Pop & Rock Novedades

Formed in New York in 1965, Love are an American rock band and were one of the first racially diverse rock bands. They have been praised by critics for being one of the most influential rock bands of all time. Love’s iconic 1967 album, which features the classic song "Alone Again Or” is pressed here on 180g vinyl. This is the first time it is being released in Mono.

One of 2 killer new 45s from May from Polytechnic Youth. This one featuring the enigmatic, underground genius of MIDDEX. Cold as fuck, brutally icey synth blasts from the depths of South East London. In the man himself's own words:

'This is the second installation of suburban deliberation and galactic musings for Polytechnic Youth from MIDDEX. This is outer space hidden in the outer boroughs plastered over the flat thump of frosted perspex hearts'.

A hand numbered edition of 250 7' singles with additional, various coloured, fold out poster inserts.

A classic from Mr Bashung.

Previously not widely available 2014 debut - Number 7 in Mojo's Best Albums Of The Year. CD with 2 bonus tracks.

Full EU tour coming in May/June. Summer festivals later in 2017 including Great Escape, Green Man, Sea Change and End of the Road in UK. Haldren Pop (Germany), Flow (Finland), Perfect Sounds Forever (Norway), Into The Great Wide Open (Netherlands) . More festivals confirmed and European tour in November including headline show at Union Chapel in London with Michael Chapman. http://juliemariebyrne.com/tour.

RECENT PRAISE FOR 'NOT EVEN HAPPINESS' :

'Blending folk, new age, and silence, Not Even Happiness is a balm.' 8.3 Pitchfork
"Here is something special" The Times - 5 STARS
'Unique and intimate atmosphere' The Guardian - 4 STARS
"Majestic." - Daily Mirror - 4 STARS

UNCUT 8/10 LEAD REVIEW: 'HER UNAPOLOGETIC INDEPENDENCE RECALLS THAT OF ANGEL OLSEN, ANOTHER ARTIST WHO ARRIVED VIA INCREDIBLY LO-FI TAPES DUBBED BY TINY REGIONAL LABELS.'

' Recalling fellow outsider folk figures Anne Briggs and Karen Dalton. What really makes it special, though, is the poetic and profound way she returns, time and again, to the dilemma of making love and intimacy work when you just want to follow your calling.'**** MOJO 4/5 LEAD REVIEW

NME LEAD 4/5 REVIEW : 'It's only January...but one of the finest albums of the year'
'Its gentle , melting quality is restorative' - 8/10 LOUD AND QUIET ALBUM OF THE WEEK
"A Linda Perhacs for the modern Laurel Canyon set Perhaps." 4/5 Record Collector

'Hushed songs that lie close to early Cat Power, Nick Drake and a more sombre Joni Mitchell" - SUNDAY TIMES


Rooms With Walls and Windows was the debut album by Seattle-by-way-of-Chicago-by-way-of-Buffalo singer, songwriter & guitarist Julie Byrne. Blending psychedelic and traditional folk elements, Julie Byrne creates a highly personal and quietly mystical world that echoes the early work of Leonard Cohen & Vashti Bunyan.
Rooms With Walls and Windows' twelve tracks were collected from two limited edition cassette releases, recorded between 2011 & 2012 by Jake Acosta in Chicago, Illinois. Each song was recorded live, with Julie accompanying herself on fingerpicked acoustic guitar. Rooms With Walls and Windows was lovingly remastered by Owen Ashworth & Matthew Barnhart.
Julie Byrne released her second album Not Even Happiness in January to mass acclaim and will take the songs from her two albums on the road throughout the whole 2017.

For Fans Of / Comparisons to the band could be The Besnard Lakes, The Cave Singers, Father John Misty, The Heartless Bastards, and Cass McCombs. We Have Not Doors You Need Not Keys is Judson Claiborne's excellent third album
Color Vinyl + Pic Sleeve

Writers and critics usually like to place artists in categories, but Johnny Cash's versatility must have caused them a bit of trouble over the years. He became famous by singing country ballads, but the sound he introduced was new and different. Love songs, often flavoured with elements of folk, gospel and rockabilly, touched the hearts of millions and brought him world-wide fame. This 2LP set includes all of Johnny Cash's biggest songs from 1956-1962. Enjoy!

10x 7" BOX !!

- Country music is a bigger worldwide phenomenon now than ever before, but the true superstars of Country Music made
their own huge impression outside of the USA through the late 1960 to the 1980s.
- Superstar artists don't get much bigger than this, and these in particular are quite rightly commonly referred to as 'legends'.
- The ten specially selected 7' singles in this box - all double AA sides - present some of the best known classic hits by these
artists.
- It's decades since these tracks appeared as singles on vinyl so mint copies are rare.
- Housed in hard slipcase, the ten 7' singles are 'dinked' as juke-box singles and the box includes a 'spider' centre for play.

