quête:sally c

Father John Misty is the nom-de-plume of Josh Tillman, who
has been recording and releasing solo albums under his own
name since 2003 and who recently left Seattle’s Fleet Foxes
after playing drums with them from 2008-2011.
When discussing Father John Misty, Tillman paraphrases Philip
Roth: “‘It’s all of me and none of me, if you can’t see that, you
won’t get it.’”
‘Fear Fun’, Father John Misty’s album from 2012 and now
available again through Sub Pop, began gestating during what
Tillman describes as an “immobilizing period of depression” in
his former Seattle home, when he had lost interest in
songwriting and wound up finding his voice by writing a novel.
After breaking from Seattle and settling in a spider-infested
Laurel Canyon treehouse, Tillman spent months demoing
songs, eventually liberating himself from his creative impasse.
With the help of LA producer/songwriter/pal Jonathan Wilson, a
wealth of talented musicians kicking around LA and producer
Phil Ek (who everyone knows has worked with Built to Spill,
Modest Mouse, Band of Horses, Fleet Foxes), ‘Fear Fun’
blossomed into a fully-formed expression of Tillman’s
unrestrained vision.
‘Fear Fun’ consists of such disparate elements as Waylon
Jennings, Harry Nilsson, Arthur Russell, All Things Must Pass
and Physical Graffiti, often within the same song. Tillman’s
voice has never been better and often sounds like Roy Orbison
at his most joyous, while the music maintains a dark,
mysterious yet playful, almost Dionysian quality.
Lyrically, his absurdist fever dreams of pain and pleasure elicit,
in equal measures, the blunt descriptive power of Bukowski or
Brautigan, the hedonist-philosophy of Oscar Wilde and the
dried-out wit of Loudon Wainwright III.
6-panel digipack CD. Gatefold LP.

Father John Misty is the nom-de-plume of Josh Tillman, who
has been recording and releasing solo albums under his own
name since 2003 and who recently left Seattle’s Fleet Foxes
after playing drums with them from 2008-2011.
When discussing Father John Misty, Tillman paraphrases Philip
Roth: “‘It’s all of me and none of me, if you can’t see that, you
won’t get it.’”
‘Fear Fun’, Father John Misty’s album from 2012 and now
available again through Sub Pop, began gestating during what
Tillman describes as an “immobilizing period of depression” in
his former Seattle home, when he had lost interest in
songwriting and wound up finding his voice by writing a novel.
After breaking from Seattle and settling in a spider-infested
Laurel Canyon treehouse, Tillman spent months demoing
songs, eventually liberating himself from his creative impasse.
With the help of LA producer/songwriter/pal Jonathan Wilson, a
wealth of talented musicians kicking around LA and producer
Phil Ek (who everyone knows has worked with Built to Spill,
Modest Mouse, Band of Horses, Fleet Foxes), ‘Fear Fun’
blossomed into a fully-formed expression of Tillman’s
unrestrained vision.
‘Fear Fun’ consists of such disparate elements as Waylon
Jennings, Harry Nilsson, Arthur Russell, All Things Must Pass
and Physical Graffiti, often within the same song. Tillman’s
voice has never been better and often sounds like Roy Orbison
at his most joyous, while the music maintains a dark,
mysterious yet playful, almost Dionysian quality.
Lyrically, his absurdist fever dreams of pain and pleasure elicit,
in equal measures, the blunt descriptive power of Bukowski or
Brautigan, the hedonist-philosophy of Oscar Wilde and the
dried-out wit of Loudon Wainwright III.
6-panel digipack CD. Gatefold LP.

Emmylou Harris made her Nonesuch Records debut with the release of her album Red Dirt Girl 20 years ago, in September 2000. To mark its twentieth anniversary, Nonesuch releases the album – which won the Grammy Award for Best Contemporary Folk Album – on limited-edition, translucent red vinyl.

