Pop & Rock Новости

Originally released on Fonit Cetra Hi-Fi International series in 1973, this MEGA-RARE Italian Library still unknown in the record collectors circle features some of the most insane grooves made in Italy. Outstanding, spaced-out Breakbeats with the best uptempo, Hip Hop beats and B-boy Funk tunes you could ever desire, alternated by Easy Listening scores and happy Synthesizer themes. File under BBOY BREAKBEAT / MUSIC PRODUCERS / BEAT MAKERS / DUSTY FINGERS / Italian Library maniacs!

Frank Sinatra once said that, when he went home, he played Nat's records to relax. There can be no finer accolade. Follow Ol' Blue Eyes' example and wind down to this 3 LP Platinum Collection of cultured Cole classics. Enjoy tracks such as 'Mona Lisa', 'Let There Be Love' and 'Unforgettable' on cool white vinyl.

By the end of 1967, Simon & Garfunkel were firmly established as the world's most successful pop duo. That June they'd performed an acclaimed set at the Monterey Festival, before collaborating with Mike Nichols on The Graduate soundtrack. They also performed a large number of gigs, one of which is captured here (having originally been recorded for broadcast on the NET-FM Show). Featuring Simon's brother Eddie on second guitar, it takes in early classics as well as more recent numbers such as Punky's Dilemma and America, which would appear on their forthcoming Bookends album. It's presented here complete with background notes and images.

Tristesse Contemporaine. Act III, Scene 1. After the first album (self-titled "Tristesse Contemporaine") a form of a declaration of independence and the second ("Stay Golden") rising above the rest, their third, "Stop and Start" will come to close the existing trilogy, and begin a new cycle.

The trio at the head of this veritable voyage through time and space, is a motley crew that found each other in Paris: Narumi from Japan, Maik from England via Jamaican roots, and Leo from Sweden. The essence of what they play as Tristesse Contemporaine is two chords, minimal instrumentation, all mixed with maximum reverb. This is a particular idea of "less is more" which is more applicable to pop music. Abandoning "the middle of the road" the band focused on ten tracks where they put their cards on the table and the petal to the metal.

By 1970, the folk revival had all but ended. Gone were the heady days of Will The Circle Be Unbroken' and If I Had A Hammer.' Hootenanny had been cancelled. Broadside was out, Rolling Stone in. Richard Fariña was dead, Bob Dylan had plugged in. Paths paved by Joan Baez and Judy Collins had led a younger, more introspective generation of songwriters into the woods, while the ethos forged in weather-beaten hills and tempered on the lower east side of Manhattan was being reborn in the canyons of California, as songs for seagulls crafted in Joni Mitchell's visage.

Culled from beyond the crop of crit-revisionist darlings Linda Perhacs, Judee Sill, or Vashti Bunyan, Ladies From The Canyon examines the world of private folk via the works of 13 unlikely heroines who sang beneath the infrastructure of the music business, playing to coffeehouse chatter and church picnic silence. Each of these Wayfaring Strangers walk in the handmade aesthetic of lyrics scribbled into faded denim, of delicate movements captured and released

RIYL Koushik / early Caribou

'The pastoral psychedelica of early Pink Floyd or the gently soaring vocals of Kishi Bashi are fair comparisons, though Ireland's songs are hazier and more diaphanous.' The Guardian

Jordan Ireland with Purple Orchestra (which is the name of the album and the name of the band) is the latest work from Jordan Ireland, former guitarist and songwriter of The Middle East. It follows his largely undiscovered debut solo album 'Temperate Touch & Tropical Tears' under the hard-to-google moniker 'Stolen Violin'.

The album comes as the result of two years spent recording between his home studio in Stanwell Park, and with Greg Walker (Machine Translations) just outside Melbourne. The process saw Ireland methodically build layer upon layer of intricate detail, each piece still founded on his deftly endearing songwriting. The result is nine enchanting, densely airy songs. Each piece, a different weave of drifting strings, african echoes, arhythmic strumming, the warm tolling of the hammer dulcimer, the deep creaky breaths of the pedal organ, muted piano and flute, and distant female voices constantly drifting in and out. It is a deep, considered cacophony which sees Ireland's muffled voice rarely come to the fore. It truly is a different album on every listen

Self-discovery doesn't come easy. It's usually a rite of passage to get burned before the wounds can heal and often takes a new perspective to truly understand yourself. 18 months and 10,000kms travelled since many needles first dropped on her debut LP Listen To Formation Look For The Signs, it's safe to say with new album Preservation, Nadia Reid now knows herself extremely well.

'Preservation' is about the point I started to love myself again. It is about strength, observation and sobriety,' Nadia says. 'It's about when I could see the future again. When the world was good again. When music was realised as my longest standing comfort.'

