Label Review. 

2020 album. His final solo recordings made before he passed in 2013. Also available on CD. 

Our Overview. 

‘Eight Gates’ is the last collection of solo studio recordings American singer songwriter Jason Molina made before he passed from complications related to alcoholism in 2013. Raised in northern Ohio, he came to prominence performing and recording as Songs: Ohia, both in solo projects and with a rotating cast of musicians in the late 1990s. Beginning in 2003, he would garner a further indie following for his releases with the band Magnolia Electric Co.

Sometime in 2006 or 2007, Jason Molina moved from the Midwest to London, England. Separated from his bandmates and friends and never one for idleness, Molina explored his new home with fervour. Sometimes he’d head out on foot, often with no destination in mind. Other times, he’d pick a random tube stop and find his way back home. He’d pick up on arcane trivia about London’s rich history and if the historical factoids weren’t available - or weren’t quite to his liking - Molina was quite comfortable conjuring his own history. His adoration of The Great American Tall Tales like John Henry and Paul Bunyan’s blue ox Babe stretched across the Atlantic, where he created his own personal Tall Tales. And when he learned of the London Wall’s seven gates (itself a misconception), Molina went ahead and called it eight, carving out a gate just for himself. The eighth gate was Molina’s way into London, a gate only passable in the mind.

Recorded whilst in London, some of the songs (“Whispered Away”, “Thistle Blue”) are fully-realized - dark, moody textures that call to mind his earlier work on ‘The Lioness’. Other songs (“She Says”, “The Crossroads and The Emptiness”) lay in a more unfinished state, acoustic takes that call to mind Molina’s “Let Me Go Let Me Go Let Me Go”, and still tethered to Molina’s humorous studio banter. On the closer, ‘The Crossroads and The Emptiness’, Molina snaps at the engineer before tearing into a song in which he sings of his birthday (December 30), a palm reading and the great emptiness with which he always wrestled. It is a perfect closer and, in many ways, the eighth gate incarnate: mythical, passable only in the mind, built for himself and partway imaginary but shared, thankfully, with us.

Tracklisting: Whisper Away / Shadow Answers the Wall / The Mission’s End / Old Worry / She Says / Fire on the Rail / Be Told the Truth / Thistle Blue / The Crossroads and the Emptiness

Label Review. 

2020 album. Indie. Also available on Vinyl. 

Our Overview. 

Eyedress is LA based Filipino singer, musician and producer Idris Vicuña. ‘Let’s Skip To The Wedding’ is his first album since relocating from Manila to the US in late 2018. A passionate exploration of the themes of love, adjusting to life in a new city, and preparing to welcome a child into this ever changing world. His unique songwriting pairs lovesick lyrics with infectious guitar hooks & his trademark, cold wave inspired, woozy synths. “My next album is for everyone who wants to be in a serious relationship, real simp shit”.

The album follows his ‘Valentine’s Day’ single, which was championed by Mike D (Beastie Boys) on his Beats 1 show, and 2019’s ‘Jealous’ EP, whose title track has grown to become his most popular to date. Over the past year Eyedress began collaborating with kindred spirits like Cuco, Triathalon and Inner Wave, and earned a reputation for his wild and unpredictable performances, which saw him sharing stages with acts like Homeshake, Enjoy, Jasper Bones, N8NOFACE and B Cool Aid, as well as supporting Inner Wave on their 13 date west coast tour.

His last album ‘Sensitive G’ was a personal reflection of Manila life told through the music of his youth; dreampop, punk & indie rock. In 2017 he released his debut album ‘Manila Ice’, a record about love and survival in the Philippines. Eyedress has previously collaborated with King Krule, VRITRA, Fazerdaze and Jess Connelly. “I will continue to create works that send a message to inform and awaken those that are not aware of the social injustices going on around us every day.”

Tracklisting: Let’s Skip to The Wedding / Skateboarding Day / Never Want To Be Apart / Can I See You Tonight? / Romantic Lover / X-Girl / I Don’t Wanna Be Your Friend / Jealous / Last Time I’m Falling In Love / Pop The Question / Happy Hour / Trauma / My Girl The Finest / Never Been To Prom / Mystical Creature’s Best Friend / Pick Up Your Phone / Self Improvement / Kiss Me Like It’s The Last Time / Anything For You

Label Review. 

2020 album. Indie. Also available on CD. 

Our Overview. 

On her second solo album, ‘Who The Power’, Liela Moss follows 2018’s deeply personal ‘My Name Is Safe in Your Mouth’ - an album at times serene, at others stormy, on every front sumptuous. Now, she has forged an album of questioning intensity and synth-loaded drama, with the expressive force in her voice refuelled by the urgent desire to interrogate the role of selfhood in fraught times. And, crucially, backed by the urgent grooves needed for the job. “If you’re going to deconstruct the modern psyche,” says Liela Moss, “you might as well dance to it.”

Album opener “Turn Your Back Around” is a yearning eco-lament set to banked synths over a propulsive beat. Or, as Moss puts it: “One filthy, upbeat, downhearted, close-your-eyes-and dance- by-yourself pop song, offered as a parting gift to Mother Earth”. “Watching The Wolf” is another forthright song for today, its brooding, near-gothic swagger framing a righteous modern-day folk tale about wolves converging to unseat a toxic political pundit. A controlled rage shows in Moss’s voice, which grows more liberated still amid the simmering darkwave throb of “Atoms At Me”, where Moss issues a call to free the senses from the call to consume.

Elsewhere, the moody elegance of ‘Battlefield’ and bruised plea of ‘Nummah’ rank among Moss’s finest vocal performances. ‘Suako’ offers pulsing synth-rock impetus to risk starting anew, while the blissful ‘Stolen Careful’ ends the album on a palpable note of revitalisation, all risks rewarded as Moss emerges refreshed in her hunger to explore new, meaningful ways to engage with the world.

Widescreen ambitions fulfilled, the result is another bold leap forward for one of alt-rock’s most magnetic, exploratory voices. Over 14 years, Moss’s work with the Duke Spirit (on pause) ranged from brawling riff-rock to more cinematic ventures. Other gigs have included synth-rock recordings with Butler under the name Roman Remains and various collaborative ventures – with UNKLE, Nick Cave, Giorgio Moroder and Lost Horizons, as well as serving as muse for fashion icons Alexander McQueen and Phillip Lim, among others.

Tracklisting: Turn Your Back Around / Watching The Wolf / Atoms At Me / Always Sliding / The Individual / White Feather / Battlefield / Nummah / Suako / Stolen Careful

Label Review. 

2020 album. Electronic. Also available on Vinyl. 

Our Overview. 

‘Purple Noon’, is Ernest Greene’s fourth album as Washed Out and presents his most accessible creation to date. Greene again wrote, recorded and produced the entirety of the album, with mixing handled by frequent collaborator Ben H. Allen. Production of the album followed a brief stint of writing for other artists (most notably Sudan Archives), which enabled Greene to explore genres like R&B and modern pop. These brighter, more robust sounds made their way into the songs of ‘Purple Noon’ and mark a new chapter for Greene as a producer and songwriter. The vocals are front and centre, tempos are slower, beats bolder, and there’s a more comprehensive depth of dynamics. One can hear the luxuriousness of Sade, the sonic bombast of Phil Collins and the lush atmosphere of the great Balearic beat classics.

Mediterranean coastlines inspired ‘Purple Noon’ and Greene pays tribute to the region’s distinct island culture - all rugged elegance and old-world charm - and uses it as a backdrop to tell stories of passion, love and loss (‘Purple Noon’s title comes from the 1960 film directed by Rene Clement and based on the novel ‘The Talented Mister Ripley’ by Patricia Highsmith). Much like romantic Hollywood epics, the melodrama throughout is strong: a serendipitous first meeting in “Too Late”; a passionate love affair in “Paralyzed”; disintegration of a relationship in “Time to Walk Away”; a reunion with a lost love in “Game of Chance”. ‘Purple Noon’ adds a layer of emotional intensity to the escapism of Washed Out’s oeuvre, taking the music to dazzling new heights.

Tracklisting: Too Late / Face Up / Time to Walk Away / Paralyzed / Reckless Desires / Game of Chance / Leave You Behind / Don’t Go / Hide / Haunt

Label Review. 

2020 album. Also available on Vinyl. 

Our Overview. 

On ‘Prisyn’, his third album as Jaye Jayle, Evan Patterson continues to show he is a wanderer and an explorer. It’s evident in the constant evolution of his music since his earliest days as a guitarist in left-of-center bands, but it’s best exemplified by the constant creative shifts within the fever-dream blues of Jaye Jayle. Patterson takes his boldest leap into unknown territories, capturing immediate moments in his ever-shifting surroundings with the most basic tool at his disposal: the GarageBand app on an iPhone.

The album began with a request from couture designer Ashley Rose, when she proposed that Evan Patterson team up with Sargent House label mates Chelsea Wolfe and Ben Chisholm to create a soundtrack for one of her upcoming fashion shows. Patterson was in the early stages of a massive eleven-week stretch of touring and used his downtime in the van to flesh out ideas on his phone. “I sent a track to Ben and he sent it back the next day with additional instrumentation, sounds, and effects,” Patterson recalls. “It was wild. He suggested we make a whole record that way. I printed out all these poems, stories, and journal entries I’d made on my phone over the course of the year and went into the studio with my friend Warren (Christopher Gray). We’d find things that rhythmically worked, and that’s how all the lyrics and singing happened. It was all gut instinct, improvisational,” Patterson recalls. “The vocal approach isn’t meant to be full of hooks and melody."

The record’s title “Prisyn” is a play on the idea of a synthetic prison, and alludes to Patterson’s desire for artistic freedom and the album’s conflicted use of addictive technologies. Evan comments, “These songs have a totally different energy, and that’s the exciting thing about making art. Things have to progress. I don’t want to draw the same picture for the rest of my life. Maybe that keeps you from being a master at it, but being a master isn’t the key to art. It’s having that constant expression, the constant outlet, the constant change”.

Tracklisting: A Cold Wind / Don’t Blame the Rain / Synthetic Prison / The River Spree / Making Friends / Guntime / Blueberries / I Need You / The Last Drive / From Louisville

Label Review. 

2020 album. Also available on CD. 

Our Overview. 

English psych pop band Glass Animals release their third studio album ‘Dreamland’. At the heart of ‘Dreamland’ lies the quietly enigmatic Dave Bayley, the bands’ frontman and producer extraordinaire who’s work extends far beyond that of Glass Animals, with credits including Joey Bada$$, Flume, Wale, Khalid and most recently Denzel Curry on the late 2019 single “Tokyo Drifting”.

For Bayley, ‘Dreamland’ is a nostalgic memoir of his life so far, covering expansive and difficult ground and holding nothing back. It’s packed full of personal experiences, none more emotional than when the bands drummer Joe Seaward was involved in a monstrous bike accident in July 2018 which threatened his life, and that of Glass Animals altogether. In truth, now is the perfect time for such a poetic dive into the self: ‘Dreamland’ arrives in the midst of a global pandemic and it’s a time for reflection on life itself; for looking back on memories of the past, taking stock of where we are and what we have, and cherishing our loved ones.

‘Dreamland’ finds Bayley slipping into his own crevices, blending past and present reflections in a seemingly stream-of-conscious overhaul of the self: “The idea for this album came at a time of confusion and uncertainty,” Bayley explains. “My best friend was in the hospital. I didn’t know if he’d make it. The future was damn scary and completely unknown.”.

Bayley explains that ‘Dreamland’ “goes through many of the most confusing moments in my life. It’s about growing up, from my first memories as a little kid to now. Quite often those moments are funny, sometimes awkward, sometimes heart-breaking, sometimes it’s about love or hate or sexuality. It’s about realising it’s ok to not have answers and it’s ok to not know how you feel about things and that it’s ok to be and look vulnerable. In fact, all of that is quite exciting. So often life asks us for binary yes or no answers. It asks us to conform and to fit in. But the world is so much more interesting and colourful than that… it’s a much more fluid and uncertain place.”

Tracklisting: Dreamland / Tangerine / / ((home movie: 1994)) / Hot Sugar / ((home movie: BTX)) / Space Ghost Coast to Coast / Tokyo Drifting / Melon and the Coconut / Your Love (Déjà vu) / Waterfalls Coming Out Your Mouth / It’s All So Incredibly Loud / ((home movie: rockets)) / Domestic Bliss / Heat Waves / ((home movie: shoes on)) / Helium

Label Review. 

1981 album. Synth pop. Also available on Vinyl. 

Our Overview. 

The early 80s were prolific for Electronic music pioneer Hideki Matsutake. As the go-to keyboard programmer for the tokyo music scene, he worked with Akiko Yano, Ryuichi Sakamoto, Mkwaju Ensemble’s “Mkwaju” and found time to record two albums under the Logic System name in 1981. While the first album, ‘Logic’ had a harder techno feel, the second one ‘Venus’ was different affair.

Recorded in Los Angeles at the new state of the art Yamaha Studio, it was loosely themed on the Greek goddess Venus and had a funkier more organic sound. For the album Matsutake had asked a handful of American musicians to provide songs he would then add his synth magic touch to. Michael Boddicker, Don Grusin, Nathan East and Roger Powell duly complied and also played on the album. The updated sound was achieved by switching from the Moog III to the E-mu modular System (which Matsutake brought over to LA) and other synths like the Prophet 5, the Roland MC-8 and TR 808 and the Yamaha GS-1, a forerunner of the DX7. The result is an amazing futuristic mix of electronic music and early 80s funk, announcing many genres to come, from techno and house to French electro and Vaporwave.

From the breezy ambient synth of “I Love You” to the city pop edge of “Be Yourself” (originally written by Nathan East for Debra Laws) and the vocoder-led Daft Punk-ish “Take A Chance”, ‘Venus’ is a fascinating album that both pushes the boundaries of electronic music and is yet strangely accessible and beautiful.

Tracklisting: Venus / Morpheus / I Love You / Plan / Take A Chance / Automatic Collect Automatic Correct / Be Yourself / Prophet / Metamorphism / Equivalent

Label Review. 

2020 album. Electronic. Also available on CD. 

Our Overview. 

Los Angeles composer, artist, and producer Kaitlyn Aurelia Smith has chartered a pioneering career with multiple critically-acclaimed albums since 2015. Following the release of ‘The Kid’ in 2017, Smith focused her energy in several directions. She founded Touchtheplants, a multidisciplinary creative environment for projects including the first volumes in her instrumental Electronic Series and pocket-sized poetry books on the practice of listening within. She’s continued to explore the endless possibilities of electronic instruments as well as the shapes, movements, and expressions found in the physical body’s relationship to sound and color. It is this life-guiding interest that forms the foundational frequencies of her latest full-length, ‘The Mosaic of Transformation’, a bright, sensorial glide through unbound wave phenomena and the radiant power discovered within oneself.

“I guess in one sentence, this album is my expression of love and appreciation for electricity,” says Kaithlyn. While writing and recording, she embraced a daily practice of physical movement, passing electricity through her body and into motion, in ways reflecting her audio practice, which sends currents through modular synthesizers and into the air through speakers. Not a dancer by any traditional definition, she taught herself improvisatory movement realizing flexibility, strength, and unexpectedly, what Smith calls “a visual language” (the term was introduced to her by filmmaker Sean Hellfritsch) stemming from the human body and comprised of vibrational shapes. Understood as cymatics, as she says, “as a reference for how frequencies can be visualized,” much like a mosaic.

As it has arrived, in a completed state, The Mosaic of Transformation is a holistic manifestation of embodied motions. Airy organ and voice interweave with burbling Buchla-spawned harmonic bubbles. If the record could be summarized in a single movement, it is the 10-minute closing suite, a rapturous collage called “Expanding Electricity.” Symphonic phrases establish the piece before washes of glittering electric peals and synthesized vibraphone helix into focus. Soon, Smith’s voice grounds it all with an intuitive vocal hook, harmonized and augmented by concentric spirals of harp-and-horn-like sounds. Smith’s music doesn’t capture a specific emotion as much as it captures the joys of possessing a body, and the ability to, with devotion and a steady open heart, maneuver that vessel in space by way of electricity to euphoric degrees.

Tracklisting: Unbraiding Boundless Energy Within Boundaries / Remembering / Understanding Body Messages / The Steady Heart / Carrying Gravity / The Spine Is Quiet In The Center / Overflowing / Deepening The Flow Of / Expanding Electricity

Label Review. 

1968 album remixed and remastered with 10 bonus tracks, 2 of which completely unreleased. Also available on CD. 

Our Overview. 

‘The Delta Sweete’ is the second studio album by American country pop star Bobbie Gentry: A concept album inspired by her Mississippi childhood, it was originally released in February 1968 by Capitol Records and recorded at Capitol Recording Studio (Hollywood). ‘The Delta Sweete’ is Bobbie Gentry’s most critically acclaimed album and has not been pressed in the UK or US since 1972. Interest in the album is at a high after Uncut recently placed it 4th in their ‘Ultimate Genre Guide’ to the top 40 singer-songwriter albums of all time, and in February 2019, Mercury Rev released their tribute album The Delta Sweete Revisited (chartered 32 in UK Albums chart and 1 in UK independent chart), with guest vocalists, Norah Jones, Beth Orton and Lucinda Williams to name a few).

This 2CD / 2LP release will feature the original album remixed and mastered from multi-tracks by Andrew Batt, and is supplemented by outtakes and demos, featuring two previously unleased tracks. The CD edition also features the original mono release of the album which has not appeared on CD before. Sleevenotes are supplied by Andrew, and are illustrated with unseen images from the Capitol archive.

Bobbie is best known for her debut single “Ode To Billie Joe” which reached No.1 in the US and scored big around the world. The track which she wrote and sang with her sultry voice and minimal backing from her guitar and strings in the background, it tells of a rural Mississippi family’s reaction to the news of the suicide of Billie Joe McAllister, a local boy to whom the daughter (and narrator) is connected. The album of the same name was also a big seller but the swiftly recorded follow-up failed to replicate the success of those first releases.

‘The Delta Sweete’ is a concept album based on modern life in the Deep South. Gentry wrote eight of the album’s 12 tracks, which detail her Mississippi childhood and includes vignettes of home and church life (“Reunion” and “Sermon”), as well as recollections of blues and country hits she heard as a youngster (“Big Boss Man” and “Tobacco Road”). The song “Okolona River Bottom Band”, accented by a sophisticated horn chart and breathy strings, used the same basic cadence as “Ode to Billie Joe”. Although ignored at the time today the album is seen as the best of the seven albums she released between 1967-1971.

Tracklisting: 

CD1: Okolona River Bottom Band / Big Boss Man / Reunion / Parchman Farm / Mornin’ Glory / Sermon / Tobacco Road / Penduli Pendulum / Jessye’ Lisabeth / Refractions / Louisiana Man / Courtyard / Okolona River Bottom Band (Instrumental) – Previously unreleased / Mississippi Delta (Alternate Version) / Seventh Son (Band Version) / The Way I Do (Demo) – Previously unreleased / Feelin’ Good (Demo)

CD2: Okolona River Bottom Band (Mono) / Big Boss Man (Mono) / Reunion (Mono) / Parchman Farm (Mono) / Mornin’ Glory (Mono) / Sermon (Mono) / Tobacco Road (Mono) / Penduli Pendulum (Mono) / Jessye’ Lisabeth (Mono) / Refractions (Mono) / Louisiana Man (Mono) / Courtyard (Mono) / Mornin’ Glory (Demo) / Sermon (Demo) / Jessye’ Lisabeth (Demo) / Refractions (Demo) / Louisiana Man (Demo)

2LP: Okolona River Bottom Band / Big Boss Man / Reunion / Parchman Farm / Mornin’ Glory / Sermon / Tobacco Road / Penduli Pendulum / Jessye’ Lisabeth / Refractions / Louisiana Man / Courtyard // Okolona River Bottom Band (Instrumental) – Previously unreleased / Mississippi Delta (Alternate Version) / Seventh Son (Band Version) / The Way I Do (Demo) – Previously unreleased / Feelin’ Good (Demo) / Mornin’ Glory (Demo) / Sermon (Demo) / Jessye’ Lisabeth (Demo) / Refractions (Demo) / Louisiana Man (Demo)

Label Review. 

Saint Etienne Presents. 20 tracks compiled by Sarah Cracknell, Bob Stanley and Pete Wiggs. Ace.

Our Overview. 

‘Songs For The Fountain Coffee Room’ is the latest in the highly popular ‘Saint Etienne Present’ series, soundtracks for places both real and imaginary. This time, Sarah Cracknell, Bob Stanley and Pete Wiggs have put together a selection to fit a bar in mid-70s Los Angeles, the kind of place where Warren Beatty and Julie Christie might meet in the afternoon for a secret rendezvous between shooting scenes for ‘Shampoo’.

There’s a high quotient of airy, top-down soul, FM yacht rock, and an even larger amount of blue-eyed soul, with the odd singer-songwriter from Laurel Canyon making an appearance. Familiar summer sounds come from Todd Rundgren, Millie Jackson and Seals & Crofts. Among the discoveries are Hall and Oates’ deep cut “Lilly (Are You Happy)”; Bill Quateman’s irresistible acoustic guitar and string-powered “Only Love”; Marvin Gaye’s gorgeous “Where Are We Going?”, from the period between ‘What’s Going On’ and ‘Let’s Get It On’; and the £100 crossover soul gem “One Way Or The Other” by the Fifth Avenue Band.

These gems are the kind of thing Netflix will be tripping over themselves to use next season. Amid the potted palms, the pace is strictly mid-tempo; it’s too warm for anything faster. The windows are wide open, the sky is a clear blue, and this is the perfect summer soundtrack.

Tracklisting: Only Love - Bill Quateman / Where Are We Going? - Marvin Gaye / Get Closer - Seals & Crofts / Tell Her She’s Lovely - Batteaux / One Way Or The Other - The Fifth Avenue Band / Lilly (Are You Happy) - Daryl Hall & John Oates / Love Is The Answer - Utopia / Oh Honey - Delegation / Easy To Love - Leo Sayer / A House For Sale - Millie Jackson / Tin Man - John Edwards / Thunder In The Afternoon - Bobbie Gentry / Save It For A Rainy Day - Stephen Bishop / Love Don’t Come No Stronger (Than Yours And Mine) - Jeff Perry / Hollywood - Boz Scaggs / A Love Of Your Own - Ned Doheny / Natural High - Bloodstone / Hickory - Frankie Valli & The Four Seasons / Touch Me Baby (Reaching Out For Your Love) - Tamiko Jones / Sunshower - Dr Buzzard’s Original Savannah Band

Label Review. 

1997 album remastered on two discs. Half-speed master. Also available on 2CD, 3LP & Deluxe Box. 

Our Overview. 

‘Flaming Pie’ is the tenth solo studio album by Paul McCartney, first released in 1997 and is the 13th album by Paul to receive induction into his long running ‘Archive Collection’. Having been heavily involved in The Beatles’ ‘Anthology’ project in the mid-1990s, Paul had time to reflect on the standards he and his bandmates had set during their career, and applied these to what would become his first album in four years. Made in a much more spontaneous style, with songs recorded here and there, mostly on holiday, it’s an album that luxuriates in its own sense of fun.

‘Flaming Pie’ is equal parts a masterclass in songcraft and a sustained burst of joyful spontaneity. With highlights ranging from the uplifting and inspirational opener “The Song We Were Singing” to the raucous title track to the pensive “Calico Skies”, and featuring singles “Young Boy”, “The World Tonight” and “Beautiful Night”, ‘Flaming Pie’ would represent yet another pinnacle in Paul’s solo catalogue: Released to rapturous reviews, the album would be Paul’s most commercially successful release of the ‘90s, achieving his highest chart positions since the ‘80s and would receive gold certifications in the US, UK, Japan and more.

Featuring producers George Martin and Jeff Lynne, as well as musicians including Steve Miller, Ringo Starr and his son, James McCartney, ‘Flaming Pie’ remains one of his career highlights. Sales were brisk, with the album only kept from the Number 1 slot on both sides of the Atlantic by the cultural phenomenon that was the Spice Girls’ ‘Spice’ album. The album’s title is a reference to an anecdote that John Lennon told in a humorous story published in Mersey Beat in 1961 about the origin of the Beatles’ name: “It came in a vision – a man appeared on a flaming pie and said unto them, ‘from this day on you are Beatles with an A.’”

Tracklisting: 

The Song We Were Singing / The World Tonight / If You Wanna / Somedays / Young Boy / Calico Skies / Flaming Pie / Heaven On A Sunday / Used To Be Bad / Souvenir / Little Willow / Really Love You / Beautiful Night / Great Day

Label Review. 

2020 album. Brazilian guitarist. Also available on Vinyl. 

Our Overview. 

‘Prelúdio’ is the third album Now-Again Records will issue from the thrilling, young Brazilian guitarist Fabiano do Nascimento. Produced by Mario Caldato, Jr. and Luther Russell and engineered and mixed by Caldato and Jason Hiller, this album features do Nascimento’s longtime drummer Ricardo “Tiki” Pasillas.

It is the first album of solely do Nascimento’s own compositions and, like his previous albums ‘Dança dos Tempos’ and ‘Tempo dos Mestres’, follows folkloric Brazilian music, Brazilian jazz, bossa-nova and samba as experienced through the mind and able fingers of an expansive musician, combing the heady ‘60s and ‘70s experimentalism of Hermeto Pascoal and Baden Powell with the childlike elegance of music played and passed down by native Brasilians for generations.

He was born in Rio de Janeiro and grew up there and in Sao Paulo, where he found inspiration in his uncle, the late Lúcio Nascimento, bassist and composer in Leny Andrade’s band Bom de Três. While he came from a musical pedigree, he’s largely self-taught, largely in the service of an overarching mission to showcase the folkloric music of his home country as he continues to develop possibilities for language of the guitar itself.

His collaborators now include Madlib, multi-instrumentalist Sam Gandel, Innovative Leisure chanteuse Claude Fontaine and legendary Brazilian percussionist, bandleader, songwriter and catalyst Airto Moreira. Moreiera states that Nascimento is “Brazilian but (his mind is) from a place in Brazil that is not common. Fortunately, we still have some musicians who like to play music and who like to touch the instrument and who like that energy! You see, because that’s the most important thing in music. The energy. That’s why I love to play live. And that’s why I’m playing with Fabiano.”

Tracklisting: De Rio a Tapajós / Partiu / Mente Azul / Rainha / Tributo / Malandro / Amanhecer / Ilhas / Prelúdio Amazônico / Trem-bala

Label Review. 

2020 album. Also available on Vinyl. 

Our Overview. 

Highly influential post punk stars, The Psychedelic Furs release their new album, their first in nearly 30 years, ‘Made Of Rain,’. From its exhilarating opening bars, ‘Made Of Rain’ - sounds like The Psychedelic Furs and them alone. Their peerless permutations of art, aggression and ambience drive the dynamics, and it’s always been this originality which has set them apart, a cut above. If first single “Don’t Believe” is at all representative of ‘Made of Rain’, expect a slightly more bitter Psychedelic Furs than you might be used to. Or perhaps they always have had that bite, and it’s just taking firmer hold with this tight, modern production. Classic sax notes follow the guitar’s breathing melody, trudging with lowered shoulder against the psychedelic swirl of the track. It all bursts free on the hook, as lead vocalist Richard Butler and a chorus of voices call out, “I don’t believe/ I don’t believe you/ Don’t believe me.”

Led by vocal and lyrical genius Richard Butler with his brother Tim on bass, The Psychedelic Furs released seven critically acclaimed studio albums - ‘The Psychedelic Furs” (1980), ‘Talk Talk Talk’ (1981), ‘Forever Now’ (1982), ‘Mirror Moves’ (1984), ‘Midnight To Midnight’ (1987), ‘Book Of Days’ (1989) and ‘World Outside’ (1991). They released many classic singles throughout the ’80’s and into the 90’s, including: “Sister Europe”, “Love My Way”, “The Ghost In You”, “Pretty In Pink”, “Heaven”, “Heartbreak Beat”, “All That Money Wants” and “Until She Comes”. They went on hiatus in 1992 although since 2000 they have frequently got back together to tour but there hasn’t been a new album until now.

The last few years has seen the band’s legend growing, highlighted by the fact they have scored over 150 million streams of their songs worldwide. Their influence since arriving on the post-punk scorched-earth landscape four decades ago has reverberated and resonated from everyone from The Killers to REM to Foo Fighters to Bob Dylan has sung their praises. “I’m aware of the fact that people cite us an influence”, says Richard, “though I don’t often recognise it in their music. It’s gratifying of course, as it is that there’s still an interested and enthusiastic audience for us. That’s an honour.”

Many moons after “Pretty In Pink” (sort of) inspired that John Hughes movie, “Love My Way” has featured in Oscar-winning film ‘Call Me By Your Name’ and “The Ghost In You” in sci-fi smash ‘Stranger Things’ showing that The Psychedelic Furs are sounding stronger than ever. As anyone who’s seen the band lately knows, Butler remains one of the most watchable frontmen in the game.

Tracklisting: The Boy That Invented Rock & Roll / Don’t Believe / You’ll Be Mine / Wrong Train / This’ll Never Be Like Love / Ash Wednesday / Come All Ye Faithful / No-One / Tiny Hands / Hide The Medicine / Turn Your Back on Me / Stars

Label Review. 

2020 album. Also available on CD. 

Our Overview. 

‘Such Pretty Forks In The Road’ will be Canadian-American singer-songwriter Alanis Morissette’s first original album since 2012’s ‘Havoc and Bright Lights’, and marks the 25th anniversary of her 2 x Grammy awarded album ‘Jagged Little Pill’. Alanis has worked on the album for three years and in a 2017 interview revealed the name of a new song called “Reckoning”. She described this song as “patriarchy falling down”, and said it was in reference to her day in court in regards to the trial in which others were accused of embezzling from her.

Since then Alanis has been previewing new songs at one-off shows and on radio sessions before hitting the studio in 2019. Three tracks have already been released from the upcoming album: “Reasons I Drink”, “Smiling”, and “Diagnosis” and immediately gained widespread praise from music magazines such as Rolling Stone, Pitchfork, NY Times, and Vulture, and have been solidly supported from radio stations across the globe.

