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High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

Nachdem Dan Reed Network mit ihrem letzten Studioalbum "Let's Hear It For The King" Werk aus berauschendem Rock, Funk und Soul präsentieren konnten, kommt nun die auf 500 Stk. limitierte Deluxe Reissue auf Vinyl. Mit ihrem sechsten Studioalbum inkl. 3 Akustik Bonustracks, schließt sich der Kreis zum ursprünglichen Leitbild der Band - Überzeugungen in Frage zu stellen, bestehende Protokolle zu zerschlagen und aus den Trümmern etwas Neues zu schaffen. Dieses Album ist für Visionäre, die Teil und Zeuge des nächsten Schritts in der künstlerischen Entwicklung des Dan Reed Network sein wollen.

Tired Girls is the third full-length studio album by Bay Area singer-songwriter and multi-instrumentalist Anna Hillburg. Co-produced and recorded with Jason Quever of the Papercuts, the pair created an album for lovers of finely crafted and supremely catchy chamber pop. As always, Hillburg’s voice takes center stage, but for Tired Girls she made a conscious choice to dig deeper into her trumpet skills and make more elaborate horn arrangements than her previous records. Lyrically, Hillburg dives into what it is to be a contemporary woman, and how one perseveres, finds inspiration, creates, loves, and lives. Recorded throughout 2022 at Quever’s studio, the two built dreamy soundscapes with long-time collaborators Logan Kroeber on drums (The Dodos), Josh Miller on bass (Chime School, Extra Classic), and Yea Ming Chen on keys. The entire record has a real “Ladies, trust your gut” feeling, unsurprisingly, as Hillburg says she tends to write songs about “the reality of womanhood and feminism but ya know, why not make that a little ‘dancey’?” As a collection, Tired Girls marks her arrival as an artist who has hit their stride. Each track shows her talent and progression as a songwriter and performer. As a multi-instrumentalist and classically trained trumpet player, Hillburg is a sought-after session and live musician in the vibrant Bay Area music scene, performing regularly with Shannon And The Clams, The Dodos, The Moore Brothers, The Once And Future Band, Will Sprott, Dream Date, Greg Ashley, Shannon Shaw and her All-Star Buddy Band, and more. After writing and recording with her first band, SF power-pop darlings Dream Date, Hillburg set off on her own to record and release her first album, the self-titled 2013 release, Anna Hillburg. Described as “a romantic mix of lounge-inspired rock and avant-folk melodies,” here were the foundations of Hillburg’s signature songwriting style, with elements of baroque pop, catchy hooks, trumpet lines, and whimsical humor that garnered the attention of critics and fans alike. Her second studio album, Really Real, came out in 2018, recorded with Greg Ashley (Gris Gris) and Alicia Vanden Heuvel (The Aislers Set), this pop gem gained even more praise, with writers saying “Hillburg’s writing brings heartfelt lyrics to elegant pop.”

With a first tune at 200 you'll have a cruiser as well as a shaker. MASSIVE BASS...
Second track is another Shaker style 2010, A fuckin' hell legend. Story telling in a DeathChant Style.

The flip opens with another no-samples side ^^ Superb and probably my fave tune here : Dropping tunnels and turtablsim fuckerz...

Last tune is a total Deathchant Fever newskool one. In the mood of DC101...

A master pieace again !

Second album by musicians Apolline Schöser & Nocola Henry. More info soon...

Recorded August, 1965, Copenhagen, Denmark.

Original LP issue: OKTAV – OKLP 111

Sahib Shihab (Edmund Gregory) played with many of jazz’s finest musicians. Shortly after he became one of the first jazz players to change their names due to an Islamic conversion, he joined Thelonious Monk for his Blue Note sessions. He also played with Art Blakey, Dizzy Gillespie, Oscar Pettiforn and Quincy Jones. A unique musician, he was at home in every musical style, from the experimentalism of Thelonious Monk to the more direct hard bop of Art Blakey. Sahib Shihab’s distinctive sound was rooted in his modernist compositions and arrangements, complemented by an intense, soulful playing style.

In 1959 he toured Europe with Quincy Jones after getting fed up with racial politics in USA and ultimately settled in Scandinavia. He worked for Copenhagen Polytechnic and wrote scores for television, cinema and theatre. He remained there until 1973. During this period, he recorded several albums as leader for European labels such as Vogue, Storyville and Futura.

In 1961 he joined The Kenny Clarke-Francy Boland Big Band and remained a key figure in the band for the 12 years it ran. He married a Danish lady and raised a family in Europe, although he remained a conscious African-American still sensitive to racial issues.

This record, on the Danish Oktav label, his second as a leader and also his rarest is a true masterpiece !!!

2008 listete der "Rolling Stone" die 1933 als Eunice Kathleen Waymon geborene Künstlerin Nina Simone auf Rang 29 der 100 besten Sänger aller Zeiten. Im Dezember 2017 wurde Simone, die ihren Künstlernamen nach der Schauspielerin Simone Signoret wählte, mit der Aufnahme in die Rock and Roll Hall of Fame geehrt. Rock"n"Roll ist insofern etwas irreführend, da die Sängerin, Pianistin und Songschreiberin im Blues und Jazz zuhause war, beziehungsweise in Black Classical Music, wie sie ihren Stil selbst nannte. Von ihren Fans wurde sie hingegen als "Hohepriesterin des Soul" bezeichnet. In den Sechzigerjahren engagierte sich Simone stark in der US-amerikanischen Bürgerrechtsbewegung. Mit Liedern wie "Mississippi Goddam" und "To Be Young, Gifted, And Black" (Text: Weldon Irvine) wurde sie eine der musikalischen Leitfiguren dieser Bewegung. Wagram ehrt diese großartige Sängerin mit einer 3-LP-Box inkl Poster.

