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"Art is awe, art is mystery expressed," writes Kaitlyn Aurelia Smith. "Art is somatic, even if it is experienced cerebrally. It is felt." The central mysteries of Smith's ninth studio album, Let's Turn it Into Sound, have to do with perception, expression, and communication: How can we communicate when spoken language is inadequate? How do we understand what it is we're feeling? How do we translate our experience of the world into something that someone else can understand? For Smith, a self-described "feeler," the answers are inspired by compound words in non-English languages, translation, sculptural fashion, dance, butoh, wushu shaolin, and other forms of sensory and somatic experience. Just like fashion uses lines, shapes, colors, textures, and silhouettes to communicate on a sensual level separate from the conscious mind, Let's Turn it Into Sound strives to use sound to communicate what words alone cannot. "The album is a puzzle," Smith says. "It is a symbol of receiving a compound of a ton of feelings from going out into a situation, and the song titles are instructions to breaking apart the feelings and understanding them." The energized "Is it Me or is it You" comes from traversing the gaps between how you see yourself and how another might see you, through a filter of their own projections. The hushed sense of revelation that brackets "There is Something" refers to the feeling of walking into a room and being subconsciously aware of the dynamic present. All the while, Smith interprets these feelings through sound. This auditory interpretation process, driven by earnest curiosity, led Smith to record some thoughts and questions that popped up along the journey in Somatic Hearing_a booklet which accompanies the album. Over three frenzied months, recording alone in her home studio, Smith allowed herself to pursue new experiments to accompany her usual toolkit of modular, analogue, and rare synthesizers (including her signature Buchla), orchestral sounds, and the voice. She created a new vocal processing technique, and gave herself permission to pursue a pacing that felt intuitive, rather one that followed typical song structures. She walked around in the windiest season with a subwoofer backpack and an umbrella, listening to the low end of the album amidst 60mph gusts. She listened to herself, and, in doing so, to an inner community which suddenly opened to her. Underlying the album is a dynamic relationship between what Smith describes as six distinct voices, each a multifaceted storyteller. By acknowledging these characters, she was acknowledging her whole being: the woven plurality of self, the complex process of noticing and resolving inner conflicts, and the joy of finding harmony in flux. "I started to feel so embodied by all of these characters. This is all the felt, unsaid stuff my inner community wants to communicate but it doesn't have the English language as its form of communication, and so this album was a form of giving space to let it talk and not judge it and just let it play." By not adhering to expected song structures, each song feels even more like a conversation, with each character getting to express themselves in full.

"Art is awe, art is mystery expressed," writes Kaitlyn Aurelia Smith. "Art is somatic, even if it is experienced cerebrally. It is felt." The central mysteries of Smith's ninth studio album, Let's Turn it Into Sound, have to do with perception, expression, and communication: How can we communicate when spoken language is inadequate? How do we understand what it is we're feeling? How do we translate our experience of the world into something that someone else can understand? For Smith, a self-described "feeler," the answers are inspired by compound words in non-English languages, translation, sculptural fashion, dance, butoh, wushu shaolin, and other forms of sensory and somatic experience. Just like fashion uses lines, shapes, colors, textures, and silhouettes to communicate on a sensual level separate from the conscious mind, Let's Turn it Into Sound strives to use sound to communicate what words alone cannot. "The album is a puzzle," Smith says. "It is a symbol of receiving a compound of a ton of feelings from going out into a situation, and the song titles are instructions to breaking apart the feelings and understanding them." The energized "Is it Me or is it You" comes from traversing the gaps between how you see yourself and how another might see you, through a filter of their own projections. The hushed sense of revelation that brackets "There is Something" refers to the feeling of walking into a room and being subconsciously aware of the dynamic present. All the while, Smith interprets these feelings through sound. This auditory interpretation process, driven by earnest curiosity, led Smith to record some thoughts and questions that popped up along the journey in Somatic Hearing_a booklet which accompanies the album. Over three frenzied months, recording alone in her home studio, Smith allowed herself to pursue new experiments to accompany her usual toolkit of modular, analogue, and rare synthesizers (including her signature Buchla), orchestral sounds, and the voice. She created a new vocal processing technique, and gave herself permission to pursue a pacing that felt intuitive, rather one that followed typical song structures. She walked around in the windiest season with a subwoofer backpack and an umbrella, listening to the low end of the album amidst 60mph gusts. She listened to herself, and, in doing so, to an inner community which suddenly opened to her. Underlying the album is a dynamic relationship between what Smith describes as six distinct voices, each a multifaceted storyteller. By acknowledging these characters, she was acknowledging her whole being: the woven plurality of self, the complex process of noticing and resolving inner conflicts, and the joy of finding harmony in flux. "I started to feel so embodied by all of these characters. This is all the felt, unsaid stuff my inner community wants to communicate but it doesn't have the English language as its form of communication, and so this album was a form of giving space to let it talk and not judge it and just let it play." By not adhering to expected song structures, each song feels even more like a conversation, with each character getting to express themselves in full.

