The record is called “Solid Love”. Half of that title, at least, should be immediately apprehensible when you listen. The songs Dan Knishkowy writes and sings for Adeline Hotel are tender and frank, disarming in their commitment to treating the sweetness of love and friendship with the gravity and wonder such a subject deserves. The “solid” part might take a little longer to sink in. The band—guitarists Knishkowy and Ben Seretan, bassist Andrew Stocker, pianist Winston Cook-Wilson, drummer Sean Mullins, with a host of others joining in here and there—plays softly and spaciously, with as much emphasis on listening as on making themselves heard. The sound they conjure together is less concrete than the album title lets on: a memory of chance encounter; a few dust motes glowing in a shaft of sunlight, then drifting away from the bedroom window.
After years of releasing quasi-solo records with rotating casts of accompanists, Knishkowy assembled a settled band for the first time on Solid Love, each member of which has their own song-writing practice: “Five people with loud playing personalities, playing as quietly as possible,” as he puts it. In the un-showy intricacy of its arrangements, and in Knishkowy’s plainspoken delivery, Solid Love sometimes recalls Jim O’Rourke’s songwriter albums; in its languid gait and jazzy rhythmic elisions, it may bring to mind John Martyn. Verses blooming into choruses, chords changing with few hard distinctions between them—the songs revel in a kind of musical ambiguity that only comes when the players are intimately attuned to their companions, a looseness that seems to arrive paradoxically from deep togetherness. “‘Solid’ is less definitive, more a changing of state,” Knishkowy says. “On the verge of crystallizing, or beginning to melt away.”
“The New Abnormal” is the long awaited new album from The Strokes, and the band’s first album in seven years. “The New Abnormal” is The Strokes’ sixth studio album and was recorded at Shangri-La Studios in Malibu, California, with legendary producer Rick Rubin . The New Abnormal is a long awaited new album release from The Strokes,. The album’s cover artwork is a painting called ‘Bird on Money,’ by famed artist Jean-Michel Basquiat. The album sees the Strokes roll back the years with an album of lo-fi intimate nuggets full of melodies that mark the Strokes at their best.
It’s been 19 years since their seminal debut ‘Is This It’, and with album number six, ‘The New Abnormal’, they’re still five of the slickest white men in guitar music – but now they’re older and wiser, and that’s not necessarily a bad thing. “I am having a selfishly good time,” Casablancas admitted at that gig, before double-checking: “But are you also having a good time?”
The answer, applied to ‘The New Abnormal’, is an easy yes, as while the album explores a few new directions, it’s still often fairly recognisable. The best stuff sounds familiar – few people ever have, or ever will, write a better riff than that of ‘Last Nite’ – and the worst, only peppered in small amounts, feels beyond experimental, as if pointedly ignoring what everyone else in indie rock is doing to stay fresh nowadays. Instead Julian and co. often settle into an afterlife of cantankerous synths only belonging to The Strokes.
The Strokes have now officially announced their new album. It’s called The New Abnormal, it was produced by Rick Rubin, and following the 2016 release of their Future Present Past EP on Julian Casablancas’ own Cult Records — it comes out April 10th via their longtime major label RCA. The album artwork (above) is a Basquiat, and the first single is “At the Door,” which is on the atmospheric side but singing-and-songwriting-wise sounds like classic Julian Casablancas. Not a bad first taste.
The Strokes also played a Bernie Sanders rally in New Hampshire last night and they debuted new songs during their set and covered the Talking Heads’“Burning Down the House.”
he Strokes have shared a second single off their upcoming first album in seven years, The New Abnormal (due 4/10 via RCA). It’s called “Bad Decisions,” and it kinda sounds like the middle ground between “I Melt With You,” “Dancing With Myself,” and Is This It-era Strokes. The metronomic, guitar-led ‘Bad Decisions’ and ‘Why Are Sundays So Depressing’ – are sandwiched between more jarring offerings.
Take ‘Brooklyn Bridge to Chorus’ and ‘At The Door’. The former is a disco-synth bop with lively vocals and decidedly self-determining lyrics (“I want another day/I want another break/I want another start”). It’s not about what fans crave any more; these words may move you, but were ultimately written for the person who first sang them. The latter, drum-less celestial number, was the record’s first single, announcing a stark change of pace for the band. It now stands as one of the strongest tracks due to its commitment to the new mood, and some of the most contemplative lyrics. “Use me like an oar / And get yourself to shore’, Casablancas sings to someone we will never know.
