Buscar:t time

Discover a timeless musical treasure with our exclusive picture-disc vinyl dedicated to Johnny Hallyday's early recordings. Dive into the history of the French rock legend with classics like "Laisse les filles," "Souvenirs, souvenirs," and many more. This limited edition is a precision-cut collector's piece with a unique design. Elevate your passion for Johnny with this exceptional vinyl. Don't miss out on this opportunity!

Explore a timeless musical treasure with our exclusive picture-disc vinyl dedicated to Johnny Hallyday on one side and Sylvie Vartan on the other. Dive into the history of the French rock legend with classics like "L'idole Des Jeunes," "Madison Twist," and discover the magic of Sylvie Vartan with her unforgettable hits. This limited edition is a precision-cut collector's piece with a unique design. Elevate your passion for both Johnny and Sylvie with this exceptional vinyl. Don't miss out on this opportunity!

New West Records is proud to present Strange Country, the new full-length album from the young and gifted cousin-duo Kacy & Clayton. The ten-song collection was recorded over seven freezing Canadian winter days at Ghetto Box Studios, a historic community hall turned studio. The product of a lifetime of deep kinship, the record showcases the purity and astounding beauty of Kacy Anderson's voice, one that has been notably compared to Fairport Convention's Sandy Denny. Only Clayton Linthicum's intricate guitar work, expert time changes and vocal harmonies could forge the foundation for Kacy's voice to soar even higher - the result being an enormously satisfying and organic album. Drawing a wide swath of inspirations ranging from the Greenwich Village folk scene to the ancestral music of Southern Appalachia and the British Isles, the cousins fashion songs steeped in those traditions, simultaneously paying homage and building on those sounds.

For The Nude Party, nearly a decade has flown by in the blink of an eye. In that time, the New
York-based band has released a pair of well-received albums, an EP and played numerous shows.
The band has historically worked with a producer to help them create a distinct sound in their records
but with their latest effort, Rides On, the band decided to handle production duties by themselves. The
hands-on approach allowed the band to have as much fun creating as they ever had at any other point
in their career. They recorded over 20 songs, including some that dabbled in electro-pop and
stripped-down country before settling on the final 14 songs containing the best elements of ‘70s-driven
blues rock. The relaxed vibe of the session also unleashed a diverse sonic texture compared to their
previous releases. Sonically, the album is reminiscent of Sticky Fingers-era Stones, but the lyrics are
mini-vignettes that embody the spirit of what The Nude Party are going for — and their growth as a
band. Rides On, the band confidently says, is their best record. It’s also the most homegrown and
organic record The Nude Party has created to date.

"62 years ago, the famous film directed by Norman Taurog, “Blue Hawaii,” was released. The film’s soundtrack includes memorable songs like “Can’t Help Falling in Love” and “Blue Hawaii,” which helped popularize Hawaiian music worldwide. This catchy and sunny soundtrack perfectly captures the tropical atmosphere of the film and remains a timeless favorite among Elvis fans and 60s music enthusiasts. To celebrate this cinematic and musical landmark, here is an exclusive limited-edition Shaped Picture-Disc vinyl!"

This is the first color pressing of this performance. Doug Sahm AKA Sir Doug was both a Texas rock & roll legend and pioneer. True, there were others before him (Buddy Holly and Roy Orbison come to mind), but the Sir Douglas Quintet counterattacked the British invasion of the mid 1960’s with their own brand of Chicano-influenced rock that they had been playing around their hometown of San Antonio. Wearing their tight-fitting, English-looking suits, they hit the charts with “She’s About A Mover” in ’65, riding the waves with Doug’s incessant guitar twangs and Augie Meyer’s much-imitated, two-to-a-beat Vox electric organ chords. This performance, recorded October 14, 1975, came after Doug had temporarily retired the Sir Douglas name, but features original member Meyer along with musical compadres Martin Steitle, John Barber, Steve McDaniels and Harry Hess. All the Sir Douglas Quintet classics are here, including “She’s About a Mover,” “Mendocino,” and “Rains Came,” and Doug ventures into other musical territory ranging from T-Bone Walker to Bob Wills. Long before the Quintet, Doug had been making music since even before the birth of rock & roll. He began his career as “Little Doug,” a guitar-playing prodigy who was invited to join the Grand Ole Opry when he was only 13. Over time, with the help of his irrepressible personality, he became a voice for Texas music, the original “cosmic cowboy” back in the heyday of the Armadillo World Headquarters in Austin. But his influence went beyond Texas; in 1973 he even lured Bob Dylan out of hermitage to record with him, and Bob in turn invited him to join his legendary Rolling Thunder Review Tour. Doug left us suddenly in 1999, but he left behind a unique legacy, a “Groover’s Paradise” indeed. - Terry Lickona (Producer Austin City Limits®)