Through cavernous lows, blissful highs and globe-trotting adventures, music has been by Nadia's side the entire way. Whether in New Zealand's familiar rugged beaches and mountains, brutally windy Wellington, her hometown harbour Port Chalmers or the untrodden territory of faceless hotel rooms or the jungle in Kuala Lumpur, every episode of loss, heartbreak, and disappointment glimmers throughout. 'Travelling inspires me. I'm learning that things need to happen for the writing to come. Like making time to be alone with my guitar. I've grown to crave that. I almost like to starve myself of it to crave it.'

For some, being so far removed from all you know would be unsettling, but Nadia is keen to embrace the challenge of moving forwards in the face of uncertainty. 'This place of newness must be where all the good stuff happens,' Nadia reveals. 'An artist must be uncomfortable, must tour the world, and mustn't stay in her home-town for too long. I feel very happy and changed by my time abroad. I have fallen back in love with music, or perhaps learnt to trust her a little more. Often in times of exhaustion, confusion, and home-sickness, music has been the constant.'

An ode to self-reflection and self-betterment, Preservation is the sound of Nadia showing her true colours, taking back a bit of power, and learning more about herself. Deeply intellectual but felt by all, it punches harder than before. Nadia's beautifully warm vocals coolly wrap around feelings of turbulence, and exude a gently improved confidence. 'This record is about being OK with who I am in the world, and who I want to be. Learning to live with the fact I'm a person who operates differently to others,' admits Nadia. 'I'm richer for the fact I am a musician. Without this way of being, I couldn't write songs.'

Returning to the production skills of Ben Edwards in his Sitting Room studios and long term guitarist Sam Taylor, this time around everything is rubbed in more grit and channels Nadia's deftly profound take on life and whilst we already knew it, her own realisation that it is music which drives her. 'I remember recording the tracks, it was about 11 at night, and I felt almost transcendental, as if I was out of my body, singing these words to myself. That's what these songs are; a confession to my future and past self.'

Nadia has seen the world she once knew become a whole lot larger. Simply singing her truth has taken her to becoming acquainted with her Scottish and Irish heritage during her first full European tour, downtime with long-time sister-from-another-mister Aldous Harding and even making the odd award shortlist along the way (NZ's 2016 Taite Music Prize).

Rather than growth in its most typical sense of any artist finding their way in the world, Preservation marks a natural passing of time - what you pick up along the way is a bonus. 'Making music feels like a very natural expression for me - to record songs and mark time a little. Just like a painter needs to paint pictures.' Sometimes those home comforts can be found a little closer than you might think.

Self-discovery doesn't come easy. It's usually a rite of passage to get burned before the wounds can heal and often takes a new perspective to truly understand yourself. 18 months and 10,000kms travelled since many needles first dropped on her debut LP Listen To Formation Look For The Signs, it's safe to say with new album Preservation, Nadia Reid now knows herself extremely well.

'Preservation' is about the point I started to love myself again. It is about strength, observation and sobriety,' Nadia says. 'It's about when I could see the future again. When the world was good again. When music was realised as my longest standing comfort.'

Through cavernous lows, blissful highs and globe-trotting adventures, music has been by Nadia's side the entire way. Whether in New Zealand's familiar rugged beaches and mountains, brutally windy Wellington, her hometown harbour Port Chalmers or the untrodden territory of faceless hotel rooms or the jungle in Kuala Lumpur, every episode of loss, heartbreak, and disappointment glimmers throughout. 'Travelling inspires me. I'm learning that things need to happen for the writing to come. Like making time to be alone with my guitar. I've grown to crave that. I almost like to starve myself of it to crave it.'

For some, being so far removed from all you know would be unsettling, but Nadia is keen to embrace the challenge of moving forwards in the face of uncertainty. 'This place of newness must be where all the good stuff happens,' Nadia reveals. 'An artist must be uncomfortable, must tour the world, and mustn't stay in her home-town for too long. I feel very happy and changed by my time abroad. I have fallen back in love with music, or perhaps learnt to trust her a little more. Often in times of exhaustion, confusion, and home-sickness, music has been the constant.'

An ode to self-reflection and self-betterment, Preservation is the sound of Nadia showing her true colours, taking back a bit of power, and learning more about herself. Deeply intellectual but felt by all, it punches harder than before. Nadia's beautifully warm vocals coolly wrap around feelings of turbulence, and exude a gently improved confidence. 'This record is about being OK with who I am in the world, and who I want to be. Learning to live with the fact I'm a person who operates differently to others,' admits Nadia. 'I'm richer for the fact I am a musician. Without this way of being, I couldn't write songs.'

Returning to the production skills of Ben Edwards in his Sitting Room studios and long term guitarist Sam Taylor, this time around everything is rubbed in more grit and channels Nadia's deftly profound take on life and whilst we already knew it, her own realisation that it is music which drives her. 'I remember recording the tracks, it was about 11 at night, and I felt almost transcendental, as if I was out of my body, singing these words to myself. That's what these songs are; a confession to my future and past self.'

