Anti HHV Records 110 Artikel

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Curtis Harding einfach einen Soul Man zu nennen, wäre zu kurz gegriffen. Hardings Stimme vermittelt Schmerz, Freude, Sehnsucht, Zärtlichkeit, Traurigkeit und Stärke - die ganze Bandbreite der Gefühle. Heute bekommt seine Stimme mit seinem neuen Album "If Words Were Flowers" einen optimistischen Anstrich. "If Words Were Flowers" ist Hardings erste neue Musik seit 2018, ein Nachfolger seines von der Kritik hochgelobten Albums "Face Your Fears". Es enthält Songs wie "Hopeful", wo Harding mit Hingabe über einen klassischen Soul-Groove singt, der mit ansteckendem Bläserspiel, Background-Sängern und modernen psychedelischen Schnörkeln strukturiert ist. Harding speist seinen psychedelischen Sound mit der Essenz des Soul, ist aber nicht an diesen gebunden. Stattdessen vermitteln seine Songs eine eklektische Mischung aus verschiedenen Genres, die aus den vielen musikalischen Leben stammen, die er gelebt hat, von der Begleitung seiner evangelischen, Gospel singenden Mutter auf Tour durch das Land als Kind bis zum Rappen in Atlanta, der Gründung einer Garagenband mit Cole Alexander von The Black Lips und dem Singen als Backgroundsänger für Cee Lo Green. Durch diese Erfahrungen lässt er sich voll und ganz auf die dunkelsten Verwicklungen des Lebens ein und zaubert dynamische, süchtig machende Melodien.

Record Store Day 2021 Release.

Mit seinem zweiten, 1974 veröffentlichten Album "Heart Of Saturday Night" erarbeitete sich Tom Waits den
Ruf eines versierten und vielseitigen Songwriters. Seine bluesigen und gerne ins jazzige driftenden
Arrangements basierten meist auf dem Einsatz von Bass, Schlagzeug, Saxofon und natürlich Klavier.
Maßgeblich an den Aufnahmen beteiligt war der Produzent Bones Howe, den David Geffen, Chef von Asylum
Records, vermittelt hatte. Howe hatte in seiner Karriere schon für so unterschiedliche Künstler wie Elvis
Presley, Ornette Coleman und Frank Sinatra gearbeitet. Wie Howe kamen auch die Studiomusiker aus den
weiten Gefilden zwischen Pop und Jazz, was die Produktion eindeutig in die von Waits gewünschte Richtung
führte. Die entsprach allerdings noch weniger als das Debütwerk "Closing Time" (1973) dem damaligen
Mainstream. Allerdings führt der "Rolling Stone" die Platte heute in der Liste der "500 besten Alben aller
Zeiten" auf Platz 339. Nach der Veröffentlichung von "Heart Of Saturday Night" ging Waits - auf Betreiben
seines Managers Herb Cohen - mit Frank Zappa auf Tour. Widerwillig. Die Reaktionen des Publikums waren
mäßig, doch Waits hatte Zappa auf seiner Seite, was ihm unter Kollegen ziemliches Renommee verschaffte.

Im März 1975 initiierte Herb Cohen, Manager von Tom Waits, bei Asylum Records ein Live-Doppelalbum für
seinen Schützling. Als Venue visierte man eine anrüchige Spelunke oder einen verrauchten Nachtclub an. Da
sich keine typische Waits-Location fand, entschied man sich, den hinteren Teil eines Studios in Los Angeles
leerzuräumen und mit aufgestellten Tischen vor einem ausgewählten Publikum die gewünschte Atmosphäre
selbst zu erzeugen. Als Begleitband wurde die fast identische Besetzung von "Heart Of Saturday Night"
angeheuert: Mike Melvoin (Piano), Jim Hughart (Bass), Pete Christlieb (Tenorsaxophon) und Bill Goodwin,
der zuvor bei Mose Allison getrommelt hatte und nun Jim Gordon am Schlagzeug ersetzte. Die Formation
spielte jede Nacht vier Shows, nach jedem Durchlauf wurde das Publikum ausgetauscht. Zu Beginn trat
jeweils die Stripperin Dewanna auf, während die Band "Night Train" oder das "Pink Panther Theme" spielte.
Die inzwischen legendären Aufnahmen von "Nighthawks At The Diner", eingespielt am 30./31. Juli 1975,
gerieten zum einzigartigen Triumph. Mit "Warm Beer, Cold Women" und "Eggs And Sausage" finden sich
auch zwei bekannte Waits-Klassiker unter den Songs.

