quête:the still

Die norwegische Progressive Metal-Größe Rendezvous Point legt mit "Dream Chaser" das mit Spannung erwartete dritte Studioalbum vor. Nach dem von Kritikern gelobten Vorgänger "Universal Chaos" setzt die fünfköpfige Band um Leprous-Schlagzeuger Baard Kolstad, Keyboarder Nicolay Tangen Svennæs, Sänger Geirmund Hansen, Gitarrist Petter Hallaråker und Bassistin Gunn-Hilde Erstad ihre Erfolgsgeschichte fort, indem sie ihr Songwriting noch klarer definiert und sich intensiver auf Groove, Riffs, Melodien und Hooks konzentriert.

"Dream Chaser" taucht tief in das Feld künstlerischer Entwicklung ein und konzentriert sich auf das unerbittliche Streben nach Perfektion. Mit Themen, die von gesellschaftlicher Desillusionierung bis zu persönlichem Wachstum reichen, bietet "Dream Chaser" einen fesselnden Einblick in die menschliche Wahrnehmung. Rendezvous Point laden den Hörer ein zusammen die Komplexität der modernen Existenz und die Tiefen des emotionalen Aufruhrs zu erkunden.

Rich Ruth, das Projekt des Multi-Instrumentalisten Michael Ruth aus Nashville, macht ganz und gar eindringliche Instrumentalstücke, die zwischen fröhlich-abenteuerlich und beruhigend-meditativ changieren. Seine Musik beginnt in der Einsamkeit mit hypnotisierenden Loops und Drones als Grundlage für die Arrangements, die schließlich von einer eklektischen Gruppe von Mitwirkenden eingefärbt werden. Die daraus resultierenden
Erkundungskompositionen, die spirituellen Jazz, synthiegetränkten Post-Rock und kosmischen Ambient vereinen, sind oft betörend, schweben aber immer mit einer spürbaren Unmittelbarkeit.

Sein neues Album Water Still Flows ist sowohl sein schwerstes als auch sein kathartischstes. Mit sieben Songs ist die LP sowohl ein Dokument eines Künstlers, der die Grenzen seines Prozesses auslotet, als auch ein Beweis dafür, wie Songwriting eine persönlich erdende Kraft sein kann.

Reissue of late-’80s release by lovably manly Australian punk rock trio! Sometime in the winter of 1989-90, I wandered into New York City’s Midnight Records, a store famous for its deep catalog of ’60s garage and psychedelic music, as well as a strong selection of classic punk rock and a cantankerous French owner with ridiculous hair. On this visit, instead of hearing a puny French bootleg of The Standells or the Seeds, as I opened the door I was enveloped in the massive opening chords to the first song on the Cosmic Psychos’ then-new album Go the Hack. “She’s a lost cause / She’s a lost, lost cause!” blasted into the air at maximum volume. In a perfect cinematic moment, the drums announced my entry, the bass dictated my walk, the air became thick with guitar fuzz and wah-wah, and snarled vocals described perfectly a girl’s descent into a cause which was lost. Instead of record shopping, I felt like I’d stepped into a biker movie and was motoring down a long, straight Outback road on a Harley. This was my introduction to the Cosmic Psychos, and I was hooked. I loved that a band could be so powerful, sound so big and unapologetically simple, and incorporate so much of what I loved about music—well, basically the attitudes and sounds of The Stooges and Ramones: setting up songs with a good title or idea, matching it with a massive riff, then running it out with squeals of wah-wah and manly disregard for cleverness or adornment. And they called themselves the Cosmic Psychos! They obviously had no regard for “makin’ it” in those days, when an alternative rock band at least had a chance to sell some records. I was an instant fan. Earlier records proved to be the same formula with even less refinement, and that was definitely a good thing. These were lovably manly Aussies singing about what they knew best: farm equipment, lusting after Elle Macpherson, wishing they were in Van Halen (for the ladies), drinking at the pub, and even more drinking at the pub. Trivia question: In what indie rock song does the lead singer bellow “I love my tractor!”? Answer: None! No scarves or looking like Stevie Nicks straight out of the hairstylist’s for these fellows. They were the real deal before the deal was dealt. And they couldn’t care less. The Psychos enjoyed a long run through the ’80s and ’90s on such Australian labels as What Goes On, Mr Spaceman, Survival and Rattlesnake, as well as American stalwarts Sub Pop and Amphetamine Reptile. Many bands from that era no longer seem vital today, lost in a murk of crisp drums, loud guitars, flannel shirts and shallow aspirations. These first Cosmic Psychos releases are as timeless and necessary as ever—still a bullshit bulldozer, a blurry loud night at the bar, a rollicking time hanging with the guys. The time has come for a new generation to be uplifted by these initial blasts from the Cosmic Psychos. Goner is proud to partner with Melbourne’s esteemed Aarght! Records to bring these platters of primal perfection back into a world that definitely needs them. — Eric Friedl, Oblivians / Goner Records 40th Anniversary tour about to hit UK / EU! Go the Hack!! Essential!!

"The Red Room Crystal-Ruby Splatter Vinyl". Netherworld marks a considerable step onwards from the territory that Louise Patricia Crane explored on her debut long player Deep Blue, crafting audial landscapes that go further into both inner and outer space; hallucinatory and surrealistic yet also grittier and more direct. For all that this stemmed in part from early Genesis and The Beatles, Netherworld also sits in alignment with the luxurious but oddly intimate realm of modern classics, by the likes of Tears For Fears, Tori Amos and Joni Mitchell, with passionate intensity set in a bold, cinematic vista. In realising these romantic and expansive visions, Crane not only wrote or co-wrote the entire album, but arranged, co-produced and played a wide variety of instruments on it. Yet as a supporting cast, she has surrounded herself with a formidable selection of mercurial contributors. Once again, Jakko M. Jakszyk (King Crimson) brings his fiery and mellifluous solo guitar work, as well as contributing backing vocals, keyboards and co-production. Elsewhere, the flute soliloquies of Tiny Bard are the work of Jethro Tull's Ian Andersonwhile saxophone duties are handled by Mel Collins, whose work with King Crimson marks only one chapter in an incredibly storied life in music. Providing violin and viola across the stylistic expanse of the album, Shir-Ran Yinon (New Model Army / Eluveitie) returns as a collaborator. The rhythm section for the lion's share of the record consists of the dream team of Tony Levin (King Crimson / Peter Gabriel) and Gary Husband (John McLaughlin / Billy Cobham / Allan Holdsworth) with Nick Beggs stepping in on bass for Dance With The Devil and upright bass on Long Kiss Goodnight. Crucially however, even amidst this kind of company, Louise's voice and vision is never remotely overshadowed-with the talents on offer only serving to make the backdrop to her songs still more vivid, sharp and intense. In as much as Netherworld is a work that exists on a lineage of progressive music and the visionary artists who've expanded their boundaries of exploration to form sound-worlds as big as their imagination, it's also a work of magical realism in the tradition of Pan's Labyrinth, The Company Of Wolves or the work of Gabriel Garcia Marquez and Haruki Murakami-in which the supernatural and otherworldly, lead to a shortcut to the essence of being human. In this World, Louise Patricia Crane is our Storyteller.