Although it seemed that Alanis shot to fame in 1995 with her album ‘Jagged Little Pill’ with over 30 million copies sold worldwide, it was her third record following two largely ignored collections issued in the early 1990s when she was still a teenager. Alanis was writing songs as early an nine years old and a demo tape brought her to the attention of MCA Records Canada who later signed the talented young singer songwriter. Following the worldwide success of ‘Jagged Little Pill’ Alanis forged a long lasting musical career and has branched out into acting too. However, music is where her heart is at and she will be hitting the road for a world tour in 2021.

Label Review. 

2020 album. Folk. Also available on Vinyl. 

Our Overview. 

Irish-based songwriter Amelia Baker aka Cinder Well is at the vanguard of a different kind of transatlantic folk revival, one forged amidst the uncertainty of a global pandemic. Her music isn’t nihilistic; instead, it strips traditional forms to their bones, creating a meditative, trance-like space for sonic healing. The sparse soundscapes and haunting stillness of her new album ‘No Summer’ are not meant to be paens to loneliness. Rather, Baker was inspired by the rich musical connectivity of the pub scene in Ireland, and her move from California to County Clare to study traditional music of the region. A member of anarchist folk project Blackbird Raum, Baker’s time on the circuit with Irish trad-punk group Lankum eventually led her to a small settlement in County Clare, and to the rich dissonance of her music as Cinder Well, a dissonance caught between worlds and histories.

The original songs on ‘No Summer’ boldly rub shoulders with careful reworkings of traditional Appalachian sources. Baker’s songs parse these transatlantic traditions, and throughout, her remarkable voice cuts to the bone like some ghostly ballad singer bound to sing these words from here to eternity. From the eerily prophetic title track which presaged a season of canceled shows to “Our Lady’s”’s imagined stories of spectral abandoned asylum residents, ‘No Summer’ is as haunting as it is connected, as dark as it is sacred, a kind of ritual healing that’s existed through the ages.

To create ‘No Summer’, Baker sought out Nich Wilbur (Black Belt Eagle Scout, Angel Olsen) of “The Unknown” studio in Anacortes, WA. This studio in a converted church is known for its work with The Microphones and Mount Eerie, and its quiet nature gave Baker space to explore the songs. “I was sleeping in the church,” she says “and it felt haunted, but it gave me this incredible experience of being really focused. I was listening to David Lynch’s audiobook about creativity every night. I was in a zone where I had a very clear image of what I wanted to capture in the sound and the story of it.”

Tracklisting: Wandering Boy / No Summer / Our Lady’s / Fallen / The Cuckoo / Old Enough / Queen Of The Earth, Child Of The Skies / The Doorway / From Behind The Curtain

Label Review. 

2020 album. Also available on CD. 

Our Overview. 

‘Love Is’ is Steve Howe’s 17th solo record, comprising ten songs: five with current Yes singer, Jon Davison, singing harmonies and playing bass guitar and five instrumental tracks rotating through the running order. The instrumentals keep a highly progressive rock guitar style to the fore, with songs that explore stories of lives lived and lives only just beginning. “Love Is A River” is the central track, with several textural shifts, featuring a theme played on 12 string and steel guitars. Steve’s son, Dylan, features on drums.

“I called the album ‘Love Is’ because it hints at the central idea that that love is important but also love of the universe and the ecology of the world is very important,” comments Steve. “Alexander Humboldt went around the world and recognised we are destroying the planet but that was 200 years ago! We are still destroying the planet and, I suppose, my songs show the yearning I have for the love of nature and how beauty, art and music all stem from nature. There is a theme about those things, love, beauty, ecology, nature and wonderful people.”

Steve Howe is best known as the guitarist for progressive rock band Yes, and he has enjoyed a prolific recording and performing career spanning five decades. In addition to his solo work, Steve has released more than 50 albums with bands such as Yes and Asia and guest appeared with the likes of the Royal Philharmonic Orchestra, Lou Reed and Queen.

Tracklisting: Fulcrum (instrumental) / See Me Through / Beyond The Call (instrumental) / Love Is A River / Sound Picture (instrumental) / It Ain’t Easy / Pause For Thought (instrumental) / Imagination / The Headlands (instrumental) / On The Balcony

Label Review.

2020 album. Digital rumba.

Our Overview.

Using musical motifs from Africa and Colombia’s Caribbean coast such as the gaita, call-and-response vocals, and an array of hand drums and rhythms, coupled with the elegant electronic production of Techno and House, Ghetto Kumbe creates an Afro-futurist soundscape with lyrics to motivate, elevate, and inspire. This has not gone unnoticed and they’ve played Barranquilla’s world famous Carnival, Boiler Room, and have even opened for Radiohead.

Raised on Colombia’s Caribbean coast and united by it’s capital, Bogota, Ghetto Kumbe combine the rich musical heritage of their home, to invoke the spirit of digital rumba in audiences all over the world.

The secret behind their irresistible electronic sound lies in their powerful percussion base; Caribbean house beats and traditional afro-Colombian rhythms inherited from West Africa. The album’s co-producer, The Busy Twist, adds all the legacy of the UK’s Bass scene to the Afro-futuristic sounds of the 3 Colombians.

Inspired by the different revolutionary movements emerging all over the world, their self-titled debut is visceral, committed, and rebellious, denouncing through frantic rhythms the inequalities and abuses imposed by corrupt governments, while simultaneously enticing listeners to join in the fight. Dance mingles with awareness to create a global community, where family, friends, and strangers come together through our shared love of music and activate change amongst themselves.

Tracklisting: Intro / Sola / Vamo A Dale Duro / Djabe / Interludio / Pila Pila / Cara A Cara / Tamb / Esta Pillao / Pide Mas / Lengua Ri Suto

Label Review. 

2020 album. Also available on Vinyl. 

Our Overview. 

Alain Johannes, the Chilean-American guitarist and vocalist, co-creator of the highly influential 1990s alternative rock band Eleven, presents ‘Hum’, his third solo album and first for six years. As well as tearing up his trademark Jazzmaster with major acts such as Queens Of The Stone Age, Them Crooked Vultures and Chris Cornell he has lent a trusted ear when producing the likes of Jimmy Eat World, Brody Dalle and Mark Lanegan.

His new album is acoustic-based with songs echoing the sounds of artists ranging from Nick Drake to Eddie Vedder. “It’s more about me than probably any album I’ve ever done,” says Johannes about the collection that follows a period of tragic loss, extreme illness and rebirth. “It was something I was striving for and needed to communicate. Coming out of a difficult period, I was liberated. I had lost people who were very close to me. I went through struggles with my own health. There’s a personal energy behind the way it was recorded and the feel of the songs. It’s a document of my life right now.”

Tracklisting: Mermaids’ Scream / Hum / Hallowed Bones / Someone / If Morning Comes / Free / Sealed / Here In The Silence / Nine / Finis

Label Review. 

2020 album. Also available on CD. 

Our Overview. 

‘On&On’ is the brand new album from Daniel Blumberg. A 9-track song cycle that confirms the London musician and visual artist as a unique creative force, pushing the art of song into expansive new territories. Following 2018’s ‘Minus’, Blumberg’s debut for Mute, ‘On&On’ is a consolidation of the deconstructed song aesthetic he has developed, operating at the intersection between conventional song structures and free improvisation.

Now he takes this further, incorporating recurring, shapeshifting motifs and at times dissolving the boundaries between songs altogether.Born out of live sessions with the same core group of players as ‘Minus’: Daniel Blumberg (vocals, guitar, harmonica), Ute Kanngiesser (cello), Billy Steiger (violin), Tom Wheatley (double bass) and Jim White (drums), with the addition of electronic maverick Elvin Brandhi (vocals). As such it represents a deepening of relationships and distillation of techniques for this tight-knit group of freeplaying musicians, who are loosely based around Café OTO.

The album is recorded by Peter Walsh (Scott Walker), who has captured the group’s extraordinary performances, encompassing the full expressive range of their instruments from softly-bowed melodies and tender vocal harmonies to rough-hewn scrapes, plucks and rattles, while the sound of the room and the outside world spill naturally into the soundfield.

Tracklisting: On&On / Sidestep Summer / On&On&On / Bound / Silence Breaker / On&On&On&On / Teethgritter / On&On&On&On&On / Pillow

Label Review. 

Originally released in 1992 on a rare edition of her debut album. Also available on Vinyl. 

Our Overview. 

British singer/songwriter PJ Harvey’s first album ‘Dry’ is approaching 30 years old and her singular approach to her art has kept her dedicated fanbase rabid for new product over the course of her career especially as new albums come fairly infrequently. Although previously released, the demos of the songs she recorded in preparation for ‘Dry’ from 1992 are perhaps the most sought after releases of her catalogue. When that album was first released a limited number of CD’s had the demos tacked onto the end of the album while a special double vinyl edition had those recordings on the second disc. Copies of both versions have changed hands for over £200!

Now, those demos are being treated to a proper release for the first time with new artwork and unseen photographs taken by her official snapper Maria Mochnacz. Harvey said of her debut album: “‘Dry’ is the first chance I ever had to make a record and I thought it would be my last. So, I put everything I had into it. It was a very extreme record. It was a great joy for me to be able to make it. I never thought I’d have that opportunity, so I felt like I had to get everything on it as well as I possibly could, because it was probably my only chance. It felt very extreme for that reason.”

The finished album was fairly raw in its production and emotion played with her then band of Rob Ellis on drums and Steve Vaughan on bass while the demos feature Polly on her own with her guitar for company. The recordings show that the songs arrangements were pretty much in place and wouldn’t need too much work to lay down with the band. Of the reasons behind her raw approach she later said: “I’m somebody who looks for something that’s going to shock or excite me; that really shakes me up in some way inside, so you have to stop and really take a look at what you’re feeling and why you’re feeling it. And nothing was doing that for me. So I had to do it for myself.”

Tracklisting: Oh My Lover / O Stella / Dress / Victory / Happy And Bleeding / Sheela-Na-Gig / Hair / Joe / Plants And Rags / Fountain / Water

Label Review. 

2020 album. Also available on CD. 

Our Overview. 

Hailing from Auckland, New Zealand, indie-pop trailblazers The Naked and Famous launch their fourth album ‘Recover’ which represents a new era for the band, and reasserts them as one of the most exciting sonic trailblazers, taking them to emotionally inspired depths, while maintaining the fresh effervescence that has charged their previous records.

‘Recover’ is largely an autobiographical record rooted in a powerful sentiment of survival, and of the very human process of self-preservation - of saving, choosing and celebrating oneself in a world constantly trying to put us down. Each song is carefully crafted with an important messages ranging from the sentiment of survival (“Death”), touching on topics of self-identity (“Well-Rehearsed”), resilience (“Recover”), mortality (“(An)Aesthetic”) written by Thom about his near-death experience with blood poisoning) and the things that affect our lives in ways we never anticipated (“Sunseeker”).

Leading members Alisa Xayalith and Thom Powers met while attending music college. They put out the EPs ‘This Machine’ and ‘No Light’ in 2008, then made their full-length debut with ‘Passive Me, Aggressive You’ which featured their breakthrough hit “Young Blood” in 2010. Of the new record, Thom Powers says “‘Recover’ is about the duo, recovering ourselves, and our artistic vessel. The album is a statement of creative healing and a vehicle to plow forward into our own future. We hope that the messages of healing and resilience have some effect on its listeners.”

Tracklisting: Recover / Sunseeker / Bury Us / Easy / Come as you Are / Everybody Knows / Echoes in the Dark / Well-Rehearsed / Monument / Death / Count on You / Muscle Memory / The Sound of My Voice / (An)aesthetic / Coming Back to Me

Label Review. 

Andrew Gold (1975) What’s Wrong With This Picture (1976) All This And Heaven Too (1978) Whirlwind (1980) plus 3 bonus tracks. Plus a disc of out-takes and unreleased recordings and another with two live performances. DVD: Promo videos, Live Old Grey Whistle Test 15th March 1977 and OGWT in the studio 24th Jan 1978. Esoteric.

Our Overview. 

One of the finest musicians and songwriters to emerge from the Los Angeles music scene in the mid-1970s, Andrew Gold had already established a reputation as an arranger and key member of Linda Ronstadt’s band before breaking out as a solo artist with his self-titled debut album in 1975. His song “Endless Flight” was covered by British singer Leo Sayer on his album of the same name the following year. The classic album ‘What’s Wrong With This Picture’ followed in 1976 and spawned the huge hit “Lonely Boy” and broke Andrew internationally. His third album ‘All This And Heaven Too’ would produce three international hit singles in “Thank You For Being A Friend”, “Never Let Her Slip Away” and “How Can This Be Love” and was another acclaimed work. The 1980 album ‘Whirlwind’ was Andrew’s final album for Asylum. More muscular in nature, it featured the excellent “Kiss This One Goodbye”.

Andrew Gold’s recorded legacy is now celebrated with this boxed set featuring 73 tracks on six CDs, including the aforementioned all newly re-mastered from the original Asylum Records master tapes, along with a disc of out-takes and rarities from the album sessions and a CD comprising 18 live tracks (17 previously unreleased) drawn from a concert at the Universal Amphitheater in Los Angeles in 1977 and a BBC TV concert recorded in London in November 1976 for the classic series ‘The Old Grey Whistle Test’. It also includes an additional 80 minute DVD featuring six promotional videos, the complete BBC Old Grey Whistle Test concert recorded in November 1976 and broadcast in March 1977 & a special Andrew Gold feature from the show first broadcast in 1978 – all of which are previously unreleased. The set also includes a lavishly illustrated booklet and a poster. ‘Lonely Boy - The Asylum Years’ is a fitting tribute to Andrew Gold, a much missed master of his craft.

Track Listing:

CD1: That’s Why I Love You / Heartaches In Heartaches / Love Hurts / A Note From You / Resting In Your Arms / I’m A Gambler / Endless Flight / Hang My Picture Straight / Ten Years Behind Me / I’m Coming Home / Hang My Picture Straight (Live At Santa Monica Civic 1975)

CD2: I Hope You Feel Good / Passing Thing / Do Wah Diddy / Learning The Game / Angel Woman / Must Be Crazy / Lonely Boy / Firefly / Stay / Go Back Home Again / One Of Them Is Me

CD3: How Can This Be Love? / Oh Urania (Take Me Away) / Still You Linger On / Never Let Her Slip Away / Always For You / Thank You For Being A Friend / Looking For My Love / Genevieve / I’m On My Way / You’re Free / Endless Flight (Live At The Gator Bowl, Jacksonville, Florida 1978)

CD4: Kiss This One Goodbye / Whirlwind / Sooner Or Later / Leave Her Alone / Little Company / Brand New Face / Nine To Five / Stranded On The Edge / Make Up Your Mind

CD5: Within A Word / Broken Pinball Machine / Ten Years Behind Me (Demo) / Lonely Boy (Original Version) / Firefly (Early Unfinished Version) / Feel It / Gorilla Jam / Gambler (Version #1) / Still You Linger On (Alternate Take) / Thank You For Being A Friend (Outtake) / Genevieve (Original Version) / Gambler (Version #2) / Traffic Jam / The In Crowd

CD6: Live Recordings – Released 1976 / 1977: Hope You Feel Good / Stay / That’s Why I Love You / Endless Flight / Learning The Game / Hang My Picture Straight / One Of Them Is Me / Lonely Boy (Live At The Universal Amphitheatre, Los Angeles – 6th January 1977) / Heartaches In Heartaches / That’s Why I Love You / Endless Flight / Do Wah Diddy Diddy / Learning The Game / Angel Woman / Hope You Feel Good / One Of Them Is Me / Lonely Boy / Go Back Home Again (Live At The New Victoria Theatre, London 23rd November 1976)

DVD: The Promotional Videos: Lonely Boy / Go Back Home Again / Thank You For Being A Friend / Never Let Her Slip Away / How Can This Be Love / Kiss This One Goodbye // BBC TV Live At The New Victoria Theatre, London – Broadcast 15th March 1977: Heartaches In Heartaches / That’s Why I Love You / Endless Flight / Do Wah Diddy Diddy / Learning The Game / Angel Woman / Hope You Feel Good / One Of Them Is Me / Lonely Boy / Go Back Home Again // BBC TV Old Grey Whistle Test 24th January 1978: Hope You Feel Good / Andrew Gold Interview / One Of Them Is Me

Label Review. 

2020 album. Folk. Also available on CD. 

Our Overview. 

After being one of the most significant figures in the English Folk Revival of the 1960s then not releasing an album in 38 years, 2016’s ‘Lodestar’ was a musical miracle, and there’s no stopping Shirley Collins now. ‘Lodestar’ brought Shirley’s widely missed voice back to fans with subsequent heralded live shows at London’s Barbican, The Roundhouse and Cambridge Folk Festival.

Recorded at Metway in Brighton, ‘Heart’s Ease’ is as compelling and original as Shirley’s great albums from the 1960s and 70s, with traditional songs from England and the US, four non-traditional tracks with a burst of experimentation that hints at possible new directions to come. ‘Heart’s Ease’ in turn, named after a wild pansy, also follows the release of Collins’ second book ‘All In The Downs’ which won the Penderyn Prize and the documentary ‘The Ballad of Shirley Collins’.

Collins’ intriguing choice of songs on ‘Heart’s Ease’ includes two with lyrics by her first husband Austin John Marshall, a graphic artist and poet who produced several of her albums and had the inspired idea of getting Shirley to work with blues/jazz/world music guitarist Davy Graham on that extraordinary album ‘Folk Roots, New Routes’ in 1964. There are more family memories with “Locked In Ice”, written by Dolly’s son the late Buz Collins and the most startling new piece is the finale, “Crowlink”, named after a pathway on the South Downs overlooking the English Channel “where I love to be,” in which Shirley sings against a moody, atmospheric fusion of Ossian Brown’s hurdy-gurdy, and electronica and field recordings of waves and sea birds from Matthew Shaw.

‘Heart’s Ease’ is a glorious reminder that Shirley Collins is still in a class of her own, both as a folk singer with a distinctive no-nonsense style that is all her own, and as an innovator. And she certainly doesn’t intend this album to be her last. “I have such a huge memory of songs, so many of which I still want to sing. And I wasted all those years not singing, so now I’ve got to catch up a bit!”

Tracklisting: The Merry Golden Tree / Rolling In The Dew / The Christmas Song / Locked In Ice / Wondrous Love / Barbara Allen / Canadee-i-o / Sweet Greens And Blues / Tell Me True / Whitsun Dance / Orange In Bloom / Crowlink

Label Review. 

2020 album. Shoegaze/psychedelia. Also available on CD. 

Our Overview. 

Winter is talented Brazilian Samira Winter and ‘Endless Space (Between You & I)’ is her debut album. The power of a Winter song is hard to describe, like how the delicate world building of a good book can be more compelling than real life. There’s a make-believe, fairy tale surrealism that sets Winter’s blend of shoegaze and psychedelia apart while existing in the same universe as the ethereal dream pop of Cocteau Twins and Melody’s Echo Chamber.

Samira Winter grew up in Curitiba, Brazil, where her Brazilian mother filled their home with the gentle melodies of MPB (música popular brasileira), and her father introduced her to the distorted sounds of American punk. At 18, she moved to Boston where she first released music as Winter, eventually moving to LA’s Echo Park. Winter has built a cult following with a stream of bilingual releases and national tours supporting Boogarins, Broncho and Cherry Glazerr, not to mention dates in Mexico, South America and Europe.

“Winter’s breathy voice is pretty magical.” say Brooklyn Vegan. Meanwhile “Winter makes cosmic dream-pop fit for stargazing. The languid motion of their soaring tunes are filtered through fuzzy sounds of slowly writhing guitar work.” suggests AudioTree.

Tracklisting: Between You & I / Endless Space (Between You & I) / Here I Am Existing / Healing / In the Z Plan / Say / Bem No Fundo (feat. Dinho Almeida) / Constellation / Memoria Colorida / Wherever You Are / Pure Magician

Label Review. 

2020 album. Also available on Vinyl. 

Our Overview. 

Bab L’Bluz are a Moroccan-French power quartet fronted by an African-Moroccan woman in a traditionally male role. Bab L’Bluz are devoted to a revolution in attitude which dovetails with Morocco’s ‘nayda’ youth movement – a new wave of artists and musicians taking their cues from local heritage, singing words of freedom in the Moroccan-Arabic dialect of darija.

“More than anything we’re a rock band,” declares frontwoman Yousra, who sings, ululates and fires riffs from her goatskin-covered awicha [small guembri] like some Berber warrior goddess. We use the awicha as a guitar and the guembri as a bass, both at different tunings. We channel our huge range of influences into music that crosses borders and travels through time.”

Think old-school Gnawa meets funk. Moroccan chaabi meets trance. The sung poetry of Mauritania meets the deep spiritual cry of the blues. Imagine ninja-style flute, propulsive drums and percussion including spiralling metal qraqeb castanets. Wrap it all up in the turned-on-tuned-in psych rock grooves of such countercultural heroes as Santana, Jefferson Airplane and Nass El Ghiwane, Morocco’s very own Rolling Stones.

Tracklisting: Gwana Beat / Ila Mata / El Gamra / Glibi / Oudelali / Waydelel / Africa Manayo / Yemma / El Watane / Bab L’ Bluz

Label Review. 

2020 album. Electronic. Also available on Vinyl. 

Our Overview. 

RY X and Frank Wiedemann reunite as Howling to present ‘Colure’ the sophomore full-length record from their joint musical enterprise, a bigger, sharper follow-up to their debut, ‘Sacred Ground’. RY X rose to underground-folk fame with breakthrough hit ‘Berlin’ and followed up with solo albums ‘Dawn’ and 2019’s ‘Unfurl’. His band, The Acid - a project with producers Adam Freeland and Steve Nalepa created a multimedia film, “the bomb” in 2017. Wiedemann is royalty of the 4/4 scene as one half of Âme with Kristian Beyer and head honcho of Berlin label Innervisions he co-owns with Dixon & Kristian.

On ‘Colure’, the Berlin-based Wiedemann and Los Angeles-based RY X conjure transcendent creations out of their contrasting musical backgrounds and environments. The album is assuredly dualistic: electronic and acoustic sounds sit comfortably side-byside, and big melodic hooks are laced into hypnotic club productions.

Tracklisting: Ellipses I / Pieces / Bind / Healing / Dew / Need You Now / The Water / Light On / Phases / Mother / Body Inside / Lover / Ellipses II

Label Review. 

2020 album plus instrumental disc. Prog rock. Also available on CD & Vinyl. 

Our Overview. 

Haken are an English progressive metal band formed in 2007 and they release their sixth album the topically titled ‘Virus’. Since releasing their last album ‘Vector’ in October 2018, Haken have completed headline tours the world over, played sold-out shows across Europe and North America as support for Devin Townsend and picked up a Prog award for their efforts too! All the while, they have been quietly, secretly working on the follow-up album.

All the initial ideas were created back when they were writing ‘Vector’ at the end of 2017. The album title generated surprise as it was announced during the COVID-19 pandemic, but vocalist Ross Jennings said it was just coincidental. The singer also remarked that “whilst ‘Virus’ can absolutely be enjoyed as a stand-alone work, it is thematically and conceptually linked with ‘Vector’.

The band comments: “[The track] “Prosthetic” was the first song we completed during the ‘Virus’ writing sessions and we always felt it would be the perfect opener for the album. It’s a very guitar heavy track with its roots in 80s thrash riffing, but with the unconventional rhythmic twists and turns we often like to explore in Haken. We sadly never had a Jeff Hanneman and Robert Fripp collaboration, but this song at least draws on inspiration from them both! Lyrically the song is a bridge between our two albums ‘Vector’ and ‘Virus’. The message was brilliantly brought to life by video director Vicente Cordero, who also beautifully captured the live energy of the band in a way that both enhances the song, and perfectly sets the scene for what’s to come.”

Tracklisting: Prosthetic / Invasion / Carousel / The Strain / Canary Yellow / Messiah Complex i: Ivory Tower / Messiah Complex ii: A Glutton for Punishment / Messiah Complex iii: Marigold / Messiah Complex iv: The Sect / Messiah Complex v: Ectobius Rex / Only Stars

Label Review. 

2020 album. Jazz. Also available on Vinyl. 

Our Overview. 

‘Wu Hen’ is the second album from South London’s Kamaal Williams -- an invitation to elevate to a higher state. Cinematic strings that wouldn’t sound out of place on a Scott Walker record from Miguel-Atwood Ferguson and virtuoso saxophone from Quinn Mason are textural additions that make for a deeper, multi-layered experience than previous releases. Also on ‘Wu Hen’ are LA’s Greg Paul on drums (of Kalayst Collective), Rick Leon James on bass, vocals from cult rapper Mach-Hommy and Kaytranada collaborator Lauren Faith.

Williams proclaims “We learnt Jazz in the streets, not in the classroom”, an apt statement since the artist’s core influences include hip hop, grime, UK garage and house, whilst overlapping with 70’s funk, soul and jazz for a fusion he describes as “Wu Funk’’ as affirmed on his recent edition of the legendary DJ Kicks series at the end of 2019. Kamaal rose to prominence with the hugely acclaimed Yussef Kamaal alongside drummer Yussef Dayes and a catalogue of 12”s for imprints such as MCDE, Eglo, and Rhythm Section as Henry Wu that became essential DJ tools. In 2018 he launched Black Focus Records with the Kamaal Williams debut The Return, which charted in the UK and saw sold out shows and festival appearances across Europe, North America and Asia.

Tracklisting: Street Dreams (Feat. Miguel Atwood-Ferguson) / One More Time / 1989 / Toulouse / Pigalle / Big Rick / Save Me (Feat. Mach-Hommy) / Mr.Wu / Hold On (Feat. Lauren Faith) / Early Prayer

Label Review. 

13 new performances or alternate versions to the band’s catalogue, and both sides of The Gist’s first 7 inch (recorded at the same session as the final Young Marble Giants single), along with their contribution to the Rough Trade / NME classic compilation C81. Also available on CD. 

Our Overview. 

In the wake of Welsh indie band Young Marble Giants’ breakup, two camps were created, with Stuart Moxham taking the band’s minimalist, geometric play to extremes and Alison Statton adding more warmth and feeling to the same basic template and creating something stunning but based in popular forms. In recent years, both artists have almost reversed course, with Stuart proving himself an ace songwriter in classic pop form, and Alison’s work again approaching a modern abstraction of quiet folk music - experimental but accessible. Without a real template to guide him, Stuart’s new form of music - as The Gist - was widely regarded as wildly uneven. Stuart admits that he didn’t know which way to go, so in perverse style, he decided to take all directions at once. The Gist’s original discography stood at a scant 18 songs, but only seven featured Stuart’s own voice, often in heavily processed and oddly mixed form. So while The Gist’s label, Rough Trade, had the widest array of unique voices in popular music, Stuart buried his own voice. Sales disappointed and The Gist were dropped.

A decade later, starting with a critical re-evaluation of The Gist’s sole album, ‘Embrace The Herd’, in an issue of Mojo magazine, the tide begin to turn. Ambience in pop music had enjoyed a cult following from Eno on, but the non-linear structure of many of The Gist’s songs had certain parallels with the rise of artists such as Aphex Twin and Seefeel. One song from the era was covered by Etienne Daho in France. Sounding rather advanced for French pop at the time, it ended up selling over a million copies and was later covered by Lush and sampled by DJ Koze with Lambchop singer/songwriter Kurt Wagner. The Gist’s story could have been different.

Recent discovery of a trove of unreleased songs, versions and demos showed that Stuart had ample material on a par with his YMG work, sometimes in rough demo form, but often in five or six complete, entirely different arrangements. With the 2017 album of unreleased material by The Gist, ‘Holding Pattern’, a new audience discovered the band and the release sold out quickly. This new collection of previously unreleased snapshots, coincides with Stuart Moxham’s album of new material with Louis Philippe ‘The Devil Laughs’.

Tracklisting: Yanks / Stones And Sunlight #2 / Being True (band version) / This Is Love / Greener Grass / Public Girls (demo) / How To Be / The Landmark / C Me / Working It Out / You Were The One / Unsettled Hash / Here Comes Love #2 / Piano Piece / Stones And Sunlight #3 / Mistakes In Love

Label Review. 

Pinball, Pick Up, I / You plus 5 bonus tracks. 7T’s.

Our Overview. 

Brian Protheroe may be better known for his TV roles in shows such as Reilly Ace of Spies, Lovejoy, North and South, Holby City, Midsomer Murders, Doctors and Spooks but back in the 1970s Brian was signed to Chrysalis Records and released three albums for the label between 1974-76. His single “Pinball” cracked the Top 30 and although none of his albums or other singles were hits his music retains a cult following. Aside from obscure Dutch reissues in the 1990s, this is the first officially sanctioned reissue of his work and Brian has been fully involved with the box set.

Protheroe joined the folk group Folk Blues Incorporated (FBI) when he was nineteen, while at this time listening to Bob Dylan and the Beatles. He came to London with FBI in 1965, and played in folk music clubs in and around London. In 1966, Brian began his career as an actor. His first job was with his local repertory theatre in Salisbury. He worked there for about seven months then spent the next five years in various theatre companies around Britain, developing his musical skills as well as becoming an experienced actor. In 1968 he worked for nearly two years in a theatre company in Lincoln, where he met Martin Duncan who was also a musician, writer and actor. Over the next few years they collaborated on various musical and artistic projects.

In 1973, Brian was playing the part of a pop singer in a play called 'Death on Demand', when a representative from Chrysalis Records heard a song he had written for the show. His first single, “Pinball”, was released in August 1974 and reached No.22 and an album of the same name followed. Two more albums – ‘Pick Up’ and ‘I/You’ were released over the next couple of years which featured Simon Phillips, as well as Ian Anderson and Barriemore Barlow of Jethro Tull. Protheroe’s songs are noted for their use of wordplay, some nonsensical, in the vein of John Lennon largely written by Martin Duncan although Brian had a hand in the writing too. Failing to replicate the success of his first single he returned to acting full time where he has carved out a successful career.

