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A national musical treasure" The Guardian // Steven Adams, formerly of The Broken Family Band releases new album DROPS on Fika Recordings in November 2023. Since calling time on TBFB at the height of their success, Adams has released half a dozen albums under various names (Singing Adams, Steven James Adams, Steven Adams & The French Drops), his witty, incisive lyrics and melodic sensibilities taking in DIY indie rock, folky introspection, and off-kilter pop hooks. Originally from South Wales, Adams now lives in East London. “Every record I’ve made has been in a hurry of some sort” says Adams of his new album, “and with this one I took my time”. DROPS is the first album to be credited to him as a solo artist since 2016’s Old Magick, his first new music since 2020, and his noisiest record to date. Armed with a new batch of material, he began by upping sticks to the Welsh countryside to experiment with drummer Daniel Fordham and bassist David Stewart - both formerly of psych oddballs The Drink. The trio then took the songs to Big Jelly, a converted chapel on the south coast, with co-producer Simon Trought (Comet Gain, Johnny Flynn, The Wave Pictures) to lay down the basic tracks for DROPS. Eschewing a full band set up (“I wanted to concentrate on one thing at a time”), recording sessions in East London followed with Laurie Earle (Absentee) on guitar and Michael Wood (Hayman Kupa Band, Michaelmas) on keyboards. Adams then took the recordings home and to the French countryside, to work alone. “I finally got my head around home recording in 2020, while things were a bit quiet. Once I worked out how to record things I realised I didn’t have to think about time. I could let the songs evolve and change once we had the basic tracks down. After a while I started to think of them as paintings; trying something one morning, painting over it in the afternoon and attempting something completely different… it was about enjoying the process, making some bangers, playing around... and giving Simon the producer a mess to sort out when it came to mixing the record". Whenever Tom from Fika Recordings checked in to see how the album was progressing Adams would reply, “it’s taking ages but it’ll sound like it was recorded in an afternoon”. The result is a dynamic and spirited collection of songs, with Adams's love of 90/00s US underground rock (Pavement's Bob Nastanovich is a fan) to the fore. DROPS is a sonically compelling piece of work: from bleak/exultant opener Out to Sea and the motorik Living in the Local Void to the weirdly funereal Fascists (where Adams imagines the “little skip in our steps” that we’ll have upon outliving some baddies), and Day Trip's psychedelia in miniature. There are also moments of tenderness: the avalanche of empathy on closing track Cheap Wine Sad Face, and I Tried to Keep it Light’s “worse things could happen… I don’t know how, but give me time”. Adams says: “I'm preoccupied by the passing of time and the way it affects how we feel. This record is about time and bewilderment and trying to make sense of things". “…astonishing tenderness in its simplicity … brilliant lyrics.” Q Magazine //“…the tunes are instant and uplifting, but the real wallop comes from the lyrical imagery.” The Guardian // “…barbed modern life chronicles.”

Everything clicks on Safe to Run, the fourth album from singer, songwriter Esther Rose. It’s the quiet culmination of years spent fully immersed in a developing artistry, and presents Rose’s always vividly detailed emotional scenes with new levels of clarity and control. As with previous work, her songwriting transfigures the chaos and uncertainty of a life in progress, but here she introduces a newfound pop element that attaches unshakably catchy hooks to even the darkest stretches of the journey. Rose takes an unblinking look at her own vulnerabilities as well as more universal concerns, somehow never taking herself too seriously in the process. This manifests as a critique of the insidious sexism of the music industry on “Dream Girl,” but quickly melts into a hazy memoryscape of the dive bar drama and suspended hovering of her early 20s on “Chet Baker.” The song “Safe to Run” (a gorgeous duet with Hurray for the Riff Raff’s Alynda Segarra) directly merges the personal with the global, superimposing feelings of spiritual displacement onto the larger, looming dread of climate grief. Rose breathes in the ecstasy of the natural world in one line and makes fun of herself a few bars later. There are ghosts in the room for most of her songs, but she’s invited them in and is cracking jokes with them over a drink or two. Ultimately all of these new advancements become twinkles of light in the background as they fold into the big picture impact of the songs themselves. Esther Rose translates her world into eleven curious and captivating scenes. While the songs are stunning one by one, absorbing Safe to Run as a whole feels like witnessing something taking shape, experiencing the headspins of the elevation and the slow return to equilibrium as the clouds start clearing.

Ancient Infinity Orchestra is a 14-member jazz ensemble led by double-bassist and composer Ozzy Moysey, based in the bustling creative city of Leeds in the North of England – home to one of the most innovative and community-based jazz scenes in the UK. Saxophonist Matt Cliffe who also performs with Matthew Halsall is a key member and the rotating line-up which includes drums, two bassists, keyboards, harp, violin, cello, two tenors, alto, oboe, flute and percussion. "River of Light’ drinks deep from the well of spiritual jazz and is especially inspired by the soulful sounds of Pharoah Sanders, Alice and John Coltrane but also channels a certain Northern sensibility that can be heard in the music of Matthew Halsall or Alabaster de Plume. Melodic, warm and honest this is music that is happy to wear its heart on its sleeve.

Janis is an album by Janis Joplin, released in 2023. Janis includes a.o. the following tracks: “Mercedes Benz”, “Rap On "try"”, “Dick Cavett T.V. Interview (1970)”, “Piece Of My Heart” and more. The album is a Coloured Vinyl, High Quality, Insert rock 2-LP.

Repress! With all due respect to New York, Los Angeles, Atlanta, and Miami, the epicenter of the rap universe in 2016 just may be Chicago. With young stars ranging from Chief Keef to Chance The Rapper to Lil Bibby to Vic Mensa, the Windy City continues to push the boundaries of hip-hop music and culture.

The latest artist to emerge from this hotbed of talent is Mick Jenkins, a gifted lyricist who has built a strong buzz online with a series of acclaimed mixtapes. Now, one of those collections will be available in physical format for the first time ever, with a limited-edition vinyl pressing of “The Waters” set to hit stores soon. Originally released online in late 2014, “The Water

In 2013 Tristan dreamt George Harrison and Tom Petty were on motorcycles circling one of those huge roundabouts in Canberra. Their long hair was blowing as they sang "You Can't Hide in Time". The Small Intestines play spare room rock'n'roll with a penchant for three-piece harmonies. They formed in Melbourne, Australia in 2016 while Matt and Rob were taking some downtime from Chook Race and Tristan was on the tail-end of his solo project, Peach Happening. Their debut album 'Hide in Time' will be released on September 29, 2023. For fans of The Go-Betweens and The Bats and any genuine big-hearted knockabout indie jangle with sweet singalong group vocals and simple pared-down arrangements. Tristan Peach - guitar, vocals - Matt Liveriadis - drums, vocals - Rob Remedios - bass, vocals

There’s a connection between the musical history of the Mediterranean that can’t be explained through academia alone. It’s an expression of simultaneous grief and celebration that trespasses cultures and generations; and demands to be felt, or even better, danced, to be understood. The same spirit weaves Rebetiko from the ashes of the Ottoman empire to the heavy Hafla soundtracks on the Koliphone label in ‘70s Jaffa, or rebellious Turkish psychedelic music to the first generation of surf guitarist migrants in America. It's an infectious feeling that travelled and evolved wherever it was called, and that passion is embodied in “Back to the Taverna”, the new album by Berlin based bouzouki quintet, Cherry Bandora.