These songs came to be a record accidentally and unintentionally. They were written sporadically over a tumultuous two years riddled with more valleys than mountaintops. We considered it a victory when we could actually make ourselves get together to write, even if we struggled to produce anything of any quality. Creativity was tough amidst half-hearted business relationships, being dropped from our label, inconsistent touring, and filing personal bankruptcy. It took a toll on everything: our confidence, our outlook, our health, our happiness. In late 2015, our friend Brandi Carlile invited us to Seattle to play a couple of shows in her hometown. It was there that we explained all that had transpired with our career, how we were barely staying afloat. It was also there that she told us she would be producing our next record. Once we saw that this fantasy could actually become a reality, the frantic search for enough songs to make an album began. To our surprise, we had many things to say, and though some were difficult to write and slow to reveal themselves, we pushed onward. The songs here carry a common thread of what remained when we felt like we’d lost everything. It was in the hardest times that we saw the core of where our music and our souls originate. We still had our homes, our family, our friends, and our fans. This is not a record about rising from the ashes. Rather, it is a deep look into ourselves in an attempt to put out the flames. These songs are our catharsis; an effort to forgive, an effort to heal, an effort to look back into the darkness with newfound light and undeterred fearlessness, an effort to redeem ourselves. The damage was done, but our hearts remained.

“Nina Simone at the Village Gate” is a live album by singer, pianist & songwriter Nina Simone. The album was recorded at The Village Gate, a nightclub in Greenwich Village, New York in late March 1961.On this LP eight songs performed at the gig and three bonus tracks from her album “At Town Hall”.

The first color pressing of this title. We’re talkin’ TEX-MEX ROCK ‘N’ ROLL! In this show from January 21, 1981, Doug Sahm (AKA Sir Doug) reunites with original band members Augie Meyers and Johnny Perez, along with the legendary Alvin Crow on guitar and Speedy Sparks on bass for a no-holds-barred, rip-snortin’ Texas rock ‘n’ roll revival. Back in the day, the SIR DOUGLAS QUINTET was Texas’s answer to the British Invasion. With the arrival of the Beatles, Sir Doug & Co. saw their chance to break out the rough, Chicano-influenced rock they had been playing in the joints around San Antonio. They donned English-looking suits and hit the charts with “She’s About A Mover” in 1965. Nobody was quite sure where they came from, but they rode the English-pop wave to fame. There’s something contagious about Augie’s cheesy, pumping Vox organ chords and Sir Doug’s chang-a-chang rhythm guitar over Johnny’s Mexican drumming style, drenched in psychedelia, that stood out from everything else at the time. And it still does today. You may not be able to sit down through “She’s About A Mover” or “Mendocino,” but that’s OK. Doug is no longer with us, but you can be sure that somewhere he’s still kickin’ out the jams. - Terry Lickona (Producer Austin City Limits®)

