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From the very beginning in 2011 the concept was simple and crystal clear.

Mad Mats & Tooli's new label Local Talk had two main focus points.
First, the actual music was to be inspired around those magical 4/4 house rhythms...and beyond.

Second, the logo! The idea was that a simple and direct visual point together with a strong dance MUSIC message would make the label stand out among other labels in their northern neck of the woods.
In Scandinavia, the main theme is electronic 4/4 rhythms (techno, tech-house etc) and with Local Talk being more inspired by black dance music this has made them the black sheep in the hometown of Stockholm.

To set the musical direction straight from the very start they released Bassfort's 'Moon Shadow' which got instant attraction from both house heads and the more open-minded clubbing community.
With its warm, melodic chords, infectious piano theme and big strings it's always been the label's fave jam from their now +150(ish) releases.
When they decided to choose a track that would define the label for their 10-year anniversary, the choice was simple.

Mats & Tooli thought long and hard about who they wanted to interpret 'Moon Shadow' and after months of discussing options they decided that the only one they could trust to give the track a quality boost was NYC legend Joe Claussell.
Back in the late 90's, Mats used to book Joe for his legendary Raw Fusion parties in Stockholm so the connection and mutual respect were already in place. The result is a +11 minute long musical house journey that builds and builds until those characteristic piano chords make an entrance and transform the dynamics into a rainbow of sounds. Epic is not a word big enough to explain this grand musical production !

But the goodness does not end there, we're only halfway in on this anniversary release. The blood brothers Javi & Luis aka Kyodai (and 2/3 of Bassfort) made their own mix on the B side track from the original release, Moonlight.
As schooled jazz musicians they diverted from the electronic soundscape and went for a live jazz-funk production.
The final product is a warm and musical version with live drums, bass, piano, strings and even vocals from the brothers themselves.
The track almost comes across as something 4 Hero would put out back in the day.

All we can say, enjoy the dance!

Healing Together is a benefit compilation for mental health recovery featuring 23 ambient-electronic artists from around the world. Recognizing that music is a bridge to normalizing conversations about the challenges people are going through, each artist was prompted to create a song that would help someone with mental health struggles know they're not alone. This sprouted into a collection of ambient music holding space for the many emotional landscapes we experience as humans. Healing Together features new compositions specially prepared for the compilation from the incredible line-up of women artists Nailah Hunter, Penelope Trappes, Clarice Jensen, Drum & Lace, Sofie Birch, Hollie Kenniff, Clariloops, more eaze, Ami Dang, Karen Vogt, Patricia Wolf, Zoe Polanski, Sachi Kobayashi, Christina Giannone, Ai Yamamoto, Cat Tyson Hughes, IKSRE, Inquiri, Belly Full of Stars, Claire Deak, Pechblende, Caminuata and marine eyes. Net profits of the compilation will go to Sounds of Saving, a non-profit fueling hope for mental health both by celebrating the power of human connection to music and directing people towards the resources they need before it's too late.

Bleeding Hearts’ Riches to Rags is a remarkably solid collection of rock ’n’ roll songs featuring the guitar work of Bob Stinson, founding member of the Replacements. Upon Stinson’s untimely death, this 1993 recording was shelved (not even a cassette was circulated) and remained the stuff of legend among Replacements fans. The album is upbeat, catchy Minneapolis rock, with hooks galore and Bob’s ever present bright chords shining through. This Record Store Day album is pressed on Red Vinyl with liner notes from Grammy Award Winning journalist Bob Mehr, who wrote the definitive biography Trouble Boys: The True Story of the Replacements. He describes Riches to Rags as “the final piece to the puzzle of Bob Stinson’s musical career”. The remaining members of Bleeding hearts plan to play shows to celebrate the release of Riches to Rags. Cover Photos by Dan Corrigan who took the iconic photo on the cover of The Replacements - Let It Be album.

Rock'n'Roll hits adapted and sung in Italiano to seduce an exotic and difficult music market. A tradition that saw many stars (Mick Jagger, Françoise Hardy...) test their pronounciation skills with swinging (but always very fun) results. Now its The Courettes' turn, to translate two of their newest songs for a special limited single 7'', released in time for their southern Europe tour and the Record Store Day 2022. Anzi, LE FAVOLOSE COURETTES, volevamo dire “the real deal” (Vive Le Rock, UK) “the real sound of now busting through your door” (Rolling Stone, USA)! “the world’s greatest two person rock n’ roll ensemble” (The Next Big Thing, UK) “Your new favourite band once you ve heard them!” (Louder Than War, UK) The Courettes. “A force to be reckoned with. Matching the garage rock ferocity of The Sonics to prime early 60s girl group, the band’s output is utterly feral in the most addictive possible way. Reminiscent of The Ronettes given a Ramones style overhaul, their evil charms arrive covered in blood-soaked glamour. Twanging guitar and raucous percussion, a wild head-long charge into the unknown.” (The Clash Magazine, UK) The Courettes is an explosive rock duo from Denmark and Brazil who found the perfect blend between garage rock, 60s Girl Group, Wall of Sound, surf music and doo wop. Like The Ronettes meet The Ramones at a wild party at Gold Star Studios echo chamber. Praised by the biggest music magazines around the world, in 2020 the band signed with legendary British label Damaged Goods, putting them on the same roster as top international rock icons like Buzzcocks, Manic Street Preaches, Atari Teenage Riot, New Bomb Turks, Amyl and the Sniffers, Billy Childish, Captain Sensible and many others. Their last and third album, “Back in Mono” was released in the Fall 2021 and is a truly milestone in the career. The album brings the band in top form, showing great songwriting skills and with broader nuances, influences and sound qualities to their garage rock recipe. Their last singles, “Want You! Like a Cigarette”, “Hop The Twig” and “R.I.N.G.O.” all got airplay at BBC 6 Radio in England and radio stations in Europe and the USA. “Back in Mono” got top reviews in the main music magazines like Mojo, Classic Rock and Shindig and was featured in countless Best Albums of 2021 lists: “Exuberant third release, a giddying rush of noise” (MOJO, UK) 4 out of 5 stars “Seems like the best record you’ve ever heard. A rock n’ roll sacrament from your new favourite band.” (Classic Rock Magazine, UK) 9 out 10 stars “Sensational good album!” (Ox Magazine, Germany) 9 out of 10 stars “Just keeps getting better and better” (Shindig!, UK) 4 out of 5 stars “Fantastic album” (Louder Than War, UK) 4,5 out of 5 stars “A complete riot” (The Arts Desk, UK) 4 out of 5 stars “14 new original tracks–all killer” (Add to want list, UK) “The whole album is one long highlight” (UK Rock n’ Roll) “Exciting combination of Wall of Sound and Fuzz” (El Periodico, Spain) 4 out of 5 “A collection of perfect songs, full-blown instant classic” (Triste Sunset, Italy)

"Queen Of Nowhere" is the result of the photographic works by Kourtney Roy and the musician Dayve Samek (Trance Farmers) initiated by IIKKI, between November 2021 and March 2022.

The man behind the name Trance Farmers is Dayve Samek, a wanderer from Los Angeles to Louisiana, and his music has picked up just about every influence it can along the way. He has recorded his first album in 2014 on Leaving Records (Stones Throw Records). Not sure how to classify his music ranges, but something between sweaty, garage-born ballads brush shoulders with drifter anthems and gasoline drenched doo wop with at some points some beats close from the past Anticon works should make the point.

The Canadian photographer Kourtney Roy was born in Northern Ontario in 1981. Intrigued by the possibility of creating a tragic mythology of the self, she conjures an intimate universe pervaded by both wonder and mystery. Her photographer’s eye is drawn to places and settings whose lyrical qualities underscore the sublime banality of everyday life.

Roy’s studies in photography, at Emily Carr University of Art and Design in Vancouver and later at the Ecole Nationale Supérieure des Beaux-Arts in Paris, inspired her to develop her finicky aesthetic, which lends itself particularly well to both glossy paper and film. Roy works extensively as an independent photographer/filmmaker in the art world. Instilled with a dark sense of humor, taking their clues as much from the grotesque nature of seemingly placid settings as from the tensions simmering just under the surface, her photographs have garnered many prizes, including the Prix Picto in 2007, The Emily Award in Canada in 2012 and the Prix Carte Blanche PMU/Le Bal in 2013 and the Pernod Ricard Carte Blanche in 2018.

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.

Simon comes from Belfast in Northern Ireland, a place that resonates of the best music traditions like Gary Moore, and Stiff Little Fingers. His biography tells the story of his band touring with no sound engineer, driver, roadie, playing 30 shows in 35 days and catching the attention of the record label. By the way, Ian Gillan from Deep Purple thinks he is one of the best guitar players in the world! And he also was the main guitarist on Don Airey’s solo tour. Recorded at the legendary Chameleon Studios in Hamburg, this album has everything a good rock album needs. The songs on “The Fighter” boast big riffs, they’re catchy, multifaceted AND are full of energy where needed. This album is in a class of its own – serious.

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

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

Joona Toivanen Trio makes their We Jazz Records debut with their new album "Both Only", out 25 Feb 2022. A landmark work for the long standing group, the album showcases a new sound for the band, trekking deep into new ideas for an acoustic jazz piano trio. Since their formation as teenagers in mid-1990's, the trio of pianist Joona Toivanen, bassist Tapani Toivanen and drummer Olavi Louhivuori (of Superposition, Ilmiliekki Quartet and Linda Fredriksson "Juniper") has developed their remarkably coherent band sound step by step, touring the world over. Nowadays, the trio is geographically split between Gothenburg, Sweden (Joona), Copenhagen, Denmark (Tapani), and Helsinki, Finland (Olavi), but the unit has never sounded so together as one, and as adventurous as on "Both Only".

"Both Only" by Joona Toivanen Trio is a cocoon, a welcoming shelter of sound that opens up naturally for the listener to inhabit. The album is moody and introspective, even dark at times, but by the time you get to the closing track, "This and This", you'll likely notice something hopeful brewing up. This is not music dealing with nostalgia or a world lost. Instead, it's a body of work with delicate dynamics, taking a minute just to listen and to look inwards to learn something, to move forward.

The first single "Enlightened" is perhaps the most traditional piece on the album, yet it flows like a vessel beyond genre, conveying a mood, a feeling and an idea. Listen to how the piano, bass and drums discuss, how the groove moves with the instruments having their clear roles but also supporting each other and documenting a musical aging process exactly as that of a quality bottle of red wine. As a song like "Direction" proves, the melody is there all the way, yet there is nothing obvious about how it's carried by the trio. Things remain surprising, fresh and moving at all times. "Except For" keeps its intensity, while nearly erupting into a full on 4-to-the-floor banger. Nearly! The key here is how the energy sustains itself, building the intensity within the music.

"Both Only" is a powerful statement from a band ready to renew itself time and again, and one willing to do it slowly, outside of the hype. This process makes the impact enduring, nuanced and lovely.

WJLP37 Joona Toivanen Trio "Both Only" is available on vinyl as a black vinyl edition and as a LP+7" bundle also including WJ0716 "Except For (7" Edit)" / "Keyboard Study No. 2".

“More excellent poetic soundscapes from We Jazz! Love the flow through the tracks here – textural pieces moving into more rhythmic jazz abstractions. Beautifully recorded too.”
Quinton Scott — Worldwide FM

“Following on from the excellent Linda Fredriksson album We Jazz extend the journey with this innovative Joona Toivanen Trio set.”
Paul Bradshaw — Straight No Chaser

“You’ll look in vain here for extravagant splashes of color or bright swathes of sound, but what you will discover are a finely-chiselled set of compositions that make the most of the trio’s limited palette: flint-sharp melodies hewn from the ice, crisp and crackling rhythms.”
Cal Gibson — Ban Ban Ton Ton

“Incredible album from Joona Toivanen Trio and a strong start to the new year from We Jazz.”
Kerem Gokmen — Dubmission

“Encapsulating a new movement in jazz.”
Jay Scarlett — Sounds Supreme

“Interesting listen on the shortest day of the year. They have a very definite and saturated style.”
John Chacona — All About Jazz

“Airplayed the track”
Tom Ravenscroft — BBC6 Music

“Jazz album of the year released already in February?”
Ralf Sandell — Hufvudstadsbladet

“★★★★★”
Iida Simes — Voima Magazine

Iconic female fronted metal band from The Netherlands. Formed in the late 90s by the later Epica founder Mark Jansen. The band split up shortly after their eponymous self-titled album “After Forever” in 2008. Keyboard player Joost Van Den Broek became a famous producer for Epica, Blind Guardian and many more, while singer Floor Jansen joined Nightwish and recently also the German TV show Sing Meinen Song (Sing My Song). Fans never forgot After Forever and even if their last album came out in the pre-streaming days, it gained over 15 million streams.
The re-issue of their swansong “After Forever” (2007) is remastered by Joost Van Den Broeck and includes liner notes by all bandmembers, as well as the two rare Japanese bonus tracks: the beautiful piano ballad "Lonely" and "Sweet Enclosure" which keeps their high standard of progressive symphonic metal with an oriental flavor and catchy melodies.