On the milestone of their third release, original members Liad Vanounou (Bouzouki) and Lorena Atrakci (Vocals) have bolstered their sound with longtime friends and collaborators Moshe ‘Moosh’ Lahav on Keyboards and flute, Tamir ‘Hassan’ Chen on Bass and Nimrod Lieberman on Drums to create an album celebrating the ecstasy of being able to drink and perform together again, freed from the anathema of the last years. The band has evolved considerably since their beginnings ten years ago as an Agean-influenced part of the local Balkan Swing scene; the most significant addition being the deployment of “The Hardest Working Man in Tropical Music” Alex Figueira as musical director for this album. His scorched fingerprints are unmissable throughout the extended psychedelic breakdowns and percussive overdubs that make “Back to the Taverna” such a dynamic offering.

Cherry Bandora have always been a very personal band; collecting songs from nearby cultures and history and blending them into their own experience by developing new arrangements or lyrics, just as musicians from those times would have. Lorena delights in expressing herself away from her mother tongue or providing modern lyrics for an updated feeling, as she does to the beloved Turkish standard, “Rampi Rampi”. In this interpretation she uses her native Hebrew in a saucy lockdown-delivery-guy romance... This track also features Baris Öner from local Turkish rock band Kara Delik on his signature flanging Saz.

Singing in Greek, English, Turkish and Hebrew was also a natural choice on the album, representing the “multikulti” area of Berlin that the band lives and records in. These languages would all be heard on the street as they walked to record in the analog Studio Wong in Kreuzberg.

“As descendants of Mizrahi Jews (Jewish migrants from non-European countries), growing up listening both to Beatles and Umm Kulthum, playing in jazz music departments in high school, and now living in Kruezkölln, we basically pay tribute and revive this shared heritage in the context of the global music scene of today” says Lorena.

The opening track, The Sound Of Baglama, is an interpretation of the anthemic Tsitsanis homage to the tavernas and sweethearts of Thessaloniki. It lays the ground for what to expect from Cherry Bandora’s exceptional live performances, featuring effortless switch-ups between surf rock choruses and laid-back verses dipping into Persian disco funk. This song will be accompanied by a tour-collage “found footage” style film clip in production at this
time.

Cherry Bandoras show their dedication to the bit with a rousing English version of the canonical rembetiko tune Dimitroula Mou. This amour song, popular with generations of female singers, is accompanied by real studio plate smashing, a ritual which sealed their final session for the album. 2 bonus tracks are included on the digital release, both a little more raw from the band’s home studio: the reeling dervish Rubi Rubi (which will be released as a second single with a video clip) and the emotionally dense and hypnotic slow burner Esý.

The album will be released digitally and on vinyl as a collaboration between Rebel Up Records (Belgium) and Rumi Sounds (Berlin) on Friday 3 november 2023 and is a prime example of what a raunchy, open minded and tireless bouzouki band can do as they hit their prime.

An extensive highlighted review will appear in Songlines magazine #135 December issue and the track ‘Benimde Canim Var’ will be featured on their free compilation. Also radioplay on Radio Campus France playlist (allover) during November and December.

Kamikaze is the fourth studio album by American rapper Twista. It was released on January 27, 2004 by Atlantic Records. Following the success of the lead single "Slow Jamz", the album reached the top of the US Billboard 200 chart in early 2004.

It sold 312,000 copies in its first week of sales and received generally positive reviews. It is Twista's most successful album and was certified platinum by the RIAA.

Orange vinyl, 100 only

Cardiff-based, DIY-folk-pop collective, Quiet Marauder, are set to release their 5th album at the end of October 2023. This follows on from their madcap 111-song debut album, MEN (2013), as well as the more recent Tiny Men Parts (2020) and The Gift (2021), and continues their long-established relationship both with their label, Bubblewrap Collective, and Canadian collaborators, The Burning Hell.
Recorded in a Snowbird Studios pop-up in Lourinha, Portugal, Introducing Malcolm Del Monte continues the band’s fascination with high concepts and musical, album-length storytelling. At its core, it is an album about self-identity, isolation, and our innate fluctuations as human beings. Set during the pandemic, the album's a very loosely autobiographical (read: almost entirely false) account of band leader Simon M. Read's day-to-day life during Covid lockdowns with partner, Kadesha Drija, and imaginary friend, Malcolm Del Monte.
Choosing to largely avoid the topic of the pandemic altogether, Introducing Malcolm Del Monte instead charts the highs and lows of these living arrangements. These range from outrageous daytime drinking (high) to disagreements on the nature of perversion (low), with the first half of the album covering Malcolm’s emergence and ultimate expulsion from the house. With his absence being sorely felt, the second half sheds light on the alternative voices looking to fill that Malcolm-shaped space: a murderous green giant; a despondent Milk Tray Man; and a broken-necked, hypersexual Jet from Gladiators.
As with their previous story-based albums, the foreground narratives act to enable background allusions to other core concerns: the power of nostalgia; advertising and cultural consumption; well-being and isolation; balancing acts of the self. Ultimately, the album’s message is of striking a balance between self-questioning and improvement, and most of all, not being too hard on yourself when things don’t feel quite right.
Sonically and seamlessly ranging from alt-folk to industrial synth to melodic indie-pop, Introducing Malcolm Del Monte covers a lot of ground. Injected with the musicality of Quiet Marauder themselves, as well as Canadian kindred spirits, The Burning Hell, instrumentation includes flute, piano, chunky bass, acoustic and electric guitar, programmed beats, synthscapes, bamboo clarinet, bongos, and a heap load of vocals. Indeed, alongside the main lead voices of Simon M. Read, Kadesha Drija and Malcolm Del Monte (Rowan Liggett) there are guest performances from My Name Is Ian and The Burning Hell’s Mathias Kom.
The album will be preceded by lead single and video Momma Mia! I Made You Some Sangria! on 22nd September,

2023 Repress!

A stunning follow-up to his late 2018 release. Mostly recorded live at the Apollo Hotel Amsterdam in 1991. This is a compilation of the ''Apollo Hotel CD box'', that Ronald made himself, for family and friends.. BIG tip!

Some words from the label:

From 1986 until 1992, Ronald had a residency in the lounge of Amsterdam’s Apollo Hotel. He would play there 5 days a week, for 5 hours a day. In 1991, throughout several sessions, he recorded himself on a cassette recorder. The recordings were ranging from re-interpreted cover versions to multiple own compositions.

The Apollo was particularly known for its sophisticated and elegant crowd. Guests would come to meet in the lounge to talk business, or end the day with a drink at the bar - dancing was never an option.

