Sticky Black Tarmac

produc]ons of King Lear, Wordsworth's Prelude and The Pallisers. The success of The Living Planet led to further work for the BBC Natural History Unit followed by numerous commissions for The Natural World. At one point in the late 1980's at least five of her signature tunes were being broadcast every week including Points Of View, Horizon, Doctors To Be and Everyman.

mesmerising new three-song EP which veers between barely-there ambience and something altogether more soulful.” GoldFlakePaint

without hesita]on, he said Colors Of Silence by Wally Badarou. We didn't know Wally had made this album. And most s]ll don't. But that's about to change.

on A Colourful Storm in 2022. Searchlight Moonbeam is an autumnal dreamscape, in]mate and vesper]ne, pensive and irresolute. An imagined community where differences drop off and resonances emerge – between Maher Shalal Hash Baz affiliates Kasumi Trio, Taiwanese score composer Chen Ming Chang whose ‘Rainwater’ (wriQen for Hou Hsiao-Hsien’s 1986 film Dust In The Wind) is exquisitely heartbroken, and the plangent improvisa]ons of self-taught French pianist Delphine Dora. Revela]ons are frequent: the bedsit isola]onism of Bo Harwood and John Cassavetes’ ‘No One Around to Hear It’ (from The Killing of a Chinese Bookie); the narked minimalism of Klang (an early 2000s band formed by ex-Elas]ca guitarist and featuring prize-winning experimental novelist Isabel Waidner on bass); the etude- grooves and echoic wobble of below-the-radar French avant-gardists Omertà ; the beau]ful, plain]vely dubby ‘Is It You?’ by Slapp Happy; a psych-]nged reimagining of PiL’s ‘Poptones’ by Simon Fisher Turner (one half of Deux Filles, and here, recording for él as The King of Luxembourg) that's as perverse as the cover of Throbbing Gristle’s 20 Jazz Funk Greats. Searchlight Moonbeam is the musical analog of an Italo Calvino novel or a medieval fable. Associa]ve, intui]ve, borderless. Emo]onal and mysterious. Endowed with the tac]lity of Braille. A private language that is both unknowable and understood. It is a record of the seasons, for the seasons. 2023 marks the tenth anniversary of Time Is Away’s first broadcast. Featuring an evoca]ve essay by writer Jeremy Atherton Lin and disarming cover art by Penny Davenport, Searchlight Moonbeam showcases Rollo and Tierney’s s]ll-unrivalled talent for gloaming melodies, disques du crépuscule, ensorcelled storytelling.

to become one of the most innovative periods in Switzerland’s modern day music history. “It was like a wild laboratory for all forms of new and strange sounds, rackets and compositional experiments,” explains writer Lurker Grand, “accompanied and inspired by cutting-edge developments in electronic musical instruments. A broad, innovative scene developed and the four different language and cultural regions of Switzerland were no longer perceived to be an obstacle. There was a curiosity for the foreign and the strange. Conflicts for freedom and free spaces took place and this was reflected in the music.” It was unfiltered creativity and this free, non-commercial approach is a common denominator for the songs on this compilation. Many artists operated in their own universe; hardly any of the acts on this album actually met each other at the time. Only Liliput from Zürich achieved notable fame, building on the success of their previous incarnation as Kleenex. Although Swiss, some bands were based outside of the country and many brought in international elements to their music. Compiler Mehmet Aslan touches on this aspect; having grown up in Basel with Turkish heritage, he is now based in Berlin. His selection travels deep into obscure musical corners. Grand continues: “Mehmet’s selection is expansive. Christian Pfluger from Die Welttraumforscher sings about moon folklore, Jürg Nutz about a labyrinth, while Dr. Chattanooga & The Navarones found inspiration through African marabout business cards.” Released as a gatefold LP and digipak CD, Senza Decoro includes two exclusive edits by Mehmet Aslan. Both formats feature in-depth sleeve notes and band interviews curated by Lurker Grand alongside rare photos and original sleeve artwork. The compilation is mastered and cut by The Carvery. Compilation and artwork courtesy of Mehmet Aslan.

Marta Salogni. It finds bar italia’s economical yet evocative songcraft taking raucous, mystic, unkempt, occasionally sinister, and wholly committed turns. Songs like “my little tony”, with its in-the-red riff and excitable hooks, the cathartic four-on-the-floor of ‘world’s greatest emoter’ and the festival tent psychedelia of “Hi-fiver” need little in the way of exposition – these are exhilarating rock songs, if wayward and strange.

picture-painting lyrics projected by her singular vocals. It’s the mainstream indie that CMAT loved as a teenager, filtered through 20th century country music, amplified by knowledge of 80s and 90s pop hits with a slide guitar and a camp twist. Complex, intimate and with influences far-flung across time and place, CrazyMad, For Me is an instant classic album for the broadest audience.

album includes tracks ‘Acquiesce’, ‘Half The World Away’, ‘Talk Tonight’, Oasis’ iconic live cover of The Beatles’ ‘I Am The Walrus’ and the epic title track. Noel has often described ‘The Masterplan’ as one of the best songs he has ever written. Formats include CD, Heavyweight Black LP and limited-edition Silver LP, to celebrate 25 years. ‘The Masterplan’ charted at No.2 in the UK Official Album Chart UK selling over 122,000 copies in its first week. It went on to be certified triple platinum and has sold over three million copies worldwide.