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BACK CATALOGUE - R
Roel Funcken curates two 30 minute tracks consisting of music from Roel, Funckarma and Legiac. Cassette DJ Mix showcases the Funcken legacy whilst offering fresh, unique sounds. Roel has been at the heart of the electronic music scene for over two decades and continues to share his wonderful vision and style with the music community.
Cassette DJ Mix Part 1 and 2 (consists of tracks from Roel Funcken, Funckarma and Legiac).
Cassette DJ Mix Part 1 and 2 (consists of tracks from Roel Funcken, Funckarma and Legiac).
STAFF COMMENTS
Barry says: Roel Funcken presents a suite of electronic drifts and rich meditative synth, industrial atmospherics and brittle, aquatic modular blips. It's a huge body of work that feels both consistent and transportive, with as many moments of crystalline beauty as there are intimidating walls of noise. A lovely, fascinating behemoth.
To celebrate the 50th anniversary of Rory Gallagher’s “Deuce” sophomore solo album from 1971, a cut-down version of a deluxe boxset of the album is presented which will include a new mix of the original album, previously unreleased alternate takes and radio bremen radio session tracks.
TRACK LISTING
Side A
1. Used To Be - 50th Anniversary Edition
2. I'm Not Awake Yet - 50th Anniversary Edition
3. Don't Know Where I'm Going - 50th Anniversary Edition
4. Maybe I Will - 50th Anniversary Edition
5. Whole Lot Of People - 50th Anniversary Edition
Side B
1. In Your Town - 50th Anniversary Edition
2. Should've Learnt My Lesson - 50th Anniversary Edition
3. There's A Light - 50th Anniversary Edition
4. Out Of My Mind - 50th Anniversary Edition
5. Crest Of A Wave - 50th Anniversary Edition
Side C
1. Used To Be - Alternate Take 1
2. I'm Not Awake Yet - Alternate Take 1
3. Maybe I Will - Alternate Take 1
4. Whole Lot Of People - 12 String Acoustic Alternate Take 1
Side D
1. In Your Town - Alternate Take 3
2. Should've Learnt My Lesson - Alternate Take 3
3. There's A Light - Alternate Take 1
4. Out Of My Mind - Alternate Take 3
Side E
1. Crest Of A Wave - Alternate Take 2
2. Crest Of A Wave - Radio Bremen 21/12/1971
3. Don't Know Where I'm Going - Radio Bremen 21/12/1971
4. I Could've Had Religion - Radio Bremen 21/12/1971
Side F
1. Should've Learnt My Lesson - Radio Bremen 21/12/1971
2. For The Last Time - Radio Bremen 21/12/1971
3. Messin' With The Kid - Radio Bremen 21/12/1971
4. Pistol Slapper Blues - Radio Bremen 21/12/1971
Over the last 12 years, Ross Gay’s poems have given us indelible images and phrases of radical empathy and unabated gratitude; about community, collaboration, connectedness and hard work. They have crept into our hearts and made a home of all of us. And so we are launching our 25th Anniversary celebration with ‘Dilate Your Heart’, our first spoken word album since titan Robert Creeley’s self-titled release twenty years ago.
“Catalog of Unabashed Gratitude” is given a gorgeous, slowly creeping bed of vines by Bon Iver, as Gay’s unadorned voices speaks a lifetimes of Thank You’s. On “Burial,” harpist and composer Mary Lattimore’s lunar landscape follows Gay’s voice into space, telling of our endless energy exchange with nature. Chicago’s Angel Bat Dawid dances with the frenetic, joyous scene Gay leads us through on “To the Fig Tree on 9th and Christian,” in which a group of Philadelphia strangers scramble together to harvest the fruit of the titular urban fig tree. Songwriter Gia Margaret provides a mystical, amniotic environment for Gay’s “Poem To My Child If Ever You Shall Be,” a love letter to an imagined future child, treating Gay’s voice like a message in a bottle to a far off idea made only of love and potential. Sam Gendel, a secret weapon collaborator, affects Gay’s voice on “Sorrow Is Not My Name” to something glassy and almost singsongy. Throughout, Gay recites his poems with bright aliveness, his voice as warm and easy when he speaks about death as when he speaks about mercy, or love.
“Catalog of Unabashed Gratitude” is given a gorgeous, slowly creeping bed of vines by Bon Iver, as Gay’s unadorned voices speaks a lifetimes of Thank You’s. On “Burial,” harpist and composer Mary Lattimore’s lunar landscape follows Gay’s voice into space, telling of our endless energy exchange with nature. Chicago’s Angel Bat Dawid dances with the frenetic, joyous scene Gay leads us through on “To the Fig Tree on 9th and Christian,” in which a group of Philadelphia strangers scramble together to harvest the fruit of the titular urban fig tree. Songwriter Gia Margaret provides a mystical, amniotic environment for Gay’s “Poem To My Child If Ever You Shall Be,” a love letter to an imagined future child, treating Gay’s voice like a message in a bottle to a far off idea made only of love and potential. Sam Gendel, a secret weapon collaborator, affects Gay’s voice on “Sorrow Is Not My Name” to something glassy and almost singsongy. Throughout, Gay recites his poems with bright aliveness, his voice as warm and easy when he speaks about death as when he speaks about mercy, or love.
TRACK LISTING
1. Catalog Of Unabashed Gratitude (with Bon Iver)
2. Burial (with Mary Lattimore)
3. To The Fig Tree On 9th & Christian (with Angel Bat Dawid)
4. Poem To My Child, If You Ever Shall Be (with Gia Margaret)
5. Sorrow Is Not My Name (with Sam Gendel)
Sublime unreleased soundtrack by Ron Geesin, to one of the most important and controversial films in British cinema history.
Standard black vinyl (750 Copies) with sleeve art taken from the 1971 film poster. Cool as fuck.
Side One is the score for Sunday Bloody Sunday, the controversial 1971 drama directed by John Schlesinger. Starring Peter Finch, Glenda Jackson and Murray Head, it tells the story of an open love triangle between a gay Jewish doctor, a divorced woman and a bisexual young male artist who makes glass fountains. Daniel Day Lewis also makes his uncredited screen debut as a yobbo scratching up posh cars. The films significance at the time of release lay in the depiction of a mature gay man who was both successful, well adjusted and at peace with his sexuality.
The music on Side Two comes from two different sources: tracks one to four are from the 1985 Channel Four documentary about Viv Richards. Simply called “Viv” it was directed by Greg Lanning, with words and narration by Darcus Howe. It was (and still is) a fascinating film recounting Richards’ rise from young talented Antiguan to global cricket superstar. It also explored the long history of West Indian players through the English game. Howe later recalled how seeing Viv Richards walking out to bat at the Oval (just down the road from where Howe lived in Brixton) without a helmet on no matter how fast the bowler was - and wearing his Rasta sweatbands of gold, green and red, was inspirational. The documentary was later re-titled ‘Viv Richards - King Of Cricket’ for the video market, and let’s face it, that’s a more commercial title. I’d strongly recommend trying to track it down to spend an hour or so in the company of Viv and Darcus. As I write this it’s still up on a popular online streaming site for free.
The last six cues of Side Two are from a 1970 BBC Omnibus film ‘Shapes In A Wilderness’. Directed by Tristram Powell this was a documentary about the importance and influence of art therapy in mental hospitals, tracing its origins from a painting hut in a wartime military hospital to its successful and widespread incorporation in institutions. It featured fascinating medical insights, disturbing imagery and Ron’s finely tuned accompaniment. On its original transmission John Schlesinger saw it and was heard to say “I must have that composer for my new film!”. And he got his way.
I could spend another paragraph analysing the music and stuff like that but you can listen and work all that out for yourself. But I will say that all the music just confirms the fact that Ron Geesin is one of the most underrated, inventive and versatile composers (and musicians) we have.
Standard black vinyl (750 Copies) with sleeve art taken from the 1971 film poster. Cool as fuck.
Side One is the score for Sunday Bloody Sunday, the controversial 1971 drama directed by John Schlesinger. Starring Peter Finch, Glenda Jackson and Murray Head, it tells the story of an open love triangle between a gay Jewish doctor, a divorced woman and a bisexual young male artist who makes glass fountains. Daniel Day Lewis also makes his uncredited screen debut as a yobbo scratching up posh cars. The films significance at the time of release lay in the depiction of a mature gay man who was both successful, well adjusted and at peace with his sexuality.
The music on Side Two comes from two different sources: tracks one to four are from the 1985 Channel Four documentary about Viv Richards. Simply called “Viv” it was directed by Greg Lanning, with words and narration by Darcus Howe. It was (and still is) a fascinating film recounting Richards’ rise from young talented Antiguan to global cricket superstar. It also explored the long history of West Indian players through the English game. Howe later recalled how seeing Viv Richards walking out to bat at the Oval (just down the road from where Howe lived in Brixton) without a helmet on no matter how fast the bowler was - and wearing his Rasta sweatbands of gold, green and red, was inspirational. The documentary was later re-titled ‘Viv Richards - King Of Cricket’ for the video market, and let’s face it, that’s a more commercial title. I’d strongly recommend trying to track it down to spend an hour or so in the company of Viv and Darcus. As I write this it’s still up on a popular online streaming site for free.
The last six cues of Side Two are from a 1970 BBC Omnibus film ‘Shapes In A Wilderness’. Directed by Tristram Powell this was a documentary about the importance and influence of art therapy in mental hospitals, tracing its origins from a painting hut in a wartime military hospital to its successful and widespread incorporation in institutions. It featured fascinating medical insights, disturbing imagery and Ron’s finely tuned accompaniment. On its original transmission John Schlesinger saw it and was heard to say “I must have that composer for my new film!”. And he got his way.
I could spend another paragraph analysing the music and stuff like that but you can listen and work all that out for yourself. But I will say that all the music just confirms the fact that Ron Geesin is one of the most underrated, inventive and versatile composers (and musicians) we have.
TRACK LISTING
SIDE ONE
1: Sky HIgh Balloons
2: Intriguing Cables
3: Bittersweet Reflections
4: Affections For String Quartet (unknown Studio String Quartet)
5: Chemical Dreams (voice Bridget St. John)
6: Blitzful Memories
7: Piccadilly Bustle
8: Motoring Sparkle (Second Gtr: Bridget St. John)
9: Wayward Balloons
SIDE TWO
Tracks 1 - 4 From The Soundtrack Of ‘Viv’
1: War Of The Willow
2: Slo-Mo Bowl
3: Through Loud Bamboo
4: Antiguan Stroll Tracks
5 -10 From The Soundtrack Of ‘Shapes In A Wilderness’
5: Mad Picture Gallery
6: Sculptural Drift
7: Muttering Mini Monsters
8: Cranial Cathedral
9: Ghostly Wasps
10: Hope And Misery
Rhiannon Giddens’ You’re the One is the Grammy- and MacArthur-winning singer, composer, and instrumentalist’s third solo studio album and her first of all original songs; her last solo album was 2017’s critically acclaimed Freedom Highway. This collection of 12 songs written over the course of Giddens’ career bursts with life-affirming energy, drawing from the folk music that she knows so deeply, as well as its pop descendants. The album was produced by Jack Splash (Kendrick Lamar, Solange, Alicia Keys, Valerie June, Tank and the Bangas) and recorded at Criteria Recording Studios in Miami with a band composed of Giddens’s closest musical collaborators from the past decade alongside musicians from Splash’s own Rolodex, topped off with a horn section, making an impressive ten- to twelve-person ensemble.
Giddens made You’re the One with some of her closest musical collaborators from the past decade, including her partner, Italian multi-instrumentalist Francesco Turrisi, plus multi-instrumentalist Dirk Powell, bassist Jason Sypher, and Congolese guitarist Niwel Tsumbu. The album features electric and upright bass, conga, Cajun and Piano accordions, guitars, a Western string section, and Miami horns, among other instruments, capturing the inclusive spirit that channels through all of her work.
"I hope that people just hear American music," Giddens says. "Blues, jazz, Cajun, country, gospel, and rock – it's all there. I like to be where it meets organically. They're fun songs, and I wanted them to have as much of a chance as they could to reach people who might dig them but don't know anything about what I do. If they're introduced to me through this record, they might go listen to other music I've made and make some new discoveries.”
You’re the One opens with ‘Too Little, Too Late, Too Bad’, an R&B blast (complete with background "shoops" and horns) that takes a titan for inspiration. "I listened to a bunch of Aretha Franklin, and then turned to fellow Aretha-nut Dirk Powell and said, ‘Let’s write a song she might have sung!'" Giddens recalls. Her danceable, vivacious tribute to Franklin's sound is a vocal showcase, spotlighting her soaring high notes and nearly-growling low ones. Another highlight, ‘If You Don't Know How Sweet It Is', intentionally puts an edgier spin on the sass of Dolly Parton's early work.
Giddens made You’re the One with some of her closest musical collaborators from the past decade, including her partner, Italian multi-instrumentalist Francesco Turrisi, plus multi-instrumentalist Dirk Powell, bassist Jason Sypher, and Congolese guitarist Niwel Tsumbu. The album features electric and upright bass, conga, Cajun and Piano accordions, guitars, a Western string section, and Miami horns, among other instruments, capturing the inclusive spirit that channels through all of her work.
"I hope that people just hear American music," Giddens says. "Blues, jazz, Cajun, country, gospel, and rock – it's all there. I like to be where it meets organically. They're fun songs, and I wanted them to have as much of a chance as they could to reach people who might dig them but don't know anything about what I do. If they're introduced to me through this record, they might go listen to other music I've made and make some new discoveries.”
You’re the One opens with ‘Too Little, Too Late, Too Bad’, an R&B blast (complete with background "shoops" and horns) that takes a titan for inspiration. "I listened to a bunch of Aretha Franklin, and then turned to fellow Aretha-nut Dirk Powell and said, ‘Let’s write a song she might have sung!'" Giddens recalls. Her danceable, vivacious tribute to Franklin's sound is a vocal showcase, spotlighting her soaring high notes and nearly-growling low ones. Another highlight, ‘If You Don't Know How Sweet It Is', intentionally puts an edgier spin on the sass of Dolly Parton's early work.
TRACK LISTING
1. Too Little, Too Late, Too Bad
2. You’re The One
3. Yet To Be (feat. Jason Isbell)
4. Wrong Kind Of Right
5. Another Wasted Life
6. You Louisiana Man
7. If You Don’t Know How Sweet It Is
8. Hen In The Foxhouse
9. Who Are You Dreaming Of
10. You Put The Sugar In My Bowl
11. Way Over Yonder
12. Good Ol’ Cider
Ten years ago in 2012, Robert Glasper changed the game. After several acclaimed Blue Note albums that solidified his Jazz cred while hinting at his Hip-Hop leanings, the visionary pianist went all in with Black Radio, an album that laid out a new paradigm for creative music, reaching beyond entrenched genre boundaries to create a singular vision that drew from all reaches of contemporary black music and beyond.
Featuring his Experiment band with Casey Benjamin on sax/vocoder, Derrick Hodge on bass and Chris Dave on drums, the album boasted a rollcall of special guests including Erykah Badu, Yasiin Bey, Lupe Fiasco, Bilal, Lalah Hathaway, Ledisi, Chrisette Michele, Musiq Soulchild, Meshell Ndegeocello & others.
Black Radio would go on to debut on four different Billboard charts peaking at #1 Jazz, #4 R&B/Hip-Hop, and even reaching #15 on the Top 200. The cherry on top came in February 2013 at the 55th Annual GRAMMY Awards when Black Radio was awarded Best R&B Album.
Now, a special 10th Anniversary Deluxe Edition presents the full Black Radio experience by expanding it to 3-LPs featuring the original album plus three bonus tracks previously unreleased on vinyl, and the remix EP Black Radio Recovered which featured additional contributions from Questlove, Solange, Georgia Anne Muldrow, Pete Rock, 9th Wonder, and more.
Featuring his Experiment band with Casey Benjamin on sax/vocoder, Derrick Hodge on bass and Chris Dave on drums, the album boasted a rollcall of special guests including Erykah Badu, Yasiin Bey, Lupe Fiasco, Bilal, Lalah Hathaway, Ledisi, Chrisette Michele, Musiq Soulchild, Meshell Ndegeocello & others.
Black Radio would go on to debut on four different Billboard charts peaking at #1 Jazz, #4 R&B/Hip-Hop, and even reaching #15 on the Top 200. The cherry on top came in February 2013 at the 55th Annual GRAMMY Awards when Black Radio was awarded Best R&B Album.
Now, a special 10th Anniversary Deluxe Edition presents the full Black Radio experience by expanding it to 3-LPs featuring the original album plus three bonus tracks previously unreleased on vinyl, and the remix EP Black Radio Recovered which featured additional contributions from Questlove, Solange, Georgia Anne Muldrow, Pete Rock, 9th Wonder, and more.
TRACK LISTING
VINYL TRACKLISTING:
LP 1 | Black Radio | Original Album
Side A
Lift Off / Mic Check Feat. Shafiq Husayn
Afro Blue Feat. Erykah Badu
Cherish The Day Feat. Lalah Hathaway
Always Shine Feat. Lupe Fiasco And Bilal
Side B
Gonna Be Alright (F.T.B.) Feat. Ledisi
Move Love Feat. King
Ah Yeah Feat. Musiq Soulchild & Chrisette Michele
The Consequences Of Jealousy Feat. Meshell Ndegeocello
LP 2
Side A | Black Radio | Original Album
Why Do We Try Feat. Stokley
Black Radio Feat. Yasiin Bey
Letter To Hermione Feat. Bilal
Smells Like Teen Spirit
Side B | Black Radio | Bonus Tracks*
Twice
A Love Supreme
Fever Feat. Hindi Zahra
*Previously Unreleased On Vinyl
LP 3 | Black Radio Recovered | The Remix EP
Side A
Afro Blue Feat. Erykah Badu (9th Wonder's Blue Light Basement Remix)
Black Radio Feat. Yasiin Bey (Pete Rock Remix)
Twice (Questlove's Twice Baked Remix Feat. Solange Knowles & The Roots)
Side B
The Consequences Of Jealousy (Georgia Anne Muldrow's Sassy Geemix)
Letter To Hermione Feat. Bilal (Robert Glasper And Jewels Remix Feat. Black Milk)
Dillalude #2
CD TRACKLISTING:
1. Lift Off / Mic Check Feat. Shafiq Husayn
2. Afro Blue Feat. Erykah Badu
3. Cherish The Day Feat. Lalah Hathaway
4. Always Shine Feat. Lupe Fiasco And Bilal
5. Gonna Be Alright (F.T.B.) Feat. Ledisi
6. Move Love Feat. King
7. Ah Yeah Feat. Musiq Soulchild & Chrisette Michele
8. The Consequences Of Jealousy Feat. Meshell Ndegeocello
9. Why Do We Try Feat. Stokley
10. Black Radio Feat. Yasiin Bey
11. Letter To Hermione Feat. Bilal
12. Smells Like Teen Spirit
13. Twice
14. A Love Supreme
15. Fever Feat. Hindi Zahra
16. Afro Blue Feat. Erykah Badu (9th Wonder's Blue Light Basement Remix)
17. Black Radio Feat. Yasiin Bey (Pete Rock Remix)
18. Twice (?uestlove's Twice Baked Remix Feat. Solange Knowles & The Roots)
19. The Consequences Of Jealousy (Georgia Anne Muldrow's Sassy Geemix)
20. Letter To Hermione Feat. Bilal (Robert Glasper And Jewels Remix Feat. Black Milk)
21. Dillalude #2
Robert Glasper is a premiere example of musical aptitude and a proven champion of Black music - boasting nine Grammy nominations and four wins for Best R&B Album, Best R&B Song, Best Traditional R&B Performance, and Best Compilation Soundtrack for Visual Media, and an Emmy Award for his song for Ava Duvernay’s critically hailed documentary “13th” with Common and Karriem Riggins. The 43-year old Houston native has a rich history contributing his artistry across both music and film, all the while carrying a consistent cultural message.
In 2012, Glasper delivered his album Black Radio that hit the scene as the first album in history to debut in the top 10 of 4 different genre charts simultaneously: Hip Hop R&B, Urban Contemporary, Jazz and Contemporary Jazz. The feat was then repeated by Black Radio 2. The ongoing Black Radio series has since become Glasper’s calling card, upholding a place at the heart of a trailblazing community: from long-time sonic brothers Mos Def and Bilal, to legends including Ledisi, Lupe Fiasco, Kanye West, Jill Scott, and Erykah Badu.
"Robert Glasper has established himself as a master of the territory where jazz, hip-hop and R&B overlap" – Rolling Stone
“No one has shaped the resurgence of jazz in black music more than Robert Glasper in the 2000s” – Nate Chinen (NPR)
Black Radio and Black Radio II are landmark albums that have shaped the genres of jazz, hip hop and r&b for the past decade. Direct lines can be drawn to Kamasi Washington, Thundercat, Kendrick Lamar, and black music writ large.
For Black Radio III, 4-time grammy® winner Robert Glasper cements his legacy as producer, curator and cultural icon. These collaborations range from the most powerful voices in contemporary black music (Killer Mike, ty dolla $ign, D Smoke, PJ Morton) to the most important lyricists and performers of the past 30 years (Jennifer Hudson, Ledisi, Common, Gregory Porter, Musiq Soulchild, India.Arie)
Black Radio III is also a statement for these times. It is Glasper’s most direct statement of the frustration and opportunity of a world disrupted by social change.
It is at once beautiful, powerful and innovative.
In 2012, Glasper delivered his album Black Radio that hit the scene as the first album in history to debut in the top 10 of 4 different genre charts simultaneously: Hip Hop R&B, Urban Contemporary, Jazz and Contemporary Jazz. The feat was then repeated by Black Radio 2. The ongoing Black Radio series has since become Glasper’s calling card, upholding a place at the heart of a trailblazing community: from long-time sonic brothers Mos Def and Bilal, to legends including Ledisi, Lupe Fiasco, Kanye West, Jill Scott, and Erykah Badu.
"Robert Glasper has established himself as a master of the territory where jazz, hip-hop and R&B overlap" – Rolling Stone
“No one has shaped the resurgence of jazz in black music more than Robert Glasper in the 2000s” – Nate Chinen (NPR)
Black Radio and Black Radio II are landmark albums that have shaped the genres of jazz, hip hop and r&b for the past decade. Direct lines can be drawn to Kamasi Washington, Thundercat, Kendrick Lamar, and black music writ large.
