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BACK CATALOGUE - A
Slinky and incessantly groovy, prime time US house music here from new school mover Josh Aaron who deploys four expertly constructed pieces of club kinetics that shake and wiggly in all the right places. Released on Jordan Fields Trax Research and brimming with Chi-town flavour. TIP!
STAFF COMMENTS
Matt says: Resplendent with that iconic Chi-town wiggle, Josh Aaron graces Jordan Field's Trax Research with four hyperactive groovers. Littered with loose percussion work, and driven by some super catchy hooks; this is sample based disco-house unique to the Chicago catchment.TRACK LISTING
A1. Check It Out
A2. Let Me Out
B1. Bronze (A Lifestyle)
B2. Get On
All the bangers on one double vinyl set.
TRACK LISTING
Side A
Dancing Queen
Knowing Me, Knowing You
Take A Chance On Me
Mamma Mia
Lay All Your Love On Me
Side B
Super Trouper
I Have A Dream
The Winner Takes It All
Money, Money, Money
S.O.S.
Side C
Chiquitita
Fernando
Voulez Vous
Gimme! Gimme! Gimme! (A Man After Midnight)
Side D
Does Your Mother Know
One Of Us
The Name Of The Game
Thank You For The Music
Waterloo
The 50th anniversary of the band’s 2nd studio album.
The album features the single ‘Waterloo’, the song which brought the band International fame and won the 1974 Eurovision Song Content in Brighton (UK).
The album features the single ‘Waterloo’, the song which brought the band International fame and won the 1974 Eurovision Song Content in Brighton (UK).
TRACK LISTING
Disc 1 - Side A
Waterloo - Swedish Version
Sitting In The Palmtree
King Kong Song
Disc 1 - Side B
Hasta Manana
My Mama Said
Dance (While The Music Still Goes On)
Disc 2 - Side A
Honey, Honey
Watch Out
What About Livingstone
Disc 2 - Side B
Gonna Sing You My Love Song
Suzy-Hang-Around
Waterloo
Serious Poke is the debut solo from Fred Abbott the London-based musician, until now, best known as lead guitarist and keyboard player in the recently disbanded Noah And The Whale.
A supremely talented multi-instrumentalist and songwriter, Abbott joined Noah And The Whale in 2009 and went on to huge success, especially notable being his contribution to 2011‘s Platinum-selling and highly acclaimed Last Night On Earth.
Abbott enlisted the help of his Noah And The Whale compadres and other friends for the recording of Serious Poke, with sessions taking place at West London’s British Grove Studios over the past year. The album was co-produced by Fred with Martin Hollis, whose diverse credits include Grinderman, The Rolling Stones and Take That.
A supremely talented multi-instrumentalist and songwriter, Abbott joined Noah And The Whale in 2009 and went on to huge success, especially notable being his contribution to 2011‘s Platinum-selling and highly acclaimed Last Night On Earth.
Abbott enlisted the help of his Noah And The Whale compadres and other friends for the recording of Serious Poke, with sessions taking place at West London’s British Grove Studios over the past year. The album was co-produced by Fred with Martin Hollis, whose diverse credits include Grinderman, The Rolling Stones and Take That.
TRACK LISTING
1: Adrenaline Shot
2: Funny How Good It Feels
3: Awake
4: Honey
5: Hollywood
6: One Hot Night
7: Learn About Love
8: Don't Look Like Him
9: Still Told A Lie
10: Lucky People
Four years of slow-burning success on from the rolling primal rhythms and joyous arpeggios of his 2010 debut album 'Holkham Drones', Luke Abbott makes a bold return to the Border Community with his sublime second album offering ‘Wysing Forest’.
Named after the Wysing Arts Centre in Cambridgeshire who hosted Luke as their first ever musician-in-residence over a six week period during the winter of 2012, the album comprises a series of improvised live recordings, edited and compiled after a period of after-the-act reflection into one rapturous movement. The finished article’s 52-minute duration may have been chopped into nine track-sized chunks for its official album release, but this is most definitely an album which is greater than the sum of its parts, designed to be listened to in one immersive go.
“‘Wysing Forest’ has a very particular arc to it an the tracks only make sense in the context of that arc,” Luke explains. “Structuring the album to work as a whole was quite a challenge, almost more of a challenge than making the music, but I think I’ve ended up with something that has a kind of internal logic.” And though only a pair of tracks - ‘Free Migration’ and ‘Highrise’, together forming the subtle peak that marks the mid-point of the album - approach ‘Holkham Drones” idiosyncratic lumpen danceability, it is thanks to Luke’s perfectly judged elegant transitional dynamics that neither piece - although as dancefloor-directed as anything he has ever done before - feels out of place amongst the album’s more mellow moments.
Named after the Wysing Arts Centre in Cambridgeshire who hosted Luke as their first ever musician-in-residence over a six week period during the winter of 2012, the album comprises a series of improvised live recordings, edited and compiled after a period of after-the-act reflection into one rapturous movement. The finished article’s 52-minute duration may have been chopped into nine track-sized chunks for its official album release, but this is most definitely an album which is greater than the sum of its parts, designed to be listened to in one immersive go.
“‘Wysing Forest’ has a very particular arc to it an the tracks only make sense in the context of that arc,” Luke explains. “Structuring the album to work as a whole was quite a challenge, almost more of a challenge than making the music, but I think I’ve ended up with something that has a kind of internal logic.” And though only a pair of tracks - ‘Free Migration’ and ‘Highrise’, together forming the subtle peak that marks the mid-point of the album - approach ‘Holkham Drones” idiosyncratic lumpen danceability, it is thanks to Luke’s perfectly judged elegant transitional dynamics that neither piece - although as dancefloor-directed as anything he has ever done before - feels out of place amongst the album’s more mellow moments.
'Translate' is the first solo artist album in six years from Norfolk synthesizer specialist Luke Abbott: a strikingly direct and assured return to the solo music-making game following a productive diversion into live improvisation with his experimental jazz trio Szun Waves.
At times dark and ominous, others bright and welcoming, these eleven electronic vignettes form a dramatic and undeniably cinematic body of work which functions as a fitting widescreen soundtrack to our new now.
The lumbering rhythms, strident synths and distinctive touchstones of 'Translate' represent a musical reconciliation with the directness of the wave-making rolling synth-kraut of Abbott’s forthright debut 'Holkham Drones'.
Newly-reinvigorated and with a new sense of musical purpose, this is Luke Abbott’s sound fully realised and never so sure of itself.
At times dark and ominous, others bright and welcoming, these eleven electronic vignettes form a dramatic and undeniably cinematic body of work which functions as a fitting widescreen soundtrack to our new now.
The lumbering rhythms, strident synths and distinctive touchstones of 'Translate' represent a musical reconciliation with the directness of the wave-making rolling synth-kraut of Abbott’s forthright debut 'Holkham Drones'.
Newly-reinvigorated and with a new sense of musical purpose, this is Luke Abbott’s sound fully realised and never so sure of itself.
STAFF COMMENTS
Barry says: 'Holkham Drones' was one of my favourite albums for many a year, and still gets a good playing nowadays but nothing has come close to the mind-melting electronic bliss-blanket of 'Translate'. Perfectly split between hypnotic electronic counterpoints and synthy, IDM levity.TRACK LISTING
1) Kagen Sound
2) Our Scene
3) Flux
4) Ames Window
5) Roses
6) Earthship
7) Living Dust
8) River Flow
9) Feed Me Shapes
10) Luna
11) August Prism
Few albums define a particular era as does The Lexicon Of Love. It’s embedded deep in the fabric of popular culture. Namechecked, referenced and, now, frequently in “best of all time” polls, the album opened up the 80s wide, in full, glorious Technicolor. In 1982, ABC became the toast of the world with this album. It also launched the production career of Trevor Horn. Like the greatest landmark albums, it has transcended its origins and is simply there, an ever-evolving testament to its marriage of youth, wit, creativity, technology, emotion, masterplan and happy accident.
1LP Half Speed Master
A commemoration of the album that kickstarted the 80s. Half-speed mastered at Abbey Road by Miles Showell. In new gatefold sleeve with Abbey Road obi strip and certificate of authenticity
1LP Half Speed Master
A commemoration of the album that kickstarted the 80s. Half-speed mastered at Abbey Road by Miles Showell. In new gatefold sleeve with Abbey Road obi strip and certificate of authenticity
TRACK LISTING
Side A:
Show Me
Poison Arrow
Many Happy Returns
Tears Are Not Enough
Valentine’s Day
Side B:
The Look Of Love
Date Stamp
All Of My Heart
4 Ever 2 Gether
The Look Of Love (Part Four)
‘Dazed’ is the new single by recent FatCat signings and Netherlands power trio, Abdomen.
Sometimes described in the Dutch press as ‘postgrunge garage’, Abdomen themselves are keen to avoid any pigeon-holes or genre labels: “We’ve been influenced by so many things. Right now punk, post-punk, and noise are important inspirations, but there are a lot, lot more. Rap, hip hop, electronic music, IDM, electro, and techno, for instance.”
‘Dazed’ is heavy, heavy hypnotic groove, with a chanted vocal and wall of phased, psychedelic shredding. There are echoes of outfits such as Loop and Spacemen 3 - their stoned / stoner aesthetics, albeit turned up to 11.
It began as a demo set at a frantic pace before producer Rasmus Bredvig suggested slowing it down - “Something like 5 times” - morphing, mutating, the track into an epic, melodic, psyche mantra.
A head-banging, trance-inducing, transcendental raga, with its sights set on spiritual lift-off, the piece aims to create a path away from the negative toward a more positive way of life.
Sometimes described in the Dutch press as ‘postgrunge garage’, Abdomen themselves are keen to avoid any pigeon-holes or genre labels: “We’ve been influenced by so many things. Right now punk, post-punk, and noise are important inspirations, but there are a lot, lot more. Rap, hip hop, electronic music, IDM, electro, and techno, for instance.”
‘Dazed’ is heavy, heavy hypnotic groove, with a chanted vocal and wall of phased, psychedelic shredding. There are echoes of outfits such as Loop and Spacemen 3 - their stoned / stoner aesthetics, albeit turned up to 11.
It began as a demo set at a frantic pace before producer Rasmus Bredvig suggested slowing it down - “Something like 5 times” - morphing, mutating, the track into an epic, melodic, psyche mantra.
A head-banging, trance-inducing, transcendental raga, with its sights set on spiritual lift-off, the piece aims to create a path away from the negative toward a more positive way of life.
‘Yes, I Don’t Know, is the title track from the debut album by recent FatCat signings and Netherlands power trio Abdomen.
Opening with fragile, picking, floating in reverb, for a second, you’re fooled into thinking that you’re listening to a Robin Guthrie / Cocteau Twins tune, before serrated, cyclical slashing ‘serenades’ Peter Van Beets’ words concerned with the awful, crushing, gaping hole, of a lover’s passing. The cut climaxing in cathartic / agonised cries of ‘I can’t turn around!’
When asked about their often trance-inducing rhythms and riffs, Roel explains, “The repetitiveness, and build ups, are designed to be something to lose yourself in,” and states that this is inspired, in part, by the motorik of groundbreaking Kosmische band, Neu!.
Opening with fragile, picking, floating in reverb, for a second, you’re fooled into thinking that you’re listening to a Robin Guthrie / Cocteau Twins tune, before serrated, cyclical slashing ‘serenades’ Peter Van Beets’ words concerned with the awful, crushing, gaping hole, of a lover’s passing. The cut climaxing in cathartic / agonised cries of ‘I can’t turn around!’
When asked about their often trance-inducing rhythms and riffs, Roel explains, “The repetitiveness, and build ups, are designed to be something to lose yourself in,” and states that this is inspired, in part, by the motorik of groundbreaking Kosmische band, Neu!.
TRACK LISTING
Yes, I Don’t Know
With "daring and visionary spirit", to quote a Downbeat review from the year of this album's release, master improvisers John Abercrombie, Dave Holland and Jack DeJohnette forged a unique vision of trio interplay on their frst joint effort under the Gateway moniker. The trio tackles Dave Holland and Jack DeJohnette originals with a visionary idea of what three- way conversations in jazz could sound like. As The Observer remarked in an article of the time, "the telepathic ensemble playing and perfect execution make it difficult to believe that this music is almost completely improvised". The players' respectively unique instrumental signatures had already fully crystallised here, hinting at the music to come.
The Luminessence edition of the album arrives in a Tip- on gatefold, complete with previously unseen archival photos and new liner notes by Wilco's Nels Cline.
"One thing most recordings on the label share in common is the capturing of special moments in real time. That is what "Gateway" is, what it feels like so many years later, for as long as we have ears to listen." - Nels Cline
The Luminessence edition of the album arrives in a Tip- on gatefold, complete with previously unseen archival photos and new liner notes by Wilco's Nels Cline.
"One thing most recordings on the label share in common is the capturing of special moments in real time. That is what "Gateway" is, what it feels like so many years later, for as long as we have ears to listen." - Nels Cline
TRACK LISTING
1. Back - Woods Song
2. Waiting
3. May Dance
4. Unshielded Desire
5. Jamala
6. Sorcery I
Introducing your favourite new 3 piece: Abjects, a new London trio who have been winning over fans all over the world with an impressive set of edgy garage tunes, perky bass-lines washed over with lashings of jagged and disjointed guitar work. Hotly tipped by Manchester’s PINS - who released their debut EP ‘Fast Love’ (Haus of Pins) - Abjects have been a prominent garage punk band in the London live circuit since their emergence in 2013. Self-sufficient and capable, they’ve created their own scene, put on their own nights, designed their own merch – fully immersing themselves with the DIY ethos which allowed them to be picked out by the likes of Jon Spencer & the Blues Explosion, Mikal Cronin, Shannon and the Clams, The Coathangers or the larger than life Fat White Family. Their latest offering comes from their ‘Gone’ EP with lead single ‘Gone’.
Recorded by rising starlet producer Syd Kemp - which is to be released on Stolen Body Records (Brown Brogues, Thee MVP’s & more) on May 11th 2015 both digitally and on limited edition 12” vinyl. Influences on the band come in the form of The Shangri-las, The Slits, Lydia Lunch, The Stooges and Sonic Youth. With such potent esteemed artists helping to sculpt their sound it is clear to see where Abjects gather their signature clout.
Recorded by rising starlet producer Syd Kemp - which is to be released on Stolen Body Records (Brown Brogues, Thee MVP’s & more) on May 11th 2015 both digitally and on limited edition 12” vinyl. Influences on the band come in the form of The Shangri-las, The Slits, Lydia Lunch, The Stooges and Sonic Youth. With such potent esteemed artists helping to sculpt their sound it is clear to see where Abjects gather their signature clout.
Able Noise are a cross-continent duo based between The Hague (NL) and Athens (GR), built around the experimental baritone guitar and drum playing of George Knegtel and Alex Andropoulos. After a few formative attempts at collaboration, they officially came together as the Able Noise we see now in 2017, uniting over shared thoughts on art and performance encountered while studying at The Royal Academy of Arts in The Hague. Their first recorded work, a seamless 30 minutes of glistening post-rock anti-formalism, emerged in low-key fashion in 2020 as a cassette through Glasgow’s famed GLARC label. Numerous European wide tours and left-of-centre festival appearances led the pair back to the studio for the recording of debut LP, High Tide, to be released via World of Echo on 1st November.
The shift to a studio environment was a significant one, since Able Noise was primarily conceived as a live band, thinking of and writing for the live concert experience specifically. Consider their practice an Active Performance of sorts, one that seeks to challenge understandings of the medium of the live arena, how its properties and limitations can be addressed creatively, and the dialogical relationship between performer and the audience. Those who have caught them live will have witnessed very physical yet malleable performances, shaped each time by the context at hand, be that the time of day, the acoustic properties of the space, and the shared energy of the assembled patrons.
True to this approach, the pair have embarked upon the recording of their debut album with a similar exploratory impetus. In a studio without a physical audience to confront, the questions are suddenly quite different: how does one create a definitive recorded music initially rooted in improvisation, how is that recording then listened to and understood, and, without the spectacle of performance, how is it possible to work with the sense of hearing alone. Unsurprisingly, the music of High Tide is significantly different to that of an Able Noise live set. Minimalism has been traded for a detail-oriented approach, the limitations of two sets of hands suddenly lifted by the possibilities of multi-tracked thinking, post-production and various processing techniques. Real-time gives way to fragmentation, distortion and dilation, and the shift is notable - High Tide is a woozy and often disorientating listen that plays quick and easy with conventional notions of structure, at once both centreless and impressionistic, yet somehow guided by an imagined formless space.
Reliant much less on their own capabilities - and limitations! - as musicians, Knegtel and Andropoulos heartily invited the contributions of friends from both their local Athenian music community and those made while playing the UK, with the important disclaimer given that anything played during the recording session will not sound the same once on record. The result is duos, trios, quartets and sextets playing in different experiences of time, and on dynamic scales vastly different from one another, brought to equal footing.
Critically, the wholesomeness of their creative communion belies the darker theme of inertia that the pair acknowledge runs throughout the album, a sense of bodies of very different weights and momentums existing alongside each other, either adapting to or clashing with one another. In short, the outside world can’t help but seep in, even as you create within your own hermetic universe - the feeling of hopelessness amidst endless political and social strife, obsolescence in the face of technological development, time’s inexorable march. These are things we’ve all felt, and while High Tide, like much before it, doesn’t provide any definitive resolution for these challenges, it does present its own set of unique possibilities written in the shared language of its creators.
The shift to a studio environment was a significant one, since Able Noise was primarily conceived as a live band, thinking of and writing for the live concert experience specifically. Consider their practice an Active Performance of sorts, one that seeks to challenge understandings of the medium of the live arena, how its properties and limitations can be addressed creatively, and the dialogical relationship between performer and the audience. Those who have caught them live will have witnessed very physical yet malleable performances, shaped each time by the context at hand, be that the time of day, the acoustic properties of the space, and the shared energy of the assembled patrons.
True to this approach, the pair have embarked upon the recording of their debut album with a similar exploratory impetus. In a studio without a physical audience to confront, the questions are suddenly quite different: how does one create a definitive recorded music initially rooted in improvisation, how is that recording then listened to and understood, and, without the spectacle of performance, how is it possible to work with the sense of hearing alone. Unsurprisingly, the music of High Tide is significantly different to that of an Able Noise live set. Minimalism has been traded for a detail-oriented approach, the limitations of two sets of hands suddenly lifted by the possibilities of multi-tracked thinking, post-production and various processing techniques. Real-time gives way to fragmentation, distortion and dilation, and the shift is notable - High Tide is a woozy and often disorientating listen that plays quick and easy with conventional notions of structure, at once both centreless and impressionistic, yet somehow guided by an imagined formless space.
Reliant much less on their own capabilities - and limitations! - as musicians, Knegtel and Andropoulos heartily invited the contributions of friends from both their local Athenian music community and those made while playing the UK, with the important disclaimer given that anything played during the recording session will not sound the same once on record. The result is duos, trios, quartets and sextets playing in different experiences of time, and on dynamic scales vastly different from one another, brought to equal footing.
Critically, the wholesomeness of their creative communion belies the darker theme of inertia that the pair acknowledge runs throughout the album, a sense of bodies of very different weights and momentums existing alongside each other, either adapting to or clashing with one another. In short, the outside world can’t help but seep in, even as you create within your own hermetic universe - the feeling of hopelessness amidst endless political and social strife, obsolescence in the face of technological development, time’s inexorable march. These are things we’ve all felt, and while High Tide, like much before it, doesn’t provide any definitive resolution for these challenges, it does present its own set of unique possibilities written in the shared language of its creators.
TRACK LISTING
To Appease
Crickets
Providence
Boycott
Tumbling
Inertia
Ceaseless Sun
Garden
To Two
Violence
‘Between The Walls’ is the third album by About Group - Charles Hayward (This Heat, Camberwell Now), John Coxon (Spring Heel Jack, Spiritualized), Pat Thomas (has played with Derek Bailey, Tony Oxley), Alexis Taylor (Hot Chip).
Alexis Taylor: “I think the excitement of making music is what I can hear in this record. John’s guitars on ‘Love Because' make me think of buzzing flies swinging wildly around the musical centre of the situation. That the centre is unstable as no one knows what song I am playing, makes me think of the controlled chaos of ‘Like Flies On Sherbert’ or a Cramps record, but ours sounds like it is playing at half speed.”
Alexis Taylor: “I think the excitement of making music is what I can hear in this record. John’s guitars on ‘Love Because' make me think of buzzing flies swinging wildly around the musical centre of the situation. That the centre is unstable as no one knows what song I am playing, makes me think of the controlled chaos of ‘Like Flies On Sherbert’ or a Cramps record, but ours sounds like it is playing at half speed.”
In contrast to its ethereal title, Ben Abraham’s ‘Sirens’ is deeply human. Its songs were written over the artist’s developing years as a writer and the album has become a kind of musical documentary of the loss, longing and growth that carried Abraham from his very first lyric to this, his first album.
Abraham first found his voice writing songs whilst working in a hospital. Eight years on, he’s made an album, toured with Emmylou Harris, co-written with Grammy-nominated singer Sarah Barreilles and made ‘Sirens’, his debut album.
Originally self-released in Australia, ‘Sirens’ is now receiving a worldwide release via Secretly Canadian.
Ben recorded ‘Sirens’ with two local friends, Jono Steer (who was his live mixer) and percussionist Leigh Fisher. A number of other Melbourne musicians joined in on sessions, including Gossling, whose angelic voice can be heard in the opening track. Gotye helped produce the haunting vocals on ‘Speak’, while ‘experimental electronic producer’ Tim Shiel assisted on ‘This Is On Me’.
