Suche:moon steel 3

2026 Repress

Gaudi’s Jazz Gone Dub is a masterclass in genre fusion, seamlessly blending the improvisational essence of jazz with the heavy atmospheric grooves of dub. Known for his eclectic approach to music production, Gaudi pushes the boundaries yet again, creating a sonic landscape that feels both nostalgic and refreshingly innovative.

Four years in the making, from the opening track it’s clear that Jazz Gone Dub is more than just a mashup of styles—it's a thoughtful exploration of the intersections between two rich musical traditions.

Gaudi’s multi-instrumental talents are on full display, and the presence of reggae royalty is palpable, courtesy of rootsy melodies from David Hinds (Steel Pulse), Jah Wobble’s iconic bass grooves, Ernest Ranglin’s intricate guitar lines and Sly & Robbie’s rhythmic genius. Add Sardinia’s Train to Roots band, Manu Chao collaborator Roy Paci, veteran guitarist Marcus Upbeat, Mr Woodnote and Tim Hutton’s brass work, Gavin Tate-Lovery’s sultry sax and flute, Horseman’s percussive flair plus Colin Edwin and Vlastur’s serious basslines, and the
result is a rhythmic foundation that’s both solid and fluid, allowing the jazz elements to float freely above the dub undercurrents.

Despite this star-studded line-up, Gaudi remains the glue that holds this gem together: his production is meticulous yet organic, allowing each track to breathe and evolve naturally. The use of space, delays and reverb—a hallmark of dub music—is expertly handled, giving the album a dreamy, immersive quality. Tracks like Susceptible and Alabaster Moon showcase Gaudi’s ability to create mood and atmosphere without sacrificing melodic and rhythmic complexity.

In Jazz Gone Dub Gaudi has crafted an album that feels both timeless and forward-thinking, a celebration of musical synergy where the free-spirit of jazz meets the deep resonance of dub. Whether you’re a fan of either genre or simply appreciate masterful musicianship and innovative production, this album is a must-listen.

‘Açid Blüüs Räägs Vol.2’ is the latest evolution of the sound of last year’s Volume 1. The debut album was described by Joe Banks for Shindig! Magazine as; “Shivering slabs of drone blues transcendentalism…a burning junkyard of sheet metal blues… Hot stuff.” Volume 2 builds on the skronk blues guitar, sax and electronic drones of it’s predecessor, to explore cosmic free jazz, concrete exotica and dub, channelling influences of Moondog, Terry Riley, 75 Dollar Bill and Wolf Eyes. Playing like the imagined film soundtracks to a dystopian, re-wilded, post eco crash world in the style of Tarkovsky's ‘Stalker’ and ’Solaris’, Jodorowsky's surreal desert western ‘El Topo’, or the early novels of JG Ballard. This new collection sees the addition of minimal analogue drum machine loops as well as live instrumental contributions from the new players of the ever evolving Invocation band, plus some superstar guest contributors.
Featuring five brand new tracks, including the forthcoming single; ‘Cosmic Fanfare’, has already picked up BBC 6 Music support from Gideon Coe. The new album was mixed by Alex McGowan (aka Captain Future) of Space Eko Studios and features Invocation band regulars Rick Jensen of Apocalypse Jazz Unit, Skronk and Oneirologist on sax and bass clarinet, Will Emms aka Tiki Eerie on melodica, horns and claviola, plus special guest appearances from Duke Garwood on clarinet and Mikey 'Moondog' Chestnut of Snapped Ankles on bass synth. “….Acid fried kosmiche blues meets drone raag transcendentalism”. Jonny Halifax is a primitivist free blues outsider, sonic shaman of the acid fuzzed lap steel guitar, demented blower of the howling harmonica of doom. His new band project now combines avant swamp blues heaviosity with kosmic free jazz experimentalism in a fluid collective of godless raag brut improvisations - sonic visions of an hallucinatory apocalyptic near future. Inspired by Henry Flynt’s avant bluegrass experiments fusing country blues with eastern acoustic musical stylings, Spacemen 3’s contemporary sitar music, and the monolithic drone doom immersion of Sunn 0))), THE JONNY HALIFAX INVOCATION build hypnotic instrumental soundscapes using lap steel and homemade slide guitars, harmonica and alto sax. Underpinned by layers of acoustic and electronic drone instruments and fed through an arsenal of pedalboard electronics that would make Kevin Shields weep, the blues are transmogrified, unhinged, reduced and re-imagined as intoxicating, trance-inducing, feedback-drenched noise paintings. THE JONNY HALIFAX INVOCATION follows Jonny’s junkshop skronk blues one man band Honkeyfinger, and the Julian Cope endorsed gospel fuzz psychedelia of Jonny Halifax & The Howling Truth, whilst not forgetting his ambient drone metal side project; Deathenteredinerror. His musical CV also includes studio contributions to tracks by Andrew Weatherall’s Two Lone Swordsmen, UK metal behemoths Orange Goblin, Heck and Melting Hand.

For the first time since its inception 36 years ago, Steve Hiett’s elusive Down On The Road By The Beach is finally made available outside of Japan. Most recognized in the fashion sphere as an English photographer and graphic designer, Hiett‘s transportive audio portraits amplify his serpentine guitar to the infinite blue, recorded across Paris, Tokyo and New York with no coastline in sight. Now widely celebrated as a desert island disc, very little is actually known of its unfathomable genesis.

A career devotee of Brian Wilson’s ground breaking harmonies, Hiett shot The Beach Boys for Rolling Stone - as well as The Doors, Miles Davis and Jimi Hendrix (in one of his final performances at the 1970 Isle Of Wight Festival) - while establishing himself as a fashion photographer. Decamping to Paris in 1972, he began what would become 20-year collaborations with Vogue Paris and Marie Claire, printing his signature warm, saturated and vibrantly hued snapshots.

In 1982, representatives from Tokyo’s Galerie Watari visited him to propose a solo exhibition. Asking if he could insert a 7” of original music into the back of the exhibition catalogue, Hiett laid down ‘Blue Beach - Welcome To Your Beach’ in a Parisian radio station, playing all of the instruments himself, and two more cuts in New York with Yoko Ono, The Doobie Brothers and Steely Dan hired-gun Elliot Randall. Once dispatched, the phone began ringing off the hook with requests for him to fly to Tokyo. Assuming these long-distance callers were wanting him to check proofs for the book, it wasn’t until he arrived that he discovered CBS/Sony had facilitated an entire album. Heitt hastily gripped some petty cash, bought a guitar and retreated to his hotel room to start writing.

Entering the studio the following day, he was further surprised by a waiting room of session players known as Moonriders - one of Japan’s most acclaimed rock bands of the 1980s. Intimidated by their indecipherable sheet music, Hiett suggested Randall join them and with money being no object for major labels at the time, his wingman was on the next plane out of New York to finalise the high production indulgence. Near-ambient arrangements that float in a space between The Durutti Column, Steve Cropper and Ashra, Down On The Road By The Beach also crowns Hiett the master of recontextualization with his zero-gravity blues visions of Roll Over Beethoven, Santo & Johnny’s Sleep Walk and the 1967 Eddie Floyd soul hit Never Found A Girl.

