Search:can 7

Various Color pressing
I spent a lot of time crossing the Detroit/Windsor boarder tunnel. - My family lives half in the US and half in Canada and my father crossed daily for for work and materials. My brother and I would sit on old paint cans in the back of his work truck. long trips to home depot in the hopes that we could get a rally’s banana milkshake before heading home. - I hated that work truck, but we loved the trips, no matter how mundane. We would spend hours crossing that boarder tunnel when it was busy, our bottoms would hurt from the metal paint cans. When i was in high school i would smuggle cigarettes to sell to the Canadian kids, it was a good business. The dark tunnel in disrepair built over 90 years ago felt like a relic of the past, its leaky walls and pale yellow tiles were always crumbling around you. It was claustrophobic and uncomfortable. But the tunnel made your mind wander with thoughts of what was above you, giant cargo ships or sea monsters. It was an anxious place, the uncertainty of its structure or the dreaded boarder patrol on the other side. Would be be pulled in and searched? would the carton of camels i hid under the seat be found? - It was a special place and a special time. These sounds are about traffic and the movement and time in this strange tunnel.

Following up on last year's acclaimed Integration 12", Robbert Heynen unlocks his incredible back catalogue for four acidic reinterpretations from Greek maestro Anatlolian Weapons.

Proceeds of the record will be donated to Legacy of Hope foundation, an Indigenous led charitable association which educates and raises awareness about the history and on-going impacts of Canada's residential school system.

DJ K-1's (Keith Tucker - AUX88) re-release for modern electro heads Direct Beat Classics label.
1) "K-1 Intro" -Fine metallic percussion and Jeep beats define the groove of this EP's introduction from the year of 1996 featuring Anthony 'Blaktony' Horton (vocals) on this legendary Keith Tucker production. K-1's hauntingly dark strings emerge as you are informed by its mission statement. Mental.

2) "K-1 Agenda" (Instrumental) - Purposely added to enhance variety and balance, this instrumental holds its own. Highlighting his production skill, 'DJ K-1' cuts loose in the minimal groove with traditional Detroit escapism that makes the EP the fine concept it is. Made to dream & jam.

3) "K-1 Agenda" (Vocal Mix) -Written and executed by longtime cohort, 'Blaktony' (AUX88, Alien FM) on vocals. The tune transforms into a classic global jam with android-like vocals planted between the hand-crafted Detroit electronic backdrops. A mainstay in electro bass crates since its release, this track is the description of a man on a mission to jam this world and beyond. Rubbery 'K-1' signature bass lines and strings ride the perfect beat.

4) "The Future I Can See" - K-1's laid back robotic lyrics describe a look into the future paired with thunderous beats and electro bounce. Visionary rocking, Tucker provides the weight to the project that would bare his signature flavor. Hot.

5) "The Future I Can See" (Instrumental) - Focused on an atmosphere of eerie and moody Detroit dark electro, the energetic bass line weaves amongst jamming drums. Imaginative and compelling material made for global dance floors. 100% Electro.

6) "Unreleased track" - A short newly added bonus cut from the original sessions, laced with experimentation in the Motor City Electro sound.

Planet P Project is Tony Carey's pseudonym for his science-fiction themed progressive rock side venture from his more pop-oriented rock releases. Its first three albums, Planet P, Pink World, and Go Out Dancing, Part I (1931) were released in 1983, 1984, and 2005, respectively, and the first two saw a fair amount of MTV video airplay. Planet P's most well known singles were Why Me?, a sweeping, energetic romp about outer space and isolation, and the downbeat Static. Go Out Dancing, Part I (1931) is the first of a trilogy; part two, titled Go Out Dancing, Part II (Levittown) was released in May 2008 and Go Out Dancing Part III (Out in the Rain) was released in 2011.

The highs is Mike Stud’s first album to be officially released under his new name and style of music. He now goes by the name “mike.” This is the first album of the upcoming trilogy he has in the works. “the highs, the lows and the inbetweens.” These are all part of the KEEPGOING trilogy under his new name and style.

Scott Monteith is the Berlin-based but Canadian-born artist best known as Deadbeat. But here, for the first time in some two decades, he steps out with new alias Ark Welders Guild. It is an audio-visual performance and recording project with Italian singer and curator Letizia Trussi, whom he met in winter 2021 and has since formed a strong creative bond. They work in Trussi's Rooms of Kairos studio and have already cooked up two album length pieces that come on Monteith's BLKRTZ imprint. Mons Clepsydra is the first and is an epic drone in four parts with string recordings permeating the moody, grainy, heavy atmospheres.

SAVED! is an apocalyptic revelation on the complex, sometimes ugly, always nonlinear process of healing. Herein, Reverend Kristin Michael Hayter documents an earnest attempt to achieve salvation through the tenets of charismatic Christianity, focusing on the Pentecostal-Holiness Movement, which dictate that one's closeness to God is demonstrated through transcendental personal experience. Sonically and thematically, the record is both a logical conclusion to and a significant departure from Hayter's previous work as Lingua Ignota. Mirroring her personal evolution away from pain, she sheds the moniker that made her successful for its unflinching expression of lived trauma and instead builds herself anew, claiming her full given name, determined to see value within. Musically, while she continues to use historical avant-garde technique and formal constraints superimposed over accessible frameworks, she also strips down her instrumentation and degrades audio to provide a sense of musicological antiquity. Similar to Lingua Ignota, the record is steeped in pathos, but now the wrath of God gives way to His deliverance: "His boundless love shall make you whole."

SAVED! is an apocalyptic revelation on the complex, sometimes ugly, always nonlinear process of healing. Herein, Reverend Kristin Michael Hayter documents an earnest attempt to achieve salvation through the tenets of charismatic Christianity, focusing on the Pentecostal-Holiness Movement, which dictate that one's closeness to God is demonstrated through transcendental personal experience. Sonically and thematically, the record is both a logical conclusion to and a significant departure from Hayter's previous work as Lingua Ignota. Mirroring her personal evolution away from pain, she sheds the moniker that made her successful for its unflinching expression of lived trauma and instead builds herself anew, claiming her full given name, determined to see value within. Musically, while she continues to use historical avant-garde technique and formal constraints superimposed over accessible frameworks, she also strips down her instrumentation and degrades audio to provide a sense of musicological antiquity. Similar to Lingua Ignota, the record is steeped in pathos, but now the wrath of God gives way to His deliverance: "His boundless love shall make you whole."

Repress!