Norwegian magic with style and enchanting voice! In 2021 LIV KRISTINE‘s EP „Have Courage Dear Heart“ was released and now the
re-release „Enter My Religion“. The album will be released for the first time as a vinyl with an extra single, as a cassette with two bonus tracks and as a double CD with unreleased tracks and demo recordings. The songs were also adorned with universal influences. Sitar sounds introduce the title track, which comfortably gets under your skin with its insinuating melody arcs and LIV KRISTINE‘s delicate voice. The opener „Over the Moon“ (PETER TÄGTGREN) hints at powerful metal, but then develops into a driving pop song. „Fake a Smile“ is an airy ballad, with LIV KRISTINE‘s voice charmingly taking center stage and setting the tone for most of the songs on the album. The title track „Enter my Religion“ is a mid-tempo anthem with a wise appeal to your inner self, your self-esteem, happiness and creativity. The pace continues with „All the Time in the World“. Straighter and more guitar-driven is „My Revelation“. Pleasing harmonies are in the foreground in the warm and soothing composition „Coming Home“. ‚Streets of Philadelphia‘ - BRUCE
SPRINGSTEEN‘s theme song to the Oscar-winning movie was interpreted as a tribute. The arrangements being technically based on the original, LIV KRISTINE adds new and softer accents to the track. „You Take Me Higher“ is extraordinarily different and more dance-oriented, with a subtle drum‘n‘bass overlay. With „Trapped in Your Labyrinth“ and „Fake a Smile“ LIV KRISTINE spoils her listeners
with profoundly sensual ballads and rock songs. The fairy-like singing, accentuated by piano sounds, envelops music lovers in a web of security, melancholy and longing.

„Enter My Religion“ convinces as a spicy and varied album. The blond Norwegian succeeds in creating a fine album with romantic touches, which never slips into kitsch. Simply authentic, profoundly philosophical, surprising and absolutely LIV KRISTINE - luminous and enlightening.

Norwegian magic with style and enchanting voice! In 2021 LIV KRISTINE‘s EP „Have Courage Dear Heart“ was released and now the
re-release „Enter My Religion“. The album will be released for the first time as a vinyl with an extra single, as a cassette with two bonus tracks and as a double CD with unreleased tracks and demo recordings. The songs were also adorned with universal influences. Sitar sounds introduce the title track, which comfortably gets under your skin with its insinuating melody arcs and LIV KRISTINE‘s delicate voice. The opener „Over the Moon“ (PETER TÄGTGREN) hints at powerful metal, but then develops into a driving pop song. „Fake a Smile“ is an airy ballad, with LIV KRISTINE‘s voice charmingly taking center stage and setting the tone for most of the songs on the album. The title track „Enter my Religion“ is a mid-tempo anthem with a wise appeal to your inner self, your self-esteem, happiness and creativity. The pace continues with „All the Time in the World“. Straighter and more guitar-driven is „My Revelation“. Pleasing harmonies are in the foreground in the warm and soothing composition „Coming Home“. ‚Streets of Philadelphia‘ - BRUCE
SPRINGSTEEN‘s theme song to the Oscar-winning movie was interpreted as a tribute. The arrangements being technically based on the original, LIV KRISTINE adds new and softer accents to the track. „You Take Me Higher“ is extraordinarily different and more dance-oriented, with a subtle drum‘n‘bass overlay. With „Trapped in Your Labyrinth“ and „Fake a Smile“ LIV KRISTINE spoils her listeners
with profoundly sensual ballads and rock songs. The fairy-like singing, accentuated by piano sounds, envelops music lovers in a web of security, melancholy and longing.

„Enter My Religion“ convinces as a spicy and varied album. The blond Norwegian succeeds in creating a fine album with romantic touches, which never slips into kitsch. Simply authentic, profoundly philosophical, surprising and absolutely LIV KRISTINE - luminous and enlightening.

