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"Deus lo Vult" is the third album of BDM, a concept characterized by romantic and historical nuances that will conclude the trilogy. It tells the story of the unfortunate Umbrian nobleman Simplicio, who leaves his land, his home and his wife in search of glory, fortune and richness in the Holy Land at the time of the First Crusade.
Compared to the previous album the lyrics are much more raw and visionary, the sound is hard and tends to rock, sometimes heavy but tinged with shaded songwriting and sometimes ironic, this variety of solutions allows the music to fit the plot. The pressing structures of bass and drums support the acrobatics of flute, guitar, sax and organ, while the histrionic and powerful voice goes from mellow tones to those crackling in a wide range of interpretations in timbre. A mature album, which is direct and full of details. A human journey full of passion and blood with a really explosive finale!

Already issued by AMS Records on CD papersleeve (AMS 253 CD), this record is finally published on its fully appropriate format: a gatefold 180gr. black LP, and listeners will now be able to enjoy it even more than before, thanks to the unsurpassed vinyl audio quality and, from the visual point of view, to the marvellous cover painting that now shines in full details and shades.

LTD LP + CD !!

Anyone who has thoroughly studied the subject of progressive Italian rock, going beyond the usual 'fundamentals' that everyone knows, is probably aware that Il Sistema was a 'mythical' ensemble, belonging to the Ligurian prog-rock scene, they had a short life between 1969 and 1971, a two-year interval when - like many other colleagues - they unfortunately hadn't been able to release anything official on LP.
From those years there are still a handful of recordings, some of which have already been published, only twenty years later, in the collection "Il viaggio senza andata". Others, recently rediscovered by the multi-instrumentalist Ciro Perrino, have been included in this "Early tapes", thus completing the framework of the enormous potential and skills of a band that truly deserved more attention from music producers and listeners. All tracks here included have never been released before, including "Il tempio per una verde spirale", finally recovered in its full version. These songs won't probably leave you indifferent, in particular the long jazz-rock-tinged "Impro-non" and "Free system", There's also a small 'pop' attempt in "La Balena" and a couple of short complex and unpredictable songs ("Gladiatoria", "Effe").

Given the era they were conceived, and the musicians' very young age, we can only imagine how important Il Sistema could have become if they had been noticed back in those days. From the ashes of Il Sistema, Celeste was born, authors of one of the most beautiful albums of the whole Italian prog scene, "Principe di un giorno".

"Early tapes" is released in a limited edition of only 300 copies, on blue vinyl, including the same album on a bonus CD.

One of the features that make certain rock truly 'progressive' is the contamination with classical and symphonic music. Many others tried to experiment, with varying success, but without fully giving up their identity, Le Orme began to contaminate their music since "Collage" (1971), but never before a change had been more drastic than that of "Florian".
The album, released in 1979, which shows a picture of the band in front of the homonymous Café in San Marco in Venice on the inner gatefold cover, is completely free of any of the modern sounds of the previous band's LP to look towards past and tradition. We could call it 'unplugged', close to the folk and sometimes ethno/world music (listen to the song "Il mago", for example) genres, entirely recorded with acoustic instruments (vibraphone, marimba, glockenspiel, violin, mandola, bouzouki) and very distant from any late '70s trends.

Yet another record to be rediscovered, "Florian" is now reissued on VM label on coloured vinyl. The cover artwork reflects the original one, including the inner envelope with song lyrics and liner notes.

100% uncut psychedelia and garagey, jangly folk-rock from 1968!!

Originally from Portland, the New Tweedy Brothers were formed by brothers Fred and Danny Lackaff plus Dennis Fagaly and Steve Ekman. In 1966, they relocated to San Francisco, where they were part of the exploding, nascent psychedelic Ballroom scene, influencing none other than Jerry Garcia and sharing stage with bands like The Warlocks (pre-Grateful Dead), Quicksilver and Big Brother among others. Upon returning to Oregon, they self-released in 1968 their only album, housed in a striking hexagonal, over-sized silver foil cover, now a holy grail between psychedelic collectors. Innocent vocal harmonies, fuzzy bass, jangly guitars, raga sounds...