Last year's release of "The Midlands Roots Explosion Volume One", saw the culmination of many years work spent tracking down artists and tapes to shine a light on one of England's greatest, yet most overlooked musical scenes, the home grown take on reggae that briefly flourished from the mid-seventies and had almost disappeared little more than a decade later.

Volume Two starts off in exactly the same way as its predecessor with Handsworth's biggest musical exports, the legendary Steel Pulse and "Bun Dem produced by the legendary Dennis Bovell. Our first act new to the series are Natural Mystique with their 1982 single "Generals" whilst tracks 3, 4 and 5 round off the missing A and B sides from some of the most popular artists we included last time with Iganda's "Mark Of Slavery", Carnastoan's "Sweet Melody" and yet another Generals, this one from Musical Youth featuring the same line up that caused so much surprise and positive feedback with their inclusion on Volume One.

"Africans" from Bass Dance featuring a second appearance from former Steel Pulse guitarist/vocalist Basil Gabbidon, is the first of four previously unreleased tracks. The other three that we've managed to track down on long forgotten tapes, are Leicester's Groundation with "Rebel" recorded a few years before "Fa Ward" which we included last time, "Cannot Take It Away", another lost gem from Handsworth's Mystic Foundation and "Equalisation" another lost slice of early eighties roots from Wolverhampton's Capital Letters.
The late Linton Haughton is another new name with his scarce Shield label 12" cut "Hustling Man". Also making their first appearances, are Afrikan Star with "Run And Hide" originally issued in 1980 on Black Vinyl Records and from the Crucial Music stable, Sledge Hammer with "Ruled By The Stone" released as a 7" single on the Crucial Music Inc. label. The remaining three tracks are provided by label favourites and key players in the Birmingham scene, Black Symbol, Sceptre and Eclipse and showcase songs from the individual albums we've previously released by each band.
British roots reggae at its finest.

Joe Sutkowski (Dirt Buyer)'s new album is a documentation of making it to the other side. Sutkowski grew up in New Jersey, and although he lives in Brooklyn now, he remains " an emo kid at heart ," garnering inspiration from bands like My Chemical Romance and Muse, the latter of whose theatrical, dramatic performances inspired the band's own vocal-forward, soaring takes. Initially working together as a duo while Sutkowski and Ruben Radlauer (Model/Actriz) were at school in Berklee, the band's self-titled 2019 debut album was recorded on an IPhone in their practice room on just drums and guitar, and the quietly striking, nuanced stylings earned them accolades far beyond the " fake record label " the two made up to originally release their music. The band's new album, Dirt Buyer II , was recorded in February 2020, and represents a foray into heavier material that marks a deeper shift for the band. Now working as a trio, Sutkowski is flanked by Tristan Allen on bass and Mike Costa on drums, a fellow Berklee grad who cut his teeth playing in bands across Boston including past collaborations with Sutkowski. Half-recorded while the band was on tour with Surf Curse, the record finds Sutkowski reaching out for places, people and beliefs to ground him. Throughout the album he attempts to wrap his head around the idea of fate and how you can brush up against other people and then leave them behind. The songs themselves play with this concept of light and dark intertwined. Oscillating between urgency and cathartic release and more stripped-back elegies, Sutkowski faces the reality that while the people he'd rather forget can still live on through music, he is able to move on at the same time. Half-recorded in his mother and uncle's upstate house where he turned the living room into a studio, he contemplates the beauty and disaster around him - all refracted through visceral visual imagery of how the physical earth meets the unknown to converge in something greater than ourselves. " This is all a living chronicle of all I want to do, which is feel good and be happy ," he admits. " I'm a completely different person now - a better version of myself ." Processing the past, Sutkowksi has emerged with newfound belief, fully intact and with a new path forward to the future.

Joe Sutkowski (Dirt Buyer)'s new album is a documentation of making it to the other side. Sutkowski grew up in New Jersey, and although he lives in Brooklyn now, he remains " an emo kid at heart ," garnering inspiration from bands like My Chemical Romance and Muse, the latter of whose theatrical, dramatic performances inspired the band's own vocal-forward, soaring takes. Initially working together as a duo while Sutkowski and Ruben Radlauer (Model/Actriz) were at school in Berklee, the band's self-titled 2019 debut album was recorded on an IPhone in their practice room on just drums and guitar, and the quietly striking, nuanced stylings earned them accolades far beyond the " fake record label " the two made up to originally release their music. The band's new album, Dirt Buyer II , was recorded in February 2020, and represents a foray into heavier material that marks a deeper shift for the band. Now working as a trio, Sutkowski is flanked by Tristan Allen on bass and Mike Costa on drums, a fellow Berklee grad who cut his teeth playing in bands across Boston including past collaborations with Sutkowski. Half-recorded while the band was on tour with Surf Curse, the record finds Sutkowski reaching out for places, people and beliefs to ground him. Throughout the album he attempts to wrap his head around the idea of fate and how you can brush up against other people and then leave them behind. The songs themselves play with this concept of light and dark intertwined. Oscillating between urgency and cathartic release and more stripped-back elegies, Sutkowski faces the reality that while the people he'd rather forget can still live on through music, he is able to move on at the same time. Half-recorded in his mother and uncle's upstate house where he turned the living room into a studio, he contemplates the beauty and disaster around him - all refracted through visceral visual imagery of how the physical earth meets the unknown to converge in something greater than ourselves. " This is all a living chronicle of all I want to do, which is feel good and be happy ," he admits. " I'm a completely different person now - a better version of myself ." Processing the past, Sutkowksi has emerged with newfound belief, fully intact and with a new path forward to the future.

Teichmann + Söhne’s »Flows« is not so much the result of a collaborative process as it is a process in itself. Over the course of nine pieces, the Gebrüder Teichmann—Andi and Hannes—and their father Uli repeatedly find common ground between the very different musical styles, sound aesthetics, and subcultural codes they have internalised throughout their lives. The source material out of which the album evolved was culled from several recordings of rehearsal sessions in preparation for the trio’s concerts that took place between the years 2012 and 2022. The three added only a few overdubs to those recordings but edited them rigorously to both preserve and transform the spirit of their unlikely collaboration. The combination of Uli’s background as a versatile jazz artist and multi-instrumentalist with his sons’ penchant for dub techniques, modular synthesis, and live sampling as well as their interest in electronic dance music take on ever-different shapes. »Flows,« released on the occasion of Uli’s 80th birthday, is as joyful, lively and free-spirited as its makers.