Produced in coordination between Be With, Efficient Space and the artist, this definitive reissue is restored from original masters with vivid reproductions of the Down On The Road By The Beach exhibition catalogue, intended to accompany its original release, and extensive liner notes penned by fellow Steve Hiett obsessive Mikey IQ Jones.

Red hot Italian DJ and production collective Aura Safari is back with a second full-length album, Island Dreams. It lands on Hell Yeah Recordings on September 15th and is another live and sun-kissed odyssey through balmy Mediterranean evenings, gorgeous sundown sessions and funky analogue grooves.

Andrea Moretti, Lorenzo Lavoratori, Daniele Melloni, Nicholas Iammatteo, Lorenzo Francioli, Ruggero Bonucci and Nicola Pitassio are Aura Safari, and between them they play drums, percussion, bass, keys, and guitar. They contributed to the first volume of the Buena Onda compilation in 2020 on this label, a year after serving up a debut album on London's Church Records. Since then they have become ever more entrenched in their local scene in Perugia, playing summer sets at the Umbria Jazz Festival, winter warmers at the legendary Red Zone Club and host their own Tropical Climax parties each month in the town centre.

Aura Safari are also deep-digging music collectors who have extensive and far-reaching tastes. When cooking up their sounds they draw on everything from Afro to Italo, house to disco, 80s boogie to world music, jazz and Balearic beats. This new album shows that once more across four sides of vinyl that sweep you up and transport you to somewhere idyllic.

The title track kicks off with steamy Mediterranean grooves embellished with lush Rhodes chords and sprinkles of cosmic magic. 'Sur Mon Balconnet' then slips into dubbed-out disco territory with 80s synths and leggy drums while 'Riserva Naturale' is a new-age jazz house sound with majestic lead synths and heart-melting chords that speak of a sunset dance on the beach. 'Onda' has squelchy boogie bass with hip-swinging drums, 'Wave Riding' is a lo-fi funk excursion with hints of West Coast Californian swagger and 'Magic Malbe' is loose-limbed Balearica with clear blue skies and blissed-out chords.

'Dancing in the Moonlight' feat. Zeke Manyika has all the vibrant feelings of bubblegum pop with Afro vocals and steel drum sounds next to rich xylophone sounds. There is plenty of heat and exotic charm to the proto-Afro house of 'Tropical Climax' and as well as dub versions of 'Sur Mon Balconnet' and 'Dancing in the Moonlight' come the scuffed-up Dam-Funk style beats and boogie of 'Disco Mantra' before closer 'Patagonia' shuts down with elastic drums and bass and playful synth leads that send you home wanting more.

Island Dreams is a tropical escape to a rich world of fusion sounds that look back to go forwards. It's a feel-good record to accompany hot nights and lazy afternoons, cocktails at dusk and dancing till dawn.

Conceived as a return to the music that shaped his formative years, the project draws its energy from late-night introspection, creative renewal, and a distinctly crepuscular sensibility. Initially conceived as a solo project, LOCUS NOIR is set to evolve into a fully-fledged band . Musically, LOCUS NOIR blends Type O Negative gloom, The Fields of the Nephilim mysticism, and Paradise Lost melancholy, all infused with a post- punk edge.

The result is a sound that feels both contemporary and timeless -- a modern interpretation of what Gothic Metal can be. On debut album 'Shadow Sun' , band main songwriter and vocalist Ben steps fully into a melodic, haunting vocal register, merging the theatrical delivery of Peter Murphy with subtle echoes of the late Peter Steele. The lyrics move between the esoteric and the intimate: love and death, desire and decay, nocturnal excess and the bitter aftertaste of parties stretching well past dawn.

"We're in the joy business," says frontman Ketch Secor, who launched the Grammywinning band in 1998. "From the very start, a lot of the virtues of Christmas -- the revelry, the singalongs, the happiness -- have been present in our show." Nowhere is that more apparent than OCMS XMAS , the group's first holiday album. Decorated with seasonal spirit and string-band stomp, it's the rare breed of Christmas record that packs a punch all year long, shining new light on the band's chart-topping version of American roots music. Old Crow Medicine Show aren't just reinterpreting their favorite yuletide standards; they're adding new songs to the canon, too, from "Jolly Man" -- a country-blues number inspired by Mississippi John Hurt and laced with harmonica, sleigh bells, and resonator guitar -- to the Zydeco- flavored "All About A Baby." They're telling fresh stories, too. On "Corn Whiskey Christmas," a bootlegger drives his Chevrolet through the snow on Christmas Eve, bringing moonshine to those craving a cup of cheer. On the John Prine-worthy "Bethlehem, PA" -- a sly reimagining of Jesus' birth story, with lyrics that substitute Steel Country for Jerusalem -- the band heads to the Keystone State to witness the Nativity, making stops at Wawa and Motel 6 along the way.

"Grandpa's Gone" grapples with the loss of a family figure during the holiday season, while the wicked "Krampus Night" puts a minor- key spin on the Christmas catalog, paying tribute to a folkloric creature who, according to Secor, "just might leave ya coal and steal your soul." Old Crow have thrived for more than a quarter century. Like many of their heroes, they've become torchbearers of classic folk music, reshaping those sounds for the modern world. They're creators, not replicators, and OCMS XMAS finds them tackling another tradition -- the time- honored Christmas album -- with humor, hillbilly twang, and novel ideas. Supported by the band's first-ever "Holiday Hootenanny" tour, OCMS XMAS just might be the start of a new tradition itself: a celebration of the seasonal sounds, shared joy, and holiday rituals that bring us all together. Christmas just got a new soundtrack.

Swindly Cosmic Americana for the boxcar bound. Operating out of a suite in the Roanoke, Virginia Ramada Inn, Tiffin Music Enterprises International was but one of hundreds of gray-market record companies offering dubious services to Nashville aspirants. Cut in three days in 1975, 20-year-old Firebaugh wrote and played every bummed-out note, save a forgotten pedal steel-man. 50th anniversary edition remaster fits snuggly in your private mind garden.

Jackie Mittoo’s ‘Reggae Magic’ is a new collection from the great Jackie Mittoo. The album features a mixture of classic tunes and rarities from the period 1967-74, when Mittoo was at the height of his musical powers. Mittoo’s solo career began after the end of The Skatalites in 1965. He began pushing new musical boundaries, creating a uniquely identifiable organ-led funky reggae sound that owed as much to Booker T and The MGs, Jimmy Smith, Stax and Motown as to the post-ska and emergent rocksteady island rhythms of Kingston, Jamaica. His solo work at the legendary Studio One spanned seven albums and hundreds of singles.

