Cerca:wyatt

Philadelphia's THE WONDER YEARS are set to release Burst & Decay Vol. III on May 9 via Hopeless Records. This third installment of their stripped-back series introduces a new track, "Junebug," written by vocalist Dan Campbell about his younger son and produced by Steve Evetts (SAVES THE DAY, LIFETIME). On the record, Campbell's personal narrative continues with "Wyatt's Song (Your Name)," a piece crafted for his older son that employs the actual recording of Wyatt's in-utero heartbeat as its metronome. Closing the album, "Doors I Painted Shut" delivers cinematic intensity through vibrant vocals and production led by guitarist Nick Steinborn, signaling a confident exploration into new sonic territory. Burst & Decay Vol. III also features collaborative reinterpretations of signature tracks. On "Came Out Swinging," Joe Taylor of KNUCKLE PUCK lends dynamic vocals, while Zayna Youssef of SWEET PILL amplifies the raw vulnerability on "Oldest Daughter." Ryland Heagy of ORIGAMI ANGEL offers a tender performance on "I Don't Like Who I Was Then." Over a career spanning more than a decade, THE WONDER YEARS have toured extensively_sharing stages with MY CHEMICAL ROMANCE, PARAMORE, DESCENDANTS, THURSDAY, BLEACHERS, and others_and built a community through their own label and the annual Loneliest Place On Earth festival, which has showcased acts such as HOT MULLIGAN, ORIGAMI ANGEL, and LAURA STEVENSON. Their previous album, The Hum Goes On Forever, debuted at #3 on the US Alternative Album Chart and earned recognition from Paste Magazine as one of the best records of the 2020s, while the track "Year of The Vulture" was chosen as the theme for WWE NXT's Stand and Deliver event.

Auf dem vierten Album von Chrystia Cabral als SPELLLING verwandelt die Künstlerin aus der Bay Area ihr gefeiertes Avant-Pop-Projekt in einen Spiegel. Cabrals Texte auf „Portrait of My Heart“ befassen sich mit Liebe, Intimität, Angst und Entfremdung und tauschen den allegorischen Ansatz vieler ihrer früheren Werke gegen einen Blick in ihr menschliches Herz. Die thematische Unverblümtheit des Albums spiegelt sich in den Arrangements wider und macht es zum bisher schärfsten und direktesten SPELLLING-Album. Vom düsteren Minimalismus ihrer frühesten Musik über den üppig orchestrierten Prog-Pop von „The Turning Wheel“ aus dem Jahr 2021 bis hin zu diesem neuen energiegeladenen Ausdruck ihres kreativen Geistes hat Cabral immer wieder bewiesen, dass SPELLLING alles sein kann, was sie braucht. Der Titeltrack mit seinem treibenden Drum-Groove und dem hymnischen Refrain von „I don't belong here“ ist die stärkste Verkörperung der Hinwendung des Albums zu emotionaler Direktheit. Sobald sich die Hauptmelodie herauskristallisiert hatte, nutzte Cabral den Song als Werkzeug, um ihre Ängste als Performerin zu verarbeiten, und entschied sich für eine straffere, rockigere Komposition. Diese Transformation spiegelt die allgemeine Verlagerung des Albums in Richtung Energie und Unmittelbarkeit wider, die von der Kernband Wyatt Overson (Gitarre), Patrick Shelley (Schlagzeug) und Giulio Xavier Cetto (Bass) vorangetrieben wird, deren Zusammenarbeit neue Konturen des SPELLLING-Sounds offenbart. Cabral schreibt und demontiert immer noch alleine, aber die Präsentation der Songs für „Portrait of My Heart“ vor ihren Bandkollegen hat ihr geholfen, die späteren lebendigen, organischen Formen zu entdecken. Das gilt auch für die Zusammenarbeit mit einem Produzententrio: Drew Vandenberg, der Tontechniker von „The Turning Wheel“, Rob Bisel, der mit SZA zusammenarbeitet, und Psymun, der Produzent von Yves Tumor. Wichtige Gastbeiträge prägen das Album zusätzlich. Chaz Bear (Toro y Moi) liefert SPELLLINGs erstes Duett auf „Mount Analogue“, Turnstile-Gitarrist Pat McCrory verwandelt Cabrals ursprüngliches Piano-Demo für „Alibi“ in die knackige, rifflastige Version, die auf dem Album zu hören ist, während Braxton Marcellous von Zulu „Drain“ seine schlammige Wucht verleiht. Diese Teile fügen sich nicht nur nahtlos in das Album ein, sie fühlen sich wie ein integraler Bestandteil seines Universums an. Letztendlich ist Portrait of My Heart jedoch niemandes Platte, sondern die von Cabral. Sie zieht furchtlos den Vorhang über Teile ihrer selbst zurück, die sie in SPELLLING noch nie gezeigt hat - ihre Gefühle als Außenseiterin, ihre übermäßig vorsichtige Art, die Art und Weise, wie sie sich rücksichtslos in intime Beziehungen stürzen kann, um sie dann genauso schnell wieder abzubrechen. „Es ist wie ein offenes Tagebuch all dieser Empfindungen“, sagt sie.

Auf dem vierten Album von Chrystia Cabral als SPELLLING verwandelt die Künstlerin aus der Bay Area ihr gefeiertes Avant-Pop-Projekt in einen Spiegel. Cabrals Texte auf „Portrait of My Heart“ befassen sich mit Liebe, Intimität, Angst und Entfremdung und tauschen den allegorischen Ansatz vieler ihrer früheren Werke gegen einen Blick in ihr menschliches Herz. Die thematische Unverblümtheit des Albums spiegelt sich in den Arrangements wider und macht es zum bisher schärfsten und direktesten SPELLLING-Album. Vom düsteren Minimalismus ihrer frühesten Musik über den üppig orchestrierten Prog-Pop von „The Turning Wheel“ aus dem Jahr 2021 bis hin zu diesem neuen energiegeladenen Ausdruck ihres kreativen Geistes hat Cabral immer wieder bewiesen, dass SPELLLING alles sein kann, was sie braucht. Der Titeltrack mit seinem treibenden Drum-Groove und dem hymnischen Refrain von „I don't belong here“ ist die stärkste Verkörperung der Hinwendung des Albums zu emotionaler Direktheit. Sobald sich die Hauptmelodie herauskristallisiert hatte, nutzte Cabral den Song als Werkzeug, um ihre Ängste als Performerin zu verarbeiten, und entschied sich für eine straffere, rockigere Komposition. Diese Transformation spiegelt die allgemeine Verlagerung des Albums in Richtung Energie und Unmittelbarkeit wider, die von der Kernband Wyatt Overson (Gitarre), Patrick Shelley (Schlagzeug) und Giulio Xavier Cetto (Bass) vorangetrieben wird, deren Zusammenarbeit neue Konturen des SPELLLING-Sounds offenbart. Cabral schreibt und demontiert immer noch alleine, aber die Präsentation der Songs für „Portrait of My Heart“ vor ihren Bandkollegen hat ihr geholfen, die späteren lebendigen, organischen Formen zu entdecken. Das gilt auch für die Zusammenarbeit mit einem Produzententrio: Drew Vandenberg, der Tontechniker von „The Turning Wheel“, Rob Bisel, der mit SZA zusammenarbeitet, und Psymun, der Produzent von Yves Tumor. Wichtige Gastbeiträge prägen das Album zusätzlich. Chaz Bear (Toro y Moi) liefert SPELLLINGs erstes Duett auf „Mount Analogue“, Turnstile-Gitarrist Pat McCrory verwandelt Cabrals ursprüngliches Piano-Demo für „Alibi“ in die knackige, rifflastige Version, die auf dem Album zu hören ist, während Braxton Marcellous von Zulu „Drain“ seine schlammige Wucht verleiht. Diese Teile fügen sich nicht nur nahtlos in das Album ein, sie fühlen sich wie ein integraler Bestandteil seines Universums an. Letztendlich ist Portrait of My Heart jedoch niemandes Platte, sondern die von Cabral. Sie zieht furchtlos den Vorhang über Teile ihrer selbst zurück, die sie in SPELLLING noch nie gezeigt hat - ihre Gefühle als Außenseiterin, ihre übermäßig vorsichtige Art, die Art und Weise, wie sie sich rücksichtslos in intime Beziehungen stürzen kann, um sie dann genauso schnell wieder abzubrechen. „Es ist wie ein offenes Tagebuch all dieser Empfindungen“, sagt sie.