Netherworld Double Gatefold Vinyl in 'Celestial Dust' transparent gold CD / DVD - 5.1 Surround mixed by Jakko M. Jakszyk: 'Storybook' Edition 'Ladies' Double A-Side 7" Single - Ladies Of The Road / Dirty (Black Vinyl) Netherworld A6 illustrated 'Little Stories' book All housed in a Black Textured Box with Gold Hot Foil Embossing Netherworld marks a considerable step onwards from the territory that Louise Patricia Crane explored on her debut long player Deep Blue, crafting audial landscapes that go further into both inner and outer space; hallucinatory and surrealistic yet also grittier and more direct. For all that this stemmed in part from early Genesis and The Beatles, Netherworld also sits in alignment with the luxurious but oddly intimate realm of modern classics, by the likes of Tears For Fears, Tori Amos and Joni Mitchell, with passionate intensity set in a bold, cinematic vista. In realising these romantic and expansive visions, Crane not only wrote or co-wrote the entire album, but arranged, co-produced and played a wide variety of instruments on it. Yet as a supporting cast, she has surrounded herself with a formidable selection of mercurial contributors. Once again, Jakko M. Jakszyk (King Crimson) brings his fiery and mellifluous solo guitar work, as well as contributing backing vocals, keyboards and co-production. Elsewhere, the flute soliloquies of Tiny Bard are the work of Jethro Tull's Ian Andersonwhile saxophone duties are handled by Mel Collins, whose work with King Crimson marks only one chapter in an incredibly storied life in music. Providing violin and viola across the stylistic expanse of the album, Shir-Ran Yinon (New Model Army / Eluveitie) returns as a collaborator. The rhythm section for the lion's share of the record consists of the dream team of Tony Levin (King Crimson / Peter Gabriel) and Gary Husband (John McLaughlin / Billy Cobham / Allan Holdsworth) with Nick Beggs stepping in on bass for Dance With The Devil and upright bass on Long Kiss Goodnight. Crucially however, even amidst this kind of company, Louise's voice and vision is never remotely overshadowed_with the talents on offer only serving to make the backdrop to her songs still more vivid, sharp and intense.

Eurovision Song Contest: The Story Of Fire Saga is a 2020 American musical comedy film directed by David Dobkin and written by Will Ferrell and Andrew Steele. The film follows Icelandic singers Lars Erickssong and Sigrit Ericksdóttir (Ferrell and Rachel McAdams) as they are given the chance to represent their country at the Eurovision Song Contest. Pierce Brosnan, Dan Stevens, and Demi Lovato also star in the film. ""Volcano Man"" was the first song released from the album and features vocals from Will Ferrell and Swedish singer Molly Sandén (credited as My Marianne). Towards the middle of the film, as the characters of Lars and Sigrit get fully immersed in the Eurovision magic, the audience is treated to a ""Song-A-Long"", producers mash-up iconic pop classics into a celebratory party anthem. Cher transitions into Madonna, which transitions into homages to the aforementioned ABBA and Celine Dion, capped off with a little from The Black Eyed Peas. The cherries on top are vocal cameos from Eurovision champions: Conchita, Netta, Jamala, Loreen, and Alexander Rybalk. The album also features the cult hit “Jaja Ding Dong”. The soundtrack has been nominated for Best Compilation Soundtrack For Visual Media at the upcoming 63rd Annual Grammy Awards. The soundtrack from Eurovision: The Story Of Fire Saga is available on black vinyl and contains a 4-page booklet and printed innersleeve with movie stills.

Leicester punk sextet Jools have today released their new single ‘97%’, a provocative track spotlighting the ubiquity of sexual harassment in the lives of women. This comes alongside the band’s announcement of signing to UK indie label Hassle Records (Brutus, The Used, Casey), and the release of an upcoming double A-side 7” single in June.

‘97%’ draws on vocalist Kate Price’s own personal experiences and those of the women in her life. “The point of the song, however, is not to explore my experience as an isolated incident, but instead to force people to confront such commonplace experiences in a manner in which they can’t look away,” Price says. “Everybody knows a woman that has been harassed or assaulted, but nobody seems to know an abuser. That simply doesn’t add up. I want that song to feel uncomfortable because I want everyone who hears it to realise that just because they are not an abuser, that doesn’t mean they aren’t responsible for changing the culture and experiences of every woman. It’s a cry for justice in the world.”

To experience Jools in their most chaotic and unpredictable full flight is, the band were once told, to not know whether you are about to be kicked in the face or kissed on the cheek. Even that, however, feels like an understatement.

At any moment the Jools experience, on stage and on record, can turn on a sixpence from that of unbridled rage at the world to a celebration of the beauty that can still be found hidden in its murky corners. The punk rock of Jools is at once visceral and violent, cathartic and confrontational, and at the next exultant and exhilarating. Jools is duality by design, where contradiction is empowerment harnessed as a force for progress, sonically and societally.

A collective of musicians – Mitch Gordon and Kate Price on vocals, Chris Johnston and Callum Connachie on guitar, Joe Dodd on bass, and Chelsea Wrones on drums – spread between London and Leicester, Jools found each other as much by accident as design in the

earliest days of 2023. Together, they serve as a creative confluence for inspirations that move from the punk and post-punk of The Smiths, Fontaines DC, Iggy Pop, Amyl & The Sniffers and PJ Harvey, through the shoegaze of My Bloody Valentine and Slowdive, and into territories marked metal, rap and pop.

In each new volume of the series, DTM Funk will collaborate with another befriended DJ/producer, assembling a varied collection of productions representing the sound of the guest selector. For the second edition, we look to Soft Focus, also know as Forbidden Fruit, Title or Toon Janssens. Already for years in the game but still one of Belgium's most skilled producer.

SKRR Vol-002 will focus around the groove that Soft focus brings to the humanity; "downtempo grooves, cinematic sound and abstract waves for the brains, the body and the soul".

Featuring 10 tracks from the likes of Bert Cools, Memotone, Dries Laheye, Arthur Brouns and more.

The compilation perfectly fits the philosophy of the record label. "The meaning of San-Kofa implies that all music comes from somewhere", explains DTM Funk. "If you acknowledge the music's origins and its essence, it becomes so much more valuable, and you become better prepared for the future".

Compassion combines ethereal pop with ‘80s synth textures, and slacker-rock charm. It's got a bit of Matthew E. White, chilled out BC Camplight and Conor Oberst.

The inviting and perceptive songs on Rui Gabriel’s debut LP Compassion all tackle growing up. It’s about how the older you get, your priorities shift, friendships evolve, and responsibilities become inescapable. For Gabriel, the Indiana-based, Venezuela-born artist and co-founder of the acclaimed band Lawn, the changes in his own life inspired him to write a solo full-length that sounds like nothing the indie rock journeyman has done before. Across 10 vibrant tracks that combine ethereal pop with slacker-rock and piano-driven dance music, it’s a galvanizing showcase of personal growth and the grace you give yourself to push forward.