Johnny Cash

1AI Walk the Line
1AABig River

Dolly Parton

2AJolene
2AAI Will Always Love You

Tammy Wynette

3AStand by Your Man
3AA'Til I Can Make It On My Own

Kris Kristofferson

4AHelp Me Make It Through The Night
4AAMe And Bobby McGee

George Jones

5AHe Stopped Loving Her Today
5AAThe Grand Tour

Jim Reeves

6AHe'll Have to Go
6AADistant Drums

Charlie Rich

7AThe Most Beautiful Girl
7AABehind Closed Doors

Marty Robbins

8ABig Iron
8AADevil Woman

Willie Nelson

9AOn The Road Again
9AAAlways on My Mind

Bobby Bare

10AThe Gambler
10AA500 Miles Away from Home

2LP + book

* The third Maia album, produced by Choque Hosein sonic alchemist of Black Star Liner results in an album of swaggering harmonic mezzotinted sci-fi folk with lush soundscapes,vocal harmonies and coiling banjos where folk elements have been distorted over symphonic slam jams with MJ handclaps or an intensified waltz ,on other tracks ornate jungle guitars and shimmering mandolins can be heard reverberating across the surface of stomping turbulent grooves.
Like the sleeve its a densely richly piled flock ,velvet to touch but beneath enough musical glitter that sparkles to put a twinkle your eye .

100% uncut psychedelia and garagey, jangly folk-rock from 1968!!

Originally from Portland, the New Tweedy Brothers were formed by brothers Fred and Danny Lackaff plus Dennis Fagaly and Steve Ekman. In 1966, they relocated to San Francisco, where they were part of the exploding, nascent psychedelic Ballroom scene, influencing none other than Jerry Garcia and sharing stage with bands like The Warlocks (pre-Grateful Dead), Quicksilver and Big Brother among others. Upon returning to Oregon, they self-released in 1968 their only album, housed in a striking hexagonal, over-sized silver foil cover, now a holy grail between psychedelic collectors. Innocent vocal harmonies, fuzzy bass, jangly guitars, raga sounds...

Many punters feel that this LP epitomizes the innocent first wave of "the West Coast Sound" before it was quickly corrupted.' - John T. Berg.

RIYL: THE BYRDS, MOBY GRAPE, JEFFERSON AIRPLANE, THE CHARLATANS, BUFFALO SPRINGFIELD...

* Master tape sound

* Insert with rare photos, memorabilia and interview with original band member Fred Lackaff

*Original hexagonal silver foil artwork adapted to a standard cover, to avoid shipping and storing problems

More demented, brain-damaging Turkish electro-saz & synth drums galore by the mighty Derdiyoklar duo, originally released in 1984! Anadolu Pop doesn't get weirder than this! These two Turkish guys armed with electro-saz, guitar, drums and synthetizers were hitting the Turkish market in Germany where they lived, playing their sets of traditional flavoured electro-folk in weddings and circumcision feasts for Turkish emigrants in Germany. That crazy is the story, that crazy is their sound!!!

Classic rock'a'billy madness from the wild man, here reproduced on original looking labels and bagged in a reproduction of the insanely rare original picture sleeve.

'Curao' is the frst full collaboratve album from world-renowned Britsh producer Quantc and Colombian folklore singer Nidia Góngora - who has regularly fronted Quantc's high profle live ensem-bles in recent years as well as contributng to some of his most popular tracks.
With infectously danceable rhythms, captvatng songwritng and up-to-the minute producton, 'Curao' brings a new and highly original interpretaton of the unique, rich and mystcal musical traditons of the Colombian Pacifc Coast. Combining Quantc's trademark electronic producton with the distnctve traditonal rhythms of Pacifc music the album presents itself as a captvatng body of work.
The 2 x LP editon comes housed in a reverse board double gate-fold sleeve, whilst the CD is packaged in a reverse board dig-pack.

'Curao' is the frst full collaboratve album from world-renowned Britsh producer Quantc and Colombian folklore singer Nidia Góngora - who has regularly fronted Quantc's high profle live ensem-bles in recent years as well as contributng to some of his most popular tracks.
With infectously danceable rhythms, captvatng songwritng and up-to-the minute producton, 'Curao' brings a new and highly original interpretaton of the unique, rich and mystcal musical traditons of the Colombian Pacifc Coast. Combining Quantc's trademark electronic producton with the distnctve traditonal rhythms of Pacifc music the album presents itself as a captvatng body of work.
The 2 x LP editon comes housed in a reverse board double gate-fold sleeve, whilst the CD is packaged in a reverse board dig-pack.

Im Hag is the debut Ghost Box album from Berlin based Sebastian Counts' ToiToiToi.

Following on from his single for the label's Other Voices series in 2015, it's very detailed and lovingly produced music, crafted from electronic, synth, sampled and acoustic sources.

Its a wunderkammer of an album crammed with original ideas. All at once managing to be witty, spooky, melodic and abstract.

The music and design explores the polarities of folklore vs modernity, and wilderness vs civilisation.

It's an album about German culture but it pre-empts a nostalgia for the vanishing concept of internationalism, once exemplified by town twinning. It's also a warm-hearted record, hopefully a tiny morale booster against Europe's resurgent spectres.

As always the beautiful CD and LP packaging is designed by Julian House. The 180gm LP includes a free download card.

