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Originally released in 2002 on the Sweet Nothing label (snlp/cd 11), Under Sided was recorded in 2001 at WhiteHouse Studios in Weston Super Mare, with Martin Nichols engineering. The band had previously recorded tracks for Mans Ruin 10” at these studios (also famous for Ripcord, Heresy, Slowdive, Hardskin, Decadence Within, Icehouse.. amongst many others!). For the reissue, the original recordings were remastered for vinyl and CD by long time Heads Masterer (!) Shawn Joseph. The resultant 8 tracks, spread over 4 sides of vinyl are some of the best music the Heads have recorded, after a bit of a hiatus following their 2000 US tour / Peel session (included in the boxset / on the 2CD version here), the band regrouped and worked out the tracks for the album, relentless rehearsing for the recording. Very few shows happened in that 2001-2002 timeframe.. band members were busy, earning a living, getting on with life, but they still had some riffs/songs there. Upon release in 2002 the album got great reviews in the press, from Kerrang and Mojo to the Sunday Times, all helping the Bristol fourpiece confirm their cult status, which has continued to current times.. The remastered album is being reissued as a 4LP + 2CD boxset. The extra 2LP features their Peel session from 2000, as well as a couple of compilation tracks (For Mad Men Only / Born To Go), and some unreleased demo versions, as well as 2 exclusive to this set CDS that feature nearly 150 minutes of Live recordings (mastered, but RAW!) from their gigs on the Thekla in Bristol and rehearsal room tapes in 2001 and 2002. The boxset will also have a special slip-mat, stickers, and a 24 page booklet of photos /writings, including recollections by each band member, and others including Stewart Lee. Under Sided is a pounding sike-nightmare that shows the Heads at the peak of their powers, there’s a flow throughout the album of melding psychedelic noise rock to unrelentin rhythms and creating a bad trip for all listening.. open battering-ram “Dissonaut” is a staple in their live shows to this day… even the gentle sooth of “Energy” is enveloped by a white noise fury.. the intensity of some of the tracks: the terror inducing “Bedminster” or “False Heavy” (a tour worn riffmonger from 2000) or the Magnet-esque “Heavy Sea”, showed the band as ferocious as any of the insurgent “stoner” genre of that time. They were never going to make their living out of touring, record sales… as Hugo mentions in his notes for the booklet, “.. we had less boundaries and felt we could experiment more and not worry about commerciality…” but they were able to make this album.

Vinyl is close to NM. With insert. tiny wear

Originally released in 2002 on the Sweet Nothing label (snlp/cd 11), Under Sided was recorded in 2001 at WhiteHouse Studios in Weston Super Mare, with Martin Nichols engineering. The band had previously recorded tracks for Mans Ruin 10” at these studios (also famous for Ripcord, Heresy, Slowdive, Hardskin, Decadence Within, Icehouse.. amongst many others!). For the reissue, the original recordings were remastered for vinyl and CD by long time Heads Masterer (!) Shawn Joseph. The resultant 8 tracks, spread over 4 sides of vinyl are some of the best music the Heads have recorded, after a bit of a hiatus following their 2000 US tour / Peel session (included in the boxset / on the 2CD version here), the band regrouped and worked out the tracks for the album, relentless rehearsing for the recording. Very few shows happened in that 2001-2002 timeframe.. band members were busy, earning a living, getting on with life, but they still had some riffs/songs there. Upon release in 2002 the album got great reviews in the press, from Kerrang and Mojo to the Sunday Times, all helping the Bristol fourpiece confirm their cult status, which has continued to current times.. The remastered album is being reissued as a 4LP + 2CD boxset. The extra 2LP features their Peel session from 2000, as well as a couple of compilation tracks (For Mad Men Only / Born To Go), and some unreleased demo versions, as well as 2 exclusive to this set CDS that feature nearly 150 minutes of Live recordings (mastered, but RAW!) from their gigs on the Thekla in Bristol and rehearsal room tapes in 2001 and 2002. The boxset will also have a special slip-mat, stickers, and a 24 page booklet of photos /writings, including recollections by each band member, and others including Stewart Lee. Under Sided is a pounding sike-nightmare that shows the Heads at the peak of their powers, there’s a flow throughout the album of melding psychedelic noise rock to unrelentin rhythms and creating a bad trip for all listening.. open battering-ram “Dissonaut” is a staple in their live shows to this day… even the gentle sooth of “Energy” is enveloped by a white noise fury.. the intensity of some of the tracks: the terror inducing “Bedminster” or “False Heavy” (a tour worn riffmonger from 2000) or the Magnet-esque “Heavy Sea”, showed the band as ferocious as any of the insurgent “stoner” genre of that time. They were never going to make their living out of touring, record sales… as Hugo mentions in his notes for the booklet, “.. we had less boundaries and felt we could experiment more and not worry about commerciality…” but they were able to make this album.

Deluxe 2LP Version – Gatefold Sleeve w/ Poster

Red Hot Chili Peppers will unveil their new album and twelfth full-length offering, Unlimited Love [Warner Records], on April 1, 2022. It notably marks their first recording with guitarist John Frusciante since 2006 and first with producer and longtime collaborator Rick Rubin since 2011. To herald Unlimited Love, the Los Angeles band just shared the first single and music video “Black Summer.”



“Our only goal is to get lost in the music. We (John, Anthony, Chad and Flea) spent thousands of hours, collectively and individually, honing our craft and showing up for one another, to make the best album we could. Our antennae attuned to the divine cosmos, we were just so damn grateful for the opportunity to be in a room together, and, once again, try to get better. Days, weeks and months spent listening to each other, composing, jamming freely, and arranging the fruit of those jams with great care and purpose. The sounds, rhythms, vibrations, words and melodies had us enrapt.



We yearn to shine a light in the world, to uplift, connect, and bring people together. Each of the songs on our new album UNLIMITED LOVE, is a facet of us, reflecting our view of the universe. This is our life’s mission. We work, focus, and prepare, so that when the biggest wave comes, we are ready to ride it. The ocean has gifted us a mighty wave and this record is the ride that is the sum of our lives. Thank you for listening, we hope you enjoy it.

ROCK OUT MOTHERFUCKERS!” - Anthony Kiedis, Flea, Chad Smith, John Frusciante



On lead track “Black Summer,” ethereal guitar underlines introspective lyrics as the rhythm unlocks a hypnotic drum groove highlighted by evocative bass. It quietly inhales only to exhale with a massive refrain, “It’s been a long time since I made a new friend, waiting on another black summer to end,” before a guitar solo echoes to the heavens and back.



Unlimited Love resumes a three-decade partnership with Rick Rubin [Johnny Cash, Adele]. Their creative collaboration spans legendary albums, including the diamond-selling Blood Sugar Sex Magik [1991], Californication [1999], By The Way [2002], and Stadium Arcadium [2006].



The interplay between the band borders on intergalactic once again—yet elevated to another stratosphere altogether. Unlimited Love represents the united spirit of four individual souls still fearlessly exploring the future of their eternal friendship and musical congregation.



This summer, Red Hot Chili Peppers will launch their first tour in support of Unlimited Love. They’ve invited a dynamic cohort of guests along for the ride at select dates, including Anderson.Paak & The Free Nationals and Thundercat and will be playing stadium dates in the UK in June 2022.

Red Hot Chili Peppers will unveil their new album and twelfth full-length offering, Unlimited Love [Warner Records], on April 1, 2022. It notably marks their first recording with guitarist John Frusciante since 2006 and first with producer and longtime collaborator Rick Rubin since 2011. To herald Unlimited Love, the Los Angeles band just shared the first single and music video “Black Summer.”



“Our only goal is to get lost in the music. We (John, Anthony, Chad and Flea) spent thousands of hours, collectively and individually, honing our craft and showing up for one another, to make the best album we could. Our antennae attuned to the divine cosmos, we were just so damn grateful for the opportunity to be in a room together, and, once again, try to get better. Days, weeks and months spent listening to each other, composing, jamming freely, and arranging the fruit of those jams with great care and purpose. The sounds, rhythms, vibrations, words and melodies had us enrapt.



We yearn to shine a light in the world, to uplift, connect, and bring people together. Each of the songs on our new album UNLIMITED LOVE, is a facet of us, reflecting our view of the universe. This is our life’s mission. We work, focus, and prepare, so that when the biggest wave comes, we are ready to ride it. The ocean has gifted us a mighty wave and this record is the ride that is the sum of our lives. Thank you for listening, we hope you enjoy it.

ROCK OUT MOTHERFUCKERS!” - Anthony Kiedis, Flea, Chad Smith, John Frusciante



On lead track “Black Summer,” ethereal guitar underlines introspective lyrics as the rhythm unlocks a hypnotic drum groove highlighted by evocative bass. It quietly inhales only to exhale with a massive refrain, “It’s been a long time since I made a new friend, waiting on another black summer to end,” before a guitar solo echoes to the heavens and back.



Unlimited Love resumes a three-decade partnership with Rick Rubin [Johnny Cash, Adele]. Their creative collaboration spans legendary albums, including the diamond-selling Blood Sugar Sex Magik [1991], Californication [1999], By The Way [2002], and Stadium Arcadium [2006].



The interplay between the band borders on intergalactic once again—yet elevated to another stratosphere altogether. Unlimited Love represents the united spirit of four individual souls still fearlessly exploring the future of their eternal friendship and musical congregation.



This summer, Red Hot Chili Peppers will launch their first tour in support of Unlimited Love. They’ve invited a dynamic cohort of guests along for the ride at select dates, including Anderson.Paak & The Free Nationals and Thundercat and will be playing stadium dates in the UK in June 2022.

Ten years after it’s initial release, the classic Seven Impale debut album City of the Sun is finally available on vinyl again! This 10th anniversary edition also an insert sheet with lyrics and comments from both the band and Enslaved’s Ivar Bjørnson. The album has a firm basis in classic progressive rock, but is highly diversified The band is never afraid to explore much harder soundscapes than usually is expected in progressive rock, utilizing elements normally only found in the metal genre. And did we mention saxophone? There’s saxophone, bringing loads of jazzy elements into the mix as well. The band says: “The recording and assembling of City of the Sun was a valuable learning experience,and we are forever thankful for the friendship we’ve built with our producer Iver Sandøy.The process of making this record put all seven of us into a rather confined space,recording it the good old way. Not a click track or grid in sight! It was a sweaty, intimate experience that seems to have been the recipe for.. sweaty, intimate and jazzy prog rock..! Iver will always be that “missing” seventh impala, and we will without hesitation return to Solslottet for the golden touches of the Sun King Himself. Formed in Bergen, Norway in 2010, Seven Impale consists of Stian Økland on vocals and guitars, Fredrik Mekki Widerøe on drums, Benjamin Mekki Widerøe on sax, Tormod Fosso on bass, Erlend Vottvik Olsen on guitar and Håkon Vinje on keyboards 01. Oh, My Gravity02. Windshears03. Eschaton Horo04. Extraction05. God Left Us for a Black-Dressed Woman

Triple vinyl LP pressing. Odies But Goodies is the ultimate collection from 7-time and current Academy of Country Music and 6-time and reigning Country Music Association Group of the Year, Old Dominion. Thirty-one songs spanning the #1s, fan favorites and album cuts that have come to define the band songwriters Matthew Ramsey, Trevor Rosen, Brad Tursi, Geoff Sprung and Whit Sellers built taking their friendship on the road in a van for the sake of playing live in front of people who just wanted to come out and love the music. What began as a labor of fun turned into one of the most impactful country bands of the 21st Century. Headlining major arena tours and the biggest festivals, Old Dominion represents a space where people make the best of what is, find positivity in the low moments and exult in the wins. Real life songs for real life moments, full stop. To celebrate, they've gathered into one place all of the songs that define this no bad vibes group of musicians - "I Was On A Boat That Day," "Break Up With Him," "Some for Another Time," "Hotel Key," "Written In The Sand," "Memory Lane," as well as beloved deep tracks "Nowhere Fast," "Hawaii," "Fast Horses" and "Still Writing Songs." They've also added their take on Johnny Lee's #1 "Lookin' for Love" from the film "Urban Cowboy" and the brand new "Coming Home."