The Strokes have always kept their feelings at arm’s length, but there are traces of deeper introspection on‘The New Abnormal’. There’s striking cinematic beauty to ‘Selfless’ and ‘Not The Same Anymore’.
‘Selfless’ plays like a daydream, opening with a waltzing guitar, and there’s plain but piercing romance in Casablancas’ lyrics. “Please don’t be long/I want you now” he sings over a wailing refrain that confirms The Strokes remain some of the best riff-makers around. Casablancas’ vocals are diamond-sharp on ‘Not The Same Anymore’, as he captures the inevitably of ageing, proving he’s still underestimated as a lyricist. “Now the door slams shut/The child prisoner grows up” comes the haunting confessional.
But Casablancas can’t be kept away from his beloved ‘80s synths for too long. This is more convincing electronica than most of 2013’s ‘Comedown Machine’ offered, but still weaker than the three-for-three hit-making albums ‘Is This It’, ‘Room on Fire’ and ‘First Impressions of Earth’. ‘Eternal Summer’ is as close as this album comes to a misfire. It’s a poppy, seasonal ode with a brain-melting falsetto, a tinny chorus and workmanlike lyrics such as “summer is coming / it’s here to stay”, which would be fine they weren’t delivered quite so earnestly. It bears the messy energy of the guy nobody knows in the crowd at a festival, who caught sunstroke and let his one canned cider go to his head.
The Strokes‘ first album in seven years, the third single is here. It’s called “Brooklyn Bridge To Chorus,” and it’s a dose of glittery, disco-y new wave, but done in an unmistakably Strokes way.
The one Strokes album that feels decidedly absent is 2011’s ‘Angles’, which surprisingly triumphed with its psychedelic influences and existential lyrics – one of the few times the Strokes successfully committed to something entirely new. The tracks that bookend ‘The New Abnormal’ were first teased at live shows over the past year. The opening seconds of ‘The Adults Are Talking’ might scare people off with abrasive electronic drum samples, until Casablancas comes in with a mellow vocal. As it develops, it’s unmistakably top-tier stuff. The analogue beats of ‘Ode to the Mets’ promise to close the album in similar fashion, before the song blooms into a slow-burn ballad, the central riff sounding as if put through a wind machine.
There’s plenty to praise on the record, even though the listener has been certified as a second thought. Like its cover, the Jean-Michel Basquiat artwork ‘Bird On Money’, it’s spiky but quite stunning. This is a cool album. The Strokes ‘The New Abnormal’ Available 10th April 2020.
The first show of the band’s four night stand at Chicago Stadium begins with a series of loud firecracker blasts as the band takes the stage. RobertPlant is quick to respond, saying “listen, before we start, can I ask you one thing?… can you stop throwin’ those firecrackers, cause we wanna give you a lotta music and we’re not gonna fight with firecrackers, okay? “The Song Remains the Same” is a relentless sonic assault. Plant again asks the crowd to cool it following “Sick Again”.But I’d bet the 20,000 or so people who turned up at the Chicago Stadium Wednesday night for the first of four shows the band is doing there would find their popularity as credible as the group is incredible in its steamroller approach to rock and blues. Purchasing tickets for the shows was a story in itself. It was the 1970’s. When the tickets went on sale, it became a literal war! Broken doors, shattered glass, fighting and fainting girls! Raised seats just above the main floor. This is a band, for instance, that plays for three hours straight, with few dull moments once it gets rolling. Wednesday, it took a couple of songs; the band tends to build to a cumulative effect rather than launching all of its firepower at once. There was Jimmy’s speaker cabinet with the ZoSo symbol! Bonham had a new and beautiful gold metallic kit, waiting in ready, high atop his riser. The stage appeared sharp and clean with banks of lights and the P.A. hung aerially.
