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viewing 1 To 23 of 23 items
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CD
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EDDA 071CD
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Hologram Teen's exuberance is brightly reflected in the mirror ball synthpop of her third album. It is her second long player to appear on vinyl after the release of Between The Funk And The Fear debut on the Polytechnic Youth label. Morgane was the keyboard player in Stereolab between 1995 and 2001 during which time they released Emperor Tomato Ketchup and Dots And Loops. As a teenager though she first played the drums, then guitar and bass. She only learnt the keyboards one month before joining the group. After leaving Stereolab, Morgane first moved to New York for nine years; she'd always planned to move to America having spent a lot of time there with her parents and of course those space-pop pioneers. The warmer weather of LA enticed her though and you can hear its pulse in Day-Glo Chaos. The album's thumping heart is pumped by the city's night sky and when asked she cites three particular albums as her favorites: the oddball analogue electro of Jacno's 1979 debut; John Carpenter's Escape From New York and The B-52's Cosmic Thing. There's also a strong nod to the playful computerized harmonies of Yellow Magic Orchestra whilst she's somewhat partial to the synth prog of Yes and Soft Machine. Throughout her work (but especially on this record) you can hear the influence of computer games. Though not a fan of Hotline Miami or the GTA series she liked Hang On and loved Outrun which she used to play a lot on her Sega Master System. You'll see and hear such influences on the lead single from the album "Midnite Rogue" the video to which pays (im)perfect juddering homage to such arcade culture. The title was inspired by a Fighting Fantasy book which she adored as a kid.
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EDDA 071LP
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LP version. Hologram Teen's exuberance is brightly reflected in the mirror ball synthpop of her third album. It is her second long player to appear on vinyl after the release of Between The Funk And The Fear debut on the Polytechnic Youth label. Morgane was the keyboard player in Stereolab between 1995 and 2001 during which time they released Emperor Tomato Ketchup and Dots And Loops. As a teenager though she first played the drums, then guitar and bass. She only learnt the keyboards one month before joining the group. After leaving Stereolab, Morgane first moved to New York for nine years; she'd always planned to move to America having spent a lot of time there with her parents and of course those space-pop pioneers. The warmer weather of LA enticed her though and you can hear its pulse in Day-Glo Chaos. The album's thumping heart is pumped by the city's night sky and when asked she cites three particular albums as her favorites: the oddball analogue electro of Jacno's 1979 debut; John Carpenter's Escape From New York and The B-52's Cosmic Thing. There's also a strong nod to the playful computerized harmonies of Yellow Magic Orchestra whilst she's somewhat partial to the synth prog of Yes and Soft Machine. Throughout her work (but especially on this record) you can hear the influence of computer games. Though not a fan of Hotline Miami or the GTA series she liked Hang On and loved Outrun which she used to play a lot on her Sega Master System. You'll see and hear such influences on the lead single from the album "Midnite Rogue" the video to which pays (im)perfect juddering homage to such arcade culture. The title was inspired by a Fighting Fantasy book which she adored as a kid.
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EDDA 075CD
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The Black Watch follow up 2023's Future Strangers LP on Atom Records with their new album for Dell'Orso, now on limited CD with the single "Much of a Muchness" released the same day. The Morning Papers Have Given Us the Vapours was made with The Black Watch bandmates and producers/engineers Rob Campanella (Brian Jonestown Massacre, The Tyde, The Warlocks) and Andy Creighton (The World Record, Parson Red Heads). Ben Eshbach, formerly of The Sugarplastic, arranged the strings. Kesha Rose guests on lead vocals on the second single, "Oh Do Shut Up." And the great Lindsay Murray once again lends her beautiful backing vox to a number of tracks.
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EDDA 064LP
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"I like to work with a variety of instruments and set ups," says Mark Van Hoen, sometimes known as Locust or Autocreation but here working under his own name on the excellent Plan For A Miracle, his first physical release of solo music since 2018's Invisible Threads (TO 104CD). "Sometimes it's literally in my studio, with all the hardware electronics available. Sometimes the laptop, using software instruments. Some of the tracks on this record were recorded in the desert (Joshua Tree) using a four-track tape machine and small modular synthesizer set up. Each track was recorded in different location using different instruments, which accounts for the distinction between each piece. It's also about my own reaction to my environment, and what's going on in my life at the time." Mark Van Hoen has worked on a number of collaborations, including with Nick Holton and Neil Halstead of Slowdive, under the moniker of Black Hearted Brother -- their Stars Are Our Home was released in 2013. Each track on Plan For A Miracle does indeed sound like a world unto itself, a mini-environment, a weather condition, an ecosystem created for the moment. It's a collection of tracks recorded over the past few years, released on Bandcamp -- despite his apparent absence, Van Hoen works constantly. Although the album is non-thematic, non-specific in its atmospheres, sound paintings, elegant structures it most certainly stands as a magnificent monument to Osho's memory. Album mastered for vinyl by Stefan Betke at Scape. Artwork by Ian Anderson (Designers Republic).
