For his lead artist debut Panamá 77 he engages a diverse array of friends and collaborators - including Bardo Martinez (Chicano Batman), Jeff Parker (Tortoise), Marta Sofia Honer (Adrian Younge), Anna Butterss (Jenny Lewis), and Aquiles Navarro (Irreversible Entanglements) - to create a vibrant and verdant suite of multi-textural psychedelic instrumental folk-funk

TRACK LISTING

A1 Bella Vista
A2 Ofelia
A3 Uncanny
A4 I Didn’t Expect That
A5 In/On
A6 Cali Colours
B1 Activo
B2 Sombras
B3 Parque En Seis
B4 Patria
B5 18th & Morgan
B6 Messenger

Vashti Bunyan’s legendary debut album from 1970 finally gets a UK vinyl repressing. Produced by Joe Boyd for Witchseason Productions and originally released on Philips in 1970, the album features contributions from Fairport Convention’s Simon Nicol and Dave Swarbrick and The Incredible String Band’s Robin Williamson.

The songs mostly concern the events that took place when Vashti and her lover travelled to the Hebrides in a horse and cart to join up with Donovan’s artistic community but by the time they got there that community had all left. 

About time Ebbot and I have finally been able to make an album that is largely an extension of all the time we have spent together and all the concerts we have done. You could say it's a kind of fusion of the two of us in music form. A key ingredient was that Reine Fiske (Dungen) wanted to be part of this musical adventure and record with us. His tone and spontaneous playing were absolutely crucial in making this album. Also at the heart of this album, and which made our recording sessions so edgy and good, were the beautiful poppy bass playing by Marcus Holmberg (Komeda), the dynamic and responsive drumming by Nicklas Korsell and the funky piano playing by Daniel Kurba. And finally, working as both a musician and sound engineer, Ponus Torstensson, aka Tentakel, played a vital role in creating the psychedelic sound on the album.

TRACK LISTING

Line 1
Me And My Mojo
Travel In Time
Line 2
New Orleans (Taking Back)
Straight For Fun
Family
Line 3
Brave New World
Line 4
Under The Moon

Gabi Garbutt & The Illuminations announce release of sophomore album ‘Cockerel’ which follows the brilliant 2019 debut album, ‘The Discredited Language of Angels,’ which saw Gabi and her band performing live sessions for BBC 6Music’s Cerys Matthews & Radio X’s John Kennedy, and scoring plays on Steve Lamacq& Chris Hawkins.

Gabi and her band toured with The Libertines and Edwyn Collins in 2019, and were all set for a year of touring when the pandemic hit in 2020. Retreating into her songwriting, Gabi started sketching out songs about escape and exploring vulnerability. Demoing the arrangements at home then honing the songs with her band The Illuminations as soon as rehearsal studios opened up, they created an explosive album of indie pop bangers that have lyrical and musical depth. As the opening song ‘Bad Boy Bird’ announces “I am no human, I am the promise of dynamite”, Gabi and her band summon up a volcanic concoction of sounds, from the poetic punk sensibilities of Ezra Furman and Patti Smith, the soaring alt pop of The Voidz and The Flaming Lips, to Motown inspired soul stompers, the record conjures up a range of atmospheres to occupy the listeners mind over many, many replays, as they fall deeper into the universe that is Cockerel. Connecting again with multi-instrumentalist and producer Sean Read (Beth Orton, Edwyn Collins, The Pretenders) at his Famous Times Studio Gabi set to work bringing their songs to life on record. Upcoming single ‘Subterranean Stars’, one of the most representative songs on the album, catchy guitar licks flutter around trippy lyrical musings, brass refrains and a soaring string arrangement played by Basia Bartz. Following this slice of shimmering pop is ‘Genet’s Journey.

TRACK LISTING

1 Cockerel
2 Bad Boy Bird
3 Subterranean Stars
4 Genet’s Journey
5 Never Never
6 Your Blues
7 I Can’t Win
8 Habit Of Sadness
9 Sea Organ
10 Angel Of Third Avenue
11 Our Dying World

Led by drummer Jose Medeles (Breeders, 1939 Ensemble, Revival Drum Shop), Railroad Cadences & Melancholic Anthems is a drummer's tribute to guitarist and DIY iconoclast John Fahey.

Joined for a series of guitar and drum duets with M. Ward, experimental guitarist Marisa Anderson, and Chris Funk (Decemberists, Stephen Malkmus), it's a genuinely honorifc project, featuring not Fahey compositions, but rather a series of improvised rendezvous inspired and informed by his looseness and rhythmic idiosyncrasies. Recording in the comfortable setting of Bocce Recording in Vancouver, WA, in 2020, these duets are playful and spiritually deep, presented with snapshot clarity Medeles likens to the recordings of Alan Lomax or Chris Strachwitz, 'who boldly captured feld recording of Southern chain gangs and juke joint raconteurs decades ago. The result here is similar: pure and honest recordings.'