Many punters feel that this LP epitomizes the innocent first wave of "the West Coast Sound" before it was quickly corrupted.' - John T. Berg.

RIYL: THE BYRDS, MOBY GRAPE, JEFFERSON AIRPLANE, THE CHARLATANS, BUFFALO SPRINGFIELD...

* Master tape sound

* Insert with rare photos, memorabilia and interview with original band member Fred Lackaff

*Original hexagonal silver foil artwork adapted to a standard cover, to avoid shipping and storing problems

2nd April 1972 Mar Y Sol Pop Festival Puerto Rico FM Radio Broadcast - Vinyl limited to 500 Copies Only - Classic Alice Cooper Group Line up - Gatefold deluxe sleeve includes out take photos from the classic 'Killer' album cover - Audio Cleaned and Mastered for Vinyl.

Cardiff's Chain of Flowers return to Alter with their first new material since 2015's self-titled debut album. A double A sided single, 'Let Your Light In' and 'Flesh, Blood and Bone' are two tracks which see the band moving beyond the dense shoegaze sonics of their debut, bringing forward a more spacious and streamlined sound that emphasises the powerful urgency of their live performances.

Despite 'Let Your Light In' offering a more optimistic tone to what fans of their debut may be used to, the charismatic guitar hooks, hazy vocals and fist-to-the-horizon anthemic qualities of the group are no less present. On this new found optimism, vocalist Josh explains: "Relationships of all kinds keep this world moving. We live in times of profound darkness, though I somehow find myself lucky enough to be surrounded by people that pour some light and inspiration back in to my life and this is not to be taken for granted. This song is an ode to love and companionship around the world, a gratuitous nod to the better aspects of the human race. A thank you for being you."

'Flesh, Blood and Bone' on the other side appears to follow a darker and more pensive path at first with Josh singing at his most baritone and ominous. However when the chorus hits with its searing synthesiser melody, a switch is flipped. Musically it channels perfectly the bombastic new wave ambition of early Simple Minds, alongside the dramatic post-punk melancholy of the Chameleons. With this, Chain of Flowers are evidently making an effort to find a light within the darkness of the world and their own collective souls.

Dive does need no introduction. Frontman of Belgian EBM prime-movers The Klinik and the seminal minimal-synth act Absolute Body Control, Dirk Ivens started to work under this moniker in 1990 and has released a long list of albums and EP's on a wide number of labels including Minus Habens (Italy), Daft Records (Belgium), Discordia (Germany) and recently Out of Line (Germany). Dive is a sharp mix of industrial, EBM, noise and experimental sounds with abused drum machines, pulsating distortion and an unmistakable voice.

This live show recorded on the famous Razzmatazz in Barcelona on April 2003 shows Dirk at the best of his fruitful career including some of Dive best tracks: Final Report', Sufferhead', Power of Passion' and others.

When Matthew Melton told us he had two brand new records for us to hear, a final Warm Soda record as well as a new band with his wife Doris called Dream Machine, I must admit there was a little sadness that Warm Soda had run its course. Then I put on Dream Machine and poof, a puff of smoke and a familiar looking magician appears, beckoning for me to jump through his top hat and we're off! The vibe makes a deft jump from Warm Soda's terse power pop to tongue in groove swinging proto-metal a la Iron Butterfly, Deep Purple, Heart, and more than a hint of LA's dark masters The Doors...Doris absolutely murders the organ all over this thing, along with some perfectly placed synthesiser pepper - it's just jammed with hooks and pulsing vintage vibes but in an unassailably clever and accomplished manner. This band is going to be the background party band of the summer I can already tell, this sounds like a saturday night satanic ritual in a sunsetting Austin backyard, everyone dressed to the nines and we're fuckin goin' there man. If I didn't know Melton already I would have lost my shit seeing this out in the wild - expertly played, fantastically recorded (at A = 432 hz, by the way) and just a real tasty party platter of a record here for you!