On Chrystia Cabral's fourth album as SPELLLING, the Bay Area artist transforms her acclaimed avant-pop project into a mirror. Cabral's lyrics for Portrait of My Heart tackle love, intimacy, anxiety, and alienation, trading the allegorical approach of much of her previous work for something pointed into her human heart. The album's thematic forthrightness is echoed in its arrangements, making it the sharpest, most direct SPELLLING album to date. From the dark minimalism of her earliest music to the lavishly orchestrated prog-pop of 2021's The Turning Wheel to this newly energetic expression of her creative spirit, Cabral has proved again and again that SPELLLING can be whatever she needs it to be. The title track, with its propulsive drum groove and anthemic chorus of "I don't belong here," is the most potent embodiment of the album's turn toward emotional directness. Once the main melody emerged, Cabral used the song as a tool to process her anxiety as a performer and opted for a tighter, more rock-oriented composition. This transformation mirrors the album's broader shift toward energy and immediacy, driven by the core band of Wyatt Overson (guitar), Patrick Shelley (drums), and Giulio Xavier Cetto (bass), whose collaboration uncovers new contours of the SPELLLING sound. Cabral still writes and demos in isolation, but presenting the songs for Portrait of My Heart to her bandmates helped her discover their eventual lively, organic forms. So did working with a trio of producers_The Turning Wheel mixing engineer Drew Vandenberg, SZA collaborator Rob Bisel, and Yves Tumor producer Psymun. Key guest contributions further shape the album. Chaz Bear (Toro y Moi) delivers SPELLLING's first duet on "Mount Analogue," Turnstile guitarist Pat McCrory turns Cabral's original piano demo for "Alibi" into the crunchy, riff-y version that appears on the record, while Zulu's Braxton Marcellous gives "Drain" its sludgy heft. These parts aren't just incorporated seamlessly into the album; they feel like an integral part of its universe. Ultimately, though, Portrait of My Heart is nobody's record but Cabral's. She fearlessly draws the curtain back on parts of herself that she's never included in SPELLLING before_her feelings of being an outsider, her overly guarded nature, the way she can throw herself recklessly into intimate relationships and then cool on them just as quickly. "It's very much an open diary of all those sensations," she says.

Modern Obscure Music is proud to present Pierre Bastien & DJ Low's "Swing Low", a work that fuses the poetic inventiveness of Pierre Bastien with the visionary legacy of the late DJ Low (Tom Deweerdt), a central figure in Belgian independent music and founder of the influential Lowlands label. This album, which interweaves memory and experimentation, represents Bastien's debut on the Barcelona label's catalog and a testament to the creative bond between the two artists.
The album, composed of seven pieces, stands out for its hybrid nature: five reinterpretations of Bastien's previous works, some of them coming from his influential Mecanoid (originally released by Rephlex), and two unreleased improvisations, A Pupa and Reviver, which seal the unique character of the project.
Pierre Bastien, recognized as a composer, inventor and builder of sound machines, has been a tireless explorer of the frontiers between the mechanical and the musical. From his contribution to the Belcanto Orchestra, his collaboration with the PRSNT project to his participation in Pedro Vian's Earth, Our Planet or his collaboration with Tomaga for the Other People label, his career illustrates a constant commitment to experimentation and the intersection of disciplines. Among the artists he has worked with are names such as Robert Wyatt, Jac Berrocal, Jaki Liebezeit and designer Issey Miyake. His works have found homes on iconic labels such as Marionette, Morphine and Discrepant to name a few.

The album is presented with a visual design by Koen Bruyneel, reinterpreted as a tribute to Tom Deweerdt, a decade after his departure.

This LP is a selection of tracks by The Wilde Flowers representing the origins of the ‘Canterbury Scene’. It features early works by Robert Wyatt, Mike Ratledge, and brothers Hugh and Brian Hopper.

All tracks are mono except “The Pieman Cometh” and a re-working of the Soft Machine classic “Hope For Happiness” recorded by Brian Hopper in 2003 which are both in stereo.

What if Japanese city pop met no wave? Neither in your wildest dream such occurrence could be real, but let’s make things clear. Frank Chickens could have been possibly forerunners for several famous alternative bands, Cibo Matto on top of all, but sure had a development on their own. Our history began in London, early eighties, art duo Frank Chickens is the original creation of Japanese performers Kazuko Hohki and Kazumi Taguchi. All of a sudden the band debuts with a pair of singles and a full length on Kaz Records, it’s 1984, but could have been easily 1994. Backed by the likes of Steve Beresford (Alterations, The Slits, General Strike, London Improvisers Orchestra), Annie Whitehead (Penguin Cafe Orchestra, Robert Wyatt), Lol Coxhill, Tony Coe and Clive Bell (the top of the cream of the English avantgarde) the band soon became a case in history. Now we have the pleasure – 37 years after its original release – to reissue their second album: Get Chickenized!

The record came out in 1987 on the british label Flying Lecords and showed a different side of the project, with a major focus on the so-called synth wave counterculture, still maintaining a certain avant feel. With original conspirator Steve Beresford still on board, the band was propelled in the studio by another key figure of the London underground: journalist, composer and producer David Toop. Being John Peel’s favorite for a while, the band built a cult following retaining some absurd live performances, well known for their idiosyncratic choreography. Later revamped in the year 2000 - thanks to cult label Ninja Tune – the band enjoyed a second wave of success, with a remix album featuring the likes of Pizzicato 5, Fink and Neotropic. With a cover embellished by the labor of Pere Ubu David Thomas, this second influential album is finally available for your listening pleasure. Here’s your chance to dive deep into this exotic pop extravaganza.

Alternative Jazz. This is a 5 track EP of brand new, previously unreleased material from The Near Jazz Experience (Terry Edwards, Mark Bedford and Simon Charterton). Whilst recording the new album Terry asked pianist Mike Garson (best known for his work with David Bowie, Nine Inch Nails, Smashing Pumpkins) - whom Terry has toured with if he'd like to play on a track. Mike said yes, recorded a stupendous solo for Character Actor at his home studio and sent it over. All in the space of 24 hours! On hearing the piano part NJE bassist Mark Bedford came up with the idea of having the piano mixed with the original track (as intended) but also using it as the basis for a completely new recording with the piano leading rather than complementing the band. Side 1 of the EP has these two very different versions from the same seed. Unidentical twins indeed. Side 2 of the EP contains 4 outliers from the album sessions. These aren't out-takes or unfinished pieces. They simply couldn't find a place for themselves within the album - along the lines of the tunes Tom Waits put together for his Orphans compilation of 2006. They are standalone tunes which have found a home together on this EP because in some way they all have filmic qualities. Side 1 contains 2 takes on Character Actor (the title being a nod to Cracked Actor, a tune on Aladdin Sane, the album that introduced Bowie fans to Mike Garson), and Side 2 has The Loping Four; Projector; MacGuffin and Lockstep, all titles which contain strong cinematic elements, MacGuffin in particular. It was Alfred Hitchcock's favourite word for a red herring in the plot. The musical cast on this release has a remarkable pedigree. The NJE consists of Terry Edwards (solo artist and session player with PJ Harvey, Franz Ferdinand, Siouxsie, Jimi Tenor, Piroshka, Tindersticks etc); Mark Bedford (Madness, Robert Wyatt, Robyn Hitchcock, Nightingales etc); Simon Charterton (The Higsons, Alex Harvey, Zook, Serious Drinking etc). Alongside featured guest Mike Garson there is an appearance by Oliver Cherer (Aircooled, Miki Berenyi Band) on keys and synth. This is an RSD exclusive, 500 copies on black vinyl in full colour sleeve which reflects the filmic quality of the recorded material. No download. The title track will appear on the next Near Jazz Experience studio album. The 4 additional tracks, however, will remain exclusive to Record Store Day.