“I feel like there are two sides of me,” says the Nashville-based singer-songwriter and guitar virtuoso known as Sunny War. “One of them is very self-destructive, and the other is trying to work with that other half to keep things balanced.” That’s the central conflict on her fourth album, the eclectic and innovative Anarchist Gospel, which documents a time when it looked like the self-destructive side might win out. Extreme emotions can make that battle all the more perilous, yet from such trials Sunny has crafted a set of songs that draw on a range of ideas and styles, as though she’s marshaling all her forces to get her ideas across: ecstatic gospel, dusty country blues, thoughtful folk, rip-roaring rock and roll, even avant garde studio experiments. She melds them together into a powerful statement of survival, revealing a probing songwriter who indulges no comforting platitudes and a highly innovative guitarist who deploys spidery riffs throughout every song. Because it promises not healing but resilience and perseverance, because it doesn’t take shit for granted, Anarchist Gospel holds up under such intense emotional pressure, acknowledging the pain of living while searching for something that lies just beyond ourselves, some sense of balance between the bad and the good. Featuring: David Rawlings, Allison Russell, Jim James, Micah Nelson

This is a first time color pressing of this.2004 live release from the Blues/Rock singer/songwriter, originally taped for broadcast on Austin City Limits..

If there's one lesson to be gleaned from Jamie Wyatts latest album, Neon Cross, it's that life goes on. And through it all—good times and bad, dreaming and desperation, there is truth. When it came to capturing that truth on tape, Wyatt had some assistance from Shooter Jennings, who produced Neon Cross. Together, she and Jennings boldly color outside the country lines, taking a wide-lens sonic and stylistic approach to the songs on Neon Cross.

Back To Titanic is an album by Ost, released in 2023. Back To Titanic includes a.o. the following tracks: “Titanic Suite”, “Alexander's Ragtime Band - I. Salonisti”, “Lament”, “A Shore Never Reached” and more. The album is a Coloured Vinyl, High Quality, Gatefold Sleeve original soundtrack 2-LP.

Manuel Tur & Adrian Hoffmann return to their alter ego Class Compliance for the second time, having introduced it on last year's Future Sound of Jazz compilation on Compost. The "Plug & Play EP" features three quirky and slightly offbeat tracks that won't be everyone's cup of tea, but will find fans among those interested in unquantized synths and polymetric rhythm layers. Early support from Kornel Kovacz, Âme & Ingo Sänger.

SOARS is the solo project of Kristian Karlsson, synth player in CULT OF LUNA and bass player/vocalist in PG.LOST - and yes, `Repeater', a truly epic instrumental rock album bustling with delay-drenched drama and joyful yet melancholic melodies will make every PG.LOST fan very, very happy. Why is it not a PG.LOST album then? "I got tired of discarding ideas I've written that didn't ft PG.LOST, but at the same time were too good for my ears to throw away. PG.LOST as a collective works at a relatively slow pace, while I by default write music all the time_ so eventually it became clear to me that I needed a new outlet for all those ideas". Karlsson released his debut solo album `Enfold' under the Soars moniker in 2021. Recorded and released all by the artist himself, `Enfold' made waves in the post rock world and the vinyl pressing sold out quickly. Repeater connects seamlessly with the debut album: propelled by the powerful drumming of Christian Augustin (Stiu Nu Stiu, live drummer of Cult of Luna) and Karlsson's charismatic synths melodies, these eight tracks share a distinct reference to the cinematic works of artists like Vangelis and Jean-Michelle Jarre, as well as post rock acts like God is An Astronaut, Caspian and Mogwai. "Soars is a personal journey and expression of a sound that has been developed over the years," explains Karlsson. And this long-term development of his artistry ensures that while painting with a familiar palette of tones and textures as the aforementioned artists, Karlsson always paints a picture that is very much his own. Title track «Repeater» comes saturated with orchestral grandeur and melancholy, and yet somehow exudes a sense of hopefulness which lingers throughout the album. Driven by layers of processed vocals and glorious melodies, «Uprise» literally gives rise to waves of exalted joy, while tracks like «The Waiting» or «Grow» demonstrate that Repeater shines through sheer strength of composition. Wrapping his retro synth sounds into a fat modern production, Repeater is stuffed with stunning dynamic arcs, catchy melodies and atmospheric density. The recording and mix are fawless and, in a sense, timeless. "The recording process was pretty simple," explains Karlsson matter-of-factly. "A lot of the ideas was formed at home in my kitchen and took its fnal form in the studio." With Soars, Karlsson is proving his innate ability to convert his blithe spirit into sound waves. Repeater is a manifestation of a man who lives and breathes music - an album that grabs you and carries you away.