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.

Lucille Mathis was a two-release mystery on the Abet label back in 1968.

 ‘I’m Not Your Regular Woman’ is a girl power anthem that was way ahead of its time.

 The flipside of ‘Am I Asking Too Much’, the track is a stormer powered by roll-heavy drums and some great brass stings and goes for around £300 these days.

 Cut with one of three singles by Holly St James (real name Lorraine Di Bonaventura) that also arrived in 1968.

 ‘That’s Not love’ is an enormous echoey Spectoresque wall-of sound that broods with incisive string chops and Holly’s groovy mid ‘60s vocal, a soul eruption that simmers with emotion.

 A £40 price tag for the original.

 Both sides remastered for dancefloor penetration.

We’ve come to expect big things from Liam Gallagher, but today he reveals plans for 2022 that are biblical even by his colossal standards. He is set to release his new album ‘C’MON YOU KNOW’ on May 27th as he looks to score a fourth consecutive #1 UK record. He also celebrates the 25th anniversary of Oasis’ era-defining gigs at Knebworth Park with the news that he’ll return there to play the biggest show of his solo career to date on June 4th.

‘C’MON YOU KNOW’ follows the huge success of Liam’s previous studio albums ‘As You Were’ (2017) and ‘Why Me? Why Not.’ (2019), which established his iconic status for a whole new generation. His ‘MTV Unplugged’ also went straight to #1 on the Official Album Chart. Between his triumphs as a solo artist and his phenomenal success with Oasis, Liam has spent a combined total of almost six months at #1 across eleven chart-topping albums. More details regarding ‘C’MON YOU KNOW’ will follow.

The Knebworth Park show will see Liam return to the site where Oasis famously played two unforgettable nights there in 1996. The 25th anniversary of the shows was marked with the release of the feature-length documentary ‘Oasis Knebworth 1996’, which NME described as “an era-defining gig that will live forever.” The Knebworth Park gig will be the biggest show of Liam’s solo career to date. It follows his triumphant return to touring this summer with headline sets at Reading, Leeds and TRNSMT alongside a free gig for NHS staff at The O2.

Liam says, "I'm absolutely buzzing to announce that on 4th June 2022 I'll be playing Knebworth Park. It's gonna be biblical. C'mon You Know. LG x"

Sacred Bones is an independent record label and publishing company based
in Brooklyn, NY that started over 15 years ago in the basement of a record store and has gone on to become a critically respected label that is synonymous with forward-thinking music and culture and won the 2020 Libera Award for Label of the Year. With over 300 releases under our belt, we’ve had the distinct pleasure to work with legendary artists the likes of Mort Garson, Patti Smith, Trent Reznor, and the late Genesis P-Orridge, as well as fostered the respective music careers of film directors David Lynch, John Carpenter, and Jim Jarmusch. We’ve also released career-defining albums by newer artists like Zola Jesus, SPELLLING, Molchat Doma, Marissa Nadler, Amen Dunes, and Jenny Hval, all while retaining our cult underground through smaller curated releases from some of the best punk and experimental artists.

Fuck our bodies - or are our bodies fucked? -
Like the 32 steps it took (actually it felt like chunga Godlike3000)
before this complex and corrupt Third World Bomb came to this grotesque release.

No lady cadaver or cryptic messiah was spared when going straight to hell, accompanied by their flying body parts and tortured genitalia.

No comments are wasted on AMFRS & my fav Hollywood whore
when they die in a murder of GT flames

Oh and quick recoup to *corrupt* :

ALL PROFITS MADE WILL BE USED
TO BUILD A WALL AROUND GUATEMALA - now we know he isn’t quarantined in the White House anymore - - -
assuring that the orange-wigged-mad-man can’t go putting
his greasy fingers on GUA's fabulous nature & people.

Building materials will consist out of fruit and vegetables for the best repellent result :-D

Have a nice day and as always PLAY IT LOUD!


! ! ! RUIDO HECHO EN GUA ! ! !

Sacred Bones is an independent record label and publishing company based in Brooklyn, NY that started over 15 years ago in the basement of a record store and has gone on to become a critically respected label that is synonymous with forward-thinking music and culture and won the 2020 Libera Award for Label of the Year. With over 300 releases under our belt, we've had the distinct pleasure to work with legendary artists the likes of Mort Garson, Patti Smith, Trent Reznor, and the late Genesis P-Orridge, as well as fostered the respective music careers of film directors David Lynch, John Carpenter, and Jim Jarmusch. We've also released career-defining albums by newer artists like Zola Jesus, SPELLLING, Molchat Doma, Marissa Nadler, Amen Dunes, and Jenny Hval, all while retaining our cult underground through smaller curated releases from some of the best punk and experimental artists. Our fifteenth anniversary as a label will be honored with several events and an exciting vinyl repress collection but the crown jewel of this year's celebration is the compilation Todo Muere that features beloved artists from our roster covering their favorite songs that we have released over the years. The compilation features innovative pairings, like punk stalwarts Institute covering art pop sensation SPELLLING, and matches made in heaven like Marissa Nadler's gorgeously eerie cover of David Lynch's already eerie song "Cold Wind Blowin." Some songs are sister renditions with their own imaginative touch like Constant Smiles' cover of Jenny Hval while others, like the Zola Jesus song performed by Thou, Mizmor and Emma Ruth Rundle take on entirely different genres. And while each song on the comp stands on its own as a testament to the many song writing and song performance talents housed on the Sacred Bones roster, the compilation as a whole was sequenced as a cohesive whole deserving prime placement on any record shelf.

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!

Harry’s House is the third solo studio album from Harry Styles and first music release since 2019’s record breaking sophomore album Fine Line. The new 13-track full-length album was recorded in multiple locations across the UK, Los Angeles and Tokyo from 2020 to 2021. It was written by Harry alongside frequent collaborators Kid Harpoon, Tyler Johnson, and Mitch Rowland.

Harry’s House is the third solo studio album from Harry Styles and first music release since 2019’s record breaking sophomore album Fine Line. The new 13-track full-length album was recorded in multiple locations across the UK, Los Angeles and Tokyo from 2020 to 2021. It was written by Harry alongside frequent collaborators Kid Harpoon, Tyler Johnson, and Mitch Rowland.

This second release on Heads High brings an EP from label owner Mike Misiu under the moniker Day Out Of Time. Four diverse tracks forged from a year of studio jams, road tested on airwaves and discerning dancefloors and now honed and available for your delectation.

Opening 4/4 cut 'Rising Tide' builds the atmosphere and tension with synth stabs, morphing arps and a throbbing sub-bass. 'The Urge' struts in on a hybrid electro-funk tip, twisting, chopping and vocoder-ing an 80's rock vocal and sax into a dance-floor detonator.

On the flip side 'Private Ay' chugs along on a mid-tempo Moog bass groove that re-imagines and re-works some infamous guitar licks, before the E.P. climaxes with 'When Love Beckons' - a pulsing electro-discoid ode to love, powered by moody analog bass, acid lines and an impassioned poetic vocal.

All tracks produced by Mike Misiu, mastered by Curved.

The ‘Fever Dreams Pt 3’ EP features four brand new songs from Johnny Marr’s anticipated first double LP - ‘The Speed Of Love’, ‘Night and Day’, ‘Counter-Clock World’ and ‘Rubicon’. Timed well to follow on from Johnny’s live run with Blondie, the EP will be released on limited edition gold vinyl on May 20th, with 2.5k units available worldwide.

Early previews of ‘Fever Dreams Pts 1-4’ have been met with widespread acclaim, with Uncut stating that the double album is "The most ambitious album of his career".

Singles including ‘Sensory Street’ has been a mainstay on the BBC Radio 6 Music A-List, the album’s electro-soul opener ‘Spirit, Power and Soul’ was also playlisted by 6 Music and BBC Radio 2, described as “his strongest solo composition yet” by the Evening Standard, “an exercise in progressive creative ambition” by DIY, “invigorating” by Uncut, with “defiance in its DNA” by CLASH and simply “banging” by The Telegraph.

Earlier EP ‘Fever Dreams Pt 2’ has seen Johnny heralded as “a master songwriter” by The i Newspaper and, “a project unlike anything he's done before" by Music Week.

2022 will see Johnny Marr return to the live stage, joining Blondie as a special guest on their ‘Against The Odds’ headline tour through April and May, including London’s O2 Arena, before heading out on The Killers’ headline US arena tour, beginning in August through to October.

The second LP by California rock n roll unit SPICE expands their palette of damaged anthems and addiction poetics with a more bristling, visceral sound, distilled from years in the trenches of bands, break-ups, and breakdowns. Singer Ross Farrar explains their chemistry succinctly: "We all got in a room and this is what came out." Viv is named for a precursor project of bassist Cody Sullivan and violinist Victoria Skudlarek, but also alludes to broader notions of vividness, sonic, visual, and otherwise. Engineered by Jack Shirley and mixed/mastered by Sam Pura in Oakland, the mix achieves that rare balance of every element being elevated but distinct, with voices, strings, and drums each given space to blaze parallel paths. Opener "Recovery" captures SPICE at their stormy, weathered best, booming drums and East Bay riffs skidding out in a rockslide of rapture, regret, and bruised melody ("You sacrifice perfect days to laugh through the night / you have to get out of bed / and it's hard / and it's hard / it's so hard to admit"), peaking in Ian Simpson's poignant single-note vibrato guitar solo; Farrar agrees: "The guitar says what we cannot." Other tracks embrace the group's shredded pop potential ("Any Day Now," "Dining Out," "Live Scene") and their speedway ripper mode ("Threnody"), with detours into oblique instrumentals ("Melody Drive") and orchestral balladeering ("Ashes In The Birdbath"). But what unites and ignites these songs across different energies and arrangements is their specific sense of emotion. Rawness refined into reckonings, approaching truth, born of cold mornings, bad luck, and too many wrong turns. Waking up where you're not supposed to be, living a life you don't recognize. The album ends with no end to its narrative, still fighting, still slipping. Farrar calls "Climbing Down The Ladder" a "relapse song - telling people you're okay but you're still fucking up." Heartbeat drums march under heartbroken guitars in an elegant downward spiral of defeat, delusion, and desperate hope, dreamed more than believed: "I said it was the last time / but I was up so high / 100 miles / 1000 miles / no me in sight / I saw into the next life / I wasn't dead / I felt so vivid in the next life."

The second LP by California rock n roll unit SPICE expands their palette of damaged anthems and addiction poetics with a more bristling, visceral sound, distilled from years in the trenches of bands, break-ups, and breakdowns. Singer Ross Farrar explains their chemistry succinctly: "We all got in a room and this is what came out." Viv is named for a precursor project of bassist Cody Sullivan and violinist Victoria Skudlarek, but also alludes to broader notions of vividness, sonic, visual, and otherwise. Engineered by Jack Shirley and mixed/mastered by Sam Pura in Oakland, the mix achieves that rare balance of every element being elevated but distinct, with voices, strings, and drums each given space to blaze parallel paths. Opener "Recovery" captures SPICE at their stormy, weathered best, booming drums and East Bay riffs skidding out in a rockslide of rapture, regret, and bruised melody ("You sacrifice perfect days to laugh through the night / you have to get out of bed / and it's hard / and it's hard / it's so hard to admit"), peaking in Ian Simpson's poignant single-note vibrato guitar solo; Farrar agrees: "The guitar says what we cannot." Other tracks embrace the group's shredded pop potential ("Any Day Now," "Dining Out," "Live Scene") and their speedway ripper mode ("Threnody"), with detours into oblique instrumentals ("Melody Drive") and orchestral balladeering ("Ashes In The Birdbath"). But what unites and ignites these songs across different energies and arrangements is their specific sense of emotion. Rawness refined into reckonings, approaching truth, born of cold mornings, bad luck, and too many wrong turns. Waking up where you're not supposed to be, living a life you don't recognize. The album ends with no end to its narrative, still fighting, still slipping. Farrar calls "Climbing Down The Ladder" a "relapse song - telling people you're okay but you're still fucking up." Heartbeat drums march under heartbroken guitars in an elegant downward spiral of defeat, delusion, and desperate hope, dreamed more than believed: "I said it was the last time / but I was up so high / 100 miles / 1000 miles / no me in sight / I saw into the next life / I wasn't dead / I felt so vivid in the next life."