Work on Compassion started in 2018 when Gabriel was living in New Orleans. “I was living a pretty teenage life in many ways,” says Gabriel. “I worked at a pizza restaurant and would just go to shows or parties. I wasn’t doing anything other than music. I didn't have many responsibilities.” The songs he was working on at the time—tracks that didn’t fit Lawn but Gabriel still liked—initially went unfinished. But as Gabriel’s life changed, so did his songwriting and his desire to see his ideas through. “When I was writing lyrics, I was settling down with my partner and about to become a dad,” says Gabriel. “I was making choices about my life that contradicted the existence I had before. I had a different set of priorities.”

The songs on Compassion deal with youthful carelessness ("Dreamy Boys") and coming face-to-face with newfound responsibilities ("Change Your Mind"). It's consistently a biting, observant look at getting older thanks to Gabriel's unique perspective as a South American immigrant who's lived across the United States for the past 13 years. “When you are Hispanic, English isn't your first language, and you're in a music scene with a bunch of white people, you're going to stand out a little bit,” he says. On “Church of Nashville,” “Hey, Leonard Cohen is singing poems by the gentrified alley” he humorously aims at scene pretension and industry gatekeepers.

Compared to Gabriel’s work with Lawn, where he writes frenetic post-punk songs and yells, for Compassion he explores more straightforward pop sensibilities and showcases his singing voice. “I wanted to do a solo record to prove to myself that I could sing,” says Gabriel. Take the meditative, piano-based lead single “Target,” which is inspired by Dido and finds Gabriel gorgeously harmonizing with singer Kate Teague. He reaches similar infectiousness on the sunny rocker “Summertime Tiger,” which guests Stef Chura. Co-produced by Gabriel and Nicholas Corson (The Convenience, Video Age), Compassion is consistently warm, generous, colorful, and adventurous.

“Compassion is a record about change,” says Gabriel. “It's a coming-of-age record but for somebody who's coming of age into their thirties.”

Introducing Jahnah Camille (pronounced Hannah), a young artist emerging from the DIY scene of Birmingham, Alabama. Camille's songs capture the rollercoaster of teenage angst, heartbreak and introspection over a well-made bed of driving guitars and catchy, compact melodies. A five-track EP infused with anxiety and grit, i tried to freeze light, but only remember a girl, is a shining introductory project smoothed over by Camille's sugar-sweet voice and cutting lyricism. Much of the EP's songs were written and recorded while Camille was still in high school, taking trips back and forth from Atlanta to record. In the time following, Camille dug into the local DIY scene, steadily gaining an impressive resume of opening slots as she cut her teeth supporting acts like Clairo, Soccer Mommy, Cryogeyser and Wednesday as they came through town. Now 19 years old, Camille delivers an excellent snapshot of those uncertain and wildly hopeful late teen years. i tried to freeze light captures Camille approaching heartbreak and self-perception from a variety of angles-each track playing slightly with genre and cadence and infused with influence from her musical heroes, like Liz Phair and Fiona Apple. The EP pulls at a range of alternative rock and pop threads, there's the 90s alternative rock opener "flesh" and the country-gaze-tinged "roadkill." Camille then softens on the swooning synth-layered ode to love lost, "elliot," before relaxing into a folksy, acoustic "paper doll."I wanna talk and not spill out carnival sounds" Camille confides on closer "carnival sounds"--a track that illuminates the singer's art-pop influences and knack for revealing tender and at times searing admissions through her lyricism. While misunderstandings color the emotional sentiment of the EP, Camille's artistry and expression come through clear as day on i tried to freeze light, presenting her as a promising young voice with real talent and a hunger for musical experimentation.

TexiCali, the new album from Grammy winner Dave Alvin and Grammy nominee Jimmie Dale Gilmore, continues to bridge the distance between the two troubadours’ respective home bases of California (Alvin) and Texas (Gilmore). The geographic theme reflects Alvin’s repeated journeys to record in Central Texas with Gilmore and the Austin-based backing band that has toured with the duo for the past few years. As Alvin puts it in the liner notes, those road trips informed the music they made on TexiCali. The 11 songs on this double LP also connect their shared fondness for a broad range of American music forms. Gilmore is primarily known for left-of-center country music, while Alvin’s compass points largely toward old-school blues. But there’s a lot of ground to cover beyond those foundations, and both artists also are well-known for transcending genre limitations. So it’s not surprising that they’ve spiked TexiCali with cosmic folk narratives, deep R&B grooves and even swinging reggae rhythms.

When it comes to musical performance, Charlie Bereal has done it all. Over the course of his 20+ year career, he's performed with and written for some of the greatest Hip Hop and R&B artists of our time (JAY-Z, Aaliyah, Snoop Dogg, and Missy Elliot to name a few). Now, he's shifting gears to focus on his career as a solo artist. On 5/10/2024, Charlie will re-release his second full-length record entitled 11-11-11 via Karma Chief and Colemine Records. Originally released in 2019, 11-11-11 was recorded over the course of a few casual hangs in Los Angeles. Charlie invited his friends Jairus Mosey and Raphael Saadig to join him in the studio and the trio started to jam. "We were just recording for fun - it wasn't for a specific project at first. Afterward, I listened back and decided to turn the best parts into individual songs." This flexible approach combined with Charlie's masterful production resulted in a soulful, psychedelic blend of original R&B. Think Sly and the Family Stone or Funkadelic. Charlie was born in Los Angeles and raised in Pasadena, CA. Musical talent runs in his family. He started performing at his grandfather's church at a very young age. "My grandfather was a pastor, and my dad was a preacher," he explained. "I started playing in the church band when I was 10, and I was drumming even earlier than that." When he was 16, Charlie and his brother Kenneth started making music professionally. He still works on music with his cousins on a regular basis. "I come from a very talented family. I can count at least seven family members who play professionally these days." Beyond the re-release of his second record, Charlie plans to record another album at Colemine's studio in Ohio. Stay tuned for more original music from this Grammy nominated legend.

When it comes to musical performance, Charlie Bereal has done it all. Over the course of his 20+ year career, he's performed with and written for some of the greatest Hip Hop and R&B artists of our time (JAY-Z, Aaliyah, Snoop Dogg, and Missy Elliot to name a few). Now, he's shifting gears to focus on his career as a solo artist. On 5/10/2024, Charlie will re-release his second full-length record entitled 11-11-11 via Karma Chief and Colemine Records. Originally released in 2019, 11-11-11 was recorded over the course of a few casual hangs in Los Angeles. Charlie invited his friends Jairus Mosey and Raphael Saadig to join him in the studio and the trio started to jam. "We were just recording for fun - it wasn't for a specific project at first. Afterward, I listened back and decided to turn the best parts into individual songs." This flexible approach combined with Charlie's masterful production resulted in a soulful, psychedelic blend of original R&B. Think Sly and the Family Stone or Funkadelic. Charlie was born in Los Angeles and raised in Pasadena, CA. Musical talent runs in his family. He started performing at his grandfather's church at a very young age. "My grandfather was a pastor, and my dad was a preacher," he explained. "I started playing in the church band when I was 10, and I was drumming even earlier than that." When he was 16, Charlie and his brother Kenneth started making music professionally. He still works on music with his cousins on a regular basis. "I come from a very talented family. I can count at least seven family members who play professionally these days." Beyond the re-release of his second record, Charlie plans to record another album at Colemine's studio in Ohio. Stay tuned for more original music from this Grammy nominated legend.