Recorded in bedrooms and studios around their home suburb, Byker, Immortal Kombat is a document to the limitations of self-love, the pathology of loneliness in the modern world, the intrinsic need to connect and identify with other human beings, and of course, death, and how our approach to mortality affects the way in which We love. Sewn together across six tracks of squirming guitar riffs, thunderous drumming, taut vocals and razor witted lyrics, Immortal Kombat is EAT FAST on their leanest and most succinct form yet.

Layering lo-fi garage aesthetics on top of pop song arrangements, EAT FAST was originally intended solely as the recording project of Newcastle's Adam Pearson. But 2016 saw EAT FAST develop into a live band, with Pearson cutting short a PhD in contemporary poetry at the University of St. Andrews to move home and bring friends Mark Brown, James King and John Edgar into the fold. With influences ranging from Basil Bunting to The Cure, EAT FAST mix sugar-drenched harmonies with Pearson's dark lyrical content. Their debut EP Fenham Dread(lock) garnered praise from BBC Radio 1 and 6 Music DJs Huw Stephens, Steve Lamacq and Tom Ravenscroft, with online support flooding in courtesy of Noisey, The Line of Best Fit, DIY and Clash. Appearances at The Great Escape and BBC Introducing stage at Reading and Leeds - as well as a first full UK tour in support of Honeyblood - confirmed EAT FAST as one of the most intense, energetic new bands in the country.

Having landed spots in a slew of end of year tips lists, including DIY's Class of 2017 and The Guardian's Future 50, EAT FAST aired ' Sand Drone', the b-side to their raucous October 2016 single 'Public Display of Affection' in January. A biting riposte from one generation to another framed by EAT FAST's trademark sugar-fuzz guitars, it attracted support from Beats 1's Matt Wilkinson, as well as more praise from the BBC's Huw Stephens, Steve Lamacq, Tom Ravenscroft, and Phil Taggart.

'Public Display of Affection' and 'Sand Drone' were made available on 7" purple vinyl with the February Flying Vinyl subscription box - the band sold out their super-limited run of 100 records in no
time. Presales With their signing to Cannibal Hymns (home to early releases from Dream Wife, Our Girl and Abattoir
Blues) and second EP just announced, EAT FAST are ready to cement their reputation as one of the UK's most vital new garage bands in years.

Debut album from 1972 by Ertlif, one of the leading Swiss progressive / psychedelic bands from the 70s. Now expanded to a double set, including a whole extra album of previously unreleased homemade recordings from 1971 plus a rare compilation only track from 1973.

UK sounding doomy & atmospheric psychedelic hard-rock and proto-prog sounds with lot of Hammond organ, hard guitar, occasional Mellotron and English vocals.

RIYL: Deep Purple, Procol Harum, , Atomic Rooster, Black Sabbath, Ainigma, Necronomicon...

Ertlif was formed in 1970 by two ex-members of Egg & Bacon, lead guitarist Dany Andrey and bass player Teddy Riedo. They were joined by keyboard player James Mosberger (The Only Ones, The Countdowns), drummer Hanspeter 'Bölle' Börlin (The Countdowns) and lead guitarist Martin Ruder: the cream of the Basel music scene from that time. The band name was derived from a mysterious medieval magician and alchemist.

They were inspired by Pink Floyd, Yes, Procol Harum, Van der Graaf Generator and Genesis amongst others. A strong rhythm section and twin lead guitars blended with the Hammond organ created the characteristic Ertlif sound. In August 1971 they were the only Swiss band invited to the "Pop Meeting 71" in Münchenstein, Germany. Soon after, Ruder left the band. In November 1971, Richard John Rusinski, an experienced singer from England (ex-Autumn Symphony), joined the band. Riedo and Beni Hauri (the band's roadie) had been experimenting with oscillators, noise generators, ring modulators and other devices since 1969. In early 1972 they introduced these electronic sounds into the band's closing number "Classical Woman" so becoming pioneers of electronic music in Switzerland. They also became the first Swiss band to use a Mellotron.

