOUS BREAKDOWN (2023 REMASTER) [2:10]
[i] B3. GOT NO SHADOW (2023 REMASTER) [5:05]
[j] B4. CAT FEVER (2023 REMASTER) [4:35]
[k] B5. TEXAS ROSE CAFE (2023 REMASTER) [3:43]
[l] C1. SAILIN’ SHOES (DEMO)* [2:57]
[m] C2. EASY TO FALL (EASY TO SLIP) [DEMO FOR DOOBIE BROS.] [2:41]
[n] C3. TEXAS ROSE CAFÉ (DEMO FOR DOOBIE BROS.) [3:24]
[o] C4. COLD, COLD, COLD (ALTERNATE VERSION)* [4:17]
[p] C5. ROTO/TONE [4:07]
[q] D1. A APOLITICAL BLUES (ALTERNATE VERSION)* [3:46]
[r] D2. BOOGIE – TRIPE FACE BOOGIE [3:58]
[s] D3. TROUBLE (ALTERNATE VERSION)* [2:23]
[t] D4. DORIVILLE [2:44]
[u] D5. WILLIN’ (ALTERNATE VERSION)* [3:00]

[w] E1. TRIPE FACE BOOGIE (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:30]
[x] E2. HAMBURGER MIDNIGHT (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [3:41]
[y] E3. CAT FEVER (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)*[5:19]
[z] E4. WILLIN’ (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:06]
[xa] E5. STRAWBERRY FLATS (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [3:11]
[xb] F1. GOT NO SHADOW (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [5:08]
[xc] F2. TEXAS ROSE CAFÉ (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:05]
[xd] F3. SNAKES ON EVERYTHING (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:18]
[xe] F4. HOT ROD (ELDORADO SLIM) [LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71]* [5:08]

A collection of some of McCoy Tyner’s best Montreux Jazz Festival live performances!

The audio has Expertly restored and remastered in superlative HD audio; The Montreux Years is released on superior audiophile heavy weight vinyl, MQA quality CD and in HD digital. The release includes brand new liner notes and rare photos from his Montreux shows.

Little Feat is the quintessential “cult” band. Started by Lowell George, 1972’s Sailin’ Shoes captures these musical rebels at one of their early peaks. The songs on Sailin’ Shoes are a masterful collage of inventive narrative, resplendent in countercultural irony and romance. Featuring the classic tracks “Willin’” (covered by Linda Rondstadt and many others), “Easy to Slip” (originally written for the Doobie Brothers) and the title track, it’s an album whose status has grown immeasurably, making it one of the most acclaimed releases of its era. With 1973’s Dixie Chicken, Little Feat found its signature sound as a band, producing a seductive, laid-back, funky record made up of what is arguably Lowell George's best-ever set of songs. With tracks that sound easy but are quite sophisticated, fans will enjoy hits like the rolling "Two Trains," the deeply soulful and funny "Fat Man in the Bathtub" and the country-funkified title track (which was covered nearly as frequently as "Willin'"). These deluxe editions include the original albums remastered and recut from the original tapes, alongside previously unreleased studio outtakes and demos, and complete unreleased live shows. It’s a treasure trove of material for their feverish fan base, and the first ever deep dive into one of the most influential bands from the 70’s Warner catalog.

[a] A1. DIXIE CHICKEN (2023 REMASTER) [3:55]
[b] A2. TWO TRAINS (2023 REMASTER) [3:06]
[c] A3. ROLL UM EASY (2023 REMASTER) [2:30]
[d] A4. ON YOUR WAY DOWN (2023 REMASTER) [5:31]
[e] A5. KISS IT OFF (2023 REMASTER) [2:56]
[f] B1. FOOL YOURSELF (2023 REMASTER) [3:10]
[g] B2. WALKIN’ ALL NIGHT (2023 REMASTER) [3:35]
[h] B3. FAT MAN IN THE BATHTUB (2023 REMASTER) [4:29]
[i] B4. JULIETTE (2023 REMASTER) [3:20]
[j] B5. LAFAYETTE RAILROAD (2023 REMASTER) [3:40]
[k] C1. TWO TRAINS (DEMO) [3:19]
[l] C2. FAT MAN IN THE BATHTUB (DEMO) [3:56]
[m] C3. WALKIN’ ALL NIGHT (ALTERNATE VERSION)* [3:40]
[n] C4. ROLL UM EASY (ALTERNATE VERSION)* [2:36]
[o] C5. ON YOUR WAY DOWN (ALTERNATE VERSION)* [5:57]
[p] D1. ELDORADO SLIM [4:42]
[q] D2. JULIETTE (ALTERNATE VERSION)* [3:34]
[r] D3. HI ROLLER (ACE IN THE HOLE) [3:27]
[s] D4. DIXIE CHICKEN (ALTERNATE VERSION)* [4:06]
[t] E1. TWO TRAINS (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [3:23]
[u] E2. GOT NO SHADOW (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [6:35]
[v] E3. ON YOUR WAY DOWN (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [6:26]
[w] F1. WALKIN’ ALL NIGHT (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)*[3:34]
[x] F2. FAT MAN IN THE BATHTUB (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [5:31]
[y] F3. WILLIN’ (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [4:31]
[z] F4. A APOLITICAL BLUES (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [3:33]