Born out of an underground Buenos Aires party and first launched in 2008, ZZK Records has spent more than a decade at the forefront of Latin American music, carving out space for artists putting a futuristic (and often electronic) spin on classic rhythms and folklore traditions. Along the way, the label spread across the globe and helped launch a few stars-Nicola Cruz, Chancha Vía Circuito, La Yegros and Son Rompe Pera among them-but ZZK's search for new artists, sounds and perspectives is never complete. ZZK Sound Vol. 4 brings together a fresh crop of talent from across Latin America, along with a pair of choice selections from veteran acts Maga Bo (Brazil) and Tremor (Argentina). Compiled by ZZK co-founder DJ Nim-the label's original A&R (and Chancha Vía Circuito's older brother), he'd actually taken a five-year hiatus from the project prior to 2020-the compilation's origins can be traced back to the early days of the pandemic. As the world went into lockdown, he put out a call for submissions, and within three months, he'd received more than 1000 tracks. Nim literally listened to them all, whittling the pile down to his 11 favorites, and after hearing his selections, Grant C. Dull-another ZZK co-founder, who runs the label's day-to-day operations-couldn't believe his ears. Nim had done it again. There were no notes, and no changes to the tracklist. ZZK Sound Vol. 4 was quickly put into production. At this point, few music fans need to be sold on the appeal of Latin music, but ZZK, which has been operating in this sphere long before the genre became the "next big thing," is dedicated to the idea that the potency of these sounds extends well beyond the pop charts. Hopping between continents and recontextualizing rhythmic lineages that date back centuries, ZZK Sound Vol. 4 is both an arresting snapshot of Latin America's electronic avant garde and a thrilling preview of its next wave.

Justin K Broadrick (Godflesh, Jesu, JK Flesh) breathes new life into his FINAL project for an album on Helm’s ALTER label. Formed in 1984 out of an obsession with the industrial, noise & power electronics acts of the early eighties, FINAL made its public debut at the legendary Mermaid pub in Birmingham when Broadrick was just 14 years old. A string of cassette releases via his Post MortemRekordings label established the name within the underground noise scene of the time until increased activity with his various groups (Napalm Death, Head of David and later Godflesh) meant that FINAL naturally fell by the wayside before the end of the decade. Broadrick reactivated the project in 1993 during the British ambient “isolationism” period and FINAL's sound became focussed more on texture, producing beatless ambient work with a number of albums for labels like Sentrax, Utech, No Quarter and Neurot. ‘It Comes To Us All’ is the first FINAL album to appear on vinyl since 2015’s ‘Black Dollars’ on Downwards and continues to explore the textural nature of Broadrick’s ambient work - this time through a filter of blown-out harmonic noise that reconnects the project with its harsher roots. Rather than channelling the angst of early power-electronics, the noise here rumbles along blissfully through 8 untitled tracks, sombre in tone and at times beautiful. Melodies sampled from pop music are put through a process of decay, stripped of their form and worn down with a rusty, melancholic afterglow. Reducing all its parts to slow-motion shadows of their former selves, ‘It Comes To Us All’ is an exploration of the decay of all living things that we face collectively, day after day.

Soul Jazz Records are releasing this 20th anniversary edition of their classic Studio One Rockers on unique Record Store Day EXCLUSIVE coloured vinyl + download code. This new edition is a one-off pressing exclusively for Record Store Day Owned and founded by Clement "Coxsone" Dodd, Studio One's output serves as a comprehensive guide to the history of Reggae music.

The music on Studio One Rockers covers all areas of Reggae such as Ska, Rocksteady, Roots and Dancehall, all areas in which Studio One led the field and has become the essential introduction to reggae fans throughout the world.


Included in this compilation are classic Ska tracks ("Phoenix City"), Rocksteady ("Feel Like Jumping"), Roots music ("Truth and Rights"), Dancehall (Freddy McGregor, Michigan and Smiley) and many more. Featured here are many of the classic tracks from Studio One. From Dawn Penn's legendary "No, No, No" to classics such as Horace Andy's "Skylarking" and Marcia Griffith's "Feel Like Jumping".

"Compilation of the year. 100% Essential” Time Out "Compilation of the year. A compilation of unbelievable quality. Awesome” DJ "A who's who of Jamaican music” The Times "An essential slice of musical history" Wire "The most credible compilation of reggae you can buy” - The Guardian.

Time Released Sound is pleased to be releasing the new album "Allusionen", from German modern classical artist, Himmelsrandt. The nine tracks on this moody, wintry and melancholic beauty feature the artist Peter Honsalek either on piano and viola, and on four tracks, he additionally plays the mysterious early electronic synthesizer called the Volkstrautonium. This is a somewhat dark and introspective journey through the shortest, coldest days of the year, please pull up a chair by the fire, and put your headphones on!

As Peter says, "The album in general deals with the topic of "allusion". The piano songs reflect the period in which the viola songs were invented (between the years 2019/2020). The viola songs themselves are allusions to certain styles and epochs. To notice this and to classify correctly is the job of the listener.

There are also allusions (music for Piano and the rare Volkstrautonium), which are not intended to refer to specific styles, epochs or compositions, but only to allude to specific cold and snowy days between the years 2019/2020. The aim of the album was to capture the creation of contemporary music in its entirety and make it audible. This includes not only the result, but also the external (musical and non-musical) influences that shaped it.

“Modern Primitive” is the new album by SEPTICFLESH who present a stunning combination of symphonic and cinematic music with aggressive yet catchy Death Metal. Picking up on the group’s sonic evolution in the past decades, “Modern Primitive” proves to be more emotional, epic and heavy than ever.

SEPTICFLESH was formed as “Septic Flesh” in Greece in the early '90s by Spyridon Antoniou (a.k.a. Seth Siro Anton): vocals/bass, Christos Antoniou: guitar and Sotirios Vagenas (a.k.a. Sotiris Anunnaki V.): guitar/ clean vocals. A debut Ep was released in 1991, entitled "Temple of The Lost Race". Their first full-length album "Mystic Places of Dawn" was released in 1994, followed by "EΣΟΠΤΡΟΝ" that was released in 1995. With the release of "Ophidian Wheel" in 1997, a female soprano vocalist (Natalie Rassoulis) was introduced, as the band moved towards a more symphonic style. "A Fallen Temple" (1998) continued in the same musical direction. In 1999, "Revolution DNA" was released, followed by “Sumerian Daemons” in 2003, both albums produced by Fredrik Nordström (At The Gates, Opeth, In Flames). Although the band's popularity was growing, the band members decided to disband, in order to focus on other personal projects and goals. But that was not the end of the story... After a reunion, the band returned with the album "Communion" in 2008, again with Fredrik Nordström at the helm of production. From that point onwards, the symphonic element (composed by Christos Antoniou, that has a Master Degree in Concert Music) was fully implemented in the structure of the songs, with the collaboration of Filmharmonic Orchestra of Prague. “The Great Mass” (2011) followed with Peter Tägtgren (Hypocrisy, Pain) producing, "Titan" (2014) with Logan Mader (ex-Machine Head) as producer and "Codex Omega" (2017) which started the group’s collaboration with Jens Bogren that continues to the very day. In 2020, the recording of the epic and fully orchestrated Live in Mexico entitled "Infernus Sinfonica MMXIX", was released on CD/LP/DVD/Blu-Ray.

Now, SEPTICFLESH has joined forces with Nuclear Blast Records and initiates the next phase in the band’s history, with a new album to be released in May 2022. Once again Jens Bogren is responsible for the bombastic mix and sound whereas Seth Siro Anton - who is also in charge for the visual aesthetics of the band and worked for artists like Nile, Paradise Lost or Moonspell - has crafted a really intense cover and over-the-top artwork for this release. The new songs impress with many layers, gloomy and empowering atmosphere while being heavy and memorable. Besides the continuous collaboration with the Filmharmonic Orchestra of Prague, the band used a full adult choir, a full children choir and a variety of ethnic instruments.

ITALIAN LIBRARY MUSIC MASTERPIECE!

“L’uomo dagli occhiali a specchio” is a 1975 2-part thriller film directed for Rai Television by Mariano Foglietti, former collaborator of Dario Argento in “Quattro mosche di velluto grigio” (Four flies on grey velvet).

The music composed by Sandro Brugnolini for the occasion are exceptional, and in the 14 tracks of the soundtrack it is possible to find all the typical ingredients of a ’70s score: a sublime fusion of rock, pop, jazz, classical and symphonic music, with urban funk sparkles typical of the blaxploitation genre. Brugnolini's taste and skill in dealing with these different elements are still astounding today, starting from the four versions of the main theme “La notte muore” included in this record.

Originally released on Vroommm Records label by Edizioni Leonardi in an LP that is today extremely rare and precious, this soundtrack is exclusively repressed by Redi Edizioni on clear transparent vinyl for Record Store Day 2022. Not to be missed!

Awe Kid explores ideas of trans-humanism, evolution and digital immortality on Body Logic, a fantastically lush new album for Atomnation. The immersive 10 track record plays with organic, breathing textures punctuated by moments of digital unrealness to result in an album permeated with a dream-like quality. This contrast is mirrored by the artwork from Portugal's acclaimed The Royal Studio.

Awe Kid is an alias of Sine Language Records co-founder Rick Parsons. It is the product of years spent exploring a multitude of different music. From early days in post-hardcore groups and on to a love of 90s Warp, electronic jazz and more experimental niches, the multi-instrumentalist has now settled on his own unique fusion of breaks, ambient and left-field dance music. This deft studio wizard mixes up melodic nostalgia with forward-thinking sound design using whatever he can get his hands on, from analog and modular hardware, to samplers, field recordings to digital techniques.

Says Parsons, “I love working with digital processes because you get these unexpected moments where you dial something in, that somehow takes on a tangible, organic form in the real world. Searching for these sweet spots was the motivation for the album, contrasting natural textures against synthetic elements, and finding ways to create something that feels like it exists outside of the computer.”

While the album pays homage to dance music traditions, such as the broken beat of title track 'Body Logic', and full-throttle breaks of 'Zenith', these are assimilated and repurposed to create something that defies genre categorization. The listener's journey is perfectly paced, with broody but uplifting cuts of electronica giving way to shimmering, celestial melodies, and dusty breakbeats emerging from dense layers of atmosphere, only for the mood to be reset with soothing, suspenseful synths and haunting vocal samples. Elsewhere, devastatingly emotional ambient is followed by punchy grooves and propulsive melodies to make for a real ride.

