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When dubwise music really started to come into its own in the early to mid 70s, it made overnight stars of backroom boys who had hitherto worked behind a mixing desk to serve those who were beginning to hoist reggae to an international stardom that it had long deserved, but that it had only achieved on short and non-sustained bursts until Chris Blackwell decided to throw a lot of promotion and money at the work of Bob Marley and his fellow Wailers in 1972. Of those men, there was no bigger star than the late Osbourne Ruddock, the great King Tubby’s and the man who, from a tiny home-made studio in the Waterhouse district of Kingston, Jamaica, did more than most to reposition the boundaries that production and mixing of Jamaican recordings.

Ex Washington DC native and now Portland Oregon resident Lida Husik has her 1997 album 'Fly Stereophonic' released on vinyl for the first time. Lida Husik's versatile recording career has been graced by a broad pantheon of labels - the likes of Kramer's seminal NYC imprint Shimmy Disc, Caroline Records / Astralwerks, Alias Records and even an appearance on Rough Trade Singles Club with multi instrumentalist Beaumont Hannant. ' Fly Stereophonic ' is Lida Husik's fifth album, another inventive slab with clever twists and turns. Raised on Washington DC's Punk scene, Lida Husik's 90's Indie Rock template has morphed from 1960s Psychedelia with 1970’s SciFi movie scores and even endorsing Electronica with her collaborative efforts with Ambient specialist Beaumont Hannant. This new vinyl version is a welcome format that enhances the breezy and balanced Pop Psychedelia and Folky gem that is ' Fly Stereophonic'. Laced with three solid minute dream pop confections and balanced with addictive melodies and quiet pop sensibilities. Lida Husik's personal stamp is surreal, mature, with catchy trippy hook laden guitar and a great seductive voice to match. A treasure trove - ' Fly Stereophonic ' splendid celestial rhyme; the cosmic wobble of ' Fade Sister Cool '; the panoramic swoon of ' Chocolate City ' and the giddy cover of the Monochrome Set's great masterpiece ' Eine Symphonie des Grauens ' all served with panache. Mastered for vinyl at Abbey Road by Alex Wharton on limited edition 180g clear vinyl. " three-minute confections that sound like pop hits from another galaxy " Salon // " an alluring 34-minute seduction, the songs revealing new layers of wonder with each listen " Chicago Tribune // " as many psychedelicious, bouncing, organ-drenched pop hits as a Stereolab album " Time Out New York

Originally self-released in 2007 under the moniker Monarch, Wye Oak’s debut If Children was given a proper introduction to the world the following spring on Merge Records. Jenn Wasner and Andy Stack take their minimalist setup to maximalist ends, pairing gentle campfire folk with bombastic hazy shoegaze, sometimes within the same song. Their assured mission statement makes its vinyl debut, on red and white splatter, no less, exclusively for RSD 2022

Blurry as the night and bright as the stars Mäteriet joins the fray by levitating into the system. They open their gem-covered robe and reveal all the treasure collected throughout their many journeys.

The Hon (A1) sets the mood just right alluring us into an almost hypnotized mindset. Moniker (A2) extends the grip Mäteriet has taken around us further over a rumbling bass fit for the system we traverse.

Rolling Thud (B1) gives off an almost machine-like air around it, hissing and blowing off excess steam while moving seamlessly between syncopated rhythms.

Shine Grooves Acoustic Remix (B2) opens up to a link to the outer reaches of space for B1 and lets Mäteriets work sing, in their own words “my synthesizer and sequencer painted this picture”... and oh what a pretty picture they have painted for us.

Tom Tykwer discussed the composers’ work on The Matrix Resurrections. “There’s a powerful and distinct musical legacy here. In my opinion, The Matrix Trilogy is one of the great scores of all time. And what’s particularly fantastic about it is that it was also, to my knowledge, one of the first film scores that so implemented electronic music and connected it with progressive late-modern orchestral music. It started a movement, which we are paying tribute to with this music. And yet, this film is playful and emotional with complex development, open in every direction. Johnny and I felt our challenge for the music was to pay tribute to The Matrix lineage and also support this cinematic endeavor of expanding that legacy to explore new directions. That needs to be represented in the music and that is what we are trying to investigate musically.”
Johnny Klimek elaborated, “We spent several months working on material for The Matrix Resurrections, building the main themes, crafting alternative arrangements and electronic variants. We had a lot of fun mixing electronics with classical orchestra. The technology has come so far since I started scoring film.”

The Matrix Resurrections - Original Motion Picture Soundtrack Includes all 24 tracks composed for the film by Johnny Klimek and Tom Tykwer, mastered for vinyl and pressed on 2x 180 Gram Black vinyl, with original artwork by Mondo's creative director Mo Shafeek

The infusion of electronic music into the score ultimately expanded into the inclusion of 11 remixes on the album, and it was an amalgam of inspirations which brought that idea to fruition. Both composers have worked extensively with electronic music, including their work on the celebrated, techno-infused Run Lola Run soundtrack.

Black Truffle is pleased to announce World in World, the latest solo offering from prolific Berlin-based guitarist-composer Julia Reidy. Where the recent trilogy of LP releases – brace, brace (Slip, 2019), In Real Life (Black Truffle, 2019), and Vanish (Editions Mego, 2020) – focussed on increasingly lush electronic settings for Reidy’s propulsive fingerpicking and auto-tuned vocals, arranged into wide-ranging side-long epics, World in World finds Reidy refocusing on the core elements of their approach while simultaneously pushing into challenging new areas. Comprising nine pieces ranging between two and seven minutes in length, the album’s opening title track promptly introduces the distinctive palette of just-intoned electric guitars, subtle electronic processing, and voice that is rigorously explored throughout. Where much of Reidy’s guitar work on previous recordings explored rapidly pulsed cycling figures, here notes often hang in the air in a more spacious, lyrical fashion. The elasticity of rhythm and non-linear repetition of pitches initially suggests improvisation until the listener becomes aware of the precise arrangements of spatialised lines. At times, World in World suggests classic bedroom electric guitar works of the 1990s such as Loren Connors’ Airs or Roy Montgomery’s Scenes from the South Island; like those works, Reidy’s possesses a wonderfully live ambience, with frequent pedal clicks adding to the music’s powerful sense of intimacy. In Reidy’s case, however, the yearning, melancholic mood of Connors or Montgomery is tempered by the unorthodox guitar tuning, which at points produces a unique and uncomfortable effect somewhere between the hyper-precision of Harry Partch or Lou Harrison and Jandek’s slack-stringed descent into the void. While World in World plots out its terrain with a bold single-mindedness that allows some pieces to appear almost as variations on a common theme, subtle changes in emphasis distinguish each track. Tactile percussive interjections skitter across the tremolo tones of ‘Paradise in Unrecognisable Colours’, while ‘Ajar’ ramps up the role played by the electronics, with glitching pitch-shifted and back-masked textures threaded through the guitars and thickly harmonised vocal layers. Ranging from autotuned melodic lines to buried murmurs, Reidy’s voice is a frequent presence throughout these nine pieces, at times creating the impression that a more conventional series of songs lurks underneath the chiming microtonal guitars. On the stunning ‘Poised’, whispers and distant, ghostly wails surround the layers of guitars, at times suggesting the foggiest outer reaches of Liz Harris’ Grouper. Both rigorously experimental and emotive, World in World is undoubtedly Julia Reidy’s finest work yet.