Mit ihrem vierten Album, das Gastauftritte der malischen Künstlerin Fatoumata Diawara und der kanadischen Sängerin Charlotte Cardin enthält, liefert die Band eine raffinierte und umfassende Interpretation ihrer einzigartigen Klangvision.

Auf ihrem Independent-Debüt „Living In A Haze“ schreiben Milky Chance tanzbare Alternative-Pop-Songs und bringen ihren unverkennbaren Sound ins Jahr 2023. Aufgenommen in den Jazzanova Recording Studios in Berlin mit namhaften Produzenten wie DECCO, Jonas Holle, Tobias Kuhn und Dennis Neuer transportiert das neue Album die musikalische Neugier des Duos und liefert gleichzeitig meisterhafte Song-Kunst.

Der 3. April 2022 war ein sehr trauriger Tag in der Welt des Punk, der Mode und darüber hinaus. Eine Ikone ist viel zu früh von uns gegangen, aber sie wird aufgrund ihres Vermächtnisses nie vergessen werden. Der Name "Jordan Mooney" war der Stoff, aus dem Legenden gemacht sind! Sie ist "dabei gewesen, hatte es gesehen, hatte es getan", in einer ganzen Reihe von unterschiedlichen Bereichen, vom Balletttanz bis zum Live-Auftritt von Ziggy und dem Treffen mit dem großen Mann; vom Punk sein und aussehen, bevor es Punk überhaupt gab; vom Miterleben der Gründung der Sex Pistols direkt vor ihren Augen zusammen mit Malcolm und Vivienne; von der Schauspielerei in zukunftsweisenden Filmen; vom Scherzen mit Andy Warhol; vom Management von Adam & The Ants und der kurzen Heirat mit einem von ihnen; und von der späteren Karriere als Tierkrankenschwester. Jordan hat in ihren knappen 66 Jahren viel erreicht, aber was auch immer sie anpackte, sie tat es mit vollem Einsatz. Jordan war sich selbst und anderen treu und genoss das Vertrauen all derer, die das Vergnügen hatten, sie zu kennen und zu treffen. Am Sonntag, dem 29. Mai 2022, versammelten sich Hunderte von Menschen in Brighton zum "Official Jordan Mooney Charity Memorial Concert", um das Leben dieser wirklich bemerkenswerten Frau zu feiern. Einige waren aus Japan, Deutschland und anderen Ländern angereist, nur um an diesem besonderen Tag teilzunehmen. An diesem Tag waren alte und neue Freunde unter einem Dach versammelt, um den perfekten Abschied zu feiern. Jordan kannte Captain "Cheers me dears!" Sensible seit etwa fünf Jahrzehnten, und während der letzten heiligen Monate ihres Lebens hatte sie einen Johnny-Moped-Song als Ohrwurm im Kopf, den sie und ich uns gegenseitig freudig vorsangen: "Darling, let's have another baby; Let's make one soon on our second honeymoon...". Es war nur logisch, dass Captain Sensible in Erinnerung an Jordan noch einmal mit seinen alten Kumpels, Johnny Moped, aufsatteln würde. Ein Teil der Veranstaltung wurde aufgezeichnet, und so, meine Damen und Herren, präsentieren wir Ihnen voller Stolz diese Wohltätigkeitsaufnahme! Viel Spaß! (Jordans Partner - Nick Linazasoro)

In February 2017, Midnight Oil announced The Great Circle World Tour from the Sydney Harbour. The tour was the band’s first in over 15 years, commenced in Sydney, travelled to 16 countries, completed 76 performances in six months and concluded at The Domain in November 2017. The performance of their final show at the Domain was recorded and now available on 3 LPs. They performed both their gigantic solo hits, such as “Beds Are Burning” and “Blue Sky Mine”, as fan favourites like “Read About It” and “Only the Strong”. It’s a fantastic live experience full of energy and with much attention to their often political subjects. Armistice Day: Live At The Domain, Sydney showcases Midnight Oil at their absolute finest.

This release is available as a limited edition of 2000 individually numbered copies on transparent red vinyl and the package includes an extensive 12-page booklet.

Lilieskalla proudly presents its second instalment by VURM, an artist from Gothenburg that has been doing live techno performances for the past couple of years and now sees a debut on the Lilies side label, where the live takes finally reach vinyl. The tracks are exclusively crafted with hardware, in a modular eurorack setup, resulting in pleasant impurities throughout the EP that holds four adventurous Motor City interpretations.