Nadia has seen the world she once knew become a whole lot larger. Simply singing her truth has taken her to becoming acquainted with her Scottish and Irish heritage during her first full European tour, downtime with long-time sister-from-another-mister Aldous Harding and even making the odd award shortlist along the way (NZ's 2016 Taite Music Prize).

Rather than growth in its most typical sense of any artist finding their way in the world, Preservation marks a natural passing of time - what you pick up along the way is a bonus. 'Making music feels like a very natural expression for me - to record songs and mark time a little. Just like a painter needs to paint pictures.' Sometimes those home comforts can be found a little closer than you might think.

2014 Aboriginal Juno nominee Amanda Rheaume enlists support from 2014 Juno Humanitarian Award winner Chantal Kreviazuk for a powerful statement about the role of intergenerational trauma and oppression in the crisis of missing and murdered Indigenous women. The song is called Red Dress,' it's the first single and signature song from Rheaume's brand new album, Holding Patterns, and it's a benefit for the Native Women's Association of Canada's Safety and Violence Prevention Program.

Written in a single evening and set to a gorgeous video featuring dancer Aria Evans, the song is, in part, a reaction to those who blame the victims themselves for the murders and disappearances - without considering how perceived high risk behaviors' such as sex work or substance abuse are the direct result of Canada's decades-long attempt at cultural genocide.

It was inspired by Amanda's disgust with the Cindy Gladue verdict and her participation in MMIWG rallies in Ottawa at a time when she was also beginning to reckon with her own family history - a process documented on her Juno-nominated album Keep a Fire.

That album was a collection of personal family stories, many told to her by her grandfather, the late Metis Member of Parliament Eugene Rheaume, and its title track described how Amanda's Ojibwe great grandmother and European great grandfather lived in exile in northern Manitoba, unwelcome in either the nearby white or First Nations communities.

With Red Dress,' Amanda makes the personal political, reflecting on how each disappeared woman has both a story of family struggle such as her own and a world of potential that was taken away.


About Amanda Rheaume

Possessed of a powerful, slightly gritty singing voice and an ear for catchy melodies and instantly-accessible roots-pop arrangements, Amanda won a 2014 Canadian Folk Music Award for Aboriginal Songwriter of the Year and was nominated for a Juno. She has also been shortlisted for the Council for the Arts in Ottawa's RBC Emerging Artist Award.

She began releasing EPs in 2007 and, the following year, received a massive endorsement when she won $40,000 in Live 88.5's 2008 Big Money Shot competition.

She quickly earned a reputation around Ottawa as a generous community-oriented artist and leader who co-organized the Babes for Breasts concerts and recording projects; spearheaded Ottawa's Bluebird North songwriter showcases; performed for the troops in Afghanistan three times; raised money for the families of military personnel, and sold 6500 copies of a Christmas EP in Ottawa alone to raise money for Boys and Girls Clubs of Ottawa.

With the release of Holding Patterns Amanda continues a long history of raising money and advocating change through her work as an artist - and this time, it's personal.

Irma Vep is a loner, a joker, a roamer, a ribald construct riddled with both earnest anxiety and mercurial songwriting talent birthed by a young Edwin Stevens in Llanfairfechan, North Wales. Having since fully grown into Irma Vep and now residing in Manchester, Stevens' discography has expanded to document every aspect of his music, from ecstatically free group experiments to bare, sparse songwriting that cuts to the quick, shorn of ornament or pretence. No Handshake Blues is a homage to Llanfairfechan (Transylfechan to the locals).

Having bedded down into Manchester's bourgeoning DIY scene, Stevens moonlights in several other groups (Sex Hands, Klaus Kinski, Desmadrados Soldados De Ventura, Yerba Mansa...), bringing with him an instantly recognisable guitar language. However it's in Irma Vep that his most life-affirming, troubling and thrilling music is made. Much Irma Vep feels like what "classic" music should feel like if it weren't so Classic. Each record, each song and each performance exists as an evolving drama.

Edwin has toured the West Coast of America after being invited by Chris Johanson to play his Quiet Music Festival of Seattle and Portland. BBC 6 Music regularly spin his work. He tours the UK and Europe butt loads'. Somehow he also finds time to run a tape label and put on gigs in Manchester under the 'Very Bon" moniker. Irma Vep performs solo, and also expands to a full band that includes Manchester legends DBH, Andrew Cheetham, Dave Rowe, Kiran Leonard and Dylan Hughes.

In January, 2004, Sébastien Tellier released Politics, an ambitious album which preaches the defense of the oppressed peoples, in a luxurious dressing. The Press ignites, but we take him for an original elitist. Nevertheless, La Ritournelle is a piece which whole France knows without knowing who sing it.