Mondo, in partnership with Walt Disney Records and Lucasfilm, are proud to present an all new 4XLP expanded edition soundtrack to 2016's ROGUE ONE: A STAR WARS STORY.

In anticipation of its 5th anniversary, Michael Giacchino unearthed nearly over an hour of previously unreleased music and recording sessions from the film.

Featuring all-new original artwork by John Powell, new liner notes by Michael Giacchino, mastered for vinyl, and pressed on 180 gram black vinyl, this collector's set is essential for Star Wars fans.

Composed by Michael Giacchino and John Williams

Artwork by John Powel

Cindy & The Playmates, led by Cindy Redd (later of The Voices) and
backed by Wanda Cunningham and Manesbia Pierce, deliver an upbeat funky floor filler. Copies go for between three to four hundred pounds for this storming and evocative fist-clenching gem which builds dramatically with strings and an emotive lead vocal. Cut with Paul Kelly’s ‘The Upset’,
which was the B side of his second single for Lloyd Records, the vehicle for Willie Clark’s Florida-based productions. A monster sound with a grinding funky backdrop providing the perfect foil for Kelly’s aching vocal; the chorus break is a guaranteed spine-tingling moment. Copies currently go for around £250, if you can find one.

Was tun, wenn man Desert Rock und Doom aus der Wüste mag, die Umgebung aber alles andere als besonders trocken ist? BESVÄRJELSEN haben auf beeindruckende Weise eine Antwort in den dunklen Wäldern ihrer schwedischen Heimat Dalarna gefunden. Aufgewachsen am Schnittpunkt altnordischer und finnischer Kulturen im hohen Norden, umgeben von Runen und alten Göttern, Schamanen und Geistern, hat das fesselnde Quintett seinen Namen aus dem schwedischen Wort für "Beschwörung" abgeleitet. Außerdem lassen sich die Nordschweden nur zu gern von lokalen Überlieferungen, der Mystik und den dunklen, alten Musiktraditionen ihrer Heimat inspirieren. Doch BESVÄRJELSEN sind alles andere als eine weitere "Pagan Folk"-Band, die sich nach einer Zeit zurücksehnt, die niemals war. Mit wehmütigen Melodien und gleichzeitig mächtiger Riff-Power macht ihr zweites Album "Atlas" einen großen Schritt auf dem Pfad, den BESVÄRJELSEN von Anfang an eingeschlagen haben. Die Gitarristen und Sänger Andreas Baier und Staffan Stensland Vinrot haben die Band im Jahr 2014 mit der klaren Vision gegründet, den Geist und die Traditionen der weiten Wälder Dalarnas, einer Region, die sonst eher für ihre bemalten Holzpferde bekannt ist, in zeitgenössische Heavy-Musik zu transformieren. Als die Sängerin Lea Amling Alazam mit ihrer Leidenschaft für Punk- und Stoner-Rock, die im örtlichen Skatepark im zarten Alter von 13 Jahren begann, zur Besetzung stieß, reduzierten Andreas und Staffan ihren Gesang gerne auf eine Nebenrolle. Die Entscheidung fiel leicht, da Leas unverwechselbare Stimme die Intimität und das Charisma von Sängerinnen wie NINA SIMONE oder AMY WINEHOUSE heraufbeschwört. BESVÄRJELSEN veröffentlichten im Jahr 2015 ihre Debüt-EP "Villfarelser" und kurz darauf folge die "Exil" EP (2016). Das Debütalbum "Vallmo" der Schweden detonierte im Jahr 2018 in Stockholm und schaffte es bis in den staatlichen Rundfunk, kam aber auch anderen Orts hervorragend an. Das Album verband krachende Riffs und stürmische Drums mit ausgefeilten Melodien und nachdenklichen Themen. Mit ihrer Mini-Album "Frost" wollten BESVÄRJELSEN im Jahr 2019 die Bühnen in ganz Europa erobern, bevor auch die Schweden in den nächsten zwei Jahren eine Zwangspause einlegen mussten. Obwohl die Band gezwungen war, getrennt zu komponieren, nutzte BESVÄRJELSEN die freie Zeit, um eine Fülle von Ideen zu sammeln. Diese teilten die Musiker über die Meilen und Monate ihrer relativen Einsamkeit hinweg miteinander, bis sie schließlich im Jahr 2021 die Aufnahmen zu "Atlas" mit dem Produzenten Karl Daniel Lidén begannen. Mit melancholischen Harmonien, die aus dem Skizzenbuch von ALICE IN CHAINS stammen könnten und einer Heaviness, die Windhand zur Ehre gereichen würde, haben BESVÄRJELSEN einen massiven musikalischen Monolithen aus dem lokalen Granit gemeißelt und dann in den magischen Wäldern ihrer Heimat aufgestellt, um dessen Kraftlinien über die gesamte vom Titanen "Atlas" geschulterte Erdkugel zu schicken.

Liam Gallagher is not the kind of artist who was going to be stopped by the sizeable problem of not being able to play to an audience during lockdown. So when the idea of playing a playing and filming a live stream show came up, he looked at the precedent set by the Sex Pistols and The Clash and decided to hit the River Thames, armed with a boatload of attitude, a phenomenal live band (including Bonehead) and an arsenal of classic songs.



The show has been captured in full on the new live album ‘Down By The River Thames’, which will be released on May 27th via Warner Records.