‘Cinnamon Sea’ is the perfect introduction to one of the most mysterious, ever-morphing underground bands from New Zealand. The Garbage and the Flowers make their long awaited return with another psychedelic masterpiece from the band that gave us 1997's cult dreampop gem 'Eyes Rind As If Beggars'. A hybrid fusion of the Velvets, Elephant 6 and any God-fearing stoned strummers you can think of, with a nod to Charlie Manson’s bedside balladry to boot. On their return, the band hone their songcraft with tracks like ‘Eye Know Who You Are’, a tantalising piece of Mazzy Star on steroids, a spiralling sonic rumble, that reaches a miasmic high on every hummed chorus. It opens the Pandora’s box of this release, a sleight of ear collection of five songs from this cosmology-observing Australia-based outfit. Tracks like ‘Red Star’ exist in a land where sound levels are destroyed by savage birds. ‘On The Radio’ trips into an untuned lagoon. There’s a quasi-religious zeal to proceedings, a nod to Sterling Morrison’s Velvet strum elsewhere, everything that would have been key to the Elephant 6 conglomerate not so long ago, maybe, if you can even imagine, My Bloody Valentine unplugged. ‘Cinnamon Sea’ was recorded in an abandoned courthouse in Freyerstown, a ghostly village in Victoria’s Goldfields in Southeast Australia, where you’re more likely to meet giant grey kangaroos bounding on its dusty main street than tottering prospectors these days. It unravels with claustrophobic glee as we traverse the structured climes of exemplary songwriting seasoned with the salt of improvisation. This from a band who previously released an album famously dubbed ‘Stoned Rehearsal’. It closes with the track ‘Jacob B’, a melancholy tale that’s a hybrid of Manson’s troubled tunes and the psychedelic folk songs of Quicksilver’s Dino Valente. File under: outsider music for insiders. “By some measure Wellington's most brilliant pop band, The Garbage & The Flowers are classic underground rock'n'roll with a hazy ramshackle sound pockmarked by bursts of genius.” Forced Exposure

An explosive collision of garage punk and weirdo art rock from Sacramento's most exciting export since Mayyors. Clean Living Under Difficult Circumstances is a strange, haunting thrill ride driven by angular guitars, an unhinged drum attack and the dynamic, sometimes violent vocal delivery of Whittney K. Featuring long time members of the Sacramento punk scene, Drug Apts have released two E.P.s on Tyler Pope's (LCD Soundsystem, !!!) Berlin based label, Interference Pattern Records, the first produced by Death Grips' Zach Hill and Andy Morin, the second by Dub Genius and Slits producer Denis Bovell. "The band name is a reference to drug apartments, those Mid-Century Modern complexes scattered throughout Sacramento, with rows of palm trees out front and mock English names like Dorchester Court or the Royal Arms. Common features include: concrete stairs, prison-style walkways with dudes looking in your window every five minutes, moms beating their kids next door and cop car lights reflecting off the pool. An ex used to say, “I hate living in these fucking drug apartments,” and friends would say, “It’s three blocks that way, past the drug apartments.” We all spent time staying up and crashing in them, or we tried to sleep through the noise emanating from their windows. I hear they’re better these days, but who knows? So the name is rooted in places and times."

Many will know Bernie Marsden for being a founder member of Whitesnake, one of the biggest rock bands of all time, and writing the iconic global smash, “Here I Go Again”.Since leaving Whitesnake almost 40 years ago, Bernie has forged an impressive solo career. He is acclaimed as one of the premier British blues guitarists. He has written and recorded with some of the biggest names in the industry, composed music for film & TV, forged a successful career as an author, and amassed a priceless collection of guitars. Most recently, Bernie partnered with Joe Bonamassa to write half of his hit album, Royal Tea. Rewind to Summer 2018… Bernie was invited to join Billy Gibbons on stage, when he said “Bernie, wouldn’t it be great if we could all record the songs we grew up with as we learned to play the guitar?” Rather than suffer the usual fate of great ideas that are left to litter the dressing room floor, Bernie immediately set about making a list, and the “Inspirations” Series was born. KINGS” is the first album of Bernie Marsden’s “Inspirations”. Featuring 10 songs that were originally recorded by Albert, B.B. & Freddie King, and recorded in a studio in Oxfordshire with a band that just locked into a groove, “KINGS” is chock full of blues and soul. Two Bernie Marsden penned instrumentals inspired by The Kings appear as the final two tracks on the album. Features appeared / appearing in Blues Matters, Classic Rock, Fireworks, Rock Hard (Germany), Sweden Rock, Rock N Reel magazines, with great reviews given by most of the premier UK Rock, Blues and Guitar publications around the release of “KINGS”. Radio support at Planet Rock, The Max, Radio Caroline and was IBBA’s #4 most played album in 2021.

First album by this duo, known separately for their work in Mouse on Mars
and Gastr del Sol.
 Two long-form pieces, utterly different from one another: one hyper-detailed
electronic music and sound poetry, and the other live-in-the-studio electric
guitar and laptop paint-peeling.
 The exciting first chapter in a long-anticipated collaboration
 David Grubbs and Jan St. Werner met in the mid-1990s when Grubbs was
playing with Gastr del Sol and The Red Krayola and St. Werner in Mouse on
Mars and Microstoria. After years of exchanging ideas, ‘Translation from
Unspecified’ marks their first time locking horns as a duo, and it’s clear this
deck-clearing collaboration was long overdue.
 In January 2020 Grubbs arrived at Mouse on Mars’ Berlin studio Paraverse
with a guitar and ‘Translation from Unspecified’, an open-ended, seemingly
self-generating poem suggesting AI, one of the themes in St. Werner’s recent
work. This became the side-length title track, a winding corridor of electronic
fanfares and spontaneous musical miniatures urging Grubbs’s slow and
steady recitation to grow wings and graduate into song.
 Who knows where this idiosyncratic mise-en-scène - day-glo, extrovert
electronics and task-oriented human - came from? Reference points - distant
ones - might include Robert Ashley and Paul De Marinis’s ‘In Sara, Mencken,
Christ and Beethoven...’ and the sound poetry of Anton Bruhin.
 Flip the record and you have ‘Soixante Ooze’, a live-in-the-studio duo for
guitar and computer more recognizably St. Wernerian and Grubbs-like that
reconfigures elements of the title track before finally morphing into needlepinning monoliths of sound.
 David Grubbs has released fourteen solo albums and appeared on more
than 200 releases. He was a member of the groups Gastr del Sol, Bastro,
and Squirrel Bait and has performed with Tony Conrad, Pauline Oliveros,
Luc Ferrari, Will Oldham, Loren Connors, the Red Krayola, Royal Trux, and
many others. His newest book is ‘Good night the pleasure was ours’ (Duke
University Press, 2022).
 Jan St. Werner is an artist and electronic music composer best known as
one half of the group Mouse on Mars. He has collaborated with Oval’s
Markus Popp as Microstoria and written music for installations and films by
visual artist Rosa Barba. In 2013, St. Werner released ‘Blaze Colour Burn’,
the first of a series of experimental recordings called ‘the Fiepblatter
Catalogue’. Recently his work has prioritized installation and interventions
with spatialized sound, including a number of collaborations under the name
Dynamische Akustische Forschung (DAF).

If you’re looking for a raw, sugary blast of distorted pop, look no further than
‘Weird Nightmare’. The debut album from METZ guitarist and vocalist Alex
Edkins contains all of his main band’s bite with an unexpected, yet totally
satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously
hissy miniature epics of classic-era Guided by Voices combined with the
bombast of ‘Copper Blue’- era Sugar - just tons of red-line distortion cut with the
type of tunecraft that thrills the moment it hits your ears.
 These ten songs showcase a new side of Edkins’ already-established
songwriting, but even though the bulk of ‘Weird Nightmare’ was recorded during
the COVID-19 pandemic, some of its tunes date back to 2013 in demo form.
“Hooks and melody have always been a big part of my writing, but they really
became the main focus this time” he explains. “It was about doing what felt
natural.”
 To be clear: Weird Nightmare is not a ‘pandemic album’, but an album - some of
which had been gestating for quite a while - that just so happened to be recorded
during the pandemic. “I had always planned on finishing these songs, but being
unable to tour with METZ, and forced to lock down, really gave me a push.” After
days spent homeschooling his son, Edkins would drive to the METZ rehearsal
room and tinker deep into the night on these songs’ deceptively simple structures
and rich, static-laden textures. “It was a godsend for me,” he states about the
creative process. “The hours would disappear and I would get lost in the music
and record. It was a beautiful escape.”
 ‘Weird Nightmare’ is, in its own way, a study in extremes: Edkins’ melodic
instincts and penchant for dissonance are both turned up to the max throughout,
the latter reflecting not only the barn-burning tendencies of METZ, but Alex’s own
sonic predilections. “It doesn’t sound right to my ears until it’s pushed over the
edge.” He also cites other artists who are masterful at mixing the sublime and the
punishing - Kim Deal and Scout Niblett among them - as influences on his own
songwriting. “My favorite songs are the simple ones,” he explains. “I’ve never
been attracted to virtuosity or technicality. Certain songs have the power to lift
your spirits like nothing else can. I wanted to create that type of song.”
 A few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad
VanGaalen adds his unmistakable touch to the ever-escalating ‘Oh No’, while
Alicia Bognanno of Bully lends her distinctive pipes to the thrashing ‘Wrecked’, a
collaboration that effectively saved the song. “I almost didn’t put it on the album
because I thought it was missing something,” Edkins explains. “I sent it to Alicia
and she lifted it way up.”
 And taking risks and reaching out of Edkins’ comfort zone was the name of the
game when it came to making ‘Weird Nightmare’. “I found myself doing new
things I didn’t have the guts to do before, recording everything by myself and
trusting all of my musical instincts,” he states. “I think when music manifests
quickly, a certain amount of honesty automatically comes along with it. When it is
a purely instinctual creation, there is no opportunity to obscure the truth.”
 Loser Edition LP pressed on Coke Bottle Green transparent vinyl.

If you’re looking for a raw, sugary blast of distorted pop, look no further than
‘Weird Nightmare’. The debut album from METZ guitarist and vocalist Alex
Edkins contains all of his main band’s bite with an unexpected, yet totally
satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously
hissy miniature epics of classic-era Guided by Voices combined with the
bombast of ‘Copper Blue’- era Sugar - just tons of red-line distortion cut with the
type of tunecraft that thrills the moment it hits your ears.
 These ten songs showcase a new side of Edkins’ already-established
songwriting, but even though the bulk of ‘Weird Nightmare’ was recorded during
the COVID-19 pandemic, some of its tunes date back to 2013 in demo form.
“Hooks and melody have always been a big part of my writing, but they really
became the main focus this time” he explains. “It was about doing what felt
natural.”
 To be clear: Weird Nightmare is not a ‘pandemic album’, but an album - some of
which had been gestating for quite a while - that just so happened to be recorded
during the pandemic. “I had always planned on finishing these songs, but being
unable to tour with METZ, and forced to lock down, really gave me a push.” After
days spent homeschooling his son, Edkins would drive to the METZ rehearsal
room and tinker deep into the night on these songs’ deceptively simple structures
and rich, static-laden textures. “It was a godsend for me,” he states about the
creative process. “The hours would disappear and I would get lost in the music
and record. It was a beautiful escape.”
 ‘Weird Nightmare’ is, in its own way, a study in extremes: Edkins’ melodic
instincts and penchant for dissonance are both turned up to the max throughout,
the latter reflecting not only the barn-burning tendencies of METZ, but Alex’s own
sonic predilections. “It doesn’t sound right to my ears until it’s pushed over the
edge.” He also cites other artists who are masterful at mixing the sublime and the
punishing - Kim Deal and Scout Niblett among them - as influences on his own
songwriting. “My favorite songs are the simple ones,” he explains. “I’ve never
been attracted to virtuosity or technicality. Certain songs have the power to lift
your spirits like nothing else can. I wanted to create that type of song.”
 A few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad
VanGaalen adds his unmistakable touch to the ever-escalating ‘Oh No’, while
Alicia Bognanno of Bully lends her distinctive pipes to the thrashing ‘Wrecked’, a
collaboration that effectively saved the song. “I almost didn’t put it on the album
because I thought it was missing something,” Edkins explains. “I sent it to Alicia
and she lifted it way up.”
 And taking risks and reaching out of Edkins’ comfort zone was the name of the
game when it came to making ‘Weird Nightmare’. “I found myself doing new
things I didn’t have the guts to do before, recording everything by myself and
trusting all of my musical instincts,” he states. “I think when music manifests
quickly, a certain amount of honesty automatically comes along with it. When it is
a purely instinctual creation, there is no opportunity to obscure the truth.”
 Loser Edition LP pressed on Coke Bottle Green transparent vinyl.

Consequence and more. Emma Ruth Rundle's second instalment in her Electric Guitar series, EG2: Dowsing Voice, is almost like the soundtrack to a film that hasn't been made. The mostly instrumental record follows her on a trip to the Welsh coast and down a magical well into the waters of nature, myth and the Old Golds - by way of her improvised music. The 40 plus minute album was sewn together from recordings channeled during her month-long solo journey in the early days of 2020 and completed before 2021's critically lauded album Engine of Hell was even written. Unlike Electric Guitar One, EG2: Dowsing Voice features vocal improvisation, unconventional singing and extended vocal techniques free from lyrics - like the throat singing on "In the Cave_" which is meant to be the voices of crones gathering in a rhythmic and physical ritual. Rundle was led to these voices by unseen forces along with the immense impact of the Welsh water: ocean, rivers springs and wells that gave the album its extended title Dowsing Voice. While there is some focus on vocal and story here, her textural and even bombastic guitar improvisations are featured throughout the album. For Rundle, the Electric Guitar series will always be about inspired, unplanned moments like this at its core.