Part way into the show lead singer Robert Plant, ace guitarist Jimmy Page appears, turned toward Bonham . He’s in white satin with a dragon design on his shirt’s back. No design on his satin pants. keyboard and bass player John Paul Jones and drummer John Bonham sat in a peaceful row across the front of the stage, doing a segment of quieter ballads in a folky, medieval mood. It was a striking change of pace from what had gone before and would come after, which was the sort of power-rock, extremely loud with a blues base, that Zeppelin handles so well. Jimmy Page tears through a blistering guitar solo during “Nobody’s Fault But Mine. In My Time of Dying” is plagued by tape issues. After some scary firecracker blasts and shouts of protest from Robert, the show begins. It is quite good. Jimmy’s solo in is excellent in “Since I’ve Been Loving You” is an intense emotional journey. Page shreds wildly through the guitar solo, emphasizing each note as if it were his last. An outstanding performance.
John Paul Jones is introduced as “the most debonair member of the band” before “No Quarter”. He and drummer Bonzo further develop the honky tonk interlude during the piano solo.
Page delivers an excellent guitar solo. Unfortunately, a cut in the tape near the end leaves us at the return to the main theme. There is another cut during the final verse. Plant announces “at the front of the stage for the first time,Robert introduces Jonesy as ” The most debonair member of the band. He can speak two languages. John Bonham… looking very suave in a two-piece tuxedo” before Jimmy actually speaks during the acoustic section (“Better to live one day as a king, than a thousand years as a peasant.”), “The Battle of Evermore. Going to California” is introduced as “a tribute to a lady who sings and drives a Mercedes and gets uptight.” Unfortunately, the song is plagued by more tape issues. After singing a bit of Surrender as Page retunes before “Black Country Woman”, Plant jokingly refers to the Black Country as “the land where men are men and sheep are nervous,” to which Page responds “better to live one day as a king than a thousand days as a peasant.”
Page’s guitar is painfully out of tune during White Summer/Black Mountain Side. He spends most of the song trying to compensate for the problem, but to no avail. Plant delivers a powerful performance during Kashmir. His banshee howls threaten to destroy the taper’s equipment. Bonzo is introduced as “our diplomat for peace and good relations” before Over the Top. Unfortunately, the tape suffers from constant volume fluctuations throughout the drum solo. Page has trouble keeping up during Achilles Last Stand. The first few notes of Stairway to Heaven are met with a loud cheer from the crowd. Page’s fingers become entangled in the strings during the guitar solo. The band closes the show with Trampled Underfoot, with Page shredding through an aggressive guitar solo.
Setlist: The Song Remains The Same, (The Rover intro) Sick Again, Nobody’s Fault But Mine, In My Time of Dying, Since I’ve Been Loving You, No Quarter, Ten Years Gone, Battle of Evermore, Going to California, Black Country Woman, Bron-Y-Aur Stomp, White Summer ~ Black Mountainside, Kashmir, (Out On the Tiles intro) Moby Dick, Jimmy Page solo, Achilles Last Stand, Stairway to Heaven, Rock and Roll, Trampled Underfoot.
Idlewild frontman Roddy Woomble continues his solo career with the release of experimental six track EP ‘Everyday Sun’ which combines minimal electronic beats and soundscapes with existential musings and stream of consciousness poetry. Joining him on this meditative voyage is bandmate Andrew Mitchell, who helped Woomble write each track in stages and create an otherworldly feel. the arty Edinburgh-based angular rock band that emerged in the late ’90s to blossom with commercial success at the turn of the millennium when they began to embrace stringed anthems and a more overtly commercial sound. Woomble has also embarked on a successful solo career, releasing four studio albums since 2006, which allowed him to explore a wider scope of sound though usually rooted in folk. Now, he teams up with his Idlewild band mate Andrew Mitchell to write and record possibly his most ambitious material to date; the Everyday Sun EP.
The Everyday Sun EP, for the most part is cool, dry, and detached, certainly not the anthemic rock or angst of Idlewild, which is thanks in part to the unconventional creative process that saw Woomble adopt something akin to the William S. Burroughs’ cut up method, famously adapted by David Bowie, putting lyrics to the beats and soundscapes created separately by Mitchell. The pair took turns to consider and adapt each other’s contributions, allowing each track to mutate and change in unexpected ways.
Starting with the title track, we are immersed in an alien world that is strangely serene as Woomble picks apart existential questions with a curious detachment. Electric keys are joined by basic beats that beep and flow like the workings of a ventilator, whilst the monotonal vocal delivery completes the feeling of being under the knife in an operating theater. A marked distance from anything previous in either his solo or Idlewild back catalogue, the all-pervasive strangeness is both apparent and yet somehow soothing and the antiseptic smell lingers over most of the six tracks.