For Black Radio III, 4-time grammy® winner Robert Glasper cements his legacy as producer, curator and cultural icon. These collaborations range from the most powerful voices in contemporary black music (Killer Mike, ty dolla $ign, D Smoke, PJ Morton) to the most important lyricists and performers of the past 30 years (Jennifer Hudson, Ledisi, Common, Gregory Porter, Musiq Soulchild, India.Arie)
Black Radio III is also a statement for these times. It is Glasper’s most direct statement of the frustration and opportunity of a world disrupted by social change.
It is at once beautiful, powerful and innovative.
TRACK LISTING
1. In Tune Ft. Amir Sulaiman
2. Black Superhero Ft. Killer Mike + BJ The Chicago Kid + Big K.R.I.T.
3. Shine Ft. D Smoke + Tiffany Gouché
4. Why We Speak Ft. Q-Tip + Esperanza Spalding
5. Over Ft. Yebba
6. Better Than I Imagined Ft. H.E.R. + Meshell Ndegeocello
7. Everybody Wants To Rule The World Ft. Lalah Hathaway + Common
8. Everybody Love Ft. Musiq Soulchild + Posdnuos
9. It Don't Matter Ft. Gregory Porter + Ledisi
10. Heaven's Here Ft. Ant Clemons
11. Out Of My Hands Ft Jennifer Hudson
12. Forever Ft. PJ Morton + India.Arie
13. Bright Lights (with Ty Dolla $ign)
'Legendary genre-bending, multiple Grammy and Emmy-winning artist and producer Robert Glasper releases his newest project, Fuck Yo Feelings. It is the result of a 2-day session in which Glasper invited musician friends to stop by the studio and organically create together, the final result being this mixtape which sonically documents the lost art of improv and on the spot collaborations that can only come from authentic relationships and true artistry.
STAFF COMMENTS
Patrick says: Unstoppable jazz gee Robert Glasper makes expert use of his stacked Rolodex here, inviting a whole load of talented MFs for a two day session of improv action. Rather than sounding rushed or unfinished, this double LP is vital, immediate and punchy AF, traversing jazz, hip hop and broken beat with ease.TRACK LISTING
A1. Intro (feat Aaron Crockett)
A2. This Changes Everything (feat Buddy & Denzel Curry, Terrace Martin & James Poyser)
A3. Gone (feat YBN Cordae & Bilal & Herbie Hancock)
A4. Let Me In (feat Mick Jenkins)
A5. In Case You Forgot
B1. Indulging In Such
B2. Fuck Yo Feelings (feat Yebba)
B3. Endangered Black Woman (feat Andra Day & Staceyann Chin)
B4. Expectations (feat Baby Rose, Rapsody & James Poyser)
C1. All I Do (feat SiR, Bridget Kelly, Song Bird)
C2. Aah Who (feat Muhsinah & Queen Sheba)
C3. I Want You
C4. Trade In Bars Yo (feat Herbie Hancock)
C5. DAF Fall Out
D1. Sunshine
D2. Liquid Swords
D3. DAF FTF
D4. Treal (feat Yasiin Bey)
D5. Cold
Robert Glasper’s 2005 Blue Note debut Canvas signaled the arrival of a singular new voice in jazz and his 2007 follow-up In My Element solidified his status as a rising star who was taking the music someplace new. Featuring bassist Vicente Archer & drummer Damion Reid, the album expanded the possibilities of where a modern jazz piano trio might go by delving further into his hip-hop & gospel roots.
This 2-LP Blue Note Classic Vinyl Edition was mastered by Kevin Gray and pressed on 180g vinyl at Optimal.
This 2-LP Blue Note Classic Vinyl Edition was mastered by Kevin Gray and pressed on 180g vinyl at Optimal.
"Meet girls. Take drugs. Listen to music." In Rave, cult German novelist Rainald Goetz takes a headlong dive into nineties techno culture.
From the cathartic release on the dance floor to the intense conversations in corners of nightclubs and the after-parties in the light of dawn, this exhilarating, fragmentary novel captures the feeling of debauchery from within. Dazzling and intimate, Rave is an unapologetic embrace of nightlife from an author unafraid to lose himself in the subject of his work.
From the cathartic release on the dance floor to the intense conversations in corners of nightclubs and the after-parties in the light of dawn, this exhilarating, fragmentary novel captures the feeling of debauchery from within. Dazzling and intimate, Rave is an unapologetic embrace of nightlife from an author unafraid to lose himself in the subject of his work.
Goller is known for her bass and vocal work with Alabaster DePlume, whose music she elevates in live contexts with her genre-less improvisational intuition, and an incredibly diverse résumé that includes performance and recording with Bex Burch’s Vula Viel, Shabaka Hutchings, Rokia Traore, Melt Yourself Down, Sam Amidon, and even a very brief moment with Paul McCartney.
For 'SKYLLUMINA', her International Anthem debut, Goller expands upon the concept of her first solo album Skylla – de-tuned bass harmonics with layered voices – this time collaborating with a different drummer on each track. “As a bass-player, I love playing with drummers and I decided to focus on my close connection to that instrument and to the amazing people I met in my life who play it,” says Goller. “There were some who played tuned percussion as well, so it would give me another element to explore.” Her accompanists on the album include The Smile's Tom Skinner, go-to London drummer Seb Rochford, Berlin-based International Anthem labelmate Bex Burch, and ex-pat Chicago legend Frank Rosaly. But more importantly, the music is an immersive hyperfocus for Goller and her patently distinct, singular compositional vision.
'SKYLLUMINA', despite its highly conceptual origins, is heavy with human emotion. Its dark washes of melody and contrapuntal percussion could fit easily into a mixtape with indie downbeat / ennui royalty like Grouper or Low, while also being right at home next a Cage-Tudor prepared piano piece. And the piercing, siblant ice age siren song heard in Goller's powerfully feminine vocal arrangements find her in an otherworld only occasionally inhabited by the likes of Björk and The Knife.
For 'SKYLLUMINA', her International Anthem debut, Goller expands upon the concept of her first solo album Skylla – de-tuned bass harmonics with layered voices – this time collaborating with a different drummer on each track. “As a bass-player, I love playing with drummers and I decided to focus on my close connection to that instrument and to the amazing people I met in my life who play it,” says Goller. “There were some who played tuned percussion as well, so it would give me another element to explore.” Her accompanists on the album include The Smile's Tom Skinner, go-to London drummer Seb Rochford, Berlin-based International Anthem labelmate Bex Burch, and ex-pat Chicago legend Frank Rosaly. But more importantly, the music is an immersive hyperfocus for Goller and her patently distinct, singular compositional vision.
'SKYLLUMINA', despite its highly conceptual origins, is heavy with human emotion. Its dark washes of melody and contrapuntal percussion could fit easily into a mixtape with indie downbeat / ennui royalty like Grouper or Low, while also being right at home next a Cage-Tudor prepared piano piece. And the piercing, siblant ice age siren song heard in Goller's powerfully feminine vocal arrangements find her in an otherworld only occasionally inhabited by the likes of Björk and The Knife.
TRACK LISTING
1. Below My Skin
2. Reach Down Into The Deepest White
3. Of Snowhere
4. Next Time I Keep My Hands Down
5. All The Light I Have, I Hand To You
6. She Was My Own She Was Myself
7. How To Be Free From It
8. From Breaks To Shreds It’s A Short Path
9. Don’t Follow Me
10. I Have For You - Simple Truth
World Circuit provide all lovers of latin music with a welcome double heavyweight vinyl reissue of Ruben Gonzalez' "Introducing...". Mastered from the original mix tapes by Alex Wharton at Abbey Road, several tracks are now heard in unedited, full length form for the first time with the addition of a further track that has never previously been released. When the Cuban pianist Ruben Gonzalez recorded his first solo album in Havana in 1996 he was 77 years old. Released on World Circuit the following year, along with the Grammy-winning Buena Vista Social Club on which he also played, it led to a remarkable late flowering of his career that lasted until his death in 2003, as he toured the world and was revealed as one of the timeless legends of Cuban music. The story of Ruben Gonzalez's rediscovery was movingly told in Wim Wenders' award winning Buena Vista Social Club lm. A maestro whose piano playing in the 1940s helped de ne the Cuban sound as we know it today, by the 1990s Rubén had virtually stopped making music. Suffering with arthritis, he no longer even owned a piano. Invited to come out of retirement in 1996 to play on World Circuit's remarkable trio of albums recorded in a two week session in Havana in 1996 - alongside Ry Cooder on the Buena Vista Social Club album, and with the Afro-Cuban All Stars on their debut 'A Toda Cuba La Gusta' - his pleasure as his touch and phrasing returned was palpable and infectious. Every morning he was the first to arrive at the studio in Havana, waiting for the doors to be unlocked. Once inside he played all day long, prompting Cooder to dub him "the greatest piano soloist I have ever heard in my life." Accompanied by a hand-picked band playing a selection of Cuban classics 'live ' in the studio, Gonzalez turned in one of all me classic Cuban piano albums.
TRACK LISTING
La Enganadora
Cumbanchero
Tres Lindas Cubanas Melodia Del Rio
Mandinga
Siboney
Almendra
Tumbao
Como Siento Yo
Descarga Ruben Y Cachaito
The Choctaw, Assiniboine, and Texan poet, journalist, visual artist, American Indian Movement activist, and musician Roxy Gordon (First Coyote Boy) (1945–2000) was above all a storyteller, known primarily as a writer of inimitable style and unvarnished candor, whose wide-ranging work encompassed poetry, short fiction, essays, memoirs, journalism, and criticism. Over the course of his career he recorded six albums, wrote six books, and published hundreds of shorter texts in outlets ranging from Rolling Stone and The Village Voice to the Coleman Chronicle and Democrat-Voice, in addition to founding and operating, with his wife Judy Gordon, Wowapi Press and the underground country music journal Picking Up the Tempo. Along the way he cultivated close friendships with fellow Texan songwriters such as Lubbockites Terry Allen, Butch Hancock, and Tommy X. Hancock, as well as Ray Wylie Hubbard, Billy Joe Shaver, and, most famously, Townes Van Zandt, whom he called his brother. Although his work covered a vast array of topics exploring strata personal, local, global, and cosmic alike, Gordon’s primary subject as a writer, musician, and visual artist was always American Indian culture, specifically the ways it collided and coexisted with European American culture in the South and West and within the context of his own life and braided identity.
The ten songs on Crazy Horse Never Died, his first officially released and distributed album, were recorded in Dallas in 1988. “Songs” is perhaps an imprecise taxonomy for what Roxy captured on this and his other albums, all of which remain out of print or were released in instantly obscure limited editions of homebrew cassettes and CD-R’s. (Paradise of Bachelors plans to reissue remastered, expanded editions of his catalog; Crazy Horse is the first.) He only occasionally attempted to sing, and his musical recordings are primarily corollaries of, and vehicles for, his poems. His sharp West Texan drawl, tinged by formative years of reservation living in Montana and unmistakable once you hear it high, lonesome, flat, and cold-blooded as a bare rusty blade instead patiently unfurls in skewed sheets of anecdotal verse and discursive narrative rants. His songs are essentially recitations over backing tracks of fingerpicked guitars, rubbery washtub bass, and buzzing, oscillating keyboards. On the stark yellow and red jacket of Crazy Horse, which he designed himself, Gordon describes these recordings as innately ambivalent in terms of form, content, and identity: These are poems and/or songs about the American West, white and Indian.
Crazy Horse Never Died comprises songs that span the personal and political arcs of his writing practice and the poles of his native and white ancestries. His introduction to the almost-title track in the strikingly illustrated poetry chapbook supplement to the album (included in the LP edition) draws explicit parallels between the oppression and displacement of Palestinians by Zionists and the similar treatment of Native Americans by Europeans, justifying the historical necessity of resistance to racist imperialism through terrorism.
In his 1984 essay “Breeds,” from the fine collection of the same name, he concludes with a note of hope:
The voices of these continents are not stilled because, for a few centuries, this land is overrun by human beings who cannot hear. Over years of cultural and racial genocide, over centuries of lies and misdirection, That Which Is still calls . . . and the old American blood in us listens.
Roxy’s friend and fellow poet-turned-musician Leonard Cohen had kind words for Breeds, writing: “It is strong. The word goes out. Can a change come on dove’s feet?” Bestir that old American blood and listen.
The ten songs on Crazy Horse Never Died, his first officially released and distributed album, were recorded in Dallas in 1988. “Songs” is perhaps an imprecise taxonomy for what Roxy captured on this and his other albums, all of which remain out of print or were released in instantly obscure limited editions of homebrew cassettes and CD-R’s. (Paradise of Bachelors plans to reissue remastered, expanded editions of his catalog; Crazy Horse is the first.) He only occasionally attempted to sing, and his musical recordings are primarily corollaries of, and vehicles for, his poems. His sharp West Texan drawl, tinged by formative years of reservation living in Montana and unmistakable once you hear it high, lonesome, flat, and cold-blooded as a bare rusty blade instead patiently unfurls in skewed sheets of anecdotal verse and discursive narrative rants. His songs are essentially recitations over backing tracks of fingerpicked guitars, rubbery washtub bass, and buzzing, oscillating keyboards. On the stark yellow and red jacket of Crazy Horse, which he designed himself, Gordon describes these recordings as innately ambivalent in terms of form, content, and identity: These are poems and/or songs about the American West, white and Indian.
Crazy Horse Never Died comprises songs that span the personal and political arcs of his writing practice and the poles of his native and white ancestries. His introduction to the almost-title track in the strikingly illustrated poetry chapbook supplement to the album (included in the LP edition) draws explicit parallels between the oppression and displacement of Palestinians by Zionists and the similar treatment of Native Americans by Europeans, justifying the historical necessity of resistance to racist imperialism through terrorism.
In his 1984 essay “Breeds,” from the fine collection of the same name, he concludes with a note of hope:
The voices of these continents are not stilled because, for a few centuries, this land is overrun by human beings who cannot hear. Over years of cultural and racial genocide, over centuries of lies and misdirection, That Which Is still calls . . . and the old American blood in us listens.
Roxy’s friend and fellow poet-turned-musician Leonard Cohen had kind words for Breeds, writing: “It is strong. The word goes out. Can a change come on dove’s feet?” Bestir that old American blood and listen.
TRACK LISTING
A1. Crazy Horse Is Alive
A2. Junked Cars
A3. Living Life As A Living Target
A4. Flying Into Ann Arbor (Holding)
A5. I Used To Know An Assiniboine Girl
B1. The Hanging Of Black Jack Ketchum
B2. The Western Edge
B3. An Open Letter To Illegal Aliens
B4. The Texas Indian
B5. Why Do I Miss Someone?
The father of Lana Del Rey.
Rob Grant's debut album, Lost At Sea. An accidental recording artist, Grant has never had a lesson on any instrument in his life. No kind of formal musical training at all. He can't read sheet music. But when he sits down at a piano, something magical happens. Notes flow from him and out pours composition after composition.
The father of international icon Lana Del Rey, he enlisted an array of talent to contribute to the making of the album. Features and writing credits include his daughter Lana Del Rey, while production credits include Jack Antonoff, Luke Howard, Laura Sisk, and Zach Dawes.
Rob Grant's debut album, Lost At Sea. An accidental recording artist, Grant has never had a lesson on any instrument in his life. No kind of formal musical training at all. He can't read sheet music. But when he sits down at a piano, something magical happens. Notes flow from him and out pours composition after composition.
The father of international icon Lana Del Rey, he enlisted an array of talent to contribute to the making of the album. Features and writing credits include his daughter Lana Del Rey, while production credits include Jack Antonoff, Luke Howard, Laura Sisk, and Zach Dawes.
TRACK LISTING
Moon Rise Over The Ocean
Setting Sail On A Distant Horizon
Lost At Sea (feat. Lana Del Rey)
The Texture Of Dreams
The Poetry Of Wind And Waves
A Beautiful Delirium
Deep Ocean Swells
My Deep Blue Dream
Reflections Of Light On Water
In The Dying Light Of Day: Requiem For Mother Earth
A Delicate Mist Surrounds Me
The Mermaids’ Lullaby
Song Of The Eternal Sea
Hollywood Bowl (feat. Lana Del Rey)
The expansive new album Rachel Grimes, the renowned modern composer and cofounder of iconic chamber-rock group, Rachel’s. A rich, sprawling folk opera that explores the controversial history of Kentucky’s overlooked figures. The Way Forth, a new folk opera from Rachel Grimes, encompasses lush layers of voices and orchestrations in an experiential, non-linear investigation highlighting perspectives of Kentucky women from 1775 to today. Inspired by a treasure-trove of family documents, photos, and letters spanning several generations, Grimes began in 2016 to research some of the more vexing questions that came to the surface about these people, places, and events.
The songs that make up The Way Forth weave back in time through a postcard, a personal account of a long life on a farm, traces of folk tunes, names, places, and rivers, all woven into an emotional fabric of yearning, nostalgia, grief, and the rich intimacies of everyday life. Initially solo voices are heard above vivid orchestrations, expanding with the choral voices of the community through fragments of traditional church music and popular tunes. The scope widens to include a modern male narrator's reflections on a place battered by greed, civil war, bigotry, and the exploitation of natural resources. Through music, voice, and film, The Way Forth honors the emotional legacy of the silenced, the holistic, the beauty in quotidian life, and explores the eternal grace and redemption of time, as symbolized by the great Dix and Kentucky Rivers
The songs that make up The Way Forth weave back in time through a postcard, a personal account of a long life on a farm, traces of folk tunes, names, places, and rivers, all woven into an emotional fabric of yearning, nostalgia, grief, and the rich intimacies of everyday life. Initially solo voices are heard above vivid orchestrations, expanding with the choral voices of the community through fragments of traditional church music and popular tunes. The scope widens to include a modern male narrator's reflections on a place battered by greed, civil war, bigotry, and the exploitation of natural resources. Through music, voice, and film, The Way Forth honors the emotional legacy of the silenced, the holistic, the beauty in quotidian life, and explores the eternal grace and redemption of time, as symbolized by the great Dix and Kentucky Rivers
STAFF COMMENTS
Barry says: An honest and tender look at rural history and locality as well as the place of arts and creativity within society, all presented through Grimes' singular musical vision. Any fans of Rachel's tender chamber classical (myself included) will find a lot to enjoy here, while being comfortingly different from anything that's come before.TRACK LISTING
1. Got Ahold Of Me (4:15)
2. Postcard From Pauline (1:46)
3. Patsy (2:11)
4. Sisterhood Of Man (3:20)
5. Red House School (5:24)
6. The Hysterical Society (2:15)
7. Nowhere On Earth (3:24)
8. There Is No Other (3:33)
9. The Spells (1:33)
10. Fontaine Ferry (4:25)
11. For So Long (4:40)
12. Dix River Doxology (3:21)
13. Dolly (1:43)
14. Bill Of Sale (1:53)
15. End Of Dominion (12:07)
16. Sara (2:45)
17. A New Land (3:39)
Robin Guthrie returns with Mockingbird Love, a four track EP, the first in a short series of newly recorded instrumental releases for late 2021. Guthrie, whose production and signature guitar sounds are said to have shaped multiple genres was the co-founder and producer of Cocteau Twins. Over forty years he has produced and remixed countless artists, recorded instrumental albums, movie soundtracks and collaborated with many outstanding artists. Mockingbird Love is a most welcome introduction to a series of releases which will be available for a limited amount of time exclusively on Soleil Après Minuit
Following the October release of the EP Mockingbird Love and the November release of the album Pearldiving comes another unique release by Robin Guthrie, the 4 track EP, Riviera, a collection of tunes completed earlier this year. Riviera stands on its own, as a release apart from the album, featuring Guthrie’s ever present signature sound and atmosphere, displaying a refinement and maturity only found in the work of an artist working largely unfettered from the constraints of the music industry. His approach to music is perhaps more akin to that of a painter or a photographer. The adept use of light and shade, melody and counter melody, the carefully and precisely arranged instrumentation, musical textures and colorings gives his music a depth and level of detail which marks a master craftsman.
This book is a tribute to vinyl, a format that is making a spectacular comeback recently, although for many music lovers it never really disappeared.
Brazilian superstar Ed Motta came to Holland to buy an apartment, but spent all his money on vinyl instead. When a young Mikael Åkerfeldt of Opeth discovered a scratch on his recently bought Bathory LP he demolished his bedroom. It’s Atlantic’s CEO Craig Kallman mission to own all relevant albums on vinyl. He has 750.000 already. That’s what vinyl does with music lovers.
In Passion For Vinyl a wide selection of DJ’s, musicians, label owners, designers, record dealers, collectors and engineers like Henry Rollins, Bernie Grundman, Hans Pokora, Chris Ellis, Steffi, Mala, Vaughan Oliver, Lee Dorrian, Jacco Gardner, John Dyer Baizley and many others share their unconditional love for vinyl. They muse about the first record that changed their lives, talk about their prized collectibles and explain why they were determined to keep vinyl alive. Passion for Vinyl also tells the history of Record Industry, the Dutch factory that has been pressing vinyl since the 1950’s.
The 7” single contains two exclusive tracks from Admiral Sir Cloudesley Shovell and Rinus’ Garage Feat. Triggerfinger.
Brazilian superstar Ed Motta came to Holland to buy an apartment, but spent all his money on vinyl instead. When a young Mikael Åkerfeldt of Opeth discovered a scratch on his recently bought Bathory LP he demolished his bedroom. It’s Atlantic’s CEO Craig Kallman mission to own all relevant albums on vinyl. He has 750.000 already. That’s what vinyl does with music lovers.
In Passion For Vinyl a wide selection of DJ’s, musicians, label owners, designers, record dealers, collectors and engineers like Henry Rollins, Bernie Grundman, Hans Pokora, Chris Ellis, Steffi, Mala, Vaughan Oliver, Lee Dorrian, Jacco Gardner, John Dyer Baizley and many others share their unconditional love for vinyl. They muse about the first record that changed their lives, talk about their prized collectibles and explain why they were determined to keep vinyl alive. Passion for Vinyl also tells the history of Record Industry, the Dutch factory that has been pressing vinyl since the 1950’s.