Athens’ CHAIN CULT return with their first full length following a great Demo and 7” from last year. Recorded at Ignite Music by George Christoforidis during May and July of 2019, Shallow Grave shows the progression of a band who have played non-stop for two years, covering pretty much all of Europe. CHAIN CULT’s post punk is anthemic, militant and idealistic, putting music to a very dark and bleak time and place. You can hear echoes of early THE CURE, THE SOUND, Second Empire Justice era BLITZ or WIPERS in their music but also the passion and conviction of locals METRO DECAY, STRESS or ANTI… Very much a perfect reflection of what springs to mind thinking about the current Athens scene. Shallow Grave comes housed in a reverse board sleeve including a printed inner sleeve with lyrics, all designed by CHAIN CULT’s collaborator Aris Panagopoulos of A.D.

"A high-octane pop with a glam coat"

When listening to Hey You! - mastered at Air Studios by John Webber -, the energy the band exudes on every track is palpable, and live, they're simply something else, giving it their all on every number and completely winning over the audience. Visually, the band are are eye-catching as their music, looking straight like they've stepped out of the '80s. Fronted by the Debbie Harry-esque Rebecca Bex, BeXatron make as much of a statement visually as they do musically, and it's an extremely welcome breath of fresh punk air to see a band that is obviously so incredibly passionate about what they do, and that has the talent to back it up.

Since the release of the album, we have been played worldwide on various shows ranging from mainstream such as:

BBC Radio 6, BBC Introducing, Total Rock, Planet Rock, Soho Radio

but also had tremendous support from local community radio stations:

Insanity Radio, Resonance Radio - Spizz FM, Hunter's Bay Radio, Ontario Canada, Foxy Radio, Deal Radio - Low Life in High Heels, The Chuff Bus, Dark Hearts of Camden, Premium Blend Radio Show, Punk & Preppy Radio Show, Pennsylvania

Perfect for summer clubbing... or any season. Highly recommended. - MIKE NICHOLLS from Ghostwriter books

Sonic Party Sounds, and the packaging looks as good as the band - MARK TAYLOR from Metal Talk/RecorD Collector Magazine

This is the kind of music that is sure to thrive in inner city suburban surroundings - MUSIC NEWS 2 DAY

Cracking. Catchy stuff - SONIC NEWS

 Born into a musical family, as a child Charlie Hickey would obsessively
watch videos of his parents on tour in their old band Uma, learning all the
lyrics that he loved but didn’t understand. This introduction to music sowed a
seed and Hickey was soon writing songs of his own, playing on the guitars
that lay around him and singing about the little details of his school days. He
continued throughout his teen years, his songs becoming an outlet for the
growing anxieties that Hickey now understands to be Obsessive Compulsive
Disorder.
 This journey has led to ‘Nervous At Night’, Hickey’s debut album which is
released via Phoebe Bridgers’ Saddest Factory Records. Where 2021’s
‘Count The Stairs’ EP was an attempt to capture the rawness of his
performance, ‘Nervous At Night’ comes alive within its production, Hickey
and producer Marshall Vore leaning into their perfectionist tendencies to find
the best version of each track. “He’s always interested in how you can push
things further but also reigns them in when necessary,” Hickey says. “I think
that’s the true hallmark of a good producer.”
 Hickey calls it a pop record but admits that sonically it moves in many
directions, an amalgamation of his love for the folk singers of yesteryear and
more contemporary peers, from Taylor Swift and The 1975 to the Californian
songwriter and producer Blake Mills. This shifting of styles - from the album’s
quiet heavy-hearted ballads to its more gleaming, hook-led tracks - mirrors
its overarching theme: life’s graceless passage between teenage years and
adulthood.
 And so we have ‘Planet With Water’, a plaintive love song that bristles with
nostalgia, Hickey singing of phone calls after school, of hearing a neighbour’s
TV through the wall. Elsewhere, ‘Mid Air’ holds a similar weight, Hickey
singing of “spinning in mid-air, waiting for somewhere to land, or some face
to show up” as the song flourishes around his voice, delicately accompanied
by guest turns from fellow LA musicians Harrison Whitford, Christian Lee
Hutson and Mason Stoops.
 ‘Nervous At Night’ comes alive in its juxtapositions, chronicling the constant
push and pull of life, both its stagnancy and motion. Chiefly though, this is an
album about connection, how even through those struggles we rely on the
people around us to keep moving forwards. “I’d like to write songs that are
for everyone, that let people into my inner world while also hopefully making
people feel less alone on their own. I hope that these songs can be there for
somebody the way my favorite songs have been for me.”
 Collaborated with MUNA on track ‘Seeing Things’.
 2022 live shows include The Great Escape and SXSW, as well as shows in
London, NY and LA’s Troubadour. Recent US tour with Samia.
 LP available on opaque yellow vinyl.

 Born into a musical family, as a child Charlie Hickey would obsessively
watch videos of his parents on tour in their old band Uma, learning all the
lyrics that he loved but didn’t understand. This introduction to music sowed a
seed and Hickey was soon writing songs of his own, playing on the guitars
that lay around him and singing about the little details of his school days. He
continued throughout his teen years, his songs becoming an outlet for the
growing anxieties that Hickey now understands to be Obsessive Compulsive
Disorder.
 This journey has led to ‘Nervous At Night’, Hickey’s debut album which is
released via Phoebe Bridgers’ Saddest Factory Records. Where 2021’s
‘Count The Stairs’ EP was an attempt to capture the rawness of his
performance, ‘Nervous At Night’ comes alive within its production, Hickey
and producer Marshall Vore leaning into their perfectionist tendencies to find
the best version of each track. “He’s always interested in how you can push
things further but also reigns them in when necessary,” Hickey says. “I think
that’s the true hallmark of a good producer.”
 Hickey calls it a pop record but admits that sonically it moves in many
directions, an amalgamation of his love for the folk singers of yesteryear and
more contemporary peers, from Taylor Swift and The 1975 to the Californian
songwriter and producer Blake Mills. This shifting of styles - from the album’s
quiet heavy-hearted ballads to its more gleaming, hook-led tracks - mirrors
its overarching theme: life’s graceless passage between teenage years and
adulthood.
 And so we have ‘Planet With Water’, a plaintive love song that bristles with
nostalgia, Hickey singing of phone calls after school, of hearing a neighbour’s
TV through the wall. Elsewhere, ‘Mid Air’ holds a similar weight, Hickey
singing of “spinning in mid-air, waiting for somewhere to land, or some face
to show up” as the song flourishes around his voice, delicately accompanied
by guest turns from fellow LA musicians Harrison Whitford, Christian Lee
Hutson and Mason Stoops.
 ‘Nervous At Night’ comes alive in its juxtapositions, chronicling the constant
push and pull of life, both its stagnancy and motion. Chiefly though, this is an
album about connection, how even through those struggles we rely on the
people around us to keep moving forwards. “I’d like to write songs that are
for everyone, that let people into my inner world while also hopefully making
people feel less alone on their own. I hope that these songs can be there for
somebody the way my favorite songs have been for me.”
 Collaborated with MUNA on track ‘Seeing Things’.
 2022 live shows include The Great Escape and SXSW, as well as shows in
London, NY and LA’s Troubadour. Recent US tour with Samia.
 LP available on opaque yellow vinyl.

Nachpressung des Albums von 2015. Obwohl er vielleicht nicht so bekannt ist, hat sich die sinnträchtige, deutlich amerikanische Musik von Kenniff zu einem allgegenwärtigen Sound gemausert, der im Radio, in Filmen, im Fernsehen und in Werbung von Apple, Facebook, Google und anderen auftaucht. Aufgenommen über drei Jahre hinweg fungieren die Songs auf seinem neuen Album ,Sometimes" wie ein Tagebuch, das die kurzen Momente am Tag dokumentiert, in denen Kenniff sich für Trost und unendliche kreative Möglichkeiten dem Klavier zuwandte. Kenniff schrieb und nahm alles auf dem Album selbst auf, mit der Ausnahme von ,A Word I Give", das eine Kollaboration mit dem japanischen Pianisten Ryuichi Sakamoto ist, der die Musik von GOLDMUND einst als ,so, so, so wunderschön" beschrieb. In einem Interview mit NPR diskutierte Keith Kenniff seine Vorliebe für Musik aus der Zeit des Bürgerkriegs und ihre Möglichkeit, ,in nur wenigen Noten solche Geschichten" zu erzählen. Auch die Improvisationen auf ,Sometimes" schaffen es, trotz ihrer technischen und kompositionellen Einfachheit, tiefgründig zu sein. Subtile Details und Dynamiken drücken das aus, was sonst nicht zu artikulieren wäre. ENG Though he may not be a household name, Kenniff's evocative, distinctly American music has become quietly ubiquitous in the past few years, often appearing on NPR, in films, on TV, and in ads for Apple, Facebook, and Google among others. Recorded over the course of three years, the material on his new album Sometimes functions as a journal, documenting brief moments in Kenniff's day when he could turn to the piano as a source of solace and unending creative possibilities. Kenniff wrote and recorded everything on the album with the exception of the track "A Word I Give", which is a collaboration with preeminent Japanese pianist Ryuichi Sakamoto, who once described Goldmund's music as "...so, so, so beautiful." In an interview with NPR's Weekend Edition Keith Kenniff discussed his appreciation of Civil War era music, and it's ability to covey "...so much story in so few notes." Similarly, these improvisations manage to be richly evocative despite their technical and compositional simplicity, using subtle details and dynamics to express what might otherwise be inexpressible.

Sdban Records is delighted to announce the reissue of this genre-defying jazz album originally released on library label Selection Records in 1972.

Delving into the story of the American pianist and composer Phil Raphaël reveals more questions than answers. He was born in New York where he played with Charlie Parker, Jon Eardley and Howard McGhee, but a 1951 recording with Red Rodney for Prestige Records is the single remaining trace of his bebop days. Raphaël appeared under unknown circumstances in Belgium in the 1960s, playing among others at the 1966 Jazz Bilzen festival, and he eventually settled in Brussels. A multifaceted musician, he did not limit himself to jazz and also worked in pop groups, directed the music for the spectacle Hair, and even had a brief residency at Pol's Jazz Club where he played the music of Johann Sebastian Bach four nights per week.

His album 'Stop, Look, Listen', which was recorded with the rhythm section of Babs Robert's group, consists of four long genre-defying tracks colored by the dreamlike vocals of opera singer Rose Thompson. A surreal blend of genres, hard to pin down. It's highly imaginative jazz, that much is sure. Raphaël shifts from serene late night piano jazz to more free or even spiritual passages, magnificently paired with the otherworldly vocals of Rose Thompson. The LP was put out by Selection Records, a label that primarily issued library music at the time, and thus went largely unnoticed upon release. The recording makes clear that Phil Raphaël was a highly gifted artist whose talent will forever remain undervalued, since it was his only effort as a leader. Raphaël's passage through the Belgian nightlife was just as mysterious as his music, and few people seem to remember him. Drummer Bruno Castellucci describes him as remarkable, both as a musician and as a person: "He was a hippie before there were hippies. He wasn't part of the system but he had a system of his own."

Our next mixtape features a superb, tight blend of some of the very best tracks to fly out of the speakers at the Cherry Moon Club. At the helm we have DJ Ghost, spinning the grooves to take us on a journey through the ages, through the genres, from twisted acid concepts to hypnotic trance and gut busting hardcore. Ghost aka Bjorn Wendelen has been a stalwart for us at Bonzai since the very early days. He’s delivered several cuts for us over the years and has branched out with his own Ghoststyle brand with great success. The famous Cherry Moon was and remains one of the biggest names in Belgian club-life, with 30 years of embracing club culture. Since the start in 1991, they have brought the best techno, hard-trance and house to the scene. During the 90's and early 00's, Cherry Moon was the place to be for clubbers from all over Belgium, France, the Netherlands and even other European countries. Housed on classic K7 tape, this comp features a host of tracks from the likes of DJ Ghost, Insider, Body-Shock, DJ Looney Tune, Jones & Stephenson, Push, Blue Alphabet, Final Analysis, Joyrider, Dreamland and more. So, dust off your vintage cassette machine and prepare to be blown away by the sound of Cherry Moon.