Aside from producer and founder Clement ‘Sir Coxsone’ Dodd, it’s hard to think of anyone more central to the sound and success of Studio One than Mittoo; keyboard player extraordinaire, songwriter, arranger, musician, truly the Keyboard King at Studio One. Jackie Mittoo had been the youngest founding member of The Skatalites (at age 16), probably the most important group in Jamaican music. After they split, he became leader of the three pivotal groups at Studio One – The Soul Brothers, The Soul Vendors and Sound Dimension. He also became musical director for Studio One, helping create countless hits for singers Ken Boothe, Bob Andy, The Wailers, John Holt, Delroy Wilson and more – unforgettable tunes like Alton Ellis’ ‘I’m Still in Love with You’, Marcia Griffiths’ ‘Feel Like Jumping’, The Heptones’ ‘Baby Why’ and others. Between 1965 and 1968, many of the tunes created at Studio One can be attributed to Mittoo – timeless instrumental tracks, recorded either under his own name or those of The Soul Brothers, Soul Vendors and Sound Dimension, that have become the basis for literally 1000s and 1000s of Jamaican songs over many decades, giving the music an unsurpassed longevity.

The endurance of his music was as a direct result of significant developments in Jamaican music in the 1970s, namely the creation of three important new styles: Dub, Deejay and Dancehall. In the early 1970s Mittoo’s instrumental tracks were used as the musical source for a series of classic Studio One dub albums. At the same time Deejays at Studio One, including Dillinger, Prince Jazzbo and Dennis Alcapone, began toasting over these same popular rhythms to create their own new songs. In the mid-70s, a new generation of Studio One singers and deejays, including Sugar Minott, Freddie McGregor, Johnny Osbourne, Michigan & Smiley and others, began once again creating new melodies over these original instrumentals, signalling the birth of a new Jamaican style that became known as ‘dancehall’.

As dancehall swept across the island, rival producers copied these now classic rhythms. These original Jackie Mittoo-driven tunes spread like a virus throughout Jamaican music; be they the instrumental cuts to tunes such as Alton Ellis’ ‘Mad Mad’ , ‘I’m Just A Guy’, Larry Marshall’s ‘Mean Girl’, Slim Smith’s ‘Rougher Yet’, and instrumentals such as Mittoo’s classic ‘Hot Milk’ or ‘One Step Beyond’, The Sound Dimension’s ‘Real Rock’, ‘Heavy Rock’, ‘Full Up’, ‘Drum Song’, ‘Rockfort Rock’ … and the list goes on. These tracks became a constant soundtrack to the island, emitting from the ever-present sound of speaker boxes strung up around dancehalls. This recycling travelled even farther afield; The Sound Dimension’s instrumental ‘Real Rock’, updated by Willie Williams on his classic ‘Armageddon Time’ was in turn covered by The Clash. Lily Allen sampled Mittoo’s debut solo single ‘Free Soul’ for number one hit ‘Smile’; Dawn Penn’s ‘You Don’t Love Me (No, No, No)’, accompanied by The Soul Vendors, was revived by Penn and producers Steely & Cleevie in 1994, since covered by Rihanna, Ghostface Killah, Stephen Marley, Damian Marley and Beyonce. And so it goes; an endless time-leaping, continent-hopping diasporic musical map of the world with all roads essentially leading back to one man – Jackie Mittoo.

Dana Schechter: Lap Steel Guitar, Bass, Electronics. - Paul Wallfisch: Piano, Organ, SOMA Pipe, Guitaret. Music from the Vienna Volkstheater production of Wolfram Lotz's play "Die Politiker" directed by Kay Voges; performed live in the theatre, spring 2022. These 2 beautiful exiles travel limbic landscapes and underwater dreams with a map that disintegrates instantly when viewed. Their fractured sounds dissolve and reconfigure endlessly in our cochlea and infest our imaginations with spiked armies of ultra-vivid, sentient and carnivorous coral predators, atavistically intent on devouring the sweet meat hiding deep in the center of the amygdala. Michael Gira (SWANS). Wallfisch has played in bands like Firewater and Little Annie, while Schechter has logged time with American Music Club, Angels of Light and her own Insect Ark, among others; both spent time touring and recording with SWANS. They've been friends since meeting in New York in the 1990s. Years later they forged a stronger connection as bandmates in Botanica. They renewed their artistic partnership in 2021, when Paul invited Dana to Vienna to develop the music for a theatrical spectacle called Die Politiker written by Kleist prize winner Wolfram Lotz. The music from the production provides the foundation for the duo's first album, The Heart of A Whale. Across its six intense tracks one can detect a subtle homage to storied Berlin musical traditions, as the pair puts a raw, often brutal veneer on songs steeped in Weimar cabaret (a la Tom Waits) but updated with a visceral mixture of noise, post-punk, and industrial elements. Performed on a panoply of instruments from bass, organ and lap steel to SOMA Synths, Guitaret, a variety of electronics and a grand piano hammered with a shoe, the music reflects the New York- Berlin nexus they've both been part of for decades. Echoes of Swans, Einstürzende Neubauten and The Birthday Party, but also hints of Throbbing Gristle, Eno and even William Basinski and Michael Gordon. The music can't be contained by any single tradition, with a decidedly experimental bent that ruptures the fixed rhythm of rock for something more theatrical and emotionally harrowing.

Voodoo 5 brings Exotica to Alternative Tentacles with “Moon Over Marin”! In a genre where most bands are content to imitate old records, Voodoo 5 are making new ones—brave, bold, and unlike any exotica record you’ve ever heard. Led by composer/guitarist Skip Heller—producer to/protege of Robert Drasnin, orchestrator for Elisabeth Waldo, bandleader for Yma Sumac—and vocalist Lena Marie Cardinale, an operatic Sumac acolyte and former El Vez Elvette, Voodoo 5 has established themselves as a blistering live act not only at exotica festivals like Tiki Oasis and Tiki Caliente, but also such jazz venues as the Century Room (Tucson), Carousel (Palm Springs), and at various clubs in Los Angeles, their home base. Cardinale and Heller are rounded out by an all-star ensemble (Jay Work, flute, Mark Riddle, vibraphone, Connor Gallaher, steel guitar, Paul Eckman, upright bass, and Cesar Ventura, congas) who groove harder than do most exotica groups, all the while spotlessly executing some of the most interesting arrangements the genre has to offer.

After more than a decade of music-making, Durand Jones & The Indications have blossomed as a unit and are basking in their successes. On their aptly titled new album, Flowers, The Indications unfurl their true colors _ embracing all their roots and influences, maturation and confidence, and share them with the world. Since forming in 2012, the road has taken The Indications from those origins at Indiana University, Bloomington to the global stage, selling out shows across Europe, Japan, Australia, and New Zealand to the West Coast_ where DJI has a strong following among the lowrider and vintage soul enthusiasts. For as far as Durand Jones & The Indications have come, Flowers grew from the desire to return to their roots in a Bloomington basement, a space where they first found camaraderie in gritty funk and Southern soul that would inspire their self-titled debut. Pulling sonically and spiritually from each of the group's previous releases and solo work, Flowers is the next stage of DJI's inspired soulful discography. DJI are not only accepting their flowers, but indulging in their sweet and sexy fragrance.