Für eine Band, die mehr als ein Jahrzehnt damit verbracht hat, den modernen Metal neu zu definieren, scheint für While She Sleeps das Beste noch bevorzustehen, denn 2022 werden sie auf einigen der größten Sommerfestivals der Welt spielen, in den USA und Australien unterwegs sein und im Herbst eine große

Europatournee mit Parkway Drive absolvieren. Mit ’SLEEPS SOCIETY (SPECIAL EDITION)’ erweitert die Band das erfolgreiche Sleeps Society-Album um drei neue Tracks sowie eine akustische Neubearbeitung von ’YOU ARE ALL YOU NEED’ und ’SYSTEMATIC’ mit Gastgesang von Rou Reynolds von Enter Shikari. Und die Tracks sind nicht einfach nur ”Add-Ons” - sie sind komplett in das Tracklisting des Albums integriert - was ein völlig neues Hörerlebnis
für die Fans schafft!

Für eine Band, die mehr als ein Jahrzehnt damit verbracht hat, den modernen Metal neu zu definieren, scheint für While She Sleeps das Beste noch bevorzustehen, denn 2022 werden sie auf einigen der größten Sommerfestivals der Welt spielen, in den USA und Australien unterwegs sein und im Herbst eine große

Europatournee mit Parkway Drive absolvieren. Mit ’SLEEPS SOCIETY (SPECIAL EDITION)’ erweitert die Band das erfolgreiche Sleeps Society-Album um drei neue Tracks sowie eine akustische Neubearbeitung von ’YOU ARE ALL YOU NEED’ und ’SYSTEMATIC’ mit Gastgesang von Rou Reynolds von Enter Shikari. Und die Tracks sind nicht einfach nur ”Add-Ons” - sie sind komplett in das Tracklisting des Albums integriert - was ein völlig neues Hörerlebnis
für die Fans schafft!

A luminary of anthemic and melodic-driven techno, Enrico Sangiuliano’s path to the upper echelon of dance music has been a rapid, yet authentic one. Taking us on his newest exploration into the world of sound design and story-telling, the Emilia-native unveils the first chapter in a series of opuses under his time-limited NINETOZERO record label. The highly-anticipated countdown of releases begins today with number 9; the 4-track “Silence” EP - out now across all streaming platforms.

The extended-player opens with the reserved ‘inner mix’ of “Silence”; a cinematic masterpiece that challenges the format and flow of techno cuts and instead, radiates a measured and reflective spirit. Bright, twinkling synthwork ebbs and flows between its crisp percussion and distorted bassline, creating a push and pull effect that allows each element its moment in the spotlight. The second offering, “Future Dust”, is teased with the sound of a ticking clock that morphs effortlessly into a strong percussive line, commanded by the raw hollow sensibilities of its kick. The distinct ticking returns to welcome in the break, bringing with it a hypercharged melodic sequence and pitch-bending rave stabs. The components soon flurry together in preparation for the monumental drop, which is succeeded by an unrelenting peak-time worthy drive to the finish.

“New Expression Of Love” is the next to play; a quirky cut with plenty of intrigue and unpredictable twists and turns. Laced with offbeat synth hits that ooze a nostalgic timbre, the tune’s intro airs a subtle swing groove. As it reaches its all-important core, we’re cloaked in an intoxicating melody that serves as pure rapture for the ears, and will no doubt satiate the modern audience’s craving for euphoric sequences. Entering the break, Enrico flares his experimental capabilities, providing us with a moment of break-beat bliss that’s fuelled by acid goodness. A ‘vocal mix’ of “Silence” rounds out the EP with the distinct mantra, ‘we live in silence’, whilst its modular ‘beeps’ signal a countdown clock in reference to the project’s embedded concept of time.

Championing music on a deeper conceptual level, Enrico’s NINETOZERO output is a reflection of his tenacious appetite for evolution and refinement. Producing with a level of finesse well beyond his years, his artistic vibrancy has ensured quick elevation to the top, all the while maintaining a sound that is discernibly his own. Now standing as one of the circuit’s most cherished visionaries, and with an unrivalled back catalogue of Beatport No.1’s to his name, the contemporary sound designer’s first and forthcoming bodies of work under the NINETOZERO umbrella are further proof of his impending rise to dance music royalty.