Christian Lee Hutson starts his new album Quitters with a laugh. In this follow up to his ANTI Records debut, Beginners, Hutson moves away from a focus on growing up to the dread and complications of growing older. Written under lock down, the laugh that announces Quitters is the kind you'll find at the end of John Huston films, one of resignation and release, and somehow a cosmic laugh that says "California," a place where lonely people gather together like birds. The song "Rubberneckers" follows the story a romance from beginning to break?up, with backing vocals by Phoebe Bridges, who returns as producer along with Conor Oberst. Quitters is a departure from the digital recording of his debut. Hutson shares, "With this record, Phoebe and Conor had an idea that it would be fun to make it to tape. Phoebe is my best friend and making Beginners with her was so comfortable and easy. So I wanted to work with her again and Conor is someone who I really respect as a lyricist." If every great record is a world, then this is Christian Lee Hutson's world. It's one filled with the fuzzy haze of a dream, and the half-remembered moments of a for?gotten life. It's a record brave enough to say, In the good old days, when times were bad. But beyond the songs, it is this voice. The voice of someone who was alive in 2021 and recorded a group of songs with his friends for us to hear.

Few artists are storytellers as deft and disarmingly observational as Andy Shauf. The Toronto-based, Saskatchewan-raised musician's songs unfold like short fiction: they're densely layered with colorful characters and a rich emotional depth. Like he's done throughout his career, Shauf wrote, performed, arranged, and produced every song on his new album Wilds at his studio space in the west end of Toronto. Over the course of a year-and-a-half, Shauf had written more than 50 songs, and pared down this massive body of work, into a single album's worth of material, which became 2020's highly acclaimed The Neon Skyline album. These songs focused on a theme by intertwining the individual characters stories of a group of friends who gathered for one night at the same local bar. Wilds includes songs from those same writing sessions, that did not fit into the Skyline storyline and had their own singular iden?tity apart from that album, though he does revisit with his old friends Judy and Jeremy in this outing.

Obwohl er Linkshänder ist, spielt er eine Rechtshänder-Gitarre: In seiner über 40-jährigen Karriere hat der
virtuose US-amerikanische Avantgarde-Gitarrist Marc Ribot schon über 25 Platten unter eigenem Namen
veröffentlicht. Seit seiner Mitwirkung bei Tom Waits‘ epochalem Album "Rain Dogs" (1985) ist er ein gefragter
Sideman. Er kollaborierte unter anderem mit Größen wie Arto Lindsay, Elvis Costello, John Mellenkamp,
Marianne Faithfull, McCoy Tyner, Norah Jones, The Black Keys, Elton John, Bill Frisell und John Zorn.
Außerdem war er Mitglied bei den Formationen Ceramic Dog, Lounge Lizards, Rootless Cosmopolitans,
Shrek und Los Cubanos Postizos. "Songs Of Resistance 1942-2018" versammelt Protest-, Rebellions- und
Widerstandslieder der letzten acht Jahrzehnte. Sie stammen zum Beispiel aus dem Zweiten Weltkrieg, von
den italienischen Partisanen oder aus der Zeit der amerikanischen Bürgerrechtsbewegung. Sie werden
ergänzt durch Originalkompositionen Ribots. Als Gäste lud der Saitenvirtuose erlesene Gesangskoryphäen
ans Mikrofon: Tom Waits, Steve Earle, Meshell Ndegeocello, Justin Vivian Bond, Fay Victor, Sam Amidon
und Ohene Cornelius.

Von "Closing Time" über "Nighthawks At The Diner" und "Blue Valentine" bis "Heartattack And Vine" -
zwischen 1973 und 1980 veröffentlichte Tom Waits sieben Alben bei David Geffens Label Elektra/Asylum. Sie
formten Waits' Ruf des vagabundierenden, exzentrischen und trinkfreudigen Sonderlings. Alle Werke bringt
Anti-Records jetzt hochwertig remastert neu heraus.

