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Barrie Lindsay is a soft spoken, obsessive producer and songwriter who grew up tinkering with instruments in Ipswich, Massachusetts. After graduating from Wesleyan in 2012 with a degree in music, Lindsay formed her first band with her brother, a 5-piece group called Grammar. She spent her 20's quietly making music in Boston and working at a sculpture studio until she was discovered on Soundcloud by a manager who encouraged her to move to Brooklyn and pursue a career in music by forming a band. Lindsay obliged and soon Barrie, the 5-piece band, was born. After a number of successful singles, Barrie released their debut in 2019, Happy To Be Here, earning buzzy press, TV syncs, and new fans around the globe. A month after Happy To Be Here came out, the band parted ways and Lindsay reintroduced Barrie as a solo project. In the two years since then, the 32-year old suffered the loss of a parent, and married her wife, Gabby. While Lindsay has maintained a separation between her personal feelings and lyricism inprevious works, she allowed herself to find catharsis in songamidst the intense love and grief she was experiencing. One night during a moment of grief, Lindsay couldn't bring herself to set up the mic properly in her studio. Instead, she opted to shout across the room in a true "fuck-it" moment. Liking the effect this produced, she decided to stick with it, yielding "Dig," a self-produced single featuring an impressionistic slew of slide guitar, dulcimer, and mandolin. You can hear her newfound sense of boldness, as she wails the song's central refrain, giving herself over to emotion: "I can't get enough of you / Where did you come from?" Whereas "Dig" floats in a seeming free-time, Barrie's second single, "Frankie," is locked into a driving, propulsive rhythm. Its bass synth, which remains constant throughout, is meditative and hypnotic. Among skittering arpeggios and melodic hooks, the song's message asks listeners to consider capitalism. Political pop can be awkward, but Lindsay's is subtle and poignan...

Trixie and The Trainwrecks spielen Blues und Folk auf mit alter Technik ins Heute und Jetzt katapultiert mit Kampfspuren und kriegsnarben gezeichnet kommen die 2 via San Francisco und London nach Berlin um ihren Abgetrashten übersteuerten Blues unter die Leute zu bringen schrecken sie nicht davor zurück ein Herz ass aus den Ärmeln zu zaubern um gleichzeitig eure Herzen aus der Brust zu reissen um auf ihnen herum tanzen zu können. das ist der Garagen Punk der Arbeiter klasse gepriesen aus der Blues Trash Kirche. Trixie Trainwreck spielt ihre Finger Blutig beim Gitarren spielen und haut die scheisse so dermassen aus ihrem Kick Drum das Charlie Hangdog mit seiner Mundharmonika mindestens 2 von diesen kleinen Gitarren amps braucht und sie voll aufdrehen muss um sich wenigstens ein bisschen zu hören. in London 2017 hatten sie sich gefunden und seither etliche touren führten sie durch Europa am Bonn Stomp (Germany) Voodoo Rhythm Circus (Swiss) 100 Club (London) Lido (Berlin) Muddy Roots Cookeville, Tennessee, und auf tour mit: Holly Golightly Detroit Cobras, Bob Log III etc Airplay und Kritiken auf: Wfmu, Blues-Angelegenheiten, Radio Eins, Resonance FM und viele mehr, und Tonträger Veröffentlichungen: 2018 - Lp/cd - 3 Cheers To Nothing, 2019 - 7" - Too Good to be Blue, 2020 - 7" - What would you do mit special guests: Bruce Brand (Milchshakes, Thee Headcoats, The Masonics) und Paul Seacroft (the selector, bad manners, jim jones) an der Lapsteel"Garage Blues meets Gershwin Blues Romantic real Live Tragedy Folk Blues Trash meets Roots Blues from that Berlin Based Duo around Singer Guitar Player Trixie Trainwreck and Harp Player Charlie Hangdog , Recorded in London at Space Eko East Recording Studio, this is the Second Single of the Serie who will end up in a Album in the Future, Side A of this Vinyl Single is a Raw Garage Blues Stomper simple Honest Desperate Love Lyrics and on the B Side you have Borgy and Bess Classic Summertime in a Bitter Sweet version only Trixie and the Trainwrecks can."20...