A nice collection to relax in a warm and cosy musical atmosphere

Re-release Soul entwickelte sich gegen Ende der 1950er Jahre aus Rhythm"n"Blues, Gospel, Blues und Jazz. Im folgenden Jahrzehnt war Soul ein Synonym für schwarze Popmusik. Kennzeichnend dafür waren vor allem die Produktionen von Motown Records, zum Beispiel Diana Ross & The Supremes oder Sam Cooke. Seither sind herzergreifender Gesang und groovige Vibes die größten Stilmerkmale des Soul. Zu den weiteren Ikonen des Soul gehören Curtis Mayfield, James Brown, Aretha Franklin, Barry White, Sam Cooke, Al Green und viele mehr. Deren Erfolg ist eng mit dem Kampf der US-amerikanischen Bürgerrechtsbewegung gegen Rassentrennung und für Gleichberechtigung verbunden. 1969 benannte man die Rhythm"n"Blues- in Soul-Charts um. Der Soul-Orkan, der während der Sechziger in den Charts tobte, ebbte jedoch wieder ab, kam aber runderneuert in den 70ern als Phillysound wieder zu erneuten Hitparadenehren. 1982 änderte man die Chart-Bezeichnung von Soul in Black Music. Die vorliegende Kompilation vereint die legendären Stimmen des Soul mit ihren unvergesslichen Hits.

Calibro 35 unleash the new OST for the second season of TV series BLANCA, to be released on limited edition LP on December 1st 2023.

Italian cinematic cult outfit CALIBRO 35 announces the release of the ORIGINAL SOUNDTRACK of the second season of BLANCA, the TV series produced by Lux Vide in collaboration with Rai Fiction, broadcast in prime time on Rai 1 starting from Thursday, October 5th 2023 and directed byJan Maria Michelini and Michele Soavi. The soundtrack will be released worldwide on limited edition, crystal clear LP next December 1st via Milan based label Record Kicks.

The new thrilling episodes of Blanca Season 2 follows the success of the first season, that was aired worldwide on Netflix, M6 France and Telecinco Spain. Accompanying the journey is once again the original music of CALIBRO 35 the Italian "cult" cinematic combo active for over 15 years and with a fan base that includes superstars such as Dr.Dre, Jay-z and Damon Albarn. Made up of 20 tracks in total, the OST was entirely composed by CALIBRO 35 that created the sound universe of BLANCA: an impressive and choral work, which has engaged all the components of the band for a long time, giving the them the opportunity to develop a very vast soundscape.

"It's the first time that we deal with the creation of a 'season 2' and we discovered that the creative process can be very different" Calibro 35 says. "In the first season, we had to build from scratch a sound and musical world consistent with the idea that Jan had (Michielini, director and showrunner of the series); this time, however, we had to develop that already existing world further, in order to describe the new stories and new different characters of the second season. There had to be undiscovered musical territories, that forced us to step out of our comfort zone." The result is that on the 20 tracks of the ost, the heavy dose of Calibro's signature funk grooves of tracks such as "Badanti, "Carignano", "Cambio di Stagione" or "Sampierdarena" is mixed with more moody and soulful tunes, world music, opera and atmospheres à la John Carpenter. Amongst the album's highlights worth definitely a mention the Opening and End titles that feature the voices of Arya, MEI and Tahnee Rodriguez. Essential contribution to the recordings were made by Francesca Biliotti - mezzo soprano of the Monteverdi Choir, Valeria Sturba - exceptional multi-instrumentalist of the avant-garde music group OoopopoiooO, Rahma Hafsi and Elisa Zoot.

Described by Rolling Stone as "the most fascinating, retro-maniac and genuine thing that has happened to Italy in the past few years", Milan-based Calibro 35 enjoy a worldwide reputation as one of the coolest bands around. Active since 2007, during their long career they were sampled by Dr. Dre on Compton ("One Shot One Kill" feat. Snoop Dogg), Jay Z ("Picasso Baby"), The Child of Lov & Damon Albarn ("One Day") and Demigodz ("The Summer Of Sam"). They played major venues and festivals all over Europe and as unique musicians they collaborated with, amongst others, PJ Harvey, Mike Patton, John Parish, Stewart Copeland and Rokia Traoré. The BLANCA OST is the latest of many activities concerning cinema for CALIBRO 35: the band has been completely immersed in the world of soundtracks since the very beginning and they have recently worked on other productions as well, both as Calibro and individually. Last June, the band released their 8th studio album, NOUVELLES AVENTURES, recorded in Naples at Auditorium Novecento. With the new LP the group has made full use of their knowledge and resources, refined and enriched over the years, back to making "Calibro's music": a unique mix of funk, progressive rock, alternative jazz and wide-spectrum cinematic music the public has known them for in fifteen years of career.

Performance and Cocktails, released in 1999, includes “T Shirt Sun Tan,” the acoustic “She Takes Her Clothes Off,” and “Pick a Part That’s New.”. The name of the band’s second studio album comes from lyrics in the first featured song ‘Roll Up and Shine’, and is being released as a limited edition 140-gram Orange vinyl.

FIVE CLASSIC ARETHA ALBUMS PRESENTING AN EARLY-’70S PORTRAIT OF THE QUEEN!

Also Includes A SIXTH BONUS LP of Session Alternates, Outtakes & Demos!

Original Albums Remastered From the Analog Master Tapes by Grammy® Award-Winning Engineer, Chris Bellman at Bernie Grundman Mastering Produced by Grammy® Award-Winner Cheryl Pawelski with Liner Notes from Billboard’s Gail Mitchell & British Ambassador of Soul, David Nathan Includes the hit Young, Gifted, & Black, released in 1972, which hit #2 on Billboard’s R&B albums survey and #11 on the Billboard Top 200 as well as being certified GOLD.

Aretha won the 1972 Grammy Award for Best Female R&B Vocal Performance the album ranked at number 388 on Rolling Stone’s 500 Greatest Albums of All Time.

Also includes This Girl’s In Love With You which features the first commercial release of “Let It Be,” and came out 2 months ahead of The Beatles. Both this album and Spirit In The Dark feature the Muscle Shoals Rhythm section and an appearance by Duane Allman. Along with production on both from Jerry Wexler, Tom Dowd & Arif Mardin.

This music unites our common love for the essence of music, which contains harmonic structures and emotionality without borders." — Musique Infinie

Musique Infinie, the new duo consisting of Noémi Büchi and Feldermelder, is rooted in a shared desire to intertwine two composing veins, and to merge them into a new, massive core. While Büchi combined her background in classical and electro-acoustic music with a bold approach to composition on her highly acclaimed debut album 'Matter' (-OUS, 2022), multi-disciplinary musician and artist Feldermelder has been expanding his artistic practice into unexplored realms for over 20 years. Mutually, they've challenged themselves to fully engage on an artistic exploration aimed at making use of the elementary forces that unfold between them.