Black Truffle is pleased to announce Symphony No. 107 –The Bard, a previously unheard archival recording of the legendary improvising ensemble MEV (Musica Elettronica Viva), captured in concert at Bard College, New York in 2012. Formed by a group of American expat composers in Rome in 1966, the MEV ensemble played an important role in the development of free improvisation, bridging the live electronics tradition begun by Cage and Tudor and the high-energy squall of free jazz. Early recordings like Spacecraft or The Sound Pool unleash volleys of metal and glass amplified with contact microphones, howling winds, primitive synthesizer bleep and raucous audience participation, the intensity of which puts much later ‘noise’ to shame. In later decades, the ensemble would go through many iterations, often including legendary free players like Steve Lacy and George Lewis. In its final years, MEV settled into the core trio of founding members heard here: Alvin Curran, Frederic Rzewski, and Richard Teitelbaum, using piano, electronics, and small instruments.

Curran, Rzewski, and Teitelbaum were life-long friends blessed, as Curran says, with ‘incompatible personalities’: major figures in the post-Cagean experimental tradition, they explored countless divergent and even contradictory paths as composers and performers, from agitprop songs to brainwave-controlled synthesis. MEV is the sound of these three personalities coming together, their contributions radically individual yet attaining a state of ‘fundamental unity’ that Rzewski, in a text written in the collective’s earliest years, defined as the ‘final goal of improvisation’. Of course, listeners familiar with aspect of the trio’s individual works might hazard some guesses about who is doing what: the crisp piano figures are probably Rzewski’s, the cut-up hip-hop samples most likely Curran’s, the sliding, squelching synth possibly Teitelbaum’s. But often these identities are dissolved in a constantly shifting hall of mirrors, the listener unable to tell which of these pianos is live and which is a sample of a past virtuoso, or whether a horn blast derives from ethnographic documentation or Curran cutting loose on Shofar. The two side-long sets here occupy a similar terrain of constantly shifting texture and instrumentation, unexpected interruptions, and moments of sudden beauty. The first set is sparser, at times almost ominous, as a bell repeatedly sounds across wheezing harmonica, seasick orchestral textures, and creaking wood, making room for episodes of yodelling and delicate prepared piano before exploding into a storm of buzzing synth and piano fragments. The second set is more frenetic, moving rapidly across centuries and continents: cars crash into post-serial piano pointillism, wailing voices collide with chopped and screwed hip-hop samples, Hollywood strings are buried under layers of electronic gurgles. The performance slows in its final moments, making way for a sampled voice repeating the phrase ‘protest and the good of the world’, reminding us that MEV’s idea of freedom was always more than musical. Symphony No. 107 –The Bard is a beautifully recorded example of the endlessly multi-layered later MEV sound, accompanied by new liner notes by Alvin Curran (now the only surviving member of the group) and a selection of previously unseen photographs from across the many decades of the group’s activity. Arriving in an elegant sleeve bearing a beautiful photograph by Francis Zhou of the Olin Hall at Bard College where the concert was recorded, this is an essential document from a major group in the history of experimental music. As Rzewski wrote, this music is ‘like life, unpredictable, sometimes making sense, mostly not’.

Introducing "Beats on Boat Vol. 2" - the highly anticipated compilation album featuring some of the most talented and respected names in the lofi hiphop scene With tracks from the likes of FloFilz, Made in M, digitalluc, and Klaus Layer, to name a few. This project promises to deliver a unique blend of chill beats and groovy rhythms that
will transport listeners to a world of laid-back vibes.

Released through ear-sight, tracks from "Beats on Boat Vol. 2" will be released every two weeks starting from
May 31st and will be accompanied by a live set, filmed on Berlins river Spree.

One of the standout features of this album is how each artist brings their own unique style to the table. From FloFilz's jazzy beats to Made in M's dreamy soundscapes, listeners can expect a diverse range of sounds and textures that will keep them hooked like fish on a rod.

Another thing that sets "Beats on Boat Vol. 2" apart from other compilations is the focus on both lofi hiphop and lofi house. While these two genres may seem vastly different at first glance, they actually share a lot of common ground - both are built on a foundation of warm textures, and infectious grooves.

A must-listen for anyone who loves lofi music, chill beats, or just wants to experience something truly unique. With this roster of top-tier artists, the focus on both lofi hiphop and lofi house, and its live beat sets on a boat in Berlin, this compilation is sure to make waves. Hop aboard and tune in!

Mastered by digitalluc
Cover design by Otto Stobbe

As a member of seminal hip-hop group The Pharcyde, Fatlip helped expand the boundaries of the 1990s L.A. rap scene, releasing classic albums steeped in eccentric creative excursions rather than hard-edged gangsta bravado.

