MUSIC

boygenius is Julien Baker, Phoebe Bridgers, and Lucy Dacus
All songs written and performed by boygenius except "Ketchum, ID" by boygenius and Christian Lee Hutson
Bass on this recording by Anna Butterss
Drums on this recording by Elizabeth Goodfellow
Recorded at Sound City, Van Nuys, CA
Engineered by Joseph Lorge
Mixed by Collin Pastore except "Me & My Dog" mixed by Joseph Lorge
Mastered by Heba Kadry at Timeless Mastering
Photo by Lera Pentelute

Irresistible, charming and intimate DIY/outsider psych-folk from London troubador Gengis Cohn. What we get is the inner dialogue and storytelling of one man and his guitar (which is apparently over one hundred years old!) with some additional violin from Lauren Collier, and occasional hand drumming and harmonica. Over intricate string plucking, we get dream logic lyrics that paint surreal pastoral vistas, all with a quintessentially English feel.

NTsKi. Nom de musique of Japan-based vocalist/songwriter/producer; pronounced n-t-s-k-i. "Calla" is her 2nd album, a unified statement of her musical vision at this point in her development, with all-new songs melding her breathy and intimate voice, singing in Japanese and English, with organic acoustic sounds and distinctive electronic colors. NTsKi possesses a charming melodic gift as well as a distinctive production style, giving "Calla" a cohesion and subtle momentum, with relaxed tempos, interesting arrangements and intriguing melodies fusing into a focused musical statement that is refreshing, charming and forward-looking, underpinned by a sense of wistfulness, nostalgia and melancholy. As with her 2021 "Orca" release, co-released on EM Records and Orange Milk, NTsKi is joined by engineer Illicit Tsuboi and British musician/producer Dan Shutt. The songs here are lovely, concise gems, warmly glowing, gently sparkling, evocative and moving. Available on LP and DL, with a Japanese and English lyric sheet. Cover art drawing: Ellen Thomas.

Another blink and you'll miss it transmission from the heart and soul of Manchester artist Tom Boogizm's Rat Heart project alongside The Peanuts (?!?!). The Pamela Peanut Kitchen Sessions is a window into the psyche of this creative force, created in the spirit of purest underground DIY self-expression somewhere between Arthur Russell and The Durutti Column, stoned to the bone.

This music helps me understand how I’m feeling, which is the secret, and there are others. Maybe a product of lyrics sung as if into my ear alone. Or, I hear what I want to hear, or can. That dear experience of understanding your words one way even when I know I’m wrong, like that first line in “Take Mine” which is stuck in my head as: “I wanted to tell you I follow girls like you all the time.” Something about this slip speaks to me, for me, and it’s a kind of magic to open sense up to possibility. These songs are full of similar moments that reach deep, disorient with their candor, and linger long, into lightness. Little truths hook and curl. Is there actually a place where I could fall behind with you? Where we can measure time by creeping vines? I’d like to. Because she did blow in on a cold wind, and how did you know? Precious images, misplaced memories, that this album has captured, nurtured, shared. - Natalia Panzer

All songs originally written by J & reinterpreted by the 'J and the woolen stars' Emile Frankel, Rosy Angela Murphy & Nico Callaghan. Artwork by J Pictures by Bernard Caleo Mastered by Shy

An album such as this obviously owes a lot to the atmosphere in which it was recorded, which we can imagine was magical. We know it took place in Fromentel, Normandy, in a farm converted into a studio by the producer Jacques Denjean, known for his work with Dionne Warwick or Françoise Hardy as well as having been a member of the Double Six. It was also at Fromentel, that Denjean would record two fantastic albums with Albert Marcoeur. When Emmanuelle Parrenin followed in his footsteps a year later she was in good company: the sound engineer at the studio was her partner and therefore uniquely capable (we imagine) of creating an adequate soundscape for her delicate universe. What is more, five years previously, Bruno Menny, the sound engineer partner, recorded his first and only album, but what an album: in electroacoustic terms we can hear things which make him appear as the spiritual son of his mentor Xenakis! 