Their debut album, simply titled 'I', is a musical hybridization. The compositions make use of simple motives that are radically transformed by expanding them into intricate structures and fantastic layerings. The overcoming of genres with eclectic elements from classical music, jazz, film music and traditional music, combined with the vocabulary of experimental electronic music, complete the vertical plunge into this thickness. The emerging pieces lead into a paradoxical world, both disturbing and euphoric. Pieces that don't give in to calculations and expectations, but progress through ruptures and repetitions. The richness of the compositions and their analog, acoustic and orchestral character reflect the density of the world with its violence, its decadence, its fragility, but also its power, its ingenuity and its beauty.

Composer and sound artist Noémi Büchi creates electronic, symphonic maximalism. Her music is defined by a delicate synthesis of textural rhythms and electroacoustic-orchestral abstraction. She explores the potential of consonance and dissonance, contrasts rhythmic physicality with disruption and playfully emphasizes irregularities, creating an expansive listening experience marked by detail and elevation.

Feldermelder is a polymathic creative whose artistry spans composition, sound design, installation and code. He is co-founder of -OUS Records and an active member of Encor.studio, a collective specialising in creating immersive audio-visual installations. Through his work, he explores the idea of secrecy and its impact on our lives, using music and sound to create a thought-provoking and immersive experience for his audience.

Tape

Vestigios, Aeondelit’s second full length record after recently releasing an EP of shifting club music influenced by postmodern philosopher Leotard on Tel Aviv’s Sadan records, tells a lucid, captivating story of heritage, transformation, vulnerability and healing. It will be released via Berlin-based art platform and record label Unguarded as a digital and tape release with an artwork created by Petra Hermanova, and will be accompanied by limited textile pieces by Diane Esnault. Aeondelit’s music is strongly influenced by the rocky surrounding of his hometown Manizales and fuses electronic sensibilities, ambient streams and avant-percussive rhythms that build his sound identity. Aeondelit's evocative music has previously been released via the Insurgentes imprint, Vienna-based Ashida Park and was recently featured on the 'Unguarded 2 – Entangled' compilation. Cortés describes the meaning of Vestigios as such: “The memories of past generations: the lives that burn within me, are the pillars of who I am. They constitute longings and traps, sin and strength, the temple that breaks down and rebuilds. The different dimensions of consciousness converge in the mind, which constantly tells us who we are, synthesizing and projecting our contradictions. The pain that comes with getting in touch with our vulnerabilities opens the doors to healing through confrontation. This lays the foundation for a more honest relationship with our past, present and future. 'Vestigios' is the bridge between the temporal and the eternal, the crystallized remnant of pain caused by transformation and recognition of the convulsive underworld of our psyche.” Aeondelit, birth name Sergio Cortés, is a Colombian music producer who explores themes related to technology and human condition in sound. He focuses on the creative use of sample manipulation techniques and digital sound synthesis to deepen the idea of a dialogue between computer and human, and how both influence each other. Deep in Colombia's Andes, surrounded by big mountains and the sacred Nevado del Ruiz, Aeondelit has been forging his own sound identity, exploring the intersection points between sparkly experimental club music and melodic ambient electronic. His first release Editing Destiny on the Colombian label Insurgentes was well received by the public and DJs, named one of the best albums of 2020 on Mixmag. His last release on Sadan Records, Anima Minima, was reviewed and premiered on platforms like DJ Mag, THE BRVTALIST and Orb Mag. He is also the co-founder of the independent record label Nvrclose, where his debut album as Æon Series: Dualidad, was released. About Unguarded: Unguarded is a Berlin based experimental electronic music label and art platform. In 2020 long-term collaborators Tim Roth aka Sin Maldita aka 1k Flowers and Phillipp Hülsenbeck founded Unguarded to foster forward thinking artists with a focus on exploring cross-disciplinary collaboration and embarking on sonic adventures. Unguarded was founded in a time of turmoil and uncertainty for artists and music, trying to keep personal connections alive through shared personal and collective experiences between doom and destruction and glistening hope. Amongst their own contributions, Hülsenbeck and Roth gather a collection of genre-defying works by longtime collaborators as well as artists they bonded with in recent years. Their releases constantly escape from definition but through entangling their unique artistic marks, this diversity remains absorbing and compelling throughout their sprawling sonic miasmas. Combining earth-shattering club cuts, equally elegant and bouncy, Unguarded contributes to and connects the experimental music scene in and outside of Berlin. We invite the curious to a deep, tense but rewarding experience.

Following an inspiring moment during a back-to-back live appearance at Fool’s Gold Presents: A-Trak & Friends in Oasis Wynwood during this year's Miami Music Week, The Magician and long-time friend A-Trak have collaborated on the captivating new single 'Love On You' (ft. Griff Clawson).

The Magician - known for his seminal Magic Tapes compilation series - heads up Potion Records and is a veteran of high-profile collaborations with Kolombo and Samaran, amongst many more. He has a mystic touch and spellbinding sound full of emotion and has taken it to places like Ushuaia Ibiza, Tomorrowland, and CRSSD festival in San Diego while also holding down his influential residency at Elsewhere Brooklyn. Here, he works with A-Trak, a.k.a. Alain Macklovitch, a legendary talent on the decks, president of Fool's Gold Records and a quintessential cultural connector. His 25-year career has seen him take turns as an internationally renowned DJ and World Champion turntablist, as well as being one half of the Grammy-nominated duo Duck Sauce and The Brothers Macklovitch, all of which have meant he continues to reshape the very role of the DJ as tastemaker and storyteller.

Their sublime 'Love On You' (ft. Griff Clawson) is an uplifting dance track that radiates positive vibrations. The rhythm section is married to tender piano chords and plenty of subtle synth details that bring it to life. The standout feature is the well-treated vocal that sounds fresh and futuristic but comes laden with a bittersweet sense of emotion that hooks you in and is sure to be sung back by vast crowds worldwide.