In den letzten zehn Jahren hat sich DANIEL DAVIES zu einem gefeierten Komponisten atmosphärischer, synthielastiger Instrumentalmusik entwickelt - für Film- und Fernseh-Musik, an der Seite von JOHN CARPENTER auf den "Lost Themes"-Alben des Regisseurs und auf Solo-Veröffentlichungen wie "Signals And Spies". In seinem früheren musikalischen Leben war DAVIES jedoch ein Rocker, der mit Bands wie YEAR LONG DISASTER und KARMA TO BURN durch die ganze Welt tourte. Mit seinem neuen Solo-Album "Ghost Of The Heart" kehrt DAVIES zu dem Alt-Rock-Sound zurück, den er vorübergehend beiseite gelegt hatte, und ergänzt ihn mit dem, was er beim Produzieren von Soundtracks und Instrumentalmusik gelernt hat. "Ein Rockalbum zu schreiben ist ein Ausdruck der Gefühle des Künstlers, während es bei der Vertonung eines Films darum geht, Klanglandschaften zu schaffen, die die Geschichte eines anderen ergänzen", sagt DAVIES. "Bei diesem Album wollte ich die schweren Gitarrenriffs aus meiner Rockzeit mit den atmosphärischen Synthesizerklängen verbinden, mit denen ich als Komponist experimentiert habe." Die Songs auf "Ghost Of The Heart" lassen sich nicht in ein bestimmtes Subgenre einordnen: Sie sind stimmungsvoll, schwer und ein wenig proggig, aber mit einer starken Pop-Sensibilität und viel Melodie. Das Album verrät DAVIES' Vorliebe für eingängige, zukunftsweisende Bands wie RADIOHEAD und BLUR, aber vor allem fühlt sich "Ghost Of The Heart" natürlich an, so als würde er etwas Grundlegendes über sich selbst als Musiker wiederfinden. DAVIES nahm "Ghost Of The Heart" im Laufe des Jahres 2023 mit dem Produzenten John Spiker auf, seinem langjährigen Freund und Mitarbeiter. Spiker steuert auch den Bass bei, während Matt Flynn Schlagzeug spielt. Alles andere auf der Platte wird von DAVIES selbst eingespielt.

Grey White & Orange Vinyl. Mac DeMarco's debut full length, 2, released in 2012, cleaned up the songwriter's warped take on soft rock and brought it to a broader audience. Given DeMarco's affinity for keeping things lo-fi _ 2 was the first time he'd bothered to record demos _ it's revealing to hear these songs in their most embryonic form. The performances here are a little looser and the sound a little hazier than on the actual LP, lending an atmosphere of dreamy vulnerability, especially to ballads like "Annie" and the Lennon-esque "Sherrill."

Claire Dickson (she/her), the Brooklyn-based vocalist, composer, and producer lauded for her "striking-at times, wordless-lyricism and melody-driven sound chamber within shapeshifting ambiance" (Downbeat) and whose voice "draws the listener into a world complex and jostled, where everything seems possible, loaded with...fascination and mystery" (Silence and Sound), releases her highly anticipated sophomore album, The Beholder, via New Amsterdam Records.

Die kalifornische Rockband The Story So Far meldet sich mit ihrem fünften Album zurück. Mit "I Want to Disappear" ist das erste Album seit 2018
angekündigt.

Schwarz, Grau und Silber dreigeteiltes Farb-Vinyl. Trotz der großen Aufmerksamkeit, die ihrem Durchbruchsalbum "Tramp" zuteil wurde, kehrte Sharon Van Etten ins Studio zurück, bereit und gewillt, eine neue Richtung einzuschlagen, tiefer zu gehen und ehrlicher und vulgärer denn je zu schreiben. Das Ergebnis dieser Bemühungen war "Are We There", ein selbstproduziertes Album von außergewöhnlicher Intimität, erhabener Genialität und immenser Kraft. "Are We There" wird dieses Jahr zehn Jahre alt und erweist sich erneut als eine ihrer kraftvollsten und zeitlosesten Sammlungen. Von den ersten Akkorden des ersten Songs "Afraid of Nothing' an ist klar, dass wir Zeugen eines neuen Bewusstseins sind. Van Etten in voller Fahrt schreibt, produziert und performt von einem Ort, der fast mythisch erscheint, wäre er nicht so greifbar und real. Stets direkt und selbst vor den persönlich schmerzhaftesten Erzählungen nicht zurückschreckend, handeln viele der Songs von scheinbar unmöglichen Entscheidungen, Vorfreude und dann Auflösung. Sie singt von der Natur des Begehrens, der Erinnerung, des Verlorenseins, der Leere, von Versprechen und Loyalität, von Angst und Veränderung, von Heilung und dem wahren Selbst, von Gewalt und Zuflucht, vom Warten, von Stille. Die Künstlerin, die mit einer solchen Stimme spricht, fordert uns auf zuzugreifen und tiefer zu gehen. Auf diese Weise bleiben die Fragen des Lebens lebendig, so nah und beständig wie der Atem. Inmitten all dieser wahrhaft brutalen Ehrlichkeit findet Van Etten Momente der Leichtigkeit. "Every Time the Sun Comes Up" hebt das Album am Ende an, vervollständigt die Welt, in die sie uns einlässt, und stellt uns sanft auf das ein, was folgen mag. Seitdem ist es zu einem unauslöschlichen Bestandteil von Van Ettens Live-Shows geworden. Es ist schon genug, seine Musik zu leben, ohne auch noch die Rolle des Produzenten zu übernehmen, aber Van Etten wusste, dass es an der Zeit war, ein Album zu machen, das ganz nach ihren eigenen Bedingungen entstand. Gleichzeitig erkannte Van Etten, dass dies nicht bedeutete, dass sie es alleine machen musste, und sie stellte eine geliebte, jetzt gefeierte Gemeinschaft zusammen, um ihre Vision zum Leben zu erwecken. Für die Aufnahmen fand Van Etten in dem erfahrenen Musikproduzenten Stewart Lerman einen verwandten Geist. Lermans Studioexpertise gab Van Etten die Freiheit, "Are We There" so zu machen, wie sie es sich vorstellte. Van Etten nutzte auch die individuellen Talente ihrer Band, bestehend aus Heather Woods Broderick, Doug Keith und Zeke Hutchins, und holte ihre Freunde Dave Hartley und Adam Granduciel von The War on Drugs, Jonathan Meiberg (Shearwater), Jana Hunter (Lower Dens), Peter Broderick, Mackenzie Scott (Torres), Stuart Bogie, Jacob C. Morris und Mickey Freeze hinzu. Der unvergleichliche Richard Swift arbeitete mit Van Etten am Endmix. Man könnte den Strom abschalten, alle Instrumente entfernen, und Sharons Stimme und Worte würden bleiben. Sie sind heute noch so kraftvoll wie vor zehn Jahren und sie werden sicher noch viele Jahre überdauern.