For the first time ever, Neutral Milk Hotel's much-beloved, endlessly influential 1998 album In the Aeroplane Over the Sea is available on cassette. On too many "best albums of the 1990s" lists to recount, In the Aeroplane Over the Sea gives us Jeff Mangum's powerful solo acoustic work, full horn-section marches, history, religion, and sex _ everything you hoped for and more!













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FUMING MOUTH kehren triumphierend zurück, nachdem Leadsänger, Gitarrist und Gründer Mark Whelan erfolgreich gegen die akute myeloische Leukämie gekämpft hat. Was ursprünglich als fiktives Konzeptalbum begann, hat sich zu einem Konzept-Realitäts-Hybrid gewandelt, der weitgehend von Whelans erschütterndem Konflikt mit seiner Gesundheit und seinem nahen Tod beeinflusst wurde. Death Metal/Hardcore für den tiefgründigen Denker. Produziert von Kurt Ballou (Converge, Nails).

Flying Objects is the new collaborative project from indie heavyweights Smoke DZA and Flying Lotus - featuring Black Thought (The Roots/Jimmy Fallon), Estelle, Conway The Machine, and more. Smoke DZA is a popular independent rapper from New York City who has worked with Big K.R.I.T., Wiz Khalifa, Action Bronson and ASAP Rocky among others, and is a founding member of the Smokers Club. His album, Rolling Stoned was awarded the High Times Doobie Award for Hip Hop album of the year for 2011. Other popular album releases include Rugby Thompson (produced by Harry Fraud), Dream.Zone.Achieve (features from Cam'ron, Joey Bada$$, Ab-Soul, Wiz Khalifa, Curren$y), and Don't Smoke Rock (produced by Pete Rock). Flying Lotus is a producer, DJ, filmmaker and rapper from Los Angeles who has worked with Kendrick Lamar, Danny Brown, Mac Miller, Chance The Rapper, Blu and more. He is also the founder of the record label Brainfeeder. He has released seven studio albums. His debut project 1983 dropped in 2006 on Stones Throw Records and his next six projects all came out on Warp Records - to critical acclaim.

Curren$y (aka Spitta Andretti) once again teams up with long-term collaborator and legendary producer Harry Fraud on Vices. This nine track album is a time capsule to the 1980s and taps into the nostalgia and style of that decade. The music and artwork of Vices is a continuation of their theme of jet-setting and smuggling illegal substances on jet boats through the marina (Cigarette Boats, The Marina, The OutRunners, and Regatta) and proves to be yet another instant classic from the duo. Entirely produced by Harry Fraud, with features from Benny The Butcher, G.T., Jim Jones, Larry June, Rome Streetz and Vico, this limited edition release is a must have.

"I call the album Late Jazz not only in honour of 'that jazz time of night' but also because, unlike all my other ASC releases, these are not historic recordings from the 1970s but new ones, often based around my One Man Show, in which most of them featured. So they're late-period Runswick. The compositions too are recent (except of course the standards), all but one written since the Millennium.

(Sulkin is from the 1990s.)”

Daryl Runswick is a musical polymath, a top Jazz double bass player he has played with the likes of Stan Sulzmann, Alan Branscombe , Henry Lowther and Tony Coe to name but a few but is also a TV composer, was bassist and then pianist for Cleo Laine and Johnny Dankworth and is also a highly regarded contemporary classical composer. In Young Man Songs we find Daryl in song writer mode, teaming up with lyricist Kerry Lee Crabbe, these songs come from the 80 when Daryl was a young man trying to sell his musical wares these are more than demos, beautifully recorded and performed, echoes of Bacharach but ultimately Daryl has his own unique musical voice.

This album, except for one track, dates from the 1982 sessions, wonderfully recorded by John Burns.

The #2-charting, debut album from Potter Payper, 'Real Back In Style' releases on vinyl for the first time. A 2-disc product, pressed on black vinyl. The album is a true testament of his dedication to music over the last decade, betting on himself and surpassing every expectation he once had for his life. Raising the bar for UK Rap, ‘Real Back In Style’ is a frank and deeply honest record that sees the award-winning musician bare all - his boldest and most intentional body of work yet.