It took the three musicians decades to get together to jam. Uli and Lu, the mother of Andi and Hannes, ran the legendary Jazzclub Kneiting between 1978 and 1983 while he also made a name for himself as a musician who, besides jazz, is knowledgeable in a plethora of music styles from all over the world and has an instrument collection to match. Naturally, Andi and Hannes rebelled against this versatility by opting for simplicity. Already as pre-teens, they formed a punk band and once they got a whiff of the burgeoning techno scene, strayed even further from their father’s path. They eventually moved from their native Regensburg to Berlin where they made a name for themselves with a slew of releases on seminal labels like Disko B or Kompakt before starting to more regularly collaborate with musicians from the realms of Contemporary Music, Improv, and Sound Art. Even after Uli had finally contributed some saxophone licks to the brother’s 2011 »They Made Us Do It« LP, it indeed needed someone else to make them do it, i.e. finally get together to reconcile their musical differences in a creative way.

Finding out that the three had never performed together, Yoichi Osaki from Berlin’s iconic Miss Hecker venue, a focal point of the city’s so-called Echtzeitmusik (real-time music) and Improv scene, scheduled them to play their first concert on April 1, 2012. Even though the date was chosen deliberately, things got serious very quickly and this first joint concert proved to be the first of many. It also laid the foundation for »Flows« since the three would start recording their rehearsals. Revisiting the roughly 90 recordings, some of which clock in at a full hour, after ten years of playing with each other then started what Hannes describes as a »form-finding process.« It was a holistic one and involved all three of them, extending also to their choice of cover artwork, a piece created by Lu, who died in 2016 and to whom the album is dedicated. For the collage, she had used photos of the place where it all began, Regensburg, and the river that flows through it, the Danube. This made the piece, coincidentally created around the time Teichmann + Söhne started playing their first concerts together, correlate perfectly with the working process of the three musicians on a visual level.

Similarly, Teichmann + Söhne can be thought of as a human-musical collage. It is a meeting of three different musicians who all have in common that they have occupied alternative spaces and perfected a variety of musical styles and subcultural codes throughout their lives. When those flow into each other, this necessarily creates something that is as unique as the nine tracks collected on this album. While it is mostly Uli who takes the lead on pieces like the appropriately titled »Im Zwischen« (»In the Inbetween«), the brothers respond by live sampling his playing, thus serving as a creative interface between acoustic sounds and electronic responses. This in turn provides a framework in which Uli can improvise on a variety of acoustic instruments like the saxophone and the clarinet as well as a mandolin and glockenspiel or even percussion. This indeed makes their music flow—across different generations, between different musical ideas and genres, into previously uncharted territory.

Saxuality is the successful debut album by Dutch alto saxophonist Candy Dulfer and contained two singles, "Heavenly City" and "Saxuality". Following up the huge worldwide hit "Lily Was Here" with Dave Stewart, the album was a guaranteed seller and charted in Germany, The Netherlands, United Kingdom, and United States. It was also nominated for the Grammy Award for Best Contemporary Jazz Album.

The album is not just a collection of songs, but a testament to the artist's undeniable talent and creative vision.

Saxuality is available as a limited edition of 1000 individually numbered copies on gold coloured vinyl and includes an insert.

Wolastoqiyik Lintuwakonawa is the debut album by Canadian composer and tenor, Jeremy Dutcher – which involves post-classical rearrangement of his Wolastoq First Nation traditional music. Granted access to the Canadian Museum of History, Jeremy discovered wax cylinders from 1907 of his ancestors singing forgotten songs and stories that had been taken from the Wolastoqiyik Nation generations ago. The album is Jeremy’s contribution to his heritage and community in attempts to revitalize the Wolastoq language to the world, which has less than 100 speakers alive today. This collection of ground breaking post-classical arrangements is truly one of a kind and recalls the mood of Rufus Wainwright's operatic performance or the haunting pop of Anthony & The Johnsons.

The first two minutes of Sun June’s third album, Bad Dream Jag-uar, is a reverie - Laura Colwell’s voice floats above a slow-burn,sparse synth, conjuring a tipsy loneliness, a hazy recollection, a disco ball spinning at the end of the night for an empty dancefloor. Sun June’s music often feels like a shared memory – the details so close to the edge of a song that you can touch them. And as an Austin-based project, their music has also always feltstrangely and specifically Texan – unhurried, long drives acrossan impossible expanse of openness, refractions shimmering off the pavement in the heat.

But on Bad Dream Jaguar, Sun June is unmoored. The back drop of Texas is replaced by longing, by distance, by transience, and aquiet fear. The only sense of certainty comes from the murky past.It’s a dispatch from aging, when you’re in the strange in-betweenof yourself: there’s a clear image of the person you once wereand the places you inhabited, generational curses and our fami-lies, but the future feels vast, unclear – and the present can’t helpbut slip through your fingers.

AN ABRASIVE POST-PUNK WITH A HINT OF PSYCHE GARAGE, PRODUCED BY SYD KEMP. After a short briefing on the steps of the Saint-Etienne Cathedral of Toulouse, the band chose the name Cathedrale. A simplicity that can also be found in their sound: sharp and abrasive guitars, nervous rhythm and a touch of pop in the vocals. Cathedrale draw their influences mostly from British punk and American power pop, bands such as the Buzzcocks, Wire, Parquet Courts or Protomartyr. To follow up their two previous EPs, recorded locally at Swamp Land Studios, the quartet chose to cross the channel to record their third album in London at Haha Sound Studios. Under the supervision of producer Syd Kemp, their sound gained both in clarity and scale, whithout losing any of the urgency that made their previous recordings so endearing. The 13 tracks of Houses Are Built The Same will undoubtedly confirm Cathedrale as one of the most exciting rock bands in the French indie scene.

Repress!

Four Units is a kind of Japanese jazz “all star”. Recorded in Tokyo on April 1969, it was released the same year on Union records.
On the first two long songs that open this album, “Four Units” and “Dull Slumber”, we can feel the influence of the “avant-garde” scene of US jazz (and in particular ESP Disk), without however the music sounding too “free”. A whole new vibe on the astonishing cover of “Scarborough Fair”, in a modal style, where the shadow of McCoy Tyner seems to hang over the piano.
The next two tracks, “Rainbow Trout” and “Black Bass”, are still pretty much along the same line, sometimes oscillating towards “hard bop”, the album ending in a blaze of glory with a solo by Masahiko Togashi. While this album had a second pressing in Japan in the 70s, this is the first time it has been reissued with its gatefold cover. Musicians : Tenor Sax, Flute - Akira Miyazawa Piano - Masahiko Sato Drums - Masahiko Togashi Bass - Yasuo Arakawa Recorded in Tokyo, April 2 and 25th 1969

As a follow-up to the debut EP; Anaesthesia, Avilynn is back with another dynamic four track EP; Five Million Sunsets, which is accompanied by a remix from Ostgut Ton’s Answer Code Request.