Tracklisting:

CD1: Clog Dancer / Money Love / Moon Over Malibu / Micky Dollar Dreams / Goodbye Surprise / Pinball / Kinotata / Changing My Tune / Monkey / Lady Belladonna / Fly Now / Interview / Also In The Limelight / Wrong Kinotata / Play

CD2: Enjoy It / The Good Brand Band Song / Scobo Queen / Cherry Pie / Oh Weeping Will / Gertrude’s Garden Hospital / Running Through The City / I Spy Lady / Chase Chase Chase / Soft Song / The Pick-Up / Back Away

CD3: I/You / Every Roman Knows / Evil Eye / Under The Greenwood Tree / Dancing On Black Ice / Battling Annie / Never Join The Fire Brigade / Hotel / Lucille / The Face And I / Back Away (Re-Mix) / Enjoy It (Re-Mix) / Fly Now (Re-Mix)

Label Review. 

2020 album. Also available on Vinyl. 

Our Overview. 

‘Hate For Sale’, produced by the revered Stephen Street (The Smiths, Blur), is the 11th studio album by The Pretenders. The record features 10 new songs written collaboratively by Chrissie Hynde and the electrifyingly dynamic guitarist James Walbourne, in what is the first Hynde/Walbourne song writing collaboration to date. Speaking about writing with James for the first time, Chrissie said: “I wanted to write with him since day one. James is especially sought after and has recorded with Jerry Lee Lewis, Dave Gahan, and The Rails, to name but a few. We always planned on writing while on the road, but as anyone in a band will tell you, being on tour is a procrastinator’s dream come true”.

The Pretenders and Chrissie Hynde have been part of the rock firmament for over 40 years. After a great start scoring a UK No.1 with “Brass In Pocket” they had to overcome the early tragedy of losing two members to drug overdoses in the early 1980s. Hynde and drummer Martin Chambers (who is still in the band today) continued with new members and more hits such as “Don’t Get Me Wrong”, “Hymn To Her” and “I’ll Stand By You”. The current line-up of Hynde, Chambers, Walbourne, Nick Wilkinson (bass) and Eric Heywood (guitar, vocals) have been steady for over 10 years and have now added Carwyn Ellis (keyboards) to further expand their sound.

Tracklisting: Hate For Sale / The Buzz / Lightning Man / Turf Accountant Daddy / You Can’t Hurt a Fool / I Didn’t Know When To Stop / Maybe Love Is In NYC / Junkie Walk / Didn’t Want To Be This Lonely / Crying in Public

Label Review. 

2020 debut album. Rock. Also available on CD. 

Our Overview. 

Silverbacks are a 5-piece band from Dublin, Ireland and release their debut album ‘Fad’. Taking their cues from the taut rhythms and urgent drive of late 70s punk and the discordant, unpredictable freak-outs of NYC no wave, they craft a signature sound spiked with triple guitar riffs, a motorik rhythm section and on-the-pulse lyrics.

‘Fad’ represents the sound of a band trying to make sense of a noisy and disjointed world - one that competes for your attention at every turn. For them, it has come to be a symbol of what it feels like to try and absorb the world through both fleeting moments in front of screens, and prolonged obsessive periods filled with focus. They pull apart pop-culture in search of new meaning, whether it’s a nod to The Simpsons (“Fad 95”), imagining a lost John Hughes film (“Klub Silberrücken”), spiralling downwards into Youtube deep-dives (“Pink Tide”), or making sense of youth culture through The Urban Dictionary (“Grinning At The Lid”).

Much in the same way that modern life can be defined by its unpredictability, Silverbacks colourful, vivid and exuberant songs dismantle their source material and end up in places that you don’t think they will. It can be heard in the spidering guitar lines of opening track “Dunkirk”, or “Pink Tide”’s Thin Lizzy-aping riffery, “Fad 95”’s overt Pavement influence, “Up The Nurses” Blondie injection or “Last Orders”’ Fall-inspired tale of escapism. “Grinning At The Lid”’s huge gang vocal chorus even recalls New Fellas-era The Cribs. Elsewhere “Just In The Band” draws on tales of Bowie and Iggy Pop’s friendship, and “Muted Gold” – having sprouted from a time spent practising Afrobeat and highlife guitar techniques – shines a light on situations in which women are continually inundated with unsolicited advice. All over ‘Fad’ are the fingerprints of a band clawing their way through the remains of the day, seeing what there is to uncover.

Tracklisting: Dunkirk / Pink Tide / Drink It Down / Fad ‘95 / Dud / Klub Silberrücken / Travel Lodge Punk / Just In The Band / Grinning At The Lid / Muted Gold / Up The Nurses / Madra Uisce / Last Orders

Label Review.

2020 album. Folk.

Our Overview.

‘We’ll Look For Stars’ is the new album from Lynn Miles. Lynn is one of Canada’s most accomplished singer/songwriters. With 14 albums to her credit, the winner of multiple Canadian Folk Music awards (2011 English Songwriter of the Year), and a 2003 Juno award for Roots and Traditional Solo Album of the Year, she has certainly found her strength over time.

There’s something to be said for experience, for taking the time to grow into your own skin. All sturdy things need time to root firmly into the ground to find their strength.

Through a career that has seen her move from Ottawa to Los Angeles and back again, with stops in Nashville and Austin TX., and a healthy touring schedule that regularly takes her through the US, Europe and across Canada, she has always created and performed music with unbridled feeling and vulnerability. After a successful duo-stint with Lynne Hanson (as The Lynnes) Lynn Miles now returns to a solo career with what may well be her most achieved and most personal album yet Some press for her previous solo release ‘Downpour’.

“Lynn Miles excels at exquisite melancholy and delivers another aurally addictive course of intensive treatment”. Maverick Magazine: - Arthur Wood

“The wonderful new album has the singer in top form, as she creates 11 incredible soundscapes...has she ever sounded better...with her new album she has aimed for the sky, and scored a direct hit.” Country Music People - Paul Riley

“I’ve a deep appreciation for almost all of Lynn’s past work and several of her albums are favourites from my music collection. Downpour, though has quickly become my favourite Lynn Miles album (at least until her next one)- and that says a lot” Folk Roots/Folk Roots Branches - Mike Regenstreif 

Tracklisting: WE’LL LOOK FOR STARS / The World Is Spinning / Merle / She Drinks / Old Soul / Because We Love / In The Wilderness / Main Street / Restless / A Heart Can Only Take So Much / The Saddest Song

Label Review. 

2020 debut album also available on CD.

Our Overview. 

Born in New York City, 21 year old Maya Hawke is an actress, singer and lyricist. Hawke was most recently seen in the third season of Netflix’s ‘Stranger Things,’ as well as in Quentin Tarantino’s ‘Once Upon a Time in Hollywood’ and Amanda Kramer’s ‘Ladyworld.’

Following the release of her independently released A and B side singles in 2019, she returns with a deeply personal full-length album ‘Blush’. Hawke, who wrote the lyrics, continued her collaboration with Grammy Award-winning songwriter Jesse Harris, who wrote the music for the album. On creating the album, Hawke says, ‘This album happened accidentally’ Jesse and I started working together accidentally... we kept writing, kept collecting songs because it brought joy into both of our lives.

Collecting them into an album and releasing it comes from a crazy, if not pathological desire to share that joy with others. From my point of view, ‘Blush’ is a collection of secret messages, hidden communications with the people in my life. ‘By Myself’ was a secret message to myself, that I hope I’ll receive someday soon.’

Tracklisting: Generous Heart / So Long / By Myself / Animal Enough / Coverage / Hold the Sun / River Like

Label Review. 

2020 album. Also available on CD. 

Our Overview. 

Much has been written about Welsh indie band Young Marble Giants’ small, perfect catalogue, which contained roughly two-dozen songs, nearly each one a perfect gem. Less is known about Stuart Moxham’s long wilderness years after the break-up of his first professional band. His next project, The Gist, chopped YMG’s minimalism into a new sound. “This Is Love”, “Public Girls” and “Fool For A Valentine” showed his songs to be razor-sharp, but the album’s fragmented pieces were a step too far for some, though even the strangest, “Carnival Headache”, when cast in sunlight by Alison Statton’s combo Weekend, was as fine a song as any he’d written - and “Love At First Sight” became a million-seller when covered by Etienne Daho. Then Stuart disappeared.

A mid-90s resurgence led to fine albums done on low budgets, before more silence followed. The Gist’s 2017’s release ‘Holding Pattern’ - unexpected and then quickly followed by YMG singer Alison Statton’s first new album with her accompanist Spike in two decades, adding fuel to public interest. ‘The Devil Laughs’, recorded a few years back, is a compelling addition to the canon of Moxham’s songwriting. Stuart’s generally unadorned musical presentation does not hinder his appreciation for the skills of Louis Philippe, whose iconic arrangements across an array of Él label albums inspire the fierce devotion of aficionados around the world.

“Tidy Away” is Young Marble Giants redux, though the backing vocals hint at maturity which band didn’t live to see. “Fighting To Lose”, written with producer Ken Brake, would pass as a worthy b-side to “Bridge Over Troubled Water”, and although the songs are otherwise Stuart’s, Louis fans will delight at several, like “Love Hangover” and “Sky Over Water”, which display his style and production genius as succinctly as anything on his own albums. ‘The Devil Laughs’ is as out of its time as ‘Colossal Youth’ was - its subtle but immediate beauty, devoid of “rock”, is a recording best understood in the light of those obscure groundbreakers who inspired it - the faux barbershop vocals of Smile-era Beach Boys, the studio lustre of Tom Wilson’s work with Simon & Garfunkel, a dash of The Swingle Sisters and French chanson - along with enough hints of Young Marble Giant’s modernist folk abstraction to satisfy longtime fans. ‘The Devil Laughs’ is a small masterpiece of pure expression.

Tracklisting: Tidy Away / Day Must Come / It Goes Like This / Love Hangover / The Devil Laughs / Sky Over Water / Fighting To Lose / Untitled #2 / Come To Me Nancy / Head In A Song / Singing Out / Tidy Away (Reprise)

Label Review.

2020 album. Hip hop. Also available on Vinyl.

Our Overview.

‘Blinded By The Neon’ is a rap tribute to the art of storytelling. The contemplation of a man alone in the twilight hours, plus a bittersweet emotional cocktail of self-doubt comprised of equal parts love, the side-effects of success and the life of an artist, are the chief inspirations behind this conceptual debut LP by jazz/hip-hop group Ferge X Fisherman aka German/American vocalist Fritz Fisherman and the German producer Ferge.

“A sublimely accomplished modern day gem. My favourite hop hop album of 2020 thus far. Fresh as spring air 5/5” MUSIC REPUBLIC MAGAZINE

Citing legendary platters such as ‘Heart Of Saturday Night’ by Tom Waits and ‘In The Wee Small Hours’ by Frank Sinatra as influences for their own modern masterpiece, ‘Blinded By The Neon’ revolves around a central character and his shifting feelings of self-awareness and ambivalent relationships with his own art and with himself as an artist. Musically, the arc of the album sweeps from sweet melancholy and tasteful strings to freak beat maker-aesthetics and on to melodic gospel and soul.

The concept of the record determines the musical route and takes the listener on a journey through our hero’s complex inner world. With an expanded lineup, Ferge X Fisherman have been making a name for themselves as a live act in Germany, demonstrating how the balancing act between electronically produced hip hop and live instruments can succeed. Here, they combine the best of both worlds and make this album a dynamic, varied pleasure for the listener, retaining its attraction even after repeated plays. Let yourself be blinded by the neon.

Tracklisting: Head On Stage / Backstage / One Of My Best Friends (feat. Maniac) / Role / Reflections On My Windshield / Call You / Anna Nicole (feat. Florian Heimbuchner) / Playin’ Different (feat. Spiritchild & Felisha George) / City Serenade / Drunk On The Moon / Stumbling (feat. Ki’Luanda) / In My Shoes

Label Review. 

2020 album. Metal. Also available on CD. 

Our Overview. 

Four musically kindred spirits from Birmingham, Alabama, USA, collectively known as EMBR have released their debut album ‘1823’. Within the genre of heavy metal there can be an abundance of variation, color, texture and tone. There are many different shades and many different categories within that catch-all phrase. It’s not all about throat ripping vocals or Neanderthal riffage.

EMBR spent most of 2019 writing 7 new songs for ‘1823’. The title has special significance. It’s not just a numerical title, it has substance. Eric Bigelow (drummer) had been on the list for a kidney for around 4 years received a transplant in May 2019. The organ was from a deceased donor and all Eric and Crystal Bigelow (singer and Eric’s wife) know about the donor is that it was a young woman between the ages of 18-23. The album is dedicated to the donor and the surgeons at Vanderbilt hospital in Nashville TN.

Musically ‘1823’ could be categorized as ‘Doom’. However, on this debut it’s obvious that EMBR have range, drive and a desire to add to the genre, to broaden it whilst staying true to its core fundamentals. Mark Buchanan (guitar), Alan Light (bass) and Eric keep everything tight and weighty. Massive drop-tuned guitars, chest rattling low end, pounding drums, fuzzy distortion, it’s all there. But they also add in synths, a bit of grunge and alt rock flavors. The vocal talents of Crystal absolutely soar and strengthen the music with her range, patterns and harmonies which transport the band’s music skyward. Crystal adds soul and an air of melancholia to the musical creations.

As many who are not drawn metal’s immediate charms may perceive, heavy music can encompass a whole panoply of sounds, moods and ambition. It can surround you with emotional elegance and distressing chaos. There can be subtleness, thoughtfulness and deep introspection even when things get exceptionally heavy which is what EMBR provide on ‘1823’.

Tracklisting: Prurient / Where I’ve Been / Stranger / Powder. / Eyes Like Knives / Your Burden / Vines

Label Review. 

2020 album. Also available on Vinyl. 

Our Overview. 

“Everybody wants to know / how I feel and what I think,” Margo Price sings in her emotive, bittersweet twang, halfway through her third full-length record. On ‘That’s How Rumors Get Started’, Margo has committed her genre-bending rock-and-roll show to record for the first time, stretching out into sky-high soft-rock, burning psychedelic rock ballads, stomping road songs, and sprinkles of pop. “Twinkle Twinkle” is an anti-nostalgia anthem of sorts, about the polarization of becoming a more well-known artist, and the wild ride that was Margo Price’s last few years. It traces her trajectory: she gets by, gets high, racks up debt, can’t pay the rent, plays dives to stay alive. “If it don’t break you, it might just make you rich,” she sings, with heroic sass.

The song was inspired by a back-stage encounter with Marty Stuart and the Superlatives at a music festival that was otherwise pretty bleak. (Price has played with Superlatives guitarist Kenny Vaughan over the years.) After the show, in Stuart’s trailer, while he tuned his guitars, he said to Price, “So, you and the band have been on the road a lot lately, do you all hate each other yet?” As Price recalls it: “I said, ‘No, well, I mean, our marriages are falling apart and our health’s deteriorating. But other than that, we’re great.’ And he looks at me, and he gets this gleam in his eye, and he says, ‘You wanted to be a star.. Twinkle twinkle.’”

Tracklisting: That’s How Rumors Get Started / Letting Me Down (featuring Sturgill Simpson) / Twinkle Twinkle / Stone Me / Hey Child / Heartless Mind / What Happened To Our Love / Gone To Stay / Prisoner Of The Highway / I’d Die For You

Label Review. 

2020 album. Indie folk pop. Also available on CD.

Our Overview. 

After the celestial adventures of Lancaster polymath Ben Hall, AKA Mr Ben & the Bens’ previous issue, band-leader Ben Hall finds all the magic he needs on earth with his new album, ‘Life Drawing’, released via Bella Union.

On 2019’s Who Knows Jenny Jones?, Hall plotted the story of a young, shy Pitsmoor woman who returned from an alien encounter newly armed with serious disco-dancingknow-how. ‘Life Drawing’, meanwhile, looks closer to home for its inspiration – Sheffield and thereabouts – for twelve brightly plaintive, character-driven vignettes, set to warm, acoustic, indie-folk-pop backdrops after its predecessor’s close encounters of the synth-driven kind.

A “cloudy thread of narrative” is present, Hall explains, but this time it’s left open for listeners to map routes through it. “The idea with the title is that the songs are character sketches, and their stories coalesce in a place that has a bit of all the towns in the North of England I’ve lived in. Bits of myself in the stories came out unintentionally, so I’d like it if the listener could find those semi-truths from the songs and place them into their own experiences.”

Since their 2017 emergence, Mr Ben and the Bens’ supporters have included Clash and Marc Riley; in addition, they’ve provided touring support to – among others – British Sea Power.

Stretching back to his recording origins in a Lancashire barn circa 2012, Hall’s own musical history ranges from lofi acoustic folk to the skewed electronic experiments of Jenny Jones, with influences including Gorky’s Zygotic Mynci, English folk music and Belle and Sebastian. “I like how their approach was actually punk but with an emotional sensibility,” says Hall of the latter. “That totally resonates with what I’m trying to do.”

Tracklisting: On the Beach / How do you Do? / Danny / Faithful Hound / Astral Plane / Minor Keys / Beast in the House / Walking to an Open Sky / The Wind on Spittlehill / Irish Rain / Closing Time / Watering Can

Label Review.

2020 album. Indie.

Our Overview.

‘Clouded’ is the solo debut album for Les Nuby. Beginning as the drummer in the 90s Birmingham, Alabama indie-rock power house, Verbena, Les Nuby began a steady musical exploration that’s still going. He’s a one-time touring member for Scottish legends Idlewild, touring guitarist with Amy Ray (Indigo Girls), guitar slinger for Vulture Whale, and current guitarist/vocalist for Holiday Gunfire. It’s a hefty musical resume before the production credits even begin.

In his Birmingham studio, Ol’ Elegante, Nuby has been the production captain for several notable releases in the past few years for artists such as Will Stewart, Sarah Lee Langford, The Dirty Clergy, and Witch’s Wall, to name a few. He’s pretty much been there and done it all in the past couple of decades as player and producer. The only item missing from the list was a solo album. Until now.

Naturally, given his musical pedigree, Nuby had to do it all himself on his premiere offering, and produced, engineered, and played all the instruments on ‘Clouded’, and the ten track album blends Southern sensibilities with a shoe-gaze sound, while at the same time, giving it a Brit-rock vibe. Whatever the genre, whatever the sound, Nuby’s track record goes way before him, so you know you’re going to love it before you even press play.

Nuby’s solo debut ‘Clouded’ injects a southern sensibility into his unique and ultracapable take on brit/shoe-gaze rock that produces ten melody laden, thoughtfully arranged and undeniably powerful songs. Nuby produced, engineered and played all the instruments on ‘Clouded’, a reminiscent snapshot of when music had the ability to make you drive faster and cry harder. It may have taken him awhile to get around to making an album all for himself. But, anyone who knows the man or is familiar with his past work isn’t going to be surprised that ‘Clouded’ has clearly been worth the wait.

Tracklisting: Never Falling Away / Fighting Sleep / Know What She Said / Now It’s On / Come To Us / Hey Ivey / Standing Still / OK Let’s Try / Say Love / The Shadowlands

Label Review. 

2020 album. Also available on CD. 

Our Overview. 

‘Unfollow The Rules’ is Rufus Wainwright’s tenth album and sees him at the peak of his powers, entering artistic maturity with passion, honesty and a new-found fearlessness, while remaining as mischievous as ever. Recorded in the same legendary Los Angeles studios as his landmark debut, his new record is both a bookend to Act 1 of an extraordinary career and a distillation of 21 years of experience at pop’s most flamboyant coal face. Inspired by middle age, married life, fatherhood, friends, loss, London and Laurel Canyon, ‘Unfollow The Rules’ captures Rufus at a crossroads. Ready to tackle new challenges, yet compelled to confront his past, he’s taking stock of two decades of running riot with rules, making sense of how he has matured as a musician and celebrating the contended family man he has become.

Speaking about ‘Unfollow The Rules’, Rufus said that he would like the album “to symbolise a coming together of all the aspects of my life which have made me a seasoned artist. My aim is to emulate the greats of yore whose second acts produced their finest work – Leonard Cohen when he made ‘The Future’, when Sinatra became Sinatra in his 40s, when Paul Simon put out ‘Graceland’, pop music isn’t always about your waistline. Many songwriters improve with age. I’m flying the flag for staying alive!”

First single “Damsel In Distress” is an homage to Joni Mitchell in some ways, particularly the structure” Wainwright explained. “My husband and I now live in Laurel Canyon. I wasn’t that familiar with Joni’s music but Jörn became obsessed and took me on a journey into her music. We ended up hanging out with her and I get now why she’s one of the greats. So it’s part Laurel Canyon, part a song about a personal relationship that I’m trying to come to terms with, but mostly my Mitchell virginity being broken.”

Tracklisting: Trouble In Paradise / Damsel In Distress / Unfollow The Rules / You Ain’t Big / Romantical Man / Peaceful Afternoon / Only The People That Love / This Ones For The Ladies (THAT LUNGE!) / My Little You / Early Morning Madness / Hatred / Alone Time

Label Review.

1955 & 1956 albums.

Our Overview.

‘Count Basie Swings, Joe Williams Sings’ (Clef MG C-678) was the first album featuring Joe Williams (1918-1999) as the vocalist of the Count Basie orchestra. 2 LPs on 1 CD - 6-Panel Digipak Collectors Limited Edition - Includes Inside Booklet With Updated Liner Notes.

American jazz pianist, organist, bandleader, and composer Count Basie and American jazz singer Joe Williams’ first real encounter would take place in 1954, and from that year until 1961, Williams remained the singer for the band, rising to national prominence with Basie. “Every Day I Have the Blues”, taped in 1955, was one of his many hit sides (it was added to the Grammy Hall of Fame for recordings of particular historical or qualitative importance in 1992).

The complete Basie/Williams LP The Greatest!! Count Basie Plays, Joe Williams Sings Standards (Verve MG V-2016), as well as the only existing alternate take from that album and two further rare collaborations between pianist and singer have been added as a bonus.

Joe Williams, vocals on all tracks Count Basie & His Orchestra Wendell Culley, Reunald Jones, Thad Jones, Joe Newman (tp), Henry Coker, Bill Hughes, Benny Powell (tb), Marshall Royal (as, cl), Bill Graham (as), Frank Wess (ts, fl), Frank Foster (ts), Charlie Fowlkes (bar), Count Basie (p), Freddie Green (g), Eddie Jones (b), Sonny Payne (d). Arrangements by Frank Foster & Ernie Wilkins. Fine Studios, New York, May 17 & July 26, 1955.

*BONUS ALBUM (10-22): The Greatest!! Count Basie Plays, Joe Williams Sings Standards: Same personnel as above. Arrangements by Buddy Bregman. Capitol Studios, Los Angeles, April 28 & May 1, 1956.

**BONUS TRACKS (23-24): Same personnel as above. Universal Recordings Group, Chicago, January 23, 1956. Originally issued on the Verve 7” single MGV-2004. INCLUDES All original sessions produced by Norman Granz.

Tracklisting: Every Day (I Have The Blues) / The Comeback / Alright, Okay, You Win / In The Evening (When The Sun Comes Down) / Roll’em Pete / Teach Me Tonight / My Baby Upsets Me / Please Send Me Someone To Love / Ev’ry Day (I Fall In Love) / Thou Swell* / There Will Never Be Another You* / Our Love Is Here To Stay* / ‘S Wonderful* / My Baby Just Cares For Me* / Nevertheless* / Singin’ In The Rain* / I’m Beginning To See The Light* / A Fine Romance* / Come Rain Or Come Shine* / I Can’t Believe That You’re In Love With Me / This Can’t Be Love* / I’m Beginning To See The Light [alt Tk]* / Stop! Don’t! ** / As I Love You**

Label Review.

2020 album. Singer songwriter. Also available on Vinyl.

Our Overview.

British folk singer-songwriter Laura Marling’s exquisite seventh album 'Song For Our Daughter' arrives almost without preamble or warning in the midst of uncharted global chaos, and yet instantly and tenderly offers a sense of purpose, clarity and calm.

Three years ago, Laura Marling's sixth album, ‘Semper Femina’, ended with the sound of her putting down her guitar and walking out of the studio and into a garden. Then a door closed and the listener was left alone, in silence. It was a cryptic reference, the singer explained, to Henrik Ibsen's play ‘A Doll's House’, in which with a woman walks out on her husband and children in an effort to discover herself.

As a balm for the soul, this full-blooded new collection could be posited as Laura’s richest to date, but in truth it’s another incredibly fine record by a British artist who rarely strays from delivering incredibly fine records.

On her Grammy-nominated 2017 album ‘Semper Femina’, Marling used Classical-era imagery to add mythos to women-focused stories, but Song for Our Daughter, her seventh album, is guided by its own kind of far-reaching lore. Marling does away with her previous record’s occasional blues-rock grit and peels her sound back to its gleaming bones: pristine acoustic guitar, textural hums, a metronome click. She doesn’t need much else to frame her quartz pendant of a voice, which can reach Alpine altitudes as well recall a troubadour singing through chewing tobacco. Marling has described ‘Song for Our Daughter’ as a rumination on modern femininity, and her tendency to leave lyrical narratives open and unfinished adds an evocative elasticity to her new music. You may find yourself wanting to fill in the spaces as if playing a particularly soul-searching kind of Mad Libs.

Taking much of the production reins herself, alongside long-time collaborators Ethan Johns and Dom Monks, Laura has layered up lush string arrangements and a broad sense of scale to these songs without losing any of the intimacy or reverence we’ve come to anticipate and almost take for granted from her throughout the past decade.

Tracklisting; Alexandra / Held Down / Strange Girl / Only The Strong / Blow By Blow / Song For Our Daughter / Fortune / The End Of The Affair / Hope We Meet Again / For You

Label Review. 

2020 album. Original songs. Sunshine pop. Also available on Vinyl. 

Our Overview. 

‘Explorers Club’ is the eponymously titled fourth album by the Nashville-based Sunshine Pop band and there is a companion album of covers too called ‘To Sing And Be Born Again’. This twelve-song-set is the band’s boldest work to date, breaking sonic barriers while maintaining lush melodies and artistic influences. Key tracks include: “Ruby,” “Look To The Horizon,” “One Drop Of Rain,” “Somewhere Else”.

The Explorers Club is the brainchild of Jason Brewer, who founded the band in his native Charleston, SC before relocating to Nashville. With several songs featured on such shows as ‘The O.C.’ and ‘How I Met Your Mother’ and with three albums already under their belts – ‘Freedom Wind’ (2008), ‘Grand Hotel’ (2012) and 2016’s ‘Together’ – 2020’s twin releases are Brewer’s most ambitious undertaking to date.

The self-titled album of originals is an artistic triumph that includes standout tracks “Love So Fine,” the Phil Spector-inspired “Look To the Horizon” and “Dawn” – The Explorers Club’s first exploration into bossa nova. “I had a solid lineup of musicians working with me on the previous albums and I catered to their tastes, but this time around I made the record that I wanted to make,” Jason proclaims.

Musically adjacent to successful pop artists from the 1960s, 70s like The Beach Boys, Turtles, Association, Grass Roots. Brainchild of Charleston, SC native Jason Brewer, the only constant “member” of The Explorers Club over the band’s lifespan. Brewer re-unites with ‘Freedom Wind’ and ‘Grand Hotel’ producer, Matt Goldman (Copeland, Underoath, Smalltown Poets, etc). New contributors to this incarnation of The Explorers Club include Shane Tutmarc (Dolour, Sean Nelson) and Austin, TX based songwriter, Will Courtney. Consequence of Sound suggested that Explorers Club’s “vocal harmonies are to swoon for,” adding, “Old-school Americana drips off every warm keyboard hit, horn embellishment and lyric about gosh-darn romances from simpler times.”

Tracklisting: Ruby / One Drop Of Rain / Love So Fine / Mystery / Don’t Cry / It’s Me / Dawn / Dream World / Say You Will / Somewhere Else / Dreamin’ / Look To The Horizon

Label Review.

1961 & 1962 albums.

Our Overview.

Essential Jazz Classics Jack Teagarden - ‘Mis’ry And The Blues’ + ‘Think Well Of Me’ 2 Lps On 1 CD - 6-Panel Digipak Collectors Limited Edition - Includes Inside Booklet With Updated Liner Notes.

In the years between leaving Louis Armstrong’s All-Stars and his death (1952- 1964), the great trombonist and singer Jack Teagarden led a Dixieland-oriented sextet. Presented here in their entireties are two of his last albums, Mis’ry and the Blues (Verve V6-8416) and Think Well of Me (Verve V6-8465). While the former LP features his regular group in a selection of standards, the latter (on which a string section is added) concentrates on compositions by Willard Robison. Although Teagarden went through a rough time in the early 1960s that would lead to his premature death in 1964 (at the age of 58), these recordings give ample proof that he was a true master until the end, both as a trombonist and as a singer.

‘Mis’ry And The Blues’: Jack Teagarden, trombone & vocals; Don Goldie (tp), Henry Cuesta (cl), Don Ewell (p), Stan Puls (b), Barrett Deems (d). Chicago, June 18-22, 1961.

‘Think Well Of Me’: Jack Teagarden, trombone & vocals; The Russ Case/Bob Brookmeyer Orchestra, featuring Don Goldie (tp). Arrangements by Claus Ogerman, Russ Case & Bob Brookmeyer. New Jersey, January 17-19, 1962.

Tracklisting: Don’t Tell A Man About His Woman / Basin Street Blues / Froggie Moore Blues / I Don’t Want To Miss Mississippi / It’s All In Your Mind / Mis’ry And The Blues / Dixieland One-Step / Love Lies / Afternoon In August / Peaceful Valley / Where Are You? / Cottage For Sale / Guess I’ll Go Back Home This Summer / I’m A Fool About My Mama / Don’t Smoke In Bed / In A Little Waterfront Caf / Think Well Of Me / Old Folks / Country Boy Blues / Tain’t So Honey, Tain’t So / ‘Round My Old Deserted Farm

Label Review.

2020 album. Synthwave. Also available on Vinyl.

Our Overview.

US based Synthwave band composed of Atlanta-based singer-songwriter Jamison Tyler Lyle and LA based Danish-born producer, songwriter and singer Tim Daniel McEwan aka The Midnight are releasing their fifth album ‘Monsters’.

The Midnight have attracted a strong fan base over the past decade, fusing synth-driven film scores, deep house, pop, and rock. And having gone from online cult fascination to selling out London’s Roundhouse in 2019 the album finds the duo creating a sweeping sound that fuses Americana archetypes with an evocative electronic palette.

‘Monsters’ (released via Counter Records, home to Maribou State, Odesza, Chrome Sparks) sees a continuation of The Midnight’s immersive world building that has attracted a rabid fanbase.