From Aukland New Zealand comes that incredable Stomp Blues Trio with a desire to Suicide and the early Cramps makes them to the Hotest export in from New Zealand. Heart Attack Alley is a 3 piece from Auckland New Zealand born of a love of blues, an obsession with death, and an addiction to playing live. Deceptively simple, emotionally and sonically raw, and sporting tough, original songwriting, the combination of Dr. Karl Steven's unstoppable "voodoo harmonica" Kristal G's pulsating rhythm guitar, Caoimhe Macfehin's unrestrained, immediate vocals like the "demon child of Polly Harvey and Screamin Jay Hawkins" - has won the band a reputation for performing "the original devil's music; seductive and psychotic" (Cheese On Toast Review; Trixie LaRue Music Review). In the two short years since they formed, Heart Attack Alley have played everywhere from street corners, dingy bars, and occupations to blues and alternative music festivals, as well as high profile and well received supports for Wanda Jackson and a sell out national tour with Kitty Daisy and Lewis. At home in Auckland, people jostle for a chance to watch them perform; Heart Attack Alley have become "the hottest ticket in town" (Volume Magazine). now Recorded their 1st 7" for Voodoo Rhythm Records.. with a Cover Version of Screamin Jay Hawkin's 'i put a spell on you' and theyr own 'cryin' .

Taken from the forthcoming album 'Thatcher's Children' (Damgood 313) this is a limited edition black vinyl 7" featuring an alternative, exclusive non album version of "Thatcher's Children". The flip side 'Transition Girlfriend' is also exclusive to this release. The cover has been designed by James Cauty, James also does art alongside Billy & others at London's Aquarium Gallery and was half of the KLF. 'Transition Girlfriend' features Nurse Julie on Vocals, she's also singing lead on two more tracks on the album. Every 5 years or so Billy Childish is sited by the current top band as the embodiment of rock ' roll integrity, and every 5 years or so Billy splits his group up and starts again from scratch. With his latest combo, The Musicians of the British Empire, Billy carries on his tradition of home made punk and rhythm and blues. This is what a real rock 'n' roll group sounds like.

On his 5th 7" for PPM Eric commits to a gentle onslaught of traditional sounding rhythms, ran through the busted copy machine of sound that defines his work. GET ALONG gets you going immediately with an infectious beat and a New Wave-ish, almost Nigerian Pop, scrambled, lost Prince demo vibe. While ZULU feeds the soft side of your soul quite nicely, tugging at your heart with a warped symphony and vocal line that shows his talent as a singer and composer. Two of EC's best songs to date, no doubt, do not miss this 45!

The newest longplayer from Tio'tiá:ke/Montreal staple Cedric Noel lands with a stunning sense of surety and self. Hang Time stands as a high water mark for a songwriter who's spent the past decade quietly expanding the borders of his music. Longtime fans will recognize the fluid elements of the album's open-ended rock formations: reflective strumming, soaring choruses, searing guitar lines, subtle bass grooves; all occasionally dissolving into pools of pure ambience. New listeners will find surprises throughout: threads of folk pop, ambient and sound collage fasten the foundations of this expressive whole. However, what's most striking on Hang Time is Noel's newfound sense of voice, both literal and metaphorical. Written primarily in 2017-18 during an intense period of self-reflection, this collection of songs finds Noel wrestling profoundly with his sense of identity, self and place. Born in Niger, adopted by Canadian and Mozambican/Belgian parents, he spent his youth moving around the globe with his adoptive, multi-racial family, eventually landing in Fredericton, Canada for university. While studying, Noel embedded himself in a predominantly white indie rock community that left him feeling, as a Black man, both seen and unseen in complicated ways; both welcome and not. This tension would follow Noel through a move to Montreal in 2016 wherein he found himself again moving within predominantly white music communities. This (dis)placement would encourage Noel to find respite in Ottawa, holed up temporarily in a family home, studying the pieces of himself and putting them to place in music. Listening to Hang Time, one can feel the tensions of this process being held and released, as if being allowed to breathe for the first time: forms open and close, surfaces are seen through, feelings go supernova. The album's material was captured faithfully at The Pines, a beloved downtown Montreal studio whose doors shuttered shortly after amidst the strain of the pandemic. Noel worked closely and patiently with friend and engineer Steve Newton, ensuring the songs had the time and space needed to come fully to fruition. Hang Time features subtle rhythm work from drummer Liam O'Neill (suuns) and guest spots from Brigitte Naggar (Common Holly), Ella Williams (Squirrel Flower) and Tim Crabtree (Paper Beat Scissors) among others.