‘Why So Serious’ opens the project and focuses on dynamically evolving and unfurling drums, plucked synths and modulating percussion while expansive reverberations and nuanced echoes further instil dynamism throughout. Answer Code Request steps up next, shifting the focus to an aesthetically industrial feel, twisting elements of the original’s synthesis and high-octane drums into an ominous, subtly unfolding take on things.

Opening the flip-side is title-cut ‘Five Million Sunsets’ which sees Avilynn explore a more textural landscape, dropping the tempo significantly and introducing circling dub chords, earthy sub tones and menacing bass swells throughout. Last up to round out the release is ‘Your Eye Was Bigger Than The Other One’, here Avilynn focuses her musical theme around “a trippy experience where the person has a distorted reality’’, the composition laid out across three and a half minutes melds together choppy broken drums, eerie tones and bubbling synths alongside gritty distorted moments and metallic chimes.

About the label:

Life experiences in macro and micro; daily reveries and introspections; byproducts of clubbing and city life…converted into sonic frequencies.

The focus of the label is on releasing physical products and the use of the cityscape as the primary interface between artist and music listener. Access to Avilynn’s music and multimedia output is made possible through stickers scattered about different cityscapes which feature personal quotes and QR codes. You can find sticker locations via insta’s highlights at instagram.

Der gefeierte Künstler Israel Nash aus Texas und Missouri wird sein mit Spannung erwartetes neues Album 'Ozarker' am Freitag, den 20. Oktober veröffentlichen. Aufgenommen mit dem Produzenten Kevin Ratterman (My Morning Jacket, Ray LaMontagne), ist Nashs mitreißendes neues Werk eine Ode an seine Wurzeln. Aber mehr als das, es ist eine Meditation über Liebe und Familie, über die Schönheit und den Schmerz, den wir über Generationen hinweg weitergeben, über die Bande, die uns in guten und in schlechten Zeiten verbinden.
Israel Nash, der vom Rolling Stone als "master of sonic textures" und vom britischen Uncut Magazin als "folk-rock visionary" bezeichnet wurde, wurde zunächst in Europa bekannt, wo er sich mit einer Reihe von der Kritik gefeierten Alben eine treue Fangemeinde aufbaute, die ihm einen Vertrag mit dem renommierten Londoner Label Loose Music einbrachte. Als das amerikanische Publikum auf den Geschmack kam, zog der aus Missouri stammende Musiker nach Dripping Springs, Texas, wo er sein eigenes Aufnahmestudio auf einer Ranch baute und einen etwas psychedelischeren Sound entwickelte, der irgendwo zwischen Neil Young und Pink Floyd angesiedelt ist. Produziert von Kevin Ratterman (My Morning Jacket, Ray LaMontagne), kehrt Nash mit seinem neuesten Werk, dem mitreißenden 'Ozarker', zu seinen Wurzeln im Mittleren Westen zurück und macht sich den Heartland-Rock zu eigen, mit dem er aufgewachsen ist - mit überlebensgroßen Gitarren, hymnischen Melodien und reichhaltigen Charakterstudien. Tipp!

Der gefeierte Künstler Israel Nash aus Texas und Missouri wird sein mit Spannung erwartetes neues Album 'Ozarker' am Freitag, den 20. Oktober veröffentlichen. Aufgenommen mit dem Produzenten Kevin Ratterman (My Morning Jacket, Ray LaMontagne), ist Nashs mitreißendes neues Werk eine Ode an seine Wurzeln. Aber mehr als das, es ist eine Meditation über Liebe und Familie, über die Schönheit und den Schmerz, den wir über Generationen hinweg weitergeben, über die Bande, die uns in guten und in schlechten Zeiten verbinden.
Israel Nash, der vom Rolling Stone als "master of sonic textures" und vom britischen Uncut Magazin als "folk-rock visionary" bezeichnet wurde, wurde zunächst in Europa bekannt, wo er sich mit einer Reihe von der Kritik gefeierten Alben eine treue Fangemeinde aufbaute, die ihm einen Vertrag mit dem renommierten Londoner Label Loose Music einbrachte. Als das amerikanische Publikum auf den Geschmack kam, zog der aus Missouri stammende Musiker nach Dripping Springs, Texas, wo er sein eigenes Aufnahmestudio auf einer Ranch baute und einen etwas psychedelischeren Sound entwickelte, der irgendwo zwischen Neil Young und Pink Floyd angesiedelt ist. Produziert von Kevin Ratterman (My Morning Jacket, Ray LaMontagne), kehrt Nash mit seinem neuesten Werk, dem mitreißenden 'Ozarker', zu seinen Wurzeln im Mittleren Westen zurück und macht sich den Heartland-Rock zu eigen, mit dem er aufgewachsen ist - mit überlebensgroßen Gitarren, hymnischen Melodien und reichhaltigen Charakterstudien. Tipp!

Discover the history of Hip-Hop with this brand-new 3-vinyl box set! The Gems Of Hip-Hop Culture - FEAT. - THE PHARCYDE - AFRIKA BAMBAATAA - MOS DEF - GRAND MASTER FLASH - RZA - CAPONE-N-NOREAGA - MONIE LOVE - DIZZEE RASCAL - GRAND PUBA - BRAND NUBIAN - BIG L - 2PAC...

Celebrating the 30th anniversary of U2’s Zooropa, September 2023 sees the release of a limited edition coloured vinyl pressing of the Grammy-award winning album to coincide with the band’s performances at the Sphere in Las Vegas.

Initially intended to be just an EP, Zooropa became a fully-fledged album with 10 tracks recorded in six weeks in 1993, making it the fastest U2 album ever produced. Produced by Flood, Brian Eno and The Edge, the album went to Number 1 in the UK, USA, Ireland, Japan, Canada, Australia, New Zealand, Italy, Sweden, Austria, France, Switzerland, Germany, Holland, Norway, Denmark and Iceland and featured the singles ‘Numb’, ‘Lemon’ and ‘Stay (Faraway, So Close!)’.