Lunar Rays Vinyl. Double LP. Limited colourway, 1000 copies worldwide. The UKs first and only emo band Los Campesinos! Return with their highly-anticipated seventh album, All Hell. It is perhaps their most ambitious and assured album yet, whilst simultaneously recalling everything we've come to love about LC! #over their faultless discography. Recorded between October 2023 and February 2024, it is the first album to be wholly self-produced by band member Tom Bromley (having co-produced previous albums Sick Scenes and NO BLUES). The album is also self-released on the bands own Heart Swells record label. In the bands words All Hell is an album about Drinking for fun and drinking for misery // adult acne // adult friendship // football // death and dying // love and sex // late-stage capitalism // Orpheus // day dreaming // night terrors // the heart as an organ and as a burden // Tears of the Kingdom // the punks on the playlist // increments of time // climate apocalypse // the moon the moon the moon///

Many serendipitous moments have led to the creation of the musical project known as Complete Mountain Almanac. The first of these temporal alignments came at a chance meeting between two visionaries — Norwegian-born, Sweden-based singer and composer Rebekka Karijord and American-born, Italy-based poet, dancer, and multimedia artist Jessica Dessner

Jessica and Rebekka began collaborating, with Jessica providing poems and lyrics for Rebekka to compose music to. While Jessica is not a musician per se, as a dancer she naturally has a deep understanding of music as an artform. On top of that, she comes from a musical family: her twin younger brothers, Aaron and Bryce Dessner, are accomplished multi-instrumentalists, most known as part of indie rock stalwarts The National.

The album consists of twelve tracks, each named after a month of the year. Some have a meditative, almost hypnotic quality, using Jessica’s words as healing mantras. Sonically, the album cycles through folk, classical, chamber music and everything in between, creating a cocoon-like atmosphere that draws the listener into a stand-alone universe. It's a marriage of the inner and outer worlds, illness and rejuvenation, grief and joy.

Therein lies the idea of the almanac: having a guide to see you through each day, some kind of idea of what the future holds in uncertain times. But even as the project came together over the course of years, Rebekka and Jessica were always able to return to the core of their friendship to keep them on course, and the result is what might be one of the most important works of their respective careers.

Årabrots`S 9th Full-Length Album Norwegian Gothic Sees The Band Collaborate With Lars Horntveth (Jaga Jazzist), Cellist Jo Quail, Tomas Järmyr (Motorpsycho), Anders Moller (Turbonegro, Ulver) And Massimo Pupillo (Zu). A Stellar Production By Jaime Gomez Arellano (Black Eyed Peas, Paradise Lost, Hexvessel, Oranssi Pazusu) Makes This The Quintessential Årabrot Record, As Guitarist And Vocalist Kjetil Nernes Confirms:"Norwegian Gothic Is The Culmination Of Everything Årabrot Has Done Musically The Past 10 Years. It Is Not Only The Climax Of The Band So Far, But Also A Good Indication Of What To Come. It Is Basically An Amalgamation Of All Of Our Influences Here In The Church Where We Live. Musically It Is Inspired By All The Albums Of Our Record Collection And Thematically By The Books We Have In Our Shelves. More Specifically It Is Our Special Brand Of Rock'n'roll Music Mixed With Fin-De-Siecle Decadence, Surrealism And Even A Pinch Of Old German Philosophy To Boot."While The 20 Years History Of The Band Is A Story Of Change And Correlation, It Would Be Too Simple To Break This Creative Duality Down To The Stereotypical Dichotomy Of The Yin And The Yang_ And If One Attempted To Do So, It Would Turn Out To Be Quite Difficult To Determine Which Of These Forces Would Be Represented By Which Individual.A Chubby Child From A Christian Family, Growing Up In A Small Swedish Village And Years Spent In A Missionary School In Japan Made Karin Desperate To Break Away From Narrow Thinking. And She Used Her Only Advantages To Do So; Her Unique Voice And Personality. By The Age 15 She Had Moved Away From Home To Find Her Place In Music. After Studying At Stockholm Music Conservatory, A Norwegian Poet Took Her To Norway Where She Started Her Pop Career, This Was Followed By A Move To London To Write Songs, And Working As A Model.After Five Albums, A Few Grammys, Writing A Eurovision Entry For Norway And Hits For Other Artists And Performances With Lana Del Rey And David Bowie, Karin Returned To The Vil...

SUNFOOT—the minimalist expressionistic improvisational experimental emotional intellectual cathartic project of three best friends / musicians created an epic sonic smattering during the heart of the Covid 19 Pandemic. Wearing protective masks just to play music with each other, and staying in separate quarters at the infamous Sou'Wester trailer hotel, they would gather like silent monks in the morning, make highly original music with very little verbal communication and then part ways at end of the day. Under the production of Sonny Smith, they created with little break until they were exhausted and emotionally unhinged. During the mixing of the record, percussionist RON Burns died tragically and unexpectedly, creating a whole new meaning for the record and a whole new meaning for his remaining two best friends. The songs range from a post punk devolved pop song form punctuated by searing guitar to an extremely personal and original musical communication style between three thoughtful musicians. With the passing of Burns, songs like "Space," "Mean World," "You Roll the Dice Everyday" and "No Master Plan" take on a more tragic and sensitive hue. However, Sunfoot has always been a positive vibration ensemble, spiritually speaking they are a very American counterpart to Japan’s Maher Shalal Hash Baz. Sunfoot’s love for each other and life quest to battle negativity has carried through their music all along. Beneath the cloud of tragedy during the making of this sensitive and emotionally intelligent art piece the album stands as a testament of friendship, originality and deep musical exploration. Sunfoot is RON Burns (smog, HOT Spit Dancer, Swell), Chris Johanson (visual artist, Deep Throats, Tina AGE 13), Brian Mumford (dragging AN OX Through Water, Jackie-o Motherfucker, Deep Fried Boogie Band, Jewelry Rash).

Who am I? This is the essential question that PENCEY SLOE explore on their sophomore full-length "Neglect". The Parisian dreamgaze rockers have dedicated their entire new album to the theme of identity. While founding-member, singer, and guitarist Diane Pellotieri is the main songwriter for PENCEY SLOE, her collaboration with new drummer and percussionist Clément Hateau has overall been much closer than with the previous line-up of the band. The result of this joining of musical forces is a more mature and complex sound. Although the French continue on their path of cinematic soundscapes and beautiful psychedelic colours, their occasional drifting into darker spheres and the perfect balance between Diane's vocals and meandering guitar textures create a sonic world of their own design. While the guest-contribution of ALCEST frontman Neige on 'The Run .I' is a welcome nod to the friendship that their compatriots have exerted on PENCEY SLOE, the inclusion of Justin K. Broadrick from among others GODFLESH and JESU is a more subtle pointer to an inspirational musician for the duo. PENCEY SLOE were conceived in the French capital of Paris in 2017. The name was in part inspired by J. D. Salinger's famous "The Catcher in the Rye". In the same year as the band's inception, a 5-track eponymous EP was self-released in 2017 and their acclaimed debut album "Don’t Believe, Watch Out" appeared in 2019. With "Neglect", PENCEY SLOE embark on a dream-like journey into the dangerous waters of identity. Who we are, who we want to be, and as who we want to appear to others might not be the same. Diane Pellotieri's voice offers musical guidance, driven by subtle drumming, and carried by a stream of guitars. Hoist the anchor, rig the sails, and listen diligently.

Cloudy Purple Vinyl.Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Music To Play In The Dark.Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowell. Although the creative process was admittedly "iterative" and "a bit of a drug blur," the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: "This is moon music / in the light of the moon."What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as inter-dimensional. Even within a catalog as eclectic as Coil's, Music is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey.The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral...

Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Music To Play In The Dark.Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowell. Although the creative process was admittedly "iterative" and "a bit of a drug blur," the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: "This is moon music / in the light of the moon."What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as inter-dimensional. Even within a catalog as eclectic as Coil's, Music is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey.The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral texture and high cathed...

Few groups in recent history forged as confounding and alchemical a body of work as Coil, the partnership of Peter 'Sleazy' Christopherson and John Balance. From album to album and phase to phase their recordings spelunk perplexing depths of esoteric industrial, occult electronics, and drugged poetry, both embodying and alienating parallel currents of their peers. The late 1990's in particular were a fertile era for the duo, embracing chance, chaos, and collaboration, enhanced by recent advancements in synthesis and sampling. Fittingly, at the summit of the decade's long, intoxicated arc, their divergent strains of interstitial ritual congealed into one of Coil's most celebrated and hallucinatory creations: Music To Play In The Dark.Convening at Balance and Christopherson's vast Victorian house / studio in the coastal town of Weston-super-Mare, they began a series of ambitious sessions aided by inner circle associates Thighpaulsandra and Drew McDowell. Although the creative process was admittedly "iterative" and "a bit of a drug blur," the results are astoundingly inventive and well realized, winding through shades of divination dirge, wormhole kosmische, noir lounge, ominous humor, and black mass downtempo, guided by Balance's cryptic lunar muse, which he announces on the opening track: "This is moon music / in the light of the moon."What's most remarkable about the album 20 years after its release is how brazen, insular, and unpredictable it still feels. The songs follow an allusive, altered state logic all their own, warping from microscopic ripples of glitch and breath to widescreen warlock psychedelia and back again, as much hyper-sensory as inter-dimensional. Even within a catalog as eclectic as Coil's, Music is a mystifying collection, oneiric evocations of desire, decadence, dinner jazz, and dietary advice, far beyond the pale of whatever gothic industrial ambiguity birthed such a journey.The record closes with a slow, starlit shuffle, bathed in seething sweeps of spectral texture and high cathed...

Why you'll love it...
This album, a pair of gorgeous, androgynous longhairs with incredible cheekbones on its cover, showed up first. Its songs talked of girls with jewels on their lips riding zebras and a chance encounter with a wizard. The sound was a strange brew concocted from different strains of earlier rock ’n’ roll: some folk, some rock, and an undeniable debt to Eddie Cochran. Marc Bolan’s music, persona, and look were strange, beautiful, and whimsical enough that if you tried to explain his massive popularity to somebody born after the century Bolan lived in, for just shy of 30 years, it would probably sound like a story from eons ago. We know glam came after T. Rex, but it’s also just a skip to the Sex Pistols, Ramones, and more punk from there; it’s also not far from the “post” sounds that came out of New York and London around 1977 or the darkness and decadence of Siouxsie Sioux and Bauhaus either. The tarted-up heavy metal of Hanoi Rocks and Poison in the 1980s followed, and into this newer century, you can hear Bolan’s direction heeded and reimagined by Alison Goldfrapp or Devendra Banhart. All of that is because of this album, the sound of Marc Bolan turning the key to unlock his true potential. His magically strange vision took shape here, and nothing has been the same since.

"Indonesian rock trio Voice Of Baceprot (vob) have had to weather many challenges after they decided to carve a career in music. With the lack of music-related facilities in their village of Singajaya in Garut, West Java, they had to practically build their own modest practice studio. And they could only get a gig in the nearest city of Garut, three-and-a-half hours away. They had to face more significant adversities, namely the stigmas and unsolicited suggestions regarding religion and decency directed at them.

"You must remember that we come from a village where many see women as inferior to men. After completing high school, we did not have a lot of options. It was either work at home or for a relative at a convenience store. Or marry someone our parents choose," vocalist/guitarist Marsya recalls. It is a mindset that has survived from one generation to the other, even to this day. Hence, garnering support from even their family members became an uphill battle. ""No wonder only the three of us managed to come this far when you consider that VOB started with 15 members in 2014!"" drummer Sitti exclaims.

