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First came the viola at age nine, then guitar where she embraced fingerpicking, soaking in influences from Nick Drake, Bert Jansch, Mazzy Star and David Olney. Raised in a musical family, her father Gwil Owen is an Academy Award-nominated songwriter. Maisy’s unique sound, musical truth and stirring vocals inhabit Dark On A Sunny Day, her debut album, produced by Robin Eaton (known for his work with Jill Sobule and co-writer of \"I Kissed a Girl\") Drawn to melancholic melodies and dark poetic imagery, her first single “My Youth Is All For You” was released as a 7” and gave Maisy a chance to explore her visual side \/ love for abandoned houses with an accompanying video. Her second single, \"On My Way Down\" was recently featured as KCRW's \"Today's Top Tune.\"\u003cbr\u003eOften spotted around Nashville playing bars or cruising around in her beloved pickup, Maisy is that special talent in a city awash with singer-songwriters. 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As Elton John recently proclaimed, KIRBY is \"destined for great things,\" and with this album, she turns the page on a profound and personal next chapter, daring listeners to hear the foot stomping,\u003cbr\u003ehumming and yearning, and transform those sounds into purpose and power.\u003cbr\u003eWhile KIRBY has co-written and collaborated with everyone from Rihanna, Kanye West and Paul McCartney to Beyoncé, Black Thought, Ariana Grande, Demi Lovato, Donald Glover and more, cultivating millions of fans including Hayley Williams and countless others, Miss Black America is entirely her own. Choosing hymns over hits, stories over samples, and truth over trends, this project marks the most inspired work of her career, taking you from the Saturday cookout to the Sunday church service, while getting you through working for \"The Man\" on Monday. It is blues and soul music for the future, and made for those who came before her: the ancestors who danced, cried and sang on the land of the Dockery Plantation where she descends from, and where many credit as the birthplace of the Delta blues.\u003c\/p\u003e","brand":"DIAMOND WEST RECORDS","offers":[{"title":"Indies White Vinyl","offer_id":53443785720135,"sku":"TRI-71379","price":33.99,"currency_code":"EUR","in_stock":true},{"title":"CD","offer_id":53443785752903,"sku":"TRI-71380","price":14.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0931\/9779\/5655\/files\/cb89dc9075bee9af23f0a45d0e363da4.jpg?v=1772528886"},{"product_id":"telehealth-green-world-image","title":"Telehealth - Green World Image","description":"\u003cp\u003eGet in on the ground floor of Seattle’s latest future megacorp, Telehealth. Are they subversives using synth-punk\/new-wave to undermine the very foundations of our techno-capitalist hellscape? Or brand-building entrepreneurs, out to disrupt the markets and fleece the masses? The only way to find out is to buy this, their debut album for Seattle’s oldest megacorp, Sub Pop Records.\u003cbr\u003eGreen World Image follows extensive US touring, a self-released album, and a snappy 2023 7” from the Sub Pop Singles Club.\u003cbr\u003eFor fans of B-52s, Water From Your Eyes, Devo, Snooper.\u003cbr\u003eHometown: Seattle, WA\u003cbr\u003eThe Kalshi app is a “prediction market for trading the future,” a platform allowing users to gamble on the outcome of almost any real-world event — from the accuracy of the weather forecast, to whether or not famine will officially be declared in Gaza. Joining CNN as the network’s official betting partner in late 2025, platform co-founder Tarek Mansour was quoted after the deal saying, “The long-term vision is to financialize everything and create a tradeable asset out of any difference in opinion.”\u003cbr\u003eTelehealth was forged in the opportunity-rich environment of post-COVID Seattle as a scalable music startup with similar goals. Co-founded in 2022 by married couple and fellow gambling enthusiasts Alexander Attitude (synths\/vox\/guitar) and Kendra Cox (synths\/vox), and joined by longtime collaborators Ian McCutcheon (drums), John O’Connor (bass), and Dillon Sturtevant (guitar), the group aims to financialize any difference of opinion over how the in-shambles local “music scene” should proceed.\u003cbr\u003eCan you be DIY and have good SEO? Can one earn progressive cultural cachet and hard cash at the same time? Is art funded by tech industry “culture grants” kind of a bummer, authentically gorpcore (young men are embracing the “quarter-zip lifestyle” according to the New York Times), or ironically punk? For Telehealth, the answer to these questions aren’t yes or no, but rather, an untapped gap in the music market waiting for a band visionary and unhinged enough to bet on the spread. Produced by Trevor Spencer, Green World Image, Telehealth’s sophomore LP (following debut LP Content Oscillator and a Sub Pop Singles Club release, both from 2023), and its IPO with angel investors Sub Pop, is a vertically-integrated artwork for the post-grunge, post-flannel Seattleite, and consumers around the globe who are also ready to financialize their own passion for music.\u003cbr\u003eTrauma-informed, results-driven, and eminently danceable, the weirdo punk record is inspired by Attitude’s tenure as a former architect in a Climate Pledged- city that has perfected the art of “Green World” architecture with its network of efficiently zoned 5-over-1s. Telehealth’s PNW post-punk creates similar architectural spaces, where the gleaming, futuristic, tech-industrial rhythms and synths of Bezos-era Seattle commingle with the raw, independent, underground sound the city lovingly preserves for cultural texture and marketing purposes. The outcome? 