What makes Maison Rose unique is exactly this fusion between the two conceptions of Emmanuelle Parrenin and Bruno Menny, creating a perfect marriage of tradition and experimentation. The tradition comes from the songs collected by Emmanuelle Parrenin in rural areas, in a similar vein to the work carried out by Alan Lomax and Shirley Collins. The experimentation is in the sound captured by Bruno Menny, who both arranged and recorded the album. This is not to forget those who came with their guitar (Denis Gasser), or their lyrics (no less a figure than Jean-Claude Vannier). On the one hand we have the humble and non-demonstrative singing, with melodies which remind us of songs we would sing to calm a child's nightmares, and on the other hand a pronounced rhythmic intensity at certain points, such as on "Topaze" where the drums in particular evoke the Motorik of Faust. 

A real haven of peace, Maison Rose is enchanting with its aura of mystery and spirituality, with soft, gentle songs which seem both ancestral and futurist. Originally published by Ballon Noir in 1977, this album follows on from other folk marvels such as Le Galant noyé from the pre-Mélusine period. 

On the subject of Maison Rose, if we had to risk a few comparisons we would mention Vashti Bunyan, Linda Perhacs, Joanna Newsom, Collie Ryan, Shirley Collins, Trees Community, Sourdeline and Véronique Chalot as those which spring spontaneously to mind. But this is too reductive for the timeless singularity of Emmanuelle Parrenin: because Maison Rose was recorded in 1977, in the midst of the punk revolution. 

Heavy Weight Vinyl. The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono has put his unmistakable stamp on hundreds of recordings as a session player, producer, and auteur of his own idiosyncratic musical world. Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums.

After Happy End’s amicable break up in 1973, Hosono released Hosono House, an intimate slice of Japanese Americana recorded at home with a back-to-basics approach akin to Music from Big Pink or McCartney. While his former band helped pave the way for the rise of “city pop” that reflected upon urban themes and city life, Hosono took a 180 degree turn towards the countryside for his highly-regarded first solo album. Located an hour from Tokyo in Sayama, Saitama Prefecture, the actual Hosono House was one of several American-style houses originally built for the families of troops stationed at the nearby Johnson Air Base, active during the post-war occupation years. By the early ‘70s this small community had become a hub for creative types looking for a break from Tokyo’s hustle and bustle – and cheaper rent. For Hosono, this was as close as he could get to living in America without leaving his home country. With rooms filled to the edges with recording gear, the house became a live-in studio for Hosono and his crack band – soon to become known as the in-demand session group Tin Pan Alley. The songs on Hosono House display the breadth of Hosono’s talents, from the hushed acoustic folk of “Rock-A-Bye My Baby” and the country twang of “Boku Wa Chotto” to the New Orleans funk of “Fuyu Koe” and the unexpected breakbeats in “Bara To Yajuu.” Lauded by artists such as Jim O’Rourke and Devendra Banhart, Hosono House remains a touchstone of the early phase of Hosono’s career.

Hosono’s solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO), who made their debut in 1978. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.