With all the setbacks that have come from all directions for an extended period, it is no surprise that they have played a massive part in developing VOB's character as a band and as individuals. Rather than dampening their spirits, however, they have moulded the trio to become stronger. "We have become rocks now. Hardened, rigid, and stiff due to all the doctrines in our minds. But through music and our friendship, we became fully aware that they must be cut through and broken regardless," Marsya explains. And from the trials and tribulations that they have had to suffer, VOB chose to name their debut album “Retas”. In Bahasa Indonesia, ""retas"" is ""a body of igneous rocks that breaks through by cutting through other rocks"". It epitomises how the band see themselves: igneous rocks, the end product of the socio-economic challenges that have shaped them into who they are now. ""Retas"" is a collection of songs that embody their solid determination to break free and carve out their path as a band, as musicians, and as independent women. With Ntrl guitarist Coki Bollemeyer at the helm as producer for the newer songs on the album, “Retas” comprises nine tracks, including album focus track “Age Oriented”, fan-favourite “What’s the Holy (Nobel) Today?”, “The Enemy of Earth is You”, instrumental track “Kawani”, and four previous singles that they have released since 2018, including their breakthrough single “School Revolution” and the smash hit “God, Allow Me (Please) to Play Music”. ""We really enjoyed making this album, thanks in no small part to Coki. His support and appreciation towards the hard work we put into the process have made a huge difference. It gave us the energy and confidence to give our very best,"" Marsya acknowledges. Most of the songs have roots since VOB were still in middle school, each immaculately capturing their emotional responses to the variety of experiences they have gone through, transcribed and transformed into a combination of lyrics and melodies feeding off of raw energy and passion. Focus track ""Age Oriented"" is a protest song aimed towards age restriction that they once had to endure because they were playing rock music at such a young age. The piece lays bare their anger as tight and heavy riffs roar atop Sitti's groovy thumping beats and Widi's dexterous basslines. “More often than not, we were told it was ‘inappropriate and too soon’ and we ‘did not have enough experience’. There is a partiality towards age being the main benchmark to determine the merit of one’s artistic work. It meant the young must wait until they reach a certain age deemed worthy of independence to show their true potential,” Marsya remarks. The role of vocal director Irvan Natadiningrat has also become more significant in developing VOB's trademark sound. Take What's the Holy (Nobel) Today?"" for example. Irvan suggested the inclusion of the dramatic marching chant in the song. This powerful addition could make it the anti-war anthem for the modern generation. "The Enemy of Earth is You"" addresses the negative impacts of climate change. Never in their wildest dreams would they expect massive natural disasters to affect their village. Were they simply a show of might by nature's customary dynamics? Or are we, as human beings, to blame for our greed, ignorance, and narcissism? Writing instrumental “Kawani” felt fresh and intriguing for VOB. They had a unique opportunity to express their enthusiasm for Sundanese music, which they likewise hold in high regard. "In Sundanese, 'Kawani' means courage. This song represents the bravery with which we girls have refused to be treated as something ‘sweet and beautiful’. We are greater than that. That courage is reflected in the rhythms' dynamic quality. We may appear to be serene and unruffled, yet we can abruptly change into something else that is challenging to control,” according to Sitti.

Emotional Rescue dives back into one of its specialties, the formative years of Post Punk and Dub influenced music, presenting the, to date, unheralded Skinbat Scramble. The rarity of the unknown, the discovery of rich, lost music, it is a delight to release a compilation of the band's previously unreleased recordings. A snapshot of time, a journey that covers several decades of friendship but is concentrated here on the fertile 80's scene.

Forged around the friendship of Mark Eason and Fergus Crockford, but with ever changing line-ups, flowing in and out during misspent youths, self-taught playing, falling in and out of bands, travelling that well-worn journey from Home Counties boredom to the excitement of a rough edged London, taking in as music as possible, from Motown on to the The Velvet Underground, The Rolling Stones, Bowie, Pink Floyd, Gong and Fripp & Eno, before Dr Feelgood, Eddie & The Hotrods and a dose of John Peel led to discovering Dub and Punk and witnessing that short-lived burst of creativity at the Roxy Club, Marquee or Vortex and exploring back to early Rock'n'Roll, Rockabilly and old Surf'n'Soul, alongside the likes of Wire and Suicide.

As the Post-Punk sounds mixed simultaneously with Two-Tone, local Art College gave way to university and the early struggles of finding a way in the late 70s / early 80s of Thatcher's Britain. Music was central, Skinbat Scramble finally appearing, morphing from numerous teen bands, early studio excursions of tape loops and effects leading to the first recording sessions in 1981.

The slower tempos, introspection, open structures, and shimmering experimentation of Post Punk were pivotal. John Foxx's early Ultravox, Siouxsies' "Lord's Prayer" period and The Electric Chairs seminal "So Many Ways", influenced to a freer future. PIL, ACR, Section 25 and Pink Military let imaginations briefly roam.

'Far out and weird', those first recordings made at Leeds Uni's Fine Arts Dept utilized Revoxes, Tandberg, MiniMoog and even a borrowed drummer. This was followed up with completed sessions at Elephant Studios in London, forming the basis of this compilation.

The tight scattergun rhythms on opener Submit, in both Vocal and short Dub mix, bely an unreleased band. Taught and crisp, it's like a song you've heard propelling open-minded, leftfield dancefloors for years.

The writing, musicianship and studio mastery displayed on North By Northwest and Skiddadle should not be music unreleased for almost 40 years. In North Dub and closer, Pixie Boot Dub their understanding of the opportunities of dub Reggae are clearly apparent, ethereal music wormholes for late night smokers.

However, it is in Basement Voltaire that the band step out time. Recorded in 1986 this is a 9-minute proto-techno wonder that mixes all their psychedelic meets punk youth in a crescendo of crashing claps and rolling toms that is of a time and so far ahead of its time.

And that was that, after 6 gigs, including a couple at the infamous St Martins, to an audience total you can fit on one hand, the band's first incantation closed and the master tapes were stored for several decades, waiting for "The Psychedelic Pirates" to finally surface.

On 2021’s Noise Noise Noise, THE Last Gang pushed their musical boundaries in new and unexpected ways, spitting barbs both personal and political at whoever might listen. The follow-up Obscene Daydreams is 11 tracks of sharply composed, no-punches-pulled punk, which finds the Orange County quartet in top form and ready to explode. Produced once again by Cameron Webb (Motorhead, Pennywise, Alkaline Trio, Nofx), Obscene Daydreams is the result of a new, more intentional writing process. Working on a deadline this time around, the album was written and recorded in less than a year. The expediency of recording served the quartet well, as Obscene Daydreams delivers in abundance, The Last Gang's signature mix of melodic hooks and raw feelings. While outrage and defiance figure prominently in those feelings, love and pride share center stage. Opener “Electric Avenue” is an ode to ride-or-die friendship, and “Madness” is a full-on love song (or as close to one as a “nihilistic optimist” like singer Brenna Red can deliver). “Berlin to Rome” celebrates life on the road, and “Rumors” finds Red flexing her no-bullshit self-confidence. An interaction with a bigoted fan inspired “The Others,” forcing Red to make clear the quartet’s Lgbtqia+ allyship. The authenticity of The Last Gang's music lies in these lived experiences, making each album a kaleidoscopic journal of sorts. With nonstop touring planned throughout 2024, The Last Gang cannot wait to share this chapter with the world.

Larry Norman’s 1972 pioneering album ‘Only Visiting This Planet’ was the first of its kind. It was hailed as the first ‘Jesus-rock’ album and added to the national registry of the Library of Congress.

In the mid-1990s, Kevin Max toured with Larry Norman and covered his songs on the road with his band dcTalk. Norman and Max struck up a friendship, with Larry guesting on Max’s first solo album ‘Stereotype Be’, produced by Adrian Belew. After Larry Norman’s passing, Max decided to re-create the whole album ‘Only Visiting This Planet’ but was sidetracked by other projects. After meeting Larry’s son, Mike Norman, at a show in Portland Oregon, Max finally decided to start the project with a campaign run by Nashville Company ‘Generosity Rocks.’

John Mark Painter, a multi-instrumentalist producer from Nashville was brought on to collaborate and produce the project.

Guest appearances on the album include Daniel Smith from the Danielson Band, Fleming McWilliams & Mike Norman.

There’s a big clue to the pacific wisdom of The Orchestra in the Sky in the artist name – Hochzeitskapelle + Japanese Friends. For this is, indeed, music based in, and resonating with, friendship, camaraderie, collaboration, and creative exchange. Across two albums – one documenting recordings from Tokyo, the other an expansive double album of sessions from Kobe – Hochzeitskapelle gather around them some of the finest voices in Japanese independent and underground pop music, like Tenniscoats, Eddie Marcon, Yuko Ikema, and Kama Aina, and explore an open field of music, full of creative encounters.

You may already know Hochzeitskapelle as the German instrumental quintet formed by members of The Notwist, Alien Ensemble, and friends from the jazz scene. Across three albums, one a collaboration with Kama Aina (2018’s Wayfaring Suite), they’ve developed a way of playing together that’s intimate and playful, rich and human; it’s a music that’s deliberately rough around the edges, and that nestles cosily into the everyday. Their relationship with Japanese indie has developed over the years, doubtless encouraged by Saya´s „Minna Miteru“, compilations series of Japanese indie pop for Morr Music. A peripatetic gang, Hochzeitskapelle also recently backed Japanese singer-songwriter Makoto Kawamoto on her new album, Hikari.

In many ways, The Orchestra in the Sky feels like the culmination of a set of ongoing cross-cultural exchanges: the Minna Miteru compilations; tours of Japan by Hochzeitskapelle and The Notwist; and indeed, Markus Acher’s Spirit Fest group with Saya and Ueno of Tenniscoats. The latter are present throughout much of The Orchestra in the Sky, and Saya’s voice is particularly winning on songs like “Tsuki no oto”, where the two outfits are joined by brass ensemble Zayaendo. There are several lovely turns from singer-songwriter Yuko Ikema, and Eddie Marcon appear twice; their songs are still beautiful, spectral acid folk, but with Hochzeitskapelle filling the details with lush, sad brass and strings.

But it’s also the potentially lesser-known names that shine through The Orchestra in the Sky, like the frail folk of Gratin Carnival; the delightful, gentle pop songs by sekifu and Zayaendo member, Kanako Numata; a trio of beautiful, stumble-drunk melodies played in swaying consort with popo. That group, along with the presence of Zayaendo, Fuigo, and Mitamurakandadan?, make strong connections with the Japanese underground’s love of brass bands, partly informed by the tradition of chindon’ya, marching bands that walk the streets of Japanese cities. They also all appeared on the recent Alien Parade Japan compilation of such groups, assembled by Acher and Saya.

All things converge, then, on The Orchestra in the Sky, a smart, spirited collection of heavenly pop songs, intimate folk melodies, lungfuls of joyous brass, deep weeping strings, and swooning sighs. The last words go to Acher himself: “Many things we did in the last years come together here and it feels like something special was captured.” We hope you like what you hear.

New edition (3rd pressing) of this timeless Italian dark punk masterpiece, housed in a deluxe gatefold sleeve with 28 page 12"x12" book full of stunning drawings by Luca Abort, photos, liner notes and lyrics.. One of the most essential discographies in the whole history of Italian Punk! Nerorgasmo, the blackest and most sincere face of Torino's Dark/Punk nihilism in the '80s and early '90s, the true sound of urban decadence in the city that generated some of the most active and creative Hardcore Punk acts back in the "furious years".. This double LP is a complete collection of their recorded material, 44 Songs including: - the first legendary EP (1985) - s/t 1993 album remastered from the studio DAT - 9 studio tracks (1987) that have been only included in the F.O.A.D. reissues - a great selection of live recordings 1986-1993 The perfect crossover between the darkest Punk and that Death Rock vein that made their name so unique and appreciated far beyond the standard of the 80's Italian HC maniacs and collectors.

