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Bronze Marbled Vinyl

Driving New Wave / Punk / Industrial Techno EP (w/ download code)

White Marbled Vinyl
Tough driving EBM / Goth Techno EP (w/ download code)

Keb’ Mo’s Martin Scorsese Presents The Blues is the 2003 blues album, part of Martin Scorsese’s The Blues documentary series. The series is dedicated to the history of blues music, which provided the ultimate opportunity for Keb’ Mo’ to compile the highlights of his career thus far. Keb’ Mo’ had only released four albums up until that moment, but those four had already attracted a wide audience amongst blues fans and included many defining and impressive tracks. So in occasion of the release of Martin Scorsese’s documentary series, Scorsese selected the very best 16 tracks to feature on this 2LP, including “Come On In My Kitchen”, “Am I Wrong” and “Peace Of Mind”.

Martin Scorsese Presents The Blues is available as a limited edition of
1500 individually numbered copies on translucent blue coloured vinyl and includes a 4-page booklet.

In "Das eine Leben" blickt Marius Müller-Westernhagen nicht nur auf seine ganz eigenen Erfahrungen in den letzten zwei Jahren zurück, sondern greift auch gesellschaftskritische Themen auf, die aus Sicht des Künstlers in der sogenannten Corona-Zeit noch radikaler freigelegt worden sind. Marius' Sprache ist noch deutlicher und klarer als auf früheren Alben, seine Texte zeigen seine Haltung und seinen ehrlichen Blick auf die Welt von heute. Produziert wurde das Album in New Jersey gemeinsam mit Larry Campbell. Marius hat im Zuge des Albums auch die Arbeit mit dem Fotografen Olaf Heine wieder aufgenommen, sämtliche Aufnahmen der Kampagne, sowie das Video zu "Zeitgeist" wurden von Olaf Heine in Berlin gemacht.Das Album "Das Eine Leben" erscheint am 20.05.2022 als CD, Vinyl und Vinyl-Hardcoverfotobuch inkl. 7" mit zwei Bonustiteln.

In "Das eine Leben" blickt Marius Müller-Westernhagen nicht nur auf seine ganz eigenen Erfahrungen in den letzten zwei Jahren zurück, sondern greift auch gesellschaftskritische Themen auf, die aus Sicht des Künstlers in der sogenannten Corona-Zeit noch radikaler freigelegt worden sind. Marius' Sprache ist noch deutlicher und klarer als auf früheren Alben, seine Texte zeigen seine Haltung und seinen ehrlichen Blick auf die Welt von heute. Produziert wurde das Album in New Jersey gemeinsam mit Larry Campbell. Marius hat im Zuge des Albums auch die Arbeit mit dem Fotografen Olaf Heine wieder aufgenommen, sämtliche Aufnahmen der Kampagne, sowie das Video zu "Zeitgeist" wurden von Olaf Heine in Berlin gemacht.Das Album "Das Eine Leben" erscheint am 20.05.2022 als CD, Vinyl und Vinyl-Hardcoverfotobuch inkl. 7" mit zwei Bonustiteln.

Rare soul/funk album out of Oakland, CA.
Featuring Marlon Hunter along with the Group The Standards Of Living.
Six songs full of jazz/funk groove and Modern Soul atmospheres.
First time released in 1980 as a private press this rare pearl represents a must have for diggers, djs and collectors

»Darkness & Abstract Art« is the debut single by Berlin based producer and songwriter Venetian Green. And what a debut it is. Two pop-pearls from a parallel universe, in which grand pop gestures of past decades live in harmony with the more bleak and disturbing emotional rollercoasters of recent times. The songs embrace a deep sense of nostalgia, while remaining firmly and confidently rooted within a contemporary pop context.

»Darkness« may be the most uplifting pop song ever that deals with mental health issues and depression. A topic that many can surely associate with after a challenging period of lockdowns and lack of perspective. The opening moments seem like a flirty exchange between an early Vince Clarke and Jake Shears but with a more bouncy and ›present-day‹ sound aesthetic. The bridge, »Was I ever in control, did my feelings just go rogue. Is it you or is it me, you’ve stolen my identity«, brings some major glam moments front and center and finally culminates in a heartbreaking auto-tuned chorus, an ode to the »Darkness« in all of our hearts.