On Heartmind, Cass McCombs enters the double-digit-album phase of his career, a quantitatively rarified place for any songwriter; rarer still, though, is the fact that he does not yet seem to have settled into a qualitative sound or pattern, of singing the same thought twice (or perhaps even once). Songs like "Karaoke" are a god-level burst of power-pop perfection, as fetching as anything Cass has ever cut. The springy stac?cato guitar, the vaporized electric keys, the melody seemingly born for singing or clapping or dancing along: Cass triangulates a perch of his very own out among The Go-Betweens, The dB's, and The Cure, and vibrates there, a beacon. And then, of course, there is the song's playful if painful lyrical conceit-the lover who is making all the sacred motions of commitment but whose feelings may be no more deep or real than someone simply reading the lyrics for "Vision of Love" or "Stand by Your Man" from some crowded bar's TV screen. There are, at least, some basic facts to share about Heartmind, logistical evidence that may in turn shape your own questions: Cass recorded these songs in multiple sessions on both coasts, in Brooklyn and Burbank. The great Shahzad Ismaily not only cut the staggering "Unproud Warrior" and four others here but also played lots of bass. Buddy Ross tracked "New Earth," a paean of post-humanity renewal with several sharp wisecracks. Ariel Rechtshaid-now a dozen years into his collaboration with Cass, which began with 2009's Catacombs-captured Cass' scintillating guitars on "Belong to Heaven," a thoughtful consideration of what we all lose when we lose an old friend to the inevitable end. The steadfast Rob Schnapf (who previously produced McCombs' ANTI- debut, Mangy Love) mixed and merged it all. Wynonna Judd (yes, that one) offers harmonies, while her beau Cactus Moser provides some lap steel. Joe Russo, Kassa Overall, Danielle Haim, Nestor Gomez are featured on the album, too.

Following his triumphant performances at the 2022 Coachella Music and Arts Festival, Danny Elfman delivers Bigger.Messier., an ambitious double -album collection of remixed and reimagined tracks from his highly acclaimed Big Mess album. This sprawling, 23 track collection (available on 2 LP or 2 CD) features tracks reworked by some of the most groundbreaking and subversive artists around today. Bigger.Messier. views the Grammy and Emmy Award-winning composers songs through the lens of luminaries from diverse sides of the music business, including Trent Reznor, Iggy Pop, Squarepusher and Ghostemane. Elfman once again has achieved a kind of artistic liberation on the record that had been eluding him for decades, and connecting him to brand new audience. Born and raised in southern California, Elfman began his career as part of a surrealist, avant-garde musical theater troupe known as The Mystic Knights of Oingo Boingo. The group would eventually morph into the critically acclaimed rock band Oingo Boingo, whose high-energy performances and genre-bending sound garnered them a fanatically devoted cult following in the 1980s and '90s. Among the group's early fans was fledgling director Tim Burton and Paul Reubens (aka Pee-wee Herman), who enlisted Elfman to score their first feature film, Pee-wee's Big Adventure. The collaboration would prove to be the start of a long and fruitful partnership for Elfman and Burton, with Elfman going on to score a string of iconic Burton features like Batman, Beetlejuice, Big Fish, Edward Scissorhands, and The Nightmare Before Christmas. To date, Elfman has scored more than 100 films

Art Moore make vivid, heartbreaking short stories. Each song on the newly formed band's self-titled debut album is its own individual universe of bittersweet feeling: a brief snapshot of a moment in time that captures the fragility and occasional impossibility of human connection. These songs are deft character studies, zeroing in on shy beginners, jilted friends and friendly exes, chronicling minute moments-road trips, casual dates, games of truth or dare-with rich detail and subtle wit. Featuring the inimitable songwriting of beloved Oakland luminary Taylor Vick of Boy Scouts set in sharp relief against lush production from Ezra Furman collaborators Sam Durkes and Trevor Brooks, it's a quietly wondrous record - a set of songs that sketch out the struggle and beauty of coping with everyday life. These are songs about tiny, unspoken feelings rendered on a grand scale, moments that often get brushed aside given the weight that they should be. Across these ten stories, Vick, Brooks and Durkes are unsparing in their focus but remarkably generous in their artistry - three pairs of steady, even hands crafting one fine, precious object.