Glyphs & Gods is a “record that came to be through a channeling of sound in which Tristan & Titania were merely the vessels.” Enigmatic Belgian producer Tristan Vloeberghs (Ohm Meta, WAVradio, Friendship Tapes, Modus Operandi/ Out Innerspace) and Eva Van Deuren (Orphan Fairytale) allure listeners by way of illuminating drone and guiding harmonies that harkens in movements of shimmering reverberation, bent horns of hallowed chambers, animal breaths, and voice echos coming together into blissful sounding hazy nights like the the cicadas warming calls. Mother’s lullabies on the child being beckons for lifts & sparse piano riffs into disintegrating tones. Bubbling metallic bowl pangs, talons tapping over bongos of time, and creaking doorways sway in unison to show us a glimpse of their experience. It all has a sense of being a dangerous & soothing expedition simultaneously. So lay back, and let Tristan and Titania dial it in!

The Slow Readers Club follow their 2020 Top 10 album 'The Joy of the Return' with the release of their new record 'Knowledge Freedom Power. 'Knowledge Freedom Power'is a sizzling synth-rock beast of a record akin to White Lies, Muse and modern-day Bloc Party, and a rallying cry of emancipation, both stylistically and socially. It's a righteous punch of the air, a surge towards the future. Frontman Aaron Starkie says, "The world had got so bleak it felt a little indulgent to paint apocalyptic pictures when they were out in the real world. I thought people would probably want to hear more uplifting things, it was my intention to be a bit more positive. There's still a lot of melodrama in there and it's still dystopian in places but there's more positive shades in this record." That positivity powers to the fore with the album's lead single and title track, an instantly addictive hybrid of the band's new pulsating synth style with their anthemic alt - rock roots. As much as the record finds The Slow Readers Club channelling a brighter spirit, there's no dumbing down of their famously ferocious and insightful lyricism. A beam of hope shines throughout 'Sacred Song' : part in the form of a spiritual saviour, but also embracing the power of love as a force for good, something which can also be achieved by the friendship and community spirit infused in 'Lay Your Troubles On Me'. Yet a darkness still looms large, whether it's within the warmongering satire - and ultimately individual powerlessness - of 'Seconds Out' or the steady march of automation over the human workforce on opener 'Modernise' 'Knowledge Freedom Power' is the band's sixth album and the latest giant leap in one of the greatest self-made success stories in recent British rock history

“Last spring, Devendra Banhart and Noah Georgeson started to make a record that was like nothing they had made before _ an ambient album that would be both a haven from a suddenly terrified world and a heartfelt musical dialogue between two artists who have been friends and collaborators for over two decades. Refuge is an album of profound meditative beauty which offers the listener a much-needed sense of peace and renewal. But while it was recorded in 2020 its roots go back much further _ all the way to the start of their friendship and, beyond that, to the shared sounds and ethics of their childhoods. Devendra grew up in Venezuela while Noah, six years older, is a native of Nevada City, California. But as they got to know each other, they realised that they had a similar history in the New Age subculture of the 1980s: a world of meditation, Eastern music, the Bhagavad Gita and The Whole Earth Catalog. Childhood memories were coloured by the aromas of health food stores and the sound of New Age labels like Windham Hill Records. Noah, whose production and mixing credits include Joanna Newsom and the Strokes, came on board as co-producer of Devendra's 2005 album Cripple Crow and they have been working together ever since. It was while making Devendra's 2019 album Ma that the pair finally decided to make their ambient record. Despite complicating logistics, 2020 created an emotional craving for music with this contemplative, therapeutic quality. Inspired by both memories of the past and the needs of the present, Refuge is an act of companionship and generosity which gives the listener room to breathe. "We're hoping to create a sense of comfort and coming back to the moment," Devendra says. "It's really important to have a little bit of space between us and our anxieties and impulses. What you do with that space is up to you." - Dorian Lynskey May 2021

Following in the footsteps of the pathbreaking Minna Miteru compilation of Japanese indie music, Morr Music and Alien Transistor have again joined forces to release The Fruit Of Errata, a compilation introducing the world to the intimate DIY pop of yumbo. Led by songwriter, pianist, and occasional vocalist Koji Shibuya, the Japanese band has released four albums since forming in 1998. This compilation draws fifteen songs (eighteen on vinyl) from those albums, and some ancillary releases, to uncover a biographical narrative of yumbo, showing how Shibuya’s songwriting, and the group’s limber, sensitive playing, has developed over the decades. It also places them squarely within a tradition of home-spun but ambitious Japanese pop that takes in Maher Shalal Hash Baz, Tenniscoats, Nagisa Ni Te, Yuzo Iwata, Kazumi Nikaido and more.

yumbo is very much the vision of Shibuya, an amiable iconoclast whose songs seem informed by some of his early listening – there’s the playful seriousness of Maher Shalal Hash Baz’s Tori Kudo here, an avowed long-time hero for Shibuya, but also the flexibility of freely improvised music. You can also hear Shibuya’s fondness for Mayo Thompson and The Red Crayola in both the idiosyncracies of the writing and the egalitarian looseness of the playing. Shibuya also carries those energies into the group’s membership – there are fantastic stories of him having a conversation at a record shop, or overhearing someone speaking, and asking the person in question to join yumbo as one of their various singers. He seems open to chance as a driving force, as a way to make space for unexpected possibilities to blossom.

The great achievement of yumbo and Shibuya, though, is translating all of this into beautiful, unpredictable pop songs. There’s a gorgeous soul-inflected lilt to “A House” that makes it delightfully affecting; the swaying brass on “Storm” propels its melody to a moody, dreamlike conclusion; the nakedness of “The Sweetest Mass” is slightly reminiscent of Carla Bley’s more pop-focused writing, crossed with the classicism of the songs that spilled from the Brill Building in the ‘60s. Throughout, Shibuya renders pop a deeply personal experience; you can hear musings here on friendship, family, intimacy, the complexity of relationships, mortality, and imbalances of power. These musings are also shadowed by real-life events: the effects and impact of the Great East Japan Earthquake of 2011 are captured in songs like “Umbrella People” from Onibi.

Throughout the performances on The Fruit Of Errata, Shibuya and the group play with tenderness; they also often draw on other players to flesh out the music even further, two such guests being the aforementioned Tori Kudo (on “Umbrella People”) and Olympia, Washington’s Lake (on “The Devil Song”). Community-minded and generous in approach, the writing of Shibuya and the music of yumbo is never less than lovely, and The Fruit Of Errata is a welcome introduction to their world. Open and gentle, confident and generous, these pop songs are filled with charm and spirit.

Spanish indie pop band Love of Lesbian present their new album, three years after their successful album "VEHN", which took them on several tours through Spain, Mexico, the United States, and more Latin American countries, and they were nominated for several Latin Grammys. With "Ejército de Salvación" they have made a record where friendship dominates the album. Featuring several guest artists, making an already giant album bigger, these great new songs represent a refresher for the band's repertoire, and the first preview of the album, "Contradicción" is a major single. The album was produced by the usual Love of Lesbian team, featuring Ricky Falkner, Santos & Fluren.

Why you'll love it...
Amelia Meath and Alexandra Sauser-Monning have been sharing the stage for upwards of fifteen years; they have now come together for a new band called The A's. Their debut album, Fruit, shares a beautiful ten-song collection that features covers of folk songs, lullabies, ballads and more. The album includes their rendition of “He Needs Me,” the Harry Nilsson and Shelley Duvall classic from 1980’s Popeye along with standouts like the ballads “Swing and Turn Jubilee,” “Copper Kettle,” “Buckeye Jim” and others. Fruit is a glimpse a deep collaboration and friendship between the two artists and bandmates.

Limited to 400 copies, the VMP exclusive edition of The A's Fruit is pressed on 1LP Banana Yellow vinyl at Citizen Vinyl. The album will arrive in gatefold direct-to-board, hand-numbered jacket. It's mastered by Patricia Sullivan of Bernie Grundman Mastering.

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. Although Gordon's music at times incorporated powwow style drumming, fiddling, or unaccompanied ballad singing, the majority of it hews to an idiosyncratic spoken word style, accompanied by atmospheric, sometimes synth-damaged country-rock that skirts ambient textures and postpunk deconstructions. His songs are essentially recitations over backing tracks of finger picked 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. My life has been Indian and/or white. Maybe there's not a lot of difference-maybe. I guess that's mostly according to which white person or which Indian you're talking about. That's probably what this album's about. 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.

limited edition

Steve Earle has been creating intimate and personal music for well over four decades now. His songwriting has wound itself along a path from Texas to Tennessee and his education came in the form of learning from the best. 2009's Grammy-nominated record, Townes was a tribute to his dear friend and mentor, Townes Van Zandt. Ten years later Earle released, GUY. An album concentrated on paying homage to the late Guy Clark and the indelible friendship that they had formed in stories told through song. 2022 welcomes the release of Jerry Jeff. A 10-song collection of songs written by the gypsy songman, Jerry Jeff Walker. Featuring hits like, "Mr Bojangles" and "Gettin' By", Earle & The Dukes honor the late Texan by amplifying the concept and sound of each song with a full-band recording.

Just over a decade ago, Japanese indie-pop duo Tenniscoats recorded »Papa's Ear« (2012) and »Tan-Tan Therapy« (2007), two albums made with musical and production help from Swedish post-rock/folk trio Tape. Originally released on Häpna, they are beautiful documents of the exploratory music made by a close-knit collective of musicians, fully at ease with each other, playing songs written by Tenniscoats and arranging them in gentle and generous ways. Released during a particularly productive time for Tenniscoats – during the late ‘00s and early ‘10s, they would also collaborate with Jad Fair, The Pastels, Secai and Pastacas – they have, however, never been available on vinyl. In collaboration with Alien Transistor, Morr Music is now reissuing these albums both digitally and on double vinyl, with extra tracks.

This reissue mini-series starts with »Papa’s Ear«. The second album from this expanded line-up of Tenniscoats, you can hear the musicians are immediately comfortable in each other’s presence, and they’ve almost intuitively understood what they can offer to one another. Saya and Ueno of Tenniscoats bring their magical, gentle folk-pop sensibility, and their winning way with straightforward, yet lush melodies. Johan Berthling, along with fellow Tape member Tomas Hallonsten, plus guests Fredrik Ljungkvist, Lars Skoglund, Andreas Söderstrom and Andreas Werlin, all generous and creative presences in the Swedish jazz underground, shades in the songs with endlessly inventive arrangements, highlighting the warmth and curiosity at the core of the Tenniscoats’ aesthetic – sometimes taking the songs in unexpected directions, other times pillowing the melodies with the softest of brushstrokes and the kindest of tones.

»Papa’s Ear« includes some of Tenniscoats’ most memorable songs. »Papaya« is a lustrous dreamland of a song, with the Swedish musicians singing ‘pa-pa-ya’ as an enchanted tattoo, while Saya’s piano and melodica clank and huff out, further expanding the song’s horizon. It’s followed by the spindly and mysterious »Sappolondon«, where drums and double-bass shuffle and pulse under weeping accordion and bittersweet clarinet. Saya’s voice sighs into the frame while the musicians breathe lungfuls of sweet drones and flick glittering countermelodies across the song’s surface. It reminds a little of the wild kindness of Movietone, or the regal charm of Carla Bley’s compositions.

Elsewhere, you can hear Tape and their friends embracing the freedom offered by the songs of Tenniscoats: see, for example, the glistening electronics in »På floden«, like a keyboard conducting a music box on a distant planet; or the descending phrase for winds on »Sabaku«, dovetailing beautifully into a creek of moon-lit texturology. The double-LP ends with two extra tracks, drawn from the 2008 Tenniscoats/Tape split single, also released by Häpna., »Lutie Lutie« is a sweet delight, driven by a clacking drum machine, the Tenniscoats duo joined by Hallonsten on glockenspiel and synthesizer, and special guest, Japanese indie-pop legend Kazumi Nikaido, as choir. »Come Maddalena« rounds off the set, a brooding cover of an Ennio Morricone tune, the music by Tape, the vocals by Tenniscoats and Nikaido. Open-hearted and full of puckish spirit, »Papa’s Ear« is an album of great tenderness and warm friendship.