Weaving between self-built zithers, drones, clarinets, slide guitars and drum machines, ‘Sun Arcs’ presents a unique sound space formed by an inventive approach to acoustic folk and jazz. The starting point of ‘Sun Arcs’ saw Jason travel for a week alone to Andersabo, a cabin set in the Swedish woods just outside of Unnaryd, known also as the music project, festival and residency space which has been run by Dungan since 2016, hosting artists like Sofie Birch, Johan Carøe and Ellen Arkbro. Whilst writing 1-2 pieces per day, a conscious decision was made to leave behind everyday distractions and shut out the outside world to instead focus on the natural passage of time as Dungan recalls: “My only sense of time came from these daily walks out in the woods with my dog, and an awareness of the sun’s path as it moved across the sky each day.” The album’s immersive world unfolds with the opener ‘Dallas’, a musical synthesis of these two disparate spaces (Texas and Denmark), the touchstones of Dungan’s life. A folk-esque single acoustic builds to a flowing arrangement of clarinets, organ and cello drones coupled with percussion. ‘Green-Yellow Field’ chimes in as the first of two solo oriented zither recordings twinned with the dreamlike title track ‘Sun Arcs’, both densely rich as cascading and overlapping harmonic tones resound. ‘Bloom’ emerges with a krautrock psyche before an eruption of cello drones, slide guitar and free-ranging zither playing, ushering in the anticipation of spring. “The title and the feel of the song comes simply from my summers in Sweden – when the plants and insects are opening up everywhere, and there’s this almost too-intense feeling of life outside.” With half of the recordings conceived in Andersabo, Jason returned to Copenhagen to form the album's centre piece ‘Rain Cycle’ which features a tempered Roland drum machine alongside shifting zither improvisations. ‘Writing’ explores the shimmering harp-like qualities of sweeping playing figurations with Dungan mapping out adjusted tuning “zones” on the zither for unconventional but creatively liberating effects. ‘Fur’ captures the feeling of openness and the momentum of time, seeing Dungan perform waves of solo clarinet, often in one takes and embellished with textural drones, a zither solo, and layers of guitar. ‘Wavelength’ the album's closer is fondly inspired by the film works of Michael Snow and Don Cherry’s seminal live album ‘Blue Lake’ (1974), as it builds out from a drone-generated zither chord and features an alto recorder solo. Dungan found a deep connection to Cherry’s stripped back performance ethos, focusing on the core beauty of minimal instrumentation creating a genre-less meeting between folk and jazz. A dialogue is formed between the solo and the bandlike performances, interlinked in a geographical duality with all finding a sense of commonplace as musical sketches of visited landscapes. The bountiful instrumentation ebbs and flows as further layers emerge with Dungan constructing his material by recording and reviewing, adding and subtracting. Musically it portrays a life led by an American person living in Scandinavia, responding to both the local music and landscape while looking back to American influences. Dungan concludes: “Both places feel like “me”, I think on some level the music is always some kind of self-portrait.” ‘Sun Arcs’ depicts the intricate balance of nature’s cycles and the paths outlined by the seasons, from a winter dormancy to a warm sun drenched scene. The album scales new heights and further defines Dungan’s musical narrative, inhabiting a unique space in left-field, improvised and experimental music, bearing his most accomplished compositions to date. A singular and visionary expression, drawing on an array of instruments and sound worlds with a renewed sense of joy and discovery. The album's rich tapestry was mixed by Jeff Zeigler (Laraaji, Mary Lattimore, Kurt Vile / Steve Gunn) and mastered by Stephan Mathieu (Kali Malone, KMRU, Félicia Atkinson).

Experience the captivating and hypnotic sounds of Joyama no Narazumono – a rare gem of Japan’s 70’s folk scene! A genre-bending album by duo Shigeki Kobayashi and Yasuo Yamada, who drew inspiration from songs by local boatmen and British folk like Fairport Convention and The Albion Band to craft a minimalist, intimate approach to both traditional and original compositions. Locally released in 1979 in an edition of just 100 copies, this highly sought-after album is now available worldwide for the first time. Printed on Stoughton “tip-on” jackets. 300 copies on black vinyl, and 200 on Translucent “Root beer” vinyl.

Born in 1923 in Clarksdale MS, Wade Walton, besides working as barber, was a strong blues guitarist and harp player who toured with minstrel shows in his teens and formed the Kings of Rhythms with Ike Turner in the 40's. Recorded by Rudy Van Gelder in 1962 and originally released by Bluesville Records, "Shake ’em on Down" was his biggest album, a great piece of downhome blues which earned him international attention. People said that no trip to Clarksdale would be complete without a trip to Wade’s Barber Shop (Delta Boogie)

“She can snap a heart like a twig” - Pitchfork “Truly otherworldly music” - Stereogum Chapter is pleased to announce the first ever vinyl reissue of this classic overview of Connecticut songwriting icon Kath Bloom’s 1990s recordings, originally released on CD in 2005. Kath’s musical career began in the late 70s and includes a revered series of collaborations with avant-garde guitarist Loren Connors. Compiled from long out-of-print, self-released cassettes and CD-Rs, Finally was the first release to bring Kath’s solo music to wider attention in the 21st century, and she has since been covered by the likes of Pitchfork, The Wire and Aquarium Drunkard. It includes the exquisite Come Here, as heard in a pivotal scene in Richard Linklater’s beloved 1995 film Before Sunrise. In fact, this reissue features new artwork matching the fictitious LP Julie Delpy and Ethan Hawke marvel over in a Viennese record store. The reissue includes five bonus tracks via download card, rescued from a hissy 1987 demo tape. These late 80s versions of Kath’s songs with synth, sax, fretless bass and bongos, including a never before heard version of Come Here, are sublime! Kath’s music was covered by the likes of Bill Callahan, Devendra Banhart, Mark Kozelek, Meg Baird on Chapter’s 2009 tribute album Loving Takes This Course. Covers from this release have also been featured in Paolo Sorrentino film Youth and recent Netflix smash series Sex Education. Still performing across America and the world, Kath is a living legend of fragile folk and heartbreaking songwriting.