Dune Castle presents - From A Darebin Cave by Cantrips, an acid folk odyssey. Recorded live with a 7-piece band over two days, "From a Darebin Cave" features members from Surprise Chef, Don Glori, Karate Boogaloo, and more.

Centered around the nylon guitar and voice of Patrick Ryan (Cantrips), this album draws inspiration from late 60s/early 70s acts like Nick Drake, Terry Callier, and Donovan. The album also incorporates string arrangements reminiscent of Frank Sinatra's "Watertown" and late 60s psychedelic pop. This unique sound was crafted by two keyboardists emulating a string quartet with synthesizers, complemented by drums, percussion, double bass, and pedal steel guitar.

The lyricism delves into themes of isolation, loneliness, regret, and joy, inspired by the natural beauty of the Darebin Parklands surrounding the Dune Castle studio, and takes influence from Romantic poets such as Mary Oliver, William Blake, and Pablo Neruda.

After more than a decade of music-making, Durand Jones & The Indications have blossomed as a unit and are basking in their successes. On their aptly titled new album, Flowers, The Indications unfurl their true colors _ embracing all their roots and influences, maturation and confidence, and share them with the world. Blue Iceberg Splash Vinyl. Since forming in 2012, the road has taken The Indications from those origins at Indiana University, Bloomington to the global stage, selling out shows across Europe, Japan, Australia, and New Zealand to the West Coast_ where DJI has a strong following among the lowrider and vintage soul enthusiasts. For as far as Durand Jones & The Indications have come, Flowers grew from the desire to return to their roots in a Bloomington basement, a space where they first found camaraderie in gritty funk and Southern soul that would inspire their self-titled debut. Pulling sonically and spiritually from each of the group's previous releases and solo work, Flowers is the next stage of DJI's inspired soulful discography. DJI are not only accepting their flowers, but indulging in their sweet and sexy fragrance.

MJ Lenderman is a songwriter born and raised in Asheville, North Carolina. The anatomy of an MJ record might go something like this: warped pedal steels and skuzzed out guitar; crackin" a cold one with some buds; a voice reminiscent of the high lonesome warble of a choirboy. Songs snake their way from a lo-fi home recording to something glossier made withn longtime friends at Asheville"s Drop of Sun studios, but the recording setting doesn"t seem to matter much - at its core, a Lenderman song rings true. Manning Fireworks is a remarkable development in MJ Lenderman"s story as an incredibly incisive singer-songwriter, whose propensity for humor always points to some uneasy, disorienting darkness. The punchlines are still here, as are the rusted-wire guitar solos that have made Lenderman a favorite for indie rock fans looking for an ernerging guitar hero. There"s a new sincerity, too, as Lenderman Iets listeners clearly see the world through his warped lens.

Rose City Band"s music is sun-kissed timeless country rock whose seemingly effortless momentum carries the joy of its creation without ignoring the darkness pervading our consciousness. Led by guitarist/vocalist Ripley Johnson, the music of Rose City Band is rooted in his love of private press records of the mid to late 70"s. The band, in addition to Johnson, features pedal steel guitarist Barry Walker, keyboardist Paul Hasenberg and drummer John Jeffrey who enmesh a keen sense of rhythmic drive and melody with gentler, sumptuous atmospheres. Nuanced performances and interplay between players unfurl like desert flowers splashing color onto an arid landscape. The ensemble"s buoyant moments still glide with ease, but there is room to revel in respite of the shade of a dark cloud. Across the album, Johnson"s tasteful guitar interjections and soothing voice are met in kind with the versatile playing of Walker, Hasenberg, and Jeffery, with special guest performances by synthesist/vocalist, Sanae Yamada. Album closer "The Walls" perfectly captures the band"s explorative and expansive songs, Hasenberg"s soulful organ driving the album to an emotionally cathartic conclusion. Throughout his prolific career with Wooden Shjips, Moon Duo and now Rose City Band, Johnson"s music has consistently centered around exploration and discovery. Sol Y Sombra imbues his penchant for space and resplendent tonality with a denser amalgam of his influences through a delicate balance of the somber and the serene, of subtle evolutions and familiar sounds, Sol Y Sombra makes for a holistically joyous experience, finding solace in both sun and shade.

Rose City Band"s music is sun-kissed timeless country rock whose seemingly effortless momentum carries the joy of its creation without ignoring the darkness pervading our consciousness. Led by guitarist/vocalist Ripley Johnson, the music of Rose City Band is rooted in his love of private press records of the mid to late 70"s. The band, in addition to Johnson, features pedal steel guitarist Barry Walker, keyboardist Paul Hasenberg and drummer John Jeffrey who enmesh a keen sense of rhythmic drive and melody with gentler, sumptuous atmospheres. Nuanced performances and interplay between players unfurl like desert flowers splashing color onto an arid landscape. The ensemble"s buoyant moments still glide with ease, but there is room to revel in respite of the shade of a dark cloud. Across the album, Johnson"s tasteful guitar interjections and soothing voice are met in kind with the versatile playing of Walker, Hasenberg, and Jeffery, with special guest performances by synthesist/vocalist, Sanae Yamada. Album closer "The Walls" perfectly captures the band"s explorative and expansive songs, Hasenberg"s soulful organ driving the album to an emotionally cathartic conclusion. Throughout his prolific career with Wooden Shjips, Moon Duo and now Rose City Band, Johnson"s music has consistently centered around exploration and discovery. Sol Y Sombra imbues his penchant for space and resplendent tonality with a denser amalgam of his influences through a delicate balance of the somber and the serene, of subtle evolutions and familiar sounds, Sol Y Sombra makes for a holistically joyous experience, finding solace in both sun and shade.

‘For the Roses’ is the fifth studio album by Canadian singer-songwriter Joni Mitchell and was released in November 1972. The album was released 50 years ago this November and is BPI certified silver. It was added to the Library of Congress’ National Recording Registry in 2007. The album was met with critical acclaim and notably features ‘You Turn me on I’m A Radio’ as well as ‘Banquet’ and the title track ‘For the Roses’.












l Judgement Of The Moon And Stars (Ludwig's Tune) 2022 Remaster

Da Beatminerz defined the dark, gritty sound of underground Hip-Hop in the '90s. Formed in 1992 by brothers Walter “Mr. Walt” and Ewart “DJ Evil Dee” Dewgarde, the production duo pioneered Hip-Hop's brooding vibes, a tonal shift that came with the release of Black Moon's classic debut album Enta Da Stage. As producers of the seminal 1993 project in its entirety, Da Beatminerz set a precedent for hardcore Hip-Hop.