Support from: Purple Disco Machine, Junior Sanchez, Feenixpawl, Swanky Tunes, Olugbenga, ROOG (Hardsoul), Mr. Belt & Wezol, Judge Jules, Sugarstarr, Keanu Silva, Dots Per Inch, DJ Phantasy, Micha Moor, Patric La Funk, Borgore, Don Diablo, Claptone.

A blistering advancement of the knife-sharp hooks and urgently efficient post-punk structures that they’ve spent over a decade refining since their formation in 2011, the band’s fourth album – and second on Specialist Subject - emerges from a period of flux for the band’s chief songwriting partnership of Emma Wigham (drums/vocals) and Mark Jasper (guitar/vocals). First came a move north to Yorkshire from their native London. “We had decorated a tiny, rented house in Mytholmroyd” Jasper explains. “We setup a practice room in the top of a mill nearby and tried to write music, which we did amid stress about money, and a fear of having made the wrong decision. We had left our jobs, friends and a nice but absolutely tiny flat in London behind, and moved to a small village in West Yorkshire.” Although they found the location to be beautiful, the transition from city life to rural turned out to be an odd fit – too much so, it turned out. From this relatively short stay in West Yorkshire, however, came a more permanent change as the couple welcomed their first child Ivy into the family. Although, they’re hesitant to put too much of Streams and Waterways influence on the shoulders of their young daughter – she arrived a year and a half into the album’s conception – there’s no denying that its themes of loss, birth, and being part of this eternal, momentary life were brought into sharp focus following their new arrival. “Streams and Waterways is about the struggle of looking at the clock, realising it’s actually going pretty damn fast and knowing that really you have no control over anything” Jasper confirms. Perhaps that explains the way that opener The Valley doesn’t even introduce itself before careering into a full-throttled, three-minute scuzzy rager that would approach the descriptor anthemic had it not been kicked and scuffed along the way; it’s maybe why the wiry, ferocious Choice You Make feels like a charge into a storm despite the uncertainty of what you might find. It’s perhaps why even when Witching Waves allow themselves respite on the pared down Open A Hole, there’s a churning anxiety that lies below the acoustic guitar and harmonising vocals: in many ways musically and thematically Witching Waves are relinquishing the control that’s always been a fixture of their music – with all the thrilling and nervous fallout that comes from that. Although the pair have since returned south (having relocated to Exeter), Streams and Waterways also serves as a document of their foray northwards. The surviving artefact from Jasper’s never-to-be-finished studio that he’d began to build in Yorkshire – following the ending of his London-based Sound Savers studio – the record is also the first to feature current bassist Will Fitzpatrick, who joined initially live on their support tour with Australian punks Camp Cope. Fitzpatrick – a key component of Liverpool’s DIY scene for two decades – quickly became a key part of the writing process. Recording sessions were done during periods of lockdown that allowed congregation, Jasper recalling a still unborn Ivy kicking hard during an early mix playback of It’s A Shame’s layered noise rock assault. “The song was about my past, a much harder time. But my future was egging me on” he says. It’s a neat summation of Streams and Waterways and its representation of the discomfort of life amidst the compulsion to ride on its journey regardless. It’s a record that finds Witching Waves looking into the future more than ever before, but still bristles with the rush of being in the moment – because ultimately, despite what may have happened or may yet come, the band’s strongest trait remains being able to keep you feeling in the present.

House of Harm are proud to announce the forthcoming release of their new album Playground, out December 1st, 2023. The new record builds and expands upon the three-piece’s enthralling shadow-pop sound, a mix of midnight atmospherics, 90s era jangle pop, and contagious synth drenched hooks that further elevate the transcendent vocals of lead singer Michael Rocheford. Rounded out by Cooper Leardi (guitar / synths) and Tyler Kershaw (guitar / synth), House of Harm have amassed an impressive following as something of a best kept secret among their growing fanbase, leading to sold out shows on both coasts by the power of word of mouth alone. The band members have been drawn to music for as long as any of them can remember, and the drive to be around like-minded artists and make their own noise drew them all to Boston after high school. There they all quickly enmeshed themselves, playing in other bands before meeting each other. Ever since, House of Harm have been quietly making a name for themselves among music fans with darker pop persuasions via a steady stream of releases in single, ep and album form. That attention to detail and workmanlike approach at the expense of chasing instant gratification seems to be paying dividends after years of steady effort. The journey of their new album Playground saw House of Harm stay true to that ethos. The band painstakingly narrowed the record down to an efficient 10 tracks that they felt made the most sense, both standing on their own as well as fitting into an LP that built a cohesive world for the listener to get lost in. The album’s name also reflects the experimentation and happy accidents that came about during the writing and recording process. On “The Face of Grace” they set out to explore different dynamics by writing a song entirely without drums, but couldn't help themselves from putting emphasis on the song’s 6/8 waltz time signature. “Two Kinds” is another first for House Of Harm in that it’s predominantly driven by acoustic guitar. That aforementioned vulnerability shows up in other areas of the songwriting process as well with “Two Kinds”, one of their most revealing songs to date from a lyrical standpoint, written from a place of reflection and weakness and tackling feelings uneasy to be put on display for public consumption. Taken as a whole, the end result is an album representing a collection of the band’s most raw and expressive songs yet.

Over the top and pummelling return from QUARANTINE. No change in intensity or drive offering another tastefully brief and intense blast that bores holes into the earth's crust with steel drillbits sharpened on the FUs, YDI, OUTO, GBH, and a healthy dose of the jester's grin. Absolute powerhouse of musical talent featuring an unequivocally ferocious rhythm section driving seriously gnarly guitars and twisted vocals at speeds that would make most people pass out. This is pure hc

Detroit-based label Choose Better Friends is a new outlet that is already mighty impressive after just three releases. This one lands quickly after the second from Jaco Matthews and it offers more traditionally included Motor City house sounds. Ryan McCray opens with weighty but dusty drums and grainy sustained chords that lock you into a trance straight off the bat, especially once the low-slung bass and steamy vocals arrive. From there, the wooden knocks and muffled kicks of 'What It Is' are paired with some nice dreamy chords and the flipside offers more zoned-out basement lushness with 'The Tide' and the heavier, more raw 'Rushin.' Essential.