Spanish singer, songwriter and multi-instrumentalist Guillermo Farré releases his third long player for Madrid based Lovemonk Records on May 12th. Inspired by his meetings and recordings with Tim Gane (Stereolab), Torres Blancas is a gorgeous slice of sun-soaked, haze-filled pop music with additional orchestral input from Sean O Hagan (Stereolab, The High Llamas) and effects and tape loops from lo-fi pop protege Maston.Imagine the Beach Boys hosting a party with The Carpenters and Stereolab (think Dots and Loops) on the guest list. It's stiflingly hot and it's all taking place at David Hockney's 'Hollywood Swimming Pool'. Torres Blancas is a throwback to a rose tinted era where vocal harmonies and wistful melodies collage and uplift. It profers a sense of achievement lyrically, and through its bold compositions and delicate washes of orchestral arrangements.Wild Honey is the brainchild of Guillermo Farré and it is Madrid in Spain where he wrote his his third solo album. His previous records Epic Handshakes and a Bear Hug (2009) and Big Flash (2013) were both sung in English. Returning to his Spanish mother tongue has allowed greater expression and was part of a process of coming to terms with a mini mid-30s life crisis. Previous uncertainty over lifestyle choices, city, job, family and friends has, to some extent, been answered. Torres Blancas is not only the title of the new record, it's also an enormous residential building in the north of Madrid. For fifteen years Guillermo walked past nonchalantly, often ridiculing its presence, but now it is a source of beauty and pride for this rejuvenated artist. A tranquility and acceptance has arisen and Wild Honey embodies this new state of being.

Working alongside Stereolab's Tim Gane for Big Flash was a dream come true for Guillermo. From being a superfan to a friend and mentoree, Guillermo worked with him in his ramshackle Berlin studio - an enlightening process where he learned nuanced tricks of production and utilised his vast instrument and studio kit knowledge. Three years later Guillermo recorded his latest with another Stereolab band mate, Sean O'Hagan, whose orchestral arrangements added further layers to Wild Honey's cake-like compositions. The omnipresent vocals are that of Anita Steinberg who has been part of the Wild Honey set up from day one. Additional vocals come from Aries AKA Isabel Reveriego (K Records) in the mysterious track 'Horoscopo' and of course, that's Guillermo's voice that flows and washes throughout the whole record. LA based Maston is part of a new breed of highly acclaimed producers labelled by Pitchfork as a "bedroom pop genius". His input at the end of the production process brought in a tropicalia vibe using tape delays, tuning down wurlitzers and as Guillermo notes "creating that feel of music made under the sea".
A self-confessed film geek who, by day, works for classic films channel, Guillermo always looks back before he steps forward. He has an ongoing thirst for everything retro, psychedelic and pop from the likes of Italian film soundtrack composer Ennio Morricone, drummer Hal Blaine, The Beach Boys and even Katy Perry. Yet it's the late twentieth century composers that he evidently draws closer to in terms of production similarities and textures - Sufjan Stevens, Todd Rundgren and of course, Stereolab.

'Desenfocada' meaning 'out of focus' is a song that perfectly encapsulates Guillermo's initial feeling when he started out writing Torres Blancas. It's about a woman that realises that in every photo she has of herself, she's out of focus. Slightly fuzzy in a production sense and meaning, it's perhaps the bounciest track of the set. Lead track 'El volcan de Montserrat' acts as a preamble and intro with piano and vocal harmonies building the atmosphere and then suddenly the title track of the record releases lush violins and violas purposefully accenting the structure of the song. There's also some gazing at others, notably in 'Ojo de Cristal', in which he recognises distinct similarities between him and his old man.Wild Honey nourishes throughout with a clear aesthetic vision. The tough third album, it's surely his most accomplished, after tutelage from his musical heroes and now enjoying a new lease of freedom from writing in Spanish.

Spanish singer, songwriter and multi-instrumentalist Guillermo Farré releases his third long player for Madrid based Lovemonk Records on May 12th. Inspired by his meetings and recordings with Tim Gane (Stereolab), Torres Blancas is a gorgeous slice of sun-soaked, haze-filled pop music with additional orchestral input from Sean O Hagan (Stereolab, The High Llamas) and effects and tape loops from lo-fi pop protege Maston.Imagine the Beach Boys hosting a party with The Carpenters and Stereolab (think Dots and Loops) on the guest list. It's stiflingly hot and it's all taking place at David Hockney's 'Hollywood Swimming Pool'. Torres Blancas is a throwback to a rose tinted era where vocal harmonies and wistful melodies collage and uplift. It profers a sense of achievement lyrically, and through its bold compositions and delicate washes of orchestral arrangements. Wild Honey is the brainchild of Guillermo Farré and it is Madrid in Spain where he wrote his his third solo album. His previous records Epic Handshakes and a Bear Hug (2009) and Big Flash (2013) were both sung in English. Returning to his Spanish mother tongue has allowed greater expression and was part of a process of coming to terms with a mini mid-30s life crisis. Previous uncertainty over lifestyle choices, city, job, family and friends has, to some extent, been answered. Torres Blancas is not only the title of the new record, it's also an enormous residential building in the north of Madrid. For fifteen years Guillermo walked past nonchalantly, often ridiculing its presence, but now it is a source of beauty and pride for this rejuvenated artist. A tranquility and acceptance has arisen and Wild Honey embodies this new state of being.
Working alongside Stereolab's Tim Gane for Big Flash was a dream come true for Guillermo. From being a superfan to a friend and mentoree, Guillermo worked with him in his ramshackle Berlin studio - an enlightening process where he learned nuanced tricks of production and utilised his vast instrument and studio kit knowledge. Three years later Guillermo recorded his latest with another Stereolab band mate, Sean O'Hagan, whose orchestral arrangements added further layers to Wild Honey's cake-like compositions. The omnipresent vocals are that of Anita Steinberg who has been part of the Wild Honey set up from day one. Additional vocals come from Aries AKA Isabel Reveriego (K Records) in the mysterious track 'Horoscopo' and of course, that's Guillermo's voice that flows and washes throughout the whole record. LA based Maston is part of a new breed of highly acclaimed producers labelled by Pitchfork as a "bedroom pop genius". His input at the end of the production process brought in a tropicalia vibe using tape delays, tuning down wurlitzers and as Guillermo notes "creating that feel of music made under the sea".