The first entry in Numero’s Margo Guryan series arrives as a limited edition pic sleeve 45. Side A features the previously unreleased 1966 yé-yé inspired burner “I Ought To Stay Away From You ,” paired with her latter day viral smash “Why Do I Cry.”

Chie Mukai & Yonju Miyaoka 'Song of trees' Comes in jewel case, with 8 page booklet and English translation kraft sheet. artwork by Yonju Miyaoka Lyrics translation by Alan Cummings Long notes by Takuya Sakaguchi, Short notes by Alan Cummings and Yu Hirayama. Mix & Mastered by Ippei Suda All lyrics and text has English translation Edition of 500

Dai Sayozoku (大サヨ族) is Sayozoku Septet avant-garde, free music, improvisational ensemble. live at Namba BEARS ,Osaka on 2021 August19th. イエレキルピネン Jere Kilpinen ..Shakuhachi, Drums 向井千惠 Chie Mukai ...Voice, Recorder, Percussions 佐藤史 Fumi Sato ...El-guitar 沼 タカハシシカロ Shicaro Takahashi ...Recorder, Toys, Percussions, Voice 　 染谷藍 Ai Sometani ... Recorder, Toys, Percussions サ 天神さやか Sayaka Tenjin ...Gopichand, Recorder, Percussion, Voice ヨ 宮岡永樹 Yonju Miyaoka ....Recorder, El-guitar, Hichiriki 族 Recorded by Yonju Miyaoka Mastered by Masami Baba Special thanks to Satoru Higashiseto (Forever Records), Naomi Kurimoto (Bears)

The first vinyl release from American artist Sydney Spann, Sending Up A Spiral Of well encapsulates Spann’s body of work thus far. On their music, which reacts to themes of family systems and care work, Sydney writes, “people who have done care work —nannies, sex workers, therapists, nurses— may possess their own musical knowledge, developed over time through particular modes of voicing practiced to achieve a desired outcome in their labor. Attending intimately to these ways of voicing and listening and bringing them into a sound practice could be a way to legitimize a less recognized kind of musical knowledge.” Sending Up A Spiral Of explores this unarticulated expression through sound and song. The titular piece traces Spann within some quixotic woodland, as if beginning inside of some urban fairy-story. Self-soothing singing quivers under dragging branches, peeling cement and other tactile grit. The work drops into a new proximity half-way through as electronic contours overtake the environment. Sine-tones smolder in a pulsating choreography, perhaps reminiscent of Richard Maxfield’s “Night Music” played at half-speed. The second section of the record depicts a series of five smaller portraits, expressed (or disguised) as lullabies. An oceanic humming permeates them. “Possession” and “Purposeful Evening” are the most song-like lullabies, with their verse-chorus repetition and melodic simplicity. Innocuous words “baby” and “honey” are encoded with deeper, often painful connotations. Sydney’s voice and vision for this album is ambitious, cloaked in the strains and contradictions of what love means in the nuclear family. A 16-page artist pamphlet of rubbings, photographs and sheet music accompanies the LP, along with a digital PDF of Spann’s thesis “Sending Up A Spiral Of: A Musical Epistemology Made Through Care Work.”

Hovering somewhere at the intersection of Nirvana and Neil Young, Rex exploded—or drifted, rather—onto the slowcore scene in the mid-1990s. Taking its cue from bands like Codeine, which drummer Doug Scharin was a part of, Rex managed to synthesize the dynamic eruptions of grunge, twinkling guitars of folk, and sprawling string arrangements of chamber pop on its seminal 1996 album, C. In recording C, Scharin, along with bandmates Curtis Harvey and Phil Sprito, created an untamable and uncategorizable beast. The album’s 11 tracks clock in at an hour and 7 minutes, most often winding from folk warbles to distortion-drenched power chords and back. End-to-end, listening to C feels like being granted access to one of the band’s most unfettered jams.