A founder member of SOFT MACHINE, Kevin embarked on
a solo career in 1969, signing to EMI’s Harvest label, for
whom he would record a series of wonderful and
stylistically eclectic albums.
‘WHATEVERSHEBRINGSWESING’ was issued in November
1971 and saw contributions from David Bedford, Robert
Wyatt and Mike Oldfield.
Featuring such classic tracks as ‘Stranger in Blue Suede
Shoes’, ‘Song from the Bottom of a Well’ and
‘Whatevershebringswesing’, the album is regarded as one
of Kevin’s finest.
This new vinyl edition of this classic album has been
remastered from the original tapes and was cut at Abbey
Road Studios. It fully restores the original LP artwork.

Air, Nico, St Etienne, Kid Loco, Young Marble Giants, Sandy Denny, Vashti Bunyan, Andrew Weatherall, Robert Wyatt and Serge Gainsbourg. Limited edition first pressing of 500 copies on "Mock Turtle" Blue. International collaboration between artists in Glasgow, London, Paris & New York. Mastered by Shimmy-Disc founder Kramer. Accompanying visual art work by Film and art director Tim Saccenti. Inspired by the intensity of lockdown, the self-titled debut album by electro-pop project Gates of Light, is the result of a collaboration between five artists across four cities, three time zones and two continents. Hailing from Glasgow, singer-songwriter Louise Quinn and producer Bal Cooke teamed up with London-based DJ and producer Scott Fraser; Parisian musician, DJ and producer Kid Loco; and film director and photographer, New York’s Tim Saccenti - who has previously worked with Run The Jewels and Pharell- to create a sublime, electro-pop reflection on the grief, insularity and peculiar highs of lockdown. Immediately after hearing the album, revered post-punk musician and producer Kramer offered to release the vinyl edition on his iconic cult label Shimmy-Disc, which boasts an impressive back catalogue of artists including Daniel Johnson, Low and Galaxie 500. A project grounded on collaboration - born from a period of disconnect - Gates Of Light perfectly amplifies the longing, confusion, lucid dreams and appreciation of the outdoors that the pandemic ignited in so many over the last couple of years. Originally written and recorded by Louise and Bal from their bedroom studio in Glasgow whilst their one-year-old twins slept, the tracks were then sent to Scott and Kid Loco who remixed the tracks from home studios in London and Paris before Tim created the artwork and a video for the track ‘When The Leaf Falls’. Gates Of Light is the latest project from Louise and Bal who have released music in the past as A Band Called Quinn and DAWNINGS. Louise and Scott Fraser have also previously collaborated following a chance encounter at a nightclub in Glasgow. Their single ‘Together More’ was released on Andrew Weatherall’s renowned Birdscarer vinyl imprint in 2019 and featured a remix by the Guv’nor himself who described the track as “sublime magik”.

"Learn To Die is a bold new step for a group of musicians, artists, and writers that has at least nominally been considered a punk band. A stylistic overhaul. For those who have been following along, it’ll carry some surprises. Slender began over a decade ago as a semi-improvisational cassette recording project, a casual collaboration between a few friends that was initially documented by two self-titled cassette-only releases released in 2014 and 2015 respectively, now both unavailable and out of print. Most fans, however, will know Slender for their two most recent releases, Walled Garden (2017) and Time On Earth (2019), both released on the tastemaking London art-punk label La Vida Es Un Mus. "Their prior work has earned them comparisons to anarcho-punks Crass and The Snipers, lo-fi flagbearers Swell Maps and Pink Reason, and artrockers Cromagnon and Amon Düül. Here, however, such comparisons feel largely unfounded and the band feels somewhat peerless. Moments of artpunk brutalism, lo-fi experimentalism, and kosmiche detours grace the fabric of Learn To Die, but the album reaches for more than pastiche. Teasing the rarified worlds of chamber music and musique concrete, Slender manages something intangible and strange. A vocoded voice intones multi-lingual poems alongside tinny guitars and sampled strings and flutes. Three chord janglepunk anthems arise suddenly out of a cosmic mist crafted by analogue synths reciting the poetry of machines. The album moves in ways reminiscent of works by artists as varied and singular as Nobukazu Takemura, Chuquimamani-Condori, Coil, and Robert Wyatt, but it doesn’t necessarily occupy the same realm as any of them.” – Leah B. Levinson

Zee Skirts is the slightly mysterious band around Zeezee L'amoroso. After a self-released LP, Zee Skirts comes today with a second full album i.c.w. W.E.R.F. Records.

'Only the Bad Sleep Well' is a collection of songs written specifically for insomniacs, lost daydreamers and those who cherish their pajamas as a precious gem. What began as a musical odyssey inadvertently emerged as a concept record.

We hear melodic earworms combinedwith dashes of Japanese film noir, a bassoon chasing a trombone and a drum kit rolling down the stairs. Musically, they get the hot sauce from Harry Nilsson, Robert Wyatt, Yasuaki Shimizu, Kate Bush, Thelonious Monk, ...

"The winding flight path of Torn Hawk lands at 'Trustfall', a hilarious and poignant spoken work of rewarding density. It’s almost 34 minutes of Luke talking— talking over, against, and to himself, with sporadic, slyly deployed SFX and quotes of his own music, using a childhood memory as a generative node for a funny and emotional tale of transformation.

Luke Wyatt/Torn Hawk has been pushing more into speech-focused work in the last few years, using his NTS residency as an R&D space. His 2022 album “Toxic Sincerity” featured speech pieces of newly raw intimacy, and a cassette for Cav Empt saw a longer-form exploration of these efforts. Honed from a 2023 performance at NYC’s Issue Project Room, “Trustfall” is where all this talk has been heading.

It’s branching allusions— to the ’86 Mets, WIlliam Rehnquist, Boy Scout regalia and behavioral weirdness, etc etc— take us on a wild but strangely cohesive, funny-sad path, which finally points at the deeply neccessary and spiritual utility of self-expression."

Repress.


Bassist of the band Lo'Jo until 2016, Kham Meslien has performed on all continents, from the big stages of the world's cities to the Australian and American deserts With this solo double bass project, he embarks on a new adventure that mixes overdubbing with samples and special guest Anthony Joseph on one track. He
also plays in the trio Sweet Back and has collaborated, on stage or in the studio, with many international musicians: Robert Plant, Archie Shepp, Robert Wyatt and Justin Adams.