Their sample-heavy, gutter tracks laced with heavy basslines, and hard kicks and snares helped reshape the music genre. Da Beatminerz continued to refine their distinct sound and identity with countless classic records for other artists and two albums of their own (2001’s Brace 4 Impak and 2004’s Fully Loaded w/ Statik) over the course of their illustrious 30-year career.

Stifled Creativity is the duo’s first full-length album in 20 years.

“We started working on this album in 2009... We had one focus and the focus was to stick to our core sound. We just wanted to bring back our traditional way of attempting a classic album. Everybody has their own type of hip hop that they love. Well, this is ours.” - Mr. Walt













m Adore HER (feat. Keith Murray)



q It’s All 4 U [REPRISE] (feat. Halley Hiatt & AZ)













[m] Adore [HER] (feat. Keith Murray)



[q] It’s All 4 U [REPRISE] (feat. Halley Hiatt & AZ)













[m] Adore [HER] (feat. Keith Murray)



[q] It’s All 4 U [REPRISE] (feat. Halley Hiatt & AZ)

MJ Lenderman is a songwriter born and raised in Asheville, North Carolina. The anatomy of an MJ record might go something like this: warped pedal steels and skuzzed out guitar; crackin" a cold one with some buds; a voice reminiscent of the high lonesome warble of a choirboy. Songs snake their way from a lo-fi home recording to something glossier made withn longtime friends at Asheville"s Drop of Sun studios, but the recording setting doesn"t seem to matter much - at its core, a Lenderman song rings true. Manning Fireworks is a remarkable development in MJ Lenderman"s story as an incredibly incisive singer-songwriter, whose propensity for humor always points to some uneasy, disorienting darkness. The punchlines are still here, as are the rusted-wire guitar solos that have made Lenderman a favorite for indie rock fans looking for an ernerging guitar hero. There"s a new sincerity, too, as Lenderman Iets listeners clearly see the world through his warped lens.

Eurovision Song Contest: The Story Of Fire Saga is a 2020 American musical comedy film directed by David Dobkin and written by Will Ferrell and Andrew Steele. The film follows Icelandic singers Lars Erickssong and Sigrit Ericksdóttir (Ferrell and Rachel McAdams) as they are given the chance to represent their country at the Eurovision Song Contest. Pierce Brosnan, Dan Stevens, and Demi Lovato also star in the film. ""Volcano Man"" was the first song released from the album and features vocals from Will Ferrell and Swedish singer Molly Sandén (credited as My Marianne). Towards the middle of the film, as the characters of Lars and Sigrit get fully immersed in the Eurovision magic, the audience is treated to a ""Song-A-Long"", producers mash-up iconic pop classics into a celebratory party anthem. Cher transitions into Madonna, which transitions into homages to the aforementioned ABBA and Celine Dion, capped off with a little from The Black Eyed Peas. The cherries on top are vocal cameos from Eurovision champions: Conchita, Netta, Jamala, Loreen, and Alexander Rybalk. The album also features the cult hit “Jaja Ding Dong”. The soundtrack has been nominated for Best Compilation Soundtrack For Visual Media at the upcoming 63rd Annual Grammy Awards. The soundtrack from Eurovision: The Story Of Fire Saga is available on black vinyl and contains a 4-page booklet and printed innersleeve with movie stills.

METAL HAMMER - 8/10 review. FOR FANS OF : Lustmord, Om, Sunn O))) . “An exercise in freeform ambience, ritualistic repetition and the rapturous, womb-like power of bass…strange and affecting. We remain lucky to share in the great man’s vision.”

It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

Released periodically on three of 2024’s full moons – April 23rd’s Pink Moon, July 21st’s Buck Moon and October 17th’s Hunter Moon – the three-album cycle, “Triptych”, is (Steve Von Till from Neurosis) Harvestman’s most ambitious undertaking yet.

Guest musicians including Al Cisneros of Sleep / OM who plays bass on one track for each LP, of which he will also mix a dub version on the B-Side of each LP. Dave French of Yob, Sanford Parker and Wayne from Petbrick all make appearances.


Released periodically on three of 2024’s full moons – April 23rd’s Pink Moon, July 21st’s Buck Moon and October 17th’s Hunter Moon – the three-album cycle, “Triptych”, is (Steve Von Till from Neurosis) Harvestman’s most ambitious undertaking yet.

Guest musicians including Al Cisneros of Sleep / OM who plays bass on one track for each LP, of which he will also mix a dub version on the B-Side of each LP. Dave French of Yob, Sanford Parker and Wayne from Petbrick all make appearances.

It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

Bone White opaque + Black Galaxy effect vinyl in dub style jacket (jacket sleeve with centre hole cut out so label shows throug
Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, “Triptych” is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all.

Woven together from home studio recordings that span two decades, this fifth outing as Harvestman finds parallels with nature’s cycles not just in its release dates but in the repeated structure that binds each album, like an imprint refracted though three separate strata. “Part One”, as with the forthcoming Parts Two and Three, starts on a collaboration with Om bassist and long-term friend of Steve’s, Al Cisneros, with a dub take opening the B-Side. Here, the opening track “Psilosynth" orbits a grandfather-clock mechanism passing through a nebula haze, all waved on by an acid-fried deity. From there on, “Part One” journeys through the elegiac “Give Your Heart To The Hawk”, with the sampled poetry like a documentary retrieved from a long-lost world, Philip Glass wistfully attending a rescue beacon from the far corner of the universe on Coma, as well as percussion recordings performed by Steve and friend Dave French (drummer of Yob) on a rusted torn open stock tank outside Steve’s barn, treated bagpipes and old reel-to-reel recordings, all reiterated across the next volumes in ever more out-there contexts.

If “Triptych” is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with “Triptych” itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

How do you follow up a work described in the Independent on Sunday as “the best debut album since Marquee Moon”? That’s the question facing singer-songwriter John Canning Yates, twenty years on from the critically acclaimed ‘The First Album’ by his band Ella Guru.
‘The Quiet Portraits’ will appeal to anyone who loves the beautiful melodic soundscapes woven by Brian Wilson, Burt Bacharach, and Tom Waits, while Yates’s unique vocals evoke the emotional fragility and compelling narrative of Neil Young, Paul Buchanan, Mark Linkous and Elliott Smith.
Mastered by Jason Mitchell (PJ Harvey, Robert Forster), and featuring guest contributions from pedal steel maestro BJ Cole and friend and multi-instrumentalist Andy Frizell (Kevin Ayers, Wizards of Twiddly), those dedicated followers of Ella Guru who stayed the path will find their patience very well rewarded. ‘The Quiet Portraits’ is a remarkable achievement from an unassuming, yet hugely talented artist.