‘This Is On Me’, co-written / sung with platinum-selling artist Sara Bareilles, has its own story. After Abraham posted a song (‘To Sara, From Ben’) on YouTube, Bareilles’ fans began to tweet the video and it grabbed her attention. When she played Melbourne in 2011, she invited Abraham up on stage to co-sing a cover of Bruce Springsteen’s ‘I’m On Fire’ and an original co-write was subsequently born.
Abraham first found his voice writing songs whilst working in a hospital. Eight years on, he’s made an album, toured with Emmylou Harris, co-written with Grammy-nominated singer Sarah Barreilles and made ‘Sirens’, his debut album.
Originally self-released in Australia, ‘Sirens’ is now receiving a worldwide release via Secretly Canadian.
Ben recorded ‘Sirens’ with two local friends, Jono Steer (who was his live mixer) and percussionist Leigh Fisher. A number of other Melbourne musicians joined in on sessions, including Gossling, whose angelic voice can be heard in the opening track. Gotye helped produce the haunting vocals on ‘Speak’, while ‘experimental electronic producer’ Tim Shiel assisted on ‘This Is On Me’.
‘This Is On Me’, co-written / sung with platinum-selling artist Sara Bareilles, has its own story. After Abraham posted a song (‘To Sara, From Ben’) on YouTube, Bareilles’ fans began to tweet the video and it grabbed her attention. When she played Melbourne in 2011, she invited Abraham up on stage to co-sing a cover of Bruce Springsteen’s ‘I’m On Fire’ and an original co-write was subsequently born.
TRACK LISTING
Sirens
Time
I Belong To You
She
You And Me
Collide
To Love Someone
Home
This Is On Me
Speak
Somebody’s Mother
Songbird
A Silent Prayer
Unique recording of this unique constellation of musicians. Featuring pianist Chris Abrahams of cult jazz band THE NECKS, guitar and experimental maverick Oren Ambarchi, and percussion experimentalist Robbie Avenaim.
Polymath Oren Ambarchi has a celebrated release career with a devoted new music following, his last solo album “Schebang” on Drag City ended on many 2022 top ten lists including The Wire, along with being listed in Pitchfork 50 Best Albums of the year.
Following nearly 20 years of working together as a trio, and numerous cross-collaborations in different configuration between them, Ideologic Organ presents Placelessness, the debut full-length by Chris Abrahams, Oren Ambarchi, and Robbie Avenaim, comprising two long-form works at juncture of ambient music, minimalism, rigorous experimentalism and improvisation, and machine music.
Having carved distinct pathways across a diverse number of musical idioms for decades, Chris Abrahams, Oren Ambarchi, and Robbie Avenaim are each, respectively, among the most noteworthy and groundbreaking figures to have emerged from Australia’s thriving experimental music scene. Ambarchi and Avenaim first encountered Abrahams when seeing the Necks - the project that has served as the primary vehicle for his singular approach to the piano since its founding in 1987 together during the late 1980s, not long after having met in Sydney’s underground music community. The pair’s collaborations date back more than 35 years, criss-crossing Ambarchi’s pioneering solo and ensemble work for guitar and Avenaim’s visionary efforts for SARPS (Semi Automated Robotic Percussion System), robotic and kinetic extensions to his drum kit.
In 2004, fate brought the three together in a trio performance at the What Is Music? Festival, the annual touring showcase of experimental music founded and run by Ambarchi and Avenaim between 1994-2012. For the nearly two decades since, Abrahams, Ambarchi, and Avenaim have intermittently reformed in exclusively live contexts, in Australia and abroad, cultivating and refining the fertile ground first tilled in that early meeting. Placelessness is the first album to present this remarkable trio’s efforts in recorded form.
Placelessness is the joining of three highly individualised streams, working in perfect harmony; the point at which friendship, mutual respect, and decades of creative exploration produce a singular spectrum of sound. Featuring Abrahams on piano, Ambarchi on guitar, and Avenaim on drums, the album’s two sides draw on each artist’s enduring dedication to long-form composition. Its two pieces, Placelessness I and Placelessness II, initially began as a single, 40 minute work, before being divided and reworked into distinct, complimentary gestures for the corresponding sides of the LP.
Beginning with restrained clusters of reverberant piano tones, Placelessness I progresses at an almost glacial pace, with Abrahams’ interventions increasing met by sparse responses, darting within vast ambiences, on guitar and percussion by Ambarchi and Avenaim. Remarkably conversational within its convergences of tonal, rhythmic, and textural abstraction, over the work’s duration a progressive sense of tension unfurls and contracts, refusing release, as each of the ensemble’s members contribute to an increasingly tangled sense of density at its resolve.
While an entirely autonomous work, Placelessness II rapidly realises a distillation of the energy hinted at across the length of its predecessor. Following a luring passage of harmonious calm, Abrahams’ launches into shimmering lines of repeating arpeggios, complimented at each escalation of tempo by Avenaim’s machine gun fire percussion work and Ambarchi’s masterful delivery of tonality and texture, as the trio collectively generate dense sheets of pointillistic ambience within which individual identity is almost lost, before slowly unspooling into unexpected abstractions and dissonances that deftly intervene with the work’s inner logic and calm.
What could easily be termed a maximalist take on Minimalism, Placelessness is a masterstroke of contemporary, real time composition, that blurs the boundaries between ambient music, experimentalism, free improvisation, and machine music. Drawing on Chris Abrahams, Oren Ambarchi, and Robbie Avenaim’s decades of respective solo and collaborative practice, and the culmination of nearly twenty years of working together as a trio, it’s two durational pieces - Placelessness I and Placelessness II - take form with a startling sense of effortlessness and grace, neither shying away from explicit beauty or rigorously tension within their forms.
Polymath Oren Ambarchi has a celebrated release career with a devoted new music following, his last solo album “Schebang” on Drag City ended on many 2022 top ten lists including The Wire, along with being listed in Pitchfork 50 Best Albums of the year.
Following nearly 20 years of working together as a trio, and numerous cross-collaborations in different configuration between them, Ideologic Organ presents Placelessness, the debut full-length by Chris Abrahams, Oren Ambarchi, and Robbie Avenaim, comprising two long-form works at juncture of ambient music, minimalism, rigorous experimentalism and improvisation, and machine music.
Having carved distinct pathways across a diverse number of musical idioms for decades, Chris Abrahams, Oren Ambarchi, and Robbie Avenaim are each, respectively, among the most noteworthy and groundbreaking figures to have emerged from Australia’s thriving experimental music scene. Ambarchi and Avenaim first encountered Abrahams when seeing the Necks - the project that has served as the primary vehicle for his singular approach to the piano since its founding in 1987 together during the late 1980s, not long after having met in Sydney’s underground music community. The pair’s collaborations date back more than 35 years, criss-crossing Ambarchi’s pioneering solo and ensemble work for guitar and Avenaim’s visionary efforts for SARPS (Semi Automated Robotic Percussion System), robotic and kinetic extensions to his drum kit.
In 2004, fate brought the three together in a trio performance at the What Is Music? Festival, the annual touring showcase of experimental music founded and run by Ambarchi and Avenaim between 1994-2012. For the nearly two decades since, Abrahams, Ambarchi, and Avenaim have intermittently reformed in exclusively live contexts, in Australia and abroad, cultivating and refining the fertile ground first tilled in that early meeting. Placelessness is the first album to present this remarkable trio’s efforts in recorded form.
Placelessness is the joining of three highly individualised streams, working in perfect harmony; the point at which friendship, mutual respect, and decades of creative exploration produce a singular spectrum of sound. Featuring Abrahams on piano, Ambarchi on guitar, and Avenaim on drums, the album’s two sides draw on each artist’s enduring dedication to long-form composition. Its two pieces, Placelessness I and Placelessness II, initially began as a single, 40 minute work, before being divided and reworked into distinct, complimentary gestures for the corresponding sides of the LP.
Beginning with restrained clusters of reverberant piano tones, Placelessness I progresses at an almost glacial pace, with Abrahams’ interventions increasing met by sparse responses, darting within vast ambiences, on guitar and percussion by Ambarchi and Avenaim. Remarkably conversational within its convergences of tonal, rhythmic, and textural abstraction, over the work’s duration a progressive sense of tension unfurls and contracts, refusing release, as each of the ensemble’s members contribute to an increasingly tangled sense of density at its resolve.
While an entirely autonomous work, Placelessness II rapidly realises a distillation of the energy hinted at across the length of its predecessor. Following a luring passage of harmonious calm, Abrahams’ launches into shimmering lines of repeating arpeggios, complimented at each escalation of tempo by Avenaim’s machine gun fire percussion work and Ambarchi’s masterful delivery of tonality and texture, as the trio collectively generate dense sheets of pointillistic ambience within which individual identity is almost lost, before slowly unspooling into unexpected abstractions and dissonances that deftly intervene with the work’s inner logic and calm.
What could easily be termed a maximalist take on Minimalism, Placelessness is a masterstroke of contemporary, real time composition, that blurs the boundaries between ambient music, experimentalism, free improvisation, and machine music. Drawing on Chris Abrahams, Oren Ambarchi, and Robbie Avenaim’s decades of respective solo and collaborative practice, and the culmination of nearly twenty years of working together as a trio, it’s two durational pieces - Placelessness I and Placelessness II - take form with a startling sense of effortlessness and grace, neither shying away from explicit beauty or rigorously tension within their forms.
TRACK LISTING
01 Placelessness I 18:28
02 Placelessness II 20:42
Rudolf Abramov is taking a step in a different direction from his last release on Höga Nord Rekords. This 7” contains the works of deep mining in an old hard drive during the introversion of the pandemic quarantine. These two gems have been given a bit of tasteful polishing before reaching the point of release and the result is a punk meets stoner rock experience propelled by hard sequencers and drum machines.
This record is as English / Irish as you find em: straight forward instrumentation and lyrical performance presented with a dirty and rough production. The beats are stripped with an edgy punch and the synthesizers are overdriven, giving them guitar like qualities.
The “Paracetamol / Clonex” 7” is a release of covid demons, and the sound of spitting out the bitter taste of isolation, or to use his own words: ‘On this 7" you will find absurd and desperate lyrics accompanied by heavy English and Irish accents, driven robotic drum machines, dirty synths, crunching bass, and as unpolished as your dad's old Angle grinder.’
This record is as English / Irish as you find em: straight forward instrumentation and lyrical performance presented with a dirty and rough production. The beats are stripped with an edgy punch and the synthesizers are overdriven, giving them guitar like qualities.
The “Paracetamol / Clonex” 7” is a release of covid demons, and the sound of spitting out the bitter taste of isolation, or to use his own words: ‘On this 7" you will find absurd and desperate lyrics accompanied by heavy English and Irish accents, driven robotic drum machines, dirty synths, crunching bass, and as unpolished as your dad's old Angle grinder.’
STAFF COMMENTS
Matt says: One of the shining lights of the underground, Höga Nord Rekords, continues to usher in a crucial roster of artists eschewing music trends and Instagram stardom for a dark, nocturnal, gothy inspired sound all of their own. Equally at home in the rock club or warehouse; this is uncompromising music strictly for those who like it strange!TRACK LISTING
A. Paracetamol Feat. Matthew Johnson
B. Clonex Feat. Brendan Cleary
Carolina Faruolo (ex-Los Bitchos) and Danny Lee Blackwell (Night Beats) had been friends and mutual admirers of each other’s musical projects for years, though with Faruolo residing in the UK and Blackwell residing in Texas, their interactions were limited. Yet as was so often the case for many of us during the shelter-in-place stretches of 2020, geographic proximity wound up being a non-issue as our socializations became almost exclusively online endeavors. In this era of isolation and uncertainty, Faruolo and Blackwell invented their own private escape to Latin rhythms, colorful vistas, and smoky revelries under the project name of Abraxas. Combining their shared love of Wendy Renee, Los Destellos, doo-wop and R&B, they crafted their debut album Monte Carlo by bouncing ideas across the Atlantic.
“Planet Abraxas is a world filled with jungles, mist-covered rivers, panthers lurking in the night, desolate shopping malls, Neolithic citadels and sand-worn walls,” Blackwell says of the muse behind Monte Carlo. “The nights are usually dense with fog and the air is filled with the sounds of cicadas and faraway drumming.” This visual manifestation of their sound stands in stark contrast to the environment in which the songs were written. “I remember the feeling I got the first time Danny added vocals to one of my tracks,” Faruolo recalls. “I was sitting on my sofa in rainy Manchester in the middle of winter. I pressed play and the song just made my heart jump. It instantly felt special and, more importantly, it felt like a perfect portrait of both of us.”
Uruguayan-born Faruolo grew up with the tropical beats of cumbia and the psychedelic flavor of classic chicha artists, and it became her mission to infuse those sunny influences in her work as a UK musician. Blackwell’s work under the Night Beats handle involves the fusion of outlaw soul and R&B with a resourceful DIY spirit. Despite the apparent contrast in their styles, the two musicians bonded over their reverence for Selena and Sade, exemplars of the humid pulse and sultry spirit of their respective approaches. As Abraxas, their distinctive musical perspectives created a sound that encompassed the tropicalia of Os Mutantes, the scrappy songwriting of Cleaners From Venus, and the trippy production of Lee “Scratch” Perry, though the duo is quick to assert that they were finding their own distinctive voices rather than adhering to pre-existing stylistic codes and constraints. And indeed, Monte Carlo feels rooted in tradition but blossoms into its own unique timbres and vibrations.
Monte Carlo opens with “Sunrise State (of Mind),” where a hypnotic cumbia beat serves as the bedrock for cosmic guitar leads, hazy choral melodies, and Blackwell’s seductive vocals. From there, the album continues its steady Latin pulse on “Mañana,” a perfect soundtrack to feverish nights in dancehalls, sipping on caipirinhas and sharing cigarettes with strangers on the dancefloor. Across its twelve tracks, Monte Carlo unfurls a myriad of exotic influences, from the Eastern melodies and guitar trills on “Sultan,” through the dub-inflected stomp and scorching fuzz of “La Estampida,” and on to the Anatolian psych-funk of album closer “Göbekli Tepe.”
Blackwell recorded his contributions with the assistance of engineer Chris Maciel at his studio the 22nd Dimension in Pomona, California and Faruolo recorded her parts in Manchester, England at Brunswick Mill. While Abraxas conceived their material in bedrooms and studios six timezones apart, the music on Monte Carlo sounds like a live band in the throes of an ecstatic performance. And Abraxas plans to make the live incarnation of the band a reality when conditions allow for it. Until then, listeners can bask in the invented world of Abraxas and all its exotic and enticing splendor across the twelve tracks of Monte Carlo. Suicide Squeeze Records is proud to present Monte Carlo to the world later in 2022 on digital and vinyl formats.
“Planet Abraxas is a world filled with jungles, mist-covered rivers, panthers lurking in the night, desolate shopping malls, Neolithic citadels and sand-worn walls,” Blackwell says of the muse behind Monte Carlo. “The nights are usually dense with fog and the air is filled with the sounds of cicadas and faraway drumming.” This visual manifestation of their sound stands in stark contrast to the environment in which the songs were written. “I remember the feeling I got the first time Danny added vocals to one of my tracks,” Faruolo recalls. “I was sitting on my sofa in rainy Manchester in the middle of winter. I pressed play and the song just made my heart jump. It instantly felt special and, more importantly, it felt like a perfect portrait of both of us.”
Uruguayan-born Faruolo grew up with the tropical beats of cumbia and the psychedelic flavor of classic chicha artists, and it became her mission to infuse those sunny influences in her work as a UK musician. Blackwell’s work under the Night Beats handle involves the fusion of outlaw soul and R&B with a resourceful DIY spirit. Despite the apparent contrast in their styles, the two musicians bonded over their reverence for Selena and Sade, exemplars of the humid pulse and sultry spirit of their respective approaches. As Abraxas, their distinctive musical perspectives created a sound that encompassed the tropicalia of Os Mutantes, the scrappy songwriting of Cleaners From Venus, and the trippy production of Lee “Scratch” Perry, though the duo is quick to assert that they were finding their own distinctive voices rather than adhering to pre-existing stylistic codes and constraints. And indeed, Monte Carlo feels rooted in tradition but blossoms into its own unique timbres and vibrations.
Monte Carlo opens with “Sunrise State (of Mind),” where a hypnotic cumbia beat serves as the bedrock for cosmic guitar leads, hazy choral melodies, and Blackwell’s seductive vocals. From there, the album continues its steady Latin pulse on “Mañana,” a perfect soundtrack to feverish nights in dancehalls, sipping on caipirinhas and sharing cigarettes with strangers on the dancefloor. Across its twelve tracks, Monte Carlo unfurls a myriad of exotic influences, from the Eastern melodies and guitar trills on “Sultan,” through the dub-inflected stomp and scorching fuzz of “La Estampida,” and on to the Anatolian psych-funk of album closer “Göbekli Tepe.”
Blackwell recorded his contributions with the assistance of engineer Chris Maciel at his studio the 22nd Dimension in Pomona, California and Faruolo recorded her parts in Manchester, England at Brunswick Mill. While Abraxas conceived their material in bedrooms and studios six timezones apart, the music on Monte Carlo sounds like a live band in the throes of an ecstatic performance. And Abraxas plans to make the live incarnation of the band a reality when conditions allow for it. Until then, listeners can bask in the invented world of Abraxas and all its exotic and enticing splendor across the twelve tracks of Monte Carlo. Suicide Squeeze Records is proud to present Monte Carlo to the world later in 2022 on digital and vinyl formats.
TRACK LISTING
Side A
1. Sunrise State (Of Mind)
2. Mañana
3. Sultan
4. Monte Carlo
5. La Estampida
6. Hourglass
Side B
1. Prismatic
2. Yes
3. Golden
4. Fuji
5. Shapeshifter
6. Göbekli Tepe
Melancholic, poignant and witty, Absentee's debut mini album offers a peepshow view of their world. Equal parts humorous, tragic, dour and dirty, "Donkey Stock" is a rich, confident debut. While Dan Michealson's distinctive drawl tells tales of love gone sour and awkward sex, the band lilt and lunge with genuine passion. For reference think Smog at their most tuneful or Leonard Cohen on happy pills backed by The Velvet Underground.
Recently championed by Gilles Peterson on his BBC6 Music radio show, "Dilla" by Abstract Orchestra has been generating a buzz since it's inception in 2016.
Led by Saxophonist Rob Mitchell, Abstract Orchestra seeks to reflect the diversity of music sampled by Hip-Hop producers by presenting music that has the complexity of jazz, framed within the simpler structures of Hip-Hop.
Inspired by the legendary live performances of The Roots with Jay-Z and the 40 piece orchestral arrangements by Miguel-Atwood Ferguson of the work of J Dilla. The band itself is based on the classic jazz big band instrumentation of sax, trumpet and trombone and features the cream of the north of England's jazz scene.
"Dilla" by Abstract Orchestra is a tribute to the work of the highly acclaimed and influential producer. Opener "Welcome to Detroit/The Diary" takes the the vocal sample from Isaac Hayes's "Man's Temptation" and places it against lush brass and driving beats while "Workinonit" transplants the original 10cc guitar samples from the Dilla original onto biting trumpets and aggressive saxes, underpinned as always by Joost Hendrickx's on point drumming. On "Stop" vocalist Anna Uhuru handles the Dionne Warwick vocal with assurance while the band lay down an arrangement that is reminiscent of the work of David Axelrod and Don Sebeskey.
The middle of the album revolves around 2 Dilla medleys featuring versions and sections of"Airworks", "ULove", "Last Donut" and "Welcome To The Show"."Raw Shit" sees Farfisa organ underpinning the insistent brass figures with the bass taking on an almost bassoon-like quality while "Official/Fall In Love" sees Anna & Akin provide a stunning vocal performance, trading lines over the delicate horn arrangement. "Fantastic" features the Rhodes intro of the original which is then taken up by the flutes and baritone sax. Inspired by the work of 20th century classical composers like Barber and Copeland the 2nd half of the arrangement takes on an almost orchestral feel with shades of Gil Evans.
"Love","So Far To Go","A.N.G.E.L.", and "Sun In My Face" provide interesting takes on these well known Dilla originals while album closer "Two Can Win"(recently championed by Gilles Peterson on his BBC6 Music show) acts as a showcase for the variety of Anna Uhuru's vocals, blending the style of the original Sylvers track with Minnie Ripperton style harmonies, 70's funk and Lalo Schiffrin/JJ Johnson film score vibes.
Let's face it 'Donuts' is probably the best cut up album there is, so how can you not love this?! Awesome.
Led by Saxophonist Rob Mitchell, Abstract Orchestra seeks to reflect the diversity of music sampled by Hip-Hop producers by presenting music that has the complexity of jazz, framed within the simpler structures of Hip-Hop.
Inspired by the legendary live performances of The Roots with Jay-Z and the 40 piece orchestral arrangements by Miguel-Atwood Ferguson of the work of J Dilla. The band itself is based on the classic jazz big band instrumentation of sax, trumpet and trombone and features the cream of the north of England's jazz scene.
"Dilla" by Abstract Orchestra is a tribute to the work of the highly acclaimed and influential producer. Opener "Welcome to Detroit/The Diary" takes the the vocal sample from Isaac Hayes's "Man's Temptation" and places it against lush brass and driving beats while "Workinonit" transplants the original 10cc guitar samples from the Dilla original onto biting trumpets and aggressive saxes, underpinned as always by Joost Hendrickx's on point drumming. On "Stop" vocalist Anna Uhuru handles the Dionne Warwick vocal with assurance while the band lay down an arrangement that is reminiscent of the work of David Axelrod and Don Sebeskey.
