Pop & Rock News

After the first release, "Narwal-Nirvana", Ongehoord comes with a 2nd release. Featuring more material from the Dutch cassette culture! Big tip.. The band Deadline Paranoia has been active in Amsterdam from 86 till 88. They have released 4 albums in small quantities. Their music was made and recorded at home with a great variety of instruments. This release is the first of a series of 3 records that will feature the essence of this band. The mastering is done by Brandenburg Mastering to ensure a high quality listening. Niels van Tomme (director of arts institute De Appel) has written the liner notes. The music has been carefully curated by Jeroen Vermandere while being in touch with the artists who worked on the project. Anton Westbom Weflo makes the graphic design for the Deadline Paranoia Releases, tracks compiled by label curator Jeroen Vermandere.

Terry Callier's "The New Folk Sounds of Terry Callier" ist als offizielle Neuauflage der analogen Masterbänder als 2LP erhältlich. Diese Deluxe-Neuauflage enthält unveröffentlichte Tracks, neue Liner Notes und Bonustracks. Als fast
verlorenes Album umfasst "The New Folk Sound of Terry Callier" Terry's Blue's Stimme Jazz, Soul, Gospelmusik Fusion.
Das Album vermittelt das Potenzial und die Kraft von Callier in seinen ersten Tagen. Es ist ein Werk, das einen besonderen Moment kennzeichnet und einen jungen Mann in seinem Element, seiner Stimme und seinen Liedern zeitlos festhält.

Members club, singles club, fan club...whatever you wanna call it, WONDERFULSOUND launches its new 45 series, dropping a short run 7" single every few weeks in store and online.Tracks will be taken from the best WONDERFULSOUND long players to date, plus forthcoming future gems on the label, with sevens lined up from Nev Cottee, Angelina, Dr Robert, Luca Nieri and new signings, Hi Fires.First up on the WONDERFULSOUND SEVENS series are two tracks taken from R.W. Hedges classic British pop LP released earlier in the year.Pieced together on a canal boat in London, and seemingly pulled from the golden days of easy listening, the new record finds Roy Hedges and songwriting partner, producer, and label-mate Luca Neiri in beautifully compelling form, the collaboration coming after a chance meeting in Hyde Park brought the childhood friends back together, having previously played in bands together during their youth.Guided by Luca Neiri's delicate production vision, Hedges' tracks are quietly dominated by their own restraint, his love for the easy listening era of the 1950s and 60s filtered through a keen ear for doo-wop and rhythm-and-blues, resulting in music that finds a place all of its own in the hustle and bustle of the city; existing as a tender escape from the busy London world that underpinned its creation, full of quaint retreats and charming idiosyncrasies.".. A Magical Collection" - SHINDIG *****

Longtime Woodstock resident, guitarist Peter Walker recorded two albums for the Vanguard label in the late Sixties in a style best described as American folk-raga. He studied with Ravi Shankar and Ali Akbar Khan, and was Dr. Timothy Leary's musical director, organizing music for the LSD advocate's 'celebrations.' He was also a close friend of fellow Woodstock resident, the late folksinger Karen Dalton, and helped produce Remembering Mountains : Unheard Songs by Karen Dalton (Tompkins Square), which features unrecorded Dalton compositions brought to life by Sharon Van Etten, Patty Griffin, Lucinda Williams and others.

Rediscovered by Tompkins Square in 2006 after decades out of sight, Walker has remained active into his 8th decade, recording for Jack White's Third Man label, and now, collaborating anew with fellow Upstaters, Harmony Rockets. Joined in a mighty super-session with Harmony Rockets (Mercury Rev), Martin Keith, Nels Cline (Wilco), and Steve Shelley (Sonic Youth), Lachesis/Clotho/Atropos is a mind-melting inter-generational collaboration that could only have coalesced around the wool sweaters, warm teacups and moldering bookstores of 'Old Old Woodstock', both the real and mythologized versions.

Cat.no.: TSQ 5555 LP

Don Kipper Present The 'traditional Music Of North-east London'. Combining The Fiery Virtuosity Of Eastern Europe, The Soulful Sound Of The Mediterranean, And Propelled By A Cosmopolitan Urban Energy, This

Innovative Band Will Grab You By Your Soul And Push You Headlong Onto The Dancefloor. Don Kipper Weave Musical Passion With Virtuosic Mastery Into Their Up-tempo

Good-time Music They're A Band Of Virtuoso Performers Who Create Music Full Of Complex Harmonies, Polyrhythms And Imaginative Improvisation. A Must-have Album For Fans Of The Amsterdam Klezmer Band, Taraf De Ha

Douks And Balkan Beat Box . Includes Free Download Card Enabling You To Download The Full Album As Well As Bonus Tracks