It’s a welcome relief amid the rapidly changing musical landscape to find that all that has changed in John’s world is the number of musicians around him. The beautiful storytelling, the art of finding those magical musical moments that will remain with you for years to come: all of that has survived the passing of time intact.
Happiest with headphones on, working alone in the small hours from his Liverpool home, Yates has created another masterpiece.
He explains: “In the wee small hours, with loved ones safely asleep and the busy day done, there comes a hush. Within it, you can breathe and listen. Listen for the infinite possibilities. From those possibilities emerged these portraits. I have sought to find those precious moments: of love and peace in turbulent times, of truth and hope for calmer days ahead. I hope you find them too.”
Entitled ‘The Quiet Portraits,’ the new solo album from John Canning Yates tells tales of people and places, of time, family, history, belonging, forgetting and remembering.

"'Hey Babe' sounds like classic Trummors – their voices a perfect match for one another, Dan Horne’s lingering pedal steel adorning the piece like chapparal, just an ambling walk through life together." - Petal Motel "Is there a scientific formula for creating the perfect country rock record? If there is, the Taos, NM duo of Anne Cunningham and David Lerner — AKA Trummors — have cracked it." - Aquarium Drunkard "Trummors capture a classic country sound — flirting with the heavy-hearted, but formative voices that lent credence to the ‘70s crossover out of psychedelic troupes." - Raven Sings The Blues Trummors are excited to announce their new album 5 out April 12 on Ernest Jenning Record Co.

Discover the 3rd Album of The emblematic Crew Africanism All Stars led by Bob Sinclair and featuring, among others, Yves Larock, Joachim Garraud, Tony Allen, David Guetta... Includes the Hits "Summer Moon", "Viet Dao REmix" and "Sye Bea"

Die schwedischen Death'n'Roll/Stoner-Rocker HAYSTACK um Gitarrist/Sänger Ulf Cederlund (ENTOMBED) melden sich mit ihrem neuen Studioalbum 'Doomsday Goes Away' zurück! No bullshit, no trends, honesty, in your face, older than ever, forever underdogs, anarchy and hope. Für Fans von Unsane, Melvins, No Means No, Hammerhead, Nirvana, Steel Pole Bath Tub, Dinosaur Jr, Wipers, Dead Moon, Killing Joke oder Joy Division.

Ultra Clear/ Black Smoke Vinyl

Das eindringliche, grandiose neue Hulder-Album "Verses in Oath", das in den tristen, kalten Monaten des nordwestlichen Winters entstanden ist, stellt die bisher majestätischste, ungezähmteste Manifestation der Band dar, auf der neues Territorium in Brand gesetzt und mit Schwert und Schild erobert wird.

Im Jahr 2022 veröffentlichte Hulder das 5-Track-Mini-Album "The Eternal Fanfare", das eine neue Phase in der rasanten Entwicklung des Projekts einläutete. Die Band setzte die Live-Bühne in Flammen und tourte das ganze Jahr über durch Nordamerika, bis ins Jahr 2023 hinein, wo sie auch zum ersten Mal in Europa auftrat.

Angespornt durch diese edlen Siege wurde der Boden für die Ungeheuerlichkeit von 'Verses in Oath' bereitet. Aufgenommen von Hulder, wurde der Mix und das Mastering der Kultlegende Ahti Kortelainen von den Tico Tico Studios in Finnland anvertraut, dessen überwältigende Liste von Credits sich über Jahrzehnte erstreckt und unter anderem Barathrum, Belial, Impaled Nazarene und Moonsorrow umfasst. Das Ergebnis ist sowohl schonungslos brutal als auch wehmütig beschwörend; schwarzes Blut auf weißem Schnee.

Die uralte, von Trauer erfüllte Melancholie und der brodelnde Geist, die das Wesen von 'Hearken The End' ausmachen, durchdringen das gesamte Album und sind mittlerweile ein grundlegendes Detail in der Identität von Hulder, deren Wurzeln tief in längst vergessenem Boden liegen. Und während die schneidende Grausamkeit und das zerrissene Fleisch von "Vessel of Suffering" und "Enchanted Steel" eine räuberische Barbarei beschreibenwillkommen heißen, ist es die Verbindung all dieser Elemente, die "Verses in Oath" in das zeitlose Pantheon der stärksten Black Metal-Linie stellt.

Während sich der Black Metal in unzähligen Ablegern und Subgenres bis zur Unkenntlichkeit weiterentwickelt hat, ist Hulder fest in der zerstörerischen Vorherrschaft, den Ritualen und Traditionen des Genres verwurzelt und trägt die Fackel seiner Ursprünge und seines Erbes erhaben empor. Und dennoch verblüfft "Verses in Oath" mit dem bösartigen Geist kreativer Autonomie und individueller Freiheit, der notwendig ist, um die wahren Höhen des Genres zu erreichen.

Silver/ Brown Merge Vinyl

Das eindringliche, grandiose neue Hulder-Album "Verses in Oath", das in den tristen, kalten Monaten des nordwestlichen Winters entstanden ist, stellt die bisher majestätischste, ungezähmteste Manifestation der Band dar, auf der neues Territorium in Brand gesetzt und mit Schwert und Schild erobert wird.

Im Jahr 2022 veröffentlichte Hulder das 5-Track-Mini-Album "The Eternal Fanfare", das eine neue Phase in der rasanten Entwicklung des Projekts einläutete. Die Band setzte die Live-Bühne in Flammen und tourte das ganze Jahr über durch Nordamerika, bis ins Jahr 2023 hinein, wo sie auch zum ersten Mal in Europa auftrat.

Angespornt durch diese edlen Siege wurde der Boden für die Ungeheuerlichkeit von 'Verses in Oath' bereitet. Aufgenommen von Hulder, wurde der Mix und das Mastering der Kultlegende Ahti Kortelainen von den Tico Tico Studios in Finnland anvertraut, dessen überwältigende Liste von Credits sich über Jahrzehnte erstreckt und unter anderem Barathrum, Belial, Impaled Nazarene und Moonsorrow umfasst. Das Ergebnis ist sowohl schonungslos brutal als auch wehmütig beschwörend; schwarzes Blut auf weißem Schnee.

Die uralte, von Trauer erfüllte Melancholie und der brodelnde Geist, die das Wesen von 'Hearken The End' ausmachen, durchdringen das gesamte Album und sind mittlerweile ein grundlegendes Detail in der Identität von Hulder, deren Wurzeln tief in längst vergessenem Boden liegen. Und während die schneidende Grausamkeit und das zerrissene Fleisch von "Vessel of Suffering" und "Enchanted Steel" eine räuberische Barbarei beschreibenwillkommen heißen, ist es die Verbindung all dieser Elemente, die "Verses in Oath" in das zeitlose Pantheon der stärksten Black Metal-Linie stellt.

Während sich der Black Metal in unzähligen Ablegern und Subgenres bis zur Unkenntlichkeit weiterentwickelt hat, ist Hulder fest in der zerstörerischen Vorherrschaft, den Ritualen und Traditionen des Genres verwurzelt und trägt die Fackel seiner Ursprünge und seines Erbes erhaben empor. Und dennoch verblüfft "Verses in Oath" mit dem bösartigen Geist kreativer Autonomie und individueller Freiheit, der notwendig ist, um die wahren Höhen des Genres zu erreichen.

