Buscar:tru tru song

The Bony King of Nowhere is the artistic alias of Belgian artist Bram Vanparys. He made a mark in 2018 with the release of his critically acclaimed album Silent Days. The record received consistent 4- and 5-star press reviews and was hailed as his best album to date. It also earned Vanparys a Music Industry Award (BE) for 'best author-composer'. Silent Days revealed the full potential of the singer-songwriter and his commitment to never repeat himself and keep surpassing his creative abilities.

The new album, entitled Everybody Knows, has been a long time coming, partly due to Vanparys' aforementioned pledge to artistic evolution. The first two tracks he unveiled give a definite hint of what to expect from this album. 'Are You Still Alive' and 'Almost Invisible' carry the quality mark, known colour scheme and scent of The Bony King of Nowhere, but add many more hues and details. The new record showcases the new league Vanparys is playing in. Themes like rusted patterns in society, the obedience of the everyday man, the structural false ignorance of big shots, the toxicity of online communication and other very recognisable but not always pleasant subjects. Inspired by the observations of many sociologists, Vanparys dissects our society, the loneliest ever. This album is not just disconcerting though, in its strength lies a sense of hope and vigour.

The first singles promise a new album with lots of punch and energy, while Vanparys is unveiling the complete complexion of his voice whilst remaining vulnerable and honest. On the album, he is accompanied by multi-talent guitarist Vitja Pauwels (Naima Joris), pianist Hendrik Lasure (Tamino, Bombataz), drummer Simon Segers (Sylvie Kreusch, Stadt) and bass player Jasper Hautekiet.

While the songwriting legends, particularly Neil Young and Bob Dylan, have always kept Bram company, his latest compositions also draw inspiration from more contemporary artists. The influence of PJ Harvey, Blur and Nick Cave are unmistakable when you listen to his music. While staying true to his heartfelt songwriting style and captivating voice, The Bony King Of Nowhere embarks on a journey into uncharted musical and thematic realms.

The last time this band was on tour in support of 'Silent Days', they took a big leap forward while touring 75 shows across renowned venues and festivals in Belgium, The Netherlands, Germany, and France, with a packed Ancienne Belgique in Brussels as one of the highlights. Now the five-man-band, consisting of Jasper Hautekiet, Simon Segers, Thijs Troch (Nordmann), Gertjan Van Hellemont (Douglas Firs), will start this tour with shows in Ekko, Utrecht on March 6 and Ancienne Belgique, Brussels on March 8.4

Das 4. Remaster der Serie um den australischen Singer-Songwriter Robert Forster.
Erstmals erscheint Beautiful Hearts“ hier mit Bonusmaterial auf Vinyl im Gatefold mit zusätzlicher 7".

1000 miles away from the beating musical hearts of Rio and São Paulo in the late ‘70s, the Brazilian city of Belém gave rise to a little-known record label called Erla - Estudio Rauland. Though not prolific in its output, the label made up for it in quality and experimental offerings, with several records on the label now becoming sought-after pieces among collectors. One such release is the sublime four-track psych, MPB, rock EP by singer-songwriter Jarbas Mariz.

They say never judge a book by its cover, though on this occasion you pretty much can. The wonderful tripped-out ‘70s artwork by Baby is a sure-fire indication of the music lying within. Though the EP was recorded in ‘77, it clearly gained inspiration from the psychedelic hippy idols of the previous decade and could easily have been a soundtrack to an acid trip scene in an obscure Brazilian movie.

Low-fi and quirky, there are moments of beauty and splendour but also hints of darkness; with a sublime balance of music and styles throughout. At points Jarbas will have you drifting through a folk flute daydream, the next moment a growling, psych-distorted guitar breaks and parts the calm. An ability to make those elements blend cohesively is where Jarbas’ true brilliance shines through.

Jarbas played, and still plays, with some of the key figures in Brazil's musical underground. Guilherme Coutinho (whose Guilherme Coutinho - E O Grupo Stalo album from ‘78 was also re-issued on Mr Bongo) features on electric piano for this release, with fans of his work being able to pick out his tones and playing style. Elsewhere, Jarbas also collaborated with the late great Lula Côrtes on the 'Bom Shankar Bolenath' album from 1988 and 'Rosa De Sange' from 1980. He was a member of the wonderful Cátia de França band and is a regular in the legendary Tom Zé group.

'Transas Do Futuro' is a special record and one we are honoured to be reissuing.

Double LP on recycled & random-coloured "Re-Vinyl" Return to the unwavering wild in Downpour, where you explore new, harsh lands and survive new predators. As time passed, the slugcat has evolved. With five variants of the species - take advantage of various skills that they possess and explore their own personal tales. Black Screen Records, Videocult and Akupara Games are excited to take you an aural journey into the strange land of "Rain World: Downpour". Two LPs pressed on recycled & random-coloured "Re-Vinyl". The soundtrack is housed in a beautiful gatefold sleeve comes with UV spot varnish. The artwork was created by Kelocitta who has also reimagined the vinyl art for "Rain World". The "Rain World: Downpour" soundtrack is a collaborative work that was made possible by James Primate, Lydia Esrig, Intikus, Ongomato, Connor "12LBS" Skidmore and Progfox. A unique piece of music and very interesting mesh of different styles that truly bring the environment of Rain World to life. It's fully enjoyable without the game itself. The songs of "Rain World: Downpour" are a treat to experience, with some themes referencing the original soundtrack, such as "Threat - Waterfront Complex" or "Reflection of the Moon", and some being whole new, entirely original tracks, such as "Breathing Hyometer", "Fragile" and "Sheer Ice Torrent". Once you've experienced the "Rain World" soundtrack and gotten a feel for the style of the artists who worked on the music, "Rain World: Downpour" is an amazing continuation to experience next.

The international four-piece, collectively hailing from Istanbul and Berlin, are intent on using their years of experience in the heaviest music scenes to push at the boundaries of contemporary metal. By mixing classic death-metal aggression and with cutting-edge production and processing techniques, Bipolar Architecture have created a balance of sound that is raw, frenzied and extreme whilst also nuanced, refined and pliable. On `Depressionland', the band's 2022 debut full-length, this truly progressive approach was realised in full as frontman, rhythm guitarist and principal songwriter Sarp Keski's unmistakable banshee howl soars over Fatih Kanik's punishing blast beats and delay-soaked euphoria courtesy of lead guitarist Marcus Sander and bassist Enes Akovali; unifying Bipolar Architecture's diverse influences whilst simultaneously holding them poles apart for maximum, abrasive impact. If `Depressionland' was a distillation of Bipolar Architecture's signature sonics though, 2024's sophomore album `Metaphysicize' is alchemical gold. Still determined to drive at the bleeding edge of extreme metal, `Metaphysicize' uses the existentialist, introspective themes of `Depressionland' as fuel for an even deeper, more haunting exploration of the human condition. Tracks such as `Immor(t)al' and `Dysphoria' resound with a musical maturity and patience testament to experience gained and lessons learned, whilst `Disillusioned' and `Alienated' shake with all the full-throttle, apocalyptic indignation of the band's blackened metal origins. Significantly, `Metaphysicize' is also Bipolar Architecture's first work to feature lyrics in Keski's native Turkish; sitting at the heart of the record, the swirling post-rock suspense and white-knuckle thrash metal of `Kaygi' is a perfect embodiment of the album's dichotic balance of culture, genre, calm and chaos.

Edo.G's latest Album FreEDOm couldn't come at a better time in history as we are in an age where it seems like our freedoms are slowly getting taken away with a corrupt dictator in office.

FreEDOm has a sound that is reminiscent to one of your favorite Hip-Hop albums with songs that touch every part of your life. Edo.G's conscious lyrics over banging beats are bound to resonate and inspire. The song "Smoke" features Masta Ace, marking their first collaboration since the critically acclaimed 2009 "Arts & Entertainment" album. “Boom”, Produced by Sir Williams is the first music video from the album that sheds light on gun violence and the affect it has on victims, families and communities. FreEDOm is Edo.G’s 15th studio album produced by up and coming producers Torchbars, Kelz With Tha Heat, Sir Williams, Geronimo X, DJ Scienz & more.