The sluggish pace of “Context of Midnight,” with pianos awash in reverb creates a sense of paralysis. This woozy sterile background met with poetic musings feels like losing half remembered morphine dreams upon waking. Before the vocals start, “Straight to Blame” feels like the score to a ’70s hard hitting antihero detective movie before unfolding into something more psychedelic, reminiscent of the experimental freeform writers of beat counter culture.
“Secret For the Last Time” is the only song that feels like the Woomble we are more familiar with, taking a more tradition approach to create a stripped back acoustic led song which sees the introspection change from cold and nervy to become a warm sepia filtered nostalgia. We return to Woomble’s distant planet for “One Minute Out of the World” where low bellowing synths are joined with reflections of how precise moments can have a lasting effect that reverberates around the world.
The EP ends with a truly ambitious 17-minute long experimental echoing abstract poem “RW OC Cuttup,” which was composed by cellist Oliver Coates and saw the pair explore exactly what happens when the dividing line between the traditional and cutting edge blurs by using an algorithm to re-interpret their looped composition. The result is a hypnotic limbo of mental claustrophobia, as Woomble tries to make sense of shape, texture, form, and his surroundings, seemingly stifled by the computer program and condemned to repeat his thoughts and actions endlessly in a digital Nietzschean eternal recurrence. While it’s not exactly the sort of song that is particularly memorable and I can’t imagine many situations you would want to play the whole thing other than helping you focus whilst reading or studying, it is an interesting artistic folly for the purposes of the EP.
On his latest solo album The Deluder, Woomble began to shed his more pastoral woody texture and start to explore a more measured and ethereal sound. But whereas that LP had real heart, Everyday Sun has removed all sense of humanity in favour of total abstraction. Though it shows that the experienced songwriter still has plenty of ideas to play with and is bold in terms of experimentation and expression, it rarely hits the mark and is unlikely to be regarded as amongst his best work. But then, the beauty of the EP as a format is that it allows an artist to try something new to some depth and test the reaction without becoming fully committed or permanently chained to the new sound. (www.roddywoomble.net)
“I greatly enjoyed both of Andrew’s instrumental solo albums, and really liked the idea of trying to read some of my words over his compositions. It was interesting just to have an electronic drumbeat to base my words around…”
Everyday Sun – taken from Roddy Woomble’s forthcoming EP out 2th7 March.
It’s your pal Shakey Graves.
Long ago before we were all trapped in our homes, I started working on a new project. It had been a dream of mine for a while to get my own studio together, a place where I could just flip a switch and my creative energies could boot to life. This dream was realized when I located a small house in Goforth, TX and staked my claim and dubbed it “Hello Gorgeous”
At the same time I realized that there was a lot I hadn’t explained en masse. How I got to this point, who my cohorts (Boo, Pat, and Jon) were. I had a lot of videos floating about on the internet of me playing music, but none that I had ever created myself. So I got a crew of friends together and decided to capture it as we embarked on creating a new body of work.
The result is a three part documentary/music video project called…you guessed it: Hello Gorgeous.
Shakey Graves presents a documentary about his past and future. Episode 1 explores the birth of Shakey Graves, the origins of his bandmates, and the winding path that lead them to their new studio, “Hello Gorgeous,” located in spacious Goforth, TX.
Our unlikely heroes will explore new sounds and create a new song titled “Look Alive”…BUT WILL THEY SURVIVE...(dramatic sounds).
Each episode will conclude with an unreleased song and we are going to be releasing these episodes every other Monday starting today, Monday, April 6th
‘Missive To An Angel From The Halls Of Infamy And Allure’, the forthcoming double solo album by David J is an intensely personal, self deprecating, confessional song cycle which details a period of profound transition. It is intended as a cyclic swan-song, the last track, ‘I Hear Only Silence Now’ being a new version of the song which was the first on J’s 1983 solo debut, ‘Etiquette Of Violence’. The new album was recorded in Prague, Berlin and Los Angeles as well as Wellingborough, England when J revisited Beck Studios where his former highly influential band, Bauhaus cut their seminal classic, ‘Bela Lugosi’s Dead’ back in 1979.