Listening to the album, one must wonder how some of this music would go hand in hand with a place like that. It seems Ronald gets lost in music and returns in unequally balanced patterns. Lounge sounds meet drum computer rhythms, punchy baselines, distorted space noises, reoccurring clarinet interludes and improvised piano solos.

Back then, just as now, Ronald never liked to be the center of attention. He simply tried to interact with the surrounding as a provider of the mood - as he explains himself.

Instruments
Live: Grand Piano, Yamaha QX1 Sequencer, 2x Yamaha TX7 Tone Generator, Drumtraks Sequential Circuits, Clarinet, Voice
Added at home: Yamaha DX7 Sounds, Roland R-8
Space Train: Kurzweil Piano, Yamaha DX7, Roland R-8, Soprano Sax, Voice

Recorded live at the Apollo Hotel Amsterdam in 1991, except 'Space train', which was recorded in Ronald’s living room.

All instruments played and arranged by Ronald Langestraat.
All tracks written an composed by Ronald Langestraat, except 'Lowdown' which was written by David Paich & Boz Scaggs, 'Give and take' which was written by Michael Shrieve, Tom Coster & Carlos Santana and 'Orpheus' which was written by David Sylvian.

Fresh from supporting Blur at Wembley Stadium this summer, Sleaford Mods are getting set for some of their biggest ever UK and Europe dates this autumn with the release of new six track EP, More UK GRIM, on 20 October. Recorded at the same time as their acclaimed 2023 album, UK GRIM, the freshly released songs not only continue Andrew Fearn and Jason Williamson's current dancefloor dominance, but with a mix of insight and wit, outrage and compassion, they critique and celebrate our turbulent times.à Lead single Big Pharma, shares a 'take no prisoners' lyrical approach with the band's recent album as it casts a doubtful eye down the 'truther' wormhole, although entwined around a slinky bass riff the track confirms the two-piece at their most dexterous musically. Big Pharma, which sets the tone for the More UK GRIM EP, is accompanied by a sharply satirical animated video directed by Sean Sears, who has applied his distinctive, stylised 2D vision to examining the consequences of a health 'philosophy' that prizes drinking urine over carefully researched medical treatments.à "Big Pharma was written in the opening chapters of autumn 2022 when Covid kicked in again. It carries a lot of the normal Sleaford Mods absurdism but also looks at the ongoing fascination with trying to find truths in information wholly pushed by very questionable people," explains Jason Williamson. Alongside the lead single, the More UK GRIM EP also features Under The Rules, Old Nottz, PO Crazeh and My 18hr Girdle, all previously unavailable.

Jill Barber's 2013 masterpiece "Chansons" is an album of interpretations of classic French songs from both France and Québec. Jill meticulously curated the repertoire herself, selecting material both from her own collection and from recommendations from friends within the Francophone community. “I spent time with the songs. I strolled the streets with Aznavour, I sat in a sidewalk cafe with Piaf,
poured a stiff drink with Gainsbourg, and I became absolutely enamoured and inspired by French music in the process.” Jill Barber is a 3-time JUNO Award nominee, a Polaris Music Prize nominee,
and winner of the Sirius/XM Jazz Album of the Year. She has headlined the Montreal Jazz Festival, Toronto's Massey Hall, and the Blue Note in Tokyo, and played clubs and festivals around the world.


Songs from Jill's catalogue have been streamed more than 160,000,000 times on digital services. Outside Music is proud to reissue "Chanson"s for its 10th Anniversary on limited edition Blush
coloured vinyl.

Second album from the electronic lounge-jazz-dance hybrid of William Basinski, Preston Wendel (Shania Taint), and Gary Wright. Limited edition Opaque Red Colored Vinyl (TRR412LPC Edition of 1,500) is for Indie stores only. 1969. Two gorgeous young interns in the film industry get invited to a glamorous A-list Hollywood party in the Trousdale Estates in one of those fabulous pavilion-style mid-century modern homes at the top of Beverly Hills. They go in their best mod clewths. Eyes popping at the technicolor scene of Hollywood stars smoking and drinking in the sunken living room, they do as instructed and have some punch and watch wallflower style as drama ensues...oh, and the the house is owned by Foxy, the pimp and drug dealer who everybody there owes munty, hunty...and he’s ready to get paid! Oh yeah, and the punch is dosed with LSD25. They manage to make it home, panties and purses and shoes intact and will never forget this party for as long as they live.

Neuauflage des Acoustic-Albums der US-Emo-Band Hot Mulligan aus 2022. Mit akustischen Reinterpretationen von Songs ihrer 2020er Werke, 'You'll Be Fine' (LP) und 'I Won't Reach Out To You' (EP) sowie dem Taking Back Sunday-Cover 'MakeDamnSure' und dem neuen Song 'Heem Wasn't There'.

8 track Studio from Elysian Spring released by Le Tres Jazz Club

The first studio album by British Britpop band Salad, initially released in May 1995 following on one year from their B-sides and singles compilation Singles Bar

Features the charting single ‘Motorbike to Heaven’ which peaked at number 42 in the UK singles charts, becoming the bands highest ever chart position

Drink Me reached number 16 in the UK album charts and received critical acclaim at the time of its release

Features the tracks ‘Your Ma’ and ‘Drink The Elixir’ which had previously been released as singles

Also includes the standalone single ‘Granite Statue’

Pressed up on 140g black vinyl

Includes a signed print / insert from lead singer and Marijne Van Der Vlugt

Sinead was born in Dublin in 1966, and was discovered by Paul Byrne, drummer of U2 proteges In Tua Nua, while singing wedding covers in the city. After cowriting the first In Tua Nua single, she left school to focus on music, studying voice and piano at the Dublin College of Music before relocating to London in 1985.

Released in November 1987, Sinead's striking debut album The Lion and the Cobra was met with critical and commercial success. The album synthesises several of Sinead's influences into a diverse array of sounds and styles, from the hushed, atmospheric 'Troy' and 'Jackie' to the pop-rock hit single 'Mandinka', and the hip-hop inspired 'I Want Your (Hands on Me)'. The album also includes 'Drink Before The War', a song written by Sinead about her experiences at the Catholic reform school she attended, and was recently featured in the HBO series Euphoria.