Steve Earle has been creating intimate and personal music for well over four decades now. His songwriting has wound itself along a path from Texas to Tennessee and his education came in the form of learning from the best. 2009's Grammy-nominated record, Townes was a tribute to his dear friend and mentor, Townes Van Zandt. Ten years later Earle released, GUY. An album concentrated on paying homage to the late Guy Clark and the indelible friendship that they had formed in stories told through song. 2022 welcomes the release of Jerry Jeff. A 10-song collection of songs written by the gypsy songman, Jerry Jeff Walker. Featuring hits like, "Mr Bojangles" and "Gettin' By", Earle & The Dukes honor the late Texan by amplifying the concept and sound of each song with a full-band recording.

After exploding onto the scene and turning just about every head in the reggae and ska world with their debut LP "Dirty Reggae", this upstart group of hooligans set their sights on bigger stages, and new opportunities. With those leagues of new fans and burgeoning aspirations came lasting friendships and partnerships with Tim Armstrong and others in the Rancid/Hellcat/Epitaph family. They saw, heard and quickly dove in, supporting in the potential of this truly unique group any way possible. This, their self-titled LP debut on Hellcat Records (originally released in 2006) really became the fuel in the tank sending this band across the globe and back, bringing their ‘dirty reggae’ to the masses. Shockingly, the vinyl has been out of print for far too long - and being a key piece of the band's history, and a staple for many of us Pirates, we absolutely couldn’t let that persist. With huge thanks to Epitaph/Hellcat and everyone who has made this record what it is to so many millions of people, the Pirates are unbelievably proud to bring you this repress - a true gem, in all its brilliance!

The Quickening is an improvised work guided by emotional intuition and an ability to spin collective experience into music of potent and boundless beauty. Jim White and Marisa Anderson instrumental voices' are unmistakable and spellbindingly lyrical. Anderson unravels global guitar traditions into atmospheres all their own through improvisations and transforming melodic lines. While White implements an array of sticks, brushes, and techniques that imbue each rhythmic percussion passage with its own distinct personality. Together their melodic flourishes cascade and twist upon one another, at times trading conversational exchanges, and at others drifting in unison as if lost in the same train of thought. White and Anderson share an abounding appetite for musical exploration. White, as a member of Venom P Stinger, Dirty Three, and Xylouris White, is well known for his creative and idiosyncratic drumming. His singular abilities have also led to collaborations with Cat Power, PJ Harvey, and Bill Callahan among others. Anderson's prolific output as a solo performer, her mastery of traditional folk and blues forms and her abilities to make them entirely her own has established her as one of the most exciting and forward-thinking guitarists of the last decade. White and Anderson's considerable technical skills are used in the most inventive and unconventional manner on their debut duo recording, The Quickening. The duo' friendship and shared explorative nature inform these warm and daring improvisations. Their remarkable performances take the listener on a journey of exuberant discovery. The idea of a collaboration developed while on the road together in 2015, Anderson playing solo and White playing with Xylouris white. The Quickening began at the Portland studio Type Foundry in late 2018, where the duo initially agreed to meet and improvise and record. Happy with the recordings, the duo headed to Mexico City and into Estudios Noviembres, a time capsule of a studio from the 70's that had been largely closed before some young engineers took it over. The "slight disorientation" of working in less familiar environments mirrored their willingness to plunge headfirst into exploring new sonic territory together. Anderson purchased a new nylon string Ramos-Castillo guitar from a Mexican luthier just ahead of recording which leant to the spontaneity of "The Lucky" and "The Quickening". The duo did not rehearse or perform together prior to the recording sessions; as White puts it, "it's good to suspend disbelief at this stage of playing."

* LP available on Standard Black Wax plus Special Limited Color Editions
* First ever reissue of Nancy & Lee’s 1972 classic
* Includes bonus tracks “Machine Gun Kelly” and the previously unreleased “Think I’m Coming Down”
* Newly remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin
* Vinyl pressed at RTI
* Beautifully packaged and expanded gatefold LP featuring a 20-page booklet
* Q&A with Nancy & GRAMMY®-nominated reissue co-producer Hunter Lea
* Never-before-seen photos from Nancy Sinatra’s personal archive
* CD housed in a digipak and featuring a 28-page booklet
* 8-track also available
* Actual LP pressing color may differ from mock-up image

Light in the Attic Records is proud to present the next installment of the _Nancy Sinatra Archival Series_ with the first ever reissue of the classic 1972 album _Nancy & Lee Again_. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair’s most enduring and ambitious duets including the epic ”Arkansas Coal (Suite),” the sensual “Paris Summer” and the incredibly powerful Dolly Parton-penned “Down From Dover.” Equal parts daring, psychedelic, cinematic, and sweet, _Nancy & Lee Again_ reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come.

_Nancy & Lee Again_ is available in a variety of formats, including vinyl, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist’s personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue’s Grammyâ®-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, “Machine Gun Kelly” (first time on vinyl) and the previously unreleased “Think I’m Coming Down.”

In addition to the black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores and select online retailers.

A limited-edition merchandise capsule, including a custom chain stitched denim jacket, embroidered pillow, canvas tote and apparel collaboration with LA-based Midnight Rider will accompany the release at Nancy’s Bootique at *NancySinatra.com*.

Nancy’s impact on fashion, music, and culture will also be celebrated at Modernism Week in Palm Springs this February with three events, including a roundtable discussion featuring Kii Arens (Visual Artist), Alison Martino (Vintage Los Angeles), Hunter Lea (Record Producer), Don Randi (The Wrecking Crew), and Amanda Erlinger (daughter of Nancy Sinatra, and co-author of the book _Nancy Sinatra: One For Your Dreams_), a double decker bus tour featuring audio commentary from Nancy at notable locations, and a Nancy Sinatra Tribute street party on Arenas to close out the week’s festivities.

*more About _nancy & LEE AGAIN_:*

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s _Nancy & Lee Again_, a follow-up to their bestselling duet debut, _Nancy & Lee_. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, _Cowboy in Sweden_. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout _Nancy & Lee Again_, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on _Nancy & Lee Again_ is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

The song “Friendship Train” could also be interpreted as an apology of sorts – this time to Nancy. “You've been hurt and I've been hurt/Now we're living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet – a slice of ‘70s pop perfection – offers reaffirming words of love between friends. “[Lee] felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of _Nancy & Lee Again_ also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of [Lee’s] drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

_Nancy & Lee Again_ remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, _Record World_, and _Cash Box_, among others. Yet, _Nancy & Lee Again_ never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the Grammy⮠Hall of Fame. That same year, Sinatra partnered with Light in the Attic for *Nancy Sinatra: Start Walkin’ 1965-1976*, a definitive survey of her most prolific period. Lita has also reissued Sinatra’s classic debut, *Boots*, and her iconic, 1968 album with Lee Hazlewood, *Nancy & Lee*. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

* LP available on Standard Black Wax plus Special Limited Color Editions
* First ever reissue of Nancy & Lee’s 1972 classic
* Includes bonus tracks “Machine Gun Kelly” and the previously unreleased “Think I’m Coming Down”
* Newly remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin
* Vinyl pressed at RTI
* Beautifully packaged and expanded gatefold LP featuring a 20-page booklet
* Q&A with Nancy & GRAMMY®-nominated reissue co-producer Hunter Lea
* Never-before-seen photos from Nancy Sinatra’s personal archive
* CD housed in a digipak and featuring a 28-page booklet
* 8-track also available
* Actual LP pressing color may differ from mock-up image

Light in the Attic Records is proud to present the next installment of the _Nancy Sinatra Archival Series_ with the first ever reissue of the classic 1972 album _Nancy & Lee Again_. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair’s most enduring and ambitious duets including the epic ”Arkansas Coal (Suite),” the sensual “Paris Summer” and the incredibly powerful Dolly Parton-penned “Down From Dover.” Equal parts daring, psychedelic, cinematic, and sweet, _Nancy & Lee Again_ reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come.

_Nancy & Lee Again_ is available in a variety of formats, including vinyl, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist’s personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue’s Grammyâ®-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, “Machine Gun Kelly” (first time on vinyl) and the previously unreleased “Think I’m Coming Down.”

In addition to the black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores and select online retailers.

A limited-edition merchandise capsule, including a custom chain stitched denim jacket, embroidered pillow, canvas tote and apparel collaboration with LA-based Midnight Rider will accompany the release at Nancy’s Bootique at *NancySinatra.com*.

Nancy’s impact on fashion, music, and culture will also be celebrated at Modernism Week in Palm Springs this February with three events, including a roundtable discussion featuring Kii Arens (Visual Artist), Alison Martino (Vintage Los Angeles), Hunter Lea (Record Producer), Don Randi (The Wrecking Crew), and Amanda Erlinger (daughter of Nancy Sinatra, and co-author of the book _Nancy Sinatra: One For Your Dreams_), a double decker bus tour featuring audio commentary from Nancy at notable locations, and a Nancy Sinatra Tribute street party on Arenas to close out the week’s festivities.

*more About _nancy & LEE AGAIN_:*

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s _Nancy & Lee Again_, a follow-up to their bestselling duet debut, _Nancy & Lee_. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, _Cowboy in Sweden_. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout _Nancy & Lee Again_, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on _Nancy & Lee Again_ is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

The song “Friendship Train” could also be interpreted as an apology of sorts – this time to Nancy. “You've been hurt and I've been hurt/Now we're living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet – a slice of ‘70s pop perfection – offers reaffirming words of love between friends. “[Lee] felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of _Nancy & Lee Again_ also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of [Lee’s] drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

_Nancy & Lee Again_ remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, _Record World_, and _Cash Box_, among others. Yet, _Nancy & Lee Again_ never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the Grammy⮠Hall of Fame. That same year, Sinatra partnered with Light in the Attic for *Nancy Sinatra: Start Walkin’ 1965-1976*, a definitive survey of her most prolific period. Lita has also reissued Sinatra’s classic debut, *Boots*, and her iconic, 1968 album with Lee Hazlewood, *Nancy & Lee*. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

* LP available on Standard Black Wax plus Special Limited Color Editions
* First ever reissue of Nancy & Lee’s 1972 classic
* Includes bonus tracks “Machine Gun Kelly” and the previously unreleased “Think I’m Coming Down”
* Newly remastered from the original analog tapes by GRAMMY®-nominated engineer John Baldwin
* Vinyl pressed at RTI
* Beautifully packaged and expanded gatefold LP featuring a 20-page booklet
* Q&A with Nancy & GRAMMY®-nominated reissue co-producer Hunter Lea
* Never-before-seen photos from Nancy Sinatra’s personal archive
* CD housed in a digipak and featuring a 28-page booklet
* 8-track also available
* Actual LP pressing color may differ from mock-up image

Light in the Attic Records is proud to present the next installment of the _Nancy Sinatra Archival Series_ with the first ever reissue of the classic 1972 album _Nancy & Lee Again_. Recorded during a 1972 reunion between Nancy and the enigmatic Hazlewood, the album contains some of the pair’s most enduring and ambitious duets including the epic ”Arkansas Coal (Suite),” the sensual “Paris Summer” and the incredibly powerful Dolly Parton-penned “Down From Dover.” Equal parts daring, psychedelic, cinematic, and sweet, _Nancy & Lee Again_ reveals with each track a timeless, natural chemistry between two artists who would remain influential for generations to come.