Neroli release n. 60 and is indeed a special one…Dominic Stanton aka Domu is back! Not much else to add really, as a return of a Domu release after more than 10 years of absence from the scenes should already say it all! These brand new songs still have all his signature elements but with a modern twist, and feature the vocals of Hiatus Kaiyote’s Lori on the breathtaking ‘On The Line’, the skills of K15 on ‘Ya Nah Gonna Get It’ and the help of long time collaborator
Marin on bass! A unique sound that we missed so much….

2023 sees the 50th anniversary of what is widely regarded as Thin Lizzy’s breakthrough album ‘Vagabonds Of The Western World’ featuring their first UK top ten single ‘Whiskey In The Jar’ and ‘The Rocker’ which would go on to be one of the band’s signature tunes, so much so that it was the last song they ever performed at their final show in 1983. To celebrate the album’s golden anniversary, deluxe CD and LP sets featuring rarities, radio sessions, unreleased music, rare photos, extensive sleevenotes by Mark Blake, and memorabilia will be released on 17th November. Available as a Deluxe 4LP boxset, 2LP coloured LP and the Blu ray formats feature for the frst time Atmos mixes.

2023 sees the 50th anniversary of what is widely regarded as Thin Lizzy’s breakthrough album ‘Vagabonds Of The Western World’ featuring their first UK top ten single ‘Whiskey In The Jar’ and ‘The Rocker’ which would go on to be one of the band’s signature tunes, so much so that it was the last song they ever performed at their final show in 1983. To celebrate the album’s golden anniversary, deluxe CD and LP sets featuring rarities, radio sessions, unreleased music, rare photos, extensive sleevenotes by Mark Blake, and memorabilia will be released on 17th November. Available as a Deluxe 4LP boxset, 2LP coloured LP and the Blu ray formats feature for the frst time Atmos mixes.

Swing Into a Rockin Christmas is a compilation of 16 festive Christmas hits and Rock `n' Roll tracks from Elvis Presley, Frank Sinatra, Chuck Berry, and other great timeless artists for the perfect holiday.

Swing Into a Rockin Christmas is a compilation of 16 festive Christmas hits and Rock `n' Roll tracks from Elvis Presley, Frank Sinatra, Chuck Berry, and other great timeless artists for the perfect holiday.

The Blips self titled debut, 'The Blips', struck lightning when Little Steven's Underground Garage declared "Inside Out" The Coolest Song In The World in the spring of 2021. And here we are with The Blips, 'Again'. Back with more boogie, beast and beauty

This band swaggers like The Stones, Haggards like Merle, and snots like Mike Ness. 'Again' carries you on a not-too-long trip through a varied landscape of far out, well made and dusty rock songs that stick to your black boots and go with you when you go. While there are four different lead singers and writers throughout this album, it is apparent 'Again' is executed by a band, rather than disparate musicians playing along on a track in a cold studio. A band that sweats. The Blips haven't "grown" or "matured" with their "sophomore effort" --These ideas don't apply to the Blips. The band is wholly made up of veteran front men of some of the most revered bands of the Birmingham rock scene. Making records is what all of these guys do on the regular. Once upon a time, The Blips came together, rose above, braved the elements, forced the issue, carried the weight and dealt with the demons that require the making of a record. And now they have done it . . . 'Again'.

Wild River - the first solo album from David Longdon - the late lead singer of Big Big Train, re-mixed, re-mastered and expanded. Originally self-released in 2004 as a limited edition CD, beyond being briefly available through the BBT site, the album has long been out of
print. Dave Gregory (XTC) guests on guitar and Mellotron. David had always intended to remix and repackage it. However, his sudden death in November 2021 meant that his plan never came to fruition.


In a final act of remembrance by his long-time colleague Rob Aubrey, Big Big Train’s engineer since 1994, David’s wishes have now been fulfilled. Additionally, the album packaging has also been re-designed by Longdon’s friend and collaborator Steve Vantsis.