Blitzen Trapper are the Portland, Oregon-based experimental country and folk rock band who, in 2008, released 'Furr', their breakthrough album and label debut for Sub
Pop. The record was met with universal acclaim, earning praise from the likes of The Guardian, Pitchfork, Paste, AV Club and Rolling Stone, who in their four-star review called the album 'an engaging album full of rootsy beauty.' The album would earn
the no. 13 spot on Rolling Stone's 50 Best Albums Of 2008 later that year. For the newly expanded deluxe edition of 'Furr', Blitzen Trapper have compiled over two album's worth of material: the original album and twelve rare and previously nreleased tunes. The added songs are from the same recordings that become
'Furr', with the exception of the 'Live at KCRW' tracks, which were recorded during the 'Furr' tour. The songs 'War is Placebo', 'Booksmart Baby' and 'Maybe Baby' appeared as limited edition singles for Record Store Day in 2009 and 2011. This reissue also features new liner notes from Eric Earley reflecting on the album, as well as a track-by-track description of the bonus songs and a Q&A with the stage and screen actor Rainn Wilson (of 'The Office' fame). It's difficult to remember exactly where my head was in those days, recording 'Furr' in a leaky, dilapidated, pre-boom Portland building, all but condemned, where the
migrant workers congregated at the curb outside hoping to get picked up by desperate contractors, the dealers working the opposite corner, two blocks up the Burnside bridge running with pitched tents and sleeping bags all the way to the West
Side Mission, the black river sliding by beneath. For those in the know enough at the time to have heard it when Sub Pop first released 'Furr' in 2008, listeners had to have been underwhelmed by the hit and miss production, the furry overdriven vocals
and perilous sounding dubs, all industry-standard production fare now. But the songs must have shone through the noise even then. The stand-out title track recorded on a nearly defunct cassette four-track in one take and mixed on a couple-hundreddollar PC was almost an afterthought at the time, but its message was real enough: that life consists of change and growth, love and transformation. With 'Furr' I was attempting to create my own tiny sonic world of freak folk in order
to tell the tale of the Northwest as I remembered it growing up: a misty, empty, bedraggled place of mystery and violence, logging ghost towns and glutted rivers, dark creatures glimpsed from the corner of the eye in the endless evergreen forests where we'd go as teenagers hunting dark spirits, looking for trouble or trying to dodge our troubles back home. That even a few people have found beauty and solace in the stories and sounds on this record over the years is rewarding and astounding, humbling and affirming.' - Eric Earley, Portland, Oregon 2018 CD in gatefold digipak with 12-page booklet. Double LP in wide jacket with custom dust sleeves and 4-page insert. Initial copies pressed on clear vinyl with gold swirl.LP format includes digital download coupon.

AHI's 2016 album gets its first UK release

Pioneer of the hang (handpan), captivating musician Manu Delago has announced the forthcoming release of a unique and awe-inspiring movie and accompanying album, Parasol Peak out September 7th, in which Delago leads an ensemble of 7 musicians on a mountaineering expedition in The Alps. Along the way, the group perform a collection of brand new compositions in different locations, at varying altitudes.

The Austrian-born composer was discovered by Björk, who first invited him to perform alongside on her Biophilia tour. He is now a fixture of Björk's live lineup and has also toured with The Cinematic Orchestra and Olafur Arnalds. Further, he earned a Grammy-nomination for his work on Anoushka Shankar's album Land of Gold, performed Hang on Poppy Ackroyd's latest album 'Resolve' and appeared as a soloist with the London Symphony Orchestra.

It is for this reason that the musician spends a great deal of his life on the road and in studios, collaborating with various artists as well as writing, recording and performing his previous two critically-acclaimed electronic-driven albums Silver Kobalt and Metromonk. This was how Parasol Peak became an exercise in the artist removing himself from studios, tour busses and laptops, and seeking to compose and perform both within and as part of nature, using only totally acoustic instruments.

Delago was not only inspired to incorporate the ensemble's natural surroundings in The Alps, but also the percussive sounds of the group's climbing gear. Delago comments: 'Of course performing on acoustic instruments has been done for thousands of years, so I wanted to add an extra component - nature, or more precisely the Alps. I wanted to utilise our surroundings by incorporating lots of percussion sounds like trees, water, little rocks as well as the gear that we were carrying, such as helmets, carabiners or ice axes.

'In general, I find limitations inspiring and in the case of Parasol Peak I was limited to a fixed ensemble of 7 musicians. The different locations also brought various limitations, which affected how I composed the music. At some locations we were vertically aligned and couldn't see each other. At others we couldn't hear each other, or we were trying to survive while playing.'

Director and producer Johannes Aitzetmüller knew that the expedition would be one of his most difficult shoots yet. He comments: 'Because I know the mountains and the situation I knew I could handle it, but what about the rest of the crew How long can we shoot and how many times can we film the same performance over and over again in these conditions

'On almost every location we faced a tough climb first, then very cold conditions (physically and also playing), snow, installation time of the audio, instruments out of tune and finally - the shooting. We sometimes could film only 2 takes, because the instruments were out of tune again, or the fingers too cold or the icy wind blowing too fast. The audio engineer, Michael Reisigl, installed a network of recorders, cables and microphones all over the rocks. On the right and left side there were sometimes more than 50m of vertical rock - so falling was no option. It was crazy how he performed. Further, we knew that the crew shouldn't wait too long doing nothing because of the cold, the motivation and the instruments. And I knew that the filming had to be perfect first time - there won't be another chance.'