In »Abstract Art«, we are jumping effortlessly between different musical eras. From late Roxy Music elegance to the plasticy melancholy of early Robyn all the way to the slow-rolling pop anthems of Christine and the Queens. A classic pop song about intimacy, trust, boundary issues and physical connection. Easy to imagine the line »You watch me dance with someone else, cause only you have me in strings and belts« on a sweaty recently re-opened dancefloor celebrating the return to a ›new normal‹.

Repress in green marbled vinyl

Come Away With Me, released in 2002 by a young, unknown singer on a traditionally un-pop label, was a unique blend of jazz, blues, country, folk and pop – and lifted off beyond imagination. To date, the album has sold nearly 30 million times, and has garnered multiple awards, including no less than eight Grammys®. This coming February marks this landmark album’s 20th anniversary and, to celebrate, Blue Note/UMe has worked with the artist and her team on a special collection that will reveal for the first time the full story of the making of this now-classic album.

• New remastering of Norah’s legendary debut album

• 22 unreleased tracks: demos, session outtakes, alternate versions & mixes

• Norah’s earliest demos—the tracks that got Blue Note’s attention, and the demos she recorded for the label—some of which were released on the promo-only EP First Sessions

• The full previously-unreleased original version of the album—including 11 unreleased cuts—produced by Craig Street and now newly-mixed by Tony Maserati, with alternate versions of well-known tracks and unheard performances

• Premium packaging with an extensive booklet featuring new liner notes by Norah, rare session photos and detailed track annotations.

The English new wave band Bow Wow Wow was created by Malcolm McLaren in 1980. McLaren was an impresario and best known as the manager of the New York Dolls and the Sex Pistols. He recruited members of Adam and the Ants to support the 13 year old vocalist Annabella Lwin. A year after, they released their debut album on RCA Records, titled See Jungle! See Jungle! Go Join Your Gang Yeah, City All Over! Go Ape Crazy! In support of the album, the band opened for The Pretenders and The Police in the US, in Europe for Queen and in Japan for Madness. Vive Le Rock named it one of the 50 greatest new wave albums and the featured single “Go Wild In The Country” was their first UK top 10 hit single.

The cover photograph depicts the band recreating Édouard Manet’s Le Déjeuner sur l’herbe, on which the 14-year-old Annabella posed nude. It caused quite an outrage, but the initiated Scotland Yard investigation led nowhere eventually.

See Jungle! See Jungle! Go Join Your Gang Yeah! CityAll Over! GoApe Crazy! is available as a limited edition of 2000 individually numbered copies on green & yellow marbled vinyl.

Industrial touchy Hard Techno... Nostalgic motions and spoken words of love... Broken Heart is Lady Maru's label !

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.

First time on vinyl for this album. Proto Jazz-Punk multi-genre splatter album, released on CD in 1993, My Wife Doesn’t Understand Me is available on vinyl for the first time as a double LP, playing at 45rpm for superior sound quality. The accompanying download includes radio edits of live favourite 6-8-1 (The Burn-Up) and Blue Funk, plus Ructions (60s Stereo Mix) and Qualm-Free Zone. A statement of intent from the off, this is an album first and foremost. No singles, a piece of work to be listened to as a whole - from short shards of humorous observation (Cover Versions), politics (Margaret Thatcher We Still Hate You), straight-as-a-die covers (A Taste Of Honey and Jean-Pierre) to the closing Musique Concrete of the title track, prisoners were never taken. Terry Edwards and The Scapegoats look forward to the vinyl edition of My Wife Doesn’t Understand Me to bemuse, baffle and delight once again as it did on it’s release when Acid House was on it’s way out and Britpop was on it’s way in.

Never released on vinyl before and pressed on black wax, an essential pressing from seminal songwriter Maria McKee. A lost gem, never released on vinyl, from the re-awakened singer/songwriter that falls between her Americana incarnation as Lone Justice and her near-operatic five-star stunner ‘La Vita Nuova’. From 2005, ‘Peddlin’ Dreams makes a vinyl debut in all its unbridled glory, as AllMusic mused, it’s “moving, utterly beautiful and carefully, artfully wrought. It is the work of a masterful songwriter whose senses of time, place and character are impeccable.”