The new album features contributions from Anton Newcombe (Brian Jonestown Massacre), Toby Dammit (Nick Cave And The Bad Seeds), Paul Wallfisch (Swans), Sean Eden (Luna), Rose McGowan, Asia Argento, Emily Jane White, Annabel (lee) and the great Czech violinist, Karel Holas amongst others.
David J sees the album as the culmination of 36 years of solo /collaborative work. It is also a ‘coming home’ of sorts as the label behind the release is the London based Glass Modern which is in fact the newly reactivated Glass Records which originally released some of J’s earliest critically acclaimed works.
David J (Bauhaus, Love and Rockets) presents ‘I Only Hear Silence Now’ featuring Emily Jane White on piano and vocals, the two stars shining bright in tandem vocals. This track can be found on his double album. This is a new version of a track that first appeared on David J’s debut solo album ‘Etiquette of Violence’ in 1983. The accompanying video features both artists. Filmed by Pierre Malacarnet and David J, This video was pieced together over several months. Most of the footage was shot by the intrepid Pierre Malacarnet at Beck Studios in Wellingborough, the site of the original Bauhaus recording of ‘Bela Lugosi’s Dead’. I filmed the game and lovely Emily Jane White in a 19th Century bathtub in San Francisco. Pierre then shot some other cut away scenes in Berlin and edited the whole thing together quite brilliantly. The mood of the film resonates perfectly with that of the music,” says David J.
David J’s latest album was not immediately accessible but on 2nd & 3rd listening has revealed many new gems such as Blue Eyes in the Green Room, Clandestine Valentine and The Auteur
Glass Modern is a new imprint of Glass Records, released October 18, 2019, “Missive To An Angel From The Halls Of Infamy And Allure” Featuring David J , Emily Jane White
Weird times out there, eh? We hope you and your loved ones are all safe and secure and actively listening to the advice of your public health officials…it’s the only way that we can all get through this thing…and we are all in this thing together, whether we like it or not.
In the meantime, we have some new music for you to listen to and hopefully provide you with a small distraction. It’s a set of songs that we’ve been working on for the past year and which we were set to launch when our worlds turned upside down. The plan was to release a very limited edition, audiophile double-album made up of a re-mastered, re-cut version of All That Reckoning along with a second disc that contains the new music, Ghosts. We have the test pressings and they sound beautiful. But, as you all know, logistics are difficult right now, so we are delaying the release of the vinyl (there will be no CD) until the world returns to something resembling normal.
In the meantime we have decided to release the new music on streaming sites everywhere. It’s an intense set of songs, but that’s probably not a surprise to you….read on if you are interested in the genesis of Ghosts.
In July of 2018 we released our album All That Reckoning. Two months later our mother died and we realized that there was more reckoning still to come. Ghosts is the result of that realization; a suite of songs revolving around grief, pain, fear, anxiety, beauty; a set of songs examining the complexity of emotions that subsume us after losing a parent. We were writing and creating these songs while we were touring ATR and as they took shape it became clear to us that they belonged as part of, or at least as an addendum to, the songs that make up All That Reckoning. They deal with the ultimate reckoning, the reckoning that comes with the death of a loved one and the reassessing that one goes through as one tries to process such a loss.
The concept behind this project was to present it as a two disc vinyl-album set. All That Reckoning and Ghosts work best as two bodies of work, reflecting off of each other, but you know what they say about the best laid plans of men….so in the meantime enjoy, enjoy, enjoy.
Now approaching their fourteenth year as Krakow Loves Adana, Deniz Cicek and Robert Heitmann have long been Germany’s best kept music secret. Their mix of dark-pop, indie rock, and krautorock would have been considered revolutionary if the year was 1975 and they were performing in one of Berlin’s underground clubs. Their exceptional 2017 album, Call Yourself New, made the melancholic exhilarating, as they examined the perils faced by various characters. 2018’s brilliantly brooding Songs After the Blue, meanwhile, was a study of the changing world and how things have turned upside down.
For the duo to be heard, they created their own label, Better Call Rob, but a year ago another label finally signed them. Specifically, Italians Do It Better, the company co-founded by Chromatics’Johnny Jewel, have given them a chance to shake the label of hidden gem. Their newest single should hopefully be the start of an unforgettable adventure.