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As always with Seefeel though, it never drifts too far into cold experimentalism or synthetic texture, the heavily manipulated vocals of Sarah Peacock lending the tracks a vital human element, with processed guitar loops allowing slivers of melody to drift through the trails of delay.\u003cbr\u003eThe longtime perception of the band as sitting at the overlap point between electronic music and experimental guitar music meant that they were often overlooked during their original lifespan, not making music that was instantly recognisable to either scene. Over the years though, this blurring of genre lines increasingly looks prescient of where music was headed, steadily building a catalogue of music that hasn’t aged in quite the same way as some of their contemporaries. 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The exquisite nature of this\u003cbr\u003eslices of dappled pop genius is a joy to behold.\"\u003cbr\u003e-The Quietus\u003cbr\u003eOriginally reissued 2015.\u003cbr\u003eRecorded in the aftermath of Strawberry Switchblade's break up, the original \"Sunflower Demos\" included songs intended for the unrealised 2nd album. These songs posit an alternative future where Rose McDowall pursued a Pop career instead of becoming an underground icon.\u003cbr\u003eRose McDowall's Cut With The Cake Knife was originally reissued in 2015 by Night School Records and Sacred Bones. Since then, Rose McDowall and her previous band Strawberry Switchblade have only grown in cult status. Following a discovery by a generation of young, disaffected kids on social media of Strawberry Switchblade and McDowall's succeeding band Sorrow, Night School Records has remastered Cut With The Cake Knife and presents the album with a reimagined artwork that more closely recreates the original hand-made CD produced by McDowall.\u003cbr\u003eCut The With The Cake Knife was recorded by Rose McDowall in 1988\/89 following the break up of her group Strawberry Switchblade. Produced with the aid of several musicians in several studios, the album features songs written for the fabled second Strawberry Switchblade album. More importantly perhaps it showcases the honest, direct and life-affirming songs of one of the greatest unsung songwriters of the modern pop era at a tumultuous time in her career.\u003cbr\u003eTibet opens the set and could be one of the best pop songs you’ve never heard. The innate sadness of the songs’ content – the loss of a friendship, impending sorrow – is heightened to heart-melting level by McDowall’s pop nous and melodic sensibility. Choruses and hooks are everywhere on Cake Knife, from the outsider take on stadium 80s pop in Wings Of Heaven to the spiraling, ecstatic. So Vicious, a glorious anthem that highlights the human fragility in McDowall’s vocal performance, an instrument that has never lost the naïve purity it first exemplified in Strawberry Switchblade’s early 80s recordings. The centerpiece of the album, the title-track, is the greatest Switchblade pop chart hit that never was. Like the veiled melancholy of her former group’s hits, Cut With The Cake Knife hints at a darkness beneath the gloss, a darkness that saw McDowall delve into more esoteric territory with her subsequent recordings and collaborations. 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Barker was a devoted COIL fan (Peter Christopherson and John Balance), and he famously said they were the only band he'd ever heard on record whose music he'd had to take off because, in his words, \"theymade his bowels churn.\". He initially invited them to compose the film's music, and the group began recording cues. But the producers at New World Pictures ultimately rejected the material in favor of a more traditional approach, bringing in Christopher Young, whose final score remains excellent, if less experimental. 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Basslines stretch and dissolve, rhythms echo into open space and tracks are dismantled and reassembled into versions that drift, jar and unravel. Working with Maimone, the album treats dub as subtraction, space and echo rather than simple revision, revealing hidden textures and new emotional weight within the original recordings.\u003cbr\u003eThe partnership has deep roots. Mekons first toured with Pere Ubu in 1988 and later worked closely with Maimone in the early 1990s. That shared history informs the exploratory spirit of Horrorble, reframing the urgency of Horror through atmosphere, rhythm and sonic deconstruction.\u003cbr\u003eFeaturing a guest appearance from Benji Webbe of Skindred on “Mudcrawlers”, the album transforms familiar material into immersive, echo-laden soundscapes that emphasise tension and depth.\u003cbr\u003eThe original Horror confronted climate catastrophe, economic violence and political decay through rock and roll, punk and melody. 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Grohl immediately clicked with producer Justin Raisen (Kim Gordon, Yves Tumor,Angel Olsen). “My first impression was that she’s beyond her years. She has a golden voice, and she’s unapologetically herself,” says Raisen.\u003cbr\u003eBe Sweet To Me was recorded from late 2024 into early 2025 at Raisen’s Los Angeles home studio alongside musicians assembled in the spirit of the Wrecking Crew session players in the ’60s and ’70s. The first song Violet wrote with her collaborators, a fuzzy ripper called “Thum,” was influenced by the old-school packaging of anti-nail-biting polish that Grohl brought into the studio. “Self help me\/Self help myself\/Chew my bitter fingers,” she snarls in a honeyed voice over ecstatic squall.\u003cbr\u003eLike “Thum,” the songs on Be Sweet To Me were conjured from the immediate present and tend to be impressionistic, colored by Grohl’s love of film, particularly the work of David Lynch. 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