Under the name Delicate Steve, guitarist extrodinaire Steve Marion has spent the better part of the last decade establishing himself as one of the most wildly innovative and widely revered players in the game. He's recorded with Paul Simon, been sampled by Kanye West, toured in the Black Keys, and released four critically acclaimed albums of genre-bending instrumental music. He's your favorite musician's favorite musician, a virtuoso songwriter, producer, and performer who occupies a lane entirely his own in the modern indie landscape, but he's never liked the sound of the electric guitar? "I've tried everything under the sun to get away from it," he explains. "Until now." Written and recorded on a white 1966 Fender Stratocaster that reignited his love for the instrument, Delicate Steve's warm and captivating new album, After Hours, marks a first for Marion, an earnest, easygoing collection that revels in the simple joys of plugging in and playing. The songs are sweet and breezy here, pairing vintage soul grooves with mesmerizing, wordless melodies, and Marion's production work is subtle and restrained, stepping back in all the right places to let the album's masterful performances speak for themselves. In another first, Marion teamed up with outside musicians on the record, bringing in renowned bassist Shahzad Ismaily (Yoko Ono, Marc Ribot) and famed Brazilian percussionist Mauro Refosco (David Byrne, Atoms For Peace) to help flesh out the arrangements and stretch his sonic boundaries. The result is a dreamy, introspective album built for late night comedowns and deep dive soul searching, a cinematic, escapist fantasy for the wee hours of the morning that draws on everything from Bill Withers and Sly Stone to Pharoah Sanders and Salvador Dali as it explores memory and nostalgia, instinct and intuition, serenity and transcendence.

Yves Jarvis is back with his third solo album entitled, The Zug. The Montreal, Canada based artist's unique vision for "psychedelic-jazz-folk" comes into sharper focus, with elevated production and a waterfall of creative ideas presented with an ever growing confidence in craft. Jarvis continues to refine his creative approach to the core of his being, where music and life intertwine in harmonious fashion. He fuses genre elements into a symbiotic relationship where wistful folk, tender R&B, and jazz experiments feed into one another to grow lush new forms. Though he maintains an air of mystery with his lyrics, Jarvis's whisper-soft words can be interpreted as both deeply personal and politically motivated.

Jasmyn is the new solo project created by Jasmyn Burke, former singer-songwriter and frontwoman of the critically acclaimed Canadian band, Weaves. Having two JUNO nominations for Alternative Album of the Year and two SOCAN Songwriting Prize nominations, Burke has established herself as one of Canada's most exciting and fresh voices. With this new project, she has decided to use her own name, Jasmyn, to mark the start of exploring her own unique sound as a solo artist. Collaborating remotely with Los Angeles-based producer John Congleton (St. Vincent, Angel Olsen, Sharon Van Etten) on a body of work she had compiled over months of being in lockdown. Finally in the Spring of 2021, Jasmyn went to LA to record with Congleton, exploring themes of finding patterns in life and how to perhaps change them. On the general direction of her new album In the Wild, Jasmyn said, "This was written during the Fall of 2020; The world was feeling pretty heavy, and I felt myself wanting to write music that created a mood of happiness and space to grow. I feel like I have grown and changed as a person over the last few years and wanted to write songs that created a sense of confidence and well-being." With Weaves receiving worldwide support from the likes of Rolling Stone Magazine, NPR, Pitchfork, and more, Jasmyn is excited to share a new side of herself, perhaps her most honest and raw work to date.