The 7” single contains two exclusive tracks from Admiral Sir Cloudesley Shovell and Rinus’ Garage Feat. Triggerfinger.
Record stores are popping up again everywhere. New vinyl pressing plants are opening in America, Europe and Asia. Young vinyl enthusiasts – both male and female! – are swarming to record fairs looking for old and new records to build their collection. When Passion for Vinyl Part 1 came out, there was still some doubt about the comeback of vinyl. Wasn’t it all just a hype? Now, five years later, even the biggest sceptic can’t deny it: vinyl is back and it’s here to stay!
In light of all these new and exciting developments, a follow-up to the successful and well-received first volume of the Passion for Vinyl book is more than viable. DJs, musicians, engineers, designers, shop managers, record label CEOs and collectors like Dischord’s Ian MacKaye, Norton’s Miriam Linna, singer-songwriter Ryley Walker, musician and producer T Bone Burnett, Abbey Road’s half-speed maestro Miles Showell, DJs Sven Väth and Ellen Allien, designer John Kosh and many others tell about the records that changed their lives, their love for vinyl and the impact its resurgence has had on them. Passion for Vinyl Part 2 also shows how analogue recording techniques are making a comeback in the recording and mastering studios.
In the last few years, countless music lovers have (re)discovered that nothing beats listening to a vinyl record on a proper stereo set. It makes the listener connect with the music like nothing else. This book is a tribute to that unique experience.
The 7” single contains three exclusive tracks from Norton Records’ Hasil Adkins & Bloodshot Bill and DJ/producer Ellen Allien.
In light of all these new and exciting developments, a follow-up to the successful and well-received first volume of the Passion for Vinyl book is more than viable. DJs, musicians, engineers, designers, shop managers, record label CEOs and collectors like Dischord’s Ian MacKaye, Norton’s Miriam Linna, singer-songwriter Ryley Walker, musician and producer T Bone Burnett, Abbey Road’s half-speed maestro Miles Showell, DJs Sven Väth and Ellen Allien, designer John Kosh and many others tell about the records that changed their lives, their love for vinyl and the impact its resurgence has had on them. Passion for Vinyl Part 2 also shows how analogue recording techniques are making a comeback in the recording and mastering studios.
In the last few years, countless music lovers have (re)discovered that nothing beats listening to a vinyl record on a proper stereo set. It makes the listener connect with the music like nothing else. This book is a tribute to that unique experience.
The 7” single contains three exclusive tracks from Norton Records’ Hasil Adkins & Bloodshot Bill and DJ/producer Ellen Allien.
It’s quite amazing that in a world that has become increasingly digital and where ‘stuff’ has become invisible, vinyl has made such a spectacular comeback. Yet it is very likely also one of the main reasons for its resurgence. People like to collect. The physical aspect of playing a record adds to the listening experience and creates memories. An album can take you back to an important time or place. And buying a new record is a great way of supporting a favorite artist and their label. That’s also the reason why new generations of music lovers have embraced vinyl.
This new edition of Passion for Vinyl tells these stories. It’s about the records that inspire people. The way they shaped their lives. How they sparked them to pick up an instrument, become a DJ, or start a label, pressing plant or YouTube channel. Passion for Vinyl features exclusive interviews with Blue Note recording artist Gregory Porter, CEO of Linn Gilad Tiefenbrun, Bettina Richards of Thrill Jockey Records, YouTube personality Melinda Murphy, Beggars Group US president Nabil Ayers, Ben Blackwell of Third Man Records, Classic Album Sundays’ Colleen ‘Cosmo’ Murphy, Liz Dunster of Erika Records, Robert Trujillo of Metallica, DJ, collector and label owner Gilles Peterson, Jenn D’Eugenio of Gold Rush Vinyl and Women in Vinyl, Bad Seed member Warren Ellis, Paulo Jr. of Sepultura, Chad Kassem of Acoustic Sounds, and many others.
This book offers close to 30 interviews with a very diverse cast of characters. They have in common a deep love of music. Passion for Vinyl shares the unique experience of making, buying, collecting, and enjoying vinyl. Its purpose is to inspire.
The 7" single contains two exclusive tracks from Lovemonk’s Gecko Turner and Munster Records’ Los Saicos.
This new edition of Passion for Vinyl tells these stories. It’s about the records that inspire people. The way they shaped their lives. How they sparked them to pick up an instrument, become a DJ, or start a label, pressing plant or YouTube channel. Passion for Vinyl features exclusive interviews with Blue Note recording artist Gregory Porter, CEO of Linn Gilad Tiefenbrun, Bettina Richards of Thrill Jockey Records, YouTube personality Melinda Murphy, Beggars Group US president Nabil Ayers, Ben Blackwell of Third Man Records, Classic Album Sundays’ Colleen ‘Cosmo’ Murphy, Liz Dunster of Erika Records, Robert Trujillo of Metallica, DJ, collector and label owner Gilles Peterson, Jenn D’Eugenio of Gold Rush Vinyl and Women in Vinyl, Bad Seed member Warren Ellis, Paulo Jr. of Sepultura, Chad Kassem of Acoustic Sounds, and many others.
This book offers close to 30 interviews with a very diverse cast of characters. They have in common a deep love of music. Passion for Vinyl shares the unique experience of making, buying, collecting, and enjoying vinyl. Its purpose is to inspire.
The 7" single contains two exclusive tracks from Lovemonk’s Gecko Turner and Munster Records’ Los Saicos.
Roy Hamilton, Cosmo Bowen and Dennis Palmer go back a long way to the early 80's when they were members of a 9 piece funk outfit called Breeze - playing regularly Upstairs at Ronnie Scott's along with bands like Hi Tension and Gonzalez. In 1984 they linked up for this one and only 12" on their own HBS imprint - a laid-back stomper that has become in-demand on the UK soul/funk collectors scene - now given a fresh new cut & press thanks to Freestyle Records' 12" reissue initiative!
TRACK LISTING
1. Turn Up The Music
2. Turn Up The Music (Instrumental)
"I've had it in my mind to present a new edition of my 1971 record Stormcock to the world for some years now. It seemed a shame that one of my best loved albums was hanging around as an inferior package when compared to the prowess of its original 12 inch LP forebear. I've spent a long time thinking about it, and how I might go about returning it to being one of the brightest lights in my canon. The release of this new edition marks the fruition of those thoughts.
There are a few good reasons for this update and re-release. The first is that the cd packaging has never remotely been able to achieve what was possible with the original album art. Secondly, the transfer of what was a very dynamic record on vinyl to a cd with a 44.1 sample rate format just didn't seem to come across properly.
Another good reason is that there has been a lot of interest in this record in recent years. It has never lost it's place in the music pantheon, and as time goes on it seems to be gaining in stature. It's become wholly appropriate that it should have the kind of new presentation we have now given it. In digitally re-mastering it I have attempted to take off some of the distortional effects and digital noise brought over by the transfer from tape/vinyl to cd. Apart form that very little has happened to it. I now believe it to be an altogether better audio experience. (see blog entry for tech info).
Stormcock was born in 1969 as I began to stretch my wings. I'd been there a few times before, but this time I gave myself the space to go deep..and stay there. Hors D'Oeuvres is perhaps the lightweight in the collection, but after all, it's the starter...
The Same Old Rock records my opposition to continued dependence on the cheap opium of convenient mass religion. Humanity as hostage to superstition is a position which infuriates me. To allow superstition to control your life, as the world burns, is careless.
One Man Rock And Roll Band.. Welcome home oh Johnny Soldier, we treat you here just like they treat you there.. is a sad fact, and is an indictment of this kind of society. Are queues for tattoos with 'love' on one hand and 'hate' on the other a sign of old age?
Me And My Woman.. what IS our destiny? Does it matter? Is it bound up with 'our' planet? In my opinion, yes. We are now out on a cultural limb that's taking us steadily further away from the planet. The average human misses the reality of the planet entirely. 40 years ago, there were tens of thousands of people asking serious questions about the state of the environment. It's only a few miles thick. It can be changed very quickly. Surely, hindsight isn't our only view.... is it? Hopefully not.. but what is for sure is that our environment is all we have. At the time there were establishment figures who were certain humans were having no effect at all on the planet's environment. This of course will eventually be true!
Pete Jenner and I turned out a great record. Seems like a thousand years ago now. Though I very rarely listen to my own records I would definitely say that my personal highlight on the record is Jimmy Page's guitar solo on 'The Same Old Rock.' My opinion has not changed since the day he put it on there. Absolutely brilliant. The string arrangement on 'Me And My Woman' is by David Bedford." - Roy Harper
There are a few good reasons for this update and re-release. The first is that the cd packaging has never remotely been able to achieve what was possible with the original album art. Secondly, the transfer of what was a very dynamic record on vinyl to a cd with a 44.1 sample rate format just didn't seem to come across properly.
Another good reason is that there has been a lot of interest in this record in recent years. It has never lost it's place in the music pantheon, and as time goes on it seems to be gaining in stature. It's become wholly appropriate that it should have the kind of new presentation we have now given it. In digitally re-mastering it I have attempted to take off some of the distortional effects and digital noise brought over by the transfer from tape/vinyl to cd. Apart form that very little has happened to it. I now believe it to be an altogether better audio experience. (see blog entry for tech info).
Stormcock was born in 1969 as I began to stretch my wings. I'd been there a few times before, but this time I gave myself the space to go deep..and stay there. Hors D'Oeuvres is perhaps the lightweight in the collection, but after all, it's the starter...
The Same Old Rock records my opposition to continued dependence on the cheap opium of convenient mass religion. Humanity as hostage to superstition is a position which infuriates me. To allow superstition to control your life, as the world burns, is careless.
One Man Rock And Roll Band.. Welcome home oh Johnny Soldier, we treat you here just like they treat you there.. is a sad fact, and is an indictment of this kind of society. Are queues for tattoos with 'love' on one hand and 'hate' on the other a sign of old age?
Me And My Woman.. what IS our destiny? Does it matter? Is it bound up with 'our' planet? In my opinion, yes. We are now out on a cultural limb that's taking us steadily further away from the planet. The average human misses the reality of the planet entirely. 40 years ago, there were tens of thousands of people asking serious questions about the state of the environment. It's only a few miles thick. It can be changed very quickly. Surely, hindsight isn't our only view.... is it? Hopefully not.. but what is for sure is that our environment is all we have. At the time there were establishment figures who were certain humans were having no effect at all on the planet's environment. This of course will eventually be true!
Pete Jenner and I turned out a great record. Seems like a thousand years ago now. Though I very rarely listen to my own records I would definitely say that my personal highlight on the record is Jimmy Page's guitar solo on 'The Same Old Rock.' My opinion has not changed since the day he put it on there. Absolutely brilliant. The string arrangement on 'Me And My Woman' is by David Bedford." - Roy Harper
STAFF COMMENTS
Andy says: Incredible, deep, heady, roving record. Four MASSIVE songs, one with Jimmy Page on and another, "Me And My Woman", probably the greatest thing in Roy's canon.TRACK LISTING
Hors D’Oeuvres
The Same Old Rock
One Man Rock And Roll Band
Me And My Woman
Featuring Jimmy Page, ‘Jugula’ was originally released in 1985 and reissued as ‘1984 (Jugula)’.
Remastered and reissued on 180gm vinyl packaged in deluxe gatefold sleeve with original cover art and printed heavy inner sleeve including lyrics, comprehensive new notes and images.
All remastering was done by Roy Harper and John Fitzgerald at Lettercolm Studio in Timoleague, West Cork, Ireland. Artwork redesign by Harry Pearce at Pentagram.
Remastered and reissued on 180gm vinyl packaged in deluxe gatefold sleeve with original cover art and printed heavy inner sleeve including lyrics, comprehensive new notes and images.
All remastering was done by Roy Harper and John Fitzgerald at Lettercolm Studio in Timoleague, West Cork, Ireland. Artwork redesign by Harry Pearce at Pentagram.
TRACK LISTING
Nineteen Forty-Eightish
Bad Speech
Hope
Hangman
Elizabeth
Frozen Moment
Twentieth Century Man
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Never shy about using the most intimate and personal autobiographical details in his songs, Harper is one of the most genuine of songwriters. He has recorded several albums of great quality and beauty and "Bullinamingvase" is one of his finest. With an original vocal delivery and a sympathetic acoustic guitar style, Harper never crosses that line that divides the heartfelt from the bitter and mawkish. The halcyon summer feel to much of this work still has the timeless quality that can stand comparison with the best of music of the period.
"The major event on the record, One of 'Those Days In England', is a collection of reminiscences. The legend of Excalibur in the first line. The last of the willow leaves at the top of the tree hanging on into January. 'Alfred had me made', the words written in anglo-saxon around the Alfred Jewel. More precisely 'AElfred mec heht gewyrcan' Alfred ordered me to be made. The Alfred Jewel is housed in the Ashmolean Museum at Oxford (England) and I visit it regularly when I can for emotional sustenance. In the light of the events of his lifetime, Alfred must not only be considered as the founder of the British Navy, but more importantly as the founder of the English language. Had it not been for Alfred's victory over the Danes in the late ninth century, it would perhaps be conceivable that one fifth of the world's population would now be speaking some kind of Danish dialect. I really love this album. It's always been one of my real favourites. I've always thought that the long version of 'One Of Those Days In England' is a touchstone of my long affair with my own culture. All in all, the album has the pastoral feel of the nature of my life at the time. Having said that, it also has a lovelorn edge in 'Cherishing The Lonesome' and angst in 'Naked Flame'. There's also sufficient reference to the nature of the times in lines such as 'You and me sister we're gonna plant a bomb in a street to change law and order', and 'You and me brother wrapped up in silence brooding for better breathing spaces'; both of which unfortunately still seem set to demand attention in global culture for the foreseeable future. Perhaps the reason I always think of it as a gentler album is the subtle ushering in of the realisations embodied in 'These Last Days', which are not so much resignation to a certain maturity as recognition that negotiation in life is paramount to community." - Roy Harper
Remastered audio reissued on 180gm vinyl.
Packaged in deluxe gatefold sleeve.
"The major event on the record, One of 'Those Days In England', is a collection of reminiscences. The legend of Excalibur in the first line. The last of the willow leaves at the top of the tree hanging on into January. 'Alfred had me made', the words written in anglo-saxon around the Alfred Jewel. More precisely 'AElfred mec heht gewyrcan' Alfred ordered me to be made. The Alfred Jewel is housed in the Ashmolean Museum at Oxford (England) and I visit it regularly when I can for emotional sustenance. In the light of the events of his lifetime, Alfred must not only be considered as the founder of the British Navy, but more importantly as the founder of the English language. Had it not been for Alfred's victory over the Danes in the late ninth century, it would perhaps be conceivable that one fifth of the world's population would now be speaking some kind of Danish dialect. I really love this album. It's always been one of my real favourites. I've always thought that the long version of 'One Of Those Days In England' is a touchstone of my long affair with my own culture. All in all, the album has the pastoral feel of the nature of my life at the time. Having said that, it also has a lovelorn edge in 'Cherishing The Lonesome' and angst in 'Naked Flame'. There's also sufficient reference to the nature of the times in lines such as 'You and me sister we're gonna plant a bomb in a street to change law and order', and 'You and me brother wrapped up in silence brooding for better breathing spaces'; both of which unfortunately still seem set to demand attention in global culture for the foreseeable future. Perhaps the reason I always think of it as a gentler album is the subtle ushering in of the realisations embodied in 'These Last Days', which are not so much resignation to a certain maturity as recognition that negotiation in life is paramount to community." - Roy Harper
Remastered audio reissued on 180gm vinyl.
Packaged in deluxe gatefold sleeve.
TRACK LISTING
One Of Those Days In England
These Last Days
Cherishing The Lonesome
Naked Flame
Watford Gap
One Of Those Days In England (Parts 2-10)
Originally released in 1967.
Produced by Shel Talmy.
Orchestral arrangements by Keith Mansfield.
Remastered audio reissued on 180gm vinyl.
Packaged in deluxe gatefold sleeve.
Printed heavy inner sleeve including lyrics, extra notes and images.
Artwork redesign by Harry Pearce.
Produced by Shel Talmy.
Orchestral arrangements by Keith Mansfield.
Remastered audio reissued on 180gm vinyl.
Packaged in deluxe gatefold sleeve.
Printed heavy inner sleeve including lyrics, extra notes and images.
Artwork redesign by Harry Pearce.
TRACK LISTING
Freak Suite
You Don’t Need Money
Aging Raver
In A Beautiful Rambling Mess
All You Need Is
What You Have
Circle
Highgate Cemetery
Come Out Fighting Ghengis Smith
‘Folkjokeopus’ was originally released 1969 and produced by Shel Talmy.
Remastered and reissued on 180gm vinyl packaged in deluxe gatefold sleeve with original cover art and printed heavy inner sleeve including lyrics, comprehensive new notes and images.
All remastering was done by Roy Harper and John Fitzgerald at Lettercolm Studio in Timoleague, West Cork, Ireland. Artwork redesign by Harry Pearce at Pentagram.
Remastered and reissued on 180gm vinyl packaged in deluxe gatefold sleeve with original cover art and printed heavy inner sleeve including lyrics, comprehensive new notes and images.
All remastering was done by Roy Harper and John Fitzgerald at Lettercolm Studio in Timoleague, West Cork, Ireland. Artwork redesign by Harry Pearce at Pentagram.
TRACK LISTING
Sergeant Sunshine
She’s The One
In The Time Of Water
Composer Of Life
One For All
Exercising Some Control
McGoohan’s Blues
Mañana
‘Sophisticated Beggar’ was originally released 1966.
Remastered and reissued on 180gm vinyl packaged in deluxe gatefold sleeve with original cover art and printed heavy inner sleeve including lyrics, comprehensive new notes and images.
All remastering was done by Roy Harper and John Fitzgerald at Lettercolm Studio in Timoleague, West Cork, Ireland. Artwork redesign by Harry Pearce at Pentagram.
Remastered and reissued on 180gm vinyl packaged in deluxe gatefold sleeve with original cover art and printed heavy inner sleeve including lyrics, comprehensive new notes and images.
All remastering was done by Roy Harper and John Fitzgerald at Lettercolm Studio in Timoleague, West Cork, Ireland. Artwork redesign by Harry Pearce at Pentagram.
TRACK LISTING
China Girl
Goldfish
Sophisticated Beggar
My Friend
Big Fat Silver Aeroplane
Blackpool
Legend
Girlie
October Twelfth
Black Clouds
Mr. Station Master
Forever
Committed
Few survivors from the golden age of British folk rock have kept their reputations intact. Among the survivors there is one figure whose body of work, comprising 23 studio albums and almost as many live and compilation releases, has come to stand for a particularly single-minded form of integrity. That man is Roy Harper.
Now officially ‘retired’, and living in a secluded corner of Ireland, Harper has recently been hailed as a key influence by a much younger generation of devoted starsailors who instinctively recognise his innovations. The likes of Fleet Foxes, Joanna Newsom and Jim O’Rourke are avowed fans, and in previous decades he has enjoyed public endorsements and tributes from the likes of Led Zeppelin (Roy is immortalised in ‘Hats Off To Harper’ from Led Zeppelin’s ‘III’), Kate Bush, Pink Floyd’s Dave Gilmour and many more.
Beginning with 1966’s ‘Sophisticated Beggar’, Harper’s music has consistently rattled the cage of received ideas. His versatile, poetic sensibility was employed in a wide range of song styles from romantic love songs to late night mantras to blackly comedic throwaway numbers.
‘Stormcock’ (1971) is generally regarded as a masterpiece: a sprawling but focused suite of four lengthy tracks which explored the inner space of Abbey Road Studio to rhapsodic effect; like ‘Astral Weeks’ refracted through the pages of OZ magazine. Led Zeppelin’s Jimmy Page added guitar, disguised as S Flavius Mercurius.
In 2005 Harper was awarded the Mojo Hero Award by the staff of Mojo magazine. The award itself was presented by long-time collaborator and friend Jimmy Page. In 2013 Harper received the BBC Radio 2 Folk Awards Lifetime Achievement Award.
Now officially ‘retired’, and living in a secluded corner of Ireland, Harper has recently been hailed as a key influence by a much younger generation of devoted starsailors who instinctively recognise his innovations. The likes of Fleet Foxes, Joanna Newsom and Jim O’Rourke are avowed fans, and in previous decades he has enjoyed public endorsements and tributes from the likes of Led Zeppelin (Roy is immortalised in ‘Hats Off To Harper’ from Led Zeppelin’s ‘III’), Kate Bush, Pink Floyd’s Dave Gilmour and many more.
Beginning with 1966’s ‘Sophisticated Beggar’, Harper’s music has consistently rattled the cage of received ideas. His versatile, poetic sensibility was employed in a wide range of song styles from romantic love songs to late night mantras to blackly comedic throwaway numbers.
‘Stormcock’ (1971) is generally regarded as a masterpiece: a sprawling but focused suite of four lengthy tracks which explored the inner space of Abbey Road Studio to rhapsodic effect; like ‘Astral Weeks’ refracted through the pages of OZ magazine. Led Zeppelin’s Jimmy Page added guitar, disguised as S Flavius Mercurius.
In 2005 Harper was awarded the Mojo Hero Award by the staff of Mojo magazine. The award itself was presented by long-time collaborator and friend Jimmy Page. In 2013 Harper received the BBC Radio 2 Folk Awards Lifetime Achievement Award.
TRACK LISTING
Hors D’Oeuvres
The Same Old Rock
One Man Rock And Roll Band
Me And My Woman
With his unique voice and style Roy Harper has been a declaimer and entertainer throughout his long career. In 1972 he starred in a bleak, contemporary film with Carrol White called "Made", releasing the music he composed for the picture's soundtrack in 1973 under the title "Lifemask". It's one of his most satisfying albums, full of great songs, passionate and dramatic with startling use of echoplex and multi-tracking.
STAFF COMMENTS
Andy says: Includes the incredible tracks "Highway Blues" and "South Africa".TRACK LISTING
Highway Blues
All Ireland
Little Lady
Bank Of The Dead
South Africa
The Lord’s Prayer
Harvieu’s defiance against the odds and her willingness to lay herself open to make what she believed was within her is baked into every groove of the record, across every stylistic turn: the giddy pop of ‘Strange Thing’, the gothic swoon of ‘Cruel Disguise’, the smokey seductiveness of ‘Yes Please’ through to the stirring torchsong finale ‘My Body She Is Alive’.
