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being one of the most creative forces to come out of Melbourne’s post-rock scene, Anita came to London in 1980 with The Birthday Party. Credited as a co-founder of Nick Cave’s Bad Seeds, Lane exerted a strong influence over the band and co-wrote the universally acclaimed ‘From Her To Eternity’ and the haunting ‘Stranger Than Kindness’, whilst also collaborating with the likes of Barry Adamson, Einstürzende Neubauten, Die Haut and Mick Harvey on his celebrated Serge Gainsbourg albums.

the stand out track on the album. The uniqueness in this release though - for me - comes in the slow burners, with 3rd track 'Dina Ooord' gradually building from sparse acoustics into an finish somwhere between words like euphoric and pulsating - it's good! Closing track 'Tiktaalik' is another personal highlight though, a 7 minute odyssey to the tune of a guitar sounding as though its gradually melting, accompanied by some minimalistically cinematic drums.

more stripped back and contemplative, there are moments of playfulness disperesed throughout, such as the rockier 'Varulv' and bubbly 'Sju Sorters Kakor'.

emboldened James to purchase a panzer tank.

Black Woman is one of the most compelling from both an intellectual and musical point of view. The title track is a praise song for a ‘soul sister’ with an Afro-Arabic name, which signals a move way from Eurocentricity or undue focus on the West. It features the kind of impassioned playing from Shepp and a band that has a number of significant figures drawn from very different scenes in the States. Saxophonist Hank Mobley and drummer Philly Joe Jones, two of the great heroes of hard bop, found themselves alongside soloists frequently associated with the avant-garde, such as pianist Dave Burrell, trumpeter Lester Bowie and saxophonist Roscoe Mitchell, the latter two being members of Art Ensemble Of Chicago. A supergroup was in the group. Together all these players perform an admirably varied repertoire that reflects the interest Shepp had in the whole history of black music in America, from blues and swing through to free improvisation, as well as his increasing fascination with African rhythms as well as post-colonial politics. The result is a set that bubbles with defiant energy and also conveys a deep sense of romanticism and unabashed tenderness. Tracklisting 1. YASMINA 2. SONNY’S BACK 3. BODY AND SOUL

Body Paint SIDE B 6. The Car 7. Big Ideas 8. Hello You 9. Mr Schwartz 10. Perfect Sense

Grace, a live album originally released in 1972 is Franklin’s best-selling album of all time. To celebrate the 50th anniversary of the album, Rhino will be releasing a limited edition 2LP white vinyl. Featuring the title track ‘Amazing Grace’ as well as ‘Climbing Higher Mountains’. Track List LP 1 Side A Mary, Don't You Weep Medley: Precious Lord, Take My Hand / You've Got a Friend Old Landmark Give Yourself to Jesus Side B How I Got Over What a Friend We Have in Jesus Amazing Grace LP 2 Side A Precious Memories Climbing Higher Mountains Remarks by Reverend C.L. Franklin God Will Take Care of You Side B Wholy Holy You'll Never Walk Alone Never Grow Old

Honer, whose critically-acclaimed duo debut Recordings from the Åland Islands had been released just a few months earlier. Kalma sent an invitation to Chiu and Honer, which was received with great enthusiasm. Chiu had been a fan of Kalma’s work for a long time, even citing him as a major influence on his approach to electronic music composition. After meeting their goal of 20 minutes worth of music for the program (which was four pieces total), the three musicians were satisfied in what they would present, and sent along their work to the producers of Late Junction; but simultaneously they felt like there was much more to be said, more work to be done. There were several pieces that they had nearly completed that weren’t sent for inclusion in the radio program, and there were many ideas for refining those that had. The three musicians collectively agreed that they would continue work together and try to push the music further. The Closest Thing to Silence is the result of their efforts to take the collaboration further.

Honer, whose critically-acclaimed duo debut Recordings from the Åland Islands had been released just a few months earlier. Kalma sent an invitation to Chiu and Honer, which was received with great enthusiasm. Chiu had been a fan of Kalma’s work for a long time, even citing him as a major influence on his approach to electronic music composition. After meeting their goal of 20 minutes worth of music for the program (which was four pieces total), the three musicians were satisfied in what they would present, and sent along their work to the producers of Late Junction; but simultaneously they felt like there was much more to be said, more work to be done. There were several pieces that they had nearly completed that weren’t sent for inclusion in the radio program, and there were many ideas for refining those that had. The three musicians collectively agreed that they would continue work together and try to push the music further. The Closest Thing to Silence is the result of their efforts to take the collaboration further.