In association with DJ Amir’s 180 Proof Records, BBE Music continues its exploration of rare gems from the Strata Records catalogue, with previously unreleased Sam Sanders album ‘Mirror Mirror’. A collector’s dream come true, this is musical treasure is so rare that the recordings on this album have never before seen a proper release and even the cover art had to be created from scratch. An almost unbelievable fact, given that it ranks as one of the strongest releases in the already air-tight era of Strata’s Detroit. Although he’s been compared to John Coltrane, Ornette Coleman and Joe Henderson, saxophonist Sam Sanders stands out as one of the most unique phenomena to come from the Motor City. Sanders’ approach to life was so 'out there' that one might say his relative obscurity was a personal choice. Sanders caught glimpses of fame early on performing with several internationally known acts and subsequently, he also learned a bit about what the Record Industry’s primary goals were. Realizing that he did not share them, Sanders chose instead to walk his own path. This drive for artistic freedom turned out to be a double-edged sword: while it allowed Sanders to produce some of the most electric jazz, funk, and soul to come from Detroit, it also meant that most of his recordings were never widely released, if they were released at all. Drawing on his experience with Motown acts like Stevie Wonder and Smokey Robinson, Sanders incorporated a fresh soul sound into recordings that would have otherwise been categorised as jazz. As such, 'Mirror Mirror' moves seamlessly between spirit and style: The album starts on the street with “Inner City Player,” a superfly breakdown of a Detroit hustler’s life, before moving into distinctly abstract territory with the melancholy “Face At My Window.” The experience is held together by a no-nonsense rhythm section featuring the aggressive drumming of Jimmy Allen and the intensely focused bass playing of Ed Pickens. Perhaps the most straightforward jazz song on the album, “Lover’s Gain” showcases Sanders at his freewheelin’ best. And if there was to be any doubt that 'Mirror Mirror' can get funky as hell, look no further than the wah-wah guitar and early synth sounds of “Funk’ed Up,” easily the greasiest cut on the album. 'Mirror Mirror' is remastered from the original reel to reel master tapes.

Nearly 20 years ago, Karl Sanders – the founder, principal songwriter, and driving creative force behind the exotic, devastatingly heavy stylings of American extreme death metal icons Nile – forayed from his metallic leanings to serve listeners with a transfixing dose of the cinematic, meditative, world music-driven Saurian Meditation (2004). The album explores highly original compositions of hypnotizing, primarily Middle Eastern inspired music, featuring the unique inclusion of instruments such as the balagma saz (Turkish lute) and Glissentar, often blended with dark electronic ambience and deft electric guitar work. Saurian Meditation marked the beginning of Sanders’ Saurian journey, being the first of now three Saurian releases. From the haunting first notes of “Awaiting the Vultures”, which dreamily conjures images of traversing through the dark, mysterious halls of an abandoned ancient temple, to the slithering, percussion-driven pulses and searing electric solos on the ominous album closer “Beckon the Sick Winds of Pestilence” – Saurian Meditation provides a diverse escape for both fans of Nile and the outer realms beyond. Thematically centered around its acoustically-driven, spellbinding seventh track, “Dreaming Through the Eyes of Serpents”, the album ebbs and flows from a higher, rhythmic consciousness to a darker, hypnotic inner balance, achieving a Reptilian Theta State of deep meditation. Saurian Meditation launches the multi-dimensional Saurian universe – witness the very first, transcendental solo output by Karl Sanders, available for the very first time on vinyl, as well as in CD and digital formats, via Napalm Records!

The new collaborative project between Deborah Jordan and K15 explores the concept of our own humanity while attempting to address what does in fact make each of us human. While the inspired pairing of revered singer and songwriter, Deborah Jordan, alongside the boundless versatility of producer and musician K15 (Kieron Ifill) for a whole album seems too good to be true, this is actually a project that each of their respective roads have been converging towards for years.

The songs throughout ‘Human’ beautifully embrace the array of styles that both Jordan and Ifill have become attributed to – from the brilliant Culross Close-esque production of album opener ‘Running’ to the twinges of broken beat found in ‘Innervision’ and the more acoustic, piano-driven tracks like ‘Change’. The masterful production is both sparse and intricate affording Jordan’s typically incredible vocal the appropriate space to explore these sonic soundscapes in her own inimitable way while expressing those very characteristics about our own humanity.

In November 2020, in the midst of a global pandemic and driven by the desire to embark on an inner journey, Mario G. Quelart (Lucient) chose this peculiar enclave as a source of inspiration and focal point for his debut album 'Sa Casa des Carbó'. For ten days Lucient self isolated by choice and undertook an introspective journey to find himself. It was a voyage through uncertainty and fear, with moments of tranquillity; a personal pilgrimage traveling through light and the shadows, in which time became a relative element. Sa Casa des Carbó' is a sound journal of this experience, an album with an ambient base, but which opens the door to experimentation, rhythm and psychedelia. Field recordings - the sea, the birds, the wind, and a strangely silent airport - are fundamental parts of this journey and serve as a canvas for an album of cosmic electronica with Balearic overtones.