Das eindringliche, grandiose neue Hulder-Album "Verses in Oath", das in den tristen, kalten Monaten des nordwestlichen Winters entstanden ist, stellt die bisher majestätischste, ungezähmteste Manifestation der Band dar, auf der neues Territorium in Brand gesetzt und mit Schwert und Schild erobert wird.

Im Jahr 2022 veröffentlichte Hulder das 5-Track-Mini-Album "The Eternal Fanfare", das eine neue Phase in der rasanten Entwicklung des Projekts einläutete. Die Band setzte die Live-Bühne in Flammen und tourte das ganze Jahr über durch Nordamerika, bis ins Jahr 2023 hinein, wo sie auch zum ersten Mal in Europa auftrat.

Angespornt durch diese edlen Siege wurde der Boden für die Ungeheuerlichkeit von 'Verses in Oath' bereitet. Aufgenommen von Hulder, wurde der Mix und das Mastering der Kultlegende Ahti Kortelainen von den Tico Tico Studios in Finnland anvertraut, dessen überwältigende Liste von Credits sich über Jahrzehnte erstreckt und unter anderem Barathrum, Belial, Impaled Nazarene und Moonsorrow umfasst. Das Ergebnis ist sowohl schonungslos brutal als auch wehmütig beschwörend; schwarzes Blut auf weißem Schnee.

Die uralte, von Trauer erfüllte Melancholie und der brodelnde Geist, die das Wesen von 'Hearken The End' ausmachen, durchdringen das gesamte Album und sind mittlerweile ein grundlegendes Detail in der Identität von Hulder, deren Wurzeln tief in längst vergessenem Boden liegen. Und während die schneidende Grausamkeit und das zerrissene Fleisch von "Vessel of Suffering" und "Enchanted Steel" eine räuberische Barbarei beschreibenwillkommen heißen, ist es die Verbindung all dieser Elemente, die "Verses in Oath" in das zeitlose Pantheon der stärksten Black Metal-Linie stellt.

Während sich der Black Metal in unzähligen Ablegern und Subgenres bis zur Unkenntlichkeit weiterentwickelt hat, ist Hulder fest in der zerstörerischen Vorherrschaft, den Ritualen und Traditionen des Genres verwurzelt und trägt die Fackel seiner Ursprünge und seines Erbes erhaben empor. Und dennoch verblüfft "Verses in Oath" mit dem bösartigen Geist kreativer Autonomie und individueller Freiheit, der notwendig ist, um die wahren Höhen des Genres zu erreichen.

There are few instruments more uniquely suited to capturing the beauty and ennui of the rural American midwest than the acoustic steel-string guitar. In the hands of a master, the range of evocable emotion and experience is truly limitless. Daniel Hecht is one such master. His 1973 self-released debut album, simply titled Guitar, is an indispensable piece of the endless puzzle that is instrumental Guitar Soli music.

Guitar was written and recorded while Hecht was living and working on a commune in Madison, Wisconsin. In between harvesting his own food and studying the music of Andrés Segovia and Mississippi John Hurt, Hecht found himself playing host to legendary itinerant street performer, Moondog.

On Moondog’s insistent urging, Daniel decided to record some of his recent guitar compositions. Released on his own Dragon’s Egg imprint, Guitar fused Hecht’s complex classical preoccupations with his country folk influences. The album eventually found a fan with guitar godhead, John Fahey, who eventually helped land Hecht on the eminent new age/ instrumental label, Windham Hill.

As Hecht’s playing and composition grew in complexity, he found peership with labelmates like Michael Hedges, William Ackerman, and Alex DeGrassi. But it is his debut album that remains the greatest document of Hecht’s talent and ambition in first bloom. A rolling, blissful trip through rural America, guided by the ambitious hand of a guitar master. Morning Trip is elated to release this gorgeous and seminal document of acoustic exploration on vinyl for the first time since its initial 1973 offering.

Eli Paperboy Reed's Hits And Misses ist eine remasterte Sammlung von Raritäten, Originalen und Coverversionen, darunter Eli's Interpretation von Motörhead's "The Ace of Spades". Eli verwandelt den Hard-Rock-Klassiker von Motörhead in eine Soul-Revival-Version mit Hammond-Orgel, Blechbläsern, E-Gitarre, Eli's charakteristischem Gesang und einem Backbeat, der dem Song einen neuen Touch
verleiht, der nicht weniger kraftvoll ist als das Original. Hits And Misses enthält auch Eli's noirartige R&B-Version von Steely Dan's Hit von 1972, "Do It Again", die das Original 30 Jahre zurückversetzt, sowie eine Coverversion von Latimore's Hit von 1974, "Let's
Straighten It Out", die eine vokale Intensität zeigt, die im fast gesprochenen Original nicht so präsent ist. Neben den overversionen enthält das Album auch Eli Paperboy Reed's eigenes "IDKWYCTD (I Came to Play)", ein hymnenhafter Party-Starter. Dieser ergiegeladene Track ist in der Disney-Marvel-Comicserie "Moon Girl and Devil
Dinosaur" zu hören. Das Album enthält außerdem Coverversionen von Bob Dylan's "To Be Alone With You", Merle Haggard's "I'm Gonna Break Every Heart I Can" und mehr.

Joni Mitchell Archives, Vol. 3: The Asylum Years (1972-1975) is the latest entry in Rhino’s ongoing, GRAMMY-winning series exploring the vast untapped archives of rare Joni Mitchell recordings — a project guided inti-mately by Mitchell’s own vision and personal touch. Joni Mitchell Archives, Vol. 3: The Asylum Years (1972-1975) will be available as a 4 LP with an accompanying book featuring photos and a conversation about this period between Joni Mitchell and longtime friend Cameron Crowe.

The collection begins with an early cut of “Cold Blue Steel And Sweet Fire,” one of two songs (along with “For The Roses”) test-driven during a visit to a Graham Nash David Crosby recording session at Wally Heider’s in Hol-lywood.

From there, listeners are treated to early demos and alternate versions from sessions from For The Roses, Court & Spark, and The Hissing Of Summer Lawns; historic live show recordings, including the entirety of Mitch-ell’s triumphant 1972 return to Carnegie Hall and a definitive gig with her Court And Spark backing band Tom Scott & the L.A. Express; and tracks from sessions cut alongside James Taylor, Graham Nash, and Neil Young.


















q 5. Sunrise Raga [3:41]

»This River Only Brings Poison« was released in 2002 as the sixth full-length album of Chris Hooson’s Dakota Suite project. This first-ever vinyl edition of the record includes four bonus pieces and makes it possible for fans to re-evaluate one of the most crucial Dakota Suite albums in the project’s vast discography while also providing new listeners with an entry point into its intricate musical cosmos. With contributions by artists as diverse as steel guitarist Bruce Kaphan and drummer Tim Mooney from American Music Club, Derald Daugherty, and Laura and Chris Donohue as well as long-time collaborators such as David Buxton, Colin Dunkley or Ed Collins, »This River Only Brings Poison« turned out as a sonically rich and stylistically versatile as it is emotionally multi-layered.