The expedition posed life-threatening conditions for the ensemble, which at times had Manu questioning the project. 'There were several moments of physical struggle and anxiety in the group' says Manu, 'but that makes playing music together even more emotional'. A drastic unseasonal temperature drop causing heavy snowfall complicated the journey further and made for a bigger challenge musically, with the group performing in exposed locations at freezing temperatures.

'There were definitely moments when individuals in the group would have turned around and left the expedition' Manu admits. 'But because we could only do it as a group, we had to strongly support each other. We had to help each other carrying instruments and gear, as well as help each other in overcoming anxieties and exhaustion.'

The result of the struggle that the group endured is a completely rare, once-in-a-lifetime piece of work - both stunning visually and remarkable musically. The album could very much sit wonderfully amongst the contemporary classical giants of the present, but there is no escaping its distinctiveness - with flecks of European folk embedded in the brass and accordion melodies, as well as prog drones performed on the strings and handpan, ornamented by taps and whistles from various natural sources. Sonically, without the visual, the evidence of nature is present throughout.

'For most of us it was physically the hardest thing we've ever done' Manu comments, summarising the journey. 'But it was an incredible feeling to reach the summit and overcome those challenges. More than anything - the whole expedition was simply an incredibly connecting experience for the ensemble.

Der Londoner Gitarrist, Sänger und Komponist Richard Thompson präsentiert mit 13 Rivers sein neues Studioalbum, das im September auf Proper Records erscheinen wird
Nach dem letzten Release - Still' in 2015 ist es das erste Album von Richard Thompson mit neuem Material. Zudem ist - 13 Rivers' sein erstes selbst produziertes Album seit über einem Jahrzehnt und ist daher als ein sehr emotionales Album zu bewerten, das dem etablierten Folk-Rock-Musiker direkt aus
dem Herzen spricht.
Das 13-Track starke Album wurde in Los Angeles aufgenommen. Mit dabei sind Richards ständige Begleiter Michael Jerome und Taras Prodaniuk sowie sein Gitarrentechniker Bobby Eichorn an der zweiten Gitarre. Die Songs wurden analog aufgenommen mit einem minimalen Einsatz von Overdubs.

Beverly Glenn-Copeland is already known amongst collectors and music heads for two sought after albums of folky jazz in the key of Joni.It was this album, originally self-released on cassette in 1986 that caught the label's attention. The album, entirely recorded on DX-7 and TR-707, lies somewhere between digital new-age and (accidentally) early Detroit techno experiments. The inimitable style of BGC here is both peaceful and meditative while simultaneously rhythmic and bass heavy. The album was recorded in the northern Canadian town of Huntsville where BGC was living at the time and is a beautiful fusion of personal vision, technology and place. Issued here for the first time on vinyl, with a full restoration and re-master.