Following in those footsteps, acclaimed emcee Blu has been at the forefront of the independent hip-hop landscape since the late 2000s, narrating the full range of experience in the City of Angels with impressive lyrical ingenuity.

These two famed artists recently joined forces for the collaborative album Live From The End Of The World, a dazzling rhyme whirlwind boasting an overwhelming collection of West Coast lyrical talent, including Del The Funky Homosapien, Gift Of Gab, MC Eiht, and Ras Kass, along with members of iconic groups Jurassic 5, Tha Alkaholiks, Souls Of Mischief, Freestyle Fellowship, and Digital Underground. With production by Madlib, Nottz, Sa-Ra, Knxwledge, and Exile, the album is now available in physical form for the first time ever. This deluxe release includes two new bonus tracks featuring Slimkid3 (of The Pharcyde) and Pigeon John.

Twenty-five years later, Little Plastic Castle feels like a greatest hits collection. Her highest charting release on Billboard (peaking at #22) and containing her third Grammy nomination for Best Rock Performance - Female (“Glass House”), Ani DiFranco’s ninth studio album shows the Little Folksinger grappling with her independent career bubbling up into the mainstream — dissection of her fashion choices, a new expanded listenership encroaching on the die-hards, examination of what it means to sell out — encapsulated in singalongs so indelible that they’re staples of her live set decades later. This 25th Anniversary Edition sees a new remaster by Heba Kadry, the addition of three bonus tracks mixed by Tchad Blake, and a new CD package and first-time release on vinyl (2 LP). To make Little Plastic Castle, Ani returned to one of her favorite places to record in that era—the live-in studio the Congress House in Austin, Texas. In this relaxed setting she commented, "This album seemed to happen more organically than earlier studio releases." Ani is joined by drummer Andy Stochansky and bassist Jason Mercer who played with her on her 1997 tours, as well as bassist Sara Lee who toured with Ani in 1996. LPC also prominently features outside musicians including drummer Jerry Marotta (Peter Gabriel, Indigo Girls), a horn section composed of three Austin session musicians who add flavor to "Little Plastic Castle" and "Deep Dish," and trumpeter Jon Hassell (Brian Eno, Talking Heads) providing the sustained subtle solo on the 14-minute final track "Pulse." The three bonus tracks are recordings of Ani playing with the rhythm section of Sara Lee and Jerry Marotta, a trio that never reassembled after their single day of tracking. Though Ani described it as “the most light-hearted album I’ve made in a long time,” this record covers a wide range of topics — the impermanence of existence ("Fuel"), mutual respect ("Pixie"), forgiveness ("As Is"), drugs (“Two Little Girls”) — and emotions.

Twenty-five years later, Little Plastic Castle feels like a greatest hits collection. Her highest charting release on Billboard (peaking at #22) and containing her third Grammy nomination for Best Rock Performance - Female (“Glass House”), Ani DiFranco’s ninth studio album shows the Little Folksinger grappling with her independent career bubbling up into the mainstream — dissection of her fashion choices, a new expanded listenership encroaching on the die-hards, examination of what it means to sell out — encapsulated in singalongs so indelible that they’re staples of her live set decades later. This 25th Anniversary Edition sees a new remaster by Heba Kadry, the addition of three bonus tracks mixed by Tchad Blake, and a new CD package and first-time release on vinyl (2 LP). To make Little Plastic Castle, Ani returned to one of her favorite places to record in that era—the live-in studio the Congress House in Austin, Texas. In this relaxed setting she commented, "This album seemed to happen more organically than earlier studio releases." Ani is joined by drummer Andy Stochansky and bassist Jason Mercer who played with her on her 1997 tours, as well as bassist Sara Lee who toured with Ani in 1996. LPC also prominently features outside musicians including drummer Jerry Marotta (Peter Gabriel, Indigo Girls), a horn section composed of three Austin session musicians who add flavor to "Little Plastic Castle" and "Deep Dish," and trumpeter Jon Hassell (Brian Eno, Talking Heads) providing the sustained subtle solo on the 14-minute final track "Pulse." The three bonus tracks are recordings of Ani playing with the rhythm section of Sara Lee and Jerry Marotta, a trio that never reassembled after their single day of tracking. Though Ani described it as “the most light-hearted album I’ve made in a long time,” this record covers a wide range of topics — the impermanence of existence ("Fuel"), mutual respect ("Pixie"), forgiveness ("As Is"), drugs (“Two Little Girls”) — and emotions.

World-renowned saxophonist Chris Potter releases a brand new recording of music live from the legendary New York venue: the Village Vanguard. Capturing moments from Chris’ annual residency (recorded 2022), the new album features an all-star band comprising Craig Taborn, Scott Colley and Marcus Gilmore. Reimagined folk tunes (Nozani Na, Olha Maria), powerful spirituals (Got the Keys to the Kingdom) and uncommon jazz standards (Blood Count, Klactoveedsedstene) make the final cut from the multi-night residency. Expect high energy, intensity, technical brilliance, effervescent joy and a snapshot of one of the world’s greatest saxophonists in his element.