Ross Mc Millan Aka Carlos Nilmmns Started His Career Over 10 Years Ago With Skylax Records. From His 1st Ep "Red" It Is a Statement. a Subtle Mix of House, Techno All Embellished With Striking Cinematographic Landscapes. There Followed a Multitude of Releases on Skylax (Blue Ep) but Also Ornaments, 4lux or Even Circus Company. He Has Just Recently Released 2 Fabulous Remixes for the Soul of the Makossa Man Project (Warehouse Classic 5 & 6). and It Is Logically in View of the Incredible Level He Has Reached in the Development of His Remixes That We Offered Him to Make a New Ep. There Is in This New 12 Inch His Very Personal Touch to the Deep and Sensual but Also Latin House Influences That Surely Would Not Have Denied the Maw but Also the Great David Mancuso (The Loft) Who if He Were Still Alive, We Think Would Have Loved This Ep (Rip). Indeed, Ross Also Manages to Integrate Into His Songs Cinematic Landscapes Worthy of Lalo Schifrin of the 1970s While Maintaining a Club Aspect. Latin Tapes Is One of the Most Beautiful House Bangers We've Heard in a Long Time, a Real Ode to Party and Life. No Love Lost Is Eyeing Moodymann, Mcde and the Brilliant and Forgotten Trus'me. Hootenanny Looks Nothing More or Less Than Isaac Hayes From His Blaxploitation Period. Everything Else Is on the Same Level: City of Love, Sunset Over Antoni De Portmany (Balearic Nights) & Life in the Loire. the Real Question Would Be to Know How He Manages to Obtain This Sound So Classy, ​​the Impression That He Is Accompanied Throughout the Ep by the Philadelphia International Rhythm Section (Gamble & Huff) an Orchestra of Seasoned Musicians. Probably One of the Finest House Records (Or Even Just Music) to Be Released This Year by a Talent as Singular as It Is Elusive. This 12 Inch Is a Masterpiece of Elegance and Refinement....

The birth point of ecstasy in British music is usually credited to acid house and the second summer of love: a cemented vision of kids sweating and vibrating in clubs, fields and warehouses in 1988, united by universal empathy and mind-popping sounds. However, in 1981, a couple of young men from Leeds went to New York, discovered the drug in its infancy, fused its’ gritty synth pop to acid house’s squelchy 303 groove and recorded an album: Soft Cell’s Non-Stop Erotic Cabaret. The rest, as they say, is history.

Shortly before that Soft Cell’s debut single Memorabilia was born. Originally recorded a decade before the explosion of acid house and rooted in predominantly black NYC, Chicago and Detroit gay clubs, Memorabilia is a seminal early prelude to rave culture. Merging a

strutting disco bass line with a futuristic proto acid-techno beat, Marc Almond has past described Memorabilia as “the first acid house techno record ever”.

Dave Ball remembers: “Memorabilia got to about number 99 in the charts, but the clubs picked up on it. In NME or Sounds they had a chart for the Danceteria in New York, and we were in it. Our label Phonogram saw this and thought: ‘why is this weird little duo from Leeds that no one’s heard of suddenly getting played in one of the hippest clubs in New York?’ So I think they thought: ‘we’ll give them another chance’.”



Berlin’s very own upcomers Wally Funk round off the remix package, upping the original tempo slightly, while combining elements the of original production with the later Non-Stop Ecstatic Dancing version to create a new hybrid, best played extremely loud!

With Observatories, we see longtime Dauw-collaboraters Ian Hawgood (Home Normal) and Craig Tattersall (the humble bee) joining forces. If their debut on IIKKI was still rooted in a dialog with photographical work, the duo now offers a more autonomous work. Both being experts in the use of tape in their productions, it’s no surprise that sending loops back and forth was the starting point of this fourth album. On »autumn diffusion – winter seclusion’« we hear 2 longform pieces consisting of several tape-collages in which harmonium, voice and electronics weave together and form structures on which crackling piano sounds can do their magic. A new episode in their growing catalog and one which truly displays the strength of their collaboration.

Remixes from Erika's second album "Anevite Void". "Anevite Void Remixed" showcases some of the many diverse influences on Erika's critically acclaimed second solo album "Anevite Void". Here her ambient album closer "Wandering Mountain" transforms into two faces of techno, first the monolithic hypnotic slab of sound from Mike Parker then to a powerful peak time melodic banger from Wata Igarashi. The other side features a totally different take on her influences, with Eris Drew delivering her "Body Rock Remix" fusing a number of styles to push the highlight of Erika's album to new heights, and Whodat discovering a deeper side to "Tomorrow's Fires". Pressed at Archer Records, Detroit.

Me Neither is a 29 track double album of instrumental guitar music. While juggling a number of other projects James Elkington began writing "music for which there was no purpose." It became a new way of working for him - waking up each morning and improvising and recording the first thing that came into his head. "The only rules I gave myself were that I should make most of the sounds with a guitar, changing the speed or processing the recordings afterwards to get the effect I was looking for." Before long he had an albums worth of material. About mid-way through the second album Elkington had a liberating thought: he was making his own version of library music "if you're writing library music, you don't have to know what it's for - that can be someone else's job."

Being a musical playground for Dixon and Âme since the beginning of the label. Our Secret Weapons series symbolizes a constantly forward moving train of both artistic expression and musical exploration. With the aim of showcasing tracks that circled through the sets during the year and will do beyond.

Denovali presents the second cooperation album of Italian composer, arranger, producer and guitarist ERALDO BERNOCCHI with Berlin-based Japanese violinist, composer, electronic producer and TANGERINE DREAM member HOSHIKO YAMANE.

Eraldo Bernocchi and Hoshiko Yamane have come together again to create their second album - inspired by the Japanese concept of "Sabi". The record is a unique blend of electronic and acoustic music - with Bernocchi’s pulsating textures and Yamane's haunting treated violin melodies weaving together to create a captivating and emotional sonic landscape.

"Sabi" is a Japanese aesthetic that celebrates the beauty of impermanence and decay. It is often associated with the simplicity, austerity, and solitude found in nature, and is said to evoke a sense of melancholy, nostalgia, and reverence for the passage of time. Bernocchi and Yamane's "Sabi" explores these themes through a collection of minimalist compositions that combine electronic and acoustic instruments immersing the listener in a deeply cinematic experience.