Following the precursor singles of 2021, Formality Jerne-Site’s unveiling is finally cast upon her already-growing fanbase. Trained classically as a composer and completing a masters at the Royal Danish Academy of Fine Arts, Jura introduces a highly-anticipated playground of carefully sculpted characters, plots and lessons - sometimes charming, sometimes nefarious, always absolute and sincere. A fictional land opens its doors and roof to us. A trio of trans kids run amok in rural suburbia. Various sorcerers of the wild future enter the scene on some songs; on others, the mind is cast to sun-drenched drives and journeys of yesteryear. At the heart is a pop sensibility: yearning, reflections, vanity, guesswork, hope. Jura is adamant about practice and precision. Dead seriously she offers, about making music: ‘Nothing should be half-hearted or an accident.’ There’s a maturity and elegance to her compositions, arrangements that - although at first sound seem abstract - lean away from experimental, somehow. She sing-speaks in English, and somehow not typically theatrically for such a play of a record. The theatrics are all real. It’s a fantasy land for sure, but it's based on hard facts. Like academia subdivided into poetry. It’s that weird-ass specificity she mentioned. Opener ‘Someone’s Lifework’ introduces less a choir of voices, than a choir of personalities. The art of storytelling is at the center of the musical expression. A protagonist relinquishes control of chaos that’s bigger than them on a perilous journey on some vessel: they comfort their co-passengers. There’s a sense that the hero - or anti-hero - might be more canny and cunning than the sweetness they first sell to fellow players. 'Is this our getaway chance?’ sings fellow Copenhagener Ydegirl amongst swelling synths and reverb that become so definitely Jerne-Site as the quest continues. The search? For intimacy, perhaps. ‘Same late Age (dIcK bIfFeReNcE)’ imbibes at once, some further disorientation, perhaps a little hallucinatory feeling which may come over the listener. Through a synthesizing of political themes that work across time ‘Same Late Age (dIcK bIfFeReNcE)’ bears reminiscences of the musical expressions of anti-capitalism in the 1980es, although in a new body and context. “I have a feeling that music reconjures societal morals and ideas from the time in which it was written when we press play or hear a live performance. From the moment at a concert when the symphonic orchestra starts tuning in, the time traveling begins. So I imagined how it would be to be trans sitting there playing the first violin, having the job of producing that first tone that all the other musicians around me tune in ona, ” Jura explains. The listener yearns for more; and subsequent tracks deliver. On ‘How Intimate It Gets,’ Jura meditates on the futility of closeness, begging the audience to enter the blood and guts of their own entanglements, the blueprints of focusing entering. Jura sings richly about fingers being lines, pointing or bending, and we’re reminded of their own wicked ways we can’t control. A history of singing in choirs informs the harmony of myriad inner voices heard across the album. At once prophetic and enigmatic, some of the songs rearrange historical events out of pop musical language. The enormously entertaining ‘Pinot-Botticelli Toast to European Users’ conjures scenes of Cold-War world leaders stuck on a cruise in the Transatlantic vacuum, and the protagonist watches a devastating heartbreaker careen on into the picture, led by his own hips on ‘The Lasceaux Associate’. Finally, on title track ‘Formality Jerne-Site’, American English rises to the occasion like a verdict around the narrative of three trans teenagers in rural Colorado: language turns into something sensual and haptic, playing with the snare and sizzle of syllables. The words twist and bend, while the music follows its own synaesthetic logic: “around us pop culture made a vow to a normative desire, drawing in like water color percussion”. Anyines is a site of play and documentation, with a canon so far quite nice. Their future is one that envisions supporting the galaxies their dear friends embody, be it music, performance, video games or beyond. Highlights from their discerning back catalogue include myriad formats: live and digital, plus releases binded to physical artefacts that enhance the live experience such as sculptures and scents. Their history also includes disappearing time-sensitive shadow-tracked material and cross-disciplinary opportunities that reflect deep professionalism and a totally non-schooled semblance of sound and drama. Recent releases include a dance-theatre soundtrack, a traditional shiny pop record, and the acclaimed ML Buch sophomore, Skinned.