Orange Marbled Vinyl

Chicago singer and rapper, Tink, is back in 2021 to claim her rightful title as the undisputed Queen of Chicago R&B. Her fourth studio album, Heat of the Moment, is executive produced by Hitmaka and includes production from Ayo & Keys, OG Parker, Tariq Beats & Platinum Libraries. Tink shows off her writing prowess and taps in with a tight but strong list of features including Yung Bleu, Jeremih, Davido, & Kodak Black, to add to an already impressive body of work. The album has amassed over 45M streams since release, and debuted at #7 on the Billboard Indie Charts.

The glacial distillation of Pan•American aka Mark Nelson’s “romantic minimalism” achieves unique fruition on his latest Kranky collection, The Patience Fader.

A suite of solo guitar instrumentals accented with lap steel, harmonica, and twilit atmospherics, the strings smear and sparkle in elegant, windswept swells, a guitar mode once described by Brian Eno as “Duane Eddy playing Erik Satie.” These are elegies as much as songs, lulling and lilting in private currents of beauty and bereavement. Nelson speaks of the notion of “lighthouse music,” radiance cast from a stable vantage point, sending “a signal to help others through rocks and dangerous currents.”
Composed during the highly isolated summer of 2020, the pieces took shape as meditations on “roots and mourning, trying to connect with those deep hidden rivers that lead to a greater communality.” There’s something ageless, scarred, and American about this music, both displaced and devotional, the ghost of rust belts and dust bowls looming in a horizon of deepening dusk.

Rubicon marks the first physical edition of Galcher Lustwerk's driving-themed alias, Road Hog. Collecting tracks from seven releases spanning from 2014 to 2021, Rubicon serves as the project's Greatest Hits (for now). Including tracks from the Cleveland-dedicated album 'Tour De Hog' as well as the sharp toothed 'Spares' and 'More Spares' the pithy 'Haul Ass' plus some cinematic favorites from 'DWB' and 'On The Lam'. Originally meant to be digital only and listened to while driving, demand for certain tunes to be pressed to vinyl has risen with each release. From the Road to the Club, Lustwerk's got you covered.

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

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

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

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

The team at Diskotopia are extremely proud to present London via Tbilisi producer Sseq's debut self-titled LP. Sseq has been honing his craft over the past several years releasing music as part of the Body Thrills duo as well as DJing and playing live at Georgian clubs and festivals before making his move to the UK. Here on his stunning self-titled debut LP, Sseq materializes twelve abstracted and microcosmic jewels of interdimensional techno alchemy. The compositions bend and weave, flutter and spiral across synthetic textures and abstract rhythmic expressions that at once beguile and inspire. Sseq's sound is like an interstellar interpretation of what a sentient Buchla synth might dream of in zero gravity. RIYL Actress, Beatrice Dillon, Patten, Drexciya, Pole, and Björk-era Mark Bell productions. Sseq's debut LP was mastered by Dominic Clare at Declared Sound and will be available as a limited-edition cassette.

Vega Records is proud to present its newest release “Time To Let Go” with Mike Lindup, singer, keyboard player composer and founder member of the legendary band Level 42. Formed in 1980 with Mark King, Phil and Boon Gould, the band has sold over 30 million albums and still performing worldwide. Mike Lindup has performed onstage with many artists including George Harrison, Eric Clapton, Ringo Star, Sting, and more. Even on theater stages in London’s West End, Mike Lindup has played on shows Thriller Live, Let It Be, and has completed four tours on the Thriller Live tour production, twice as Musical Director. “Time To Let Go” is taken from the new Mike Lindup album “Changes 2” with smokin’ remixes by Two Soul Fusion AKA Louie Vega & Josh Milan. The Remixers deliver two versions, one taking you to the soul house funky grooves of Two Soul Fusion and the other catapulting you into the world of Afro House. It’s all about Mike Lindup’s unique voice and his powerful, brilliant lyrics that make a huge statement well needed in the world today. Grooves to make you dance are no problem for Two Soul Fusion but when you have award winning lyrics its a whole other level here. The man who sang the lead vocal on New York City’s favorite dance club culture classic “Starchild” by Level 42 has now blessed Vega Records with the new gem “Time To Let Go”.