TRACK LISTING

Please Send To J.F. With Marisa Anderson
Richness Of Peace With M. Ward
Golden With Chris Funk
The Paper Snake With Marisa Anderson
Something Else With M. Ward
Before & After With Marisa Anderson
Juxtaposition With Chris Funk
Mid The Ice & Snow With Marisa Anderson
Illumination With Chris Funk
Takoma With Marisa Anderson
Voice Of The Turtle With Chris Funk

More than a decade after first emerging as the voice of a generation in Tory Britain, Grace Petrie stands out as one the most important songwriters working in the UK today. Exploding onto the folk scene in 2010 with the low-fi acoustic guitar/vocal release Tell Me a Story, Petrie quickly attracted attention with her polemical folk anthems, acerbic lyricism and open-hearted performance style. Support slots for the likes of Billy Bragg and Emmy the Great soon followed, with the Guardian declaring her “a powerful new songwriting voice”. The 2010s were spent relentlessly touring and, responding to the evermore dramatic political landscape, Petrie released five DIY albums of protest music in seven years. But it was the 2018 release of Queer As Folk which catapulted Petrie from cult status to mainstream attention. Both in production and songwriting, the record was a clear graduation, with rave reviews across the folk press calling it ‘probably the most intelligently crafted album you’ll hear this year - ****’ (R2) and commenting, ‘she’s the urgent, pulsing, compassionate talent this world desperately needs’ (The Observer). Lead single Black Tie, a tender reflection on growing up queer and framed as a tear-jerking letter to her teenage self about the happier future that lies ahead, has deservedly become an anthem for queer audiences of all ages, with over 150K views on Youtube and over 600K streams on Spotify alone. The New Yorker gave a glowing live review that hailed Black Tie as ‘a new gay anthem’, and Petrie as ‘a sort of butch lesbian Billy Bragg’. UK festivals from Cambridge Folk to Glastonbury’s prestigious Acoustic Stage recognised her as a top flight artist and her debut Australian tour in Spring 2020 culminated in sold-out shows in Melbourne and Sydney. …It was all going so well! The coronavirus reached Sydney just as Petrie’s tour did and, after a mad dash for an early flight home, she spent the next year and a half - the longest period of her adult life - in one place, unable to commune with others through music in the way that was innate to her since childhood. From out of this chaos comes “Connectivity”, an album built from the reflections of what humanity means in a world struggling against division and destruction. Glued to one place for the first time, this is a record made firmly out of Petrie’s comfort zone: slowly, intricately, and over many close-up, painstaking months: the audience and all its comfort stripped away, and the songwriter that lies beneath the performer exposed. The result is the most honest collection of songs she has ever shared. It promises to be Petrie’s most personal - and yet most universal - album to date. ‘She offers hope and solidarity, born out of absolute conviction and with no trace of empty sloganeering….this wake-up call is one to be both welcomed and wholeheartedly embraced.’

TRACK LISTING

1. Storm To Weather
2. We’ve Got An Office In Hackney
3. Great Central Way
4. No Woman Ever Wants To Be A Muse
5. The Last Man On Earth
6. Galway
7. Romance Addict
8. Haul Away
9. Technicolor
10. IKEA
11. Some Days Are Worse Than Others
12. The Losing Side 

A cinematic musical journey that plays out like a long-lost soundtrack (think cult B-movies of the 60s and 70s); 'The Children of Scorpio' was formed from Paul's love of a myriad of genres; from European library music, acid folk, psych-funk, vintage soundtracks and the contemporary breaks scene. The album draws on iconic classics such as the masterful cinematic funk of Lalo Schifrin's 'Dirty Harry', Ennio Morricone's 'Vergogna Schifosi' and Luis Bacalov's 'The Summertime Killer', to name but a few.

You can also hear the folk sounds of Mark Fry's iconic 'Dreaming With Alice', the Britsh folk-jazz of The Pentangle and the David Axelrod-produced 'Release Of An Oath' by The Electric Prunes, woven into the cultural tapestry of this gem. The influence of these vintage productions of the 60s and 70s is evident; however, it could be argued that there's also echoes of the funkier psychedelic moments of bands such as The Stones Roses and The Charlatans, alongside contemporaries such as The Heliocentrics and Little Barrie, thus giving the album a broader crossover potential beyond the world of crate digging and vintage soundtracks. We are delighted to be releasing this slowly- brewed timeless classic that manages to achieve that rare feat of keeping one foot firmly in the past whilst still sounding totally contemporary.

TRACK LISTING

1. The Children Of Scorpio
2. The Road Through The Hills
3. Path Through The Forest
4. Searching For June (Interlude)
5. June
6. Scorpio's Waltz
7. The Invitation (interlude)
8. The Ritual '70
9. Scorpio's Garden
10. The Turning
11. Plan Your Escape
12. The Deserted Compound (interlude)
13. Buried In The Woods
14. Closing Theme

Communion, the debut album by Sister Ray, is a raw, meticulously-crafted portrait of momentous, ordinary moments; experiences that define your past, and instruct how you move through the world. The record is anchored by guitar melodies that bear an undercurrent of turmoil, and echoes with the wisdom of hard-won lessons. It’s a break-up album invested in exploring the motivations behind actions, rather than attempting moral judgment. Out May 6 via Royal Mountain Records.

