Cerca:son of a son

A deluxe, remastered, 20 year anniversary edition of the Heads’ third album proper, the under-rated gem in their canon that is “Under Sided”.

Originally released in 2002 on the Sweet Nothing label (SNLP/CD 11), Under Sided was recorded in 2001 at WhiteHouse Studios in Weston Super Mare, with Martin Nichols engineering. The band had previously recorded tracks for Mans Ruin 10” at these studios (also famous for Ripcord, Heresy, Slowdive, Hardskin, Decadence Within, Icehouse.. amongst many others!).

For the reissue, the original recordings were remastered for vinyl and CD by long time Heads Masterer (!) Shawn Joseph. The resultant 8 tracks, spread over 4 sides of vinyl are some of the best music the Heads have recorded, after a bit of a hiatus following their 2000 US tour / Peel session (included in the boxset / on the 2CD version here), the band regrouped and worked out the tracks for the album, relentless rehearsing for the recording. Very few shows happened in that 2001-2002 timeframe.. band members were busy, earning a living, getting on with life, but they still had some riffs/songs there.

Upon release in 2002 the album got great reviews in the press, from Kerrang and MOJO to the Sunday Times, all helping the Bristol fourpiece confirm their cult status, which has continued to current times..

The remastered album is being reissued as a 4LP + 2CD boxset. The extra 2LP features their Peel session from 2000, as well as a couple of compilation tracks (For Mad Men Only / Born To Go), and some unreleased demo versions, as well as 2 exclusive to this set CDS that feature nearly 150 minutes of Live recordings (mastered, but RAW!) from their gigs on the Thekla in Bristol and rehearsal room tapes in 2001 and 2002.
The boxset will also have a special slip-mat, stickers, and a 24 page booklet of photos /writings, including recollections by each band member, and others including Stewart Lee.

Under Sided is a pounding sike-nightmare that shows the Heads at the peak of their powers, there’s a flow throughout the album of melding psychedelic noise rock to unrelentin rhythms and creating a bad trip for all listening.. open battering-ram “Dissonaut” is a staple in their live shows to this day… even the gentle sooth of “Energy” is enveloped by a white noise fury.. the intensity of some of the tracks: the terror inducing “Bedminster” or “False Heavy” (a tour worn riffmonger from 2000) or the Magnet-esque “Heavy Sea”, showed the band as ferocious as any of the insurgent “stoner” genre of that time.

They were never going to make their living out of touring, record sales… as Hugo mentions in his notes for the booklet, “.. we had less boundaries and felt we could experiment more and not worry about commerciality…” but they were able to make this album.

Limited Edition of 1500 copies. Includes a show flyer for the performance. Pressed on green colored vinyl. In the spring and summer of 1999, Satan's Pilgrims were awaiting the release of their self-titled fifth album. During that time, an in-store performance was recorded live at Jackpot Records on June 13, 1999 onto a mono cassette recorder. Since they were promoting a new album which was yet to be released, none of those songs had been performed in front of a live audience before. Both Jackpot Records and Satan's Pilgrims agreed that this lo-fi boombox recording should be released as is and sonically unaltered, since it really captures what it was like to be standing a few feet in front of the band vibrating the entire block. What could be more "Record Store Day" than an album recorded IN a record store? Mastered by Black Belt Mastering (The Germs, Green Day, Pearl Jam). Tracks: 1. Badge of Honor (cut) 2. Theme from the Arturan 3. Fra Diavolo 4. Tears and Gears 5. Casbah 6. All Day Party (All Night Party) 7. Mutha Fuzz 8. Frankenstomp 9. Super Stock 10. Black Marquis 11. Chi Chi 12. Jungle Room

repress !

Fresh sounds from an authentic source. The Evolution EP is a focused and crisp techno thriller. Each track, all of them raw and direct, are certain to be effective. The growing mood builds with a contagious energy throughout the release, with each song as superb as the one before it. Uplifting, driving, floor friendly, and fun.

Folk Songs Of Black British Experience

PLEASE NOTE - LP RELEASE DATE IS 10th MARCH 2023
The Sorrow Songs: Folk Songs of Black British Experience is the
upcoming album by Cornwall-based folk singer, songwriter and multiinstrumentalist Angeline Morrison, her first record for the historic Topic
Records label
Produced by Eliza Carthy and featuring some of her beautiful, soaring
string arrangements, The Sorrow Songs was recorded in Cornwall at
Cube Studio and is a work of what she calls 're-storying'
"The traditional songs of the UK are rich with storytelling, and you can find songs
with examples of almost any kind of situation or person you can think of. But
whilst people of the African diaspora have been present in these islands since at
least Roman Times, their histories are little known - and they don't tend to appear
in the folk songs of these islands." Angeline Morrison began to wonder if she
could discover more about the lives of these ordinary and extraordinary Black
ancestors and create an album of songs in the sonic style of UK folk and
traditional music, in the hope that this silent space could then begin to be filled
with stories. With the help of Arts Council National Lottery funding, Angeline
began what became a year of research into this neglected area of Black British
history. The Sorrow Songs: Folk Songs of Black British Experience is the result.
Released to commemorate Black History Month in October, this powerful record
is intended to honour these Black ancestors who lived in these islands and to act
as a gift to the folk community.
The musicians on the album are: Cohen Braithwaite-Kilcoyne (anglo concertina,
melodeon, vocals), Clarke Camilleri (guitar, banjo, vocals), Hamilton Gross (violin,
vocals), Rosie Crow (piano, vocals), Alex Neilson (drums, vocals), Eliza Carthy
(violin, fiddlesticks, vocals), Martin Carthy (guitar) and Angeline Morrison (vocals,
autoharp, double bass).
In July 2022, Angeline Morrison became the fourth recipient of the prestigious
Christian Raphael Prize, which generously supports the development of emerging
talent in the folk genre.

We are proud to present "I'm Always Right" by Imagination, an unreleased jazz rock LP from 1977. Comprised of five tracks with a playtime of roughly 30 minutes, you will hear one of the finest German late-70s rock-tinged electric jazz albums of the era. The recording is a delightful stand-out with unique compositions, aspiring solo work, and a soulful spirit throughout. Additionally, the album veritably glows with exceptional sound quality, as it has been remastered from original tapes that were cut more than four decades ago at the WDR Funkhaus, Cologne.

Here is the story of how label founder John Raincoatman became aware of these lost tapes:
"I first got in touch with members of Imagination from Düsseldorf (not to be confused with the UK disco band under the same name) in 2017 for licensing the track "Strawberry Wine" from their collectible "Shake It" album from 1980. A couple of months later, when I was speaking with Willi Hövelmann, the guitarist for Imagination, he told me about some recordings the band had made a couple of years before, when they had been invited to to the studio of the WDR, a major German broadcaster. A couple of weeks later, when Hövelmann finally sent me the files that he had requested from the WDR, I could not believe what I heard - not only that the songs were totally different from what I expected, but that they were also very very good! The music wasn't comparable to any other kind of fusion release that I knew of. These five songs were straight forward, tight and soulful electric jazz rock, a combination rarely heard from Germany from that time period."

How come Imagination - at that time a young newcomer band consisting of musicians between 19 and 22 years of age - was able to record at the well-equipped Funkhaus studio of German radio and television? Hövelmann explains: "The WDR got to know us from a newcomer band competition called "Pop am Rhein" (Pop at the Rhine) which was set up to support local bands and was promoted by several bigger newspapers. Imagination was one of the 5 contestants which were picked from 59 bands by a jury of music journalists and our band was invited to play a concert at the Philipshalle in front of about 3500 guests. Although a band called "Accept" won the contest (yes, the heavy metal band that gained international success in the following years!) and Imagination only made 3rd place, we were invited by music host and journalist Wolfgang Neumann to record in a professional studio."

Neumann's broadcasting show at the WDR was called "Rock Studio", and one of his special goals was to help push newcomer bands by giving them airplay. As a side note, Neumann actually compiled a series of three LPs on the Harvest label from 1979-1982, each of them featuring four bands. However, the earlier recordings of Imagination had only been used for broadcasting reasons, they were aired a couple of times but never made it to a vinyl or CD release.
So, on October 10th, 1977, it was time for the band to show up and prove themselves in the studio. The tracks were all recorded in one afternoon, mainly as one takes. In some cases flute, saxophone were overdubbed, as well as the vocals on "Love is Genesis", as Hövelmann remembers.