Zusammen mit den Formationen Touché Amoré, La Dispute, Defeater und Make Do And Mend gehört die 2006 in Baltimore, Maryland, gegründete Post-Hardcore-Band Pianos Become The Teeth zur Speerspitze der "The Wave"-Bewegung. Nach "Old Pride" (2009), "The Lack Long After" (2011) und "Keep You" (2014) ist "Wait For Love" das vierte Album des Quintetts. Verglichen mit dem vorherigen Werk öffnen sich Pianos Become The Teeth auf diesem deutlich melodiöseren, fast schon fröhlich klingenden Soundwelten. In gewisser Weise bringt die Truppe um Frontmann Kyle Durfey so ihre aggressive Screamo-Vergangenheit und die raue, wütende und ungebändigte Energie der beiden ersten Longplayer mit den atmosphärischen, Post-Rock-artigen Titeln von "Keep You" in Einklang. Kurz gesagt lautet das Motto: Heavyness durch Emotionen statt Verzerrung und Dissonanz. Das von Will Yip (Citizen, Circa Survive, The Menzingers, La Dispute, Turnover, Touché Amoré, Quicksand, The Wonder Years) produzierte Werk weckte bei der internationalen Kritik bereits aufrichtige Begeisterung. Während "Brooklyn Vegan" urteilte "Their best material yet", erkannte "Pitchfork" eindrucksvoll-fesselnde Details.

Leyla McCalla finds inspiration from her past and present. Whether it is her Haitian heritage or her adopted home of New Orleans, she - a bilingual multi-instrumentalist and alumna of Grammy award-winning African-American string band, the Carolina Chocolate Drops - has risen to produce a distinctive sound that reflects the union of her roots and experience.McCalla has produced a multi-disciplinary music, dance and theatre work, Breaking the Thermometer to Hide the Fever, which follows her personal journey as she uncovers the history of Radio Haiti, the first radio station in Haiti to report news in Haitian Kreyol - the voice of the people. Through this juxtaposition of voices - the personal and political, the anecdotal and the journalistic - McCalla gives expression to the enduring spirit of Haiti's marginalized poor in the face of several centuries of political oppression. Performances of the theatre work are currently scheduled in New Orleans and Philadelphia with more to be announced in soon.The process of creating Breaking the Thermometer to Hide the Fever included listening to countless archival recordings of interviews by Radio Haiti's journalists, and McCalla specifically wrote "Fort Dimanche" after listening to a testimonial interview that Michele Montas - the prominent former journalist and station director at Radio Haiti - had conducted with a survivor of Duvalier's political prison. In the interview, the man outlined his living conditions, the daily terror and torture that these political prisoners were subjected to and the events that led to his arrest.This album is a soundtrack of sorts to the theatre piece, featuring the songs that Leyla McCalla wrote and performs in this work.

"We're a bunch of outsiders who refused to be kept out," says High Pulp drummer Bobby Granfelt. "We've never had an academic approach to jazz-most of us grew up playing in DIY bands-so it was the rawness and the energy and the absolute freedom of the music that called to us in the first place." Indeed, there's something defiant, something utterly liberating about High Pulp's remarkable ANTI- Records debut, Pursuit of Ends. Drawing on punk rock, shoegaze, hip-hop, and electronic music, the band's brand of experimental jazz is both vintage and futuristic all at once, hinting at times to everything from Miles Davis and Duke Ellington to Aphex Twin and My Bloody Valentine. The songs here balance meticulous composition with visceral spontaneity, and the performances are nothing short of virtuosic, fueled by raw, ecstatic horn runs ducking and weaving their way around thick bass lines and dizzying percussion. While the Seattle-based collective is centered around a crew of six core members, they also make judicious use of a broad network of collaborators on the album, wrangling special guests like sax star Jaleel Shaw (Roy Haynes, Mingus Big Band), harpist Brandee Younger (Ravi Coltrane, The Roots), GRAMMY-nominated trumpet?er Theo Coker, and keyboardist Jacob Mann (Rufus Wainwright, Louis Cole) to help stretch the boundaries of their already-expansive sonic universe. The result is a lush, cinematic collection that's as unpredictable as it is engrossing, an urgent, exhilarating instrumental album that manages to speak to the moment without uttering a single word.

"There was this feeling inside me going into making this record that we'd never made an album before," says guitarist/vocalist Scott McMicken of Dr. Dog's Shame, Shame, their Anti- debut, originally released in 2010, and the first album made outside the safe confines of their home studio. Having evolved from a band whose primary creative outlet was the album-making process into one that favored the energy of their live performances, they knew they wanted to document the new dynamic they had developed on the road. Producer Rob Schnapf (Beck, Elliott Smith) was brought in to help peel back the intricate arrangements of last album Fate to reveal the raw immediacy of a tight five-man unit honing their craft. Dr. Dog has created a song cycle of doubt and despair, bookended with the woozily swirling harmonies of Leaman's lonely opener "Stranger" and the harsh self-critique of the title track, a gnarled admission that sometimes it's best to admit your mistakes and move on. Their most openly autobiographical release, ranging from McMicken's exploration of West Philly underlife in "Shadow People" to his account of two soulbearing late night conversations in "Jackie Wants a Black Eye," Shame, Shame is an album whose dark themes are soothed by bright harmonies, taut guitar riffs, and soaring melodies.