Steven Hall, Jennifer Warnes, and Peter Zummo. 30 years have passed since Arthur Russell left us, in relative obscurity, from AIDS complications in 1992. Yet his work—as composer, songwriter and dance music innovator—is better known now than ever before. Since Audika Records and Arthur’s partner Tom Lee began excavating and curating Arthur’s vast archive beginning in 2003, critics worldwide have hailed Russell as a visionary. Countless younger artists cite him as an influence. There has been an internationally acclaimed documentary film (Matt Wolf’s Wild Combination) and biography (Tim Lawrence’s Hold onto Your Dreams), a critical study (Matt Marble’s Buddhist Bubblegum) along with various tribute albums, concerts and events. In 2016 Arthur Russell’s archive was acquired by The New York Public Library for the Performing Arts at Lincoln Center as part of their American Music Collection. If Arthur Russell isn’t quite the pop star he imagined he would be, he is at least widely considered one of the most significant figures in late 20th century American music. The majority of the material selected for “Calling Out Of Context” comes from two sources. The first was a completed album which dates from 1985, entitled “Corn” ofwhich three very different test pressings remain (complied and reissued in 2015). The second source was material earmarked for Rough Trade recorded between 1986 -1990. Both “Make 1,2” and “Hop On Down” (originally titled “Hop On Down To Petland”) are two songs that Arthur wrote specifically with the plan of releasing as singles. Sadly, Arthur was faced with an unsympathetic market which viewed his material as uncommercial or too eccentric. In the case of the abandoned Rough Trade recordings, Arthur had become ill due to complications from HIV. He simply could not let go of his material. Nonetheless, he worked and reworked songs into an infinite labyrinth of possibilities, working incessantly with confidence and optimism until the last years of his life. As a cellist, songwriter, composer, and disco visionary Arthur Russell consistently blurred the lines of our expectations of what pop music could be. Contrary by nature, Arthur’s spontaneous reaction to and altered perception of his environment produced music that remains challenging and contemporary. Arthur’s open hearted attitude to music was far ahead of its time, and now that time is ours. Track listing: The Deer In The Forest Part One-The Platform On The Ocean-You And Me Both-Calling Out Of Context-Arm Around You-That’s Us/Wild Combination-Make 1,2- Hop On Down-Get Around To It-I Like You-You Can Make Me Feel Bad-Calling All Kids (remixed with love by Walter Gibbons) “A nomad with an absolute commitment to freedom, whose natural element was music itself” - Olivia Laing “…a man crooning to himself out in the Iowa sunfields, killer whale deep in the ocean, drifting through the submarine city night and cobalt space” -David Toop/The Wire Tracklisting: Vol Side Track Title 1 1 1 The deer in the forest part 1 1 1 2 The platform on the ocean 1 1 3 You and me both 1 2 1 Calling out of context 1 2 2 Arm around you 2 1 1 That's us/Wild combination 2 1 2 Make 1,2 2 1 3 Hop on down 2 2 1 Get around you 2 2 2 I like you! 2 2 3 You can make me feel bad 2 2 4 Calling all kids

through his hometown. Russell’s childhood home and family echo, too, through ‘Just Regular People’, ‘I Wish I Had a Brother’, ‘Wonder Boy’, ‘The Dogs Outside are Barking’, ‘Sharper Eyes’ and ‘I Felt’. Meanwhile, songs like ‘I Kissed the Girl From Outer Space’, ‘I Still Love You’, ‘List of Boys’ and ‘Barefoot in New York’ fizz with pop and dance grooves, gesturing at Russell’s devotion to New York’s avant-garde and disco scenes. Finally, the long-awaited ‘You Did it Yourself’, until now heard only in a brief heart-stopping black-and-white clip in Matt Wolf’s documentary ‘Wild Combination’, awards us a new take with a driving funk rhythm and Russell’s extraordinary voice soaring at the height of its powers. On ‘Iowa Dream’, you can hear a country kid meeting the rest of the world - and with this record, the world continues to meet a totally singular artist.

‘Picture Of Bunny Rabbit’, written especially for a friend’s pet rabbit. The bulk of the material was recorded with engineer Eric Liljestrand at Battery Sound Studios, New York, which was located directly opposite the World Trade Center and at Arthur’s apartment studio in the East Village.