The Endless Coloured Ways is a collection of songs by legendary singer/songwriter, Nick Drake, performed and recorded by over 30 incredible artists from a range of different backgrounds, genres, age groups and audiences. From Fontaines D.C. to Guy Garvey, Aurora to Feist, and Self-Esteem to David Gray, each artist has offered their own incredible take on a timeless classic"Nick Drake was not that concerned with promoting himself as an artist but I think he would have been overjoyed to hear his art promoted by so many vibrant and talented artists such as the ones we approached. Each track is an example of a fellow artist adopting Nick's art as if it was their own, submitting to the song, and the results prove to me that talent can so often win out over mere skill or 'personality'. We are honoured and so grateful to all our friends, old and new, who took part in the making of this set." - Cally Calloman, Bryter Music"Having initially exchanged a list of our favourite artists and realised how much our tastes overlapped, Cally and I set out on this venture with one simple brief - to ask the artists to ignore the original recording of Nick's in terms of arrangement, production and singing style; basically we were asking them to reinvent the song. First of all it was humbling to hear so many similar responses, saying how important Nick's music was to them, and how much they wanted to be part of this project. But as the results came in one by one, we were staggered by the brilliance and invention that each artist had shown. They had done what we asked - they had made the song their own." - Jeremy Lascelles, Chrysalis Records

Demdike Stare reunite with guitarist Jon Collin for a new album of concréte dreamweaving performed on tape, pedals and a homemade Swedish nyckelharpa - a type of keyed fiddle. More psychedelic than either of the trio's previous records, 'Minerals' drops the blues to dive headfirst into the smudged folk wellspring, touching on the pastoral ambience of Andrew Chalk via Loren Connors’ immersive drift and Tongue Depressor's subterranean drone expeditions. With the trio all hailing from the Pennine moorlands just above the manc sprawl, Jon Collin & Demdike Stare’s shared musical expression understandably reflects a parallax purview that follows leylines between lusher nooks of the inner city and windswept, barren landscapes. Never ones to play it straight, the Swedish Nyckelharpa - a sort of hybrid viola/hurdy gurdy - is deployed deep into a mix of oblique soundscaping, seeping into a swirl of field recordings, screwed spoken word and phosphorescent drones pinging with tape delay. Split into two distinct sides, the album opens with a scrape of wood and metal that introduces us to the nyckelharpa. Scratching its surface and strings, Collin reveals its peculiar tonality, while Demdike cut through its dissonant textures. Like ancient campfire rituals recorded to decaying 1/4" tape, the music on ‘Minerals’ feels as if it's in dialog with the past, shuttled into the present by abstract processes. By the side’s third act, resonant gongs billow around pitched wails that eventually collapse into silence. The second side is more spirited, opening with a thumbed kalimba cut through reverberant strings that recall Arthur Russell's iconic echo-drenched recordings. Through elaborate concréte techniques, Collin's ancient fiddle dissolves into a ferric gloop that’s slowly pulled apart like toffee, taking it to a place where you can no longer really tell what you’re listening to or how it was made. In fact, unlike pretty much everything we’ve heard from Demdike before, the material here feels mechanical rather than electronic, making for one of the most impactful, unusual releases in the vast sprawl of their catalogue thus far.

The Endless Coloured Ways is a collection of songs by legendary singer/songwriter, Nick Drake, performed and recorded by over 30 incredible artists from a range of different backgrounds, genres, age groups and audiences. From Fontaines D.C. to Guy Garvey, Aurora to Feist, and Self-Esteem to David Gray, each artist has offered their own incredible take on a timeless classic"Nick Drake was not that concerned with promoting himself as an artist but I think he would have been overjoyed to hear his art promoted by so many vibrant and talented artists such as the ones we approached. Each track is an example of a fellow artist adopting Nick's art as if it was their own, submitting to the song, and the results prove to me that talent can so often win out over mere skill or 'personality'. We are honoured and so grateful to all our friends, old and new, who took part in the making of this set." - Cally Calloman, Bryter Music"Having initially exchanged a list of our favourite artists and realised how much our tastes overlapped, Cally and I set out on this venture with one simple brief - to ask the artists to ignore the original recording of Nick's in terms of arrangement, production and singing style; basically we were asking them to reinvent the song. First of all it was humbling to hear so many similar responses, saying how important Nick's music was to them, and how much they wanted to be part of this project. But as the results came in one by one, we were staggered by the brilliance and invention that each artist had shown. They had done what we asked - they had made the song their own." - Jeremy Lascelles, Chrysalis Records