The early days of the man affectionately known to his peers as Tubbs' are chronicled in some detail in the notes to this LP's predecessor and companion volume, not unreasonably titled "King Tubby's Classics Chapter 1". It's unlikely that anyone who buys Volume 2 will not already have Volume 1, but for the few who don't it's only fair that we start the note with a short précis of the early life and career of the boy born to be 'King ...

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

“This 45 marks the label's 100th 45 and what better way to celebrate it than with a 45 from arguably our most prominent artist, Durand Jones & The Indications. This mix of "Power To The People" was the first new recording by the band after their self-titled album had been released. I distinctly remember hearing it for the first time and just feeling like we were hearing the next phase for the guys. I was behind the counter at Plaid Room, with my laptop plugged into the speakers so we could listen. There was no one in the store, just Bob and I. And when it finished playing Bob said, "Where can I pre-order?" So what you're hearing on this 45 is the original demo mix that was sent to us, with little to no reverb on Durand's vocals, a marching band kick drum in the mix, and no synth. Something about the dry falsetto vocal of Durand's voice made it feel like he was right in your ear. Such a special recording to all us."

First released in the UK in 2003, British singer-songwriter Carina Round followed the release of her critically acclaimed debut album “The First Blood Mystery” with her sophomore offering “The Disconnection”, solidifying herself as one of UK’s most enigmatic songstresses. Marking its official vinyl debut this special pressing combines the original album, including the UK singles “Into My Blood” and “Lacuna” on 180g black vinyl alongside an exclusive “Bonus Record” of rare live and previously unreleased recordings from the albums era on 180g silver vinyl, compiled by Carina especially for this release. In addition to her subsequent solo releases “Slow Motion Addict”, “Things You Should Know”, “Tigermending” and her most recent, the retrospective compilation “Deranged to Divine”, Carina has garnished further international recognition as a member of the LA and Jerome AZ based band - Puscifer, alongside fellow band mates including Maynard James Keenan, also of the bands Tool and A Perfect Circle. This limited edition release is presented in a unique silver printed sleeve, incorporating the original UK cover by acclaimed art photographer Anoushka Fisz.

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)

Translucent Yellow Vinyl

For over 3 decades, Orlando Voorn has been a force in dance music like few others. One of the first Dutch producers to establish a connection between Detroit and Amsterdam (check “Game One” his collaboration with Juan Atkins for Metroplex). He has recorded under a trove of alias that include Fix, Frequency, Format to name a few. He maintains a relentless release schedule, and we are very grateful that he found the time to make his return to Kompakt after his well received 2021 “Internal Destination” EP.

The track “So Deep” lives up to the title. A soulful vocal and sincere house beat simmer through an eerie soundscape loop. “Deeper Shades” keeps the vibe of the A Side and makes for a serene and moody deep house journey of epic proportions. Last but not least, “March Of Freedom” brings out the best of Orlando’s visionary production. Sweeping synths and sounds cascade into a momentous track that fits the peak time or in those eternal late night sets.

 Ty Segall meets a new non-rock challenge head-on; soundtrack music for
Matt Yoka’s compelling documentary film ‘Whirlybird’. A variety of synth
sounds, electric keyboards, drums, percussion and saxophone (and yeah, a
few guitars) form a shifting impressionist counterpart, instrumental music that
dialogues with and serves to frame the film’s compulsive themes and
images.
 Released to great acclaim in Summer 2021, ‘Whirlybird’ tells the story of
Zoey Tur and Marika Gerrard, former partners and founders of the Los
Angeles News Service, and deftly tracks their extraordinary and oftenreckless pursuit of breaking news throughout the 80s and 90s - a time in
which they pioneered the use of a helicopter to report on Los Angeles at its
most chaotic, capturing historical moments like the 1992 riots and the OJ
Simpson slow speed pursuit.
 Through striking interviews and one-of-a-kind archival footage, Yoka’s
documentary expertly tells the story of Zoey and Marika’s unravelling
marriage as they singlehandedly changed broadcast news forever. These
two arcs intertwine to create an electric view of the encroaching intensities of
that era, when the 24-hour news cycle first rose to dominate our national
consciousness.
 Ty Segall has previously scored scenes and interstitial bits for film and video
things here and there - but this is his first full-on feature film score, a work
done in collaboration with the director, whose friendship and creative
partnership with Ty has grown over a decade-plus of music videos and other
projects. Working off notes and feels from Matt and responding to the images
and story on screen, Ty crafted some of his most creative arrangements to
date, using synth, drum machine, Wurlitzer keyboard, guitars, drums and
percussion (plus saxes played by Mikal Cronin, who also cowrote the title
track with Ty) to articulate a multitude of tones running through the film.
 For a shape-shifter like Ty, this apex of tone colour is no mean feat, an
achievement further highlighted by the full set of pieces. Rather than simply
throw a bunch of songs-with-singing at the project, Ty’s score perfectly
epitomizes the film’s ethos, providing an instrumental counterpart that
dialogues with and helps frame the film’s provocative themes and images.
 As both Matt and Ty are natives to the Southern Californian milieu,
particularly the era ‘Whirlybird’ depicts, their collaboration involved a journey
through their past. In realizing the music, they revisited their own Los
Angeles awakenings, adding another personal layer to the deeply felt
meditations and elegies sighted by the remarkable ‘Whirlybird’ - now an
equally thrilling counterpart to be experienced through the original
soundtrack.