The first song, "Jazzgang" can probably be seen as Imagination's most characteristic composition out of their early period: heavy bass, saxophone leads and speedy solos by the band members. A genuine, rough, yet funky uptempo jazz rock tune. But it's "I'm Always Right", the second track on the album, that raises the bar as the key track of the release with its 10-minute length. The song starts with a great piano solo by Mario F. Demonte. In fact, "Demonte" was a pseudonym of Ratko Delorko, a classically trained piano virtuoso who is still active today as conductor, composer and performer. At that time, it was simply impossible for him to officially be part in a band like Imagination and hence the alias was invented. Anyway, the speedy intro leads to a very soulful mid-tempo jazz funk groove that offers space and time for the band members to perform a solo. First off is Uwe Ziss with sax and flute combined. The second solo belongs to Willi "Sultan" Hövelmann on electric guitar. For the furious ending the pace is set back to high speed. Delorko serves us with one of the most brilliant uptempo piano solos you may have heard in a while on a jazz record.

The next song stylistically stands out from the rest. "Biting My Time" incorporates a rhythm and blues feel with a 60s soul jazz attitude. The track was composed by Uwe Ziss who leads through the track with aspiring flute solos which feel like an easy summer breeze after the first two rock tinged tunes.

"Himalaya" sees Imagination move away from jazz quite a bit, rather approaching the psychedelic rock genre with a vibe reminiscent of the sound of the early 70s. Again starting with a piano solo by Ratko Delorko the pace is quickly at 150 bpm with the full band laying down an energetic jazz rock sound. Just after a little over one-and-a-half minutes there is a breakdown to a slower tempo with overdubbed mysterious vocals and psyche-y screams which may remind more of the legendary krautrock band Can than what is typically known as "jazz". The mood continues with tense saxophone and guitar solos, just to speed up again towards the end with furious drumming by Andreas Oelschläger.

"Love Is Genesis" concludes the release. It was composed and sung by former bassist Robert Schlickmann. Though most of the band members didn't really like the song at that time it still is a one-of-a-kind soft rock pop ballad which partly reminds of some of the vocal song tracks later to be found on the "Shake It" LP from 1980. The track manifested that Imagination were never really supposed to be solely an instrumental band.

We are now happy to have cleared the exclusive rights for this recording from the WDR and are proud to re-present this amazing collection of songs. It should appeal to fusion, jazz rock and jazz funk aficionados but also to late krautrock collectors. We are also certain that it will also please fans of the "Shake It" album, simply in terms of being such a bright and soulful debut with great music overall.

2022 Repress

The legendary gig that Joe Strummer, singer from the Punk Rock band 'The Clash' attended and inspired his writing their classic 'White Man In Hammersmith Palais' took place on the 05th June 1977.
At the Hammersmith Palais venue on Shepherd's Bush Road W6, London during the height of Punk Mania. The full line up for the show were all Jamaican artists Dillinger, Leroy Smart, Delroy Wilson (all the first time from Jamaica) and Ken Boothe.
'Ken Boothe for UK pop reggae' who had already scored some hits with 'Everything I own' and 'Crying Over You' in 1974. Joe Strummer was expecting Roots, Rock, Reggae but the Sound System this evening 'Admiral Ken Sound' was playing 'Four Tops all night' as in soul and northern soul that were staple crowd pleasers at the time to warm up the audience, but in Joe's eyes the music should have reflected more Jamaican roots based music. The song also deals with bigger issues of black and white unity, but some people including the Punk Rockers.
'They're all too busy fighting, for a good place under the lighting'. Joe Strummer himself was looking for fun. 'I'm the Whiteman in the Palais....Just Looking for Fun'

The artwork supplied by Punk Artist MAL-ONE has used the two posters that were made for this gig, the reggae promoters 'Star Promotions' poster, that contained a picture of Ken Boothe and the venue's own poster that used text to announce it's line up for that evenings performance. Alongside these lost relics he has also combined the groups own poster for the 'White Man In Hammersmith Palais' single that incorporated the use of rifle target sights, perhaps enhancing the air of violence contained in the songs message.
MAL-ONE has collaged these together joining the two stories as indeed the song lyrics reflected. People often forget that the songs release was in fact as year after the actual gig, we have tied this release to the 40th anniversary of the song's release. Joe Strummer was one of the few voices from the Punk Era that used his lyrics as a weapon to tell the events that were happening around him and their relevance to those times.
The song itsel a Clash Classic and also a Punk Anthem, released on the 16th June 1978. We have compiled this album with songs by these artists, most of which you would have heard that night. As a post script to this story when the Hammersmith Palais sadly closed its doors for the last time after 82 years' service in 1999, the owners thought it fitting to present Joe Strummer with a sign from the venue's entrance. Mr Strummer's understated reply 'I guess I'll have to send a man with a van round to pick it up'.
Hope you Enjoy the set....

"They push everything right to the brink and then pull back at precisely the right moment" - Pitchfork

"'Growing Up Pains (Unni's Song) gives a tantalising glimpse of where their future could lie. Matching lucid pop elements to daring innovation, ALASKALASKA allow the song to become a portal to their own potential." - Clash

"It’s impossible to walk away without the repeated promise 'I won’t let you down' in 'Growing Up Pains' stuck in your head – and it’s a mantra we should all be following as we as a species continue to fight for our future." - Beats Per Minute

ALASKALASKA announce their superb new album, Still Life, arriving October 14th on Marathon Artists (Lava La Rue, Courtney Barnett, Pond).

'Still Life' finds writers and producers Lucinda Duarte-Holman and Fraser Rieley embrace a more free-form electronica, giving a taste of what's to come with this fantastic new record produced by Jas Shaw (of Simian Mobile Disco)–full of digital sounds, drum machine and synth melodies cunningly sat beside rich, organic, acoustic instrumentation, it's a looping tug of war between existential dread and everyday simple pleasures.

Listen to / watch the video for 'Still Life' (shot by Jacek Zmarz) here: https://youtu.be/TL7s6QJ3ANc

Four seasons of dawn chorus, panoramically framed by fruit trees and more analog synths than can comfortably fit in a cow shed-come-recording studio...the scene is set for the recording of ALASKALASKA’s second album Still Life. Ordinarily located in South East London, writers and producers Fraser Rieley and Lucinda Duarte-Holman were eager to get out of the city. Taking advantage of this rustic countryside scene, they were able to capture something uniquely their own.

Following their debut album in 2019, they resurface into a new era embracing all the things that first put the band on the map, attracting the likes of Tame Impala, Hot Chip, Porches and Nilüfer Yanya for tour support slots. For Rieley and Duarte-Holman, writing began in 2019, pre-lockdown-era, although the subsequent alone together/together alone time added a new spin on ALASKALASKA's process of experimentation and fine-tuning. The band now push their foundational ideas further and explore the freedom of playing with new sounds. Duarte-Holman explains, “...with everything going on at the time, the restrictions led us to try working in a new way. The limitations were different, but meant we were able to adventure into a more electronic soundscape that we're really looking forward to expressing live."

The ‘Still Life’ LP has been pressed on recycled black vinyl to reduce the carbon intensity of the finished product.

Wildly creative free-form songwriter Rachael Dadd is set to release
her brand new studio album, ‘Kaleidoscope’, via Memphis Industries.
The album follows 2019’s ‘Flux’, which was released to much
acclaim, and was the album she was touring when the pandemic
struck. Like so many people disconnected from their communities and
struggling through the lockdowns, Rachael Dadd turned inwards,
seeking escape through music and connection through songwriting,
and her hope is that when people listen to ‘Kaleidoscope’, “they will
feel held and find space to breathe, grieve and celebrate.”
“This album is a lot more honest and personal than ‘Flux’” she shares,
“but I feel the songs are universal as they are largely rooted in truth
and love. If I had to pick a favourite album it would be this one
because of the magical rekindling of human connection when me and
my band got back in a room together again. All that magic went into
these songs.”
Co-produced “intuitively, boldly, and playfully” by Rachael and Rob
Pemberton (The Staves, Emily Barker, Maja Lena), ‘Kaleidoscope’
includes musical collaborators such as Maja Lena (Low Chimes),
longtime collaborator Emma Gatrill (Willy Mason), Alex Heane (bass),
Charlotte West (synths), Alex Garden (strings) and ‘Flux’ producer
Marcus Hamblett (Villagers, James Holden, The Staves), giving the
record “just the right colour combination, just the right pattern of
shapes, plenty of space where needed and finally landing in a sound
world that feels fresh and open and true,” reflects Rachael.
Japanese aesthetics absorbed from her time spent living there are
subconsciously woven into Rachael’s songs. “I first stepped foot in
Tokyo in 2008, sparked by the adventure of such a rich and different
culture and later on I lived on a small island and experienced an
appealing and balanced way of life: the aesthetics, the art and the
traditions,” she recalls. “There was a lot of caring for each other, a lot
of gentleness, and a lot of simple living in harmony with nature. Japan
left its cultural mark on me and is now part of my inner world and I’m
sure this comes out with the words and music I write.”
“But overall,” Rachael explains, “this is an album of homecoming and
reconnecting to my own truth, to my community here, to the earthy
land that I love and to the sky that I know.”