If the album wasn't enough, the Digipak CD includes a full-length documentary based on the ED O.G & Da Bulldogs hit song "I Got To Have it". This ground-breaking documentary is a true artistic masterpiece on how one song can change your life. This is an in-depth look into Edo.G's journey through the music industry being dropped from a major label to finding his way independently. It highlights his life and career from his early teenage years to the present day. Through touring the world and making a positive impact with his music, Edo.G’s continued relevance in Hip Hop is not to be questioned.

Jason Grimez is a Cincinnati-based DJ and producer. He has a long history of record collecting, sampling, and creating new sounds with analog gear. Grimez works with some of Cincinnati's finest studio musicians to create raw, soulful, instrumental hip-hop under the moniker Doctor Bionic. The next LP, In The Infinite, is due out 12/01/2023 via Chiefdom Records. Grimez fell in love with music during the golden era of early 90's east coast hip hop - when digging for jazz and funky samples were the backbone of beats. He became comfortable scratching on a pair of 1200s and sampling records with an MPC 3000 in high school. After years of collecting music and working on his sound behind the scenes, he has compiled a huge discography of original songs. In 2015, Grimez started his independent label Chiefdom Records. His studio persona Doctor Bionic was one of the first to see a release on the new imprint. The project features a studio band of session musicians. Grimez is responsible for writing, recording, producing, mixing, and releasing the records. He gathers a group of musicians in his studio, presents a few ideas, and hits record. Due to a rotating cast of musicians and ever-changing inspirations, no two sessions are alike. "There's no set pattern," Grimez explained. "I'll invite some session players and have them jam on a few ideas. Sometimes we'll start with a drum break and add melodies over top. It's mostly improv, and I can always go back and chop it up." One common thread is the fresh, original sounds. "I like to call it Organic Groove," he shared. "I'm inspired by all kinds of music - instrumental hip-hop, soul, classic rock, jazz, you name it. When we get in the studio, all of the pieces add up to a new sound." In The Infinite features some of the best players in the Cincinnati music scene. Cameron Brown played guitar on several tracks. Brian Batchelor-Glader, an award-winning pianist, was also involved. All 12 tracks provide the perfect backdrop for hanging with a group of good friends or cruising in the car. The drums are solid, consistent, and lay an effortless foundation for all kinds of instrumentation. Jazzy trumpet lines, ethereal keyboards, choppy soul guitar licks, and much more. "Do You Remember?" (track 2) heroes a busy, poppy guitar and a head-bobbing bassline. The record scratching and tape-recorded drum tones on "Plastic Art" (track 7) feels like a hip-hop instrumental from the early aughts. From top to bottom, this record has a lot to offer. Pick up a copy of In The Infinite on vinyl or stream the album on 12/01/2023

Lovely Is Today (Edit) by Eddie Harris b/w September 13 (Edit) by Deodato | Galaxy Sound Co. — GSC4540, test pressing | Hot off the presses via the always-on-point @galaxy_sound_company crew. This will mark number 40 in the GSC45 series. Every release has been stellar, elevating it to the rarified “buy-it-on-site” status. If you love hip-hop, broken beats & top-class edits, anything w/ their stamp on it — you know it’s going to be top notch. They’ve got a bottomless discography full of that good ish, & here comes another addition to the cannon in the form of a pair of glorious jazz-funk nuggets.

Side A is an edit of “Lovely Is Today” by Eddie Harris, which is taken from his brilliant 68 soul-jazz LP “Plug Me In”. Chicagoan Harris pioneered the usage of amplified electric Varitone saxophones. It features a stellar line-up: Ron Carter (bass), Haywood Henry (baritone sax), Jodie Christian (piano), Garnet Brown (trombone), James Bossy (trumpet), Grady Tate & Richard Smith on drums, &, of course, Harris on tenor sax. Here the edit trims off the intro noise & extends the breaks recalling hip-hop songs it sampled: “2 Deep” by Gang Starr, “Intro” by Mobb Deep, “It Ain’t Hard To Tell (The Stink Mix)” by Nas, “What’s My Name Yo?” by MC Lyte, among others.

Side B is an edit of “September 13” by Deodato, taken from his self-titled jazz-funk 73 LP. Deodato, aka Eumir Deodato De Almeida, is a Brazilian artist known for his range of production work for Kool & The Gang to Björk, as well as TV & film scores & collabs w/ Milton Nascimento, Ithamara Koorax & Marcos Valle. Heads will know this one as the source for heaters like “In The House” by Pete Rock & C.L. Smooth, “Park Joint” by Camp Lo, “Epoca” by Gotan Project, “Don’t U Know” by DJ Rels aka Madlib & “Track 13” on Beat CD #2 by J Dilla.

The MENZINGERS are an absolute institution. The Philadelphia punk legends’ multi-decade reputation as road warriors with an unbeatable catalog is cemented as hard truth—and their seventh album, Some Of It Was True , stands as their most immediate-sounding and energetic record to date. The follow-up to 2019’s sensational Hello Exile accomplishes the daunting task of capturing The MENZINGERS’ distinctive live energy in the confines of the studio, resulting in a sound that’s both rich, raw, and complementary to the group’s increasingly prismatic songwriting approach. More than 15 years in, the MENZINGERS are still holding their listeners square in the immediate present, and Some Of It Was True documents that power in thrilling fashion. “We wanted to make a fun record and write songs that we wanted to play live, and that’s exactly what we did,” co-vocalist/guitarist Greg Barnett says “We’ve always said that we want every album to sound live, but we never recorded an album live before. This was the first time we committed to that idea. We wanted to sound like how our band sounds onstage.” Making the process easier: Grammy-nominated producer Brad Cook (Bon Iver, the War on Drugs, Waxahatchee), who joined The MENZINGERS in El Paso’s legendary Sonic Ranch studios and lent his incredible ear for raw, immediate sound to help the band achieve Some Of It Was True‘s in-the-room live feel. “ T H E M E N Z I N G E R S are as real as it gets,” Cook says on his time in the studio with the band. “I had an absolute blast working with these guys and was moved to tears many times. They are truly dedicated to artistic growth, and to each other, in ways I found both refreshing and beautiful. I am now a lifer.”

The MENZINGERS are an absolute institution. The Philadelphia punk legends’ multi-decade reputation as road warriors with an unbeatable catalog is cemented as hard truth—and their seventh album, Some Of It Was True , stands as their most immediate-sounding and energetic record to date. The follow-up to 2019’s sensational Hello Exile accomplishes the daunting task of capturing The MENZINGERS’ distinctive live energy in the confines of the studio, resulting in a sound that’s both rich, raw, and complementary to the group’s increasingly prismatic songwriting approach. More than 15 years in, the MENZINGERS are still holding their listeners square in the immediate present, and Some Of It Was True documents that power in thrilling fashion. “We wanted to make a fun record and write songs that we wanted to play live, and that’s exactly what we did,” co-vocalist/guitarist Greg Barnett says “We’ve always said that we want every album to sound live, but we never recorded an album live before. This was the first time we committed to that idea. We wanted to sound like how our band sounds onstage.” Making the process easier: Grammy-nominated producer Brad Cook (Bon Iver, the War on Drugs, Waxahatchee), who joined The MENZINGERS in El Paso’s legendary Sonic Ranch studios and lent his incredible ear for raw, immediate sound to help the band achieve Some Of It Was True‘s in-the-room live feel. “ T H E M E N Z I N G E R S are as real as it gets,” Cook says on his time in the studio with the band. “I had an absolute blast working with these guys and was moved to tears many times. They are truly dedicated to artistic growth, and to each other, in ways I found both refreshing and beautiful. I am now a lifer.”