Dark Entries presents a reissue of Shawn Pittman’s 1989 Dreams, an obscure and highly sought-after private press gem produced and written by Art Forest. An undersung figure in the development of the late 80’s Detroit techno sound, Forest collaborated with, produced, or penned material for many of the key players in the movement, including Inner City, Suburban Knight, and the Belleville Three themselves (on Kreem’s “Triangle of Love”). This reissue gives Forest’s own productions some shine while providing a thrill for both dancers and collectors.

Dreams features two songs, both written and produced by Art Forest and featuring Shawn Pittman on vocals. The A-side contains two mixes of “Dreams”, a smooth R&B/modern soul number driven by Pittman’s vocal. While the song is undeniably radio-friendly, it contains some of the hallmarks of the Detroit techno sound – sparse arrangement, lush reverb, and booming bass. On the B-side, we are treated to two different versions of the clubbier “I’m Losing Control”. The original mix leans towards boogie/freestyle, with syncopated 909 beats and sassy synth vamps, and wouldn’t sound out of place next to Forest’s work with Inner City. The Extended-Bass-ment Club Mix strips things down and dubs them out, leaving us with shards of bass synth, brooding strings, and Pittman’s vocals eerily warped to the edge of recognition; a perfect late-night warehouse anthem.

All songs were remastered by George Horn at Fantasy Studios. The sleeve is a replica of the original cover art. Also included is a 2-sided postcard with lyrics and photos of Art.

140g Black vinyl LP – Printed inner sleeve - Sealed plastic sleeve

In Trux We Pux is an editorial project organized by the Porto based label and collective Favela Discos. Focusing on the city’s thriving experimental and improvised music scene, it sets out to portrait in a series of four volumes some of the characteristic sounds and collaborative practices that have been in development in Porto during the last few years.

In Trux We Pux 01, the first record of the collection, is focused on the electronic side of the eclectic but characteristic experimental and improvised scene in Porto, and contains a selection of 23 musicians that have been developing their own take on whatever niche genre they dwell in. Among the list of musicians are Filipe Silva (HHY & The Macumbas), Crónica Electrónica’s heads @c, ocp, coletivo vandalismo and several others that populate a thriving scene that spans a wide gamut of sounds, from delicate to abrasive.

As the tracks themselves, the different approaches to composition and production add to this compilation’s schizophrenia. The first side of the record offers us a spacious and abstract scenery, starting with a collage of field recordings, banjos, and fans, narrated by google translate’s voice. The following two tracks flow along the granular tide of ambient spaces and atmospheres slowing down a bit before the second side turns around 180º and heads towards more rhythmic fields.

Coletivo vandalismo & querido lider present us with their exploration of half balearic, half german-synth-music pulsing away at the beat of broken down dancehallish drums and reggae breaks. Challenger & Lorr No’s track is a trainwreck heading down a break driven jungle that lead us to the album’s closing arguments: MOSCXS’ sludged beat goth-step exploration around the poem “Poema Agreste” by Glória de Sant’Anna.

140g Black vinyl LP – Printed inner sleeve – Sealed plastic sleeve

In Trux We Pux is an editorial project organized by the Porto based label and collective Favela Discos. Focusing on the city’s thriving experimental and improvised music scene, it sets out to portrait in a series of four volumes some of the characteristic sounds and collaborative practices that have been in development in Porto during the last few years.

In Trux We Pux 02 contains the first of Favela Discos’ collective pieces to be published, and it was chosen to represent a long series of site-specic pieces developed by the collective since its formation. Most of the time these pieces remain lost in time or in the label’s archives.

Desilusão Óptica is an audiovisual piece developed for the festival Serralves em Festa 2017 and was recorded between the concert and rehearsals. The piece is influenced by the book Musicophilia by Oliver Sacks, and tries to explore the notion of auditory hallucination, in this case based on the idea of a phantom sound unconnected to its object.

Starting quietly with a single flute note, Desilusão Óptica slowly grows fuller but more uncomfortable as the pitch rises gradually in a hypnotic effect. The sound we hear is a mix of the sound produced live, its manipulation and repetition, thus the piece exists between the time when it happens, its immediate repetition and ghosts of past sounds.

The flute, delayed and sampled, embodies both the sounds it produces and memories of past sounds, creating a confusion between objecto and sound. The sound is produced by an object but is at the same time separated from it, like in Mulholland Drive when we watch a singer emotionally dedicated to a performance and whose voice keeps on singing even when her body collapses.