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EDDA 062CD
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After taking time out from working together to focus on separate musical projects, maverick composer Alan Roberts (Jim Noir) and crowd-rousing vocalist Leonore Wheatley (International Teachers of Pop/The Soundcarriers) have re-joined forces to introduce Co-Pilot. Happy in the haze of many boozy hours the album was recorded over just a few months whilst holed up and hanging out in Al's city centre Dookstereo studio. As Leonore added her vocal magic to Al's early demos of what would eventually become Co-Pilot's "Spring Beach" and a crooked original version of closing track "Corner House," the vibe was prophetic. The songs were the catalyst to spark a new phase of the pair working together, picking up where they left off. Powered by a "try anything" approach, Co-Pilot blends the musical DNA of what you've come to expect from each of the pair's previous flight paths. The album even features snippets from dearly departed pal Batfinks whilst "Motosaka" is perhaps the most expensive two-minutes on the album, featuring a Columbia Records Japan-cleared sample of Ryuichi Sakamoto's "Thousand Knives." Co-Pilot's destination might be unknown, but the clouds are about to part for a sound that is light years ahead.
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LP
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EDDA 062LP
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LP version. Violet vinyl; gatefold sleeve. After taking time out from working together to focus on separate musical projects, maverick composer Alan Roberts (Jim Noir) and crowd-rousing vocalist Leonore Wheatley (International Teachers of Pop/The Soundcarriers) have re-joined forces to introduce Co-Pilot. Happy in the haze of many boozy hours the album was recorded over just a few months whilst holed up and hanging out in Al's city centre Dookstereo studio. As Leonore added her vocal magic to Al's early demos of what would eventually become Co-Pilot's "Spring Beach" and a crooked original version of closing track "Corner House," the vibe was prophetic. The songs were the catalyst to spark a new phase of the pair working together, picking up where they left off. Powered by a "try anything" approach, Co-Pilot blends the musical DNA of what you've come to expect from each of the pair's previous flight paths. The album even features snippets from dearly departed pal Batfinks whilst "Motosaka" is perhaps the most expensive two-minutes on the album, featuring a Columbia Records Japan-cleared sample of Ryuichi Sakamoto's "Thousand Knives." Co-Pilot's destination might be unknown, but the clouds are about to part for a sound that is light years ahead.
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CD
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EDDA 052CD
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All Welcome on Planet Ree-Vo could only really have been made in one city steeped as it is in Bristol's decades of less conventional hip-hop and bass music. Tweaked and fine-tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk. The album was all recorded, produced and mixed by Andy Spaceland at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly. During 2021 the first two singles from the LP were released. The first was the juggernaut that is "Groove With It". T. Relly growling out polemic against the relentless cacophony spun by Andy, the brutality of the bass and horns is temporarily smoothed with Relly's soulful, swaggering placation of "Turn your speakers on/ Till ya speakers blown baby/ If you're feeling strong baby/ We can keep it going baby". This was followed in April by the 12" release of "Combat" featuring a thumping remix by Surgeon and an extended electro remix by Ree-Vo themselves. "Spacebox" which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control. "Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!" is the beamed mantra, Relly transmitting to all occupants of the galaxy. "We wanted to make a hedonistic and colorful dancehall track, a bold response to the suppressive circumstances of the last two years."