Originally streamed on December 5th 2020, the show became one of the most memorable performances of the lockdown era. From iconic Oasis favourites (‘Supersonic’, ‘Cigarettes & Alcohol’) to big hitters from his two all-conquering #1 solo albums (‘Wall of Glass’, ‘Once’), Liam’s inimitable snarl boomed across the Thames and dominated London’s gloomy winter skyline. There were plenty of welcome surprises too: debut solo performances of the Oasis songs ‘Hello’, ‘Fade Away’ and ‘Headshrinker’, and the first live version of ‘All You’re Dreaming Of’. Liam’s voice is absolutely on point throughout, with a full-throttle snarl of anger and attitude that doesn’t compromise any of the finesse of the studio recordings.



Liam commented, “So here it is, the gig they said we could never pull off! As we were in lockdown, bored and depressed, rock ‘n’ roll came to save the day once again. It was a top night and a top gig and it’s captured here on record for you to all enjoy.”



‘Down By The River Thames’ is now available to pre-order now. It will be released on orange double-vinyl, CD and digital formats. The CD and download formats will be available at a special price of £5.



‘Down By The River Thomas’ provides a timely reminder of Liam’s live experience, which returns this month when he headlines a Royal Albert Hall show for the Teenage Cancer Trust. It will be followed by his summer UK headline tour, which includes two nights at Knebworth Park – all 160,000 tickets sold-out in a matter of moments – as well as other mammoth outdoor shows in Manchester, Belfast, Glasgow and Dublin. Please see his website for a full list of his international tour dates.



Liam will also release his eagerly anticipated third studio album ‘C’MON YOU KNOW’ on May 27th. Previewed by ‘Everything’s Electric’, the biggest solo hit of his career so far after hitting the Top 20, the album is available to pre-order now.

With a signature sound signified by lockstep rhythms & a deep grasp of soul and funk, Orgone has built a reputation over the past 2 decades as being one of the tightest, fieriest live bands in the country & a top notch crew in the studio. On their new album Lost Knights, Orgone offer up a collection of heavy-duty psychedelic funk-rock anthems created to be played loud and raucously. The release features lead vocal contributions from Orgone's ever expanding extended family of some the finest soulful singers on the West Coast - Terin Ector, Jamie Allensworth, Phil Diamond, with special appearances from Jesse Wagner (The Aggrolites) and Kelly Finnigan (Monophonics). A first of sorts, for the band, in featuring an all male fronted lineup on an album.The tough, punchy, & hard hitting production highlights a body of work both "head banging"-ly satisfying and eminently groovy. Opener "Working for Love" rolls out the gate with a crunchy drum break and slams into a heavy guitar and bass riff behind Ector's call to loving arms & irresistible singalong chorus. The rest of the album thunders on with Funkadelic-style guitar and gloriously gritty hammond organ percolating through timely songs of protest, brotherhood, unity, reverence & loss. Instrumentals "Samson" and "Crusader" round out the record, highlighting the trademark Orgone sound; instantly classic & dusty, at times chunky, at times sprawling; always on point. Lost Knights is ultimately a fun record- an expansion of a profound part of the band's DNA, their exploration of the cosmic haze between early Westbound catalog, 70s garage rock, skateboards, & the muscular power of a metallic crimson `68 Chevy Camaro. With racing stripes...

With a signature sound signified by lockstep rhythms & a deep grasp of soul and funk, Orgone has built a reputation over the past 2 decades as being one of the tightest, fieriest live bands in the country & a top notch crew in the studio. On their new album Lost Knights, Orgone offer up a collection of heavy-duty psychedelic funk-rock anthems created to be played loud and raucously. The release features lead vocal contributions from Orgone's ever expanding extended family of some the finest soulful singers on the West Coast - Terin Ector, Jamie Allensworth, Phil Diamond, with special appearances from Jesse Wagner (The Aggrolites) and Kelly Finnigan (Monophonics). A first of sorts, for the band, in featuring an all male fronted lineup on an album.The tough, punchy, & hard hitting production highlights a body of work both "head banging"-ly satisfying and eminently groovy. Opener "Working for Love" rolls out the gate with a crunchy drum break and slams into a heavy guitar and bass riff behind Ector's call to loving arms & irresistible singalong chorus. The rest of the album thunders on with Funkadelic-style guitar and gloriously gritty hammond organ percolating through timely songs of protest, brotherhood, unity, reverence & loss. Instrumentals "Samson" and "Crusader" round out the record, highlighting the trademark Orgone sound; instantly classic & dusty, at times chunky, at times sprawling; always on point. Lost Knights is ultimately a fun record- an expansion of a profound part of the band's DNA, their exploration of the cosmic haze between early Westbound catalog, 70s garage rock, skateboards, & the muscular power of a metallic crimson `68 Chevy Camaro. With racing stripes...

Demon Music is proud to bring together a selection of popular and exciting classic Northern Soul Anthems on a new 2LP thirty-three track collection. These are the original recordings by some familiar names and one or two that may have passed you by.

As the Sixties came to a close and the initial success of labels like Atlantic and Motown began to wane, there remained a dedicated fanbase of Soul devotees who would rather be out on the floor than wearing flowers in their hair. They continued to seek out new and previously overlooked releases, many on small labels that had never enjoyed chart success, making surprise hits of a few in the process.

Northern Soul could easily have passed into music history as a fad, something on the fringes of mainstream popular music; instead its popularity has remained and even grown. It is no longer the preserve of venues in the north of England (who had always attracted coachloads of devotees from across the nation), with Soul clubs opening in Europe, Asia, Australia and even - in perhaps the ultimate example of "coals to Newcastle" – America

Every few years Northern Soul enjoys a resurgence in popularity and welcomes a new generation of younger fans, keepers of the faith. This collection is for those with a passing interest and fans both old and
new - music fashions may change but the quality, the infectious excitement and the urge to get up and dance has endured in these fantastic records.

The psychedelic French garage duo The Liminanas and german-french music composer & sound engineer David Menke wrote together 2 OST for documentaries . “The Ballad Of Linda L” for the Arte eponymous documentary about the life of Linda Lovelace. And “The Devil Inside me” for the Netflix serie “Monsters Inside : The 24 Faces Of Billy Milligan” . 100% new music, fuzz guitars & garage rock. Both are physically released for the first time as this 2 X Vinyl set, gatefold , collecting the 2 Ost.

