Super Rhythm Trax present Adonis’ resident DJ, Hannah Holland making her label debut.

These tracks leap out the speakers sounding super fresh and have been doing plenty of damage, already featuring heavily in her sets during the last few months.

3 larger than life HH productions take the scenic route around acid, house, techno and even some early jungle references for the eagle eared spotters amongst you, with live percussion from Joy Joseph on the track "She’s Giving Cray".

Jerome Hill also joins the party with an euphorically doom laden remix!

Only 100 copies - no represses! 

STAFF COMMENTS

Matt says: Super Rhythm Trax enlist the in-vogue polymath Hannah Holland for a chunky trip into rave anarchy. Masterfully harnessing the 303s and drum boxes for a suitably narcotic ride.

TRACK LISTING

A1. She’s Giving Cray (ft. Joy Joseph)
A2. She’s Giving Cray (Jerome Hill Remix)
B1. Satisfy
B2. Roller

Kathryn Joseph releases a new EP featuring reworks of tracks taken from her critically acclaimed 2022 album for you who are the wronged, alongside a brand new song, all created with her long time collaborator Lomond Campbell. Described by Pitchfork as sounding like “unmeditated transpositions of feeling”, Joseph’s complex, quietly seething lyricism sees her songs give voice to those robbed of their own. for you who are the wronged is woven with pain, futility and stasis; delicately addressing subjects of abuse and trauma with peace and kindness and extending a comforting arm to those who seek it. The new EP takes the delicate instrumentation of the original record and builds it up to something bigger, bolder and stronger.

TRACK LISTING

side A

A1. What Is Keeping You Alive Makes Me Want To Kill Them For (lomond Campbell Remix)
A2. The Burning Of Us All (lomond Campbell Remix)

side B

B1. Long Gone (lomond Campbell Remix)
B2. Until The Truth Of You (lomond Campbell Remix)
B3. Call It Out (lomond Campbell Remix)

Joseph of Kirezi were formed in Ikebukuro (Tokyo) in 2012 wherever since they have been roaming the outermost corners of the black clad psychedelic underground. So please get ready to treat your ears to ‘The Only Way Out Is Through’ – a pounding tour de force of amp destroying killer Fuzz Wah Sike Rock. If there was ever music to be played in that killer sixties exploitation movie – in that biker club scene where every one has been spiked with the brown acid and the bad trip is coming on strong – then this is the music that would be playing – a pounding and ferocious white noise psychedelic nightmare. We are not dealing with any subtle intricacies here, just the joy in the classic combination of excess volume and repetition – crushing levels of heaviness all enveloped in a white noise fury.

Taking cues from kindred spirits such as High Rise, The Stooges, Black Sabbath, Hawkwind, Amon Düül II, Spacemen 3, The Heads – music for freaks in the know – Prepare to vibrate as you TURN ON , TUNE IN , FREAK OUT !

TRACK LISTING

A1 - The Only Way Out Is Through - Part 1
B1 - The Only Way Out Is Through - Part 2

The prominent biblical city of Shiloh was first mentioned in the Book of Joshua: And the whole congregation of the children of Israel assembled together at Shiloh, and set up the tabernacle of the congregation there. And the land was subdued before them. (Joshua 18:1) It held a perhaps unsurpassed place of importance for the Israelites until the construction of Solomon’s Temple and elevation of Jerusalem as the capital of a united Israel some centuries later. The Shiloh, which is our primary matter of interest here, is not the biblical city, but rather a namesake community in rural Overton County, Tennessee, situated in the Upper Cumberland region of the Appalachian Plateau near the Tennessee/Kentucky border. It isn’t a town, but a community made up of a church, two cemeteries, a smattering of houses, some farmland surrounded by forested hills, and a mostly gravel road that is too narrow in many stretches for two cars to pass each other.

The West Fork of the Obey River tumbles through the area at a fairly leisurely pace, and Joseph’s father, who was born in the adjacent and slightly easier to access community of Allred, always called Shiloh Road “the River Road” since the road and the river often unfurl through the valley side by side. The instrumental pieces for guitars and banjo on the album at hand mostly depict images and events, both real and imagined, that take place in Shiloh and the broader river valley it’s situated in. “I won’t go into the details of the inspiration for each tune here,” Allred comments, “but I will say that Shiloh is a place where the distinction between past and present isn’t always clearly defined. It’s a kind of “mandorla," a place where the spheres of past and present, dead and living, immanent and transcendent, overlap.