Kristine Leschper's The Opening, Or Closing Of A Door, is a paean to the sensory world. It's the first Leschper has released under her given name, having retired the moniker Mothers after eight years of performing and releasing music under it. Though both projects are guided by Leschper's idiosyncratic approach to songwriting, they couldn't sound more different. While Mothers drew inspiration from the stark, skeletal sounds of post-punk and contemporary folk, Leschper's new work is practically baroque, integrating an array of synthesizers, strings, woodwinds, and over a dozen percussive instruments. "Earlier work didn't involve recording as part of the writing process, recordings were simply made as a document of something that had been written and rehearsed. I have since discovered a deep affection for home recording and sound exploration, finding that I thrive in those rabbit holes of texture, timbre, rhythm, which can add so much complexity to the emotionality of a composition." The at-home recording process gave Leschper freedom to set her personal ethos to music divorced from the pressure of an audience. As she worked on The Opening, Or Closing Of A Door, the constellation of ideas that had guided her personal transformation began to cohere into something communicable through music.

"This is the kind of songwriting I've always been drawn to," says Jeremy Ivey. "The perpetual motion, the intricate melodies, the sprawling arrangements. This album is the real me." Juxtaposing raw, unflinching personal reckonings with jaunty, buoyant melodies and rich, kaleidoscopic production, Invisible Pictures, Ivey's third album for ANTI- Records, is indeed a revelation. Though the songs are rooted in a 21st century swirl of chaos and uncertainty, the record is, at its core, an undeniably feel-good collection, one that refuses to surrender to the existential ache it so artfully captures. Instead, Ivey embraces the sheer, unmitigated joy of creative freedom and sonic exploration here, drawing on everything from flamenco and classical music to vintage indie rock and British Invasion tunes to craft a passionate, transcendent album more reminiscent of John Lennon or Elliott Smith than anything coming out of Nashville these days. "I try to put a little bit of hope into everything I do," Ivey reflects. "No matter how heavy, no matter how dark things may get, there's always a little bit of light shining through."

Combo Chimbita unleash a primal roar of catharsis on their latest album, IRÉ, channeling a burning spiritual awakening blazing through the world and in their hearts. Rapturous cumbia, ancestral drumming, free jazz, electronic distortion and wordless chants abound through?out IRÉ; a testament to the ever expanding scope of Combo Chimbita's sonic palette and acts of resistance in realms both spiritual and terrestrial. The New York City-based quartet are tracing their roots back to Colombia and even further to the precolonial continent of Abya Yala. Often described as tropical futurists for their ambitious melange of ancestral musical traditions and cutting edge experimentation, the creative unity of Carolina Oliveros (vocals, guacharaca), Niño Lento es Fuego (guitar), Prince of Queens (bass, synthesizers) and Dilemas?tronauta (drums) transcends common concepts of time and nation?ality. By identifying as Abya-yalistas, the ensemble takes yet another step towards unshackling their essence from the cruelty of conquest and the stifling oppression of land borders.

Xenia Rubinos, is a New York City based artist who's been revered for her innovative voice and maze-like knack for melody. Una Rosa is Rubinos' third album , her second on Anti- Records, following up her critically acclaimed Black Terry Cat (2016). Xenia Rubinos dips in and out of genre and structure to create movingly powerful songs. Her powerhouse vocals stem from a combination of R&B, Hip-Hop and Jazz influences, all delivered with a soulful punk aura. Pitchfork has lauded the radiant singer as "a unique new pop personality" while The New Yorker described her work as "rhythmically fierce, vocally generous music that slips through the net of any known genre." Having previously collaborated and toured with acts as diverse as Battles, Deerhoof, Man Man and Tune-Yards, Rubinos' energetic live show echoes some of the larger than life icons she admired as a child like Nina Simone and Erykah Badu, while wielding a space in music that is utterly her own. "I think my sound is a collage of different music coming together on a visceral level, connecting the dots with my voice and imagination," she said. Una Rosa is produced by Rubinos along with her longtime collaborator and drummer Marco Buccelli, and is full of color- drawing much of its multichromatic sound from the bright colors of pop art, which Xenia was immersed in during the writing process.