The middle of the album revolves around 2 Dilla medleys featuring versions and sections of"Airworks", "ULove", "Last Donut" and "Welcome To The Show"."Raw Shit" sees Farfisa organ underpinning the insistent brass figures with the bass taking on an almost bassoon-like quality while "Official/Fall In Love" sees Anna & Akin provide a stunning vocal performance, trading lines over the delicate horn arrangement. "Fantastic" features the Rhodes intro of the original which is then taken up by the flutes and baritone sax. Inspired by the work of 20th century classical composers like Barber and Copeland the 2nd half of the arrangement takes on an almost orchestral feel with shades of Gil Evans.
"Love","So Far To Go","A.N.G.E.L.", and "Sun In My Face" provide interesting takes on these well known Dilla originals while album closer "Two Can Win"(recently championed by Gilles Peterson on his BBC6 Music show) acts as a showcase for the variety of Anna Uhuru's vocals, blending the style of the original Sylvers track with Minnie Ripperton style harmonies, 70's funk and Lalo Schiffrin/JJ Johnson film score vibes.
Let's face it 'Donuts' is probably the best cut up album there is, so how can you not love this?! Awesome.
TRACK LISTING
Welcome To Detroit / The Diary
Workinonit
Stop
Dilla Mix 1
Dilla Mix 2
Raw Shit
Official / Fall In Love
Fantastic
Love
So Far To Go
A.N.G.E.L.
Love Jones
King
Sun In My Face
Two Can Win
AbuQadim Haqq
The Drexciyan Empire Presents A Drexicyan Duo Story (Featuring The Brothers Bounce) 'Mayhem In Mu!!'
Composed, produced and arranged by Evangelia VS, the artist behind Abyss X, ‘Freedom Doll’ is the culmination of a year of emotional unloading through songwriting, offering an introspective journey into the ocean of her mind. Produced andorded between an artist residency near the Mayan jungle in Mexico and her Berlin home, the album chronicles transformations the performer tackled mentally during the writing process, tracing the rollercoaster of falling in love during the pandemic, as well as the pleasures and tribulations of womanhood.
‘Freedom Doll’ encapsulates the romantic escapade between her voice and the guitar. The amalgamation of seduction, sexual tension, vulnerability and assertiveness pulses throughout the entirety of the album, spiraling out of the cracks spawned from her vocal chords. From the twirling dance between her lush harmonies and the progressions of the acoustic guitar in tracks such as ‘Ascend’ and ‘From Hot to Cold’, to the explosive confrontation between the metallic and operatic qualities of her voice, the searing sound of the electric guitar in industrial rock / psychedelic anthems such as ‘Torture Grove’ and ‘Banyana’ and the cathartic momentum found in the gospel inclined chants in ‘A CHEW’ - ‘Freedom Doll’ untethers the dramatics and theatricality that defines Abyss X’s vocal performance and music production, while maintaining the sensual vibrations of her creative essence.
‘Freedom Doll’ is the encapsulation of the Minoan woman, the elusive harlequin tiptoeing her way through the circus of terror that is living and loving her way through womanhood. With this visual reference, Abyss X pays tribute to her ancestors and their groundbreaking ancient artistry. The back cover of the vinyl features a reiteration of depictions of bulls leaping found in Minoan frescoes; an inherently male cultural act that in the ancient Minoan times presumably gave expression to a tension that underlies man's somewhat tenuous mastery of nature. ‘Freedom Doll’’s artwork challenges this preconceived notion through an eco-feminist approach, bringing the Minoan woman slash Gaia in the seat of the bull leaper, taming the unhinged and predominantly male earth - threatening human force.
‘Freedom Doll’ encapsulates the romantic escapade between her voice and the guitar. The amalgamation of seduction, sexual tension, vulnerability and assertiveness pulses throughout the entirety of the album, spiraling out of the cracks spawned from her vocal chords. From the twirling dance between her lush harmonies and the progressions of the acoustic guitar in tracks such as ‘Ascend’ and ‘From Hot to Cold’, to the explosive confrontation between the metallic and operatic qualities of her voice, the searing sound of the electric guitar in industrial rock / psychedelic anthems such as ‘Torture Grove’ and ‘Banyana’ and the cathartic momentum found in the gospel inclined chants in ‘A CHEW’ - ‘Freedom Doll’ untethers the dramatics and theatricality that defines Abyss X’s vocal performance and music production, while maintaining the sensual vibrations of her creative essence.
‘Freedom Doll’ is the encapsulation of the Minoan woman, the elusive harlequin tiptoeing her way through the circus of terror that is living and loving her way through womanhood. With this visual reference, Abyss X pays tribute to her ancestors and their groundbreaking ancient artistry. The back cover of the vinyl features a reiteration of depictions of bulls leaping found in Minoan frescoes; an inherently male cultural act that in the ancient Minoan times presumably gave expression to a tension that underlies man's somewhat tenuous mastery of nature. ‘Freedom Doll’’s artwork challenges this preconceived notion through an eco-feminist approach, bringing the Minoan woman slash Gaia in the seat of the bull leaper, taming the unhinged and predominantly male earth - threatening human force.
STAFF COMMENTS
Matt says: Another week another alluring and mystic synth-pop masterpiece from the outlying AD93 label. Abyss X has a yearning, pop sensibility which in my ears at least, has a little bit of Christine & The Queens about it. Not all the way through though - sometimes she dives down the industrial synth wormhole with completely contrasting results.TRACK LISTING
A1 - Ascend
A2 - A Chew
A3 - Torture Grove
A4 - Oceans Of Heat
A5 - Vacuum (feat. Juliana Huxtable)
B1 - From Hot To Cold
B2 - This Strange Asylum
B3 - Banyana
B4 - Feeling A Type Away
B5 - Never Apart (feat. Juliana Huxtable)
Reduced
The record opens up with the poisonous title-track 'Two Scorpios', where sharp analogue leads lean on a relentless disco-funk groove, thrusting us out straight against the sweaty walls of the Chicago's Muzic Box. The airy and enchanting spirals of 'Solenoid' create a detachment for a sonic trip through circling arpeggios and sparkles. On the flip side, we reconnect Abyssy to the Young Soulomon of early 90's by a warm and robotics 'Dusty House'. The mood turns definitely more freaky with 'Slomo Kid': sampling divertissement with a punkish flavour and emphatic rhythmics, it is the perfect tune to shake down the whole ball of wax.
TRACK LISTING
A1: Two Scorpios
A2: Solenoid
B1: Young Soulomon
B2: Slomo Kid
Dave Lee's "AC Soul Symphony" alias has been releasing delectable and sultry disco since 2005 but reached his magnus opus in 2023 with the release of the "Metamorphosis" LP. Here we find two tracks handpicked from the album and delivered, for the first time, in a 7" format. The single starts much as the album does with the track "Windy City Theme", beautifully scored, recorded, and produced legato strings envelope the track, punctuated with horns and vocals reminiscent of a Love Unlimited Orchestra production. This version of the track has been rearranged, speeding up the pacing of the track and reaching the juicy parts in a really satisfying way. On the flip side we have the title track from the album "Metamorphosis", which is the first time the vocal version has been made available on Vinyl. A bass laden intro gives ways to glistening pianos and those signature strings (have we mentioned how good the strings are?). A more laid back and seductive track than the A side, but no less appealing. Again, due to the limitations of the 7" format, "Metamorphosis" has been expertly rearranged with loving care and attention.
STAFF COMMENTS
Mine says: As disco as disco gets (and therefore not for everyone) - but with a b-side like this who can possibly resist? Metamorphosis with its catchy motif and sultry vocals has me well and truly hooked.TRACK LISTING
Windy City Theme
Metamorphosis
Three standout tracks from Dave Lee's 2023 album Metamorphosis - which he dropped under his AC Soul Symphony alias - now get pulled apart and reworked by the one and only Dub-disco king Ray Mang. First comes 'It's Got To Be Love' with its super funky and bubbly bass and lush string elegance, then he flips 'Tradewinds' into a deeper, still lush and lavish instrumental disco gem that is seductive and warm for the winter months. Last but not least, 'K-Jee' brings an infectious groove to the dance floor with a little more percussive energy and upbeat bounce - but again swooning strings are the icing on the cake. All three of these are classy and sophisticated reworks from the one and only Mang.
TRACK LISTING
It's Got To Be Love (Ray Mang Remix)
Tradewinds (Ray Mang Remix)
K-Jee (Ray Mang Remix)
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, Columbia/Sony Legacy proudly announce that the band’s catalogue will be available as gold-coloured vinyl LPs. Each of these limited edition LPscomes with an album-specific 12”x12” print featuring newAC/DC 50 artwork,suitable for framing.
First released in 1984, 74 Jailbreak includes tracks that had only been available in their native Australia. The songs recorded in 1974 and 1976, including the classic title track Jailbreak.
First released in 1984, 74 Jailbreak includes tracks that had only been available in their native Australia. The songs recorded in 1974 and 1976, including the classic title track Jailbreak.
Back In Black features ‘You Shook Me All Night Long’, ‘Shoot To Thrill’ and the iconic title track. It is the ‘best-selling studio album of all time by a band’.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, the band’s catalogue will be available as gold coloured vinyl LPs. Each of these limited edition LPs comes with an album-specific 12”x12” print featuring new AC/DC 50 artwork, suitable for framing.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, the band’s catalogue will be available as gold coloured vinyl LPs. Each of these limited edition LPs comes with an album-specific 12”x12” print featuring new AC/DC 50 artwork, suitable for framing.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, Columbia/Sony Legacy proudly announce that the band’s catalogue will be available as gold-coloured vinyl LPs. Each of these limited edition LPscomes with an album-specific 12”x12” print featuring newAC/DC 50 artwork,suitable for framing.
This album, released in 1995, saw the band working with producer Rick Rubin for the second time, the first was the single ‘Big Gun’ taken from the soundtrack of the movie The Last Action Hero.
This album, released in 1995, saw the band working with producer Rick Rubin for the second time, the first was the single ‘Big Gun’ taken from the soundtrack of the movie The Last Action Hero.
Dirty Deeds Done Cheap was initially unavailable in the U.S. for five years, the album eventually rose to #3 on the Billboard chart, selling over 6,000,000 copies.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, the band’s catalogue will be available as gold coloured vinyl LPs. Each of these limited edition LPs comes with an album-specific 12”x12” print featuring new AC/DC 50 artwork, suitable for framing.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, the band’s catalogue will be available as gold coloured vinyl LPs. Each of these limited edition LPs comes with an album-specific 12”x12” print featuring new AC/DC 50 artwork, suitable for framing.
The iconic cover of For Those About To Rock (We Salute You) features a ‘Twelve-Pound Cannon’ from the 19th Century. The band still incorporate cannons into their live set to deafening effect.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, the band’s catalogue will be available as gold coloured vinyl LPs. Each of these limited edition LPs comes with an album-specific 12”x12” print featuring new AC/DC 50 artwork, suitable for framing.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, the band’s catalogue will be available as gold coloured vinyl LPs. Each of these limited edition LPs comes with an album-specific 12”x12” print featuring new AC/DC 50 artwork, suitable for framing.
The band’s international debut album High Voltage included tracks from their first two Australian albums.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, the band’s catalogue will be available as gold coloured vinyl LPs. Each of these limited edition LPs comes with an album-specific 12”x12” print featuring new AC/DC 50 artwork, suitable for framing.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, the band’s catalogue will be available as gold coloured vinyl LPs. Each of these limited edition LPs comes with an album-specific 12”x12” print featuring new AC/DC 50 artwork, suitable for framing.
Highway To Hell was originally released in 1980 and was AC/DC’s first hit album in the US.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, the band’s catalogue will be available as gold coloured vinyl LPs. Each of these limited edition LPs comes with an album-specific 12”x12” print featuring new AC/DC 50 artwork, suitable for framing.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, the band’s catalogue will be available as gold coloured vinyl LPs. Each of these limited edition LPs comes with an album-specific 12”x12” print featuring new AC/DC 50 artwork, suitable for framing.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, Columbia/Sony Legacy proudly announce that the band’s catalogue will be available as gold-coloured vinyl LPs. Each of these limited edition LPscomes with an album-specific 12”x12” print featuring newAC/DC 50 artwork,suitable for framing.
AC/DC’s first live album, released in the Autumn of 1978, features tracks recorded at the Glasgow Apollo in Scotland earlier that year. The album is regularly held up as one of rock and roll’s greatest live recordings.
AC/DC’s first live album, released in the Autumn of 1978, features tracks recorded at the Glasgow Apollo in Scotland earlier that year. The album is regularly held up as one of rock and roll’s greatest live recordings.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, Columbia/Sony Legacy proudly announce that the band’s catalogue will be available as gold-coloured vinyl LPs. Each of these limited edition LPscomes with an album-specific 12”x12” print featuring newAC/DC 50 artwork,suitable for framing.
Initially released in Australia in March 1977, a modified international version featuring the first appearance of the iconic AC/DC logo was unleashed that Summer. It’s said that while recording the solo on the title track, Angus’s amp overheated and caught fire!
Initially released in Australia in March 1977, a modified international version featuring the first appearance of the iconic AC/DC logo was unleashed that Summer. It’s said that while recording the solo on the title track, Angus’s amp overheated and caught fire!
1991’s double live album Live was recorded at Donnington Park and Birmingham in the UK, Edmonton in Canada and Moscow.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, the band’s catalogue will be available as gold coloured vinyl LPs. Each of these limited edition LPs comes with an album-specific 12”x12” print featuring new AC/DC 50 artwork, suitable for framing.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, the band’s catalogue will be available as gold coloured vinyl LPs. Each of these limited edition LPs comes with an album-specific 12”x12” print featuring new AC/DC 50 artwork, suitable for framing.
The classic 1976 album Powerage contains the single ‘Rock And Roll Damnation’, the band’s first European hit.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, the band’s catalogue will be available as gold coloured vinyl LPs. Each of these limited edition LPs comes with an album-specific 12”x12” print featuring new AC/DC 50 artwork, suitable for framing.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, the band’s catalogue will be available as gold coloured vinyl LPs. Each of these limited edition LPs comes with an album-specific 12”x12” print featuring new AC/DC 50 artwork, suitable for framing.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, Columbia/Sony Legacy proudly announce that the band’s catalogue will be available as gold-coloured vinyl LPs. Each of these limited edition LPscomes with an album-specific 12”x12” print featuring newAC/DC 50 artwork,suitable for framing
This 2014 album was the first to feature Stevie Young, Angus & Malcolm’s nephew, on rhythm guitar. The album entered the charts at #1 in 12 countries and was top 5 in a further 12.
This 2014 album was the first to feature Stevie Young, Angus & Malcolm’s nephew, on rhythm guitar. The album entered the charts at #1 in 12 countries and was top 5 in a further 12.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, Columbia/Sony Legacy proudly announce that the band’s catalogue will be available as gold-coloured vinyl LPs. Each of these limited edition LPscomes with an album-specific 12”x12” print featuring newAC/DC 50 artwork,suitable for framing.
Issued in 2000, the album saw the band reunite with Angus and Malcolm’s older brother George Young on production duties for the first time in over a decade. The album cover features a bronze statue of Angus Young.For the accompanying tour, a replica stood 40 feet high.
Issued in 2000, the album saw the band reunite with Angus and Malcolm’s older brother George Young on production duties for the first time in over a decade. The album cover features a bronze statue of Angus Young.For the accompanying tour, a replica stood 40 feet high.
The Razors Edge features the classic single ‘Thunderstruck’, the video for which has been viewed over a billion times on YouTube.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, the band’s catalogue will be available as gold coloured vinyl LPs. Each of these limited edition LPs comes with an album-specific 12”x12” print featuring new AC/DC 50 artwork, suitable for framing.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, the band’s catalogue will be available as gold coloured vinyl LPs. Each of these limited edition LPs comes with an album-specific 12”x12” print featuring new AC/DC 50 artwork, suitable for framing.
Who Made Who - AC/DC provided the songs for the soundtrack for Stephen King’s movie ‘Maximum Overdrive’, which included three brand new tracks including the hit title track.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, the band’s catalogue will be available as gold coloured vinyl LPs. Each of these limited edition LPs comes with an album-specific 12”x12” print featuring new AC/DC 50 artwork, suitable for framing.
To honour AC/DC’s 50-year reign as the world’s greatest rock and roll band, the band’s catalogue will be available as gold coloured vinyl LPs. Each of these limited edition LPs comes with an album-specific 12”x12” print featuring new AC/DC 50 artwork, suitable for framing.
Irish indie rock band The Academic are very excited to announce details of their new album, “Sitting Pretty” . The album was produced by Nick Hodgson at Snap Studios in London. Sitting Pretty is an album about navigating life in your 20s; the uncertainties and the ever-shifting sense of self. “It’s about the entrance into true adulthood and how that can alienate you from yourself, making you feel like you’re playing a supporting role in your own life,” the band explain. “In one moment feeling 100% certain about everything, only to become overwhelmed with feelings of aimlessness and lack of direction in the next.”
Acc-sees Pro Vinyl
Anti-static Record Cleaning Cloth
Originally released on vinyl in 1993 via Hut Recordings (UK), Acetone's debut album is now available in an expanded 2LP format and packaged in a gatefold - The is the first pressing in over 30 years.
STAFF COMMENTS
Laura says: Originally released in the UK in 1993 on the long defunct Hut Recordings, everyone at the shop instantly fell in love with this album. Velvets infused slacker rock interspersed with shimmering, Americana tinged melancholy. Amazing!TRACK LISTING
Come On
Pinch
Sundown
Chills
Endless Summer
Louise
Don't Cry
No Need Swim
Barefoot On Sunday
Originally released in 1995 on Vernon Yard Recording - If You Only Knew
is now available for the first time on vinyl - New West Records is proud to
present this record pressed across two LPs and packaged in a full color
gatefold.
is now available for the first time on vinyl - New West Records is proud to
present this record pressed across two LPs and packaged in a full color
gatefold.
STAFF COMMENTS
Laura says: Another classic from Acetone and the first time ever on vinyl for this one.TRACK LISTING
If You Only Knew
I Don't Really Care
In The Light
I've Enjoyed As Much Of This As I Can Stand
The Final Say
When You're Gone
Hound Dog
99 / What I See
Nothing At All
Esque
Always Late
Originally released in 2000 on Vapor Records - York Blvd was Acetones last record that they recorded - New West Records is proud to present this reissue with an expanded audio format pressed across two LPs and packaged in a full color gatefold
STAFF COMMENTS
Andy says: Simply wonderful laid back rock with irresistible guitar lines weaving melodies under cool vocal harmonies. Mark Lightcap, Richie Lee and Steve Hadley have recorded a perfect album - steel pedal guitar and Hammond organ add to the rich mix. Previously only available on import, this is a long-time Piccadilly favourite.TRACK LISTING
Things Are Gonna Be Alright
Wonderful World
19
Vibrato
Like I Told You
It's A Lie
Bonds
One Drop
Vaccination
Stray
Acid Dad is an American alternative-rock band composed of singer-guitarists, Vaughn Hunt and Sean Fahey, and drummer, Trevor Mustoe. Vaughn first started recording the band in his Bushwick, NY basement releasing singles “Brain Body” and their first EP “Let’s Plan a Robbery.” Appearing live in the New York City rock scene in 2016, Acid Dad quickly moved to a world stage with their self-titled debut album, released by Greenway Records in 2018. During 2020, the band spent their time building a new studio space in Queens, NY, while continuing to independently produce all their own music, art and even building their own guitars.
With a new space and vision, the band produced their second LP, “Take It From The Dead,” set to be co-released in June 2021 by Brooklyn’s Greenway Records and psych powerhouse LEVITATION’s label, The Reverberation Appreciation Society. “Take It From The Dead” features an array of different influences ranging from 90’s neopsych, modern post-punk and 70’s rock-n-roll. Acid Dad has crafted a record that sounds new, yet feels nostalgic. In contrast to their earlier work, they make use of slower tempos and expand their sound to include songs that are both more intricate and more hypnotic. To accompany the new record, the band spent the last year collaborating with video artist Webb Hunt, producing psych and glitch art videos that form a visual counterpart to the dreamy distortions of their sound.
With a new space and vision, the band produced their second LP, “Take It From The Dead,” set to be co-released in June 2021 by Brooklyn’s Greenway Records and psych powerhouse LEVITATION’s label, The Reverberation Appreciation Society. “Take It From The Dead” features an array of different influences ranging from 90’s neopsych, modern post-punk and 70’s rock-n-roll. Acid Dad has crafted a record that sounds new, yet feels nostalgic. In contrast to their earlier work, they make use of slower tempos and expand their sound to include songs that are both more intricate and more hypnotic. To accompany the new record, the band spent the last year collaborating with video artist Webb Hunt, producing psych and glitch art videos that form a visual counterpart to the dreamy distortions of their sound.
TRACK LISTING
1. Searchin'
2. BBQ
3. RC Driver
4. She Only Eats Organic
5. Good Time
6. Smile You're On Camera
7. 2 Face
8. Djembe
When Acid King pressed up their self-titled debut EP on a tape and started handing them out at shows with business cards, it wasn’t an aesthetic choice. It was 1993.
And while the world was still reeling in the aftermath of grunge breaking big on rock radio, this dirty-as-hell trio founded by guitarist/vocalist Lori S. were digging into even heavier vibes. Born out of Lori's shiftless days of wasted youth hanging around Chicago-area public parks, Acid King laughingly adopted the name from the book 'Say You Love Satan' and its subject Ricky Kasso, a local drug dealer who killed a friend over angel dust, thereby becoming the stuff of Satanic Panic local news broadcasts all over the country.
Founded after a move to San Francisco, Acid King were outliers on punker bills in the tradition of West Coast rifflords like Saint Vitus and Sleep, and this four-song outing captures them at their rawest. Long before the career-defining roll of Busse Woods (1999) and the psychedelic mastery of their latest offering, Beyond Vision, this EP set in motion one of American heavy rock’s most landmark careers.