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LP/7"
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EDDA 052LP
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LP version. Black vinyl LP with 7" of remixes of "Spacebox" by NØISE and Batbirds, gatefold sleeve. All Welcome on Planet Ree-Vo could only really have been made in one city steeped as it is in Bristol's decades of less conventional hip-hop and bass music. Tweaked and fine-tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk. The album was all recorded, produced and mixed by Andy Spaceland at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly. During 2021 the first two singles from the LP were released. The first was the juggernaut that is "Groove With It". T. Relly growling out polemic against the relentless cacophony spun by Andy, the brutality of the bass and horns is temporarily smoothed with Relly's soulful, swaggering placation of "Turn your speakers on/ Till ya speakers blown baby/ If you're feeling strong baby/ We can keep it going baby". This was followed in April by the 12" release of "Combat" featuring a thumping remix by Surgeon and an extended electro remix by Ree-Vo themselves. "Spacebox" which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control. "Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!" is the beamed mantra, Relly transmitting to all occupants of the galaxy. "We wanted to make a hedonistic and colorful dancehall track, a bold response to the suppressive circumstances of the last two years."
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LP + 10"
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EDDA 052X-LP
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LP version. Turquoise blue vinyl LP with orange 10" featuring remixes and collaborations from The Bug, Object Object, NØISE, and Dälek, gatefold sleeve. All Welcome on Planet Ree-Vo could only really have been made in one city steeped as it is in Bristol's decades of less conventional hip-hop and bass music. Tweaked and fine-tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk. The album was all recorded, produced and mixed by Andy Spaceland at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly. During 2021 the first two singles from the LP were released. The first was the juggernaut that is "Groove With It". T. Relly growling out polemic against the relentless cacophony spun by Andy, the brutality of the bass and horns is temporarily smoothed with Relly's soulful, swaggering placation of "Turn your speakers on/ Till ya speakers blown baby/ If you're feeling strong baby/ We can keep it going baby". This was followed in April by the 12" release of "Combat" featuring a thumping remix by Surgeon and an extended electro remix by Ree-Vo themselves. "Spacebox" which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control. "Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!" is the beamed mantra, Relly transmitting to all occupants of the galaxy. "We wanted to make a hedonistic and colorful dancehall track, a bold response to the suppressive circumstances of the last two years."
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7"
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EDDA 054R-EP
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Ree-Vo release their Spacebox single on 7" with remixes by NØISE and Batbirds and stunning original artwork by Shepard Fairey. In 2021, Bristol hip-hop duo Ree-Vo released two singles from their forthcoming album All Welcome On Planet Ree-Vo. The first was the electro-hop, LFO-surfing "Combat" with a remix by Surgeon. The second -- dropped as a digital double A-side -- was the dark, submersive "Groove With It" remixed by New Jersey's legendary Dälek and "Protein" remixed by The Bug. Ree-Vo begin 2022 in contrast with this their hookiest track on their album, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control. "Lift off, blast off, shirt off, pants off, bra off, Dance off! Naked in the dance hall space box!" is the beamed mantra, rapper Relly transmitting to all occupants of the galaxy. "We wanted to make a hedonistic and colorful dancehall track, a bold response to the suppressive circumstances of the last two years." Helping them on this seven's mission are two remixes, one by NØISE (the musical collective of Joe Cassidy, Shepard Fairey, Merritt Lear, and John Goff) and Batbirds (the duo of Joe Cassidy and Aaron Miller). Common to both of course is Joe Cassidy who recorded for Dell'Orso as Butterfly Child. These mixes were made at the end of 2020, the record sent off to print in February 2021, five months before Joe's incredibly sad departure from this planet, at least physically. Red vinyl.
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CD
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EDDA 056CD
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Bristol hip-hop duo Ree-Vo drop the first of three releases in 2022 beginning with this stunning mix of original tracks, remixes and collaborations. Newark, NJ's Dälek (Will Brooks, Deadverse) drags T. Relly's growl through the quicksand, a cacophony of whiplashed beats and visceral loops spurring our protagonist on. It's a gaggle of Ghostface Killas trapped in a hall of mirrors; it's next door's MBV heard through the walls whilst submerged in a low-lit bathtub. And Wu Tang are pulling the plug out. Kevin Martin, aka The Bug, released one of 2021's most fierce and focused albums with Fire on Ninja Tune. In his hands "Protein" becomes a submarine bass, head n' rig wrecker opting for more of his hooky "In Blue" style Bug mix. As Kevin eludes -- "to my fantastical mind it sounds like Bug dirt'n'grind Vs Yin Yang Twins' swagger and Neptunes funk." Eight track, very limited CD release featuring Surgeon, The Bug, Dälek and Rob Smith (RSD, one half of Smith and Mighty) along with two original exclusives by Ree-Vo mastered by Stefan Betke (aka Pole).