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.

But the continuous stream wouldn't provide sufficient answers for long. Observing rudimentary structures sewer sender became tantalized with a vision of reverbation fromlower vaults of confinement. Waves reminiscent of solid concrete yet deeply seated below the ocean surface form and merges with the narrow surroundings.
Manitou takes the first step by setting a clear form for something deep seated. Proceedingextends the notion of martinous inaugural appointment Procedure' with a take on industrial
drums reverbing from the depths. Never (Anthem) takes the first part of the EP to fruition with stripped anthemic stabs and alarms to a strict and cleanly distorted beat. Jargonsolidifies concrete solid with enigmatic percussions over jaunty kick patterns. I have lost again focuson a dramatic narrative with hypnotic vocal stabs rolling over an intense kickand climatic builds. Needlessness frames the entire release combining both the concrete solid and the deep sea seated with again a take on martinous inaugural release Needless, leaving the frail thematic stab subdued by syncopated kicklike percussion and soaring
hihats to create a toollike appearance.

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"

A SIDE: "COME INTO MY PARLOUR" - 1969

Genre: Early Reggae/Boss Sound

“COME INTO MY PARLOUR” is a killer Reggay anthem adored by early Reggae fans, on par with the likes of “John Jones” or

“Hold Down” previously released on Harlem Shuffle Records. Extremely popular, it has never been repressed since,

it is impossible to find in good condition and is very much in demand.

With its suggestive lyrics, bold organ, pulsing beat and lovely melody, it is easy to see why “Parlour” is still so much in favour 50 years after its release. Essential!



B SIDE: "CHECK HIM OUT" - 1969

Genre: Early Reggae / Boss sound

It was initially released as the A side of “The Vampire” by the Upsetters on the Upsetter label in 1969 in UK.

"Check Him Out" is a cheerful and infectious Reggay tune with wonderful harmonies from the group.

A marvelous track. Listening closely, it appears to be a musical advertisement giving directions to a record store in Kingston that Perry owned at the time!!!

It has never been repressed on 7” vinyl. It is a very much in demand song and a perfect B side for this killer double sider…

A unique talent with a remarkable voice, the German singer, composer
and lyricist Alma Naidu is an artist such as one rarely fnds, Jazzthing
magazine praised her "delicate, wonderfully clear voice with absolutely perfect intonation".

Renowned drummer and producer Wolfgang Haffner recognised her talent immediately; he discovered Alma for himself in 2019 and featured the Munich native on his album 'Kind of Tango'. "When I heard Alma for the first time at a jam session in early 2019, I was immediately inspired by her musicality and her way of performing on stage," says Haffner. " Alma is a very special talent with a strong
musical voice of her own."

With Alma now comes the promising debut on the Leopard Records label.
Recorded in Bonn during the pandemic (November 2020, March and April 2021) and produced by Haffner with guests Dominic Miller, Nils Landgren, Simon Oslender and others, this debut work of the 25-year old Naidu could just as well bear the title: A Star Is Born.

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

* A welcome reissue of this long-deleted classic digital dub album from the deadly dub duo - The Bush Chemists.
* Originally surfacing on the Dubhead label in 2001, `Dub Fire Blazing’ was the follow up to `Light Up Your Chalice’.
* 10 slabs of throbbing heavy-weight bass pressure from The Bush Chemists crew.