Presented on reissued vinyl through RidingEasy Records – the original 10” was on Sympathy for the Record Industry – Acid King’s Acid King also established one of the most crucial partnerships in underground rock in that between Lori S. and producer/engineer Billy Anderson (see also: Neurosis, Sleep, Om, Amenra, Eight Bells, Cattle Decapitation and too many others to list). As Acid King went on to help define stoner rock in the mid and late ’90s with Zoroaster (1995), their Man’s Ruin Records split with Altamont (‘97) and Busse Woods, that creative relationship would flourish no less than the band’s sound, and here it is distilled to its meanest and most elemental self.
Led as ever by Lori, Acid King at the time featured bassist/vocalist Peter Lucas and drummer Joey Osbourne – legend has it both had to read 'Say You Love Satan' before joining – and Melvins drummer Dale Crover had a hand in producing it as well as singing lead on “The Midway” after Lucas took a turn on “Drop.” A preface to the many majesties to come throughout Acid King’s many-storied career, behold the formative incarnation that started it all. A piece of heavy rock history AND killer riffs? You can’t possibly go wrong. - JJ Koczan, May 2023
And while the world was still reeling in the aftermath of grunge breaking big on rock radio, this dirty-as-hell trio founded by guitarist/vocalist Lori S. were digging into even heavier vibes. Born out of Lori's shiftless days of wasted youth hanging around Chicago-area public parks, Acid King laughingly adopted the name from the book 'Say You Love Satan' and its subject Ricky Kasso, a local drug dealer who killed a friend over angel dust, thereby becoming the stuff of Satanic Panic local news broadcasts all over the country.
Founded after a move to San Francisco, Acid King were outliers on punker bills in the tradition of West Coast rifflords like Saint Vitus and Sleep, and this four-song outing captures them at their rawest. Long before the career-defining roll of Busse Woods (1999) and the psychedelic mastery of their latest offering, Beyond Vision, this EP set in motion one of American heavy rock’s most landmark careers.
Presented on reissued vinyl through RidingEasy Records – the original 10” was on Sympathy for the Record Industry – Acid King’s Acid King also established one of the most crucial partnerships in underground rock in that between Lori S. and producer/engineer Billy Anderson (see also: Neurosis, Sleep, Om, Amenra, Eight Bells, Cattle Decapitation and too many others to list). As Acid King went on to help define stoner rock in the mid and late ’90s with Zoroaster (1995), their Man’s Ruin Records split with Altamont (‘97) and Busse Woods, that creative relationship would flourish no less than the band’s sound, and here it is distilled to its meanest and most elemental self.
Led as ever by Lori, Acid King at the time featured bassist/vocalist Peter Lucas and drummer Joey Osbourne – legend has it both had to read 'Say You Love Satan' before joining – and Melvins drummer Dale Crover had a hand in producing it as well as singing lead on “The Midway” after Lucas took a turn on “Drop.” A preface to the many majesties to come throughout Acid King’s many-storied career, behold the formative incarnation that started it all. A piece of heavy rock history AND killer riffs? You can’t possibly go wrong. - JJ Koczan, May 2023
TRACK LISTING
SIDE A
1. Lead Paint
2. Blasting Cap
SIDE B
1. Drop
2. Midway
Adrian Flanagan (The Moonlandingz / Eccentronic Research Council) and his pals aka - Acid Klaus - return to bring their latest offering 'PTSD By Proxy'.
The first single ‘Aerodromes’ (featuring Philly Piper, one member of his current Live collective that you may know from his last single ‘You’re A Freak’) is a pulsating Italo style track with synthetic arpeggiations. Piper's haunting vocals explore the working class struggle and the death of conversation.
The second single features the wondrous voice of the Queen of Sheffield’s DIY scene ROSEY PM. The Track ‘Losing Our Way’ parks itself somewhere between the aching British electronic pop of Saint Etienne and a late night basement club session with adults who should know better!
Along with the new single comes with an exclusive low slung remix of Acid Klaus’s last single ‘Aerodromes’ ft Philly Piper by legendary producer, songwriter, impeccable creator of soundtracks and DJ - David Holmes.
The EP also features tracks with Welsh language singer songwriter and regular Acid Klaus live collective singer Cat Rin, along with Philly Piper and with short readings of prose from Adrian’s long time collaborators Maxine Peake & Lias Saoudi (Fat White Family / Moonlandingz). Adrian himself is also a featured singer on his own record. “I’m pretty good actually, a bit like a robot version of George Michael that was made up in a shed out of bits of rubbish in a backyard in Cheetham Hill. I’m definitely in the top one singers to come out of Salford, however.. I don’t do light entertainment anymore..I do heavy entertainment!!”
‘The EP is my artistic response to the horrific vista forced upon me as the earth wobbles perilously on its axis like a drunk and foul mouthed broke and broken auntie. It’s dance music you can cry too - or if you point blank refuse to look out of the window - just for dancing too whilst remaining in a state of ‘pig ignorant’ bliss!’
‘For me as an artist it’s important that someone documents this time of great historical mess by utilising heavenly voices, robotic sonics, bangin’ beats, street poetry, space chants and nifty synthetic arpeggiations whilst still remaining deep in the ice cold moment of reality.’
Proceeds from downloads will go to Medical Aid For Palestinians
The first single ‘Aerodromes’ (featuring Philly Piper, one member of his current Live collective that you may know from his last single ‘You’re A Freak’) is a pulsating Italo style track with synthetic arpeggiations. Piper's haunting vocals explore the working class struggle and the death of conversation.
The second single features the wondrous voice of the Queen of Sheffield’s DIY scene ROSEY PM. The Track ‘Losing Our Way’ parks itself somewhere between the aching British electronic pop of Saint Etienne and a late night basement club session with adults who should know better!
Along with the new single comes with an exclusive low slung remix of Acid Klaus’s last single ‘Aerodromes’ ft Philly Piper by legendary producer, songwriter, impeccable creator of soundtracks and DJ - David Holmes.
The EP also features tracks with Welsh language singer songwriter and regular Acid Klaus live collective singer Cat Rin, along with Philly Piper and with short readings of prose from Adrian’s long time collaborators Maxine Peake & Lias Saoudi (Fat White Family / Moonlandingz). Adrian himself is also a featured singer on his own record. “I’m pretty good actually, a bit like a robot version of George Michael that was made up in a shed out of bits of rubbish in a backyard in Cheetham Hill. I’m definitely in the top one singers to come out of Salford, however.. I don’t do light entertainment anymore..I do heavy entertainment!!”
‘The EP is my artistic response to the horrific vista forced upon me as the earth wobbles perilously on its axis like a drunk and foul mouthed broke and broken auntie. It’s dance music you can cry too - or if you point blank refuse to look out of the window - just for dancing too whilst remaining in a state of ‘pig ignorant’ bliss!’
‘For me as an artist it’s important that someone documents this time of great historical mess by utilising heavenly voices, robotic sonics, bangin’ beats, street poetry, space chants and nifty synthetic arpeggiations whilst still remaining deep in the ice cold moment of reality.’
Proceeds from downloads will go to Medical Aid For Palestinians
STAFF COMMENTS
Matt says: Been a while since we've heard from our friends over the border. But what better record to unite the clans in these disenfranchised times than this one from Acid Klaus. Articulating the apocalypse with a wry and hilarious cynicism and some of the brashest, discombobulating synthesis you're likely to hear this side of a Modeselektor album; Adrian and co. somehow keep a tight grip of their pop sensibilities as they drag us through the sonic hedge of life.TRACK LISTING
1.The Solution 04:07
2.Aerodromes (Ft Philly Piper) 05:01
3.Pour Some Wood On The Fire (Ft Cat Rin) 04:44
4.Losing Our Way (Ft Rosey PM & Maxine Peake) 04:33
5.Hell Below (Ft Lias Saoudi) 02:27
Acid Klaus
Step On My Travelator: The Imagined Career Trajectory Of Superstar DJ & Dance Pop Producer, Melvin Harris
Zen F.C.
Acid Klaus, the new collaborative solo project from songwriter-producer and Northern England cult leg-end, Adrian Flanagan (The Moonlandingz, International Teachers of Pop, Eccentronic Research Council & lots more) releases his debut concept album co-produced with his music partner in the ERC, Dean Honer titled Step On My Travelator: The Imagined Career Trajectory of Superstar DJ & Dance-Pop Producer, Melvin Harris via Yard Act's ZEN F.C. label.
The album features contributions from Adrian’s long-time collaborators and friends including actress, Maxine Peake, US musician and video director, Charlotte Kemp Muhl (Ghost of a Sabertooth Tiger), Maria Uzor from Sink Ya Teeth and the Bradford-born pop-noir singer (currently singing in The Specials), Hannah Hu who is joined on lap steel guitar on a track by Richard Hawley. The album is completed by a whole host of fresh and exciting artists (as well as the aforementioned Lieselot Elzinga) – there's the enigmatic Queen Bee of the Calder Valley, solo artist, Bianca Eddleston who goes under the name Soft Focus and finally from South Wales (and the current talk of the South London scene), the incredible welsh language singer-songwriter, Cat Rin.
Flanagan proclaims about the album: “I hereby herald in a masterclass of conceptual brilliance and sonic floor-shaking heroism. A record that is both mocking and hugging in its stance – a solid and weighty brick in the face to the horrid and cod sincere, brat histrionics of the easy-on-the-eye careerist indie minstrel. Where I, an invisible bruised and battered craftsman of high (and low) art for nigh on two decades is finally (and begrudgingly) held aloft like a prize-winning Champion Cock at a village fete whilst a demonically futurist/modernist B-Boy B-Girl group bring the gathered throng, deep, penetrative, body music!”
The album features contributions from Adrian’s long-time collaborators and friends including actress, Maxine Peake, US musician and video director, Charlotte Kemp Muhl (Ghost of a Sabertooth Tiger), Maria Uzor from Sink Ya Teeth and the Bradford-born pop-noir singer (currently singing in The Specials), Hannah Hu who is joined on lap steel guitar on a track by Richard Hawley. The album is completed by a whole host of fresh and exciting artists (as well as the aforementioned Lieselot Elzinga) – there's the enigmatic Queen Bee of the Calder Valley, solo artist, Bianca Eddleston who goes under the name Soft Focus and finally from South Wales (and the current talk of the South London scene), the incredible welsh language singer-songwriter, Cat Rin.
Flanagan proclaims about the album: “I hereby herald in a masterclass of conceptual brilliance and sonic floor-shaking heroism. A record that is both mocking and hugging in its stance – a solid and weighty brick in the face to the horrid and cod sincere, brat histrionics of the easy-on-the-eye careerist indie minstrel. Where I, an invisible bruised and battered craftsman of high (and low) art for nigh on two decades is finally (and begrudgingly) held aloft like a prize-winning Champion Cock at a village fete whilst a demonically futurist/modernist B-Boy B-Girl group bring the gathered throng, deep, penetrative, body music!”
STAFF COMMENTS
Barry says: The superb Adrian Flanagan returns this week for a grooving, gritty dancefloor wonder, featuring bandmate and all-round musical polymath, Dean Hohner, Maria Uzor of Sink Ya Teeth, the wonderful Maxine Peake and MANY more. The perfect odyssey, and no surprise at all given the roster of talent. Ace.TRACK LISTING
1. Step On My Travelator
2. Party Sized Away Day (feat Maria Uzor)
3. Bethlehem Or Bust (feat. Cat Rin)
4. Blow Your Speakers (feat. Soft Focus)
5. Crashing Cars In Ibiza (feat Maria Uzor)
6. Bad Club Bad Drugs Bad People
7. Elevate (feat. Charlotte Kemp Muhl)
8. The Three Rooms Of Nightclub Marilyn (feat Lieselot Elzinga)
9. I Used To Be A DJ In A Club (But Now I'm Just A DJ In My Bedroom)
10. My Hats On Fire (feat. Hannah Hu And Richard Hawley)
11. Eulogy To A Quiet Life (feat. Maxine Peake)
Acid Mothers Temple & The Cosmic Inferno
Starless And Bible Black Sabbath - 2024 Reissue
Riot Season
From Riot Season: "Continuing our quest to get all of the classic early AMT albums released on vinyl, we turn to 2006’s ‘Starless And Bible Black Sabbath’, and with the help of Makoto Kawabata’s studio wizardry, we’ve made it possible.
This latest instalment in the ‘Acid Mothers Temple Vinyl Archives - First Time On Vinyl’ series (as with the three previous SOLD OUT releases in the series) have all been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by James Plotkin."
This latest instalment in the ‘Acid Mothers Temple Vinyl Archives - First Time On Vinyl’ series (as with the three previous SOLD OUT releases in the series) have all been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by James Plotkin."
Continuing our quest to get all of the classic early AMT albums released on vinyl, we turn to 2004’s 'Mantra Of Love’, and with the help of Makoto Kawabata’s studio wizardry, we’ve made it possible.
This latest instalment in the ‘Acid Mothers Temple Vinyl Archives - First Time On Vinyl’ series (as with the three previous SOLD OUT releases in the series) have all been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by James Plotkin.
This latest instalment in the ‘Acid Mothers Temple Vinyl Archives - First Time On Vinyl’ series (as with the three previous SOLD OUT releases in the series) have all been meticulously put together with the help of Makoto Kawabata with the original CD artwork recreated for these vinyl editions from archive photos stored in the vaults at the Acid Mothers Temple in Osaka, Japan and the original audio remastered by James Plotkin.
Acid Tongue is an American-bred garage band heavily influenced by AM-radio soul, folk and psychedelic rock. The band is composed of Guy Keltner & Ian Cunningham perverted in their youth by adolescent exposure to mind-altering substances and strange, spiritually-driven parenting techniques.
TRACK LISTING
1. Home
2. Ordinary People
3. Take Me To Your Leader
4. Facts Of Life
5. All Out Of Time
6. Rock ‘N’ Roll Revelations
7. Suffering For You
8. Won’t Walk Back
9. The World’s Gonna Fuck You
Inspired by the first wave of French house producers, Acid Washed bring us their own take on the ballroom-influence sound with this synth-heavy, arpeggios-set-to-stun electronic disco-house long player for Record Makers. Recorded after going twice around the world, ‘House of Melancholy’ is the soundtrack to Andrew Claristidge and Richard d’Alpert’s recent lives, and one that brings them right back home to France. ‘House of Melancholy’ gives pride of place to strong emotions and melodies. Without ever getting to the shores of electro-pop, the duo puts a little more of real, heavy pop, of 70s Italian variety, of Morricone or Philip Glass soundtracks, and very pure electronics in their dance music. Andrew and Richard surrounded themselves with friends in the recording of this LP: the exceptionally gifted Joakim at the production board, the stentorian Yan Wagner, the too rare Miss Kittin, the swagest Ahmad Larnes behind the mic, the geek comrades Hypnolove, Turzi or La Mverte playing around with keyboards and compressors… ‘House Of Melancholy’ brings the immediate beauty of synthesizers and pure arpeggios curled up around the organic beats spiraling to infinity. ‘House of Melancholy’ is a party, an ode to music which unites body and soul. Acid Washed welcome you to the party.
TRACK LISTING
1. Heartbeat Maker
2. Fire N’ Rain
3. Golem’s Dance
4. Prince Acid
5. For Your Eyes Only
6. Gasoline
7. Hello Universe
8. Celestial Choirs Of Barbès
9. Nautilus
10. House Of Melancholy
Idris Ackamoor & The Pyramids are back with their first major new studio album in over 3 years, an epic, sprawling new work exploring the future, the past and the urgent reality of the present, ‘Afro Futuristic Dreams’.
Recorded between San Francisco and London and brought together by the genius of Malcolm Catto at his analogue Quatermass Studio, the new recording represents another bold step in Ackamoor’s ever-evolving journey in jazz, adding full, intricate scores including string sections and choral elements to the Pyramids’ trademark spiritual Afro-jazz sound; Driven by the core Pyramids members Ackamoor (sax, keytar, organ), Margaux Simmons (flute), Sandra Poindexter (violin) and Bobby Cobb (guitar), tracks range from hard-hitting commentaries about police brutality (‘Police Dem’) to celebrations of the ancestors and departed loved ones (‘Requiem For The Ancestors’, ‘Re-Memory’) and hazy cosmic journeys, including the album’s title track and the sparkling, experimental closer, ‘Nice It Up’.
“This album has been many years in the making,” explains Ackamoor. “Back in late 2020, I set out to compose the first in a series of scores to take The Pyramids sound into brave new territory. All of the tracks involve issues that the core band is passionate about and the recording was a complex process involving many musicians and vocalists across two different time zones.”
The recording is the Pyramids’ first new release since the acclaimed ‘Shaman!’ in 2020 and rides a wave of interest in the band around their 50th Anniversary this year.
‘Afro-Futuristic Dreams’ is mixed by Malcolm Catto and mastered by Peter Beckmann at Technology Works. The superb cover artwork illustration is by David Alabo.
All recordings mixed by Malcolm Catto at Quatermass Sound Lab
Recorded between San Francisco and London and brought together by the genius of Malcolm Catto at his analogue Quatermass Studio, the new recording represents another bold step in Ackamoor’s ever-evolving journey in jazz, adding full, intricate scores including string sections and choral elements to the Pyramids’ trademark spiritual Afro-jazz sound; Driven by the core Pyramids members Ackamoor (sax, keytar, organ), Margaux Simmons (flute), Sandra Poindexter (violin) and Bobby Cobb (guitar), tracks range from hard-hitting commentaries about police brutality (‘Police Dem’) to celebrations of the ancestors and departed loved ones (‘Requiem For The Ancestors’, ‘Re-Memory’) and hazy cosmic journeys, including the album’s title track and the sparkling, experimental closer, ‘Nice It Up’.
“This album has been many years in the making,” explains Ackamoor. “Back in late 2020, I set out to compose the first in a series of scores to take The Pyramids sound into brave new territory. All of the tracks involve issues that the core band is passionate about and the recording was a complex process involving many musicians and vocalists across two different time zones.”
The recording is the Pyramids’ first new release since the acclaimed ‘Shaman!’ in 2020 and rides a wave of interest in the band around their 50th Anniversary this year.
‘Afro-Futuristic Dreams’ is mixed by Malcolm Catto and mastered by Peter Beckmann at Technology Works. The superb cover artwork illustration is by David Alabo.
All recordings mixed by Malcolm Catto at Quatermass Sound Lab
TRACK LISTING
1. Afro Futuristic Dreams
2. Thank You God
3. Police Dem
4. First Peoples
5. Truth To Power
6. Re - Memory
7. Garland Rose
8. Requiem For The Ancestors
9. Nice It Up
Influential jazz collective Idris Ackamoor and The Pyramids return with an epic new opus, ‘Shaman!’, released on 7th August featuring a fresh line-up including original 1970s Pyramids member Dr. Margaux Simmons on flute Bobby Cobb on guitar, long-term associate Sandra Poindexter on violin, Ruben Ramos on bass, Gioele Pagliaccia on drums and Jack Yglesias on percussion. The band transitions from the political and social commentaries of 2018’s acclaimed ‘An Angel Fell’ into more introspective themes. “I wanted to use this album to touch on some of the issues that we all face as individuals in the inner space of our souls and our conscience,” explains Ackamoor. “The album unfolds over four Acts with personal musical statements about love and loss, mortality, the afterlife, family and salvation.”
Evolving around Ackamoor’s intricate compositions, the album takes us effortlessly across moods and emotions through a series of expansive, extended pieces. Starting with ritual, soul-searching, and masculine vulnerability on the title track, the band explores timeless existence on ‘Eternity’ and mourns the sudden loss of loved ones in the prescient ‘When Will I See You Again?’, a track which gains new relevance amidst the current COVID-19 crisis. Ackamoor pays tribute to his mentor Cecil Taylor on the angular ‘Theme For Cecil’ and renders homage to the ancestors on ‘Salvation’ and ‘The Last Slave Ship’, recalling the last ship to bring slaves to the US from Africa, the Clotilda. The superb ‘Virgin’ is an anthem of forgiveness, new beginnings and self-healing.
Evolving around Ackamoor’s intricate compositions, the album takes us effortlessly across moods and emotions through a series of expansive, extended pieces. Starting with ritual, soul-searching, and masculine vulnerability on the title track, the band explores timeless existence on ‘Eternity’ and mourns the sudden loss of loved ones in the prescient ‘When Will I See You Again?’, a track which gains new relevance amidst the current COVID-19 crisis. Ackamoor pays tribute to his mentor Cecil Taylor on the angular ‘Theme For Cecil’ and renders homage to the ancestors on ‘Salvation’ and ‘The Last Slave Ship’, recalling the last ship to bring slaves to the US from Africa, the Clotilda. The superb ‘Virgin’ is an anthem of forgiveness, new beginnings and self-healing.
TRACK LISTING
1. Shaman!
2. Tango Of Love
3. Eternity
4. When Will I See You Again?
5. Salvation
6. Theme For Cecil
7. Virgin
8. The Last Slave Ship
9. Dogon Mysteries
Influential jazz collective Idris Ackamoor and The Pyramids return with an epic new opus, ‘Shaman!’, featuring a fresh line-up including original 1970s Pyramids member Dr. Margaux Simmons on flute Bobby Cobb on guitar, long-term associate Sandra Poindexter on violin, Ruben Ramos on bass, Gioele Pagliaccia on drums and Jack Yglesias on percussion. The band transitions from the political and social commentaries of 2018’s acclaimed ‘An Angel Fell’ into more introspective themes. “I wanted to use this album to touch on some of the issues that we all face as individuals in the inner space of our souls and our conscience,” explains Ackamoor. “The album unfolds over four Acts with personal musical statements about love and loss, mortality, the afterlife, family and salvation.”