After more than two decades flexing his muscles on the local underground scene and gaining a legendary cult status on his Tenerife home turf, the island’s most famous postman, as he’s affectionately known by his consorts, Tomás de la Rosa aka Postman breaks radio silence to bulldoze his way through the canyons surrounding his hometown of Santa Cruz into an unknown and unsuspecting world. We present thus, Postman’s first ever album of original bangers, micro chopped two steppers and rage induced breakbeat anthems.

Constructed over the course of global confinement, Seeds of Light marks a return to creative activity from the man who regularly delivers your post (its not just a random artist name). Postman aka Tomás de la Rosa has taken his time, compiling sketches and unfinished songs, rummaging through the deep ends of his hardrive, stitching early production sketches with recent compositions, revising, reediting and rebuilding with a more mature and concise attitude, eventually completing, almost unintentionally, the perfect self referential retrospective album. Far from being just a compilation album, Tomás managed to create an explosive document, suspended in time, in which styles are intertwined regardless of fashions and fads – letting go of the ‘modern’ or ‘up to date’ burden - so common these days in electronic music.

It is not an easy album, like many of his previous work it demands extra attention to experience the full crystallization of his complex sound structures. We find ourselves in front of a truly surgically precise work of art whose result comes as a waterproof war machine, refined and incisive, resonating deep with soul and groove.

Postman develops his sound palette throughout the album from very basic sound snippets into a concrete dance world of synthetic sounds eventually creating a parallel reality where J. Dilla could be living in Chemnitz instead of Detroit and releasing records for a label called Raster-Throw. Glitch sampladelics!

Incursions into Grime are also abundant with nods to the ineffable East Man, reunions with his beloved Funkstörung or many other stimulating revisions of lifelong genres and breaks populate this multidimensional sound space, see soul, dancehall, breakbeat, two step and the UK hardcore continuum.

Special mention to the magnificent fluid artwork by the very talented Catalan visual artist Alba de Corral. A still photo from one of her kinetic AI systems programmed directly in code, which matches perfectly the essence of Postman's brutalist alien sound.

Vinyl limited to 200 copies

Much in demand album from 1986.

Not much is known about the mysterious pop sensation Vumani or his short musical career. Originally from KwaZulu Natal he made his way to Johannesburg in the mid 80’s to follow his dream of becoming a recording artist. He was able to make that dream come true when talent scouts from Decibel Music came across the charismatic youngster. At the time Decibel was still a small fish trying to make waves and the label believed in Vumani they had found the star they were looking for. Being a label with mostly groups signed to the catalog they needed a Front Man to push into the growing demand for Solo Artists that were dominating the airwaves and catching the hearts of youngsters.

Up to this point Decibel had one major hit record. In 1986 they released a single by an artist named David Thanzwane. The music was a direct rip off of the first hit Single by Shangaan Disco pioneer Paul Ndlovu. Copying the music of both sides of the original single the “covers” offered different lyrics and hooks also sung in xiTsonga. This was enough to trick the masses and the single led to record sales for the small label. The unintentional outcome of the single was that from then on the producers and label had one sound they wanted to pump out in hopes of recreating that magic. This desire to create another Shangaan Disco hit would be the backbone of the Vumani sound and what makes his music so special and collectable after all these years.

That same year Vumani would release two Singles, Black Mampatile and Guy Fawkes. Musically these playful and fun singles would have great appeal to youngsters as they sung of daily life in the Townships. Black Mampatile being a game of Hide and Seek, Banana Kari referring to the trucks that would go around the Township exchanging chips and snacks for glass bottles and of course every child’s favourite reason the dress up on November 5th, Guy Fawkes Day. Both singles were received well and a few more tracks were later recorded to create the full album Isiqedakoma. Although he would sing in Zulu the music was unmistakable for Shangaan Disco. The synth heavy bass lines and happy melodies along with relatable fun lyrics were a perfect blend for an album that would make people dance if they were out at a Tavern or Shabeen on a weekend or just enjoying at home with family and friends.

Vumani quickly became the Label’s top priority with managers making sure he always had the freshest clothing styles to go along with his persona, and he never missed any performances or opportunities to impress a crowd. His popularity grew in the Township’s but with that came the unfortunate and all too common problems with fame. He started getting mixed with wrong crowds. He would record another album for Miracle Music, the Decibel sub label that had emerged to focus on the more underground sounds of the post synth pop era. Musically things were going well for Vumani but it would be his life off the stage that would catch up with him. Always known for his commitment to his music and fans one day he uncharacteristically failed to show up and was never heard from again. His body would later be found in a burnt car on the outskirts of Soweto. What led to his tragic death was never known but with the company he kept it is not hard to imagine what one of the many situations that led to that horrific ending could be. His funeral was attended by the entire Township it seemed as people packed the service and flowed out onto the streets, a testament to his popularity and the love the people had for one of their own.

With some of the best DJs and selectors there is a certain mysterious sound or underlying feeling which unites the music they play, regardless of genre, year or tempo Luke Una is a master of telling a story through music and this compilation is a perfect example of his musical alchemy in action. Featuring tracks from Yusef Lateef, Airto Moreira, Crooked Man, Henri Texier and many more, it is a collection of new, old, rare and under-discovered music from around the world, all united by Luke under the banner of "E-Soul Cultura".It's best described by Luke himself, who writes: "As the 5AM city sleeps and the strobe lights are slowly turned off, we gather on the wrong side of town in a transcendental journey alone together. We are the late night disenfranchised holding on in various after parties, flats, lofts, random kitchens and basements into the outer cosmos with É Soul Cultura.

Music from exotic tear jerkers, Afro- spiritual jazz, cosmic Brazilian celestial grooves, machine street soul, dark horses, lost B- sides, £1 bargain- bin bombs, hidden gems, late night Italo dubbing, deep velvet N.Y.C garage, bass buggin sonic futurism, wrong speed 33BPM pitched up +8 new beat, majestic sunset strings, sweet vocals from heaven, no half steppin jazz dancing in outer- space and odd numbers. Yes… magical moments, together, holding on in witness protection suburban cul- de- sacs and Castle Court flats. Cosmic É high, 3000ft above the city getting evangelical to murky, wonky timeless beautiful music. This thing of ours dreaming of better days. Fail we may, sail we must, the sun will come up again."

Black vinyl edition. Available for the first time ever on vinyl, cassette tape and digital, the reissue features fully remastered tracks and new artwork along with a 12“ size insert, 2x12“ size poster, sticker and DL-Card. Vocalist Chaka Malik and guitarist Chris Traynor met in the New York hardcore band Burn and began playing together as early as 1992. With an early version of Orange 9mm, the duo released a live EP in 1993. The recording earned the band a contract with East West, and after picking up bassist David Gentile and drummer Matthew Cross, Orange 9mm began recording. Driver Not Included was released in 1994, and the band spent time touring with Helmet before signing with Atlantic the following year. Gentile left later in 1995 and was replaced by Taylor McLam just after recording ended for Tragic, with production by Barkmarket's David Sardy. Tragic was released in 1996; it would be three years before Orange 9mm issued a follow-up, which bore the title of Pretend I'm Human.

Funny to think there was a time not so long ago when Stiff Richards was a name that required explanation - but not to you, of course, o punk connoisseur. This is your territory, after all. Music is your oxygen and the sound of the underground is your clarion call. You can explain the distinction between ‘Know Your Product’ and ‘No, You’re Product’. Hey, you’re probably pretty good-looking too. You know your shit, either way. So no wonder you’re drawn to this relative holy grail of modern garage rock - the 2017 self-titled debut album by the aforementioned Stiff Richards. Originally released on their own Stiff Records (and again by Legless in 2020), it lays down all the elements that made last year’s mighty ‘State of Mind’ LP such an instant classic. OK, we’ve established you know the drill, but let’s recap: scintillating Aus-punk that recalls the heroic high-speed riffs of their countrymen The Saints and Radio Birdman. It sounds like Royal Headache covering Motörhead, or maybe the other way around. It’s a full-on riot in 30 minutes - the rawest of rock’n’roll bleeding into the grimiest of power chords with hooks for days. You already know you’re gonna love it. Whether going full-throttle and aiming straight for the nerve receptors that get your head a-nodding and your toes a-tapping - like on sub-three-minute highlight ‘Strung Out’ - or sludgin’ their way through groovier cuts like ‘Bustin’ Out’, they’re never less than a treat that’s guaranteed to get your serotonin flowing and your speakers up to 11 (or beyond). As a certain similarly-named record label once said, if it ain’t Stiff, it ain’t worth a fuck. Frightfully rude, but that’s rock music for you, I suppose. Get it in your ears.

One Day is the third album from the Cactus Blossoms - featuring eleven songs written, produced, and harmonized by brothers Jack Torrey and Page Burkum

Recorded and mixed by longtime collaborator Alex Hall using a mobile rig in Page's Minneapolis basement, the album continues the evolution of the band's signature blend of country, soul, and 60"s rock sounds, all anchored by the brothers' core sibling harmony vocal style.Ltd Crystal Amber vinyl.

We're here with the 14th vinyl release in our catalogue. And those of you who've been following us since day one can probably tell that it's something both new and quite familiar. How so? Well, because this particular record features a brilliant track released on CD ten years ago (!), as part of our "Mystical Deep Vol. 2" compilation, but the "new" part here is the two completely fresh remixes by two amazing artists. So let's get to the names, shall we? As for the track in question, we're talking about "Leagues Deep" - a forward-thinking half-stepper by two heavyweights known as Loxy & Resound. The track has been making waves for quite a while, and has finally reached the light of day on vinyl. As mentioned before, it is accompanied by two remixes. One is by an up-and-coming talent going by the name of AM94, who turns the original version into a dual narrative, so to speak: the first half is a proper action-packed syncopated roller, the second half - a more modern, deep sub-laden half-tempo interpretation of it. The other remix is brought to you by no one else than Resound himself, who's transformed the original piece into a breakneck-paced drum-focused killer. But do watch out for the bassline too - it takes absolutely no prisoners. You've been warned.

Part of IF Music founder Jean-Claude’s ever expanding ‘YOU NEED THIS!’ series of compilation albums, the London record shop impresario and DJ takes us on another scintillating musical journey, this time exploring the catalogue of German jazz imprint, Enja Records. Like Jean-Claude’s ‘Journey Into Deep Jazz’ series on BBE Music and his 2017 exploration of Black Saint & Soul Note Records before it, ‘IF MUSIC PRESENTS YOU NEED THIS!: AN INTRODUCTION TO ENJA RECORDS’ provides another impeccably curated and programmed selection of music, assembled by simply one of the most knowledgeable and passionate vinyl specialists in the business. Featuring performances by John Stubblefield, Bobby Hutcherson, Harold Land, Don Cherry, Cecil McBee and Pharoah Sanders collaborator Marvin Hannibal Peterson to name but a few, this collection provides a great jumping-off point for Enja’s rich and diverse back catalogue. Founded in 1971 by Munich natives and jazz obsessives Matthias Winckelmann and Horst Weber, in its heyday Enja released albums by Eric Dolphy, Charles Mingus, Tommy Flanagan and John Scofield, as well as Kenny Barron, Chet Baker, Abbey Lincoln, Bea Benjamin, Freddie Hubbard, to name but a few. Having firmly established itself as “a bastion of all things deep in jazz” as Jean-Claude neatly sums up, Enja also went on to issue early World Music projects from Abdullah Ibrahim, Rabih Abou-Khalil, Mahmoud Turkmani and many others, and it remains active to this day. “There is no doubt that to the uninitiated, a compilation introducing such an esteemed archive is well overdue” says Jean-Claude. “As with previous albums curated by us, this is just a soupçon of this label’s vast back catalogue, which we hope will lead the listener to discover new music and to search out more from this criminally underrated, class act.”

Tracklisting

French finest synth-pop band Bon Voyage Organisation release his second opus after a feature on Cocktail d'Amore 10 Years compilation.

"La Course" is a cinematic, synthesized and library-esque journey that could be a mixed-up between Italian early 80's productions and french 00's disco.

"This record marks the beginning of a new attitude towards recording," says Bon Voyage Organisation's Adrien Durand. "Switching from a busy studio that I shared to having my own very quiet cabin in the North West of Paris has inspired me to adopt a more meditative approach."

Whilst it's fair to say Durand has been constantly on the move for some time - be it touring or producing records for the likes of Amadou & Mariam, Papooz and Bagarre - there's a sense of new momentum, as well as stillness, that hangs over this record. One that's fully instrumental and as he describes being more free.