In September, 2005, taken by its Ritournelle which the Manche by swimming, the same album goes out to United Kingdom with crash. "Epic, gorgeous dance track we can't, can't, can't stop playing", The Sunday Times, October 2005.

Sébastien Tellier's lives reach a kind of artistic summit, model of intensity and perusal. It is from this control that came the idea to record, on December 30th, 2005, an acoustic session of its directory accompanied with the pianist Simon Dalmais.

The fruit of this session gives exactly the album 'Sessions', intimate and direct. 'Sessions' is a collection of timeless pieces, stemming from its directory, in the right lined by the authors / composers / interpreters who mark their period. In bonus of this recording produced as an album studio by Alf (Air, Phoenix), Sébastien Tellier recorded a resumption of 'Christophe's Dolce Vita', as well as an instrumental unpublished one 'Classic'.

Sébastien Tellier, the first signing to Record Makers, returned after his 2001 "L'Incroyable Vérité" album and his appearance on the soundtrack to Sofia Coppola's "Lost In Translation" with "Politics", a stunning eleven-track CD of almost indescribable cinematic and uplifting music.

Produced in Paris by the legendary Philip Zdar (Cassius, Etienne de Crecy), "Politics" is an uncompromising album featuring contributions from artists as diverse as Tony Allen (Fela Kuti), Quentin Dupieux (aka Mr Oizo) and the Bulgarian Symphony Orchestra.

"Bye-Bye", the first track on the album was originally written as part of the score for Sebastien's starring role in the Quentin Dupieux directed file "Nonfilm", with Tony Allen striking the perfect chord for 'Bye-Bye's rhythms. However after 'Bye-Bye' everything came together for the album - and Tellier began composing music in Phillippe Zdar's studios at 84 Rue Des Martyrs, Paris.

"Let's give the minorities their say, and show the way to those who have forgotten the roots of our planet's problems! The East Germans should know, and the wetbacks, and those who work themselves into the ground! Say no to stylistic controls, don't fight the rhythm - Tony Allen will be there to support me along with the rest of them", he said.

And that's what happened: the troops stormed in to defend the Native Americans ("Ketchup Vs Genocide"), the Mexicans ("League Chicanos"), two Africas, one idealized and one torn by civil war ("Wonderafrica" and "La Tuerie"), and a sporty East German who actually misses the Berlin Wall because she hasn't been able to play solo tennis since it's collapse ("Mauer") - in short, the oppressed were finally given a voice and re-ushered into a very personal but also universal "POLITICS".

This voice is magnified by open, melodious music that is unfettered and full of pleasure. With 'Politics' we blissfully sing of the pleasures of eating bananas under the sun, or of making love with the moonlight. It's that simple. Under Tellier the oppressed fought valiantly in the Martyr Road Studios, right up until 31st May 2003, when Paris' 18th arrondisement was itself stormed - by freak hail, which destroyed all of the artist's equipment. Only the master tapes remained, which, then dripping wet, he was grateful to pass onto Phillippe Zdar for the genial mix that is now 'Politics'.

The Guelewar Band of Banjul are a band quite unlike any other - an explosive mix of soul and funk with local rhythms like Boogaraboo and Ndaga combined with a defiant insistence on singing in their local language, Wolof. They certainly blew a young Youssou N'dour away. He cites them as his biggest influence. Warteef Jigeen marks the point the band found its groove. The title track sets the tone early with parping horns and psychedelic guitar licks. 'N.T.C. The Gambia' and 'Jilana' seamlessly blend traditional percussion and plaintive sax. 'Leen Te Koun' and 'President Diawara' showcase some of the freakiest synth ever to come out of West Africa. It was Laye Ngom's decision as bandleader to draft in his cousin as singer that elevates Warteef Jigeen. Moussa Ngom had paid his dues singing at traditional circumcision ceremonies and his rough, expressive vocals bring a level of melancholy and intensity to the album. It's a melancholy and intensity that can only come from years of watching young boys take this painful journey to Gambian manhood, a journey, in a way, that Guelewar Band Of Banjul made on Warteef Jigeen.

The Guelewar Band of Banjul are a band quite unlike any other - an explosive mix of soul and funk with local rhythms like Boogaraboo and Ndaga combined with a defiant insistence on singing in their local language, Wolof. They certainly blew a young Youssou N'dour away. He cites them as his biggest influence. Warteef Jigeen marks the point the band found its groove. The title track sets the tone early with parping horns and psychedelic guitar licks. 'N.T.C. The Gambia' and 'Jilana' seamlessly blend traditional percussion and plaintive sax. 'Leen Te Koun' and 'President Diawara' showcase some of the freakiest synth ever to come out of West Africa. It was Laye Ngom's decision as bandleader to draft in his cousin as singer that elevates Warteef Jigeen. Moussa Ngom had paid his dues singing at traditional circumcision ceremonies and his rough, expressive vocals bring a level of melancholy and intensity to the album. It's a melancholy and intensity that can only come from years of watching young boys take this painful journey to Gambian manhood, a journey, in a way, that Guelewar Band Of Banjul made on Warteef Jigeen.