When he‘s not writing or recording, Baba Stiltz immerses in fearless fiction by the likes of Denis Johnson and Dodie Bellamy; prose where pedestrian details become transcendent in aggregate and the inner lives of marginal characters are examined as though they were kings. A similar thesis runs through „Paid Testimony“, the essential second tape of minimalist guitar music from the FilipinoAmerican-Swedish artist. In recent years, Stiltz has made like Lee Hazelwood‘s Cowboy In Sweden in reverse, making annual pilgrimages from Stockholm to California and reconnecting with his roots via a guitar and a Fostex 4- track. He‘s drawn to the less glamorous corners of the golden state, an observant habitué of unkempt streets and dive bars stretching from LA to Vacaville. It‘s a long stretch from the jetset techno clubs where Baba originally plied his musical trade, but it‘s where he finds characters and ideas worth writing about. The characters on „Paid Testimony“ are on the edge and on the run. Surrounded by flawed men with big schemes since childhood, he extrapolates characters who plot bank heists and order milk and vodka in AM hours, the type of confrontation- prone characters who „say some shit, make everyone uncomfortable and then just split.“ To focus on the rawness of this document would discount the humor and sympathy with which he treats his characters, not to mention the subtly- psychedelic songwriting recalling David Berman, early Smog, the original indie rock minimalist poets. On the final song, Stiltz looks back on the city that raised him, „Stockholm,“ referencing „young professionals carelessly living“ before adding „I can‘t say I‘m not jealous even though I live my life just like they do.“ There‘s an honesty in the small details revealed on „Paid Testimony“, and a defined sense of place, be it Stockholm, Sacramento or some dim barroom across from the Bank Of America. Baba doesn‘t quite fit in anywhere. This outsider quality has often been used as a marketing tool, yet here, it lends a writerly aspect to the proceedings, an unreality to the everyday.

Once the dust had settled after a musically and politically turbulent era that was 1960s America, there emerged a new musical movement, one that united the singer-songwriter with the folk-rock sensibilities developing at the time: A beautiful, fragile form of American folk music exploring the more sentimental parts of human experience. Flight was formed in 1971 in the Michigan town of Grayling by Phil Stancil and Doug Slater. The two teenagers, with no formal musical training, sat down for a year to explore a shared sense of vulnerability, and a newfound freedom in expressing an emotional openness rarely seen in young American men at the time. What resulted was an 8-track LP, recorded over two days in two separate studios. Aside from a limited 45 pressing of 50 copies of the two singles, I’m Coming Home would wait for a full half-century to be released. This music recently uncovered and restored, provides a unique glimpse into the world that was 1971 America: a time when young men felt emboldened to abandon machismo and explore the feelings of heartbreak, longing, alienation, and love in music. Enjoy I’m Coming Home by Flight.

Growing up in Minnesota, life constantly took multi-instrumentalist and producer Lutalo Jones back and forth across the Mississippi River, through the beating heart of the Twin Cities, from their home in Minneapolis to school in St Paul. In 2021 Lutalo and their partner moved east, to settle among the green peaks of Vermont, having taken ownership of an area of land with the intention of building a small community for themselves. The aim is to accomplish a long-held dream: to live life differently, to invest in and create something tangible that can be passed on to future generations. The to-and-fro of that early life has been replaced by something altogether more steady, a burning desire to not get so caught up in the intensity of the world.It's this overwhelming potency of modernity that ripples through Lutalo's musical work. Their six-song debut EP, Once Now, Then Again, bristles with tension, despite the open laidback nature of the performance. The new EP – which follows a few well-received singles in 2021 and a run of live shows alongside Adrianne Lenker – spans both of Lutalo's contrasting worlds, the songwriting beginning in the Twin Cities before being finished in the serene surroundings of Vermont, and both environments leave their mark on Lutalo's rich and absorbing sound.For now, Lutalo's world consists of new pastures and new beginnings, the search for brightness in spite of all the dark. They remain optimistic in attitude, and steadfast in their belief that change can only happen when you believe in a better future. "At the same point you also have to recognize that this is also your time to be alive," Lutalo says, "and to try to find beauty in those moments and focus on the smaller details: to watch the water trickle down the stream, to see the ice as it melts from the rooftops."

RSD 2023 release. One of the most obscure records ever released in Venezuela that was originally distributed in tiny quantities as a promo-only album. A magic blend of protest songwriting, with a strong environmentalist statement, and folky pop with psych ingredients -such as the use of sitar sounds- recorded by the collective of artists Una Luz and El Zigui who was once described as the local Bob Dylan. First time reissue.