Wild River - the first solo album from David Longdon - the late lead singer of Big Big Train, re-mixed, re-mastered and expanded. Originally self-released in 2004 as a limited edition CD, beyond being briefly available through the BBT site, the album has long been out of
print. Dave Gregory (XTC) guests on guitar and Mellotron. David had always intended to remix and repackage it. However, his sudden death in November 2021 meant that his plan never came to fruition.


In a final act of remembrance by his long-time colleague Rob Aubrey, Big Big Train’s engineer since 1994, David’s wishes have now been fulfilled. Additionally, the album packaging has also been re-designed by Longdon’s friend and collaborator Steve Vantsis.

With Call on the Old Wise Nitai Hershkovits delivers an entrancing solo album In this largely improvised solo rendering, the pianist draws from broad influences, ranging from his extensive work in jazz contexts and cutting-edge contemporary explorations to his background in classical music. This immaculate balance of idioms gives rise to an abundance of colours and timbres, explored by a pianist, who has successfully forged his very own voice as improviser and shapedesigner. With a soft touch, light action and washing harmonies, Nitai's improvisations unfold like compositions being created in real- time, making Call on the Old Wise a testimony to the pianist's unique inventiveness as well as an essential addition to ECM's celebrated line of solo piano recordings. The album, recorded in Lugano in 2022 and produced by Manfred Eicher, follows after his contributions in Oded Tzur's quartet on the acclaimed recordings Here Be Dragons (2020) and Isabela (2022).

This is a reissue of the classic 2007 album , which has been unavailable for 5
years and is now being repackaged and given a proper European release.
SELLING POINTS:
The first time the album has been available on any format in Europe for 5 years.
Premium Package - 180g Vinyl in 350gsm heavyweight reverse board sleeve with
inner lyric sleeve.

Grief reminds us of the past, of childhood memories. But it can also give us a vision on how to manage and feel the passing of time in our lives. Years go by so at such a speed, yet nothing really changes. There are moments when a mantra is needed to feel grounded and alive, to feel that we are something in the vastness of the universe. " Bring Back the Light " is the mantra Delia Meshlir created to add brightness and stability to her life.

Australia post-punk duo The Native Cats - bassist Julian Teakle and singer and electronics operator Chloe Alison Escott (who released solo album Stars Under Contract via Chapter in 2020). Spiritual forebears to the current wave of speak-singing post-punk a la Dry Cleaning and Sleaford Mods, The Native Cats have grown a sizable cult following from their home in Tasmania (Australia's remote and chilly island state) since the late 2000s. Their minimal bass and drums rumble is offset by Chloe's lyrics which twist, confound and linger. The band have toured the US and played Memphis' legendary Goner Fest, been written up by the likes of Stereogum, NPR and Brooklyn Vegan, and performed at the Sydney Opera House. In 2020, they were riding a growing wave of recognition and admiration following their best run of records to date, culminating in killer double A-side single Two Creation Myths. But the pandemic and Australia's extended lockdowns brought with them a period of intense loneliness, isolation and despair. Chloe's confidence as a lyricist, singer and performer was at an all-time low. Even in those low times, the apparition of Native Cats LP #5 just kept on calling out. Julian never stopped recording instrumental demos and emailing them to Chloe. Chloe never stopped writing, and even began revisiting lyrics that had previously felt too raw or revealing to include.. Small moments of inspiration grew into more substantial ones. The band committed to weekly songwriting sessions, started to accept invitations to perform again, and had crowds fall instantly in love with their new songs. Recorded with producer Ben von Fürstenberg, The Way On is the Way Off takes a meticulous, painterly approach to the band's heavy, scorching songs. Every element is chosen for its thematic resonance and emotional impact. Chloe's lyrics arise from deep-rooted trauma and identity issues she is finally facing head-on, as well as reflections on post-punk history and lineage - the title of the album is drawn from the rules and principles David Thomas wrote for his band Pere Ubu. With the setbacks and self-doubt now a distant memory, The Way On is the Way Off is everything The Native Cats believed it could be when its completion seemed impossible, and everything they have been working towards since the day they began.