Harris – whom the Los Angeles Times dubbed ‘the most captivating female artist ever in country music’ – wrote all but one of the twelve tracks on Red Dirt Girl, marking only the second time in her career that she had been so involved in the composition of an album. ‘In songs about lonely journeys and lost companions,’ said the New York Times, ‘Ms. Harris has found herself.’

Red Dirt Girl was produced by Malcolm Burn, who had worked with Harris engineering and mixing her previous solo studio recording, 1995's Wrecking Ball, and features Burn on piano, guitar, and bass; Buddy Miller on lead guitar; Daryl Johnson on bass and drums; and Ethan Johns on drums, guitar, and other miscellaneous instruments. Dave Matthews sings a duet with Harris on the album, and Bruce Springsteen, Patti Scialfa, and Patty Griffin also contribute vocals.

Commenting on her new label and record back in 2000, Harris said: "I take pride in my new association with Nonesuch, a label for whom I have great admiration. Red Dirt Girl is a very meaningful record for me. I’ve only written this much for an album once before – The Ballad of Sally Rose – and I’m very pleased as well with what we have accomplished in the studio."

Nonesuch Records President David Bither said at the time: "We have had the privilege over many years to work with some of the most creative and influential artists and producers in music. This launches a new area of musical exploration for Nonesuch, and we are thrilled that Emmylou is the artist to open this door for us. It is an honor to work with an artist who has such a formidable body of work behind her, but who is now creating possibly the best music of her career."

Harris has since released three additional solo studio albums on Nonesuch, Stumble into Grace (2003), All I Intended to Be (2008), Hard Bargain (2011); reissues of Wrecking Ball (2014) and her 1992 album with the Nash Ramblers, At the Ryman (2017); two duo albums with Rodney Crowell, the Grammy-winning Old Yellow Moon (2013) and The Traveling Kind (2015); two releases in 2006 with Marc Knopfler, All the Roadrunning and Real Live Roadrunning; and vinyl box sets of her early albums, in 2017 and 2019.

• Joe Brown is the English musician who has being working as a rock and roll singer and guitarist for more than six decades and continues to play over 100 shows every year. Often described as a ‘musician's musician’, Brown is admired by fellow artists and fans alike.
• In the early 1960s the hits began to roll in for Joe and his backing band the Bruvvers with tracks such as ‘A Picture Of You’, ‘It Only Took A Minute’ and ‘That’s What Love Will Do’ – all of which are included on this new Gold collection. Brown’s career continued to grow throughout the 60s and included headline British tours that featured the Beatles, Del Shannon and the Crystals.
• This new compilation features 16 of Brown’s best loved tracks pressed on 180g heavyweight gold-coloured vinyl, housed in a printed inner sleeve

‘‘I am not as other detectives!’
Presently in triple gatefold vinyl for the very first time, Dirk Gently – The Long Dark Tea-Time of the Soul sees Harry Enfield return as the singular detective in this full-cast BBC radio dramatisation of the novel by Douglas Adams. First broadcast on Radio 4 in 2008, these fantastically entertaining comedy sci-fi dramas are adapted and directed by Dirk Maggs, acclaimed for his dramatisations of The Hitchhiker’s Guide to the Galaxy, Good Omens, Neverwhere and many others.
When Dirk Gently’s long-suffering secretary, Janice, resigns to work in an airport, it’s the beginning of a very strange adventure for both of them. The detective takes to reading palms whilst dressed as an old gypsy woman, but meanwhile the ancient Norse God Odin has fallen into the hands of an unscrupulous advertising executive (and her husband). Bring on Odin’s son, Thor, a godlike curse that turns Janice into a vending machine, and countless other interconnected things…
Starring Harry Enfield as Dirk Gently and Olivia Colman as Janice, with Billy Boyd as Richard MacDuff, Laurel Lefkow as Kate Schechter, Stephen Moore as Odin, John Fortune as Dr Standish, Philip Jackson as the Vagrant, Jan Ravens as Cynthia Draycott and Peter Davison as Simon Draycott, with a guest cast including Rupert Degas, Morwenna Banks, Sally Grace, Jon Glover, Michael Fenton Stevens and Susan Sheridan, and music by Philip Pope. Adapted by Dirk Maggs and John Langdon from the novel of the same name by Douglas Adams. Directed by Dirk Maggs.
Three 140g coloured vinyl discs – in Holistic Red, Yellow and Blue - are presented in an illustratedc triple gatefold sleeve, with an exclusive sleeve note by Dirk Maggs.