Heute kündigt die mitreißende Pfeiferin Molly Lewis ihr Debütalbum „On The Lips“ an, das am 16. Februar über Jagjaguwar erscheint. Im vergangenen Jahr hat Molly an der Seite von Mark Ronson und Andrew Wyatt eine der emotionalsten Szenen des Hollywood-Hits „Barbie“ vertont, Modehäusern wie Chanel, Gucci und Hermes ihr einzigartiges Talent geliehen und Weyes Blood auf Tour unterstützt. Auf ihrem kommenden Debütalbum lädt sie ein ins Café Molly, eine Lounge-Bar, wie es sie nicht mehr gibt. Das Licht ist gedämpft, die Martinis sind eiskalt, die Bänke sind aus Samt, und die Bühne ist bereit für das elektrisierende Talent der Pfeiferin Molly Lewis. Nach dem exotischen Stil der „The Forgotten Edge“ EP und der an Tropicalia angelehnten „Mirage“ EP wollte sie den Sound des Café Molly für ihr Debütalbum „On The Lips“ einfangen, eine verträumte Hommage an klassische Stimmungsmusik, die neblige Visionen von Hollywood-Jazzclubs, italienischen Kinosoundtracks und anhaltenden Umarmungen zwischen Liebenden heraufbeschwört. Ziehen Sie sich also einen Stuhl heran, bestellen Sie Ihren Lieblingsdrink und machen Sie sich bereit, sich zu verlieben. „On The Lips“ wurde mit dem Produzenten Thomas Brenneck (Menahan Street Band, Charles Bradley, Amy Winehouse) in den Diamond West Studios in Pasadena aufgenommen. Während der Sessions wurde Molly auf den 10 Tracks des Albums von einer Reihe gefeierter Musiker unterstützt, darunter Nick Hakim, der für den Latin Grammy nominierte brasilianische Gitarrist Rogê, Leland Whitty und Chester Hansen von Badbadnotgood, die Chicano-Soul-Gruppe Thee Sacred Souls auf dem melancholischen "Crushed Velvet", der experimentelle Jazz-Pianist Marco Benevento und Leon Michels von El Michels Affair. Das Album enthält zwei Coverversionen: Dave Berrys Pop-Standard "The Crying Game" aus den 1960er Jahren und Jeanettes "Porque Te Vas" von 1974. Gleichzeitig mit der heutigen Ankündigung wird die Single "Lounge Lizard" mit Musikvideo veröffentlicht, inspiriert von Julie Londons Erscheinung im Film The Girl Can't Help It von 1956.

Heute kündigt die mitreißende Pfeiferin Molly Lewis ihr Debütalbum „On The Lips“ an, das am 16. Februar über Jagjaguwar erscheint. Im vergangenen Jahr hat Molly an der Seite von Mark Ronson und Andrew Wyatt eine der emotionalsten Szenen des Hollywood-Hits „Barbie“ vertont, Modehäusern wie Chanel, Gucci und Hermes ihr einzigartiges Talent geliehen und Weyes Blood auf Tour unterstützt. Auf ihrem kommenden Debütalbum lädt sie ein ins Café Molly, eine Lounge-Bar, wie es sie nicht mehr gibt. Das Licht ist gedämpft, die Martinis sind eiskalt, die Bänke sind aus Samt, und die Bühne ist bereit für das elektrisierende Talent der Pfeiferin Molly Lewis. Nach dem exotischen Stil der „The Forgotten Edge“ EP und der an Tropicalia angelehnten „Mirage“ EP wollte sie den Sound des Café Molly für ihr Debütalbum „On The Lips“ einfangen, eine verträumte Hommage an klassische Stimmungsmusik, die neblige Visionen von Hollywood-Jazzclubs, italienischen Kinosoundtracks und anhaltenden Umarmungen zwischen Liebenden heraufbeschwört. Ziehen Sie sich also einen Stuhl heran, bestellen Sie Ihren Lieblingsdrink und machen Sie sich bereit, sich zu verlieben. „On The Lips“ wurde mit dem Produzenten Thomas Brenneck (Menahan Street Band, Charles Bradley, Amy Winehouse) in den Diamond West Studios in Pasadena aufgenommen. Während der Sessions wurde Molly auf den 10 Tracks des Albums von einer Reihe gefeierter Musiker unterstützt, darunter Nick Hakim, der für den Latin Grammy nominierte brasilianische Gitarrist Rogê, Leland Whitty und Chester Hansen von Badbadnotgood, die Chicano-Soul-Gruppe Thee Sacred Souls auf dem melancholischen "Crushed Velvet", der experimentelle Jazz-Pianist Marco Benevento und Leon Michels von El Michels Affair. Das Album enthält zwei Coverversionen: Dave Berrys Pop-Standard "The Crying Game" aus den 1960er Jahren und Jeanettes "Porque Te Vas" von 1974. Gleichzeitig mit der heutigen Ankündigung wird die Single "Lounge Lizard" mit Musikvideo veröffentlicht, inspiriert von Julie Londons Erscheinung im Film The Girl Can't Help It von 1956.

Großartige Songs aus dem reichen Fundus der Popularmusik von Scott Walker über Robert Wyatt bis St. Vincent. Auf ihren Wesenskern reduziert, in ein neues Licht getaucht und niemals übermotiviert vorgetragen. Lyrischer Jazz, Kontemplation. Pianist, Arrangeur und Produzent Uwe Schenk hatte mit Jochen Feucht (reeds), Florian Dohrmann (b) und Michael Kersting (dr) bei den Aufnahmen zu dieser LP drei äußerst routinierte Musiker an seiner Seite. Musiker, die die Schönheit der Reduktion schätzen. Die Auswahl der Songs übernahm Co-Produzent Andreas Vogel. Der DJ und Musikconnaisseur wusste dabei genau, welche Stücke bei Uwe Schenk auf fruchtbaren Boden fallen würden. Schenk schrieb daraufhin sieben Arrangements, die die Grundlage von Since You've Asked bilden. Im Jazzidiom verankert, mit einem Fokus auf Holzbläserklängen, sorgt vor allem das warme Timbre der Klarinette für den unverbrauchten und frischen Sound der Songs. Beste Voraussetzungen für eine entspannte Recording-Session und im Ergebnis eine LP, die dazu einlädt, sich ganz dem Klang hinzugeben, um tief in die Musik einzutauchen.

Tricatel is proud to present, in a limited edition of 777 hand-numbered copies, the superb double vinyl/book dedicated to 7×7, inspired by Bertrand Burgalat.

Seven notes in the scale, seven days in the week, seven colors in the rainbow, seven wonders of the world, seven virtues and seven sins, seven ages of life, seven samurai, seven dwarfs for Snow White… Under the sign of 7, Belgian artist Jean Pierre Müller, in close collaboration with seven music legends (Robert Wyatt, Archie Shepp, Sean O’Hagan, Mulatu Astatke, Kassin, Nile Rodgers, Terry Riley), has conceived a magical project combining visual and sound compositions, in all senses and meanings.

In the summer of 2012, 7×7 was first presented to the public in its entirety at Edinburgh’s Summerhall, the start of a series of high-profile exhibitions and shows that have taken 7×7 from New York to Cannes. Ten years later, Jean Pierre and Tricatel would like to dream again with you, this time of a physical object celebrating 7×7 and offering the general public the opportunity to own a piece of the 7 colors dream.

This art and music object is a Gatefold double-vinyl, comprising two white vinyl records in printed inner sleeves and a 64-page booklet in the center, like a book.