A self-confessed film geek who, by day, works for classic films channel, Guillermo always looks back before he steps forward. He has an ongoing thirst for everything retro, psychedelic and pop from the likes of Italian film soundtrack composer Ennio Morricone, drummer Hal Blaine, The Beach Boys and even Katy Perry. Yet it's the late twentieth century composers that he evidently draws closer to in terms of production similarities and textures - Sufjan Stevens, Todd Rundgren and of course, Stereolab.

'Desenfocada' meaning 'out of focus' is a song that perfectly encapsulates Guillermo's initial feeling when he started out writing Torres Blancas. It's about a woman that realises that in every photo she has of herself, she's out of focus. Slightly fuzzy in a production sense and meaning, it's perhaps the bounciest track of the set. Lead track 'El volcan de Montserrat' acts as a preamble and intro with piano and vocal harmonies building the atmosphere and then suddenly the title track of the record releases lush violins and violas purposefully accenting the structure of the song. There's also some gazing at others, notably in 'Ojo de Cristal', in which he recognises distinct similarities between him and his old man. Wild Honey nourishes throughout with a clear aesthetic vision. The tough third album, it's surely his most accomplished, after tutelage from his musical heroes and now enjoying a new lease of freedom from writing in Spanish.

John Stammers released a self titled lp in 2013 it sold out immediately and was never repressed. His analogue artifact became a rare record drawing on British folk influences inspired by the sound worlds of Moondog & Sun Ra.

Waiting Around is the first single taken from his forthcoming lp of the same name which will be out on WONDERFULSOUND this June.
This 7" includes a remix from Carwyn Ellis of Colorama who's noted for his work with Edwyn Collins amongst others. Waiting Around is produced by John Stammers and Miles Copeland.

Another classic album from the WONDERFULSOUND roster, Manchester born and bred Nev Cottee's music has more in common with the sweeping orchestral soundtracks of Ennio Morricone, Songs Of Innocence era David Axelrod and has a voice so deep it would make Lee Hazlewood blush.

Caught somewhere between the rain-drenched streets of Manchester and the sun-beaten deserts of America lies Nev Cottee's third album Broken Flowers. A deeply cinematic, string-soaked album rich in atmosphere and brooding ambience. Its origins however, began in India, with Cottee trying to leave rainy-city heartbreak behind.'I hate the English winter. Really can't stand the grey days. So I shipped out to India in January 2016. I found a place and set up a simple studio to demo out there'. Rising at dawn each day the ideas began to flow and quickly enough 20 new songs began to take shape, 'Maybe the new surroundings helped - getting out of my comfort zone, getting away from all the shit one accumulates at home".The songs, even in sparse demo form, captured the plaintive tone of Cottee's vocals slowly unfurling in emotional waves - the gentleness reminiscent of Spiritualized's Jason Pierce but with the rich warm resonance of Lee Hazelwood. Cottee then took the songs to Wales to work with previous collaborator and producer Mason Neely (Lambchop/Edwyn Collins). Neely brought in some classical musicians, 'cut away the flab' and pushed the songs to their extremes - the producer's intuitions and abilities clearly trusted by Cottee, 'On the album notes it says 'Mason: Sounds' and that's him in a nutshell. He brings so much to the table and gives the album it's sonic identity - I can't give him a bigger compliment than that.'Whilst the finished album hums with quiet beauty - dense swirls of ambience hanging in the air as elevating strings cascade through - there's also a darkness, 'Although I recorded during the day this is a night time record. It's dark and introspective. I find that juxtaposition hugely creative. The night in India can be quite a foreboding place. Me and a mate would make late night excursions inland - into the heart of darkness. Not quite Apocalypse Now but enough to take you out of any semblance of comfort. We saw some strange things, weird village ceremonies, people biting snakes' heads off...  the songs represent a physical and mental journey.'  The film score work of Ennio Morricone and John Barry shines through the sensitive yet powerful arrangements -  Barry in particular being a favourite, 'People see him as somehow inferior to the greats because of the Bond stuff but for me it's some of the most emotional music I've ever heard. Trying to get the that sound is pretty difficult unless you've got The John Barry Orchestra and a million quid to blow on the album - but Mason did his best god bless him.'Tom Waits' Blue Valentine and Beck's Sea Change were both touchstone albums during the recording process but ultimately what ends up shining through on 'Broken Flowers' is Cottee's own vision and unique tone - a Spaghetti Western shot on the streets of Manchester as the incessant rain hammers down. Sense of place is crucial to Cottee, he remains "a true Northerner" yet it's something the songs battle with throughout, 'I'm old and I'm lost, living here comes at a cost,' he sings on 'When The Night Comes'. 'If you're lost then you're lost wherever you are. Running away to India isn't going to help.' He says of the lyric, 'I was completely lost because I had everything I'd planned for taken away. It's a rough place to be and I have sympathy with all the lost souls out there.'That said, exploring other cultures around the world has helped shape Cottee's 'Britishness' rather than erase it. 'I've been out to California several times and love it out there. I completely buy into the whole west coast music scene. However, it can all get a bit clichéd if you're looking to California for inspiration. Before you know it, you're singing about highways and the like. Like being in India, being out there always gives me a good contrast and makes me more English. Writing about 'cold English lanes' whilst wandering around Big Sur'This reconnecting of place, personality and identity on the album makes it an intriguing, intimate listen. To Cottee the finished album is a document of a period of turmoil in his life. 'I see the album as a journey from a kind of questioning bewilderment to a form of madness.' He says of its unfolding narrative, 'It's not a cathartic thing for me. I don't see it as helping or reaching an end point in any way. It's just honest. And that's the main thing. Hopefully people will hear that'.