Harvieu has come a long way from the 17-year-old who was signed to Island Records and who had no intention of becoming a singer-songwriter. Even when she made her debut album “Through The Night”, her confidence was low. “I did help write a few of the songs on that record, which I’m still very fond of, but I felt more of a mouthpiece for someone else’s talent, which eats away at you especially because I had so much to say lyrically I just hadn’t learnt how to as yet.”
Her injury - a broken spine following “a freak accident” between recording and releasing her debut album - undermined Harvieu even further. Likewise, Island parted ways with her six months after it’s release, despite a Top 5 chart entry, making the BBC’s Sound Of 2012, a 5-star live review from The Guardian and TV exposure. What followed was what Harvieu describes as “some very dark years” which she addresses in songs like ‘Spirit Me Away’ and the 50’s ballad-evoking ‘You Don’t Know Me.’ A split with her long term partner, her manager and then her beloved Salford. “In one fell swoop everything was gone. I knew I had to get away, start again, rebuild myself.”
It wasn’t until 2015 to be exact, when she met Romeo Stodart, the Magic Numbers frontman and songwriter who had emailed after seeing her perform on Later… With Jools Holland, to ask if she’d consider writing together. “When we started, the energy was immediately different to anyone I’d worked with before, there was this insane instant musical connection” she says. “I loved that Romeo really embraced who I was and encouraged it, I was starting to realise that I didn’t have to be anything other than myself.”
The pair spent the next two years co-writing: “I wasn’t in a massive hurry, because at last I was having fun” Harvieu says. ‘We’d stay up all night drinking, dancing and playing music, I felt like I was re-discovering a girl who had been hidden, quietened. I’d tell Romeo, I don’t just want to paint pretty pictures I want to revel in the drama of my life, the good and the bad, before I was afraid to say something in my lyrics, but no longer. I felt free.”
The album was co-produced by Romeo Stodart and Dave Izumi Lynch, owner of Echo Zoo studio in Eastbourne where recording took place. “It was a truly magical experience working with Dave & Romeo, they are two absolute nurturing musical wizards.” says Harvieu.
Harvieu’s lyrical confidence is evident throughout the album and has you leaning in to absorb line after line. Her voice, soaring and caressing in equal measure, is matched in force by her flirtatious personality. From the album’s opening lyric “Let me put my paws on you, strange thing’through to the feminine bite of ‘Curves And Swerves’ “I’ve got some curves and some swerves, what you gonna do about it?” which crackles with sexual tension and an aching vulnerability.
Among Harvieu’s new songs are messages of hope to her younger, anxious self. To the teenage goth Ren in ‘Little Raven’, she says: “I want you to know, that I’m starting to feel, but its gonna take time, but I’m ready to heal”. ‘Tomorrow Girl Today’ is to the Ren “who would make bad decisions… we can all be very self-destructive, but will we make it this time?”
So what now, Ren Harvieu? “I’ve created a second chance for myself“ she says. “And I will keep creating second chances for myself, because this is my life and I’m not afraid to revel in it anymore.” Revel In the Drama of Ren Harvieu - finally we all can too.
Harvieu has come a long way from the 17-year-old who was signed to Island Records and who had no intention of becoming a singer-songwriter. Even when she made her debut album “Through The Night”, her confidence was low. “I did help write a few of the songs on that record, which I’m still very fond of, but I felt more of a mouthpiece for someone else’s talent, which eats away at you especially because I had so much to say lyrically I just hadn’t learnt how to as yet.”
Her injury - a broken spine following “a freak accident” between recording and releasing her debut album - undermined Harvieu even further. Likewise, Island parted ways with her six months after it’s release, despite a Top 5 chart entry, making the BBC’s Sound Of 2012, a 5-star live review from The Guardian and TV exposure. What followed was what Harvieu describes as “some very dark years” which she addresses in songs like ‘Spirit Me Away’ and the 50’s ballad-evoking ‘You Don’t Know Me.’ A split with her long term partner, her manager and then her beloved Salford. “In one fell swoop everything was gone. I knew I had to get away, start again, rebuild myself.”
It wasn’t until 2015 to be exact, when she met Romeo Stodart, the Magic Numbers frontman and songwriter who had emailed after seeing her perform on Later… With Jools Holland, to ask if she’d consider writing together. “When we started, the energy was immediately different to anyone I’d worked with before, there was this insane instant musical connection” she says. “I loved that Romeo really embraced who I was and encouraged it, I was starting to realise that I didn’t have to be anything other than myself.”
The pair spent the next two years co-writing: “I wasn’t in a massive hurry, because at last I was having fun” Harvieu says. ‘We’d stay up all night drinking, dancing and playing music, I felt like I was re-discovering a girl who had been hidden, quietened. I’d tell Romeo, I don’t just want to paint pretty pictures I want to revel in the drama of my life, the good and the bad, before I was afraid to say something in my lyrics, but no longer. I felt free.”
The album was co-produced by Romeo Stodart and Dave Izumi Lynch, owner of Echo Zoo studio in Eastbourne where recording took place. “It was a truly magical experience working with Dave & Romeo, they are two absolute nurturing musical wizards.” says Harvieu.
Harvieu’s lyrical confidence is evident throughout the album and has you leaning in to absorb line after line. Her voice, soaring and caressing in equal measure, is matched in force by her flirtatious personality. From the album’s opening lyric “Let me put my paws on you, strange thing’through to the feminine bite of ‘Curves And Swerves’ “I’ve got some curves and some swerves, what you gonna do about it?” which crackles with sexual tension and an aching vulnerability.
Among Harvieu’s new songs are messages of hope to her younger, anxious self. To the teenage goth Ren in ‘Little Raven’, she says: “I want you to know, that I’m starting to feel, but its gonna take time, but I’m ready to heal”. ‘Tomorrow Girl Today’ is to the Ren “who would make bad decisions… we can all be very self-destructive, but will we make it this time?”
So what now, Ren Harvieu? “I’ve created a second chance for myself“ she says. “And I will keep creating second chances for myself, because this is my life and I’m not afraid to revel in it anymore.” Revel In the Drama of Ren Harvieu - finally we all can too.
TRACK LISTING
1. Strange Thing
2. Teenage Mascara
3. This Is How You Make Me Feel
4. Curves And Swerves
5. Cruel Disguise
6. Yes Please
7. Spirit Me Away
8. This Is Our Love
9. You Don’t Need Me
10. Tomorrow’s Girl Today
11. Little Raven
12. My Body She Is Alive
Richard Hawley
Coles Corner - Music Box
The new album by Richard Hawley, 'In This City They Call You Love' sees Richard ditch the distortion pedals and go back into making voice most prominent.
Following the universal acclaim for 'Standing At The Sky's Edge', the award-winning musical based on his songs, in May Richard Hawley returns with 'In This City They Call You Love', his ninth studio album and his first since 2019's 'Further'.
'In This City They Call You Love' features 12 outstanding songs, many of which can be described as 'vintage Hawley' and are amongst some of the finest ballads he's ever written. Gorgeous melodies and arrangements are accompanied by his emotive and sonorous voice, which sounds better than ever, and will make this a crowning moment in a hugely successful recording career of almost 25 years.
Following the universal acclaim for 'Standing At The Sky's Edge', the award-winning musical based on his songs, in May Richard Hawley returns with 'In This City They Call You Love', his ninth studio album and his first since 2019's 'Further'.
'In This City They Call You Love' features 12 outstanding songs, many of which can be described as 'vintage Hawley' and are amongst some of the finest ballads he's ever written. Gorgeous melodies and arrangements are accompanied by his emotive and sonorous voice, which sounds better than ever, and will make this a crowning moment in a hugely successful recording career of almost 25 years.
TRACK LISTING
1. Two For His Heels
2. Have Love
3. Prism In Jeans
4. Heavy Rain
5. People
6. Hear That Lonesome Whistle Blow
7. Deep Space
8. Deep Waters
9. I’ll Never Get Over You
10. Do I Really Need To Know?
11. When The Lights Go Out
12. ‘Tis Night
Iconic singer/songwriter Richard Hawley recorded live at the beautiful Piece Hall in Halifax on Saturday 4 September 2021. Live at Halifax Piece Hall captures, for the first time, Richard Hawley in concert with his band in full force. Recorded on a beautiful autumn night in September 2021 and in spectacular settings, the album features many Hawley classics as well as songs from his most recent album ‘Further’, augmented by a 4 piece string ensemble. Simply put, it is Hawley at his best.
TRACK LISTING
1. Off My Mind
2. Alone
3. Standing At The Sky's Edge
4. I'm Looking For Someone To Find Me
5. Tonight The Streets Are Ours
6. Coles Corner
7. Galley Girl
8. Don't Stare At The Sun
9. Open Up Your Door
10. Down In The Woods
11. Is There A Pill
12. For Your Lover Give Some Time
13. There's A Storm A Comin'
14. Heart Of Oak
Richard Hawley
Looking For Someone To Find Me - Music Box
The latest in the Richard Hawley music box series is fan favouriet ‘I’m Looking For Someone To Find Me’, from the award winning Singer-Songwriter’s 5th studio album ‘Lady's Bridge’.
Released in 2007, Hawley said the LP was about “leaving the past behind” and was named after another landmark location in his hometown of Sheffield. The Guardian called the record “beautiful, moving pop at its best" and it was lauded by the NME as “an album that has moments that won't be bettered this year or any other.” with BBC Music adding that it “furthers his cause in becoming a proper national treasure".
Released in 2007, Hawley said the LP was about “leaving the past behind” and was named after another landmark location in his hometown of Sheffield. The Guardian called the record “beautiful, moving pop at its best" and it was lauded by the NME as “an album that has moments that won't be bettered this year or any other.” with BBC Music adding that it “furthers his cause in becoming a proper national treasure".
Richard Hawley is widely recognized as both one of the UK’s greatest songwriters and one of its most respected. Alongside two Mercury Music Prize Nominations, a BRIT award nomination and 4 UK Top 10 Albums, the Sheffield native songwriter has collaborated with the likes of Pulp, Arctic Monkeys, Lisa Marie Presley, Paul Weller and Elbow.
Following the success of Standing At The Sky’s Edge, which won Best New Musical and handed Hawley Best Original Score at the 2023 Olivier Awards, BMG announce the first ever Richard Hawley collection; Now Then: The Very Best of Richard Hawley.
Curated by Hawley and long-term collaborator Colin Elliot, Now Then spans his twenty plus year career, exhibiting all facets of his song writing mastery; marrying his most cinematic moments with his most tender, his best loved work and a host of hidden gems from his early work, to create a collection for both his hardcore fanbase and the perfect entry point for his newest fans.
Following the success of Standing At The Sky’s Edge, which won Best New Musical and handed Hawley Best Original Score at the 2023 Olivier Awards, BMG announce the first ever Richard Hawley collection; Now Then: The Very Best of Richard Hawley.
Curated by Hawley and long-term collaborator Colin Elliot, Now Then spans his twenty plus year career, exhibiting all facets of his song writing mastery; marrying his most cinematic moments with his most tender, his best loved work and a host of hidden gems from his early work, to create a collection for both his hardcore fanbase and the perfect entry point for his newest fans.
STAFF COMMENTS
Barry says: A much-needed best-of from the brilliant Richard Hawley, spanning a full 20 years in the business and including a whole host of quintessentially Hawley offerings including 'Coles Corner' and 'Standing At The Sky's Edge'. Brilliant.TRACK LISTING
Vinyl Tracklisting:
Side A
Open Up Your Door
Midnight Train
Tonight The Streets Are Ours
Coles Corner
Ballad Of A Thin Man
Baby, You're My Light
Side B
Not The Only Road*
My Little Treasures
Standing At The Sky's Edge
Heart Of Oak
The Ocean
Side C
Seek It
Off My Mind
Coming Home
I Still Want You
Just Like The Rain
Run For Me
Side D
Alone
For Your Lover Give Some Time
Serious
Don't Stare At The Sun
There's A Storm A'Comin
*previously Unreleased/exclusive
CD Tracklisting:
CD1
1. Open Up Your Door
2. Midnight Train
3. Tonight The Streets Are Ours
4. Coles Corner
5. Ballad Of A Thin Man
6. Baby, You're My Light
7. She Brings The Sunlight
8. Not The Only Road*
9. Which Way
10. My Little Treasures
11. Naked In Pitsmoor
12. Standing At The Sky's Edge
13. Long Black Train
14. Heart Of Oak
15. You Don't Miss Your Water
16. The Ocean
CD2
1. Don't Stare At The Sun
2. I Still Want You
3. Off My Mind
4. For Your Lover Give Some Time
5. Hotel Room
6. I’m On Nights
7. Seek It
8. Serious
9. Precious Sight
10. Remorse Code
11. Alone
12. Born Under A Bad Sign (Single Version)
13. Our Darkness
14. Run For Me
15. Kelham Island
16. There's A Storm A'Comin'
*previously Unreleased/exclusive
Richard Hawley
Open Up Your Door - Music Box
Richard Hawley
Standing At The Sky's Edge - Music Box
‘Standing At The Sky’s Edge’ is the title track from Richard Hawley’s sixth studio album, which debuted at number three in the UK albums chart in 2012 and was nominated for that year’s Mercury Prize. Named after Skye Edge, a hillside area with views over the city centre, the song went onto inspire a musical which tells the story of three families over sixty years living in Sheffield’s Park Hill housing estate. It premiered at the Crucible before transferring to the National in London and won Best Musical Production at the UK Theatre Awards and the South Bank Sky Arts Award for Theatre. This is another great Music Box version of one of Hawley's best-loved songs, so why not…
Richard Hawley
Tonight The Streets Are Ours - Music Box
Following on from RW Hedges Pop debut 'The Hunters in the Snow'.. this one takes place in The American West of 1877 the year the phonograph was invented.
Constructed in RW's studio 'The Chalet' a get away full of books and fairy lights out in a field in a no man’s land. RW & Luca Nieri sat around bonfires and wrote lyrics written on big spools of paper.
As per last time Luca Nieri produces and RW Hedges directs the songwriting further towards his influences of 1930's Hollywood.
Constructed in RW's studio 'The Chalet' a get away full of books and fairy lights out in a field in a no man’s land. RW & Luca Nieri sat around bonfires and wrote lyrics written on big spools of paper.
As per last time Luca Nieri produces and RW Hedges directs the songwriting further towards his influences of 1930's Hollywood.
TRACK LISTING
1. Havent Seen Her In A While
2. Deep In The Valley
3. Girl In The Story
4. Trail Of The Setting Sun
5. Old Missouri
6. My Dearest
7. Down To Venezuela
8. Sure Enough
9. Prairie Moon
10. The Westerners
Consistently heralded as one of the most influential punk albums of all time, Richard Hell & The Voidoid’s “Blank Generation” celebrates its 40th anniversary this year with a 2CD and 2LP deluxe release for Black Friday, Record Store Day. With participation from Richard Hell, the album will be remastered and packaged as it was originally released in 1977 (unlike subsequent reissues) with a second disc of previously unreleased tracks including alternate studio versions, out of print singles and rare bootleg live tracks from their first appearance at CBGBs. The booklet will contain additional photos (the iconic cover was shot by Richard’s ex-girlfriend, CBGB’s “house” photographer Roberta Bayley) with memorabilia and liners from Richard.
“For this EP I was trying to live less in nostalgia and function less off obvious references. I worked on ‘Pout’ while becoming a dad, sitting a lot in my garden, and trying to kill my ego. Tracks like ‘Mountain Access’ make me think about driving around Hamilton, Ontario, my home as of a year ago. I hope people can still get a chance to walk around with this on headphones or daydream while listening to this project.” - Ryan Hemsworth
Features from Ms. John Soda and BADBADNOTGOOD’s Leland Whitty.
Features from Ms. John Soda and BADBADNOTGOOD’s Leland Whitty.
TRACK LISTING
Hail
All These Dreams
Here I Stand (feat. Ms. John Soda)
Mountain Access
Keep Touch (feat. Leland Whitty)
'Reet' is a lost treasure of late 1960s folk/psych-folk. The only album she ever put to tape, with clear pure voice and guitar. luckily recorded by Andres Raudsepp in 1969.
Reet will be loved in the same breath as ;Sibylle Baier, Vashti Bunyan, Molly Drake, Bridget st John, Reet Hendrikson deserves wider listening and recognition.
Reet Hendrikson was born in Estonia only months before the "great escape" into exile in 1944. Brought up and educated in Sweden, she went to study in the US in 1967 on a Fulbright scholarship, before she made her mark as an Estonian musician in Canada. While her arrangements of Estonian folksongs on the guitar reflected the styles of the sixties, her voice and choice of material sounded authentic and made a connection with ages past.
When Hendrikson arrived in Canada in 1968 via the US, her Estonian was native-like because of the high quality of Estonian schools in Sweden. She was thus able to characterise the identity of young ex-patriate Estonians – especially those born in exile from Soviet occupation – in a new and meaningful way. A formal musical background allowed her to create the arrangements that accompanied her simple but pure singing voice. Having heard her under northern Muskoka pines at an Estonian summer seminar, it didn't takeAndres Raudsepp ( of raindeer records)long to bring her to a recording studio. "Reet – Estonian folksongs" appeared in 1969.
Hendrikson soon found her way to the scholarly atmosphere of Boston where, as a multi-instrumentalist, she joined a group of musicians who favoured traditional folk music. Back in Sweden in the 1980ies, she was invited to join a scholarly society of Estonian young women, which she led during musical sessions. She visited Estonia as frequently as possible, trying in particular to be helpful to Estonian musicians by providing sheet music and much-needed repertoire from the Swedish National Radio Archives, where she worked for a while..
Reet will be loved in the same breath as ;Sibylle Baier, Vashti Bunyan, Molly Drake, Bridget st John, Reet Hendrikson deserves wider listening and recognition.
Reet Hendrikson was born in Estonia only months before the "great escape" into exile in 1944. Brought up and educated in Sweden, she went to study in the US in 1967 on a Fulbright scholarship, before she made her mark as an Estonian musician in Canada. While her arrangements of Estonian folksongs on the guitar reflected the styles of the sixties, her voice and choice of material sounded authentic and made a connection with ages past.
When Hendrikson arrived in Canada in 1968 via the US, her Estonian was native-like because of the high quality of Estonian schools in Sweden. She was thus able to characterise the identity of young ex-patriate Estonians – especially those born in exile from Soviet occupation – in a new and meaningful way. A formal musical background allowed her to create the arrangements that accompanied her simple but pure singing voice. Having heard her under northern Muskoka pines at an Estonian summer seminar, it didn't takeAndres Raudsepp ( of raindeer records)long to bring her to a recording studio. "Reet – Estonian folksongs" appeared in 1969.
Hendrikson soon found her way to the scholarly atmosphere of Boston where, as a multi-instrumentalist, she joined a group of musicians who favoured traditional folk music. Back in Sweden in the 1980ies, she was invited to join a scholarly society of Estonian young women, which she led during musical sessions. She visited Estonia as frequently as possible, trying in particular to be helpful to Estonian musicians by providing sheet music and much-needed repertoire from the Swedish National Radio Archives, where she worked for a while..
TRACK LISTING
1. Meil Aiaäärne Tänavas
2. Kiigelaul
3. Haanja Miis
4. Oh Mina Väike Mehekene
5. Jaan Lä'eb Jaanitulele
6. Karjase Pühapäev - Kirbuga Kirikusse
7. Lauliku Lapsepõli
8. Iirekene
9. Kui Mina Alles Noor Veel Olin
10. Mardi Laul
11. Vennakene, Hellakene
12. Pill Oll' Helle
Robin Holcomb is a genre-defying singer/songwriter similar in many ways to Jane Siberry, who mixes folk and classical elements in her songs and layers a jazz sheen over them. Clever, literate lyrics and vituoso piano work makes "The Big Time" another intelligent and at times daring collection featuring contributions from artists of the calibre of Bill Frisell, Kate and Anna McGarrigle and husband Wayne Horowitz. Two traditional folk songs "A Lazy Farmer Boy" and "Engine 143" are included in the twelve tracks on display here but their treatment is anything but traditional and as with most of her own compositions they feature arrangements that have an edge and intelligence about them that makes this album rather special.
How do you follow up one of the most legendary, yet rarest albums said to signal the birth of doom metal?
If you’re Randy Holden, you give everyone about 50 years to catch up, then casually drop a tastefully modernized reinterpretation of that sound. Population III picks up where Holden’s 1969 solo debut left off, updated with several decades worth of technological advances and personal hindsight.
Following his tenure in proto-metal pioneers Blue Cheer in 1969, the guitarist aimed for more control over his next project. Thus, Randy Holden - Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. Along with drummer/keyboardist Chris Lockheed, Holden created what many say is one of the earliest forms of doom metal.
“Godzilla just walked into the room. People just stood there with their eyes and mouths wide open,” Holden says of the audience’s reaction to their live debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps.
Likewise, their 6-song debut album Population II delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It’s incredibly heavy, but infused with a melodic, albeit mechanistic, sensibility. However, troubles with the album’s original 1970 release bankrupted Holden, who subsequently left music for over two decades. For good reason, it’s widely hailed as a masterpiece, and until finally getting a proper formal release in 2020 on RidingEasy Records, was a longtime Holy Grail for record collectors.
Flash forward 40 years to 2010, we find the guitarist/vocalist quietly coaxed into recording a followup album by Holden superfan and Cactus member Randy Pratt. Joined by drummer Bobby Rondinelli (who has played with Black Sabbath, Blue Öyster Cult, Rainbow), the trio cut the 6-song collection of leaden future blues, Population III. “Randy Pratt had written the basic song structures, he understood my music and where I come from quite well,” Holden says. “He nailed it.”
But the recording was ultimately shelved for over a decade. “A year ago, in 2021 I listened to the songs and was delightfully surprised,” Holden says. “I think it’s the best album I’ve ever done.”