Most people know Aaron Lee Tasjan as one of the wittiest, most offbeat, brilliant, weedsmokin' and LSD microdosin' Americana troubadours writing and singing songs today. The New York Times, NPR and Rolling Stone will all gladly corroborate. Steel yourselves, folk fans, because he's about to follow his restless muse straight out from under the weight of everyone's
expectations into the kind of glammy, jingle-jangle, power-pop and psych-tinged sounds he hasn't dabbled in since his younger days playing lead guitar for a late-period incarnation of The
New York Dolls. 'Karma For Cheap' is Tasjan's third album and second for New West Records. The record was
co-produced by Aaron and his friends Jeff Trott (Stevie Nicks, Liz Phair, Meiko, Joshua Radin) and Gregory Lattimer (Albert Hammond Jr.) and features Aaron Lee's road band - guitarist
Brian Wright, bassist Tommy Scifres and drummer Seth Earnest - with whom he's been touring heavily for the last two years.
While the stylistic shift from Tasjan's palpably stoned 70s-country-channeling 2015 debut, 'In The Blazes', to his more sophisticated, introspective and lushly produced 2016 follow-up, 'Silver Tears', was relatively incremental, Karma's rocked-up Brit-pop-influenced Beatles-BowieBadfinger vibes underscore a significant departure. The album boldly reimagines these vintage
sounds, pushing the boundary of what can be considered Americana.
The roots of Tasjan's 'Karma For Cheap' stretch deep, drinking up the sounds of a Southern California childhood spent listening to The Beatles while riding around with his mom at the
wheel of their navy blue Volvo station wagon - back to the very first pre-teen year he picked up a six-string and started figuring out all the pretty little chords in those Lennon-McCartney tunes. Back to the pure, blissful unfiltered innocence of falling in love with music for the first time. A huge sonic touchstone for Aaron's new record is 'The Beatles Anthology', one of his childhood favourites. In songs like 'If Not Now When', 'Songbird' and 'The Rest Is Yet To Come' you can hear echoes of George Harrison's vibrant guitar riffs and Jeff Lynne's lavish production on those lo-fi John Lennon demos the surviving Beatles dug up and polished off in the mid 90s.
Perhaps the most poignant moment on 'Karma For Cheap' is the anthemic, hypnotic 'Heart Slows Down', a tune rife with musical and lyrical references to The Beatles and Tom Petty,
anchored by an unforgettable chorus with a Traveling Wilburys vibe that finds the sweet spot between Tasjan's two earliest musical heroes. 'When I was a kid, my favorite CD to fall asleep
to was Tom Petty & The Heartbreakers' 'Greatest Hits', and the last song is a cover of that Thunderclap Newman song 'Something In The Air'. From the time I was a little kid to when I
was teenager, I used to listen to that song on headphones almost every night - I heard it in that space between wake and sleep so many times. And Tom's passing - he was a really big
hero of mine, so it hit me pretty hard. We were in Seattle playing a show when I heard, and it was a heavy thing to process. But all of those elements are there in 'Heart Slows Down'. The
chorus, 'I will always be around,' is a reminder that all the good you ever got out of listening to this music is still around you. You'll always have that.'
Aaron Lee Tasjan says he aims to use his music for good but he's no protest singer. And 'Karma For Cheap' isn't some heavy-handed, didactic political record cramming a set of talking
points down anyone's throat. It's a finely tuned rock & roll seismograph measuring the dark and uncertain vibrations of the time in which it was created. A cracked mirror reflecting back
the American zeitgeist. With 'Karma For Cheap' Tasjan establishes himself as an artist who not only evolves over time but isn't afraid to risk reinventing himself completely from one record to the next.
For fans of Tom Petty, Harry Nilsson, The Beatles, David Bowie.

Iron & Wine follow up their 2018 Grammynominated full-length 'Beast Epic' with 'Weed
Garden', a collection of material that began about
three years ago. The six-song mini album features
songs that were part of the writing phase for
'Beast Epic' but went unfinished. They were part of
a larger narrative for principal songwriter Sam
Beam, who ran out of time to get them where they
needed to be for inclusion on 'Beast Epic'.
'Weed Garden' also includes the fan favourite
'Waves of Galveston'.
While on tour last fall, the final pieces of material
took shape and a sense of urgency prevailed in
bringing these characters full circle. To resolution.
To completion. In January, Beam and company
hunkered down in Chicago at The Loft recording
studio to capture these six songs. No more, no
less.
'Weed Garden' joins the good company of previous
Iron & Wine EPs / mini albums - 'The Sea and
Rhythm', 'Woman King' and 'In the Reins'.

Vinyl format includes digital download code.

Five years into the project, with two acclaimed albums and dozens of triumphant international performances to its name, Yermande announces a thrilling new phase for this Dakar-Berlin collaboration: emphatically a giant step forward.The group of players is boiled down to twelve for recordings, eight for shows, sessions in Dakar become steeply more focussed. 'This time around I was better able to specify what I wanted right from the initial recording sessions in Dakar,' says Ernestus, 'and further in the production process I took more freedom in reducing and editing audio tracks, changing MIDI data, replacing synth sounds and introducing electronic drum samples.Right away you hear music-making which has come startlingly into its own. Rather than submitting to the routine, discrete gradations of recording, producing and mixing, the music is tangibly permeated with deadly intent from the off. Lethally it plays a coiled, clipped, percussive venom and thumping bass against the soaring, open-throated spirituality of Mbene Seck's singing. Plainly expert, drilled and rooted, the drumming is unpredictable, exclamatory, zinging with life. Likewise the production: intuitive and fresh but utterly attentive, limber but hefty, vividly sculpted against a backdrop of cavernous silence. Six chunks of stunning, next-level mbalax, then, funky as anything.Lamb Ji' is traditional wrestling, the most popular sport in Senegal, always introduced by hours of drumming, gris-gris magic and dancing (led by the fighters themselves). Born into the Momori griot clan in Tivaouane, Mbene moved as a teenager to Pikine on the outskirts of Dakar, where the late, great Ndongo Lo was first to invite her to sing at lamb events. Still a hard-core fan, here she pays hommage to all the popular fighters of recent times.Evoking the ancient cultural legacy of the griots, 'Walo Walo' is also the name of the sabar rhythm underlying this track, which features Ibou Mbaye's percussive synth-work, Mangone Ndiaye Dieng's kit-drumming, and Bada Seck's rigorous jolts of lower-pitched thiol drum.
'Simb' ('lion') refers to traditional drumming and dancing events, at which a cavorting 'faux lion' puts the frighteners on audience-members. 'This was most the most difficult one to mix,' recalls Ernestus, 'in the end the most reduced from its recording.'
'Jigeen' means 'woman'. 'Man should know every woman is your mother. Cherish a woman. Respect a woman's dignity. My friend, don't talk bad about a woman. My mother, my father, my family, my friends, it has been hard. Look after the people who were there when you had nothing.A tribute to the Baye Fall leader, Ndiguel is the most traditional cut on the album, showcasing Assane Ndoye Cisse's insinuating guitar lines, Laye Lo's super-elasticated snare-drumming, and Bada Seck playing the khine drums associated with the Baye Fall. (Short and wide, lightweight but low.) Yermande takes a former associate to task. 'Stop prompting the witchdoctor to curse us. Leave people alone and let them go their own way. Take yours, leave ours to us. Don't put anyone down without knowing what their parents have sacrificed. Keep a clean heart and don't wish anyone ill. What you wish for yourself, wish for others. Don't steal my clothes, they don't fit you. Leave badness, life is too short for that.' Like Lamb Ji and Simb, featuring all four sabar players: Bada Seck, Serigne Mamoune Seck, Abou Salla Seck and Alioune Seck. Abdourakhmane Fall's no-flim-flam bass-playing well and truly drops anchor.