Another classic album from the WONDERFULSOUND roster, Manchester born and bred Nev Cottee's music has more in common with the sweeping orchestral soundtracks of Ennio Morricone, Songs Of Innocence era David Axelrod and has a voice so deep it would make Lee Hazlewood blush.

Caught somewhere between the rain-drenched streets of Manchester and the sun-beaten deserts of America lies Nev Cottee's third album Broken Flowers. A deeply cinematic, string-soaked album rich in atmosphere and brooding ambience. Its origins however, began in India, with Cottee trying to leave rainy-city heartbreak behind.'I hate the English winter. Really can't stand the grey days. So I shipped out to India in January 2016. I found a place and set up a simple studio to demo out there'. Rising at dawn each day the ideas began to flow and quickly enough 20 new songs began to take shape, 'Maybe the new surroundings helped - getting out of my comfort zone, getting away from all the shit one accumulates at home".The songs, even in sparse demo form, captured the plaintive tone of Cottee's vocals slowly unfurling in emotional waves - the gentleness reminiscent of Spiritualized's Jason Pierce but with the rich warm resonance of Lee Hazelwood. Cottee then took the songs to Wales to work with previous collaborator and producer Mason Neely (Lambchop/Edwyn Collins). Neely brought in some classical musicians, 'cut away the flab' and pushed the songs to their extremes - the producer's intuitions and abilities clearly trusted by Cottee, 'On the album notes it says 'Mason: Sounds' and that's him in a nutshell. He brings so much to the table and gives the album it's sonic identity - I can't give him a bigger compliment than that.'Whilst the finished album hums with quiet beauty - dense swirls of ambience hanging in the air as elevating strings cascade through - there's also a darkness, 'Although I recorded during the day this is a night time record. It's dark and introspective. I find that juxtaposition hugely creative. The night in India can be quite a foreboding place. Me and a mate would make late night excursions inland - into the heart of darkness. Not quite Apocalypse Now but enough to take you out of any semblance of comfort. We saw some strange things, weird village ceremonies, people biting snakes' heads off...  the songs represent a physical and mental journey.'  The film score work of Ennio Morricone and John Barry shines through the sensitive yet powerful arrangements -  Barry in particular being a favourite, 'People see him as somehow inferior to the greats because of the Bond stuff but for me it's some of the most emotional music I've ever heard. Trying to get the that sound is pretty difficult unless you've got The John Barry Orchestra and a million quid to blow on the album - but Mason did his best god bless him.'Tom Waits' Blue Valentine and Beck's Sea Change were both touchstone albums during the recording process but ultimately what ends up shining through on 'Broken Flowers' is Cottee's own vision and unique tone - a Spaghetti Western shot on the streets of Manchester as the incessant rain hammers down. Sense of place is crucial to Cottee, he remains "a true Northerner" yet it's something the songs battle with throughout, 'I'm old and I'm lost, living here comes at a cost,' he sings on 'When The Night Comes'. 'If you're lost then you're lost wherever you are. Running away to India isn't going to help.' He says of the lyric, 'I was completely lost because I had everything I'd planned for taken away. It's a rough place to be and I have sympathy with all the lost souls out there.'That said, exploring other cultures around the world has helped shape Cottee's 'Britishness' rather than erase it. 'I've been out to California several times and love it out there. I completely buy into the whole west coast music scene. However, it can all get a bit clichéd if you're looking to California for inspiration. Before you know it, you're singing about highways and the like. Like being in India, being out there always gives me a good contrast and makes me more English. Writing about 'cold English lanes' whilst wandering around Big Sur'This reconnecting of place, personality and identity on the album makes it an intriguing, intimate listen. To Cottee the finished album is a document of a period of turmoil in his life. 'I see the album as a journey from a kind of questioning bewilderment to a form of madness.' He says of its unfolding narrative, 'It's not a cathartic thing for me. I don't see it as helping or reaching an end point in any way. It's just honest. And that's the main thing. Hopefully people will hear that'.