'True Blue' ist eine Sammlung von Songs, die ursprünglich als technische Demos für das gefeierte 'Black Letter Days'-Album der Catholics gedacht waren. Die Aufnahmen wurden 2001 live auf 1-Spur-Kassette in den legendären Sound City Studios aufgenommen und fangen rohe und fesselnde Sounds von Frank Black und den Catholics bei Songs wie 'California Bound', 'The End Of Miles' und 'Cold Heart Of Stone''. Bisher nur als Bonus-CD im Boxset 'The Complete Recordings' erhältlich, ist 'True Blue' eine unverzichtbarer Release für Frank Black-Fans und bietet einen Einblick in eine Studio-Session mit den Catholics. Gepresst auf 140Gr. Vinyl, neu remastert von Phil Kinrade und geschnitten von Cicely Balston bei AIR Mastering. Präsentiert in einer strukturierten LP-Hülle mit neuem Artwork von Mark Reynolds sowie exklusiven Liner Notes von Produzent Ben Mumphrey. Ebenfalls enthalten ist eine Bonus-7inch-Single mit drei Outtakes, darunter eine bisher unveröffentlichte Version von 'The Black Rider'.

Nach über 30 Jahren erscheint die Complete Discography mit vielen Songs erstmalig auf Vinyl! Die Indie-Folk-Punk Band machte Anfang der 90er nicht nur regional auf sich aufmerksam in dem sie auf Studi-Parties und Hausbesetzungen spielte, auch bundesweit auf Festivals und Konzertbühnen waren sie gern gesehene und vor allem gehörte Gäste. Der Output der Band, die nur 3 Jahre existierte war beachtlich! Musikalisch bewegt sich der Sound zwischen Violent Femmes, den Go-Betweens und Hüsker Dü Riffs - eine doch eigenständige Mixtur, nicht zuletzt auch aufgrund der markanten Geige und dem unterschiedlichen Background der einzelnen Members. Enthalten auf dieser liebevoll aufgemachten LP sind die vier Tracks der "water" EP (1991), die 5 Songs der "nightingales in diving dresses" MC (1992) und "strong" von dem "mom, flight 13 to the moon, please" 2xEP Sampler (1993). Das Album kommt mit Foto- bzw. Lyric Beiblatt und wurde von Markus Heinzel (Liquid Studio) remastered.

180g, schwarzes Vinyl. Gatefold-Sleeve. Es ist ein bisschen schade, dass das Album von Monta erst jetzt kommt. Denn es wäre ein so perfekter Begleiter durch den Sommer gewesen. Für die guten und die verregneten Tage, die wachgelegenen Nächte und die Ohrstöpsel-Fahrradfahren ins Gegenlicht hinein. Diese Songs entwickeln ihre Wirkung in den (metaphorisch oder wörtlich) betrunkenen Momenten mit anderen, mit denen man gern zusammen möglichst laut die Refrains aus der Bluetooth-Box mitsingt. Genauso gut aber auch in den Zeiten, in denen man von all dem Sonnenlicht und Rausgeh-Trubel eher ein wenig Herzschmerz kriegt. Weil man plötzlich an Menschen denken muss, die weit weg sind oder gar nicht mehr da. Und man sich plötzlich den Super-8-Film anschaut, der im eigenen Kopf abläuft, und auch den findet man eigentlich schön. Monta, das ist und war schon immer Tobias Kuhn. ,Pacific" ist sein erstes neues Album seit 2007, und obwohl das wirklich eine lange Zeit ist, erinnert man sich noch sehr gut: Tobias Kuhn war immer schon ein Sänger, Songschreiber und Musiker, der das Intime und Hymnische, das psychedelisch Nachglühende und die große, alles vereinende Melodie zusammenbringen konnte. Nicht abwechselnd, sondern beides in einem. Und die beste Nachricht: Auf den neun Songs von ,Pacific" gelingt ihm diese hohe Kunst noch glänzender, vielschichtiger und bildstärker als je zuvor. Und die noch bessere: Es gibt ja bald wieder einen Sommer. Bis dahin können wir die Songs dann auch auswendig mitsingen, also beste Voraussetzungen.

Hochdynamischer melodischer Metal aus dem Herzen von Raleigh, North Carolina! Auf ihrem vierten Album in voller Länge verbinden Mega Colossus epische Metal-Größe mit den Hooklines und Melodien von Rainbow und Kansas! Aufgenommen mit Al Jacob im Warrior Sound in Chapel Hill fängt 'Showdown' Mega Colossus mit vollem Tempo ein und setzt wieder auf duellierende Twin-Guitar-Harmonien. Buchanans Gesang ist schrill und mühelos und trägt grandiose, kühne Refrains, die sogar gelegentliche Styx-Anspielungen aufweisen. Vor allem aber ist das Album ein der Zusammenschluss von fünf sehr unterschiedlichen Musikern. Kein Wunder also, dass sich Showdown zu einer epischen Darbietung unheimlichen und markanten melodischen Metals entwickelt hat, mit der ganzen Tiefe und dem Charisma einer Band, die jetzt in ihr 20. Jahr geht.

Rock Hard (8,5 Pkt. / Soundcheck # 4 Dynamit!)
MEGA COLOSSUS aus North Carolina haben ihren Stil gefunden. Sie adaptieren die pathetische Melodik von Seventies-Heroen wie Kansas, Styx oder auch Uriah Heep und sind mit ihren drei Stimmen durchaus in der Lage, deren abgefeimten Chorgesang zu reproduzieren. Aber ihre spielerische Provenienz liegt eben nicht im Rock, sondern im agilen, technisch ausgereiften, enorm zeigefreudigen Heavy Metal. Dieser Kontrast zwischen Schmonz und Breitseite ist ziemlich suggestiv. Trotz des hohen Tempos nieten sie sich souverän und tight durch ihre vertrackten Kompositionen, und das Gitarrenduo Bill Fischer/Chris Millard lässt die Finger fliegen, erinnert mit seiner an die Grenzen gehenden Spiellaune an Bands wie Haunt oder Valkyrie. Was ihnen an totaler Eingängigkeit vielleicht noch abgeht, machen sie mit Energie und Frische allemal wett.

Legacy (11 Pkt.)
Bill Fischer und Sean Buchanan stellen einmal mehr unter Beweis, wie geschickt sie Harmonien, Riffs und Hooklines mit prägnantem Gesang zu griffigen Songs zusammenschrauben können. Das inzwischen fünfte Album der Truppe aus North Carolina punktet ab dem Opener 'Fortune And Glory' mit straight gerifftem Siebziger-Jahre-Hard-Rock, der immer wieder Ausflüge in den Bereich des melodischen Metal unternimmt und von Buchanans Organ noch eine epische Note verliehen bekommt - hörbar bei 'Outrun Infinity' oder 'Showdown'. Die Melodielinien in Songs wagen auch immer mal wieder den Flirt mit wirklich poppigen Passagen und Strukturen, ohne dabei in den Kitsch zu schliddern - der kleine Hit 'Wicked Road' ist hier das wohl schillerndste Beispiel. Mit deutlichem Fokus auf Gitarren und Gesang und gesungenen Übergängen zwischen den verschiedenen Momenten erschafft der Fünfer eine Atmosphäre, die klingt, als wären Thin Lizzy auf Europe getroffen und hätten ganz unbefangen ein paar Songs geschrieben. Am Ende spendieren MEGA COLOSSUS dem Hörer mit 'Take To The Skies' noch eine schöne Achtziger-Metal-Nummer. Starkes Teil!