Berlin-based British composer, percussionist, and instrument maker Bex Burch was invited to spend a month in the US by International Anthem in Summer 2022. Burch immersed herself in the label"s creative community and listened to what it gave her, making field recordings and allowing There Is Only Love and Fear to emerge from the collaborations and environments she encountered. Sessions for the album spanned multiple non-traditional recording spaces including a storefront in Bridgeport, Chicago and a canyon in Griffith Park, Los Angeles, with an eminent cast of creative musicians including Ben LaMar Gay, Macie Stewart, Anna Butterss, Mikel Patrick Avery, and Dan Bitney of Tortoise, all of whom Burch met for the first time in the moments before they played. These moments of instant collaboration were then edited, decomposed, and recontextualized by Burch, resulting in a deeply organic, energetic-yet-patient addition to the canon of modern composition.

Berlin-based British composer, percussionist, and instrument maker Bex Burch was invited to spend a month in the US by International Anthem in Summer 2022. Burch immersed herself in the label"s creative community and listened to what it gave her, making field recordings and allowing There Is Only Love and Fear to emerge from the collaborations and environments she encountered. Sessions for the album spanned multiple non-traditional recording spaces including a storefront in Bridgeport, Chicago and a canyon in Griffith Park, Los Angeles, with an eminent cast of creative musicians including Ben LaMar Gay, Macie Stewart, Anna Butterss, Mikel Patrick Avery, and Dan Bitney of Tortoise, all of whom Burch met for the first time in the moments before they played. These moments of instant collaboration were then edited, decomposed, and recontextualized by Burch, resulting in a deeply organic, energetic-yet-patient addition to the canon of modern composition.

Demon Records is proud to present ‘Produced by Tony Visconti’, a new definitive retrospective compilation assembled with the assistance of legendary record producer Tony Visconti.
“This boxset covers five and a half decades of my efforts in the art of making iconic recordings. Some of it is familiar and some will have a eureka moment, ‘I didn’t know Visconti produced that one!’
I am honoured that Demon Records took on this enormous task.”
– Tony Visconti

Often described as one of the most important
producers in rock, Tony Visconti has helped create
countless classic musical moments. His work can be
heard on celebrated albums by artists such as T. Rex,
Procol Harum, The Moody Blues and Thin Lizzy to
name but a few.
• This new collection features 30 tracks personally
curated by Visconti, gathering together some of his
favourite production work from across his career.
• Includes tracks by T. Rex, Sparks, Thin Lizzy, U2,
Dexys Midnight Runners, Gentle Giant, The
Boomtown Rats, Manic Street Preachers, The Good,
The Bad & The Queen, and many more.
• Pressed on 2 x 140g LPs, mastered by Phil Kinrade at
AIR Mastering, approved by Tony Visconti. Artwork
designed by Grammy-winning creative studio
Barnbrook.
• Includes a 12-page booklet with previously unseen
photographs, and extensive track-by-track liner
notes by Mojo writer Mark Paytress based on new
interviews with Tony Visconti.

























x 5. U2 – A Sort Of Homecoming Live

Not many heroes of indie folk have won an Oscar or created the basis of a successful stage musical, but Glen Hansard is an artist who can wear both of those feathers in his cap. As a member of the Frames and the Swell Season, Hansard won acclaim for his literate, intelligent, and passionate songwriting and his nuanced vocals, and he"s gone on to win similar accolades as a solo artist. Hansard first gained an audience for the limber but emphatic indie rock he created as a member of The Frames, then gained international fame with fellow singer and songwriter Markéta Irglová in the duo The Swell Season, whose emotionally open, primarily acoustic indie folk became the centerpiece of the award-winning independent romantic drama Once. After going out on his own with his 2012 solo debut, Rhythm and Repose, Hansard has shown a stylistic diversity as he embraced the sound of "70s singer/songwriters on 2015"s Didn"t He Ramble, vintage soul on 2018"s Between Two Shores, and an eclectic swing between subtle folk and noisy indie rock on 2019"s This Wild Willing. Glen Hansard now presents All That Was East Is West Of Me Now, his first solo album in 5 years. The album demonstrates the Oscar-winning singer-songwriter"s unique ability to blend Irish folk with modern rock & the punch of his storied live shows.

Not many heroes of indie folk have won an Oscar or created the basis of a successful stage musical, but Glen Hansard is an artist who can wear both of those feathers in his cap. As a member of the Frames and the Swell Season, Hansard won acclaim for his literate, intelligent, and passionate songwriting and his nuanced vocals, and he"s gone on to win similar accolades as a solo artist. Hansard first gained an audience for the limber but emphatic indie rock he created as a member of The Frames, then gained international fame with fellow singer and songwriter Markéta Irglová in the duo The Swell Season, whose emotionally open, primarily acoustic indie folk became the centerpiece of the award-winning independent romantic drama Once. After going out on his own with his 2012 solo debut, Rhythm and Repose, Hansard has shown a stylistic diversity as he embraced the sound of "70s singer/songwriters on 2015"s Didn"t He Ramble, vintage soul on 2018"s Between Two Shores, and an eclectic swing between subtle folk and noisy indie rock on 2019"s This Wild Willing. Glen Hansard now presents All That Was East Is West Of Me Now, his first solo album in 5 years. The album demonstrates the Oscar-winning singer-songwriter"s unique ability to blend Irish folk with modern rock & the punch of his storied live shows.

Die italienische Singer-Songwriterin Marta Del Grandi meldet sich mit "Selva" zurück, ihrem bisher komplexesten und schillerndsten Werk, einer raffinierten, hingebungsvollen Suite aus scharfsinnigem Pop, die mühelos fließt und emotionale Komplexität, göttliche, organische Arrangements mit einem Sci-Fi-Finish vereint.Wenn ihr Debüt "Until We Fossilize" alle Qualitäten von Martas einzigartigem Ansatz zeigte, der sich zwischen Laurel Canyon Staub, Lynch'schem Ätherismus und dramatischer Morricone-Vertonung bewegte, taucht "Selva" tiefer in das Unterholz ein und zeigt den Ehrgeiz, ein ganz neues Universum zu schaffen, ihr eigenes Ökosystem, in dem die Stärke ihrer Stimme allein die Säule ist, auf der sie aufbauen kann.Strahlen aus chorischem Licht durchdringen jeden Track, mit überlagerten Gesangsdrones, die eine kathartische Kollision von scharfen und weichen Texturen erzeugen, als würden sie uns Hand in Hand durch Marta Del Grandis verzaubertes Universum führen. Der Ehrgeiz ist blendend, und das Ergebnis beweist es: 12 Songs mit ausuferndem, ätherischem Pop, der lebendig, gewaltig und voll erleuchtet ist. "Ultimately compels with its detached, lynchian ambience." ALLMUSIC "Bucolic yet often emotionally complex, her songwriting - patching electronic synths against ambient elements, with a touch of modern classical - taps into areas that go beyond words." CLASH Classic Black LP mit Poster & DLC

This October Melbourne/Naarm synth-punk five-piece screensaver return with ‘Decent Shapes’, their second album. ‘Decent Shapes’ is loaded with bubbling tension, a low grade but growing fever, a rising rage. The frustration is so tangible you can taste it. Detachment and dissociation become survivalist coping mechanisms.