VINYL 1 - OST THE BALLAD OF LINDA L
FACE A
1. Prologue 2. Deep 3. Doin' It 4. The Ballad Of Linda L. 5. 80's Score Pt. A 6. 80's Score Pt. B
FACE B
1. Friends On Fire 2. Desolation 3. Romance 4. Punky Disco 5. Linda’s Lament 6. Get up to fight

VINYL 2 - OST THE DEVIL INSIDE ME
FACE A
1. Them 2. Waiting For You 3. Losing Control 4. A Shot Of Whiskey 5. Strange Girl 6. Meeting Morrison 7. Back To Amanda 8. Oh Lord
FACE B
1. Love Around Us 2. Illusion Song 3. USA Motorbike 4. Surfing 5. The Devil Inside Me 6. Savages 7. West Coast 8. Suicide Solution

Maybe some older club music fans know Fred, Deep House maestro from Quebec, Canada.

All is well is his new moniker. We have been checking his release on Trumpet Community,Internatjonal. The music is updated modern Deep House but not too modern. It’s what we like.

“Tortue Jaune” is timeless atmospheric Deep House. There are three versions.

Sarasota reminds us I: Cube stuff bit.

Both tracks could be in your all-time playlist.

Hope you like.

"We Are Power", Galaxian's first album in over a decade, cuts a new path. On this Foul-Up and Shipwrec joint release, Kastner presents a rumination on the confrontation and power clash between humankind, nature, the spiritual and mechanistic industrial growth societies. What is authentic power? What is granted power? What is innate natural power? How is power accessed, wielded, utilised, felt? On this album the blistering beats and razor-edged rhythms that characterise the Glaswegian's productions have been softened, the menace melted, the angst soothed (well almost.) Across eleven tracks, distinct audio vistas are surveyed. The human form takes centre stage from the opening monologue of "Out of Balance" with the entire record searching for balance between humankind, nature, orthodox culture & the machine. At times the machine wins. "We Are Power" is a corruption of voice, samples chopped, sliced and fed into controllers and sequencers to produce a dense decibel wall. That wall grows ever higher in the terrifying drone of "Anatomy of a Modern Lie." At other points, a perfect symmetry between artist and tool is found. The racing interchanges and pulses of "Universal Truths" give rise to dawning reprises and warmth. For those after an electro fix, Galaxian abides. The speed snares of "Messianic Delusions" or dripping drums of "Fields of Meaning" are soaked in the history of machine music, yet they are grander in their delivery and more nuanced in their composition. Fresh territories are explored, the playful solar dreams of "Without Form" or the cinematic grandeur of "In Reverse". This album is unmistakable Galaxian, it marks a high-point and brings with it a culmination of intense expression.

Japanese artist Yama Warashi releases new album "Crispy Moon" via PRAH Recordings. The first material to come out of her relocation to London is a bold advancement of her sound. Much of the move and Yoshino's experiences of being in the capital have made their way into the themes of the record. There are new contributing members, including Cathy Lucas of Vanishing Twin (with whom Yama toured with in 2021), Aletta Verwoerd on drums and Mermaid Chunky's Moina Walker on sax. Compared to the more lo-fi, homespun feel of early releases such as Moon Zero and Moon Egg, there's larger brush strokes at play, a bigger sound and an understated but self-assured grandeur.

Lesley Gore's hit 'Maybe I Know' is here covered by Peruvian singer Monik in 1973, resulting a superb -and probably superior to the original- take on the song, somewhere between pop and northern soul. The EP is completed with the remaining recordings released by the artist, echoing the classic pop sounds of the 60s. Discos MAG was one of the most important Peruvian labels of the 60s. It was owned and directed by Manuel Antonio Guerrero who would also put together bands and get involved in the recording sessions. His son Carlos Guerrero also followed the music path and so did his daughter Mónica "Monik" Guerrero. Members of the bands We All Together and Traffic Sound would take part in the recording sessions at MAG studios in 1972, when Monik managed to record a few songs that would eventually release as a 7" single on his father's label. She would return into the studio one year later and record two more songs: 'Maybe I Know' -first brought to fame by Lesley Gore in 1964- and 'Forgiveness' an original song composed by Ernesto and Félix of We All Together. This EP comprises Monik's complete discography and get s a vinyl reissue for the first time.

Camille Bertault and David Helbock are two of the most jawdroppingly talented members of the cohort of European jazz
musicians currently in their mid-Thirties. Their journeys in improvised
music are always adventurous, playful and exciting.
 She is the rising star of French vocal jazz. He, Austrian-born, is one
of the most fascinating pianists on the scene. Their personalities
appear to be polar opposites, yet Bertault’s livewire humour and
Helbock’s calm self-assuredness only appear different on the surface.
When it comes to the musical choices they make, they are
emphatically on the same page. Each is astonishingly versatile, with
an innate sense of dramaturgy. This voice / piano duo reaches
unbelievable levels of inventiveness here on ‘Playground’.
 “We both love Egberto Gismonti and Hermeto Pascoal, Björk and
Monk,” Helbock explains. “We also wanted a classical piece.” The
duo found the initial repertoire to explore and to spread their musical
wings with relative ease. Bertault’s vocal artistry is hers and hers
alone. Her voice is a magnificent instrument to carry a melody,
whether at breakneck speed and with devastating precision or at
pindrop volume. Helbock’s creativity, as he exploits all the sound
possibilities of the grand piano, is completely ‘sui generis’ as well. He
dampens the piano strings, he plays directly on them, he uses the
piano case as a percussion instrument, he makes use of electronics.
And ‘Playground’ is the first time he has worked with loops.
 His accompaniment therefore has an almost orchestral scale and
depth, a jewel case for this scintillating and very special voice. The
pair have written seven new numbers for the album: we hear the
whimsical blues of ‘Lonely Supamen’, the mysterious ‘Fabelwesen’,
the chanson-esque ‘Aide-moi’ and the ethereal-melancholic ‘Bizarre’.
 ‘Playground’ is a kaleidoscope of sounds and emotions which
invigorates, excites - and will always surprise. The craft and
technique may be breath taking, but neither musician ever forgets the
essential: “It’s not about showing strength or virtuosity, but about
expressing the truth of the moment,” says Camille Bertault. And that
is what she and David Helbock have delivered with each and every
track.

Vector Music by Suren Seneviratne is a true homage to the Yamaha TG33, a synth that he was hoping to keep forever, or at least a very long time until Covid-19 struck.