“‘Monsters’ is the story of being a teenager,” says the band in a press release. “Adolescence is messy, tragic, brutal, wistful, and beautiful. ‘Monsters’ is all of that.”

From the album artwork to the song titles, the record excavates teenage emotions through nostalgic touchstones — the early internet, VHS tapes, Playstations, movie posters — to recreate the thrilling and crushing experiences of those tumultuous years.

Tracklisting: 1991 (intro) / America Online / Dance With Somebody / Seventeen / Dream Away / The Search for Ecco / Prom Night / Fire In The Sky / Monsters (feat. Jupiter Winter) / Helvetica / Brooklyn / Deep Blue / Night Skies / City Dreams(interlude) / Last Train

Label Review. 

2020 debut album. South African jazz. Also available on CD. 

Our Overview. 

‘Dialectic Soul’, is the debut album from drummer Asher Gamedze, one of Cape Town’s most cutting edge, visionary artists and musicians. This is Jazz at its most spiritual, most progressive and most appealing form. As Asher himself says: “Dialectic Soul is about motion and a refusal to remain static or stay still. It’s the commitment to be continually moving”.

Recorded live over two days at the Sound and Motion Studios in Cape Town with renowned musicians (Thembinkosi Mavimbela (bass), Buddy Wells (tenor sax), Robin Fassie-Kock (trumpet) Nono Nkoane (voc)), ‘Dialectic Soul’ is breathtaking in its musical vitality and expression of soul seeking truth. By incorporating the concept of the Total Art for this project, it fits perfectly within record label On The Corner’s aesthetic of music, art and vision for creative innovation. Label art director Victoria Topping created the sleeve design working with Asher’s drawings and concept.

Asher continues: “My composition “State of Emergence” introduces the themes that constitute the album; free drums representing autonomous African motion, the saxophone reflecting deeply and honestly on the violence of colonialism, the teachings of Coltrane, Biko, Makeba, Malcom and others inspired the music’s positive manifestations of resistance. Fundamentally, it is about the reclamation of the historical imperative. It is about the dialect of the soul and the spirit while it moves through history. The soul is dialectic. Motion is imperative. We keep moving.”

Tracklisting: State Of Emergence Movement One: Thesis / Movement Two: Antithesis / Movement Three: Synthesis / Siyabulela / Interregnum / Eternality / Hope in Azania / The Speculative Fourth

Label Review. 

2020 album. Also available on Deluxe CD and Vinyl. 

Our Overview. 

Paul Weller releases his 15th studio album ‘On Sunset’ which features another batch of classic yet modern songs. ‘On Sunset’ is a soul album. At the same time it’s also an electronic album, an orchestral album, an album packed with masterly pop songs and heart-tugging ballads, and an album filled with touches of experimentalism. It’s also an album that sees Weller taking a rare glance into the rear-view mirror as he speeds into the 2020s.

Weller started work on ‘On Sunset’ soon after finishing 2018’s masterpiece ‘True Meanings’. Opening track “Mirror Ball” was from the TM sessions and originally slated as a b-side. Thankfully it was rescued for ‘On Sunset’ as it’s shimmering opener. As ever, Weller retains a rigorous forward-looking focus when it comes to seeking out the best contemporary sounds and music. But lyrically, Weller – back on his old home, Polydor Records for the first time since the Style Council days – is also starting to look back on the past with the insight of age especially on songs like “Old Father Thyme”.

Most of the album sees Weller multi-tasking on various instruments with accompaniment from his regular band - Ben Gordelier appears on all tracks and Andy Crofts on most whilst Steve Cradock pops up with his guitar on four songs. An eclectic and sometimes surprising gathering of guests appear on On Sunset including Slade’s Jim Lea contributing violin to the Bonzos-esque “Equanimity”, and Paul’s old Style Council chum Mick Talbot adds his signature Hammond Organ sound to 3 tracks. The beautifully lush “More” features a verse sung by French singer Julie Gros, from the band Le Superhomard (whose album Meadow Lane Park was one of Weller’s favourites of 2019) as well as the return of The Strype’s guitarist Josh McClorey. English folk trio The Staves contribute backing vocals for 3 tracks. Once again Hannah Peel sprinkles her magic over the album with string arrangements and The Paraorchestra were invited to add their expertise to four tracks.

Tracklisting: Mirror Ball / Baptiste / Old Father Thyme / Village / More / On Sunset / Equanimity / Walkin’ / Earth Beat / Rockets

Label Review. 

2020 debut album. Post rock/post classical. Also available on CD.

Our Overview. 

Making her stage debut in April 2019 and selling out her first headline show at London’s prestigious Southbank Centre less than a year later, A.A. Williams has hit the ground running. Similarly, the acclaim for her performances and her music has been unanimous from the start. After one self-titled EP and the 10” vinyl collaboration Exit in Darkness with Japanese postrockers MONO, the London-based singer-songwriter has signed to Bella Union and made a stunning debut album, ‘Forever Blue’. 

A rapturous blend of post-rock and post-classical, 'Forever Blue' smoulders with uncoiling melodies and haunted atmospheres, shifting from serenity to explosive drama, often within the same song. Williams is a fantastic musician as well as songwriter, playing the guitar, cello and piano, and her voice has the controlled delivery of a seasoned chanteuse whilst still channelling the rawest of emotions.

'Forever Blue' is named after a song that didn’t make the album’s final cut, “but it stillencapsulated these songs,” Williams explains. “It sounded timeless and in the right place.” The album’s threads encapsulate the anxieties and addiction of love and loss with haunting detail, for example ‘Glimmer’(“I wasn’t meant to see the sun washed out and pale / I wait undone / I wasn’t meant to be the one hollow and hurt and meant for none”), though Williams admits the theme was shaped more by her subconscious than any grand plan.

Therapy is intrinsic to Williams’ approach: to not just express and unpick her feelings of longing and loss but to work through them. “Verbalising something, you feel a weight has been lifted,” she says. The transition can be mirrored in the dynamic shift from ‘quiet’ to ‘loud’, as on ‘Glimmer’ and arguably at its most euphoric on ‘Melt’. “There’s something very satisfying and elating about songs that have that drop in them, to stomp on the guitar pedal on and let it all out.

”It’s testament to Williams’ skills, and those of husband and bassist Thomas Williams, that ‘Forever Blue’s’ commanding sound was largely captured at the couple’s two-bedroom flat in North London. Drums by Geoff Holroyde were added at engineer Adrian Hall’s studio in South London, with guest vocals from Johannes Persson (Cult Of Luna), who adds his deep-trawling growl to ‘Fearless’ (“he sounds like Tectonic plates moving” Williams feels), Fredrik Kihlberg (Cult Of Luna) on ‘Glimmer’ and Tom Fleming (ex-Wild Beasts) on ‘Dirt’.

Tracklisting; All I Asked For (Was To End It All) / Melt / Dirt / Fearless / Glimmer / Love And Pain / Wait / I’m Fine

Label Review. 

2020 album. Also available on CD and Vinyl. 

Our Overview. 

Pioneering pop perennials Sparks – Ron and Russell Mael – return with their new studio album ‘A Steady Drip, Drip, Drip’. Since storming into the charts, minds and airwaves in 1974 with “This Town Ain’t Big Enough For Both of Us” from their 3rd album ‘Kimono My House’, the musically vital pop pioneers have created a unique legacy both on record and in their live performances.

‘A Steady Drip, Drip, Drip’ follows Sparks’ 2017 album ‘Hippopotamus’, an extraordinary record which saw them return to the Top 10 and was universally acclaimed with many critics declaring it to be one of the finest albums of the year and the pinnacle of the band’s career -until now. First single from the new album “Please Don’t Fuck Up My World” is the closing track on the new collection and sees the brothers address a broad sentiment we can all relate to - to look after our planet - against a sweeping keyboard and orchestral backing before a big vocal chorus comes in to repeat the message and then back to Russell for a final plea. Other tracks previewed sees more usual Sparks fare - guitars and keyboards and catchy pop melodies proving the duo still haven’t lost their touch after nearly 50 years in the game.

Tracklisting: All That / I’m Toast / Lawnmower / Sainthood Is Not In Your Future / Pacific Standard Time / Stravinsky’s Only Hit / Left Out In The Cold / Self-Effacing / One For The Ages / Onomata Pia / iPhone / The Existential Threat / Nothing Is Faster Than The Speed Of Light / Please Don’t Fuck Up My World

Label Review. 

2020 debut album. Electronic. Also available on CD.

Our Overview.

‘Débuts’ is the France-via-Brussels duo, Nikitch & Kuna Maze’s aka Nicolas Morant & Edouard Gilbert first full length album. Building on their collaborative EP “Mush”, ‘Débuts’ continues to explore the melting point between jazz and club culture, interspersed with the signature sounds of broken beat, Chicago footwork, UK garage, Detroit house, and underpinned by their road-tested new live format.

The collaboration project between musician Nicolas Morant aka Nikitch and Brussels-based producer Edouard Gilbert aka Kuna Maze began when the duo met at the Chambery Jazz Conservatory in France. Before attending university to study jazz, both artists had trained in classical music while growing up in the Lyon countryside.

This early musical development laid the blueprint for their musicianship today, allowing the duo to gradually explore the new artistic languages of jazz, and later electronic music. Both artists used their time at university to widen their horizons, encountering other musicians from outside from classical and jazz music circles, and as a result, started gigging and working on projects beyond the conservatory’s curriculum.

It wasn’t long until the duo started making electronic music together – a genre that wasn’t popular at the conservatory at the time, as retaliation. Born out of wanting to try something different, and a mutual love of the same artists, the pair produced their first beat on the train from Chambery to Lyon.

Musically influenced by the likes of Theo Parrish’s Signature Sound imprint, Moodymann, Idris Muhamad and International Anthem’s signee Resavoir, the duo take inspiration in the creative process of producers such as Max Graef and Glenn Astro. Nikitch & Kuna Maze channel their instrumental skills to create compositions using their common chemistry; blurring the lines between improvisation, production and the art of DJing. All these aspects become the creative DNA for the duo and become a catalyst in the music itself. “It is the approach to the craft”, Nicolas says.

‘Débuts’ see’s the band push their musical and creative development even further, a result of touring extensively around Europe with a live drummer, from high-brow jazz festivals to sweaty basement clubs. “We would be lying if we said our gig experience didn’t influence us on this record” Edouard explains. “We discovered new aspects to songs such as “Bruk” and managed to push forward the energy side of the music from the rawness of the live shows. This energy empowered to produce and compose new material in the same vein”.

Tracklisting: ZBRA / Francis’ Theme / Bruk / 46 Rue Du Fort / CBD / Monopoli Driver / JPS / Hey, This Must Be Deep / The Leak / Start / La Fin

Label Review. 

2020 album. Ethio-Jazz meets Global funk. Also available on CD. 

Our Overview. 

‘To Know Without Knowing’, Mulatu Astatke and Black Jesus Experience’s new album is their second together. A grooving transcontinental gem, recorded in Melbourne, Australia and Addis Ababa, Ethiopia. Filled with the warmth of the mentorship and friendship of their creative partnership honed over a decade of performing together in Africa, Australia and UK/Europe.

Mulatu Astatke is the Father of Ethio-Jazz and one of Africa’s most influential and enduring musical figures. Black Jesus Experience is a community of artists, centred around a twelve piece global-funk-machine born of Australia’s vibrant multiculturalism. Mulatu and Black Jesus Experience met in Addis Ababa in 2009, embarking on both a musical relationship and a friendship that has led Mulatu Astake to describe Black Jesus Experience as, “My favourite backing band” and, “...they’re family.”

Mulatu’s great contribution to music has been to to combine Jazz and funk grooves with Ethiopia’s distinctive pentatonic scales. His musical genius is the sensuality and sophistication with which Mulatu contrasts these minimalist scales with richly chromatic harmony. But Mulatu’s equally great contribution has been to share both his enduringly unique modernity and Ethiopia’s timelessly spiritual music with the world. Black Jesus Experience treasure the special relationship of generosity, mentorship and collaboration they have been privileged to share with this master musician. ‘To Know Without Knowing’ is the product of this gift.

Tracklisting: Mulatu / Ambassi Lemdi / Kulun Mankwaleshi / Living On Stolen Land / To Know Without Knowing / Lijay / Blue Light / Mascaram Setaba / A Chance To Give

Label Review. 

2020 album. Pop. Also available on Vinyl. 

Our Overview. 

Gearing up to release her third album ‘I’m Your Empress Of’, Honduran-American songwriter, musician and producer Lorely Rodriguez, under the pseudonym Empress Of, creates introspective, self-empowering pop music centered around her impressive, acrobatic vocals. On her 2015 debut album, ‘Me’, she established a danceable, spontaneous sound that embraced whimsicality and percussiveness. With her 2018 sophomore album, ‘Us’, Rodriguez wanted to facilitate a more equal exchange of energy between herself and her listeners, to create a community.

‘I’m Your Empress Of’ comes on the heels of touring with Lizzo, Blood Orange, Maggie Rogers and Mura Masa and follows her collaborations with Khalid, MØ, DJDS and her song “Wild Girl” with KITO. Lorely says, “After writing three albums, no process has been the same. This record wasn’t written in a remote location. It wasn’t written in a collaborative effort. It was written in my small studio in Highland Park, Los Angeles over two months in between touring the world. Music is magic. Something that possesses me, shows me things about myself that aren’t easy to see. It’s called ‘I’m Your Empress Of’ because I’ve always felt that once a song is done, and the emotion is there and it’s not inside me anymore, it belongs to the world.”

Tracklisting: I’m Your Empress Of / Bit Of Rain / Void / Love Is A Drug / U Give It Up / Should’ve / Give Me Another Chance / What’s The Point / Maybe This Time / Not The One / Hold Me Like Water / Awful

Label Review. 

2020 album. Indie. Also available on CD. 

Our Overview. 

London based Dream Wife - vocalist Rakel, guitarist Alice, bassist Bella – are back with their second album, ‘So When You Gonna’ Just like the title suggests, this is a record brimming with adrenaline and playful excitement (“It’s an invitation, a challenge, a call to action,” says Rakel). From the jagged, CSS-like guitar of “So When You Gonna…” to the hooky brightness of album opener “Sports!” and the whip-smart lyrical asides of “Validation”, these are moreish, pumped up, sparkling tracks that feel like newer, dynamic evolutions of debut standouts, like “F.U.U.” and “Hey Heartbreaker.”

But on ‘So When You Gonna’ they often lean into sweeter, softer, more emotional moments too. “With every loss how do you carry through / Know you’re brave to jump back into,” sings Rakel on “Temporary”, her voice floating over melodic, honey-sweet guitar like an indie lullaby. “There are so few songs about miscarriage,” Rakel says, speaking about the lyrics. “People don’t talk about this. And then to not have this as a conversational topic in our society among woman... you realise, in your later twenties, probably every other one of your friends has experienced an abortion or miscarriage. I think that’s something that needs to be spoken about.”

Dream Wife’s rise has been swift and steep from the start. Their self-titled debut album from 2018 – an 11-track collection of heavy garage-punk riffs and dance party pop, was released to widespread critical acclaim (five stars and a cover in the NME, positive coverage across BBC Radio 1, The Guardian, The Fader, Dazed, Nylon and more). They soundtracked shows like ‘Orange is The New Black’ and ‘Trinkets’. Supported bands such as Garbage, The Kills and Sleigh Bells. Toured with Sunflower Bean across North America. And during all of this, took their explosive live show and pushed it out further, to an already eager, international audience.

Tracklisting: Sports! / Hasta La Vista / Homesick / Validation / Temporary / U Do U / RH RN / Old Flame / So When You Gonna… / Hold On Me / After The Rain

Label Review. 

2020 album. World. Also available on Vinyl. 

Our Overview. 

‘Afropentatonism’ is a pan-African Allstar band merging two cultures. When Desert blues man Alhousseini Anivolla (Niger) met Ethio-jazz guitarist Girum Mezmur in 2005 at a festival in Europe, they were both already established professionals. Alhousseini had been part of the Tinariwen movement, and later on, gained a remarkable reputation with his band Etran Finatawa and his trio Anewal. The Sydney Morning Herald praised his ”gloriously repetitive, traditional music mixed with some of the slickest and most beautiful electric guitar imaginable.” Girum has been a mainstay in Addis Ababa’s live music scene as a guitarist and producer for decades. He is the musical director of Ethiopia’s greatest star Mahmoud Ahmed and has worked with the likes of Angelique Kidjo and Ali Keita.

Their new collaborative project fuses some of the most intriguing art of their respective cultures. Repetitive grooves, hypnotic jams and raw guitar sounds shape the album – all amidst the laid-back vocals of Alhousseini, who sings in his native tongue Tamashek. It’s an outstanding pan-African collaboration. The two leaders are joined by percussionist Misale Legesse and two players of traditional East African instruments: the masinko (one-stringed Ethiopian violin) played by Habtamu Yeshambel and the krar (five-stringed bass-like lyre), played by Anteneh Teklemariam. The sextet is completed by 78-year-old mandolin legend Ayele mamo from Addis. The New York Times hailed Mamo’s playing for its “honeyed melody”.

The album was recorded live during a concert in Nairobi, Kenya and features extended versions of the original songs. The infectious “Isouwad”, almost nine minutes in length, includes a rousing finale that had every audience member dancing. Quieter songs are amongst the most political tunes on the album. In the dreamy “Algher” (“Peace”), Alhousseini sings about the conflicts in his home region, directly addressing younger generations: “Children of this country protect our peace!”. “Raise your voice to bring people together no matter which colour and background” is the central message of the enchanting “Asmoussoudou” (“Those Who Unify”). Alhousseini Anivolla and Girum Mezmur have created a glorious example of the power of nonverbal communication. Five notes per octave and six friends are all you ever need.

Tracklisting: Awash/Ammalele [Awash River] / Chet Azawad [Women Of Azawad] / Asalam [Peace With You] / Algher [Peace] / Toumast Enkere [All People Of Our Earth-Together] / Asmoussoudou [Those Who Unify] / Isouwad [He Is Watching Us] / Tamadrite Nakal [Youth Of The Planet]

Label Review.

2020 album. Afro-Cuban jazz.

Our Overview.

The new album by the prolific saxophone player Raúl Gutiérrez (ex-Afrocuban All Stars) with a long list of sidemen, deeply rooted in Afro-Cuban jazz as members of Buena Vista Social Club.

Saxophonist Raúl Gutiérrez is one of the most prolific musicians in South American jazz whose biography is deeply associated with Latin jazz, Afro-Cuban music and tropical music - genres in which he was leader of a series of big bands. Raúl Gutiérrez’s career started in the 1970s when he studied classical clarinetbefore the visit of drummer Elvin Jones in 1972 forever changed his point of view on music. In Lyon, he joined the avant-garde jazz collective ARFI, which sought to create an imaginary folklore through liberated improvisation, and then the big band La Marmite Infernale, played in Tito Puente’s orchestra for a long time in Europe and finally in 1981 he founded in Munich what would be his great personal project IRAZU which he kept running in Cuba for a long time into the new millennium in various incarnations.

Gutiérrez then joined Afrocuban All Stars, a group that along with the Buena Vista Social Club reopened the doors for Cuban music and toured the world extensively. All these years of activity in Afro-Cuban and Latin jazz are present on his latest album “Dias De Illuvia” for which Gutiérrez (now based in Mexico) invited an illustrious group of young lions as well as reputed players from the scene: Lazaro Oviedo, Adolfo Argudin “Perruchin”, Yaker Manzano, Rolando Luna and Armadito Valdes.

The larger part of the 11 songs were arranged by Horacio Gonzales who until his death in 2018 was director of the cabaret “Tropicana” and one of the key figures in Cuban culture in general, and Jess Fuller who in the past worked with Lou Donaldson, Dizzy Gillespie, Paquito d’Rivera, “Papa” Jo Jones, Gerry Mulligan and more - including a splendid version of the jazz standard “Heres That Rainy Day”, the unofficial title track of a truly accomplished album!

Tracklisting: Beautiful Love / Embraceable You / Callejeros / Tema De La Tarde / Salsa Con Swing / Homenaje Al Bolero / Here’s That Rainy Day / September Song / Son Progresivo / Cheek To Cheek / Peque a Descarga En Bb

Label Review. 

2020 album. Psych rock. Also available on CD. 

Our Overview. 

Holy Wave is an experimental dream-pop band originally from El Paso, Texas. Interloper’, their fourth album sees the group adding new layers to their lush and mesmerizing songwriting style. Written about the duality between life at home and life on the road, it sees the band expanding on their most esoteric and thought-provoking themes. “I’m Not Living in the Past Anymore” is a mantra about breaking the cycle of the mundane, “Escapism” is a dream-like meditation. “Interloper” serves as the centerpiece for this self-expanding record, asking, what happens when the world beneath your feet changes so much that you feel like a stranger in your own shoes? The band turns inward, to blissed-out moments on album opener “Schmetterling”, the saccharine haze of “R&B”, and the freak-out catharsis of live favorite “Buddhist Pete”.

After seeing a life-altering performance by My Bloody Valentine in 2008, the band moved to Austin to pursue their own vision of Texas psych, their sweet melodies dyed in carefully constructed noise. Over the course of four albums, the band have cemented themselves as a staple force in the international indie scene, with key performances at Levitation, Desert Daze, and nearly every psych gathering on the planet. They’ve toured the world, and shared the stage with heroes such as Slowdive, Spiritualized, Hope Sandoval and The Black Angels. Their body of work has received critical acclaim from Pitchfork, Consequence of Sound, Paste Magazine and countless others. With Interloper Holy Wave weaves together a contemplative tapestry that can serve as a road map for the diffident, a soundtrack to self-realization, or simply an invitation to escape.

Tracklisting: Schmetterling / R&B / Interloper / Maybe Then I Can Cry / Escapism / I’m Not Living In The Past / No Love / Hell Bastards / Buddhist Pete / Redhead

Label Review.

2020 album. Reggae. Also availble on Vinyl.

Our Overview.

Acclaimed The Hempolics return with ‘Kiss, Cuddle & Torture: Volume 2’, the follow up to their triumphant 2017 album which won them accolades including a BBC 6 Music ‘Album Of The Year’ selection and they are out to put those organic rootsy vibes back into music; with their fat radio-friendly hooks, bumping soundsystem bass and a wanderlusty, ineffably real sound all of their own...

The new release builds on their trademark mash-up sound of reggae, dub, soul and pop but explores new territories with elements of hip-hop, shoegaze and trip-hop welcome additions to the mix. As with Volume 1, the release is underpinned by the masterful production of main man Grippa - an engineer who cut his teeth working with Faithless - and he’s once again joined by unmistakable Hempolics vocalists Dandelion and Nubiya, who continues to turn heads with her Amy Winehouse meets Hollie Cook timbre. Highlights of the album include the upbeat soul and reggae hit ‘Play On’, the trip-hop meets dub-influenced single, ‘Full of Surprises’, and the British reggae-funk stomper ‘Bongadashi’. ‘Gotta Thing’ sees the band deliver a fast hip-hop house track laced with classic Hempolics’ reggae flavours, vocals courtesy of Miami rapper Cojack, whilst ‘Place Is Here’, written by Grippa alongside Faithless vocalist Pauline Taylor, is a 90’s shoegaze influenced cut with a languid psych groove.

Sounding like the i-pod of the attention-deficit generation and swelled by guest appearances from various international talents The Hempolics have a storm brewing that promises to tear up the UK music scene. Recording underground style throughout the bedrooms and home studios of the band The Hempolics have created an infectious mash-up of Reggae, Electro, Hip-Hop, Soul, Rock and Pop. Although the weather out might be dull London-side it’s strictly sunshine vibes, resplendent with huge hooks and festival friendly choruses. These are tunes that people will be bopping to across festivals, clubs and car journeys for years to come.

Tracklisting: Full Of Surprises / Strange Feeling / Place Is Here / Bongadashi / MoonStars / Play On / Forever / In The Night / Get It Right / Gotta Thing / VaporizeMy Dream / The Enemy

Label Review.

2020 live album.

Our Overview.

Arkansas Dave aka Dave Pennington, having released his critically acclaimed debut album, Arkansas Dave embarked on a tour across Europe, lasting 2 months and over 25 shows, reaching its pinnacle at Montreux Jazz Festival. ‘Live At Music In The Park At Montreux Jazz Festival’ is one of the finest bodies of work you’ll hear in a long time. An accomplished and ballsy piece of work. The same authenticity as Chris Stapleton Raw songwriting at its best.

Rock and blues were his salvation, even if that feels, as the singer-songwriter says, like a bit of a "romantic cliche." Arkansas Dave has been called everything from an alt-rocker to an Americana act, from blues to indie rock to Southern country; clearly, he runs the gamut of styles and moods in his music.

“After being on tour in Europe for over a month, at that point, the band was firing on all cylinders and we were more confident than ever to walk on that stage. This is the best representation of what my band and I sound like live. That’s why I chose to put this out as a live album. Playing Montreux Jazz Festival was absolutely the highlight of my career so far. To be able to release a live album from that show is an affirmation that this is what I’m meant to be doing with my life.” Arkansas Dave

Tracklisting: Intro / Bad At Being Good / Think Too Much / Come Back To Me / Bad Water / Chocolate Jesus / Squeaky Clean / The Wheel / Rest Of My Days / Honey Bee / Diamonds / Black Draws/Let’s Have A Party / On My Way

Label Review. 

2020 album. Indie. Also available on CD. 

Our Overview. 

Kidbug’s roots date back to December 2018 at Joyful Noise Recordings’ Indianapolis label headquarters for their annual holiday party. Born from the romance of Croatian-born, Netherlands-based artist Marina Tadic and Australian transplant Adam Harding who met at said gathering, they make self-described “cuddlebug sludge”, the harmoniously spiky offspring of Harding’s fuzzy guitar grunge-gaze and Tadic’s dreamy left field pop.

“We all convened at Postal Recording in Indianapolis to record Christmas songs for the label, and it just sort of grew from there,” Harding explains. When Tadic learned that Harding was also an accomplished video maker, she asked if he would make a video for Eerie Wanda before she was due to leave town. According to Tadic, the creative sparks started flying immediately, inspiring a series of long-distance musical love letters. The initial results were raw, personal, and naked in their emotional honesty, with a purity of expression that Tadic and Harding were eager to preserve. “We made a pact that whatever came out, we wouldn’t second guess it,” says Harding. Adds Tadic: “We were inspired by the honesty and purity of John and Yoko singing love songs to each other. We wrote these songs for each other, and there was no reason to overthink them or purposefully obscure the lyrics, which made both the writing and recording process really fun and spontaneous.”

To achieve full cohesion, strong rhythmic components were required: Best Coast’s Bobb Bruno was recruited for bass and additional guitar, and 2019 Joyful Noise Artist in Residence Thor Harris was tapped for drums and percussion. “Thor was the glue that brought everyone together. He was our first and only choice for a drummer,” Harding emphasized. The album was recorded in 3 days at Postal Recording in Indianapolis, with Tadic once again flying out from the Netherlands, and Thor Harris coming up from his home in Austin, Texas.

Melvins’ legend Dale Crover makes a special guest appearance behind the kit on the album’s closing track “Dreamy.” Kidbug’s debut LP is fueled by a deeply charged electrical love, and the band hopes to return that magical energy to listeners. “This album is a celebration of love. All of my songs with [previous band] Dumb Numbers have been about endings, but Kidbug is about beginnings,” Harding shared. “We hope to bring love into the world with this album,” Tadic adds. “We dig love.”

Tracklisting: Now Let’s Go To Sleep / Lovesick / Good Inside / Moonglue / Never / Woozy / Theme from Kidbug / Together / Stay / Yesterdays/ Dreamy (feat. Dale Crover).

Label Review. 

Remastered albums: Class Of ‘55: Memphis Rock & Roll Homecoming / Johnny Cash Is Coming To Town / Water From The Wells Of Home / Classic Cash: Hall Of Fame Series / Classic Cash (Early mixes) / Boom Chicka Boom / The Mystery Of Life. Also available on Vinyl (without bonus tracks).

Our Overview. 

In 1986, after almost 30 years on Columbia Records, Country music legend Johnny Cash released his first album on Mercury Records – ‘Class Of ’55’, in collaboration with fellow Sun Records alumni Roy Orbison, Jerry Lee Lewis and Carl Perkins. Seven years later, his last recording before signing with Rick Rubin’s American Recordings would be another collaboration, “The Wanderer”, with U2.

In the years that span those recordings, Johnny Cash released a total of six albums for Mercury. Despite significant focus and attention around his Columbia and American recordings, his Mercury catalogue has never been revisited… until now. UMe / Mercury Records are proud to announce that 2020 will see the release of ‘Johnny Cash: The Complete Mercury Studio Albums (1986-1991)’ – a 7CD/ 7LP boxed set featuring newly remastered audio for the very first time, using the original Mercury master tapes.

Notably, the album ‘Classic Cash: Hall Of Fame Series’ is presented in a 2LP format for the very first time. With brand new liner notes by music writer Scott Schinder, ‘Johnny Cash: The Complete Mercury Studio Recordings (1986-1991)’ represents the very first deep dive into the Country music legend’s Mercury catalogue, and reveals its importance as the bridge between his better known catalogues on Columbia and American.