2003 DEBUT STUDIO ALBUM FROM ACCLAIMED NORWEGIAN POSTPROGRESSIVE ART ROCKERS MASTERED HALF-SPEED AT AIR STUDIOS
Formed in Oslo in 1996 by childhood friends Jon-Arne Vilbo & Thomas Andersen
along with Jan- Henrik Ohme (later joined by Mikael Krømer, Robert Risberget
Johansen & Roy Funner), Gazpacho have honed their unique sound over a string
of critically acclaimed albums & numerous tours, including several with long-time
supporters Marillion.
In 2002, Gazpacho entered a song contest on 'Make-A-Star' with the song "Sea Of
Tranquillity" & won. Their second entry, "Ghost" made it to second position, giving
the band the opportunity to release an album through MP3. This led the
band to release their first official album 'Bravo' in 2003 - which contained five of
the six tracks off the MP3 album plus six new compositions. Utilising the
possibilities of the Internet the band had teamed up with the American singer/
songwriter & fellow 'Make- A- Star' contestee Esther Valentine & New Zealand
producer Peter Kearns. Valentine sang a duet with Ohme on the song
'Novgorod' (which she also co-wrote) & Kearns produced two of the album tracks.
'Bravo' gained the band more international acclaim, with Dutch leading music
magazine 'Oor' stating "their debut album is a rare beauty".
The first in the 'Gazpacho Half-Speed Masters Series', this new Kscope release of
'Bravo' was mastered half-speed at Air Studios in London for a superior, sharper,
more direct & engaging sound. Other releases from the band's catalogue are to
follow throughout 2022 & 2023.

Steve Earle has been creating intimate and personal music for well over
four decades now
His songwriting has wound itself along a path from Texas to Tennessee and his
education came in the form of learning from the best. 2009's Grammy-nominated
record, TOWNES was a tribute to his dear friend and mentor, Townes Van Zandt.
Ten years later Earle released, GUY. An album concentrated on paying homage to
the late Guy Clark and the indelible friendship that they had formed in stories told
through song. 2022 welcomes the release of JERRY JEFF. A 10-song collection of
songs written by the gypsy songman, Jerry Jeff Walker. Featuring hits like, "Mr
Bojangles" and "Gettin' By", Earle & The Dukes honor the late Texan by amplifying
the concept and sound of each song with a full-band recording.

In January 2011 Sam Prekop, Archer Prewitt, John McEntire, and Eric Claridge reconvened at Chicago"s Soma Electronic Music Studios to record their latest release The Moonlight Butterfly. This thirty three minute mini-album finds the band deliverying much more long form and cinematic pieces. The new songs lean upon the band"s more experimental tendencies, taking time to stretch the forms and in someways the new material relates to the way the band re-interpretes some of their songs live. With the band making a shorter than usual record they were allowed to take more chances and ended up with a release that leans a bit more towards the instrumental. Rather than having the vocals be the sole focal point the shifts in emphasis to other instruments facilitated a more open approach. The song "Weekend" from Car Alarm was kind of an unwitting blueprint for some of the new material. Especially the new song "Inn Keeping" where a synthesizer pattern became the armature for the song, a constant to play with and against. "Inn Keeping" is also quite a breakthrough for the band, sounding unlike anything they have done before and breaking the 10 minute mark.

Back in 2002, Lacuna Coil released an album which is now undeniably an anthem laden millennial classic that established them as a band with the stamina to go the distance and much of the climbing that still lay ahead back then. Now, 20 years later, Lacunca Coil decided to revisit the songs, but not to just re-record the songs as they were, but deconstruct and transport them into 2022. ‘This is not a reboot or a spin-off or anything like that,’ says vocalist Cristina Scabbia. ‘We just wanted to give these songs a 2022 dress and see how this guy or girl who was born 20 years ago would still look fucking slick in 2022.’

Back in 2002, Lacuna Coil released an album which is now undeniably an anthem laden millennial classic that established them as a band with the stamina to go the distance and much of the climbing that still lay ahead back then. Now, 20 years later, Lacunca Coil decided to revisit the songs, but not to just re-record the songs as they were, but deconstruct and transport them into 2022. ‘This is not a reboot or a spin-off or anything like that,’ says vocalist Cristina Scabbia. ‘We just wanted to give these songs a 2022 dress and see how this guy or girl who was born 20 years ago would still look fucking slick in 2022.’

Following on from last year’s acclaimed Sylva Sylvarum, the epic double LP from Ora Clementi (her collaborative project with James Rushford), crys cole returns to Black Truffle with Other Meetings. Originally commissioned and released on cassette by Boomkat Editions in 2021, Other Meetings is a major addition to the body of carefully hewn solo work cole has released over the last decade, offering up two side-long suites of her radically intimate approach to sound. After many years dominated by touring and travel, cole found herself in lockdown in her Berlin apartment, working in a limited space with minimal equipment. Digging through archives of recordings taken overseas and exploring the sonic potential hidden in the objects surrounding her (including a coffee pot and a vase of dying flowers), she crafted what in her liner notes she calls ‘an internal dérive, a journey that drifted through many places without a defining compass’. Totalling over 50 minutes, the two pieces unfold at an unhurried pace, each containing four individually titled subsections. Beginning with a sequence of the highly amplified small sounds characteristic of much of cole’s work, the opening moments of ‘The time between two durations of sleep’ are underpinned by a gentle rocking motion, weaving together contact mic crunch, metallic resonance, glimpses of bird song, and isolated drum machine hits, the sonic space expanding and contracting as focus moves between elements. Briefly side-lined by a tactile but unplaceable sizzling, this complex weave of voices then returns in a kind of dubbed-out ‘version’, the percussive accents echoing around the stereo space. In one of the record’s most beautiful and unexpected moments, these sounds are joined by a sparse melodic line performed on a broken 1980s digital synth, the vaguely New Age timbres being taken on a long, tonally ambiguous wander. Cole’s immersion in memories of travel comes to the fore in the final section of the first side, titled ‘Wat Paknam’ after a royal temple in Bangkok, where snatches of voices, ringing bells and distant waves of chanting blur together with synth tones into an increasingly abstracted wave of sound. The second side, ‘Slices of cake’, opens in a similarly hallucinatory outdoor space of echoing bird song and liquified traffic before abruptly zooming in on a microscopic world of subtly processed and highly amplified objects, explored with a starkness and quiet insistence that calls to mind the fringe not-quite-concrète of outsiders like Paul A.R. Timmermans or Knud Viktor, whose obsessive interrogation of dripping water might also serve as a point of reference for the following sub-section, the aptly titled ‘magischer Abfluss’ (magic drain).

While Other Meetings develops many aspects of cole’s previous work – the hyper-magnification of small gestures, the unsettling edits and fades partly inspired by hypnagogic states, the location recordings smeared into oneiric haze – it is almost as if these pieces are somehow songs, the remnants of an evaporated music of which nothing remains except isolated hits from a synthetic drum, a handful of notes, or simply a duration of emptied atmosphere. Radically reductive yet deeply musical, Other Meetings is a major work from an artist driven by an uncompromising and idiosyncratic vision.

Presented with an inner sleeve with photos and liner notes from the composer and remastered audio.

Italian duo Agents Of Time have been incredibly busy over the past few years, from releasing a string of classic singles – including their recent single for Afterlife, “The Mirage”, which earned more than five million views on Instagram – to remixing The Weeknd’s “Take My Breath”, which appeared on his recent Dawn FM (Alternative World). But the biggest news is here now – their second album, Universo, is ready. Elevating their trademark melodic techno with an exquisite pop-ness, Universo has found its ideal home with Kompakt, following their Music Made Paradise 2020 debut EP for the label. It’s a meeting of minds that makes perfect sense.