During the early months of 2020, Suren, like many other artists, went without work and was forced to sell surplus belongings to help subsidise food, rent and other necessities. Some sneakers and clothes went first but he avoided considering his music gear for as long as possible. As the pandemic continued to cause havoc throughout the year, selling gear was inevitable. The rare Yamaha TG-33 programmable synthesizer module was next.

By bittersweet chance, this was the perfect opportunity to make use of this unsung synthesizer one last time, and to make it count. The synth sold via Twitter and Suren suddenly had a deadline in which to make the most of it in the two days before it would be gone forever and so he decided to record a body of work using only the TG33, to shine a spotlight on its quirks and idiosyncrasies and give it the attention it deserved. This ultimatum proved to be really fruitful and resulted in the recordings that form the eight tracks on this album “Vector Music”; a raw and intimate portrayal of a forgotten digital instrument from the 1990s. The broader collective sentiment of loss, anxiety and seasonal depression during the thick of the pandemic mixed with feelings of uncertainty, distress and fear binded throughout the recording process and became sewn into the very fabric of the music.

The song titles are taken from various stages of sleep: the once instinctive process which, since 2020, was radically altered and experienced a new for millions of people around the globe due to the phenomena known as Pandemic Dreams.

Composed and produced by Suren Seneviratne
Mastered by Luca Sammartin
Original artwork and layout by Marco Ciceri

Pauline Oliveros' The Wanderer is available on LP for the first time since it was originally released in 1984. Cut at Golden and pressed at RTI for maximum fidelity.

An utterly essential document of early American minimalism from this Pauline Oliveros. The Wanderer is the sister record to Accordion & Voice, also available on LP from Important Records.

The Wanderer is based on a single modal scale (B C# D D# E F# G#) and rhythmic modes based on a meter consisting of ¾ and ⅜. Part I, Song, is intended to explore the unique resonant qualities of accordion reeds through long sounds. Subtle variations come about from differences in tuning and air pressure. Part II, Dance, demonstrates the sharp accenting power of the accordion bellows in a mixture of cross-rhythms characteristic of jigs, reels, batucadas, Bulgars, klezmer forms, Cajun dances, and music of other diverse cultures.

The Wanderer was composed in November, 1982 especially for the Springfield Accordion Orchestra, directed by Sam Falcetti. This recording documents The Wanderer's world premiere, as it was performed 27 January, 1983 at Marymount Manhattan Theatre. The orchestra consists of twenty accordions, two bass accordions, and five percussionists, with Pauline Oliveros as soloist, Sam Falcetti conducting.

Horse Sings From Cloud, written in 1975, is one of Oliveros' best known works. Like most of her Sonic Meditations, it can be performed vocally and/or instrumentally, solo or in collaboration. A solo version of Horse Sings From Cloud has been recorded on Accordion & Voice. An early version of the score reads, “Sustain a tone or sound until any desire to change it disappears. When there is no longer any desire to change the tone or sound, then change it.” This time, Horse Sings From Cloud is performed in ensemble. Joining Pauline Oliveros on bandoneon are Heloise Gold on Harmonium, Julia Haines on accordion, and Linda Montano on concertina. This quartet version incorporates the microtonal differences in tuning of the selected instruments, creating shimmering reed sounds somewhat similar to the shimmering of a Balinese gamelan.

”Hands” ist das neue Album der in Irland geborenen und in Berlin lebenden Künstlerin Wallis Bird. Nicht ohne Grund ziert das Cover ein Schwarz-Weiß-Foto der Hand der Künstlerin, so wie Wallis Bird erklärt: ”Mit 18 Monaten bin ich unter einen Rasenmäher gefallen und habe mir alle Finger abgeschnitten”. In ”Hands” - auch bekannt als ’Nine and a Half Songs For Nine and a Half Fingers’ - stellt die Künstlerin sich selbst ins Rampenlicht und spricht Themen an, die manchmal viel schwieriger zu bewältigen sind, nur um dann optimistisch und heil daraus hervorzugehen. Dazu gehören Fragen des Vertrauens, des Alkoholmissbrauchs, der Stagnation, der Selbstzensur und der Selbstverbesserung, von denen einige durch
persönliche Erinnerungen an entscheidende Momente, die sich in den letzten zwei Jahren angesammelt haben, angesprochen werden. Jedes dieser Themen wird jedoch von einer Stimme vorgetragen, die mit Freude, Einfallsreichtum und Einfühlungsvermögen gesegnet ist.

Als REGENER PAPPIK BUSCH überraschten Sven Regener (Trompete), Richard Pappik (Schlagzeug) und Ekki Busch (Klavier), alle drei bekannt als Musiker der Gruppe ELEMENT OF CRIME im letzten Jahr mit „Ask Me Now“, einer Jazzplatte der ganz besonderen Art. Und gelangten damit auch gleich an die Spitze der Deutschen Jazz Charts im Monat März.

Nun legen sie nach mit „Things To Come“. Und auch auf dem zweiten Album bleiben sie ihrem Konzept treu: Klassikern des Modernen Jazz eine neue, eigenwillige, vor allem aber auch wilde und exzentrische
Interpretation zu geben.

REGENER PAPPIK BUSCH sind ein durchaus ungewöhnliches Trio.
Der Sound ist zuweilen hart und direkt, zuweilen aber auch ausgesprochen zärtlich und cool. Sie schlängeln sich - zwischen Minimalismus, musikalischem Brutalismus und Jazzklassizismus changierend - durch ein Repertoire ausgesprochen berühmter Stücke von Thelonius Monk, John Coltrane, Charlie Parker, Miles
Davis, Ornette Coleman et alteri und drücken ihnen ihren eigenen, unverwechselbaren Stempel auf. Der Blues als Brücke, als wichtiges Element, gepaart mit der Liebe zum Modernen, zum etwas Schrägen, zum Avantgardistischen, was sowohl ELEMENT OF CRIME im Rock, als auch REGENER PAPPIK BUSCH im Jazz auszeichnet.

Auf seiner ersten Piano Trio Einspielung für ECM gelingt Kit Downes im Zusammenspiel mit Bassist Petter Eldh und Schlagzeuger James Maddren eine besondere Gratwanderung zwischen lyrischer Sorgfalt und eruptivem Momentum. Der Pianist und seine langjährigen musikalischen Vertrauten begegnen sich auf eine Art und Weise, die – kreativ und verdichtet zugleich – bewährte Idiome des Formats mit eigenen Ideen in einem diesem Dreigespann exklusiven Stil vereint. Downes schlägt auf Vermillion, im Auditorio Stelio Molo in Lugano festgehalten, ein neues Kapitel auf.