It’s also a place that has attracted some odd characters over the years, or just people who are weary and trying to find refuge.” “Though I grew up in a small town about 25 miles away from Shiloh and have lived in Boston since 2016, my dad’s side of the family has been in the area for over 200 years, and that valley feels a lot like the place I’ll be buried when I die.” With all that said, we present to you The Rambles and Rags of Shiloh.Housed in a gatefold sleeve courtesy of the glorious folk art of Jonny Brokenbrow.

TRACK LISTING

1) Sweetcorn Ramble
2) The Dervish
3) Linville Rag
4) Overture For Lodge No, 637
5) Dance Of The Fair Folk
6) Before The Lord
7) The Emerald City
8) West Fork Rag
9) March Of The True Bugs
10) Blues For Terry Turtle

"for you who are the wronged" is the much anticipated follow-up to 2018’s "from when i wake the want is", and her 2014 debut "bones you have thrown me and blood i’ve spilled", which won 2015’s Scottish Album of the Year award. If "from when i wake…" was written for love to return, this is where she fights tooth and claw to protect it.

Written and co-produced by Kathryn Joseph, it was recorded at The Lengths Studio in Fort William, with producer Lomond Campbell (also a recording artist for Heavenly Records and has previously produced King Creosote). Kathryn is signed to fellow Scottish musicians, Mogwai's Rock Action Records. It will appeal to those that have bought Kathryn's earlier albums plus fans of Lana Del Ray, Laura Marling, Kate Bush, Aidan Moffat, and Erland Cooper.

STAFF COMMENTS

Barry says: For her third LP, Kathryn Joseph brings all of the brittle balladry and off-kilter weirdness of her previous outings, but imbued with a confidence and cinematic intensity we've not heard before. Beautifully rich and the perfect follow-up to 2018's 'From When I Wake The Want Is'.

TRACK LISTING

1. What Is Keeping You Alive Makes Me Want To Kill Them For
2. The Burning Of Us All
3. Only The Sound Of The Sea Would Save Them
4. How Well You Are
5. Until The Truth Of You
6. The Harmed
7. Bring To Me Your Open Wounds
8. Flesh And Blood
9. Of All The Broken
10. For You Who Are The Wronged
11. Long Gone

A live bass player, studio owner, band member, teacher and session player, Malcolm Joseph has seen all the shifts in the music industry throughout his 40-year career. From UK pop-stardom with his band 7th-Heaven in the 80s to mastering the skills of the studio and becoming the first choice bassist for the iconic disco-funk legend, Grace Jones. He's also worked with Massive Attack, Neneh Cherry and contributed a vast array of bass grooves to the iconic Bandlab sample packs...

Here we get a cheeky, blink-and-you'll-miss-it, limited US import, 3 track EP featuring Keziah Hidgson, Cleveland Watkiss & Dessy Di Lauro.

Loud, funky, energized; lead track "Robotronics" is like a cross between Prince and Parliament, with a youthful, funky vocal flow from Hidgson which gives the track a light, airy flavour; a contrast to the vigorous drum breaks smashed out the rhythm section.

Cleveland Watkiss lends a smokey, jazzy mood to "Freedom", a vibe further emphasized via upright bass and a decidedly jazz-informed drum groove. Watkiss' has a mellow, syrupy vocal which recalls the great jazz voices of yesteryear.

"Falling" concludes with a summery, jazz-funk number; Dessy Di Lauro gracing the track with an empowered and confident vocal with huge crossover / radio potentially. If you're looking for the big, sunny, jazz pop record that'll grace airwaves and lawns of the jazz and funk scenes, then this my friend is it!

STAFF COMMENTS

Matt says: Ridiculously huge three track funk and soul record with some massive names involved and surprisingly zero hype around it. Will disappear fast you have been warned!

TRACK LISTING

1. Robotronics (feat Keziah Hidgson) (4:40)
2. Freedom (Just Let Me Be) (feat Cleveland Watkiss) (4:14)
3. Falling (feat Dessy Di Lauro) (4:48)

Across eight tracks that mesh spacious, jazz-laced composition with fourth-world and adult-contemporary tonality, Toronto saxophonist Joseph Shabason sketches an auditory map of the transcendence, unity, conditioning, and eventual renunciation of his upbringing in an Islamic and Jewish dual-faith household. The resulting album The Fellowship bears the name of the insular Islamic community Shabason’s traditionally

Jewish parents belonged to from a time before he was even born; a mental and spiritual push-pull which continued shaping, even controlling, his outlook well into his adulthood. As a listening experience The Fellowship follows a chronological arc that spans three generations covering his parents’ early lives, his own spiritual and physical adolescence, and his subsequent struggle to eschew the problematic habituations of such a conflicted past.