The latest project from two-thirds of Saint Etienne is a compact disc and deluxe double LP of English music that represented the transition from psychedelia to prog as the 60s moved into the 70s. Most of it is not an easy listen, but it's always interesting, melodic, melancholy, with jazz and folk touches.

While America may have licked its wounds at the turn of the seventies by turning to singer-songwriters, purveyors of homilies like teach your children well', Britain wasn't so ready to give up the trappings of psychedelia. And while the UK counterculture may have shed its faith in something bigger', it wasn't about to chuck out the mellotron.

This is how the day after the sixties felt: damp, fuzzy-headed, neither optimistic nor pessimistic but more than a little lost. British bands would mirror the ennui of the new decade with a new kind of music.

Lavishly put together, with two of Peter Mitchell's iconic photographs of 1970's Leeds.

The double LP is on 180g clear vinyl with a heavy card sleeve.

MATT ELLIOTT has rather an atypical course... He used to work under the pseudo THIRD EYE FOUNDATION - emblematic figure of the English electronic scene acclaimed for his atypical electro tinted drum' N bass. Since his first albums: The Mess We Made' (Domino Records) and Drinking Songs' (Ici d'ailleurs...), Matt Elliott turns to much more folk compositions, forsaking laptop and machines altogether - which will even disappear on Failing Songs', to return to more traditional instruments (guitar, piano, violin...).With his second album, he translates his former works' dark and oppressive atmospheres. "Drinking songs" puts an emphasis on distant voices and ethereal ambiences. Guitars and keyboards are getting softer, almost affectionate, sometimes overwhelmed by drum n' bass beats that carry the song upward. Choirs and echoes give an almost mystical dimension to the album. All the songs hold the audience spellbound.Because it's really about songs.

Failing songs' turns MATT ELLIOTT into a true songwriter, songs whose subtle melodies contrast with the hardness of the words. Between despair and cold anger, the texts talk about the liberal military evolution of the world that the author rejects. The titles are as sublime as melancholic, bitter and sad, impressed by Slavic music, Greek, and besides, sometimes punctuated of Spanish guitars. A sad music's party which however reduces the heart of its listeners... ''Elliott has drawn further inspiration from Eastern European folk and cabaret music, his stately compositions achieving a melancholic drama similar to Tom Waits or the Bad Seeds at their most theatrically downtrodden.'' Pitchfork Media.

"The first collection contains the best songs of the duo known internationally which is celebrating 20 years since the victory of the Sanremo Festival, fourth place in the Eurovision Song Contest, already entered the Billboard charts, and American Airlines USA playlist. Inside the exclusive ""Fiumi di Parole"" Kizelectro version. Italian melodies, captivating sounds of everyday life texts blend with the beautiful song of Alessandra Drusian and international flavor arrangements of Fabio Ricci recounting the artistic career of the couple on stage and in life"

Remastered version for the 2001 Album, with two extra tracks: "Piu' ci penso" and "Non si puo' morire dentro" , 2 big Marcella's hits !!!

New collection for this italian songwriter Peppino di Capri for this Christmas 2016. A traditional appointment with his audience. It contains 4 new unreleased tunes !!!

Songwriter and pianist, offers a CD taken from his concert-theatrical sacred. 16 tracks that invite to reflection on some words with which the world of faith has often assiduity ', but also important to repeat as a daily path of secular ethics. In the large booklet texts of monologues of the show.

Cowboy in Sweden, the soundtrack to the 1970 cult classic film of the same name, is quite possibly the purest distillation of the Hazlewood sound, lush melancholy country pop with a pinch of humor
Lee Hazlewood spent a good part of the late 1960s traveling the globe, cutting records and inking business deals. A string of hits with Nancy Sinatra enabled Lee to build a mini media empire Lee Hazlewood Industries and afforded him nearly unlimited resources...for a time. By the end of the decade LHI Records had burned piles of cash, gone through a half dozen distributors and failed to achieve the kind of chart success Boots" had promised.

Fortunately for Lee there was a land where he was still on the top of the charts, a place where women flowed like Brannvin...Sweden was calling.

While on an LHI promotional tour in Stockholm, Lee crossed paths with Swedish director Torbjörn Axelman. I met Lee through my script girl, in Stockholm in 1969,' remembers Axelman. "We noticed we had very many similarities, interests, and the same backgrounds. It led to many productions during our 38 years of close partnership and friendship.' The partnership showed Lee the way forward and allowed him an easy exit strategy from the LHI house of cards that was crumbling in Los Angeles.