Am 27. Mai werden mit dem Album „The Original Recordings“ zum ersten Mal seit über 20 Jahren 20 Aufnahmen der Sex Pistols aus den Jahren 1976 bis 1978 gesammelt veröffentlicht, um die Geschichte
einer der einflussreichsten und außergewöhnlichsten Bands der Welt zu erzählen.

„The Original Recordings“ dokumentiert eine historische Periode, in der die Band kaum aus den Nachrichten oder den Charts wegzudenken war. Die Sammlung enthält die entscheidenden Singles ”Anarchy In The UK”, ”God Save The Queen”, ”Pretty Vacant” und ”Holidays In The Sun”, wichtige Titel von ”Never Mind The Bollocks”, weitere Originale und Covers vom Soundtrack-Album ”The Great Rock & Roll Swindle” sowie einige bedeutende B-Seiten wie ”I Wanna Be Me”, “Satellite” und ’Did You No Wrong’.

Bald erscheint auf Disney+, die Serie „Pistol“ über den legendären Sex Pistols Gitarristen Steve Jones unter der Regie von Academy Award Preisträger Danny Boyle. „The Original Recordings“ erscheint als 1CD und 2LP.

Across eight studio albums, DECAPITATED grew from the adolescent dream of teenagers from a small Central European town to one of the leaders of the metal genre. Each successive album further expands the band’s sound with genre-bending authenticity and integrity. As Metal Injection rightfully observed, “any self-respecting death metalhead knows the name well.”

DECAPITATED’s music is a weapon forged by four young men from a historic medieval-fortified town in Poland, which catapulted them to the top of a worldwide subculture. Like a rose in the devil’s garden, the DECAPITATED story builds triumph from tragedy. The gleeful grotesquery of extreme metal imagery and rifftastic bludgeoning beckons listeners to uncover broader truths.Upon the release of 2017’s Anticult, Metal Hammer declared DECAPITATED “a serious successor to the likes of Pantera and Lamb Of God – a band who can draw new legions into the metal world as its new champions.” Their diverse follow-up, 2022’s Cancer Culture, delivers on that promise.

Instantly recognizable devastation and deceptively sinister hooks abound. Freshly minted DECAPITATED anthems like “Last Supper,” “Hello Death,” “Just Cigarette,” “No Cure,” “Iconoclast,” and “Cancer Culture” shimmer with sonically sharp production and unrelenting bombast. There’s also a newly increased emphasis on melody, even venturing into darkly romantic territory. Wacław "Vogg" Kiełtyka (guitar), Rafał "Rasta" Piotrowski (vocals), Paweł Pasek (bass), and James Stewart (drums) are at the top of their game, delivering the goods at peak performance. Jinjer vocalist Tatiana Shmayluk and Machine Head frontman Robb Flynn make guest appearances.

Set on the descending plains of a mountain range amid a dense forest, Krosno boasts a 14th-century Gothic church, a Subcarpathian museum, and stunning artisan glassware. In this Polish town, teenage music student Wacław "Vogg" Kiełtyka discovered records from bands like Morbid Angel, Cannibal Corpse, Metallica, and Machine Head. The guitarist and his younger brother, drummer Witold “Vitek” Kiełtyka, cofounded DECAPITATED in 1996, inspired by a wide range of technical death, blackened thrash, and local heroes, like KAT and the world-renowned Vader. Death and black metal reigned supreme in the Polish scene of the 1990s, where Behemoth originated as well. In fact, a Vader song called “Decapitated Saints” inspired the band’s moniker.
The organic musical chemistry between the Kiełtykas was akin to the brotherly connectivity and vibe driving Pantera, Gojira, and the classic era of Sepultura. In 2006, Kerrang! praised the first three DECAPITATED albums - Winds of Creation (2000), Nihility (2002), and The Negation (2004) – as “superbly conceived and executed eruptions of technical brilliance and razor-sharp songwriting that turned these youthful Poles into one of the genre’s most widely respected bands.” That year’s Organic Hallucinosis further perfected Vogg’s penchant for blending extremity with catchy hooks.

The rule-breaking ferocity and invention of the first four albums reinvigorated death metal, as DECAPITATED inspired a new generation of bands who followed suit. Sadly, this era came to a shocking end in late 2007. While touring Russia, the band’s bus collided with a large truck near the border with Belarus. Both Vitak and then-singer Adrian “Covan” Kowanek sustained severe head injuries. Tragically, Vitak passed away in a Russian hospital a few days later. He was just 23.Vogg summoned the courage to continue, in honor of his brother and what they created, and returned with a new incarnation of DECAPITATED and the fiercely adventurous comeback album, Carnival is Forever (2011) featuring new vocalist Rafał "Rasta" Piotrowski. Blood Mantra (2014) introduced bassist, Paweł Pasek. Blabbermouth declared it “perhaps the most poised and gutsy” DECAPITATED album, adding “its courageous bends make it a turbulent but pleasurable ride.”

Cancer Culture sounds brilliant, modern, and tasty. “There is no place for any fake, plastic, bullshit drum machine or anything like that,” Vogg insists. “It’s all organic, pure, and clear, showing the true face of the band. Vogg and company entrusted the Cancer Culture mix to David Castillo at Sweden’s Fascination Street Studios / Studio Gröndahl (Sepultura, Carcass, Opeth, Katatonia), and legendary American producer Ted Jensen (Metallica, Slipknot, Pantera, Machine Head, Korn).
The devoted supporters who traveled to see DECAPITATED on international tours with the likes of Lamb Of God, Meshuggah, Soulfly, Fear Factory, and Suffocation over the years will recognize the ever-present pummeling backbone. Longtime fans and newcomers alike will connect to the variety of atmospheric depth throughout Cancer Culture’s ten boundlessly energetic and creative tracks.
“If you told me 25 years ago, in my neighborhood in the South of Poland, that I would be in Machine Head, sharing riffs with Robb Flynn,” Vogg marvels. “It’s simply incredible. It means that everything is possible in your life. That gives me the faith to believe that I can achieve even more in my career. The dreams we have when we are kids, things we can barely imagine, can happen.” Flynn contributes a hauntingly beautiful vocal to the Cancer Culture track “Iconoclast.” “Clean vocal singing is a really new thing in DECAPITATED,” Vogg notes. “It’s really unique and amazing.”