"Another Love Song - The Frames are an Irish indie rock band formed in Dublin in 1990. The band is known for their passionate and emotive sound, which blends elements of rock, folk, and traditional Irish music. Over the years, they have released several critically acclaimed albums, including ""Another Love Song,"" which is widely regarded as one of their most influential works.
""Another Love Song"" was released in 1991 and marked a turning point in the band's career. The album featured a raw, stripped-down sound that was a departure from their earlier, more polished work. The songs on the album were deeply personal and introspective, exploring themes of love, loss, and the complexities of human relationships. The album's title track, ""Another Love Song,"" became an instant classic, showcasing the band's signature sound with its driving rhythms and soaring vocals. The song's bittersweet lyrics and haunting melody struck a chord with listeners and quickly became a fan favourite.
In addition to ""Another Love Song,"" the album features several other standout tracks, including ""Say It to Me Now,"" ""The Dancer,"" and ""Downhill."" Each song on the album showcases the band's dynamic musicianship and poetic lyricism, earning the album a reputation as a seminal work in the Irish indie rock scene. Over the years, The Frames have continued to evolve and innovate, releasing several more critically acclaimed albums and earning a dedicated following of fans around the world. With their unique blend of raw emotion and musical artistry, The Frames continue to inspire and captivate audiences with their powerful, soulful music.


Fitzcarraldo - ""Fitzcarraldo"" is the sixth studio album by the Irish rock band The Frames, released in 1995. The album marked a significant departure from the band's earlier work, with a more experimental sound that blended rock, folk, and experimental elements.
The album takes its name from the Werner Herzog film of the same name, which tells the story of a man who attempts to build an opera house in the Amazon jungle. This theme of ambition and perseverance in the face of adversity runs throughout the album, as frontman Glen Hansard explores themes of love, loss, and the human experience. The album opens with the hauntingly beautiful track ""Revelate,"" which sets the tone for the rest of the album with its soaring vocals and intricate guitar work. From there, the album takes the listener on a journey through a diverse range of sounds and emotions, from the upbeat rock of ""What Happens When the Heart Just Stops"" to the melancholic balladry of ""Fitzcarraldo.""
One of the standout tracks on the album is ""Lay Me Down,"" a tender and heartfelt ballad that showcases Hansard's powerful vocals and poetic lyricism. The song has become a fan favourite and is often performed live by the band. Another highlight of the album is the epic nine-minute track ""Fitzcarraldo,"" which features lush instrumentation and intricate guitar work. The song is a tribute to the film of the same name and explores themes of ambition and determination in the face of seemingly insurmountable obstacles.
Overall, ""Fitzcarraldo"" is a powerful and deeply personal album that showcases The Frames at their most ambitious and experimental. With its diverse range of sounds and emotions, the album remains a fan favourite and a landmark in the Irish rock canon.

Dance the Devil
Dance the Devil is the fourth studio album by the Irish rock band, The Frames. Released in 1999, it marked a significant departure from the band's earlier sound and was a critical and commercial success.
The album features 10 tracks, including the hit single ""Pavement Tune,"" which received extensive radio play and helped to propel The Frames to greater prominence in the music industry. Dance the Devil showcases the band's versatility and musical prowess, blending elements of rock, folk, and pop to create a unique and compelling sound. The lyrics are introspective and poetic, exploring themes of love, loss, and self-discovery.
Produced by Steve Albini, the album was recorded in just five days, giving it a raw and unpolished feel that perfectly captures the energy and passion of The Frames' live performances.
Dance the Devil remains a beloved album among fans of Irish music and continues to inspire new generations of musicians. Its enduring popularity is a testament to the artistry and vision of The Frames and their commitment to pushing the boundaries of what is possible in rock music.
"

"Another Love Song - The Frames are an Irish indie rock band formed in Dublin in 1990. The band is known for their passionate and emotive sound, which blends elements of rock, folk, and traditional Irish music. Over the years, they have released several critically acclaimed albums, including ""Another Love Song,"" which is widely regarded as one of their most influential works.
""Another Love Song"" was released in 1991 and marked a turning point in the band's career. The album featured a raw, stripped-down sound that was a departure from their earlier, more polished work. The songs on the album were deeply personal and introspective, exploring themes of love, loss, and the complexities of human relationships. The album's title track, ""Another Love Song,"" became an instant classic, showcasing the band's signature sound with its driving rhythms and soaring vocals. The song's bittersweet lyrics and haunting melody struck a chord with listeners and quickly became a fan favourite.
In addition to ""Another Love Song,"" the album features several other standout tracks, including ""Say It to Me Now,"" ""The Dancer,"" and ""Downhill."" Each song on the album showcases the band's dynamic musicianship and poetic lyricism, earning the album a reputation as a seminal work in the Irish indie rock scene. Over the years, The Frames have continued to evolve and innovate, releasing several more critically acclaimed albums and earning a dedicated following of fans around the world. With their unique blend of raw emotion and musical artistry, The Frames continue to inspire and captivate audiences with their powerful, soulful music.