On LP for the very first time, the vivid musical cues that American jazz
pianist and composer Vince Guaraldi wrote for the cast of Peanuts characters, adding new dimensions to beloved regulars like Peppermint Patty, Schroeder, Sally, and, of course, Charlie Brown.
In addition to nine songs performed by Guaraldi, the album also includes two classic Peanuts tunes recorded by pianist George Winston. Eight of the selections on Peanuts Portraits (including Winston renditions of “Linus And Lucy” and “Masked Marvel”) make their vinyl debut.

"Vertigo KO" enthält unveröffentlichtes Material der 2017er "Light Sleep" und "Voice Hardcore" Sessions der japanischen Avantgardistin Phew, samt eines The Raincoats-Covers ("The Void"). Die 2CD (ltd. Japan-Import) enthält zudem den Sampler "Vertical Jamming" mit langen Drone-Werken von Phew, der zuvor als limitiertes Tape und digital erschien. Beiden Tonträgern liegt ferner ein 20-seitiges Fanzine mit Linernotes von Künstlerin und Label sowie Fotos von Masayuki Shioda bei. Die Kultmusikerin Phew begann ihre Karriere 1978 mit der japanischen Punkband Aunt Sally. 1981 erschien ihr legendäres Kollaboalbum "Phew" mit Holger Czukay, Jaki Liebezeit und Conny Plank. In den 1980ern arbeitete sie mit Ryuichi Sakamoto, Alexander Hacke (Einstürzende Neubauten) und Chrislo Kaas (DAF) und jüngst mit Ana Da Silva (The Raincoats), Jim O'Rourke und Yoshimi (OOIOO, Boredoms) zusammen.

"AVALPBOX4", Limited Edition- 1.000 Copies' 28-Page Hardback-Book: 10" Vinyl, Hand signed Programme, Tour Poster & DVD.

By the time The Beatles travelled to Blackpool for the first time,
they had toured with the legendary American singer, songwriter, Roy Orbison; recorded several BBC radio shows, including Saturday Club, Easy Beat and Pop Go The Beatles; appeared on many, highly popular television programmes; released their debut album, Please Please Me and issued their first three EMI singles, ‘Love Me Do’, ‘Please Please Me’ and ‘From Me To You’.

Their fourth, ‘She Loves You’ had just been recorded and mixed ready for release. It was an exciting time for the band so, when they reached the popular, seaside resort for the first time, on 7th July 1963, optimism was filling the air. This stunning AVA Editions collectors pack contains a 10" Record feat. two appearances made by the Beatles on the ABC television show, Blackpool Night Out; an impressive 28-page book, crammed full of previously unseen colour images of the group and a high-quality reproduction of an original, 1963 concert programme signed by Skiffle legend, Chas McDevitt, who supported the Beatles on several occasions.

Also included is a full colour A3 poster and an exclusive DVD feat. a new, 30-minute interview with him, alongside his previously unseen, candid, colour footage of the group backstage, and in performance at the ABC Theatre in August 1963.

So too is a unique, fully colorized version of their 17-Mins. appearance before the cameras for Blackpool Night Out in August 1965. For Beatles and music fans alike, this pack serves as a wonderful opportunity to own a unique slice of music history.


*** Side A: Recording 19th of July, 1964
*** Side B: Recording 1st August, 1965

Longpigs were the alternative rock band who came to prominence in the 1990s Britpop scene. Fronted by Crispin Hunt, the group also featured guitarist Richard Hawley, Simon Stafford on bass and drummer Dee Boyle. Originally released in 1996 on U2’s Mother label, ‘The Sun Is Often Out’ featured four UK top 40 singles including ‘On And On’ and ‘She Said’. Demon Records is proud to present the first ever vinyl reissue of this cult classic, pressed on 180g heavyweight blue vinyl.

