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Its fragility and tenderness bring comfort and understanding. It reflects the unique sensitivity of its creator, who has drawn on his experience to bring this profoundly moving, and life affirming record to the world. - Polly Jean Harvey, Executive producer Ipecac Recordings proudly presents the eponymous solo album by guitarist, producer and composer Alessandro “Asso” Stefana, due for release on 17th May 2024, with PJ Harvey as Executive Producer. The musical journey of Alessandro \"Asso\" Stefana, hailing from Brescia, Italy, is a compelling one, and if you’ve heard PJ Harvey’s The Hope Six Demolition Project, Mike Patton’s Mondo Cane, Calexicos El Mirador, or Micah P. Hinsons I Lie to You, Penguin Cafes Rain Before Seven..., or listened to Guano Padano’s output on Ipecac, you’ll have encountered him. Hometown: Italy A mostly instrumental album Folk album, that also features three songs with Roscoe Holcomb sampled on vocals, which were licensed from Smithsonian Folkways -Roscoe is most known for “I Am A Man Of Constant Sorrow” that was used in O’ Brother Where Art Thou -The influence of an eclectic array of genres, spanning from rootsy folk and primitive blues to soundtracks, psychedelia, desert ballads and ambient explorations -Instruments used include relatively obscure or nearly forgotten instruments of the early 1900s, such as the Marxophone, to pedal steel and lap steel guitars, tape echoes, psychedelic organs and folk fingerpicking -On tour in Europe with nine Italian dates starting in May with Vinicio Capossela and Micah P Hinson TRACK LISTING Fading Away Farewell To Dust Out Of The Blue The Wandering Minstrel The House Born And Raised in Covington (ft. Roscoe Holcomb) I Am A Man Of Constant Sorrow (ft. Roscoe Holcomb) Moonshiner (ft. 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The group, Robbie Cunningham (lead vocals\/guitar), Ross McNerney (mandolin\/guitar), and Oisin McCaffrey (guitar\/vocals), have unassumingly gone from quitting their day jobs in rural Western Ireland to the doorstep of an international breakthrough buoyed by over 100 million streams and sold-out shows around the world. \u003cbr\u003e\u003cbr\u003eAfter just one gig together, they unlocked uncanny creative interplay with each member penning songs and pouring life experience into the lyrics. Amble fuelled buzz with breakouts “Mariner Boy” and “Lonely Island,” but life changed when the band received a call from Warner Records with an offer. Signing to the label in 2024, the band had an unimaginable past year that spawned their latest EP The Commons and a captivating live presence, as they canvased North America and Europe with packed houses on both sides of the Atlantic. \u003cbr\u003e\u003cbr\u003eTheir relatability, intimate storytelling, and authenticity marry seamlessly with no-frills acoustic instrumentation, serene soundscapes, and heavenly natural harmonies. Now, this spirit courses through their 2025 full-length debut LP, Reverie. Beloved for their descriptive storytelling, heartfelt lyrics, and powerful live performances, Amble has rapidly become one of the most exciting new voices in the modern folk revival. 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Sonic explorations that bridge the Southern and Northern Hemisphere via the Caribbean, remote Northumberland and sub-tropical Australia. Navigating calm seas and turbulent waters of ambient corals, new-age pirates, waves of lapping banjos and drifting eroding guitars. When Michael Chapman passed away in September of 2021, at the age of 80, he did so – as he spent much of his life – as both a pioneer and a legend. A veteran of the British blues\/folk\/jazz scene, Chapman emerged in 1966 and continued working throughout his life, always pushing the boundaries of his creations while collaborating with a slew of similarly heralded musicians along the way: Bert Jansch, Mick Ronson, Elton John, Thurston Moore, Steve Gunn; to name just a smattering of those he worked alongside over the years. Its the latter of those – Brooklyn guitarist and songwriter Steve Gunn – who Chapman flourished alongside in recent years, the two collaborating on 50 and True North, two of Chapman’s final and finest records. It was through that friendship that Chapman’s music found Andrew Tuttle, the Brisbane-based multi-instrumentalist who has toured Australia several times alongside Gunn. In the aftermath of Chapman’s passing, his partner Andru discovered Tuttle’s Fleeting Adventure LP, describing it as “one of the albums that kept me sane during that first brutal winter on my own.” The pair met in Australia shortly after, and before Andru had even made it back home to the north of England, Tuttle had begun working on the recordings she shared with him at that time. Those recordings were part of a project Chapman was working on at the time of his death, called Another Fish – what would have been a companion piece to his previously-released LP, simply called Fish. Though Chapman had spent time in his