Bitchcraft was born in a move from New York City, where Bitch had lived for 15 years, to a log cabin in the woods. There was all the time in the world to make art, and it was there, in the cabin, that Bitch began to write some of the songs that would appear on Bitchcraft. 'It gave me space to think about the biggest version of myself that I could be,' she says of those early days in the cabin. The songs she wrote were a departure from anything she'd ever written before, and she began to craft huge pop tracks with the help of her trusty violin. Then, she moved to LA and Bitchcraft began to shapeshift again. In the time that followed, Bitch assembled a coven to complete it. She called on Anne Preven (Beyonce, Madonna, Demi Lovato) and God-des who helped her crystalize her vision in terms of writing and production. She called on Roma Baran (Laurie Anderson) to produce the violins on 'Polar Bear.' She called on Melissa York (Team Dresch, The Butchies) and Faith Soloway (Transparent) to co-write a couple of the songs. The resulting record is one that is full of glorious pop tracks that go in unexpected directions. Bitchcraft is like Joni Mitchell set to a click track, it's queer Cyndi Lauper. It's neon pink, in your face, ready to hex you with its brilliance. It's an unbelievably fun record that is extremely capable of breaking your heart a little bit. It also makes you think: about the state of the world, about evil politicians, about what it means to exist as a woman, and how to find joy along the way.

Two sublime unreleased scores from Basil Kirchin. Need we say more.
So here we are. The next Trunk / Kirchin assignment. Basically some more unreleased music from the unpredictable and slightly chaotic Kirchin Tape Archive.
Very Limited Black Vinyl.

These tapes were labelled up as follows:
Assignment K (with lots of pencil scribbles everywhere). The Strange Affair (with lots of pen scribbles everywhere).
As usual with Basil tapes / things there is little else to go on, no tracklist, no list of musicians, no singer names, no dates or anything. I have actually tried to establish the name of the singer on the song from Side One (we have called it “Love Is To Walk Away “ as it is unnamed) but having played it to a handful of knowledgeable collectors and enthusiasts who I would count as experts in this field, no one has a clue who it might be. If you think you know please get in touch. We know who it isn’t.

We can tell you that Assignment K dates from 1968, was a film about a toy maker who has a double life as an international spy. It was directed by Val Guest, who’d just finished trying to rescue the cinematic hotchpotch that was Casino Royale - he had been brought in by the Bond producers after Peter Sellers had walked off the movie. We imagine Assignment K may have been a slightly less stressful few months of shooting. As for the Kirchin score that we have here, we can tell you very little indeed, apart from the fact that the bass player was Ron Prentice (an ex blacksmith turned musician and craftsman) who worked on several Bond scores, but we know little else. And we only know this because it says so in the academic tome “Jazz On The Screen” by David Meeker.

The Strange Affair is also from 1968, and was not only controversial but also a reasonably unsuccessful movie. Directed by David Greene who also directed, amongst other films, I Start Counting and the quite brilliant Sebastian. In this rather grubby flick a policeman called Peter Strange (played by Michael York) falls for an underage girl (played by Susan George), finds himself compromised by a pair of pornographers and gets lured into an errand for a smack gang. We can tell you little else because I have no more information about it all.
But we do know that this music has all the classic Kirchin mid-period sonic hallmarks that have always set him apart.

Blue Raspberry is Katy Kirby"s follow up to her renowned debut album Cool Dry Place, which came out in February 2021. Singer/songwriter Katy Kirby introduced her warm, articulate vocals, perceptive lyrics, and playful adult-alternative style on her debut album as she toured tirelessly supporting bands like Waxahatchee, Andy Shauf, Julia Jacklin and Alex G. That record was a tried-and-true folk collection, perfectly displaying the chops of a young songwriter and emanating the warm feel of a band in a room; Blue Raspberry, made with the same band and producers (Logan Chung and Alberto Sewald) , hits the gas and enters completely new territory as we see Katy truly step into her own as a songwriting force. She fearlessly leans far into baroque piano pop on tracks like "Redemption Arc" and the title track "Blue Raspberry", and lyrically she explores themes of loss and queer love. Very few are able to capture the same emotional, theatrical magic of artists like Fiona Apple, Tom Waits and Joanna Newsom but Katy pulls it off on this record; standout "Drop Dead".

Jack White Acoustic Recordings 1998-2016 versammelt 26 akustische Songs aus Whites breit gefächerter musikalischer Karriere, darunter Solomaterial sowie Tracks von The White Stripes und The Raconteurs, inklusive Albumtracks, B-Seiten, Remixe, alternative Versionen und bisher unveröffentlichte Songs.

"I Honestly Love You is the soundtrack to the Australian biographical miniseries Olivia: Hopelessly Devoted to You. The series was broadcast on Australian commercial television and tells the story of singer, songwriter, and actress Olivia Newton-John, who is played by Delta Goodrem. The soundtrack is performed by Goodrem, who covers iconic songs from Newton-John's career. Some of the songs on the album include “You’re the One That I Want”, ""Hopelessly Devoted to You"", and “Let Me Be There”. It also features collaborations with Dan Sultan, Georgia Flood and Olivia Newton-John who can be heard on this album. I Honestly Love You is available as a limited edition of 1500 individually numbered copies on translucent magenta coloured vinyl and includes an insert with photos."

I honestly love you by Delta Goodrem, released 26 January 2024, includes the following tracks: " Physical", " Hopelessly Devoted to You", " Let Me Be There (feat. Olivia Newton-John)", " Till You Say You'll Be Mine" and more.

This version of I honestly love you comes as a 1xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a translucent, magenta disc.

With her captivating voice and richly detailed songwriting, Sarah Jarosz has emerged as one of the most compelling musicians of her generation. A four-time Grammy Award-winner and ten-time nominee at the age of 30, the Texas native started singing as a young girl and became an accomplished multi-instrumentalist by her early teens. After releasing her full-length debut Song Up in Her Headat 18-years-old, she went on to deliver such critically lauded albums as Follow Me Down, Build Me Up From Bones, and Undercurrent, in addition to joining forces with Sara Watkins and Aoife O’Donovan to form the acclaimed folk trio I’m With Her. Her fifth studio album, World On The Ground, produced by John Leventhal, went on to win the Grammy award for Best Americana Album. In 2021 Jarosz released the Grammy-nominated Blue Heron Suite, a much-anticipated song cycle which she composed after being the recipient of the FreshGrass Composition Commission.

The seventh album from Sarah Jarosz finds the highly decorated songwriter at the apex of change. A Texas native, she’s spent most of her adult life living in New York City, but shortly before writing the album Jarosz left her adopted home to join her soon-to-be husband in Nashville, TN. The geographic shake-up led to a sonic one as well for Polaroid Lovers. For the first time in her career she opened herself up to collaborators, leading to writing sessions with Daniel Tashian, Ruston Kelly and Natalie Hemby. The creative reorganization of her writing process evolved to include a much richer and more electric sound in the studio and being in Nashville meant access to a world of hot shot players. She tapped guitarist Rob McNelley (Miranda Lambert, Carrie Underwood), Tom Bukovac (Tom Petty, Vince Gill) on guitar and organ, her husband- bassist Jeff Picker (Nickel Creek), and drummer Fred Eltringham (Sheryl Crow, Lucinda Williams) for the album recording. Tashian took the helm as producer and the whole album was laid down at the legendary Sound Emporium.

As it goes with all change, Jarosz’s major life events had her feeling contemplative. While sitting on the precipice of adulthood, Polaroid Lovers finds her reflecting on past loves, childhood dreams, the places she lived in and all the versions of herself that she’s been. Although the listener experiences the sonic shift forward, the album’s subject matter is a photo album of the past. Jarosz has never sounded more assured. Polaroid Lovers is filled with the kind of confidence that comes from hard won life experiences and the conviction of someone who truly knows herself.