Tracklisting: 

Class Of ‘55: Memphis Rock & Roll Homecoming: Birth Of Rock And Roll / Sixteen Candles / Class Of ‘55 / Waymore’s Blues / We Remember The King / Coming Home / Rock And Roll (Fais-Do-Do) / Keep My Motor Running / I Will Rock And Roll With You / Big Train (From Memphis)

Johnny Cash Is Coming To Town: The Big Light / The Ballad Of Barbara / I’d Rather Have You / Let Him Roll / The Night Hank Williams Came To Town / Sixteen Tons / Letters From Home / W. Lee O’Daniel (And The Light Crust Dough Boys) / Heavy Metal (Don’t Mean Rock And Roll To Me) / My Ship Will Sail

Water From The Wells Of Home: Ballad Of A Teenage Queen (With Roseanne Cash & The Everly Brothers) / As Long As I Live (With Emmylou Harris) / Where Did We Go Right (With June Carter Cash and The Carter Family) / The Last Of The Drifters (With Tom T. Hall) / Call Me The Breeze (With John Carter Cash)That Old Wheel (With Hank Williams, Jr.) / Sweeter Than The Flowers (With Waylon Jennings) / A Croft In Clachan (The Ballad Of Rob MacDunn) (With Glen Campbell) / New Moon Over Jamaica (With Paul McCartney) / Water From The Wells Of Home (With John Carter Cash)

Classic Cash: Hall Of Fame Series: Get Rhythm / Tennessee Flat Top Box / Long Black Veil / A Thing Called Love / I Still Miss Someone / Cry, Cry, Cry / Blue Train / Sunday Morning Coming Down / Five Feet High And Rising / Peace In The Valley / Don’t Take Your Guns To Town / Home Of The Blues / Guess Things Happen That Way / I Got Stripes / I Walk The Line / Ring Of Fire / Ballad Of Ira Hayes / The Ways Of A Woman In Love / Folsom Prison Blues / Supper Time

Classic Cash (Early mixes): Sunday Morning Coming Down / Get Rhythm / I Walk The Line / Long Black Veil / I Still Miss Someone / Blue Train / I Got Stripes / Peace In The Valley / Five Feet High And Rising / Folsom Prison Blues / Cry, Cry, Cry / Don’t Take Your Guns To Town / Tennessee Flat Top Box / A Thing Called Love / The Ways Of A Woman In Love / Ballad Of Ira Hayes / Guess Things Happen That Way / Home Of The Blues / Supper Time / Ring Of Fire

Boom Chicka Boom: A Backstage Pass / Cat’s In The Cradle / Farmer’s Almanac / Don’t Go Near The Water / Family Bible / Harley / I Love You, Love You / Hidden Shame / Monteagle Mountain / That’s One You Owe Me / Veteran’s Day (b-side of of The Mystery Of Life) / I Shall Be Free (b-side of of Farmer’s Almanac) / I Draw The Line (previously unreleased) / A Backstage Pass (early version) / Harley (early version) / That’s One You Owe Me (early version) / Veteran’s Day (early version)

The Mystery Of Life: The Greatest Cowboy Of Them All / I’m An Easy Rider / The Mystery Of Life / Hey Porter / Beans For Breakfast / Goin’ By The Book / Wanted Man / I’ll Go Somewhere And Sing My Songs Again (with Tom T. Hall) / The Hobo Song / Angel And The Badman / The Wanderer (with U2) [Long version from the Faraway, So Close! soundtrack album]

Label Review. 

2020 album. Singer songwriter. Also available on Vinyl. 

Our Overview. 

‘The Greatest Part’ is the second album from New York born Becca Mancari. Her debut ‘Good Woman’ was a critical smash, praised by NPR and hailed as one of 2017’s best by Rolling Stone. Her songs racked up millions of streams, which helped land Mancari dates with the likes of Margo Price, Natalie Prass, and Julien Baker, among others. On top of her solo work, Mancari also teamed up with Alabama Shakes frontwoman Brittany Howard and songwriter Jesse Lafser to form Bermuda Triangle, which earned similarly glowing reviews as they performed sold-out headline shows across the country.

Despite all her success, the relentless pace of life on the road left Mancari little time to grapple with the trauma of her past, nor absorb any new challenges arising in her present. So, in 2019, Mancari decamped to friend and producer Zac Farro’s home studio to set about constructing her sophomore album, a record that would balance unflinching self-examination with intoxicating grooves and infectious instrumental hooks.

The result is ‘The Greatest Part’. Propelled by an airtight drum groove and lacerating guitar line, hypnotic opener “Hunter” finds Mancari singing to a ghost from her past, promising, “You’re never gonna track me down / You’re never gonna find me out,” her crystalline voice floating effortlessly above the distorted maelstrom brewing below it. Like much of the album, it’s a song of defiance and self-assurance that’s streaked with loneliness and regret. To that end, earworm “Lonely Boy” reflects on the ways that fear can hold us back from human connection, while the bittersweet “First Time” reaches out to a younger self, asking “Hey, did you find your way out?”

Yet, as much as ‘The Greatest Part’ is a vehicle for examining Mancari’s past, it’s also a lens through which she makes sense of her future. Perhaps it’s bare-bones album closer “Forgiveness” that best ties together all of the record’s loose threads. Searching for mercy in the midst of lingering anger and grief, the hushed, intimate track locates the beauty in letting go, in accepting ourselves for all our flaws and baggage, in walking forward boldly into the unknown.

Tracklisting: Hunter / First Time / Like This / Bad Feeling / Pretend / Lonely Boy / Tear Us Apart / I’m Sorry / Stay With Me / Knew / Forgiveness

Label Review. 

2020 album. Folk. Also available on CD.

Our Overview. 

On her new record Entre nous, Jill Barber reaches a new level of intimacy with the French language. An unabashed francophile, it all began at the Montreal Jazz Festival over a decade ago: she surprised her audience with a French translation of one of her songs, and the room exploded into applause and a chorus of bravos.

Quebec was charmed. In response, Jill was inspired to record her debut French album, interpretations of classics from Piaf to Gainsbourg on 2011’s Chansons. Soon millions of listeners worldwide were discovering Jill’s music through her french material, and she continues to earn spots on top french playlists with songs from Chansons across streaming platforms. In a bold move for an Anglophone, Barber now releases Entre Nous (2020), her first collection of original French songs, written with Francophone collaborator Maia Davies and produced by Montreal born, NYC based, Gus Van Go.

Inspired by french pop music of the 1960’s, Entre nous invites the listener on an musical rendezvous through champagne-soaked love songs like the title- track, cheeky y y -inspired songs like “Chat domestique”, the psychedelic “Commes les fleurs” reminiscent of the Velvet Underground, the hooky pop song “Le monde est beau”, a haunting interpretation of Leonard Cohen’s “Suzanne”, and a steamy duet with Quebec chanteur Yann Perreau on “Les t s de Montreal”.

Much like her predecessors, anglophones Jane Birkin and Gillian Hills, the more Barber sings in French, the more she is embraced for her unique and pleasing accent. Singing in a second language lends a quality to her voice that is more vulnerable, tender, playful and passionate: it’s simply charming. As a songwriter, Jill Barber is beloved in Canada and abroad for her talent and impressive body of work in English; in French she is irresistible and her star is only just beginning to rise.

Tracklisting: Entre nous / Chat domestique / Joue avec le feu / Le monde est beau / Les t s de Montreal / Commes les fleurs / La pluie / Reflets / Suzanne / Nos retrouvailles / Coeur de ma jeunesse

Label Review. 

Chocs Away (1975) / The Great Artiste (1976) / Golden Mile (1976) / Five Live Kursaals (1977) / A Former Tour De Force Is Forced To Tour (1988) plus bonus tracks. RPM.

Our Overview. 

Kursaal Flyers were an integral element of the ‘Thames Delta’ music scene emerging from the late 60s clubs into the bright lights of the 1970s pop world. Alongside contemporaries, and in some cases old schoolmates, in bands such as Dr Feelgood and Eddie & The Hot Rods , the Kursaal Flyers (named after a Southend amusement park carnival float) were a regular fixture on the Pub Rock and College circuit of 70s Britain.

Their sound was more diverse than their R&B contemporaries. Being influenced by American Country Rock, the band included banjo and pedal steel guitar as fixtures in their musical oeuvre. They toured Europe with The Flying Burrito Brothers. The Kursaals were also notable for a wry observational sense of humour which the band’s songwriters, Will Birch and Graeme Douglas, regularly injected into the material. Complemented by the chameleon-like vocal styles employed by front man Paul Shuttleworth.

Disc One contains the two complete albums made for Jonathan King’s UK Records label in 1975, ‘Chocs Away’ and ‘The Great Artiste’. Presented in a gatefold wallet to show the original artwork for both of the original LPs, these are the greatly enhanced remixed versions from 1991.

Disc Two has their first CBS album from 1976 ,’Golden Mile’, produced by Mike Batt, including both versions of their hit single “Little Does She Know”, the single edit, and the “kitchen sink” LP version which comes on like the 1812 Overture involving as they do the London Symphony Orchestra. Plus the non LP A+B-sides, and an unreleased track “The Questionnaire”.

Disc 3 has their live album recorded at The Marquee, ‘Five Live Kursaals’ released by CBS in 1977. As live albums tend to do, these recordings highlight how the band truly were on stage, a highly energetic rock band with a raw sound belying their country roots. A particular image in the booklet gives further rise to their mood depicting the moment Paul would smash up TV sets on stage with an axe (in an homage to The Move). Plus three tracks which were unreleased at the time, from recording sessions with Muff Winwood aimed at a second CBS studio LP which was never finalised.

Disc 4 is their third studio LP, ‘A Former Tour De Force Is Forced To Tour’ recorded in 1988 and exhibits a very strong country rock groove, which would not be out of place if released to today’s Americana market. The bonus tracks include a four song 1975 countryfied radio session, and a 1975 live recording in Southend of “Route 66” which is interestingly somewhere between Bobby Troup’s nightclub jazz original and Chuck Berry’s RnB version.

Tracklisting:

Disc One: Chocs Away / The Great Artiste: Pocket Money / Hit Records / Kung Fu / Tennessee / Chocs Away / Speedway / Brakeman / Now I’m Back / Yellow Sox / Silver Wings / Cross Country / Ugly Guys / The Great Artiste / Fall Like The Rain / Cruisin’ For Love / Back To The Book / Palais De Danse / Pain And Misery / Hypochondriac / Television / Drinking Alone

Disc Two: The Golden Mile: Little Does She Know / One Arm Bandit / Drinking Socially / Two Left Feet / Modern Lovers / Street Of The Music / Radio Romance / When The Band’s On The Stand / Detroit Tin / Third Finger Left Hand / Ready To Go / Little Does She Know (Edit) / Girl Talk / The Questionnaire / The Sky’s Falling In On Our Love / Revolver

Disc Three: Five Live Kursaals: Original Model / Yellow Sox / Pocket Money / Cruisin’ For Love / The Sky’s Falling In On Our Love / Little Does She Know / Street Of The Music / Tv Dinners / Speedway / Revolver / On My Mind / Anna (Go To Him) / Friday On My Mind / Television Generation / Girlfriend Kinda Girl / Everything But A Heartbeat / Girls That Don’t Exist

Disc Four: A Former Tour De Force Is Forced To Tour: If You Would Only Talk To Me (Like You Talk To The Dog) / Pre-Madonna / Tonight Before Tonight / Man In Mohair / A Former Tour De Force Is Forced To Tour / Luxury Lane / My Sugar Turns To Alcohol / Paranoid Weekend / Old Men Need Some Lovin’ Too / Monster-In-Law / Cruisin’ For Love (Remake) / Slimmin’ (For The Women) / Walking To School / Route 66 (Live) / Tennessee (Radio Session) / Foggy Mountain Breakdown (Radio Session) / Yellow Sox (Radio Session) / Route 66 (Radio Session)

Label Review. 

2020 debut album. Exotic rock. Also available on CD. 

Our Overview. 

Hailing from Melbourne, Australia, Bananagun and their debut album album ‘The True Story Of Bananagun’ has a sound stretching from 60s and 70s afrobeat and exotica to Fela Kuti-esque repetition, the proto-garage rhythmic fury of The Monks and the grooves of Os Mutantes, there’s an enticing lost world exoticism to the music of Bananagun. It’s the sort of stuff that could’ve come from a dusty record crate of hidden gems; yet as the punchy, colourfully vibrant pair of singles “Do Yeah” and “Out of Reach” have proven over the past 12 months, the band are no revivalists.

On ‘The True Story of Bananagun’, they make a giant leap forward with their outward-looking blend of global tropicalia. It marks Bananagun’s first full foray into writing and recording as a complete band, having originally germinated in the bedroom ideas and demos of guitarist, vocalist and flautist Nick van Bakel. The multi-instrumentalist grew up on skate videos, absorbing the hip-hop beats that soundtracked them -taking on touchstones like Self Core label founder Mr. Dibbs and other early 90’s turntablists. That love of the groove underpins Bananagun - even if the rhythms now traverse far beyond those fledgling influences.

“We didn’t want to do what everyone else was doing, we wanted it to be vibrant, colourful and have depth like the jungle. Like an ode to nature.” says Nick. “We were playing a lot leading up to recording so we’re all over it live”, Nick fondly recalls of the sessions that became more like a communal hang out, with Zoe Fox and Miles Bedford there too to add extra vocals and saxophone. “It was a good time, meeting there every night, using proper gear [rather than my bedroom setups.] It felt like everyone had a bit of a buzz going on.”

Tracklisting: Bang Go The Bongos / The Master / People Talk Too Much / Freak Machine / Bird Up! / Out of Reach / She Now / Perfect Stranger / Mushroom Bomb / Modern Day Problems / Taking the Present for Granted

Label Review. 

16 tracks. (Bid from Monochrome Set). Also available on CD. 

Our Overview. 

The world of Scarlet’s Well was conceived in 1998 by Bid, the lead singer, guitarist, and main songwriter of UK New Wave/Indie legends The Monochrome Set, after they had disbanded for a second time. Lavishly illustrated albums emerged quietly, all set in and around Mousseron, “a sickly village situated somewhere east of the Azores and only slightly north of the Styx” populated by howling wolves, seductive mermaids and a bawdy captain with his crew of beer-swilling pirates and off-kilter animals with disturbingly human characteristics.

In Bid’s words, “I wanted this to be an ‘atmosphere’ rather than a band, and thought I’d have greater freedom using a variety of different singers, musicians and writers. The identity of the albums had to be strong enough to allow these changes, without them seeming like compilations. It’s akin to an open-ended musical with a partly ever-changing cast.”

Between 1999 and 2010, Scarlet’s Well released seven albums on Spanish-based Siesta Records. It was originally designed as a studio project, with a vague idea that a live band may follow. In the event, four albums were made where nearly all the instrumentation was performed by Bid, Orson Presence (keyboard player of the 90s Monochrome Set), and Toby Robinson (producer of most of the 90s Monochrome Set albums). Bid’s voice took turns with an enchanting cast of young ladies, of whom only Alice Healey was a permanent member. Soon after the fourth album, a live band was formed, though without Orson Presence, who was now living in Canada. A slightly changing line-up then recorded three more albums, with live performances, before Scarlet’s Well disbanded in 2010. The third rebirth of The Monochrome Set then followed, and is still going.

Archaic and arcane, literate and witty, cinematic and surreal, the Scarlet’s Well songs feature gorgeous, timeless, intoxicating melodies with wide range of rich and multi-layered instrumentation. Although there is a conceptual thread that runs through the albums, each song still stands alone, an oddly shaped trinket from a treasure trove. Lyrics leap from cryptic literary allusions to pert whimsy, and although there is a certain obscure quality there is also an air of familiarity: a morphic memory magic, bringing on a parallel universe that reveals itself to those who are open to getting lost with new acquaintances down strange cobbled streets, wooded glades, uncharted waters or the dark tunnels of the underworld.

Tracklisting: Sweetmeat / Willy Whispers / The Captain’s Song / Isle Of The Blue Flowers / Dark Dreams Aboard The Hesperus / Lord Fishgarlic’s Last Expedition / Night Of The Macaw / The Ballad Of Johnny Freak / The Dream Spider Of The Laughing Horse / Big Dipper On The Spearman’s Floor / Savage / Black Tulip Wings / Golden, It Is, Beautiful / My Little Doll / Supernatural Services / The Vampire’s Song

Label Review. 

36 tracks including hits, His own versions of songs written for others and 2 brand new songs.

Our Overview. 

Mike Batt’s long and varied career is celebrated on his new Penultimate Collection double album, with 35 tracks highlighting his work as performer, composer, arranger and key British musical figure – but especially as performer, as not only does it feature Batt’s original solo material – including his international solo hits -, but also his own versions of songs he wrote for other artists. “The Closest Thing To Crazy”, “Bright Eyes”, “A Winter’s Tale”, “Caravan Song” and “I Feel Like Buddy Holly” are given Mike’s own distinctive treatment, alongside his orchestral works, and contributions from Colin Blunstone, Bonnie Tyler and Family’s Roger Chapman.

'Mike Batt – The Penultimate Collection' features his work from the classic feelgood pop of Summertime City, his number four hit from 1975, through his hugely successful Wombles hits and orchestral pieces, to two brand new recordings. While Disc 1 of this double CD package houses the familiar hits, Disc 2 is an eclectic collection of more boundary-breaking tracks including early singles, oddball instrumentals and compositions that give an insight into the imagination and adventurous spirit of his work.

“Summertime City”, theme to the BBC’s variety show Seaside Special, has only been released once since it was a hit. Says Mike: “For many years, despite its success I looked back on it with embarrassment but now I am proud of it as a good, strong pop record. I insisted that Sony ‘delete it forever’ and the rights to the song reverted to me. So this is the first time (apart from the MB Music Cube) that it has been released since 1975.” There’s also an early pre-Womble solo single, “Your Mother Should Know”, recorded when he was just a teenager. “It’s 19-year-old me doing a cover of this great little Beatle song using a Vivaldi-style string approach. The lead fiddle player is Jack Rothstein, and we recorded it at Wessex Studios in London.

And of course, there are numbers by The Wombles, too. “Some may say The Wombling Song needs no introduction, but it has one, courtesy of four unison French horns. It was my first-ever hit. This is of course the main theme to the Wombles TV show, and was the first of about 50 songs about the famous eco-warriors. I count the Wombles tracks as ‘Mike Batt’ tracks because they are indeed just me singing with a session orchestra; usually with Chris Spedding on guitar and Clem Cattini on drums”

Tracklisting: 

CD1: Children Of The Sky / Bright Eyes / The Winds Of Change / Lady Of the Dawn / Railway Hotel / Imbecile (feat. Roger Chapman) / Please Don’t Fall In Love / Love Makes You Crazy / A Winter’s Tale / Soldier’s Song / Better Than A Dream / Into The Sunset Duet (with Bonnie Tyler) / The Closest Thing To Crazy / Voices In The Dark / Nine Million Bicycles / Caravan Song / Caravan Theme / I Feel Like Buddy Holly / The Ride To Agadir

CD2: Waiting For A Wave / Six Days In Berlin, Pt. 1 / Warsaw / Tarota / On Watership Down / The Fires Of Rabat / Summertime City / Your Mother Should Know / It’s Only Pain / Tiger In The Night (feat. Colin Blunstone) / Run Like The Wind (feat. Roger Chapman) / The Wombling Song / Minuetto Allegretto / The Orinico Kid / The Aspidistra Suite (2nd Movement) / The Walls Of The World / The Vanishing (feat. Julian Lennon, John Gielgud, John Hurt & Maggie Reilly

Label Review. 

2020 album. Americana. Also available on CD.

Our Overview. 

'Magdalen Accepts The Invitation' is the 2020 full-length by the husband and wife-duo comprising Mark Olson (ex-Jayhawks) and Ingunn Ringvold. The husband-and-wife duo's third collaboration mines a "Death Valley isolation chamber folk/pop sound" that is awash with darkness and light. A roller coaster in a long-closed Lake Minnetonka amusement park, walks through historic orthodox churches, a fossil-collecting canoe trip along the Niobrara River, and an isolated pizza place in South Africa. Old memories swirling in the warm Joshua Tree breezes provided them with the inspiration for the set of intriguing, imagistic songs that lovingly fill their latest outing, Magdalen Accepts the Invitation. The album's ten tracks draw upon the couple's recent adventures together and their earlier adventures apart as well as tapping into, and stretching out, their own individual musical influences. 

While continuing along the Americana-cobbled roads they took on their first two albums, Olson and Ringvold explore lesser traveled musical territories on this release. Without exactly knowing where they were going, the two were emboldened by each other's company and unafraid to push forward. As Olson describes it: "The recording sessions occurred during the heat of summer at Thermometer Shelter Studios, located not too far from Death Valley National Park." The Armenian Qanon, the Mellotron, the dulcimer, and djembe drums are among the world of instruments that the multi-talented Ringvold contributed to Magdalen's sound. The variety of arrangements on the album act, she explains, "like a different color in an impressionistic painting." Ringvold also is thrilled about being able to weave elements of her family's musical heritage into her own songs and the interesting ways that her work blended in with Olson's original material. All of Magdalen's original track recordings were done on a Nagra field recorder, which further enhanced the album's unvarnished sonic textures.

Mark Olson was born and raised in Minnesota by a family of mostly farmers and schoolteachers. Predominately a self-taught musician, Olson is well known for his use of alternate tunings and two-part unison singing that then breaks into harmony. He co-founded (and was a principal songwriter, singer and guitarist) the Jayhawks in 1985 in Minneapolis. Upon leaving the Jayhawks, he formed the Original Harmony Ridge Creekdippers in 1997 with Victoria Williams. That band, later called the Creekdippers, made seven albums. 

Ingunn Ringvold comes from Larvik, Norway (also the home of Thor Heyerdahl, the famed explorer and Kon Tiki author). Blessed with a naturally beautiful voice, she began singing in public at a very young age. Ringvold hears music in her heart and writes emotionally moving string arrangements. She studied the Armenian Qanon with Arax, a master musician in Vanadzor, Armenia, where she learned how to harness great strength in her performance style. She has released four solo albums in addition to her collaborations with Olson. Olson and Ringvold live now in the California desert, and they tour off and on internationally almost every year. 

Tracklisting: Pipestone I Won't Be Back / You'll Find the Morning / Excelsior Park / Christina Hi / 31 Patience Games / Children of the Streetcar / Silent Mary / Elmira's Fountain / Black Locust

Label Review. 

2020 album. Rock. Also available on Vinyl and Deluxe Box Set. 

Our Overview. 

Grey Daze, Chester Bennington’s pre-Linkin Park band, have announced ‘Amends’, the Phoenix-born band’s eagerly-awaited album featuring newly recorded music with re-mastered vocals from the group’s long out-of-print, and largely undiscovered catalogue.

‘Amends’ is the origin story of one of modern rock’s most recognizable voices and also a full circle moment among friends. The album is the fulfillment of a planned Grey Daze reunion that Chester had announced prior to his untimely passing. The remaining band members - Dowdell (drums), Mace Beyers (bass) and Cristin Davis (guitar) - along with Talinda Bennington (Chester’s widow) and his parents, made it their mission to see the project through with assistance from Tom Whalley, the founder of Loma Vista Recordings and former Warner Bros. Record Chairman during Linkin Park’s tenure at the label.

Dowdell, Beyers and Davis selected the tracks from the band’s mid-‘90s, but largely unknown catalogue and re-recorded the music in 2019 to accompany Chester’s re-mastered vocals. Produced by Jay Baumgardner, several musicians leant their time and talent to the album, including Korn’s Brian “Head” Welch and James “Munky” Shaffer, Paige Hamilton (Helmet), Chris Traynor (Bush, Helmet, Orange 9MM) and singer-songwriter, LP.

“We started Grey Daze in 1993, the band ended up breaking up in 1998,” explains Dowdell. “Fast forward to 2016, Chester’s on the road and says, ‘I think we should put Grey Daze back together.’ Obviously, what happened, happened and Chester was tragically taken from us. Of course, as soon as he passed, it was like ‘oh my God, I lost my friend, my friend’s wife is now a widow and my friend’s kids are now fatherless.’ There were all of these emotions. About six or seven months later, I started some conversations and said I really want to finish this album. We’re not going to accept mediocrity, we’re going to do our friend proud, we’re going to make Chester proud and we’re going to make sure this is something he would have been elated to put out.”

Tracklisting: Sickness / Sometimes / What’s In The Eye / The Syndrome / In Time / Just Like Heroine / B12 / Soul Song / Morei Sky / She Shines / Shouting Out

Label Review. 

1982 debut album remastered. Also available on Vinyl. 

Our Overview. 

Diamanda Galas’ debut album ‘Litanies of Satan’, originally released in 1982, is finally reissued on her own Intravenal Sound Operations label. Born in 1955 to a Greek American family in San Diego, California, Galas began playing piano at the age of 3 and encouraged by her father took to other musical instruments such as cello and violin. She began playing gigs at 13 with her fathers band.

During the 1970s Diamanda studied biochemistry at the University of Southern California but returned to music at the end of the decade and by 1982 unveiled her debut album ‘The Litanies Of Satan’. It’s a challenging listen, Galas had honed her voice into a sonic weapon covering four octaves and merging this with her command of electronics created what writer Louis Pattison called a “whirlpool of cacophony”. The text for ‘The Litanies of Satan’ is taken from a section of ‘Les Fleurs du Mal’ by Charles Baudelaire and in her original liner notes she explained the piece “devotes itself to the emeraldine perversity of the life struggle in hell”.

Tracklisting: The Litanies Of Satan / Wild Women With Steak-Knives

Label Review. 

2020 debut album. Americana. Also available on CD. 

Our Overview. 

‘Country Westerns’ is the debut album from Country Westerns. Singer guitarist and Atlanta native Joey Plunkett left NYC for Nashville 10 years ago, after making a name for himself in that city’s rock and roll underground as the leader of Brooklyn legends The Weight and hustling bass for Gentleman Jesse. Nashville drummer and songwriter Brian Kotzur was the star of Harmony Korine’s ‘Trash Humpers’. Kotzur also wrote the film’s score and was a member of the Silver Jews.

Country Westerns started as an outlet for Plunkett and Kotzur to play music almost in spite of being in the middle of Nashville’s hungry music scene. Their idea was to make “depressing songs with fun drums”. Over a year they met up twice a week, made up songs that they liked, and played them to an audience of David Berman in Kotzur’s garage, sometimes they played parties. This period was a kind of a state of grace- they liked writing and playing, they liked hearing Joey sing.

In Spring 2019 their esteemed colleague Sabrina Rush joined as a bass player because she’d never played bass before. Previously she’d played violin in State Champion and was a tour manager. Her melodic approach to bass elevated the Country Westerns sound so they left Nashville to record a couple of songs with Matt Sweeney (American guitarist, vocalist, and producer ) at Strangeweather Studios in New York City (aka Music City) without a label, on their own dime. The idea was to capture the urgency of their live show. Fat Possum Records heard the results, and found them “casually profound” and gave them a record deal. “There’s a rare emotional weight and poetry to Country Westerns’ music that hits the spot so hard for me. Hope you dig.” says Matt.

Tracklisting: Anytime / It’s Not Easy / Guest Checks / I’m Not Ready / Gentle Soul / It’s On Me / Time To Tunnels / TV Light / Close To Me / Slow Nights / Two Characters In Search Of A Country Song

Label Review. 

2020 album. Rock. Also available on Vinyl.

Our Overview. 

‘Kiss the Sky’ is the fourth release from New Wave of Classic Rock favourites Bad Touch. Following on from the success of ‘Shake A Leg’, Bad Touch continue to develop their infectious blend of rock, country and blues.

Having just completed their fourth album at the legendary Rockfield Studios with Nick Brine (The Darkness, Thunder, Ash), the New Wave of Classic Rock favourites will release ‘Kiss The Sky’ in June 2020 on Marshall Records, Bad Touch are gearing up for a busy year of touring, including a main stage appearance at Ramblin’ Man Fair.

After signing to Marshall Records in 2018, Bad Touch released third album ‘Shake A Leg’ which featured Planet Rock Radio favourites ‘Lift Your Head Up’ and ‘Too Many Times’ and critical acclaim across the board and built upon the reputation the band had cemented with tracks like their duet with Mollie Marriott (daughter of Steve Marriott of The Small Faces and Humble Pie), a cover of Ike & Tina Turner’s classic ‘Baby Get It on’ and crowd pleaser ‘99%’ from 2016’s ‘Truth Be Told’. Bad Touch have extensively toured the UK and Europe, being seen at festivals such as Download Festival, Ramblin’ Man Fair and Planet Rockstock. They have toured with Skid Row, The Answer, Broken Witt Rebels, Those Damn Crows, The Quireboys, FM and more.

Bad Touch are Stevie (Vocals), Seeks (Guitar/Vocals), Rob (Guitar), Michael (Bass) and George (Drums, Vocals).Recorded at the legendary Rockfield Studios with Nick Brine (The Darkness, Thunder, Ash), ‘Kiss the Sky’ is released on Marshall Records on CD, Digital and White vinyl.

Previous Bad Touch singles from ‘Shake A Leg’ have spent a total of 15 weeks on Planet Rock Radio playlist. ‘Shake A Leg’ entered the UK Charts in the Top 200 Massive support from Classic Rock Magazine, Planet Rock magazine, Fireworks Magazine, Powerplay Magazine The band has had support from BBC Radio 2 and Planet Rock Radio.

Tracklisting: Come A Little Closer / I Get High / Let Go / Strut / I’ve Got The Music In Me / Can You Save Me / Kiss The Sky / See You Again / Before I Die / Read All About It / Too Much Of A Good Thing / Sun And The Moon / Something About Your Kiss (bonus Track)

Label Review.

2020 debut album. Electropop. Also available on Vinyl.

Our Overview.

Equally at home on and off the dancefloor, it’s wave-kissed dreariness dripping with cold sensuality is both vibrant and brooding. Showcasing her unique sound in the saturatedworld of electronica, Touch successfully draws from electropop and disco influences, combining 80’s vintage synths with industrial soundscapes, delivered with a visceral post-punk snarl.

Introduced to 80’s pop and new wave via her father’s extensive collection of Human League, Karat and Duran Duran, she honed her trademark sound with the likes of The KLF, Karen O and PJ Harvey motivating her early productions.

The results led to releases on Catz ‘N Dogz’ Pets Recordings and Lunatic Records, as well as making regular appearances on Riotvan, the Leipzig-based record label run by Peter Invasion and co-owned by Panthera Krause.

‘Behind the Wall’ opens with the dark and powerful ‘Imaginary Boys,’ a soundtrack to Touch’s long journey through the city to the studio each day. It is followed by ‘Attic,’ which she describes as the “driving point of the whole album.”It’s an invitation to dance with me, a lullaby, aconsolation,” she says. “Like a mantra.” And that is exactly what this record feels like.

Tracklisting: Imaginary Boys / Attic / Daria / The Wall / Teflon / I Love You, Let’s Go / Iggy´s Sight / Flatlands / Chemistry (Album Version) / Supersize / Your Dawn

Label Review. 

Recorded 1982. CD contains 6 extra tracks not on the vinyl. 7a Records. Also available on Double Vinyl. 

Our Overview. 