Andrea Di Ceglie and Luigi Tutolo, the two members of Agents Of Time, used their time during the pandemic to work on Universo, an album loosely conceptualised around their ‘personal universo’, a manifestation of the world Di Ceglie and Tutolo built both within and around their studio. This accounts for the sparkle and brightness of Universo – it’s full of personality, vim and vigour, the duo experimenting with their music, exploring its furthest corners. If you come to Universo expecting just another album of melodic techno, get ready to be pleasantly surprised – there’s a whole lot more going on here, and it’s all equally compelling.

After a typically poetic opening gesture – the swirling, synaesthetic, self-titled intro track – expectations are immediately blindsided with the two-step pop of “Fallin’”, sung with gentle clarity by guest Audrey Janssens, a dream of a song that harks back to the glory days of early ‘00s UK garage. “Interstellar Cowboy” is a confident, lithe, disco-fied strut; the gentle minor-key piano of “Liquid Fantasy” spirals into a gorgeously melancholy techno-pop epic, Vicky Who?’s voice rich with yearning. Janssens also reappears on the electro-swirl of “Poison”; “Dream Vision” revisits their single “The Mirage”, soft with sweeping strings, loaded with drama; “Part Of Life” sashays into view with a schaffel-stomp.

This rich variety throws the more dancefloor-focused tracks, like “Ciao”, into even starker relief – they’re more decisive, streamlined, yet rich with detail, chugging, Moroder-esque bass meeting strobe-lit synths that fire melodies out into the firmament. Universo feels texturally dense, but it still breathes, its sounds so tactile you want to reach out and grab them, its tunes so seductive you can’t get them out of your head. Universo is a fiercely beautiful album, brave in its spirit, a perfectly poised meeting-point of pop melody and stylish, lush techno: Agents Of Time in excelsis.

Das italienische Duo Agents Of Time war in den letzten Jahren unglaublich fleißig, von der Veröffentlichung einer Reihe klassischer Singles - darunter ihre jüngster Beitrag für Afterlife, "The Mirage", der mehr als fünf Millionen Aufrufe auf Instagram erhielt - bis hin zum Remix von The Weeknds "Take My Breath", der auf dessen aktuellen Album “Dawn FM (Alternative World)” erschien. Aber die bahnbrechendeste Neuigkeit ist erst jetzt endlich da - ihr zweites Album "Universo" ist fertig! “Universo" verbindet ihr Markenzeichen, melodischen Techno, mit einer besonderen Pop-Haltung und findet nach der EP "Music Made Paradise 2020" sein ideales Zuhause bei Kompakt. Eine Seelenverwandtschaft, die absolut Sinn macht.

Andrea Di Ceglie und Luigi Tutolo, die beiden Mitglieder von Agents Of Time, nutzten die Zeit während der Pandemie, um an "Universo" zu arbeiten, einem Album, das lose um ihr "persönliches Universum" herum konzipiert ist, eine Manifestation der Welt, die Di Ceglie und Tutolo in und um ihr Studio herum aufgebaut haben. Das macht den besonderen Glanz und die strahlende Helligkeit von "Universo" aus - es strotzt nur so von Persönlichkeit, Elan und Kraft, das Duo experimentiert mit Musik und erkundet auch noch deren entfernteste Ecken. Wer bei "Universo" nur ein weiteres Album mit melodischem Techno erwartet, wird angenehm überrascht sein - hier ist viel mehr los, und alles ist gleichermaßen spannend.

Nach einer poetischen Eröffnungsgeste - dem wirbelnden, synästhetischen, selbstbetitelten Intro-Track - werden mit dem 2-Step-Pop von “Fallin” alle Erwartungen sofort über den Haufen geworfen. Mit sanfter Klarheit von Gastsängerin Audrey Janssens gesungen, ist “Fallin” ein Traum von einem Song, der an die großen Zeiten von UK-Garage in den frühen 00er Jahre erinnert. "Interstellar Cowboy" ist ein selbstbewusstes, geschmeidig über den Laufsteg stolzierender Disco-Track; das sanfte Moll-Klavier von "Liquid Fantasy" entwickelt sich zu einem wunderbar melancholischen Techno-Pop-Epos, mit Vicky Who?’s Stimme voller Sehnsucht . Danach taucht auch Janssens Gesang auf dem Elektro-Wirbel von "Poison" wieder auf; "Dream Vision" greift die Single "The Mirage" auf, sanft und mit schwungvollen Streichern, voller Dramatik; "Part Of Life" dagegen ist ein echter Schaffel-Stomp.

All der Abwechslungsreichtum lässt eher tanzflächenorientierte Tracks wie "Ciao" noch deutlicher hervortreten - sie wirken noch entschlossener, stromlinienförmiger und dennoch reich an Details, pluckernde, Moroder-eske Bässe treffen auf stroboskopisch blitzende Synths, von denen aus die Melodien ins Firmament schießen. “Universo” fühlt sich textlich dicht an, aber es atmet trotzdem, seine Klänge sind so greifbar, dass man sie anfassen möchte, seine Melodien so verführerisch, dass man sie nicht mehr aus dem Kopf bekommt. “Universo” ist ein wunderschönes, mutiges Album, ein perfekter Treffpunkt von Pop-Melodien und stilvollem Techno: Agents Of Time in excelsis.

"Since 2004, ALTER BRIDGE has been one of the most consistent bands to successfully represent the rock and metal communities with their driving melodies, blazing guitar riffs and topical lyrics that resonate with fans around the globe. Their seventh album, Pawns & Kings, continues that trend with 10 unforgettable new additions to their catalog. Coming off the launch of what was shaping up to be one of the band’s pinnacle moments with Walk The Sky (#1 US Billboard Top Albums, #1 US Current Rock and Hard Music, #4 UK Official Charts, #1 UK Independent and Rock/Metal, #5 Official German Album Charts), everything came to a halt as the world would forever be changed due to the events of a global pandemic. The time the members of ALTER BRIDGE spent apart sparked a new fire and heaviness when the quartet comprised of Myles Kennedy on vocals/guitars, Mark Tremonti on guitars/vocals, Brian Marshall on bass and Scott Phillips on drums would reconvene for what would eventually become Pawns & Kings. Teaming with longtime producer and collaborator Michael “Elvis” Baskette, the album shines with massive, menacing arena-ready production while emerging as another sonic testament to the seasoned Kennedy/Tremonti songwriting dream-team. The band deliver three epic anthems, including two that clock in at over six minutes – the reflective and absolutely epic title track “Pawns & Kings”, grim-riffed, progressive influenced “Sin After Sin”, and the emotive eight-and-a-half minute journey “Fable Of The Silent Son.” “Silver Tongue” is backed by a punishing intro riff that gives way to one of the band’s most infectious choruses as Myles Kennedy sings, “Truth of a crime. You can’t outrun. Under the spell of my silver tongue,” while tracks like “Holiday” and “Season Of Promise” ebb and flow within the trademark multi-faceted metallic rock attack that has enchanted ALTER BRIDGE fans for a generation. Songs like “This Is War,” “Dead Among The Living” and “Last Man Standing” showcase the heavier side of a band firing on all cylinders, with soaring leads, hair-raising vocals and introspective lyricism abound. Mark Tremonti helms lead vocal duties on the uplifting track “Stay” – an interchanging of skills that first debuted on the band’s fourth album, Fortress, and continues to this day. Nearly 20 years into their celebrated career, one thing is for sure – Pawns & Kings offers a musical snapshot of a band that shows no signs of slowing down and continues to push itself creatively for the whole world to see. before peaking with a frenetic, metallic bridge-breakdown and piercing solo worthy of rock legend.

Over the course of his six-decade-long career, Dr. John embodied a near-mythic multitude of musical identities: global ambassador of New Orleans funk and jazz and R&B, visionary bluesman, rock and roll innovator, one-time top 10 hitmaker, self-anointed and massively revered high priest of psychedelic voodoo. On Things Happen That Way, the six-time Grammy-winning Rock & Roll Hall of Famer otherwise known as Malcolm John “Mac” Rebennack Jr. reveals yet another dimension of his cosmically vast musicality: a lifelong affinity for classic country & western, whose songs he first encountered via the 78 rpm records frequently spun at his father’s electronics shop. Things Happen That Way arrives as the latest and final studio album from an artist who remained wholly unpredictable, alchemizing the charmed simplicity of traditional country into a wildly enchanting body of work.