What I can say about TORRES is I think the music comes from a convicted place. Not convicted meaning a person is narrowly and foolishly committed to an ideal, or unshakably convinced of themselves, or a zealot, or stubborn. I mean dedicated, I mean: If TORRES' music gets weird, gets brainy, gets funny, gets defiant, provokes, deliberately scandalizes, employs the crass to undermine the austere, courts lofty philosophical truth-it's all done with the conviction of an artist with the (essential) belief in the worth of their task. I think you can hear it in the songs, someone reaching, leaning over the boundary between known and not, probing the almighty. After a decade and six studio albums and however many one-offs and tours and articles read and conversations had, the parts of this pursuit I've been able to observe are all marked by a dedication to creation that treats the act-ongoing-with as much preciousness as the evidence of the act that is left in a record. The modes of being are different: heartbroken, broke, furious (right- and unrighteously), awestruck by love, compelled by desire. sometimes resigned to death, sometimes fascinated by and reverent of the future. Sometimes viscerally present, other times suspended in heady awareness, poised on a fulcrum of observation and participation in the phenomenon that aliveness is. The tools are the same: instruments that growl and shriek and moan, a lyrical voice shouting, swooning, chuckling, snarling as the moment commands. TORRES' music-making is conducted in a melodic vocabulary unique to itself-methods, equipment, circumstances shifting around the impulse to affirm the self within the world, to make art that bears all these little artifacts of the divine and of the real and show it to people and know it is valuable. I think that's what Mackenzie's music does. And I think it's just incredibly good music to listen to. -Julien Baker TORRES is the pseudonym of Mackenzie Scott. She was born January 23, 1991, and lives in Brooklyn, New York, with her wife Jenna, stepson Silas, and puppy Sylvia. She has been releasing albums and performing as TORRES since 2013. What an enormous room is TORRES' sixth studio album (her third with Merge). It was recorded in September and October 2022 at Stadium Heights Sound in Durham, North Carolina. It was engineered by Ryan Pickett, produced by Mackenzie Scott and Sarah Jaffe, mixed by TJ Allen in Bristol, UK, and mastered by Heba Kadry in NYC. The album contains 10 songs. Mackenzie wrote all of them. Sarah played bass guitar, synths, drums, organ, and piano. Mackenzie sang vocals, played guitar, bass, synths, organ, piano, and programmed drums. Additional synth bass, tambourine, and shakers were played by TJ Allen.

What I can say about TORRES is I think the music comes from a convicted place. Not convicted meaning a person is narrowly and foolishly committed to an ideal, or unshakably convinced of themselves, or a zealot, or stubborn. I mean dedicated, I mean: If TORRES' music gets weird, gets brainy, gets funny, gets defiant, provokes, deliberately scandalizes, employs the crass to undermine the austere, courts lofty philosophical truth-it's all done with the conviction of an artist with the (essential) belief in the worth of their task. I think you can hear it in the songs, someone reaching, leaning over the boundary between known and not, probing the almighty. After a decade and six studio albums and however many one-offs and tours and articles read and conversations had, the parts of this pursuit I've been able to observe are all marked by a dedication to creation that treats the act-ongoing-with as much preciousness as the evidence of the act that is left in a record. The modes of being are different: heartbroken, broke, furious (right- and unrighteously), awestruck by love, compelled by desire. sometimes resigned to death, sometimes fascinated by and reverent of the future. Sometimes viscerally present, other times suspended in heady awareness, poised on a fulcrum of observation and participation in the phenomenon that aliveness is. The tools are the same: instruments that growl and shriek and moan, a lyrical voice shouting, swooning, chuckling, snarling as the moment commands. TORRES' music-making is conducted in a melodic vocabulary unique to itself-methods, equipment, circumstances shifting around the impulse to affirm the self within the world, to make art that bears all these little artifacts of the divine and of the real and show it to people and know it is valuable. I think that's what Mackenzie's music does. And I think it's just incredibly good music to listen to. -Julien Baker TORRES is the pseudonym of Mackenzie Scott. She was born January 23, 1991, and lives in Brooklyn, New York, with her wife Jenna, stepson Silas, and puppy Sylvia. She has been releasing albums and performing as TORRES since 2013. What an enormous room is TORRES' sixth studio album (her third with Merge). It was recorded in September and October 2022 at Stadium Heights Sound in Durham, North Carolina. It was engineered by Ryan Pickett, produced by Mackenzie Scott and Sarah Jaffe, mixed by TJ Allen in Bristol, UK, and mastered by Heba Kadry in NYC. The album contains 10 songs. Mackenzie wrote all of them. Sarah played bass guitar, synths, drums, organ, and piano. Mackenzie sang vocals, played guitar, bass, synths, organ, piano, and programmed drums. Additional synth bass, tambourine, and shakers were played by TJ Allen.

EVOLV is a visionary window into the mind of Dubfire, the journey of the ‘hybrid’ being and its evolution. Last year in October, an 11-track debut album was released on his long-standing SCI+TEC imprint. And now, just over a year later, Grammy award winning producer Dubfire returns to that sonic discourse, drafting in an impressive array of names to re-interpret the material, and accompanied by Dubfire's new audio-visual EVOLV show which picked up where the critically acclaimed electronic performance experience HYBRID had left off.

The eclectic package will include such notables as Glaskin, Arjun Vagale, Nadia Struiwigh, Mathimidori (dub alias of Mathias Kaden), Maral, Decka, Carl Craig, Truncate, Drumcell, Chris Liebing, Radio Slave and Luke Slater who have all given the original music in their own unique style.

With a career spanning over 3 decades, Dubfire has achieved global success as an artist with relentless drive, talent, and intuition. Pioneering commercial notoriety came initially as one half of the Grammy Award-winning (2001) duo Deep Dish, before embarking on a truly groundbreaking solo career in 2007. A career filled with timeless tracks include his early works, ‘RibCage’ (2007), ‘Emissions' (2007), ‘Roadkill’ (2007) and the highly acclaimed ‘Grindhouse’ (2009) remix from Radio Slave which led to a host of other notable projects over the years.
Collaborative work highlights include projects with Miss Kitten, Luke Slater, Flug, and Oliver Huntemann, as well as co-producing two songs on Underworld’s Barking album. A true artist, he has always been heavily invested in exploring performance technology, unveiled to wide praise with his HYBRID live show. A two-year world tour commenced in 2015 and was followed by his retrospective album, A Decade Of Dubfire (2017), a celebration of his immense output during the first 10 years of solo artist stardom. EVOLV is Dubfire’s debut solo artist album.

"Cross My Heart" is a tribute to the harmonica player and singer James Cotton, one of Boney Fields" heroes and companions on the road, is certainly the most representative track of this thrilling groove mood that authentic blues musicians know how to infuse. Boney Fields possesses that almost funk tone matured enough to tickle our ears and make us tap our feet. By revitalizing, for example, "The Thrill Is Gone" in the spirit of its original author (Roy Hawkins), Boney Fields perpetuates the tradition of spirited orchestras of yesteryears without compromising the modernity of its irresistible tempo. Much more personal than all his previous albums, "Just Give Me Some Mo" is also the expression of introspection, that of a man who remembers without drowning in dark nostalgia. He thinks of the courage of his mother bravely facing obstacles in an unequal America. "Back in the Day" is not a sad song. It makes one stronger and nurtures faith in the future. This melody is certainly the most touching of the six compositions written by Boney Fields. From "Control of you" to "Something" holding me" or "I know yes I Know" he invites us into his intimate biography, the story of a large family shaken by inevitable upheavals that must be faced, the destiny of a combative musician who resists adversity. Boney Fields chose to let his soul speak. This effort of truth had to be supported by the artistic direction of a master. By enlisting Sebastian Danchin for the production of this album, Boney Fields turns to a historian of African-American culture whose keen ear has already won over Little Milton, Mighty Mo Rodgers, Toni Green, and Jean-Jacques Milteau, among others... Their exchanges uncovered a perfect understanding of "Chicago Blues" the brassy vigor of which they experienced firsthand 40 years ago. Surrounding oneself with the right people is quite a challenge. Fortunately, Boney Fields knows how to spot true talents. He was convinced that the Senegalese guitarist Hervé Samb would also be a good musical director. Hadn"t he been the first to highlight the expressive power of this luminous composer and arranger? The enduring vitality of the blues, when narrated with precision and insight, always manages to find its legitimacy. The months of reflection, of questioning, will not have been in vain. They have given substance and depth to this thrilling record which, we wager, will be a milestone. Boney Fields has waited long enough. Does he want more? We will give him more! "Just Give Me Some Mo" will now be a shared leitmotif, that of an insatiable conductor and that of enlightened admirers.