Thematically, screensaver's latest offering finds them exploring existence on an ever-growing trash heap where we’re desperate for the new, the nice and the shiny. A world where materialism reigns supreme and corporate niceties litter the public dialogue but behind closed doors the sentiment is warlike, total domination is the only answer to the bottom line. All of which is underpinned by the band's sonic sense of urgency and a commitment to creating a sound that taps into the mood and spirit of post-punk whilst also allowing space for new wave elements and electronic experiments to shine through.
‘Decent Shapes’ was recorded and mixed by Julian Cue, who was also the recording engineer for Expressions of Interest. Defined by a kinetic energy, dynamic range and brooding atmosphere, the 10-track release comprises some tracks that were mainstays within the band's live shows - featuring in their US tour set-list - alongside others which were written later in the recording process. During the creation of ‘Decent Shapes’, the band also experimented with swapping instruments, allowing for different playing styles and song-writing approaches.


screensaver was formed in 2016 as a trans-Pacific project between Krystal Maynard (Bad Vision/ex Polo) and Christopher Stephenson (Spray Paint/Exek). Their debut album Expressions of Interest received support from the likes of Brooklyn Vegan, Beats Per Minute, DIY and Post-Trash and last September the band played a 12-date tour across the US.

LP Edition of 300 copies in Matt Laminated Sleeve with Black paper Innersleeve.

Ab'bhau's debut album was forged in fire in the year 2018 after mysterious live apparitions and rehearsal sessions. The aim behind this first exploration was void invocation, void materialization. The project is formed by established musicians of the Spanish underground noise, experimental, and metal scene. Connections to bands and projects like Black Earth, Suspiral, Inhumankind, Phicus, Triple Zero, Gárgara, or Sudaria can be traced. The ritualistic essence of this artistic incarnation is based upon the rupture of repetitive patterns through improvisation as a medium to convey abject forces into the shape of what the band has called 'Black Metal Destruktion', stemming Heideggerian terminology. A form that appears to disappear or to be registered, but impossible to reproduce. Even though the recordings vary on the album formats, they are the same album, the same whole, the same essence... exhaled through three different forms of sonic manifestation. Artwork by Heresie Studio.

We're proud to announce renewal of our near-ten year relationship with raw black power ambient ritualists Sutekh Hexen in announcing the band's colossal new 2LP "P:R:I:S:M", a full collaboration with Canadian nightmare-weaving enigma Funerary Call (AKA field recording and experimental soundscaping artist Harlow MacFarlane), to be released this summer in collaboration with our good dearest frequent co-conspirators from the US Sentien Ruin.
With "P:R:I:S:M", magisterial sonic-alchemists Sutekh Hexen and Funerary Call join forces to deliver a fully collaborative album of eight highly experimental tracks. Throughout this octonary journey, concepts and unseen source energies are refined into spectrums of deeper consciousness. The resulting narrative guides the listener through a vastness of (dis)charging energies, rebirth through dissolution, and harrowing harmonic passages in tremendous spaces. Inner-workings suspend transformations in time. Pushing their respective boundaries, Sutekh Hexen and Funerary Call initiate the listener with the crystalline, static miasma of the album’s opener 'Meridian غ', only to enshroud them in the manifesting psychosis of 'Infernal Folly'. The churning mysticism of 'Perilous Shade' offers temporal sanctuary, and 'Toward the Eastern Gate' calls forth tectonic-prophecies as the album's centerpiece, tipping the scale into 'Fractal: Void'—a blistering disarmament in a storm of guitars, scathing electronics, and the disembodied calls we all anticipate and fear. 'Æscend Obsidia' tests the preceding tension and overwhelms in shimmering radiance before declaring release in 'Pangæa Ultima² (Dread)'. Closing with 'Shores of Purgatory', thresholds are breached anew with hectic guitar feedback, spectral synthesis and meditative melodic embellishments. Where the mirror blinds, the "P:R:I:S:M" offers vision—refractions of new perspectives, dissolving the shadow-self.

In the early 1990s, a team of linguists, engineers, anthropologists, and archaeologists were tasked with constructing a type of communication that could transcend time. How might we converse with future civilizations when language may evolve or dissolve entirely? The result yielded the design of spike fields; a strange construction of granite thorns bursting from the earth to alert its viewers to the deadly uninhabitability of nuclear waste disposal sites. For Maria BC (they/them), this state of temporal focus molds the wanderings on their second full length album Spike Field. How do we connect with the weathered shadow of our experience, while envisioning the self a few steps ahead of us? While their debut album Hyaline (2022, Father/Daughter) explored grief and anxiety through a series of character-led accounts, Spike Field recognizes that the past will continue to lurk below the surface until we decide to break through the soil. Spike Field was recorded in the home of a family friend. The home featured an out-of-tune baby Steinway piano, complete with squeaky hammers and strange, sporadic sounds. The piano is sprinkled throughout the album, and features extensively on opener "Amber," showcasing Maria BC's looser, more extensive arrangements. The song flickers with electronic wonder, like a wave seeking out its station, before crashing into the angelic choral introduction of "Watcher". Strings, plucked guitar and buzzing swells accompany their classically-trained mezzo-soprano voice on "Return to Sender," a song that focuses on the frustrations and turmoil of being unable to reach a loved one--both physically and emotionally. Spike Field reminds us that despite our best efforts to bury certain aspects of ourselves, they will always lurk beneath the surface. Instead of ignoring the seeds striving to break through, we can point to these places with a curious grace, concocting a language that transcends words to converse with our previous selves. Maria BC pieces together juxtaposing sonic landscapes and oscillating vocals to represent the thread of miscommunication, or the failure of words, that weaves throughout the album, transforming it into a distinct and ever-evolving sonic tongue. If we listen, we might find something new within ourselves.