The power of words isn't lost on longstanding Americana
triumvirate The Devil Makes Three - Pete Bernhard, Lucia
Turino and Cooper McBean. For as much as they remain rooted
in troubadour traditions of wandering folk, Delta blues,
whiskey-soaked ragtime and reckless rock 'n' roll, the band nod
to the revolutionary unrest of author James Baldwin, the noholds barred disillusionment of Ernest Hemingway and
Southern Gothic malaise of Flannery O'Connor.
In that respect, their sixth full-length and first original material
since 2013, 'Chains Are Broken' resembles a dusty leatherbound book of short stories from some bygone era. As the
band began writing ideas for the record they veered off the
proverbial path creatively.
Instead of their typical revolving cast of collaborators, The Devil
Makes Three stuck to the signature power trio, with one
addition. This time they invited touring drummer Stefan Amidon
to power the bulk of the percussion.
Another first, they retreated to Sonic Ranch Studios in El Paso,
TX a stone's throw from the Mexican border to record with
producer Ted Hutt (Dropkick Murphys).
The incorporation of new sounds as well as the
experimentation in space finds The Devil Makes Three crafting
a new yet still familiar sound. Coupled with a continued focus
on in-depth lyricism that tells a story in every song, 'Chains Are
Broken' is a liberating, rump-shaking collection of past, present
and future.

LP pressed on heavyweight 150g vinyl.

Odetta Hartman's second album 'Old Rockhounds Never Die' is a bonanza of beautiful contradictions: intimate yet fiercely
internationalist, spiritual and yet tangible, sweet and also sexy. It
convenes with the ghosts of the past while marching relentlessly
forwards

Drawn from experiences as far-flung as riding a train from San
Francisco to Chicago with an old-style, rootin'-tootin' cowboy for
company ('Cowboy Song'), to experiencing the intense natural beauty of Icelandic waterfalls ('Dettifoss'), it's a record that taps into the musical traditions of the past while being a collection of songs about living in the moment.

Raised by pioneering parents on the Lower East Side of Manhattan, NYC, Odetta's milieu was a 'colorful culture of artistry' that included early exposure to community activism, renegade film screenings, poetry readings and trips to CBGB's. Inchoate punk and hip hop were aural wallpaper, as were the 45s spinning in the household jukebox featuring her dad's extensive collection of soul and afrobeat records, as well as her Appalachian mother's classic country selections. A classically trained violinist with a penchant for back-porch banjo, Odetta combines these variegated sounds of her childhood with her personal passion for folk music and the musicological legacy of Alan Lomax.

Lomax is writ large on 'Old Rockhounds Never Die', at least in spirit anyway. Odetta plays all the instruments on this and her debut '222', which made problematic the changeovers between songs when playing live. Field recordings the singer had collected on her travels were utilized to make such transitions seamless and so successful was that intermingling of songs and soundscapes that they've transitioned into the recording process. It makes for a strangely intimate listen: tingly and a little tipsy: an album for twilight, sitting within the noctural hinterland between dusk and somnambulance - candlelit and confidential - a time for stories and secrets.

Vinyl format includes digital download code

New 45t from Altin Gun Turkish psych heroes: A side features the killer first song of their album Tatli Dile Guler Yuze B side features the unheard yet instrumental track Hababam

Jim Lauderdales 31. Album Time Flies ist eine Rückkehr zu dem, was er am besten kann: klassischer Country mit deutlichen Einflüssen von Americana und Soul. Als zweifacher Grammy Gewinner konnte sich Lauderdale musikalische Freiheit und
Ausflüge in die unterschiedlichsten Genres erlauben, es ist jedoch nicht verwunderlich, dass er nach beinahe drei Jahrzehnten nun zu seinem ursprünglichen und nach wie vor sehr beliebten Sound zurückkehrt. Time Flies wurde in den Blackbird Studios in Nashville, TN aufgenommen und von Jim Lauderdale und Jay Weaver produziert. Zu den Special Guests zählen Charles Odie Blackmon, Mando Saenz und Pete Bernhard (The Devil Makes Three).