_Nancy & Lee Again_ is available in a variety of formats, including vinyl, CD, 8-track, and digital. The vinyl LP, pressed at Record Technology, Inc. (rti), is presented in an expanded gatefold jacket and is accompanied by a 20-page booklet, featuring an array of photos from the legendary singer, actress, and activist’s personal collection, as well as in-depth Q&A with Nancy Sinatra, conducted by the reissue’s Grammyâ®-nominated co-producer, Hunter Lea (also available in the CD package). All formats have been beautifully designed by Darryl Norsen of D. Norsen Design, and include two bonus tracks, “Machine Gun Kelly” (first time on vinyl) and the previously unreleased “Think I’m Coming Down.”

In addition to the black vinyl pressing, a selection of colorful variants can be found exclusively at NancySinatra.com, LightInTheAttic.net, independent record stores and select online retailers.

A limited-edition merchandise capsule, including a custom chain stitched denim jacket, embroidered pillow, canvas tote and apparel collaboration with LA-based Midnight Rider will accompany the release at Nancy’s Bootique at *NancySinatra.com*.

Nancy’s impact on fashion, music, and culture will also be celebrated at Modernism Week in Palm Springs this February with three events, including a roundtable discussion featuring Kii Arens (Visual Artist), Alison Martino (Vintage Los Angeles), Hunter Lea (Record Producer), Don Randi (The Wrecking Crew), and Amanda Erlinger (daughter of Nancy Sinatra, and co-author of the book _Nancy Sinatra: One For Your Dreams_), a double decker bus tour featuring audio commentary from Nancy at notable locations, and a Nancy Sinatra Tribute street party on Arenas to close out the week’s festivities.

*more About _nancy & LEE AGAIN_:*

The incongruous, yet glorious, creative partnership between Nancy Sinatra and Lee Hazlewood was well underway when the two singular artists reunited to record 1972’s _Nancy & Lee Again_, a follow-up to their bestselling duet debut, _Nancy & Lee_. Nancy, the eldest daughter of Frank Sinatra, had been working with the Oklahoma-born songwriter since 1965, when she topped the pop charts with “These Boots Are Made For Walkin’.” Over the next five years, the two artists forged a prolific relationship in the studio, with Hazlewood writing and producing many of Nancy’s solo hits. Soon, the duo found success with a series of duets, including “Sand,” “Summer Wine,” and “Some Velvet Morning” – all of which appeared on their highly-influential 1968 debut.

Not long after the critical acclaim and chart success of Nancy & Lee died down, however, Hazlewood unexpectedly relocated to Sweden, leaving his musical partner in the proverbial dust. America, meanwhile, was in the midst of a cultural shift, as the Vietnam War waged on. By the turn of the decade, the musical landscape had changed significantly. “Trivial music and not profound music became unimportant,” recalls Nancy, speaking to Hunter Lea. “It was a tough time.” And yet, despite the circumstances, the stars somehow aligned for the duo to record some of their most magnificent music together.

Returning to Los Angeles for the project, Hazlewood – who reprised his role as producer – chose to take a new direction with the duo’s sophomore album. Nancy recalls, “It was more dramatic; it was more fun to do, more challenging to do…. It was more grandiose.” For the lush, orchestral arrangements, they collaborated with Larry Muhoberac (an original member of Elvis Presley’s TCB band, whose early ‘70s credits also included Barbra Streisand, Neil Diamond, and Lalo Schifrin) and Clark Gassman, who had worked on Hazlewood’s 1970 LP, _Cowboy in Sweden_. Backing vocals from brothers John and Tom Bahler, who remain two of the most recorded singers in history, added additional texture to several songs.

The big sound that Nancy describes above is exemplified in the album’s cinematic opener, “Arkansas Coal (Suite).” Clocking in at nearly six minutes long, the dynamic overture tells the tale of an ill-fated coal miner (sung by Hazlewood), while Nancy adjusts her vocals to sing as both the miner’s daughter and his wife. Hazlewood’s knack for vivid, nuanced storytelling shines throughout _Nancy & Lee Again_, particularly in “Paris Summer,” which details the conflict that a married woman faces, as she engages in a passionate affair. Another highlight is the country-inspired hit, “Did You Ever,” which was released as the album’s lead single. After it landed at No.2 on the U.K. pop charts, the song served as an alternate title track in several countries, including LP pressings in the U.K., Germany, and Canada.

One of the most emotionally-charged moments on _Nancy & Lee Again_ is a cover of Dolly Parton’s “Down From Dover.” The heartbreaking tune tells the tale of a pregnant teenager, who has been abandoned by her lover and her family and ultimately gives birth to a stillborn baby. While Parton’s 1970 version was sung from the teenager’s point of view, Hazlewood and Sinatra transformed the country song into a duet. Hazlewood, who offers the man’s side of the story, sings in a notably deeper octave than his signature baritone.

Another poignant selection is “Congratulations,” which describes a soldier coming home from Vietnam. “His face has grown old and his eyes have grown cold/And they tell you of where he has been/Congratulations, you sure made a man out of him,” Hazlewood sings, pointedly. Nancy, who performs as the vet’s wife, argues that the song had a deeper meaning for her duet partner. “Lee started out a hawk, he was an army guy, so he was all for the war in the beginning. We didn’t talk about it, but at some point, he changed radically. ‘Congratulations’ was almost like an apology from him. I don’t want to put words in his mouth, but it was as though he was saying ‘I’m really sorry.’”

The song “Friendship Train” could also be interpreted as an apology of sorts – this time to Nancy. “You've been hurt and I've been hurt/Now we're living pain,” the tune opens. When Hazlewood moved to Sweden without telling his longtime musical partner, Sinatra was understandably upset. “I felt pretty betrayed. I mean, who does that? Who just up and disappears like that? I’ll never understand it,” she reveals. But the uplifting duet – a slice of ‘70s pop perfection – offers reaffirming words of love between friends. “[Lee] felt things very deeply and tended to express his feelings in song instead of in real life,” explains Nancy.

The 10-track album closes with the stripped-down “Got It Together.” Backed by an acoustic guitar, the song is equal parts playful and candid, as the duo has an impromptu, spoken-word conversation about their lives. “I wish that we’d quit getting so old,” laments Nancy, who later shares her wish to have children (she would do so in the next few years). Hazlewood, meanwhile, attempts to remedy his past wrongdoings – this time asking his partner, “Can I go back to Sweden?” With that, Nancy gives her blessing.

This definitive reissue of _Nancy & Lee Again_ also includes two bonus tracks. Both are stylistic departures for the duo – but fit right in with the psychedelic pop of the era. The first one, “Think I’m Coming Down,” is a harmony-filled reflection on a toxic relationship. “I think that was one of [Lee’s] drug things. I don’t mean that he used drugs; I mean that he was trying to be part of that culture. Trying to be hip,” explains Nancy, who delivers an emotive vocal performance on the solo track. Also included is “Machine Gun Kelly,” penned by a staple of the 70s singer-songwriter movement, Danny Kortchmar (James Taylor, Carole King, Linda Ronstadt). Recorded several months after the release of the album, the song found Nancy reuniting with Billy Strange, who arranged many of her solo albums, as well as Nancy & Lee. Sinatra and Hazlewood first performed “Machine Gun Kelly” during their residency at Las Vegas’ Riviera Hotel in February 1972 (later released as a concert documentary on Swedish television). While the recording has long remained a career favorite of Nancy’s, it would be decades before it was officially released.

_Nancy & Lee Again_ remains a creative high point in the careers of Sinatra and Hazlewood and, upon its release, garnered rave reviews from Billboard, _Record World_, and _Cash Box_, among others. Yet, _Nancy & Lee Again_ never received the spotlight it so utterly deserved. “We didn’t have label support at all in those days,” recalls Nancy. “Without the strength of a label, records die. We were old. We were old-fashioned. We were just not what was happening. It’s a very ageist kind of business.” Nevertheless, she adds, “I think it’s a very good album. I think it’s timeless.” Now, after years of being a sought-after rarity, this gem in the Sinatra-Hazlewood canon can finally get its due.

Five decades later, Nancy’s legacy only continues to grow, as new generations discover her impressive catalog (which boasts nearly 20 studio albums – her duets with Hazlewood among them – and dozens of charting singles, including the theme song to the 1967 James Bond film, You Only Live Twice). In 2020, Sinatra was recognized by her peers when “These Boots Are Made For Walkin’” was inducted into the Grammy⮠Hall of Fame. That same year, Sinatra partnered with Light in the Attic for *Nancy Sinatra: Start Walkin’ 1965-1976*, a definitive survey of her most prolific period. Lita has also reissued Sinatra’s classic debut, *Boots*, and her iconic, 1968 album with Lee Hazlewood, *Nancy & Lee*. The label looks forward to celebrating Nancy over the coming years with a variety of special releases, exclusive merchandise, and more.

Red Hot Chili Peppers will unveil their new album and twelfth full-length offering, Unlimited Love [Warner Records], on April 1, 2022. It notably marks their first recording with guitarist John Frusciante since 2006 and first with producer and longtime collaborator Rick Rubin since 2011. To herald Unlimited Love, the Los Angeles band just shared the first single and music video “Black Summer.”



“Our only goal is to get lost in the music. We (John, Anthony, Chad and Flea) spent thousands of hours, collectively and individually, honing our craft and showing up for one another, to make the best album we could. Our antennae attuned to the divine cosmos, we were just so damn grateful for the opportunity to be in a room together, and, once again, try to get better. Days, weeks and months spent listening to each other, composing, jamming freely, and arranging the fruit of those jams with great care and purpose. The sounds, rhythms, vibrations, words and melodies had us enrapt.



We yearn to shine a light in the world, to uplift, connect, and bring people together. Each of the songs on our new album UNLIMITED LOVE, is a facet of us, reflecting our view of the universe. This is our life’s mission. We work, focus, and prepare, so that when the biggest wave comes, we are ready to ride it. The ocean has gifted us a mighty wave and this record is the ride that is the sum of our lives. Thank you for listening, we hope you enjoy it.

ROCK OUT MOTHERFUCKERS!” - Anthony Kiedis, Flea, Chad Smith, John Frusciante



On lead track “Black Summer,” ethereal guitar underlines introspective lyrics as the rhythm unlocks a hypnotic drum groove highlighted by evocative bass. It quietly inhales only to exhale with a massive refrain, “It’s been a long time since I made a new friend, waiting on another black summer to end,” before a guitar solo echoes to the heavens and back.



Unlimited Love resumes a three-decade partnership with Rick Rubin [Johnny Cash, Adele]. Their creative collaboration spans legendary albums, including the diamond-selling Blood Sugar Sex Magik [1991], Californication [1999], By The Way [2002], and Stadium Arcadium [2006].



The interplay between the band borders on intergalactic once again—yet elevated to another stratosphere altogether. Unlimited Love represents the united spirit of four individual souls still fearlessly exploring the future of their eternal friendship and musical congregation.



This summer, Red Hot Chili Peppers will launch their first tour in support of Unlimited Love. They’ve invited a dynamic cohort of guests along for the ride at select dates, including Anderson.Paak & The Free Nationals and Thundercat and will be playing stadium dates in the UK in June 2022.