Die Occult Metal Band THE HERETIC ORDER THE HERETIC ORDER präsentieren mit "III" ihr drittes Album, auf dem wütende Gitarren und donnernde Drums eine Reihe schneller, fieser und harter Songs ankündigen, die dennoch bösartiges Gift in das Bewusstsein des Hörers träufeln.

"III" befasst sich mit unzähligen Themen, sowohl modernen als auch alten Themen.
Von aktuellen Übeln wie Weltverschmutzung, Krankheiten, menschlicher Gier und der Korruption der Religion, den Illuminaten und der Verbindung von Geheimgesellschaften mit außerirdischem Leben bis hin zu historischen Geschichten aus den finsteren Kapiteln der Menschheit - wie dem Völkermord an den Katharern, den Hinrichtungen im Tower von London und den Menschenopfern der Maya - nichts entgeht dem Blick des kranken Geistes von Dominus Ragnar...
Als Gastmusiker sind Jeremy Gomez (Red Method) und Ays Kura (Die Kur) auf dem Album vertreten.

Mach dich sich darauf gefasst, dass deine Alpträume zurückkehren werden.

High Roller Records, black vinyl, ltd 500, 425gsm heavy cardboard cover with 7mm spine, 20 page A4 booklet, 2 x double sided poster, 3 x A5 photo card in a sepcial envelope, 4 track black vinyl 10" with p/s and insert, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

High Roller Records, black vinyl, ltd 500, 425gsm heavy cardboard cover with 7mm spine, 20 page A4 booklet, 2 x double sided poster, 3 x A5 photo card in a sepcial envelope, 4 track black vinyl 10" with p/s and insert, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

Following a 15-year hiatus from publishing, Neapolitan techno's founding imprint - Conform Records - made an emphatic resurgence in 2020 to resume its intrinsic role in the progression of electronic music, ensuring that the genres' virtuous roots and formative values remained instilled within its future. Having re-released its entire back-catalogue in digital format from its original DAT distribution in the 90s, label head Gaetano Parisio now shifts his focus to the modern audience, with contemporary records that serve to marry these two golden eras of dance music.

Showcasing his immense theoretical knowledge and authenticity, earned through decades of experience in the industry, Parisio's latest project - his 6 part "Fragments 2930" EP - honours the meditative euphoria of Conform's early releases. Militant and driving in their effect, each cut presents its own melodious theme; running parallel to the strong percussive undercurrent of high impact techno that can be heard across the extended player. "Fragments 2930" was initially conceived as a single sound block and later fragmented into these 6 single units. As represented in its title, "Fragments 2930" also includes the catalogue numbers 29 and 30, with the double vinyl characteristic of a 2-release miniseries.

Available to purchase on vinyl from May 27th and across digital platforms on June 10th, Gaetano's latest release is further proof that the label's discography now only grows to hold more future classics.

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

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

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

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

Before Dan Klein's unfortunate passing, The Frightnrs agreed to keep a promise he asked of them - continue making music together. Part of that promise has been made manifest here... Daptone Records is proud to present ALWAYS - the raw, soulful new long player from The Frightnrs.

The road to Always began with a period of intense songwriting back when The Frightnrs and producer Victor Axelrod (Ticklah) were working on the group's debut, rocksteady masterpiece, Nothing More to Say. In addition to the scorchers heard therein, Axelrod and The Frightnrs agreed many of the recordings were too sweet to tamper with in order to fit the rocksteady mold. Some were created at their headquarters in Queens with Dan on the mic, some were elaborations on older ideas, others were brand new creations made at the finish line.

Thanks to the vocal stems they had captured in this golden period, Dan Klein's other-worldly voice lived on, giving The Frightnrs all the raw material they needed for an entire album's worth of new, original music. So with that, The Frightnrs and Axelrod returned to the studio and painstakingly conceptualized, tracked, re-tracked and mixed them into a complete album with their beloved friend singing lead. The fruits of this arduous process lay bare the undying love and respect between musical brothers.

The last song written for this album, "Why Does it Feel Like a Curse", married two song concepts with one of Dan's original vocal performances - creating a beautiful, flawless composition that not only serves as a highlight reel of their editing skills and songwriting prowess, but also as a kind of metaphor for The Frightnrs jour ney. The per fect ending f or ALWAYS.