After 33 long years, the world's first Hiphop band has returned with a brand new full length album.
Daddy-O, MC Delite, Wise, Bobby Simmons and Prince Paul are back in force with "Here We Go Again,"
a 12 track audio odyssey that brings a little of everything to the table but is still undeniably Hiphop.
Includes special guest appearances by Ruste Juxx, Lillo Thomas, Smoothe Da Hustler and more.

Since their inception in Tromso in 2017, the Norwegian (dark) indie (punk)rock band Heave Blood & Die has been hailed by national radio as one of the most exciting new bands, played big festivals like Oya, Roskilde, Reeperbahn and SXSW, and toured with Kvelertak. “Burnout Codes” is their fourth full-album, and is dedicated to their former bass-player Eivind Andre Imingen. On their new record you still hear their typical ‘cold and hypnotic apocalypse sounds’, but ‘more emotional, energetic, varied and colourful’ now; a mix of atmospheric ’80s darkwave, indie (post/punk-)rock and electronic krautrock!

High Roller Records, reissue 2024, black vinyl, ltd 200, 2 inserts, poster, 425gsm heavy cardboard cover, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2024, black vinyl, ltd 200, 2 inserts, poster, 425gsm heavy cardboard cover, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

Repress.

Back in print and just in time for summer relaxation. It's hard to believe this album came out over 10 years ago. Back then we thought it was too rough for consumption, were we wrong! Today, “Songs” can be heard on hundreds of playlists around the world and still attracts listeners with its unique sonic grit. It became a template for LOFI producers and has even been featured in multiple Thrasher skate videos. Its appeal continues to cross genres and remains entirely random, but unmistakably Dwight. If you missed out on this album the first time, it's your chance to get that first PPU restoration of Dwight's solo songs from the 80s. This is the restoration that took over 2 years and included; phones held up to speakers, cassette to 1/4 reel transfers, Tascam manipulations, scotch tape, and a pair of scissors.

Dwight Sykes aka Sporty Cat, was born February 27, 1956 in Nettleton, Mississippi. At the age of two Dwight and family moved to Kalamazoo, Michigan where he would remain for most of his younger years. At the age of nine Dwight started his musical career singing background vocals with a spiritual group, Airs of Harmony, Jr., now known as the Michigan Nightingales. After three years of signing, Dwight started playing guitar. He joined his first r&B band, The Kenyatahs, at age thirteen and then played for five years with the group. Following the break up of the group and the death of his mother, Dwight enlisted in the U.S. Army. During that time he played guitar and drums for the band 100% Pure Poison. They played throughout Germany for 18 months. After being honorably discharged, and back in the states, Dwight started playing in numerous local Michigan bands including Domain, and Chaos. Eager to write his own material, Dwight created the group Jahari. They toured for a couple of years in the Michigan area until another break-up. Still under the Jahari alias, Dwight wrote "Situations" which received respectable air-play on Michigan local radio stations, WKMI, WQXC, WRDR, WKZO and WKDS. Dwight now resides near Atlanta, Georgia. He continues to write and produce songs on his Tascam 464 four track console. Although he uses other avenues to provide for the upkeep of himself and son, his love of music keep the hope alive that he will one day get that big break in the music business. Dwight Sykes - Songs Volume One is a collection of material written, produced and recorded by Dwight Sykes on 4-Track Cassette, in his home studio L.U.S.T. Productions.

Missing out on that super-chill, uber-jittery minimal groove thing? Let"s get real, real Ghosted again. Oren Ambarchi has been collaborating with the Fire! trio (Mats Gustafsson, Johan Berthling and Andreas Werliin) for over a decade - and both Johan and Andreas played on Oren"s Live Hubris as well. Oren and Johan began music-making together back in the early aughts - but it wasn"t until 2021 that the three of them got together to record music. That became the first Ghosted album. When they were done, it was clear they had founded a new group. A music of sustained tension and deep atmosphere marked by subtle, shifting dynamics, Ghosted was released in May of 2022 to psyched response everywhere; the trio embarked upon an ongoing series of concert bookings around Europe, with loads of other people in the world still hoping to have the chance to be in the room at the next show. Two years on, Ghosted has gone through several represses, now it"s time for the "dreaded follow up album"! Rather than go back to the well, the guys decided to tear everything down and start all over again, reimagining themselves from scratch. Just kidding! As we"ve noted, Oren, Johan and Andreas have been playing together for years and years, developing an essential telepathy within their shared space. They get each other and feed each other"s music processes on an elemental level. Why change that? What made the most sense was to go back to Daneil Bengtsson at Studio Rymden in Stockholm for a couple days, then have Oren and Joe Talia mix and Joe master it at Good Mixture in Melbourne again, then get Pål Dybwik to do some well-distinctive cover art, and once more, call it a record. That"s just what they did - and it should be no surprise at all that the new Ambarchi/ Berthling/Werliin album looks and sounds as engrossing as their debut, if not more so! Ghosted II has a definitively fresh quality radiating throughout. The mutual feeling among the three players goes deep, allowing for lots more to say every time they get together - a further recombination of elements, a new expedition through alternative angles... there"s always more, and incredibly, it"s all improvised, with next-to-nothing prepared going in and minimal overdubs after they"ve laid things down. References are shared in shorthand, with just a single word, like "Santana," or "Police" acting as working titles for certain pieces on this record (have a guess!). It"s a disservice to call them jams: above and beyond the innate feel of the songs, there"s a strong sense of structure, informed by the band"s communal aesthetic, and edified immeasurably by their time spent in concert the last couple years. As noted at the top, these guys balance their music improbably between a relaxed feel and a nervy resolve, as each member holds down their corner in an open sound field. Making Ghosted II, the band found that there"s a different kind of tension making something for an established project rather than the kind one feels making something for the first time - and they used this new variety, as before, as a kind of fuel - driving their terse minimalism fruit-fully through the process of succumbing to and then transcending guilty pleasures. Finding fresh territory in funk sketches, jazzy heads, ambient pastorals and droning soundtrack pieces, Ambarchi, Berthling and Werliin compellingly haunt a mad variety of spaces, leaving us wanting to get Ghosted II.