Throughout Population III, Holden effortlessly dishes out squealing, soaring leads and skull-thwacking riffs with his signature low end grit and penchant for Middle Eastern scales. Coupled with Pratt’s pocket-locked bass, the slight flanging effect on Rondinelli’s drums and his pugilistic beats, the album occasionally brings to mind Presence-era Led Zeppelin, particularly on the 22-minute epic “Land of The Sun.” Elsewhere, “Swamp Stomp” echoes more the troglodyte blues of Holden’s older work, with his evermore searing solos showing hints of early Clapton/Hendrix era guitar prowess to drive home the stomp of the song’s namesake. At times, Holden sounds reminiscent of Neil Young leading Crazy Horse’s ruptured grunge as his lilting falsetto vocals push and pull his guitar’s siren’s call. Taken as a whole, there’s a very distinct difference between the way these veterans of hard rock’s formative years carry the songs compared to the more lugubrious riffing of today’s young doom purveyors. Population III is the real deal — a powerful continuation of a sound forged 50 years ago, that almost didn’t happen. Somehow, Randy Holden’s music always finds a way to stand the tests of time.
If you’re Randy Holden, you give everyone about 50 years to catch up, then casually drop a tastefully modernized reinterpretation of that sound. Population III picks up where Holden’s 1969 solo debut left off, updated with several decades worth of technological advances and personal hindsight.
Following his tenure in proto-metal pioneers Blue Cheer in 1969, the guitarist aimed for more control over his next project. Thus, Randy Holden - Population II was born, the duo naming itself after the astronomical term for a particular star cluster with heavy metals present. Along with drummer/keyboardist Chris Lockheed, Holden created what many say is one of the earliest forms of doom metal.
“Godzilla just walked into the room. People just stood there with their eyes and mouths wide open,” Holden says of the audience’s reaction to their live debut performing with a teeth-rattling phalanx of 16 (sixteen!) 200 watt Sunn amps.
Likewise, their 6-song debut album Population II delves into leaden sludge, lumbering doom and epic soaring riffs that sound free from all constraints of the era. It’s incredibly heavy, but infused with a melodic, albeit mechanistic, sensibility. However, troubles with the album’s original 1970 release bankrupted Holden, who subsequently left music for over two decades. For good reason, it’s widely hailed as a masterpiece, and until finally getting a proper formal release in 2020 on RidingEasy Records, was a longtime Holy Grail for record collectors.
Flash forward 40 years to 2010, we find the guitarist/vocalist quietly coaxed into recording a followup album by Holden superfan and Cactus member Randy Pratt. Joined by drummer Bobby Rondinelli (who has played with Black Sabbath, Blue Öyster Cult, Rainbow), the trio cut the 6-song collection of leaden future blues, Population III. “Randy Pratt had written the basic song structures, he understood my music and where I come from quite well,” Holden says. “He nailed it.”
But the recording was ultimately shelved for over a decade. “A year ago, in 2021 I listened to the songs and was delightfully surprised,” Holden says. “I think it’s the best album I’ve ever done.”
Throughout Population III, Holden effortlessly dishes out squealing, soaring leads and skull-thwacking riffs with his signature low end grit and penchant for Middle Eastern scales. Coupled with Pratt’s pocket-locked bass, the slight flanging effect on Rondinelli’s drums and his pugilistic beats, the album occasionally brings to mind Presence-era Led Zeppelin, particularly on the 22-minute epic “Land of The Sun.” Elsewhere, “Swamp Stomp” echoes more the troglodyte blues of Holden’s older work, with his evermore searing solos showing hints of early Clapton/Hendrix era guitar prowess to drive home the stomp of the song’s namesake. At times, Holden sounds reminiscent of Neil Young leading Crazy Horse’s ruptured grunge as his lilting falsetto vocals push and pull his guitar’s siren’s call. Taken as a whole, there’s a very distinct difference between the way these veterans of hard rock’s formative years carry the songs compared to the more lugubrious riffing of today’s young doom purveyors. Population III is the real deal — a powerful continuation of a sound forged 50 years ago, that almost didn’t happen. Somehow, Randy Holden’s music always finds a way to stand the tests of time.
Detroit pioneer Robert Hood joins Radio Slave’s Rekids label with a new album entitled ‘Mirror Man’ this November.
A founding member of Underground Resistance alongside Mad Mike Banks and Jeff Mills, Robert Hood is one of techno’s originators and his decorated career spans three decades. The American artist and his M-Plant label laid down the blueprint for minimal techno and 1994’s ‘Minimal Nation’ on Axis was a definitive album that further cemented Hood’s reputation as one of the greats to emerge from the Motor City.
Since then, Hood has gone on to release on many of electronic music’s best labels like Tresor, Peacefrog, Music Man Records, Dekmantel and more. After a busy few years making music and touring as Floorplan alongside his daughter Lyric, Hood now joins Rekids with an album showcasing his innate knack for crafting paired back but intricate rhythms that deliver punch and soul.
Opening with the cinematic ‘Through A Looking Glass Darkly’, the album quickly flows into precise, powerful four four. There’s mesmerising cuts such as ‘Fear Not’ with its throbbing bass and spectral vocals, the twisted and off-key ‘Run Bobby, Run’, not to mention muscular tracks designed to light up dancefloors like the machine driven ‘A System of Mirrors’ or the mesmerising ‘Face In The Water’. Hood also breaks things up with downtempo and mind-bending interludes, including the tranquil yet spooky ‘Black Mirror’ and the beatless and murky ‘Freeze’. Each of these are aural feasts that demonstrate his vast musical pallet.
From start to finish ‘Mirror Man’ is an education in finesse from one of techno’s most heroic artists, landing on one of electronic music’s most important labels.
A founding member of Underground Resistance alongside Mad Mike Banks and Jeff Mills, Robert Hood is one of techno’s originators and his decorated career spans three decades. The American artist and his M-Plant label laid down the blueprint for minimal techno and 1994’s ‘Minimal Nation’ on Axis was a definitive album that further cemented Hood’s reputation as one of the greats to emerge from the Motor City.
Since then, Hood has gone on to release on many of electronic music’s best labels like Tresor, Peacefrog, Music Man Records, Dekmantel and more. After a busy few years making music and touring as Floorplan alongside his daughter Lyric, Hood now joins Rekids with an album showcasing his innate knack for crafting paired back but intricate rhythms that deliver punch and soul.
Opening with the cinematic ‘Through A Looking Glass Darkly’, the album quickly flows into precise, powerful four four. There’s mesmerising cuts such as ‘Fear Not’ with its throbbing bass and spectral vocals, the twisted and off-key ‘Run Bobby, Run’, not to mention muscular tracks designed to light up dancefloors like the machine driven ‘A System of Mirrors’ or the mesmerising ‘Face In The Water’. Hood also breaks things up with downtempo and mind-bending interludes, including the tranquil yet spooky ‘Black Mirror’ and the beatless and murky ‘Freeze’. Each of these are aural feasts that demonstrate his vast musical pallet.
From start to finish ‘Mirror Man’ is an education in finesse from one of techno’s most heroic artists, landing on one of electronic music’s most important labels.
TRACK LISTING
A1. Through A Looking Glass Darkly
A2. Fear Not
B1. Black Mirror
B2. Falling Apart
C1. Run Bobby, Run
C2. A System Of Mirrors
C3. A Shattered Image
D1. Face In The Water
D2. Freeze
D3. Prism
Born and raised in Lake, Mississippi, a small town east of Jackson, Houser was the son of a musician and took to music himself at an early age. Picking up the guitar before his tenth birthday, he played in bands throughout his adolescence, sharpening his songwriting skills as he attended East Central Community College in Decatur, Mississippi. Prior to his success as an artist, Houser lived as a songwriter, co-writing singles including "Honky Tonk Badonkadonk" by Trace Adkins, "Back That Thing Up" by Justin Moore, and "My Cowboy" by country pop artist Jessie James.
TRACK LISTING
A1/1. Still That Cowboy
A2/2. Workin’ Man
A3/3. Note To Self
A4/4. Country Round Here Tonight
A5/5. Take It To The Bank
B1/6. Call Me
B2/7. Out And Down
B3/8. Rub A Little Dirt On It
B4/9. American Dreamers
B5/10. Remember How To Pray
Rowland S. Howard's importance to the world's musical landscape and Mute's history can not be understated. Rowland joined The Boys Next Door in 1978, a band formed by Nick Cave and Mick Harvey and is often sited as the catalyst that turned that band's sound into the force of nature that would become their new band The Birthday Party. After The Birthday Party split up in 1983, Nick Cave formed the Bad Seeds with Mick Harvey and Rowland formed the magnificent These Immortal Souls whilst also collaborating with Simon Bonney's Crime & The City Solution, Lydia Lunch, Nikki Sudden, Fad Gadget, Foetus, Jeffrey Lee Pierce, Epic Soundtracks and Mick Harvey. Rowland sadly passed away in 2009 after recording his final solo album Pop Crimes, both this and Teenage Snuff Film have been unavailable physically outside of Australia for many years and both fetch high prices on Discogs and Ebay.
TRACK LISTING
1 (I Know) A Girl Called Jonny
2 Shut Me Down
3 Life's What You Make It
4 Pop Crimes
5 Nothin
6 Wayward Man
7 Ave Maria
8 The Golden Age Of Bloodshed
Rowland S. Howard's importance to the world's musical landscape and Mute's history can not be understated. Rowland joined The Boys Next Door in 1978, a band formed by Nick Cave and Mick Harvey and is often sited as the catalyst that turned that band's sound into the force of nature that would become their new band The Birthday Party. After The Birthday Party split up in 1983, Nick Cave formed the Bad Seeds with Mick Harvey and Rowland formed the magnificent These Immortal Souls whilst also collaborating with Simon Bonney's Crime & The City Solution, Lydia Lunch, Nikki Sudden, Fad Gadget, Foetus, Jeffrey Lee Pierce, Epic Soundtracks and Mick Harvey. Rowland sadly passed away in 2009 after recording his final solo album Pop Crimes, both this and Teenage Snuff Film have been unavailable physically outside of Australia for many years and both fetch high prices on Discogs and Ebay.
TRACK LISTING
1 Dead Radio
2 Breakdown (And Then…)
3 She Cried
4 I Burnt Your Clothes
5 Exit Everything
6 Silver Chain
7 White Wedding
8 Undone
9 Autoluminescent
10 Sleep Alone
‘Breaks & Bone’ is the follow up to RM Hubbert’s SAY Award winning album ‘Thirteen Lost & Found’.
‘Thirteen Lost & Found’ was named Scottish Album Of The Year in June, defeating the likes of Django Django, Admiral Fallow, Paul Buchanan and Lau.
Following ‘First & Last’ and ‘Thirteen Lost & Found’, ‘Breaks & Bone’ concludes a confessional triptych Hubby refers to as ‘The Ampersand Trilogy’.
‘Breaks & Bone’ heralds a return to solo performing for RM Hubbert, having retired the collaborative approach he employed so effectively on ‘Thirteen Lost & Found’.
While Hubbert’s guitar work retains the flamenco structures and techniques of his earlier material, it’s augmented on ‘Breaks & Bone’ with vocals - the first time Hubby has sang on record since his El Hombre Trajeado days.
Production on the album is purposefully spartan, picking up the conspicuous creaks and squeaks of his instrument - a custombuilt guitar made by Luthier Anders Eliasson in South West Spain.
The album’s cover star is Hubby’s dog, D Bone: named in tribute to one of the guitarist’s musical heroes, the late D Boon of Californian punk trio Minutemen. His canine friend is also the subject of the album’s instrumental opener ‘Son Of Princess, Brother Of Rambo’.
‘Thirteen Lost & Found’ was named Scottish Album Of The Year in June, defeating the likes of Django Django, Admiral Fallow, Paul Buchanan and Lau.
Following ‘First & Last’ and ‘Thirteen Lost & Found’, ‘Breaks & Bone’ concludes a confessional triptych Hubby refers to as ‘The Ampersand Trilogy’.
‘Breaks & Bone’ heralds a return to solo performing for RM Hubbert, having retired the collaborative approach he employed so effectively on ‘Thirteen Lost & Found’.
While Hubbert’s guitar work retains the flamenco structures and techniques of his earlier material, it’s augmented on ‘Breaks & Bone’ with vocals - the first time Hubby has sang on record since his El Hombre Trajeado days.
Production on the album is purposefully spartan, picking up the conspicuous creaks and squeaks of his instrument - a custombuilt guitar made by Luthier Anders Eliasson in South West Spain.
The album’s cover star is Hubby’s dog, D Bone: named in tribute to one of the guitarist’s musical heroes, the late D Boon of Californian punk trio Minutemen. His canine friend is also the subject of the album’s instrumental opener ‘Son Of Princess, Brother Of Rambo’.
"First & Last" brings Glasgow music scene mainstay and longtime friend of the label RM Hubbert onto Chemikal Underground for the first time.
Following several years in Glasgow outfit El Hombre Trajeado, Hubbert took a few years off to study guitar before self releasing "First & Last", his debut solo album.
Chemikal Underground have come on board to provide their support, coinciding with Hubbert’s upcoming support slot on Mogwai’s mammoth European tour.
The album also receives its virgin pressing on deluxe vinyl.
RM Hubbert’s debut is a collection of beautifully contemplative instrumentals which highlights his undeniable virtuosity without any hint of self-indulgence or technical bravado.
The tracks incorporate elements of folk, flamenco and samba, and were often inspired by dark events in Hubby’s past, notably the death of his parents and his diagnosis with depression.
That these traumatic events resulted in an album of such beauty is testament to Hubbert’s considered and subtle strengths as a composer.
Awkward comparisons with folk and flamenco artists can give the wrong impression – best to note that RM Hubbert has been asked to support Godspeed You! Black Emperor, Thee Silver Mt. Zion Memorial Orchestra Band, Alasdair Roberts and King Creosote, and is about to embark on a five week European tour with Mogwai.
Following several years in Glasgow outfit El Hombre Trajeado, Hubbert took a few years off to study guitar before self releasing "First & Last", his debut solo album.
Chemikal Underground have come on board to provide their support, coinciding with Hubbert’s upcoming support slot on Mogwai’s mammoth European tour.
The album also receives its virgin pressing on deluxe vinyl.
RM Hubbert’s debut is a collection of beautifully contemplative instrumentals which highlights his undeniable virtuosity without any hint of self-indulgence or technical bravado.
The tracks incorporate elements of folk, flamenco and samba, and were often inspired by dark events in Hubby’s past, notably the death of his parents and his diagnosis with depression.
That these traumatic events resulted in an album of such beauty is testament to Hubbert’s considered and subtle strengths as a composer.
Awkward comparisons with folk and flamenco artists can give the wrong impression – best to note that RM Hubbert has been asked to support Godspeed You! Black Emperor, Thee Silver Mt. Zion Memorial Orchestra Band, Alasdair Roberts and King Creosote, and is about to embark on a five week European tour with Mogwai.
Award-winning songwriter and guitarist RM Hubbert returns with a masterfully curated and lavishly diverse set of collaborations.
Featuring a stellar cast of contributors, ‘Telling The Trees’ is a thrillingly inventive collection, highlighting the extraordinary talents of some of the finest musicians, songwriters and lyricists.
‘Telling The Trees’ is a return to the collaborative format that saw him pick up a Scottish Album Of The Year (SAY) Award for 2012’s ‘Thirteen Lost & Found’.
Guesting on the album are the likes of Rachel Grimes, Eleanor Friedberger, Kathryn Williams, Helen Marnie (Ladytron), Martha Ffion, Karine Polwart and fellow SAY Award winner Kathryn Joseph.
“Hubbert’s live shows provide the rare spectacle of a noisy rabble falling instantly silent to marvel at both his technical ability and the emotional impact of his music” - The Scotsman
“RM Hubbert is a fascinating and talented guitarist” - Drowned In Sound
Featuring a stellar cast of contributors, ‘Telling The Trees’ is a thrillingly inventive collection, highlighting the extraordinary talents of some of the finest musicians, songwriters and lyricists.
‘Telling The Trees’ is a return to the collaborative format that saw him pick up a Scottish Album Of The Year (SAY) Award for 2012’s ‘Thirteen Lost & Found’.
Guesting on the album are the likes of Rachel Grimes, Eleanor Friedberger, Kathryn Williams, Helen Marnie (Ladytron), Martha Ffion, Karine Polwart and fellow SAY Award winner Kathryn Joseph.
“Hubbert’s live shows provide the rare spectacle of a noisy rabble falling instantly silent to marvel at both his technical ability and the emotional impact of his music” - The Scotsman
“RM Hubbert is a fascinating and talented guitarist” - Drowned In Sound
Follow up to RM Hubbert’s debut album ‘First & Last’ which came out in February 2011.
The album was produced by Alex Kapranos (Franz Ferdinand) and engineered by Paul Savage. The album was recorded between Chem19 and Alex’s studio in the Scottish Borders.
The album features collaborations with some very special artists including Hanna Tuulikki (Nalle), Emma Pollock (The Delgados), Luke Sutherland (Long Fin Killie, Mogwai), Aidan Moffat (Arab Strap), Alex Kapranos and Alasdair Roberts amongst others.
‘Thirteen Lost & Found’ was conceived by Hubbert as a way of reacquainting himself with old friends while making some new ones. Each piece was written collaboratively with the respective artists placing the emphasis on spontaneity and experimentation.
The resulting collection is eclectic and beautiful: voice, percussion, violin, piano, banjo, accordion, vibraphone and gu zheng all joining Hubbert’s idiosyncratic guitar over the eleven songs.
The album was produced by Alex Kapranos (Franz Ferdinand) and engineered by Paul Savage. The album was recorded between Chem19 and Alex’s studio in the Scottish Borders.
The album features collaborations with some very special artists including Hanna Tuulikki (Nalle), Emma Pollock (The Delgados), Luke Sutherland (Long Fin Killie, Mogwai), Aidan Moffat (Arab Strap), Alex Kapranos and Alasdair Roberts amongst others.
‘Thirteen Lost & Found’ was conceived by Hubbert as a way of reacquainting himself with old friends while making some new ones. Each piece was written collaboratively with the respective artists placing the emphasis on spontaneity and experimentation.
The resulting collection is eclectic and beautiful: voice, percussion, violin, piano, banjo, accordion, vibraphone and gu zheng all joining Hubbert’s idiosyncratic guitar over the eleven songs.
'This is the book we've been waiting for . . .
It is a biography to be treasured' Joe Boyd'The Drake completist could ask for nothing else' Telegraph'Illuminating. The definitive word on Drake' ObserverIn 1968 Nick Drake had everything to live for. The product of a loving, creative family and a privileged background, he was not only a handsome and popular Cambridge undergraduate, but also a new signing to the UK's hippest record label, Island.
Three years later, however - having made three well-reviewed but low-selling albums - Nick had been overwhelmed by a mysterious mental illness. He returned to live in his family home in rural Warwickshire in 1971, and died in obscurity in 1974, aged just 26. In the decades since, Nick has become the subject of ever-growing fascination and speculation.
Combined sales of his records now stand in the millions, his songs are frequently heard on TV and in films, and he has become one of the most widely known and admired singer-songwriters of his generation. Nick Drake: The Life is the only biography of Nick to be written with the blessing and involvement of his sister and Estate. Drawing on copious original research and new interviews with his family, friends and musical collaborators, as well as deeply personal archive material unavailable to previous writers - including his father's diaries, his essays and private correspondence - this is the most comprehensive and authoritative account possible of Nick's short and enigmatic life.
Includes a foreword by Gabrielle Drake and over 75 photos, many rare or previously unseen.
It is a biography to be treasured' Joe Boyd'The Drake completist could ask for nothing else' Telegraph'Illuminating. The definitive word on Drake' ObserverIn 1968 Nick Drake had everything to live for. The product of a loving, creative family and a privileged background, he was not only a handsome and popular Cambridge undergraduate, but also a new signing to the UK's hippest record label, Island.
Three years later, however - having made three well-reviewed but low-selling albums - Nick had been overwhelmed by a mysterious mental illness. He returned to live in his family home in rural Warwickshire in 1971, and died in obscurity in 1974, aged just 26. In the decades since, Nick has become the subject of ever-growing fascination and speculation.
Combined sales of his records now stand in the millions, his songs are frequently heard on TV and in films, and he has become one of the most widely known and admired singer-songwriters of his generation. Nick Drake: The Life is the only biography of Nick to be written with the blessing and involvement of his sister and Estate. Drawing on copious original research and new interviews with his family, friends and musical collaborators, as well as deeply personal archive material unavailable to previous writers - including his father's diaries, his essays and private correspondence - this is the most comprehensive and authoritative account possible of Nick's short and enigmatic life.
Includes a foreword by Gabrielle Drake and over 75 photos, many rare or previously unseen.
Reduced
Rickard Jäverlings music can deservedly be described as playful and searching but for that sake not fumbling or too loose around the edges. On Album 4, the second album release from Jäverling on Höga Nord Rekords, he dwells more in dub than on his prior album release, and Jäverlings skillful songwriting is carried smoothly by the soft and fluffy production: the rhythm section sounds as if resting upon a sun warm bed of moss and elements flows in and out of the production like a freshly rippling stream of water deep in the summer forest. Echoes shoots through the pines, the hills and the valleys and makes the album a premium dub experience which dominates large parts of the album.
Aside the obvious references to nature that comes in mind listening to Jäverlings music, this album is more than a romantic view on the Swedish wilderness. It flirts, like all quality dub from the seventies and eighties with science fiction and space with broad synthesizer sweeps and delay drenched clouds like imploding and exploding stars somewhere in the outskirts of the Milky way, spreading dust over the Swedish forest. On the final three tracks, Ganjaman_72 takes the album out of the galaxy with spaced out-remixes on some of the songs.
With his feet steadily grounded in jamaican music tradition whit a non sentimental and curious view on production, Rickard Jäverling have together with Johan Holmegård (Dungen, Goran Kajfes), Andreas Söderström (ASS, Goran Kajfes) och Ganjaman_72 created the natural follow up to Album 3.
Aside the obvious references to nature that comes in mind listening to Jäverlings music, this album is more than a romantic view on the Swedish wilderness. It flirts, like all quality dub from the seventies and eighties with science fiction and space with broad synthesizer sweeps and delay drenched clouds like imploding and exploding stars somewhere in the outskirts of the Milky way, spreading dust over the Swedish forest. On the final three tracks, Ganjaman_72 takes the album out of the galaxy with spaced out-remixes on some of the songs.