Superb 45 featuring two Hammond-led instrumentals!We caught up with Mr Guy Hamper for an insightful Q&A_ Q: What a cracking single this is! 'Instrument of Evil' in particular has a very eerie vibe. What was the inspiration for it?A: The track is the sequel to '7% Solution', which featured on the last Guy Hamper Trio LP with Thee Headcoats standing in as rhythm section. A 7% Solution being the amount of morphine Dr Watson administered to Sherlock Holmes. For 'Instrument of Evil' I took Sherlock Holmes' later designation of his syringe as "an Instrument of Evil". This is originally a quote from the bible: "Wicked men do at times reject God's purpose for the state, transforming the good of civil government into an instrument of evil." Point of interest: Morphine addiction happens to tie in with another aspect of the song. In the section that nods to Elmer Bernstein's main title theme to the film of the book The Man With the Golden Arm, in which the main character is also a morphine addict. Another ingredient - we added six-string bass to that section in tribute to Jet Harris - he formerly of top group The Shadows, who recorded a great version of Bernstein's classic. To top it all off the record sleeve references the fine graphics of the great Saul Bass. Phew!Q: The track features contributions from Tom Morley (trumpet) and Anna Jordanous (sax). What's it like working with them?A: They are great and easy to work with. I basically make a playground and let them loose in it with very little direction, apart from pointing out the swings and location of the roundabout. I told Tom "You're a Spanish trumpeter stood on a hill in Spain." For Anna, I think we said "go low and nasty." Q: On the flip side you have 'Incense Rising From a Censer'. A very evocative title for an evocative track. Do you have lyrics in mind for this for a possible later release?A: No lyrics have sprung to mind as yet - but it's always possible. The title is from The Elders observation in Dostoevsky's The Brothers Karamazov, a b...

"So the bartender probably took 1 ounce each of white, golden and dark rum, apricot brandy, pineapple and papaya juice, an optional jiggle of gin, added a dash of grenadine and put it all in a shaker. Poured the mix into a Tiki-style glass and then added ½ an ounce of 151-proof rum for good measure. No ice. Garnished with even more fruit and prepared his customer to “feel so far away”.

Recorded in around 1949 by Bernie Besman for his Detroit-based Sensation label, this ode to the high-powered cocktail by the Four Shades Of Rhythm lay undisturbed in the vault until recently unearthed and given an airing on Cerys Matthews’ BBC Radio 6 show.

There was an immediate demand to make it available to the public at large and so the Ace team sprang into action and here it is in a part one and a part two, the first Sensation release since 1950."

As a true Brazilian music aficionado, Skinshape was naturally captivated by Pedro Mizutani's charm. So, when Pedro visited Europe in the summer of 2023, Skinshape invited him to its London studio. Together, magic effortlessly unfolded. Pedro sets the rhythm, while Skinshape sets the grain. With Skinshape weaving in basslines and other arrangements around Mizutani's mesmerizing guitar playing, the collaboration was a breeze. The two musicians understood each other in the blink of an eye. Together, they crafted a true homage to bossa nova. Without overshadowing Mizutani's style, Skinshape brought out his full musicality. It was a seamless symbiosis. The duo created a one-of-a-kind work. In the spirit of the Afrobeats movement, one could even describe it as "bossa-pop," maintaining the essence of the genre while incorporating British aesthetic elements under Skinshape's discerning ear. A sprinkling of shimmering bells here, kicks dipped in reverb there, and jazzy basslines for that extra touch of groove. As for Pedro Mizutani, he excelled in delicacy as always and did not lose altitude, soaring to even greater heights.