"If Fellini, Dali and Captain Kangaroo got together in their teens and ate peyote, this is the album they would have recorded."- Les Claypool All My Kin is the strange and somewhat unbelievable album by an artist called Beanpole. Starving artist must have been their mode of recording as stories of farming, eating, and
disfigured animal-human hybrids course throughout the record. Very little is known about Beanpole, but it is widely recognized by collectors that most of the music originated from the late 1980s and early 1990s. Some sources maintain Beanpole is still active, although evidence remains unsubstantiated. Primus' Les Claypool claims he attempted to release a decade's worth of Beanpole recordings on his Prawn Song label in the '90s. We're told that the tracks were delivered to the mastering studio on worn-out cassette tapes and dusty DATs. As legend has it, when Claypool played the mastered tracks to his distributor, the response from company executives was poor. As a result, Claypool was summarily dismissed from his business relationship with the distribution company, effectively ending his label. For nearly 20 years thereafter, the tracks were to remain forgotten. Fast forward to 2017 when Claypool was touring with Sean Lennon as The Claypool Lennon Delirium. Les played the old, neglected recordings to Sean, who decided that the world was finally ready for Beanpole! Beanpole's All My Kin is a concept album for post-modern America. It chronicles the epic tale of Chicken Boy and his dangerously interrelated family. Years of isolation have resulted in the birth of a child who is part man and part poultry. Despite obvious adoration for their uniquely feathered offspring, having fallen upon hard times they consider the unthinkable: will
Chicken Boy be sacrificed to feed his hungry family
Sean Lennon

Founded in 1951 by independent record store owner and radio show promoter Ernie Young, Nashville, TN's Nashboro Records recorded some of the most potent and forceful gospel music of the time period. Although initially begun in response to overwhelming demand for gospel locally, Nashboro quickly became nationally applauded for its curatorial prowess (under the guidance of Rev. Dr. Morgan Babb of the Radio Four) and signature production style. The lightly-reverbed, clear sound of a Nashboro record is unmistakable.
Give Me My Flowers is a compilation of some of the finest cuts released by Nashboro Records, many of which have not been previously reissued. It kicks off with a total banger, The Hightower Brothers' 'Until He Comes,' which would have made an amazing cover song for Spacemen 3. Iola and Sullivan Pugh, also known as The Consolers, top off the A-side of the compilation with the intensely potent namesake track, 'Give Me My Flowers'. A final highlight is 'Almighty God' from Sister Pope and the Pearly Gates; dare you to get it out of your head after you hear the chorus even once.
Not only are the featured artists endlessly skilled at their craft, their songs are absolutely explosive. This is the opposite of indifference or irony; there is a mission here, steeped in a full-heartedness that can only be derived from selfless devotion.
Additionally, the songs featured on Give Me My Flowers are representative of a far too overlooked and important chapter in Nashville's music history. These musicians, store employees and businesspeople played a critical role in building the infrastructure for independent music to flourish in their city. Naturally, it is a cornerstone in Third Man's long-term mission to support and highlight the complete music histories of Tennessee and Michigan, from the most rightfully revered to the most critically under-represented.
All of these tracks were assembled with producer and journalist Mike McGonigal (Detroit Gospel Reissue Project, Temperature's Rising: An Oral History of Galaxie 500) and transferred directly from the 45 collection of Kevin Nutt (Case Quarter Records, Sinner's Crossroads radio program).

Carioca DJ and producer JOUTRO MUNDO digs deep and delivers a stunning collection of reworks on this first release on his own label, Outra.
Influenced by the melodic sounds of the Amazonian jungle and the explosive Carnival rhythms of his hometown Rio, you can feel his devotion to the diverse music of Brazil, which he now shares with you on the dance floor.
VALEU!

Les Disques du Crepuscule presents The Wood, a brand new studio album by Scottish singer and songwriter Paul Haig, previously frontman with cult Postcard post punk legends Josef K.

Paul's fourth solo album for Crepuscule since 1983 was written and recorded over a three year period between 2015 and 2018, and explores glitchy, twisty sonic territories in the vein of Four Tet, Floating Points and Love Over Entropy.

'We can think of the wood or forest as a metaphor for the mystery of the human psyche,' says Paul. 'Like the human soul, it can be a place of hidden meanings and unrevealed secrets. I wanted to try and evoke this through the music and worked hard on finding the right balance of electronic and organic sound samples across a broad range of musical genres.'

Cover art by Kendris MacLeod. Design by Emma Quinn Design. Available on CD and vinyl LP (vinyl format includes a free digital copy on MP3).