With his feet steadily grounded in jamaican music tradition whit a non sentimental and curious view on production, Rickard Jäverling have together with Johan Holmegård (Dungen, Goran Kajfes), Andreas Söderström (ASS, Goran Kajfes) och Ganjaman_72 created the natural follow up to Album 3.
TRACK LISTING
A1. Set Piece
A2. Road Across World
A3. Rising Skies
A4. Bruised Banana
A5. I Won’t Get Your Love
B1. From Left To Right
B2. Radiation
B3. I Won’t Get Your Love
B4. From Left To Dub
B5. Radiation Dub
Ricardo Jefferson is a producer and DJ based here in Manchester. The roots of his sound are in funk, disco, space rock, prog rock, but he has melded them into a sound that is more than just the sum of these elements. This is funky, bass-heavy, trippy techno for the dancefloor. "A Brutal Truth" is a big tune that builds relentlessly. The track has an inclusive, celebrational, feel which simply invites everyone to lose it on the dancefloor. "Persons Unknown" is a tune to drop when everyone on the dancefloor is in the zone and locked into the groove. A finely crafted trip created with multiple delays skittering around the sound field, anchored by the funky bass heavy groove. "The Egg (Part One)" employs a tight kick drum of differing weights to propel the groove, overlayed with a circular keyboard motif. On the off-beat, add the processed sound of someone hitting a metal sheet, and viola! – one aggressively funky bomb! Lastly "God Of The Machine" has a simple 4x4 kick and handclap pattern pinning down a delicious oscillating bassline, under a classic descending four chord circular chord progression.
Packaging will be a gatefold card wallet & will include 16 page lyric booklet. Pandemic Songs is songwriter Robb Johnson’s chronicle in song of the unprecedented events of the first half of 2020. His critically-acclaimed family histories of the 20th Century Gentle Men & Ordinary Giants use song to dramatise past lives & narrate significant historical events & processes. Pandemic Songs uses songs to provide a media-free perspective of contemporary history, with thirteen tracks written between March & June of this year, that record & comment on the global pandemic, from Robb’s local UK perspective. The songs are angry, sad, affectionate, elegiac, satirical, anxious, & compassionate. They celebrate our lives in lockdown & the endurance of our keyworkers, & catalogue the vanities, incompetence, hypocrisy & failures of those in power. Pandemic Songs was recorded with a socially-distanced pared-down version of The Irregulars; John Forrester on bass & vocals, Arvin Johnson on drums, percussion & Spanish guitar, & Fae Simon on vocals. The result is a powerful, visceral album, a significant creative response to these very significant times. Robb Johnson is now widely recognised as one of the UK’s finest songwriters:
TRACK LISTING
1. Saint Mary (a Fable About The Origin Of A Virus),
2. Monday Afternoon In The Paris House (March 16th, & A Last Gig Before Lockdown),
3. 422 (lockdown Has Begun),
4. One More Lockdown Day (lockdown Continues),
5. 5373 (the Number Of Deaths From COVID 19 Continues To Rise),
6. 89p (the Government Responds By Promoting A Care Badge),
7. Disinfectant (President Trump Promotes A Cure),
8. The Highlight Of My Week (the Weekly Lockdown Shopping),
9. All The Bells Were Ringing (the Nightly Lockdown Dreaming),
10. Lockdown Jokes & Stories (three Sad Stories- Belly Mujinga, Railworker, Mervyn Kennedy, Bus Driver, Louisa Rajakumari, Teacher, & One Bad Joke – Dominic Cummings Drives To Durham)
11. Victory In Europe (May, & The UK Achieves The Highest Rate Of COVID 19 Deaths In Europe),
12. The Days We Don’t Forget (a Proper Remembrance)
13. In Palmeira Square (June 17th, & Lockdown Is Ending)
This album grew out of the recording sessions that produced the “Mystery / Poetry” LP, adding brass & violin parts, new songs, new recordings of three audience favourites, & reworking three songs that appear on the LP. Core Irregulars John Forrester (bass), Arvin Johnson (drums & percussion) & Fae Simon (vocals & percussion) are joined by Sian Allen (trumpet), Linze Maesterosa (saxophone) & Lorsey Tillbrook (violin). Together they create a truly fine album showcasing some of the best of Robb’s songwriting for electric band performance. “The most joyous & life affirming set that I watched over the weekend” – audience response to recent Irregulars festival appearance.
TRACK LISTING
1: Win, Lose Or Draw
2: From Tolpuddle To Timbuktu,
3: Brown & Black In The Union Jack
4: One Day We Go To Wembley
5: Fiddler In The Rain
6: Start Counting *
7: When I Look Up*,
8: The Summer Time Is Coming
9: Be Reasonable
10: My Very Best Of Friends.
* Lead Vocal Fae Simon
Robb Johnson & The Irregulars
The Mystery Gets Your Number & The Poetry Makes The Call
Irregular Records
Recorded as soon as the 2021 Covid restrictions allowed, this album expresses both the delight at being able to make some noise again, to be working with other musicians live again, & the anger at having had to endure both a pandemic & a useless, heartless government at the same time. Songwriting, vocals & guitar by Robb, The Irregulars on this album are John Forrester, bass & b/vox, Arvin Johnson, drums & percussion, & Fae Simon, b/vox, percussion, & lead vocal on “Start Counting”. Recorded by Ali Gavan at Brighton Road Studios, the album was manufactured by Press On Vinyl in Middlesborough – the cutting engineer said it was the best album he’d worked on, & Robb thinks the Press On pressing is the best sounding album he’s had manufactured.
TRACK LISTING
1: Scream Till The Walls Fall Down
2: Danny Kustow’s Gibson
3: Lost In Space
4: One Day We Go To Wembley
5: Yes Please Louise
6: Start Counting
7: From Tolpuddle To Timbuktu
8: Anytime
Last year Robb released the vinyl-only album Minimum Wages, 9 songs performed on acoustic guitar, with guest appearances from Boff Whalley, Fae Simon & John Forrester on vocals, Jude Abbott on brass, Jason Pegg on accordion & Jenny Carr on piano. The album was very well-received; “a timeless album for the times” (****RNR), Folk Radio UK named it as one of their top 10 albums of the year, & Ian Anderson said it would have been one of Podwireless’s CDs of the year – if it had been on CD.
The album has its CD release as part of a double album with Bodger: My Part In His Downfall, a collection of 20 songs chronicling the events of the last three years – “the worst of possible times to have the worst of governments too.” There are voice & acoustic guitar based tracks, 2 ukulele songs, & various contributions from Irregulars Sian Allen (trumpet), John Forrester (bass), Ali Gavan (drums), Arvin Johnson (drums), Linze Maesterosa (clarinet), Fae Simon (b/vox, lead vocal on track 190, & from Irregular Records recording artiste & award-winning poet Roger Stevens (piano). The recording of the album’s last track “Goodbye” was finished on July 6th - & the following day the Prime Minister resigned. Irregular Records decided to release the album to celebrate the departure of this most murderously lazy, corrupt, mendacious & incompetent of Prime Ministers. The double album includes a 12 page booklet with notes for all the songs.
The album has its CD release as part of a double album with Bodger: My Part In His Downfall, a collection of 20 songs chronicling the events of the last three years – “the worst of possible times to have the worst of governments too.” There are voice & acoustic guitar based tracks, 2 ukulele songs, & various contributions from Irregulars Sian Allen (trumpet), John Forrester (bass), Ali Gavan (drums), Arvin Johnson (drums), Linze Maesterosa (clarinet), Fae Simon (b/vox, lead vocal on track 190, & from Irregular Records recording artiste & award-winning poet Roger Stevens (piano). The recording of the album’s last track “Goodbye” was finished on July 6th - & the following day the Prime Minister resigned. Irregular Records decided to release the album to celebrate the departure of this most murderously lazy, corrupt, mendacious & incompetent of Prime Ministers. The double album includes a 12 page booklet with notes for all the songs.
TRACK LISTING
Minimum Wages:
1: Fiddler In The Rain
2: Last Night Of The Proms
3: Hartlepool ASDA, Saturday Morning
4: Great Aunt Gladys
5: My Quiet Flame
6: Sister Reynardine
7: This Is Your History
8: Minimum Wages
9: My Very Best Of Friends
Bodger: My Part In His Downfall:
1: Well Done Little England
2: The Cheese & Wine Of Privilege
3: Barry Bucket
4: Common Sense
5: Don’t Forget To Wash Your Hands
6: Tony Skinner’s Lad
7: Blue Light On A Red Brick Wall
8: When The Leaves Have All Fallen
9: Jack & Jill Are Good For The Economy
10: Chipping Sodoffbury
11: Shut Up & Just Go Xmas Shopping
12: We Can All Join A Union
13: The Plague Ship
14: What A Week It Was When The Pubs Reopened
15: Freedom Day
16: You’ve Only Got Yourself To Blame
17: Well Done Little England
18: The Worst Prime Minister In The World
19: Sunlight On The Wall
20: Goodbye
At last! The classic music from this important TV series is now available! Yes, to many people who grew up near a television in the 1970s and 1980s, Fingerbobs was a curious, formative and hugely inspiring series. Only 13 episode were made but were often repeated. It starred the audacious Fingermouse, a host of his paper friends (Scampi, Gulliver, Flash), and was fronted by folk musician, actor and former Play School presenter Rick Jones as “Yoffy”. Each episode involved simple craft, music and a story or fable based on that week’s theme (such as sound, wood, shapes and shadows). The whole series was conceived, created and modelled in a briliant home made style by the legendary husband and wife team Joanne and Michael Cole, the minds behind much of Playschool, the books and TV series Bod, and Ragtime.
The Fingerbobs album has been quite hard to put together; there are no masters and very little paper based archive to speak of, so no set stills, no paper puppets. All that really remains are a few scraps of paper in the Cole’s very small archive and the Fingerbobs annual, which contains nothing but pecualir drawings, none that really relate to the show. But, as the album was going to print Lo Cole found an exceptionally rare promotional flyer for the series in 1973 when it was first aired, and this wonderful little gem is what has been used to make the fabulous artwork.
In order to produce a musical album worthy of release, Jonny Trunk entrusted the ears and musical abilities of Jon Brooks (AKA The Advisory Circle) to pull together a musical collage of the whole series. So, we have all the themes, all the songs, all the instrumentals, a scattering of stories too. The music is a touch folky, a little whimsical, classically nostalgic, humble, hip, witty and occasionally camp (Gulliver’s song). Fingerbobs was possibly the last remaining unreleased score from TVs golden era, and finally, thanks to this first ever release, we can now enjoy it whenever or wherever we want. Like in the car with the kids. Which is a very good thing indeed.
The Fingerbobs album has been quite hard to put together; there are no masters and very little paper based archive to speak of, so no set stills, no paper puppets. All that really remains are a few scraps of paper in the Cole’s very small archive and the Fingerbobs annual, which contains nothing but pecualir drawings, none that really relate to the show. But, as the album was going to print Lo Cole found an exceptionally rare promotional flyer for the series in 1973 when it was first aired, and this wonderful little gem is what has been used to make the fabulous artwork.
In order to produce a musical album worthy of release, Jonny Trunk entrusted the ears and musical abilities of Jon Brooks (AKA The Advisory Circle) to pull together a musical collage of the whole series. So, we have all the themes, all the songs, all the instrumentals, a scattering of stories too. The music is a touch folky, a little whimsical, classically nostalgic, humble, hip, witty and occasionally camp (Gulliver’s song). Fingerbobs was possibly the last remaining unreleased score from TVs golden era, and finally, thanks to this first ever release, we can now enjoy it whenever or wherever we want. Like in the car with the kids. Which is a very good thing indeed.
Kicks is an eclectic album of ten cover songs - from "Mack The Knife" written in 1928 for a German musical (known in the U.S. as The Threepenny Opera) that became a jazz standard, to "Bad Company" the eponymous theme song for the British rock band written in 1974. The arrangement and instrumentation, by producer Michael Napolitano (Ani DiFranco), provides a fresh and modern sonic infusion on every song. Rickie Lee Jones skyrocketed to fame in 1979 when as a barely known artist she appeared on Saturday Night Live. Performing her biggest hit “Chuck E’s In Love” in her trademark red beret, Time Magazine instantly dubbed her “the Duchess of Coolsville.” Since then she has gone on to win two Grammy Awards, appeared on the cover of Rolling Stone twice, and was included in VH1’s 100 Greatest Women of Rock & Roll.
TRACK LISTING
1. Bad Company
2. My Fathers Gun
3. Lonely People
4. Houston
5. You're Nobody 'Til Somebody Loves You
6. Nagasaki
7. Mack The Knife
8. Quicksilver Girl
9. The End Of The World
10. Cry
“Déjà Vu”, a true labour of love project featuring 5 previously unreleased songs from two of Brazil’s most celebrated artists, Robson Jorge and Lincoln Olivetti. Recorded between 1982 and 1986, these tracks take off from the legendary boogie-disco, jazz-funk fusion sound they presented in their first and only album together and allow us to have a glimpse of what their planned second volume would sound like. This collection of songs is a must-have for DJs, Brazilian music fans, and music aficionados alike.
Robson Jorge and Lincoln Olivetti have been influential figures in the Brazilian music scene for decades, with their innovative and groovy sound inspiring many artists in Brazil and beyond. They participated in more than 1,000 records, including groundbreaking work with Tim Maia, Marcos Valle, Gilberto Gil, Gal Costa, Rita Lee, and Jorge Ben; either arranging, producing and/or playing in their albums. This release offers a unique opportunity to experience some of their never-heard-before material, each song expertly restored and remastered from Lincoln Olivetti’s vaults to ensure that the original recordings were preserved.
For disco DJs, this record is a treasure trove of dancefloor gold, especially the opening track “Suspira”, certified material to get any party started. Brazilian music fans worldwide will appreciate the unique blend of Brazilian rhythms with disco and funk elements. And for music aficionados, this release is a rare gem, offering a peek into the creative process of two legendary musicians and producers. In the end, this very special release has the potential to be a hit with a wide range of music lovers.
Comes with an 8-page insert with photo's and liner notes in Portuguese and English.
Robson Jorge and Lincoln Olivetti have been influential figures in the Brazilian music scene for decades, with their innovative and groovy sound inspiring many artists in Brazil and beyond. They participated in more than 1,000 records, including groundbreaking work with Tim Maia, Marcos Valle, Gilberto Gil, Gal Costa, Rita Lee, and Jorge Ben; either arranging, producing and/or playing in their albums. This release offers a unique opportunity to experience some of their never-heard-before material, each song expertly restored and remastered from Lincoln Olivetti’s vaults to ensure that the original recordings were preserved.
For disco DJs, this record is a treasure trove of dancefloor gold, especially the opening track “Suspira”, certified material to get any party started. Brazilian music fans worldwide will appreciate the unique blend of Brazilian rhythms with disco and funk elements. And for music aficionados, this release is a rare gem, offering a peek into the creative process of two legendary musicians and producers. In the end, this very special release has the potential to be a hit with a wide range of music lovers.
Comes with an 8-page insert with photo's and liner notes in Portuguese and English.
TRACK LISTING
Suspira
Dance Baby
You
Sem Essa
Batebca
Cornish singer/songwriter Ruarri Joseph releases his debut single, "Tales Of Grime And Grit. A live favourite, it is the first physical format release from Ruarri. He's been touring extensively, both solo and band performances, supporting Wilco, Funeral For A Friend and others and is confirmed for a slew of festival appearances this Summer as well.
Soundway Records are proud to present the Afro-jazz soundtrack to Ola Balogun's legendary movie from 1978. The film was written and directed by Balogun (recognised as one of Nigeria's most renowned directors) but shot and cast in Brazil. The Soundtrack was composed by one of Nigeria's most successful and original musicians Remi Kabaka (who has played with Steve Winwood and Ginger Baker amongst others).
The Record was originally issued in both Nigeria and Brazil, but recorded in Lagos, using four of the Nigerian music scene's most innovative players: Remi Kabaka himself, alongside Biddy Wright, saxophonist Dele Okonkwo and Mono Mono frontman Joni Haastrup. The result is a truly unique and experimental afro-jazz recording that has been out of print for many years, until now.
The Record was originally issued in both Nigeria and Brazil, but recorded in Lagos, using four of the Nigerian music scene's most innovative players: Remi Kabaka himself, alongside Biddy Wright, saxophonist Dele Okonkwo and Mono Mono frontman Joni Haastrup. The result is a truly unique and experimental afro-jazz recording that has been out of print for many years, until now.
BBE Music are proud to reissue one of the most elusive and sought-after Afro-Funk LPs of all time: Son Of Africa, by Remi Kabaka. Now a proud 85 years of age and enjoying retirement in America, Remi was the cornerstone of British West African music in the 50s, 60s and 70s, along with Ginger Oloronso Johnson, Fela Kuti and others. But while Ginger played mambo and cha cha cha in Soho clubland and Fela released his early ‘highlife jazz’ records on the Melodisc label, Remi Kabaka was fully ensconced in the UK Rock world, playing sessions and live shows with The Rolling Stones, Paul McCartney, Ginger Baker, Steve Winwood and countless others. As the 60s became the 70s, Kabaka developed yet another string to his bow: the development of a UK based West African Funk scene, that found its genesis in the legendary Osibisa, but with an influence and an inspiration that spilled over into every contemporary Brit Funk band from Cymande and the Equals to The Average White Band, Matata and beyond. Son Of Africa was originally released by Chris Blackwell’s Island records in 1976, to little acclaim, very few reviews, and with almost no promotion. African music was a hard sell when the 70s Black British record market wanted reggae first and foremost, and with Bob Marley on the books, Island understandably had other priorities at the time. The record disappeared. Until it reappeared in the early 2000s, as a £700-plus collectors’ item. It’s barely 30 minutes long. But every single minute is drenched with sinuous, spare funk: no spacey psych rock, no disco, no boogie, no over-the-top production: just 90-110 BPM grooves that go straight to the body. So: whether you’re a turntablist, a hip hop sampler, or just an honest-to-goodness African Funk lover, catch this limited reissue (with full, updated liner notes) while you can. There won’t be another chance.
TRACK LISTING
1. Kabaka
2. New Reggae Funk
3. Sure Thing
4. Future Of A 1000 Years
5. All Black Festival
6. Aqueba Masaaba
7. African Hustle
8. Meteorite
9. Blue Lagos
10. Follow Your Needs
New Ray K on cult label E-Beamz. One of the lo-fi house OGs that's broke out and found fame outside of the genre - namely on Arcane; here he returns to his roots for a four track cruncher for the vape generation. "Needless To Say" gets split across two parts. The first part is a steady climb, tumbling toms and ratcheting stabs creating a sense of excitement and tension; leaving what's around the corner purely to our imagination. Part 2 seems to up the tempo and the deepness in equal measure; straying away from the obvious and expected to plummet heads down into the speaker stacks for an amphetamine-fuelled fist-pumper of the highest order! I can feel the sweat flicking across the dancefloor now! "See Outside" offers from shimmering, reflective beauty, a contrast to the jagged and full throttle energy of side A, this revels in a seductive charm that'll get people moving closer to each other on the dancefloor. "Ray" concludes by cleverly matching Guy Called Gerald's "Voodoo Ray" to mechanized, slow-n-steady cerebral beats, flipping the mood of the original entirely and coming out with summat pretty heady and narcotic. Ace!
TRACK LISTING
A1. Needless To Say (Part I)
A2. Needless To Say (Part II)
B1. See Outside (Part II)
B2. Ray
OONA Recordings is thrilled to announce a limited edition environmentally conscious vinyl pressing of the ‘I Am Greta’ soundtrack by Rebekka Karijord and Jon Ekstrand. Manufactured at RPM Records in Denmark, every step in the production process was carefully considered in order to achieve the most environmentally friendly product possible. The records are made of 100% recycled PVC, and the covers printed on wood free 350 gsm 100% recycled uncoated card stock using plant-based inks. The records are protected by a 100% recycled 250 gsm paper inner sleeve and the cover is sealed with a sticker printed on recycled material. No plastic or shrink wrap will be used in the packaging or production apart from the recycled PVC in the vinyl record itself. One can read more about the process and the drive to create more sustainable productions at www.rpm.dk/eco.
'I Am Greta', the intimate Hulu documentary by Swedish director Nathan Grossman, tells the story of teenage climate activist Greta Thunberg through compelling, never-before-seen-footage. Starting with her one-person school strike for climate action outside the Swedish Parliament, Grossman follows Greta - a shy student with Asperger's - in her rise to prominence and her galvanizing global impact as she sparks school strikes around the world. The film culminates with the extraordinary wind-powered voyage across the Atlantic Ocean to speak at the UN Climate Action Summit in New York City. The synergy between the two composers with very different backgrounds as well as the blend of classic instrumentation and usage of electroacoustic elements led to a unique, compelling score: The score consists of a string octet, modular synthesizers and a voice instrument built by Rebekka of 25 unique singers sampled in their full range.”Rebekka and Jon’s dynamic score to 'I Am Greta' is huge and intimate, uplifting and melancholic, and manages to carry the emotional nuance of Greta's story. The score forms a musical parallel to Greta's journey and narrative voice throughout the film. It’s energy, urgency and emotional depth reminds us that the time for climate action is now.” - Nathan Grossman, director of 'I Am Greta'.
'I Am Greta', the intimate Hulu documentary by Swedish director Nathan Grossman, tells the story of teenage climate activist Greta Thunberg through compelling, never-before-seen-footage. Starting with her one-person school strike for climate action outside the Swedish Parliament, Grossman follows Greta - a shy student with Asperger's - in her rise to prominence and her galvanizing global impact as she sparks school strikes around the world. The film culminates with the extraordinary wind-powered voyage across the Atlantic Ocean to speak at the UN Climate Action Summit in New York City. The synergy between the two composers with very different backgrounds as well as the blend of classic instrumentation and usage of electroacoustic elements led to a unique, compelling score: The score consists of a string octet, modular synthesizers and a voice instrument built by Rebekka of 25 unique singers sampled in their full range.”Rebekka and Jon’s dynamic score to 'I Am Greta' is huge and intimate, uplifting and melancholic, and manages to carry the emotional nuance of Greta's story. The score forms a musical parallel to Greta's journey and narrative voice throughout the film. It’s energy, urgency and emotional depth reminds us that the time for climate action is now.” - Nathan Grossman, director of 'I Am Greta'.