Lost Train Blues features 22 selections from the vast holdings of the American Folklife Center at the Library of Congress, 13 of them have never been issued before. The record includes work songs, ballads, blues, political and union songs, guitar, banjo and fiddle music and Native American vocal music. These recordings were made between 1933 and 1950 and represent the birth of the folk music collections at the Library of Congress, now the largest repository of folk and ethnographic holdings in the world. The record demonstrates the groundbreaking work of Alan Lomax and his father John Lomax, but also places them with the context of other important early field workers.
The deluxe record includes liner notes by Alan Lomax archive curator Nathan Salsburg, as well as a 14 page booklet with photographs and original research about each song, artist and folklorist. The cover features an original lithograph by artist Jeff Tocci. Each selection has been transferred from original discs and tapes at the Library of Congress and has been carefully remastered by sound engineer Don Fierro making for the best possible audio fidelity.

Ruins, monuments, and ancient sites of worship are multi-sensory experiences - at once residues of the sacred, the parchment on which the passage of time has been inscribed and templates for imaginative reconstruction, spaces in which to invest and immerse, to trade your bearings for an inexhaustible state of transition.

Over the course of three albums, Steve Von Till has, under the guise of Harvestman, provided the sonic analogue, casting his net for what might have been and yet still be. Both a personal meditation and a tuning fork for the most ancient and enduring of resonances, his latest album, Music For Megaliths, further expands his journeys along the sonic ley lines that run between folk, drone, psychedelia, the 'kosmische' outposts of krautrock and noise: not as an act of eclecticism, but of divination, giving voice to an underlying continuity that binds them all.

Recorded over a period of several years in the dawn hours of creation, Music For Megaliths is an aggregation of moments and recordings that have allowed themselves to spell out a greater whole. Utilizing repetition, manipulation and modulation, it's a hallowed frequency dial that ranges across the pulse-regulated drone of The Forest Is Our Temple, revving up like a generator powered by arcane currents, the blissful gaze of Ring Of Sentinels, Sundown's ominous waves of interference and White Horse's rite of dissolution and regeneration, nomadic and devout. Music For Megaliths is a crossing over, whose multiple routes are testament to a singular and sensuously dilated vision.

Artwork hand painted by Thomas Hooper

Ruins, monuments, and ancient sites of worship are multi-sensory experiences - at once residues of the sacred, the parchment on which the passage of time has been inscribed and templates for imaginative reconstruction, spaces in which to invest and immerse, to trade your bearings for an inexhaustible state of transition.

Over the course of three albums, Steve Von Till has, under the guise of Harvestman, provided the sonic analogue, casting his net for what might have been and yet still be. Both a personal meditation and a tuning fork for the most ancient and enduring of resonances, his latest album, Music For Megaliths, further expands his journeys along the sonic ley lines that run between folk, drone, psychedelia, the 'kosmische' outposts of krautrock and noise: not as an act of eclecticism, but of divination, giving voice to an underlying continuity that binds them all.

Recorded over a period of several years in the dawn hours of creation, Music For Megaliths is an aggregation of moments and recordings that have allowed themselves to spell out a greater whole. Utilizing repetition, manipulation and modulation, it's a hallowed frequency dial that ranges across the pulse-regulated drone of The Forest Is Our Temple, revving up like a generator powered by arcane currents, the blissful gaze of Ring Of Sentinels, Sundown's ominous waves of interference and White Horse's rite of dissolution and regeneration, nomadic and devout. Music For Megaliths is a crossing over, whose multiple routes are testament to a singular and sensuously dilated vision.

Artwork hand painted by Thomas Hooper

With the release of their upcoming new album "Nothing Lasts Forever (And It's Fine)" Flora Cash face their most challenging moments to date sewn deep into the music. They instantly share this uneasy and raw kind of anxiety with the listener, the type that affects one's mind, body and then somehow manages to creep into every aspect of one's life, soon to be in control of it.

The duo skilfully blend their deep love for acoustic soundscapes and layer it with just the right amount of ethereal production hinting at Mt Wolf, Poliça, Vogue Dots and Kings Of Convenience. Through the painful dialogue between Shpresa's observations and Cole's suffering, the duo succeeds at designing an inter-dimensional delicate yet mighty piece of music.

Just signed a European booking agent and will be playing in Berlin, Gothenburg and Stockholm in the period leading up to the album release, and then aim for a few showcases in the US before returning this summer for festivals and booking a tour for the autumn.