ntroducing Jackson + Sellers and their debut album Breaking Point, on ANTI records. Jade Jackson and Aubrie Sellers, two rising stars who aligned during the pandemic to write one of the most compelling duo albums of the last decade. Drawn together by instant chemistry, cosmic forces and their ability to write intuitive romantic breakup songs for each other, their album is a window into the dissolution of two different relationships and the formation of another: a perfect, platonic, creative union. United in their desire to write a record that reflected their expansive musical interest from 70s rock to raucous roots to indie pop, their LA written, Nashville recorded album is a masterclass in unexpected vocal har?monic convergence. With Breaking Point, Jackson + Sellers will establish themselves as two individual artists who together, share a deep friendship, musical kinship and the ability to craft tight singular pop rock songs that will embed themselves in your ears for the rest of time.

Get yo ass in the house, robot-- you cyber-spectre, you outhouse prime minister, you hard-headed mirror ninja, snapping selfies, living in the pixelated seams between bursts the of flashing images, birthed in a pool of TV static and Tik Tok dust. BLACK ENCYCLOPEDIA OF THE AIR is here, not to save but to drown you. Heads better learn how to swim cause listen, this record is beat soup, hearty yet still minimal, a sonic mirage of prophetic soul that drop kicks your "chill beats to study to" Youtube playlist and hyper-intellectual rap podcasts into a hadron collider; it's only black matter on the other side-- 13 mesmerizing tracks about memory and imprinting and the future, all of them wafting through untouched space like the ghostly cinders of a world on fire, unbound and uncharted, vast and stretching across the universe.Moor Mother is a holographic figment of an Afrotopian dream, all at once goddess and warrior, mystic and cyborg, griot and future time traveller, etching noisy pieces of reverie into our consciousness for decades now. But check it: on BLACK ENCYCLOPEDIA she's joined by a wide-range of friends, collaborators and co-conspirators on a trip through the murky cosmos, navigating the black universe with stardust as currency. In these times, they'll say, as they click and mash their way through the same inter-webs that seek to strangle them, BLACK ENCYCLOPEDIA OF THE AIR is just what we need: a post-everything, 12:01 on the doomsday clock, anti-trip hop type of situation. "We ain't gotta fight no more," they'll say; the rest of us, we'll put this record on and imagine again that it's real.

With her musical project Half Waif, Nandi Rose dives deep into the waters of artistic expression by layering evocative vocals and synths to create a powerful form of pop music. On Mythopoetics, Rose ex?plores a full spectrum of sounds that sparkle with memorable hooks, otherworldly production and uplifting grooves. "This is the record I've been trying to make for 10 years," Rose says. Previous albums The Caretaker (2020) and Lavender (2018) garnered acclaim for their compelling journeys through solitude, desire and the search for independence. Half Waif declares a new chapter on Mytho?poetics, a collection of 12 new songs - mythical stories that transcend time, each sung with a glorious contralto wrapped up in synths and electronic percussion, and her lyrical piano serving as the backbone. It is an essential reminder that we have the power to shape the stories we tell and the myths we make of our lives. This is music that you feel.