Fitzcarraldo - ""Fitzcarraldo"" is the sixth studio album by the Irish rock band The Frames, released in 1995. The album marked a significant departure from the band's earlier work, with a more experimental sound that blended rock, folk, and experimental elements.
The album takes its name from the Werner Herzog film of the same name, which tells the story of a man who attempts to build an opera house in the Amazon jungle. This theme of ambition and perseverance in the face of adversity runs throughout the album, as frontman Glen Hansard explores themes of love, loss, and the human experience. The album opens with the hauntingly beautiful track ""Revelate,"" which sets the tone for the rest of the album with its soaring vocals and intricate guitar work. From there, the album takes the listener on a journey through a diverse range of sounds and emotions, from the upbeat rock of ""What Happens When the Heart Just Stops"" to the melancholic balladry of ""Fitzcarraldo.""
One of the standout tracks on the album is ""Lay Me Down,"" a tender and heartfelt ballad that showcases Hansard's powerful vocals and poetic lyricism. The song has become a fan favourite and is often performed live by the band. Another highlight of the album is the epic nine-minute track ""Fitzcarraldo,"" which features lush instrumentation and intricate guitar work. The song is a tribute to the film of the same name and explores themes of ambition and determination in the face of seemingly insurmountable obstacles.
Overall, ""Fitzcarraldo"" is a powerful and deeply personal album that showcases The Frames at their most ambitious and experimental. With its diverse range of sounds and emotions, the album remains a fan favourite and a landmark in the Irish rock canon.

Dance the Devil
Dance the Devil is the fourth studio album by the Irish rock band, The Frames. Released in 1999, it marked a significant departure from the band's earlier sound and was a critical and commercial success.
The album features 10 tracks, including the hit single ""Pavement Tune,"" which received extensive radio play and helped to propel The Frames to greater prominence in the music industry. Dance the Devil showcases the band's versatility and musical prowess, blending elements of rock, folk, and pop to create a unique and compelling sound. The lyrics are introspective and poetic, exploring themes of love, loss, and self-discovery.
Produced by Steve Albini, the album was recorded in just five days, giving it a raw and unpolished feel that perfectly captures the energy and passion of The Frames' live performances.
Dance the Devil remains a beloved album among fans of Irish music and continues to inspire new generations of musicians. Its enduring popularity is a testament to the artistry and vision of The Frames and their commitment to pushing the boundaries of what is possible in rock music.
"

Die Live-Aufnahmen der britischen GNOD des Roadburn Festival von 2022 beweisen ihre sich ständig weiterentwickelnden, innovativen Klangexperimente von Space Rock zu Industrial Techno, psychedelischem Krautrock, Acid-getränktem Post-Punk, Noise-Rock und Stoner Rock.

BABY BLUE VINYL

"Workin' all day, trying to forget about the old me." Like most of us, Martin Frawley is busy trying to work himself out. He lives alongside the long shadow of his late dad, musician and songwriter Maurice Frawley, a cultural icon of the Australian underground and collaborator of Paul Kelly, Tex Perkins and Mick Thomas. Most of Martin's 20s were spent writing and playing songs in locally beloved Melbourne band Twerps - a collection of pals who were on the forefront of the city's jangle pop renaissance. A few albums, US tours and band rotations under its belt, Twerps split up in 2018 and Martin turned his compass towards a solo project. His first album, Undone at 31 (2019), was a bit of a reckoning; a wild ride through the wreckage of both a band and longterm romantic break up. His new album The Wannabe is a personal, cheeky and, at times, self-depreiciating collection of songs unpacking the reality of finding his way as an adult without his dad around, and ultimately falling back in love with life, music and someone new. Martin and his band - friends Dan Luscombe (The Drones), Steph Hughes (Boomgates, Dick Diver), Nik Imfeld (Tyrannaman) and Dan Kelly - had heaps of fun recording The Wannabe in Melbourne. The title track is a particularly spicy take on an entertainment industry that seems to give more shits about marketing than music. The album is a bit of an emotional tour, from anger and derision, through to comedy, through to deep and honest love. It's positive with a lot of sadness. Not unlike Martin himself. As well as the guitar, Martin had some fun playing the piano on this record. The technical term is `multiinstrumentalist' but Martin's more of a musical explorer of sorts. No one is exactly sure how these things work - if Martin was born into music or if it was born into him, but it doesn't really matter. Music is what he loves. It's what he does. It's not about the industry or about success - not anymore. It's about the freedom of creating songs on his own terms, and trying to let go of the feeling he has something to prove: to his dad, to his critics, and to himself. And while he's not sure he'll ever fully shake that feeling, he's at least relaxing and having a bit of fun doing it. Like his dad, Martin has a reputation as a `musician's musician'. He hosts a pretty sporadic podcast Dive For Your Memory, where he has fast and loose chats with musicians while doing a deep dive into their musical inspirations and canon. He and his fiancé Lauren also make wine under the label El'More Wines, named after the farm and small town where his dad grew up. It's all come a bit full circle, really.