Micky Dolenz travelled to Japan in early 1982 to give his first ever tour as a solo performer, towards the end of a massive Monkees resurgence that had sparked there in the fall of 1980. Dolenz’s Japanese concerts marked the closest thing he had ever done (up to that point) to a solo concert tour. While he had toured extensively in 1975 and 1976 with Dolenz, Jones, Boyce & Hart, he had seldom set foot on the concert stage post-Monkees ‘on his own’.

Dolenz employed a Japanese group of musicians for his backup band, hiring an outfit called Marlboro. The tour provides a revealing look into what he himself, only fifteen years removed from the original Monkees phenomenon, may have considered the crème-de-la-crème of their catalogue. While the practice of playing deep cuts for diehard fans has become more common in recent years, at this early juncture Dolenz makes some captivating choices, including: 1969’s “Pillow Time”, written by his mother Janelle Scott and two killer Nesmith compositions from Headquarters, “Sunny Girlfriend” and “You Just May Be The One”.

Also included are the Davy Jones staple “I Wanna Be Free”, “Shades Of Gray” and what might be the first ever concert performance of “Zor And Zam”. The CD + DVD version includes five bonus tracks, including the first ever release of “I’m Your Man” from 1978s World Popular Song Contest in Tokyo, and the first ever reissue of “Tomorrow” from the West End play Bugsy Malone, which Dolenz directed.

Tracklisting: (Theme From) The Monkees / Sunny Girlfriend / Last Train To Clarksville / You Just May Be The One / I’m A Believer / Randy Scouse Git / Zor And Zam / Mary, Mary / I Wanna Be Free / Pillow Time / Shades Of Gray / No Time / Daydream Believer / (I’m Not Your) Steppin’ Stone / Goin’ Down / Pleasant Valley Sunday / Beverly Hills / To Be Or Not To Be / I’m Your Man (Semi-final) / I’m Your Man (Final) / Tomorrow (from ‘Bugsy Malone’) / To Be Or Not To Be (Single Ver.) / Beverly Hills (Single Ver.)

Label Review. 

Official 22 track best of to celebrate her 100th anniversary. Also available on CD.

Our Overview. 

The commanding Peggy Lee was one of the great female song stylists who sits among iconic female sonic alumni such as Ella Fitzgerald, Billie Holiday and Sarah Vaughan. Smoky, sensual, sultry, confident, commanding…there has never been a voice quite like that of Peggy Lee. A triple threat singer/songwriter/actress, Lee had a remarkable career in music spanning over fifty years.

Inaugurating Peggy Lee 100 is a new collection from UMe and celebrating an artist who never goes out of style, ‘Ultimate Peggy Lee’ is primed with 22 indelible performances including classic hits, five of her own compositions, and one previously unissued track, “Try a Little Tenderness,” from 1963. Whittling down Lee’s discography to one CD or 2 vinyl LPs is no easy task; she wrote over 200 songs and recorded more than 1,100. But the selection here is a fine cross-section of the songs that made Peggy Lee a one-of-a-kind superstar.

Drawing on her original Decca and Capitol recordings, the anthology boasts such timeless favourites as “Fever” (reinvented by Lee from Little Willie John’s original), the alluring “Big Spender,” “Black Coffee,” “Why Don’t You Do Right,” “The Folks Who Live on the Hill,” and two powerful anthems from Jerry Leiber and Mike Stoller: “I’m a Woman” and “Is That All There Is?,” the latter with a Randy Newman arrangement. Peggy’s own songs here include “It’s a Good Day,” “I Love Being Here with You,” and “He’s a Tramp.”

Peggy scored her first chart-topper in 1942 and her final recordings were released in 1995, seven years before her death in 2002.  She was an Academy Award-nominated actress (Pete Kelly’s Blues), a 13-time Grammy nominee (and two-time recipient), and a talented songwriter whose collaborators included the esteemed likes of Harold Arlen, Cy Coleman, Duke Ellington, and Lalo Schifrin.  Lee was also a fierce advocate of artists’ rights, winning a highly-publicised lawsuit against The Walt Disney Company over home video exploitation of Lady and the Tramp, the 1955 film for which she supplied songs (including the immortal “He’s a Tramp” and romantic “Bella Notte,” both co-written with Sonny Burke) and the voice of – who else? – Peg. This week, The Peggy Lee Estate announced Peggy Lee 100, a centennial campaign honouring the late, great songstress and her influence across the spectrum of popular music.

Tracklisting: I Love Being Here With You / Fever / Things Are Swingin’ / I Don’t Know Enough About You / I’m A Woman / Just In Time / Hallelujah, I Love Him So / Sweet Happy Life / Alright, Okay, You Win / Too Close For Comfort / Why Don’t You Do Right (Get Me Some Money Too) / It’s A Good Day / You Deserve / Heart / Big Spender / He’s A Tramp / I Wanna Be Around / Black Coffee / I’ve Got The World On A String / The Folks Who Live On The Hill / Is That All There Is? / Try A Little Tenderness*

Label Review. 

2020 album. Singer songwriter. Also available on CD and Blue/Green Vinyl. 

Our Overview. 

This is ‘Punisher’ in a nutshell: devastating elegance punctuated by a moment of deeply campy self-awareness. Phoebe Bridgers doesn’t write love songs as much as songs about the impact love can have on our lives, personalities, and priorities.

‘Punisher’, her fourth release and second solo album, is concerned with that subject. To say she writes about heartbreak is to undersell her blue wisdom, to say she writes about pain erases all the strange joy her music emanates. The arrival of ‘Punisher’ cements Phoebe Bridgers as one of the most clever, tender and prolific songwriters of our era.

Bridgers is the rare artist with enough humour to deconstruct her own meteoric rise. Repeatedly praised by publications like The New Yorker, The New York Times, GQ, Pitchfork, The Fader, The Los Angeles Times and countless others, Bridgers herself is more interested in discussing topics on Twitter, deadpanning meditations on the humiliating process of being a person, she presents a sweetly funny flipside to the strikingly sad songs she writes. Fittingly, ‘Punisher’ is fascinated with, and driven by, that kind of impossible tension. Whether it’s writing tweets or songs, Bridgers’s singular talent lies in bringing fierce curiosity to slimy and painful things, interrogating them until they yield up answers that are beautiful and absurd, or faithfully reporting the reality that, sometimes, they are neither.

Bridgers pulls together a formidable crew of guests, including the Julien Baker, Lucy Dacus, Christian Lee Hutson and Conor Oberst as well as Nathaniel Walcott (of Bright Eyes), Nick Zinner (of the Yeah Yeah Yeahs), Jenny Lee Lindberg (of Warpaint), Blake Mills and Jim Keltner as well as her longtime bandmates Marshall Vore (drums), Harrison Whitford (guitar), Emily Retsas (bass) and Nick White (keys). The album was mixed by Mike Mogis, who also mixed Stranger In The Alps. On the album’s epic, freewheeling closer, “I Know The End,” Bridgers orchestrates wails and horns, drums and electric guitar into a sumptuous doomsday swirl, culminating in her own final whispered roar.

Tracklisting: DVD Menu / Garden Song / Kyoto / Punisher / Halloween / Chinese Satellite / Moon Song / Savior Complex / ICU / Graceland Too / I Know the End

Label Review. 

2020 album. Indie. Also available on CD. 

Our Overview. 

San Francisco based indie band Deerhoof have been making music for nearly 30 years now and release their 16th album ‘Future Teenage Cave Artists’. Over the past couple of years while making their new album, Deerhoof have been asking themselves if there was any music they could create that expressed how our rapidly emerging future might actually feel. The band envisioned an album about people haunted by memory of a lost world and of every failed attempt to save it. People already living outside the system, already having practiced new ways of life required for survival - these hopeful heroes are Deerhoof’s inspiration. These are the FTCA.

Faithful listeners will recognize a certain alienated but transformational figure who shows up in Deerhoof songs going back to their earliest days. Take the narrator of “The Perfect Me” from 2007’s Friend Opportunity: an orphaned but eager soul attempting to entice other wounded wanderers who might lack a home, a clan, a family, a history. But on FTCA our protagonist is threatened by terror lurking around every corner. Add to that the fact that our ‘cast-off queen,’ our ‘maniac,’ our ‘terrible daughter’ is watching themselves get orphaned in real time, by an older generation in power that would seemingly rather see life on Earth destroyed than let go of archaic systems of capital.

Like a lot of the music they have released over the last quarter-century, the Deerhoof of FTCA (Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano) stitches together fragments of ‘r&b’ and ‘classic rock’ and transforms them into a new language of revolution, forgoing verse-chorus structures for dream logic and blind intuition. But what makes this album different is its intimacy, the blues riffs and slide guitars are joined by rusty pianos and whispered three-part harmonies. In this sense, FTCA inverts the formula of Deerhoof’s last album, ‘Mountain Moves’, which invited a wide community of collaborators to band together in an open celebration of solidarity.

The new one, on the other hand, is borne of self-isolation and deprivation. It’s the sound of a sparkling, manic musical intelligence being disconnected from a nourishing public and devouring itself inside its own cocoon, attempting metamorphosis. Guitar pedals malfunction mid-take, reverbs chop off mid-tail, drum fills get abandoned mid-phrase. Some musical moments, as gorgeous and touching as anything Deerhoof has ever written, stop short for no apparent reason, giving way to queasy smudges of sound. This is a record about resilience and the persistence of hope in a future beyond any reasonable justification for it. Like so many young people today, Deerhoof seems to be already living in that future.

Tracklisting: Future Teenage Cave Artists / Sympathy for the Baby Boo / The Loved One / O Ye Saddle Babes / New Orphan Asylum for Spirited Deerchildren / Zazeet / Fraction Anthem / “Farewell” Symphony / Reduced Guilt / Damaged Eyes Squinting into the Beautiful Overhot Sun / I Call on Thee

Label Review. 

2020 album. Indie. Also available on Vinyl. 

Our Overview. 

Hailing from Calgary, Canada, Art-rockers Braids have been taking the time and space necessary for little miracles to occur. Burrowed in their Montreal studio, the band has spent the better part of three years crafting ‘Shadow Offering’, their fourth album. Unlike previous albums, Braids decided to stay close to home for the recording of the album. Taking over a spacious sound recording studio tucked in an old warehouse, the band were able to slow down and creatively rediscover themselves.

“With this album, we wanted to give ourselves time to achieve a higher calibre of artistry and collaboration,” drummer Austin Tufts says. No longer riding the novelty of youth, the band deliberately took time to recommit to themselves and their craft, and channel new energy into their music. They wrote 40 songs. The band sketched and re-sketched new material for eighteen months before lucky circumstance found Chris Walla (Death Cab For Cutie) renting out space in their studio. “Young Buck”, the lead single, sees Braids at their most playful and confident. An effervescent ode to impossible love, it exudes an undeniable magnetism reminiscent of the band’s breakthrough works “Lemonade” and “Plath Heart”.

The creative process saw Tufts exploring groovier and more supportive rhythms, while Standell-Preston and Smith picked up their guitars in a serious way, something they hadn’t done since Native Speaker. With ‘Shadow Offering’, Raphaelle Standell-Preston’s voice is visceral as always, conveying a new confidence and rawness we’ve yet to hear from her. Fans of commanding 90’s songwriters like Fiona Apple and Alanis Morissette will relish in her voice’s strength and lyrical aptitude. ‘Snow Angel’, an unhinged performance from Standell-Preston, has her leaning passionately into her anger. “You’re allowed to be angry, don’t shy away from it because you feel you have to,’” Standell-Preston recalls Walla saying. Validated and encouraged, Braids’ frontwoman dove deeper into her frustrations and anxieties about her internal and external worlds. ‘Snow Angel’, in effect, is the album’s core. Across its sweeping 9-minutes is a diary entry literally exploding beyond the boundaries of the page.

Although the album recounts pain, heartbreak, anger, it also lifts the heart towards hope. “There’s more hopefulness in this record than anything else I’ve written. I think the songs are more human, more tangible, more honest,” Standell-Preston says, referencing therapy and her transcendental meditation practice as helping her through the rhythms of her life. “I showed up for my heart on this record. I really showed up. From the start to the finish.” No better is this reflected than in “Eclipse”, an album standout. Dedicated to the singer’s best friend Ashley, it’s a song that sinks deep into a feeling of reverie for nature, the love found in friendship, and the vital nature of personal reflection.

Tracklisting: Here 4 U / Young Buck / Eclipse (Ashley) / Just Let Me / Upheaval II / Fear Of Men / Snow Angel / Ocean / Note To Self

Label Review.

Rare single sideslate 60s/early 70s soul singer.

Our Overview.

First ever release of Deniece Chandler’s toddlin’ town album includes all of her toddlin’ town and subsidiary lock 45rpm releases plus previously unreleased and bonus recordings 4 x Grammy award winner.

Deniece Chandler was born June 3rd, 1950 in Gary, Indiana and grew up rubbing shoulders with the Jackson 5. Her uncle William Blakely was the Bishop of Indiana and her sister sang back-up for Lou Rawls!

She successfully auditioned for Toddlin’ Town Records from neighbouring Chicago, while still at high school and Eugene Record and Barbara Acklin penned her first single, “Love Is Tears” / “I’m Walking Away”, which opens our set. The song enjoyed some modest local success, but more importantly, it caught the ear of Stevie Wonder!

She recorded a total of six singles for Toddlin’ Town, and its associated Lock label, including a duet with Michigan soul singer Lee Sain. The twelve sides were intended to form her solo album, but sadly Lock went out of business in 1970 & Deniece returned to college. A year later the call came from Stevie Wonder and she joined his backing group Wonderlove (the inspiration for our album title). Her big break came in 1975 when she met Maurice White of Earth, Wind & Fire who took her to Columbia Records and produced the album “This Is Niecy” which spawned her self-penned single “Free” scoring a top 40 stateside hit and a No.1 in the U.K. Williams would go on to win four Grammys, twelve nominations and become a worldwide household name.

Here, for the very first time, we present her complete early body of work including unreleased and bonus tracks that showcase her exceptional four-octave range which, according to the Pittsburgh Post-Gazette “would make Mariah Carey quiver”.

Tracklisting : Love Is Tears/ I’m Walking Away / Yes, I’m Ready / You’ve Hurt Me Now/ I Don’t Wanna Cry / Good Bye, Cruel World / Come On Home To Me Baby / Shy Boy / Mama, I Wished I Stayed At Home / I’d Believe Him / Deniece Williams “Just One Time” / Deniece Williams “I’m Not Like The Others”/ The Lovelites “How Can I Tell My Mum & Dad ?” / Deniece Chandler & Lee Sain “Glorious Feeling” / Deniece Chandler & Lee Sain “Hey, Baby” / The Teques “Shy Boy”

Label Review. 

2020 album. Also available on Vinyl. 

Our Overview. 

British band The Spitfires unveil their fourth album ‘Live Worth Living’. Fronted by creative lynchpin Billy Sullivan, this startling three-piece – augmented by three other musicians when playing live - have cemented a loyal fanbase since their inception some five years ago and alongside Sam Long, bassist and drummer Matt Johnson whilst initiating album sales in excess of 20k and a tour itinerary approaching nearly three hundred gigs. ‘Life Worth Living’ is a contrasting melting pot of unadulterated joy and melancholy, laughter, tears, frustration and peacefulness. Quiet and introspective moments collide with loud and angry times and no less powerful. At its heart is a sense of hope that things can be better, the title reflects that aspiration.

From the infectious brass-infused opener, “Start All Over Again”, the Nutty Boys-esque title track “Life Worth Living” to “Tear This Place Right Down” bathed in soul overtones, the ballad-like wonder of “How Could I Lie To You?” to the ska riffage of single “(Just Won’t) Keep You Down” and the magnificent finale of “Make It Through Each Day”. Produced by Simon Dine, who was behind the desk for Paul Weller’s ‘22 Dreams’ and ‘Wake Up The Nation’ amongst a varied CV - has harnessed the undoubted vibrancy and swagger of the band’s live show helping create an ambitious album – a vehicle for the talents of Sullivan, Long and Johnson.

Tracklisting: Start All Over Again / It Can’t Be Done / Life Worth Living / Tear This Place Right Down! / How Could I Lie To You? / Kings & Queens / (Just Won’t) Keep Me Down / Tower Above Me / Have It Your Way / Make It Through Each Day

Label Review. 

2020 album. Symphonic Metal. Also available on CD. 

Our Overview. 

German Metal group Beyond The Black return with their fourth album ‘Horizons’. Led by vocalist Jennifer Haben, the band unbolts their unequalled, differentiated spectra of symphonic and melodic rock spiced with sonorous melodious metal soundscapes in 13 manifold songs. The album kicks off with a heavy, yet atmospheric title track, spanning the range of intumescent soundscapes and Haben’s crystal clear, striking vocals.

Followed by their first single, “Misery”, Beyond The Black prepares a powerful manifesto of self-confidence and draws its listeners into a wide melodic range between symphonic mellifluousness and uncompromising energetic metal fragments. Beautiful yet strong harmonies, emotional storytelling and powerful vocal lines weave throughout “Wounded Healer” (feat. Elize Rhyde out of Amaranthe) and will light your way in gloomy times. Dark subliminal grooves coalesce with harmonizing guitar lines and form the prevailing nexus of “Human” and its unmistakably catchy chorus.

Another facet rises with “You Are Not Alone”, which is dominated by electronic influences as well as symphonic sounding violins. ‘Horizons’ atmospherically dark harshness creates the stylistic bow over the distinctive melodic rock meets pop sound in symbiosis with fragile yet strong fragments. The charismatic outfit persuades with a rousing, emotional clout and their strong, confident message off self-assertion. This is a multi-layered, metallic offer proving Beyond The Black’s standing in the scene and look to breaking beyond Germany and Austria which they have already conquered.

Tracklisting: Horizons / Misery / Wounded Healer / Some Kind Of Monster / Human / Golden Pariahs / Marching On / You’re Not Alone / Out Of The Ashes / Paralyzed / Coming Home / I Won’t Surrender / Welcome To My Wasteland

Label Review. 

2020 album. Jazz/electronica. Also available on Vinyl. 

Our Overview. 

GoGo Penguin – the instrumental trio from Manchester, England – released their self-titled sixth album. Sometimes referred to as the “Jazz Radiohead”, they have fielded plaudits and rave reviews for inspiration and originality at every turn since 2013, when they settled on their dream line-up of Chris Illingworth (piano), Rob Turner (drums) and Nick Blacka (bass). Fusing jazz, classical and electronic influences (amongst others) with a thirst for innovation, they’ve been garlanded as makers of one of the Mercury Prize album of the year (in 2014) and have enjoyed success on record and in the live arena matched by precious few vocal-free groups post-millennium.

GoGo Penguin’s music has always defied categorization. In their sound, there have been detectable traces of latterday developments in jazz, such as Sweden’s free-thinking Esbjörn Svensson Trio (aka EST), or minimalist classical composers like Steve Reich, John Adams, even Erik Satie. Yet, all in their mid-30’s, you can hear that they have grown up in the golden age of electronica, with echoes ranging from rarefied techno (think Aphex Twin; Carl Craig’s Innerzone Orchestra), and the emotive melodies and crescendos of European house, through to Roni Size’s jazz-infused drum ‘n’ bass.

After that prestigious Mercury nomination for 2014’s ‘v2.0’ album, Chris, Nick and Rob worked hard, consolidating their musical bond across a further two albums, which were written and recorded while juggling hectic touring commitments. For GoGo Penguin – their fourth album together (and the third to be released by the legendary Blue Note label following ‘Man Made Object’ and ‘A Humdrum Star’) – they decided to jump off the rollercoaster and devote the majority of their working time in 2019 to pushing at the limits of their music.

Tracklisting: 1_# / Atomised / Signal in the Noise / Open / F Maj Pixie / Kora / Totem / Embers / To the Nth / Don’t Go

Label Review. 

2020 album. Nuclear Blast. Also available on Vinyl and Deluxe box set. 

Our Overview. 

Now in their 20th year as Lamb Of God, the American Heavy Metal legends release their eighth album ‘Lamb Of God’. Within heavy music circles, a new album from Richmond Virginia’s Lamb Of God is a monumental event. Worldwide, the band has continued their steady march to the highest levels of the rock world, so much so that a band this unapologetically aggressive are now even a fixture at the top of mainstream album charts - the band’s last album ‘VII: Sturm Und Drang’ debuted in the Top Five on US, UK, Canada, Australia national charts, and was nominated for a Grammy.

“We never head into anything with an idea of what we want it to sound like,” guitarist Mark Morton says. “All we know is we want to keep surprising ourselves and doing stuff we like. That excites us because we’re the ones that are going to have to play the songs over and over.” ‘Lamb of God’ sounds a bit like all of the group’s previous albums. “Checkmate” is old-school LOG, melding rapid-fire riffs with tumbling beats and roaring vocals. By contrast, opening track “Memento Mori” offers a new shade of darkness, starting with eerie sound effects and atmospheric guitars overlapped by baleful, melodic vocals reminiscent of Sisters of Mercy’s Andrew Eldritch before bursting into a surging rhythm augmented by asymmetrical, staccato guitar licks. “Bloodshot Eyes” finds Blythe upping the ante by harmonizing with himself before returning to screaming.

A band that has never shrunk from it’s role in channeling the turmoil and crisis on display in this world, into cathartic, aggressive, and modern heavy metal. Musically, Lamb of God know no equals in the modern heavy world, combining metal, punk, and groove in a devastating and signature attack. Lyrically, vocalist Randy Blythe pulls no punches, with so much to confront at this moment in history.

Tracklisting: Memento Mori / Checkmate / Gears / Reality Bath / New Colossal Hate / Resurrection Man / Poison Dream (feat Jamey Jasta) / Routes (feat Chuck Billy) / Bloodshot Eyes / On The Hook

Label Review.

2020 album. Singer songwriter.

Our Overview.

Chicago-based Michael McDermott’s vocals and songwriting style easily invite comparisons to Bruce Springsteen. His wordplay lets you know he’s listened to plenty of Dylan and The Boss, but he’s got his own well-established place among those that appreciate terrific songwriting.

Singer-Songwriter Michael McDermott is anything but a reserved, obedient, listen to your producer kind of musician, instead he presents a rugged and insistent side of Americana music. Hailing from the streets of Chicago, McDermott has a few strong opinions about the current social climate and he does nothing short of shouting them loudly on his latest single “What in the World”. The single comes from McDermott’s anticipated record ‘What in the World’ out on Pauper Sky Records/Continental Song City.

The outspoken title track is a rally song, calling people to listen and presents McDermott’s politics in straight-forward lyrics like: ‘Hey hey what do you say/ tired of hearing everything will be ok/ what in the world is happening here?/ Hey hey what do you say?/ Dark days are coming for the USA.

The bluesy-rock guitar licks and accented chord transitions are what empower the stark lyrics, adding an outlaw country/rock vibe which work perfectly to portray the fed-up and angry character of the song.

Tracklisting: What In The World / New York, Texas / Blue Eyed Barmaid / The Things You Want / The Veils Of Veronica / Die With Me / Contender / Mother Emanual / No Matter What / Until I Found You / Positively Central Park / What InThe World (acoustic)

Label Review.

2020 album also available on Vinyl.

Our Overview.

After a remarkable two-year run that saw them earn a GRAMMY Award nomination for their last chart-topping studio album while touring the world from Nashville to New Zealand and back again, Larkin Poe have returned with what is undeniably their most wide-reaching, artistically adventurous, and self-determined work to date.

Once again taking the producer reins and releasing on their own Tricki-Woo Records label, ‘Self Made Man’, sees the multi-instrumentalist sister duo, comprised of the Atlanta-bred, Nashville-based Rebecca and Megan Lovell, pushing their music and message towards hitherto unexplored terrain, inspired by their epic world travels yet still powerfully rooted in the creative heritage of their beloved American South. From the thunderous power of the album-opening “She’s A Self Made Man,” through the nostalgic “Tears of Blue to Gold” and fierce Chicago blues of “Scorpion,” to the front porch jubilation of “Easy Street,” the album is ambitious in both its eclectic, energetic sound and its resolutely welcoming mission, its universal lyrical approach fuelled by tradition, invention, and Larkin Poe’s remarkable ability to touch the hearts and souls of their fellow humans worldwide.

Tracklisting: She’s A Self Made Man / Holy Ghost Fire / Keep Diggin’ / Back Down South / Tears Of Blue To Gold / God Moves On The Water / Every Bird That Flies / Scorpion / Danger Angel / Ex-Con / Easy Street

Label Review. 

2020 album. Soul. Also available on CD. 

Our Overview. 

Nick Corbin releases his debut solo album ‘Sweet Escape’ Until February 2018, Nick was the singer and main songwriter of New Street Adventure, who released two albums on the legendary Acid Jazz label: ‘No Hard Feelings’ in 2014 and ‘Stubborn Sons’ in 2017. Nick was brought up with soul music constantly playing in the background, thanks to his Father’s love for the genre and obsessive collecting of rare records.

Over the years New Street Adventure received critical acclaim from the likes of Q Magazine (4/5 stars for album two) and The Guardian’s Tim Jonze, who praised Nick as having “an innate understanding of classic soul songwriting”. Despite the plaudits and a deal with a legendary record label a fluctuating line-up hampered the bands progress and Nick ended the group.

His first album on his own was produced by Gavin Monaghan (Editors, Paolo Nutini, OCS, The Twang, Robert Plant) at Magic Garden Studio in Wolverhampton and despite the soulful roots in Nick’s music, his voice remains distinctive and unmistakeable. Q’s Paul Moody referred to him as “a mod Mike Skinner”, whilst comparisons to Paul Weller and, more recently, Tom Misch have frequently been made.

Tracklisting: Sweetest Escape / Long Long Gone / Can We Do It Again? / Sunshine In / Gotta Get Back To You / Never Did Look Like Love / Thought It Through / Don’t Break The Mould / It’s Alright To Change Your Mind / I Need Reminding / Can’t Say Goodbye

Label Review. 

2020 album. Also available on CD. 

Our Overview. 

The mysterious California based Healing Potpourri want to create songs that make you feel good and that’s what they achieve on their third full length album ‘Blanket Of Calm. It’s not often that we take a moment to appreciate music that specifically exists to comfort and rejuvenate – music that aims to sound as pleasant as its intentions. ‘Blanket of Calm’ is a collection of 11 effervescent songs to soundtrack better days—and hopefully inspire more of them.

While not every moment of ‘Blanket of Calm’ is perfectly sunny, they are all very human. Songs like “Think About Us” and “Dustin’s Rain Tape” touch on interpersonal relationships and longing; the latter an ode to a childhood friend, while the former explores the sometimes fleeting nature of connecting with another person. The album’s closing song, “Glittery Sidewalks,” pulls many of these lyrical themes together along with returning musical cues. It’s a fitting way to end “Blanket of Calm”, an album that reminds us that sometimes a musical salve is exactly what we needed.

Tracklisting: Dream Vacay / Blanket of Calm / Think About Us / Moment Alone / Laney / Dustin’s Rain Tape / Camellia / Pieces / The Page / La Vida Tranquila / Glittery Sidewalks

Label Review. 

2020 album. Also available on CD. 

Our Overview. 

Norah Jones will release her seventh studio album, ‘Pick Me Up Off the Floor’, via Blue Note Records. She has previewed the record with lead single “I’m Alive”, a collaboration with Wilco’s Jeff Tweedy. The laid-back track, which Tweedy co-wrote and produced, features the Wilco leader on acoustic guitar, electric guitar and bass. His son and frequent collaborator Spencer Tweedy plays brushed drums. “Just sit and wait, don’t move — just hesitate/You can hope and pray; you can moan; maybe things will change,” Jones croons over her warm, languid piano. “You feel your soul get hollowed out/While the world implodes, you just live without.”

‘Pick Me Up Off The Floor’ which also includes the Tweedy-assisted “Heaven Above” marks Jones’ second collaboration with the Wilco frontman, who co-wrote and produced two tracks on her 2019 LP, ‘Begin Again’. “Norah’s been a great friend for a long time and she’s one of the most effortless musicians I’ve ever played with,” Tweedy told Rolling Stone.

Norah detailed the inspiration and creative process behind the album, which sprung from a productive session with her regular drummer Brian Blade. “Living in this country - this world - the last few years, I think there’s an underlying sense of, ‘Lift me up. Let’s get up out of this mess and try to figure some things out,’” she said. “If there’s a darkness to this album, it’s not meant to be an impending sense of doom, if feels more like a human longing for connection. Some of the songs that are personal also apply to the larger issues we’re all facing. And some of the songs that are about very specific larger things also feel quite personal. I don’t know if I was just in a zone or if this process turned it on, but I’ve felt more creative in the last year than I ever have.”

The project also features contributions from bassists Christopher Thomas, John Patitucci, Jesse Murphy, and Josh Lattanzi; drummers Nate Smith, Dan Rieser, and Josh Adams; keyboardist Pete Remm, pedal steel guitarist Dan Iead, violinist Mazz Swift, violist Ayane Kozasa, cellist Paul Wiancko, percussionist Mauro Refosco, background vocalists Ruby Amanfu and Sam Ashworth, trumpeter Dave Guy and tenor saxophonist Leon Michels.

Tracklisting: How I Weep / Flame Twin / Hurts To Be Alone / Heartbroken, Day After / Say No More / This Life / To Live / I’m Alive / Were You Watching? / Stumble On My Way / Heaven Above

Label Review. 

2020 debut album. Garage pop. Also available on CD.

Our Overview. 

One of the best new bands to come outta Fremantle, Spacey Jane are releasing their debut album ‘Sunlight’. As most bands do, Caleb, Kieran, Ashton and Peppa came together through blooming friendships and lucky connections. A few jams later, the bond was cemented and the debut gig in Caleb’s dad’s backyard kicked it all off for indie-rock, garage Australian band Spacey Jane.

“Not many bands currently on the circuit out has much energy into their performance as Spacey Jane do. Their sets are electric and infectious; even if you don’t know a song, you’re moving by the time it’s finished” - NME

In the year that followed, Freo’s very own garage pop outfit Spacey Jane went from backyards to bright lights, sharing the stage with the likes of Car Seat Headrest, Nothing But Thieves, Alex Lahey, The Jungle Giants & more, along with Australian festival appearances at Splendour in the Grass, Falls Festival, Yours & Owls and WA Day’s SOTA Festival.