What does it take to not only become unburdened by your past, but to embrace its many contours? Sister Ray, the project of Edmonton-born songwriter Ella Coyes, was conceived out of necessity; a self-designed vehicle built to examine trauma with unflinching honesty. Armed with a voice that soars and scrapes in equal measure, Coyes converts first-person recollections of big, complicated love into universally potent allegories. The result is an unyielding, spacious, and commanding form of indie rock, rooted in the folk tradition, that transforms unvarnished, interior reflections into a generous public offering.

Born and raised on the expansive prairies of Sturgeon County, Sister Ray’s music is steeped in a wide range of cultural influences. With gospel blue grass and 90’s country playing in the background of their youth, it was the traditional Métis music played at home that not only brought them closer to their heritage, but taught them a form of storytelling rooted in collective value, resilience, and safety. Through the existential questions that came with examining contradictory identities, Coyes came to understand music’s ability to archive personal histories while also unpacking overwhelming emotions with the support of a community.

Following the recently released and highly praised Trees 50th Anniversary box set on Earth Recordings, Trees reissue their second album as a standalone release. “A beautiful hybrid, Trees found a unique space between intimate folk and freewheeling psychedelia. Musically ambitious yet brilliantly balanced, they have left an enduring legacy for those lucky enough to be in on the secret” Edd Gibson, Friendly Fires. It’s now over fifty years since Trees’ formation, a band who helped define ‘Acid Folk’, creating a sub-category in the lexicon of record dealers and music critics alike. Released just months after their debut second album, ‘On The Shore’ sees a shift from the first record into something darker and more ambivalent with an arcane Englishness. The product of an era characterised by clunky polemic, arcadian sentimentality or English fuzzy-felt surrealism, the album, like all classic records, is so much greater than the sum of its parts. Opening with ‘Soldiers Three’, learned from Dave Swarbrick, the album includes another traditional tune and one of the definitive moments in English folk rock ‘Polly On The Shore’ alongside ’Sally Free and Easy’ and ‘Streets of Derry’. 

TRACK LISTING

Soldiers Three
Murdoch
Streets Of Derry
Sally Free And Easy
Fool
Adam's Toon
Geordie
While The Iron Is Hot
Little Sadie
Polly On The Shore

Following the recently released and highly praised Trees 50th Anniversary box set on Earth Recordings, Trees reissue their debut album ‘The Garden of Jane Delawney’ as a standalone release. It’s now over fifty years since Trees’ formation, a band who helped define ‘Acid Folk’, creating a sub-category in the lexicon of record dealers and music critics alike. “When we are talking about psych folk or acid folk, we are really talking about music like this by Trees” Stuart Maconie, BBC6 Music. Trees first album, ‘The Garden of Jane Delawney’ (1970) snuggles nicely into contemporary nu-folkies’ idea of the genre, and shares some of the pastoral-whimsy that characterised The Incredible String Band or Donovan, offset by some stunning interpretations of traditional material and Bias’ own songs. The record includes readings of ‘Lady Margaret’, ‘Glasgerion’, the old standard ‘She Moved Thro’ The Fair’, and the extended fade of the group’s own ‘Road’, presage the explosive instrumental duelling that would come to characterise the follow up album, ‘On The Shore’. 

TRACK LISTING

Nothing Special
The Great Silkie
The Garden Of Jane Delawney
Lady Margaret
Glasgerion
She Moved Thro' The Fair
Road
Epitaph
Snail's Lament

Following a decorated career with Philly rock group Superheaven, singer and guitarist Taylor Madison meanders into newly-refined songwriter territory with the inception of Webbed Wing in 2018. Joined by Jake Clarke (drums) and Mike Paulshock (bass), the band fully realizes their innate genre-blending musicality.

Webbed Wing’s somewhat simplistic approach to songwriting explores what it means to birth a sad song without fully killing a mood, paired with a soundscape laden with nostalgia and a tasteful pop-rock resurgence. Taking notes from the likes of The Lemonheads and Teenage Fanclub, Webbed Wing encapsulates everything lyrically gripping about indie and everything vibrant about modern pop. While also expertly intertwining the heaviness of metal and the earnesty of country, the band blends all these different aspects of their craft into something highly palatable and new.

Between early Webbed Wing releases, like 2019’s Bike Ride Across the Moon (Disposition Collective) and forthcoming recordings on 2021’s What’s So Fucking Funny? with Grammy-nominated producer Will Yip (Code Orange, The Menzingers, Mannequin Pussy, Circa Survive) via Memory Music Label (Bartees Strange, Anthony Green), there’s an obvious level up in production, honing in on Webbed Wing’s natural maturity as both an artist and a creative. 

TRACK LISTING

Side A
1. Years
2. Jesus’s Age
3. Make A Dime
4. Dream Come True
5. For Real
6. Need You Around

Side B
1. Old Times
2. Same Thing To Me
3. Taylor’s Theme
4. Saturdays
5. All I Could Ever Want
6. Shed A Tear