Things Happen That Way marks the fulfillment of a longtime goal of the legendary singer/songwriter/pianist, who first began plotting a country inspired album decades ago. In bringing his album’s songs to life, Dr. John drew on a lineup of musicians befitting of a universally beloved luminary who worked with the likes of Van Morrison, the Rolling Stones, B.B. King, Etta James, and artists as diverse as Aretha Franklin, Ringo Starr, and Eric Clapton. Along with an elite cadre of New Orleans session players, the album’s personnel include icons Willie Nelson and Aaron Neville, as well as label mate singer/songwriter Katie Pruitt and country-rock powerhouse Lukas Nelson & Promise Of The Real. True to an artist whose music “transcended race and cultural divides”—as Black Keys frontman Dan Auerbach proclaimed in presenting Dr. John his lifetime achievement award at the Americana Music Association Honors and Awards in 2013—Things Happen That Way reflects both a rich sense of history and a boundless passion for defying expectation.

Ranging from sanguine emotional clarity to distortion and unrest, Wow Sailor voyages through sunlight and storms in this mindful and explorative album. Happy Fear is an intricate tapestry of emotional experience, where fear and joy clash heads in the pursuit of self-understanding. Scattered field recordings of literature, ambiance and chance encounters provide atmospheric depth to enrich a resonant and meditative soundscape.

This tale begins with fond yet powerful nostalgia, before segueing into a range of hybrid instrumental explorations in which guitar, voice, violin, and trumpet blossom alongside refined electronic foundations. The album closes off with indulgent melancholia reminiscent of the opening, providing lifelike circularity to the album.

All songs remain connected; one leading into another without pause or silence. This urges the listener to digest the work in a single sitting as elements of the story seem intrinsically connected.

The first half is studded with gems of atmospheric conversation and recordings, providing a living and textured environment for the crafted synthetic sounds of Wow Sailor to evolve. Most songs are free from percussive structures, but In Her Gaze breaks the mold with clear percussive dictate. The middle and latter titles are connected by ominous frequencies that err on the darker side of curiosity - encouraging exploration into the transformative power of fear.

All in all, the work glimmers with spontaneity and diversity that resembles real-life experience. Carefully crafted sonic interplays bare semblance to the fluctuating emotional life of the ever sensitive and sentient human being.

Dugnad Rec sits at the helm of yet another wonderfully creative and philosophical work. This release gives verity to the artistic integrity, sound design, and mental exploration of the label. Wow Sailor’s work radiates an enticing, authentic, and indelible mark of individuality.

2022 Repress
The Sound of Studio One can be identified by the great singers that it cultivated along the many great songs that these singers released. But as studio 1's dominance was slowly pulled away by the up and coming new breed of producers many of the artists would inevitably end up working for these new camps and so the songs and singers found a new audience. The reggae sound of the Studio 1 would make a great combination and the man to pull this was together Bunny Lee.
The 1960's in Jamaica was run by two main factions, Coxsonne's Studio 1 and Duke Reid's Treasure Isle. These two leading protagonists saw what some of the other great Sound System men like ' Tom The Great Sebastian' had not taken onboard, that when the tunes they imported began to dry up from the USA, their future lied in producing music. Tunes that suited the musical styles that the people of Jamaica still enjoyed. By the late 1960's thse supremacy was being challenged by the up and coming new producers on the scene, Lee Perry being one, and the other being 'Ghost of the Studios' himself, Bunny Lee. Bunny 'Striker' Lee may have inherited the moniker 'Striker' from his liking of a particular TV show called 'The Hitch-Hiker', but it would soon stand also for the considerable hits he would obtain as he was declared producer of the year in Jamaica in 1969, 1970,1971 and 1972.
For this release, we have compiled many of the great Studio hits that Bunny Lee recorded with the singers that had originally cut at the famed Studio 1. Bunny Lee's sprinkling of magic over some classic tunes....the sound of Studio 1 backed up this time Bunny 'Striker' Lee's set of star musicians The Aggravators. Proving you can't keep a good tune down, or a great producer pushing forward.....Bunny Lee strikes back....
Hope you enjoy the set.....

Marked by resilience, maturity, and the optimistic joy of a creative resurgence, Pat Green’s Miles and Miles of You is the work of an icon reclaiming ground only he himself could have ceded. Ten fresh tracks feel like the spiritual exhale of a celebrated troubadour, taking fans on a journey to the other side of turmoil… and to a place where the old ways feel new again.

Credited as one of Texas country’s modern-era founding fathers, Green has traveled many roads in the 25 years since his debut album, Dancehall Dreamer. A Grammy nominated singer-songwriter with a restless creative spirit, his career has gone beyond the bounds of a “country star” to include the work of a painter, sculptor, philanthropist, family man and more. But one constant has remained – his vision.

Green’s 14th album overall, Miles and Miles of You is also his first in nearly seven years – since his inspiration-first writing style means he won’t force a song into existence. But that philosophy also makes it possible for a whole album to arrive in a dam-burst of expression, and Green now calls Miles and Miles of You an “effortless” project.

“It was just so smooth and natural,” he says. “I write the song when it comes, and it was like ‘Man, we’re on a roll.’”

Recorded outside Austin with producer Dwight Baker (Bob Schneider, Josh Abbott Band), more of that story is revealed with each track, as Green and his band mirrored the loose vibe of the songwriting with country balladry, dancehall energy, soul-baring reflection and at times, a swampy blues strut. “The older you get, you just have more to think about,” he says. “So that’s
what this record is – a guy with more to think about, coming through a hard time and into something as fun and beautiful as creation. I’m just gonna take the ball and run with it.”

TOWNES VAN ZANDT STUDIO SESSIONS FROM 1974 AVAILABLE ON VINYL FOR THE FIRST TIME EVER In 1974, Townes Van Zandt recorded what would have been his seventh album, ‘Seven Come Eleven’. Business issues prevented its release until the recordings surfaced two decades later as ‘The Nashville Sessions’. To commemorate the 50th anniversary of the beginning of Van Zandt’s turbulent musical career and launch of a major catalogue reissue programme, Charly has restored and re-mastered ‘The Nashville Sessions’ to present a stunning document of the folk-blues master at his absolute peak. “These are songs that tap into the timeless myth of the American troubadour, a place where wandering souls tramp the byways of their homeland...” Restored and mastered to vinyl from the original tapes provided by producer and manager Kevin Eggers. Full colour LP sleeve with original Milton Glaser portrait cover. Fully illustrated inner with detailed sleeve notes by Uncut magazine journalist Rob Hughes. Part of Charly’s 50th anniversary programme celebrating the start of Van Zandt’s career. All original Poppy and Tomato albums which Townes Van Zandt recorded at the peak of his career will be newly re- mastered, restored and lavishly repackaged and available on CD & limited edition 180g heavyweight vinyl. The death of Townes Van Zandt in 1997 at age 52 robbed the world of a troubled genius as well as one of America’s finest songwriters. His reputation and popularity has grown greater by the year inspiring books, a documentary and renewed interest from the media, passionately loyal fans and contemporaries such as Willie Nelson, Merle Haggard and Emmylou Harris who have covered his songs to the upper-reaches of the American charts. “From Neil Young and Willie Nelson, Bono and Bob Dylan (who reportedly once said that Townes was “in some ways the better writer”) to Tindersticks and Mudhoney, songwriters and musicians speak of Townes with reverence.” MOJO MAGAZINE “He was the best songwriter and most riveting solo performer I’ve ever seen.” STEVE EARLE “An effortless masterclass in emotionally effecting Americana”.

We are proud to present the official 40-year anniversary issue of Imagination's debut album Shake It. Remastered from original tapes, this deluxe edition is a double vinyl LP with gatefold sleeve, featuring a newly available lyric insert.

Shake It covers a diverse spectrum of styles and sounds, all combining to a unique soulful amalgam that ranges from sunshine AOR funk ("Mornin' Lights") and leftfield disco ("Strawberry Wine") to psychy, epic, downtempo, vocoder grooves ("Can't Stand Without You") and more. Originally released in 1980, it fast became one of Germany's most collectible privately-pressed LPs.

Shake It was the creation of young thoroughbreds working hard on becoming professional musicians, trying to take their next big step in the music business. Starting out as a pure jazz-rock combo in the mid '70s (as we hear on the recently released lost studio tapes, I'm Always Right (The WDR Tapes 1977)) Imagination left behind their instrumental roots, incorporating new musical trends and styles.