Light In The Attic records continues its Lee Hazlewood series with this expanded reissue of Cowboy in Sweden. Released as the last LHI LP, Cowboy in Sweden was a soundtrack to the 1970 cult classic film of the same name starring Lee Hazlewood. The film was a surreal psychedelic account of Lee's journey to his new homeland, while the soundtrack was a perfect compilation of Hazlewood's strongest songs recorded over a prolific globe trotting three year period. The production scope of the album was the most ambitious of his career, recorded in Paris, London, Los Angeles and Stockholm with a slew of talented session musicians, producers and arrangers.

Cowboy in Sweden is quite possibly the purest distillation of the Hazlewood sound, lush melancholy country pop with a pinch of humor ("Pray Them Bars Away"), a dash of bummer ("Cold Hard Times'), some beautiful ladies to sing with ( Leather & Lace' & Hey Cowboy') and even a couple anti-war protest songs to be topical ("No Train to Stockholm' & For A Day Like Today'). The David Bitter Sweet Symphony' Whitaker arranged orchestral pop of What's More I Don't Need Her' and the stone cold Hazlewood classic The Night Before' cement the album as Lee's peak on LHI records and ironically the label's swan song.

Clear Vinyl LP in gatefold sleeve, limited to 500

Hurled in to turmoil as a result of being turfed out his rented flat and eager to flee the clamor & turbulence of the city, Lomond Campbell gave up on urban life and decided to move in to a decrepit, asbestos-ridden school deep in the rural highlands of Scotland. His plan was simple: turn this dog-eared, orphan building that nobody wanted into his recording studio. Cautiously setting audio equipment up between the drips from the dilapidated roof, he began work on his debut album.

Black River Promise charts this transition from white noise to near-silence and sees him reflecting on his new environment amongst the imagery of the lyrics. The title track is a yearning plea to an enigmatic 'black river' to honour a contract to carry him 'to the mouth of the sea', The Misery Bell describes the propagating waves of despondence hunting down the next victim in amongst the 'hollows and hills'.

Brutes in Life showcases Campbell's proclivity for a pop melody - a trait always apparent as chief songwriter in music/art collective FOUND, further seen in The Lengths and Every Florist In Every Town, both blissfully celebrating calamitous relationships. A cover of Nuala Kennedy's Coal Daughter tears deeper into the landscape followed faithfully by tragic closer Hurl Them Further.

The record includes two instrumentals - Fallen Stag climbs from a whisper to a swashbuckling roar and Acharacle heckles and growls with equal parts menace and melancholy. Both were recorded live in a 500 year old castle, along with the Pumpkinseeds, a 10 piece string ensemble assembled by cellist/arranger Pete Harvey (King Creosote, Modern Studies, The Leg).

Originally asked by Campbell to throw together a few chord swells', Harvey found himself writing evocative, spiraling arrangements that would come to span the entire breadth of the album. Harvey's complex string compositions mesh with Campbell's Takoma Records inspired cyclical guitar playing to create an impressionistic highland eeriness which pays homage to Forever Changes, Five Leaves Left and Sea Change

Hurled in to turmoil as a result of being turfed out his rented flat and eager to flee the clamor & turbulence of the city, Lomond Campbell gave up on urban life and decided to move in to a decrepit, asbestos-ridden school deep in the rural highlands of Scotland. His plan was simple: turn this dog-eared, orphan building that nobody wanted into his recording studio. Cautiously setting audio equipment up between the drips from the dilapidated roof, he began work on his debut album.

Black River Promise charts this transition from white noise to near-silence and sees him reflecting on his new environment amongst the imagery of the lyrics. The title track is a yearning plea to an enigmatic 'black river' to honour a contract to carry him 'to the mouth of the sea', The Misery Bell describes the propagating waves of despondence hunting down the next victim in amongst the 'hollows and hills'.

Brutes in Life showcases Campbell's proclivity for a pop melody - a trait always apparent as chief songwriter in music/art collective FOUND, further seen in The Lengths and Every Florist In Every Town, both blissfully celebrating calamitous relationships. A cover of Nuala Kennedy's Coal Daughter tears deeper into the landscape followed faithfully by tragic closer Hurl Them Further.

The record includes two instrumentals - Fallen Stag climbs from a whisper to a swashbuckling roar and Acharacle heckles and growls with equal parts menace and melancholy. Both were recorded live in a 500 year old castle, along with the Pumpkinseeds, a 10 piece string ensemble assembled by cellist/arranger Pete Harvey (King Creosote, Modern Studies, The Leg).

Originally asked by Campbell to throw together a few chord swells', Harvey found himself writing evocative, spiraling arrangements that would come to span the entire breadth of the album. Harvey's complex string compositions mesh with Campbell's Takoma Records inspired cyclical guitar playing to create an impressionistic highland eeriness which pays homage to Forever Changes, Five Leaves Left and Sea Change

7"

A wonderful 7" from Luca Nieri released at the same time as his new mini album 'Luca Nieri'. The 7" contains one new album track (B Side - Milk and Honey) ans one track from his debut album 'Music From The Dark Branches' (A Side - Hummingbird).