The band's instrumental virtuosity established them as one of the country's top acts and a phenomenal live band and they were one of only a few Swiss groups to be offered a recording contract.

In August 1972 their album and a 45 were completed in only four days. The records were launched in October generating radio interviews, television appearances and a great deal of press coverage. The promotional tour began with sold-out shows on three consecutive nights at the legendary Atlantis club in Basel.

Ertlif continued performing until 1978, when they disbanded. In 1992, they reformed with the original band members and continued playing live. In 2001 they released a new album on CD. With a new line-up, Ertlif have been active until last year when founding member Teddy Riedo sadly passed away.

This album is dedicated to the memory of Teddy, who was the brainchild behind this new Ertlif reissues.

This double LP contains:

-The first Ertlif album from 1972, featuring the original tracklist and sound taken from the original master tapes.

- A bonus LP consisting of previously unreleased 1971 demo recordings, done at the band's rehearsal studio without overdubs. With these demos, Ertlif were offered a recording contract with Tell Records.
Also included as bonus is "Plastic Queen" from 1973, taken from the album "Heavenly and Heavy - Mixed Swiss Rock Candies".

*Remastered from the original master tapes by Eroc

*Lacquer cut by SST Brüggeman

*Insert with liner notes by band member Teddy Riedo plus rare photos and memorabilia

Classic rock'a'billy madness from the wild man, here reproduced on original looking labels and bagged in a reproduction of the insanely rare original picture sleeve.

Ltd edition of the original 1977 mixes on Starburst Vinyl. LP STARBURST COLOR VINYL. Kill City helped bridge Iggy Pop's musical career from the drug-fueled and blazing rock of the Stooges (Raw Power, etc.) to his artier (but just as influential and passionate) David Bowie-produced solo albums (The Idiot and Lust for Life). After the Stooges broke up for good in 1974, Iggy (who was depressed, suicidal, and addicted to hard drugs) checked himself into a mental hospital to straighten out. When he emerged sober, Iggy hooked up with ex-Stooges guitarist James Williamson and began collaborating on demos. The duo tried to land a record contract on the strength of the compositions, but failed to do so. Although it's not as jaw-dropping as the releases listed above, Kill City certainly has its moments. And surprisingly, the songs sound more like laid-back Stones rockers than what the duo was known for at the time (which was barely containable near-heavy metal). There are a couple of Stooges leftovers ("Johanna" and "I Got Nothin") which lack the bite of the originals, but make up for it in Iggy's heartfelt vocals. The title track opens the album, with the lyrics painting a picture of a desperate and dangerous metropolis, and musically is the closest to the classic Stooges sound. Iggy and James' admiration of Jagger and Richards shows on the tracks "Sell Your Love," "Lucky Monkeys," and the instrumental "Night Theme." Also, synthesizers and keyboards are featured on "Master Charge," signaling the new direction Iggy would soon embark on. Also included are informative liner notes which do a good job of showing where Iggy's head was at during his mid-'70s, refocusing period. An interesting release, worthy of belonging in any Stooges/Iggy fan's collection.

Since 2008, Lab Coast has been delivering hazy bursts of hook-laden guitar pop via a string of critically acclaimed, award-winning albums, EPs, and singles. From their basement studio in Calgary, Alberta, the song writing team of singer David Laing & multi-instrumentalist Chris Dadge (Chad VanGaalen, Bug Incision, Samantha Savage Smith) carve out detailed analogue productions, these recordings draw from the wealth of instruments that friends leave at the Lab Coast practice space, and the ever-evolving recording techniques that they've been honing since day one. Their home-brewed recordings sit in the tradition of DIY-recorders such as Strapping Fieldhands, early Guided By Voices, and R. Stevie Moore, while the songs themselves recall the likes of Teenage Fanclub, Tom Petty, and The La's.