Unreleased album from 1981, a collaborative project by David Behrman, Paul DeMarinis, Fern Friedman, Terri Hanlon and Anne Klingensmith recorded at Mills College in 1981.

Previously known only to cognoscenti through an obscure self-released three-track 7”, this is the first publication of the complete album, an outrageous confection that mixes art-song and theatrical monologue with live electronics. Starting life as a performance art piece described by the artists as ‘Western Performance Noir’, the record centres on a series of texts written by Friedman and Hanlon in which female narrators comically embody a series of iconic roles (The Recording Artist, The Former Movie Star, and The Rancher). Other lyrical themes include recurring references to the notorious cannibal pioneers, the Donner Party, an ironic take on Japanophilia, and the luscious “Archetypal Unitized Seminar,” a satirical poke at self-help culture, whose lyrics are rendered in Indian raga style to the accompaniment of electronic glissandi and toy noisemakers. Delivered by Friedman, Hanlon, Klingensmith and special guest Maggi Payne in forms ranging from spoken monologue to Country & Western waltz, the texts are accompanied by instrumental and electronic contributions by Behrman and DeMarinis. Musically, She’s More Wild is truly unique, demonstrating these two pioneers of live-electronic performance adapting their signature processes to something approaching a ‘pop’ format: we hear the gliding, frequency-sensitive electronics familiar from Behrman’s classic On the Other Ocean and the mutant hacked Speak n’ Spell heard on DeMarinis’ Songs Without Throats propelled by drum machines and twisted into song forms. Perhaps comparable only to the David Rosenboom and Jacqueline Humbert’s contemporaneous Daytime Viewing in its interweaving of performance art tactics, high-tech electronics and pop sensibilities, She’s More Wild is an essential document, both immediately gratifying and ultimately thought provoking.

Back in 2018, Lumière Noire celebrated its first anniversary with a compilation featuring thirteen exclusive tracks by an eclectic group of electronic musicians – a family portrait of sorts. A few months later, a second volume of From Above, compiled by the label's artistic director (and DJ) Chloé, once more brings thirteen established acts together with promising upstarts. The first compilation was the embodiment of the label policy advocating for both artistic excellence and a widening of electronic aesthetics – bopping from deviant house music to adventurous IDM and to the rigor of dancefloor techno, among other electronic explorations. Some of the artists featured are now closely associated with Lumière Noire, while others were more established performers such as Benedikt Frey, Lauer, Jonathan Fitoussi, Il Est Vilaine, Dave e Brun (half of Swayzak) and Frank Agrario, as well as upcoming artists such as C O N T R A (a side project by none other than Iñigo Vontier), Sutja Gutierrez, Théo Muller, Markus Gibb, Bajram Bili, and a sprinkling of UFOs circling the genre (Suuns' Ben Shemie, Drvg Cvltvre, and electro-acoustic combo Lumi). This group photo laid down a number of paths for a label in perpetual evolution.

Since then, the Parisian entity has continued to grow within the international electronic scene, releasing Local Suicide's Leopard Gum EP, Iñigo Vontier's first LP, and planning another slew of releases for 2020. The lineup for this second volume of From Above is once again equally intriguing, offering a crescendo-like track listing over a double LP format, which is a feat of sorts for a "Various Artists" compilation.