An air of restless individuality has surrounded almost every step in the hermitic history of Wonderfulsound's The Monks Kitchen (Luca Nieri's full band project) and their most industrious and versatile member, illustrator, tattooist, producer and multi-instrumentalist Luca Nieri is no exception.

A humble duo of songs fittingly recorded entirely at home, with Nieri playing every instrument. The soundscape exists in a cosmos, textured and beautifully melancholy.

An air of restless individuality has surrounded almost every step in the hermitic history of Wonderfulsound's The Monks Kitchen (Luca Nieri's full band project) and their most industrious and versatile member, illustrator, tattooist, producer and multi-instrumentalist Luca Nieri is no exception.

This, his second solo album, is a humble collection of songs fittingly recorded entirely at home, with Nieri playing every instrument. The soundscape exists in a cosmos, textured and beautifully melancholy, switching effortlessly from self-penned Morricone-esque instrumentals to folk standards, with songs by Jackson C Frank and The Pentangle.

A 7" single containing new album track 'Milk and Honey' plus previous album track 'Hummingbird' will be released at the same time as the album.

This is 50% reissue, 50% new material: Released as of a Tape, now Vinyl. This edition does not feature the original Children of Alice 'Harbinger of Spring' piece. Instead Dean Mcphee has produced a new set of recordings and research based on the Devonshire lore and legends of the nightingale, robin and blackbird).
The magpies call, outside the window: a death rattle inside the skull.

An emissary of death even in avian lore, let alone human. If, as has been reckoned, magpies have the capacity for grief- therefore perhaps the capacity for ritual- might they also possess yet other powers Enact rites our occluded minds fail to comprehend

Let alone human. Let alone, human. Let us enter the minds of mags, crows, 'daws. Transpierce their skulls so their deaths, lives and secrets may rattle the louder inside our own.
The cackle of the jackdaw, betraying runes of rut so unseemly a libertine would blush. With no moral code to transgress, the 'daw's perversity knows no bounds. Would you like to know more This is neither the time nor the place. Oh, just this tidbit then: there is a single erogenous feather about the male 'daw's nether quarters. Locating this feather, the female plucks and the male, sprouting female organs, seeds itself purely for pleasure.

By the by. A green-eyed lady, proprietor of a shop brimming over only with woollen things, kept a 'daw about her person. By day it would perch upon her shoulder, whispering its filthy secrets. Her jumpers a mess of dandruff and dejecta, she would let it its freedom at night, only for it to return ever-faithful in the morning. The green-eyed lady wondered sometimes as to the 'daw's twilit whereabouts. She need have feared. Taking woollens from her shop, the jackdaw had secreted these near the scenes of murders far and wide across the land. One day, there was a knock at the green-eyed ladies door...
Crows, shape-shifters all...From egghatch they lay claim to a preternatural grasp of language. Not only of its own kind, nor solely its avian fellows, but of every species it espies. In turn, this gift allows the crow, through incantation, to transmute at will. It thus passes unnoticed among our kind. Look about you: this or that person may be harbouring crow's wings, and you will never know.

Seven's the De'il his ane sel': In the famine months, the magpies gather together in number. This is not, as is often supposed, a prospective meeting for marriage. Rather, it foretells an untimely ushering into the next life of one unfortunate among them. But not before a feast in their honour: the horror being for this unfortunate one, that he or she will be forced to feast upon themselves. The death rattle of magpies in unison: cruel, necrotic call into the hereafter.

Cowboy in Sweden, the soundtrack to the 1970 cult classic film of the same name, is quite possibly the purest distillation of the Hazlewood sound, lush melancholy country pop with a pinch of humor
Lee Hazlewood spent a good part of the late 1960s traveling the globe, cutting records and inking business deals. A string of hits with Nancy Sinatra enabled Lee to build a mini media empire Lee Hazlewood Industries and afforded him nearly unlimited resources...for a time. By the end of the decade LHI Records had burned piles of cash, gone through a half dozen distributors and failed to achieve the kind of chart success Boots" had promised.

Fortunately for Lee there was a land where he was still on the top of the charts, a place where women flowed like Brannvin...Sweden was calling.

While on an LHI promotional tour in Stockholm, Lee crossed paths with Swedish director Torbjörn Axelman. I met Lee through my script girl, in Stockholm in 1969,' remembers Axelman. "We noticed we had very many similarities, interests, and the same backgrounds. It led to many productions during our 38 years of close partnership and friendship.' The partnership showed Lee the way forward and allowed him an easy exit strategy from the LHI house of cards that was crumbling in Los Angeles.