local studio playing all the guitars, layering the different sounds and effects, he’d always intended to do much more work on the songs, however fate had its way and he never got to ribbon-bow those ideas and bring the album to its conclusion. Though there was little intention in terms of how to finalise the project, Tuttle spent valuable time with those recordings. What materialised, eventually - with time, care, and diligent attention - is a two-disc set Another Tide, Another Fish, something both unusual and completely distinctive. The first disc, Another Tide is centred around Tuttle’s own work, which shaped all seven of Michael’s songs and ideas into new songs of their own, and the second disc which simply incorporates the recordings that Michael left behind. “On all of the tracks I also ‘played along’ on banjo to the originals several times until I learned an approximation,” Tuttle continues. “This ended up resulting in a ‘hybrid’, where some works are easily identifiable to those who know Michael’s originals, and some took that inspiration to head altogether elsewhere. Each of the tracks, even where not obvious, does have at the very least a trace element sample of the original recordings so that it’s a true collaboration.” What we’re left with is indeed a hybrid: part remix album, part cover album, both a solo work and a collaboration, of sorts. Inspired by Chapman’s original ideas and with new track titles directly referencing the numbered but otherwise untitled source material, Tuttle adds his own flashes of colours throughout, including editing, sampling, MIDI transposing and signal processing that twists these songs into beautiful new shapes. Perhaps Tuttle’s greatest achievement here then is that Another Tide sounds so effortlessly free of all this context. 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The band were living in a converted pub, The Angel, in Hertfordshire where they worked up the material for the album, another blend of the traditional and the original. The title track a pun on the time they were having at the pub, and a nod to the popular British dessert of the same name was a jolly catalogue of their life at the moment, referring to producer John Wood as John The Wood and drummer Dave Mattacks as Dave The Drum. It also mentions the day a lorry crashed into the pub, which, had Dave Swarbrick been in his room at the time could well have killed him. The album Fairports only Top 10 album in the UK chart is also known for its traditional medley of jigs and reels, The Cuckoos Nest, the beautiful ballad Wizard Of The Worldly Game and the groups version of the salty English song The Bonny Black Hare.\u003c\/p\u003e","brand":"PROPER RECORDS","offers":[{"title":"180G Black Vinyl ReIssue","offer_id":53202252005703,"sku":"TRI-16452","price":34.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0931\/9779\/5655\/files\/8b483ee2798f649388e0f025b870b08e.jpg?v=1769334681"},{"product_id":"fairport-convention-babbacombe-lee","title":"Fairport Convention - Babbacombe Lee","description":"\u003cp\u003eThis re-issue faithfully replicates the original 1971 Island Records UK release in gatefold sleeve, inner sleeve with lyrics, 8 page booklet, promotional poster and sticker; it is pressed onto high quality 180g vinyl Babbacombe Lee was Fairport Conventions foray into the concept album so loved by groups in the 70s. Instead of looking at something fantastical or progressive, the group went back to the tale of John Babbacombe Lee, the man they couldnt hang: The gallows failed three times after he was convicted of the murder of Emma Keyse in Torquay in 1885. Dave Swarbrick found details of the trial in a junk shop, and the band worked up the story into an album. Released at the end of 1971 with ephemera from the day telling the story, Babbacombe Lee had episodes listed rather than tracks. It contained the most original material of a Fairport album to date, and was seen as taking folk-rock a huge step forward. Within weeks of the albums release both Dave Mattacks and Simon Nicol left the group, leaving Swarbrick and bassist Dave Pegg to lead Fairport on through their next chapter. 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Vocalist Sandy Denny and bassist Ashley Hutchings left after Liege and Leif, and for the frst time since the groups inception in 1967, there would be no female voice on a Fairport album. Guitarists Richard Thompson and Simon Nicol took vocal leads with Swarbrick and, with new bassist Dave Pegg joining drummer Dave Mattacks, the group made Full House, released in July 1970. Picking up where its predecessor left off, and again recorded with Joe Boyd at Londons Sound Techniques, the album continued the standards set by their previous four albums. Four of the seven songs on Full House were adapted from traditional folk melodies, such as Dirty Linen and Sir Patrick Spens, while of the originals, Thompson and Swarbricks nine- minute opus Sloth gave the group one of their all- time anthems. 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