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An extremely prolific artist, whose work encompasses composition, opera, theatre, radio plays, film or performance, Ergo Phizmiz returns in due time to the Discrepant fold long after his 'Two Quartets' and 'Disco Carousel' - under his given DW Robertson name - albums. A purveyor of the Creative Commons rights, Phizmiz has been deploying much of his work on the ever expanding Free Music Archive directed by WFMU since the early 2000's, creating a sprawling and defiant body of work that defies given and stale notions of sound hierarchies, history and copyright through a process that comprises collage, sampling, reappropriation, songwriting, covers and pretty much any available media with a playful and thoughtful approach.
For this new Discrepant entry, Phizmiz goes back in time to push into the future a number of pieces recorded more than two decades ago creating this perpetual motion outside a linear chronologic progression. Anticipating by almost 20 years the memefication of ASMR videos, 'Selected Ambient & ASMR Works 2001-2003' - itself a pun on the AFX classics - embraces the ambient tag not at its functional face value, but instead as a means to the "evocation of imaginary spaces, and correspondingly the invention of their sonic environments". Collecting recordings from a myriad of instruments - violin, xylophone, banjo, kora, found percussion and so on...-, shortwave radio and field recordings to create loops with different lengths that play with and/or against themselves continuously in a process "(dis)conjunction" not far removed from Feldman's 'Why Patterns?' or hip-hop's sampledelia. A free-floating temporal space that collapses the flashing images of Angelfire pages unto Web 2.0 sense of displacement.

We here at TSTD are longtime fans of Mexican producer/musician MONSIEUR VAN PRATT. So it’s a great pleasure to finally work with the man. For this 7 inch he delivers two tracks:
Side A is a slow disco edit of a super rare Mexican late 70s cover version of Bobby Caldwell’s classic love song “What You Won’t Do for Love”.
Side B takes us into the church of Black Soul, a slow Gospel Soul track for your sunset disco beach bar dj sets.

Monsieur Van Pratt, founder of Super Spicy Records, is a prominent producer and DJ originally from Mexico City, whose influence on electronic music is widely recognized both nationally and internationally. With an impressive career that includes more than 100 releases in digital format.

BRAND NEW STUDIO ALBUM FOR AN ITALIAN PROG-ROCK LEGENDS!

The comeback of the Milanese band Alphataurus can only have the status of a big event among fans of Italian progressive rock, thanks mainly to the indelible mark left several decades ago with their 1973 eponymous masterpiece. After ten years of absence, filled with a long series of live appearances, Alphataurus once again knocks on the doors of prog-rockers with a brand new album, whose long recording process unfortunately ended with the departure of founder guitarist Guido Wassermann.

“2084: Viaggio nel Nulla” (2084: Journey into Nowhere) is a 100% Alphataurus record, starting from its beautiful and futuristic three-panel cover illustrated by the band’s new drummer, recalling the paintings of the magnificent debut album.

BRUJERIA is an extreme Mexican-American metal band founded in 1989 in Los Angeles. Under cover of pseudonyms, its original members were the guitarist Dino Cazares ( FEAR FACTORY ), Jello Biafra ( DEAD KENNEDYS ), the drummer Pat Hoed, bassist Billy Gould ( FAITH NO MORE ) and singer Juan Bruno. BRUJERIA first appears as a terrorist group having kidnapped the bosses of Roadrunner Records in order to be able to release a record. This joke having been denied, the group appears as a parallel project that is characterized by the themes of satanism, terrorism, sex, rebellion, and politics. The group forges a reputation of psychopaths by playing on stage , with hooded or masked with scarves, titles called "Marijuana" or "Brujerizmo ( the word "Brujeria" which means "witchcraft" ). BRUJERIA is Mexican hence the name and lyrics in Spanish. Dino Cazares ( exFEAR FACTORY ) was the guitarist. The musicians of BRUJERIA keep their identities secret but it is known that ex-FEAR FACTORY's Dino Cazares, FEAR FACTORY's Asesino and Raymond Herrera, as well as Billy Gould, ex-FAITH NO MORE, have worked on guitar, drums and bass, Nicolas Barker ( ex-CRADLE OF FILTH etc ) takes also part of the butchery, just to name a few...