The Search for God is a wake-up call for a troubled world that’s still worth saving, animated by a belief in the power of small connections to add up to big changes. At 10 songs delivered in a brief 15 minutes, Jimmy Whispers’ long-awaited sophomore album feels present in a way that feels brand new for the cult auteur. Like many of us, Jimmy has been affected by the pressure of the past few years. After embracing sobriety in 2019, and now as a filmmaker sharing the stories of lesser known Los Angeles community members, he’s brought his dreaming down to earth, while turning its direction even further out.

Recorded with his longtime friend Ziyad Asrar of the band Whitney (and re-recorded after a hard drive incident destroyed the original files), The Search for God was created in the wake of Jimmy’s COVID isolation, and returns to some teen influences that are out of step with the chill/lo-fi LA indie rock scene he’s found himself lumped in with. Created mostly with two vintage synths, a single Roland CR5000 drum machine, and a busted karaoke machine, it channels Midwestern emo, the Beach Boys’ Smile, subtle nods at hyper-pop production, and forgotten jewel-box era college radio of the early aughts into a pure pop sound that transcends easy categorization.

The album’s standout single—and its statement of purpose—is “Hellscape,” which packs more into a minute and 40 seconds than you’d think possible: multiple immediately-unforgettable hooks, kaleidoscopic keyboards, and a bracing reminder that even the most transcendent moments are rooted in a world full of suffering. “This is a fucking hellscape,” Jimmy sings. “This is real life / this is happening.”

That may sound like punk nihilism, but The Search for God is anything but. Every lyrical acknowledgment of how fucked things are right now comes with a promise that we can still make positive changes. Jimmy calls it “God”; you might call it Love or Peace or A Place In the Universe That Makes Some Kind of Sense.

Will The Search for God deliver whatever that is to you? Of course not. At its heart, it’s still just a really good pop album. But maybe that’s enough. For a minute or two at a time, Jimmy’s music cracks open a space where the divine can enter our lives. The utopia we’ve all been dreaming of is already here if we’re just willing to build it. Jimmy Whispers is there, ready to add his voice, whenever we want to reach out.

Jason Mraz is living full spiral. It’s not full circle, exactly, because he’s changed and his experiences have changed, but on his eighth album, Mystical Magical Rhythmical Radical Ride, the musician has found himself returning to a familiar junction in space. The new songs, which are unabashedly pop, see Mraz reuniting with numerous collaborators, including Los Angeles band Raining Jane and producer Martin Terefe, who helmed 2008’s We Sing. We Dance. We Steal Things. In fact, as Mraz looked at the number eight, he instead saw an infinity sign.

FOR FANS OF: LED ZEPPELIN, THE YARDBIRDS, ROLLING STONES.
Im Sommer 1994 kamen Jimmy Page und Robert Plant für einen MTV-Fernsehauftritt in London zusammen. Dabei wurden alte Led Zeppelin-Songs neu arrangiert eingespielt. Die allgemeine Resonanz auf die Ausstrahlung der Sendung war derart positiv, dass man von den Aufnahmen eine CD veröffentlichte. Es entwickelte sich eine weiterführende Zusammenarbeit der beiden Ex-Led-Zeppelin-Bandmitglieder, in deren Rahmen es zu einer erfolgreichen Welttournee mit über 110 Konzerten kam. Diese strikt limitierte 10" Picture Schallplatte enthält legendäre Radio-Broadcasts aus den
Jahr 1996 inklusive den grossen Welthits; damals Live übertragen von diversen Radiostationen.

Over the course of eight thrilling tracks, ‘Royal’ leads listeners on a topsy-turvy journey from Middle Eastern exotica to Spaghetti Western style scores, via scorching Mediterranean beaches.
Highlights of the album include the surf-meets-Western delights of “Silver Lining”, where irresistible guitar lines are piled high and topped with euphoric synths and rock drums, resulting in a timeless soundtrack for both headless nights in dive bars and heedless days at the funfair.
“Juda” follows, a deadly combination of Zepellin and Middle Eastern rock with subtle hints of synth funk. The track is named after living legend and Middle Eastern guitar hero, Yehuda Keisar, who also joins the band for this song, contributing a scorching solo. The thunderous guitar riffs are matched pound-for-pound by the irresistible percussive groove.
Boom Pam, widely renowned for their spellbinding Middle Eastern guitar music, have unveiled their highly anticipated fifth album, 'Royal'. Celebrating their twentieth anniversary, the Tel Aviv based band combine cinematic atmospherics and high-powered surf rock on
their first album for international ambassadors of Middle Eastern grooves, Batov Records.