“Last spring, Devendra Banhart and Noah Georgeson started to make a record that was like nothing they had made before _ an ambient album that would be both a haven from a suddenly terrified world and a heartfelt musical dialogue between two artists who have been friends and collaborators for over two decades. Refuge is an album of profound meditative beauty which offers the listener a much-needed sense of peace and renewal. But while it was recorded in 2020 its roots go back much further _ all the way to the start of their friendship and, beyond that, to the shared sounds and ethics of their childhoods. Devendra grew up in Venezuela while Noah, six years older, is a native of Nevada City, California. But as they got to know each other, they realised that they had a similar history in the New Age subculture of the 1980s: a world of meditation, Eastern music, the Bhagavad Gita and The Whole Earth Catalog. Childhood memories were coloured by the aromas of health food stores and the sound of New Age labels like Windham Hill Records. Noah, whose production and mixing credits include Joanna Newsom and the Strokes, came on board as co-producer of Devendra's 2005 album Cripple Crow and they have been working together ever since. It was while making Devendra's 2019 album Ma that the pair finally decided to make their ambient record. Despite complicating logistics, 2020 created an emotional craving for music with this contemplative, therapeutic quality. Inspired by both memories of the past and the needs of the present, Refuge is an act of companionship and generosity which gives the listener room to breathe. "We're hoping to create a sense of comfort and coming back to the moment," Devendra says. "It's really important to have a little bit of space between us and our anxieties and impulses. What you do with that space is up to you." - Dorian Lynskey May 2021

Using the word ‘mature’ to describe a band’s new album is often a euphemism for a record devoid of the ideas or spirit that made them interesting in the first place. Bassist Jenny Lee Lindberg has labelled Warpaint’s third album exactly that, but there’s no need to panic: these LA ladies have broken with tradition and made a ‘mature’ album that doesn’t mean they’ve bypassed fun.

Where the Californian quartet’s previous records (2010’s ‘The Fool’, 2014’s ‘Warpaint’) have focused heavily on building an intense mood, ‘Heads Up’ instantly feels more spontaneous and relaxed. Its glittering peak, ‘New Song’, was born out of the band larking around and singing about playing a, well, new song. It’s easily their best tune to date; a huge slab of euphoric pop that begs you to hit the repeat button. The title track shares a similar nagging energy, but manifests it in a Cure-style bassline and Emily Kokal and Theresa Wayman’s gleaming post-punk guitars.
In interviews, the group have said they wanted to make the album more representative of the excitement of their live shows. To do so, they’ve brought their dancier influences to the fore, stripping away a lot of the hazy, brooding atmospherics they used to cloak their songs in and ending up with a sound that’s 10 times more immediate. ‘So Good’ bounces along on Lindberg’s elastic bassline and the minimal ‘By Your Side’ is an ode to female friendship that has them singing “Got my girls, I’m not alone” to drummer Stella Mozgawa’s twitchy, hip-hop-inspired beat.

Like their self-titled album’s ‘Biggy’, ‘Heads Up’ also makes reference to an iconic hip-hop star. ‘Dre’ doesn’t sound overtly like its namesake – it’s too languid and lacking even the slightest vigour – but it apes the genre he works in with a foundation of processed beats and synths, and guitars that are chopped up to sound like they’ve been sampled. It’s symptomatic of the album as a whole – more adventurous and free-spirited than the ‘Warpaint’ of before, but retaining the laid-back DNA at their core. For once, Warpaint sound like they’re having fun – and it suits them. - NME 4/5

Deluxe Edition = "Queen's Tassel Pink" Vinyl + bonus 7".Video Age make breezy and timeless songs that are so ineable,they can only be the result of a decades-long friendship andsongwriting partnership. Across four albums, Ross Farbe and RayMicarelli have gleefully worn their influences on their sleeve,writing inviting tunes that reference sounds ranging from disco topop and indie rock. On their latest LP, Away From The Castle, theNew Orleans duo have strayed from nostalgia and instead havehoned their own unique musicality, making songs that sound likethemselves with a taste of inspiration from classic singer-songwritersof the 60s and 70s. The album is a testament to thepossibilities that come from getting out of your comfort zone, thefreedom of writing vulnerably and unselfconsciously, and the joysof getting to work with your closest companions.After releasing and eventually touring their critically-acclaimedthird album Pleasure Line in 2020, Farbe and Micarelli soughtinspiration for their next project through collaboration. Theyworked with Drugdealer on his album Hiding In Plain Sight,Micarelli gigged throughout New Orleans' jazz and blues scenes,and Farbe recorded local artists at his home studio, most recentlyproducing Esther Rose's new album Safe to Run. Feelingrefreshed, they rented a cabin in Eunice, Louisiana with touringmembers Nick Corson and Duncan Troast, where they spent eightdays in August 2022 jamming, cooking and writing together.Through this process, Video Age have made their best collectionof tracks to date by perfectly alchemizing their influences andexperiences into a record still tinged with nostalgia, but movingtowards a more succinct and authentic voice. Away From TheCastle is a document of a band having fun and rediscovering theirlove for making music together, but it's also their most honest andpersonal work yet-Video Age distilled to its purest form.

Reissued on limited edition 180 gram Clear vinyl. On The Blackened Air (her second album but first for Touch and Go, originally released in 2002), Nina Nastasia and her band are not content to just support a vocal melody; they pry it apart and look down its throat. The stringed and wind instruments (viola, cello, mandolin, accordion, bowed saw, acoustic and electric guitars) reach up out of the songs into rarefied territory. Little stories of Peeping Toms and the police lights they bring with them, graveyards and impolite family, epigrams against disaster, depression, simple forgetfulness, all delivered so effortlessly that the precision of the delivery registers long after its substance has left its mark. When she sings "I'm not hiding anything / I'm not trying to fool you at all," in a song titled "That's All There Is," it is all the truth.A generation-plus of young troubadours pine for things they never had to lose, as if sadness and depression were inevitable consequences of being alive. Nastasia's music is an antidote to all of that. The Blackened Air is a darkish record not just in title, but by examining everything without caving in to decadence or solipsism, it is a rejuvenating experience. It is informed, without affect, unique, and succinct. Above all, it is beautiful to hear and a pleasure to have in one's home.

Quatro Muchachos is the third Man-Eaters entry in an ongoing tale of crushingly primal punk rock that asks only one question of its listeners, will you raise your lighter to their rock? Inhale, hold, and release. Get ready for a lifelong addiction to the purest rock on the streets. Firing on all conceivable cylinders on this junior effort, the album works as a veritable best of for the band. The purest, and most refined Eaters effort to date. Bringing to mind the best elements of Hot steel and acid-era Nervous Eaters, The Album by Eater, tinges of A Minute to Pray a Second to Die Flesh Eaters, and the 70s psychedelic progressive Welsh group Man. Yet, neither nervous, children, or fans of prog rock, Man-Eaters third installment sways distinctly on a playing field of its own. Hailed the world over for their bombastic and crystal-clear sound and image, unforgettable, and sometimes forgettable live performances, and immortal hymns. Punk Rock Legends Man-Eaters have changed the lives of Rockers for more than four years plus. With powerful storytelling, their music and concerts bring to life universal themes like friendship, loyalty, and integrity. Man-Eaters unite people of all ages and backgrounds in a worldwide community, providing them with motivation and inspiration to achieve their dreams, overcome, and conquer any obstacles in their path, and to write their own history. With unfaltering courage, always true to themselves, Man-Eaters have endured and inspire victory to all who come to know them. They give their fans what they love them for; massive, powerful soundtrack of their lives, songs that celebrate the audacity of the individual and the spirit of the community. Deeply embedded into the inner core of the hardest of rock, dwells these quatro muchachos, unaffected by the modern world, hard at work erecting, and orchestrating the foundations of rock pillars that this entire world rests upon. The boys are back, and god dammit they’ve done it again.

Dark Evergreen VInyl. The odd couple of Kristian Dunn (El Ten Eleven) and Damon Che (DonCaballero) was the result of some clever musical matchmaking by KarlHofstetter, founder and curator of Joyful Noise Recordings. Karl introducedDunn and Che via email in April 2023 after Dunn's prolific output outgrew theresources and abilities of his instrumental duo El Ten Eleven. Less than a yearlater, after countless text messages and song sketches were exchanged, andone fateful meeting at a recording studio was organized, their nascent project'sdebut record, See You at the Solipsist Convention, was complete.Despite Che's initial unfamiliarity with Dunn's musical output, their personalitiesbridged any and all gaps_both Che and Dunn share a flair for thecomically absurd and musically adventurous, a mindset that shines throughoutSee You at the Solipsist Convention. Che has become legendary for hiscalculated polyrhythms and undeniable physicality, while Dunn is known forrelentless experimentation and productivity akin to a freight train. Quickly, theunlikely pair transformed into destined collaborators.Scaffolded around eight-string bass, knotty percussion, and intricate syncopation,See You at the Solipsist Convention is a carnival of delights for fans ofthe post-everything persuasion_uncategorizable yet reverent to the altar ofinstrumental rock.Beyond all measure, Yesness stands as a testament to the powerful dividendsof friendship and collaboration. We are nothing without each other - ourpartners, our local record store clerks, our neighbors. Music, too, thrives onour entanglements. With twelve tracks, an upcoming tour, and an unexpectedfriendship stemming from one email, Yesness underscores the brilliantmachinery of human connection.

Since their foundation in 2014, this malevolent rogues gallery of luminaries of the UK underground have consistently proven to be capable of projecting vibrations that transcend and usurp any idea of the sum of their component parts. It is true that they've clocked up notable experience sparking tinnitus with everyone from Mugstar and Bonnacons Of Doom (bassist Jason Stoll) to Dethscalator (vocalist Dan Chandler and drummer Stuart Bell) and from Earth (guitarist Jodie Cox, who also introduced keyboard player Ollie Knowles to the melee) to a dizzying variety of endeavours from the paint-stripping skronk of Dead Neanderthals to the righteous ire of Idles (all via saxophonist Colin Webster). Yet Sex Swing represents less a group of disparate musicians pooling their resources, and more a peculiar spark of collective chemistry, with all forces gravitating towards the pursuit of the same dissolute and mysterious goal. 'Type II' is that goal reached in effortless style and amplified to intimidating aural vistas. This mighty monument of swagger and malice also sees fit to add a certain amount of glitter to the trademark gri t this time around. Just as the artwork from long-term collaborator Alex Bunn boasts a luminous sheen absent from the unsettling abjection of the sleeve of their 2016 debut, so the rolling grooves and mantric hypnosis here boast a new-found structure and a feline sleekness fresh and unusual for this pugilistic outfit. Nonetheless, this remains a band fundamentally obsessed with the expression of decadence and wrongdoing through the mediums of repetition and overloaded frequencies.' Type II ' is more than the mere machinations of a rock band - it's a howl of malfunction rendered terrifyingly visceral. It's the lightning flash and unearthly roar of the primeval battle between Godzilla and Mechagodzilla that provokes awe and disquiet in the realm of fantasy, It's the haunted clangour of the faullty air conditioning unit that lurks in the anonymous office building yet lends it eerie ambience....

The Quickening is an improvised work guided by emotional intuition and an ability to spin collective experience into music of potent and boundless beauty. Jim White and Marisa Anderson instrumental voices' are unmistakable and spellbindingly lyrical. Anderson unravels global guitar traditions into atmospheres all their own through improvisations and transforming melodic lines. While White implements an array of sticks, brushes, and techniques that imbue each rhythmic percussion passage with its own distinct personality. Together their melodic flourishes cascade and twist upon one another, at times trading conversational exchanges, and at others drifting in unison as if lost in the same train of thought. White and Anderson share an abounding appetite for musical exploration. White, as a member of Venom P Stinger, Dirty Three, and Xylouris White, is well known for his creative and idiosyncratic drumming. His singular abilities have also led to collaborations with Cat Power, PJ Harvey, and Bill Callahan among others. Anderson's prolific output as a solo performer, her mastery of traditional folk and blues forms and her abilities to make them entirely her own has established her as one of the most exciting and forward-thinking guitarists of the last decade. White and Anderson's considerable technical skills are used in the most inventive and unconventional manner on their debut duo recording, The Quickening. The duo' friendship and shared explorative nature inform these warm and daring improvisations. Their remarkable performances take the listener on a journey of exuberant discovery. The idea of a collaboration developed while on the road together in 2015, Anderson playing solo and White playing with Xylouris white. The Quickening began at the Portland studio Type Foundry in late 2018, where the duo initially agreed to meet and improvise and record. Happy with the recordings, the duo headed to Mexico City and into Estudios Noviembres, a time capsule of a studio from the 70's that had been largely closed before some young engineers took it over. The "slight disorientation" of working in less familiar environments mirrored their willingness to plunge headfirst into exploring new sonic territory together. Anderson purchased a new nylon string Ramos-Castillo guitar from a Mexican luthier just ahead of recording which leant to the spontaneity of "The Lucky" and "The Quickening". The duo did not rehearse or perform together prior to the recording sessions; as White puts it, "it's good to suspend disbelief at this stage of playing."