BRUJERIA is an extreme Mexican-American metal band founded in 1989 in Los Angeles. Under cover of pseudonyms, its original members were the guitarist Dino Cazares ( FEAR FACTORY ), Jello Biafra ( DEAD KENNEDYS ), the drummer Pat Hoed, bassist Billy Gould ( FAITH NO MORE ) and singer Juan Bruno. BRUJERIA first appears as a terrorist group having kidnapped the bosses of Roadrunner Records in order to be able to release a record. This joke having been denied, the group appears as a parallel project that is characterized by the themes of satanism, terrorism, sex, rebellion, and politics. The group forges a reputation of psychopaths by playing on stage , with hooded or masked with scarves, titles called "Marijuana" or "Brujerizmo ( the word "Brujeria" which means "witchcraft" ). BRUJERIA is Mexican hence the name and lyrics in Spanish. Dino Cazares ( exFEAR FACTORY ) was the guitarist. The musicians of BRUJERIA keep their identities secret but it is known that ex-FEAR FACTORY's Dino Cazares, FEAR FACTORY's Asesino and Raymond Herrera, as well as Billy Gould, ex-FAITH NO MORE, have worked on guitar, drums and bass, Nicolas Barker ( ex-CRADLE OF FILTH etc ) takes also part of the butchery, just to name a few...

BRUJERIA is an extreme Mexican-American metal band founded in 1989 in Los Angeles. Under cover of pseudonyms, its original members were the guitarist Dino Cazares ( FEAR FACTORY ), Jello Biafra ( DEAD KENNEDYS ), the drummer Pat Hoed, bassist Billy Gould ( FAITH NO MORE ) and singer Juan Bruno. BRUJERIA first appears as a terrorist group having kidnapped the bosses of Roadrunner Records in order to be able to release a record. This joke having been denied, the group appears as a parallel project that is characterized by the themes of satanism, terrorism, sex, rebellion, and politics. The group forges a reputation of psychopaths by playing on stage , with hooded or masked with scarves, titles called "Marijuana" or "Brujerizmo ( the word "Brujeria" which means "witchcraft" ). BRUJERIA is Mexican hence the name and lyrics in Spanish. Dino Cazares ( exFEAR FACTORY ) was the guitarist. The musicians of BRUJERIA keep their identities secret but it is known that ex-FEAR FACTORY's Dino Cazares, FEAR FACTORY's Asesino and Raymond Herrera, as well as Billy Gould, ex-FAITH NO MORE, have worked on guitar, drums and bass, Nicolas Barker ( ex-CRADLE OF FILTH etc ) takes also part of the butchery, just to name a few...

Ten years after its original release, after having sold thousands of copies on CD and collected millions of plays all over the world, "Canzoni" is finally available on vinyl, in a deluxe edition – double vinyl with gatefold sleeve – the album that revealed Chiara Civello's talent as an interpreter, attesting her artistic depth on international stages.

A record which embraces the Italian musical tradition in all its facets, capable of moving through Northern Soul, Bossa Nova, Blue Eyed Soul, Jazz and Pop. Produced by Nicola Conte, recorded in analog between Bari, New York and Rio de Janeiro, and enriched by the participation of extraordinary guests, including Gilberto Gil, Chico Buarque, Ana Carolina and Esperanza Spalding, with orchestral arrangements by the legendary Eumir Deodato, "Canzoni" still proves to be a very successful work today, capable of honoring the beauty and depth of Italian music, demonstrating once again Civello's status as a timeless musical icon.