The album takes the listener on a journey through a series of atmospheric tracks, sometimes melancholic pieces that evokes the sense of solitude and simplicity often associated with the concept, other times more energetic and uplifting, optimistic ones that celebrates the beauty of transience.

Throughout the record, Bernocchi's electronics work provides a powerful, quite physical, backdrop for Yamane's violin melodies and harmonies , which are at once mournful and hopeful. Together, they again created a sound that is both beautiful and haunting, evoking the sense of nostalgia and reverence that is at the heart of the "Sabi" aesthetic. "Sabi" is a unique and powerful work of art that explores the beauty of impermanence and the passage of time. With its blend of electronic and acoustic elements, it is a record that is both modern and timeless, and is sure to appeal to a wide range of fans of electronic, ambient and experimental music. The artwork again was created by the renowned designer Petulia Mattioli.

2023 Repress!
Since 2009’s critically acclaimed Machine Dreams they have not sat still, touring the globe and making some high profile friends along the way.
No one in their right mind would have expected the future of soul music to come from Gothenburg, Sweden. But there it is in the dreamy, rhythmical, shifting, moody rainbow creature that is Little Dragon. It is easy to see why some of the world’s top musical luminaries are falling over themselves to work with them. Stylishly seductive in their own right, their 2007 selftitled debut was filled with classy songwriting and cool production, with the stunning track ‘Twice’ getting played on Grey’s Anatomy and countless adverts since it’s release. Machine Dreams showed a bouncier side, as they flexed their dancing nous and came up with an album that would turn Prince’s head.
Damon Albarn invited them to collaborate on two tracks for last year’s Gorillaz record Plastic Beach, which became album highlights for the critics with Pitchfork describing the songs ‘Empire Ants’ and ‘To Binge’ as “two of the most arresting things here; they’re airy, elusive and amazingly beautiful”.
Little Dragon started 2011 with a headlining tour of the U.S. and a performance on Late Night with Jimmy Fallon in March, thanks to a recommendation from super-fan Questlove of The Roots. In May, the band appeared on the track ‘Just Don’t’ from Raphael Saadiq’s Stone Rollin’, a record some are already calling the album of the year. Then Big Boi and DJ Shadow called to invite the group to work on new music.

Repress!

Season of Mist is Dead Horse One's second album and the first collaboration with french indie label
Requiem Pour Un Twister (Triptides, Good Morning TV etc.). It's a promising alliance between two of
the best representatives of shoegaze in France. Haling from Valence, the boys managed to impress
Joe Foster of Creation Records who said about their first EP « their music, that spans multiple genres
including Shoegaze and psychedelia, is like an endless extended note, wistful and melancholic....macabre
and beautiful...from which will emerge pop songs ». Mark Gardner of Ride mixed their first effort,
the acclaimed Without Love We Perish and now they're back with Season of Mist produced by the
band helped by John Loring (Fleeting Joys). It's full of catchy hooks, shoegaze and psychedelic anthems
propelled by supersonic guitars that sound like a massive wall of joyful noise. Close your eyes and let
all theses great songs flow in your mind, from season of mist will emerge light.

These 4 records reissued for the first time, with so rare and rich contents from 1970's Japanese Jazz which is gathering attention globally, were released on Terumasa Hino private label "LOVE RECORDS" and distributed by Japanese major label.

Representing "Ode to workman" from "J Jazz : Deep Modern Jazz From Japan 1969-1984" released on BBE, in his session with local N.Y. musicians, these 4 records are so important pieces in 1970's independent Jazz !

Terumasa Hino and Reggie Workman's second work. As adding two new energetic members, Takao Uematsu and Yuji Imamura, the sound became heavier and more thrilling. Sometimes it leads to dark depression, but sometimes gives a feeling of euphoria, it is still vivid as Afrocentric Jazz. With its quality and rarity, it has been always wanted all over the world.

Temple, Bassey, MacLaine and now, Hurt; in a world of Shirleys, the name Sophia Ruby Katz has chosen for her music is perhaps prophetic as it captures her stunningly emotive vocal approach. And whilst Shirley Hurt might be the perfect nom de plume for the creative Toronto-based artist, it’s her self-titled debut album which positions her as protagonist of her own universe.

Traversing sonic landscapes, Shirley Hurt’s vocals ebb and flow like lyrical Ley lines tracking the contours of her own well-travelled map. By the age of 18, Hurt had travelled extensively, having lived in upwards of 20 different apartments and houses, as a result never really feeling “at home” anywhere. At this age was when Hurt found herself in New York, dipping her toes into various scenes and musical realms. The first and only place she ever felt at home, and a partial home-base for her, she travelled between Toronto and New York until the age of 26.When the project she was working on in New York reached a dead-end she returned West, moving in with musicians Harrison Forman (Hieronymus Harry, Zones) and Patrick Lefler (Roy, Possum). Being surrounded by their improvising at all hours, a new approach emerged. “Harrison is a virtuosic guitar player, and I hadn't picked up a guitar in any serious way since I was 16,” she says, “by osmosis I started playing again for fun.” Without agenda, the process grew organically from there.

Hurt and Forman decided to travel across the US and Canada in a trailer for half a year, with the entire album written in the final months of their trip. Hurt had been writing loose ideas here and there but felt blocked creatively. When the pair reached Berkley, they wound up house-sitting for a tuned-in friend who recommended she pray, in a very direct way, to remove the block. “I took her advice and to my surprise it worked. The album was conceptualized and finished within a couple of months.” Shapeshifting in tone and phrasing, Hurt’s music alchemizes the furthest corners of experimental indie folk, pop, and country into a singular sound with elegant unpredictability.

Whilst Shirley Hurt’s lyrical and structural ideas may have emerged on the road, the album was self-produced and recorded at Joseph Shabason (The War on Drugs)’s Aytche studio in Toronto’s West End. It was engineered by Nathan Vanderwielen and Chris Shannon (Bart), and Hurt enlisted collaborators Jason Bhattacharya, Nick Dourado, Patrick Lefler, and Harrison Forman to hone her vision. “I wasn’t sure what was going to happen with the songs until we returned to Toronto,” she recalls. “Joseph and I had been talking about working together after sending across some demos and Jason happened to recommend his studio at the exact same time, so everything came together naturally at that point.”