Limitierte Auflage Neon Violet Vinyl! Kari Faux ist nicht zu bremsen. Die aus Arkansas stammende Künstlerin kehrt mit ihrem dritten Album REAL B*TCHES DON'T DIE! zurück, einer 12-Track-Ode an ihre Südstaaten-Wurzeln. Die LP verwebt Karis knackige Produktion mit ihrem lässigen und herrischen Flow, gleitet mit Leichtigkeit durch ihre Dirty South-Wurzeln und verweist auf Outkast und UGK als Einflüsse, während die Femcee ihre Macht behauptet. Die Rapperin und Singer-Songwriterin hält den regionalen Vibe mit ihrer unverschämt dominanten Energie im Herzen ihres neuesten Werks authentisch. Karis Exzentrik wurde auf ihrem 2020 erschienenen Album Lowkey Superstar hervorgehoben, auf dem sie die Hörer mit ihrem verführerischen, aus Arkansas stammenden Akzent und ihren schwungvollen Arrangements faszinierte. Auf REAL B*TCHES DON'T DIE! hat sich Karis einzigartiger Blick auf die Welt und ihre Vision nur noch erweitert, was die Künstlerin auf die Verfeinerung ihres Handwerks zurückführt. "Lowkey Superstar felt very Southern - it was me getting super-immersed back into southern rap and gospel music," sagt sie und fährt fort "Since I've been in this space for over two years now, it's like, Let me keep refining this and making it better." In der gegenwärtigen Hip-Hop-Landschaft stehen weibliche Rapperinnen unangefochten an der Spitze. Methodisch in ihrer Herangehensweise an die Musik - und selbstbewusst in ihrem Ansatz, authentisch zu leben - fühlt sich Kari in der wachsenden Wiederauferstehung von Frauen im Rap zu Hause. Auf REAL B*TCHES DON'T DIE! erinnert Kari Faux die Hörer an eine unbestreitbare Wahrheit: Der Süden hat etwas zu sagen.

Guitar Legend! Songwriting Legend! Producer Legend! Blues Brother & Stax Legend!

Like the first words of a book, the opening notes of an album can make you lean in. Sometimes it’s like meeting a stranger who later becomes a lifelong friend, or on rare occasions, a spouse. Please drop your stylus on this record and say hello to your new best friend. Hear the confidence, hear the tone, feel the vibe.
—Robert Gordon (from his liner notes)

As a founding member of Stax house band Booker T. & The M.G.’s, Steve Cropper was involved in some of the most important music of the 1960s as a player, songwriter, and producer. The following decade introduced him to a new group of fans as guitarist for The Blues Brothers, appearing on both their records and film. A two-time Grammy® winner and Rock and Roll Hall of Fame inductee, Cropper has been an integral thread in the cloth of American music, writing, playing and producing into the 21st century to this very day.

In 1969, Cropper released his first solo album, producing and arranging its eleven tracks himself. His backing band? While there is no actual record of who played on the album itself, Grammy® winner Robert Gordon’s liner notes point to his fellow M.G.’s, Buddy Miles, Jim Keltner, the Bar-Kay’s James Alexander, and more as candidates. From original tracks to its well-known covers (including The Beatles classic the release shares its name with), it is a tour de force of pure Memphis rock and soul.

The core eleven tracks now appear again on an all-analog cut, new pressing of the LP as With A Little Help From My Friends returns for a new generation to experience. The CD version contains a whopping eight bonus tracks, including four tracks not included on the original release and alternate versions of four that do. Add in Robert Gordon’s notes and this release is as much a history lesson as it is a timepiece of pure musical magic.

Owners Club call themselves a "pub rock four piece" - but they are so much more than that. There's a through line in their taut, visceral guitar sound going from British greats like Roxy Music and Marc Bolan, through The Buzzcocks and The Jam before taking a detour off to NYC and nodding towards The Strokes and The Walkmen. The Dorking-based four piece are a blistering live act, with songs that range from singing about the long discontinued Double Diamond beer to vampires, the occult and an England that feels like a distant memory.

This EP will be the band's debut release on vinyl. Recorded at Small Pond Studios in Brighton in April this year, and produced and mixed by Matt Gleeson of WELLY fame, it presents three songs that brilliantly demonstrate what a ferocious, tightly-wound sound this Dorking four-piece can produce.

The lead single will be Double Diamond - a song that came about after a chance purchase of a Double Diamond-branded ashtray from a car boot sale by Dorking train station. The song is a romantic and messy vision of the life the ashtray’s lived, the pub it came from, the punters who left their fag ends in it and the messy nights and bar fights it’s witnessed. With sprawling synths, punchy guitar lines and tongue-in-cheek lyrics, the song is an anti-advertisement for a drink which no longer exists, as well as a look through rose-tinted beer googles at what Britain's night life - for better or (almost certainly) for worse - was once like. As the advert used to state: you know where you are with Double Diamond. It works wonders.

Limited Edition Tape Cassette documenting "World Gym" live at "Årsta Folkets Hus" on September
2nd, 2022.
Re-experience the magic. Booklet includes documenting pictures. Tape is see-through, glow green.

: Written and recorded in a series of bedroom studiosin England and France, London-based Gareth Donkin’s extraordinary debut, Welcome Home, showcases the 23-year-old’s stunning mix of instrumental virtuosity and emotional intuition, blending highly sophisticated melodic and harmonic craftsmanship with deeply moving lyrical explorations of longing, desire, and determination. The songs here draw on soul, funk, pop, yacht rock,hip-hop, jazz, and even bossa nova, hinting at times to everything from Michael Jackson and Bill Evans to George Benson and Jamiroquai, and Donkin’s performances are nothing short of mesmerizing, layering up instrument after instrument in the best one-man-band tradition of Prince or Stevie Wonder. The result is a moving work that’s equal parts brain and brawn, a masterful coming-of-age self-portrait from a young artist discovering himself—and his sound—one song at a time. Born with perfect pitch, Donkin was already fanatically obsessed with both jazz piano and drums before he turned twelve. In high school, he began DJing and teaching himself to record and sample, and by the time he headed to the Leeds College of Music to pursue a degree in production, he was already writing and recording his own material at home. His first single, “Catharsis,” would go on to rack up more than a million streams on Spotify, and a series of subsequent tracks would find similarly organic success and help land him a deal with the burgeoning drink sum wtr label.

Bristol's soul jazz kings The Jazz Defenders release a new vinyl 45 single this autumn as a taster for their third album, which is destined for release in spring 2024. Once again, they are bringing together their love of 1960's soul jazz and golden era 90's hip-hop, just as they did on a couple of tracks on their last album "King Phoenix" (Haggis Records 2022). This new single sees them reunited with London MC/rapper Doc Brown, who guested on the track "Perfectly Imperfect", and his flow sits so naturally over the Jazz Defenders' music and beats, you'd think he's a permanent band member.

The A-side "Rolling On A High" is a real old school boom bap style party hip-hop jam. Big beats, rolling bassline (acoustic double bass), Ramsey Lewis soul jazz piano vamps, funky Hammond organ and some punchy horn section business, all topped off with Doc Brown bouncing bars back and forth with that laid back vibe he always brings to the mic. A guaranteed dance-floor bomb, whether you're a breaker, a jazz dancer or simply a Saturday night disco shuffler. The B-side "Looking Back" takes the tempo right down. An 'end of the night' number when the lights in the club are low, the last drinks are being drained and you're thinking and reminiscing about times gone by. The good times and bad, successes and mistakes. And made even more poignant and reflective halfway through when the mellow strings come into the song (once again excellently arranged by pianist/bandleader George Cooper). If "Rolling On A High" is the fire then "Looking Back" is definitely the ice. Proof that the Jazz Defenders can rock the party and grab the dancers but also dig deep with emotive tunes that draw in the discerning listener.