"Known for their unique blend of punk rock, post-punk, folk, alternative rock and all kinds of musical sub-cultures, New Model Army refuses to belong to any club or style. Formed in Bradford in 1980, the band's lineup has changed over the years, with Justin Sullivan being the constant and central figure. They have released numerous albums and continue to tour and record music, maintaining a dedicated fanbase. Their music often addresses themes related to social and political issues, personal struggles, and the human condition, making them a significant presence in the alternative rock and post-punk music scenes. The 2019 studio album “From Here” ranked # 13 in the UK Album charts, and the 2023 live album “Sinfonia” hit #1 in the UK Music Video-Charts, making it the highest charting album in the band’s history.
Described as ""Dark Motown"" by Justin himself, “Unbroken” features a diverse collection of tracks that touch on topics ranging from social and political commentary to deeply personal reflections. The album is a powerful and emotionally intense body of work ranging from rebellious tracks as “I Did Nothing Wrong”, to contemplative songs like “First Summer After”. With this album, the band continues to push the boundaries of their signature sound while staying true to the themes that have made them a force to be reckoned with in the music world. “Unbroken” is the first studio album since 2019’s long-player “From Here” and the 16th studio album of the band. It will is available in as a CD Hardcover Mediabook, Heavyweight Black LP Gatefold"

Nach dem 2022er Erfolgsalbum "Go Steady" kehren die Londoner Ska-Pop-Punker BUSTER SHUFFLE auf die Bühne zurück und bringen eine brandneue Buster-Hymne mit, die den Titel "Hold Back The Rebels" trägt. Als Jet am Ende des Lockdowns umzog, stellte er fest, dass er einen sehr ungewöhnlichen neuen Nachbarn hatte. Im Garten des Nachbarn lebte nämlich ein Truthahn, ein sehr, sehr lautstarker Vogel (Tag und Nacht). Diese lärmende Meleagridinae (gerne googeln) hat schon so manche Tasse Tee im Garten verdorben. Es musste etwas unternommen werden, und so bereitete Jet seine geliebte Katze und seinen Hund (die Rebellen) auf ein "Attentat über den Zaun" vor. Als seine Frau von Jets Vorhaben erfuhr, griff sie in letzter Minute ein und befahl ihm, die Rebellen zurückzuhalten". Bei der Produktion der 7-Inch-Single und der Tournee wurden und werden keine Truthähne verletzt. Der Nachbarschaftsstreit wurde friedlich beigelegt. Fresssack! Nur 500 Exemplare von 'Hold Back The Rebels', auf der B-Seite der ebenfalls brandneue Song "Then Like Thunder", werden auf 7-Inch-Öko-Vinyl gepresst und nur bei Buster Shuffle-Live-Shows und über Cargo/375Media erhältlich sein! Buster Shuffle still goin' steady!

GOUTLAW, 4 piece rock and roll band, filthy and unhinged, as it should be, hailing from Melbourne Australia. Crystal visions. A moment captured in time. Picture Howlin' Wolf with Girl Trouble. The Virgin Mary, hooked on cough syrup, staring down the end of the line. Think Stooges, Beasts of Bourbon, Chrome Cranks and the Flesh Eaters. Elvis is dead and I'm not feeling too well myself. GOUTLAW to visit European shores in 2024 to showcase their self titled album, watch out!

All true improvisation involves an element of chance: the coming together of a nexus of influences impulses and actions that result in spontaneous creation. Often in the world of jazz these creative sparks blaze briefly in performance, and then disappear as the sonic vibrations fade from the air, but sometimes chance intervenes again, and moments thought to be gone forever can resurface in unexpected ways. As master drummer Jeff Williams sorted through his archive of cassette tapes from his extensive international career, he had no idea that hidden within it would be a recording of a 1991 evening when he joined storied NYC legend David Liebman for a set of spontaneous performances. Reunited together fifteen years after the breakup of their seminal band Lookout Farm in 1976, the two players reaffirmed their deep musical bond with a set of free-flowing exploratory dialogues in front of a receptive audience. Believed lost for many years, these performances can now be experienced again, with all their fearless freshness and pure committed musicianship undimmed by the passage of time.

Jeff Williams has established a formidable reputation as a drummer, composer, educator and bandleader on both sides of the Atlantic. His relationship with Liebman was forged in the exciting, expansive atmosphere of the New York scene in the early 70s: the meeting of Williams, the laid back Midwesterner, and Liebman, the mercurial, quintessential New Yorker, was an inspired coming together of opposites that always made the creative sparks fly. Williams remembers the journey that led to the Bar Room 432 on that 1991 evening:

“Just as I was leaving my home town of Oberlin, Ohio to move to New York City in 1971, I was given David Liebman’s phone number by someone who told me that Dave had started an organisation for jazz musicians there. I knew of Dave, from Ten Wheel Drive and John McLaughin’s My Goals Beyond, but I couldn’t have imagined what a significant role he would play in my musical life. Shortly afterwards, Dave would leave Elvin Jones and Miles Davis to start his own band, with Richie Beirach, Frank Tusa, and myself, (later adding Badal Roy), naming it Lookout Farm. We released two albums on ECM and one on A&M to wide critical acclaim, and toured across Europe, Japan, India and the US.”

“Following the dissolution of Lookout Farm, Dave and I embarked on a short duo tour opening for Gary Burton. That would be the last time the two of us would play until the occasion of this recording, fifteen years later.”

“Fast forward to 1991 when I discovered an attractive bar located on the far West Side of 14th Street in Manhattan. Bar Room 432 would become a six night a week jazz club for a few years, providing me, and many others, with the opportunity to perform our music. Catching wind of this, Dave suggested we do a duo performance there.”

“Luckily, I recorded it.There was no preparation, no set music to be played - we simply improvised, picking up where we’d left off. David’s mastery of the soprano saxophone is in full bloom here, as well as his incredibly resourceful musical mind.”

The performances are revelatory, moving in pure improvisation from clear, songlike melody to furious density, from ambience to pulsing groove, from light into darkness and back again. Cleaned up and remastered by Alex Bonney, the sound of the tape captures the warm, wood-lined ambience of the room, allowing the full power and dynamics of William’s drums and the warmth and fullness of Liebmans’ soprano sax to sing out, engaging the contemporary listener just as it engaged the hip Manhattan crowd thirty three years ago.

Featuring for the first time in the UK on 7-inch vinyl, ‘Touching And Caring’. Originally recorded in 1985 for the album Nina’s Back! In truth, Nina’s resurgence came a couple of years later in 1987 when the luxury brand Chanel No. 5 featured ‘My Baby Just Cares For Me’ in a UK TV ad campaign. Charly released the song and took it to #5 on the national pop charts. We reissue here as part of the forthcoming 50th Anniversary celebrations.

Following 5 BBC Folk Awards nominations and a designation by the Guardian as Folk Album of the Year in 2019, it is fair to say that Lisa O’Neill is one of the most evocative songwriters in contemporary Irish music today. Fresh off 2018’s collection Heard a Long Song Gone for the River Lea imprint, The Wren EP in 2019 and an adaptation of Bob Dylan’s "All the Tired Horses" for the final scene of epic TV drama Peaky Blinders, O’Neill now returns with her latest album, and first for the Rough Trade label, the beautiful, resonant All Of This Is Chance.

A raconteur in the truest sense of the word, every story starts somewhere and O’Neill starts this extraordinary collection here on earth, on Irish soil, hands in the land. The album is full of both orchestral masterpieces like the ambitious and cinematic "Old Note" and the title track of “All of This Is Chance”, inspired by the great Monaghan writer Patrick Kavanagh's prescient meditation on The Great Hunger, as well as stirring meditations on nature, birds, berries, bees, and blood that ring out over a clacking banjo, dusting and devastating all those in its wake.

All Of This Is Chance takes Lisa’s inimitable voice to greater heights, or depths, depending on which way you look at it.