Uwe Ziss, their saxophonist and flutist, became one of two lead singers in Imagination. He would be joined by the younger Roger Mork, a student of original guitarist Willi Hövelmann, around 1979. Roger's voice would best be heard on the aforementioned "Mornin' Lights", one of the various standout tracks on Shake It. However, there is much more that this album offers.

There are brilliant soulful soft rock ballads like "Clouds Flee Before The Wind" and "Waitin for your Call" or the catchy "California" song that switches from a dreamy Westcoast sound (as the title implies) to danceable rhythm & blues with equal ease. Last but not least, we have unearthed three unissued bonus cuts. On one, the demo take of "Clouds Flee Before The Wind", we hear, for the first time ever, the original refrain of this song, which, for some strange reason, was taken out from the final mix on Shake It.

When all eight original songs were recorded and mastered in June, at the well-equipped West Aix-La-Chapelle studio, the stage was set for Imagination's long-desired career push. They'd initially press about 2500 copies of Shake It selling it mainly, locally, directly to their hometown fanbase in Düsseldorf. Meanwhile, their manager would attempt to arrange a record deal with a music label. Unfortunately, this became more difficult than expected. Negotiations with a smaller publishing company were made by Imagination, and Shake It was repressed on Nash Records in 1981 without their consent, under the false promises of a nationwide promotional tour which would never come to fruition. At the same time, the group would face a UK band under the same name achieving mainstream success, making it difficult (not to say entirely impossible) to perform as "Imagination". Though the band would remain active after Shake It, they'd split shortly after Nash's duplicitous reissue hit store shelves.

Luckily, through time, Shake It itself has remained worthwhile, creatively, for those who stumbled upon it and financially, too, becoming quite the sought after gem in record collecting circles. This deluxe anniversary double vinyl issue makes the LP available once again at a far more reasonable price, featuring the original, illustrious, eye-catching, Roy Lichtenstein-influenced banana art, as well as previously unavailable press pictures and more.

Re-Issue "Fuck Content" is an audio-video release composed of a performance of ten live songs off of the "Child Soldier: Creator of God" album, as well as five new studio tracks. The video release contains the footage of the live performance, footage from the recording of the new songs, as well as behind-the-scenes footage from both the studio and the live performance.

Freedy Johnston is one of those rare singer-songwriters who counts
critics among his biggest fans — and whose heroes consider him a peer.
Not bad for a self-proclaimed "geek in glasses who never left his room."
Johnston's 9th album, 'Back on the Road to You' is a record steeped in
wit, humor, pathos, love, and friendship drenched with memorable,
infectious melodies
Johnston recorded the album in Los Angeles with producer Eric Corne after
setting up house in nearby Joshua Tree. The new surroundings seem to have
imbued the album's mood and instrumentation with echoes of The Byrds,
Jackson Browne, Joni Mitchell, and Neil Young. Joining Johnston in the studio
were Aimee Mann, Susanna Hoffs of The Bangles, and longtime collaborator,
Susan Cowsill, along with an all-star roots music band, including Doug Pettibone
(Lucinda Williams), Dusty Wakeman (Jim Lauderdale), Dave Raven (Shelby Lynn)
and Sasha Smith (Priscilla Ahn).In 1994 Rolling Stone named Johnston the
'Songwriter of the Year', describing him as "A master storyteller, (who) sketches
out full- blown tragedies in a few taut poetic lines." Adding, "He joins that elite
cadre of songwriters—Bob Dylan, Neil Young, Elvis Costello—whose brilliant pop
compositions turn magical with the addition of a defiantly idiosyncratic singing
voice."
'Back on the Road to You' is a return to grace for this gifted songwriter. It
embodies the sound of an American original reminding us that he is still
considered one of the best songwriters of his generation.

Freedy Johnston is one of those rare singer-songwriters who counts
critics among his biggest fans — and whose heroes consider him a peer.
Not bad for a self-proclaimed "geek in glasses who never left his room."
Johnston's 9th album, 'Back on the Road to You' is a record steeped in
wit, humor, pathos, love, and friendship drenched with memorable,
infectious melodies
Johnston recorded the album in Los Angeles with producer Eric Corne after
setting up house in nearby Joshua Tree. The new surroundings seem to have
imbued the album's mood and instrumentation with echoes of The Byrds,
Jackson Browne, Joni Mitchell, and Neil Young. Joining Johnston in the studio
were Aimee Mann, Susanna Hoffs of The Bangles, and longtime collaborator,
Susan Cowsill, along with an all-star roots music band, including Doug Pettibone
(Lucinda Williams), Dusty Wakeman (Jim Lauderdale), Dave Raven (Shelby Lynn)
and Sasha Smith (Priscilla Ahn).In 1994 Rolling Stone named Johnston the
'Songwriter of the Year', describing him as "A master storyteller, (who) sketches
out full- blown tragedies in a few taut poetic lines." Adding, "He joins that elite
cadre of songwriters—Bob Dylan, Neil Young, Elvis Costello—whose brilliant pop
compositions turn magical with the addition of a defiantly idiosyncratic singing
voice."
'Back on the Road to You' is a return to grace for this gifted songwriter. It
embodies the sound of an American original reminding us that he is still
considered one of the best songwriters of his generation.

OVERVIEW: When an ancient monster that laid waste to planets when the dinosaurs roamed Earth is accidentally released from its underground prison, there's only one kaiju you can count on to defend us all: Mothra! Directed by Okihiro Yoneda with a story by the great GODZILLA creator Tomoyuki Tanaka, REBIRTH OF MOTHRA sees the legendary lepidopteran protect the human race from Belvera, the evil sister of Mothra's twin priestesses. She wants to destroy the world with the superspace demon beast Desghidorah, a three-headed extraterrestrial dragon. But Belvera and her monster aren't counting on the larva of Mothra joining the fight. Enter Mothra Leo! Brought into score REBIRTH OF MOTHRA was Toshiyuki Watanabe, son of the great tokusatsu and anime composer Michiaki Watanabe (YOKAI MONSTERS: 100 MONSTERS, MAZINGER Z), who lived up to his legacy by supplying a bold and thrilling orchestral score. Watanabe's music is full of ethereal beauty, with a fantastic opening title cue replete with a glorious female choir to celebrate Earth's greatest defender and full-blooded brass magnificence as Mothra and son fight against the evil Belvera and Desghidora. And of course, it wouldn't be complete without Yuji Koseki's classic Mothra's Song: Over time, oversea, like a wave - our guardian angel! (Charlie Brigden)

Beautifully drunken it hums, the piano in “PianoPiano”, the last tune of “How to Spread Lies”, the first EP by Roman Flügel for the Hamburg based label Dial in the year 2010. Or take “Strich”, a peculiar electrical slow-motion grinder, out on his “Mutter” EP for Klang Electronic in 2006. Since long, the renowned Berlin based DJ and producer is investigating in spheres beyond the dance, the groove, the ecstasy. Zones, where the molecules harmonize, senses relieve, and the soul quietens. All his last albums, “All The Right Noises” (Dial), “Themes I-XIII” (ESP Institue), “Eating Darkness” (Running Back) have moments of tension and relaxation in a deep harmonious connection.

Now “Balmy Evening”, a sundown record for sunup’s. Eleven notions in adventurous journey music, embracing the freedom of structure, blurring the musical pulse into harmonic meditation and mysteriously grooving zones, leaving all unnecessary accessories behind. A quality, that many of his collaborative and solo productions from past 30 years comprise. Still, most of them squint on the dance floor, where jack is king. Not so “Balmy Evening”, where real party bangers are absent. There are moving tunes like the slow Kraftwerk-melody-leaning funkateer “Duftschulter”, or the artificially jacking “Greenhouse”, where nervous Synth patterns ball along soft breaks and decreet kicks. Also, “Super Sonne”, an odd, seemingly improvised synth conversation might ask some souls out for a dance.

But all others, like “Atmosphere”, “Frei”, Dolphins, “Goth”, or “Ambienteuse”, rather seek for the tranquil in each one’s spirit. Listeners need be ready for surprises. Ready for impulsive ideas, linked to a harmonious flow, always ready to grow. An album full of silence, utterly loud, beautifully diverse humming, displaying a playful, exploratory side of a celebrated club music producer, to whom atoms dance in manifold ways.