Part of Rhino's "Now Playing" Series! - The songs of Ratt are like a rollercoaster - three-minute thrill rides with loud, twisty guitars, hands in the air, and lots of screaming. The L.A.-based glam rockers' first indie release in 1983 sparked a major-label deal, then mid-decade dominance - and decadence. It's all captured here in ten original recordings that'll keep you going "round and round" and coming "back for more." Ten Headbanging Classics on Vinyl LP!

End, the enigmatic new album by Explosions in the Sky, was inspired by darkness, but became a loud, dramatic, wild rumination on life and death. “Our starting point was the concept of an ending—death, or the end of a friendship or relationship. Every song comes from a story, or an idea one of us has had that we’ve all expanded on and made its own world. Maybe it’s our nature, but we kept feeling that the album title was ultimately open to a lot more interpretation—the end of a thing or a time can mean a stop, but it can also mean a beginning, and what happens after one thing ends might pale in comparison to what it becomes next,” says the band about the album. End is perhaps the “grandest” Explosions In The Sky album – melding the quiet restraint and crushing feel of their early recordings with the aural exploration and ornate experimentation of their later works (while incorporating their increasingly deep film and television scoring catalog).

What on earth has happened to gothic rock? This was the thought burning in Joakim Knutsson’s mind, and he felt that something needed to be done to save the much-loved genre from going down the drain. He embarked on this mission with the aim to create something special but also something faithful to the original ideals of the 80’s gothic genre.



“I wanted a band that would be an occult mix of The Lords Of The New Church, Adam and the Ants, John Carpenter and Billy Idol”, says Knutsson, “The end result turned out heavier, bloodier and darker than that, but that was probably our destiny anyway.”



With a little help from prominent members of the Swedish metal and punk community the idea recently took a solid form. Today the band together sums more than 250 years of knowledge in music and pop culture - knowledge they shamelessly put to use in their own creation.



Here they are: die Oberherren. The Gothic rock band the world has been waiting for since the golden age of the 80s. Kept strictly under wraps until now, die Oberherren feature members of the rock and metal royalty in Sweden, with past or current membership in bands such as The Coffinshakers, Ghost, The Mobile Mob Freakshow, Gehennah and many more.



The band snatched their ominous-sounding moniker from the intellectual group that operated at the turn of the 20th century, by whom their lyrics are also heavily influenced. “Anarchistic, occult, and apocalyptic imagery with prophets of war, Armageddon, decadence, and love – these themes and ideas are even more actual today than the original ‘overlords’ could ever dream of over a hundred years ago”, comments Knutsson.

The debut album Die By My Hand, set for release on January 27th 2023 on Svart Records, is a collection of eight songs that are adorned with infectious hooks and laced with vintage darkness.

Born from the collective mind of producer Morgan Geist (Storm Queen, Metro Area) and songwriter/multi-instrumentalist Kelley Polar, AU Suisse is a new project that promises to stake a milestone in both its members' already storied careers. Crafting immersive soundscapes using a patchwork of electro, synthpop, funk and disco, AU Suisse's self-titled debut album evokes both a post-rave comedown on a tropical beach and a weekend alone icy chalet, ruminating on life and love. Guest players include friends and labelmates Dan Snaith (Caribou) and Jeremy Greenspan (Junior Boys).

Having met in college in the early '90s and continued to forge a close friendship throughout the years, AU Suisse is the first time Geist and Polar have set out to gel their creative relationship into its own musical project. But this is no bashed-together collection of random tunes — this is a band, through and through, and Geist and Polar's shared expertise give the album its own indelible identity.

'Savage' is the second single release in this campaign with which we will announce the album to be released this August 19th (digitally) and September 16th (physically).

Fans of Classic Heavy Metal and Doom Metal wait with abated breath for the anticipated debut full album, “Last Days of Babylon”, from Swedish metal saviours THE Sonic Overlords. Founded in 2017 by guitarist Morgan Zocek, who played in an Ozzy tribute band and opted to begin writing original music with the same classic darkness, melody, and power of classic late ‘70/early ‘80s heavy metal but with a more modern approach to the production and sonics. The full sound of THE Sonic Overlords began to solidify as members came in that shared the same vision and enthusiasm, including drummer Per Solang, vocalist Marcus Zachrisson Rubin and bassist Daniel Ramírez. The group's blend of melodic rock majesty and thunderous doom was first revealed with the release of their debut single, “In My Darkest Room,” in October 2020. That song gained rock radio airplay throughout Scandinavia and subsequently spread throughout mainland Europe, the U.S. and Australia as DJs and programmers were drawn to the group's combination of powerful dark riffs and the epic melodicism with influences from the likes of Dio/Martin-era Black Sabbath, Rainbow, Judas Priest, Uriah Heep, Deep Purple, Whitesnake, early Candlemass, Yngwie J. Malmsteen/Rising Force, Scorpions and MSG. The band's blend of power, darkness and musicality was recognized by former Sabbath vocalist Tony Martin via a shout-out on his social media channels that led to a friendship and Martin even offering to sing one of the band’s songs, which appears as a bonus track on the CD version.

Reissue of 2018 debut on 2 Color Vinyl, black & milky clear. Note includes members of Pains Of Being Pure At Heart. More than anything else, Oh Boy is a celebration of teenage fandom and friendship. Each song is "about" something else, of course: a betrayal, a breakup, new love, parenthood. The usual stuff. And we're hardly teenagers. Yet somehow Massage feels like the kind of band you were in back in high school. We were friends first. We all had other lives. We started playing music almost by accident. (Michael wanted to learn drums; Alex wanted to relearn guitar after playing bass in the Pains of Being Pure at Heart; Andrew and David invited themselves to their second practice.) We made a playlist of songs we loved hundreds of them long before we recorded anything: the Feelies, the Go-Betweens, East River Pipe, the Lemonheads, the Breeders, Flying Nun, Sarah Records. Alex and Andrew started writing songs the way kids do to sound like their heroes. No matter how we tried, though, the songs half Alex's, half Andrew's came out sounding like "Massage": scrappy, catchy, minimalist, and sincere, with Gabi's harmonies elevating each track. Every Monday after practice, we went to Jay's Bar for beers and poutine. There was no point to any of this. We were just having fun. Then one day we realized we were a band. Oh Boy is our attempt to capture this easy alchemy on tape the strange magic of a bunch of amateurs coming together, finding their own wavelength, and making something out of nothing. We couldn't have asked for a better partner in crime than our pal Jason Quever of Papercuts, who recorded us on random weekends over the course of two years. We hope the result sounds as loose, low-key, idiosyncratic, and ultimately indelible as the bands that inspired us - the ones you already know, and the ones that are still just teenagers goofing off in some suburban garage.

Portland’s Dark Power Metal band Silver Talon's full-length debut “Decadence and Decay” is the band's follow-up to their 2018 EP, “Becoming A Demon”, and showcases the thrilling combination of heavy metal hooks and guitar-driven virtuosity that has driven the band since their formation in 2017. With a virtuosic guitar attack, a rumbling rhythm section and powerful vocals, Silver Talon was birthed after rising from the ashes of the disbanded Portland metal group, Spellcaster (Prosthetic Records). Guitarist Bryce VanHoosen joined forces with fellow ex-Spellcaster member Sebastian Silva – who now handles additional guitar duties in Silver Talon and also plays in goth-rockers Unto Others (formerly Idle Hands) – in a shared mission to keep the heavy metal flame burning brightly. Bolstered by the soaring vocal attack of Wyatt Howell (Sanctifyre), Silver Talon began 2018 by unveiling two demo tracks, “Devil Machine” and “Warrior's End,” which showcased the group's ability to create fist-clenching, head-banging heavy metal through a combination of masterful hooks, lush melody and technical dexterity. Silver Talon faced the challenges of 2020 by staying focused and productive. Their efforts culminated in the recording of “Decay and Decadence.”. The first single, “Deceiver, I Am”, was released in December 2020, and showcased the evolution of the group's creative vision and dark power metal sound. All three guitarists are utilized to show off arrangements that are deeper and more three-dimensional than their previous work.

Social Joy records is very pleased to present Burkina Azza's debut Album Wari bo - a musical tale that covers every aspect of Burkina Azza's values and world view. The album takes us to the very soul of Burkina Faso, giving us a taste of the deep connection of the artists to the beauty and culture of this country. The Burkinabe collective, from Nayerina in the Djibasso region, was born from a lineage of Balafonist and Percussionist musicians called "The Griots", often referred to as a "living archive of the people's traditions". Wari bo was Produced in January 2020 on the brink of the coronavirus pandemic in Ouagadougou, after Label owner Guilhem Monin discovered an outstanding street performance via the African Drumming Facebook group. Two years later, this release is the result of a friendship and love of music that connects two continents and travels across borders, space and time.

In 2004, California-based indie band Golden Shoulders followed up their highly acclaimed debut with their second album, Friendship Is Deep. Now, on the twentieth anniversary of its release, the album most requested by their fans for a vinyl release is finally set for one on Unspun Heroes. Described as “one of the great semi-lost albums of the 21st Century”, the album showcases singer, songwriter, and band mainstay, Adam Kline’s knack for lyrical hooks and penchant for catchy melodies. But, like friendship, this is deeper than its pop sensibilities might suggest.

From the moment the opening track I Will Light You On Fire opens with its simple piano refrain and vocal harmonies you know you’re listening to something worthy of further exploration. From this building of tension between its temporary aural chaos and the beauty that ultimately emerges, you’ll be hooked. Yet, scratch beneath the surface and you’ll find this is an album that carries with it a political, pro-peace, and pro-humanity message, albeit somewhat more satirical than you might expect of a band hailing from America’s West Coast. This is particularly notable on tracks such as Golden Soldiers and the Committee, where Kline’s turn of phrase and wit shines through, cleverly weaving words so they create detailed poetic mosaics.

Golden Shoulders is a loose and ever-changing lineup of international talent, with Kline as the kingpin and sole songwriter. Given the pedigree of those whose talents grace the album – among them, Todd Roper and Greg Brown (Cake), Josh Klinghoffer (PJ Harvey, Rhcp, Pearl Jam), Neal Morgan (Joanna Newsom, Fleet Foxes), and Dan Elkan (Broken Bells) – it’s no surprise the compositions and attention to detail present in each and every one of the 14 songs is top notch. It’s this pleasing mix of accomplished individuals, and their mishmash of influences, which lend a pinball effect to the set of stylistically diverse songs on Friendship Is Deep. Collectively though, the music you’ll hear has a focus, one that channels late 90’s Brendan Benson, the poppier side of 80’s Violent Femmes, and even the mid-60’s flair of the Beatles’ Rubber Soul.

End, the enigmatic new album by Explosions in the Sky, was inspired by darkness, but became a loud, dramatic, wild rumination on life and death. “Our starting point was the concept of an ending—death, or the end of a friendship or relationship. Every song comes from a story, or an idea one of us has had that we’ve all expanded on and made its own world. Maybe it’s our nature, but we kept feeling that the album title was ultimately open to a lot more interpretation—the end of a thing or a time can mean a stop, but it can also mean a beginning, and what happens after one thing ends might pale in comparison to what it becomes next,” says the band about the album. End is perhaps the “grandest” Explosions In The Sky album – melding the quiet restraint and crushing feel of their early recordings with the aural exploration and ornate experimentation of their later works (while incorporating their increasingly deep film and television scoring catalog).