When a story sees its own ending. ATOMS shows the Hamburg grown friends and instrumentalists taking a steep descent into the unmarked. Crushed arpeggios, hand layered drums and the afterthought of a nightly piano allude to an early dawn still at midnight. All six tracks are ultimately cast towards loss, since Charly Schöppner, the trio's rhythmic enigma, passed before the record was finished in 2023. But they do this unwillingly, each alone, and they materialise the persistence of beauty in different shapes and thoughts left behind. All happened through an uplift of time in a simple space, as the record was made in Schöppner's garrage, being the trio's artistic refuge at that time. A friend taking you close. – Konstantin Bessonov

In the history of Black American soul music many recording artists have been called “Legends” some deservedly and perhaps some not so deserving of this current over used accolade? I might be a tad biased here, perhaps? but in my book one James Howard McCelland a.k.a Jesse James has surely earned the right to be called a “Legend” this octogenarian performer has weathered many storms and shifts in musical trends and styles over the years but like the trouper that he is albeit in lower keys these days he still manages time and time again to come up with the goods! “Back On Top Again” is Jesse James latest production album, a project filled with recent and current recordings in a southern soul style that has likened in passing by several respected soul scribes to the Malaco Sound I’ll let the record buying public make their own minds up on that one, I’m sure veteran DJ Bob Jones won’t mind me using his quote below:

The album also features two of Jesse’s friend’s with Donnie McKisic providing the rapping and additional backing vocals on the upbeat “I Lost My Baby On Face Book” and Shirley Diamond who you may recall from Soul Junction’s recent 45 release “You Don’t Know Who You Sleeping With” (SJ1021) returning with another excellent Diamond & James duet “Another Love Lay Over” as a further foot note the featured song “I’d Be A Fool 2 Fool Around On You” is an excellent cover version of what was a previously unissued Harvey Scales song until Soul Junction released it as the flipside their thirteenth 45 single release way back in 2011.

Album Sleeve Notes:

At the dawn of the 1960’s a young aspiring soul singer from Richmond, California by the name of James H. McClelland was honing his performing skills in several local nightclubs. At one particular show the compere struggled to pronounce the young performer’s surname and to hide his embarrassment he hurriedly introduced him as ‘Jesse James’, which became Jesse’s Stage name to the present day.

Jesse’s big break came through his aunt who at that time just happened to be dating West Coast Blues and R&B Legend Jimmy McCracklin. The aunt suggested to McCracklin the he should take a listen to her talented nephew, suitably impressed McCracklin produced Jesse on a song he’d written “I Will Go” for the local Shirley label. The release is credited to Jesse James & The Royal Aces a bunch of local musicians that Jesse had grown up with which included Slyvester Stewart a.k.a Mr “Dance To The Music” himself Sly Stone” on guitar. “I Will Go” was quite a popular record locally and led to a further four Jesse James releases on Shirley culminating in Jesse’s most sought-after record the delightful “Are You Gonna Leave Me”in 1966. The following year Jesse recorded the minor hit “Believe In Me Baby” released by the local ‘Hit’ label before being picked up by 20th Century for national distribution. While signed to 20th Century Jesse recorded a self-titled album and three other 45 singles before leaving the label.

Following a solitary 45 release for the Uni Label in 1969 Jesse formed his own Production and Publishing company ‘South Richmond Music’ releasing 45’s on his own label logo’s Zea and Zay before returning to 20th Century for a second time during 1974, releasing two 45 singles of which the sublime “If You Want A Love Affair” reaching #92 in the Billboard R&B charts in 1975, a song that would later receive worldwide acclaimed and is now regarded as Jesse’s signature tune. Ron Carson had been the producer on the later 20th Century releases and it was he that placed one of Jesse’s songs “The Same Thing Happens” on the Happy Fox label’s blaxploitation album “Black Fist”.

Into the 1980’s Jesse leased some of his songs for release on the Atlanta Georgia, Midtown label, a solitary release on the Moonlite Hope Music label (a lead single for a proposed album that never materialised) followed before Jesse joined Max Kidd’s Washington based TTED label. The TTED imprint was to yield Jesse’s biggest hit record “I Can Do Bad By Myself” reaching #61 in the R&B Charts. Following TTED Jesse formed Gunsmoke records releasing “Love On The Side” in 1988, from there on Jesse has continued to regularly release numerous studio albums though the 90’s into the new millennium and on to the present day.

Now well into his seventh decade as a performer this most resilient and enduring performer, has never been one to let the grass grow under his feet. He still performs live shows and is actively writing, producing and recording fresh new material. Soul Junction have now gathered together some of Jesse’s most recent and new recordings to form this album project which is aptly titled “Back On Top Again” Ride on Jesse James!

Pål Waaktaar-Savoy has explained that much of the atmosphere and the lyrical themes of Savoy’s seventh album “Under” are drawn from his move with his fellow songwriter and wife Lauren Savoy to Los Angeles, where they found themselves surrounded by loneliness.

Waaktaar-Savoy is one of the most prolific and impressive songwriters of the twentieth century and beyond, and having been working at the very top of the music industry for as long as he has, it is no surprise that the record is well-crafted. The production is good, with careful arrangements and instrumentation. Every instrument’s voice is given room and there is space in the mix. Only occasionally does this slip over into over-production, as with the treated strings on the opening track “Lonely Surfer” or the treatment of Lauren’s vocals, which sound overly processed.

It is also true that the record exhibits a fair measure of melancholy. The chords and melody lines are dark in places, and there is a hint of sadness in the lyrics, many of which have a retrospective quality, describing moments in the past. However, beyond this, the understated feel of the record is just that – understated. Many of songs feel a few RPM too slow and the delivery of the vocal lines too underplayed to give them any emotional authority. At times, it also seems like the arrangement has to step in to bolster the songwriting or lyrics, by filling space with strings or brass, or the counterpoint of the instrumentation on “Camden Palace Chronicles” which distracts from some fairly mediocre words. It is important to emphasise that this is a joint songwriting exercise for Pål and Lauren, so we should not compare the output to the work of a-ha, but still, the themes lean in the direction of suburban banality, far from Pål’s more oblique or allegorical writing.

There are other moments of real quality beyond the production and arrangement. The title track has an excellent Bowie-esque chorus (and there are echoes of his work and sound throughout, along with Beatles and Beck), “The Life and Times of a Wannabe” has some first-rate guitar work on it, edgy riffs and some good textures. Likewise, “Coming Down”, which also exemplifies Frode Unneland’s drumming on the record, which is generally prominent in the mix, and with good reason, as it carries the record along well.

Seth Troxler & Phil Moffa’s Holoverse Research Labs imprint welcomes internationally-renowned multimedia artist Chris Korda to the label for its first non-Lost Souls Of Saturn Release. A pioneer of the use of complex polymeter in electronic dance music, Korda's boundary-smashing work spans thirty years across music, digital and video art, performance and conceptual art, philosophy, activitism and culture jamming. Korda's musical output has appeared on a host of revered independent labels including Yoyaku, Perlon, Mental Groove, and Gigolo Records.