The band's trademark glistening production, disco flair, shimmering electronics and incandescent melodies still remain but a more intuitive and striped back approach was favoured this time around. Some of this attitude stemming from an evening opening for Kamasi Washington. "Because of the constraints of being an opening act we played as an instrumental quintet instead of our usual 9-piece band," says Durand. "We rehearsed the day before, our set opened with John Coltrane's 'Naïma' followed by a hard-bop ish version of Kraftwerk's 'Trans Europe Express'. It felt so good to perform that repertoire in that configuration that I had the vision of bringing this aspect of the band in the studio."

There was also a removed sense of pressure with this record - no major label expectation of a radio friendly record, combined with a deconstructed approach to songwriting. "Since 2014 I've been working mostly on projects involving a lot of conventional songwriting," Durand says. "I was keen on producing a record based on performance and atmospheres more than repertoire." He also sought inspiration from a perhaps unlikely source: The Arctic Monkeys. "I was really encouraged by them going out of their comfort zone on their last album - it really caught my attention in a Bowie / Berlin period way."

The result of the album is one that oozes the natural momentum of experimentation, texture, mood and intuition while managing to retain a sonic coherence. In a none-obvious and zeitgeist clichéd way, there is perhaps a more jazz-leaning approach to the record that weaves between soft subtle moments to the more atonal and experimental, all underpinned by sweeping, engulfing soundscapes and the usual touch of non-Western musical flourishes. This vibe came from a distinct lack of editing, says Durand. "In the studio we had everyone sitting in the same room - sometimes up to 6 players - and I never edited the playing. I just went on to record some additional synth and percussion, insert the soundscapes, and mix the record."

This less is more approach, avoiding indulgence and superfluousness, is something Durand can't help but feel is an artistic response to the pace of modern life. "There is a frenetic approach to everything," he says. "People want to binge on everything, expect ultra fast changes on any political cause etc. The response is a big comeback of things like the practice of meditation, yoga and ambient music." There are times when this record falls into the territory of meditative ambience, as on the immersive plunge one takes swimming through the beautiful 'Un Am Ricain En Danger'. It's an album to bathe in and to be carried along by, it's gripping by being so rather than fighting for your attention

Ultimately the record is one that feels it's been allowed room to breath, a sonic sphere in which musicians have been allowed to roam as freely and thoughtfully as the listener. "This record is about welcoming the music and being able to let each musician express themselves during the recording process," says Durand. "This is a valuable trade that takes time."

Strut present the first ever reissue of an essential lost classic from the Black Fire catalogue, Wayne Davis’ powerful self-titled gospel-soul album from 1976.

An accomplished vocalist and keyboard player, Davis had studied in Washington D.C. and had worked with Roberta Flack and she subsequently secured him a recording deal with Atlantic Records; he released the 'A View From Another Place' album in 1973 and Roberta contributed electric piano to one of the tracks. Davis was the dropped from the label and his subsequent album was released by Jimmy Gray on Black Fire. Produced by Jimmy Watkins and Bias Studios manager, Bob Dawson, the album line-up featured the celebrated poet and flautist Wanda Robinson and the horn section from legendary D.C. go-go pioneers Experience Unlimited. Wayne later returned the favour, appearing as a vocalist on Experience Unlimited’s seminal 'Free Yourself' album.

This first international reissue of the album features new sleeve notes including band member interviews and original illustrated artwork by Muzi Branch. Audio was transferred from the original tapes by the album’s engineer, Bob Dawson, and was remastered by The Carvery.

• First international reissue of Wayne Davis’ album from 1976

In a generation of musicians that came of age in postwar Japan, Kazuki Tomokawa stands as a pioneer of radical individualism, with a sound marked by shocking intimacy and blistering honesty. In his third album, A String of Paper Cranes Clenched between My Teeth, released by Harvest Records in 1977, Tomokawa creeps "ever more inward," as Kiichi Takahara writes in the record's original introductory text-embracing an attitude pervasive amongst musicians of the time who interrogated the prosaic and the profound alike, eschewing politics and society in favor of an "attitude of total self-containment." Tomokawa recorded the album over the course of a month-from August 24 to September 25, 1977-at Tokyo's famed Onkio Haus studio in the bustling Ginza district. The arrangements, accordingly, are amped up: paired with the Black Panther Orchestra, Tomokawa's "screaming philosopher" vocals find their match with the orchestra's electric guitar, bass, piano, tuba, and ground-thumping drums played by the Brain Police's Toshi Ishizuka-who appears on Tomokawa's first three records and remains his collaborator to this day. "This is Kazuki Tomokawa in the flesh," concludes Takahara. A String of Paper Cranes Clenched between My Teeth is, in Tomokawa's uncanny way, able to cut through facade and artifice in pursuit of truth. "You call that life?" he heckles, exhausted by the melodrama and nihilism of youth counterculture, "try saying you're alive!"

Graham Nash: Live is the unique project arriving on May 6, on which Nash revisits his first two classic solo albums, Songs For Beginners and Wild Tales, recorded live in concert The live albums were recorded in 2019, each in their entirety with their songs in familiar sequence. Nash was joined on stage by a seven- piece band led by his
longtime collaborators, Shane Fontayne (guitar and vocals) and Todd Caldwell (keyboards and vocals), The album was mixed by Grammy Award® winner Kevin Killen and mastered by Grammy Award® winner Bob Ludwig.

An extraordinary Grammy Award® winning renaissance artist – and selfdescribed "simple man" - Nash was inducted twice into the Songwriters Hall of Fame, for his work with CSN and his work as a solo artist, beginning with these two landmark albums, Songs For Beginners and Wild Tales.

Nash's lifelong commitment to his work is unwavering. His inspiration is simple: "All the things we stood for, that love is better than hatred, that peace is better than war, that we have to take care of our fellow human beings, because that's all we have on this planet - those things are still true today. I need to know that I've brought something into the world that was positive and not negative."

Dena Miller grew up on a diet of folk before spending 6 years writing and exploring projects through Philly's punk scene, Oberlin's conservatory experimentalist and NY's DIY history before arriving at her debut album 'Woodpecker' . Think Waxahatchee, Told Slant & Moldy Peaches...
Black vinyl with inner sleeve lyrics & download.

Deer Scout’s debut full length Woodpecker is a record about memory and the subconscious. And like an unforgettable dream that keeps you puzzling over its riddles for days, it’s as packed with direct symbols as it is with ruminative haze. “I approach songwriting as a process of boxing things up, or putting away a time capsule,” explains front person Dena Miller, who wrote the album over a period of six years. It’s a culminating collection of the project’s many sounds and influences to date, from Philly’s punk cooperatives to Oberlin’s conservatory experimentalism to New York’s DIY history. At the center is Miller’s assured guitar fingerpicking and boldly clear voice, firmly grounded even as it gently probes uncertain emotional and musical terrain.

Raised by two folk musicians in Yonkers, Miller began recording songs as Deer Scout her freshman year of college in Philadelphia. There, she wrote Woodpecker’s earliest song “Synesthesia” about a train ride home from a basement show: “Night in the city / Big house on the corner / Her voice has the timbre of summers ago,” recalls Miller resonantly. After Miller’s transfer to Oberlin College, Deer Scout began touring DIY venues around the country and sharing stages with favorite artists including Waxahatchee and Told Slant. The twinned intimacy and intricacy of those two influences is reflected in the carefully adventurous arrangements on Woodpecker, which features, among other contributors, bass from close collaborator Ko Takasugi-Czernowin, cello from Zuzia Weyman, drums from Madel Rafter, and guitar from Miller’s father Mark—who also wrote the song “Peace with the Damage” and originally released it with his band Spuyten Duyvil in 2011.

Many of the songs on Woodpecker were written during periods of grief or change. “I used to sing myself to sleep as a baby and I think music still plays the same role in my life—it’s a way of self-soothing or seeking comfort,” explains Miller. “But there’s also part of it that comes from wanting to connect with people." Recorded and mixed primarily by Heather Jones at So Big Auditory in Philly with overdubs by Miller at home, Woodpecker is an exercise in portraying the incommunicable. “Cup”—about a relational psychology test called “a walk in the woods” that turns encounters with symbols into meaning—uses watery arpeggios, wintry strings, and roving bass to create a liminal sonic space, optimistic but tense. “Cowboy,” with airy layers of acoustic guitar riffs and Miller’s charmingly double tracked voice, takes its little fish, big pond inspiration from the character Joe Buck in Midnight Cowboy. And “Afterthought,” with its unexpectedly bright resolutions, is about God, love, and the complexity of empathy; “Heaven isn’t watching us,” sings Miller candidly over pedal steel.

Though Woodpecker is a record about uncertainty and the unknown, it’s also about compassion and connection—as Miller was able to find over the course of writing and recording this next chapter for Deer Scout and first release for Carpark, which she’s excited to at last share with the world.

Black Vinyl, DL card. CD Capacity wallet. A reawakening for the Swedish visionaries, Sincere solidifies their impressive trajectory in a fuzzed out haze of dark and arresting shoegaze pop. An expansive trip through noisier, bittersweet pop realms that recalls My Bloody Valentine, Slowdive and Deerhunter. Underpinning everything there’s a continuing sense of drama throughout; richly textured crescendos, chiming guitars and delicate melodies are guided by Caroline Landahl’s tender yet sharpened vocals. Sincere is joyously effervescent, but with a dark underbelly where fury manifests in a swirl of entrancing and propulsive percussion. A gorgeous and dazzling piece of aching romanticism, destined to feature on a thousand mixtapes. Recorded last year in Malmö, Hater welcomed two new band members and those early day sparks saw them quickly turning demos into fully-formed new songs that appear on the record. Sincere was produced by long-time collaborator Joakim Lindberg and was mixed and mastered by John Cornfield, whose credits include Ride, The Stone Roses and Robert Plant. // “One of the best bands in the world” Gorilla vs Bear // “Your next Scandinavian indie pop obsession.” Flood // “Stunning” Stereogum

This first-ever vinyl reissue, remastered from the original analog tapes, includes a gatefold jacket and inner sleeve with restored, new, and alternate art and photos by Terry and Jo Harvey Allen; an insert with lyrics, original notes, and Terry’s letter to H.C. Westermann about the songs; and a high-res download code. Deluxe CD edition features a trifold jacket and inner sleeve. Recorded exactly two years after acclaimed visual artist and songwriter Terry Allen’s masterpiece Lubbock (on everything), the feral follow-up Smokin the Dummy is less conceptually focused but more sonically and stylistically unified than its predecessor it’s also rougher and rowdier, wilder and more wired, and altogether more menacingly rock and roll. Following the 1973 Whitney Biennial, in which songwriter and visual artist Terry Allen and fellow iconic artist Horace Clifford “Cliff” Westermann both exhibited, Allen maintained a lively long-distance correspondence and exchange of artworks and music with Westermann, whose singular and highly influential art he admired enormously. In a February 1981 letter to his friend and mentor, written shortly after the late 1980 release of his third album Smokin the Dummy, while he and his family were living in Fresno, California, Terry explains the genesis of the album title: Westermann died shortly after receiving this letter, enclosed with a Smokin the Dummy LP, the minimalist black jacket of which Allen suggested that Cliff fold into a jaunty cardboard hat if he didn’t like the music. That response was unlikely, since Westermann loved Terry’s music, calling his debut record Juarez (1975) “the finest, most honest and heartfelt piece of music I ever heard.” The Panhandle Mystery Band had only recently coalesced during those 1978 Lubbock sessions, Lloyd Maines’s first foray into production. Through 1979, they honed their sound and tightened their arrangements with a series of periodic performances beyond Allen’s regular art-world circuit, including memorable record release concerts in Lubbock, Chicago, L.A., and Kansas City. Terry sought to harness the high-octane power of this now well-oiled collective engine to overdrive his songs into rawer and rockier off-road territory. His first album to share top billing with the Panhandle Mystery Band, Dummy documents a ferocious new band in fully telepathic, tornado-fueled flight, refining its caliber, increasing its range, and never looking down. Alongside the stalwart Maines brothers co-producer, guitarist, and all-rounder Lloyd, bassist Kenny, and drummer Donnie and mainstay Richard Bowden (who here contributes not only fiddle but also mandolin, cello, and “truck noise theory,” the big-rig doppler effect of Lloyd’s steel on “Roll Truck Roll”), new addition Jesse Taylor supplies blistering lead guitar, on loan from Joe Ely (who plays harmonica here). Jesse’s kinetic blues lines and penchant for extreme volume were instrumental in pushing these recordings into brisker tempos and tougher attitudes. Terry was feverish for several studio days, suffering from a bad flu and sweating through his clothes, which partially explains the literally febrile edge to his performances, rendered largely in a perma-growl. (By this point, he was regularly breaking piano pedals with his heavy-booted stomp.) Like the album title itself, the songs on Smokin the Dummy ring various demented bells. The tracks rifle through Terry’s assorted Obsessions especially the potential energy and escape of the open road, elevated here to an ecstatic, prayerful pitch and are populated by a cast of crooked characters: truckers, truck-stop waitresses, convicts, cokeheads, speed freaks, greasers, holy rollers, rodeo riders, dancehall cheaters, and sacrificial prairie dogs, sinners seeking some small reprieve, any fugitive moment of grace. A reigning deity of a certain kind of country music since the mid-70s. – The New York Times // The kind of singular American artist who expresses the fundamental weirdness of his country. – The Wire

Double black vinyl LP format of the 1994 OST from one of the all time classic films. Features 32 songs including Elvis Presley, Aretha Franklin, The Four Tops, Bob Dylan, The Beach Boys, The Mamas & Papas, Simon & Garfunkel, The Byrds, Lynyrd Skynyrd, The Supremes, Willie Nelson, Joan Baez and more. Marketing activity.