Driven by Vogg’s passion and integrity, the dual emphasis on creative invention and technical prowess maintains DECAPITATED’s stature as genre-leaders in 2022 and beyond. The band’s supporters continually demonstrate confidence and absolute certainty DECAPITATED will deliver.

Across eight studio albums, DECAPITATED grew from the adolescent dream of teenagers from a small Central European town to one of the leaders of the metal genre. Each successive album further expands the band’s sound with genre-bending authenticity and integrity. As Metal Injection rightfully observed, “any self-respecting death metalhead knows the name well.”

DECAPITATED’s music is a weapon forged by four young men from a historic medieval-fortified town in Poland, which catapulted them to the top of a worldwide subculture. Like a rose in the devil’s garden, the DECAPITATED story builds triumph from tragedy. The gleeful grotesquery of extreme metal imagery and rifftastic bludgeoning beckons listeners to uncover broader truths.Upon the release of 2017’s Anticult, Metal Hammer declared DECAPITATED “a serious successor to the likes of Pantera and Lamb Of God – a band who can draw new legions into the metal world as its new champions.” Their diverse follow-up, 2022’s Cancer Culture, delivers on that promise.

Instantly recognizable devastation and deceptively sinister hooks abound. Freshly minted DECAPITATED anthems like “Last Supper,” “Hello Death,” “Just Cigarette,” “No Cure,” “Iconoclast,” and “Cancer Culture” shimmer with sonically sharp production and unrelenting bombast. There’s also a newly increased emphasis on melody, even venturing into darkly romantic territory. Wacław "Vogg" Kiełtyka (guitar), Rafał "Rasta" Piotrowski (vocals), Paweł Pasek (bass), and James Stewart (drums) are at the top of their game, delivering the goods at peak performance. Jinjer vocalist Tatiana Shmayluk and Machine Head frontman Robb Flynn make guest appearances.

Set on the descending plains of a mountain range amid a dense forest, Krosno boasts a 14th-century Gothic church, a Subcarpathian museum, and stunning artisan glassware. In this Polish town, teenage music student Wacław "Vogg" Kiełtyka discovered records from bands like Morbid Angel, Cannibal Corpse, Metallica, and Machine Head. The guitarist and his younger brother, drummer Witold “Vitek” Kiełtyka, cofounded DECAPITATED in 1996, inspired by a wide range of technical death, blackened thrash, and local heroes, like KAT and the world-renowned Vader. Death and black metal reigned supreme in the Polish scene of the 1990s, where Behemoth originated as well. In fact, a Vader song called “Decapitated Saints” inspired the band’s moniker.
The organic musical chemistry between the Kiełtykas was akin to the brotherly connectivity and vibe driving Pantera, Gojira, and the classic era of Sepultura. In 2006, Kerrang! praised the first three DECAPITATED albums - Winds of Creation (2000), Nihility (2002), and The Negation (2004) – as “superbly conceived and executed eruptions of technical brilliance and razor-sharp songwriting that turned these youthful Poles into one of the genre’s most widely respected bands.” That year’s Organic Hallucinosis further perfected Vogg’s penchant for blending extremity with catchy hooks.

The rule-breaking ferocity and invention of the first four albums reinvigorated death metal, as DECAPITATED inspired a new generation of bands who followed suit. Sadly, this era came to a shocking end in late 2007. While touring Russia, the band’s bus collided with a large truck near the border with Belarus. Both Vitak and then-singer Adrian “Covan” Kowanek sustained severe head injuries. Tragically, Vitak passed away in a Russian hospital a few days later. He was just 23.Vogg summoned the courage to continue, in honor of his brother and what they created, and returned with a new incarnation of DECAPITATED and the fiercely adventurous comeback album, Carnival is Forever (2011) featuring new vocalist Rafał "Rasta" Piotrowski. Blood Mantra (2014) introduced bassist, Paweł Pasek. Blabbermouth declared it “perhaps the most poised and gutsy” DECAPITATED album, adding “its courageous bends make it a turbulent but pleasurable ride.”

Cancer Culture sounds brilliant, modern, and tasty. “There is no place for any fake, plastic, bullshit drum machine or anything like that,” Vogg insists. “It’s all organic, pure, and clear, showing the true face of the band. Vogg and company entrusted the Cancer Culture mix to David Castillo at Sweden’s Fascination Street Studios / Studio Gröndahl (Sepultura, Carcass, Opeth, Katatonia), and legendary American producer Ted Jensen (Metallica, Slipknot, Pantera, Machine Head, Korn).
The devoted supporters who traveled to see DECAPITATED on international tours with the likes of Lamb Of God, Meshuggah, Soulfly, Fear Factory, and Suffocation over the years will recognize the ever-present pummeling backbone. Longtime fans and newcomers alike will connect to the variety of atmospheric depth throughout Cancer Culture’s ten boundlessly energetic and creative tracks.
“If you told me 25 years ago, in my neighborhood in the South of Poland, that I would be in Machine Head, sharing riffs with Robb Flynn,” Vogg marvels. “It’s simply incredible. It means that everything is possible in your life. That gives me the faith to believe that I can achieve even more in my career. The dreams we have when we are kids, things we can barely imagine, can happen.” Flynn contributes a hauntingly beautiful vocal to the Cancer Culture track “Iconoclast.” “Clean vocal singing is a really new thing in DECAPITATED,” Vogg notes. “It’s really unique and amazing.”

Driven by Vogg’s passion and integrity, the dual emphasis on creative invention and technical prowess maintains DECAPITATED’s stature as genre-leaders in 2022 and beyond. The band’s supporters continually demonstrate confidence and absolute certainty DECAPITATED will deliver.

Exotic Creatures of the Deep is the 21st studio album by Sparks and was originally released on 19th May 2008.

The album has been newly remastered for this LP reissue, which will be released on 180g heavyweight vinyl.

The first British reggae sub-genre to achieve ‘outernational’ success and influence the music of Jamaica, lovers rock was a dominating force in the UK scene, from the mid-Seventies through to the close of the Eighties.

Developed largely as a counterpoint to the more militant style of roots reggae, the romantically-themed genre was heavily influenced by the styles of US R&B and the predominantly soulful Jamaican rock steady sound of the Sixties.

Despite the style achieving mainstream success with a number of major UK chart hits, lovers rock received scant attention in the mainstream media until the screening of Steve’s McQueen’s award-winning 2020 BBC TV series, “Small Axe”, the highlight of which was an aptly titled episode that paid tribute to the style and its impact upon British culture.