The Jazz Defenders, led by keyboard maestro George Cooper from The Haggis Horns, have been building a reputation as a great musical unit since their debut Blue Note/hard bop-inspired album "Scheming" appeared on Haggis Records back in 2019, which received a huge amount of praise from critics, and subsequently went on to spend 5 weeks in the top ten of the American jazz charts In 2021, their double A-side vinyl single "The Big Man/Love's Vestige" got them the breakthrough they deserved. It garnered heavy support on radio from top folks like Craig Charles (BBC6 Music), Helen Mayhew (Jazz FM), Jamie Cullum (BBC Radio 2), and Worldwide FM resident DJ's Ashley Beedle and Colin Curtis. They further enhanced their reputation as a rocking band with album number two "King Phoenix" and by electrifying audiences at sold out live shows across the UK, including the legendary Ronnie Scott's Jazz Club in London.

Album number three is well on its way but for now, check out this tasty limited edition 45 single on Haggis Records. The JDs and Doc Brown...the perfect combination, still keeping that sweet jazz/hip-hop love affair alive today.

"If you can imagine a love child between MAC DEMARCO and SPAR-KLEHORSE, then this would be what you're left with." - SO YOUNG MAGA-ZINE
Raised in North Queensland, Australia, Jarrod Mahon is not one to shy away from bold new endeavors. Once parting ways with his previous record label in 2019, Mahon chose to go fully independent, relocating to Berlin in 2019 (where he still resides), despite having no contacts at all in the country. What’s more, having recorded/performed under the pseudonym Emerson Snowe for over a decade - during which time he home-recorded five albums and 13 EP’s, toured with the likes of King Krule or Ariel Pink, played showcases SXSW and the Great Escape, the works - Mahon took that brave, most uncommercial decision to release under his own name and start almost totally anew.
“There was never really a concept to that name Emerson Snowe other than having some kind of separation from who I was as a person,” Mahon explains, “using a moniker gave me that confidence to push myself further mentally and to give myself some kind of a freedom”. And through the process of creating what would become his debut album, Mahon saw that he had outgrown the need for this protective persona. ‘Everything Has A Life’ was meant to be the debut Snowe album”, he admits, “but after I finished mixing it with Syd Kemp, co-producer I realized that I had actually grown a lot and was much more comfort-able with who I am and what my personal beliefs are.”
The choice of ‘Everything Has A Life’ as the album title, pulled from beauteous opening track ‘All I Know’, neatly summarizes this new outlook: moving on from ‘self-pity’ of the past-self by becoming present for the loved ones around you, improving understanding of one’s own self, via the wider world at large.
That track marks the first written during a lockdown stint in LA where Mahon wrote and recorded every day for 2 months, produced nigh on 250 demos and birthed the bulk of the record. It also brought Mahon back to his all-time favorite, Sufjan Stevens’ Ilinois and its blend of widescreen orchestral landscapes and more candid, naked acoustic-leaning variations - an important influence for the album's stylistic contrasts. Another key inspiration for the record too brought Mahon back to his roots - those full-bloom strains of his Mum’s Beloved Neil Diamond, an annual Christmas irritant to Mahon as a child, yet an artist he’s come to respect in adulthood. “Whatever the reason, with age I came to love the big show band sounds,” he says, “the idea of a performer on stage with a mas-sive orchestra with strings was amazing to me.”
With the help of producer Syd Kemp (Ulrika Spacek, Vanishing Twin), such grand designs could be met. - “When we first met, he asked me if I would like real strings on it. I said of course.” Enter Magda Mclean on violin (Caroline/the Umlauts), and Gamaliel Rendle Traynor on Cello (Sweat, Fat White Family), whose strings helped lift the record to romantic new heights.
He continues: “I said to Syd that the only thing I wanted to achieve with this rec-ord was that I wanted it to make me cry at one point. And we got there eventual-ly.” The final culmination of all these strands, ’Everything Has A Life’ is indeed a treasure trove of emotive riches. Locking into that bittersweet, quintessentially ‘pop’ combination of triumphant rhythms and confessional, stream-of-consciousness lyrics plucked straight from the heart, Mahon faces up to years of substance abuse with a series of gorgeous, blushing melodies: “I was using, I was drinking, I was lying to my friends, I was messing up again, I was hiding from myself”, he joyously chants on ‘The Growing’.
A banquet fit for an indie king, Everything Has A Life is loaded with psych-pop lusciousness (‘All I Know’) and anthemic glam fuzz (‘Death Of The Ladies Man’, ‘Deadstar’, or ‘Sonny is my Best Friend’); recalling that foundational Sufjan Ste-vens influence too with shambling flecks of country (‘Charly (Romantic Heart)’). There’s also those lo-fi crepitations of ‘My Man’ and ‘I can’t’ harking back home-recorded demos that lie at the core of Mahon’s creative process.

Big Daddy Mugglestone is back, with his first full-length solo release in over 2 decades! Rumi Sounds is proud to present this collection of songs about Life, Love, and God that really embody the idea of Americana Gothic.

The songs are dark but not bleak, giving a glimpse of forgiveness...even the 12-minute long murder ballad for which the album is named is still a love song.


With a mixed band of Denver and Berlin-based friends, Mugglestone steps out of the shadowy depths to create a record you and yr auntie could listen to while doing the dishes or lounging on the sofa on a rainy day.

The psyche-melodic guitar swirls of Oska Wald and the alluring back-up vocals of MTN GRL elevate his wry croon, not quite country but not quite contrary. Something like if Lee Hazlewood and John Prine both wanted to buy the same vintage lamp...

One of Death Metal's biggest bands, DYING FETUS return with their highly anticipated new album, Make Them Beg For Death. Recorded in Baltimore with longtime producer Steve Wright and mixed by Mark Lewis (Cannibal Corpse), Make Them Beg For Death contains every DYING FETUS hallmark. The veteran Death Metal band’s ninth album is fast, intense, and brimming with unstoppable grooves. Monstrous riffs, blast beats, unstoppable hooks, and earth-moving grooves define their catalog. “We put our own twist on Death Metal,” explains co-vocalist/guitarist John Gallagher. “We were like most bands, starting in the garage, drinking beer, having a little fun on the weekend, finding the right amps through trial and error. We blended aspects of bands we liked – Suffocation, Obituary, Deicide, and Cannibal Corpse, among others; the dual vocal approach of Carcass – and made them our own. ‘Let’s make it moshy, let’s make it slammy.’” Make Them Beg For Death delivers savage beatdowns equally designed to pulverize and mesmerize. “It follows on from where Wrong One To Fuck With left off,” drummer Trey Williams promises. “We don’t need to participate in the technical death metal arms race. We’ve got the big guns, and we’ve proven that. It’s all about pointing them in the right direction, so to speak.” To the men of DYING FETUS, the mission is straightforward. “The philosophy is the same now as it was when the band started,” Gallagher confirms. “To write catchy riffs and to make it memorable. Whatever style of music you’re doing, make it something people want to hear repeatedly.”