“I’ve been coming a thousand years / you could call me the endless fuck,” goes the memorable opening line of Rubblebucket’s Earth Worship, a dance-forward, joyously layered collection of songs which work to dissolve the imaginary lines between the natural world and its inhabitants. Kalmia Traver and Alex Toth, the group’s front persons and co-writers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed a prolific band that has delved into pop, funk, dance and psychedelia over five records, with performances spanning Bonnaroo to their self-curated Dream Picnic Festival, and collaborations with kindred genre-blenders including Arcade Fire and Questlove. But Traver and Toth initially bonded over another shared passion: the two were part of UVM’s Sustainable Community Development program. Though Toth communes with nature as part of his morning routine, and Traver is adept at foraging in the band’s adopted home of New York, songwriting explicitly about environmentalism in Rubblebucket has felt immaterial—besides, the band has shared its beliefs over the years by inviting anti-fracking, reproductive justice, and other organizations to table at their shows. But Traver was interested in writing love songs for and from the natural world, and both were inspired by their parents’ work in ecology and community facilitation, from which they saw a throughline to music’s communal healing. Traver suggested “earth worship” as a lyrical prompt for their sixth record, and with this concept at its core, the duo began writing Earth Worship: a Rubblebucket album with renewed shimmer, showcasing the group’s intricately sparkling beats, hushed yet hooky vocals and infectious melodic complexity.

“I’ve been coming a thousand years / you could call me the endless fuck,” goes the memorable opening line of Rubblebucket’s Earth Worship, a dance-forward, joyously layered collection of songs which work to dissolve the imaginary lines between the natural world and its inhabitants. Kalmia Traver and Alex Toth, the group’s front persons and co-writers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed a prolific band that has delved into pop, funk, dance and psychedelia over five records, with performances spanning Bonnaroo to their self-curated Dream Picnic Festival, and collaborations with kindred genre-blenders including Arcade Fire and Questlove. But Traver and Toth initially bonded over another shared passion: the two were part of UVM’s Sustainable Community Development program. Though Toth communes with nature as part of his morning routine, and Traver is adept at foraging in the band’s adopted home of New York, songwriting explicitly about environmentalism in Rubblebucket has felt immaterial—besides, the band has shared its beliefs over the years by inviting anti-fracking, reproductive justice, and other organizations to table at their shows. But Traver was interested in writing love songs for and from the natural world, and both were inspired by their parents’ work in ecology and community facilitation, from which they saw a throughline to music’s communal healing. Traver suggested “earth worship” as a lyrical prompt for their sixth record, and with this concept at its core, the duo began writing Earth Worship: a Rubblebucket album with renewed shimmer, showcasing the group’s intricately sparkling beats, hushed yet hooky vocals and infectious melodic complexity.

“I’ve been coming a thousand years / you could call me the endless fuck,” goes the memorable opening line of Rubblebucket’s Earth Worship, a dance-forward, joyously layered collection of songs which work to dissolve the imaginary lines between the natural world and its inhabitants. Kalmia Traver and Alex Toth, the group’s front persons and co-writers, first began a friendship as jazz students at the University of Vermont. Soon after, they formed a prolific band that has delved into pop, funk, dance and psychedelia over five records, with performances spanning Bonnaroo to their self-curated Dream Picnic Festival, and collaborations with kindred genre-blenders including Arcade Fire and Questlove. But Traver and Toth initially bonded over another shared passion: the two were part of UVM’s Sustainable Community Development program. Though Toth communes with nature as part of his morning routine, and Traver is adept at foraging in the band’s adopted home of New York, songwriting explicitly about environmentalism in Rubblebucket has felt immaterial—besides, the band has shared its beliefs over the years by inviting anti-fracking, reproductive justice, and other organizations to table at their shows. But Traver was interested in writing love songs for and from the natural world, and both were inspired by their parents’ work in ecology and community facilitation, from which they saw a throughline to music’s communal healing. Traver suggested “earth worship” as a lyrical prompt for their sixth record, and with this concept at its core, the duo began writing Earth Worship: a Rubblebucket album with renewed shimmer, showcasing the group’s intricately sparkling beats, hushed yet hooky vocals and infectious melodic complexity.

The visionaries at Bethesda, Arkane and Laced are bringing the twisted ’60s soundtrack for award-winning looper-shooter DEATHLOOP to wax.

The complete 59-track soundtrack has been specially mastered for vinyl and will be pressed onto heavyweight discs. These will come in spined inner sleeves housed in a rigid board slipcase. Tracklist curation and stunning original sleeve artwork is by the team at Arkane Lyon.

This Standard Edition quadruple LP box set features traditional black discs.

Lead composer Tom Salta has built an enviable credits list, with entries in the Prince of Persia, Tom Clancy and Halo universes to his name. For DEATHLOOP’s original score, he immersed himself in the music of Jimi Hendrix, Pink Floyd, Nelson Riddle and a host of other late-’60s influences. Layers of period-appropriate organs, synths and other instruments (including Rhodes, Wurlitzer and Hammond B3) help maintain the tension as Colt picks off Eternalists from the shadows. As things get dicey, or Julianna intervenes with extreme prejudice, tracks explode into furious guitar and drum grooves that propel the zany, supernaturally enhanced gunplay.

Ross Tregenza’s multi-genre diegetic cues perfectly complement the psycho-sophisticate stylings of Blackreef’s artistically aspirational inhabitants, while songwriter Erich Talaba and singer Jeff Cummings brought to life the vicious visionary Frank Spicer with catchy in-universe songs. Music agency Sencit teamed up with powerful yet soulful vocalists for trailer and credits songs, including Bond-ish banger “Déjà Vu” (featuring FJØRA), “Pitch Black” (featuring Lady Blackbird) and “Down the Rabbit Hole” (featuring Samantha Howard & Haqq.)

'Cross the Rolling Water' is the debut collaborative album from Hannah
Reed and Michael Starkey
Acclaimed singer-songwriter and fiddler Hannah Read met banjo player Michael
Starkey at an Appalachian old time session in Edinburgh in late 2019.The
moment they first struck up a tune together there was an immediate meeting of
musical minds and they have since become a formidable and dynamic fiddle and
banjo duo, playing repertoire deep from the old time tradition like Apple Blossom
as well as newly composed tunes and songs Shenandoah by Anais Mitchell.
Hannah is an award winning Scottish musician based in Brooklyn, NY. She moved
Stateside to study American fiddle styles and to immerse herself in the thriving
string music scene. She has toured extensively, performing solo and collaborating
with musicians far and wide including Tony Trischka, Sarah Jarosz and Jefferson
Hamer, as well as being one part of the BBC Folk Award winning Songs of
Separation. Her previous album was the well-received 'Way Out I'll Wander' from
2017.
Michael is a multi-instrumentalist, music teacher and old time banjo enthusiast
living in Scotland. His mission as a musician is to keep things simple - clear
melody lines underpinned by solid, infectious rhythm. Recent collaborations
include with Wayward Jane (Edinburgh- based UK/ US folk and roots music 4-
piece) and 'Faultlines', a collection of Lisa Fannen's poetry set to music.
"Hannah and Michael have arrived at a way of playing old- time music that's
refreshingly dynamic, expressive, and toneful. Every track makes me feel like I'm
sitting right next to them, eyeing my fiddle case, just hoping they'll let me join in" -
Stephanie Coleman, old time fiddler

The story of this album is a story of love and lust - it's a love letter to rock
music - Your first love being the first time you held that instrument or
lover that would propel you into the next chapter
Your first heartbreak. Your first fear. Your first fuck. There's a constant need to
feed the first because all of that unfinished business fuels the second.
But the truth about the first is that it was there all along. These songs were out
there years ago, playing out their melodies to a closeted, jealous, angry Iowa City
gay boy trying to find his way towards freedom. Decades later, No. 2 grabs those
songs down and punches the idea of a first all open. First Love reintroduces No. 2
to us all, driven by the propulsive lyrics of Neil Gust along with the incomparable
Gilly Hanner on bass and the unparalleled Paul Pulvirenti on drums.
Produced by Joanna Bolme (Stephen Malkmus & The Jicks) and mixed by Gary
Jarman (The Cribs) and Tony Lash (Heatmiser). The album was recorded over 3
years in studios and basements across Portland, OR and finished in a boathouse
in Connecticut during Covid. Special guest Rebecca Cole (The Minders, Wild Flag)
shows up on keyboards here and there.
Racing through queer anthems, noir grooves, and more under and over ground
rock references than a Quentin Tarantino movie, First Love bursts with all the
infectious chemistry that made the band so much fun in the first place.