Light In The Attic records continues its Lee Hazlewood series with this expanded reissue of Cowboy in Sweden. Released as the last LHI LP, Cowboy in Sweden was a soundtrack to the 1970 cult classic film of the same name starring Lee Hazlewood. The film was a surreal psychedelic account of Lee's journey to his new homeland, while the soundtrack was a perfect compilation of Hazlewood's strongest songs recorded over a prolific globe trotting three year period. The production scope of the album was the most ambitious of his career, recorded in Paris, London, Los Angeles and Stockholm with a slew of talented session musicians, producers and arrangers.

Cowboy in Sweden is quite possibly the purest distillation of the Hazlewood sound, lush melancholy country pop with a pinch of humor ("Pray Them Bars Away"), a dash of bummer ("Cold Hard Times'), some beautiful ladies to sing with ( Leather & Lace' & Hey Cowboy') and even a couple anti-war protest songs to be topical ("No Train to Stockholm' & For A Day Like Today'). The David Bitter Sweet Symphony' Whitaker arranged orchestral pop of What's More I Don't Need Her' and the stone cold Hazlewood classic The Night Before' cement the album as Lee's peak on LHI records and ironically the label's swan song.

Originally issued in 1971 by Nepentha Records—presided over by Kinks/Troggs manager Larry Page—Into Your Ears is the sole full-length offering from Honeybus founder member Pete Dello (assisted by a coterie of close friends).The album is a wonderful, timeless work of incisive, plaintive folk-pop balladry and buoyant, idiosyncratic creations, led along by Dello's honeyed voice (which eases effortlessly into falsetto) and expertly executed arrangements featuring minor orchestrations.



Into Your Ears represents the zenith of Dello's songwriting, comprised primarily of tunes written specifically for this project (supplemented by a few tracks intended for Honeybus which were re-cut for the occasion). The songwriting reflects a jovial playfulness, but also feelings of intense lovelorn longing, hope, wistfulness and moments that could serve as a great soundtrack to a break-up (with the brightness of delivery never making them ache with depression).



Everything on Into Your Ears comes from personal life experiences, even if twisted through a unique prism, with the deep emotions, whimsical moments and orchestration that never clutters the arrangements all achieving perfect balance. But, above all, the songs resonate with a pure dedication to pop' and beckon you to listen in repetition, until they're at one with your very existence. There's something present, timeless and at times nearly indescribable about this very special set of songs that can't be pinpointed by simple equation.



Widely regarded by Honeybus fans, '60s-'70s collectors and anyone who's happened into its beatific orbit, Into Your Ears is a lost classic deserving of further exposure.



RIYL: Ray Brooks, Duncan Browne, John Cale's Paris 1919, Ray Davies (The Kinks), Bill Fay, Nick Garrie, the early careers of Ralph McTell and Clifford T. Ward, etc

Breezy Sunshine-Pop / Soft-Rock / Psych-Pop from California, 1970, featuring Peter Clark a.k.a Chet DeMilo.

Crystal clear recording, awesome vocal harmonies, superb musicianship, bossa & blue-eyed-soul-jazz touches,folk-rock moves...

In 1969 Chet Demilo was appearing at Donkin's Inn, Marina Del Rey, where he met Arnie Marcus and Ray Hames, who together were to become part of an incredible slice of history. Donkin's became the hottest and most famous destination in Southern California for the next seven years, and Chet was the magnet that started the new singles scene in Los Angeles with Marina Del Rey as ground zero.

Arnie sat in on bongos with Chet from time to time, and Ray, who was managing an apartment complex that housed 200 flight attendants, just happened to have a unit available!! Chet moved in, and he and Ray started working on songs together. Chet suggested forming a vocal group with Arnie and SST was born. For three months they practiced the intricate vocal harmonies and in early 1970 cut the album, "Soft Soul Transition". A thousand records were pressed, and an album release party was held at Donkins where SST gave their one and only performance that night!

There was interest in the project at Burt Bacharach's Blue Seas Music, but it was not to be and SST faded away...until more than 20 years later when the SST album was discovered by a new generation of DJs and collectors looking for cool and groovy sounds from the 60s-70s.

*First ever legit vinyl reissue of this elusive US private pressing
*Master tape sound
*One bonus track from 1970, previously unreleased on vinyl
*Insert with detailed liner notes by Jon Mojo' Mills (Shindig!) plus rare photos
*Housed in old-school-style tip-on sleeve
RIYL: Strawberry Alarm Clock, Roger Nichols, Mark Eric, Free Design, Alzo & Udine, The Cyrkle, Harper's Bizarre, Beach Boys, The Association, The Carpenters, Sergio Mendes...
...Housed in a cover which perfectly fits the music Soft Soul Transition is yet another one of those curios that slipped out without fuss but now joins hundreds of other rare gems that whilst never part of the period's underground have a charm of their own. It will merit repeated listens from genre fans of soft-psych and sunshine pop...' - Jon Mojo' Mills (Shindig!)