Ree-Vo are rapper T. Relly and DJ, producer Andy Spaceland. Relly is known in the Bristol community for his links to the city's major club nights, compering stages at St Paul's Carnival, his classic 2018 LP with DJ Rogue (Let Them Know) and his passionate social work with Bristol's most disadvantaged. Andy (Spaceland) Jenks has been involved in Bristol bass music beginning with Static Sound System and a collaborative 12" with Rudy Tambala (A.R Kane) before his group Alpha was signed to Massive Attack's label Melankolic (also becoming one of their tour DJs). He also currently releases music with US producer Butch Vig and is working on new tracks with Mark Stewart (The Pop Group).
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12"
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EDDA 053EP
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Bristol hip-hop duo release their debut 12" ahead of an album featuring a thumping electro remix by Surgeon and an extended remix by Ree-Vo themselves. The forthcoming LP All Welcome on Planet Ree-Vo could only really have been made in one city steeped as it is in Bristol's decades of less conventional hip-hop and bass music. Tweaked and fine-tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk. T. Relly is pure Bristol hip-hop royalty -- known in the community variously for his links to all of the city's major club nights, his passion and support for the most disadvantaged (through his work with the youth and prison leavers), through to compering stages at St Paul's Carnival and his seminal 2018 LP with DJ Rogue, Let Them Know. Andy Spaceland (AKA Andy Jenks) got involved in Bristol bass music as soon as he moved to the city with Static Sound System and a collaborative 12" with Rudy Tambala (AR Kane) as Sugarboat Vs Sufi, before his band Alpha were signed to Massive Attack's label Melankolic, whilst he also became one of their tour DJs. His CV of collaborations range from Smith and Mighty to Madonna, and he is currently releasing music with US producer Butch Vig in the band 5 Billion in Diamonds, and working on new tracks with Mark Stewart (The Pop Group).
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LP
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EDDA 047G-LP
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One of the most remarkable folk-rock albums of the past decade arrives in on gold vinyl. Fresh from touring in the UK and Europe with acts including Robyn Hitchcock and Nick Mason's Saucerful of Secrets, London-based singer-songwriter Emma Tricca releases a new edition of her stunning 2018 album St Peter, accompanied by a limited edition postcard. Praised on first release as a "wonderfully romantic piece of folk-pop" (The Times), possessing "a startling and sublime new sound" (The Quietus), St Peter features guest appearances from folk legend Judy Collins alongside indie icons Howe Gelb, Jason Victor, and Steve Shelley. The album is one so loaded with texture that is almost feels tangible, a rare record that feels precise and pristine in its executions but never sterile or lifeless. Electric guitars fizz away like a controlled electricity, Tricca's guitar playing flows gracefully at the core with her vocals existing in the perfect state between slight rasp and caramel-smoothness. Shelley's drumming and percussion gives a steady heartbeat to the record which is further brought to life by a variety of deft instrumentation, including piano, bass, cello, violin, glockenspiel, and of course the variety of guest backing vocalists. Whilst St Peter's deep-seated roots can perhaps be traced to traditional folk music, its finished existence feels far from such a thing -- its ever-flowing essence skipping through genres, tones, paces and rhythms with a gliding grace. Perhaps even a touch of the spirit of Hoboken's own Yo La Tengo has seeped into the finish record in its quiet yet stirring beauty.