Reflecting upon their new album Different Bridges, Nutrients discovered a
time capsule from the dullest days of the pandemic
The 10 hopeful songs manage to sonically sound as optimistic as their lyrics.
Unbeknownst to the band, they were composing an ode to the way life had once
been. Lyrically, Teeple subconsciously penned love letters to everything he had
taken for granted: parties, air travel, even just meeting new people. The band's
sun-drenched guitars continue to jingle and jangle on Different Bridges, yet this
time around, other ingredients are in the spotlight. Sean McKee's basslines
ecstatically bounce around on the album's title track opener, while Iulia Ciobanu's
ghostly harmonies and tense keys soar on the jazzy, lounge pop bop Nauseous.
Ben Fukuzawa's steady cadence and vivacious fills animate tracks like the spritely
closer, Kool Kat '22. Saxophone by guest Emily Steinwall shimmers alongside the
buoyant congas, bongos, and triangle added by percussionist Juan Carlos
Medrano. Still, guitar work on songs like the wordplay-adorned I and the nostalgic
House Fire Painting sturdily underpin Taylor Teeple and Will Hunter's smooth
songwriting. Compositionally, the band has freshened up forgotten cliches from
'70s soft rock and '80s new wave and incorporated them into a signature sound
listeners first discovered on their self- titled debut. Some of the more oblique
noodling may bring to mind bands like Steely Dan, while certain funk-lite grooves
evoke British pop groups like Orange Juice or Haircut 100. Contemporarily,
Different Bridges would likely find fans in listeners of fellow Canadians TOPS,
Video Age, or even Drugdealer. That optimism was perhaps a bit….well optimistic,
the band now recognizes. But they still believe that keeping a positive mindset is
key to creating music you can be proud of, and living a fulfilling life in general.

Australian art-punk combo Tropical Fuck Storm continues its hot streak of brain-bending releases with Moonburn, a maxi-single cassette on Joyful Noise Recordings. Side A offers the new song, "Moonburn," a ballad in the classic TFS style written and sung by Gareth Liddiard. Fiona Kitschin steps up to the microphone on "Ann," a cover of The Stooges that swaps Ron Asheton's scorching guitar part for a deranged sound collage of guitar freakouts, siren noises, and electronics. Side B includes an acoustic take on the fan-favorite song "Aspirin (Slight Return)" and a haunting cover of Talking Heads' "Heaven."

Erlend Apneseth is one of Norway's foremost Hardanger fiddle players and folk musicians. After being widely recognized with the award-winning and critically acclaimed Erlend Apneseth Trio, he now returns with an acoustic soloalbum. This is the first time since his debut album "Blikkspor" (2013) that he has put the soloistic performance in focus, and this time the unique acoustics in Emmanuel Vigeland's Mausoleum sets the scene for his improvisations and compositions. "The Hardanger fiddle is traditionally a soloistic instrument. For me, one of the most fascinating things about the instrument is its ability to fill a whole room with sound all by itself. Even though I've been working in an electro-acoustic universe the last years, I've never left the acoustic approach to the Hardanger fiddle, and I now felt the time had come to do something all alone again." Even though Apneseth is rooted in traditional music, he has immersed himself in improvisation and alternative sonic-and pizzicato-technics on the Hardanger fiddle, which makes him stand out with his very own musical expression. After incessantly exploring his instrument for many years, this album can be seen as a personal catalogue of the Hardanger fiddle's sonic possibilities. Erlend Apneseth has released eight albums, received numerous awards, among them "Grappas Debutantpris" and "Gammleng-prisen", and no less than five nominations for the Norwegian Grammy's. In 2019 he received the Norwegian Grammy's award in the Open Cathegory for his album "Salika, Molika", with Erlend Apneseth Trio and Frode Haltli. The album also received the NOPA-award and was nominated for the Nordic Music Prize. Apneseth has written commissioned works for Kongsberg Jazzfestival, Fordefestivalen and Ultima, and toured extensively in Europe the past years. Since 2021 he has collaborated with the composer Orjan Matre on new works for Hardanger Fiddle and The Norwegian Chamber Orchestra.

She's the natural-born rock star with the leather jacket and wicked grin, leaning
from her album sleeve to offer you a hit on her hip flask. But the real Southern
blend ain't in the bottle, it's on the songs.
Following the New Orleans flavours of her 2017 breakthrough, Let The Demons
Out, this year sees the acclaimed Brussels- born singer- songwriter dive deeper
into the American South, recording in the hill country of Mississippi, where she
shared her songs with a cast of esteemed local musicians and caught the flying
sparks. This is Mississippi Blend: an album as fiery and throat-burning as Delta
moonshine.

In his brand-new album ' Yearbook', RJ combines the feeling of loss and
hope, to explore the depths that can be reached within song writing
The album fuses classic song writing with an alternative indie pop sensibility,
sweeping from the sun-kissed bliss of the hopeful Feel Alive, through the dark yet
enticing Cutting Room Floor, to the intimately beautiful Forest Fires which
intertwines voice, guitar, and string quartet. He has created a world around the
songs. An App, accessed through QR codes installed into the album artwork,
created alongside a friend, invites fans into the songs; through childhood
pictures, voice note demos and discussions around the lyrics and their
themes.UK tour announced including Royal Albert Hall. Print Press support from,
The Times, CLASH, The Guardian and Wonderland along with Playlist support for
singles preceding the album release including: Wonderland Magazine
'Wonderlist', Square One Magazine € Release Radar', Spindle Magazine 'Spindle
Selects'. Single ' Feel Aline' was featured on Record of the Day in July. " Genuinely
for the first time, I've written songs on Yearbook where I've gone 'Oh my God,
that's mine! I've surprised myself and I really do love it.' he admits. Now it's
everyone else's turn to be surprised by RJ Thompson's ever- expanding world.
'Yearbook' released as a Jewel Case CD.

In his brand-new album ' Yearbook', RJ combines the feeling of loss and
hope, to explore the depths that can be reached within song writing
The album fuses classic song writing with an alternative indie pop sensibility,
sweeping from the sun-kissed bliss of the hopeful Feel Alive, through the dark yet
enticing Cutting Room Floor, to the intimately beautiful Forest Fires which
intertwines voice, guitar, and string quartet. He has created a world around the
songs. An App, accessed through QR codes installed into the album artwork,
created alongside a friend, invites fans into the songs; through childhood
pictures, voice note demos and discussions around the lyrics and their
themes.UK tour announced including Royal Albert Hall. Print Press support from,
The Times, CLASH, The Guardian and Wonderland along with Playlist support for
singles preceding the album release including: Wonderland Magazine
'Wonderlist', Square One Magazine € Release Radar', Spindle Magazine 'Spindle
Selects'. Single ' Feel Aline' was featured on Record of the Day in July. " Genuinely
for the first time, I've written songs on Yearbook where I've gone 'Oh my God,
that's mine! I've surprised myself and I really do love it.' he admits. Now it's
everyone else's turn to be surprised by RJ Thompson's ever- expanding world.
'Yearbook' released as a Jewel Case CD.

Fünf Jahre nach der von 20 Buck Spin veröffentlichten Debüt-EP "Pulsing Dark Absorptions" erheben sich Daeva aus Philadelphia wie lodernde Flammen aus den höllischen Tiefen mit dem lange schwelenden ersten Album "Through Sheer Will And Black Magic...".

Ein feuriger Strudel aus frühem dämonischem Black Metal und zackigem Thrash Metal bildet die Grundlage des Albums, auf dem Daeva ihre Kunst wie glänzend geschmiedeten Stahl perfektioniert haben. Innerhalb dieses Wahnsinns setzt Gitarrist Steve Jansson die mit Maden übersäte Leiche des Death Metal und eine kräftige, tödliche Dosis reinen 80er-Jahre-Metal-Geistes frei. Die Reise durch dieses verbrannte Ödland wird durch die giftig-säurespritzenden Vocals des Sängers Edward Gonet geleitet.

Song für Song, Riff für Riff ist das von Arthur Rizk produzierte "Through Sheer Will And Black Magic" ein unersättlicher und unaufhaltsamer Wirbelwind aus außerweltlichen Genüssen und infernalischem Gemetzel. Wie in einem unerbittlichen Rausch stürmen Daeva die Tore des Himmels und unterwerfen die schwachen Schafen des Lichts in einem ultimativen Triumph der Hölle!