TRACK LISTING
A Side:
1.Tic Toc.
2.Fridays For Future.
3.Riksgatan.
4.Depression.
5.Childhood.
6.The Wind.
7.Nervous Feet.
8.Katowice.
B Side:
1.Fridays For Future (alternative Version).
2. The Movement.
3. Grief.
4.The Ocean.
5. The Arrival.
6. People Are Waking Up.
7. Grief (credits Version)
Born in Japan in 1947, Ryo had a long and stellar career recording and releasing music up until his passing on 13 April 2020, in Tallinn, Estonia. Ryo is one of the pioneers of the jazz fusion genre, with the Japanese jazz fusion / funk sound becoming extremely influential within the 80s UK club scene and amongst its DJs. His track 'Trinkets & Things' became a bonafide underground classic. In the US he worked with some of the greats of jazz, such as Elvin Jones, Chico Hamilton and Bobbi Humphrey, to name but a few. A forward-thinking and ever-evolving musician,
Ryo collaborated with the Roland Corporation and Korg on the 'guitar synthesizer' and later wrote music software for computers. Later in life he relocated to Estonia and worked there, as well as Finland, Sweden, and the Baltic states.
'Juice' has become a much-loved album for crate diggers and jazz-funk enthusiasts, with its tracks frequently being sampled and re-imagined in hip-hop. The smoky, beat- down, spiritual funk jam 'Bamboo Child' has been flipped by Diamond D, Puff Daddy, and Kool G Rap. The album was released in 1976 on RCA Records and features the musicians' drummer Jimmy Young, rhythm guitarist Hugh McCracken, and bassist Stu
Woods amongst other luminaries. A solid album throughout that incorporates a heavy dose of tripped-out synths alongside the emerging disco sound of the time. Tracks such as the opener 'Raisins', with its drum beat intro and bubbling bass-line, rivals The Headhunters at their finest. A superb album from an underground legend.
Ryo collaborated with the Roland Corporation and Korg on the 'guitar synthesizer' and later wrote music software for computers. Later in life he relocated to Estonia and worked there, as well as Finland, Sweden, and the Baltic states.
'Juice' has become a much-loved album for crate diggers and jazz-funk enthusiasts, with its tracks frequently being sampled and re-imagined in hip-hop. The smoky, beat- down, spiritual funk jam 'Bamboo Child' has been flipped by Diamond D, Puff Daddy, and Kool G Rap. The album was released in 1976 on RCA Records and features the musicians' drummer Jimmy Young, rhythm guitarist Hugh McCracken, and bassist Stu
Woods amongst other luminaries. A solid album throughout that incorporates a heavy dose of tripped-out synths alongside the emerging disco sound of the time. Tracks such as the opener 'Raisins', with its drum beat intro and bubbling bass-line, rivals The Headhunters at their finest. A superb album from an underground legend.
TRACK LISTING
1. Raisins
2. Sometime
3. The Breeze And I
4. East Side Boogie
5. El Toro
6. Bamboo Child
7. Andes
Robert Earl Keen is the latest Lost Highway artist this year to release a top Americana album folowing in the footsteps of Lucinda Williams on the same label.
This has the same bittersweet flavour as Williams' "Essence" with that wistful nostalgic sound that a lot of these alternative country players seem to be becoming increasingly fond of.
The music of Arthur Russell defies classification. Across a twenty-year career he created a body of work which ranged from his pioneering compositions as part of the New York avant-garde alongside artists including Philip Glass and Allen Ginsberg, to his genre-expanding disco and art pop productions, to his posthumously released folk songs. Travels Over Feeling is the result of extensive research by author Richard King, curating the ephemera and documentation found in both Arthur's and other private archives, and consists of hand-written scores, lyrics, photos, letters and drawings.
Throughout, King has conducted wide-ranging original interviews with Arthur's collaborators, contemporaries, family and friends. The resulting book reveals a true picture of one of the most distinctive artists of the last fifty years.
Throughout, King has conducted wide-ranging original interviews with Arthur's collaborators, contemporaries, family and friends. The resulting book reveals a true picture of one of the most distinctive artists of the last fifty years.
All Analog Roland Kirk, Pre-Rahsaan?! Sightless, peerless, multiinstrumentalist, Roland's Kirk's 1967 debut for Atlantic is a monster of a live set from '65 featuring pianists Lonnie Liston Smith and Jaki Byard, bassist Major Holley and drummer Charles Crosby- all put to tape in Atlantic Studios NYC
TRACK LISTING
1. Roots
2. Here Comes The Whistleman
3. I Wished On The Moon
4. Making Love After Hours
5. Yesterdays
6. Aluminum Baby
7. Step Right Up
This is a super follow-up to his much-loved debut and whilst the warm, woody soulfulness of primetime Van Morrisson still shines through there's enough new ground covered to prove that he is indeed a major talent in the making. There's country and blues to add to his rustic soul music, this time with echoes of John Lennon or even Ryan Adams. There's some unsettling, sparse stuff here too; it's an occasionally challenging as well as a comforting listen. Fans are going to love this record!
Grammy Award winning singer-songwriter Ray Lamontagne releases his seventh studio album on 18th May, via Columbia Records.
Written & produced by LaMontagne, this nine song album includes the singles "Such A Simple Thing" & "Paper Man".
Written & produced by LaMontagne, this nine song album includes the singles "Such A Simple Thing" & "Paper Man".
STAFF COMMENTS
Barry says: Lamontagne brings us his newest LP, with tender folk stylings subtly woven amongst the stunning acoustic balladry, all accentuated with Lamontagne's heart-melting vocals.TRACK LISTING
1. To The Sea
2. Paper Man
3. Part Of The Light
4. It's Always Been You
5. Let's Make It Last
6. As Black As Blood Is Blue
7. Such A Simple Thing
8. No Answer Arrives
9. Goodbye Blue Sky
Sound artist Richard Lerman composed musical pieces for bicycles that sounded like the gamelan music of south-east Asia. This collection includes his "Travelon Gamelon (Music for Bicycles)" set, which was using real bicycles as musical instruments and was performed live in 1970s-80s. Disc 2 features other various sound-works of Lerman's pieces performed and recorded through 1964-1986. Both discs are CD-EXTRA (CD enhanced) including movies of his performances on QuickTime and scores / diagrams for those works as PDF files.
The debut solo album from Ronnie Lion, one half of Ambient Warrior, is a homage to Spanish Town the capital of St Catherine in Jamaica. As the title suggests the Spanish guitar features heavily from both Ronnie and lead guitarist Sean Wilkinson. The album has a reggae palette at its core with the rhythm section of Ronnie on Bass and Horseman on drums providing a rock solid foundation for the intricate and memorable hooks provided by Sean’s Spanish Guitar. The album’s fusion of reggae with bossa nova & Flamenco guitar creates another special album that will appeal to fans of Ambient Warrior and beyond.
STAFF COMMENTS
Matt says: Really special psychedelic dub album fused with Spanish guitar licks. As well as the mentioned Ambient Warrior similarities; fans of the dub curio Captain Ganja And The Space Patrol and lovers of Adrian Sherwood's On-U catalogue will find plenty to relish here.TRACK LISTING
Hombre Peligroso
Central Village
The Negotiator
Naranja Colina
Grants Pen Steppers
Peace Chalice
The Reunion
Cascada
Alligator Pond
The musician: Rudiger Lorenz was a pharmacist by trade. He produced and marketed a total of eighteen electronic music albums until his death in the year 2000. As only a few hundred copies of each were circulated, Lorenz's works remained largely unknown. This reissue will change that! The music: Southland originally released in 1984, is stylistically between the new Dusseldorf School (Ata Tak/Pyrolator) and the old Berlin School (Tangerine Dream, Klaus Schulze). Just when you thought you had heard everything that German electronic music of the 1980s had to offer, up pops an artist who has resolutely stayed off the radar all these years, in spite of having a discography which lists no less than 18 albums. Then again, this is not so remarkable in the case of Rudiger Lorenz: The (hobby) musician completed an album almost every year from the early 1980s, beginning with limited runs of two to three hundred on cassette, switching to vinyl in 1983 and CD from 1990. His last album was released in 1998. Two years later Rudiger Lorenz died unexpectedly and far too soon.
Born in 1941, Lorenz actually got into music at a young age, although his activity at this stage was confined to playing in a beat group. But as a musically open-minded character, his record collection grew to over 10,000 discs, acquainting him early with bands like Kraftwerk, NEU!, Can and Cluster. These bands had a lasting influence on his relationship to music, guiding him towards electronica.
Born in 1941, Lorenz actually got into music at a young age, although his activity at this stage was confined to playing in a beat group. But as a musically open-minded character, his record collection grew to over 10,000 discs, acquainting him early with bands like Kraftwerk, NEU!, Can and Cluster. These bands had a lasting influence on his relationship to music, guiding him towards electronica.
After years of success in the world of neo-classical music with his band Balmorhea, RG Lowe took an artistic sharp turn leading to his soulful 2017 debut, Slow Time, which Stereogum called "impossibly smooth." Three years later, Lowe returns with Life of the Body, produced by David Boyle - known for his work with Glen Hansard, Patty Griffin, and Okkervil River. This wide-angle collection of songs invites us to reconnect with ourselves and our world through the senses by illuminating our intrinsic connection with the physical world, and the freedom found therein. Echoing the ardor of Walt Whitman's Leaves of Grass, and channeling Talk Talk's Mark Hollis, Lowe asks us each to "feel the wind blow on your face, camerado." At once intimate and epic, opening track "Sorrow" sets a tone of longing and malaise, from which Lowe expands and breaks out of, over the next 8 songs. As the album progresses, he explores myth, desire, love and the mystery of art, concluding with the ethereal, acoustic guitar-driven "Beauty Finds Forever," on which it's clear he's transformed. He's found the deepest nourishment; an enrichment of the soul found through a saturation of his physical senses, an antidote to our anguished age.
TRACK LISTING
01 Sorrow 6:06
02 He Done Her Wrong 4:46
03 Sendai, Unknown 4:26
04 My Body 4:38
05 Soap 2:01
06 Tulip Ave 4:28
07 Salpetriere 3:54
08 Life-World 5:18
09 Beauty Finds Forever 4:28
These amazing Brazilian soul-funk nuggets from Renata Lu, originally appeared on a 7” compacto and on her self-titled debut album for Copacabana Records in 1971. The up tempo break-beat funk of ‘Faz Tanto Tempo’ has a real dance-floor cross-over appeal and should please Brazilian, funk, hip-hop breaks heads and mod-soul DJ’s & collectors alike. Renata Lu had a long career releasing records on labels such as Compacaban / CID & Continental through out the 70’s and 80’s and worked as backing vocalist on recordings by Tim Maia and Nonato Buzar.
STAFF COMMENTS
Sil says: Two rare Brazilian dancefloor diamonds in one small 7" via Mr Bongo. Nothing can go wrong here. Essential!TRACK LISTING
Faz Tanto Tempo
Sambaloo
Roger Van Lunteren is an artist of enviable experience. For more than two decades the dutchman has been developing and perfecting his sound. After his first steps on Heimelektro Ulm in 1999, Van Lunteren has shown his talents on labels like 030303, Diffuse Reality and Something Happening, Somewhere. It is this knowledge, and his musical craftsmanship, that Van Lunteren draws upon for his debut on FireScope: Future Wounds.
The EP is a veritable universe of delights. At either ends of the galaxy you’ll find two takes of the same piece. The textured “Stop (Sync In)” opens. Satellite bleeps bob on a flotsam and jetsam of pads as strings soar above hedged claps. “Stop (Original) flows in a beatless ambience, heady yet light and ephemeral. Coquettish and playful, “Spätzünder” is an altogether different entity. Dancing between braindance and house, this jam has all the spontaneity of a live track with flourishes of the silken-funk of Chicago. Clouds gather for “IRF4.” Haunted modulations and reel scratches lurk before a slow rhythm lumbers forth. Stalking through a moonless sky, the track is chillingly atmospheric with an undeniable lo-fi groove. Drums stagger and swell in the sweetness of “Coinc.” Bright and dreamy, the track cherry-picks from a spread of influences and sounds and is emblematic of the EP.
Future Wounds is a constellation of Roger Van Lunteren’s music. From cheerful and innocent to shadowy and subtle, this quintet is a cross-section of this artist’s abilities. Rich and infinitely varied, five tracks to explore and return to.
The EP is a veritable universe of delights. At either ends of the galaxy you’ll find two takes of the same piece. The textured “Stop (Sync In)” opens. Satellite bleeps bob on a flotsam and jetsam of pads as strings soar above hedged claps. “Stop (Original) flows in a beatless ambience, heady yet light and ephemeral. Coquettish and playful, “Spätzünder” is an altogether different entity. Dancing between braindance and house, this jam has all the spontaneity of a live track with flourishes of the silken-funk of Chicago. Clouds gather for “IRF4.” Haunted modulations and reel scratches lurk before a slow rhythm lumbers forth. Stalking through a moonless sky, the track is chillingly atmospheric with an undeniable lo-fi groove. Drums stagger and swell in the sweetness of “Coinc.” Bright and dreamy, the track cherry-picks from a spread of influences and sounds and is emblematic of the EP.
Future Wounds is a constellation of Roger Van Lunteren’s music. From cheerful and innocent to shadowy and subtle, this quintet is a cross-section of this artist’s abilities. Rich and infinitely varied, five tracks to explore and return to.
STAFF COMMENTS
Matt says: Unfathomably intricate, sumptuously delicate; a truly brilliant edition to braindance /IDM soundscapes also populated by John Shima, Space Dimension Controller, Morphology etc.TRACK LISTING
A1. Stop (Sync In)
A2. Spätzünder
B1. IRF4
B2. Coinc
B3. Stop (Original)
Rita Marley, as wife of Bob Marley, key member of his I-Three backing vocal group, and long-time recording artist in her own right, was dubbed "The Queen of Reggae" in the wake of Bob Marley's passing in 1981.
She scored a massive crossover hit with the single "One Draw," which projected her into the international limelight. Harambe is Rita Marley's second solo album, released after the massive success of her first album and the hit single "One Draw," as well as her first international solo tours. Highlights of Harambe include the infectious Afro-Caribbean title track, the gorgeous "The Beauty of God's Plan," which was the flip side of the Jamaican release of "One Draw," Bob Marley's "Fussin' and Fightin" and originals by Rita such as "King Street."
She scored a massive crossover hit with the single "One Draw," which projected her into the international limelight. Harambe is Rita Marley's second solo album, released after the massive success of her first album and the hit single "One Draw," as well as her first international solo tours. Highlights of Harambe include the infectious Afro-Caribbean title track, the gorgeous "The Beauty of God's Plan," which was the flip side of the Jamaican release of "One Draw," Bob Marley's "Fussin' and Fightin" and originals by Rita such as "King Street."
TRACK LISTING
1. The Beauty Of God's Plan
2. Fussin' And Fighting
3. Harambe
4. King Street
5. There'll Always Be Music
6. My Kind Of War
7. Who Is Your Neighbour
8. Love Iyah
9. Retribution
10. Who Can Be Against Us
"Addicted To Drama" is Rob Marr's debut. Produced by Lou Reed's musical director Rupert Christie and Gorillaz bassist Al Mobbs, these four stunning tracks offer up a thick slice of Rob's unique take on love triangles, safety pins and dirty weekends. With its dynamic use of piano-based melodies, soaring harmonies and eloquent lyrics, "Addicted To Drama" is as crisp as a freshly laundered pillow case.
This is the first re-release on 7 inch vinyl single of the early Reggae classic “She Caught The Train” by Ray Martell released in 1970 on the Trojan sublabel Joe in the UK and later covered by UB40 in 1983. This original song, a huge hit, has featured on many compilations but has never been repressed as a single, until now… It was initially released with the track “Tea House From Emperor Roscoe” by Dice The Boss on the B side. On this release, Harlem Shuffle chose to showcase a super rare Ray Martell song, the gorgeous “Cora” initially released on Attack in 1970.
TRACK LISTING
She Caught The Train
Cora
The rarefied music of Ramuntcho Matta returns to Emotional Rescue with the first ever reissue of his album, "24 hrs". Recorded in 1986 - the same year as his influential "Ecoute..." - the album finds Matta working in a less playful, more experimental framework but with the same ground breaking results.
Again collaborating with a selection of accomplished players, "24 hrs" sees Matta (electronics, guitars, marimba, melodica, sanza, vocals) work again with Cacau de Queiroz (flute and saxaphones) and Elie Meideros (vocals), plus Guillermo Fellove (trumpet), Ahmeed Kawa (tablas) and Polo Lombardo (konks) to deserne 6 pieces as part of a performance of Labyrinth by Joan Baixis’ (backing vocals) Teatre de la Castra, Barcelona’s acclaimed puppetry and visual troupe.
Centred as before, on Matta’s guitar, the approach is playful, inventive, a foundation for a texture of musical aphorisms. Against a background of tabla, the elegance of versatility builds, intertwining the players via moods and textures of various traditions in a unique way that is his signature.
An album to be appreciated as one, this archival offered up additional surprises when the master tapes were examined and so presented here is a longer form, unreleased version of "Before Sunrise".
Again collaborating with a selection of accomplished players, "24 hrs" sees Matta (electronics, guitars, marimba, melodica, sanza, vocals) work again with Cacau de Queiroz (flute and saxaphones) and Elie Meideros (vocals), plus Guillermo Fellove (trumpet), Ahmeed Kawa (tablas) and Polo Lombardo (konks) to deserne 6 pieces as part of a performance of Labyrinth by Joan Baixis’ (backing vocals) Teatre de la Castra, Barcelona’s acclaimed puppetry and visual troupe.
Centred as before, on Matta’s guitar, the approach is playful, inventive, a foundation for a texture of musical aphorisms. Against a background of tabla, the elegance of versatility builds, intertwining the players via moods and textures of various traditions in a unique way that is his signature.
An album to be appreciated as one, this archival offered up additional surprises when the master tapes were examined and so presented here is a longer form, unreleased version of "Before Sunrise".
TRACK LISTING
Side 1
1. Before Sunrise (4:41)
2. Sunrise (3:29)
3. Morning (2:53)
4. Noon & Afternoon (5:07)
5. Sunset (3:26)
Side 2
1. Night (20:22)
The Our Twisted Love E.P. constitutes the most contemporary recordings by Rose McDowall available, heralding her return to live performance and songwriting. Building on the groundwork laid by McDowall with her group Sorrow, and various collaborations with key figures in the post industrial landscape, it features a full band recording and long-form songwriting that draws heavily on both McDowall’s keen sense of pop melody and melancholy.
Breaking into a harmonium drone and Rose’s instantly recognisable, vocal, the epic title song unfurls at a glowing, glacial pace. Never hiding her love for the Velvet Underground, Our Twisted Love reminds the listener of 70s-era Nico, but McDowall’s fragile vocal has a spine-tingling fragility of its own. Guitarist Dru Moore provides shimmering chords that dress the melody, itself framed with multi instrumentalist Eilish McEvil’s plucked violin strings. Rose’s gorgeous twists with the vocal erupt into a full band jam, with bassist Clay Young, acclaimed cellist Jo Quail and drummer Lloyd James joining in for a neo-folk, dronist excursion that elevates the song into psychedelic territory.
Breaking into a harmonium drone and Rose’s instantly recognisable, vocal, the epic title song unfurls at a glowing, glacial pace. Never hiding her love for the Velvet Underground, Our Twisted Love reminds the listener of 70s-era Nico, but McDowall’s fragile vocal has a spine-tingling fragility of its own. Guitarist Dru Moore provides shimmering chords that dress the melody, itself framed with multi instrumentalist Eilish McEvil’s plucked violin strings. Rose’s gorgeous twists with the vocal erupt into a full band jam, with bassist Clay Young, acclaimed cellist Jo Quail and drummer Lloyd James joining in for a neo-folk, dronist excursion that elevates the song into psychedelic territory.
TRACK LISTING
SIDE A:
Our Twisted Love (8:10)
SIDE B:
This Calling (4:16)
Make It Easy On Yourself (4:18)
Cut The With The Cake Knife was recorded by Rose McDowall in 1988/89 following the break up of her group Strawberry Switchblade. Produced with the aid of several musicians in several studios, the album features songs written for the fabled second Strawberry Switchblade album. More importantly perhaps it showcases the honest, direct and life-affirming songs of one of the greatest unsung songwriters of the modern pop era at a tumultuous time in her career.
Tibet opens the set and could be one of the best pop songs you’ve never heard. The innate sadness of the songs’ content – the loss of a friendship, impending sorrow – is heightened to heart-melting level by McDowall’s pop nous and melodic sensibility. Choruses and hooks are everywhere on Cake Knife, from the outsider take on stadium 80s pop in Wings Of Heaven to the spiraling, ecstatic So Vicious, a glorious anthem that highlights the human fragility in McDowall’s vocal performance, an instrument that has never lost the naïve purity it first exemplified in Strawberry Switchblade’s early 80s recordings. The centerpiece of the album, the title-track, is the greatest Switchblade pop chart hit that never was. Like the veiled melancholy of her former group’s hits, Cut With The Cake Knife hints at a darkness beneath the gloss, a darkness that saw McDowall delve into more esoteric territory with her subsequent recordings and collaborations. Cut With The Cake Knife serves as the bridge between the pop music McDowall had been making with her friends Jill Bryson, Lawrence from Felt and Primal Scream to what became a more extreme, deep sound informed by neo-folk and post industrial music.
Rose McDowall’s role in the canon has always been one of an outsider. Beginning in Glasgow’s East End in the avant proto-noise group The Poems, achieving fame briefly in the 80s and then disappearing into counter-cultural folklore, the emphasis in the internet-age has been skewed towards her image and cultural significance. Unseen to many, her solo work, her groups Sorrow and Spell and her collaborations with a whole host of underground luminaries have still touched lives. As McDowall elucidates: “They're real sad songs, about real life. I've had people come up to me to say I'd connected with them and helped them. I remember a gig in America when we made a whole room cry. It was bizarre. A couple at the front of the stage started crying and then these two boys beside and suddenly everyone was crying. And I thought, "that's power."
Night School’s issue of Cut With The Cake Knife includes unpublished photographs, extensive sleeve notes from Rose McDowall and 2 bonus tracks culled from the bootleg 7” “Don’t Fear The Reaper.”