The B-52s, R.E.M., Pylon, Love Tractor... The roster of early Athens legends is quite distinguished, but one of their closest peers never so much as put a record out. That band is Limbo District. Active from April 1981 until their unceremonious disbanding in May 1983, there was a grand total of one movie made of them by Jim Herbert entitled Carnival while they existed. "They were the band's band," as Mark Cline from Love Tractor so eloquently put it on NPR. While the "Encased" track is on this, the band's first session in the summer/fall of 1981, two other tracks ("Knock Knock Lobo" and "Rhythm Forward") are included. The lyrics were written by vocalst Craig Woodall and songs were arranged and written by the band that included former Factory star Jerry Ayers (neé Jeremy Ayers, Silva Thin) on percussion, from northern France, Dominique Amet on Farfisa organ, Spaniard Margarita Bilbao on guitar and from Dublin, Georgia, Davey Stevenson on bass. This line up of the band existed no more than a few seasons and then went away to be reborn with TIM Lacy (later of ART IN THE Dark) and Kelly Crow both replacing Margarita on guitar in their own time. Behold the greatest ghost to ever haunt Athens, GA: Limbo District. Expect more. Much more.

The Polydor label released a few singles in the late 1960s that became very obscure and unknown, even to researchers. Most of these 7 inches are super psychedelic and very creative, but totally anti commercial. Own compositions, recordings and good productions, always with a top team. These works were not promoted or publicized by the label and very few copies circulated at the time. The impression is that the intention was to freeze or disappear with the artist in question. Vermelho is one of them, a work that is little talked about or known but that always attracts the attention of those who have access to these two tracks. Arrangement by Rogério Duprat, who was proud to have participated in these recordings, with Rafael Moreno on bass, Alberto Niccoli Junior on drums, Bolão on Sax and Marcos Ficarelli, the “Vermelho” on guitar and vocals.

Marcos already knew well the ways of recording and producing an album, having participated in historical groups of Brazilian rock in the 60's such as Top Sounds, Código 90 and Loupha, to name a few. At this stage, he had already acquired good knowledge of recording and studio management. Excerpts such as “And in the hole of the corners, to look for, is what I try in vain” presents the listener with the mood of the dark times of that time, and today seems a premonition about the difficulty of finding this single, even in private collections.

“Parabéns Meu Bem” and “Gira-Gira” are tracks with an advanced rhythm for the time. Drums very well marked, with an original take and very close to North American funk. The bass is consistent and strong and the guitar full of effects and very reminiscent of the sound and energy of Jimi Hendrix, Santana and Blood Sweat & Tears. There is yet another musical layer created by Duprat, who managed to insert a mini orchestra along with the sound mass created by “Banda do Vermelho”.

'Doroth follow on from a 2019 self-released digi EP with this fresh 7" for Research. The duo of Loretta Wilde and Maria Moles from Melbourne have established a song writing craft that's equal parts This Heat and Throwing Muses; all disjointed rhythms and dry vocal delivery that seems to come with an intentional feeling of malaise. Where their self-titled EP allowed for the sprawling Still House Plants-esque sound of 'On The Lamb', both 'Take It Easier' and 'Picture' condense the live sound into two sub 4 minute slices of indie pop / art rock goodness. We've got no clue what photograph Wilde is singing about but the combination of bass and drums bouncing off one another underneath her prolonged strainings will be sure to stick in your brain.'

Two new songs from COLLATE—no wave for the now; desperate sounds for desperate living. "Shards of glass guitar punctuate a rhythm section that wants you to dance that anxious bedroom dance you did when you first played that Au Pairs mixtape your cousin made. Each song is delivered with minimal fanfare and maximum intent: music by people who know what they're doing and know what they want." (Allan McNaughton)

"Once The Sadness Of Their 2020 Canceled American Tour Was Gone, Chain Cult Went Back To The Practice Space To Write New Songs, It Was A Perfect Way To Keep Finding Meaning In A World At A Standstill. They Are Back Stronger Than Ever With Two New Raging Post-Punk Anthems, They're Bringing Exactly What We Need In These Troubled Times. These Two Songs Give Us Elements For Reflection On Our Lives, A Good Occasion To Think About What We Miss And What We Want For The Future. " We're Not Alone " And " Always A Mess " Show The Band At Its Best. The Very Powerful Rhythm Section Allows The Guitarist To Play The Most Beautiful And Dark Melodies And The Singer To Chant The Catchy Choruses That Chain Cult Is Known For. During Uncertain Times, It Is Good To Be Surrounded By People You Trust To Continue Moving Forward; In This Spirit Chain Cult Has Kept The Same Recipe As For Their Previous Records. No One Can Say What The Future Holds And We Can't Act Like This Is Normal But Always Shall We Remember That We're Not Alone In This World"

Ace’s 45th anniversary 7-inch selection continues this month by taking us back to our roots, and bringing you incredible previously unreleased alternate takes of two all-time classics of rockin’ 1950s rhythm & blues.