As soon as Spike discovered punk, he wasted no time forming Reptile Ranch (Wales’ own Scritti Politti), starting a label (Z Block), and releasing the compilation of the Cardiff scene, Is The War Over? After an act dropped out of the cooperatively-funded venture, Spike approached the disbanded Young Marble Giants to contribute a track or two. Bemused, they agreed to reform, and it wasn’t long before Rough Trade rang the public phone listed on the back cover of the LP to poach the combo, leading to an album which hit immediately and has inspired hundreds of artists since. All the while, Spike worked with Debbie Pritchard in a number of unheard bands - but that’s another tale. After YMG’s breakup, singer Alison Statton started Weekend with Spike and Simon Booth, a project which saw chart success and the birth of a nouveau-retro style as individualistic as YMG’s, one later co-opted by lesser acts. Weekend, too, split after their debut album. Despite Weekend having become Alison’s second big act, Rough Trade passed on her next project with Spike. Vinyl Japan stepped in to release the duo’s debut, Tidal Blues and other releases followed, but as real life, jobs, and children beckoned, both Alison and Spike stepped away from music . . for more than twenty years. Their return is both unexpected. Bimini Twist is the work of the two alone. Apart from some vocal tracking in a local studio to best capture Alison’s still wondrous voice - everything was recorded in their homes, much of it ‘live’, and these new songs show the duo’s charm and diversity, featuring Alison’s most personal lyrics and Spike’s peculiar musical genius

In the wake of Young Marble Giants’ breakup, two acts were created, with Stuart Moxham taking minimalist, geometric play to extremes while Alison Statton added more warmth and feeling to a similar template, creating something stunning yet based in popular forms. Those two opposing means of forging paths away from one of music’s most astonishingly unique debuts both included Stuart’s brother, Phil. More recently, both have reversed course, with Stuart proving himself a master of classic pop form, with Alison’s work again approaching a modern abstraction of quiet folk music - experimental but accessible. But that’s another tale. With no template to guide him, Stuart’s new music - as The Gist - was regarded as wildly uneven. Stuart admits that he didn’t know which way to go, so perversely, he decided to take all directions at once. The Gist’s original discography stood at a scant 18 songs, yet only seven featured Stuart’s own voice, often in heavily processed and oddly-mixed form. The Gist’s label, Rough Trade, dropped the band. Starting with a critical re-evaluation of The Gist’s sole album Embrace The Herd in an issue of Mojo, the tide begin to turn. Ambience in pop has long enjoyed a cult following, and the nonlinear structure of many of The Gist’s songs have parallels with artists such as Aphex Twin and Seefeel. One song from the era was covered by Etienne Daho in France - sounding rather advanced for French pop at the time, it ended up selling over a million copies and was later covered by Lush and sampled by DJ Koze with Lambchop singer / songwriter Kurt Wagner. Recent discovery of a trove of unreleased recordings show that Stuart had held back an array of excellent material, in demo and completed forms, often in different arrangements. Interior Windows adds 13 new performances or alternate versions to the band’s catalogue, and does the service of making both sides of The Gist’s first 7” 45 (recorded at the same session as the final YMG single) available again, along with their contribution to the NME / Rough Trade cassette compilation C81, and in keeping with The Gist’s tradition, at least one song on which Stuart does not appear

KOU is the new project by Apolline Schöser (half of Nina Harker) & Thomas Coquelet.

Apolline & Thomas have been performing since 2022 under the KOU guise with 24 electronic harmoniums. Producing dense layers of tones & overtones. On their debut album KOU steers in another direction. The harmonium appears occasionally, but more prominent are delicate guitar pluckings, distant vocal effects, synths, flutes, piano strokes, a touch of musical magic and Apolline’s jazz not jazz vocals.