Nachfolger des von der Kritik gefeierten, selbstbetitelten Debütalbum, Vambo mit ihrem 2. Studioalbum. Zwölf Tracks dienen als Schaufenster für das beeindruckende musikalische Talent und die energiegeladenen Auftritte der Band. Die Songs bieten eine Mischung aus melodischen Refrains, knallharten Riffs und dynamischen Gitarrensoli und versprechen ein aufregendes Hörerlebnis. Das Album lässt sich sowohl von "klassischen" Rock-Sensibilitäten als auch von zeitgenössischen Einflüssen inspirieren und präsentiert eine frische und innovative Herangehensweise an das Genre. Produziert von Ray Stiles, ehemaliges Mitglied der 70er-Jahre-Glam-Rocker Mud und langjähriges Mitglied von The Hollies. Jack Stiles Gesang, mit seiner fesselnden Präsenz und kraftvollen Stimme, ist eine magnetische Kraft, an der Gitarre entfesselt Pete Lance eine donnernde Energie, die die Aufmerksamkeit des Publikums vom ersten Powerchord an auf sich zieht, David Flitt, ein dynamischer Schlagzeuger, der die treibende Kraft hinter Vambo ist, der Kraft und Subtilität verbindet. Schließlich noch James Scotts provokante Basslinien verleihen Vambos Musik Tiefe und Kraft. Wie in der "High Hopes"-Strecke des Classic Rock Magazine zu sehen ist, haben sich Vambo als aufstrebende Kraft in der Rockszene etabliert, die nicht zu übersehen ist. Als Live Band ausgiebig auf großen Festivals unterwegs, z.B. das Download Festival, das Isle of Wight Festival und das Stone Free Festival und als Support für Acts wie Jared James Nichols, Y&T, Praying Mantis, Stray und Cats in Space.

Sampha kündigt mit "LAHAI" sein mit Spannung erwartetes zweites Album an, das am 20. Oktober auf Young erscheint. Nach dem Namen seines Großvaters väterlicherseits benannt, der gleichzeitig auch Samphas zweiter Vorname ist, fließt die Musik auf "LAHAI" zwischen der Ehrfurcht vor dem Leben und der Magie der weltlichen Existenz und beschreibt das Chaos, das man erlebt, wenn man sich dem Kreislauf des Lebens und dem Jenseits stellt. Auf den 14 Tracks hat Sampha enge Freunde und Kollegen zusammengerufen - darunter fantastische Künstler wie Yaeji, Léa Sen, Sheila Maurice Grey (Kokoroko), Ibeyi, Morgan Simpson (Black Midi), Yussef Dayes, Laura Groves und Kwake Bass. Im Gegensatz zum Vorgänger "Process" ist "LAHAI" ein eher kollaboratives Album. Die neueste Single "Only", die von einem Musikvideo von Dexter Navy in Zusammenarbeit mit Sampha begleitet wird und auf dem Vorab Track "Spirit 2.0" folgt, zeigt einen extrem lebendigen Sampha, der melodisch über einen fragmentierten Hip-Hop-Beat mit Co-Produktion von spanischen Musiker El Guincho singt. Im Juni kehrte Sampha zum ersten Mal seit fünf Jahren für seine Satellite Business Residencies in London und New York auf die Bühne zurück. Das einzigartige Setup, bei dem Sampha und seine Band in der Mitte des Raums auftraten, ermöglichte den Fans einen intimen Zugang zu der improvisierten Performance neuer, unveröffentlichter Musik und alternativer Arrangements von Samphas Katalog, die das Publikum "wie gebannt" (Pitchfork) zurückließ. In diesem Herbst wird Sampha eine größere Version der Satellite Business Live-Show auf Tournee mitnehmen. Den Anfang machen mehrere Abende in London in der St. Johns at Hackney Church im Oktober, bevor er nach Nordamerika zurückkehrt, um in großen Städten aufzutreten: Los Angeles, Toronto, New York City, Chicago, San Francisco, Washington D.C., Philadelphia und Atlanta. Anfang Dezember kehrt er nach Europa zurück und spielt in Berlin, Amsterdam und Paris. Wie sein Schöpfer lässt sich auch "LAHAI" nicht in eine Schublade stecken. Das neue Album ist eine Mischung aus Jazz, Soul, Rap, Dance, Jungle und westafrikanischer Musik, mit der Sampha seine produktionstechnischen und stimmlichen Ambitionen auf ein neues Niveau hebt. Als begnadeter Sänger , Songwriter und Produzent ist es kein Wunder, dass Künstler wie Kendrick Lamar, Stormzy, Travis Scott und früher auch Drake, Solange, Frank Ocean, Beyoncé, Lil Wayne und Alicia Keys ihn für seine unnachahmliche Stimme sowie seine Beiträge zum Songwriting und zur Produktion ihrer Musik um Unterstützung baten. Zu seinen früheren kreativen Partnerschaften gehören die Modedesignerin Grace Wales Bonner, das Shy Light Zine mit Durimel (der auch das LAHAI-Artwork gedreht hat), sein Process-Film mit dem Regisseur Kahlil Joseph und kürzlich die Zusammenarbeit mit Jonny Lu, mit dem Sampha das Artwork für sein LAHAI-Album und sein neues Logo entwickelt hat. Wenn "Process", Samphas 2017 mit dem Mercury-Preis ausgezeichnetes Debütalbum, einen Künstler zeigte, der seinen eigenen Platz in der Welt suchte und schließlich auch fand, ist "LAHAI" eine Übung in der radikalen Akzeptanz und Freude am Leben und der Schönheit der Reise bis hierhin. Willkommen zu Samphas nächstem musikalischen Kapitel: LAHAI.