CREDITS

Produced by Nicola Conte
Executive producer: Quarter Moon Inc.
Additional production: Ettore Caretta
Bari production coordination: Bass Culture

Orchestral Arrangements: Eumir Deodato
Flutes arrangement on "Senza Fine": Magnus Lindgren

Recorded mixed and mastered by Tommy Cavalieri at Sorriso Studios, Bari, Italy
Additional recording studios: CNSO Recording Studios, Prague / #AC Studio, GG Studios, Rio de Janeiro / Pat Dillet's Studio, New York City
Additional engineers: Eduardo Andrade, Renato Godoy, Pat Dillet

Gilberto Gil appears courtesy of GEGE Producoes Artisticas
Chico Buarque appears courtesy of MAROLA
Ana Carolina appears courtesy of Armazém Produtora e Editora Ltda

Album cover: Daniela Boccadoro
Photos by Fabio Lovino
Graphic layout: Eugenio Crippa















[o] 15: I Mulini Dei Ricordi (The Windmills Of Your Mind) [feat. Esperanza Spalding]

If you feel like motoring down the highway at 100 miles per hour breathing in pure rock n roll exhaust then look no further– Rowdy is here to kick out the jams and rev up with their self-titled debut LP Rowdy! These seasoned rockers are dealing out a heavy dose of song-forward classic garage punk that sounds like a mixed bag of Joan Jett singing for Teengenerate and Roky Erikson and The Aliens covering Oblivions. This is no surprise as Rowdy is formed by members of legendary Austin band Hex Dispensers and Scotland's Goldie Dawn, (Hex Dispensers, major contributors to the Texas garage punk scene). Rowdy’s sound runs the gamut with catchy 77 punk tunes like “All in My Head”- with its huge chorus, anthemic doo-wop tinged songs like “Fine Mystery, and bluesy garage rippers like “Cost Of It”. The recording is raw and punchy, dripping with overdriven twangy guitars, a steadfast, tight rhythm section, and blown out vocals. This record is pure rock n roll madness! Pop this Rowdy on in your headphones, shotgun a Steel Reserve, and you’ll be on your motorcycle doing donuts on your highschool principal’s lawn in no time.

Surf Nicaragua is an EP from Arizona thrash metal band, Sacred Reich. It was released on October 4, 1988 onMetal Blade Records and follows the band's debut album, Ignorance, released the previous year.The EP contains a cover version of the Black Sabbath song, "War Pigs", which also appeared on the band's nextEP, Alive at the Dynamo in 1989, in live form. The song "Surf Nicaragua" contains a part from the song "WipeOut" as well as the drum part from the Hawaii 5-0 theme song

Woven together from home studio recordings that span two decades, and with some notable guest appearances including; The Bug, Douglas Leal of Deafkids, Wayne Adams of Petbrick, Dave French of Yob and Sanford Parker, this final part of the Harvestman Triptych seeks once again for a lost world, with the voice of poet Ezra Pound extolling the virtues of "gathering from the air a live tradition".
Cloudy Clear plus Black Galaxy effect vinyl in dub style jacket. Limited and Non-Returnable.
At its heart, music has always been a questioning of inheritance – a dialogue with predecessors and forebears, the forging of one’s own perspective in relation to what has come before, and for some, a plunge into the boundless realms between. For Steve Von Till, that process has always taken on an added dimension to become the most sacred of tasks. Whether through the apocalyptic uprising of Neurosis, the sonic deconstructions of their sister project, Tribes of Neurot, the invocatory intimacy of his eponymous solo albums or his instrumental psychedelic reveries in the guise of Harvestman, that dialogue has never just been with musical influences, but with what underpins them: the primordial, elemental forces now banished to the peripheries of our contemporary consciousness, yet still broadcasting a signal for all who will listen.

Drawn to the megaliths, ruins and ancient sites mapped out along the British and European mainland’s geographical and psychic landscapes, the folklore and apocrypha forever resurfacing as portals from a rational world, Triptych is a meditation forged from traces and residues, and an hallucinatory recollection of artists who have tapped into that enduring otherworldliness embedded within us all. It’s a dream diary narrating a passage through Summer Isle where Flying Saucer Attack are wafting out of a window, a distant Fairport Convention are being remixed by dub master Adrian Sherwood, celestial scanners Tangerine Dream are trying to drown out Bert Jansch and Hawkwind are playing Steeleye Span covers, all prised out of time yet bound to its singularity.