Evolving around Ackamoor’s intricate compositions, the album takes us effortlessly across moods and emotions through a series of expansive, extended pieces. Starting with ritual, soul-searching, and masculine vulnerability on the title track, the band explores timeless existence on ‘Eternity’ and mourns the sudden loss of loved ones in the prescient ‘When Will I See You Again?’, a track which gains new relevance amidst the current COVID-19 crisis. Ackamoor pays tribute to his mentor Cecil Taylor on the angular ‘Theme For Cecil’ and renders homage to the ancestors on ‘Salvation’ and ‘The Last Slave Ship’, recalling the last ship to bring slaves to the US from Africa, the Clotilda. The superb ‘Virgin’ is an anthem of forgiveness, new beginnings and self-healing.
Evolving around Ackamoor’s intricate compositions, the album takes us effortlessly across moods and emotions through a series of expansive, extended pieces. Starting with ritual, soul-searching, and masculine vulnerability on the title track, the band explores timeless existence on ‘Eternity’ and mourns the sudden loss of loved ones in the prescient ‘When Will I See You Again?’, a track which gains new relevance amidst the current COVID-19 crisis. Ackamoor pays tribute to his mentor Cecil Taylor on the angular ‘Theme For Cecil’ and renders homage to the ancestors on ‘Salvation’ and ‘The Last Slave Ship’, recalling the last ship to bring slaves to the US from Africa, the Clotilda. The superb ‘Virgin’ is an anthem of forgiveness, new beginnings and self-healing.
TRACK LISTING
1. Shaman!
2. Tango Of Love
3. Eternity
4. When Will I See You Again?
5. Salvation
6. Theme For Cecil
7. Virgin
8. The Last Slave Ship
9. Dogon Mysteries
CWPT welcomes Acopia to the label with a reissue of the cult Australian bands self-titled sophomore album, available on vinyl outside of Australia for the first time.
Based in Melbourne/Naarm, Acopia’s music is a careful control of tension and release, sparseness and warmth, momentum, and space. Across ten tracks, the band’s three members move across post-punk lamentation, shoegazing DnB, smoldering trip hop and subdued electronic pop, as they carve out their own hazy world of romanticism and restraint.
The highly anticipated follow-up to the band’s stellar 2022 debut, ‘Chances’, this is a deeply emotionally sensitive record, equal parts refined and relatable, and a listening journey that is immediately understood while revealing new layers with each subsequent listen.
Alongside the physical release of ‘Acopia’, CWPT will also release two digital-only remixes of the band, courtesy of Daniel Avery and JD Twitch.
Based in Melbourne/Naarm, Acopia’s music is a careful control of tension and release, sparseness and warmth, momentum, and space. Across ten tracks, the band’s three members move across post-punk lamentation, shoegazing DnB, smoldering trip hop and subdued electronic pop, as they carve out their own hazy world of romanticism and restraint.
The highly anticipated follow-up to the band’s stellar 2022 debut, ‘Chances’, this is a deeply emotionally sensitive record, equal parts refined and relatable, and a listening journey that is immediately understood while revealing new layers with each subsequent listen.
Alongside the physical release of ‘Acopia’, CWPT will also release two digital-only remixes of the band, courtesy of Daniel Avery and JD Twitch.
STAFF COMMENTS
Matt says: Niche but brilliant dream-pop and trip-hop from Australia. if you dug ASO's self titled from last year (as many of us did here!), this one's 4 U!TRACK LISTING
A1. We Evolve
A2. Be Enough
A3. Disengaged
A4. Holding On
A5. Eyes Shut
B1. What I've Been Looking For
B2. Intentions
B3. Take You For Granted
B4. This Conversation
B5. Work It Out
Jonathan Richman’s classic 'Egyptian Reggae' has been responsible for setting thousands of discerning dance floors on fire. After getting the obvious Jah twist on a few occasions, so we thought it was about time for the Richman’s song to receive a fun yet respectful cumbia treatment! This cumbia candy has been recorded in Lima by no other than Pancho Acosta, founder and guitarist of Compay Quinto, and one of the greatest cumbia guitar players in Peru. On the flip side we find one of Acosta´s own original songs, 'Carnaval de Jujuy', recorded by Austin-based future-cumbia group Money Chicha.
"The spores of TG breaking out all over. An Alternative bloodline of electronic music; as if interbreeding of Chicago and Industrial resulted in sleeper cells entering a long gestation all over the world. Genesis' postal network as the carrier." 20 Jazz Funk Greats
And so Public Information splashes into 2013 with an almighty throb, pulse-tone generators at the ready. This is the debut record of malformed electronic-pop and modular fury from from Chicago two-piece Acteurs. From the chest-rattling kick of the opening track to the radon hailstorm of dub-techno epic "Freezing Fog" it's clear that the pair, Jeremy Lemos and Brian Case know their way around a mixing desk. Both have long, immaculate CVs with the cream of the US alternative scene, and here they stretch the studio to its limit.
Acteurs: proponents of bass to make systems quiver, drums that punch the gloom, electronics to scythe and screech into darkest night - a psychedelic overload. Acteurs: purveyors of pop-not-pop... Itchy Cluster tones... Frazzled Factory keys... LCD oscillations... NEU-motorik thrust... Argabright playgrounds... Repetition, repetition, repetition...
Dream an Acteurs dream. Sodium streetlights, grey smoke. Chromium staircases and black glass buildings. Acid rains. Cyberpunk racers. Dead TV channels. Amped-out brains. Come join their future-primitive world of stark and brutal groove, metallic avant-pop and precise mechanical funk.
And so Public Information splashes into 2013 with an almighty throb, pulse-tone generators at the ready. This is the debut record of malformed electronic-pop and modular fury from from Chicago two-piece Acteurs. From the chest-rattling kick of the opening track to the radon hailstorm of dub-techno epic "Freezing Fog" it's clear that the pair, Jeremy Lemos and Brian Case know their way around a mixing desk. Both have long, immaculate CVs with the cream of the US alternative scene, and here they stretch the studio to its limit.
Acteurs: proponents of bass to make systems quiver, drums that punch the gloom, electronics to scythe and screech into darkest night - a psychedelic overload. Acteurs: purveyors of pop-not-pop... Itchy Cluster tones... Frazzled Factory keys... LCD oscillations... NEU-motorik thrust... Argabright playgrounds... Repetition, repetition, repetition...
Dream an Acteurs dream. Sodium streetlights, grey smoke. Chromium staircases and black glass buildings. Acid rains. Cyberpunk racers. Dead TV channels. Amped-out brains. Come join their future-primitive world of stark and brutal groove, metallic avant-pop and precise mechanical funk.
An incendiary chemical reaction resulting from the mixing of equal parts synth pop, spiky, burning guitar riffs, walls of feedback and Mark Thomas Kluepfel's spine tingling, bruising imagery exploring the divergence of life, death, love and war. Features Taking Back Sunday's Eddie Reyes and Gary Bennett of Kill Your Idols.
Truth Cult proudly presents another whirlwind recording for the Bletchley boys Action Beat, with the follow up to their debut "The Noise Band From Bletchley". Like its predecessor, "Beatings" was recorded at Southern Studios in just two days and this time with at least seven musicians, which is evident in the sheer verve and potency of the album. It would be an understatement to say the boys have lost none of their energy in the recording process. They have taken their perfected improvised noise formula, driven by magnetic interlocking guitar harmonies, pummeling drums and crashing symbols and ramped it up a notch, or three.
As with their first album, their musical influences such as The Ex and Sonic Youth are still proudly on display, particularly on the songs "Solgunn" and "Bergen to Bletchley". Some of the other album tracks you may recognize if you have caught them at one of their umpteen live shows recently but Action Beat also pull out some original 'never-been-played-before' material, including the track "Daddy Why?"which builds upon the Krautrock-mantra of some of their older material and for the first time ever, utilizes fitting male vocals (provided by House Of John Player). This is the sound of a band maturing. But fear not, for if it was Action Beat's boisterousness that you always admired, that is still very prominent in the artwork.
True to form Action Beat have once again won the title of 'touring machines' as they set out on the road again and play out the new material from September to what seems like forever. Their mammoth touring schedule predominantly takes them to the Continent but not before a whistle-stop tour of the UK.
As with their first album, their musical influences such as The Ex and Sonic Youth are still proudly on display, particularly on the songs "Solgunn" and "Bergen to Bletchley". Some of the other album tracks you may recognize if you have caught them at one of their umpteen live shows recently but Action Beat also pull out some original 'never-been-played-before' material, including the track "Daddy Why?"which builds upon the Krautrock-mantra of some of their older material and for the first time ever, utilizes fitting male vocals (provided by House Of John Player). This is the sound of a band maturing. But fear not, for if it was Action Beat's boisterousness that you always admired, that is still very prominent in the artwork.
True to form Action Beat have once again won the title of 'touring machines' as they set out on the road again and play out the new material from September to what seems like forever. Their mammoth touring schedule predominantly takes them to the Continent but not before a whistle-stop tour of the UK.
Like all great competitive warriors, Action Bronson uses every perceived slight as fuel to be even better. The rare rapper to marry critical acclaim with a devoted, rabid following, Action Bronson isn’t anyone’s idea of an underdog. And yet, on his brilliant new album, Cocodrillo Turbo, he sets out to prove that his lingual versatility is stronger than it’s ever been, that age has only made him a better rapper, and that anyone still sleeping on him as one of the best MCs on the planet better wake the hell up.
“I don't feel like I'm given the fucking respect that I deserve,” Bronson explains. Cocodrillo Turbo is Bronson demanding that respect. He’s gotten in the reps, constantly refining his poetic flow and relying on the instincts he’s cultivated with over a decade in the game under his belt. Now, sit back and enjoy the show.
“I don't feel like I'm given the fucking respect that I deserve,” Bronson explains. Cocodrillo Turbo is Bronson demanding that respect. He’s gotten in the reps, constantly refining his poetic flow and relying on the instincts he’s cultivated with over a decade in the game under his belt. Now, sit back and enjoy the show.
TRACK LISTING
1. Hound Dog
2. Tongpo
3. Estaciones
4. Jaws
5. Subzero
6. Turkish
7. Jaguar
8. Zambezi
9. Ninety One
10. Storm Of The Century
On White Bronco, Action Bronson’s 2018 release, he rapped “my next album’s only for dolphins,” and the principled MC is nothing if not true to his word. A Queens legend, respected for his idiosyncratic pen and vivid raps, Action is a decade into his career and still deepening his skillset. “The dolphin is one of the most intelligent creatures ever created on whatever planet we're on,” Action explains. “They have their own way of communicating. They have nuance and intangibles like we do.” In a perfectly unusual analogy, he likens the aquatic mammal to the storied “five-tool” baseball player—that is, the extraordinary class of player who combines all elements of the game. “The only people who understand me are those five-tool players, those higher beings who are on the same telepathic wave as me.” Thus, Only for Dolphins, out on August TK.
Action keeps Only for Dolphins among family, working with producers and rappers he’s known for years. The Alchemist, Harry Fraud, Budgie, DJ Muggs, Samiyam, Daringer, and Tommy Mas provide crackling psychedelic soundscapes for Bronson’s unique tales.
His close friend Meyhem Lauren and Lauren’s brother Hologram are the only featured MCs. Bronson himself produced two of the songs, including the exuberant “Capoeira,” which kicks off the album with a saxophone solo. As much time as he spends on the wordplay and imagery, he’s dialed into the sonics too.
The first single “Latin Grammys” is a tribute to family. Produced by Tommy Mas, who produced all of Action’s 2011 debut project, Dr. Lecter, the beat for “Latin Grammys” is many years old. The file was originally labeled “Ozersky,” a nod to the beloved food writer Josh Ozersky, who tragically passed away in 2015. Ozersky and Action were close; in fact Ozersky was the first person to put Action on television via his show Ozersky TV. One day Action was going through old beats, saw the file, and knew he had to do something special in honor of his friend. Over a slinky brass and guitar loop, he raps with casual gusto about swim trunks stuffed with cash and black trench coats, Dolph Lundgren and Derek Jeter. “It’s Young Baklava, you know me,” he concludes.
Bronson is a collector—of experiences, of sounds, of culture. He’s especially happy with the Budgie-produced “Golden Eye,” a nod to the classic N64 shooter and to the resort in Jamaica; it samples a beautiful lovers rock track, which is a real point of pride for Action. “It’s a very specific UK subgenre,” he says, referring to the romantic reggae style that rose to prominence in London in the ‘70s. The flip gives “Golden Eye” a lush and sweet bed for Action to lovingly describe acrobatic sex and expensive rugs, wet with spilled wine.
To be a fan of Action is to be a fan of detail. Only for Dolphins is studded with remarkable specificity. On “Vega” he raps, “My alibi for the police is I was naked in Seattle”—a line only Action could come up. Befitting that attention to minutiae, Action hand-painted the album artwork, crafting, a figurative depiction of death and dolphins and gold coins.
“Congratulations” is the first word rapped on the album and it’s fitting to see this as the culmination of every skill Action has carefully honed over the last decade. He’s an insatiable and generous artist who wants to take the listener on a tour of his creativity. Welcome to his world.
Action keeps Only for Dolphins among family, working with producers and rappers he’s known for years. The Alchemist, Harry Fraud, Budgie, DJ Muggs, Samiyam, Daringer, and Tommy Mas provide crackling psychedelic soundscapes for Bronson’s unique tales.
His close friend Meyhem Lauren and Lauren’s brother Hologram are the only featured MCs. Bronson himself produced two of the songs, including the exuberant “Capoeira,” which kicks off the album with a saxophone solo. As much time as he spends on the wordplay and imagery, he’s dialed into the sonics too.
The first single “Latin Grammys” is a tribute to family. Produced by Tommy Mas, who produced all of Action’s 2011 debut project, Dr. Lecter, the beat for “Latin Grammys” is many years old. The file was originally labeled “Ozersky,” a nod to the beloved food writer Josh Ozersky, who tragically passed away in 2015. Ozersky and Action were close; in fact Ozersky was the first person to put Action on television via his show Ozersky TV. One day Action was going through old beats, saw the file, and knew he had to do something special in honor of his friend. Over a slinky brass and guitar loop, he raps with casual gusto about swim trunks stuffed with cash and black trench coats, Dolph Lundgren and Derek Jeter. “It’s Young Baklava, you know me,” he concludes.
Bronson is a collector—of experiences, of sounds, of culture. He’s especially happy with the Budgie-produced “Golden Eye,” a nod to the classic N64 shooter and to the resort in Jamaica; it samples a beautiful lovers rock track, which is a real point of pride for Action. “It’s a very specific UK subgenre,” he says, referring to the romantic reggae style that rose to prominence in London in the ‘70s. The flip gives “Golden Eye” a lush and sweet bed for Action to lovingly describe acrobatic sex and expensive rugs, wet with spilled wine.
To be a fan of Action is to be a fan of detail. Only for Dolphins is studded with remarkable specificity. On “Vega” he raps, “My alibi for the police is I was naked in Seattle”—a line only Action could come up. Befitting that attention to minutiae, Action hand-painted the album artwork, crafting, a figurative depiction of death and dolphins and gold coins.
“Congratulations” is the first word rapped on the album and it’s fitting to see this as the culmination of every skill Action has carefully honed over the last decade. He’s an insatiable and generous artist who wants to take the listener on a tour of his creativity. Welcome to his world.
STAFF COMMENTS
Matt says: Quick-witted with an incredible knack at storytelling, "Only For Dolphines" is perhaps his most fan-centric release to date: chronicling events and tales that his devotees will be familiar with, whilst dealing to the rest of us a hilariously stark social commentary full of phrases you'll be urban dictionary-ing till the middle of next week.TRACK LISTING
1. Capoeira Ft. Yung Mehico
2. C12H16N2
3. Latin Grammys
4. Golden Eye
5. Mongolia Ft. Hologram & Meyhem Lauren
6. Vega
7. Splash
8. Sergio
9. Shredder
10. Cliff Hanger
11. Marcus Aurelius
12. Hard Target
From the lable that brought you Larrikin Love, Good Shoes and Vincent Vincent And The Villians, comes this storming debut from Action Plan! "Stendhal" is the perfect combination: melodic, emotive and energetic with a pounding rhythm, chunky guitars and great raw vocals. "Beauty Scars" on the flip is equally as good: a slower, more brooding affair it starts off somewhere between Sonic Youth and indie jangle but then bursts into a frantic chorus before reverting back to mellowness, a pattern that it follows through it's entire four minutes, with each chorus getting more and more abrasive. Great stuff!
Supergroup featuring members of Grooms, Field Mouse, and Russian Baths Produced by Jeff Berner of Psychic TV. Mastered by Heba Kadry, known for her work with Bjork, Slowdive, Deerhunter, Japanese Breakfast, Cass McCombs, et al. Activity are an avant four-piece featuring Travis Johnson, and drummer Steve Levine, both from the band Grooms, bassist Zoë Browne from Field Mouse, and guitarist Jess Rees from Russian Baths. Produced by engineer Jeff Berner of Psychic TV, their debut forms a casually menacing framework for lyrical themes of paranoia, exposed character flaws, and the broader human capacity for growth when an ugly truth is laid bare.
Lead single “Calls Your Name,” establishes the record’s spectral aura with nauseated electronic bells, and a relentless Geoff Barrow-esque drum beat beneath a half-sung, half-spoken lyrics inspired by C.S. Lewis’s 1945 novel The Great Divorce. In the novel, characters stuck in a grey, joyless conception of hell repeatedly deny opportunities to be taken into heaven, instead making excuses as to why they should remain in their embittered purgatory states.
Allegorically, this speaks to the kind of opportunity for metamorphosis and positive change that’s possible when the depths of disillusionment are reached, an idea which permeates much of the album. Despite recurrent aches of discontentment, each track glows with radiant waves of catharsis while elegantly evoking jubilation and anguish within the same breadth, showing that the two are always around the corner from one another.
Lead single “Calls Your Name,” establishes the record’s spectral aura with nauseated electronic bells, and a relentless Geoff Barrow-esque drum beat beneath a half-sung, half-spoken lyrics inspired by C.S. Lewis’s 1945 novel The Great Divorce. In the novel, characters stuck in a grey, joyless conception of hell repeatedly deny opportunities to be taken into heaven, instead making excuses as to why they should remain in their embittered purgatory states.
Allegorically, this speaks to the kind of opportunity for metamorphosis and positive change that’s possible when the depths of disillusionment are reached, an idea which permeates much of the album. Despite recurrent aches of discontentment, each track glows with radiant waves of catharsis while elegantly evoking jubilation and anguish within the same breadth, showing that the two are always around the corner from one another.
TRACK LISTING
01 In Motion 1:34
02 Calls Your Name 3:58
03 Spring Low Life 5:33
04 Nude Prince 4:20
05 Looming 3:40
06 Earth Angel 4:18
07 The Heartbeats 5:50
08 I Like The Boys 2:32
09 Violent And Vivisect 4:21
10 Auto Sad 3:17
On their sophomore album Spirit in the Room, Activity is haunted by technology, the loss of loved ones, capitalism, and humanity's relentless death march towards environmental destruction. Produced by Psychic TV's Jeff Berner, the album is an emotional seance held through an unearthly haze of menacing trip hop, ambient electronica, and synth-based noise rock.
A sense of longing and hopelessness in the face of monumental loss comes through almost instantly on opening track "Department of Blood," in which lead vocalist Travis Johnson sardonically indicts both neoliberalism and "whatever the lord is," beneath a grim collage of processed electronics and a sinister drum machine beat. The David Berman-inspired "Heaven Chords, was written shortly after the iconic songwriter's death, and atmospheric track "Where the Art is Hung," is a haunting lament over the omnipresence of technology and surveillance in the modern world.
Spirit in the Room is no lighthearted journey, but the band's playfulness and obvious natural chemistry keeps the collection from being burdened by its own solemnity. "Unlike the first album, where we'd barely played live before we recorded, we got to take some of the less electronic songs out on the road in the fall of 2021," Johnson explains. "Some tracks had been incubating for over a year in our rehearsals. We could feel them change and open up in a live setting, so when we got back home, we went back to the drawing board on a lot of them. Some got scrapped altogether and we haven't played them since. You get an idea in your head of what it is, but it's something else when you're trying to hold other people's attention. Every part needed to feel earned or necessary." On the one hand, Spirit in the Room is a harrowing journey through a Bosch-like landscape of illness, global capital, and human-caused destruction. On the other hand, it's a room full of friends who are simply trying to make it through the day and process this world we've created. When asked why this album needed to be made, Johnson put it best: "None of us can stand to not make music is all, really."
A sense of longing and hopelessness in the face of monumental loss comes through almost instantly on opening track "Department of Blood," in which lead vocalist Travis Johnson sardonically indicts both neoliberalism and "whatever the lord is," beneath a grim collage of processed electronics and a sinister drum machine beat. The David Berman-inspired "Heaven Chords, was written shortly after the iconic songwriter's death, and atmospheric track "Where the Art is Hung," is a haunting lament over the omnipresence of technology and surveillance in the modern world.
Spirit in the Room is no lighthearted journey, but the band's playfulness and obvious natural chemistry keeps the collection from being burdened by its own solemnity. "Unlike the first album, where we'd barely played live before we recorded, we got to take some of the less electronic songs out on the road in the fall of 2021," Johnson explains. "Some tracks had been incubating for over a year in our rehearsals. We could feel them change and open up in a live setting, so when we got back home, we went back to the drawing board on a lot of them. Some got scrapped altogether and we haven't played them since. You get an idea in your head of what it is, but it's something else when you're trying to hold other people's attention. Every part needed to feel earned or necessary." On the one hand, Spirit in the Room is a harrowing journey through a Bosch-like landscape of illness, global capital, and human-caused destruction. On the other hand, it's a room full of friends who are simply trying to make it through the day and process this world we've created. When asked why this album needed to be made, Johnson put it best: "None of us can stand to not make music is all, really."