R&B lovers will need no introduction to either Roy Brown’s ‘Boogie At Midnight’ or Lloyd Price’s ‘Lawdy Miss Clawdy’, but these recently discovered ‘Take One’s put whole new perspectives on two proven classics. The fast and furious ‘Boogie’ makes the issued 1951 master sound like a lullaby in comparison, while ‘Clawdy’ has an alternate opening line that would have guaranteed no airplay would have been forthcoming back in 1952.

Both tracks are taken from new transfers of the original acetate and tape sources, and both play loud and proud. Each side of the 45 offers a representation of the original label design that would have been used, had they been issued at the time of recording.

No self-respecting R&B singles collector will want to be without a copy of this essential commemorative single, featuring two of the greatest names in 1950s black American music.

The Polydor label released a few singles in the late 1960s that became very obscure and unknown, even to researchers. Most of these 7 inches are super psychedelic and very creative, but totally anti commercial. Own compositions, recordings and good productions, always with a top team. These works were not promoted or publicized by the label and very few copies circulated at the time. The impression is that the intention was to freeze or disappear with the artist in question. Vermelho is one of them, a work that is little talked about or known but that always attracts the attention of those who have access to these two tracks. Arrangement by Rogério Duprat, who was proud to have participated in these recordings, with Rafael Moreno on bass, Alberto Niccoli Junior on drums, Bolão on Sax and Marcos Ficarelli, the “Vermelho” on guitar and vocals.

Marcos already knew well the ways of recording and producing an album, having participated in historical groups of Brazilian rock in the 60's such as Top Sounds, Código 90 and Loupha, to name a few. At this stage, he had already acquired good knowledge of recording and studio management. Excerpts such as “And in the hole of the corners, to look for, is what I try in vain” presents the listener with the mood of the dark times of that time, and today seems a premonition about the difficulty of finding this single, even in private collections.

“Parabéns Meu Bem” and “Gira-Gira” are tracks with an advanced rhythm for the time. Drums very well marked, with an original take and very close to North American funk. The bass is consistent and strong and the guitar full of effects and very reminiscent of the sound and energy of Jimi Hendrix, Santana and Blood Sweat & Tears. There is yet another musical layer created by Duprat, who managed to insert a mini orchestra along with the sound mass created by “Banda do Vermelho”.

Corvair Is What Happens When You Trap Two Scorpio Songwriters In A House Together. Comprised Of A Portland-Based Husband / Wife Duo Of Two Seasoned Musicians (Brian Naubert And Heather Larimer), Corvair's Debut Album Charts A Starcrossed Love Story Over Three Decades, Five Cities, And Six Continents. Spanning From Atmospheric Pop To Jangly Confessional, 70s Am To 90s Fm, This Work Is Laden With Stunning Turns Of Phrase And Prodigious Melodies, Two Voices Leaping To Meet In The Ether. Corvair's Debut Album Was Largely Created During The Covid Pandemic Shut-Down Of Spring 2020. It Includes Work With Drummer Eric Eagle (Jesse Sykes, Wayne Horvitz) And Engineer Martin Feveyear (Brandi Carlile, Mark Lanegan, Mudhoney), Who Also Mixed The Record. Larimer Explains, "Being Stuck In A House Together With Very Little Outside Influence Made Us More Emotionally Raw, Definitely Weirder, And Also More Patient And Intricate In Developing The Songs. And Because We Were In A Bubble, Cooking Dinners From Paranoidly-Disinfected Groceries And Listening To Old Records, Really Disparate References From Some Of Our Favorite Music Ended Up Colliding In Odd Ways--An Emotional Judas Priest Bridge, An Anthemic Pixies Outro, A Spacey Keyboard Sound From Steve Miller, Jeff Lynne's Acoustic Guitar Tone, A Carpenters-Style Lush Harmony. I Think It's A Wonderfully Weird Record, But Also Very In-Your-Face Pop Because What Else Are You Going To Do When The World Feels Like It's Ending?" Separately, Naubert And Larimer Have Created Or Appeared On More Than 20 Records. Heather's Musical Mainstay Was The Garage Pop Band Eux Autres, Broadly Hailed As A "Veritable Cult Classic" Band, Radio-Debuted By The Legendary John Peel, And Featured In Many Shows, Movies And Commercials. Brian Is A Longtime Fixture Of The Northwest Rock Community, Having Played In Vital Bands Such As Tube Top, Pop Sickle, And The Critically-Lauded Ruston Mire, Since 1993. More Recently, Brian Released His First Solo Record, Hoffabus And A Record With The Nw Supergrou...