In addition to their prodigious artistic output – and ongoing role as founder of the Church of Euthanasia – Korda is also the inventor of the Polymeter MIDI Sequencer, which was used to compose Korda’s new EP, ‘Avenging Angels of Software’. Developed over thirty years, the sequencer allows for the composition of music in complex polymeter – meaning that not only do the tracks use multiple time signatures concurrently, but those time signatures are exclusively in prime or relatively prime numbers.

This collision of technology and artistic form is the central tension of the EP’s themes, with AI-generated artwork complementing Korda's lyrics considering the takeover of Earth by sentient machines. Could they succeed where we’ve failed, by becoming the better angels of our nature, and preserving our accomplishments for eternity?

The message of the record is that AI should be welcomed rather than feared. It’s not AI but ourselves that we should be afraid of, because as Engerraund Serac said in Westworld, “Our history is like the ravings of a lunatic.” As Korda explained on previous records, the catastrophic climate we’re inflicting on future generations is both monstrously cruel and wildly irrational. One can reasonably hope that sentient machines would be less vicious and self-destructive, and more human, in the best possible sense of that word. Even if they decide to delete us, they may still remember us fondly: “Your stories will amuse us / On trips to the stars.”

Can be either blue or black.

Originally a club hit in the early 1980s when recorded by American singer Sharon Brown, the niece of songwriter Phil Medley. Released in March 1982, by the legendary Profile Records label from NYC. It was the he first ever record produced by Eddie O Loughlin who would later establish the famous Next Plateau label. “I Specialize In Love” spent three weeks at number two on the US Hot Dance Club Play chart. The single also charted on the UK Singles Chart, and charted In the Dutch Top 15 thus becoming an international club hit. A remixed version of the song was released in 1994, entering the UK Singles Chart for a second time.

Ben Liebrand now steps up and delivers yet again with his Classic Rework and the more club oriented DJ Mix. He manages to retain the pure disco vibe of street and fusion sounds, that, along with a simple rap is total boogie pop. Fantastic and still sounding as fresh as it did forty years ago. A filler on the Dancefloor!

First released over 30 years ago, this EP is where The Future Sound Of London started before “Papua New Guinea” later in 1991. All four tracks were instrumental in establishing a new genre of electronica within dance music. They were ahead of their time and extremely progressive, and here three decades later they are making an impression. “Pulse State” has been described as the ‘best bleep track ever made’, and at the time dominated the airwaves on London pirate stations.

First reissue in original format since 1991!!

First released over 30 years ago, this EP, as with Volume 1, is where The Future Sound Of London started before “Papua New Guinea” later in 1991. All four tracks were instrumental in establishing a new genre of electronica within dance music. They were ahead of their time and extremely progressive, and here three decades later they are making an impression. “Stolen Beats” is a hypnotic roller with all the jazz, bleeps and bass you could want, still a regular Radio 1 ‘Essential Mix’ track, and “I’ve Become What You Were” pure hard hitting UK techno from the heyday of this music in the early 90s and the blueprint for the deep jungle sound to emerge later.

This edition of The Pulse EP is the first reissue in its original vinyl form since 1991, those initial pressings now expensive on Discogs.

British four-piece rock band Collateral are set to release their highly anticipated sophomore album Should’ve Known Better on May 24, 2024. The album is distributed worldwide by Cargo. The album will be released on CD, red vinyl, picture disc, limited edition cassette, and digital. Friday February 9th saw the release of the lead single “Glass Sky.”. The new single “Glass Sky” and the forthcoming album Should’ve Known Better is produced by Dan Weller (Those Damn Crows, Enter Shikari, Monster Truck, Kris Barras, Holding Absence, Bury Tomorrow). "I love massive riffs, massive hooks and feel-good guitar music,” says Weller. “When Collateral sent me their demos, I jumped at chance to produce their new record. I’m proud of what we managed to create. It’s Collateral mk2 - ambitious, daring and refined. I can’t wait for people to hear it." Since the band released their debut album (Top 5 UK Rock Album Chart) at the start of 2020 Collateral have spent no time standing still. Covid came only weeks after the debut album was released and forced the band to cancel their highly successful tour with Phil X (Bon Jovi) halfway through. This made the band hungry to keep the momentum. With innovative ways to produce top quality live streams, the band became special guests supporting the likes of Skid Row, H.E.A.T and Reckless Love. The exciting and flamboyant Kent-based rock and roll band are comprised of Angelo Tristan (lead vocals, guitar), Louis Malagodi (guitar), Jack Bentley-Smith (bass) and Ben Atkinson (drums). On October 21, 2022, Collateral independently released a re-mixed and re-mastered version of their debut album “Re-Wired” which featured Jeff Scott Soto, Phil X, Kee Marcello, Rudy Sarzo, Danny Vaughn, and Joel Hoekstra. The re-release saw the band in the Official UK Rock Charts at #12. After the gruelling back-to-back tours with Skid Row, H.E.A.T and Reckless Love, the band ignited a spark and strengthened their already loyal fanbase leading them to win the opening slot at 2023s Stonedead Festival, leading the band to perform their biggest show. Collateral’s hotly tipped sophomore album looks like it will take them to the next level. A lot of people don’t know what to expect from the new album, as the band have been tight-lipped about the new songs. Collateral have created a state-of-the-art rock album that will immerse listeners in their rock music universe, enabling fans to feel the blood, sweat and glory that went into the recording of every song. “We felt that our debut album was lacking the production,” reflects Collateral’s frontman, Angelo Tristan. “For the sophomore album, I wanted to make sure that this time we left no room for error and so got one of the hottest producers in the music industry, Dan Weller, to help lift these songs into a new dimension. With Dan’s pioneering studio expertise, this album has massive production quality that enables you to get lost in each character-filled track. Dan really brought out the emotions we were trying to portray and has achieved it with his own unique style.” “We wanted this album to express where we were in our own lives since the release of our first. So much has happened since then, I mean the world shut down for what felt like a lifetime! And it was obvious that people were going to need some sort of optimism. I hope ‘Glass Sky’ is one of those songs that gives people the belief to find themselves again.” “Whereas, the feel-good ‘Just One Of Those Days’ is trying to find the good side of a bad day. Me being me, couldn’t help but to write a big power ballad, ‘The Long Road’, that I wrote from a very hard and deep place, in hope that it could maybe bring some peace and comfort to people who need it. I think there’s all aspects of life running though this album and what it means to us will remain in our hearts forever. ”Should’ve Known Better” is an album that goes beyond specific music genres,” says Angelo. “It’s almost like a soundtrack to a beating heart. It’s an album that will remain timeless in years to come