TRACK LISTING
01 Department Of Blood
02 Heaven Chords
03 Careful Lets Sleepwalk
04 Where The Art Is Hung
05 Cloud Come Here
06 Ect Frag
07 Icing
08 I Like What You Like
09 Sophia
10 I Saw His Eyes
11 Susan Medical City
Everyone's favourite leftfield enigma, Darren Cunningham aka Actress, joined by the London Contemporary Orchestra as they premiere new material as well as expanded arrangements of their dark and brooding back catalogue. Showcased last year at The Barbican Centre London and Strelka Institute Moscow and in conjunction with Boiler Room this 12” release named simply "Audio Track 5" serves as an introduction to a larger body which will be released on Ninja Tune and Boiler Room TV as both a full length album plus live show in August this year. Over a decade of releases Cunningham has built a reputation as a fine creator of cerebral abstract techno, or R&B concrète, crafting pulsing kickdrums, jittering percussion and chopped sample loops into churning, rumbling tracks soaked in static. But he has also been on record saying he wants to make ‘classical stuff for a modern generation’. A truely defining artist, who isn't afraid to push challenging content if it gets his message across clearer, we've been big fans of Actress here at Piccadilly since forever. In this new collaboration, commissioned and curated by Boiler Room and the London Contemporary Orchestra with support from Arts Council England, the London Contemporary Orchestra bring a new dimension to Cunningham’s choice of sounds. With the producer in effect using them as a new instrument, matching his electronic loops with precise manipulation of their acoustic instruments, together they form a heightened kind of chamber music laced with electrostatic interference and DSP nuances. It'll keep existing fans on their toes, which is kinda why we love him!
Following the release of the ’Audio Track 5’ EP and live performances at the Strelka Institute (Moscow), Barbican Centre and Tate Tanks (London), electronic producer and musician Darren Cunningham AKA Actress and the London Contemporary Orchestra (LCO) release a full album of their collaboration on Ninja Tune entitled ‘Lageos’.
Originally performed at the Barbican in February 2016, the project was curated by Boiler Room and LCO with support from Arts Council England and Ninja Tune. The music created a synergy between both live electronic and acoustic components, not just in the harmonies but in the way the traditional instruments were spliced into new hybrid instruments. As part of the process, Actress and LCO augmented traditional piano and created sounds from objects as varied as temple bowls and plastic bags. The show, a massive sell-out success, eventually lead to the release of this much anticipated album.
For the album, LCO recorded the individual instrumental parts as stems at Spitfire Studio then sent to Actress to manipulate, in turn delivering some truly unique new pieces. LCO also went on to reinterpret Actress classics ‘Hubble' and ’N.E.W' among others from his catalogue.
"In many ways the collaboration is about exploring an ambiguity of sound that sits between electronic and acoustic spaces; something that we’re aiming to push further as part of the live shows,” says the LCO’s Hugh Brunt of the collaboration. “For much of the set we look to realize as close as possible the timbres and colours of Actress’ electronics through acoustic means (which he in turn responds to); something of a physicalisation of those synthesized or sampled sounds. That has involved utilizing various accessories: plastic bags (for white noise or to emulate an EQ’d hi-hat); keys; Blu-Tack (to dampen the piano’s upper strings); milk frothers on harp strings, etc."
The project’s genesis was very much inspired by, as well as performed at, the mecca of brutalism – the Barbican Centre. Iannis Xenakis, a Greek composer and architect who would create buildings to fit his scores, and scores to fit his buildings was an inspiration, Actress and LCO took architectural layouts of the Barbican and created sounds directly inspired by its shapes.
Originally performed at the Barbican in February 2016, the project was curated by Boiler Room and LCO with support from Arts Council England and Ninja Tune. The music created a synergy between both live electronic and acoustic components, not just in the harmonies but in the way the traditional instruments were spliced into new hybrid instruments. As part of the process, Actress and LCO augmented traditional piano and created sounds from objects as varied as temple bowls and plastic bags. The show, a massive sell-out success, eventually lead to the release of this much anticipated album.
For the album, LCO recorded the individual instrumental parts as stems at Spitfire Studio then sent to Actress to manipulate, in turn delivering some truly unique new pieces. LCO also went on to reinterpret Actress classics ‘Hubble' and ’N.E.W' among others from his catalogue.
"In many ways the collaboration is about exploring an ambiguity of sound that sits between electronic and acoustic spaces; something that we’re aiming to push further as part of the live shows,” says the LCO’s Hugh Brunt of the collaboration. “For much of the set we look to realize as close as possible the timbres and colours of Actress’ electronics through acoustic means (which he in turn responds to); something of a physicalisation of those synthesized or sampled sounds. That has involved utilizing various accessories: plastic bags (for white noise or to emulate an EQ’d hi-hat); keys; Blu-Tack (to dampen the piano’s upper strings); milk frothers on harp strings, etc."
The project’s genesis was very much inspired by, as well as performed at, the mecca of brutalism – the Barbican Centre. Iannis Xenakis, a Greek composer and architect who would create buildings to fit his scores, and scores to fit his buildings was an inspiration, Actress and LCO took architectural layouts of the Barbican and created sounds directly inspired by its shapes.
STAFF COMMENTS
Barry says: A less beat-driven adventure for Actress, focusing mainly on the texture and interplay between found sounds and a classical orchestra. Fitting in nicely to his previous dusty electronic workouts, Lageos is a fascinating and impeccably curated suite of brutalist ambience and avant-garde electronica.TRACK LISTING
LAGEOS
Momentum
Galya Beat
Chasing Numbers
Chaos Rain
Surfer’s Hymn
N.E.W.
Audio Track 5
Voodoo Posse, Chronic
Illusion
Hubble
Actress (Darren Cunningham) — one of the preeminent and most singular voices in UK electronic music — returns with new album LXXXVIII. The conceptual groundwork for the coming album is built on a game of chess, each track named for a particular piece. With each thoughtful move the game grows and develops over time - something we can hear reflected throughout the album’ textured and delicate layers.
The release follows 2022’s mesmerizing Dummy Corporation EP, which placed Actress firmly back in the center of underground club culture. Prior to that his 2020 album Karma & Desire — which saw guest collaborations from Mercury Prize winner Sampha, Zsela and Aura T-09 — received widespread acclaim, with The Guardian commenting the album “cements his place as one of the great poets of club culture”.
First single “Push Power ( a 1 )” premiered this year on the iconic IICON stage at this year’s Glastonbury festival, with Actress playing straight after Four Tet. LXXXVIII arrives off the back of a recent live performance at Field Day in London, one of his largest live shows this year, where he showcased visuals from ‘Grey Interiors’ - an A/V project in collaboration with experimental creative studio Actual Objects, who’ve worked with the likes of ShyGirl, Kali Uchis, LSDXOXO and have presented work at Coachella and 180 The Strand’s Futureshock exhibition.
John Cale recently invited Actress to collaborate on a track from his first album in 7 years, resulting in “MARILYN MONROE’S LEGS (beauty elsewhere)”.
The release follows 2022’s mesmerizing Dummy Corporation EP, which placed Actress firmly back in the center of underground club culture. Prior to that his 2020 album Karma & Desire — which saw guest collaborations from Mercury Prize winner Sampha, Zsela and Aura T-09 — received widespread acclaim, with The Guardian commenting the album “cements his place as one of the great poets of club culture”.
First single “Push Power ( a 1 )” premiered this year on the iconic IICON stage at this year’s Glastonbury festival, with Actress playing straight after Four Tet. LXXXVIII arrives off the back of a recent live performance at Field Day in London, one of his largest live shows this year, where he showcased visuals from ‘Grey Interiors’ - an A/V project in collaboration with experimental creative studio Actual Objects, who’ve worked with the likes of ShyGirl, Kali Uchis, LSDXOXO and have presented work at Coachella and 180 The Strand’s Futureshock exhibition.
John Cale recently invited Actress to collaborate on a track from his first album in 7 years, resulting in “MARILYN MONROE’S LEGS (beauty elsewhere)”.
TRACK LISTING
1. Push Power ( A 1 )
2. Hit That Spdiff ( B 8 )
3. Azd Rain ( G 1 )
4. Memory Haze ( C 1 )
5. Game Over ( E 1 )
6. Typewriter World ( C 8 )
7. Its Me ( G 8 )
8. Chill ( H 2 )
9. Green Blue Amnesia Magic Haze ( D 7 )
10. Oway ( F 7 )
11. M2 ( F 8 )
12. Azifiziks ( D 8 )
13. Pluto ( A 2 )
Actress delivered his mix for RA in June and it was suprisingly all new and exclusive Actress music. When asked if this was a new album, Actress aka Darren S.Cunningham simply answered that "it's a collage -Braque". Whatever you call this, a mix, a mixtape, a collage/braque, a new album, what it is, is another Actress statement. Actress grows music. Completely unconcerned with what it is, with what format it is or what it's defined as.
STAFF COMMENTS
Matt says: Very exciting to hear new stuff from the highly innovative Actress who, in the past, has often dictated the sounds of the near future with his inspired, sometimes challenging, always rewarding pieces of music.TRACK LISTING
1. ДАРЕН ДЖ. КАННІНГЕМ
For me, Actress exists in a sparsely populated world of pure muses. Throughout musical history you have people at the very forefront of a generation or culture. Artists who relate to a time and environment rather than appeal to specific genre constraints of an fleeting aspect of club culture. Artists who truly put 'art' before anything else - often challenging the norm and usually way ahead of what the general consensus then later terms as cool. I put Darren Cunningham in this class, alongside Bowie, Kate Bush, Prince, Jamal Moss, AFX, Burial and Madonna. A grand statement I know but as the esteemed producer reaches album number five his artistic focus and future vision is unrivalled. The simplest you could say about "AZD" is that it’s art - the unique creation of a unique mind. There will be few more distinctive, brilliant or visionary suites of music released in 2017. Shimmering through a holographic prism its opening trilogy of tracks shines with new industry and broken societies; mixing dissonance with rhythm unceremoniously. Side B twists and churns through a multitude of audio processes, the very fabric of time space audible as Actress switches our receptors onto maximum sensitivity; offering up two painfully current club cuts in the process ("X22RME" & "Runner"). As side C slide gracefully in with the neo-orchestration of "Falling Rizlas" Actress prepares us for the demonically epic "Dancing In The Smoke" which defies categorization entirely, spinning old school hip-hop vox through an audio spiralizer and swirling metallic washes. Side D opens with the alluring "There's An Angel In The Shower", fluttering electronics gentle serenading us through highly emotive micro-chords. Finally "Visa" sees the Actress depart us in spritely, mischievous form, playful arpeggios rambunctiously motoring away as Cunningham pours hot white noise and electromagnet shards over the recording medium. It's been another awe inspiring, and at time uneasy vision of the future and how it's gonna sound, but Actress welcomes in the new with a wry smile and comforting gaze.
TRACK LISTING
NIMBUS
UNTITLED 7
FANTASYNTH
BLUE WINDOW
CYN
X22RME
RUNNER
FALLING RIZLAS
DANCING IN THE SMOKE
FAURE IN CHROME
THERE’S AN ANGEL IN THE SHOWER
VISA
On 2012's "RIP" Darren J Cunningham took a step away from the 4/4s of his early career to explore the realm of dreamlike soundscapes and intangible melody. His latest record, "Ghettoville" sees the producer wake from the dream to find that it's become his reality. The album begins with a thick grime of machinery, occasionally penetrated by dissonant guitar and eerie pads. On "Corner" Actress brings the world into focus. The gangsta rap bassline and keyboard merge with the raw house rhythm conjuring images of burnt out cars and rundown buildings. The lolloping beat of "Rims" combines with a rubbery bassline as the raw outsider techno sound becomes possessed by the ghost of bass music past. The gorgeous ambient soundscapes of "Our" and "Time" will seduce fans of Four Tet or (late) Radiohead with their fragile beauty, while "Bircage" sees Actress experiment with new sounds, constructing a primitive tropical drum house track which borders on the Balearic. Club kids needn't fear though, "Gaze", "Skyline" and "Frontline" are raw jackers that'll keep you moving throughout the darkness. "Rap" and "Rule" are the offspring of hip hop and R&B after a hefty swig of the 'drank', blurred, slowed down and generally spannered. Indeed the album peaks on the closer "Rule" as Actress fuses the pitched down rap lyric with the keys from "Gypsy Woman" to create a beatdown bomb that any local Detroiter would be proud of. "Ghettoville" is a bold and complex album which sees the different strands of Cunningham's sound pulled together into a dystopic futuristic vision, brimming with ideas and filtered through the producer's unique aesthetic.
Actress’s debut album ‘Hazyville’ will be remastered and released for the first time on white vinyl (with artwork etching on side F) as part of a beautifully crafted ‘Elephant’-skinned box set edition of ‘Ghettoville’, which comes complete with a 40 page artbook, the vinyl format of ‘Ghettoville’, and CD versions of both releases.
On 2012's "RIP" Darren J Cunningham took a step away from the 4/4s of his early career to explore the realm of dreamlike soundscapes and intangible melody. His latest record, "Ghettoville" sees the producer wake from the dream to find that it's become his reality. The album begins with a thick grime of machinery, occasionally penetrated by dissonant guitar and eerie pads. On "Corner" Actress brings the world into focus. The gangsta rap bassline and keyboard merge with the raw house rhythm conjuring images of burnt out cars and run down buildings. The lolloping beat of "Rims" combines with a rubbery bassline as the raw outsider techno sound becomes possessed by the ghost of bass music past. The gorgeous ambient soundscapes of "Our" and "Time" will seduce fans of Four Tet or (late) Radiohead with their fragile beauty, while "Bircage" sees Actress experiment with new sounds, constructing a primitive tropical drum house track which borders on the Balearic. Club kids needn't fear though, "Gaze", "Skyline" and "Frontline" are raw jackers that'll keep you moving throughout the darkness. "Rap" and "Rule" are the offspring of Hip Hop and RnB after a hefty swig of the 'drank', blurred, slowed down and generally spannered. Indeed the album peaks on the closer "Rule" as Actress fuses the pitched down rap lyric with the keys from "Gypsy Woman" to create a beatdown bomb that any local Detroiter would be proud of. "Ghettoville" is a bold and complex album which sees the different strands of Cunningham's sound pulled together into a dystopic futuristic vision, brimming with ideas and filtered through the producer's unique aesthetic.
On 2012's "RIP" Darren J Cunningham took a step away from the 4/4s of his early career to explore the realm of dreamlike soundscapes and intangible melody. His latest record, "Ghettoville" sees the producer wake from the dream to find that it's become his reality. The album begins with a thick grime of machinery, occasionally penetrated by dissonant guitar and eerie pads. On "Corner" Actress brings the world into focus. The gangsta rap bassline and keyboard merge with the raw house rhythm conjuring images of burnt out cars and run down buildings. The lolloping beat of "Rims" combines with a rubbery bassline as the raw outsider techno sound becomes possessed by the ghost of bass music past. The gorgeous ambient soundscapes of "Our" and "Time" will seduce fans of Four Tet or (late) Radiohead with their fragile beauty, while "Bircage" sees Actress experiment with new sounds, constructing a primitive tropical drum house track which borders on the Balearic. Club kids needn't fear though, "Gaze", "Skyline" and "Frontline" are raw jackers that'll keep you moving throughout the darkness. "Rap" and "Rule" are the offspring of Hip Hop and RnB after a hefty swig of the 'drank', blurred, slowed down and generally spannered. Indeed the album peaks on the closer "Rule" as Actress fuses the pitched down rap lyric with the keys from "Gypsy Woman" to create a beatdown bomb that any local Detroiter would be proud of. "Ghettoville" is a bold and complex album which sees the different strands of Cunningham's sound pulled together into a dystopic futuristic vision, brimming with ideas and filtered through the producer's unique aesthetic.
TRACK LISTING
'Ghettoville’
Forgiven
Street Corp.
Corner
Rims
Contagious
Birdcage
Our
Time
Towers
Gaze
Skyline
Image
Dont
Rap
Frontline
Rule
‘Hazyville’
Again The Addiction
Hazylude
Doggin’
Ivy May Gilpin
I Can’t Forgive You
Crushed
Redit 124
Againlude
Hazyville
Mincin
Green Gal
As we all struggle to deal with the sorry state of Earthly affairs, Darren Cunningham answers the Batcall and returns with a brand new Actress LP on usual haunt Ninja Tune. The producer recently resurfaced with his self released mixtape '88', a sparse and stripped back set of low slung house crunch, electro madness and uncompromising techno coated in a thick patina of fuzz and feedback. 'Karma & Desire' then is a comparatively expansive and accessible affair, replete with vocal contributions from the likes of Sampha, Zsela, Aura T-09 and Christel Well.
Billed as “a romantic tragedy set between the heavens and the underworld", the set serves us a string of retro-ist house and techno heaters, balancing a fragile beauty, in the form of soulful vocals or delicate keys, with the grit and growl of hissing drum machines and gnarly basslines. Naturally Darren avoids playing with a straight bat, twisting the traditional styles with the chopped and screwed sound design he excels at. If singles and stompers are your thing, look to "Angels Pharmacy", "Loveless" and the meditative closer "Walking Flames", but really this album works best when enjoyed in its entirety.
Billed as “a romantic tragedy set between the heavens and the underworld", the set serves us a string of retro-ist house and techno heaters, balancing a fragile beauty, in the form of soulful vocals or delicate keys, with the grit and growl of hissing drum machines and gnarly basslines. Naturally Darren avoids playing with a straight bat, twisting the traditional styles with the chopped and screwed sound design he excels at. If singles and stompers are your thing, look to "Angels Pharmacy", "Loveless" and the meditative closer "Walking Flames", but really this album works best when enjoyed in its entirety.
TRACK LISTING
Fire And Light
Angels Pharmacy (feat. Zsela)
Remembrance (feat. Zsela)
Reverend
Leaves Against The Sky
Save
VVY (feat. Sampha)
XRAY
Gliding Squares
Many Seas, Many Rivers (feat. Sampha)
Loveless (feat. Aura T-09)
Public Life (feat. Vanessa Benelli Mosell)
Fret Loose (feat. Christel Well)
Turin (feat. Aura T-09)
Diamond X
Walking Flames (feat. Sampha)
“Listening closely, influential visions of aquatic realms, such as the mythic Atlantis, and evocations of flying birds (and, perhaps, humans) may reveal themselves. No matter if Statik inspires you to soar above or below the horizon, Actress and Smalltown Supersound promise you a safe and transcendent journey.”
STAFF COMMENTS
Barry says: I've long been a fan of Actress' unique brand of fractured almost-dance and shadowy crackling ambient fare, and for me not only is the name 'Statik' perfectly representative of his whole aesthetic, the album is a perfectly in-tune artistic representation of Cunningham's razor sharp production skills. Another brilliant development of that unique Actress energy.TRACK LISTING
SIDE A:
A1. Hell
A2. Static
A3. My Ways
A4. Rainlines
A5. Ray
A6. Six
Side B:
B1. Café Del Mars
B2. Dolphin Spray
B3. System Verse
B4. Doves Over Atlantis
B5. Mellow Checx
The monstrous "Supermarkt" by Berlin producer Acud gets a vast and top tiered selection of remixes via the Keller label.
Norwegian disco master Prins Thomas kicks off proceedings with a sumptuous and velvety nu disco remix, full of cosmic yearnings as that Human League-esque bassline marches onwards. Ost & Kjex take the track into soulful house territory, adding swung percussion and rising organ stabs.
Argentinian Ana Helder really accentuates the electro-disco chug, turning out a remix that's somewhere between Lucia Ponti's "Dimi Bello" and New Order's "Blue Monday" - all with added cosmic electricity.
Mexican producer Mijo adds a slow techno touch, with intricate mechanization, churning grooves and fizzy textures throughout. Meanwhile Dirty Acid do as their name suggests and pour a highly corrosive and phlegmy concoction of 303s over the stems.
Amount takes us spiraling into the heavens via their remix - ascending arpeggios supplementing pulsating bass, echoed vox and simple drums for a deep late night hypnosis.
Finally, we get the original version by Acud in what can only be described as a bumper and essential pack and one of the best 12"s we've had in this year. TIP!
Norwegian disco master Prins Thomas kicks off proceedings with a sumptuous and velvety nu disco remix, full of cosmic yearnings as that Human League-esque bassline marches onwards. Ost & Kjex take the track into soulful house territory, adding swung percussion and rising organ stabs.
Argentinian Ana Helder really accentuates the electro-disco chug, turning out a remix that's somewhere between Lucia Ponti's "Dimi Bello" and New Order's "Blue Monday" - all with added cosmic electricity.
Mexican producer Mijo adds a slow techno touch, with intricate mechanization, churning grooves and fizzy textures throughout. Meanwhile Dirty Acid do as their name suggests and pour a highly corrosive and phlegmy concoction of 303s over the stems.
Amount takes us spiraling into the heavens via their remix - ascending arpeggios supplementing pulsating bass, echoed vox and simple drums for a deep late night hypnosis.
Finally, we get the original version by Acud in what can only be described as a bumper and essential pack and one of the best 12"s we've had in this year. TIP!