Kadi Yombo, published in 1989, is the most successful album in the quest for a fusion between tradition and modernity in Bwiti harp music of the Tsogho people of Gabon. Combining beating rattles with a layer of synthesizers, Papé Nziengui blends in a contrapuntal dialogue characteristic of harp playing: male song in appeal and female choir in response, male voice of the musical arc and rhythms of female worship. But above all it's Tsogho ritual music and modern studio orchestration. The result is an initiatory itinerary of 10 musical pieces which are all milestones likely to be simultaneously listened to, danced, meditated on, and soon acclaimed. In the years since, Nziengui has traveled he world from Lagos to Paris, from Tokyo to Cordoba, from Brussels to Mexico City to become a true icon, the emblem of Gabonese music. Like Bob Dylan, "electrifying" folk and Bob Marley mixing rock with reggae, some purists have criticized Nziengui for having distorted the music of harp by imposing a cross with modern instruments. They even went so far as to claim that Nziengui was just an average harpist covering his shortcomings with stunts that were only good for impressing neophytes; like playing a harp placed upside down behind his back or playing two or three harps simultaneously. Sincere convictions or venomous defamations, in any case, Nziengui never gave in to such attacks, imposing himself on the contrary to pay homage to the elders (Yves Mouenga, Jean Honoré Miabé, Vickoss Ekondo) while instructing the maximum of young people. He is thus the promoter of many young talents, the most prominent of which is certainly his nephew Jean Pierre Mingongué. In a conservative society where the sacred is confused with secrecy, exposing the mysteries of Bwiti in broad daylight can be punished by exclusion or even execution. Papé Nziengui has always claimed that he faces such risks because he never felt enslaved to a community that governs his life, that regulates his conduct, that has a right of censorship over his activities. Like Ravi Shankar, the famous sitarist, Papé Nziengui is a man of rupture but also of openness, a transmitter of culture. As proof, he has established himself in Libreville, Gabo's capital, as the main harpist for sessions and concerts, accompanying the greatest national artists (Akendengué, Rompavè, Annie-Flore Batchiellilys, Les Champs sur la Lowé, etc.) as well as foreign artists (Papa Wemba, Manu Dibango, Kassav', Toups Bebey, etc.). In 1988, he was the first harpist to release an album in the form of a cassette produced by the French Cultural Center (Papé Nziengui, Chants et Musiques Tsogho). At the same time, he created his own group (Bovenga), combining traditional music instruments (musical bow, drums, various percussion instruments, etc.) in the framework of a true national orchestra, which gave the first concert and the first tours of a traditional music that was both modern and dynamic, thus "democratizing" the harp, to the dismay of certain purists. On the other hand, in modern music, dominated by the logic of profit or even commercialism, artistic creation must often be adjusted for a specific audience based on reason rather than heart. But instead of allowing himself to be distorted, Papé Nziengui has always tried to produce music that is not a caricature, worthy in its expression as in its content, of the sacredness and transcendence of the music of the Origins. This is what makes Nziengui-not only the musician, but the man-someone whose age hasn't altered any of his freshness or authenticity.