"An ACE Tone Compact Drum'n'Bass Psych Punk LSD Massacre pressed on WAX and just produced for your 24h Dance and Hangover Nights in Haarlem/Amsterdam!" Haarlem Amsterdam's Underground-Helden aus der Niederlande - eine Band, die mit einer ACE Tone Compact Orgel (aus der Mitte der 60er Jahre) arbeitet und den erstaunlichsten Sound aller Zeiten herausquetscht, in einem Song ins orbit katapultiert und im anderen eine Fuzz-Shred-Punkrock panzer Faust direkt in die Mitte _ und Ganz zu schweigen von der großartigen Drums-n-Bass-Sektion, die einem in kürzester Zeit den Kopf um 380 grad umdreht. 3 Leute machen einen Sound von 5, in diesen Aufnahmen gehen sie mehr in die Richtung Synthesizer oder Elektronik angehaucht. Aber es ist nicht nur das, es ist diese verdammte ACE Tone Compact Orgel die durch deine Ohren dröhnt!!!! Die Platte beginnt mit ,Boots` einem typischen ,E.T. Explore Me" Smasher, Ark ist eine Reise in sich selbst eine religiöse Offenbarung. Erhelle die Dunkelheit!!! ,Drug me, haben wir bereits als Vinyl 7 veröffentlicht und erzählt wie im song in ,Drip" über die Einnahme von verbotenen halluzinierenden Medikamente in einer 24 Stunden party und eine durchgeknallte Tanznacht in den Nachtclubs von Amsterdam, ,SIC" ist eine gefährliche unkontrollierte Fahrt mit dem Auto durch die Nächte in Haarlem und im song 98% mit gast Sängerin Kim-Lee Tio Bitte Nehmen Sie sich eine Minute Zeit und tauchen Sie ein in die Welt von ,E.T. Explore Me" ein und erfahren sie sich selber neu mit dieser Truppe aus Haarlem/Amsterdam. Digisleeve CD incl. 12page booklet, Vinyl-LP classic black w/ pinted inlay plus dlc.

plastic death - the second album by glass beach - is a follow-up record almost five years in the making. The band's 2019 debut, aptly titled the first glass beach album , has over the years grown a cult fanbase for its unflinching depiction of queer life as mediated through social media, its oversized ambition, and its scrappy yet adventurous production. And while it took some time to arrive, plastic death sounds like the logical expansion of all the things that made their first album so special. Years and years of relentless writing, tinkering demos, cancelled tours and a few lockdowns only strengthen the chaotic core of what makes glass beach' s maximalist approach work so well. Frontperson and primary songwriter J McClendon is joined by lead guitarist Layne Smith, bassist Jonas Newhouse and drummer William White to create something adventurous on each song. Trumpet, trombone, violin, and even marimba dance and bloom alongside the band's own creative and dextrous instrumentation - a stunning, transformative creation that pulls from indie rock, jazz, prog, hardcore, metal, experimental, and beyond. Songs like lead single "the CIA," are examples of the band's ambitious writing. It's a dark, dancy, post-punk/jazz hybrid, a coordinated, breathless braid of synth and saturated guitar. Tension and confusion explode into a brutal modern metal climax to close the track, flickering with glitchy production zaps and razor-sharp stops. The artwork of plastic death is similarly rich with detail, resulting in a bioluminescent, fully-realized double album depicting sprawling scenes where moments of neon brightness shine momentarily in a dark undersea - a metaphor for the moments of optimism and catharsis glass beach provide on these songs. "This album is the Pacific garbage patch: cultural trash strewn together seemingly by accident, standing in stark juxtaposition to each other ," says McClendon. plastic death is a complete, uncompromising, playful work of art; every corner and crevice of the record's 13 tracks, each arrangement and timbre and texture, is alive with intention and possibility.

plastic death - the second album by glass beach - is a follow-up record almost five years in the making. The band's 2019 debut, aptly titled the first glass beach album , has over the years grown a cult fanbase for its unflinching depiction of queer life as mediated through social media, its oversized ambition, and its scrappy yet adventurous production. And while it took some time to arrive, plastic death sounds like the logical expansion of all the things that made their first album so special. Years and years of relentless writing, tinkering demos, cancelled tours and a few lockdowns only strengthen the chaotic core of what makes glass beach' s maximalist approach work so well. Frontperson and primary songwriter J McClendon is joined by lead guitarist Layne Smith, bassist Jonas Newhouse and drummer William White to create something adventurous on each song. Trumpet, trombone, violin, and even marimba dance and bloom alongside the band's own creative and dextrous instrumentation - a stunning, transformative creation that pulls from indie rock, jazz, prog, hardcore, metal, experimental, and beyond. Songs like lead single "the CIA," are examples of the band's ambitious writing. It's a dark, dancy, post-punk/jazz hybrid, a coordinated, breathless braid of synth and saturated guitar. Tension and confusion explode into a brutal modern metal climax to close the track, flickering with glitchy production zaps and razor-sharp stops. The artwork of plastic death is similarly rich with detail, resulting in a bioluminescent, fully-realized double album depicting sprawling scenes where moments of neon brightness shine momentarily in a dark undersea - a metaphor for the moments of optimism and catharsis glass beach provide on these songs. "This album is the Pacific garbage patch: cultural trash strewn together seemingly by accident, standing in stark juxtaposition to each other ," says McClendon. plastic death is a complete, uncompromising, playful work of art; every corner and crevice of the record's 13 tracks, each arrangement and timbre and texture, is alive with intention and possibility.

Andy Sharrocks started writing songs in 1976. He found a vehicle for these songs with punk band Accident On The East Lancs. This started out as a covers band, but Andy soon became frustrated when the other members wanted to stay that way. The band disintegrated but Andy retained the name, forming a new cutting edge four piece playing his songs. He financed their first single in 1979 on his own label Roach Records. This was a double A side as one of the sides was a ditty called We Want It Legalised. The other side was a Bo Diddley kind of groove called Tell Me What Ya Mean, which Record Collector magazine recently said sounded like a song The Strokes should cover. This line up fell apart when immediate success failed to arrive, but Andy formed another band out of the ashes of local band Wilful Damage, and the guitarist out of the original covers band. They recorded and released on Roach Records another double A sided single in 1981 as well as an album released on cassette tape on Cargo Records. The singles now exchange hands on the collectors market for over seventy pounds, the album has been rereleased on vinyl twice, once on a German label, and once on UK’s OZIT/MORPHEUS Records which came with a bonus live album The singles have been released on many punk compilations and We Want It Legalised is about to be released on a new Manchester punk compilation on Cherry Red Records. They played many free festivals including Deeply Vale three times, and did many great supports including The Fall, Tractor, Here And Now and Crass. Andy left the band in 1982 for personal reasons, and had a one single deal with I Believe In Love on the Vibes and Vibes record label in 1985. Refusing to compromise and do covers, Andy found it impossible to make a living doing his own material which was now primarily Americana, after discovering alt.country through Steve Earle and Lyle Lovett in 1985. He went on the road as a tour manager, which is where he met Hilly Briggs, who went on to produce Andy’s first solo album in 2004 called Walking In Familiar Footsteps, which featured ex Rolling Stones Guitarist Mick Taylor, Bluesband and Manfreds frontman Paul Jones and Bobby Vee’s sons Jeff and Tommy on drums and bass respectively. Andy was now living in London and was gigging regularly on his own or with a revolving circle of musicians going under the collective title of Andy Sharrocks & The Smokin’ Jackets. He played over five hundred gigs all over London and the UK. He also did many supports for Mick Taylor, Buddy Whittington, Steve Gibbons, The Strawbs, Curved Air, and supported John Mayall on a UK nationwide tour, and played the Jazz Café in Camden twice with John. He also played The Hells Angels Bulldog Bash three times, The Skegness Rock n Blues Festival, The Herelbeke Blues festival in Belgium and The Colne Blues Festival. In 2009 he released another album called Dirt with The Smokin’ Jackets, which came out to great critical acclaim. Andy is now releasing a triple album of truly magnificent UK Americana, called Country Rock n Roll n Durty Blues. Press Quotes : "Country Rock ‘n’ Roll ‘n’ Durty Blues is a sprawling album of original rock and blues which takes you from Muddy Waters to modern Americana" – Nigel Carr, Louder Than War // "Good honest earthy rock ‘n’ roll done the old fashioned way with passion and aplomb" – Mark Radcliffe, BBC // "Country Rock ‘n’ Roll effortlessly lives up to its title … and more" – Pete Feenstra, Get Ready To Rock // "As a listener it really is bloody good fun - Briticana, Americana with a very English voice