As soon as the needle drops it’s clear we are jump-cutting straight to the other side of the mirror. Cats purr, a woman sings as if asleep, drum machines stutter and warp and Alvin Lucier is not 'sitting in a room that is not different to the one you are not in now’. If you’re already confused, join the club. But, it’s the good kind of confused, a bewildering experience akin to the first time hearing the Faust Tapes or watching Inland Empire. Wait though, as pigeons coo and the tape machine clunk-clicks a gorgeous weirdo version of Roger's and Hart’s Blue Moon emerges to let you know this isn’t just dada splurge, there’s a genius pop sensibility at work here too. Side two takes us further into the murk with mournful detuned brass, stoned Joan La Barbara-esque vocalese and a droning Farfisa hymn, before ending with another too-tempting snatch of DIY pop. Some of the references are recognisable. All kinds of 70s/80s European art prog - think early Battiato, Pierot Lunaire’s Gudrun, Lucia Bosè and Gregorio Paniagua's Io Pomodoro etc etc. There’s a strong whiff of 90s us goof-off surrealism too- Bongwater, Siltbreeze, Royal Trux’s Twin infinitives, the damaged folkier side of Alastair Galbraith, Half-Japanese, early Beck even all feel relevant.

Like an oddball group of friends you might meet by chance and end up weirding-out with for days, the minds behind this deliciously odd music allow you to stay for a while in their strange subcultural world. You might not want to live here forever but a short trip, while it lasts, rewires your brain for the better.

The debut album of soul singer, Maiiah is also the third full-length by Hamburg collective, Angels of Libra, following on from the success of their collaboration with Irish singer, Nathan Johnston.

Maiiah is a singer with roots in the Balkans but residing in Düsseldorf, the city of the legendary Unique Club and the label of the same name. Soul left its mark on her early on, and when she met Hamburg producer, musician and composer Dennis Rux (Hamburg Spinners/Yeah! Yeah! Yeah! Studios) during the pandemic, the two realized they shared a similar musical vision. Their common love of soul music and old rhythm & blues brought them together, and they started recording music together in Hamburg with the Angels of Libra. Lo and behold, their first single together "Obey" got into rotation at tastemaker station Radioeins and confirmed them as a winning team.



Following in the footsteps of many a classic soul tune, second single, "No No No (I'm So Broke)" is a social critique and commentary. In it Maiiah literally wears her heart on her sleeve, as she sings about the back- breaking job she was working at the time and the poor earnings as a hotel service employee.



But naturally life has more to offer than just work and so a large part of the songs on this record revolve around love. Maiiah gives her own spin to the classic "I'm A Good Woman", which the spirited singer has performed live many times. The story goes that the late DJ and Unique Records label owner Henry Storch sent Maiiah the original song by Barbara Lynn to comfort her after a heavy heartbreak. The song thus holds a very important place in Maiiah's heart, and it was released as the third advance single, recorded during her tour with Nathan Johnston at Bekegg Studios in Rastede, Lower Saxony.



With Dennis Rux at her side and the powerful arrangements of the Angels of Libra, Maiiah has found the right partners for her personal debut. On "Kava" & "Plenty of Life", Hamburg's jack-of-all-trades Carsten Meyer aka Erobique is featured as a guest on the keyboards, so here the rhythm section of the Hamburg Spinners comes together again. The love for old soul, rhythm & blues and the analog sound of the sixties is also fully expressed on this album. The longings and deep feelings in Maiiah's lyrics are carefully picked up musically, whether as a classic R&B song as in "Please Come Home" or in boogaloo party mode as in the Croatian-sung "Kava", the fourth single. "Plenty of Life" is a song for self-cheering and a call to open up to the beautiful sides of life despite all adversity. In "I wanna go", on the other hand, Maiiah longs for her Croatian homeland. The crowning finale of the album is the intense "Infinity" about life's phases and the recurring ups and downs as the essence of human existence.



The ingredients of Maiiah and the Angels of Libra's recipe are authentic lyrics, to the point arrangements, tight horns, rousing background vocals and the spirit of the golden age of soul music, as it was shaped by labels like Motown and Stax. Recorded in part with original equipment from the 50s. Producer Dennis Rux says, "We wanted to create a record that people would go dance to at the Komet" (a neighborhood club on St. Pauli in Hamburg, the band's second home). The joint album combines the Hamburg soul of the Angels of Libra with the passion of Maiiah, who can fully live out her temperament on the mic.

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