Like in Dub Music, the musicians are divided into two groups: those who play, in this case divided by winds, percussion and electric guitars, and the dub master / sound manipulators who launch samples of previous recordings and manipulate the sound that is produced live, through loopers and delay pedals.

Trees Speak are back!
Speak’s new album, “Vertigo of Flaws: Emancipation of the Dissonance and Temperaments in
Irrational Waveforms” comes as a double-vinyl edition, single CD and digital release. The limitededition first pressing only of the vinyl includes a bonus 45 enclosed in an 8-page 7”x7” booklet
insert housed within the gatefold sleeve with cover artwork created by Soviet Union propaganda
artist Lazar Markovich Lissitzky in 1911.
Trees Speak are back!
This new release is a vast leap into an ocean of space and sound, a quantum leap into cybernetics, biology, anti-gravity,
time travel, dream speech and transfiguration. A seriously next step release!
Showing no signs of slowing down their rapid creative pace – incredibly this is their fourth album in the space of just over
one year – ‘Vertigo of Flaws’ is a mighty 29 tracks, one and a half hours of music across one double album that is surely
going to be a defining point in their musical career, a giant leap into the sonic unknown, an epic exploration of intensity
and sound.
Alongside their now trademark German krautrock motoric-beat rhythms, angular New York post-punk attitude, tripped-out
60s spy soundtrack, psyche-rock, and 70s synthesizers and vocoders, here you will also hear a new cosmic spacial
awareness (both personal inner space and galactic outer space) and a truly wilful pushing of sonic boundaries - as police
sirens, static noise, alarms, radio signals, avant-garde voices, and orchestral string quartets, all collide to add beautiful
dissonance to uber-powerful, intense, addictive and propulsive rhythms - in the process creating a truly unique
soundscape that Trees Speak have made wholly their own.
If you ever wanted to hear Can, Hawkwind, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid,
Tangerine Dream, Suicide, Neu!, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable
Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one
band - then this is it!
Trees Speak are Daniel Martin Diaz and Damian Diaz from Tucson, Arizona and their music often draws on the cosmic nighttime magic of Arizona’s natural desert landscapes. ‘Trees Speak’ relates to the idea of future technologies storing
information and data in trees and plants - using them as hard drives - and the idea that Trees communicate collectively.
Special guests from the hyper-creative hub of the Tucson music scene on this release are Gabriel Sullivan, Ben Nisbet, Saul
Millan, Stephani Guilmette, and Davis Jones.
The album Vertigo of Flaws was recorded in Brooklyn, New York, and Tucson, Arizona during the plague of 2021.
Extract from Vertigo of Flaws sleevenotes:
‘As we travel through space and time, avoiding the discarded remains of the industrial period, the
deconstruction of social norms through the expression of art, music, and philosophy guide the human
experience towards the unknown.
All that remains are musical echoes scattered throughout the universe, like ancient vibrations that now
populate the cosmos. These waves now show signs of decay. Melody, beauty, tonality have all but fallen
away as dissonance blossoms. As John Cage wrote in 1937,
“Whereas, in the past, the point of disagreement has been between dissonance and consonance, it will be,
in the immediate future, between noise and so-called musical sounds. New methods will be discovered,
bearing a definite relation to Schoenberg’s twelve-tone system and present methods of writing percussion
music and any other methods which are
free from the concept of a fundamental tone”.
Similarly, George Van Tassel claimed the Integratron as capable of
rejuvenation, anti-gravity, and time travel. So, what remains of the
“people”? We have adopted from them our own Zeitgeber: their pulses
now guide our sun, our planets, our earths, and are the new circadian,
diurnal, and ultradian rhythms of the galaxy. Traumsprache, dream
speech, is now the internal language of trees.
Decaying metal and machines liberated the note unto nature’s table,
and we sip the delicious nectar of music once more irrational, elaborate,
violent, vast. The past is the future, musical disintegration its own rebirth.
We are nature, once more the computer of the Universe.’

Let’s Eat Grandma, the duo composed of songwriters,
multi-instrumentalists and vocalists Rosa Walton and
Jenny Hollingworth, release their third full-length
album, ‘Two Ribbons’.

 Co-produced by David Wrench and Let’s Eat
Grandma, the album includes previously released
singles ‘Happy New Year’, a celebratory song about
friendship, plus the stunning, melancholic title track
‘Two Ribbons’, glistening pop song ‘Hall Of Mirrors’
and ‘Levitation’, a glimmering and expansive track
driven by soaring synths.