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EDDA 047CD
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In life and music, Emma Tricca is an explorer. Just as Davey Graham set sail for Morocco and Vashti Bunyan for the Outer Hebrides in search of their elusive muse, Rome-raised singer-songwriter Tricca has journeyed to London, New York, Texas, and further afield to seek the heart of her own music. Tricca's new album St Peter -- created with a cast of supporting artists including global icon Judy Collins, Sonic Youth's Steve Shelley, and Dream Syndicate guitarist Jason Victor -- takes a bracing plunge into the unknown, leaving the folksinger tag far behind with a rolling collection of reverie-inducing raw diamonds. Tricca released her first melancholic masterpiece, 2009's crystalline long-player Minor White on Bird Records (BMS 024CD), an offshoot of Finders Keepers run by husband and wife team Jane Weaver and Andy Votel. Five years later Tricca released Relic (2014), an album even more poised and precise than its predecessor. A collaboration with longtime friend and guitar wizard Jason McNiff led to 2017's sparkling Southern Star EP (EDDA 043CD/LP), while a song on the soundtrack of Patrick Stewart-starring US indie film Match (2014) raised her profile. Recorded near-live at Echo Canyon West in Hoboken, St Peter draws on crunchy country rock, homespun psychedelia, Morricone soundtracks, New York underground grit, and English folk grandeur to weave a wholly unique and surprising spell. More musical guests soon joined the party -- gruff songwriting hero Howe Gelb put in a brief cameo, while Tricca was able to live out a childhood fantasy by inviting Judy Collins to appear on the album's penultimate cut, "Solomon Said". The album is so loaded with texture that is almost feels tangible; a rare record that feels precise and pristine in its executions but never sterile or lifeless. Electric guitars fizz away like a controlled electricity, Tricca's guitar playing flows gracefully at the core with her vocals existing in the perfect state between slight rasp and caramel-smoothness. Shelley's drumming and percussion gives a steady heartbeat to the record which is further brought to life by a variety of deft instrumentation, including piano, bass, cello, violin, glockenspiel, and of course the variety of guest backing vocalists. Whilst St Peter's deep-seated roots can perhaps be traced to traditional folk music, its finished existence feels far from such a thing -- its ever-flowing essence skipping through genres, tones, paces and rhythms with a gliding grace.
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LP
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EDDA 047LP
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LP version. In life and music, Emma Tricca is an explorer. Just as Davey Graham set sail for Morocco and Vashti Bunyan for the Outer Hebrides in search of their elusive muse, Rome-raised singer-songwriter Tricca has journeyed to London, New York, Texas, and further afield to seek the heart of her own music. Tricca's new album St Peter -- created with a cast of supporting artists including global icon Judy Collins, Sonic Youth's Steve Shelley, and Dream Syndicate guitarist Jason Victor -- takes a bracing plunge into the unknown, leaving the folksinger tag far behind with a rolling collection of reverie-inducing raw diamonds. Tricca released her first melancholic masterpiece, 2009's crystalline long-player Minor White on Bird Records (BMS 024CD), an offshoot of Finders Keepers run by husband and wife team Jane Weaver and Andy Votel. Five years later Tricca released Relic (2014), an album even more poised and precise than its predecessor. A collaboration with longtime friend and guitar wizard Jason McNiff led to 2017's sparkling Southern Star EP (EDDA 043CD/LP), while a song on the soundtrack of Patrick Stewart-starring US indie film Match (2014) raised her profile. Recorded near-live at Echo Canyon West in Hoboken, St Peter draws on crunchy country rock, homespun psychedelia, Morricone soundtracks, New York underground grit, and English folk grandeur to weave a wholly unique and surprising spell. More musical guests soon joined the party -- gruff songwriting hero Howe Gelb put in a brief cameo, while Tricca was able to live out a childhood fantasy by inviting Judy Collins to appear on the album's penultimate cut, "Solomon Said". The album is so loaded with texture that is almost feels tangible; a rare record that feels precise and pristine in its executions but never sterile or lifeless. Electric guitars fizz away like a controlled electricity, Tricca's guitar playing flows gracefully at the core with her vocals existing in the perfect state between slight rasp and caramel-smoothness. Shelley's drumming and percussion gives a steady heartbeat to the record which is further brought to life by a variety of deft instrumentation, including piano, bass, cello, violin, glockenspiel, and of course the variety of guest backing vocalists. Whilst St Peter's deep-seated roots can perhaps be traced to traditional folk music, its finished existence feels far from such a thing -- its ever-flowing essence skipping through genres, tones, paces and rhythms with a gliding grace.