Boom Pam “Rock the Casbah” on title track “Royal”, revealing another card up their sleeve, as they transform a famous 80's Israeli radio theme into a discoinspired super jam with a punk edge.

The band maintain their reputation for first-rate and distinctive surf rock on the fast paced “Daber Yafé” and “Monsour”.
The sonic imprint is both warmed and widened by the rare addition of a tuba supplying the lower frequencies.
Meanwhile, opener “Lava Tongue”, and “Golden” emphasize the melodic side to the band, conjuring dreamy sunset mirages to hypnotize the listener.

Boom Pam have established themselves as pioneers of modern Middle Eastern surf rock, combining sophisticated yet catchy guitar riffs, with roaring tuba basslines and fiery drums. In the past decade the band have frequently collaborated with and backed legendary Turkish folk singer-songwriter, Selda Bagcan, on stage and record, and performed at some of the world's most renowned festivals, including Primavera Sound, Lollapalooza, Fuji Rock, the Montreal Jazz Festival and many more.
An engaging listen from beginning to end, ‘Royal’ is the perfect representation of Boom Pam’s incredible 20-year journey, showcasing their superior skills in pushing the boundaries of their genre.

High Roller Records, white vinyl, ltd 300, 4 page insert, poster, Cassette transfer, audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in November 2020 / January 2022. Artwork and handlettering by Alexander von Wieding.

High Roller Records, splatter vinyl, ltd 300, 4 page insert, poster, Cassette transfer, audio restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in November 2020 / January 2022. Artwork and handlettering by Alexander von Wieding.

Bobby Harden & The Soulful Saints are proud to announce their debut album, "Bridge of Love." The album's ten original compositions are presented in sparklingly-clear stereo sound and run the soul gamut, from grits-n-bricks R&B ('Played a Fool by You') to throw-back psychedelia ('One Tribe'), svelte seventies pop ('One Night of the Week') and some seriously sophisticated ballads ('Wounded Hearts', 'Bridge of Love'). Together they document Bobby's life journey in song. Through youthful self-doubt in the opening track 'It's My Time', to confirmation on the exuberant finale 'Raise Your Mind', Bobby proves that faith and hard work can pay dividends. "Life is a joy when you free your soul."Throughout the album, Harden's voice is tailored to perfection by the almost impossibly dexterous Soulful Saints, and further dressed to the nines by an accoutrement of Latin percussion, full-on horns, high-flying backing singers and even a string quartet. This comes as no surprise as The Soulful Saints have performed live and recorded together with acts such as Sharon Jones & The Dap-Kings, Charles Bradley & His Extraordinaires, Lee Fields & The Expressions, The Budos Band, Mark Ronson, Antibalas, The Impressions, & The Wu-Tang Clan.The album is produced by Dala Records founder Billy Aukstik, and recorded at Hive Mind Recording in Brooklyn, New York. Kurtis Powers of BQE Records Co-Executive Produced the album along with Aukstik.

Bobby Harden & The Soulful Saints are proud to announce their debut album, "Bridge of Love." The album's ten original compositions are presented in sparklingly-clear stereo sound and run the soul gamut, from grits-n-bricks R&B ('Played a Fool by You') to throw-back psychedelia ('One Tribe'), svelte seventies pop ('One Night of the Week') and some seriously sophisticated ballads ('Wounded Hearts', 'Bridge of Love'). Together they document Bobby's life journey in song. Through youthful self-doubt in the opening track 'It's My Time', to confirmation on the exuberant finale 'Raise Your Mind', Bobby proves that faith and hard work can pay dividends. "Life is a joy when you free your soul."Throughout the album, Harden's voice is tailored to perfection by the almost impossibly dexterous Soulful Saints, and further dressed to the nines by an accoutrement of Latin percussion, full-on horns, high-flying backing singers and even a string quartet. This comes as no surprise as The Soulful Saints have performed live and recorded together with acts such as Sharon Jones & The Dap-Kings, Charles Bradley & His Extraordinaires, Lee Fields & The Expressions, The Budos Band, Mark Ronson, Antibalas, The Impressions, & The Wu-Tang Clan.The album is produced by Dala Records founder Billy Aukstik, and recorded at Hive Mind Recording in Brooklyn, New York. Kurtis Powers of BQE Records Co-Executive Produced the album along with Aukstik.