Before he was old enough to legally drink, there were "Best Of," rarities compilations, and .zip files floating through the ether.

Whenever industry prospectors earmarked him as the next big thing, he disappeared back underground, only to reemerge sharper, leaner, weirder.

Though only 26, the St. Louis- born rapper and producer has seen enough for several lifetimes--and raps as if he's tapped into many more. But after a few years of highs, lows, and traumatic odysseys, he was able to stare straight into the abyss and conquer it. This regained confidence is exhibited on fish don't climb trees, the largely self-produced new album that reaffirms him as one of rap's great auteurs.

While working on "fish", he vowed to be more true to the emotions and experiences he'd endured. Being true to those fractured, discordant feelings requires a prismatic approach. And so you get fish's exhilarating hairpin turns: from downtempo dub ("bora bora") to 808s rattling through a haunted house ("tourniquet"), beats that sound as if they're molting into new shapes in real time (the two- song suite of "daze" and "grey theory") to ones that that plunge to the
bottom of a pocket ("spirits").

The album's title comes from the maybe-apocryphal Einstein quote, about how a fish judged by its ability to climb trees will "spend its whole life believing it is stupid." For Watson, this meant embracing the cheery first half of the quote ("Everybody is a genius"), but also being cognizant of the dark undercurrents that flow just beneath seemingly innocent misjudgments and mis-categorizations.

'Live At The Ancienne Belgique' ist das erste offizielle Live-Album von Robert Jon & The Wreck, aufgenommen im Juni 2022 bei einer ausverkauften Show im Brüsseler Ancienne Belgique. Die Setlist umspannt das letzte Jahrzehnt der Band, einschließlich Songs vom 2015er Debütalbum 'Glory Bound' bis zu neuen Singles aus 2022. Es war die bislang längste Tournee von Robert Jon & The Wreck mit 67 Shows in 75 Tagen in 9 Ländern. Beim 55. Gig in Brüssel funktionierte die Band wie eine gut geölte Maschine und riss das Ancienne Belgique vom Hocker. Der spektakuläre Abend wurde wunderschön auf CD & DVD sowie auf Vinyl festgehalten und ist ihre erste Veröffentlichung auf Joe Bonamassas Label Journeyman Records.

NOTE. WITH THE PURCHASE OF THE VINYL YOU WILL ALSO RECEIVE THE TRACKS OF THE TOTAL 23 DIGITAL VERSION AS A DIGITAL DOWNLOAD. THE DOWNLOAD CODE CARD CONTAINS ALSO ALL TRACKS OF THE CD.

Okay, you’re listening to the 23rd edition of Kompakt’s annual compilation series TOTAL… hold on… 23??? It’s impossible to look at this number without thinking of William S. Burrough’s Captain Clark anecdote, the Illuminatus trilogy and the Justified Ancients of Mu Mu. But don’t you worry, we’re not giving in to eikositriophobia. We’re enlighted folks, after all.

Total 23 kicks off in a disco mood with a well tempered double punch from label co-founders Michael Mayer and Jürgen Paape. Jörg Burger calls out a trippy new genre named Cinematic Dance before C.A.R. and Patrice Bäumel resurface with a club mix of their early 2023 single ‘Four Down’. Sofia Kourtesis’ sultry remix of Perel ‘Matrix’ finally gets a well deserved vinyl release. ‘Ice Cream Cake’ by Cologne’s newcomer M.A.P.E. helps cooling things down a bit before another debutante, Argia from Madrid makes her first entry to the Kompakt catalogue. Gui Boratto’s recent single ‘Drink In Paris’ raises the energy levels just in time for Reinhard Voigt’s ruthless closing track ‘Endlich XXL’, an ode to some of the best things in this world: Beer and techno.

Okay, du hörst die 23. Ausgabe der jährlichen Kompilationsreihe TOTAL von Kompakt. Moment mal… 23??? Man kann diese Zahl unmöglich betrachten, ohne an William S. Burroughs’ Anekdote über Captain Clark, die Illuminatus-Trilogie und die Justified Ancients of Mu Mu zu denken. Aber keine Sorge, wir erliegen nicht der Eikositriophobie. Immerhin sind wir aufgeklärte Leute.

Total 23 beginnt in Discostimmung und einem wohltemperierten Doppelschlag von den Mitbegründern des Labels, Michael Mayer und Jürgen Paape. Jörg Burger ruft ein psychedelisches neues Genre namens Cinematic Dance aus, bevor C.A.R. und Patrice Bäumel mit einem Club-Mix ihrer Single ‘Four Down’ aus dem Frühjahr 2023 wieder auftauchen. Der tropisch-schwüle Sofia Kourtesis Remix von Perels ‘Matrix’ erhält endlich eine verdiente Vinyl-Veröffentlichung. ‘Ice Cream Cake’ von M.A.P.E., einem Newcomer aus Köln, sorgt für etwas Abkühlung, bevor mit Argia aus Madrid eine weitere Debütantin ihre ersten Spuren im Kompakt Katalog hinterlässt. Gui Borattos aktuelle Single ‘Drink In Paris’ steigert rechtzeitig das Energielevel für Reinhard Voigts gnadenlosen Schlusstrack ‘Endlich XXL’, eine feierliche Ode an einige der besten Dinge dieser Welt: Bier und Techno.

They drift with phantom ease from spare, intimate, literate alt-country to a nuanced, weighted music bearing the marks of rock'n'roll history..." Classic Rock 8/10 // ”...slow burning, emotional intensity" Mojo **** // ”Alluring and seductive." Uncut **** // Morton Valence’s eighth, and eponymously titled album, comes to you, courtesy of Cow Pie Recordings, featuring 11 new songs, produced by the legendary BJ Cole. Robert ‘Hacker’ Jessett and Anne Gilpin, who form the nucleus of Morton Valence, effortlessly take the country music genre, which is generally considered a uniquely American musical form, and create something uniquely English, without ever compromising their authenticity. The atmosphere that BJ Cole brings to the album is palpable, in both production values, and his unmistakable pedal steel guitar performances, on songs such as the plaintive ‘Together Through the Rain’, where an estranged Anne and Hacker reunite under the shelter of an umbrella, walking through the rain and trading verses along the way. Or the more upbeat country rock of ‘I’ve Been Watching You/You’ve Been Watching Me’, which is almost as if Richard and Linda Thompson had touched down in some Nashville backbar before heading for the bright lights. And of course, the scintillatingly down-beat opener, and instant urban-country classic; ‘Summertime in London’, where Hacker reflects on his home city from afar, through simultaneously tear-stained and rose-tinted glasses. What gives the album its country hallmark, are the narratives in the songs. However, they forego the typical Americana for an altogether more kitchen-sink aesthetic. We see the return of MV alter egos Bob and Veronica in ‘Bob and Veronica’s Big Move’, as they make their way from the big city to what could only be the arcadian blue-collar tranquillity of Hastings, or Skegness perhaps? There’s the bewildered small-town homecoming of a wannabe prodigal son in ‘A Town Called Home’. And a conversation with ‘Jim’, a seemingly old-school kind of bloke, with a penchant for midday drinking and late-night city shenanigans. As well as BJ Cole’s steel guitar, there are other collaborations too. ‘Like a Face that’s Been Starved of a Kiss’, co-written with Band of Holy Joy front man, and lyrical visionary Johny Brown. Flamenco guitar genius, Amir John Haddad, sits in on the urban-cowboy ballad, ‘Me & My Old Guitar’, the skewed violin of Dylan Bates brings something of the vaudeville to songs such as ‘It Isn’t Easy Being an Angel’, Guy Jackson adds his sublime keyboards throughout, and the whole thing is held together by unsung rhythm section heroes Jamie Shaw on drums and Josh De Mita on bass. As with all Morton Valence albums, along with the shade, there is always some light, in particular the escapist cosmic romp of ‘It’s a Brand-New Morning’, or the wryly observant, ‘It Isn’t Easy Being an Angel’, where the protagonist discovers that he’s living in some weird kind of purgatory where even the late Johnny Thunders has quit smoking. This is an ambitious album, formed through a unique symbiosis of musical characters, which is ready to redefine UK country music, put ‘urban country’ centre-stage, and should be heard by everyone