 The band have also announced details of a UK tour,
their first in over three years, including a homecoming
headline appearance at the Sunrise Arena at Latitude
Festival, with further international shows to come.

 Deluxe 140g vinyl LP in 300gsm gatefold sleeve with
matt UV varnish and embossed foiling area, with
150gsm matt UV varnished inner sleeve and digital
download card, also with matt UV varnish.

 Deluxe LP includes exclusive 7” in spined sleeve disco
bag and 180gsm matt machine varnish inner sleeve.

 Tourdates - April 30 & May 1 Stag and Dagger Festival
Glasgow, July 24 Latitude Festival Southwold, October 6
Clwb Ifor Bach Cardiff, 7 Yes (Pink Room) Manchester, 8
Belgrave Music Hall Leeds, 13 Cluny Newcastle, 14
Metronome Nottingham, 15 Space 54 Birmingham, 16
Mash Cambridge, 18 Thekla Bristol, 19 Koko London, 21
Patterns Brighton, 22 Epic Norwich.

VINTAGE CROP serve to serve again. Over the last four years the Geelong group have become a burgeoning force in the Australian punk scene. Their burly, brusque yet supple songs have evolved from the garage rock of 2017’s ‘TV Organs’ album into the post-punk panic attack of last year’s ‘Company Man’ EP. Now they’ve sculpted their sound further, the barrage now offset with robust songwriting, their full-pelt bounce tempered with flailing guitar lines and sardonic commentary. Bringing to mind Wire tackling tracks from early 7”s by The Yummy Fur, it’s an inspired approach, both striking and effortlessly mirthful. Vintage Crop still dish-up plenty of commanding stomp, their lyrics remain as keen-eyed as ever, but now they’re unafraid to mess with the tempo and drive their point home.
‘Serve To Serve Again’ is Vintage Crop’s third full-length album. It was recorded by Mikey Young after a year of playing solid shows, including tours in Europe and the UK alongside Louder Than Death and URSA and some of the band’s biggest shows to date in Australia with Amyl & The Sniffers, R.M.F.C. and The Stroppies. This allowed Vintage Crop to nail the songs live before committing them to tape, pulling and pushing ideas, stretching them into new-found territories. ‘First In Line’ races off the blocks with its sawtooth riff and splintered beat, all jagged edges and ragged vocals. Quickly follow a pair of totemic bruisers in the guise of ‘The Ladder’ and ‘The North’, both brimming with a nigh anthemic quality, confident in their faculty to rouse the rabble. ‘Jack’s Casino’ is a lurching romp about gambling, ‘Streetview’ is similarly propellent, only choosing to meander and divert itself with cryptic trips around the neighbourhood: “He only moved to that side of town because the postcode is worth it’s weight in gold”.
There’s no better poised nod to frustration than ‘Gridlock’ - “the hustle and bustle of inner-city traffic is driving me nuts because the radios on static”. Guitar lines entwine and wriggle wildly free from the song’s pouncing rhythm and potent vocal, making for the most vigorous of rackets. ‘Just My Luck’ prowls with a shared thrumming verve, whilst ‘Everyday Heroes’ closes out the album with measured flair. Skewed and fervent, rangy at times yet always assured in its intent ‘Serve To Serve Again’ is long-legged leap for Vintage Crop into the delirious now. These songs strive to make sense of futility, they criticise the chain of command, question privilege and most importantly make us want more from life. Now all we have to do is turn up the volume!

Collaborating once again with legendary composer Yuzo Koshiro, Data Discs is thrilled to present one of the most revered and timeless soundtracks of the 16bit era: The Revenge of Shinobi. Composed in 1989, the music for the Mega Drive game (known as The Super Shinobi in Japan) blended Western dance music with Japanese overtones, to create something truly unlike anything else before. The soundtrack was Koshiro's first commissioned work for SEGA and served as a forerunner to his seminal Streets of Rage trilogy, where the concepts and styles he founded with Shinobi would be expanded upon to astonishing effect. Koshiro's work on The Revenge of Shinobi remains a testament to the ingenuity of early game composers who, when given enough creative freedom, found the means of drawing new and unexpected sounds from extremely limited hardware.

The Revenge of Shinobi is presented as a 180g bone coloured LP, cut at 45rpm and packaged in a 425gsm outer sleeve, with heavyweight inner sleeve and double-sided lithographic print, featuring original artwork sourced from the SEGA archives in Japan. The release also includes exclusive liner notes written by Koshiro himself.