Dark Blue Marbled Vinyl


Johnfaustus is shaping electronic dreams at your disposal. Enter the cabin and let them guide you into their translation of energy and emotion!

Imperial Tiger Orchestra's Mercato 12th years Anniversary Edition includes the best of both albums Mercato & Addis Abeba remastered with bonuses live recordings in London, Paris, Addis, Tokyo & Cape Town.

Imperial Tiger Orchestra, the finest connoisseurs and grooviest performers of Ethiopian music from the Golden Age.

Back in 2007 in underground Geneva, band leader Raphaël Anker decides to gather musicians for a one off live performance revisiting the golden age of Ethiopian music.
A memorable event that forced all the musicians to carry on.
As Imperial Tiger Orchestra.

Consisting of members with very diverse backgrounds (free jazz, noise experimentations, contemporary music, twisted pop…) the Orchestra soon travels to Addis-Abeba where they perform with local luminaries and deep learn about the large diversity of Ethiopian music.
A life-changing experience which brings them back to the studio and to a plethora of successful gigs around Europe, Eastern Europe, Japan and Africa.

The Tiger's unique sound is a mesmerizing re-interpretation of Ethiopian music's golden age mixed with the digitalized themes that appeared in the 80s and filtered through their eclectic influences, a sort of retro-futuristic and progressive Ethiopian rock. This Anniversary edition brings back thunderous rhythms and feverish hooks, down tempo moments and fast paced epiphanies, electronic sounds and ambient nirvanas.

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wAFF takes charge of the second release on his new Nature label with four stylish new cuts.

First up is Mesmerized feat. Shyam P, a slinky seven minute deep rolling tune with subtle synth craft and airy hi hats. A vocal adds an extra hypnotic layer and then SummerZ is another seductive sound with warm chords smeared over a killer groove. It's got a summery vibe but will also pump the party. To The Floor then cuts loose on nice boom bap drums, with vocal and chord stabs adding detail and its easy to see this one making its mark in the club. Slut Drop closes out with an infectious and rubbery bassline and rich chord work. It's heartfelt and full of soul.

This is a fresh sound as ever from wAFF.

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.

'É O Que Ela Quer' is a groovy Brazilian version of The Zombies' classic 'She's Not There' recorded by the obscure Mini Trio in 1970 and released as a 7" only that should be in every DJ record box. First time reissue. Although the appeal of the post-Hair/Beatlesque hippie hook of 'Hare Krishna' on the A side of this rare single, the real gold lies on the flipside. 'É O Que Ela Quer' is a groovy Brazilian version of The Zombies' classic 'She's Not There' recorded by the obscure Mini Trio in 1970 and released as a 7" only. The band was most likely a studio group recording international hits for the local Brazilian market and their take on the 1964 classic adds a terrific dancefloor potential to the Zombies song. Very hard to find, especially in good condition, this record now gets a proper reissue for the first time.

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

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

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

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

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

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

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

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

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

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

Pauline Oliveros' Accordion & Voice is available on LP for the first time since it was originally released in 1982. Cut at Golden and pressed at RTI for maximum fidelity.

Pauline Oliveros was an electronic music pioneer, accordionist, composer and educator who resided in Kingston, New York. Her instrument was tuned in Just Intonation and she often included it in her meditative improvisational music. Her music is not meditative in the sense that it is intended for listening to while meditating, rather each piece is a form of meditation, such as her aptly titled Sonic Meditations.

A central figure in post-war electronic art music, Oliveros is one of the original members of the San Francisco Tape Music Center (along with Morton Subotnick, Ramon Sender, Terry Riley, and Anthony Martin), which was the resource on the U.S. West coast for electronic music during the 1960s. The Center later moved to Mills College, where she was its first director, and is now called the Center for Contemporary Music. Oliveros often improvises with the Expanded Instrument System, an electronic signal processing system she designed, in her performances and recordings.