"Herne's Oak" provides seismic bass waves that physically halt the track in its steps - giant footfalls as Herne's antlers themselves are dragged along a corridor. Another curious and mysterious piece of British folklore brought to life by Harvestman.

If Triptych is a multi- and extra-sensory experience, it extends to the remarkable glyph-style artwork of Henry Hablak, a map of correspondences from a long-forgotten ancient and advanced civilization. As with Triptych itself, it’s an echo from another time, an act of binding, a guide to be endlessly reinterpreted, and a signpost to the sacred that might not indicate where to look, but how.

Cover art is by Henry Hablak, who also designed the art for Part One and Part Two.

High Roller Records, reissue 2024, black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, huge poster. Mastered for vinyl by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2024, black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, huge poster. Mastered for vinyl by Patrick W. Engel at Temple of Disharmony

"Exhibit B: The Human Condition". It's really, really sick. It's really different from the last one and it's really different from the two before. But it's 100 percent EXODUS. Out of the last three, this one is faster, but it's also a little more melodic, and it's also a little bit more old school. Some of Rob's vocal patterns are just so old school; it's killer. The production is a little more, let's say, less sterile. Not less sterile, but less digital perfection, more organic. It's really, really lively. There is by far more melody on it as well. Thematically, it's a little different. The last one centered a lot on religion and this one is, as the title says, about the human condition; cruelty, ignorance, and inhumanity and brutality. Just the things that man has shown to be so adept at doing.” "Our goal in EXODUS is just basically to defy time, to defy age, to have every album just get more furious and more angry and more intense. A lot of people will ask me things like, 'EXODUS is achieving a lot of popularity again, do you think it's due to thrash metal coming back?`and I say, 'No. I think thrash metal's coming back because of EXODUS.'" The goal now, he says, is to remain "the most dangerous animal in the jungle." "We wanted to portray the violence of man at its finest, so we started with our own version of the Leonardo da Vinci sketch of Vitruvian Man, but done the ‘EXODUS’ way! I was pointed in the direction of Colin Larks of Rainsong Design for the cover and he killed it! To me, the artwork represents man and his affinity for bloodshed, ignorance, and all-around ability to be led like sheep to the slaughter. The image fits the songs on this record perfectly. The whole layout is going to be as sick as the record itself!" GARY HOLT, Exodus

"Exhibit B: The Human Condition". It's really, really sick. It's really different from the last one and it's really different from the two before. But it's 100 percent EXODUS. Out of the last three, this one is faster, but it's also a little more melodic, and it's also a little bit more old school. Some of Rob's vocal patterns are just so old school; it's killer. The production is a little more, let's say, less sterile. Not less sterile, but less digital perfection, more organic. It's really, really lively. There is by far more melody on it as well. Thematically, it's a little different. The last one centered a lot on religion and this one is, as the title says, about the human condition; cruelty, ignorance, and inhumanity and brutality. Just the things that man has shown to be so adept at doing.” "Our goal in EXODUS is just basically to defy time, to defy age, to have every album just get more furious and more angry and more intense. A lot of people will ask me things like, 'EXODUS is achieving a lot of popularity again, do you think it's due to thrash metal coming back?`and I say, 'No. I think thrash metal's coming back because of EXODUS.'" The goal now, he says, is to remain "the most dangerous animal in the jungle." "We wanted to portray the violence of man at its finest, so we started with our own version of the Leonardo da Vinci sketch of Vitruvian Man, but done the ‘EXODUS’ way! I was pointed in the direction of Colin Larks of Rainsong Design for the cover and he killed it! To me, the artwork represents man and his affinity for bloodshed, ignorance, and all-around ability to be led like sheep to the slaughter. The image fits the songs on this record perfectly. The whole layout is going to be as sick as the record itself!" GARY HOLT, Exodus

Brown eco cover with hand stamped logo - limited edition of hand numbered 100 copies of black vinyl.

The album "LIVE" is a record of a concert from January 2024 promoting the band's latest album, "No Codes".