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2LP
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EDDA 045LP
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Double LP version. Dell'Orso Records present a reissue of Butterfly Child's debut Onomatopoeia, originally released in 1993. In the early summer of 1993, Rough Trade released Onomatopoeia, the first album by Belfast native Joe Cassidy's Butterfly Child. Having first come to the public's attention after a wave of press resulting from two EPs released on dream pop legends' A.R. Kane's H.ark! label, an incendiary first BBC John Peel Session, and a UK tour supporting The Sundays, Cassidy recorded Onomatopoeia in a couple of weeks with the help of longtime friend and collaborator Gary McKendry of the now infamous Papa Sprain. Gleefully using a shoestring budget that felt like a one-million dollar advance, Cassidy and McKendry bought an 8-track tape machine, a cheap drum machine, an even cheaper reverb unit, a secondhand synthesizer, and a bunch of tea. They then proceeded into the album's recording sessions with a classic Irish carefree attitude and confidence. As Cassidy recalled: "I always felt that no matter how little audio equipment or musical instruments we had back then, that it was always possible to make something really special, despite our limitations. In fact, having extreme limitations often helped push us to get the most out of the solitary synth or the one bad drum machine with silly tom sounds that we had at our disposal. I love that the song 'Our Lady Mississipp', for example, is like the nursery school jazz version on the album, and then by the time we did the second Peel Session six months later, I had Pendle on guitar, James Harris on bass, and a fantastic drummer (Richie Thomas of Dif Juz, Moose, The Jesus And Mary Chain, This Mortal Coil), finally realizing what the adult version of that song could sound like." Part of Onomatopoeia's charm that still holds true almost 25 years later is its child-like, timeless quality -- it sounds nothing like anything of its time. It is a unique and beautiful collection of "almost songs" that flourish as a whole body of work that beg the listener to delve deeper, to get lost in the aether of its lyrics, and to let it quietly roar all over you.
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CD
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EDDA 045CD
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Dell'Orso Records present a reissue of Butterfly Child's debut Onomatopoeia, originally released in 1993. In the early summer of 1993, Rough Trade released Onomatopoeia, the first album by Belfast native Joe Cassidy's Butterfly Child. Having first come to the public's attention after a wave of press resulting from two EPs released on dream pop legends' A.R. Kane's H.ark! label, an incendiary first BBC John Peel Session, and a UK tour supporting The Sundays, Cassidy recorded Onomatopoeia in a couple of weeks with the help of longtime friend and collaborator Gary McKendry of the now infamous Papa Sprain. Gleefully using a shoestring budget that felt like a one-million dollar advance, Cassidy and McKendry bought an 8-track tape machine, a cheap drum machine, an even cheaper reverb unit, a secondhand synthesizer, and a bunch of tea. They then proceeded into the album's recording sessions with a classic Irish carefree attitude and confidence. As Cassidy recalled: "I always felt that no matter how little audio equipment or musical instruments we had back then, that it was always possible to make something really special, despite our limitations. In fact, having extreme limitations often helped push us to get the most out of the solitary synth or the one bad drum machine with silly tom sounds that we had at our disposal. I love that the song 'Our Lady Mississipp', for example, is like the nursery school jazz version on the album, and then by the time we did the second Peel Session six months later, I had Pendle on guitar, James Harris on bass, and a fantastic drummer (Richie Thomas of Dif Juz, Moose, The Jesus And Mary Chain, This Mortal Coil), finally realizing what the adult version of that song could sound like." Part of Onomatopoeia's charm that still holds true almost 25 years later is its child-like, timeless quality -- it sounds nothing like anything of its time. It is a unique and beautiful collection of "almost songs" that flourish as a whole body of work that beg the listener to delve deeper, to get lost in the aether of its lyrics, and to let it quietly roar all over you.
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10"
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EDDA 043LP
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10" version. Emma Tricca and Jason McNiff present the mini album, Southern Star. Tricca and McNiff first met each other a number of years ago in the 12 Bar Club, a venue that they both played at and frequented looking for like-minded souls. Brought together by their mutual appreciation of Bert Jansch and John Renbourn, (Jason knew Bert and Emma knew John) they forged a friendship and made plans to one day record together. Their solo careers blossomed, Tricca "carving folk's new golden era" with her two delicate records for Finders Keepers and McNiff releasing six albums of highly regarded singer/songwriter material. But the roots run deep with Tricca and McNiff and the friendship and intention remained, and their recording plans were finally realized in the summer of 2015. Fortune found them with time on their hands and after a summer of rehearsal in a farm house in rural Italy and engineer/producer Tommaso Colliva of Calibro 35 suddenly free from duties with Muse, they got to fulfil this career long ambition and Southern Star was born. The songs feature the pair sharing vocals on each other's material, three songs written by both Tricca and McNiff, and highlight a yearning for travel and the emotions that are stirred by distant shores. The only kids in town who were listening to Bert and John and finger-picking on their guitars in those distant days of the 12 Bar deliver a consummate and engrossing listening experience where one travels with them on a southbound train, taking in stops in New York, the Hills of Rome and Paris in rain, the long way. As Tricca sings on McNiff's song, "Hills of Rome", "I come down on my bike to the market place, got petrol in my blood and wind in my face, my God I seem to be winning this race, got no one to chase to now..."