»Writing music for me has always been a cathartic exercise,« explains Hooson. While the instrumental pieces generally serve to express a raw sense of his internal struggles, his vocal-led songs communicate them more directly. »Those are the words I cannot say openly. It’s not that I cannot voice them in a conversation, it’s just that they only seem half-formed and not ›true‹ unless they are located within a song,« he says. What makes Dakota Suite unique is that throughout the project’s history, the music and lyrics have always had a single addressee: Hooson’s wife Johanna, whose photographs were used for the album artwork and who is featured on clarinet on »sand fools the shoreline.«

»The title of the record was something that I had said when Johanna and I first met to make her see that the journey she was considering taking would be full of love, but also come at a cost,« explains Hooson. »The songs were written at a time when I was really struggling to think I could be the person that she deserved.« In the end however, »This River Only Brings Poison« marked a turning point in Hooson’s oeuvre after highly productive time with Dakota Suite: it would take another five years until he returned with a new album. »The reason for that was that I needed to accept that she had made her choice to be with me and that was a big thing for me to get my head around,« he says.

Hooson’s highly personal approach to writing songs also has an impact on the ways in which he works with his collaborators when recording them. »The people with whom I play really need to understand how I perceive the world to be able to play what I need,« he says. »My instructions would always be things like, ›This is what the song means to me, this is what I am trying to communicate to Johanna when she hears it, so your cello, for example, needs to sound like you have noticed that the cloud is covering the sun, and the weight of the air on your skin is heavier and it has unsettled you.‹«

For this particular record, he reached out to Mooney and Kaphan as an admirer of their group American Music Club. Expecting to be rejected, he instead found himself on a flight to San Francisco together with multi-instrumentalist Buxton shortly thereafter, about to make what he today calls one of his most cherished recording experiences. After the four musicians finished the basic tracks, overdubs were added in Hooson and Buxton’s respective houses as well as Daugherty’s home studio while Hooson was visiting his old friend in Nashville.

Hooson emphasises that revisiting his older releases can be complicated. »I feel intense feelings, as every record is a diary of who I was in that period and what I was feeling. That is why having to play the songs live is always like having PTSD: I need to re-experience the event that caused me to write the song, and I do not enjoy that.« He remains, however, proud of »This River Only Brings Poison,« pointing especially to the opener »the lepers companion« as what might perhaps be his favourite song of his. »But overall I just hope that Johanna feels it spoke to her,« he says, adding that the two do not discuss his records. »For me it's enough that she is listening to the things I mean to communicate to her.«

Maurice Louca & his band Elephantine announce Moonshine, shining brightly with a live, raw, collective sound. Maurice Louca's band is incredible: double drummers Tommaso Cappellato & Özün Usta, Piero Bittolo Bon on alto, Daniel Gahrton on baritone and Isak Hedtjärn on clarinet, Rasmus Svale Kjærgård Lund on tuba, Rosa Brunello on bass, Els Vandeweyer on vibraphone, Louca on guitar/lap steel/synth.

As Asher Gamedze puts it in his essay: "Abstract territories of freedom, always grounded, expansive, multiple, internally differentiated, and elephantine."

One of the most gifted, prolific and adventurous figures on Egypt's thriving experimental arts scene, Louca has in recent years garnered a global reputation through three previous solo albums and an expanding, evolving lineup of genre-defying collaborations. The Wire called his 2014 sophomore solo effort, Salute the Parrot, "remarkable music-dense, driven and splashed with colour.

For Louca, Elephantine serves as both the pinnacle of his wide-ranging experience and a bold next step in his development as a composer, arranger and bandleader, from Cosmic Jazz, African and World music to transcendental modal traditions. The music-from its pensive lulls through its stretches of hard-grooving hypnosis and moments of avant-jazz.

MAJOR REISSUE OF MAKOTO KUBOTA'S SUNSET GANG ALBUMS RECORDED IN THE 70S WITH HARUOMI HOSONO FOR THE SHOWBOAT LABEL AND FEATURING HIS BLEND OF JAPANESE FOLK, BLUES AND R&B WITH HAWAIIAN, OKINAWAN AND NEW ORLEANS INFLUENCES. THE ALBUMS ARE RELEASED IN COLLABORATION WITH MAKOTO KUBOTA AND COME WITH ORIGINAL ARTWORK, REMASTERED BY MAKOTO KUBOTA HIMSELF.


Starting with the reissue of 'Hawaii Champroo' recorded in Honolulu in 1975 and co-produced by Haruomi Hosono, Wewantsounds will then release 'Sunset Gang' from 1973 followed by Dixie Fever from 1977. All albums have been newly remastered by Makoto Kubota and they each come with original artwork, OBI and the original 4 page japanese insert. This is the first time the album is released outside of Japan....

Two Saviors is Buck Meek's second album, following 2018's self-titled LP also released on Keeled Scales and currently on its third pressing. The Big Thief lead guitarist worked with producer and engineer Andrew Sarlo on this album (who's produced all four of Big Thief albums, as well as coproducing Bon Iver's i,i ). Andrew agreed to record it only if it was made under his conditions-- that they make the album in New Orleans during the hottest part of the year, spend no more than seven days tracking live, on an 8-track tape machine, with only dynamic microphones and no headphones, and not allowing the players to hear back any of the takes until the final day. The band, featuring Adam Brisbin (guitar, vocals), Mat Davidson (bass, pedal steel, fiddle, vocals), Austin Vaughn (drums), and Buck's brother Dylan Meek (piano, organ, vocals), set up in a Victorian house one block from the Mississippi River, and worked within these limitations, encouraging every recording to be imbued with the living, intuitive, and human energy of a first take.

Magic Source invites you to a journey to the obscure side of disco music.

Led by producer & notorious tape operator Björn Wagner (of Mighty Mocambos, Bacao Rhythm & Steel Band and Mocambo Records), the group follows up on their rootsy cosmic debut LP Earthrising and last year's EP Riviera Drive, whose stunning flute jazz cover of “Genius of Love” is also featured on this longplayer.

Further exploring the more unusual facets of disco in its otherworldly and international stylings, Voyage Spectral travels through a wide musical scope, ranging from “lost” tropical grooves, Mediterranean funk, outernational boogie, to cosmic sci-fi soundtracks. All 100% organic - created by real musicians with real vintage instruments, captured on 16-track analog tape.

An all-star cast of musicians invites you to a fantasy trip where angelic voices blend with spaced-out synths, ethnic string instruments interplay with sharp horn lines while the rhythm section is holding down a polyrhythmic puzzle of guitars, clavinets, B-3, drums and percussions.