Repress of the sold out Record Store Day release, this time on a different colour. Black Spiders – Those trusted and true sons of the north are back. “We knew the new album had to be special. We’ve been away for a while. The first album was a straight shot, the second on the rocks, with this new one we had to kick down the brewery doors!” Pete Spiby. Back in June of 2017, Sheffield rock beasts Black Spiders waved goodbye to an army of loyal fans with some sonically charged shows before retreating into the shadows. And then, in November of last year, with the world in the grips of the Coronavirus pandemic and after a long year of very little fun from out of the silhouettes they returned with ‘Fly In The Soup’, the first new Black Spiders music in 6 years. Exactly the feel-good shot in the arm the world needed, while we await that other vaccine. The seeds of the Black Spider return were actually planted last summer, when singer and guitarist Pete Spiby began taking to guitarist Ozzy Lister to start writing new material and before they knew it, they had amassed the best part of 40 songs in a very short period of time which they whittled down. And then the pandemic hit. “It’s certainly been a strange process, in unfamiliar territory,” explains Pete. “We started to look at how we could do it given the restrictions and not only that, but we had to replace our original drummer too. For us and probably most other bands, we would usually take a riff or song idea to a rehearsal and thrash it out ‘till we either had something or it ended up in the song graveyard! This time around we couldn’t do that, so myself, Ozzy and on occasion Adam Irwin (bass player) started to send ideas back and forth until we had something to work with in GarageBand. We got to a point where we had enough song ideas with basic structure to go into a studio. It was at this point when we had to look for a new drummer.” With former drummer ‘Tiger’ Si Atkinson unavailable to play, with a week or two of grooming, the band took a chance on Planet Rock DJ Wyatt Wendel to occupy the drum stool. “I've never joined or worked with a band in this way EVER,” laughs Wyatt. “2020 certainly made it surreal. “A Pete/Ozzy writing session at the beginning of the year had produced some promising results, but it felt like barriers were popping up everywhere,” explains bassist Adam Irwin. “We started talking about how we could use technology such as GarageBand to help, and slowly but surely the song writing gathered pace. It was time to hook up with our old producer Matt Elliss and try these new songs out in the studio. “Heading into the studio to record songs we’d written but never played together, with a drummer that we’d never met, is one of the stranger experiences I’ve had while being in a band. Thankfully, Wyatt has turned out to be an excellent addition, who despite his faults (loud, southern) has fit right into the band dynamic. Covid has made life really tough for so many of us in our industry. And yet, this new way of song writing has been liberating, this is the most consistent and prolific we’ve ever been, and I am immensely proud of this album.” Against all of the odds, Black Spiders have crafted an album that features 13 tracks of high-energy, feel-good rock n’roll contrasted by demonic doom that despite the disjointed, isolated way it was recorded. It sounds like a band, firing on all cylinders. “We had to dig down deep to pull out some gems and what would we want from Black Spiders,” questions Pete. War, vengeance, mental health, death, conservation & climate change, where are we from? Relationships, friendships, our flaws. Where are we going? Alien life and Mother Earth - some of which made the record.” Kicking off with the aforementioned ‘Fly In The Soup’ single, this 3rd ST long-player wastes no time in grabbing you by the scruff of the neck and dragging you through an album where good times, hooks and riffs are not in short supply, but the doom-drenched likes of ‘Wizard Shall Not Kill Wizard’ and the psychedelic groove of album closer ‘Crooked Black Wings’ give us an album of many moods and dynamics and a reason to be cheerful in 2021. And why does the album have no title? “It wasn’t hard picking a title for the album, as we decided that the focus should be on the band, not the album title, so we decided not to have one. Let the music do the talking....

Naarm/Melbourne-based soul artist and proud Noongar woman Bumpy presents her new single, ‘Return Home’, it illuminates the transportive nature of BUMPY, guiding the listener through a world in which vulnerability is strength and power is quiet but self-assured.

Described by Bumpy as an ode to home and “the people, places and connections that make us feel grounded and at ease”, ‘Return Home’ is propelled by stirring strings arranged by Aaron Wyatt, who recently marked history as the first Indigenous conductor of an Australian state orchestra.

The third album by Canterbury's own Caravan, originally released in 1971. This was the last album to feature the original Caravan line-up, before David Sinclair left to form Matching Mole with Robert Wyatt (Soft Machine) later that year. In The Land of Grey and Pink is of the defining albums of the era, deemed one of the Greatest Prog Rock Albums of All Time (Rolling Stone) and Best Cosmic Rock Albums (Q and MOJO). This reissue set features a pink and grey marble 2LP, which features live BBC live sessions tracks made available for the first time on vinyl.

Das neue Album, welches auf das 2018 erschienene Debüt "Embody" des dänischen Liedermachers folgt, wurde erneut in Sebbersund in der Nähe von Ross' Elternhaus mit John Wood aufgenommen. Wood, der vor allem für seine Arbeit an der Seite von John Martyn, Cat Stevens, Nico, Nick Drake, Pink Floyd und anderen bekannt ist, bat dieses Mal seinerseits um eine Zusammenarbeit mit Hjalte, nachdem dieser den legendären Produzenten vor seiner ersten Platte um Rat gebeten hatte. Nach der zerbrechlichen und zurückhaltenden Schönheit des Debüts, gibt es nun ein neues Gefühl des Selbstvertrauens, einen zusätzlichen Biss in den Texten, eine zusätzliche Tiefe in dieser besonderen Stimme. "Ich bin ein besserer Songwriter, ein besserer Sänger und ein besserer Gitarrist geworden", betont Hjalte. "Ich habe jedoch die gleiche Absicht wie beim letzten Mal beibehalten und mich darauf fokusiert, ein Album in voller Länge zu machen und mich dabei absolut und gänzlich auf die Musik zu konzentrieren. "Waves of Haste" ist eine subtile und gleichfalls mutige Erweiterung seines Sounds. Das Album besteht aus neun fesselnden Songs und wurde nach der Begegnung in New York mit Daniel Goodwin von diesem gemischt und gemastert, einem Produzenten, der für seine Arbeit mit Künstlern wie Kevin Morby und Whitney und vielen anderen bekannt ist. Diese Paarung bringt das Beste in Hjaltes Songwriting zum Vorschein, hebt die Gegensätze von Norwegen und New York hervor, gelangt dabei zu etwas gemeinsamen Größerem "Waves Of Haste" klingt gleichzeitig modern und elegant alt(modisch), erinnert an den gefühlvollen Sound der 70er Jahre und ist außergewöhnlich grandios. Die LP - gepresst bei Optimal - kommt als klassich schwarzes Vinyl in aufwendig gestaltetem Klappcover inklusive Prägedruck. Das Artwork wurde entworfen vom erfolgreichen dänischen Maler/Bildhauer Kasper Eistrup (auch ehemals von der Band Kaschmir bekannt). Für Liebhaber der Genres Singer/Songwriter, Folk, Independent, für Fans von Nick Drake, Kevin Morby, José Gonzales, Robert Wyatt, John Martyn, Leonard Cohen...

He has curated an intimate, thoughtful collection of songs that deal with cherished loved ones, love denied, the power of faith, and a simpler, less encumbered way of life.The album features a healthy mix of country classics and contemporary bluegrass songs: Sparks revives warhorses from the repertoires of Lefty Frizzell, George Jones, and Hank Williams, complementing them with material from present-day writers including Wyatt McCubbin and Daniel Crabtree.

An evocative, heart-felt singer with few peers, younger bluegrass musicians are inspired by and study the subtle nuances of Sparks' vocal style. But Sparks, however, is a double threat, being equally revered for his innovative guitar playing.

Countless guitarists have tried to emulate his singular flatpicking style, but few - if any - have truly mastered it.

For some years, fans of the Bluegrass icon have requested that he do a project of this nature. At long last, that wait is over. Listeners get pure Larry Sparks.

Recorded at his newly built home studio, it's just him, his signature 1954 D-28 and his son Larry "D" Sparks providing subtle backing rhythm on bass. The warmth and intimacy of this album affords his admirers the opportunity to pull up a chair, relax, and listen to a true bluegrass master do what he does best - playing and singing from his heart to theirs.

Weekend Recovery are back with a brand-new album ‘Esoteric’. Mixing equal measures of in-yer-face vox, overdriven guitars and straight-talking lyrics, it’s this mix that’s seeing the Sheffield indie-pop trio into editorial playlists on Apple, Deezer and YouTube alongside shows at Kendal Calling, Bingley Weekender and sell out dates including Corporation Sheffield. The first cuts from the record ‘Chemtrails’ and ‘No Guts All The Glory’ hit the airwaves with a bang, amassing plays on BBC Radio 1 Introducing (Gemma Bradley, Nels Hylton), BBC 6 Music (Steve Lamacq, Chris Hawkins, Fresh on the Net), Radio X (John Kennedy), Kerrang! Radio (Johnny Doom), Amazing Radio (Charlie Ashcroft, Shell Zenner, Frankie Francis), Absolute Radio (Frank Skinner), Planet Rock (Wyatt Wendels), BBC Sheffield (Christian Carlisle, Ellie Colton), BBC York (Jericho Keys), RTE 2 Ireland and as far as KEXP, Seattle and national USA station Sirius XM (Rodney Bingenheimer). The latest single ‘No Saint’ features Joel Arthur from local bandmates Hydeout and represents the harder edge in their third studio album.