1. Online buzz growing, recently Hype Machine top 20 and have seen support from the likes of Noisey US, Paste, The Music Ninja, Earmilk, Interview Magazine, NYLON, and many more.
2. Very strong growth on Spotify - over 2 million streams the last 6 months and increasing with over 25k per day now.
3. Very strong social media presence (Youtube - 20 000 followers, Facebook - 10 000 likes, also active on Twitter and Instagram).
4. They will play a showcase in Berlin in March on a JaJaJa event for Nordic music, and in 2016 they played a few showcases in Los Angeles (incl. Desert Nights showcase at The Standard in Los Angeles curated by Valida Carrol of KCRW).
5. Just signed with booking agent Blixten.

PRESS/ONLINE: Confirmed activity - The Line Of Best Fit - Track by track LP piece. The Crack - LP review for their April Issue. Penny Black Music - LP review. Aural Delights - LP review. Anti Music - LP review closer to the release date. The Daily Vault - LP review. Do They Have To Use Drums - LP review.

With the release of their upcoming new album "Nothing Lasts Forever (And It's Fine)" Flora Cash face their most challenging moments to date sewn deep into the music. They instantly share this uneasy and raw kind of anxiety with the listener, the type that affects one's mind, body and then somehow manages to creep into every aspect of one's life, soon to be in control of it.

The duo skilfully blend their deep love for acoustic soundscapes and layer it with just the right amount of ethereal production hinting at Mt Wolf, Poliça, Vogue Dots and Kings Of Convenience. Through the painful dialogue between Shpresa's observations and Cole's suffering, the duo succeeds at designing an inter-dimensional delicate yet mighty piece of music.

Just signed a European booking agent and will be playing in Berlin, Gothenburg and Stockholm in the period leading up to the album release, and then aim for a few showcases in the US before returning this summer for festivals and booking a tour for the autumn.

1. Online buzz growing, recently Hype Machine top 20 and have seen support from the likes of Noisey US, Paste, The Music Ninja, Earmilk, Interview Magazine, NYLON, and many more.
2. Very strong growth on Spotify - over 2 million streams the last 6 months and increasing with over 25k per day now.
3. Very strong social media presence (Youtube - 20 000 followers, Facebook - 10 000 likes, also active on Twitter and Instagram).
4. They will play a showcase in Berlin in March on a JaJaJa event for Nordic music, and in 2016 they played a few showcases in Los Angeles (incl. Desert Nights showcase at The Standard in Los Angeles curated by Valida Carrol of KCRW).
5. Just signed with booking agent Blixten.

PRESS/ONLINE: Confirmed activity - The Line Of Best Fit - Track by track LP piece. The Crack - LP review for their April Issue. Penny Black Music - LP review. Aural Delights - LP review. Anti Music - LP review closer to the release date. The Daily Vault - LP review. Do They Have To Use Drums - LP review.

Almost six years after releasing her last album, Sydney songwriter, musician and novelist Holly Throsby unveils her sixth solo LP 'After a Time'.

She was joined in the studio by an eclectic band, including Mick Turner (Dirty Three, Cat Power) on guitar, Bree van Reyk (Paul Kelly, Seeker Lover Keeper) on drums, and Marcus Whale (Collarbones, BV) on saxophone. Guest vocals on 'What Do You Say' were provided by iconic American musician Mark Kozelek (Sun Kil Moon, Red House Painters). Long time collaborators, Joseph Leonard and Jens Birchall, played bass and cello respectively.

Following on from 2011's critically acclaimed album, Team, After a Time marks a progressive shift in outlook for Throsby. There is more light, more full-band energy, and more lyrical curiosity. Holly explains the evolution: "Sonically, the album represents a change in direction for me. Electric guitars are used much more heavily, and there is less focus on traditional folk instruments. The band tracking was done fast and loose. The layered textures veer from clear and close to fuzzy and washed out. Some songs are reminiscent of On Night and Team, but there is a different kind of rawness present across the record - and one that I hope is quite immersive."

After a Time was recorded, mixed and co-produced by Tim Kevin (Youth Group, The Singing Skies) at his Tempe River Studios in Sydney. Throsby wrote all the songs, played various instruments and co-produced the album. .

Explaining the diverse contributions from her guest musicians, Holly says: "Mick Turner brings a new voice with his distinctive guitar playing. Bree van Reyk's drumming is, as always, strong and experimental. Marcus Whale guests beautifully on saxophone. Mark Kozelek gave the gift of his voice to the central duet. And engineer and co-producer Tim Kevin, who is best known as a guitarist for lo-fi indie rock bands like La Huva and Knievel, brought his own musical character to the recording."