On The Fellowship, as on prior albums that bear his name, Joseph Shabason does what only the best instrumental music makers can: tell a story with emotional clarity that conveys even the subtlest of feelings, all without singing a single word. As wordless as ever-- with as complex a theme as ever-- this album may be his most emotionally articulate yet. Most importantly, those lost in the woods of repression and self-doubt that organized religion can be at its worst now have The Fellowship to help guide them into a softer light.

TRACK LISTING

01. Life With My Grandparents 4:51
02. Escape From North York 3:38
03. The Fellowship 5:14
04. 0-13 2:37
05. 13-15 5:10
06. 15-19 7:01
07. Comparative World Religions 3:00
08. So Long 7:07

Featuring Drive By Truckers as backing band with Jason Isbell. European tour with Drive By Truckers. Exclusive European release. Who the hell is Jerry Joseph? Well Patterson Hood and Jason Isbell think he is one of the best songwriters and performers ever, so much so they backed him up on his newest album. While he has been flying just under the radar in the US he is unknown in Europe and that is all about to change. This is his first ever European release and will be three months ahead of the US release. Not only are Drive By Truckers the backing band on his upcoming tour but they also recorded the entire new album with Jerry as his backing band. Jason Isbell features on one of the key tracks 'Dead Confederate' and Patterson Hood also produced the entire record. While Jerry is a legend in the US he has never had a British release after playing for over 30 years - with the Truckers supporting him on many of his early shows having. Woody Harrelson is a long time fan whom followed Jerry on tour in his early days - with the pair even writing together.

Jerry has toured the world playing in Japan, Australia, SE Asia, Latin and South America etc while remaining largely off the radar in the UK. His first major dates were supporting Richmond Fontaine on their farewell tour and now he returns for a European tour. This record was recorded at Matt Patton's studio, Dial Back Sound, in Water Valley, Mississippi with all the Truckers taking part. It is Jerry's strongest ever songwriting and written over a period of years while travelling the world, while Jerry also ran guitar school charities for children in the war zones of Iraq, Syria etc (a project which was recently covered by Rolling Stone US and France). His live shows are a force to be reckoned with, and he will be touring into 2021 throughout Europe.

TRACK LISTING

1.Days Of Heaven
2.Bone Towers
3.Full Body Echo
4.San Acacia
5.(I'm In Love With) Hyrum Black
6.Good
7.Sugar Smacks
8.Dead Confederate
9.Black Star Line
10.Eureka

In the making of ‘Good Luck, Kid’ Joseph pushed beyond the dreamy folk of their debut album with ATO Records, embracing a grittier, more dynamic sound.

The 13-song collection was produced by Christian ‘Leggy’ Langdon (Meg Myers, Charlotte OC) and the result brims with thick drums and lustrous guitars, heavy grooves and radiant melodies.

Despite the bolder sonic palette, ‘Good Luck, Kid’ remains centred on the band’s crystalline vocal work, including the otherworldly harmonies that suggest a near-telepathic connection among sisters.

“The through-line of the album is this idea of moving into the driver’s seat of your own life - recognizing that you’re an adult now, and everything’s up to you from this moment on,” Natalie said. “You’re not completely sure of how to get where you need to go, and you don’t have any kind of a map to help you. It’s just the universe looking down on you like, ‘Good luck, kid.’”

“[The] blend their voices in the eerily close way that only siblings seem able to accomplish” - NPR Music. 

“a rallying cry and a celebration of the determination and angst that has pulled us all through these toxic times” - Nylon. 

“Upbeat, anthemic” - Brooklyn Vegan. 

“Dark folk-pop that will make you cry (in the best, most cathartic way possible)” - Paper. 

“an uplifting stronghold” - Paste.

TRACK LISTING

Fighter
Good Luck, Kid
Green Eyes
In My Head
NYE
Revolving Door
Half Truths
Presence
Without You
Side Effects
Enough In Your Eyes
Shivers
Room For You

Delicately and compassionately woven with interviews of Shabason’s mother from whom the album takes its name, Anne finds its creator navigating a labyrinth of subtle and tragic emotions arising from his mother's struggle with Parkinson’s disease. Across the nine vivid postcards of jazz-laden ambience that comprise the album, Shabason unwraps these difficult themes with great care and focus revealing the unseen aspects of degenerative diseases that force us to re-examine common notions of self, identity, and mortality. Shabason’s uncanny ability to manoeuvre through such microscopic feelings is mirrored by his capacity to execute a similar tightrope-walk through musical genres. His music occupies a specific space that is as palpable as it is difficult to pin labels to.