Marc Mélias' fascinating, unsettling Permanent Waves gets the proceedings going with a contemplative track that provides a serene opening to the odyssey on which From Above will be taking the listener. Pletnev continues on with the playful, hooky Marco O’Polo, a fundamentally techno track built over a seductive 90s-inspired breakbeat. Douglas Greed (whom Chloé remixed on BPitch a few years back, and had himself remixed track from her album Endless Revisions featuring Ben Shemie’s vocals), supplies Vancouver, a slice of ambiance à la Boards of Canada, supported by a gripping breakbeat. The rhythmic arpeggio of Israeli producer's Middle Sky Bloom makes his contribution a hypnotic, disconcerting slice of dark disco. Thomass Jackson, a safe bet in the new wave of the Latin-American electronic music blowing its sometimes hot, sometimes cold wind, proposes Mithra, a dancefloor incantation to the Antiquity's bull god. With Bells, Goldmoon delivers a track that is both melodic and nostalgic, tinged with rhythmic samples, Moog basses and solar backgrounds. Longtime friend of Chloé, Krikor, who has released two albums on L.I.E.S. Records (Pacific Alley and Saudi), offers a moment of respite with Sally Hardesty (a nod to fans of horror movies), a heavenly and bewitching track that, paradoxically, hints at the highly energetic second half of the compilation. Discovered with Confidences EP released on Lumière Noire, the young French producer Morgan Blanc asserts himself here with Werde Der Du Bist ("Become who you are"), a song with luminous chords and midtempo rhythms to start the second half of the compilation by raising the tension. Galician producer, DJ and designer Cora Novoa continues the rollercoaster's ascent with her Virtual Aesthetics, which once again brings those acid tones – this time without the vertigo. Equally corrosive, but tenser and more percussive, the uncategorizable NSDOS' AL-G attempts to give order to a chaotic electronic world full of violence and danger. Rebeka Warrior (half of the duo Kompromat alongside compatriot Vitalic), takes on a more nostalgic vibe with Ich Komme Zurück, a French/German techno chant evoking a secret dream of a track from a bygone era. Three years after the release by Lumière Noire of Moderna and Theus Mago's stroboscopic Dog Is Calling You, Theus Mago makes a solo comeback with Idealistic Stone, a most acid of club tracks, rattled by the modulations of the inevitable TB 303. French electro-rock saltwarth Yan Wagner's dancefloor alter ego The Populists' Prehistoric Lemurs gives an almost Orientalizing twist to Kraftwerk's techno-pop. To close things off, the collection's last track, the appropriately-named Instant Track by impromptu encounter between Hervé Carvalho (Acid Arab), Jacques Bon (Smallville) and Demian (Kompakt) Acid Love Triangle, releases the pressure with a long, bittersweet reverie that leaves the listener, at the end of these thirteen musical adventures, to rest languorously on an artificial and welcoming shore.

Red Vinyl

Iggy Azalea is a four time Grammy-nominated and multi-platinum Australian rapper who has become one of the most accomplished artists in history. Her 2014 debut album The New Classic, which debuted at #1 on the Billboard Rap Chart - a first for an international female artist, spawned a US chart topping trifecta of worldwide #1 multi-platinum smash hits: ”Fancy” (featuring Charli XCX, 5x-platinum); “Black Widow” (featuring Rita Ora, 4x platinum); “Problem” (collaboration with Ariana Grande, 6x-platinum). “Fancy” was the longest leading Hot 100 #1 hit by a female rapper in chart history, Billboard’s 2014 Song of the Summer, iTunes Best Song of 2014, the year’s most-streamed song on Spotify, and the most-watched music video on Vevo. While “Fancy” was still residing at #1 on the Hot 100, “Problem” – Iggy’s collab with Ariana Grande – peaked at #2. Iggy had made chart history again, this time as the first artist since the Beatles to rank at #1 and #2 simultaneously with their first two Hot 100 hits. Iggy Azalea’s videos have amassed over 2.5 Billion combined views to date. 

In 2018, Iggy released her EP, “Survive the Summer,” featuring the RIAA Certified Gold track “Kream” ft Tyga as she gears up for her sophomore album “In My Defense” in 2019.

Brand new Bastard Jazz signing Buscrates comes out of the gate swinging with his first release for the label full of the bubbling, electronic funk he's become known for. "Lost & Found" features the vocal talents of Sally Green over a slappin' bassline, guitar licks and airy synths while "Cruise Control" goes on an instrumental ride with it's heavy drums, catchy g-funk lead and growling bass. Another funky affair from the Pittsburgh producer.