Whilst her most recent adventures may have seen Shirley Hurt bound for Texas as an official SXSW artist (hand-picked by Gorilla Vs Bear to perform at their own showcase), she currently resides in her native Canada, more specifically rural Ontario, close to friends and family, and is already working on her second album. The ties to lineage are interwoven in the fabric of the music. Hurt’s mother, artist Leala Hewak, instilled a lust for life and innate value of creativity in her from a young age as she explored the role of gallery owner, vintage jewellery show host, mid-century modern furniture expert, real estate agent, painter. Hurt’s father, a civil litigation lawyer and new-wave obsessed music lover with an extensive vinyl collection, introduced Hurt to a wide-range of artists at a young age such as Nina Hagen, Laurie Anderson, Tom Tom Club, and endless others.

In her video for ‘Problem Child’ Hurt’s grandmother walks her through a generationally revered pie-making process. One would be tempted to hear this, and other songs, as autobiographical. Yet, Hurt’s lyrics are rarely pulled from her relationships or personal history––at least not consciously. Rather, they arise from somewhere less tangible or defined. “Lyrics tend to come to me when I am doing non-musical things - washing dishes, brushing my dogs, walking to the grocery store. I have a lot of voice memos on my phone and half-filled notebooks and when I hear something, I have to stop what I'm doing to get the idea down. Usually it’s bits and pieces. It's rare a full song comes to me in one go, but it's great when they do, and those are often my favourites.”

Carving out a space of her own in an all-encompassing universe, Shirley Hurt is the introduction to a long artistic story, and if the journey so far is anything to go by, it will be stippled with evermore unpredictable chapters.

Double Vinyl : full set of the finale concert of their 1985 'Kick Over Apartheid!' tour + BBC broadcast tracks from their 1986 concert at the Town And Country Club. 2 x 140 grs Black LP , 25 tracks. Printed inners. introduction by Redskins founding member Martin Hewes + liner notes.

SHORT INFOS
In the mid '80s, in the midst and direct aftermath of the era defining Miner's Strike, the Redskins, as political activists, delivered their electrifying and radical Socialist Workers Party missives and broadsides through the ministry of their music - a unique post-punk rock/soul hybrid that gained their lead singer, Chris Dean, the sobriquet 'Tamla Motormouth'.

The Redskins were taking a stand for the working man and by standing up, they stood out - and never so forcefully as in the live arena! With their stellar musicianship and crack brass section honed through a never ending whorl of 'fighting fund' benefit gigs, they were the furious flames that kept the anti-Thatcher fires of dissent burning throughout those challenging years marked by her seeming unassailability.

'These Furious Flames!' is a 25 track documentation of the energy, commitment and drive of the Redskins as that campaigning live act. Issued in 2xCD capacity wallet, double vinyl and digital editions, each format couples together a recording of the full set of the finale concert of their 1985 'Kick Over Apartheid!' tour - including guest appearances from Jerry Dammers and Billy Bragg - with the BBC broadcast tracks from their 1986 concert at the Town And Country Club.

The double CD edition comes with a 40 page booklet that compiles new and period quotes by band members Martin Hewes, Chris Dean, Paul Hookham and Kevin Robertson as well as thoughts by an array of associates and celebrity fans including poet Atilla The Stockbroker, Billy Bragg, Colin Revolting, their studio album producers Pat Foley & Chris Silagyi and DJ Gary Crowley. The booklet also contains gig reviews, photographs and a condensed digest of media quotes about the band.

The double vinyl LP format has printed inner bags replete with evocative archive photographs and a written introduction by Redskins founding member Martin Hewes, with whose co-operation and input this celebratory release has been curated.

Re-Release von One Foot In The Grave, das Album der deutschen Thrash Metal Legende Tankard, das ursprünglich am 2017 über Nuclear Blast Records veröffentlicht wurde. One Foot In The Grave war das dritte Tankard Album für Nuclear Blast. Das Album wird in limitierter Auflage als Gatefold Black/White/Red Splatter LP veröffentlicht.

Spencer Zahn's latest collection is a return to the hushed palette of solo piano lyricism. This focused sparseness comes after the sprawling, lushness of his critically acclaimed 2022 album, Pigments with Dawn Richard. Living life centered around composition. Zahn sets aside a window each day to commune with the piano, to and beauty in details. Statues I is the first chapter of an ambitious double-album The second installment, Statues II, will follow this fall and be accompanied by a gatefold vinyl, designed by longtime collaborator Hana Tajima.

Limited Edition of 3,000 on Opaque Blue vinyl. - Includes 4 Bonus Tracks from the "Commitment" sessions. - Includes 12 Page Booklet with Liner Notes by Critically Acclaimed Writer, Michael Krugman. // Bobby Darin was, by any definition, a superstar - a chart-topping, multimillion-selling, Grammy Award-winning singer-songwriter, a Golden Globe-winning actor, visionary entrepreneur, and committed political activist. Restless and daring, his refusal to be constrained by genre, resulting in an endless string of top 10 hits, including "Splish Splash," "Queen of the Hop," "Dream Lover," "Beyond the Sea," and "If I Were a Carpenter." While his public persona was all bright lights and glamour, Darin was driven and inspired by the generational shifts and social upheaval of the 1960s. Despite his weakened health, Darin devoted nearly all of his free time towards multiple causes, tirelessly campaigning for his friend Robert F. Kennedy until his assassination in June 1968, after which Darin withdrew from the spotlight and embarked on an unlikely personal journey. He swapped his crooner's tuxedo for folk singer denim, his toupee for an outlaw mustache, a Beverly Hills mansion for a secluded trailer at Pfeiffer Beach in Big Sur. Commitment is grittier and more audacious than Darin's previous work. From the counterculture anthem "Me and My Hohner" (with its ironic reference to "The Star-Spangled Banner") and the soul-searching "Sausalito" to the wryly autobiographical "Distractions (Part 1)" and the tense funk of "Light Blue," the album's experimentation and free-wheeling songcraft affirm Darin as a generational talent uniquely capable of crossing the borders of age and politics.