Nachdem er als Support für Ólafur Arnalds, Nils Frahm und Fink auf Welttournee war sowie 2014 und 2015 europäische Headline-Tourneen durchführte, präsentiert der Londoner Singer/Songwriter und Pianist Douglas Dare im Herbst 2016 sein zweites Album. Wie bereits das von der Kritik intensiv gefeierte Debüt "Whelm" erscheint auch "Aforger" beim Label Erased Tapes. In unserem digitalen Zeitalter, in dem Erinnerungen durch Pixel imitiert werden und Identität so formbar wie auch statisch ist, hinterfragt Dares neues Album die Grenzen zwischen Realität und Fiktion. Der Albumtitel spielt mit dem englischen Wort für einen Fälscher ("aforger"), also jemanden, der Imitationen oder Kopien von Dingen herstellt, diese zu etwas Neuem umarbeitet und dadurch zum Konstrukteur von etwas wird, das nicht mehr real ist. Dares Konzeption von "Aforger begann, als er herausfand, dass sein Freund ein Doppelleben führte. Von da an verfolgte ihn die Frage: Was ist überhaupt noch real Im Anschluss an die Lektüre von George Orwells "1984", der Trennung vom Partner und seinem Outing gegenüber dem Vater entstanden die zehn Tracks von "Aforger". Die Platte wurde in den berühmten Abbey Road Studios gemastert und von Dares langjährigem Kompagnon Fabian Prynn produziert.

OFO The Rock Company (originally known as OFO The Back Company) were Nigeria's first acid-rock band. Blending Hendrix and Deep Purple with shamanism and a pro-black philosophy, they cut their teeth at Fela Kuti's Afrika Shrine, developing a fearsome live reputation that intimidated every other band in Lagos. No one wanted to follow the guys from OFO, not even Fela himself. Lead by the charismatic Larry Ifedioranma, OFO The Rock Company considered themselves a musical cult. Their live shows were a heady mix of mind-melting musicianship, mysticism and theatre. In 1973 the band tour Europe and Fonkafrika gathers together the best of those performance. The moments captured range from small intimate gigs in London, where you can hear the conversation amongst the crowd, to an astonishing gig in East Germany where they played before 900,000 people. The undoubted highlight is the extended prog-rock wig out of 'Ayaya,' recorded at the Berlin gig, before an obviously delighted crowd. See if you can pick out the moment where the band were joined on stage by a long-haired hippy who insisted on playing guitar. They didn't realize it at the time but it was Carlos Santana. It was in Europe that the band fell apart, riven in two by Ifedioranma's increasingly autocratic rule. Fonkafrica remains as a precious testament to what the band did best - playing loud and proud and putting on a show you would never forget. - Peter Moore

Anna Mayberry & David Psutka borrow from the folk tradition of "singer-as-revealer" but emphasize circular sound to present inclusivity to the audience. The imaginary mountain is an empty framework for distinct personal memories. LTD 200.

A sequel (of sorts) to the "I Don't Feel At Home In this World Anymore" compilation. The stone cold beautiful African guitar playing and singing of Sabelo and G. Wayawaya, the intense Native American country music of Jenks "Tex" Carman, the great Tex Mex of Lydia Mendoza, the heavy hypnotic Cajun sounds of Amede Ardion and Dennis McGee, the shimmeringly beautiful singing and playing of the Genial Hawaiians, the deep deep deep Rembetika of Marika Papagika, the soulful gospel of Blind Willie Davis, the sacred Indian sounds of T.R Mahalingham and Khansahib Abdul Karim Khan, the early Jewish mysticism of Max Leibowitz, the dark Cuban rumbles of Sexteto Bologna and much more. Here we have a diverse cross section of the world's music - a unifying sound during divisive times. Old school "tip on" cover.

Maiden Voyage Recording Company are thrilled to announce the release of Moondogs And Mad Dogs, the debut album from Donald Byron Wheatley on May 5th. The album, recorded at Reservoir Studios in North London under the watchful gaze of producers Chris Clarke (Danny And The Champions Of The World) and John Wheatley (Suburban Dirts), introduces the songs of Donald Byron Wheatley, each and every one reflecting on his life as a showman and that of his family who been ingrained into a way of life for over a century. Essentially a paean to his father, 'Big Don' Wheatley, Moondogs And Mad Dogs is unapologetically imbued with the sprit of Van Morrison, Dylan, The Band, Lennon et al, all musicians that have played a major part in both Donald's and his father life.  Driven by an honest heart and a pure desire to make an album his father would have loved, Wheatley has produced something very special indeed - an innocent, loving musical tribute that stands alone as a remarkable debut. The band features various members of Danny And The Champions Of The World - Chris Clarke, Steve Brookes, Andy Fairclough - alongside Siobhan Parr and pedal steel legend BJ Cole. 

The music of Donald Wheatley is easily as lively as the characters who people his songs, a natural tangle of early rock'n'roll, raucous blues, sweet folk and a most unique phrasing of Americana - countrified rock that's as unique to Wheatley as The Band's own Canadian take on American music, or Van Morrison's Caledonian vision of soul. The sound is relaxed, down-home and upbeat, with a warm fireside vibe and the joyous, charismatic and intimate feel of a well-lubricated after-hours jam session. It's funky as hell in places (the sinful, bedroom-eyed Josephine), powerful and resonant in others (the scorched When The Rain Comes).

MIE unveils after long gestation Panisperna, the first practically available LP by Jantar, an outer-borough ensemble historically known for their creeping strain of easy listening most often heard in empty lots and abandoned diners. From the waves still reverberating from Canterbury Gongs and Soft Machines, Jantar propels green, driving rock forms, and leafs out into repeating rows of complex time and growth patterns