Cardiff-based singer-songwriter Ivan Moult returns with his latest collection of rich, confessional songs on new album Longest Shadow, out now via Bubblewrap Collective.

The album reflects Moult's progression through the fledglings of blissful romance into the fragmentation of embittered break- up. Each track combines Moult's intricate guitar plucking skills with his warm, soothing vocal to create something both compelling and incredibly moving throughout. His latest single Lay Me Down revolves around the feeling of giving in to depression whilst simultaneously fighting against it. Moult's beautifully natural vibrato soars effortlessly over the cinematic musicality to create something akin to that of Nick Drake or Jeff Buckley's distinctive songwriting charm.

Ivan's soft , subtly shattered vocals are complemented by the orchestral compositions and double bass of Callum Duggan, the precision percussion of Sam Thomas and backing vocals from Kadesha Drija

''Longest Shadow truly is a stunning piece of work and if the likes of Damien Rice, Nick Drake, Willy Mason are your thing, it's a safe bet that you will thoroughly enjoy this - Folking

After thoroughly pleasing our ears with a little woodland Balearic and motorik folk as part of Bambi Davidson, German musician Robin Van Velzen arrives on 9pm with a gorgeous solo debut. Stripped back and strung out, the self titled set boasts eight cryptic guitar ballads, as in debt to the gloomy poetry of Leonard Cohen as the sultry dub production of Lee Scratch Perry. Atmospheric, evocative and intimate, this moonlight music comes from a true bedroom troubadour.

es Disques du Crepuscule present a new, remastered vinyl edition of East & West, the bittersweet debut album by American singer-songwriter Anna Domino, originally released by the label in 1984.
East & West was recorded in Brussels in 1983 with guest contributions from Virginia Astley, Blaine L. Reininger (of Tuxedomoon) and altpop polymath Luc Van Acker. The five tracks on the original mini-album format include her first single Trust, In Love (an NME single of the week), and an exquisite cover of Land Of My Dreams, originally a hit for Aretha Franklin in 1965. Rare b-side track Repeating (from the same sessions) is also now added to the album.
Other bonus tracks include the popular singles Zanna, a 1984 collaboration with Luc Van Acker, and radio hit 'Rythm', produced a year later by legendary Telex founder and jazzmeister Marc Moulin. The expanded remaster closes with a previously unreleased demo song called Dream Back, recorded in New York City with her friend Stanton Miranda of Thick Pigeon in 1984.
The album retains the original cover art by Joel Van Audenhaege, and adds new liner notes written by Anna herself.










 

Die Queen of Oklahoma, CARTER SAMPSON, veröffentlicht eine Zusammenstellung ihrer liebsten Tracks exklusiv als limitierte Vinyl LP
Carter Sampson sorgte 2016 in der European Americana-Szene mit ihrem Album - Wilder Side und vielen Konzerten in ganz Europa für Aufmerksamkeit. Ihre charismatischen und musikalisch umwerfenden Auftritte bezauberten viele Americana-Fans in den Niederlanden, Deutschland, Irland, Italien, Österreich und Belgien. Nun veröffentlicht sie eine auf 300 Stück limitierte Sammlung von zehn ihrer absoluten Lieblingstracks exklusiv auf Vinyl. Das Album beinhält Lieder von ihren Alben - Wilder Side und - Mockingbird Sing .

Feat Judy Dyble (Fairport Convention)
Limited Edition, 300 Stück auf 180 Gramm Vinyl, im Deluxe Package

Mit Seven Sisters Seven Seas kehrt Sand Snowman zu dem pastoralen Psyche Folk seiner früheren Werke zurück, auf denen Erinnerung, Stimmung und elementare Natur erweckt werden durch eine einfühlsame Instrumentation und Struktur (Qualitäten die sich auch in Sands Malerei wiederspiegeln, hier präsentiert mit drei unterschiedlichen aber stilistisch verwandten Artworks). Dieses Album ist erneut durch die herrlichen Stimmen von Moonswift und Amandine Ferrari Fradejas sowie von Folklegende Judy Dyble veredelt, mit letzterer gemeinsam hat Sand auch den letzten Albumtitel Sunset (Tired Of Waiting) geschrieben.

Folk/punk Klassiker: Brillant Verschrobene Performances.

Tattoo Historiker & Bankräuber Shane Enholm Verbindet Die Besten Elemente Von Syd Barrett, Lou Reed Und Woody Guthrie Zu Einem Brillanten Songwriter Und Album! Die Mehrzahl Der
Songs Auf "divine American Pariah" Sind Geschrieben Worden, Während Er Seine Strafe Für Einen Lauf Von 26 Banküberfällen In Südkalifornien In Den Späten 1970s Absitzen Musste. Der "bandit Mit Pferdeschwanz" Reinigt Sich Mit Einer Großen Bandbreite Selbsterforschender Themen.
Diese Lp Ist Dazu Bestimmt Mit Seiner Aufrichtigen, Persönlichen Und Brillant Verschrobenen Darbietung Ein Echter Folk/punk Klassiker Zu Werden.