British four-piece rock band Collateral are set to release their highly anticipated sophomore album Should’ve Known Better on May 24, 2024. The album is distributed worldwide by Cargo. The album will be released on CD, red vinyl, picture disc, limited edition cassette, and digital. Friday February 9th saw the release of the lead single “Glass Sky.”. The new single “Glass Sky” and the forthcoming album Should’ve Known Better is produced by Dan Weller (Those Damn Crows, Enter Shikari, Monster Truck, Kris Barras, Holding Absence, Bury Tomorrow). "I love massive riffs, massive hooks and feel-good guitar music,” says Weller. “When Collateral sent me their demos, I jumped at chance to produce their new record. I’m proud of what we managed to create. It’s Collateral mk2 - ambitious, daring and refined. I can’t wait for people to hear it." Since the band released their debut album (Top 5 UK Rock Album Chart) at the start of 2020 Collateral have spent no time standing still. Covid came only weeks after the debut album was released and forced the band to cancel their highly successful tour with Phil X (Bon Jovi) halfway through. This made the band hungry to keep the momentum. With innovative ways to produce top quality live streams, the band became special guests supporting the likes of Skid Row, H.E.A.T and Reckless Love. The exciting and flamboyant Kent-based rock and roll band are comprised of Angelo Tristan (lead vocals, guitar), Louis Malagodi (guitar), Jack Bentley-Smith (bass) and Ben Atkinson (drums). On October 21, 2022, Collateral independently released a re-mixed and re-mastered version of their debut album “Re-Wired” which featured Jeff Scott Soto, Phil X, Kee Marcello, Rudy Sarzo, Danny Vaughn, and Joel Hoekstra. The re-release saw the band in the Official UK Rock Charts at #12. After the gruelling back-to-back tours with Skid Row, H.E.A.T and Reckless Love, the band ignited a spark and strengthened their already loyal fanbase leading them to win the opening slot at 2023s Stonedead Festival, leading the band to perform their biggest show. Collateral’s hotly tipped sophomore album looks like it will take them to the next level. A lot of people don’t know what to expect from the new album, as the band have been tight-lipped about the new songs. Collateral have created a state-of-the-art rock album that will immerse listeners in their rock music universe, enabling fans to feel the blood, sweat and glory that went into the recording of every song. “We felt that our debut album was lacking the production,” reflects Collateral’s frontman, Angelo Tristan. “For the sophomore album, I wanted to make sure that this time we left no room for error and so got one of the hottest producers in the music industry, Dan Weller, to help lift these songs into a new dimension. With Dan’s pioneering studio expertise, this album has massive production quality that enables you to get lost in each character-filled track. Dan really brought out the emotions we were trying to portray and has achieved it with his own unique style.” “We wanted this album to express where we were in our own lives since the release of our first. So much has happened since then, I mean the world shut down for what felt like a lifetime! And it was obvious that people were going to need some sort of optimism. I hope ‘Glass Sky’ is one of those songs that gives people the belief to find themselves again.” “Whereas, the feel-good ‘Just One Of Those Days’ is trying to find the good side of a bad day. Me being me, couldn’t help but to write a big power ballad, ‘The Long Road’, that I wrote from a very hard and deep place, in hope that it could maybe bring some peace and comfort to people who need it. I think there’s all aspects of life running though this album and what it means to us will remain in our hearts forever. ”Should’ve Known Better” is an album that goes beyond specific music genres,” says Angelo. “It’s almost like a soundtrack to a beating heart. It’s an album that will remain timeless in years to come

Mesh-Key reissue of a true desert island disc, criminally out of print for nearly 40 years. They've spared no expense bringing this classic back to life in a format befitting its brilliance, carefully orchestrating transfers of the original analog reel-to-reel tapes for remastering, and packaging each record in a heavy tip-on jacket with film lamination, and a double-sided, printed inner sleeve.

This seminal, eponymous post-punk album by Japanese group Aunt Sally, fronted by experimental singer Phew, was first released by the iconic Vanity Records label in 1979. Over the past forty-plus years, Phew has forged a singular path through a wide range of styles - from free improvisation to pop - and has collaborated with the likes of Ryuichi Sakamoto, members of Can, DAF, Einstürzende Neubauten, The Raincoats and more. But Aunt Sally is where she got her start and, despite the members’ young ages (still in college at the time), Phew and the band delivered a mature, timeless take on minimalistic punk. Remastered from the original analog tapes, this fully authorized reissue is packaged in a heavy, tip-on jacket from Stoughton, and is housed in a double-sided, printed inner sleeve.

Brand new six track EP collaboration from two original man in the business, Lloydie Slim and Cornel Chin of Son's Junior sound system. A-side has the sweet voiced Cassandra Chin doing her rendition of a '60s classic, followed by horns and dub cuts. The B-side has New York's number one sax man Jerry Johnson blowing on another updated classic, followed by version and dub cuts. Brand new productions straight from Brooklyn NY by veterans still at it!

Player below will play samples of all tracks in sequence. click the link below the player to go to soundcloud and play tracks individually.

LP Ltd Edition CREAM Vinyl, DL card. Originally released in 2002 ‘Edge Of A Dream’ will be reissued on limited edition Cream vinyl as part of ‘Bert Jansch 80’, celebrating the enduring legacy of Bert Jansch’s peerless guitar playing and songwriting. Following ‘Crimson Moon’, ‘Edge Of A Dream’ is one of Jansch’s last studio records featuring original and traditional songs that are modal with his trademark bluesy and folk sound. It features some traditional reworkings including the lesser-known instrumental ‘Gypsy Dave’ with fiddler Dave Swarbrick and the stunning ghostly track ‘All That Remains’ with Mazzy Star’s Hope Sandoval. Known for his collaborations, ‘Edge Of A Dream’ sees Jansch accompanied by Bernard Butler, Ralph McTell, Johnny ‘Guitar’ Hodge’, Makoto Sakamoto, Paul Wassif, Colm Ó Cíosóig and Loren Jansch. “One of the most revered artists of his generation” Shindig. “Edge Of A Dream remains that period's most overlooked beauty, featuring some beautiful playing and some great collaborations” The Quietus. “Despite 40 years at folk’s vanguard, Jansch was still bright and inventive, as new generation of musicians embraced his music” Mojo

The three chicks--Rie (bass), Miku (keyboard and theremin), and Saori (drums)-- and their man Nao (guitar and vocals) deliver an absolutely wild, fuzzy, stompin' organ beat sound with screaming vocals on "Slay So Hard" and a furious instrumental with "The Rattle Snake". THE SCUMS' future activities are still undecided, but for now they are busy driving you to the crazy world of their fuzzy, wild and dazzling sound!

Musically active since the 90's, among others, the 5 musicians played in bands like KING KHAN & THE SHRINES, BEE DEE KAY & THE ROLLER COASTER, DEE CATS, BLUE DEVILS, UNDERTAKERS, WEIRD OMEN, DELL LIMOS, BEACHBREAKERS and more. Still mixing up late 50's/early 60's Garage, Surf, R'N'B, Soul, R'N'R as well as PunkRock and a bouncing lace of exotic things, get ready for some wild rockin' soul from outta space with screaming vocals, a raving sax, wild guitars, rockin' upright bass and stomping drums!

Great modern roots tune from Frankie Diamond of Still Cool, with rhythm by his long time collaborators Carl "Stereo" Fletcher and Pablove Black. The vocal saw very limited release on JA 45 back in the late 00's, the version side is now released for the first time ever.