Since 2008, Lab Coast has been delivering hazy bursts of hook-laden guitar pop via a string of critically acclaimed, award-winning albums, EPs, and singles. From their basement studio in Calgary, Alberta, the song writing team of singer David Laing & multi-instrumentalist Chris Dadge (Chad VanGaalen, Bug Incision, Samantha Savage Smith) carve out detailed analogue productions, these recordings draw from the wealth of instruments that friends leave at the Lab Coast practice space, and the ever-evolving recording techniques that they've been honing since day one. Their home-brewed recordings sit in the tradition of DIY-recorders such as Strapping Fieldhands, early Guided By Voices, and R. Stevie Moore, while the songs themselves recall the likes of Teenage Fanclub, Tom Petty, and The La's.

Mellah is the alias of Peckham musician and producer Liam Ramsden. His debut EP Liminality is released May 12th via Lucky Number. Self-produced in Mellah's studio, Liminality is the raw and organic first release from one of South London's most engaging new voices. The songs on Liminality detail Liam's interactions and observations growing up in a city that changes beyond recognition as each year passes.

An impassioned storyteller, Liam was inspired to write EP opener 'Round' following a meeting with a former soldier in the British Army, hinting at the complexities of the human psyche while encapsulating the dark heart of his songcraft. Despite being a relatively new project, Mellah's song 'Old Friend' (the closing track on Liminality) has already featured on the latest season of Charlie Brooker's acclaimed series Black Mirror.

Released in 1981 and seamlessly blending passion, sleaze and synths, this was the stunning debut album by the influential duo Soft Cell. The album's critical and commercial success was helped by the worldwide success of its lead single single 'Tainted Love', a cover version of a soul song by Gloria Jones, which topped charts worldwide. The album produced two more wonderful top five singles in the UK in the shape of 'Bedsitter' and 'Say Hello, Wave Goodbye'. Meanwhile the infamous 'Sex Dwarf' caused something of a national furore. Bravo, Soft Cell! 180g, Back To Black vinyl with an MP3 Download voucher.

Previously unreleased homemade recordings from 1971 by Barcelona's hairiest power trio. Raw, in-your-face hard-rock and proto-metal plus some surprising psychedelic, Canterbury styled moves. Featuring the very first line-up of the band comprised of killer guitar player Miguel Ángel Núñez, the legendary Tapi (ex-Máquina!) on drums and Pepe Fernández on bass. Includes a cover of Black Sabbath's "Planet Caravan", a killer first version of "No Control" featuring Núñez on guitar (later recorded again for their first album with Max Sunyer), the proto-metal sounding "Hard Drive" (not released until now) and more!

Deluxe insert with detailed liner notes and rare photos. LP includes digital download.

Thalassa is the avant-drone project for Aaron Turner (Sumac, Isis, Mamiffer, House Od Low Culture, etc.) and William Fowler Collins. In his many guises, Turner articulates a chimerical aesthetic that intrepidly explores beyond the scope of sludge, hardcore, and post-rock. In Collins' blackened earth drones, he steadfastly engages in the elemental exploration of the New Mexican landscape that often inspire comparisons to the potency of black metal without the need for a single blast beat. It makes a lot of sense these two would eventually cross paths and collaborate.

Thalassa finds itself in very good company with Maeror Tri, Deathprod, Sunn O))) and Lustmord.

This is the sixth album by this Canadian girl duo

Destruction and melody, acid wit and bruising vocals-this is the Pack A.D. Singer/guitarist Becky Black and drummer Maya Miller have made a sound so gigantic, so fierce and raw and empowering, that it's easy to forget there are just two people behind this brilliant, carefully constructed havoc. Shredding and pounding their way through every song, the Pack A.D. swallows you whole inside their fearless Franken-blend of heavy psychpop/garage-rock. Their lyrics are wild nests, human and complex: darkly funny disclosures about depression, indictments of digital excess, grief-stricken fire bombs, sly crusades against stupidity. The Pack A.D. is also one of Canada's "must-see" bands. Be it a massive stadium or the slightly seedy bar where everybody's shoes stick to the carpet, the Pack A.D. have owned every spotlight and stolen every show they've ever played. Becky and Maya are relentless and riveting, playing with the kind of fuck-off freedom that makes everybody in the room vicarious rock stars, even if it's just for the night.