Rocafort Records digs into the 'Evasion Disques' catalaogue to bring you the best in Funk, Soul, Psych & Folk from the legendary Swiss label.

Linernotes and comments of the songs by Evasion Disques' co-founders.
Artwork by Laurent Pizzotti, the graphic designer to whom we owe a large number of Evasion Records sleeve covers.
All songs taken from the original master tapes.

Evasion Records was born of a rebellious 60's rock band, "Les (Faux) Frères", who got tired of being forced by their record company to cover British hits rather than record their own compositions.

Along with their pianist Eric Christen, and a childhood friend François Vautier, Gaston Schaefer and Jean-Pierre Skawronski embarked on the adventure of composing and producing their own work as of their 7th EP.

Extending the experience further, the group then created its own label,"Evasion Disques" (as in, escaping from the big record companies).The first single was distributed by Barclay Switzerland, managed at the time by a Swiss musician who was all too keen to welcome in this new label.

Less than a month later, local artists, friends of the group and acquaintances who knew of their initiative, turned up at the small office in Avenue du Théâtre in Lausanne with the desire to record for the new company.

Philly-based musician Rosali (Long Hots, Wandering Shade) wrote the songs for her second album, Trouble Anyway, seeking empowerment by sharing openly on love, power, aging, suffering, confusion, self-doubt, and anger. The result is a full-bodied record that is at once sweeping and intimate — a vulnerable and powerful exploration of emotional narratives. With a band including Rosali's close friends Charlie Hall (War On Drugs), Paul Sukeena (Angel Olsen), Mary Lattimore, Mike Polizze (Purling Hiss), Nathan Bowles (Steve Gunn, Black Twig Pickers) and Dan Provenzano (Purling Hiss, Writhing Squares), this album is a cohesive collection of lush, intimate rock songs, featuring Rosali's warm, natural vocals and powerful riffing and rhythm guitar.

Members of The War on Drugs and Purling Hiss, as well as Mary Lattimore and Nathan Bowles, join (Rosali) Middleman on Trouble Anyway, which expands Rosali's sound with a band attuned to her shuffling guitar rhythms and introspective shifts of emotion. It's the kind of record best heard in the winding narrative of night, as casual conversations and cheap bottles of wine gradually turn deeper, darker notes.' - NPR

The Ivytree, As Some May Know, Is The Project Of San Franciscan Musician Glenn Donaldson. In The Early 2000s Glenn Was A Founder Of The Jewelled Antler Collective, Forming Such Projects As The Blithe Sons, Thuja, And The Skygreen Leopards, Among Many Others. I Admire The Range Of Projects He Is Associated With, They All Beautifully Web Together. Between 2001 And 2005 Donaldson Published A Handful Of Discs Under The Names The Ivytree And The Birdtree. These Boiled Down And Tanned The Patient, Outdoor Ambiences Of The Long-form Instrumental Recordings. These Were Slow And Pastoral And Pensive Songs, Carried By Glenn's Haunting Voice: My Favorite Of His Work. Glenn Recorded Outside With Field-recorders And Mini-discs: In Forests, Headlands, And Tunnels Of The Bay Area.

I Grew Up Listening To His Recordings - Throughout High School And College In Goleta, Ca. They Spark Many Memories: Driving Around Beach Parking Lots, Dragging Boomboxes Into Creeks, Camping In The Mountain Valleys Etc. I Remember Once Driving 5 Hours Up To San Francisco With A Group Of Friends To Try And Get Into A Giant Skyflower Band Concert (another Donaldson Project). It Was At A Bar And We Were Under 21 - So We Couldn't Get In, Even After Trying To Bribe The Doorman. As You Can Tell, Very Special Places In My Mind And Memory. My Fondness For The Ivytree Never Dissipated, And I Always Dreamed Of Hearing More Material From That Time, As I Know How Prolific The Jewelled Antler Association Can Be.

On A Whim In 2017 I Reached Out To Glenn And Asked Him If He Wanted To Publish A best-of' The Ivytree As A Limited Lp. This Idea Blossomed And Provoked Glenn To Dig Through His Vast Mini-disc Archive, Where He Unearthed Some Forgotten Jewels. The Recordings Were Trickling In To My Email - One By One, Each Better Than The Last... Ranging From The Robert Wyatt-esque Piano Ballad evil Is Circular' To The Gentle Melancholy Of all The White Plumes' That Could Belong On Richard Youngs' Sapphie. Unburdened Light Carries On The Warm Breeze And Innocence Of The Early 2000s Cdr Culture.

So Our Project Then Turned Into Publishing A New Album Of Unreleased Ivytree Recordings. A Full Circle Youthful Wish Now Ripens In My Adulthood. I Am Honored To Have Stirred Up The Bees-nest To Deliver You These Tragically Honeyed Songs.