It is a departure from traditional forms and a certain correctness characteristic of studio situations. Instead, there is a lot of energy, improvisation and carefree fun flowing from contact with the audience, seasoned with rock claw and freedom of expression. It is a pass to the world of P.Unity as it is in its essence - a character that until now could only be captured during live performances.

Now you can experience it in any place and time of your choice.

James Brown had several incredibly talented funky divas in his late 60s and early 70s stable, including Vicki Anderson and Marva Whitney. But as great as those two powerhouse singers were, Lyn Collins was the strongest hitmaker of that funky JB era. Her strong voice and commanding stage presence - which earned her the nicknames The Female Preacher and Mama Feelgood - quickly proved to be a potent addition to the People Records universe. In the spring of 1972 her second single, the driving and ridiculously funky “Think (About It)” hit the R&B music world like a ton of bricks. As fans young and old know, thanks to its timeless, relentless groove and powerful vocals, “Think” gained a powerful second life in the 1980s thanks to the hip-hop generation, fueling the platinum smash “It Takes Two,” by Rob Base & DJ E-Z Rock in 1988 and additionally sampled by dozens of hip-hop and dance music artists up to the present day. But Collins was far from a one hit wonder: she was as vocally adept on ballads as she was with full-blown funk. She proves this throughout her debut album, which was released in 1972 on James Browns new People Records - the imprint's second full-length release. To wit, aside from the title smash: a powerful and emotional cover of Bill Withers "Ain’t No Sunshine"; the socially progressive "Women’s Lib"; the Gamble & Huff-penned "Never Gonna Give You Up" (originally done by Jerry Butler); and even a daring, muscular take on the song “Fly Me To The Moon,” made famous by, among others, Frank Sinatra. Throughout Think (About It), Collins shows that she was a vocal force to be reckoned with. Backed by a James Brown assembled musical crew that included Pee Wee Ellis, Fred Wesley and, of course, James Brown himself, the platter was bound to impress and succeed. And that it did.

The only album to soundtrack both late-'70s Minneapolis lounges and a Travis Scott x Dior fashion show. Recorded in a host of living rooms with only a Fender Rhodes piano, a Donca Matic Mini Pops drum machine, and Senrick's wide-eyed, 20-year-old voice, the 1977 LP disappeared into the wild and joined the Wendigo in Minnesota lore. A provocative mix of marina soul, easy listening, and loner folk, Dreamin' is a sanguine sliver of the American private mind garden. Harsh winters coupled with a relative lack of interest amongst siblings allowed Chuck Senrick years of unfettered access to the family piano in their Farmington, Minnesota, home. Learning both by ear and by instruction, Senrick began gigging professionally at age 15, joining John Zimmer and the CR4 for a weekly rundown of Allman Brothers, Blind Faith, and Cream covers at the Sea Girt Inn in Lake Orchard. Tapping into James Taylor's pop-chart achievements in songwriting and enunciation, Senrick composed the bulk of the songs featured on Dreamin' before graduating from Farmington High School. At 20, Senrick migrated 30 miles north to the Twin Cities to pursue music full-time. Using borrowed equipment and borrowed living rooms, a string of informal recording sessions generated the quarter-inch tape for Dreamin'. "I didn't know how to do it," Senrick says about producing an album. "I just knew it could be done." Constructed with vocals, Fender Rhodes, and an assortment of rhythm presets on his Donca Matic Mini Pops drum machine, a mere 200 copies of the private-press masterpiece were stamped and sleeved and sold hand-to-hand at performances. Chuck's wife Lesli illustrated the album cover_a pen-to-paper portrait of her husband against the backdrop of the Minneapolis Skyline, she and their newborn son situated on a nearby knoll. Any plans for a re-press were quashed when producer Bruce W. Hansen lost the reels during a messy divorce. "I was a kid with big ideas and not much hope to do anything but play," Senrick said of the Dreamin' era. "It still amazes me that people are interested in it."