Ultramarine are an English electronic music duo, formed in 1989 by Ian Cooper and Paul Hammond.

Cooper and Hammond first worked together in the band A Primary Industry during the mid-1980s. Following the split of that band, they formed Ultramarine and released their debut album 'Folk' in April 1990 on seminal Belgian label Les Disques du Crépuscule. The duo found critical acclaim with their second long player, 'Every Man And Woman Is A Star', initially released in 1991. Over the next decade or so, they recorded two John Peel sessions, collaborated with Robert Wyatt, toured the States with Orbital, then Europe with Björk. After a hiatus, they began recording again in Ian's home studio, overlooking the Blackwater Estuary in Essex.

The moods and movements of this English estuary can be heard running through the duo's stunning and deeply intriguing new album 'Send and Return'.

Flowing and mutating as it transitions from an Essex river into the open sea, the Blackwater Estuary, north of London, inspired this beguiling collection of hypnotic jazz, itching electronica and softly dazzling ambient shapes.

For the 6-track album, Paul and Ian hired a Thames sailing barge moored on the estuary for one day and recorded below deck in the ship's downstairs wooden saloon; the idea was originally inspired by seeing Robin Williamson of The Incredible String Band perform on a similar barge.

The duo were joined by jazz musician Greg Heath and accomplished percussionist Ric Elsworth for the day, who added stunning saxophones, alto flute, percussion and vibraphone to the mix. It's a contemplative, ambient record with gentle jazz inflections and softly pulsing electronica.

This ten-track album showcases Alex Pester's unique and unconventional sound, a blend of folk, baroque pop, psychedelia, and experimentalism, and is set to become a defining moment in his young career.

A PRESSING OF 300 COPIES WORLDWIDE. NON-RETURNABLE.

At just twenty-two years old, Pester has already established himself as a prolific singer-songwriter hailing from Bath, England. He has released three albums to date, each displaying his immense talent as a musician and songwriter.

Influenced by the Incredible String Band, The Beatles, Robert Wyatt, Animal Collective, Harry Nilsson, and The Microphones, among others.

'Okemah Rising' ist der zweite Teil der Woody Guthrie/Dropkick Murphys-Kollaboration. Während das Ziel von 'This Machine Still Kills Fascists' darin bestand, das Bewusstsein zu schärfen, will 'Okemah Rising' das Dach hochgehen lassen. Sicher, es gibt ein oder zwei zärtliche Momente, aber alles in allem steht hier die Party im Vordergrund.

Selbst eine Party-Platte kann eine Botschaft haben - das bekam die Band zu spüren, als Dropkick Murphys die 'Okemah Rising'-Songs 'Gotta Get to Peekskill' und 'I Know How It Feels' vor tausenden Fans auf ihrer Deutschland-Tour gespielt haben. Jeden Abend, wenn das Publikum Woodys Worte mitsingt, kommt seine unerschütterliche Verteidigung der Arbeiterklasse und sein Kampf gegen soziale Ungerechtigkeit und den Missbrauch politischer Macht laut und deutlich rüber. Solange es Dropkick Murphys gibt, werden Woody’s Werte gehört werden: die Verteidigung der Arbeiterklasse, der Kampf gegen soziale Ungerechtigkeit und den Missbrauch politischer Macht.

repressed !

A lot can happen in 15 years. Few things manage to thrive for a decade and a half, especially in music. But a scrappy, left of center, Bay Area house music label, Dirtybird, has managed to do just that. Claude VonStroke, Dirtybird’s founder, is marking this 15-year milestone the only way he knows how… working. This year, VonStroke will throw two dozen-plus parties, three festivals (including the famous Dirtybird Campout), host his traveling Dirtybird BBQ series in major cities across the US, publish a coffee table book, release a seasonal clothing line, stage art shows, produce a fly on the wall docu series...and kick it all off by releasing a new album, out February 21st.

What began as a free party, turned basement record label, has morphed into a truly thriving community whose familial, fun and welcoming vibe has won over hearts and minds across the world. And while Dirtybird has grown and evolved, VonStroke’s core focus on music remains unwavering. The new album ‘Freaks & Beaks’ is a celebration of quirky innovation and a relentless pursuit of something new and fresh, while hearkening back to the freewheeling spirit that inspired the launch of his label. This is a project that draws upon the inspirations of family, old friends, new fans and proper dancefloors.

Claude will let his flock wet their beaks while they wait in anticipation of the new album with two new singles demonstrating the breadth of the dance music landscape explored on the record. Youngblood touches on the deeper sides of Claude VonStroke, a throwback to the label’s early days, featuring local LA music house talent Wyatt Marshall, while All My People in the House is a dancefloor heater that is sure to unite new and old Dirtybird fans together.

Today, Claude also delivers fans part one of an intimate video series, shot by his sister Emily (an accomplished filmmaker), documenting the creation of ‘Freaks and Beaks’, celebrating this historic milestone and taking a deeper dive into the day to day life of Claude VonStroke on the road.

‘Freaks and Beaks’ is the fourth artist album and sixth full-length project from Claude VonStroke. He approached the album with a new process, including committing to daily creative time, experimenting with a lot of new hardware and having fun creating a huge amount of sketches. He made music on many levels of gear all the way from complex modular synths to simple drum apps on his iPad. Keeping it all DIY, he sampled his own voice and his two children on several tracks as well. He allowed himself to breathe while creating over 130 ideas, which were whittled down to the finished 11 album tracks.

Freaks & Beaks nods at the inspirations that underpin VonStroke’s world, inside jokes between him and Justin Martin (FlubbleBuddy), unused experimental live sessions (Session A), playful noodling on synths (Alpine Arpline), obscure French producers (Frankie Goes To Bollywood), championing new talent (Youngblood), irreverent self-aware humor (Birthday Messages) and genre inspirations that range from ghetto tech and drum n bass to hip-hop and breaks. This is VonStroke’s love letter to the vibrancy and genre diversity that have made Dirtybird such a singular label.

For over 30 years Richard Adams has been quietly documenting his own particular corner of the English countryside both with Hood, the post-rock band he formed with his brother in 1991, and since 2007 with The Declining Winter. Recorded over a five year period and inspired by rustic English alternatives such as Talk Talk and Robert Wyatt, The Declining Winter’s latest work ‘Really Early, Really Late’ is a collection of beautiful songs, immersed in a richer sonic spectrum incorporating strings, horns and lush electronic textures, alongside Adams’ own unique guitar tones and characteristic dubby bass. Though it retains the homespun scratchiness of previous The Declining Winter records, ‘Really Early, Really Late’ is also their most ornate. A remotely collaborative effort, the record is scattered with decorative embellishments from violinist Sarah Kemp (Brave Timbers), cellist Peter Hollo (Tangents), and guitarist Ben Holton (epic45), among many others. Adams’ distorted whisper of a voice has never been more exposed leading to a brutally emotive and intensely personal song-suite, both raw and beautiful in equal measure. The storybook curiosity of Mark Hollis’ work is a particular influence. Like Hollis, this music is imbued with magical realism: beholden to nature, it hints at the mysteries lurking in mundane local landscapes and the more remote Yorkshire moors and valleys. A record to hold close to your heart, ‘Really Early, Really Late’ sees Adams and his collaborators emerge from the shadows with their most complete work to date. Home Assembly are proud to present the album on lush crystal clear, double vinyl, bundled with a CD housed in an oversized vinyl-style sleeve.