Since then, interest in the genre has continued to grow internationally and reflecting this trend comes this handsomely packaged album which is presented in 2 physical formats – 2x LP and 3CD.

Comprising the most popular and influential recordings in the style, the collection includes works by such legendary British performers as Janet Kay, Carroll Thompson and Louisa Mark, alongside established Jamaican reggae royalty, notably Gregory Isaacs, Dennis Brown, John Holt and Sugar Minott.

With its focus firmly upon the best-loved romantic reggae sounds of the Seventies and Eighties (whilst the 3CD set also digs deep into the archive), this essential collection of dancefloor favourites provides the most authentic representation of lovers rock sounds yet to see issue.

Repressed!

raps by Talib Kweli / production by Madlib

"It's now time for Prince Dadju's return. Several months after the phenomenal success of ""Mon soleil"", Dadju unveiled his new single, ""KING"", the first single from the new album ""CULLINAN"". In barely 5 years, In France Dadju has accumulated 2 CERTIFIED DIAMOND ALBUMS (+ than 1.5Million albums sold) and more than 66 certified singles (10 of Diamond, 16 Platinum and 40 Gold). Reviews and Ads R2 and London Macadam

“Cullinan” released on very limited LP "

Yellow Vinyl
The first volume of Back To Mine was released back in 1999 by Nick Warren, designed to showcase a selection of tracks you’d find and be heard playing at the artist's home. Selectors have come in the form of New Order, Pet Shop Boys, Fatboy Slim, and Faithless who all dug deep to find their essential at-home listening.

The latest compilers in the Back To Mine series are none-other than the renowned four-piece, Horse Meat Disco. The horsemen are known for their incredibly fun, deep-diving selections, and this shines through in their Back To Mine compilation in flamboyant style.

Over the course of 16 years of their nightclub tenure, they have become a global brand as pinnacle players of the queer party scene in London and beyond, holding down residencies in New York, Berlin, and Lisbon. Their flamboyant nature and incredibly fun, deep-diving selections have made them one of Disco’s most beloved acts.

Across 15 eclectically brilliant tracks, Horse Meat Disco, which comprises Jim Stanton, James Hillard, Luke Howard, and Severino Panzetta expertly traverse through classic disco cuts, wonky dancefloor groovers, and silky smooth soul.

Welcome to another sonic treat from the Four Flies 45s series. This 7" combines for the first time ever the two grooviest and sexiest tracks from Gianni Ferrio's score to Steno's detective comedy La poliziotta (The Policewoman), only one of which ("Step by Step") was included in the original (and now very rare and sought-after) 7" released in 1974.

Starting the party is the blaxploitation-influenced funk-blues "Rhythm & Sex" on side A, a tune chock-full of killer drum breaks and driven by an impeccable brass ensemble (a recurring feature of Ferrio's style, due to his exquisite brass arranging skills). On side B, the supercool "Step by Step" takes funky jazz into sultry territory, with the saucy vocalizing of the Cantori Moderni di Alessandroni giving more than a nod to the film's comedy-with-crime atmosphere.

Both tracks demonstrate Ferrio's great mastery as a jazz-funk composer and arranger – a mastery that, back in the day, earned him the moniker of "the Italian Quincy Jones". Listening and DJing pleasure guaranteed!

After moving to California, he was introduced to the Serge Modular Synthesizer through Eliane Radigue and registered for classes in all the colleges of the Bay where there was an Electronic Music Department so that he could use their various electronic instruments. At first, he often plugged in his electric guitar into these monsters rather than use the rather rigid sequencers, but through tape recorders and the delay techniques used by Terry Riley, he was able to quickly combine these “sound producing devices” to create his own music.

He eventually released his first “official” album named simply Music by Xolotl in 1977. Originally issued only in cassette, Wah Wah offers the chance of listening to these works on vinyl format for the first time ever on an LP + bonus 7" edition to fit all the sounds from the cassette.

A strictly limited edition of only 500 and with new artwork featuring one of Xolotl's cosmic paintings and an insert with photos and liner notes.

Giacomo “Mino” di Martino started his musical career in several early 1960s Italian beat bands. By 1968 he had found enormous success with pop superstars I Giganti. After a brief split in 1970 –during which Mino formed Il Supergruppo with Ricky Gianco and other greats of the Italian scene– he came back to I Giganti in 1971. With them and with new advanced ideas that set the band pretty far away from the sophisticated pop and beat sounds they had been so successful with, they would record the amazing Terra in Bocca conceptual LP, an adventurous experimental album that explored the obscure connections between the Italian state and the mafia. A delicate topic full of political criticism which also found them having to fight censorship –it was played only once in the radio. This fact, along with the advanced new sound probably being too far ahead from the mainstream audience’s taste, turned the record into a commercial flop. Nowadays Terra in Bocca is a highly regarded album among critics, afficionados and collectors, and a pretty seminal one for the Italian scene of the seventies, since it can even be seen as a precursor to the works on the Cramps label. Gianni Sassi, producer and photographer who founded Cramps was involved in the release of Terra in Bocca –his is the amazing cover concept.

After the Terra in Bocca experience, Mino’s will was to keep exploring new musical paths and free his mind to experimentation. Along with his wife, actress and singer Edda “Terra” di Benedetto, they formed the Albergo Intergalattico Spaziale, just after the brief post-Giganti project Telaio Magnetico (with Franco Batiatto, among others) was over. The Albergo was a venue where artists from diverse disciplines, mainly musica and theatre, could meet and create works together.

On the musical side of the community, Mino and Terra explored the cosmic sonorities that were coming from Germany and mixed them with the Italian experimental scene of names like Franco Battiato, Luciano Berio or Roberto Cacciapaglia. It is from the sessions that took place in the Albergo from 1974 onwards that the Albergo Intergalattico Spaziale LP came out. Originally released in 1978 the compositions had been made during those years of exploration, the goal not being the release of an album but the aim to explore new sounds and experiment with music. Eventually it was decided to present a sample of all that work, and a few copies of the Albergo Intergalattico Spaziale LP were privately pressed.

The record sleeve and notes on the insert reivindicate the fight against nuclear power. The music is dominated by Mino’s keyboards, creating amazing space sounds reminiscent of those from 1950s and 1960s science fiction B movies brought to the most avantgardist experimentation of the moment, exploring new sounds with the newest keyboards available. This intriguing background sets the athmosphere for Terra’s voice to improvise all over.