For relatively new kids on the block, they’ve had a very impactful start, with growing support from industry and fans alike. Their upcoming single tour for new release is already becoming a sold-out affair.

“Every time it comes on, I helplessly fall in love with it even more” - triple j 

“Glorious” – Clash

Tracklisting: Good For You / Head Cold / Skin / Good Grief / Wasted on Me / Booster Seat / Love Me Like I Haven’t Changed / Weightless / Straightfaced / Trucks / Hanging / Sunlight

Label Review.

2020 debut album. Pop.

Our Overview.

Filmmaker, musician and cartoonist Paul J Bolger began writing and performing his songs at an early age. Moving between the arts since leaving college he has made a successful career in publishing and film, most recently as Art Director on the forthcoming animated Riverdance movie.

Latterly however, he’s returned to recording and releasing new music for the first time after a number of years the self tilted release ‘Paul J Bolger’. Like a musical fox PJB has returned to his song-writing den. The songs contained on this album are a mix of old and new. They were worked up from ideas and demos PJB brought with him when he went to visit producer Hugh Christopher Brown on Wolfe Island, Ontario in summer 2018.

While the songs are not connected as such the underlying motifs of personal loss, tongue in cheek bravado and astutely observed stories tie the album together. Whether the writing reflects hidden or slightly vague truths or flights of fiction the songs work on singular concepts. The lyrics are clear and often conversational - a person recalling a past event, asking a question or speaking direct to a loved one lost or won. If there any recurring themes to the record they might be love, life, death and most important of all - survival.

Celtic Rock legends Horslips coined the term “Bog Gothic” to sum the genre PJB explores with his song writing. This album is a testament to that - even if we are not quite sure what the genre is other than to say it more than tips its hat to Old World sensibilities set to New World sounds.

Tracklisting: Swim / How Many More Tears / Wedding Gown / Pillar Stone / Two Wrongs / All Those Things / Unkind / I Believe

Label Review. 

Four albums 1968-1976. Morello.

Our Overview. 

Born Stuart David Cohen in the US in 1941, he became an integral part of the New York Greenwich Village scene and in the early 1960s and was present when Bob Dylan was writing the song that would become the great folk anthem “Blowin’ In The Wind”. Bob asked David to play the chords while he would create the verses. It was performed that night at Gerde’s Folk City. Once Bob Dylan made it, record companies came looking around Greenwich Village for potential artists. However, there was already a Dave Cohen performing in the village, who later joined Country Joe and the Fish. Our Dave Cohen told folk singer Eric Andersen that he would have to change his name and Eric said, “You’ve got such blue eyes. You should be David Blue”.

David was finally picked up by the fledging Elektra label who issued his first album in 1966 (not present here). After that album failed commercially he moved to Reprise and ‘These 23 Days In September’ was released in 1968. Skipping his third record (where he attempted to revert to his real name), he switched labels again and his first album for the newly-formed Asylum label – ‘Stories’ (1972) – had a self-portrait on its cover. The album featured some magical slide guitar from Ry Cooder while other guests included Rita Coolidge, Chris Ethridge, Milt Holland and Russ Kunkel.

Graham Nash, then a superstar with Crosby, Stills and Nash, produced the album ‘Nice Baby And The Angel’ in 1973. Background vocals included Graham Nash, Dave Mason, Glenn Frey and Jennifer Warren. Glenn Frey was so taken with the track “Outlaw Man” that he took it to The Eagles and it was featured on their album ‘Desperado’ and became Blue’s best known song. Jumping another album (1975’s ‘Com’n Back For More’) this collection ends with David’s seventh and final album ‘Cupid’s Arrow’ released in 1976. Blue moved towards acting after this and sadly died suddenly while jogging in 1982. Despite his extensive catalogue and connections he has never been more than a footnote in rock’s annals but this 2CD set from Morello Records should help bring his attractive take on folk rock to a wider audience.

Tracklisting:

These 23 Days In September: These 23 Days In September / Ambitious Anna / You Need A Change / The Grand Hotel / The Sailor’s Lament / You Will Come Back Again / Scales For A Window Thief / Slow And Easy / The Fifth One

Stories: Looking For A Friend / Sister Rose / Another One Like Me / House Of Changing Faces / Marianne / Fire In The Morning / Come On John / The Blues (All Night Long)

Nice Baby And The Angel : Outlaw Man / Lady O’lady / True To You / On Sunday, Any Sunday / Darlin’ Jenny / Dancing Girl / Yesterdays Lady / Nice Baby And The Angel / Troubadour Song / Train To Anaheim

Cupid’s Arrow: Run, Run, Run / The Ballad Of Jennifer Lee / Tom’s Song / I Feel Bad / Cordelia / Maria, Maria / Cupid’s Arrow / Primeval Tune / She’s Got You

Label Review. 

2020 debut album also available on CD.

Our Overview. 

Emerging from the ashes of Shield Your Eyes in the summer of 2018, Stef Kett (guitar/vocals) and Henri Grimes (drums) started to jam on the concept of soul-spray music, enlisting bassist Marion Andrau before their first gig in October of the same year. From that first airing, it was clear something special was coming together. An untethered, emotive deconstructing of romantic soul ballads played freely at high volume. Interweaving blasts of vibrato style guitar, stirred drumming and expansive bass propel Kett’s emotive, almost strained renditions of self-penned love songs. ‘Yeah Well’, the debut album from London UK based Reciprocate, is music with soul, rather than “soul music” in the classic sense, but it delivers the same emotional elevations. 

Kett explains the approach to ‘Yeah Well’s’ creation, “I write our songs as sort-of ballads, but we disguise that with up-tempo arrangements. We play at high-volume but it's not ever supposed to sound brash or thoughtless, the emphasis is always on playing with good feel and sensitive touch. The intention is it should create a sense of some sort of wrenching emotional drama, and that Marion's long-held bass notes hold your hand through the arrangements, and add a sense of calm and gravitas and clarify that it's songs and not just music.” 

While many bands avoid the simplicity of love as the sole theme of their work, Reciprocate unburden their music by embracing it exclusively, like all great pop music it grabs you immediately and completely. “I love the pursuit of trying to write love songs and, actually, I think it's become a very contrary thing to do nowadays,” explains Kett. “It's like it has been disgraced and is some kind of a no-no for an underground band to pursue writing overtly romantically themed love songs and put them to rock music. That adds a certain kick to doing it and I feel really inspired to keep writing like this.” 

Recorded at Spatch, London and mastered by James Plotkin, the band produced the record themselves to keep a grasp on their vision, focusing on vibe as much as perfection, while recording the tracks live. Recording more songs that are contained on the final album, those not fitting the vibe were discarded, while opener ‘Pray Tell’ was re-recorded to get it right. This relentless focus on what the album needed to be has paid off, ‘Yeah Well’ jumps out as a great rock n roll record. Take the funk-meets-no wave explosion of ‘Marion Andrau’, or the sweet, slightly distorted balladry of ‘Marble Arch’ as a case in point. ‘Yeah Well (Part 1)’ is classic blues collapsing in on itself, ‘Yeah Well (Part 2)’ is a reversed take on electric guitar from another realm which leads into ‘Hold’s bluesy, alt-rock. ‘Tascam’ is something else entirely, all sound manipulation and spoken word introduction. Nothing is as simple or predictable as it seems in the world of Reciprocate and that makes ‘Yeah Well’ a unique expression of love in rock form. 

Tracklisting: Pray Tell / Tascam / Marion Andrau / Marble Arch / Yeah Well (part 1) / Yeah Well (part 2 / Hold

Label Review. 

2020 album. Also available on CD. 

Our Overview. 

London based experimental producer and composer, Leifur James announces his return with the release of his highly anticipated second album ‘Angel in Disguise’. Driving, melancholic electronica, the first single “Wise Old Man” is a nod to what can be expected of James’ second album, showcasing a more experimental side to his production. Traversing through musicality, progressive synths and introspection, this first single unveils the producer’s distinct sound with disorientated vocals; speaking of the interplay between reason and emotion, the lyrics repeat “Wise old man in my brain, soul bursting through my veins”, opening the gates to this captivating electronically steered opus.

This news comes after an incredible few years for the artist. 2018 saw James release his esteemed debut album ‘A Louder Silence’ which captured the attention of key tastemakers including Resident Advisor, Pitchfork, Mixmag, Electronic Sound and Future Music UK.

‘Angel In Disguise’ promises to explore the themes of love and loss through a masterful blend of harmonic vocals from James himself, nuanced electronic soundscapes and vibrant percussion - punctuated by bespoke visuals, directed by Balázs Simon. This exciting project is expected to make waves and see James step up, exhibiting his discerning ear and painstakingly honed production craft.

Tracklisting: Circles / Black Lens / I Ran With You / Wise old man / Angel In Disguise / Ritual / Alien (feat. Coby Sey) / Strange with you / Rebel

Label Review. 

2020 album. Also available on Vinyl. 

Our Overview. 

Doomshakalaka is a new project by Paul Rafferty, former vocalist and bassist for Liverpool indie rock band Hot Club De Paris. On his 30th birthday, Rafferty came up with the name as it sounded like “Boomshakalaka!” (a snippet of in-game commentary from the video game NBA Jam) but with a D, giving a usually celebratory exclamation a paradoxical sense of dread. He set about concocting an album’s worth of songs that embraced this juxtaposed vision - a glistening collection of indie pearls exploring memory, nostalgia and loss.

Over the following years, Rafferty worked to fulfil this uncertain vision and wrote hundreds of fragments of music, melodies and lyrics and slowly distilled them down into 10 songs of stirring, nostalgia-tinged indie rock. Influenced by luminaries such as Television, Big Star, Wings-era McCartney, Deerhunter, Pavement and Stephen Malkmus’ solo work, Rafferty divided himself between the roles of writer, performer, engineer, producer and mixer and took about the task of making physical the sounds that had long lived unsatisfied in his head. “Some of the songs off this record started life in 2011”, Rafferty explains, “but without a band or the capital to record, they waited in the wings until I could beg, borrow or buy the gear to record them exactly how I thought they should be heard”

Doomshakalaka is constructed of chord sequences that conjure longing, sadness, desire and hope in equal measure. With strange and surprising arrangements that avoid the ancient and familiar beaten paths of guitar music, Doomshakalaka seeks to tell Rafferty’s stories in a playful and inventive manner and provide a platform to showcase the album’s central theme of the unfinished business of youth. Paul says “It’s largely a record about remembering moments from my teens and 20s and what those moments mean to me now. I love the texture that ageing brings to an artist’s output. I like the sound of a big hole dug deep.”

Tracklisting: One Last Saturday Night / The Curse / James Asleep / I’ll Kill You, Motherfucker / This Is War (And I’m So Bored) / Werewolf Shadow / The Lost Homework of Isabella Perez / The Fate of the Hero Montage / Skinhead Suit / Black Balloons

Label Review. 

2020 album. Rock. Also available on CD.

Our Overview. 

Dreamy Psychedelic Synth-pop band from Austin, Texas Night Glitter is the duo of Thievery Corporation vocalist LouLou Ghelichkhani and multi-instrumentalist John Michael Shoepf. "Taking the influences from every corner of her life and turning them into a distinct musical style is something Loulou Ghelichkhani (Thievery Corporation) does with ease, all en français. In this iteration, her and partner John Michael Schoepf (The Happen-Ins) are putting a slacker rock twist on dream pop. " KUTX

For the past two years, Ghelichkhani and Schoepf (Roky Erickson, Hayes Carll, The Happen-Ins) have been sporadically writing, recording, and releasing singles with various collaborators and engineers to serious acclaim in Austin. When Thievery Corporation decided to go on an extended hiatus after 2019, the duo collected their various recordings for this self-titled full-length record. Schoepf came up with the name Night Glitter with his young daughter when they would explore the river near their Central Texas home on hot Summer nights. The twighlight sky would fill with glittering fireflies. Similarly, Night Glitter songs deliver a dreamy, magical sonic landscape with Ghelichkhani layering her beautiful lyrics (often drawn from her childhood growing up in Iran, Paris and America) atop fuzzed out guitars, analog synths, and catchy electronic beats.

Tracklisting: Higher / Transparency (La Transparence) / Music For Clouds / Hanging On A Dream / Blame Game / Space / Radio (Tous Vas) / Static / Tunnels (Serpentine)

Label Review. 

2020 album. Pop. Also available on Vinyl. 

Our Overview. 

LA Priest is Sam Eastgate who was previously former frontman and guitarist of English Dance punk band Late Of The Pier. His second solo album ‘GENE’ arrives five years after he thrilled the world with the cosmic pop of his debut Inji’. ‘GENE’ was produced alongside London based artist, producer, DJ and founder of Phantasy Sounds records, Erol Alkan, and also follows the 2016 project ‘Soft Hair’ in which Sam teamed up with Connan Mockasin for an instant cult-classic album.

The new record offers a one-way ticket into a dimension entirely of Sam’s own making. ‘GENE’, the album, is named after a brand-new analogue drum machine Sam dreamt up and built alone. Working in isolation for more than two years in California, Wales and England’s south coast, soldering iron in hand, Sam developed the inners of 'GENE' using dozens of electrical circuits he made up himself. The creation came after a search for an alternative to the structure and rigor of standard drum machines. Its unique rhythmic patterns are the focal point for the album, which is coloured by lush, pastoral tones, paired with the influence of his environmental changes.

Tracklisting: Beginning / Rubber Sky / What Moves / Peace Lily / Open My Eyes / Sudden Thing / Monochrome / What Do You See / Kissing Of The Weeds / Black Smoke / Ain’t No Love Affair

Label Review. 

2020 album. Also available on Vinyl. 

Our Overview. 

Australian indie rock band Rolling Blackouts Coastal Fever have turned their gaze inward, to their individual pasts and the places that inform them, on their second full-length, ‘Sideways to New Italy.’ Led by singer-songwriter-guitarists Tom Russo, Joe White and Fran Keaney, the guitar-pop five-piece returned home to Australia after the relentless touring schedule that came following their critically regarded 2018 debut ‘Hope Downs’.

The New Italy of the new album’s title is a village near New South Wales’ Northern Rivers – the area drummer Marcel Tussie is from. A blink-and you’ll- miss-it pit-stop of a place with fewer than 200 residents, it was founded by Venetian immigrants in the late-1800s and now serves as something of a living monument to Italians’ contribution to Australia, with replica Roman statues dotted like alien souvenirs on the otherwise rural landscape.

The parallels to the way the band attempted to maintain connections and create familiarity during their disorienting time on the road was apparent to Russo. “These are the expressions of people trying to find a home somewhere alien: trying to create a utopia in a turbulent and imperfect world.” The record’s geographic identity emerged from the band losing their grip on their own, whether that was through the pressure of touring, the dissolution of relationships, a frustrating distance from their daily lives – or some combination of all three – that came from being slingshotted all over the world, playing sold-out headline tours and festivals including Coachella, Governors Ball, Primavera Sound, All Points East, and Pitchfork Music Festival.

The notion of crafting, in Russo’s words, “a utopia of where your heart’s from,” permeates Sideways to New Italy, in which early attempts at writing big, high-concept songs about The State of the World were abandoned in favor of love songs, and familiar voices and characters filter in and out, grounding the band’s stories in their personal histories. There’s something comforting, too, in knowing the next time they’re buffeted from stage to stage around the world, they’ll be taking the voices of their loved ones with them, building a new totem of home no matter where they end up.

Tracklisting: The Second Of The First / Falling Thunder / She’s There / Beautiful Steven / The Only One / Cars In Space / Cameo / Not Tonight / Sunglasses At The Wedding / The Cool Change

Label Review. 

2020 debut album. Also available on CD. 

Our Overview. 

Muzz, the new project of Americans’ Paul Banks (Interpol), Josh Kaufman (producer/multi-instrumentalist and one third of Bonny Light Horseman), and Matt Barrick (drummer of Jonathan Fire*Eater, The Walkmen, and Fleet Foxes’ touring band), have announced their self-titled, debut album, out on Matador Records.

Muzz was born out of longstanding friendship and collaboration. Banks and Kaufman have known each other since childhood, attending high school together in Spain before separately moving to New York. There, they independently crossed paths with Barrick while running in similar music circles. They kept in touch in the following years: Barrick drummed in Banks + Steelz and on some of Kaufman’s production sessions; Kaufman helped on Banks’ early Julian Plenti solo endeavour; various demos were collaborated on, and a studio was co-bought.

The self-titled debut album, written, arranged and performed by all three, is dark and gorgeous, expansive and soulful. No matter the sonic direction, Muzz goes there effortlessly and with maximum emotional charge.

Tracklisting: Bad Feeling / Evergreen / Red Western Sky / Patchouli / Everything Like It Used To Be / Broken Tambourine / Knuckleduster / Chubby Checker / How Many Days / Summer Love / All Is Dead To Me / Trinidad

Label Review. 

1960 album. New stereo mix. Also available on Vinyl. 

Our Overview. 

Originally released on Capitol Records in July 1960, the ‘Nice ‘n’ Easy’ album topped the US charts for nine weeks. The album was nominated for multiple Grammys, including Album of the Year, Best Male Vocal Performance, and Best Arrangement (Nelson Riddle). Since its original release, Sinatra’s body of work still resonates with fans and critics today. Recorded during the Nelson Riddle session at the Capitol Studios, Room A, “The Nearness of You” was initially intended to be the title track of the planned album. Once ‘Nice ‘n’ Easy’ was delivered, the album title changed, and the track did not appear on the original LP.

Now, the original master of “The Nearness of You” (2020 mix) will be made available for the first time on the CD and digital versions of the album for which it was intended. The CD and digital formats add the new stereo mix “The Nearness of You” (2020 mix) and sought-after bonus tracks: previously unreleased session takes of “I’ve Got A Crush on You and “Nice ‘N’ Easy.”

“Frank would ad-lib something each time he got to the tag line. Remember, the song was new to him at the time; the last take was terrific. Frank got that tune into the American songbook for us. Years later we wrote a second chorus that other singers recorded but, to us, Frank’s version is definitive.” – Alan & Marilyn Bergman

“By curating his albums with songs that told a story he wanted to tell, and by singing each word as if he wrote it, Sinatra introduced a level of personal expression to the recording process that reached literary heights.” – The New Yorker

Tracklisting: Nice ‘N’ Easy / That Old Feeling / How Deep Is The Ocean / I’ve Got A Crush On You / You Go To My Head / Fools Rush In / Nevertheless (I’m In Love With You) / She’s Funny That Way / Try A Little Tenderness / Embraceable You / Mam’selle / Dream // Bonus Tracks: The Nearness Of You / I’ve Got A Crush On You – Session takes – previously unreleased / Nice ‘N’ Easy – Session takes – previously unreleased

Label Review. 

The story of Iggy’s 1977 on seven discs and 40 page book. CD1: The Idiot. CD2: Lust For Life. CD3: TV Eye Live. CD4: Demos & Rarities.* CD5: Live at Rainbow Theatre - Finsbury Park, London 7th March 1977. CD6: Live at Agora Cleveland 21st March 1977.* CD7: Live at Mantra Studios, Chicago 28th March 1977.* All remastered. *Exclusive to the box.

Our Overview. 

This new box set from punk legend Iggy Pop is the first time his first two solo albums recorded with David Bowie have been remastered and expanded. Iggy was the lead singer in the trailblazing Detroit band The Stooges who issued three albums between 1969-1973 which were largely ignored at the time but their legend grew and helped by Iggy’s solo reappearance in 1977, are today renowned as undisputed classics and seen as inspirational not only to Punk Rock’s ascendance in the late 1970s but to countless bands ever since.

In 1976, Iggy Pop was experiencing drug issues and David Bowie who was a big fan and wanting to kick his own drug problem collected him and decamped to Berlin. Together they fashioned ‘The Idiot’ which would become Iggy’s debut solo album and Bowie got Iggy a record deal with RCA Records who he was with at that time. ‘The Idiot’ was a complete departure from the sound of the Stooges and was if anything a dry run for Bowie’s next album ‘Low’ which was recorded straight afterwards but released first. Bowie’s rhythm section played on ‘The Idiot’ and the overall sound could best be described as “icy” with Bowie’s keyboards offering a cold sheen against Iggy’s baritone vocals. The albums best known track, “China Girl” was re-recorded by Bowie himself for his 1983 album ‘Let’s Dance’ where it became a single and a big hit.

The follow-up came quickly with ‘Lust For Life’ and again Bowie produced although a more orthodox rock sound was heeded for this one and the rhythm section of brothers Tony & Hunt Sales propelled Iggy through what is still seen today as his best solo album. The title track and “The Passenger” are Iggy’s most popular songs and belatedly became hits in their own right in the 1990s after their use in the British film ‘Trainspotting’.

Both the albums are remastered in this new package alongside a disc of previously unreleased alternate mixes and rare single mixes. Also included is his final album for RCA: ‘T.V. Eye Live’ a rather roughly recorded live album plus three live performances all released officially for the first time. This set has been mastered from the best possible sources, and contains a 40-page booklet written by the Guardians Michael Hahn with contributions from the musicians who played on the records and fans who talk about the influence the albums had on them.

Tracklisting.

Disc 1. The Idiot: Sister Midnight / Nightclubbing / Funtime / Baby / China Girl / Dum Dum Boys / Tiny Girls / Mass Production

Disc 2. Lust For Life: Lust for Life / Sixteen / Some Weird Sin / The Passenger / Tonight / Success / Turn Blue / Neighbourhood Threat / Fall in Love with Me

Disc 3. T.V. Eye Live: T.V. Eye / Funtime / Sixteen / I Got A Right / Lust for Life / Dirt / Nightclubbing / I Wanna Be Your Dog

Disc 4. Demo’s and Rarities: Sister Midnight - Mono Single Edit / Sister Midnight - Single Edit / China Girl - Single Edit / Dum Dum Boys - Alt Mix / Baby - Alt Mix / China Girl - Alt Mix / Tiny Girls - Alt Mix / I Got A Right - Single / Lust for Life - Edit / Interview with Iggy about Recording the Idiot

Disc 5. Rainbow Theatre - Finsbury Park, London 07/03/1977: Raw Power / TV Eye / Dirt / 1969 / Turn Blue / Funtime / Gimme Danger / No Fun / Sister Midnight / I Need Somebody / Search and Destroy / I Wanna Be Your Dog / Tonight / Some Weird Sin / China Girl

Disc 6. Agora Cleveland 21/03/1977: Raw Power / TV Eye / Dirt / 1969 / Turn Blue / Funtime / Gimme Danger / No Fun / Sister Midnight / I Need Somebody / Search and Destroy / I Wanna Be Your Dog / China Girl

Disc 7. Mantra Studios, Chicago 28/03/1977: Raw Power / TV Eye / Dirt / 1969 / Turn Blue / Funtime / Gimme Danger / No Fun / Sister Midnight / I Need Somebody / Search and Destroy / I Wanna Be Your Dog / China Girl

Label Review. 

2020 album. Also available on CD and Coloured Vinyl. 

Our Overview. 

‘On The Widow’s Walk’ is the new studio album from The White Buffalo, the touring / recording persona of Jake Smith – singer, songwriter, guitarist, teller of tales; the Emmy nominee whose voice, a timber-shakin’ baritone, seems fuelled by a greater truth. Of the half-dozen albums released under The White Buffalo banner, this latest 11-tracker – a loosely linked collection of dark thrills produced by Shooter Jennings, who also provides piano and keys – is the most collaborative and organic.

From the beginning, Oregon-born Smith has wilfully side-stepped genre, touching on a variety of musical threads – from Americana to punk, from brooding folk to driving rock ‘n’ roll – whilst maintaining a strong, signature style. His spontaneous delivery and narrative lyrics are at the heart of it all, instilling the songs – effectively, mini-movies – with a cinematic, hand-crafted quality, and this very much holds true for ‘On The Widow’s Walk’. At one point, the idea of a concept album was considered, but Smith didn’t want to leave out quality songs just because they might not fit a specific concept; hence, these recordings have water and the ocean as underlying rather than dominant themes, a sense of longing too, something also reflected in the cover art – a portrait of Smith by UK painter Jack Browning.

Other reference points include living for the moment, the march of technology, the force of mother nature, plus what happens when the moral conscience spins out of control. Simply, ‘On The Widow’s Walk’ is a compelling statement from an artist whose activity between the musical lines has seen his star very much on the rise.

Tracklisting: Problem Solution / The Drifter / No History / Sycamore / Come On Shorty / Cursive / Faster Than Fire / Widow’s Walk / River Of Love and Loss / The Rapture / I Don’t Know A Thing About Love

Label Review. 

2020 debut album. Pop. Also available on Vinyl. 

Our Overview. 

‘Trinidad’ marks the Merge Records debut of Sweet Spirit, this mighty sextet from Austin, Texas, and their third album in total. The songs are stripped down yet more intricate than ever before. It’s a pop record made by punk rockers sonically happy but lyrically bitter. Lustful, sassy, and passionate. Touting inspirations as varied as Prince, T. Rex, William Onyeabor, ABBA, Roy Orbison, Shintaro Sakamoto, Francoise Hardy, and Robyn, Sweet Spirit have created an album that pulsates with more ‘LinnDrum’ and synth than guitar.

The six members of Sweet Spirit like pranks, glitter eyeshadow, and good stories. They also enjoy making music, as evidenced by the 12 bands they collectively play in. But above all, they love dancing, that place between exorcise and exercise. Sweet Spirit’s famously raucous and sweaty live shows satisfy both their own and their audience’s need for connection and release. “When people dance, they are fulfilling a human desire where instinct and culture meet. Dance and music are built into the mechanics of being human. We are born instinctively with these impulses. To dance is to speak unspoken agreements,” says Sweet Spirit front person Sabrina Ellis.

From the opening riff of “Behold”, Sabrina, Andrew, Danny, Josh, Jon, and Jake establish their slightly cynical world of fantasy, hard truths, and all manner of longing. “No Dancing” bemoans the lack of magic in the club, while live favorite “Fingerprints” sets out to “get you away from your lover.” Author/composer Mark Mallman of Minneapolis says, “Those who believe in demons see demons. In music, the demon is silence. In nature, snakes that appear to dance are actually fighting. Palm trees that kiss the beach during hurricane winds appear to dance when set to music in a video. There is no genre to dancing, only to its cause. In this instance, the cause is called Sweet Spirit.”

Tracklisting: Behold / Fear Is a Lie / No Dancing / Fingerprints / Llorando / Y2K / Only Love / Coincidence / Empty Bottle

Label Review. 

2020 debut album. Indie. Also available on CD. 

Our Overview. 

Jonah Falco and Mike Haliechuk also perform together in Canadian Art-rock outfit Fucked Up and ‘Harmony Avenue’ is the debut album by their side project Jade Hairpins. They sneaked onto the scene in late 2018 with a mysterious 12-inch on Merge Records and a couple of poetic sentences about hiding in trees. The label remained tight-lipped while touting ‘Dose Your Dreams’, a truly epic new Fucked Up album released on the same day. Fast forward to 2020, when Jonah and Mike burst out of the proverbial trees with ‘Harmony Avenue’, a collection of songs written and recorded in real time. Pop foraging with analog acoustics and electronic landscaping.

As the project expanded, Falco took on frontman and main lyricist duties for the first time and is building a live band based in his adopted hometown of London, England. He describes the new record as “straddling the post-post-punk of something like New Order, Scritti Politti, and Orange Juice, with a primordial sense of humour and absurdity not unlike Ian Dury and the Blockheads, Television Personalities, or the Monks.” Each Jade Hairpins song was conceived in studio, then edited and crafted to become ‘Harmony Avenue’.

Each vocal approach was different—first focusing on creating stories for character-based writing, and then on less absurd emotional/thoughtful/personal reflection. The LP was originally conceived as a potential addendum to the universe of ‘Dose Your Dreams’, but the end result was more exciting than Falco and Haliechuk anticipated and deserved its own spotlight. The themes of ‘Harmony Avenue’ mostly focus on contradictory behavior and double entendres as well as regret and control, revelation, support, and complete absurdity. Jade Hairpins are here to challenge, confound, and sparkle their way into listeners’ hearts and keep them coming back for more!

Tracklisting: J Terrapin / (Don’t Break My) Devotion / Father Coin / Yesterdang / Post No Bill / Broadstairs Beach / Dolly Dream / Mary Magazine / Truth Like a Mirage / Motherman

Label Review.

2020 album. Also available on Vinyl. 

Our Overview.

Amy Ray and Emily Saliers are Indigo Girls - the folk rock music duo from Atlanta, Georgia, United States and now they have finally announced their first studio album in five years ‘Look Long’ which is a testament to their storied career. With a devout base of fans, together they have written, arranged, recorded and performed music which over the course of 40 years has become a vital part of the lives of their legion of devoted fans around the world.

Their 1989 Epic Records eponymous debut sold over two-million copies with “Closer To Fine” (on this album) perhaps their best known song. Over the course of their ongoing career, ‘Emily Saliers and Amy Ray’ recorded fourteen studio sets, four live albums, two compilations, and an EP. Their last album, ‘One Lost Day’, was released in 2015.

‘Look Long’ was produced by John Reynolds at Peter Gabriel’s Real World Studio in England, Look Long, features 11 brand new tracks all written by Ray and Saliers. LP version will be available in June

Tracklisting: Shit Kickin’ / Look Long / Howl At The Moon / When We Were Writers / Change My Heart / K.C. Girl / Country Radio / Muster / Feel This Way Again / Favorite Flavor / Sorrow And Joy

Label Review. 

2020 album. Singer songwriter. 

Our Overview. 

After years of success in the world of neo-classical music with his Texas based band Balmorhea since 2006, leader RG Lowe took an artistic sharp turn leading to his soulful 2017 debut, ‘Slow Time’, which Stereogum called “impossibly smooth.” Three years later, Lowe returns with ‘Life of the Body’, produced by David Boyle - known for his work with Glen Hansard, Patty Griffin, and Okkervil River.

This wide-angle collection of songs invites us to reconnect with ourselves and our world through the senses by illuminating our intrinsic connection with the physical world, and the freedom found therein. Echoing the ardor of Walt Whitman’s ‘Leaves of Grass’, and channelling Talk Talk’s Mark Hollis, Lowe asks us each to “feel the wind blow on your face, camerado.” At once intimate and epic, opening track “Sorrow” sets a tone of longing and malaise, from which Lowe expands and breaks out of, over the next 8 songs.