Next up on Feral Child sees a reissue of a 45 that initially came and went in a day, last July. A beautiful pair of instrumental gems from two of label head Dom’s musical heroes; Will Sergeant and Paul Simpson. Released as a limited 7” clear vinyl repressing. Wills' “Toy Piano Mantra” is a beautifully meandering, slow building, multi layered piece- more melodic than some of his previous more experimental solo work; of its back story and creation, Will says: “I’m not really one for acoustic guitars, I have played them on Eatb records, but the electric guitar is my weapon of choice. So I set myself a little task -for no other reason than it being a bit of fun- and thought “Why don’t I make a collection of acoustic tunes, purely to see if I could?”. All my acoustic guitars are very cheap, which never stopped me using them. I had bought a Chinese pedal harmonium in London in the ’80s, and scrounged the use of a good ukelele, my Auto Harp was an obvious component, then I remembered the toy piano I had bought in a pop-up flea market in a vacant New York lot, back when New York still had vacant lots. Deliberately deciding against having any tunes ready, everything was set up and with the help of Andrea my engineer and pro tools wizard, we kept the good bits and expanded with these instruments until I felt it was finished. It was all off the top of my head and my fingers created music like some automatic drawing that Austin Osman Spare might have conjured up on one dark and ritualistic night. I added the toy piano and christened it “The Toy Piano Mantra”. Paul’s side features the previously unreleased “Ghosts of the Karelia Forest” recorded in 2006, a beautifully simple piano piece which again slowly builds, and distorts with added moog and so on. Paul says of the piece: “The higher harmonics of the tuned wine glasses used on this piece, sent the VU meters on the mixing desk at The Gossamer Dome studio into the red, but Producer Henry Priestman and I both liked what that distortion added to the atmosphere of the piece, so chose not to correct it. ….I await its use in a disturbing art house movie”. When the single was first released, both Will and Paul were embarking on next / first instalments of their books; Will’s “Echoes” and Paul’s “Revolutionary Spirit: a post punk exorcism”- both are now long since out, selling well and receiving rapturous reviews both here and overseas. Releasing this one is firmly in honour-to-do territory for the label, and initial copies are available from Feral Child HQ but mostly via shops courtesy of Forte Distribution.

Record Store Day 2021 release on photoluminescent vinyl. In 1981 Walter Verdin recorded the demos for two songs of Lennon's Plastic Ono Band before he formed the group Pas De Deux, the Belgian entry for the Eurovision Song Contest 1983.The artwork of this 7" is inspired by the artwork of the original record sleeves. Walter Verdin is the Belgian chameleon changing constantly between different musical styles and audiovisual art. At the end of the seventies, he released 'Storingen', a Flemish reggae single with some musical friends under the name of Specimen & The Rizikoos. In 1980 he had a number one hit in Flanders with 'Er is iets', taken from the album 'Cinema'. In the same year he started to work as a video director in the studios of the Audiovisual Services at the KULeuven. At night he experimented with video and sound. For the next 20 years, the studios became the cradle for his video art and musical experiments. In 1981, before he formed the group Pas De Deux (the Belgian entry for the Eurovision Song Contest 1983), he recorded the demos for two songs of Lennon's Plastic Ono Band. These songs ended on the B side of their mini-LP 'Des Tailles'. On this 7" vinyl: the demo versions of 'Cold Turkey' and 'Instant Karma!'. They are recorded ping-ponging between two stereo tape recorders. All the instruments were programmed and played by Walter Verdin without the possibility of mixing or 'picking in'. Adding an instrument or a voice meant another copy from beginning to end. The roughness and the spontaneity of these recordings are remarkable, especially when you compare the tracks with the professional recordings that were made later at the famous ICP studios in Brussels with Pas De Deux, where the cheap Boss rhythm box was replaced by a Linn Drum and other instruments were added. Walter Verdin is a big fan of Lennon's music and social engagement. These demos were made only a couple of months after his passing in December 1980. The choice for the specific songs is not accidental: they are the songs with which John Lennon started a new musical adventure. Also, for Walter Verdin it was the start for a new way of music making, after a very short career as a 'Flemish singer songwriter'. The text -the message- of both songs is more topical in 2021 than it was at the beginning of the eighties, when they were recorded.

Two stunning BBC sessions from the heyday of the british band fronted by Steve Winwood and Jim Capaldi. One shot recorded before the release of the debut album on Island ‘Mr. Fantasy’, the second – December the 11th – right after. Facing the beginning of a new groove ideology after the blues explosion.