Emotional Rescue returns to the music of British "pop" band Furniture, with an EP of the band's own extended versions, remixes and unreleased takes of their particular output.

Taken from three 12"s that followed When The Boom Was On (ERC072), the songs included cast a light on their development from 3 to 5 piece, adding Sally Still (bass) and Maya Gilder (keyboards) and the new male/female frontline. The subsequent broadening of their line-up and sound meant they could start to address the kind of pop music they wanted to play.

After the early releases garneered radio play and reviews, Furniture were launched into the melee of '80s pop. An anomaly, the band found they attracted a specific kind of "intense" follower, who were often beguiled by Furniture's freaky normality. This was addressed on the 1984 release, 'I Can't Crack'. A more urgent version of the sound Furniture had debuted with 'Why Are We In Love', the track, sung by Tim, was based around a sequencer-like rhythm played live by drummer Hamilton Lee, and a clarinet part played by Tim's brother, Larry Whelan. A mix of bleakness and euphoria, the song was and is a favourite of the band and considered one of their best self-productions, as well as becoming a latter day club play.

This is followed by the studio experiment 'Throw Away The Script', where the band wrestled with sequencers and synth-pop, but then countered it with a free-jazz sax solo. Found on the flip of the double A -side of 'Love Your Shoes' 12", this instrumental version too became an underground club hit, including a cult play at Fran Lenaer's influential Valencia club, Spook Factory. Played loud, the studio mastery, trickery and oft-accidental discoveries come to the fore, with tissue-damaging frequencies giving extra sound system shaking bottom end.

The B-side continues the band's love of making extended mixes with 'Dancing The Hard Bargain'. Co-produced with Tim Parry (formerly of Blue Zoo), they threw everything at these 12" versions. Able to relax and focus on the sounds they really liked, rather than the ones thought more commercial, this can be clearly heard on this compelling, percussive mix, a stop-start breakdown becoming a band hallmark.
To close this collection is the mammoth 'Bullet'. Again sung by Whelan, an edited version of which debuted on the 1986 Survival compilation of Furniture tracks called 'The Lovemongers', here this previously unreleased original take is centred on a mesmeric tape loop, live drums and a guest appearance by violinist Helena Bjorelius.

The Melbourne show on June 17th was The Beatles's sixth and final date of their second Australian visit. Another incredible event that showed Beatlemania at one of its highest points- John, Paul, George and Ringo played their "usual" breathtaking set list in front of a wild and screaming crowd and after more than 50 years the whole thing still feels like pure Rock 'n' Roll.

Back in stock!

Extracting a rich sense of emotion from an evolving analogue set-up, Hammer follows up his previous FMB outings Dahlia and C-Space with a similar tone and sound palette as he lays out a new EP with 3 tracks that capture the Feel My Bicep sound perfectly, striking the balance between delicate melody and power with aplomb. This EP follows what has been a heavy 2019 gig schedule, with stand out sets at many top festivals and clubs such as Glastonbury, Panorama Bar and Parklife, along with both an Australian and Indian tour under his belt. The lead track ‘Parabola’ manifested as a slow burning percussive experiment that, as Hammer explains, ‘quickly got fired up by an extra 10bpm for the dance floor effect, turning itself into an acid led epic’ and as a consequence accidentally becoming the A1 at the same time. ‘Parabola’ is followed by ‘Panoptic’ and ‘Entropy’; all three track names inspired by his recent love for physics podcasts. He describes how ‘they are based around types of curvatures and levels of order that, in my head, are the visualisation of the 3 tracks inside workings; the engine room of the time machine.’ All three tracks were created with Hammer’s much loved Yamaha CS1-X, ‘a spaceship in its own right’, he explains. ‘A Xoxbox and a Roland SH-2 did the rest of the hard work. Time to enter the twilight zone with this one’! Bicep continue to add substance to what has now become a distinctive and singular label with this new 12" courtesy of their long term friend and blog contributor Hammer. With their previous offering from James Shinra still in many roving record bags and with a release catalogue full until the end of the year, the development of the label has reached a certain zenith and here - as head strong and highly effective as ever - Hammer makes a welcome return to the label with another batch of machine-driven dance tracks.After 12 years of promoting parties in Glasgow, The Hammer Hits goes on tour inviting guests such as Sally C, Jennifer Cardini and fellow FMB signee Cromby across the UK, Ireland and Berlin.