Ulvers legendäre erste beiden Black Metal - Alben, "Bergtatt" & "Kveldssanger" endlich wieder als separate Vinyl - LPs erhältlich! Beide Werke wurden für das lange vergriffene LP Box Set "Trolsk Sortmetall" (2014) von Jaime Gomez Arellano für Vinyl remastert und kommen - wie auch die vorherigen 2019er Editionen - in Klappcovern und auf 180gr schwerem, farbigem Vinyl. Das 4-seitige "Bergatt" LP-Booklet enthält ein ausführliches Interview mit Ulvers Mastermind Krystoffer Rygg und das 8-seitige "Kveldssanger" LP-Booklet enthält ein Notenblatt des Songs "Ulvsblakk". Truly classic Norwegian Black Metal pioneering art!

Ulvers legendäre erste beiden Black Metal - Alben, "Bergtatt" & "Kveldssanger" endlich wieder als separate Vinyl - LPs erhältlich! Beide Werke wurden für das lange vergriffene LP Box Set "Trolsk Sortmetall" (2014) von Jaime Gomez Arellano für Vinyl remastert und kommen - wie auch die vorherigen 2019er Editionen - in Klappcovern und auf 180gr schwerem, farbigem Vinyl. Das 4-seitige "Bergatt" LP-Booklet enthält ein ausführliches Interview mit Ulvers Mastermind Krystoffer Rygg und das 8-seitige "Kveldssanger" LP-Booklet enthält ein Notenblatt des Songs "Ulvsblakk". Truly classic Norwegian Black Metal pioneering art!

Car Therapy Sessions is an EP of new and re-imagined songs by Faye Webster recorded at Spacebomb Studios with a 24 piece orchestra. The orchestra was headed by Trey Pollard who was responsible for both conducting and arranging, and Drew Vandenburg produced and mixed the EP. Car Therapy Sessions will be available on vinyl in the fall and is available to pre-order on April 13th. "I have a vivid memory of walking around London in 2018 listening to a mix of Jonny, which I had just written. I remember thinking "I want to perform this song with an orchestra". I truly have had my heart set on it since then, always talking about it and figuring out how or when to make it happen," says Webster. On the EP, Webster reimagines three songs from her critically acclaimed 2021 release I Know I'm Funny haha and 2019's Atlanta Millionaires Club. The songs "Kind Of", "Sometimes" and "Cheers" take on a cinematic and glimmering new sheen. In addition to the title track -"Car Therapy" - she also shares a sprawling and emotional work - "Suite: Jonny" - which combines fan-favorites "Jonny" and "Jonny (Reprise)." The two songs originally appeared on the Atlanta Millionaire's Club tracklist, two different views on the same narrative. Here they're presented together. It's remarkable how beautifully Webster's work can take on this orchestral treatment. Like Cole Porter, or Judy Garland - her delicate and emotional delivery packs a gut punch when dramatized by the EP's robust arrangements.

New Zealand juggernaut Fat Freddy’s Drop return with a new studio album, ‘Special Edition Part 1’, due for digital release on 15th November, with 2LP Vinyl and CD following up on 10th January. The 45rpm vinyl edition is produced with
a different track order across four sides and promises to deliver super fat loud audio.

Part 1 of a double album, ‘Special Edition Part 1’, comprises of six tracks of which ‘Raleigh Twenty’, ‘Trickle Down’ and
‘Six-Eight Instrumental’ were written and recorded undercover at the band’s Wellington studio, BAYS, while the other
tracks; ‘Special Edition, ‘Kamo Kamo’, and ‘OneFourteen’, have all been developed and evolved from the band’s celebrated live jam sessions, whilst on the road in front of audiences worldwide.
Supremely crafted at Freddy’s own BAYS studio in hometown Wellington, the deep musical and rich vocal layers reflect
Freddy’s inspiration from the black music lexicon and is a response to the crowd energy at their world dominating live
shows.

‘Special Edition Part 1’ is the first release of a long envisaged double album project with separate chapters. The next
journey, Part 2 will be released in 2020 after stringent road-testing with audiences over 35 shows across New Zealand, UK and Europe celebrating the release of the Part 1. These upcoming live performances will allow the band to fully explore new song-writing technology and give rise to a slamming Part 2. The new album follows on from 2015’s ‘BAYS’ LP, which saw support from Financial Times, Resident Advisor, Dummy, the DJ Mag and Clash-acclaimed ‘Blackbird,’ second album ‘Dr Boondigga and the Big BW’ - which gained rave reviews by The Guardian and BBC Music - and the band’s record breaking debut album ‘Based on a True Story’, which went nine times platinum and remained in New Zealand’s top 40 charts for over two years after its release in
2005.
The album cover artwork is by Wellington artist Otis Chamberlain, a continuing evolution from his creation for the its first single ‘Trickle Down’, a work that's morphed from digital cover art to the band’s massive summer tour backdrop and the recently released late-night buttery steppers ‘Kamo Kamo’. Fat Freddy’s Drop have been performing and recording together for more than 15 years, establishing themselves as one of New Zealand's most internationally successful acts. Considered one of the best live experiences in the world, they will embark on their biggest European and UK tour since they sold out a double hitter at London’s 02 Academy Brixton in 2018. Including an already sold out show in Dublin, the band will headline Cardiff’s Motorpoint Arena on 29th April 2020, Liverpool’s Invisible Wind Factory on 30th April, returning back to London’s Alexandra Palace on 1st May – the palace was the scene of two triumphant sold out headline concerts in 2014 and 2017 - before heading north to Glasgow’s Barrowland on 3rd May.

Back in stock - limited numbers. Note new price. As with the second volume, the original of this release suffered from limited distribution and despite the valiant efforts of band members to promote the album, literally travelling around the UK's record shops with boxes of LPs, the original release sold in very limited numbers. It has justifiably become one of the most sought after and expensive British reggae LPs and one where the music more than lives up to expectations. Black Symbol provided other local Handsworth based bands with the opportunity to record their songs properly in the well equipped Outlaw Studio and then gave them the platform of this album with each band getting two tracks to showcase their talent. This album lifts the lid on a scene that was overflowing with talent and yet rarely documented

Mit ihrem neuen Heavy Rock Album "2024" legen RAVENSTINE noch eine Schippe drauf und präsentieren sich musikalisch noch reifer und geschlossener als auf ihrem selbstbetitelten Debüt. Diesmal übernahm John die Hauptaufgaben als Komponist, aber alle Bandmitglieder trugen zum großen Ganzen bei. RAVENSTINE sind ihrem eigenen Stil treu geblieben, die Texte handeln von Themen, die sie in ihrem Alltag beschäftigen, wie z.B. Depressionen ("Black Is The Brightest Color"); über eine verlorene Heimat sowie das Gefühl, dass Heimat gar nicht mehr existiert ("A Long Way Home"); die Aussicht auf den eigenen Untergang ("When I'm Dead And Gone") oder die mögliche Verbindung zwischen Social Media und Amokläufen ("Killing Spree"). Die Band hat mit ihrem Song "Fly Eagle Fly" auch ein lupenreines Juwel komponiert, das alles bietet, was ein Hit braucht: Ein gutes Riff, einen Groove, der einen packt und einen Killer-Refrain! Auch Fans von Balladen werden sich freuen: Während "Signs By The Roadside" von seiner Atmosphäre lebt, kommt "When I'm Dead And Gone" mit einem Refrain daher, der den Hörer dazu bringt, ein Feuerzeug hochzuhalten und es von links nach rechts zu bewegen.