Sampha kündigt mit "LAHAI" sein mit Spannung erwartetes zweites Album an, das am 20. Oktober auf Young erscheint. Nach dem Namen seines Großvaters väterlicherseits benannt, der gleichzeitig auch Samphas zweiter Vorname ist, fließt die Musik auf "LAHAI" zwischen der Ehrfurcht vor dem Leben und der Magie der weltlichen Existenz und beschreibt das Chaos, das man erlebt, wenn man sich dem Kreislauf des Lebens und dem Jenseits stellt. Auf den 14 Tracks hat Sampha enge Freunde und Kollegen zusammengerufen - darunter fantastische Künstler wie Yaeji, Léa Sen, Sheila Maurice Grey (Kokoroko), Ibeyi, Morgan Simpson (Black Midi), Yussef Dayes, Laura Groves und Kwake Bass. Im Gegensatz zum Vorgänger "Process" ist "LAHAI" ein eher kollaboratives Album. Die neueste Single "Only", die von einem Musikvideo von Dexter Navy in Zusammenarbeit mit Sampha begleitet wird und auf dem Vorab Track "Spirit 2.0" folgt, zeigt einen extrem lebendigen Sampha, der melodisch über einen fragmentierten Hip-Hop-Beat mit Co-Produktion von spanischen Musiker El Guincho singt. Im Juni kehrte Sampha zum ersten Mal seit fünf Jahren für seine Satellite Business Residencies in London und New York auf die Bühne zurück. Das einzigartige Setup, bei dem Sampha und seine Band in der Mitte des Raums auftraten, ermöglichte den Fans einen intimen Zugang zu der improvisierten Performance neuer, unveröffentlichter Musik und alternativer Arrangements von Samphas Katalog, die das Publikum "wie gebannt" (Pitchfork) zurückließ. In diesem Herbst wird Sampha eine größere Version der Satellite Business Live-Show auf Tournee mitnehmen. Den Anfang machen mehrere Abende in London in der St. Johns at Hackney Church im Oktober, bevor er nach Nordamerika zurückkehrt, um in großen Städten aufzutreten: Los Angeles, Toronto, New York City, Chicago, San Francisco, Washington D.C., Philadelphia und Atlanta. Anfang Dezember kehrt er nach Europa zurück und spielt in Berlin, Amsterdam und Paris. Wie sein Schöpfer lässt sich auch "LAHAI" nicht in eine Schublade stecken. Das neue Album ist eine Mischung aus Jazz, Soul, Rap, Dance, Jungle und westafrikanischer Musik, mit der Sampha seine produktionstechnischen und stimmlichen Ambitionen auf ein neues Niveau hebt. Als begnadeter Sänger , Songwriter und Produzent ist es kein Wunder, dass Künstler wie Kendrick Lamar, Stormzy, Travis Scott und früher auch Drake, Solange, Frank Ocean, Beyoncé, Lil Wayne und Alicia Keys ihn für seine unnachahmliche Stimme sowie seine Beiträge zum Songwriting und zur Produktion ihrer Musik um Unterstützung baten. Zu seinen früheren kreativen Partnerschaften gehören die Modedesignerin Grace Wales Bonner, das Shy Light Zine mit Durimel (der auch das LAHAI-Artwork gedreht hat), sein Process-Film mit dem Regisseur Kahlil Joseph und kürzlich die Zusammenarbeit mit Jonny Lu, mit dem Sampha das Artwork für sein LAHAI-Album und sein neues Logo entwickelt hat. Wenn "Process", Samphas 2017 mit dem Mercury-Preis ausgezeichnetes Debütalbum, einen Künstler zeigte, der seinen eigenen Platz in der Welt suchte und schließlich auch fand, ist "LAHAI" eine Übung in der radikalen Akzeptanz und Freude am Leben und der Schönheit der Reise bis hierhin. Willkommen zu Samphas nächstem musikalischen Kapitel: LAHAI.

DreamySpaceyBlue is a new Bella Boo album, written and produced early 2023 when dark times demanded love, healing and forgiveness. Cozed-up, self-therapeutic winter-spring studio sessions resulted in Bella's most virtuoso work yet – a collection of dazzling, emotive recordings full of bright notes, deep vibrations and that signature “Boo mood”. The album marks a distinctive step forward in Bella's sound: An amalgamation of the etheric sounds on her 2019 debut album Once Upon A Passion and the ruff and rugged dance tracks on her recent Looney Talks EP.
DreamySpaceyBlue features appearances by a number of Bella's closest confidants in life and music.
The album artwork, designed by good friend Lowe Steiner, portrays her daughter Bozi, who in her turn shot Bella's last album cover – a fitting full-circle arrangement for an album rooted in collaboration,
intimacy and love.

‘Hey don’t touch that dial, good news Punk Rock Is Back!’ Mal-One

Mal-One’s new album starts with running through the radio dial, looking for some suitable music to listen to. These snippets are actually samples of songs from his previous album ‘It’s All Punk Rock’. Leading the listener nicely into a new set of songs to get their Punk Rock teeth into.

Songs that cover… the great New York punk scene of the 1970’s that grew out of a little bar in the Bowery District of New York City called CBGB’s ‘New York City Punk’. The Clash’s first album discussed in ‘When The Two 77’s Clashed’. The excitement of London’s Roxy Club revisited with its one line chant ‘Down The Roxy’. Those great ‘Punk Rock Fanzines‘, that kept us all so well informed. An early Sex Pistols gig at the Chelsea School of Art, ‘Machine Bubble Disco’. So named after what was to be the main event of that nights entertainment!!!.’45 Random Punk Memories’ sprang from Mal-One’s own reminisces. Talking of memories ‘Looking At The Decals On Steve Jones Guitar’, the recollection of Steve Jones, future guitarist of the Sex Pistols, stealing Mal-One’s bike when he was the tender age of seven years old. An incident that might have triggered this whole road of discovery in the first place.

A reflection on London’s harsh setting in those heady Punk times in ‘Corrugated London’ alongside a call and response to remember that ‘London’s Turning’ all the time for better or worse and that we can’t always pick and choose the bits we want to keep. The self-explanatory, ‘We Will All Lose Some Good Friends Along The Way’. ‘Shakespeare Meets Chuck Berry On Shepherds Bush Green’, a great story when Joe Strummer was asked by a reporter what he was up to and what he might call The Clash’s next album, which would turn out to be the timeless ‘London Calling’. Joe’s rather
tongue in cheek answer was “Shakespeare Meets Chuck Berry On Shepherds Bush Green’’.
A place close to Mal-One’s heart and a great title, that was crying out to be reused. Which Mal-One does via what he calls his Punk Art Poetry. Sometimes these lines are turned into lyrics and reworked into songs.

The album ends with such a call, ‘An Open Letter To…’ all those people who helped influence us all along the way. As the lyric states often without thought of financial gain, but done so, quiet simply because it had to be done.Maybe some young guns might in some small way, be inspired and find in Mal-One’s current efforts that ‘anything is possible’ and the true meaning of Punk was in fact, ‘Do It Yourself’.

The vinyl version of this release includes a poster that is part of Mal-Ones continuing Street Art project that involves putting up posters around London. This time declaring the news ‘Punk Rock Is Back!’. Included in the album packaging also is a signed and blind stamped limited print of one of Mal-One’s works ‘What Is It About Punk That’s So Different So Appealing’. A punk collage that just carries one word in among its multiple punk images and that word is PUNK. We hope you enjoy the indulgence.