This release will come in 10 alternative sleeves limited to 100 copies of each so the bedroom design of the front cover has been painstakingly adapted for devotee’s of; 1. Sex Pistols 2. The Clash 3. The Jam 4. Buzzcocks 5. The Damned 6. The Stranglers 7. Siouxsie & the Banshees 8. Generation X 9. Ramones and 10. Blondie… and that design comes with a signed and stamped print of that design inside…
Mal-One’s new five track 12’’ offering has broached the tender subject of the bedroom wall and what as a teenager we would cover it with, as we revelled in our teenage glory. During what we now fondly remember as the Punk Rock period, this would have been the promo posters, gig tickets, flyers, badges, t- shirts anything we could find to extend our allegiance to the Punk Rock cause. Track one of this extended play covers this dilemma in fine style:

Side One
1. Punk Rock Pictures on my Wall …from floor to ceiling and ten feet tall !!!
2. JJ’s Alright relates a true story of Mal-One’s run in with the Euroman Cometh himself and finding out first hand that
even if his band The Stranglers were to become Punk’s social outcasts that in fact JJ was Alright and so in fact was
Hugh….
Side Two
1. The Buzz-Cocks Are Coming tells the Buzzcocks connection to this movement and their entry point into the affray.
2. Damned Disciple tells what is required to become a Damned devotee. Which includes amongst other requirements
and as stated on one of their early badges ‘skipping off school to see them play’
3. The Satellite Kid tells the engaging story of Mr Paul Weller coming to London seeing the Sex Pistols for the first time
at the Lyceum Ballroom on The Strand. In doing so he found some likeminded souls and more importantly people the
same age that he could relate to and forge an identity with.
Hopefully to hang on your bedroom wall… it’s never too late Punk….

Violator wurde 2002 in der brasilianischen Hauptstadt Brasília gegründet und hat sich zum Ziel gesetzt, eines der Aushängeschilder der postmillennialen neuen Welle des Old-School-Thrash-Metal zu werden. Die vierköpfige Band entstand aus der gemeinsamen Vorliebe der Mitglieder für genreprägende Acts aus der goldenen Ära der Szene in den 1980er Jahren. Sie mischten den unerbittlichen Stil der frühen Pioniere aus ihrem Land (Sepultura, Korzus) mit der amerikanischen Tradition (insbesondere den Genre-Titanen Exodus) und einer Prise Hardcore-Crossover. High Roller Records sind stolz darauf, vier Schlüsselveröffentlichungen der Gruppe auf Vinyl neu aufzulegen, wobei „Violent Mosh“ 2004 ihr erstes professionelles Werk auf dem brasilianischen Label Kill Again Records war. Nach einem Demo und einem Vierer-Split gab die Sechs-Track-EP den Ton an für das, was zwei Jahre später auf Violators Debütalbum „Chemical Assault“ folgen sollte. Beide Titel fangen die energiegeladenen Live-Shows ein, die sie sowohl alleine als auch als Support von internationalen Größen wie Destruction spielten. Apropos, auf der „Annihilation Process“-EP von 2010 konnte Sänger/Bassist Pedro Arcanjo nicht mehr nur den deutschen Frontmann Schmier oder Kreators Mille imitieren, während die Musik reifer wurde und Songs wie das ausgefeilte „Futurephobia“ haufenweise Potenzial erkennen ließen. Mit ihrem zweiten Album „Scenarios of Brutality“ (2013) löste die Band dieses Versprechen ein, indem sie ihren mittlerweile unverkennbaren Sound voll zur Geltung brachte, der das Flair eines neuzeitlichen Genre-Klassikers verströmt. Riff-lastig, mit intensivem Tempo und glaubwürdig Zorn und Wut durch etablierte Themen ausdrückend, die von gesellschaftspolitischem Bewusstsein und Doom-Mongering bis hin zu schlichter Thrash-Selbstreferenzialität reichen und mit rohen, aber kraftvollen Produktionen aufwarten, sind diese vier Platten äußerst wichtige Ergänzungen zum Genre-Kanon - Let the Violation Begin!

Mastered for vinyl by Christoph Brandes at Iguana Studios