Australian vocalist-guitarist Daevid Allen was a part of the highly experimental Canterbury scene, alongside the likes of drummers Robert Wyatt and Pip Pyle, before he relocated to Paris in the late ‘60s, formed Gong and made music that had a rare blend of on the fly creativity and off the wall humour. However, Banana Moon was a solo effort by Allen that saw him reunite with the aforementioned British kindred spirits as well as bassist Archie Legget and vocalist Maggie Bell, among others. The nine songs on the record run from interludes of just under a minute to epic suites that exceed ten, making it clear that Allen, as his work with Gong suggested, gave full vent to his imagination whether he was writing songs with a quasi-Beatles pop appeal or engaging in unrestrained sonic flights of fancy. With lyrical curveballs being thrown on every track, none more so than ‘Fred The Fish And The Chip On His Shoulder’, the music has a wry charm to match the performance skills of the band. This re-mastered version of Banana Moon brings Allen’s uncommon musical vision back in to view and serves as a reminder of the feverish and fearless energy that spurred on an artist whose work has lost none of its seductive shock value.

Future Jazzers, notorious experimentalists and outfield eccentrics stumble onto the dancefloor. In the 90s. In the UK.

From an electronic music perspective, the period 1992 to 1996 in the UK that this compilation celebrates, was one of dizzying sonic diversification.

It was also a particularly turbulent time in the UK, not only politically and economically, but also culturally too. Economic catastrophe in ‘92 was followed by widespread poverty, a cost of living crisis and countless political scandals. Meanwhile, John Major’s Tory government pandered to its political base via unpleasant, authoritarian legislation that seemingly sought to crush rave culture, alternative lifestyles, and traveller communities. The UK was not so much a ‘Happy Land’ – to quote the name of this compilation – as an angry and divided one. Sounds familiar, doesn’t it?

Throughout, the music created by producers based across these Isles remained uniquely British, speeding up a process begun in the late 1980s through the emergence of street soul, bleep & bass and breakbeat hardcore – musical styles whose roots in multicultural inner-city communities made them distinctly different from the Black American sounds that had inspired their creators. It was here, rather than in the indie pubs of Camden, that real musical revolutions were taking place.

This deep diving selection brings together some truly adventurous and original electronic music from this period, much of it very hard to find. Major label outings connect with white label oddities with ease. Perhaps it could even be argued that many of these unearthed gems fit more easily into DJ sets in 2023 than they ever did at the time. The off-kilter swing of Richard D James’ obscure and highly sought after Strider B outing, ‘Bradley’s Robot’ is joined by further rare cuts from Cabaret Voltaire and the Black Dog, and artists as diverse as Ultramarine, Herbert, Fretless AZM, and Radioactive Lamb, amongst others.

This collection has been lovingly selected, compiled and mastered for maximum sonic playback. This very special release boasts sublime pastoral themed artwork, as well as informative and passionate liner notes by celebrated music scribe Matt Anniss (‘Join The Future’).

Expanded with 2 original single-version tracks. Digitally mastered from original BYG tapes by Nick Robbins. 16-pages booklet with photos & exclusive liner notes by author and journalist Kevin Le Gendre. CD: Original 1969 BYG album. Expanded with 2 original single-version tracks. Digitally mastered from original BYG tapes by Nick Robbins. 16-pages booklet with photos & exclusive liner notes by author and journalist Kevin Le Gendre. *** Having been part of the fabled ‘Canterbury scene’ along with luminaries such as Robert Wyatt and Pip Pyle the irrepressible Australian guitarist-vocalist-songwriter Daevid Allen formed Gong with Welsh vocalist Gilli Smyth in Paris at the end of the ‘60s as France was in state of ferment. Magick Brother introduced Gong as one of the great oddities of the psychedelic and space rock age. The nucleus of Allen, Smyth and Malherbe was able to create a musical vocabulary very much of its own all the while searching for essential metaphysical truths. “The band made strong political statements that comes through loud and clear on this re-mastered version of Gong’s debut album...” Kevin Le Gendre, 2022

Following the success of his 2022 mod-club, soul-jazz adventure with Mick Talbot, on 27 January Acid Jazz Records will release Chris Bangs' compendium of dance-floor fillers and Latin dynamite. Chris, who coined the term 'acid jazz', has created a new solo album of 10 tracks that takes his unique spin on jazz DJ-ing and turned it to producing an album that is totally reminiscent of the classic '80s era on the UK dance scene.

Recent single 'Firebird' (Jazz FM's Breakfast show 'track of the week') encompasses a lifetime of Chris's musical influences to present a jazz-tastic smorgasbord of bossa, fusion, bop jazz funk, salsa and a myriad selection of other jazz stylings all delivered with his trademark ear for the grooves and melodies to go with it. Paying tribute to his roots, 'East Coast' is the distinctive sound of jazz-funk fusion which spread through UK clubs in the early '80s, whereas 'Dinamita's heavy duty percussion-led Montuno Salsa groove tips its hat to the sound of '70s NYC via Puerto Rico.



Elsewhere the album features a tough Batucada rework of Dom Um Romao's 'Kitchen (Cosina)', the bossa of Cal Tjader's 'Samba Do Sueno', Brazilian disco funk-jazz 'Sambara' via the epic samba fusion 'Lifetimes'. Firebird features an array of in-demand and exceptional musicians, including jazz guitarist Nigel Price (Van Morrison, David Axelrod, JTQ), supreme jazz piano stylist Janette Mason (Seal, KD Lang, Robert Wyatt), trumpeter Dave Priseman (Jeff Beck, Imelda May), bassist Ernie Mckone (Boogie Back), saxophonist Simon Bates (Elvis Costello, Chaka Khan, Carleen Anderson), and fresh from his remix work with Paul Weller, vibesman Roger Beaujolais. This brilliant team of collaborators have helped a remarkable musical maverick create a truly unique and incredibly exciting album. Independently self-produced and composed, Firebird is a set of tunes better than any Chris Bangs had ever done.

Ultramarine & Anna Domino meet again for a reworking of their collaborative track '$10 Heel'.

The song originally appeared on the Ultramarine album Signals Into Space (Les Disques du Crépuscule, 2019). $10 Rework replaces the urgent, jittery rhythm of the original with a straighter House backbone and then proceeds to disassemble the structure with a pair of freestyle, hands-on-the-desk, on-the-fly dub mixes.

Anna Domino's stream-of-consciousness lyrics tell the impressionistic tale of post-club after-hours chaos in Times Square, NYC circa 1979. Anna raps off studio equipment brand names like passing neon signs glimpsed in a blur through a taxi cab window.

Iain Ballamy wields his saxophone like a graffiti artist with a spray can; scrawling and skronking across the canvas. Ric Elsworth lurks in a side alley, unraveling a trash can monologue of wild flamming bongos.

Ultramarine is the UK duo of Ian Cooper & Paul Hammond. Formed in 1989, their albums include Every Man and Woman is a Star (Rough Trade, 1991), United Kingdoms (w/ Robert Wyatt) (Blanco Y Negro, 1993) and Signals Into Space (w/ Anna Domino) (Les Disques du Crépuscule, 2019).

Anna Domino is an American musician based in LA and NY, best known for her classic run of releases on Belgian label Les Disques du Crépuscule in the 1980s and '90s.

Iain Ballamy is a composer and saxophonist; a member of the Loose Tubes collective in the 1980s and more recently with several albums to his name on ECM.

Ric Elsworth is UK-based percussionist and vibraphone player.

Lucrecia Dalt is a Colombian recording artist, songwriter, and producer currently based in Berlin, Germany. Dalt channels sensory echoes of growing up in Colombia on her eighth studio album ¡Ay!, where the sound and syncopation of Tropical Music encounter adventurous impulse, lush instrumentation, and metaphysical sci-fi meditations in an exclamation of liminal delight. Dalt's introspective approach to composition, last surfaced on her entrancing 2020 album No era sólida, refracts across ¡Ay! in a subconscious spectrum of the music genres she absorbed as a child. Treasured sounds and syncopations of bolero, mambo, salsa, and merengue rooted in Dalt's early surroundings awaken on ¡Ay! and give glow to the album's contours. The intuitive melodic structures of this music, processed by memory and modular synths, led Dalt to a mirage of her creative origins and the album she has always wanted to make. ¡Ay! is a tincture of rich acoustic textures filtered through the warmth of Dalt's signature machinic distortion, diffused of easily-defined edges as previously explored on No era sólida and her 2018 album Anticlines. Here, vivid incantations of upright bass, wind ensembles and brass form shimmers of harmonic motif, distilled across radiant rhythms. Dalt worked closely with friend and collaborator Alex Lázaro to cultivate new shapes and colors for slowed down tumbaos and bolero percussion patterns. Together they deconstructed the traditional drum kit into serpentine expansions of congas, bongos, temple blocks and timbales, all of which they tuned to dance among Lucrecia's lucid vocal processions. For Fans of David Sylvian, Rosalía, Robert Wyatt, Rita Indiana, Matías Aguayo, Tom Waits, Meridian Brothers.