The Ash Grove was a legendary venue for folk and early Los Angeles rock, and really the birthplace of Spirit. We brought in a younger, less inhibited crowd, a mixture of hippies and jazz freaks. Spirit, at its inception, was more of an improvisational jazz / blues group than anything else. Our first shows had very few structured songs, lots of free-form going on. We were constantly writing, trying out, and discarding songs. Getting to play in a major L.A. club, building a following, trying out new ideas, and forging what the group would become... It was a magical time for us'
- Jay Ferguson, 2016

Having made two superb psychedelic albums and gigged with the Doors, Frank Zappa, Pink Floyd, the Velvet Underground and many others, in June 1969 the Mandrake Memorial came to London. The plan was to record with famed producer Shel Talmy (the Kinks, the Who, Pentangle), but when that fell through they persevered alone. Long thought to be lost, 3 Part Inventions anticipates the woozy, dreamlike vibe of their 1970 masterpiece Puzzle, combining eerie vocals, trippy guitar and otherworldly electronics to create a unique whole. Transferred directly from the master tape, it's released here for the first time, together with a detailed band history, rare images, two previously unheard outtakes from a 1969 acetate.

Quietly building an enthusiastic following with a steady stream of EPs and singles, M.O.O.N.'s debut full-length 'Clinically Blase' creatively navigates a wide range of emotive synthesizer music deviating from dancegeared tropes in favor of freer arrangements and lush instrumentation. While the rhythms are rooted in variants of house, boogie, and synth-pop 'Clinically Blase' never tips it's hand stylistically in any particular direction resulting in a playful balance of retro sounds and futuristic ideas highlighting a deft melodic sensibility

For the first time since it's original release in 1980, FUTURISMO are proud to announce the reissue of the first solo Self-Titled LP by ALAN VEGA, one half of electro punk legends Suicide.

ALAN VEGA's Self-Titled LP is a piece of work drenched in the musical influences of his teenage years, and an album that welded an unexpected hit in the stand out opener 'Jukebox Babe', a track of frantic rockabilly delivery and sparse instrumentation that seduces the listener by sculpting a sound that owed little to the 50's revival yet everything to the sensibilities of rock 'n' roll futurism.

Echoing the Suicide staple 'Ghost Rider' - itself a construct of repetitive rhythms and minimalist drones, punctuated by a classic vocal delivery that harnessed Gene Vincent, Elvis and the idols of Vega's youth - 'Jukebox Babe' was the cornerstone to an artistic expression that ALAN VEGA continued to experiment with and implement throughout his solo Self-Titled LP and recordings beyond.

With Suicide he and Martin Rev where responsible for the deconstruction of punk rock, a catalyst for the musical and aesthetic blueprints of what became post-punk, industrial rock and even synth pop. On his Self-Titled solo outing he takes a side step into the deconstruction of rock 'n' roll itself.

Coming 12th May 2017 for a worldwide release, FUTURISMO present ALAN VEGA's Self-Titled LP on 180g Limited Coloured Vinyl, in the choice of two colours 'Rockin Fireball' and 'Vapid City'. Contained within a neon printed sleeve that utilize scans from the original Curtis Knapp negatives, is a huge A1 Screenprinted Poster, a Digital Download of all the tracks, and to top it off brand new Liner Notes by musician and friend HENRY ROLLINS. Having sadly passed away in 2016 this release is a tribute to his incredible talents and total lack of artistic fear, for fans of ALAN VEGA and Suicide this out of print gem is essential!