Limited edition unreleased 12" containing two italo disco and proto house classics anthems : Who, What, Where, When & Why on the side A and No Promises on the flip side.
Both taken from the Magic Spell Album produced by Mario Boncaldo & Tony Carrasco in 1983, the same guys from Klein & MBO, Plastic Mode, Amnesie and Ris. This unreleased 12" contains for the first time the extended disco versions of these two precious gems taken and re-mastered from the archive collection of the legendary Tony Carrasco.

Emotional Rescue is delighted to present the first of two EPs from British '80s band Furniture, starting with their much sought-after, six-song "mini-album" - as they were known then - which has recently been rediscovered by a new generation of DJs and collectors. "Transatlantic Cable" compares the cliches of a certain type of American romance - Bogart, Sinatra, Dean - to the reality of life in West London. "They're On Me" is probably one of very few pop songs to feature double bass and the word "newsagent", while "Robert Nightman's Story" is powered by a riff on marimba and abrasive rhythm guitar.
"I Miss You", a torch song so good you'd think Julie London might have cut it. A highlight for many is "Why Are We In Love". This track is a key reason for the revival of interest in the band, with pattering rhythm part and the sweet clarinet melody, creating an atmosphere that has attracted a following among discerning DJs. "A Letter To Myself" introduced the band's new, expanded line-up adding Sally Still (bass, vocals) and Maya Gilder (keyboards), which would endure until the band stopped in 1990.

James Place returns with his new LP "Still Waves To A Whisper" (the fourth release on Umor Rex). Flitting between the dreamworld of hauntological synth music and hypnotic techno functionality, Still Waves To Whisper showcases James Place's continuing development of dramatic (and varied) sound worlds.

Musically, Still Waves To A Whisper contains both some of the most immediately danceable and straight up beautiful tracks of James Place's career. Utilising voice samples from the same source as his last album, Voices Bloom, opener 'Known Cry' is a heavenly coda of sunlight bursting through clouds, warm synths drifting across restrained pulses. 'Timing and Lighting' went through countless live iterations before the current version was tracked for this album, a tunneling exploration of rhythm with a dose of sardonic humor. 'Move In Blue (Homeward Mix)' is James Places' rework of a track from 2017's Voices Bloom, obsessively remixed and revisited, here littered with additional melodies and populated by newly sampled voices. Closing track 'Names' is perhaps the most outright beautiful James Place recording to date. A stripped back rework of a live version of Living On Superstition's 'Another Mourning In America', the tune is based on a melodic line written after the studio recorded version. Interwoven with a sampled vocal, and rinsed of all of the original song, 'Names' is left behind a stark and compelling descendant. The digital release includes a remix of 'Move In Blue' by Persuasion aka Devon Hansen.

The title, Still Waves To A Whisper, stems from a conversation between Place and another artist on methods to ease anxieties and the benefits of a focused practice. The hope's for this music to continue that conversation on a larger scale.

All songs written, produced and recorded by Phil Tortoroli between 2015 — 2018 in Brooklyn, NY. Vocals by Sam Sally and an unknown guest.

Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Photos & Design by Daniel Castrejón.