Lucrecia Dalt is a Colombian recording artist, songwriter, and producer currently based in Berlin, Germany. Dalt channels sensory echoes of growing up in Colombia on her eighth studio album ¡Ay!, where the sound and syncopation of Tropical Music encounter adventurous impulse, lush instrumentation, and metaphysical sci-fi meditations in an exclamation of liminal delight. Dalt's introspective approach to composition, last surfaced on her entrancing 2020 album No era sólida, refracts across ¡Ay! in a subconscious spectrum of the music genres she absorbed as a child. Treasured sounds and syncopations of bolero, mambo, salsa, and merengue rooted in Dalt's early surroundings awaken on ¡Ay! and give glow to the album's contours. The intuitive melodic structures of this music, processed by memory and modular synths, led Dalt to a mirage of her creative origins and the album she has always wanted to make. ¡Ay! is a tincture of rich acoustic textures filtered through the warmth of Dalt's signature machinic distortion, diffused of easily-defined edges as previously explored on No era sólida and her 2018 album Anticlines. Here, vivid incantations of upright bass, wind ensembles and brass form shimmers of harmonic motif, distilled across radiant rhythms. Dalt worked closely with friend and collaborator Alex Lázaro to cultivate new shapes and colors for slowed down tumbaos and bolero percussion patterns. Together they deconstructed the traditional drum kit into serpentine expansions of congas, bongos, temple blocks and timbales, all of which they tuned to dance among Lucrecia's lucid vocal processions. For Fans of David Sylvian, Rosalía, Robert Wyatt, Rita Indiana, Matías Aguayo, Tom Waits, Meridian Brothers.

Just over a decade ago, Japanese indie-pop duo Tenniscoats recorded »Papa's Ear« (2012) and »Tan-Tan Therapy« (2007), two albums made with musical and production help from Swedish post-rock/folk trio Tape. Originally released on Häpna, they are beautiful documents of the exploratory music made by a close-knit collective of musicians, fully at ease with each other, playing songs written by Tenniscoats and arranging them in gentle and generous ways. Released during a prolific phase of collaboration for Tenniscoats – during the late ‘00s and early ‘10s, they would also collaborate with Jad Fair, The Pastels, Secai and Pastacas – they have, however, never been available on vinyl. In collaboration with Alien Transistor, Morr Music is now reissuing these albums with bonus material.

Filled with graceful pop songs, autumnal folk tunes, and gentle yet risk-taking improvisations, »Tan-Tan Therapy« was the first Tenniscoats album to be released in Europe, after a run of albums on Japanese labels, and the excellent »Live Wanderus« (2005) on Australian imprint Chapter Music. It was also the first recorded evidence of their collaboration with the three members of Tape and that group’s extended musical family. It opens with one of Tenniscoats’ signature songs, the pop fantasia of »Baibaba Bimba«, with Tenniscoats singer Saya repeating a light-headed incantation over joyous brass. The essence of Tenniscoats is contained in »Baibaba Bimba«: uplifting melody and playful musicianship, tinged with distant echoes of winsome melancholy.

From there, »Tan-Tan Therapy« explores many hues of lustrous blue. »Oetu to kanki no Namoriuta (Given Song of Sob and Joy)« is an aquatic arbour, the musicians’ gentle performances growing together like vines and seaweed as Saya’s voice swims through the waterway. »Umbarepa!« is full of play and pleasure, sparkling with glockenspiel as snare drum tattoos push the song ever-forward. »Abi and Travel« floats past, a lovely instrumental built from shifting layers of synthesizer and pianet; »Good B.«, an extra track originally only available on the Japanese edition of »Tan-Tan Therapy«, is added to this reissue, and follows a similar thread, its humming pump and Hammond organs swirling under beautiful vocals from Saya and guest performer Kazumi Nikaido.

Throughout, you can sense the deep empathy the members of Tenniscoats and Tape have for one another. It’s a conversational, tender and, at times, fragile music that can only be created out of mutual trust and kindness, with each of the players contributing to the community of sound they’re building. There’s an element here, too, of feeling out the possibilities of what this creative meeting can achieve, something reflected in the loose-limbs sprawl of »Marui Hifo (Everyone)«, which echoes the seaside drift of Bristol post-rock group Crescent, and the following »One Swan Swim«, a dreamsong redolent of the sleepy sensorium of Robert Wyatt’s »Rock Bottom«.

The freedom and liberty at the heart of Tenniscoats is something Tape and their friends have picked up on, beautifully so, and run with during the entirety of »Tan-Tan Therapy«. This is music with its wings outstretched, wanting to take to the air, ready to fly.

Air, Nico, St Etienne, Kid Loco, Young Marble Giants, Sandy Denny, Vashti Bunyan, Andrew Weatherall, Robert Wyatt and Serge Gainsbourg. Limited edition first pressing of 500 copies on "Mock Turtle" Blue. International collaboration between artists in Glasgow, London, Paris & New York. Mastered by Shimmy-Disc founder Kramer. Accompanying visual art work by Film and art director Tim Saccenti. Inspired by the intensity of lockdown, the self-titled debut album by electro-pop project Gates of Light, is the result of a collaboration between five artists across four cities, three time zones and two continents. Hailing from Glasgow, singer-songwriter Louise Quinn and producer Bal Cooke teamed up with London-based DJ and producer Scott Fraser; Parisian musician, DJ and producer Kid Loco; and film director and photographer, New York’s Tim Saccenti - who has previously worked with Run The Jewels and Pharell- to create a sublime, electro-pop reflection on the grief, insularity and peculiar highs of lockdown. Immediately after hearing the album, revered post-punk musician and producer Kramer offered to release the vinyl edition on his iconic cult label Shimmy-Disc, which boasts an impressive back catalogue of artists including Daniel Johnson, Low and Galaxie 500. A project grounded on collaboration - born from a period of disconnect - Gates Of Light perfectly amplifies the longing, confusion, lucid dreams and appreciation of the outdoors that the pandemic ignited in so many over the last couple of years. Originally written and recorded by Louise and Bal from their bedroom studio in Glasgow whilst their one-year-old twins slept, the tracks were then sent to Scott and Kid Loco who remixed the tracks from home studios in London and Paris before Tim created the artwork and a video for the track ‘When The Leaf Falls’. Gates Of Light is the latest project from Louise and Bal who have released music in the past as A Band Called Quinn and DAWNINGS. Louise and Scott Fraser have also previously collaborated following a chance encounter at a nightclub in Glasgow. Their single ‘Together More’ was released on Andrew Weatherall’s renowned Birdscarer vinyl imprint in 2019 and featured a remix by the Guv’nor himself who described the track as “sublime magik”.

Soul Music in Los Angeles was nearing its peak in 1966. The pre-eminent company was of course the giant Capitol Records and the uptempo songs that they released at the time still retain great power and attraction for many dancers today. But there were several small, private concerns making soul music, looking for that one big hit, and singers who were trying to find the break that would take their careers onto a new and higher plane. This album nods towards Capitol but concentrates on the varying styles of soul that the smaller, more agile labels released at the time. Many of these have been overlooked for far too long now, but here is the perfect opportunity to find out just how strong and varied the West Coast soul scene really was in the middle of the 1960s.