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CD
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EDDA 043CD
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Emma Tricca and Jason McNiff present the mini album, Southern Star. Tricca and McNiff first met each other a number of years ago in the 12 Bar Club, a venue that they both played at and frequented looking for like-minded souls. Brought together by their mutual appreciation of Bert Jansch and John Renbourn, (Jason knew Bert and Emma knew John) they forged a friendship and made plans to one day record together. Their solo careers blossomed, Tricca "carving folk's new golden era" with her two delicate records for Finders Keepers and McNiff releasing six albums of highly regarded singer/songwriter material. But the roots run deep with Tricca and McNiff and the friendship and intention remained, and their recording plans were finally realized in the summer of 2015. Fortune found them with time on their hands and after a summer of rehearsal in a farm house in rural Italy and engineer/producer Tommaso Colliva of Calibro 35 suddenly free from duties with Muse, they got to fulfil this career long ambition and Southern Star was born. The songs feature the pair sharing vocals on each other's material, three songs written by both Tricca and McNiff, and highlight a yearning for travel and the emotions that are stirred by distant shores. The only kids in town who were listening to Bert and John and finger-picking on their guitars in those distant days of the 12 Bar deliver a consummate and engrossing listening experience where one travels with them on a southbound train, taking in stops in New York, the Hills of Rome and Paris in rain, the long way. As Tricca sings on McNiff's song, "Hills of Rome", "I come down on my bike to the market place, got petrol in my blood and wind in my face, my God I seem to be winning this race, got no one to chase to now..."
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EDDA 037LP
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LP version. Anyone with affection for treasure of a particularly luminous dream-pop vintage will know about Joe Cassidy and his alias Butterfly Child. Having recorded three albums and a handful of EPs in the '90s, Cassidy returned in 2012 with the No Longer Living In Your Shadow 7". Now, the first Butterfly Child album since 1998 is here. Futures is a radiant 54-minute journey invested with Cassidy's usual melodic richness -- both musical and vocal -- and a more widescreen production, though the album was recorded at Cassidy's LA home. Sonically, the album lives somewhere between The Beach Boys and dream pop, but with a much more direct emotional impact, between bliss and melancholy. It combines new songs with previously unreleased older material, reaching as far back as Cassidy's very first demos as a teenager. The lush, sun-dappled climes of LA can be felt in the expansive folds and grooves of Futures, both on the softer, heartache-y side and on pop-centric songs such as "A Shot in the Dark" and "Holding On." "Holding On" was inspired by a string loop that Guy Sirman of Dell'Orso Records sent to Cassidy, which reminded him of Dionne Warwick, though the eventual track was inspired by Jimmy Webb and Glen Campbell. This being LA, Cassidy could call on his pals Justin, James, and Christiaan, Webb's three sons, to add backing vocals, while Campbell's son Cal plays guitar and percussion. The track also features drummer Matt Walker (also on "A Shot in the Dark") and keyboardist Brian Liesegang. Other Futures guests are Ryan J Rapsys of Euphone (drums), Pendle Poucher (a Butterfly Child accomplice back in the '90s, on "glitch" guitar), Merritt Lear (another Butterfly Child accomplice, and Assassins co-singer, on violin and backing vocals), and Oliver Kraus (strings and horns on the exquisite finale "Beauty #2"). The album is released in advance of a single featuring a remix of "A Shot in the Dark" by Assassins producer Stephen Hague (also of Pet Shop Boys and New Order fame). "All I can do is hope that people out there are into slow heartache music, and will get it!" says Cassidy. Having waited since 1998, Cassidy might only wait another year for the next album: "I told Guy, I have a great Phil Spector-style pop record here! There's little point in repeating myself."