Thee Marloes give us with another killer of a two-sider while they finish recording their debut album. The A side "Logika" is a laid back tune about where the head and the heart meet and how they often don't see things the same way. Natassya Sianturi's honeyed vocals float over a beautifully arranged track driven by guitar riffs, organ, and reverb drenched stick hits. They manage to put the perfect amount of paint on the canvas with the band sounding tight as ever hitting all the changes that bring in the earworm chorus that stays in your head even if you don't speak Indonesian. The B side "True Love" finds Thee Marloes dipping back into the soulful side of jazz but this time with a beat ballad that could soundtrack a Tarantino movie and hold court with the best of the genre. This one leans you back in your chair setting the mood for a smokey lounge affair and a strong drink. Two more pages from Thee Marloes book on a must have 45 giving a taste of what is to come on the 2024 full length. Also Available From Thee Marloes: Midnight Hotline b/w Beri Cinta Waktu

DeYarmond Edison war der Vorläufer von Bon Iver und Megafaun. Im Sommer 2005 verließen vier Freunde Wisconsin in Richtung North Carolina mit einem einzigen Ziel: der Folk-Rock-Flaute zu entkommen. Während eines Jahres intensiver Konzentration, des Studiums und der Verletzlichkeit taten sie genau das, indem sie an den ekstatischen Rand des New Weird America vordrangen und von allem ein bisschen ausprobierten - Grindcore und Gospel, Free Jazz und Phasenstücke, Bluegrass und Blues - und es in DeYarmond Edison packten. Der Rest ist Geschichte_ Ein Mitglied ging nach Hause, um das zu gründen, was später Bon Iver werden sollte, während drei vor Ort blieben, um Megafaun zu gründen. Epoch ist die Geschichte von DeYarmond Edison: Brad Cook, Phil Cook, Justin Vernon und Joe Westerlund, erzählt wie nie zuvor. Die Sammlung umfasst fünf LPs, vier CDs, Dutzende von ungehörten Aufnahmen und ungesehene Fotos. Begleitet wird sie von einer ausführlichen Biografie des Schriftstellers Grayson Haver Currin, der auch als ausführender Produzent der Sammlung fungiert. Alles in allem fängt Epoch die Zeit ein, bevor aus diesen vier Freunden zwei andere, aufsehenerregende Bands wurden. Es ist eine Geschichte über Gemeinschaft, Visionen, Familie und ein Quartett, das zu gut sein wollte, um zu bestehen. Es gibt Momente des Experimentierens, subtile Wendungen im Fuzz von "Epoch" und eine stampfende Herangehensweise beim Covern von "All Tomorrow's Parties", die den Grundstein dafür legten, wie Bon Iver und Megafaun die akustische Musik ein wenig umkrempeln würden. Aber ein Großteil von Epoch unterstreicht die einzigartige Sichtweise der Gruppe auf amerikanisches Songwriting, auf das Nehmen von Patchworks, das Finden der Akkorde und das Singen aus vollem Herzen. "Trials, Troubles and Tribulations" ist ein Beispiel dafür. Am bekanntesten ist es als Duett von Justin Vernon und Sharon Van Etten, das hier in ausufernder Last-Waltz-Manier wieder zum Leben erweckt wird, mit Vocals von Megafaun, Justin Vernon, Frazy Ford und Fight the Big Bull. Jede Platte ist gleichermaßen ein Crash-Kurs in allem, was dieses spezielle Stück Musikgeschichte ausmacht: Fotos aus Hinterhöfen und Kellern; Essays, die bestimmte Aufnahmen beschreiben; Farbpaletten, die Zeit und Ort widerspiegeln. Mit über sieben Stunden und 55.000 Wörtern ist Epoch eine maximalistische Sammlung. Aber man muss kein Komplettist sein, um zu verstehen, was es bedeutet, sich mit seinen besten Freunden zusammenzukauern und Dinge zu erschaffen, für diese Dinge zu träumen, zu lernen, zu kämpfen und zu wachsen.

DeYarmond Edison war der Vorläufer von Bon Iver und Megafaun. Im Sommer 2005 verließen vier Freunde Wisconsin in Richtung North Carolina mit einem einzigen Ziel: der Folk-Rock-Flaute zu entkommen. Während eines Jahres intensiver Konzentration, des Studiums und der Verletzlichkeit taten sie genau das, indem sie an den ekstatischen Rand des New Weird America vordrangen und von allem ein bisschen ausprobierten - Grindcore und Gospel, Free Jazz und Phasenstücke, Bluegrass und Blues - und es in DeYarmond Edison packten. Der Rest ist Geschichte_ Ein Mitglied ging nach Hause, um das zu gründen, was später Bon Iver werden sollte, während drei vor Ort blieben, um Megafaun zu gründen. Epoch ist die Geschichte von DeYarmond Edison: Brad Cook, Phil Cook, Justin Vernon und Joe Westerlund, erzählt wie nie zuvor. Die Sammlung umfasst fünf LPs, vier CDs, Dutzende von ungehörten Aufnahmen und ungesehene Fotos. Begleitet wird sie von einer ausführlichen Biografie des Schriftstellers Grayson Haver Currin, der auch als ausführender Produzent der Sammlung fungiert. Alles in allem fängt Epoch die Zeit ein, bevor aus diesen vier Freunden zwei andere, aufsehenerregende Bands wurden. Es ist eine Geschichte über Gemeinschaft, Visionen, Familie und ein Quartett, das zu gut sein wollte, um zu bestehen. Es gibt Momente des Experimentierens, subtile Wendungen im Fuzz von "Epoch" und eine stampfende Herangehensweise beim Covern von "All Tomorrow's Parties", die den Grundstein dafür legten, wie Bon Iver und Megafaun die akustische Musik ein wenig umkrempeln würden. Aber ein Großteil von Epoch unterstreicht die einzigartige Sichtweise der Gruppe auf amerikanisches Songwriting, auf das Nehmen von Patchworks, das Finden der Akkorde und das Singen aus vollem Herzen. "Trials, Troubles and Tribulations" ist ein Beispiel dafür. Am bekanntesten ist es als Duett von Justin Vernon und Sharon Van Etten, das hier in ausufernder Last-Waltz-Manier wieder zum Leben erweckt wird, mit Vocals von Megafaun, Justin Vernon, Frazy Ford und Fight the Big Bull. Jede Platte ist gleichermaßen ein Crash-Kurs in allem, was dieses spezielle Stück Musikgeschichte ausmacht: Fotos aus Hinterhöfen und Kellern; Essays, die bestimmte Aufnahmen beschreiben; Farbpaletten, die Zeit und Ort widerspiegeln. Mit über sieben Stunden und 55.000 Wörtern ist Epoch eine maximalistische Sammlung. Aber man muss kein Komplettist sein, um zu verstehen, was es bedeutet, sich mit seinen besten Freunden zusammenzukauern und Dinge zu erschaffen, für diese Dinge zu träumen, zu lernen, zu kämpfen und zu wachsen.