RIYL: David Byrne, Guy Clark, Bob Dylan, The Flatlanders, Randy Newman, John Prine, Lucinda Williams, Townes Van Zandt. The first-ever vinyl reissue of Allen’s manifold, moving fourth album, remastered from the original analog tapes. Deluxe LP edition features 140g virgin vinyl; a gatefold jacket, inner sleeve with restored, new, and alternate art and photos by Terry and Jo Harvey Allen and friends, insert with lyrics and original notes & DL. Deluxe CD edition features a trifold jacket & inner sleeve. On his manifold fourth album, acclaimed songwriter and visual artist Terry Allen contemplates kinship the ways sex and violence stitch and sever the ties of family, faith, and society with skewering satire and affection alike. Bloodlines compiles thematically related but disparate recordings from miscellaneous sources both theatrical and historical: two songs written for plays; two full-band reprises of selections from Juarez; the irreverent hellfire-hitchhiker-on-highway ballad “Gimme a Ride to Heaven Boy” (featuring Joe Ely); and the poignant eponymous ode to the arteries of ancestry and landscape (the debut recording of eight year-old Natalie Maines, later covered by Lucinda Williams). Since 1970, when they met in Allen’s studio in his hometown of Lubbock, Texas, one of songwriter and visual artist Terry Allen’s great foils and friends was the sometimes cantankerous but always brilliant art critic and writer Dave Hickey, with whom he sparred on topics musical, visual, and beyond (and to whom this reissue is dedicated in memoriam, in the wake of his passing in 2021.) Hickey, a fellow Texan paddling against the currents of the hermetic New York centric art world, was an accomplished songwriter in his own right, and he and Terry pushed each other to refine their respective practices. In 1983, the two were thick as thieves brothers in blood and Hickey’s wry but big-hearted presence haunts the history and periphery of Bloodlines, the album Terry released in June of that year. Hickey’s commercial doubts notwithstanding, critical recognition was not in short demand. In a 1984 review of Bloodlines, the L.A. Herald Examiner called Allen “one of the most compelling American songwriters working today … making the most unique art-pop of our time,” elsewhere comparing him not only to Moon Mullican and Jerry Lee Lewis, but also to the Velvet Underground and Philip Glass (probably the first time that unlikely quartet ever appeared together in one sentence). In 1983, against all odds, such sentiments were growing in underground prominence, as Allen’s records gained a fanatical word-of-mouth following they weren’t easy to find in those days. Recorded piecemeal at Caldwell Studios in Lubbock, in sessions spanning August 1982 through January 1983, Terry self-released it, like all his previous records, on his own Fate Records imprint. Despite his frustration with the protracted timeline and some anxiety about the correspondingly higher budget, the production on Bloodlines courtesy, once again, of master guitarist Lloyd Maines is slicker, cleaner, and more dynamic than prior efforts, and it reached a broader audience than ever before. UK label Making Waves reissued it in 1985, facilitating semi-reliable European distribution for the first time as well as a 1986 UK tour, on which the great BJ Cole filled in for Lloyd on pedal steel. No veteran country songwriter sounds more attuned to the national mood. His songs still feel like little guidebooks for staring down a harsh universe. – The Washington Post // It has always been a fool’s errand to frame Allen in terms of other artists there was nobody like him before he showed up, and the subsequent 40 years have been equally light on plausible peers. Uncut

Cocteau Twins, Jefre Cantu-Ledesma, Julia Holter, DIIV, Washed Out, Broadcast, Insides, Beach House, Drug Store Romeos. Introducing Beneather, a BAFTA-nominated composer from North London obsessively crafting sad, lo-fi, cinematic, ambient scandi-dreampop submerged in gently fuzzy tape loops. Much like the paintings of Gerhard Richter or a heavy mist rolling through a familiar landscape, the debut long player from Beneather obscures and blurs ten beautiful tracks beneath washes of cinematic, ambient scandi-dreampop – details emerge and fade, voices ooze and flow, tunes soothe and unnerve, metronomic beats click and swing. It would not be out of place on a David Lynch or Jim Jarmusch soundtrack. Inspired by the likes of Jefre Cantu-Ledesma, Hammock, Grouper, Low, GAS, Huerco S., Emeralds, Jenny Holzer, William Basinski & ABBA!! Beneather is the solo project of Lewis Young - composer and collaborator in The Leaf Library, drone pop from north London. As a composer, Lewis recently scored the British short ‘Lucky Break’ which found its way into the BAFTAs short list only to narrowly miss out on the gong. Lewis is a multi-instrumentalist, producer, designer and filmmaker currently living in Walthamstow, London. He started as a guitarist in noughties math-rockers Tea with the Queen, shifting to bass for multi-harmonied Naomi Hates Humans before returning to thumping roots as drummer for The Leaf Library. Objects Forever - the imprint label created by The Leaf Library - has provided Lewis with the vehicle to jump back into experimental song craft, inspiring the genesis of Beneather. “I just needed to make a project which spoke to all the aspects of music I’ve loved creating as a multi-instrumentalist. Plugging things into things to make satisfying little electronic loops, then layering extremely minimal bass and guitar lines with a lo-fi aesthetic. Melinda and I spent a few days in the studio - picking out objects, patterns… items that could inspire a thread of instinctive wordless melody. I took that expressionism and sliced it to pieces, rearranging it into ambient vocal hooks.” Beneather is an exercise in hypnotic simplicity. Experimental, dream-like music built on layers of scratchy electronic tape loops, chiming spacious guitars and abstract pulsing vocals. These cinematic songs combine Grouper's wistful deviations with the warm fuzz of Jefre Cantu-Ledesma, the nocturnal hum of Emeralds, the crackling collapse of William Basinski and Low's glacial pop melancholy. Outside of compositions for film, TV and Podcasts - Lewis plays with the indie drone-pop band The Leaf Library, featuring Matt Ashton from John Peel faves Saloon (“World-weary yet innocent, blissful dream-pop” - UNCUT - 8/10). Lewis has supported the likes of Lali Puna, Joanna Newsom, Lætitia Sadier & Alexis Taylor.

The aptly named “Sous Un Soleils Enorme” ("Under a huge sun“) is a solar album, undoubtedly, with many facets. The album was hugely successful . However, Lavilliers did not stop writing and offers on May 13, in the heart of a tour that began this winter, a new version of his album, including four new tracks. “Navires" with blurred outlines conveys the great theater of international affairs… The voice of a friend, “Pablo”, and those whose fraternal echo carries the nostalgia of adventure. "Quai de Béthune", a poem by Aragon set to music, an ode to the magic of the banks of the Seine. Finally, "Tony Machado", an ultimate perfume from Argentina, born in the darkness of a few troubled streets... An authentic collector's version of 15 titles, in limited edition 2LP.Ads and Reviews R2, London Macadam

"'AYII' is a collection of roadside Souvenirs on the rural highway of our
inevitable evolution," shares Jon Stone.
"Polaroids
Storms. Open fields. Tears. Therapy. Burning of fields to make way for new
growth. We've attempted to open personal doors that have been patiently waiting,
annoyingly, stubbornly waiting for a sliver of truth. Hopefully we've delivered."
Kristy Osmunson adds, "Parenthood. This album was created during the most
pivotal time in life made while creating two humans. If I could capture the
process this music brought about in five words I would say, sobriety, health,
growth, responsibility and joy. This last five years has been a massive transition.
Playing festivals, weddings, funerals, therapy sessions, and music lessons has
become the soundtrack of life. 'Gonna Be You' landed on this planet the same
weekend as my first son so I will love that song through eternity. As she always
does, this music brought about a full revolution in my existence as a human." The
11-track project was produced by American Young, Kyle Schlienger, Lee Brice, and
John Vesley.

Those Pretty Wrongs are Jody Stephens and Luther Russell, two old
friends and veterans of the music scene in different ways - Jody was the
drummer for the legendary band Big Star and now helps run equally
legendary Ardent Studios in Memphis & Luther Russell was the leader of
seminal roots-rock band The Freewheelers and is now an acclaimed solo
artist and producer
Those Pretty Wrongs (2016) & Zed For Zulu (2019) were both released to great
critical success and the duo toured much of the US and EU delighting crowds
with Those Pretty Wrongs music. There's an undeniable influence of Stephens'
former band in the breezy melodies, the strong, simple and straightforward
arrangements, beautifully built around the duo's harmonies. Billed as "Double the
PRETTINESS for the price of one" and inspired by the good ol' truck-stop LP twofers (along with the desire to update the vinyl pressing with premium cutting, and
packaging.) Curation Records has teamed up with Those Pretty Wrongs to not
only put their two LPs back in print but to also remind the world of the power of
"pretty music".

The Cycle is the fifth album by Mourning A BLKstar - It's the Clevelandbased collective's masterwork -- a double LP spanning 20 songs and
three singers, touching on neo-soul, hip-hop, and the cosmic expanse in
between/beyond
It is a humble addition to the long legacy of James Baldwin's adage of the artist
as witness. It is their song cycle, written in a time that just may need a song or
two in support of and in love and power to the living. Pressed on Neon Yellow
Color Vinyl

The remastered, repackaged set Music From Grizzly Man contains all of the out of print material Thompson recorded for the acclaimed documentary. Richard Thompson's score for “Grizzly Man” Werner Herzog's 2005 documentary film of real life and death in the Alaskan wilderness is one of the best-kept secrets in the British guitarist's epic canon: an instrumental masterpiece disguised as a movie soundtrack. Recorded over two days as Thompson played live in the studio to Herzog's footage – mostly alone, at times in chamber settings with cello, piano and percussion – these tenderly detailed melodies and quietly visceral improvisations are cinema in their own right, rendered with pictorial instinct and the dazzling technique forged in Thompson's lifelong passage through traditional folk, psychedelia, North African modes and intensely personal songwriting. Here is Thompson at his natural best – finger-picking dance; snake-curl twang and singing-wire harmonics – in a solo clarity that runs from jig-like joy to deep-note meditation, the "Main Title" blues march with its echoes of Fairport Convention's "Sloth" to the long night of "Treadwell No More," a harrowing darkness in slicing treble and tremolo shiver. Produced by guitarist Henry Kaiser, Grizzly Man is a record of powerful solitude as bold and majestic as the land in Herzog's film; as intimate as prayer and essential Richard Thompson.

Active from the late 1980s through to the present day Contrastate have released several critically acclaimed albums. Their early experiments in music were heavily influenced by the industrial and experimental music and art scene of the 70’s and 80’s. Contrastate’s idiosyncratic take on challenging, industrial tinged music has certainly changed and evolved through the years. Their current sound insinuates itself inside the dark ritual ambience of the electronic avant-garde shot through with a vein of experimental noise and stentorian vocals that are strewn amongst touches of industrial surrealism and sonic soundtracks. “Contrastate achieve an amazing equilibrium between organic sound and brooding electronics.” – Heathen Harvest “Contrastate covers a bit of everything in their sound, and that black humor component…makes for a project that I can never predict what they will sound like next, but I know it will be fascinating no matter what” – Brainwashed