On Anne’s second track “Deep Dark Divide” rays of effected saxophone shine behind clouds of digital synthesizer that echoes the sound of jazz in the late 80s, but with a Jon Hassell-esque depth of sensibility that consciously subverts the stylistic inoffensiveness of that era. There is detail and idiosyncrasy beneath Shabason’s dawn-of-the-CD-era sheen that elevates the album far beyond a mere aesthetic exercise. Still, the sounds on Anne are not so experimentally opaque as to stand in the way of the album’s through-line of sincerity and emotionality. When dissonance is employed it is punctual and meaningful, like on album-middler “Fred and Lil” where a six-minute cascade of breathy textures builds suddenly to an agitated growl, only to abruptly give way to Anne Shabason speaking intimately about her relationship to her own parents. Snippets of such conversations see her taking on something like a narrator role across Anne while the sound of her voice itself is sometimes effected to become a musical texture entwined into the fabric of the songs without always being present or audible. On “November” Shabason lays muted brass textures atop a wavepool of electric chords provided by none other than the ambient cult-hero Gigi Masin, one of Anne’s many integral collaborators.

The serene tragedy of the album distils itself gracefully into the ironically titled album closer “Treat it Like a Wine Bar” wherein flutters of piano and mournfully whispered woodwinds seem to evaporate particle by delicate particle, leaving the listener with a faint emotional afterglow like a dream upon waking. There is a corollary to be drawn here with what it must be like to feel one’s own mind and body drift away slowly until nothing remains, while the collection of memories and abilities that we use to denote the “self” softens into eternity. On Anne, it is precisely this fragile exchange of tranquillity and anguish that Joseph Shabason has proven his singular ability to articulate. 

TRACK LISTING

01 I Thought That I Could Get Away With It 4:45
02 Deep Dark Divide 7:00
03 Dangerous Chemicals 6:32
04 Donna Lee 4:51
05 Forest Run 4:30
06 Fred And Lil 6:51
07 Toh Koh 3:09
08 November 5:10
09 Treat It Like A Win Bar 6:12

Kathryn Joseph releases her new album From When I Wake The Want Is, via Glasgow’s Rock Action Records. The follow up to 2015’s acclaimed debut Bones You Have Thrown Me And Blood I’ve Spilled, which was named the Scottish Album of the Year, this album is a captivating set that documents both life’s traumas and their resolutions. Produced by Marcus Mackay, who also worked on her debut album, 'From When I Wake The Want Is' mixes new songs with material gathered over the past ten years to create an intimate and often devastating portrait of Joseph’s world.

STAFF COMMENTS

Barry says: Echoing piano and dusty atmospheric washes with touches of jazzy percussion make for a beautifully mournful but immersive backdrop for Joseph's evocative vocal touches. A stunningly fragile but brilliantly immersive listen.

TRACK LISTING

1. IIII
2. From When I Wake The Want Is
3. And You Survives
4. Tell My Lover
5. And It Will Lick You Clean
6. There Is No God But You
7. Safe
8. We Have Been Loved By Our Lovers
9. Mouths Full Of Blood
10. Mountain
11. Weight
12. ^^

Joseph Coward is set to release his eagerly awaited debut album this autumn.

‘The World Famous Joseph Coward’, self produced in London with Phillip Brillo, features ten tracks, including a Clash Magazine Track Of The Day - ‘Sarah, Plain & Tall’ - and the singles ‘Idle Boy’, ‘Thin’ and ‘Lucky To Have Me’.

An artist with the wistful-narcotised style and pugnacious confessional delivery of an earlier generation of British romantics, the unschooled, unbridled, uncompromising lyricism of Ian McCulloch, Morrissey and Billy Bragg courses through Joseph Coward’s songs.

After leaving his Brentwood, Essex school at sixteen, Coward left home and scraped together an existence in London, where he published a fanzine and made himself a fixture in the music scene.

“Atmospheric and melodic post-punk... sweeping melodrama... sweetly intimate... Serious in intent and sharp in execution” - Q

“Startling honesty” - Wonderland Magazine

“His take on atmospheric post punk casts chiming shadows through an Echo & The Bunnymen shaped prism of multilayered guitars and low-fi loops to impressive effect.” - Clashmusic.com

“Romantic and timeless... compelling and brilliant” - Huh. Magazine

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.