*REISSUED ON LIMITED EDITION BLUE VINYL*

London-based electronic songwriter Ryan Lee West aka Rival Consoles to release his most personal work to date in the form of a mini-album titled ‘Night Melody’ through Erased Tapes on 5th August 2016. During the release of his acclaimed full-length album ‘Howl’ and heavy touring in late 2015, Ryan came out of a 13-year long relationship and found himself making music throughout the winter months. The result of his efforts is a 34-minute, 6-track mini album ‘Night Melody’, born out of and shaped by long hours working into the night. It’s nocturnal in sound; mysterious in the way that the early hours so often are.

“I found myself, in a silent home, with the days getting dark very early. I’ve never before in my life been affected by the lack of light so much. I just remember it always being night time. I would either make music into the night, go out drinking with friends, or go to parties and dance into the early hours, every day, week after week, month after month, until eventually the days became brighter again.” The opening statement ‘Pattern of the North’ starts off with a collage of spliced synth melodies, inspired by anxiety that accompanies going home for Christmas. It’s followed by ‘Johannesburg’, an early sketch gradually filled out during his tour in South Africa.


“After playing it around some of the cities, I got a lot of inspiration to bring it to life and push it into something that really moves me. I think this is one of my most colourful pieces of music, with its driving rhythm and almost a homage to Terry Riley’s ‘In C’ towards the end, with a build of very simple, hypnotic parts. I especially love that for over five minutes the piece is tied to just one note. This makes the ending very dramatic, because all of a sudden there is this harmonic change.” ‘Lone’ started life around the time Ryan was working on his ‘Sonne’ EP in 2014. It’s the result of constant adjustments to find the perfect balance of fragility and assurance. As everything on the album, it’s a carefully considered, emotionally mature piece. “I think, as I get older, I need music to represent something and not just sound interesting, though of course the two are connected.” The closing statement ‘What Sorrow’ is a fitting end to the album, building from gentle melancholia to a joyous crescendo. It’s a sensibility that’s central to the record; joy and sorrow both find their counterpoints.


“This record is very personal to me and I hope it offers something for other people, as it helped me to make it and to listen to it. Almost every synth line was recorded intuitively, without perfection but with a lot of intention and expression. I’m not interested in making something sad or making something happy. I want music to be bittersweet, to be more complex, like life – containing moments of vibrant colour and hope, as much as darkness and sadness.” This summer will see Ryan follow on from his recent North American Tour with the appearance at many festivals including Lovebox, Secret Garden Party, La Route Du Rock, Sea Change and Tale of Us-curated Afterlife party at Space, Ibiza.

He has partnered with Joe Bonamassa's KTBA Foundation and sales from this record will help others as part of the charitable aspect that Marc has close to his heart.
With production by Joe Bonamassa & Josh Smith, this is an album of blues covers (and one original) featuring Lemar Carter, Calvin Turner, Jeff Babko, with guest appearances from JJ Grey, Eric Kranso, Joe and Josh.
Tracks: I've Got To Use My Imagination / I'd Rather Drink Muddy Water / That's
What Love Will Make You Do feat. Joe Bonamassa / Cuttin' In feat. Roddie
Romero / Dreamer / Empire State Express / Love, The Time Is Now feat. Bobby
Junior / I Asked For Water feat. JJ Grey / I Like To Live The Love feat. Eric
Krasno / Driving Wheel feat. Joe Bonamassa / When Will I Let Her Go feat. Joe
Bonamassa

From the city of Tampere, Finland, comes Type-303 with a brand new EP ”Näsinpuisto” on a new local label VERRAZZANO. This time we take a detour from his usual acid sounds and head to the park for summer vibes.

Taking inspiration from early 90’s Italo house and balearic scene, ”Näsinpuisto” EP gives four sunny, mysterious and long drink fuelled cuts to cheer up the thirsty crowd.

Opening with a lovely haunting flute melody, ”Is It Magic” asks the question if there is some special magic in northern summer days, and the answer is fairy whistling YES! Part nostalgic and part forward looking, the song is relaxing house par excellence.

Second track ”Sexy Sax” sounds something like it was meant for fashion shows in Milan, or to be played at terraces with international tasteful clientele. With solid bass, sophisticated rhythms, sax melody and sea-breeze sounds, 90’s N.Y. house vibes are evident.

”Garden Of Love” is a playful tune that might be playing in the background when you stumble upon a secret garden in the park. The question is dare you enter in? Because Ecstasy comes to those who dare to step out of their comfort zone.

Lastly ”Summer Nights” is a relaxing late evening tune, ending the summer day journey with reassuring sounds in the after glow. Still with enough punch to work great either as set starter, or when you want to chill the dance floor.

Verrazzano calls you to enjoy summer, love and friendships!

"Soap Opera" ist das vierzehnte Studioalbum der Kinks aus dem Jahr 1975 und eine Fortsetzung des theatralischen Musikstils der Band aus "Preservation Acts 1 & 2". "Soap Opera" ist das großartigste Konzeptalbum, das die Kinks je gemacht haben. Ray Davies thematisiert darin, wie "gewöhnliche Menschen" mit ihren Träumen vom Starruhm dem Trübsinn entkommen. Darin tauscht ein Musiker namens "Starmaker" das Leben mit einem gewöhnlichen Mann namens Norman, um das Leben besser zu verstehen. Herausragende Stücke sind "A Face In The Crowd?, "Underneath The Neon Sign? und das hervorragende "You Can't Stop The Music".

Diese originalgetreu reproduzierte schwarze 1LP mit Klappcover ist die erste Neuauflage des Albums seit der ursprünglichen LP-Veröffentlichung, abgesehen von einer limitierten US-Pressung im Jahr 2008. Eine weitere erfolgreiche Veröffentlichung, vor allem in den Vereinigten Staaten, wo es auf Platz 45 der Charts einstieg.