As the album progresses, he explores myth, desire, love and the mystery of art, concluding with the ethereal, acoustic guitar-driven “Beauty Finds Forever,” on which it’s clear he’s transformed. He’s found the deepest nourishment; an enrichment of the soul found through a saturation of his physical senses, an antidote to our anguished age.

Tracklisting: Sorrow / He Done Her Wrong / Sendai, Unknown / My Body / Soap / Tulip Ave / Salpetriere / Life-World / Beauty Finds Forever

Label Review. 

2020 album also availble on CD.

Our Overview. 

First collaborative album by GRAMMY Award winning American banjo player Abigail Washburn and Chinese guzheng master Wu Fei. Produced by Bela Fleck, it’s a testament to the connective power of music across seemingly disparate cultures. Abigail Washburn and ’s Wu Fei duo project is as unlikely, perhaps, as it was inevitable--a manifest sonic consequence of politics and vibrations commingling across continents. There is a directness in the musical duo format that makes it such a good vehicle for melodic conversations between close friends who obviously listen to each other with an athletic respect matched by their respective virtuosity. For the listener, it means a gift of unhurried music drawn freely from streams of raised consciousness, waves which met from halfway across the world to find they shared the same shake.

Merging American old-time music and Chinese folksong, Wu Fei & Abigail Washburn features gorgeous, impressionistic renditions of traditional material from the hills of Appalachia to the prairies of Xinjian province, each tune flowing seamlessly into the next. The effervescent resonances of Wu’s guzheng zither dance around Washburn’s expressive banjo playing, their voices intertwining English and various Chinese dialects. This album recasts “world music” as music of our shared world, highlighting our shared humanity and the transformative power of song.

Wu Fei and Abigail Washburn’s duo is a musical resolution to their specific and differing issues about home. For Fei, it means an opportunity to assimilate elements of her musical argot—Chinese classical, folk and opera—into song forms while leaving room for the free associative tendencies she developed in the practice of free improvisation. In short, it marks a return to a thrown-out rule book with a changed perspective. For Abigail, it means musical collaboration with a sister from another Mister who speaks all the same languages. Someone with whom she can create brave, intimate music.

“[Washburn is] something of an unofficial musical ambassador to China. She constructs cultural bridges, one note at a time.” - CBS Sunday Morning

“A daring, definite talent, whose feel for the folk idiom results in moving material. Soulful is the word.” - Wall Street Journal 

Trackslisting: Water Is Wide / Wusuli Boat Song / Four Seasons Medley: Four Seasons / Dark Ocean Waltz / Ping Tan Dance / Banjo Guzheng Pickin’ Girls / Who Says Women Aren’t As Good As Men / The Roving Cowboy / Avarguli / Weaving Medley: Busy Weaving / Julianne Johnson / Open Little Hand / Back Step Cindy / Bu Da Da / Ho Hey / Cluck Old Hen / Pretty Bird

Label Review.

2020 debut album. Pop. Also available on Vinyl.

Our Overview.

Prolific singer-songwriter Ashe continues to build on her electrifying momentum in 2020, after her hit single, “Moral Of The Story” was featured in the Netflix hit sequel “To All The Boys...PS I Still Love You’. Despite her cheery, shining exterior, there's a storm brewing inside singer-songwriter Ashe and her latest EP, ‘Moral Of The Story: Chapter 1’, gives us insight into her not-so-perfect life. At only 24 years old, the California native has experienced every stage of love, from the first moments of attraction to the bitter end of a marriage.

Graduating from Berklee College of Music, Ashe quickly fell in love and got married. The love was quickly lost, or maybe it was never there at all, and she went through a terribly messy divorce – which resulted in the focus of title-track "Moral Of The Story." She proceeded to surround herself with an amazing support system of family and friends, including musical genius FINNEAS, learn from her mistakes, and move on through the creation of stunning pieces of music.

Just like a book, ‘Moral Of The Story: Chapter 1’ is filled with different chapters taken straight from Ashe's life. Although she is on track to become pop royalty, there is something aggressively human and relatable about our favourite pop princess. Ashe has the greatest superpower of all: the ability to effortlessly tell an entire story in the span of three minutes. In this extremely digital age, Ashe's ingenious songwriting has the ability to grab fans' attention, make them put their phones down, and actually listen. Her stellar songwriting and dreamy vocals shine in ‘Moral Of The Story: Chapter 1’.

The track “Moral Of The Story” features contributions from grammy award winning producer FINNEAS and lyrical contribution from Billie Eilish. Since then, the track accumulated over 100 million streams (5.4 million per day) in less than a month, landed on 54 Spotify viral charts and 758K Shazams.

The track was added to Spotify’s largest pop playlist Today’s Top Hits (25M followers) and Apple’s Today’s Hits. ‘Moral of the Story’ is impacting pop and alternative radio now with early adds from iHeart USA, KYSR Los Angeles, Entercom USA, KITS San Francisco, National SiriusXM and Alt Nation. This summer Ashe will be performing in 20K capacity venues alongside AJR, Quinn XCII and Hobo Johnson.

Tracklisting: Figured Out / Bachelorette / Shitty Places, Pretty Faces / Moral of the Story / In Disguise / Cold in California / Immature / Not How It’s Supposed To Go

Label Review. 

2020 album. Also available on vinyl. 

Our Overview. 

Hot English band The 1975 have cued up their fourth album ‘Notes On A Conditional Form’ for release in the Spring 2020. In 2019 they played a “will they won’t they” game regarding whether the album was coming or not, teasing fans with chatter online but finally in July they put out “The 1975” the first single from the album which featured the climate activist Greta Thunberg reading a mission statement. At the time of writing in January 2020, a total of four songs have now been trailed from the thumping “People” to the jittery Burial soundalike “Frail State Of Mind”.

“Me & You Together Song” with its indie rock feel shows the new album will be another diverse collection from the talented and highly popular four-piece who’s first three albums all went to No.1 in their native UK. Frontman Matthew Healy explained that the album would be inspired by British nighttime culture, adding that it contains references to “the beauty of the M25 and all those lights and going to McDonald’s and listening to garage records in a haze in a Peugeot 206.”

Label Review. 

2020 album. Indie. Also available on CD.

Our Overview. 

Belgian avant-rock band founded in 1977 by Marc Hollander and Vincent Kenis:Aksak Maboul - the seminal Crammed band - return with a brand-new opus entitled ‘Figures’, a double album containing 22 tracks: it took no less than that to accommodate the flow of ideas which arose after such a long gap and is set to be released through Crammed Discs, the label set up by Marc Hollander in 1981. And this is their first new album in 40 years.

Drawing again from the multiple sources which have always inspired the band (from electronic music and pop to experimentation, jazz, minimalism, contemporary classical etc), Aksak Maboul reconfigures them with its inimitable style. The album was wholly written, conceived and produced by Marc Hollander & Veronique Vincent, and features contributions by the band’s current live line-up (Faustine Hollander, Lucien Fraipont & Erik Heestermans, and by guests including Fred Frith, Steven Brown (Tuxedomoon), three members of Aquaserge and more.

As summed up in 2017 by writer Mikey IQ Jones, “the roots of Aksak Maboul's appeal and longevity lie within the collective's shapeshifting lineup and their chameleonic aesthetic abilities; the group's ever-mutating sound is akin to a sonic möbius strip, always digesting and recontextualising itself, where seams and edges show but continually fold in upon themselves as the madness evolves. The best part? That evolution hasn't yet ceased.”

Tracklisting:

CD/LP 1: Among The Naeporu / C’est Charles / Taciturne / Silhouettes / True”,” False”,” Fictive / Histoires De Fous / Sophie La Bevue / Formerly Known As Defile / How Should One Read A Book? / Spleenetique / Sgraffites

CD/LP 2: The Untranslatable / Retour Chez A / Dramuscule / Excerpt From Uccellini / Un Caid / Martial Arts For Boys / Un Certain M / Ins Bleistiftgebiet / Fatrasie Pulverisee / Qu’est-ce Que C’est Mot? / Tout A Une Fin

Label Review.

2020 album. Singer songwriter. Also available on Vinyl.

Our Overview.

Jim Elkington, Chicago based guitarist and songwriter moved to the United States in the late ’90s from his native England with the intention of making himself absolutely essential to the Chicago music scene. Twenty years later he’s contributed to a staggering volume of records and shows and projects both in Chicagoland (see Jeff Tweedy; Tortoise; Eleventh Dream Day; Brokeback) and far from it (see Richard Thompson; Laetitia Sadier; Michael Chapman; Steve Gunn; Joan Shelley; Nap Eyes). The 2017 release of the wonderful ‘Wintres Woma’, his first so-called solo album, seemed to be a logical, healthy respite from assisting with the creative needs of others that would allow him to serve his own. The record certainly sounded as though James found in it every reason to be satisfied—among much else, it effectively reconciled his personal and musical mongreltude as a child of Britain and a man of America—and thus could return his focus to bettering other folks’ records.

2020 and now Jim is releasing ‘Ever-Roving Eye’ which is even more elaborate, shrewd, thoughtful, and confessional than its predecessor. Though it sounds like a line culled from a murderous Child ballad, the title has everything to do instead with the slipperiness of satisfaction, and the equal parts virtue and vice that is being your own mule and driver. The album features previous collaborators Nick Macri (bass) and Macie Stewart (violin). The album also includes new collaborators Lia Kohl (cello), Spencer Tweedy (drums), The Weather Station's Tamara Lindeman (vocals), and Paul Von Mertens (Brian Wilson) on woodwinds. 

The latest track off ‘Ever-Roving Eye’ is called “Late Jim’s Lament.” Its title has a double meaning, alluding to never being on time but also dying before getting to everything a person is setting out to do. “No matter how I drive I know I can’t out-drive the hearse, ’cause it’s too late in my mind and getting later all the time,” Elkington sings. Like his other work, “Late Jim’s Lament” manages to conjure up folk traditions, psychedelic guitar sojourns, and Chicago’s idiosyncratic rock classicists all at once.

The album’s lead single/video, “Nowhere Time,” is a call to take up arms against procrastination, and features some of Elkington’s most daring guitar-wrangling. “A more cosmic acquaintance of mine once told me that when your life is going in the direction you want it to, it’s the universe’s way of telling you that you are in the place you’re meant to be,” Elkington says. “Does that sound likely? Not at all, but the song asks the question anyway…” The track’s accompanying video, directed by Tim Harris, features James, Spencer Tweedy on drums, and Nick Macri on upright bass.

Tracklisting: Nowhere Time / Sleeping Me Awake / Leopards Lay Down / Moon Tempering / Rendlesham Way / Late Jim's Lament / Carousel / Go Easy on October / Ever-Roving Eye / Much Master

Label Review. 

2020 album also available on CD.

Our Overview. 

Known by the stage name Badly Drawn Boy ‘Banana Skin Shoes’ is the English indie singer-songwriter Damon Gough’s ninth album and his first in 10 years so exciting news. The album is comprised of 14 tracks including previously released track ‘Is This A Dream?’ and sees Gough pushing forward yet again both musically and lyrically whilst retaining some of his classic trademarks. The bulk of the album’s production was completed at Eve Studios in Stockport last year with producer Gethin Pearson (Kele Okereke, JAWS) who also mixed the whole record. Damon had previously worked on tracks for the album with legendary producer Youth (The Verve, Paul McCartney) at his studio in London, Keir Stewart (ex-Durutti Column) at Inch Studios and Seadna McPhail at Airtight Studios. 

Always one to wear his heart on his sleeve, Gough’s ‘Banana Skin Shoes’ is a truly personal & heartfelt collection of songs, a huge statement of intent & the most glorious, colourful warming, honest pop record you’ll hear this year.

Tracklisting: Banana Skin Shoes / Is This A Dream? / I Just Wanna Wish You Happiness / I’m Not Sure What It Is / Tony Wilson Said / You And Me Against The World / I Need Someone To Trust / Note To Self / Colours / Funny Time Of Year / Fly On The Wall / Never Change / Appletree Boulevard / I’ll Do My Best

Label Review. 

2020 album. Also available on CD. 

Our Overview. 

Tim Burgess (of UK legends The Charlatans) is releasing his fifth solo album ‘I Love The New Sky’ and is his first on the acclaimed Bella Union label. Frontman, singer, label boss, DJ and author, he’s been instrumental in so many great records over the years, always bringing enthusiasm, positivity and diversity of influence, which altogether light the way for those who hold him dear. While in The Charlatans, Tim’s indefatigable energy has been a consistent fuel for the band across thirteen high-charting albums, his solo adventure has been no less extraordinary and began nearly 20 years ago with his West Coast influenced debut album ‘I Believe’ where he worked out his love of Bob Dylan, The Byrds and The Beach Boys, which he couldn’t fully express with his main band.

It wasn’t until another gap in The Charlatans schedule that Tim put out another solo effort - 2012s ‘Oh No I Love You’ which mined similar territory as his first. Since then he has alternated a Charlatans album with one of his own although as they’ve been quiet since ‘Different Days’ in 2017, ‘I Love The New Sky’ is his second solo album since then It features wonderfully connective songs of everyday minutiae and universal experience, of love and anger, of loss and belonging, all united by elaborate yet natural arrangements and an effortless but deceptively expert way with melody.

In the Spring of 2020, Tim started ‘#TimsListeningParty’ on Twitter promoting classic albums from over the years, encouraging music lovers all over the world to listen to the same album at the same time and tweet comments as it’s playing. A unique idea and a fantastic way to connect with fans!

Tracklisting: Empathy For The Devil / Sweetheart Mercury / Comme D’habitude / Sweet Old Sorry Me / The Warhol Me / Lucky Creatures / The Mall / Timothy / Only Took A Year / I Got This / Undertow / Laurie

Label Review. 

2020 album also available on CD.

Our Overview. 

A very special acoustic album from vocalist and co-founder of legendary ‘80s hard rock group Great White Jack Russell ‘Once Bitten Acoustic Bytes’. An acoustic album revisiting the band’s 1987 multi-platinum masterpiece ‘Once Bitten’ featuring some of their biggest and most recognisable hits including “Save Your Love” and “Rock Me!”

Aided by the likes of guitarist Robby Lochner (who also produced and mixed the album), longtime Great White bassist Tony Montana (now on guitar), bassist Dan McNay and drummer Dicki Fliszer, these songs have been stripped to their emotional core, spotlighting the intensely passionate story at the heart of each song. Just check out the new version of the unforgettable ballad “Save Your Love,” which has been shorn of all rockstar pomp to reveal a heartfelt hymn yearning, love and loss.

Jack Russell explains “‘Once Bitten’ is one of my favourite albums that we did. I always wondered what it would sound like done acoustically. The experience recording this unplugged version was really neat. It brought back a lot of memories of the original recording session, things I had forgotten about. Interestingly, the songs that I thought wouldn’t translate acoustically like ‘Livin’ On The Edge’ and ‘Never Change Heart,’ the heavier songs, came out the best. Now, I’m looking forward to doing it again for …Twice Shy!”

Includes powerful, stripped down versions of the band's hit singles "Save Your Love," "Rock Me" and many more!

These all-new studio tracks will be available on both CD and in limited edition BLUE vinyl pressing!

Russell was with Great White from 1981-1996, then took 3 years off to record and release his 1st solo album, entitled ‘Shelter Me’, then rejoined in 1999 until the band broke up in 2001. He then tried touring solo under his own name briefly, then changed the band name to "Jack Russell's Great White" & toured from 2002-2005 & also released a 2nd solo album entitled ‘For You’ in 2002. "Jack Russell's Great White" was the official name of the band that performed at The Station nightclub fire in 2003, not under the official "Great White" moniker.

Tracklisting: Lady Redlight / Gonna Getcha / Rock Me / All Over Now / Mistreater / Never Change Heart / Fast Road / Livin’ On The Edge / Save Your Love / Babe (I’m Gonna Leave You)

Label Review.

2020 album. Jazz.

Our Overview.

With a sweeping collection of new music, acclaimed American trumpeter/composer Charlie Porter gathers a dynamic group of forward-looking musicians to celebrate America’s rich immigrant history. The Portland-based trumpet player and composer, gathers a dynamic group of forward-looking musicians to celebrate America's rich immigrant history and has composed and recorded an ambitious suite of original music titled ‘Immigration Nation.’

In a time when policy has become a heart-wrenching polarising topic, Porter felt compelled to reclaim the uniting power of the word “immigrant” through art, knowing its healing capacity can be great when crafted with intention. Porter, saxophonist Nick Biello, pianist Oscar Perez, bassist David Wong, and drummer Kenneth Salters, present ten original compositions in two sets, “Leaving Home” & “New Beginnings.” The ensemble burns and soars while embracing many global influences that have found their way into the music, including elements from Porter’s Lebanese/Greek/Italian heritage, all while fully living in the essence and language of jazz

.“...an incredibly proficient instrumentalist, with a fluid and expressive style that feels like a fresh twist on the hard-bop establishment” - Jazz Society of Oregon.

“...technical wizardry patiently unfolding.” - DownBeat

Artists: Charlie Porter - Trumpet Nick Biello - Tenor Saxophone Oscar Perez - Piano David Wong - Double bass Kenneth Salters - Drums Sabine Kabongo - Vocals

Tracklisting: Immigration Nation / Contradictions Within / Divergent Paths / Flight / Second Chance / The Unexpected / The Privileged Few / A New Vernacular / Survival Of The Fittest / A Deepening Sense / Belonging / Chant

Label Review.

2020 album. Indie.

Our Overview.

After recording and performing for many years under the name of Mantler, Toronto’s Chris A. Cummings changed his band name to Marker Starling in 2012. A solo performer for much of his career, Cummings was frequently seen playing Melancholy Party Jams on a Wurltizer electric piano, with drum machine accompaniment. Following up his 2018 release ‘Trust An Amateur’ Chris updates his signature laid-back grooves (what he describes as "melancholy party jams") with the more ambitious ‘High January’. Swapping persistent hi-hats and vibe-y, albeit somnolescent, melodies for brighter dance-pop tunes, ‘High January’ plays with more layered instrumentation and diverse melodies. 

Consisting of eight brand new compositions, ‘High January’ can be viewed an ode to ‘pastness’, music that sings to the sound and style of what’s come before - without ever submitting to pastiche and without imitating any one style. The songs here are rich and alive, made with the conscious decision to not use any strings or orchestral instruments, carried instead only by the live band and their specific instruments.

These melancholy party jams are for life's subtler moments — understated, elegant and wistful. These songs are more likely to be played at the end of a party rather than in the middle of it. It opts for cuteness over sexiness, romance over passion, tenderness over vulnerability, and melancholy over sadness. High January is a triumphant step forward for Marker Starling.

High January’ finds beauty in new terrain, thanks to the influence of Sean O’Hagan of the High Llamas and Stereolab, who produced the new record and helped form it’s idiosyn-cratic shapes.

Released this Spring via Tin Angel Records, ‘High January’ is the first record that Cummings has recorded in the UK, and British live-band members Joe Carvell (bass), Euan Rodger (drums) and Andy Whitehead (guitar), alongside the aforementioned O’Hagan, and a special-guest appearance from Stereolab’s inimitable founder Laetitia Sadier. Rounding out the Sterelab imprint, the album was recorded at Press Play, the South London studio founded by Stereolab drummer Andy Ramsay, who also engineered the album.

Tracklisting: High January / Wait The Night / Drop And Pierce / Waiting For Grace / Move It On / Starved For Glamour / Coin Of The Realm / A Little Joy

Label Review.

2020 album. Rock.

Our Overview.

Hailing from Wnfield, Alabama USA, garage pop/rock band Dirty Clergys’ 3rd new studioalbum marks a decade into their musical careers. The album is seamlessly vacillating between shoegaze-esque ruminations on love and struggle and more straightforward garage numbers that surge into ecstatic cacophony all accented by eerily laconic vocals. The Dirty Clergy (featuring vocalist/guitarist Brian Manasco, bassist Ky Carter and drummer Cody Moorehead) are looking to expand their already respectable discography with their upcoming full-length, the aptly titled ‘In Waves’.

The inspiration for their music and the roots of the band certainly lie in the heart of when rock and roll was at the forefront of music. The Dirty Clergy's catchy choruses, smooth harmonies, and pop hooks recall the youthful exuberance of the 50's and early 60's, when rock 'n' roll was synonymous with rebellion, while the punkish, grungy rhythm guitar, active drumming, and impassioned singing provide an urgent, hard edge.

The 12-song collection represents the band’s second collaboration with producer Les Nuby (Verbena, Holiday Gunfire, Vulture Whale and co-owner of Ol’ Elegante Studio in Birmingham), who had engineered the Clergy’s previous album, 2016’s Rattlesnake, a release which would go on to be nominated for “Indie/ Alt Album of the Year’ at the 2016 Independent Music Awards, get played on LA’s legendary KROQ station and Alice Cooper’s Nights with Alice Cooper, receive multiple accolades from AL.com and land the band two placements for the songs “Decades” and “Strange Love” on the tenth season of SHOWTIME’s Shameless.

Tracklisting: Trials / Born To Lose / Young Lovers / Wonderland / Homesick / West Coast / Lucy / Whiplash / Parades / Dead To Me / Dreaming / Too Good To Last

Label Review.

23 tracks features Ken Colyer, Monty Sunshine, Lonnie Donegan, Joe Harriott, Pat Halcox and Ian Wheeler. Upbeat Records.

Our Overview.

Mike Pointon has compiled a wonderful CD of English trombonist and bandleader Chris Barber. His unmatched musical career spanned 65 years. Chris Barber retired from bandleading in August 2019 and this CD is released as a tribute to his stature within the jazz world.

The eloquent Belfast-based jazz broadcaster Walter Love assessed Chris’s major contributions to the European jazz scene over the years by stating how much he’d inspired a generation or two of jazz enthusiasts.

This is album is a must for fans of 1950s and 60s jazz and fans of Chris Barber and also features Ken Colyer, Monty Sunshine, Lonnie Donegan, Joe Harriott, Pat Halcox and Ian Wheeler.

Tracklisting: Bourbon Street Parade / Stockyard Strut / Double Check Stomp / Railroad Bill / Lost John / Bogalusa Strut / Whistling Rufus / Reckless Blues / Maple Leaf Rag / Black & Tan Fantasy / I Can’t Give You Anything But Love / Ory’s Creole Trombone / Alligator Hop / Blue Blood Blues / Shout ‘Em Aunt Tillie / Heavenly Sunshine / Creole Love Call / Market Street Stomp / Revival / Oh Baby / I Know Somebody/I’ve Got My Mojo Working / Stevedore Stomp

Label Review.

Earliest recordings from 2007. Norweigian black metal.

Our Overview.

The earliest raw recordings of the new rising titans of Norwegian black metal, including three additional tracks. Presented on vinyl for the first time.

Mork was created by Thomas Eriksen in 2004 & was primarily a side-project from inception until the debut album, ‘Isebakke’, in 2013. Since then the band has rightly earned their accolade as one of the top Norwegian black metal acts of recent years, receiving strong endorsements from their peers, as well as notable guest appearances from members of Darkthrone, Dimmu Borgir & 1349 on studio releases.

Harking back to the earliest period of the band, ‘Rota Til Ondskap’, from 2007, captures Mork at its most primal during those formative years, with a collection of raw demo tracks fuelled by masters of Norwegian black metal such as Mayhem, Darkthrone and Burzum, as well as Eriksen’s own interpretations & expansions of the black metal riffing style fused with twisted melodic passages, with a series of recordings draped in a thick layer of hellish, swirling chaos.‘Rota Til Onskapt’ is presented on black 180gm heavyweight vinyl, & receives its first release on the format, plus includes three additional tracks from the ‘Rota Til Ondskapt’ sessions.

Tracklisting: Vandring Inn I Morket / Hull I Skogbunn/ Hedningfolge Over Viddene / Brenn I Helvete / For Kristen Tid / Reise Til Dodsriket/ Rota Til Ondskap / Vi Jakter Kun I Maneskinn / Blod Og Kvist / Etterfulgt Av Skytsengler / Marevise ( Original Version ) / Det Gamie Og Det Glemte

Label Review.

Fusion of Western and Indian cultures, pop, soul and funk arrangements, syncopated polyrhythms, saturated guitars, psychedelic organs and Creole vocals. Also available on Vinyl.

Our Overview.

Killer 13-track compilation of 70s music from Mauritius that evolved from the original sega genre - the music of the slaves as well as their descendants, sung to protest against injustices in Mauritian society.

Created at the crossroads of Afro-Malagasy, the 70s strain fused Western and Indian cultures, pop, soul and funk arrangements, syncopated polyrhythms, saturated guitars, psychedelic organs and Creole vocals.

Although the exact origins of sega remain unknown, it contains vocal and percussive practices that originated from Madagascar, Mozambique and East Africa. A social escape and a space for improvisation, satire and verbal jousting, it transcended everyday life and made room for the expression of conflicts and the transgression of taboos. The main instrument of sega is the ravanne, a large tambourine-like drum made of a large wooden frame and goat skin. It is accompanied by the maravanne, a rectangular rattle filled with seeds, and other homemade forms of percussion.

Eric Nelson a solo guitarist and arranger, set up the band Features Of Life which, in the mid 70’s, gave birth to a new sound. Fuzzy distorted guitars and funky beats invite each other to play over the unbridled beats created by fabulous drummer Raoul Lacariate. The band accompanied a new wave of singers, including the atypical Joseph Roland Fatime aka Ti L’Afrique, a hyperbolic and hyperactive character, a fan of blues and James Brown who launched an explosive raw, and funky style of sega.

Tracklisting: Harold Berty - Django / Ti L’afrique - Pop Soul Sega / Claudio Veeraragoo - Qui Fine Arriv / Paul Labonne - Ti Malgache Ti Madras / Georges Gabriel - Pop S ga / The Features Of Life - Soul Sabattah / Roland Fatime - S.I.L.V.I.E / Jean Claude Gaspard - Machin Sex / Jos Henri - Apolo Pop 76 / Coulouce - Beau-P re / John Kenneth Nelson - Change To Mani re/Missi Coutou No2 / Lelou Menwar - Capito / Daniel Delord - Maria

Label Review. 

2020 album. Nuclear Blast. Also available on CD, Deluxe CD and Deluxe Box Set. 

Our Overview. 

Obsidian… dark, reflective and black: it’s a pretty decent description of the music that Paradise Lost have been making over the last 32 years, even though this most resilient of British metal bands have stoically refused to be pinned down to one easily defined formula. Powered by a lust for creativity and a stout devotion to haunting heaviness, Paradise Lost have defied the odds by coming back stronger than ever over the past decade.

Formed in Halifax, West Yorkshire, in 1988, Paradise Lost were unlikely candidates for metal glory when they slithered from the shadows and infiltrated the UK underground. But not content with spawning an entire subgenre with early death/doom masterpiece Gothic nor with conquering the metal mainstream with the balls-out power of 1995’s ‘Draconian Times’, they have subsequently traversed multiple genre boundaries with skill and grace, evolving through the pitch-black alt-rock, to muscular but ornate grandeur. Consistently hailed as one of metal’s most charismatic live bands, Paradise Lost arrive in this new decade as veterans, legends and revered figureheads for several generations of gloomy metalheads. In keeping with their unerring refusal to deliver the expected, 2020 brings one of the band’s most diverse and devastating creations to date.

The sixteenth Paradise Lost studio album, ‘Obsidian’ eschews its immediate predecessors’ gruesome, myopic approach in favour of a richer and more dynamic deluge of black shades. From the deceptive elegance and dual atmospheres of opener “Darker Thoughts” through to the crushing, baroque doom of war-torn closer “Ravenghast”, ‘Obsidian’ reveals a band in masterful control of a broad array of vital ideas. Most noticeably, the record boasts several songs that draw heavily from the much-loved, Kohl-encrusted days of ‘80s gothic rock: in particular, newly-minted PL anthems “Ghosts” will be a guaranteed dancefloor-filler at any discerning goth nightclub.

As they march through their fourth decade as a band, Paradise Lost have never sounded more potent or unified in their determination to bring the darkness to life. Obsidian is yet another glowering career peak, not just matching the imperious form of The Plague Within and Medusa, but artfully outstripping it with greater depth, colour and emotional power. While many bands of their vintage have embraced the nostalgia business, Paradise Lost remain a vibrant, vital and endlessly classy force for creative metallic good. 2020 will see the band hit the festival circuit with a vengeance, before touring Obsidian in earnest next year. Like the man said, this is a good time to be in Paradise Lost.

Tracklisting: Darker Thoughts / Fall From Grace / Ghosts / The Devil Embraced / Forsaken / Serenity / Ending Days / Hope Dies Young / Ravenghast

Label Review.

2020 posthumous album (The Residents composer).

Our Overview.

American musician Hardy Fox was the co-founder and primary composer of avant-garde band The Residents that playfully subverted the conventions of rock music for decades while insisting on anonymity, which the group maintained by performing in outlandish costumes. He created an incredible body of work, using all kinds of names other than The Residents, amongst them Combo De Mechanio, Sonidas De La Noche, Dead Eye Dick, Charles Bobuck or Black Tar And The Cry Babies. During the last months of his life, Hardy submitted several recordings to be released after his death. ‘Killing Time’ is one of them.

Hardy first stopped touring with The Residents due to health issues. Soon afterwards, he left the group completely to concentrate on his solo work. After several albums as Charles Bobuck (later only Bobuck), the name given to him when still a member of The Residents, he later dropped all pseudonyms to work as Hardy Fox.

Fox began a characteristically prolific solo recording career following his retirement from The Cryptic Corporation, which continued until shortly before his death on October 30th 2018 following a short battle with glioblastoma.

His first self-titled solo recording was an album full of minimal love songs, a portrait of the young Hardy Fox. The second, ‘Nachtzug’ was about his last days touring with The Residents. It was followed by ‘Rilla Contemplates Love’, a concept album about the thoughts and feelings of a gorilla. A week before his death, Hardy recorded the very touching farewell recording to his fans, ’25 Minus Minutes’.

Tracklisting: A From Elsewhere / B From 1/31 / Blues / Cherrio / Creeper / Killing Time / Mark It Up / Melody / Quite Alone / Scary / Spooky Noise / Tank Tank / Theme / Took Away / Traveling Music / Vlam / Wharck / Who