Tibet opens the set and could be one of the best pop songs you’ve never heard. The innate sadness of the songs’ content – the loss of a friendship, impending sorrow – is heightened to heart-melting level by McDowall’s pop nous and melodic sensibility. Choruses and hooks are everywhere on Cake Knife, from the outsider take on stadium 80s pop in Wings Of Heaven to the spiraling, ecstatic So Vicious, a glorious anthem that highlights the human fragility in McDowall’s vocal performance, an instrument that has never lost the naïve purity it first exemplified in Strawberry Switchblade’s early 80s recordings. The centerpiece of the album, the title-track, is the greatest Switchblade pop chart hit that never was. Like the veiled melancholy of her former group’s hits, Cut With The Cake Knife hints at a darkness beneath the gloss, a darkness that saw McDowall delve into more esoteric territory with her subsequent recordings and collaborations. Cut With The Cake Knife serves as the bridge between the pop music McDowall had been making with her friends Jill Bryson, Lawrence from Felt and Primal Scream to what became a more extreme, deep sound informed by neo-folk and post industrial music.
Rose McDowall’s role in the canon has always been one of an outsider. Beginning in Glasgow’s East End in the avant proto-noise group The Poems, achieving fame briefly in the 80s and then disappearing into counter-cultural folklore, the emphasis in the internet-age has been skewed towards her image and cultural significance. Unseen to many, her solo work, her groups Sorrow and Spell and her collaborations with a whole host of underground luminaries have still touched lives. As McDowall elucidates: “They're real sad songs, about real life. I've had people come up to me to say I'd connected with them and helped them. I remember a gig in America when we made a whole room cry. It was bizarre. A couple at the front of the stage started crying and then these two boys beside and suddenly everyone was crying. And I thought, "that's power."
Night School’s issue of Cut With The Cake Knife includes unpublished photographs, extensive sleeve notes from Rose McDowall and 2 bonus tracks culled from the bootleg 7” “Don’t Fear The Reaper.”
Hot on the heels of appearances at Exit festival in Serbia and in the final of the prestigious Red Stripe Music Awards, 21 year old Norwich troubadour Rory McVicar releases his highly anticipated debut album on Series 8 Records. Wielding a guitar, a spellbinding voice, yearning lyrics and sublime melodies, McVicar is ready to bring his sound to a bigger audience.
Rob Mello really needs no introduction, but you're getting one anyway. Rob has been instrumental in putting UK House music on the map since the early 90's. Numerous legendary projects and collaborations, including the enormous Disco Elements project with Zaki Dee & Reel Houze plus the exceptional, way-ahead-of-their-time, psychedelic disco / house jams via Sensory Productions; not forgetting his later, superb work for Classic.Oh and did we forget Black Science Orchestra? Yeah, he was there too.
So what do we have here? Rob revives his No Ears moniker for a duo of perfectly crafted dancefloor delights. Pieced together with diligence and more than a little trademark Mello funk, this is up there with his best work.
House hero, master craftsman and absolute gentleman. Get on it!
So what do we have here? Rob revives his No Ears moniker for a duo of perfectly crafted dancefloor delights. Pieced together with diligence and more than a little trademark Mello funk, this is up there with his best work.
House hero, master craftsman and absolute gentleman. Get on it!
STAFF COMMENTS
Matt says: Rob Mello returns (coincidently the same week we get a new album from X-Press 2)! Reminding us why he is clearly one of the UK greats, two incendiary and highly grooving tracks that I challenge your gran not shake her hips to! I'm especially liking "Electric Dreams" which starts off a bit like "I Feel Love" but quickly transforms into a concentric carnival house frenzy!TRACK LISTING
A. Electric Dreams (NoEars DUB)
B. Ohh La La (NoEars DUB)
This classic Brazilian album from master drummer Ronald Mesquita was originally released in 1972 and features songs by Jorge Ben, Antonio Carlos-Jobim, Gilberto Gil, Edu Lobo and others. Mesquita is probably most well-known for playing with Luis Carlos Vinhas and his ‘Bossa Tres’ outfit, along with his own group, ‘Ronie E A Central Do Brasil’, that he formed after his return from the US in the early 1970s. He also played on several songs on Tenorio Jr.’s ‘Embalo’ album that Mr Bongo recently reissued. The killer track ‘Balanca Pema’ was very big in the Jazz Dance scene in the 90s and also featured on the Mojo compilation ‘Dancefloor Jazz Volume Four’. Madlib sampled ‘Balanca Pema’ on his Medicine Show Number 2 ‘Flight to Brazil’.
TRACK LISTING
Balanca Pema
Dabadeia
Aguas De Marco
Cancao Do Sal-Tema De
Tostao
Fechado Pra Balanco
O Gato
Tarde Em Itapoa
Casa De Campo
Quatro De Dezembro
Papagayo
Zanzibar
Dreamland is the debut studio album by Robert Miles. Originally released on 7 June 1996 to critical acclaim. The US version of the album which the NAD release replicates features the single “One and One” with Maria Nayler on vocals.
TRACK LISTING
Side A
1. Children
2. Fable
3. Fantasya
Side B
1. Landscape
2. In My Dreams
Side C
1. Princess Of Light
2. Fable (Dream Version)
3. In The Dawn
Side D
1. One & One (Club Version) Feat. Maria Nayler
2. Children (Original Version)
3. Red Zone
Fixed Abode label head Rainy Miller met Space Afrika through regular nights he runs at Salford’s The White Hotel, a hub for leftfield electronic music. What started out as an idea for a collaborative EP between Rainy and Space Afrika turned into a longer form project, with features from Mica Levi, Coby Sey, Richie Culver, Voice Actor and Iceboy Violet - amongst others.
A Grisaille Wedding is an immersive experience that fills the space these artists have come to dwell in during their creative journeys. It not only pushes the boundaries of music but also bridges regional dialects within the conversation of contemporary electronic music.
Rainy Miller: “A Grisaille Wedding is a project based in the personification of the semi-fictitious world that Space Afrika have come to build over the years. Using musique concrete and British soundscapes, I wanted to fuse the sonic with both noise and the contemporary.”
Space Afrika: “The record’s title figuratively describes the marriage of two similarly motivated perspectives, each affected by a common backdrop and familiar ground tread amongst the scrimmage of urban sprawl, sombre, a boisterous landscape and clouds of uncertainty.”
A Grisaille Wedding is an immersive experience that fills the space these artists have come to dwell in during their creative journeys. It not only pushes the boundaries of music but also bridges regional dialects within the conversation of contemporary electronic music.
Rainy Miller: “A Grisaille Wedding is a project based in the personification of the semi-fictitious world that Space Afrika have come to build over the years. Using musique concrete and British soundscapes, I wanted to fuse the sonic with both noise and the contemporary.”
Space Afrika: “The record’s title figuratively describes the marriage of two similarly motivated perspectives, each affected by a common backdrop and familiar ground tread amongst the scrimmage of urban sprawl, sombre, a boisterous landscape and clouds of uncertainty.”
TRACK LISTING
1. Summon The Spirit / Demon
2. Maybe It's Time To Lay Down The Arms
3. 00-Down / Murmansk, 12
4. Sweet (I'm Free)
5. Shelter
6. HDIF
7. The Graves At Charleroi
8. 1-2-1
9. Let It Die
10. I Believe In God, When Things Are Going My Way
Those (spooky) soundtrack specialists at Lakeshore are at it again, giving us the first ever vinyl pressing of the 'Hellraiser III: Hell On Earth' OST, on a chilling smoke and blood red transparent vinyl no less. Composed by Randy Miller (library and soundtrack composer, not X-rated relation of Windy...) the set is high on dramatic strings, doomy brass and dread-heavy orchestral business, channeling hell throughout.
TRACK LISTING
Hellraiser III - Hell On Earth
Back To Hell
Cenobites’ Death Danse
Pinhead’s Protégés/The Devil’s Mass
Come To Daddy
Gothic Rebirth
Emergency Room
Mind Invasion
The Pillar
Elliot’s Story
Shall We Begin?
Island Of Lost Souls is the first of four new albums by Roy Montgomery coming out in 2021 to commemorate Montgomery’s forty years in music. His debut release was also Flying Nun’s first, the Pin Group 7-inch from 1981.
Roy Montgomery, a pioneer of the NZ underground, believes there is always new sonic terrain to investigate. His latest album for Grapefruit marks forty years of rigorous exploration in which he’s managed to navigate disparate genres, scenes, and atmospheres, always at the forefront of experimental independent music.
Island Of Lost Souls follows his acclaimed 2018 LP Suffuse—a novel departure in which he consigned all vocal duties to ambient / experimental peers Liz Harris (of Grouper), Julianna Barwick, Purple Pilgrims, Haley Fohr (of Circuit des Yeux), Katie von Schleicher, and She Keeps Bees. But the veteran evolves again. On this release Montgomery creates resounding, aerial compositions for guitar. Where some might be inclined to relax and lean into their legacy at this stage in a sprawling career, Montgomery’s new music continues to seek and challenge, moving like the eye of a storm.
This latest album cries out like a chorus, though there are no vocals on the record. Its tracklist instead builds upon the lonesome and polyphonic dimensions of guitar in order to express universal feelings of communion and isolation, resisting conclusion but never resorting to fatalism. Life is all about navigating these contradictions and everyone is with Montgomery on this island whether they’d like to admit it or not. Here, the artist has created a work of wisdom and grit, a searing beauty, a new masterpiece for an uncertain and restless time.
Roy Montgomery, a pioneer of the NZ underground, believes there is always new sonic terrain to investigate. His latest album for Grapefruit marks forty years of rigorous exploration in which he’s managed to navigate disparate genres, scenes, and atmospheres, always at the forefront of experimental independent music.
Island Of Lost Souls follows his acclaimed 2018 LP Suffuse—a novel departure in which he consigned all vocal duties to ambient / experimental peers Liz Harris (of Grouper), Julianna Barwick, Purple Pilgrims, Haley Fohr (of Circuit des Yeux), Katie von Schleicher, and She Keeps Bees. But the veteran evolves again. On this release Montgomery creates resounding, aerial compositions for guitar. Where some might be inclined to relax and lean into their legacy at this stage in a sprawling career, Montgomery’s new music continues to seek and challenge, moving like the eye of a storm.
This latest album cries out like a chorus, though there are no vocals on the record. Its tracklist instead builds upon the lonesome and polyphonic dimensions of guitar in order to express universal feelings of communion and isolation, resisting conclusion but never resorting to fatalism. Life is all about navigating these contradictions and everyone is with Montgomery on this island whether they’d like to admit it or not. Here, the artist has created a work of wisdom and grit, a searing beauty, a new masterpiece for an uncertain and restless time.
TRACK LISTING
1. Cowboy Mouth (For Sam Shepard)
2. Soundcheck (For Adrian Borland)
3. Unhalfmuted (For Peter Principle)
4. The Electric Children Of Hildegard Von Bingen (For Florian Fricke)
This is the first vinyl issue for what is arguably Roy Montgomery’s finest solo album, originally released in 1996 on CD. The original album has been enhanced with two newer tracks that constitute side 4 of the album.
From the original press release:
Few recording artists have aligned the quantity and quality of their releases as well as New Zealand singer/guitarist Roy Montgomery has in 1995. Beginning with kranky's release of the soundtrack for an imaginary film That That Is...Is(Not) by Roy's duo Dissolve early in the year, a series of superb albums and singles have been issued by a variety of labels across the world. Each one of them is a must have. Most recently, the Drunken Fish label released a collection of pastoral drones entitled Scenes From The South Island, singles have appeared on the Roof Bolt and gyttja labels, and further singles are scheduled with Ajax, Siltbreeze and others.
Temple IV is the first solo recording by Roy Montgomery on kranky. The album was recorded by Roy on a 4 track tape deck and then thickened up with monophonic moog. The tracks on the album are thick with interwoven guitar lines and moog drone, inspired by the Guatemalan rain forests and the mysterious ruins of the temple and ruins Roy visited there. Roy Montgomery spent the past year in New York, Chicago and London before returning to New Zealand. While in the UK he played live with Flying Saucer Attack and collaborated with spoken word performer Kirk Lake. A brief tour across the United States in September saw Roy performing before enraptured audiences in New York, Boston, Chicago, Detroit and Los Angeles.
The long overdue recognition of Roy Montgomery as a crucial figure in New Zealand's musical history as a member of The Pin Group, Shallows and Dadamah, is now augmented by his new recordings. Temple IV will serve to extend and deepen that appreciation.
From the original press release:
Few recording artists have aligned the quantity and quality of their releases as well as New Zealand singer/guitarist Roy Montgomery has in 1995. Beginning with kranky's release of the soundtrack for an imaginary film That That Is...Is(Not) by Roy's duo Dissolve early in the year, a series of superb albums and singles have been issued by a variety of labels across the world. Each one of them is a must have. Most recently, the Drunken Fish label released a collection of pastoral drones entitled Scenes From The South Island, singles have appeared on the Roof Bolt and gyttja labels, and further singles are scheduled with Ajax, Siltbreeze and others.
Temple IV is the first solo recording by Roy Montgomery on kranky. The album was recorded by Roy on a 4 track tape deck and then thickened up with monophonic moog. The tracks on the album are thick with interwoven guitar lines and moog drone, inspired by the Guatemalan rain forests and the mysterious ruins of the temple and ruins Roy visited there. Roy Montgomery spent the past year in New York, Chicago and London before returning to New Zealand. While in the UK he played live with Flying Saucer Attack and collaborated with spoken word performer Kirk Lake. A brief tour across the United States in September saw Roy performing before enraptured audiences in New York, Boston, Chicago, Detroit and Los Angeles.
The long overdue recognition of Roy Montgomery as a crucial figure in New Zealand's musical history as a member of The Pin Group, Shallows and Dadamah, is now augmented by his new recordings. Temple IV will serve to extend and deepen that appreciation.
TRACK LISTING
A1. She Waits On Temple IV
A2. Departing The Body
A3. The Soul Quietens
B4. The Passage Of Forms
B5. Jaguar Meets Snake
C6. Above The Canopy
C7. Jaguar Unseen
D8. The Light Is Heavy The Rain Is Soft*
D9. I Will See You There*
*bonus Tracks
Ron Morelli's "Laughter Taker" is taken off the "Disappear" LP from 2018. Now the label owner enlists a crack squad of remixers for a super limited, highly collectable LIES outing!
Noise makers Mick Harris (Scorn, Fret), Parrish Smith and Overlook are called in to demolish and demonize the track starting with Mick Harris cataclysmic hurricane on side B, Parrish Smith's fast paced hi-tech-booty jam on side B and Overlook concluding proceedings with a pitch black event horizon populated with ghostly choirs and sinister energy.
Noise makers Mick Harris (Scorn, Fret), Parrish Smith and Overlook are called in to demolish and demonize the track starting with Mick Harris cataclysmic hurricane on side B, Parrish Smith's fast paced hi-tech-booty jam on side B and Overlook concluding proceedings with a pitch black event horizon populated with ghostly choirs and sinister energy.
STAFF COMMENTS
Matt says: Hold onto your underpants pop pickers! Big Ron's poised waiting to rip 'em clean off yer buttcheeks the cheeky scoundral! A rip-roaring noize fest for the muscular dancefloor inhabitants. Scared me shitless.TRACK LISTING
A. Mick Harris
B1. Parrish Smith Remix
B2. Overlook Remix
‘Take Her Up To Monto’ is the follow up to Róisín’s critically acclaimed Mercury Prize nominated album ‘Hairless Toys’ and is billed as her most daring and creative yet.
Never an artist to stand still, ‘Monto’ features everything Murphy has always done but seen afresh, boasting disco fancy, dark cabaret, the sonorities of classic house and electronica and the joy and heartbreak of pure pop drama resulting in her most magnificent song structures so far.
The follow on from Roisin’s Mercury Prize nominated ‘Hairless Toys’ album last year, Róisín is at her most creative peak yet.
Released on embossed CD / double LP with digital download.
Never an artist to stand still, ‘Monto’ features everything Murphy has always done but seen afresh, boasting disco fancy, dark cabaret, the sonorities of classic house and electronica and the joy and heartbreak of pure pop drama resulting in her most magnificent song structures so far.
The follow on from Roisin’s Mercury Prize nominated ‘Hairless Toys’ album last year, Róisín is at her most creative peak yet.
Released on embossed CD / double LP with digital download.
Róisín Murphy’s album, ‘Hairless Toys’, marked a significant return after an eight-year hiatus, during which she delved into personal and collaborative explorations.
Departing from her disco-infused past, the album takes a quieter and more personal approach, evident in tracks like ‘Gone Fishing’, inspired by 1980s ball culture.
Murphy’s understated delivery, notably on ‘Evil Eyes’ and the expansive ‘Exploitation’, creates a sophisticated and meditative atmosphere, avoiding the pitfalls of mere tastefulness.
Quirks, such as the synth bass in ‘Uninvited Guest’, coexist seamlessly with the album’s cohesive mood.
Departing from her disco-infused past, the album takes a quieter and more personal approach, evident in tracks like ‘Gone Fishing’, inspired by 1980s ball culture.
Murphy’s understated delivery, notably on ‘Evil Eyes’ and the expansive ‘Exploitation’, creates a sophisticated and meditative atmosphere, avoiding the pitfalls of mere tastefulness.
Quirks, such as the synth bass in ‘Uninvited Guest’, coexist seamlessly with the album’s cohesive mood.
TRACK LISTING
1. Gone Fishing
2. Evil Eyes
3. Exploitation
4. Uninvited Guest
5. Exile
6. House Of Glass
7. Hairless Toys (Gotta Hurt)
8. Unputdownable
One of music’s most innovative artists, Queen of Electronic Music and the Avant-Garde, Róisín Murphy is back with a much anticipated new album - her sixth - in collaboration with the legendary producer DJ Koze. Hit Parade sees the idiosyncratic trailblazer masterfully spanning genres such as disco, soul, pop and house. Róisín Murphy is a multifaceted and Mercury nominated singer, songwriter, producer, fashion icon, creative director, podcast host and screen actor
TRACK LISTING
1. What Not To Do
2. CooCool
3. The Universe
4. Hurtz So Bad
5. The House
6. Spacetime
7. Fader
8. Free Will
9. You Knew
10. Can’t Replicate
11. Crazy Ants Reprise
12. Two Ways
13. Eureka
"Róisín Machine" is the culmination of a rich, decades long partnership between Murphy and one of her most trusted collaborators Crooked Man aka DJ Parrot. Although packed to the rafters with masterclass singles, including “Simulation”, “Jealousy”, “Incapable”, Narcissus” and “Murphy’s Law”, it is also an ingeniously and seamlessly edited listening experience, designed to be listened to in one uninterrupted sitting, from start to dazzling finish.
From the intoxicating disco-funk of “Incapable”, to the quintessential “Narcissus” which crystallised New-Disco and established a high watermark for the genre, to “Murphy’s Law”, a 70s inflected stomper, “Roisin Machine” offers up everything you could ask for on an exquisite plate. Added to the familiar tunes are five new songs, including the Dalek-funk of ‘We Got Together’ and the fantastical “Shellfish Mademoiselle”. An album that works perfectly on the home sound system but also comes alive in a basement sweatbox, it impeccably sits alongside Murphy’s stellar cannon of work released across 25 boundary pushing, trailblazing years, a career encompassing iconic music, directorial, art and fashion moments.
‘Róisín Machine’ seems like the culmination of and logical conclusion to Murphy's 25-year career - from her time as one half of Moloko through to collaborations with the likes of Boris Dlugosch, Maurice Fulton and Crooked Man - but at the same time feels new and exciting and oozes with confidence, as if Murphy is only just getting started. “I feel my story is still untold, but I'll make my own happy ending...” are the revealing opening words of the album which has been a decade in the making.
Even though every song on the record is a standalone winner that would feel at home on most dancefloors, the album also works extremely well as a whole, with one track seamlessly blending into the next. It therefore equally lends itself to an afternoon on the sofa - headphones on, choice of drink in hand and dreaming of a time when we can finally hear it blasting through the speakers of our favourite clubs. Luckily, there is a wealth of lockdown video content by Murphy herself that will keep us entertained until then!
From the intoxicating disco-funk of “Incapable”, to the quintessential “Narcissus” which crystallised New-Disco and established a high watermark for the genre, to “Murphy’s Law”, a 70s inflected stomper, “Roisin Machine” offers up everything you could ask for on an exquisite plate. Added to the familiar tunes are five new songs, including the Dalek-funk of ‘We Got Together’ and the fantastical “Shellfish Mademoiselle”. An album that works perfectly on the home sound system but also comes alive in a basement sweatbox, it impeccably sits alongside Murphy’s stellar cannon of work released across 25 boundary pushing, trailblazing years, a career encompassing iconic music, directorial, art and fashion moments.
STAFF COMMENTS
Mine says: Róisín Murphy has always had that certain indefinable something; a self-assured demeanour that although grandiose never seems pretentious. Perky and eccentric, but always charming - someone you can look up to in an artistic way but equally just want to take out for a pint and a bit of banter. Add to her showmanship, incredible voice and pop sensibility the musical genius of long-time collaborator Richard Barratt aka Crooked Man / DJ Parrot and you end up with an irresistible mix of shimmering disco strut, pulsating synths and thumping club beats.‘Róisín Machine’ seems like the culmination of and logical conclusion to Murphy's 25-year career - from her time as one half of Moloko through to collaborations with the likes of Boris Dlugosch, Maurice Fulton and Crooked Man - but at the same time feels new and exciting and oozes with confidence, as if Murphy is only just getting started. “I feel my story is still untold, but I'll make my own happy ending...” are the revealing opening words of the album which has been a decade in the making.
Even though every song on the record is a standalone winner that would feel at home on most dancefloors, the album also works extremely well as a whole, with one track seamlessly blending into the next. It therefore equally lends itself to an afternoon on the sofa - headphones on, choice of drink in hand and dreaming of a time when we can finally hear it blasting through the speakers of our favourite clubs. Luckily, there is a wealth of lockdown video content by Murphy herself that will keep us entertained until then!
TRACK LISTING
Simulation
Kingdom Of Ends
Something More
Shellfish Mademoiselle
Incapable
We Got Together
Murphy’s Law
Game Changer
Narcissus
Jelaousy
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