Die schwedische Metal-Band CORRODED veröffentlicht mit PLAGUE ihr sechstes Studioalbum, aus dem bereits 3 Singles ausgekoppelt wurden: 'Monster', 'The More Things Change' und 'Rain'. Auf den 2019er Vorgänger BITTER folgte eine ausgedehnte Europatour. Wie die meisten Bands traf sie die Pandemie hart, aber CORRODED stürzten sich in ein schwarzes Loch und nahmen PLAGUE auf. Sie kommentieren: 'Wir haben 5 'Kinder' ... jedes einzelne ist genauso wichtig wie die anderen ... aber dieses hier ist unser Liebeskind, unser ganz besonderer 'Spätzünder' oder 'Nachläufer', geboren aus der Angst und Langeweile der Pest ... bis auf das Mastering alles von uns selbst erledigt ... willkommen in der dunklen Seele von CORRODED ... genießen Sie die Fahrt.'

muslimgauze vs species of fishes

The story of this unexpected collaboration dates back to the summer and autumn of 1998 when Bryn Jones AKA Muslimgauze, the politically conscious music genius from Manchester, discovered Species Of Fishes' albums through the Dutch label Staalplaat. Jones embarked on a journey of reinventing the Muscovites' tracks, infusing them with hypnotizing noise pulsations that were both harsh and sharp, yet profoundly humane, while evoking ethereal Arab echoes.

The original remixes became the inaugural release on Species Of Fishes' self-titled label in 1999, with a limited circulation of 500 CDs. Another edition was later released in the United States in 2007 by Tourette Records, with a circulation of 1000 CDs. The first edition featured a selection edited from the original DAT cassette, accompanied by minor revisions, while the second one faithfully reproduced the entire studio session, providing insight into the creative process rather than focusing solely on the final result.

In this new reissue, Species Of Fishes have curated the tracks, discarding repetitions, unsuccessful takes, and technical pauses. The result is a more dynamic compilation that retains the core elements of the original work while reducing the total duration by almost half.

'Trip Trap', 'Some Songs of a Dumb World', and 'muslimgauze vs species of fishes' comprise three chapters of Species Of Fishes' album triptych, which unveils the originality of the Russian duo, pioneers of the unparalleled electronic scene who were ahead of their time.




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RA is back! Eight years after their first release, we are proud to present the second full album of the Norwegian duo Christer Borge-Lunde (Ex Dimension 5, Electron Wave) and Lars Wedde Lind.

"9th" is a concentrate of eastern melodies, deep soundscapes and fantastic positive climaxes... Starting where "To Sirius" left off, "9th" upgrades the RA experience to an all-allegoric story, ranging from soft Ambient and downtempo Goa Trance to uplifting morning monsters!

Octagon and Expand Consciousness embody dreamlike acceleration/deceleration phases aside the Ambient maestrias of the Intro and Light Receiver.
Ultima Energica, Spirit Complex and the massive Time Current are melodic stompers designed for the dancefloor, twirling layers over mind-melting rythmics!
Other Self, Transcendant and Predator are real athems to the Sun, the very definition of RA's so special music, full of psychedelic highs and soundscape travelling. Story-telling at its best...

Zur Feier des 10-jährigen Jubiläums von Biffy Clyros sechstem Studioalbum "Opposites" veröffentlicht die Band die EP "Black Chandelier/Biblical" aus dieser Zeit erstmals auf Vinyl. Diese LPs sind auf nachhaltigem Bio-Vinyl gepresst

Led by the legendary pianist and composer Chick Corea - the venerated 27-time Grammy winner and National Endowment for the Arts Jazz Master - The Elektric Band stormed onto the jazz scene in the mid-1980s, making an immediate and lasting impact on the genre. With their electrifying performances and innovative blend of jazz fusion, the group produced a series of albums that set the bar for excellence in contemporary jazz. Featuring a core lineup of virtuosic musicians - John Patitucci on bass, Dave Weckl on drums, Eric Marienthal on saxophone and Frank Gambale on guitar - the group created a dynamic and electrifying sound that came to define the jazz fusion style. Their collective musicianship was on full display on each album, as they seamlessly blended complex compositions with captivating improvisations. With each outing, the band explored new sonic territories, incorporating elements of funk, Latin and Afro music, and pop sensibilities. Their 5-album studio discography is a masterful tapestry of multi-layered music, showcasing their creativity, innovation, and musicianship. A restlessly creative, eternally youthful and uncommonly generous spirit, Armando Anthony “Chick” Corea left behind an incredibly rich legacy of recorded music when he passed away on February 9, 2021. The music of the Elektric Band continues to inspire and influence musicians to this day, cementing their legacy as one of the most important and iconic jazz fusion bands of all time

"Richard Edwards is in the pocket. He’s been there for several albums now: 2017’s Lemon Cotton Candy Sunset, 2020’s The Soft Ache & the Moon, and 2022’s Ghost Electricity/Vampire Draw. Just as the Margot records defined his twenties, this “Beach Bum” era, as he calls it, may well define his thirties. That era is expanded in Two Sad Little Islands Drift Together, Two Lonely Little Monkeys Find A Tree: Rare and Unreleased 2015-2023.

Beginning with Lemon Cotton Candy Sunset, Richard has been steering his ongoing body of work toward capturing a feeling of being at sea. Life can find us at sea in any number of ways–in a marriage or partnership, or in longing for one; in parenting, and its ceaseless wonders and worries; in bodies and minds that confound understanding (whether just our own, or also that of professionals); in our rotting world, which we’ve fucked up beyond all repair.

“What does that sound like, though?” you may ask. Like Mike Bloom’s cascading fingerpicking in “Lil Dead Eye-d (b.),” or the tranquilizing combination of Dave Palmer’s piano and Perla Batalla’s multi-tracked vocals on “Love (b.)” Like the L.A. based Section Quartet on “True Love Waits,” or the triumphantly stoned Velvet Ocean jam-session that is “Jane Greer With A Gun.” Like Richard’s use of melody and imagery on “Pink Lightning (b.)” and lead single “Benzedrine,” where he is masterfully accompanied by Erin Rae (on the former) and Maria Taylor (on the latter).

Unlike Richard’s past archival releases which have often featured home demo recordings, everything on Two Sad Little Islands has been produced in-studio. With this 3-LP vinyl set, Richard presents just over two hours of material that once again makes his case as one of the “most underrated songwriters of our time” (LA Review of Books)."