“Young Again” personifies Krakow Loves Adana sensational art. Like a Dali painting, it is numerous conflicting parts. It is dark and stunning, dramatic and thrilling, melancholic yet bold. The dark, spatial synths and beats combine with Heitmann’s dissonant guitar to create a soundscape that feels like the anthem for lonely souls. Cicek’s words mirror this feeling, as she confronts time and how it deteriorates the places we know, our relationships, and our memories. The song couldn’t be more timely, as time may indeed be running out.
The Wants describe themselves as inspired by the minimal structures of punk-punk and while that may be true Container feels more deeply indebted to the earliest threads of industrial music. This is an electronics-forward record; mechanical drum beats, retro synths, and pounding digital bass punctuated with spiky guitar riffs that cut through the noise like razors. There are other stylistic touch-points that spice up the compositions, like the early 00s DFA-lite electroclash vibes of the lead track, “Ramp,” that plays like a pared down and condensed b-side from The Rapture’s Echoes. Title track “Container” features a lyrical structure that strings together a series of urgent verbs that recalls Daft Punk’s “Harder Better Faster Stronger” but with positive productivity swapped out for an indictment of possessive consumption. “Fear My Society” is the most clearly post-punk track on the album and slinks from the speakers on a precise and minimal guitar riff backed by punchy synths reminiscent of Depeche Mode at their most radio-ready.
Some of the most interesting compositions on the album are instrumental, delicious slices of pure atmosphere that amp up the drama between the lyrical segments. This is where The Wants truly start to experiment. Mechanical menace builds over the brief 52-seconds of “Machine Room,” a clanging beat over doomsday synths bleeding directly into the opening riff of “Fear My Society.” The deeply unsettling ambiance of “Aluminum” is tangibly electric, like reaching out through ionized air to touch the glowing static-screen of an ancient tube TV in a pitch-black room. “Aluminum” showcases The Want’s mastery of John Carpenter-esque creeping dread that lurks mostly in the shadows on the rest of the album, a tone that surfaces again on “Waiting Room,” but backed with a thick dance beat and a healthy portion of sonic anxiety.
Conceptually, Container is highly focused on the individual and preserving that uniqueness in the face of external pressures to conform. There’s an inherent human drive to classify everything; man, woman, black, white, gay, straight. The convenience of organizing people and things into neat little categories often comes at the expense of other traits that make us unique and completely ignores those that by nature or choice do not fit into the generally accepted societal framework.
The Wants completely reject the idea of compartmentalized conformity, taking a strong and often aggressive stance on standing out from the pack. “I will stay a deviant or I will die of boredom” punches through on “Ape Trap” as a singular statement of intent upon which the entire album orbits, a personal ultimatum that vehemently defines individuality in a world that actively undermines those that don’t fall in line. It’s a do-or-die stance that requires Herculean levels of discipline and the construction of emotional walls to keep the outside at bay. “I have no intimacy, I’m never vulnerable” Madison Velding-VanDam sings on the standout track “Clearly A Crisis,” a battle-cry of self-preservation wrapped up in an infectious dance beat.
There are moments of levity that keep Container from getting too unwieldy. “Motor” is propelled forward with a thick bassline and contagious riff, backing vocals from Heather Elle delivering the icy-cool come-on “let’s go fast” as the music churns like a packed dancefloor under pulsing strobes. A chip-tune Gary Numan synth and swirling digital sound effects feel like the soundtrack to an anime apocalypse on “Nuclear Party;” Neo-Tokyo succumbing to atomic annihilation as Velding-VanDam sing/chants “kiss my bombs and I’ll kiss your bones.” Its heavy and destructive, but so absurdist and nonchalant that you can’t help but grin which is probably the point.
Container is out now and may be just the thing to get you up and off your couch during the challenging days ahead. Nothing like a little end of the world dance party with your significant other, roommates, or pets to beat the cataclysm blues. Stay strong, stay weird, stay true.,
Two veterans of those only-slightly-demeaning Best Albums of the year You May Have Missed lists, Field Medic and Great Grandpa vocalist Al Menne teamed up this month for a Run for Cover–released single that feels like a victory lap in the wake of their pair of Generally Best Albums released in 2019. The underproduced track is reduced to Kevin Patrick’s ramshackle guitar and distinct vocals, occasionally harmonizing with those of Menne.
“talkin johnny & june (your arms around me)” by Field Medic featuring Al from Great Grandpa out now via Run For Cover Records