STAFF COMMENTS
Matt says: Electro-disco heads don't wanna miss this one. I'm often left a bit disgrunted when you get a twelve with just one track remixed countless times (why not squeeze another track on there!?) - HOWEVER, in this case, it's totally justified, with all involved turning out brilliant, and varied remixes of this amazing slice of gnarly, cosmic EBM. Hard to pick a favourite but I'm loving the kaleidoscoping ascension of Amount's remix.TRACK LISTING
A1. Acud - Supermarkt (Prins Thomas Diskomiks)
A2. Acud - Supermarkt (Ost & Kjex Remix)
A3. Acud - Supermarkt (Ana Helder Remix)
A4. Acud - Supermarkt (Mijo Remix)
B1. Acud - Supermarkt (Dirty Acid Mix)
B2. Acud - Supermarkt (Amount Remix)
B3. Acud - Supermarkt (Original Mix
New Wave icons Adam and the Ants formed in 1977 with Adam and a group of friends who had met at Vivienne Westwood’s iconic London fashion boutique, Sex. By 1980, their subversive, ground-breaking sound and iconic fashion had built up a large brigade of loyal fans. Between 1980 to 1982, Adam and The Ants released 3 albums, which all reached the top 10 of the UK Official Albums Chart, including the BRIT Award winning Kings of the Wild Frontier which held the number 1 spot for twelve weeks, and two Number 1 singles in the UK Official Singles Chart, ‘Stand and Deliver’ and ‘Prince Charming’. Nearly 45 years later, on 20th October 2023, Decca Records will re-release a limited edition translucent 7” of the Young Parisians single with its B-side Lady, featuring the original artwork hand drawn by Adam Ant himself.
Over the summer of 2024 Adam F has been releasing a series of reboots on 181 Recordings - the label founded with vocalist and partner Kirsty Hawkshaw. As a precursor to his forthcoming album he follows up ‘Brand New Funk Revisited Reboots’ and ‘Music In My Mind Revisited / Reboots’ with painstakingly re-recorded and rebooted versions of his seminal track ‘Circles’, with a Reboot by Adam F, as well as the first official release of the Pola & Bryson & Adam F reboot - which has been causing a storm on DnB dancefloors worldwide.
“‘Circles’ is one of the first tracks where I could express my influences with no boundaries. The music became known as Drum n’ Bass but started off as hard core Rave and Jungle. One of the greatest things about it for me was that I could express myself through that medium using all my influences; funk, soul, reggae and jazz - freely and unrestricted.” says Adam F on the release.
“Circles has evolved over `me with very solid and rich roots. Behind the hooks, basslines and such there are great textures. Saxophone, trumpet, Keyboards and synthesisers contribu`ng to a free flowing arrangement drawing on my love of jazz musicians indulging my own personal imagina`ve dreamscape of sound. Ul`mately I want it to be craved into something of a listener's story and journey that people can hang their hats on as well as their hearts.”
“‘Circles’ is one of the first tracks where I could express my influences with no boundaries. The music became known as Drum n’ Bass but started off as hard core Rave and Jungle. One of the greatest things about it for me was that I could express myself through that medium using all my influences; funk, soul, reggae and jazz - freely and unrestricted.” says Adam F on the release.
“Circles has evolved over `me with very solid and rich roots. Behind the hooks, basslines and such there are great textures. Saxophone, trumpet, Keyboards and synthesisers contribu`ng to a free flowing arrangement drawing on my love of jazz musicians indulging my own personal imagina`ve dreamscape of sound. Ul`mately I want it to be craved into something of a listener's story and journey that people can hang their hats on as well as their hearts.”
TRACK LISTING
Side A: Circles Revisited
Side B: Circles Revisited Reboot (Adam F & Pola & Bryson 2024 Reboot)
‘Colours Revisited’, a revision of Adam F’s MOBO Award-winning 1997 debut album is a story of musical rebirth and passion. Adam F, realising that ‘Colours’ had found a new audience—partly thanks to artists like PinkPantheress—decided to recreate the album. Instead of simply remastering the tracks, Adam went all in. Over two years, he meticulously reworked the original music, from restoring vintage instruments like his Fender Rhodes piano to enlisting UK jazz legends like Julian Joseph. Vocalists including Kirsty Hawkshaw and the late MC Conrad re-recorded their parts, while new solos from world-class musicians added fresh life to the tracks.
“Colours holds a special place in my heart because it was not only my first solo album, but also because I had the opportunity to collaborate with diverse talents,” says the seminal producer on his ground-breaking album. “Musicians of a calibre such as Dave Ital (Guitars), The Jazz Great Julian Joseph (Keyboards and Fender Rhodes), MC Conrad (MC/Artist), Roni Jordan (Jazz a guitarist who had a hit with Miles Davis’ “So What”), Tim Philbert/Tim the Bass (Bass), Greg Leicester (Bass), Maurice Capillaire/MC MC (Live MC)…”
Adam continues “We were honoured to be nominated for MOBO “Best album of the year” alongside renowned acts of that time, including Hinda Hicks, Des’ree, Lighthouse Family, and Massive Attack. In fact, I was so convinced that we wouldn't win that I didn't prepare a speech, and that definitely showed in my genuine surprise. Colours also went on to be a top 20 UK National Chart hit which lead to Metropolis winning Tune of the Year at the Underground Awards. Music In My Mind from the same album was inspired from Herbie Hancock ‘Rocket’ and ‘I Thought It Was You’.
“Fast forward to 2020, I never thought of ever revisiting ‘Colours’. But it seems that time has come round full circle, the interest is there.” The revisited album deftly weaves together the energy of new live instrumentation with the 80’s British electronica and jazz fusion inspired sounds of the original.
The result is a project which not only brings the album into the glistening present but somehow manages to add further depth and sense of understanding of the original ‘Colours’, the influences latent within it and how and why it has gone on to influence so many others since it’s inception throughout the world. This is a must have album which pays homage to what has become a cornerstone of British electronic music history.
“Colours holds a special place in my heart because it was not only my first solo album, but also because I had the opportunity to collaborate with diverse talents,” says the seminal producer on his ground-breaking album. “Musicians of a calibre such as Dave Ital (Guitars), The Jazz Great Julian Joseph (Keyboards and Fender Rhodes), MC Conrad (MC/Artist), Roni Jordan (Jazz a guitarist who had a hit with Miles Davis’ “So What”), Tim Philbert/Tim the Bass (Bass), Greg Leicester (Bass), Maurice Capillaire/MC MC (Live MC)…”
Adam continues “We were honoured to be nominated for MOBO “Best album of the year” alongside renowned acts of that time, including Hinda Hicks, Des’ree, Lighthouse Family, and Massive Attack. In fact, I was so convinced that we wouldn't win that I didn't prepare a speech, and that definitely showed in my genuine surprise. Colours also went on to be a top 20 UK National Chart hit which lead to Metropolis winning Tune of the Year at the Underground Awards. Music In My Mind from the same album was inspired from Herbie Hancock ‘Rocket’ and ‘I Thought It Was You’.
“Fast forward to 2020, I never thought of ever revisiting ‘Colours’. But it seems that time has come round full circle, the interest is there.” The revisited album deftly weaves together the energy of new live instrumentation with the 80’s British electronica and jazz fusion inspired sounds of the original.
The result is a project which not only brings the album into the glistening present but somehow manages to add further depth and sense of understanding of the original ‘Colours’, the influences latent within it and how and why it has gone on to influence so many others since it’s inception throughout the world. This is a must have album which pays homage to what has become a cornerstone of British electronic music history.
TRACK LISTING
CD1:
1: 73 MK8 Revisited
2: Metropolis Revisited
3: Music In My Mind Revisited
4: Jaxx Revisited
5: The Tree Knows Everything Revisited (featuring Kirsty Hawkshaw)
6: Circles Revisited (Extended)
7: Mother Earth Revisited
8: Dirty Harry Revisited
9: F-Jam Revisited (featuring MC Conrad)
10: Aromatherapy Revisited
CD2: Colours Live
1: Colours Intro Live
2: 73 Live
3. Metropolis Live
4: Music In My Mind Live
5: Jaxx Live
6: Brand New Funk Live (featuring DJ Destruction)
7: I Want You Live
8: Aromatherapy Revisited Live [Remix]
9: Circles Revisited Live
10: Dirty Harry Live
LP:
A1: 73 MK8 Revisited
A2: Metropolis Revisited
B1: Music In My Mind Revisited
B2: Jaxx Revisited
C1: The Tree Knows Everything Revisited (featuring Kirsty Hawkshaw)
C2: Circles Extended Revisited
D1: Mother Earth Revisited
D2: Dirty Harry Revisited
E: F-Jam Revisited (featuring MC Conrad)
F: Aromatherapy Revisited
We are in 1987 and 2 years have passed since Vinicio Adames debut album “El Comienzo Del Camino” when Venezuelan painter Ernesto Leon asks Vinicio to compose music for his New York Art Exhibition at Lincoln Centre. The result is an exceptional composition and modern sound interpretation of their national heritage the Amazonas. Both Amazonia I + II, each version in its own way, honor the majesty and mystery of one of worlds greatest nature reservoirs. Both compositions were never intended for commercial release, and were only given out by hand in Flexidisc format during the exhibition. We at TrueClass Record felt, that the time has come to present this gem to all musiclovers worldwide. Short Info: Venezuelan Electronic Music Pioneer Vinicio Adames Synth-Pop Masterpiece from 1987. Vital Sales Points: 1st Official release. Quality Restoration and Re-Mastering by Calyx Mastering.
STAFF COMMENTS
Patrick says: Collectors of ambient, Balearic and 80s synth-scapes know you have to scour the exhibition catalogues, fashion collection promos and weird commercial tie-ins to find the deepest nuggets. This shamanistic masterpiece is no exception, created for an Ernesto Leon exhibition in NYC '87. Perfect fourth world tackle for play alongside Crelier, Hassell and Finis Africae.TRACK LISTING
Amazonia I
Amazonia II
Eve Adams offers solace within life's shadows. Un-numbing senses with anthems of surrender and tender-hearted tales that tingle with Californian folk-noir, her album Metal Bird takes flight with the turbulence and romance of Hollywood’s golden age, and meditates on the mysteries of love, death, insecurity and loneliness.
Like a match struck in a cobwebbed attic, Adams voice is a fiery detective, unafraid to explore the unseen; the liminal spaces between mourning and rapture, between the coldness of a corpse and the heat of cremation. Imagery of flight and the denial of gravity floats slyly through the ten songs on Metal Bird by the California-born musician and hints at the experience of being caught in purgatory, like a passenger on a plane ride from Hell to Heaven.
Combining airy folk with haunting soundscapes the album takes listeners on an auditory voyage from sonorous lullabies, to dreamy ambience, skeletal jazz, 1930s torch songs and 1940s film noir. Metal Bird has a distinct, genuine tone, with orchestral arrangements, ambient hallucinations and high fidelity vocals that are unafraid to be heard loud and clear.
For those who are hopelessly enamoured with a by-gone time, there is solace in these songs and sounds. Flickering back and forth between dread and hope, the unrelenting march towards a spiritual transformation and the realization that each of us are driven by our own dreams and as much as we want to hold it in our hands, often it is intangible. The sublime remains elusive, existing somewhere in the heart, and it sounds like Eve Adams knows this best.
Metal Bird gets a release on Basin Rock, the Todmorden based record label who gave lift off to Julie Byrne, Aoife Nessa Frances, Nadia Reid and Johanna Samuels.
"Metal Bird feels blissfully unmoored from any sense of time and space, its astral Americana hymns hovering somewhere between the dirt and the stars, between a bygone golden age and our tense present, between raw intimacy and dreamlike splendour." Pitchfork.
Like a match struck in a cobwebbed attic, Adams voice is a fiery detective, unafraid to explore the unseen; the liminal spaces between mourning and rapture, between the coldness of a corpse and the heat of cremation. Imagery of flight and the denial of gravity floats slyly through the ten songs on Metal Bird by the California-born musician and hints at the experience of being caught in purgatory, like a passenger on a plane ride from Hell to Heaven.
Combining airy folk with haunting soundscapes the album takes listeners on an auditory voyage from sonorous lullabies, to dreamy ambience, skeletal jazz, 1930s torch songs and 1940s film noir. Metal Bird has a distinct, genuine tone, with orchestral arrangements, ambient hallucinations and high fidelity vocals that are unafraid to be heard loud and clear.
For those who are hopelessly enamoured with a by-gone time, there is solace in these songs and sounds. Flickering back and forth between dread and hope, the unrelenting march towards a spiritual transformation and the realization that each of us are driven by our own dreams and as much as we want to hold it in our hands, often it is intangible. The sublime remains elusive, existing somewhere in the heart, and it sounds like Eve Adams knows this best.
Metal Bird gets a release on Basin Rock, the Todmorden based record label who gave lift off to Julie Byrne, Aoife Nessa Frances, Nadia Reid and Johanna Samuels.
"Metal Bird feels blissfully unmoored from any sense of time and space, its astral Americana hymns hovering somewhere between the dirt and the stars, between a bygone golden age and our tense present, between raw intimacy and dreamlike splendour." Pitchfork.
STAFF COMMENTS
Barry says: What an absolutely enthralling selection this is, landing somewhere between gothic country music, 40's lounge and wistful folk, deftly flowing between influences without batting an eyelid. Wonderfully written, mournful pop songs that defy all expectation.TRACK LISTING
Side A
1. Blues Look The Same
2. You're Not Wrong
3. Butterflies
4. A Walk In The Park
5. Metal Bird
Side B
6. The Dying Light
7. Woman On Your Mind
8. La Ronde
9. Prisoner
10. My Only Dream
'Sweet Release' is the second album from master musicians Justin Adams & Mauro Durante.
Three years of worldwide touring has turned what was originally a fusion project into a fully realised and unique entity. Drawing on Durante's Taranta background with Canzoniere Grecanico Salentino, as well as his work with Ludovico Einaudi, and Adams' prolific career as guitarist, with everyone from Sinead O'Connor to Robert Plant and Tinariwen, their musical landscape ranges from raw Rockabilly to Sufi ecstasy via Minimalism. For this album they have brought in some guest vocalists adding yet more layers to their distinctive sound.
Exploring themes of musical healing and catharsis, the title track and opener 'Sweet Release' is a heartfelt manifesto of the duo's vision, featuring Adams' unmistakeable touch on the guitar and Durante's masterful tamburello frame drum. Along with original tracks such as the shimmering pizzica- based 'Leuca' featuring guest singer Canzoniere Grecanico Salentino's Alessia Tondo and the wildly rocking 'Ghost Train', they cover Lebanese Diva Fairuz's haunting Easter Hymn 'Wa Habibi' with guest singer Yousra Mansour from Bab L' Bluz, which becomes a timely meditation on suffering. CBGB's underground legend Felice Rosser brings vocals to 'Tide Keeps Turning' adding a deeply soulful touch to the ritual Neapolitan Tammurriata beat of Durante's drum, while Adams' starkly beautiful guitar illuminates 'Aurora', inspired by a dawn call to prayer heard in Rajasthan. The anthemic Instrumental 'Ithaca Return' opens brightly before turning into a wild pizzica-like tune led by Durante's rhapsodic violin. 'Qui Non Vorrei Morire', sung by Durante, is a setting of a poem by Vittorio Bodini, another native of Salento, originally recorded by Mauro's late father Daniele, one of the leading lights of the Taranta revival.
Three years of worldwide touring has turned what was originally a fusion project into a fully realised and unique entity. Drawing on Durante's Taranta background with Canzoniere Grecanico Salentino, as well as his work with Ludovico Einaudi, and Adams' prolific career as guitarist, with everyone from Sinead O'Connor to Robert Plant and Tinariwen, their musical landscape ranges from raw Rockabilly to Sufi ecstasy via Minimalism. For this album they have brought in some guest vocalists adding yet more layers to their distinctive sound.
Exploring themes of musical healing and catharsis, the title track and opener 'Sweet Release' is a heartfelt manifesto of the duo's vision, featuring Adams' unmistakeable touch on the guitar and Durante's masterful tamburello frame drum. Along with original tracks such as the shimmering pizzica- based 'Leuca' featuring guest singer Canzoniere Grecanico Salentino's Alessia Tondo and the wildly rocking 'Ghost Train', they cover Lebanese Diva Fairuz's haunting Easter Hymn 'Wa Habibi' with guest singer Yousra Mansour from Bab L' Bluz, which becomes a timely meditation on suffering. CBGB's underground legend Felice Rosser brings vocals to 'Tide Keeps Turning' adding a deeply soulful touch to the ritual Neapolitan Tammurriata beat of Durante's drum, while Adams' starkly beautiful guitar illuminates 'Aurora', inspired by a dawn call to prayer heard in Rajasthan. The anthemic Instrumental 'Ithaca Return' opens brightly before turning into a wild pizzica-like tune led by Durante's rhapsodic violin. 'Qui Non Vorrei Morire', sung by Durante, is a setting of a poem by Vittorio Bodini, another native of Salento, originally recorded by Mauro's late father Daniele, one of the leading lights of the Taranta revival.
TRACK LISTING
Sweet Release
Leuca (ft. Alessia Tondo)
Ghost Train
Wa Habibi (ft. Yousra Mansour)
Silver And Stone
Aurora
Ithaca Return
Qui Non Vorrei Morire
Tide Keeps Turning (ft. Felice Rosser)
Santu Paulu
Recommended If You Like: Pedro The Lion, The Sea and Cake, David Bazan, Major Murphy, Kurt Vonnegut & Guided by Voices. For ten years now, I’ve understood “Oscillate Wisely” as a play on the Smiths’ instrumental “Oscillate Wildly”--itself, of course, a pun on Morrissey’s muse, Oscar Wilde. This is not to say that anything about Mike Adams and his band reminds me of the Smiths (especiallyMorrissey), as much as the idea that rock bands like Mike Adams At His Honest Weight take shape more or less as a thesaurus of past ideas--winking at them, borrowing them like a library book, checking them out from across the room, cloning them.
But the best stuff is more ineffable, far more than just cut-and-paste. There’s a weird grandeur to Adams' music, starting with that fully formed, geekily majestic 2011 debut LP Oscillate Wisely, that I don’t hear in anything else, before or since. A sense that Adams is guiding his listeners toward a cosmic joke so personal, so inscrutable, so funny (“funny”), if you give him your attention. It's in his blood, I think. He's not Oscar Wilde, but a uniquely Midwestern type of deeply sincere romantic and dyed-in-the-wool goofball cast from the mold of Hoosier icons like Letterman and Vonnegut.
He doesn’t want to believe in anything, he didn’t create this body, helovesa parade. It’s all in fun, but it gets so personal. Onstage, Adams is gregarious and playfully self-effacing, a college town denizen telescoping backwards to the brief early 90s moment when “college rock” entered the corporate suite, and performers forced to become showmen retreated to the comfort of their native tongue: irony.AndOscillate Wiselyhas demonstrated for a decade that earnestness and sarcasm are as intricately bound in rock and roll'slingua francaas hang-ups and chill hangs. I’ve never heard any musician summon everything I love about being from Indiana so perfectly. And I’mfuckingold. Eric Harvey.
But the best stuff is more ineffable, far more than just cut-and-paste. There’s a weird grandeur to Adams' music, starting with that fully formed, geekily majestic 2011 debut LP Oscillate Wisely, that I don’t hear in anything else, before or since. A sense that Adams is guiding his listeners toward a cosmic joke so personal, so inscrutable, so funny (“funny”), if you give him your attention. It's in his blood, I think. He's not Oscar Wilde, but a uniquely Midwestern type of deeply sincere romantic and dyed-in-the-wool goofball cast from the mold of Hoosier icons like Letterman and Vonnegut.
He doesn’t want to believe in anything, he didn’t create this body, helovesa parade. It’s all in fun, but it gets so personal. Onstage, Adams is gregarious and playfully self-effacing, a college town denizen telescoping backwards to the brief early 90s moment when “college rock” entered the corporate suite, and performers forced to become showmen retreated to the comfort of their native tongue: irony.AndOscillate Wiselyhas demonstrated for a decade that earnestness and sarcasm are as intricately bound in rock and roll'slingua francaas hang-ups and chill hangs. I’ve never heard any musician summon everything I love about being from Indiana so perfectly. And I’mfuckingold. Eric Harvey.
TRACK LISTING
1 Bad Weather
2 Skeletons In The Cloner
3 I Don’t Want To Believe In Anything
4 I’m Not Worried
5 Sunrise
6 Don’t You Blanket When That Happens
7 I Did Not Create This Body
8 IIIIIIIII Love A Parade
9 It’s All Been Done You Said
10 You’ll Have Me As Long…
Discover another take on Adams’ acclaimed 2020 release Wednesdays with this re-worked edition of the record on double black vinyl. The new collection curated by Adams breathes fresh life into the record, offering fans and newcomers a chance to experience the album in a new perspective. Featuring refreshed takes on some of the original track listing, Another Wednesday reinvents the sound and spirit of the album. The re-work includes a selection of thoughtfully chosen cover tracks—paying homage to the music that inspired the original album’s creation.
TRACK LISTING
When You Cross Over
Wednesdays
Poison & Pain
Mamma
Tracks Of My Tears
Walk In The Dark
Birmingham
I’m Sorry And I Love You
It’s Not That Kind Of Night
So, Anyways
Moon River
Dreaming You Backwards
Who’s Going To Love Me Now
Ryan Adams’ infamous cult classic album “Blackhole” is released on classic black vinyl and CD for the very first time. The album’s contents and final tracklisting have been widely speculated since its conception in the early 00’s. After nearly two decades of anticipation, Adams is now ready to unveil the official release of Blackhole. Featuring “Catherine”, heard only in live performances, alongside previously unheard material, Blackhole captures the raw, unfiltered emotion that defines Adam’s songwriting. The shelved album, first demoed in 2006, became heavily bootlegged, with fans circulating low-quality recordings and snippets from live performances, fuelling a demand for the album’s official release. This long-awaited, full-length album not only satisfies years of fan speculation, but also reclaims a crucial moment in Ryan Adam’s history.