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EDDA 037CD
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Anyone with affection for treasure of a particularly luminous dream-pop vintage will know about Joe Cassidy and his alias Butterfly Child. Having recorded three albums and a handful of EPs in the '90s, Cassidy returned in 2012 with the No Longer Living In Your Shadow 7". Now, the first Butterfly Child album since 1998 is here. Futures is a radiant 54-minute journey invested with Cassidy's usual melodic richness -- both musical and vocal -- and a more widescreen production, though the album was recorded at Cassidy's LA home. Sonically, the album lives somewhere between The Beach Boys and dream pop, but with a much more direct emotional impact, between bliss and melancholy. It combines new songs with previously unreleased older material, reaching as far back as Cassidy's very first demos as a teenager. The lush, sun-dappled climes of LA can be felt in the expansive folds and grooves of Futures, both on the softer, heartache-y side and on pop-centric songs such as "A Shot in the Dark" and "Holding On." "Holding On" was inspired by a string loop that Guy Sirman of Dell'Orso Records sent to Cassidy, which reminded him of Dionne Warwick, though the eventual track was inspired by Jimmy Webb and Glen Campbell. This being LA, Cassidy could call on his pals Justin, James, and Christiaan, Webb's three sons, to add backing vocals, while Campbell's son Cal plays guitar and percussion. The track also features drummer Matt Walker (also on "A Shot in the Dark") and keyboardist Brian Liesegang. Other Futures guests are Ryan J Rapsys of Euphone (drums), Pendle Poucher (a Butterfly Child accomplice back in the '90s, on "glitch" guitar), Merritt Lear (another Butterfly Child accomplice, and Assassins co-singer, on violin and backing vocals), and Oliver Kraus (strings and horns on the exquisite finale "Beauty #2"). The album is released in advance of a single featuring a remix of "A Shot in the Dark" by Assassins producer Stephen Hague (also of Pet Shop Boys and New Order fame). "All I can do is hope that people out there are into slow heartache music, and will get it!" says Cassidy. Having waited since 1998, Cassidy might only wait another year for the next album: "I told Guy, I have a great Phil Spector-style pop record here! There's little point in repeating myself."
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EDDA 040CD
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Following their rarities and singles compilation for the legendary U.S. Sundazed label, The See See return with their third studio album capturing the bittersweet aura of classic psychedelia. Weaving Paisley Underground blushes with folk cosmic odes, Once, Forever and Again splashes a drenched rain parade of vocal harmonies atop ringing 12-string Mosrites, the two halves of the album split by the cherry blossom serenity of "Sun Arrows." The See See are one of the UK's greatest best-kept secrets though loved by fellow bliss-poppers as Norman Blake (Teenage Fanclub), Ric Menck (Velvet Crush) and Sid Griffin (Long Ryders). They also have a fondness for collaborating with like-minded souls. A rework of one of their recent songs was released last year with Jim Noir on vocals and "Jenny Said" on this album is a track that Nick Power from the Coral kindly donated to them.
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EDDA 033CD
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"The sound of Spacemen 3 and Mazzy Star being thrown into the most tranquil ocean, leaving the listener pining for the inevitable beautiful songs to emerge from below." This is Low Sea and their album that they appropriately describe as grey disco. It is synth pop of a very European nature, shot through with a bolt of blue. The duo, Bosnian-born Billie and Bobby D from Liverpool first met while living in the United States. Billie had spent her early years in Bosnia until the war broke out in former Yugoslavia, during which she fled to live in San Francisco (and was initially unwillingly part of a cult). In stark contrast, Bobby took a more insular route to their path, one involving an endless headphone cycle of A-ha, Cocteau Twins, 808 State, and My Bloody Valentine. Having released a mini-album on U.S.-based Lefse Records (How To Dress Well, Neon Indian) they conspired with Dell'Orso Records with a view to releasing a narcotic pop album having bonded over a love for AR Kane, New Order, and Lali Puna. Much of the album was recorded and self-produced in their current residence, a cottage overlooking the light house and harbor in an isolated fishing village on the Irish coast. However, Low Sea had to pinch themselves when the legendary Stephen Hague (Pet Shop Boys, New Order, PiL) agreed to mix some of the tracks on the album, including the title track, "Remote Viewing." You can understand why Stephen Hague was interested, though. Like many of his records, Low Sea's music is insular euphoria, one born out of 4AM cigarettes, nostalgia for the future and a melancholic happiness. Low Sea's music has been described as like "Julee Cruise on sedatives" and this is certainly true of the album's center-point "Acid Ocean," an extraordinary torch song as forlorn as Kim Novak dropping into the Bay. Elsewhere, "Sentimental Games" sounds like Altered Images on board the Trans European Express while the seasick lo-nrg of "Breathing In Too Fast" is like the orphan child of Vivien Goldman and Joy Division. This is the sound of Low Sea.
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