"Things take a psychedelic turn for SchleiBen 7 with a welcome to the label of arch exponents of mind expansion in NYC's Georgia and the unlikely but no less diverse inclusion of Balearic stalwarts A Man Called Adam. Having Georgia in the series might not now be a surprise, however discussions with this open, genuine duo started during a visit to New York over 3 years ago and so here, finally realised in this fluid journey of confident pace and harmony, is the best of their freeform evocations. A duo in the everyday sense, Brian Close and Justin Tripp are video / music production teamsters of unnatural talent. Having gained a status of their own that has seen them release for the likes of Palto Flats and FTD, the five pieces that form their contribution drip with psychedelic intent. Culled from archives, the interest is how the tracks - made over different years, locations and situations in life - meld in to something poetic simply by being placed within a specific format. Avant-chimes ebb to rhythmic pulses and erudite teachings before dark percussion and Eastern melodies reach a clattering, but gentle finale. With an upcoming collaborative album with Secret Circuit due on the label later in 2018, as well as recent works with RVNG Intl's Matt Werth and recordings for Sacred Summits' brethren Firecracker Recordings, it's a warm, effusive glow of a welcome. In contrast, the inclusion of A Man Called Adam in the series may indeed surprise but is a false comprehension. The "Sketches" included here show AMCA away from their Balearic pop incarnation of the last thirty years and towards the academia that both members Sally Rodgers and Steve Jones have pursued in the last decade. With both completing PHDs, Sally ('The Diachronic Impact of Technology-Led Abstraction in Oral, Written and Music-based Poetries') is a senior lecturer at Leeds College Of Music, while Steve ('Mobilise: The Carry Principle, Sound and Mobile Media') is based out of de Montfort University, now is the perfect time to highlight the diverse sound environments they have been working in. The music that makes up these recordings are drawn from sound works and audio experiments completed in recent years. From sound toys and apps to home made glass organs and electro-acoustic sound, custom patches to spoken word manipulations, the sketches are excerpts - some evolved from commissions for the National Science Museum, BBC Radio 4 and live performances with the world renowned video artist Milosh JL - fused especially for this release. Bringing these generated pieces in to an audible "mix" creates a discourse of their work in performance, interactions and visual media. An intellectualised album therefore, but still in the premise of the series to allow artists to present something new, unique, discrete, hidden even, all with the aim of giving the recipient the chance to sit back and (un)listen. "

Music Mania is proud to present the next instalment in their Reprise series. Following the highly sought after classic 'Elle et Moi' (MMR001), comes the blissful Belgian synth pop anthem 'Crocodile Tears' (MMR002). The track was one of the first singles of Kuruki, the minimal wave project spearheaded by Ghent-based musician Gerry D'Haeyer and Alain Bureau (Sally Joy). In an age of electronic sequenced experimentation, the band managed to find a distinctive sound that easily puts them between the likes of Telex. The original ep 'Such A Liar' was released in 1981 and clearly echoes the new wave of its time. The scenes described by vocalist Sally Joy as well as the melancholic keys of the main track 'Crocodile Tears' breathe tristesse. Nevertheless, it has a playful sound full of catchy synths. A dualism between such beauty and melancholy: this track was undeniably made in Belgium in the eighties, but should also appeal to lovers of Italo Disco.

Be aware: for their second reprise Music Mania managed to include an exclusive instrumental version of this Belgitude. Even more synths for your listening pleasure.

Mesh-Key is thrilled to present this mind-bending solo album of electronics and vocals from legendary Japanese musician Phew. Phew's career began in the late 1970s as lead singer of Osaka punk group Aunt Sally (whose only full-length was released by Vanity Records in 1979). Ryuichi Sakamoto produced her debut solo release in 1980, a two-song single, and in 1981 Pass Records released her debut album, a bonafide masterpiece recorded with original Can members Holger Czukay and Jaki Liebezeit at Conny Plank's studio in Germany. She has forged a singular path over the past thirty-plus years, collaborating with folks like Anton Fier, Bill Laswell, and Seichi Yamamoto (Boredoms). It's borderline sacrilegious to compare an artist as unique as Phew with anyone else, but for those unfamiliar with her work, 'Light Sleep' might be described as a more animated Nico singing (in Japanese) for early Suicide. Prepare to be floored.

From the producer of Sally Shapiro and creator of the stone cold classic 'Spacer Woman From Mars', together with the mysterious Stockholm producer Le Prix, comes this beautiful slice of spine tingling italo disco pop.