STAFF COMMENTS
Barry says: After nearly two decades of anticipation, Adams is now ready to unveil the official release of Blackhole. Featuring “Catherine”, heard only in live performances, alongside previously unheard material, Blackhole captures the raw, unfiltered emotion that defines Adam’s songwriting
Anger seldom sounds as enticing as it does on Virtue Signals. Steven Adams’s first with his new group, The French Drops is an album that rails against the iniquities of the world and meshes the personal with the political, without ever smacking the listener around the head. Adams (former songwriter/singer/guitarist with The Broken Family Band and Singing Adams) can’t help but be witty and empathetic even as he rages, and the fury is wrapped inside his characteristically sweet melodies.
The album’s tone is set from opening track, “Bad Apples”, a song addressing flag-waving, aggressive patriots. The lyrics are alternately playful and oblique, in the spirit of songwriters like John Lennon or Britt Daniel from Spoon. Where Adams aims to remove ambiguity and play with metaphor, as with “Ex Future”, the opacity of his writing means he doesn’t descend into cliche.
Following a few years of performing and recording solo, Adams says he wanted to put together “a band where everyone was following their noses. I’ve been calling the shots for ages now, and now I can lean on these people, make more noise. It’s fair to say we share a lot of the same thoughts and feelings about the state of the world. But mostly we talk about food.” Laurie Earle (Absentee, Dan Michaelson & The Coastguards, Wet Paint) plays guitar with a loose, intuitive touch; Michael Wood - who had played bass with The Singing Adams - switches to keyboards here, while Daniel Fordham (drums) and David Stewart (bass) from The Drink complete the band.
Produced by Ben Nicholls (Nadine Shah, Cara Dillon). Mixed by acclaimed producer and engineer (and Hudson Records supremo) Andy Bell. Adams tours the UK through May and the summer.
For fans of: Field Music, Pavement, Spoon, Grandaddy, Teleman.
The album’s tone is set from opening track, “Bad Apples”, a song addressing flag-waving, aggressive patriots. The lyrics are alternately playful and oblique, in the spirit of songwriters like John Lennon or Britt Daniel from Spoon. Where Adams aims to remove ambiguity and play with metaphor, as with “Ex Future”, the opacity of his writing means he doesn’t descend into cliche.
Following a few years of performing and recording solo, Adams says he wanted to put together “a band where everyone was following their noses. I’ve been calling the shots for ages now, and now I can lean on these people, make more noise. It’s fair to say we share a lot of the same thoughts and feelings about the state of the world. But mostly we talk about food.” Laurie Earle (Absentee, Dan Michaelson & The Coastguards, Wet Paint) plays guitar with a loose, intuitive touch; Michael Wood - who had played bass with The Singing Adams - switches to keyboards here, while Daniel Fordham (drums) and David Stewart (bass) from The Drink complete the band.
Produced by Ben Nicholls (Nadine Shah, Cara Dillon). Mixed by acclaimed producer and engineer (and Hudson Records supremo) Andy Bell. Adams tours the UK through May and the summer.
For fans of: Field Music, Pavement, Spoon, Grandaddy, Teleman.
“Making this record was a joy,” says Steven Adams of his latest album with his band the French Drops. He even let the positive mood around the making of it influence its title. “I love making records but sometimes time, money, or people - including me - fuck up my enjoyment of the process. So this time I kept saying to myself ‘keep it light’ whenever I was making decisions.” The buoyant and relaxed mood can be heard across the album in its gloriously skipping tones, as it traverses across indie, pop, alt-rock and more tender acoustic and folk-leaning moments. It’s a craft that Adams has been honing for years as the lead figure in outfits such as The Broken Family Band and Singing Adams, so much so that by now it oozes out of him with a seamless grace.
The feelings of serenity and solace he experienced whilst writing the songs themselves carried over into the final product. “I did a big chunk of the writing on holiday in the South of France last year,” he says. “We were staying in this big, rambling house that had a kind of turret room that was cut off from everything, so I’d go up there in the mornings and sit on the floor and feel like a proper artist while everyone else was eating croissants.” Once described by The Guardian as “one of Britain’s smartest, most underrated songwriters”, Adams’ aim was clear with this record. “I wanted to make a super personal, light-hearted and upbeat record,” he says. “I wanted to do the whole write about what you know thing and keep it as light as possible.” The lightness of the album was a guiding principle but it wasn’t a rule set in stone, as Adams soon found out the deeper he plunged into himself. “We had a running joke about how we were making an album called Keep it Light that is full of songs about racists and panic attacks and existential angst,” he says. “But it does you good to get that stuff out. Writing songs and making records keeps me sane.”
The album is one as full of joy and beauty as it is ink black humour and caustic revelation. On the gorgeous shuffle of “Oh Dear” - recalling the kind of stripped back beauty of Yo La Tengo at their finest - Adams sings: “and true love will not find you in the end.” A knowing nod and a wink to Daniel Johnston’s earnest refrain that indeed true love will find you in the end. It’s such moments that fill the album with equal parts weight and lightness, a smart touch delivered with a deft hand. Of the broad range of the album and its wide-spanning lyrical content Adams simply says: “the upbeat stuff is pretty upbeat and the darker stuff is pretty dark, but it’s all still with some humour.” Perhaps the song that best encapsulates this split between the light and the dark and the funny and the personal is “My Brother, the Racist” a self explanatory song that skips along with an infectious groove as Adams sings about, well, his racist brother. It unfurls in an intimate manner that recalls the kind of deeply personal allure of Sun Kill Moon’s Benji. “It’s an awkward thing to sing about, but it was the right thing to do,” he reflects. “I’ve written about British racism before, but never this close to home.”
Recorded at Soup by Simon Trought and with band members Laurie Earle, Daniel Fordham, David Stewart and Michael Wood, this is the first time Adams has worked in such a harmonious and in sync way. “This is the first record I’ve made with the band all playing in one room, getting everything down at once,” he says. “We played live with all of us on the floor, and it came together really quickly. But we still gave ourselves time to experiment and do fun stuff all over it. This combination of allowing things to be light, not overstressing, the harmony of the group, and the seamless knack of Adams’ songwriting has resulted in a truly special record. “I’m usually sick of a record by the time it’s mixed and I don’t get much of a kick out of hearing my own stuff, but this one’s different,” he says. “I know I sound like a wanker saying this but this is the best record I’ve ever made.”
The feelings of serenity and solace he experienced whilst writing the songs themselves carried over into the final product. “I did a big chunk of the writing on holiday in the South of France last year,” he says. “We were staying in this big, rambling house that had a kind of turret room that was cut off from everything, so I’d go up there in the mornings and sit on the floor and feel like a proper artist while everyone else was eating croissants.” Once described by The Guardian as “one of Britain’s smartest, most underrated songwriters”, Adams’ aim was clear with this record. “I wanted to make a super personal, light-hearted and upbeat record,” he says. “I wanted to do the whole write about what you know thing and keep it as light as possible.” The lightness of the album was a guiding principle but it wasn’t a rule set in stone, as Adams soon found out the deeper he plunged into himself. “We had a running joke about how we were making an album called Keep it Light that is full of songs about racists and panic attacks and existential angst,” he says. “But it does you good to get that stuff out. Writing songs and making records keeps me sane.”
The album is one as full of joy and beauty as it is ink black humour and caustic revelation. On the gorgeous shuffle of “Oh Dear” - recalling the kind of stripped back beauty of Yo La Tengo at their finest - Adams sings: “and true love will not find you in the end.” A knowing nod and a wink to Daniel Johnston’s earnest refrain that indeed true love will find you in the end. It’s such moments that fill the album with equal parts weight and lightness, a smart touch delivered with a deft hand. Of the broad range of the album and its wide-spanning lyrical content Adams simply says: “the upbeat stuff is pretty upbeat and the darker stuff is pretty dark, but it’s all still with some humour.” Perhaps the song that best encapsulates this split between the light and the dark and the funny and the personal is “My Brother, the Racist” a self explanatory song that skips along with an infectious groove as Adams sings about, well, his racist brother. It unfurls in an intimate manner that recalls the kind of deeply personal allure of Sun Kill Moon’s Benji. “It’s an awkward thing to sing about, but it was the right thing to do,” he reflects. “I’ve written about British racism before, but never this close to home.”
Recorded at Soup by Simon Trought and with band members Laurie Earle, Daniel Fordham, David Stewart and Michael Wood, this is the first time Adams has worked in such a harmonious and in sync way. “This is the first record I’ve made with the band all playing in one room, getting everything down at once,” he says. “We played live with all of us on the floor, and it came together really quickly. But we still gave ourselves time to experiment and do fun stuff all over it. This combination of allowing things to be light, not overstressing, the harmony of the group, and the seamless knack of Adams’ songwriting has resulted in a truly special record. “I’m usually sick of a record by the time it’s mixed and I don’t get much of a kick out of hearing my own stuff, but this one’s different,” he says. “I know I sound like a wanker saying this but this is the best record I’ve ever made.”
TRACK LISTING
A1) Soft Landings
A2) Bring On The Naps
A3) Canary
A4) Gracechurch St
A5) Oh Dear
B1) Going To Everglades
B2) Note To Self
B3) My Brother, The Racist
B4) Jonny
B5) Mr Sunshine
Steven Adams, formerly of The Broken Family Band releases new album DROPS on Fika Recordings. Since calling time on TBFB at the height of their success, Adams has released half a dozen albums under various names (Singing Adams, Steven James Adams, Steven Adams & The French Drops), his witty, incisive lyrics and melodic sensibilities taking in DIY indie rock, folky introspection, and off-kilter pop hooks. Originally from South Wales, Adams now lives in East London.
“Every record I’ve made has been in a hurry of some sort” says Adams of his new album, “and with this one I took my time”. DROPS is the first album to be credited to him as a solo artist since 2016’s Old Magick, his first new music since 2020, and his noisiest record to date. Armed with a new batch of material, he began by upping sticks to the Welsh countryside to experiment with drummer Daniel Fordham and bassist David Stewart - both formerly of psych oddballs The Drink. The trio then took the songs to Big Jelly, a converted chapel on the south coast, with co-producer Simon Trought (Comet Gain, Johnny Flynn, The Wave Pictures) to lay down the basic tracks for DROPS. Eschewing a full band set up (“I wanted to concentrate on one thing at a time”), recording sessions in East London followed with Laurie Earle (Absentee) on guitar and Michael Wood (Hayman Kupa Band, Michaelmas) on keyboards. Adams then took the recordings home and to the French countryside, to work alone. “I finally got my head around home recording in 2020, while things were a bit quiet. Once I worked out how to record things I realised I didn’t have to think about time. I could let the songs evolve and change once we had the basic tracks down. After a while I started to think of them as paintings; trying something one morning, painting over it in the afternoon and attempting something completely different… it was about enjoying the process, making some bangers, playing around... and giving Simon the producer a mess to sort out when it came to mixing the record". Whenever Tom from Fika Recordings checked in to see how the album was progressing Adams would reply, “it’s taking ages but it’ll sound like it was recorded in an afternoon”. The result is a dynamic and spirited collection of songs, with Adams's love of 90/00s US underground rock (Pavement's Bob Nastanovich is a fan) to the fore. DROPS is a sonically compelling piece of work: from bleak/exultant opener Out to Sea and the motorik Living in the Local Void to the weirdly funereal Fascists (where Adams imagines the “little skip in our steps” that we’ll have upon outliving some baddies), and Day Trip's psychedelia in miniature. There are also moments of tenderness: the avalanche of empathy on closing track Cheap Wine Sad Face, and I Tried to Keep it Light’s “worse things could happen… I don’t know how, but give me time”. Adams says: “I'm preoccupied by the passing of time and the way it affects how we feel. This record is about time and bewilderment and trying to make sense of things".
“Every record I’ve made has been in a hurry of some sort” says Adams of his new album, “and with this one I took my time”. DROPS is the first album to be credited to him as a solo artist since 2016’s Old Magick, his first new music since 2020, and his noisiest record to date. Armed with a new batch of material, he began by upping sticks to the Welsh countryside to experiment with drummer Daniel Fordham and bassist David Stewart - both formerly of psych oddballs The Drink. The trio then took the songs to Big Jelly, a converted chapel on the south coast, with co-producer Simon Trought (Comet Gain, Johnny Flynn, The Wave Pictures) to lay down the basic tracks for DROPS. Eschewing a full band set up (“I wanted to concentrate on one thing at a time”), recording sessions in East London followed with Laurie Earle (Absentee) on guitar and Michael Wood (Hayman Kupa Band, Michaelmas) on keyboards. Adams then took the recordings home and to the French countryside, to work alone. “I finally got my head around home recording in 2020, while things were a bit quiet. Once I worked out how to record things I realised I didn’t have to think about time. I could let the songs evolve and change once we had the basic tracks down. After a while I started to think of them as paintings; trying something one morning, painting over it in the afternoon and attempting something completely different… it was about enjoying the process, making some bangers, playing around... and giving Simon the producer a mess to sort out when it came to mixing the record". Whenever Tom from Fika Recordings checked in to see how the album was progressing Adams would reply, “it’s taking ages but it’ll sound like it was recorded in an afternoon”. The result is a dynamic and spirited collection of songs, with Adams's love of 90/00s US underground rock (Pavement's Bob Nastanovich is a fan) to the fore. DROPS is a sonically compelling piece of work: from bleak/exultant opener Out to Sea and the motorik Living in the Local Void to the weirdly funereal Fascists (where Adams imagines the “little skip in our steps” that we’ll have upon outliving some baddies), and Day Trip's psychedelia in miniature. There are also moments of tenderness: the avalanche of empathy on closing track Cheap Wine Sad Face, and I Tried to Keep it Light’s “worse things could happen… I don’t know how, but give me time”. Adams says: “I'm preoccupied by the passing of time and the way it affects how we feel. This record is about time and bewilderment and trying to make sense of things".
TRACK LISTING
Out To Sea
Living In The Local Void
Moderation
Heads Keep Rolling
Making Holes
Pas Moi
Holiday Casual
Fascists
I Tried To Keep It Light
Day Trip
Cheap Wine Sad Face
Originally released in 2008, Back To The Cat, was in keeping with the artist who developed the concept of the imaginary soundtrack, with every song building a compelling narrative around Barry’s lifelong investigation of identity, sexuality, race, spirituality and society. The record picked up the threads of his previous work and continued to showcase his musical ambidexterity covering noir jazz, sun-drenched pop ballads, fractious funk, heavenly blues and subversive soul.
TRACK LISTING
A1 The Beaten Side Of Town
A2 Straight 'Til Sunrise
A3 Spend A Little Time
A4 Shadow Of Death Hotel
A5 I Could Love You
B1 Walk On Fire
B2 Flight
B3 Civilization
B4 People
B5 Psycho_Sexual
2024 ushers in a brand new Barry Adamson album entitled, ‘Cut To Black’ The album swaggeringly embraces Adamson’s trademark genre hopping compositions, covering Pop, Soul, Jazz, Hip Hop and Gospel.
A must for fans of all things Cinematic Soul, Nick Cave & The Bad Seeds, Post Punk, Massive Attack, Unloved and much more
A must for fans of all things Cinematic Soul, Nick Cave & The Bad Seeds, Post Punk, Massive Attack, Unloved and much more
STAFF COMMENTS
Barry says: There's an element (and not only in the cover) of Film Noire in Adamson's work, with the storytale lyricism and staggered-cool of the instrumentation, but there's also a lot more at play here. There are hints of slow-moving soul and soaring gospel hints woven through Adamson's thoroughly unique indie-rock backdrop, resulting in a varied and entirely singular album.TRACK LISTING
1. The Last Words Of Sam Cooke
2. Demon Lover
3. Cut To Black
4. Manhattan Satin
5. These Would Be Blues
6. Please Don’t Call On Me
7. Amen White Jesus
8. One Last Midnight
9. Was It A Dream?
10. Waiting For The End Of Time
Initially released in 2012, I Will Set You Free amalgamated elements of Barry’s previous work, resulting in an album that is unmistakably Barry Adamson. Like many of Adamson’s records, the album is a genre odyssey that jumps from garage rock rock, to blues, to new-wave pop, with the adventurous brass section injecting an acid jazz touch. His overwhelming desire to examine cultural shifts and embrace them within the quest to improve oneself that often centres in Adamson’s art is clearly present in I Will Set You Free. This subsequently makes it a quintessential Barry Adamson record that fits right in with the back catalogue.
TRACK LISTING
A1 Get Your Mind Right
A2 Black Holes In My Brain
A3 Turnaround
A4 The Power Of Suggestion
A5 Destination
B1 The Trigger City Blues
B2 Looking To Love Somebody
B3 The Sun And The Sea
B4 If You Love Her
B5 Stand In
Barry’s 2016 album, Know Where To Run, was produced by Barry himself and recorded in Brighton with Paul Pascoe, whilst WTNSS mixed and provided additional production at the legendary Dean Street Studios. The concept behind the album emerged when Barry started taking photos during a Nick Cave and the Bad Seeds North American tour, playing with the idea of traversing different states of the human condition and different states across America. The result was an audio/visual project inspired by these pictures, with the record being presented alongside a curated photobook.
TRACK LISTING
A1 In Other Worlds
A2 Cine City
A3 Come Away
A4 Death Takes A Holiday
A5 Claw And Wing
B1 Texas Crash
B2 Mr Greed
B3 Up In The Air
B4 Evil Kind
Memento Mori charts Adamson’s career from 1978’s Magazine track, ‘Parade’ (co-written by Adamson, from their debut album Real Life), to his work as founding member, alongside Nick Cave, of the Bad Seeds (‘From Her To Eternity’, co-written by Adamson); through his nine solo albums, from 1988’s Moss Side Story to the latest Love Sick Dick EPs, bringing everything up to date with a brand new unreleased track, ‘The Hummingbird’.
STAFF COMMENTS
Laura says: When people talk about Manchester music legends, Barry Adamson barely gets a mention, but as this compilation demonstrates, he's been responsible for some of the most incredible, genre-bending music to come out of Manchester in the last 30 years, blending post-punk, jazz, blues, soundtracks, and everything in between in his own inimitable way. Stand out tracks include "The Man With The Golden Arm" from the briliantly noir-ish "Moss Side Story" and "Set The Controls For The Heart Of The Pelvis" from 1996's "Oedipus Schmoedipus" featuring Jarvis Cocker on vocals, along with "Parade" by Magazine and "From Her To Eternity" from his days as a Bad Seed.TRACK LISTING
The Man With The Golden Arm (Moss Side Story,1988)
Jazz Devil (As Above, So Below, 1998)
Civilization (Back To The Cat, 2008)
Set The Controls For The Heart Of The Pelvis (Oedipus Schmoedipus, 1996)*
The Snowball Effect (The Negro Inside Me, 1993)
The Sun And The Sea (I Will Set You Free, 2012)
The Big Bamboozle (Oedipus Schmoedipus, 1996)
I Got Clothes – ACR:MCR Rework (Love Sick Dick Remix EP, 2017)
Come Hell Or High Water (As Above, So Below, 1998)
Something Wicked This Way Comes (Oedipus Schmoedipus, 1996)
The Long Way Back Again (Single Version, 2006)
Up In The Air (Single Version, 2016)
007, A Fantasy Bond Theme (Soul Murder, 1992)
Sweet Misery (Love Sick Dick, 2017)
The Hummingbird (Memento Mori, 2018)
Parade – Magazine (Real Life, 1978)
From Her To Eternity – Nick Cave & The Bad Seeds (From Her To Eternity, 1984)
*with Jarvis Cocker
Barry Adamson’s Steal Away EP released for the first time on vinyl via Mute. The EP was written and recorded at the time Adamson was writing his memoir ‘Up Above the City, Down Beneath the Stars’. The record ended up becoming an intrinsic part of the book writing process with Barry explaining, “The book is the past, the record is the past present. I needed to write it to get through the book, to stay present.” Sitting amongst Barry’s diverse catalogue, Steal Away EP presents a refreshing vibrancy and western-like feel that further demonstrates Adamson’s multifaceted ability in songwriting.
TRACK LISTING
A1 Let’s Steal Away
A2 Broken Moments
B1 The Climber
B2 Sundown County Ft. Big Walt Daniels
Barry Adamson takes us Back to the Catalogue with a series of reissues on coloured vinyl and CD.
Originally released in the mid-2000s, Stranger On The Sofa is an album tied together by its mysterious cinematic composure. Each track is used to demonstrate the breadth of musicianship and re-presentation of countless timeless genres, moving in between electronica and jazz with shadowy ambience scattered throughout. Nick Plytas and Adrian Owusu provided their expertise on the organ and slide guitar, with Barry playing almost every other instrument. Composing, performing, recording and producing Stranger On The Sofa undoubtedly makes it an album that represents Adamson fully embracing the DIY aesthetic from where he began.
Originally released in the mid-2000s, Stranger On The Sofa is an album tied together by its mysterious cinematic composure. Each track is used to demonstrate the breadth of musicianship and re-presentation of countless timeless genres, moving in between electronica and jazz with shadowy ambience scattered throughout. Nick Plytas and Adrian Owusu provided their expertise on the organ and slide guitar, with Barry playing almost every other instrument. Composing, performing, recording and producing Stranger On The Sofa undoubtedly makes it an album that represents Adamson fully embracing the DIY aesthetic from where he began.
TRACK LISTING
A1 Here In The Hole
A2 The Long Way Back Again
A3 Officer Bentley's Fairly Serious Dilemma
B1 Who Killed Big Bird?
B2 Theresa Green
B3 The Sorrow And The Pity
B4 My Friend The Fly
C1 Inside Of Your Head
C2 You Sold Your Dreams
C3 Déjà Morte
D1 Dissemble
D2 Free Love
New album from Barry Adamson, and his most accessible to date. Still with his usual cool, dark vibes and filmic layered moods, but with an added dimension of lush, funky, soul-jazz. Add to that great musicianship and deep production and you've got yet another absolutely superb Barry Adamson album. Totally essential.
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