Yves Jarvis and Romy Lightman are a pair of idiosyncratic and restlessly creative artists. In the past decade, Jarvis's ever-expanding swatch have earned international acclaim, while Lightman's twin-sister-led band Tasseomancy has transfixed listeners since the late 2000s. The Lightman Jarvis Ecstatic Band marks the duo's first collaboration, slingshotting both musicians out of their comfort zones into spellbinding territories of lysergic folk and impressionistic rock. Banned was recorded in the tranquil environment of the Tree Museum, an outdoor art gallery in rural Ontario, Canada, hosting residencies for contemporary sculptors over the past 20 years. The pair credit its 200 acres of natural spaces intermingling with human-made creations as the fuel for their unfettered process. Recorded over two weeks in a free-flowing stream of improvisation, the album finds Lightman on synthesizer with Jarvis on drums and guitar, as their voices weave together into an electrified pastoral tapestry. For both musicians, the creation offered a chance to challenge themselves: Jarvis defying his solitary practice to record with another person, while open jams provided Lightman an alternative to her preference for thoroughly composed songwriting. "This album is a loose manifesto in our shared vision for a way of being," says Lightman. "It's about our relationship and the dynamics in that. There's an epicness to it and tension at times. It's like the ways particles collide. There's an alchemical aspect to it with these base components slamming together."

"I first heard Lady In Satin in a mega-shopping mall somewhere in San Francisco. I was about 20 years old and didn't know much about Billie's records or her life or how her voice changed over the years. Anyway, the sound was coming from the other side of the mall and I remember mistaking her voice for a beautiful perfectly distorted electric guitar - some other-world thing floating there on this strange mournful ocean of strings and I was hooked for life. Ten years later in 2006 I recorded an electric guitar instrumental version of "I'm A Fool To Want You" for my album Post-War. In 2018 I performed a concert in LA. of all the songs from Lady In Satin as a quintet and began preparing guitar arrangements for the recordings compiled on this record - Think of Spring. The title comes from a poem written in 1924 by Jane Brown-Thompson that eventually became "I Get Along Without You Very Well" in 1938 - the first song here. The conceit of Think of Spring is to filter the songs and strings from Lady In Satin through a single acoustic guitar using various alternate tunings and a minimal amount of textures and studio manipulation. most of the songs were recorded on an analog Tascam four track. Think of Spring is inspired by Billie Holiday, Ray Ellis, J.J. Johnson, John Fahey and Robert Johnson. Proceeds from this record will benefit Inner-City Arts & Donors Choose via PLUS1 for Black Lives Fund." - M. Ward

Winter Is For Lovers was a lifetime in the making... a solo lap-steel guitar piece incorporating elements of delta blues, flamenco, and even Satie-like minimalism, this work resonates with lyrical virtuosity, originality and soul. In some ways Winter Is For Lovers is a love letter to Ben Harper's longtime fans who have always revered his guitar virtuosity; it's the record they always wanted him to make. For many other music lovers, this record is a revelation, an unknown side to a a celebrated artist showing a sense of meticulousness, depth and music history that will add new dimensions to an already renowned career. As a child, before Ben Harper was even playing music, he sat at the feet of folk luminaries like Rev Gary Davis, John Fahey, Ry Cooder and others in his grandparents Folk Music Center in Claremont, CA, soaking up their influence and passion for pure guitar music. As a teenager, while discovering his own musical gifts, he was repairing guitars and being mentored by many of these artists, most notably, Taj Mahal. While his musical path has taken him to worldwide fame playing rock and roll, and many other idioms, that pure guitar music has always been central to his musical heart. Ultimately, Winter Is For Lovers is a very personal statement from Ben Harper, drawing from the bountiful garden of his earliest musical impressions and propelling him into the future with an elegiac masterpiece. For fans of: Ry Cooder, Taj Mahal, John Fahey, and Robert Johnson

On Sundry Rock Song Stock, Yves Jarvis continues to refine his creative approach to the core of his being, where music and life intertwine in harmonious fashion. The latest album from the Montreal-based musician fuses genre elements into a symbiotic relationship where wistful folk, tender R&B, pastoral prog, and musique concrète experiments feed into one another to grow lush new forms. Though he maintains an air of mystery with his lyrics, Jarvis's whisper-soft words can be interpreted as both deeply personal and politically motivated in ways we haven't heard from him before. While Jarvis' 2019 album, The Same But By Different Means stretches out across 22 sonic sketches ranging in length from 14 seconds to eight minutes, Sundry Rock Song Stocks takes a more traditional approach with its 10 concise tunes. Jarvis's preferred self-contained process found him recording every instrument, mixing the album, and even painting the portrait on its cover. The only outside contribution came from engineer Mark Lawson (Arcade Fire, Basia Bulat, Peter Gabriel), who helped roll tape while Jarvis played drums.