“Accordion & Voice was the first of my recordings as a soloist. I was living in an A-frame house in a meadow just below Mount Tremper at Zen Mountain Center. I had a wonderful view of the graceful saddle mountain top. When away on a performance trip I would imagine the mountain as I played Rattlesnake Mountain. I followed the feelings and sensations of my many experiences of the mountain - the changing colors of the season, the breezes and winds blowing through the grasses and trees. Horse Sings From Cloud taught me to listen to the depth of a tone and to have patience. Rather than initiating musical impulses of motion, melody and harmony I wanted to hear the subtlety of a tone taking space and time to develop. The tones linger and resonate in the body, mind, instrument and performance space. My thanks to Important Records for bringing these pieces to be heard again.” ~ Pauline Oliveros, 2007

"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.

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

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

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

To say that Aretha Franklin was one of the greatest American artists of all time is an understatement. Her multi-octave voice moved millions around the world during an unrivalled career that spanned six decades and garnered the singer-songwriter every achievement and honour imaginable. Franklin has sold more than 75 million records worldwide making her one of the biggest selling music artists of all time.
Amazing Grace, a live album originally released in 1972 is Franklin’s best-selling album of all time. To celebrate the 50th anniversary of the album, Rhino will be releasing a limited edition 2LP white vinyl. Featuring the title track ‘Amazing Grace’ as well as ‘Climbing Higher Mountains’.

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.

Running Wild were formed in Hamburg in 1976 and have become one of the most vital and influential heavy metal bands to come out of Germany. They are also credited with inventing the now infamous sub-genre, ‘Pirate Metal’ which is so popular today. The band still command a rabid, global fanbase too, the recent Noise reissue series saw all nine chart in the German album charts. To this day they still headline huge indoor shows and headline festivals.

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

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

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

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

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

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

Some of the greatest tracks of the Porugese singer who made Fado popular in the rest of the World!

Für LORNA SHORE ist das Dreigestirn von Songs im Herzen von '...And I Return to Nothingness' nichts weniger als ein Exorzismus - und ein Eintauchen in etwas Dunkleres. Von der orchestralen Passage, die den Titeltrack der EP eröffnet, geradewegs in einen Bombast aus geschwärzter Intensität und wütender Erhabenheit, sind diese aus New Jersey stammenden Extremisten zurück und erheben sich wie ein Phönix aus der Asche. Wiedergeboren und auf die Dunkelheit eingeschworen. Ein kommendes Feuer, das selbst die LORNA SHORE-Gläubigen fassungslos machen wird.Als die Welt im Jahr 2020 stillstand, tauchten LORNA SHORE tiefer in die kreativen Instinkte ein, die sie ursprünglich mit bahnbrechenden Alben zu einer festen Größe in der extremen Metal-Szene machten: 2015's 'Psalms' und 2017's 'Flesh Coffin'. Seitdem haben sie Einflüsse und Ideen miteinander verwoben, die von der symphonischen Grimmigkeit des europäischen Black Metals bis hin zu den komplexen, tödlichen Klangformeln des Death Metals und der auralen Intensität des Hardcore reichen. Was LORNA SHORE erreicht haben, ist ein neues Level an geschwärzter Technizität und der nächste Schritt auf ihrer Darkside-Reise. Verschönert mit dem Artwork des bekannten polnischen Malers Mariusz Lewnadowski (Bell Witch, Fuming Mouth) bekräftigt '...And I Return to Nothingness' den kreativen Fokus und die Intensität von LORNA SHORE. Die drei Tracks der EP: 'To the Hellfire', 'Of the Abyss' und der Titeltrack sind der Beweis, dass LORNA SHORE nicht nur ihr feuriges Vermächtnis fortsetzen. Sie entfachen es und setzen ihr eigenes Vermächtnis spektakulär in Brand.'...And I Return to Nothingness' ist nun als schwarze LP+CD mit Ätzung auf Seite B erhältlich.

 ‘Heart Under’, Just Mustard’s second album and first for Partisan Records
(IDLES, Fontaines D.C., Laura Marling), is an album that asks you to forget
what you know. At every turn, this remarkable record reconfigures and
stretches the ideas and ambition of a rock band and turns a year of lockdown
and personal struggles into a breath-taking artistic statement.
 Across its 10 tracks, the album presents a coherent style and ethos - those
scything guitars, Katie’s magical vocals - but still incorporates a wide and
untethered vision. There are brooding, atmospheric rock songs (‘Still’, ‘In
Shade’) and others that apply a lighter, dreamier touch (‘Sore’, ‘Mirrors’), all
tied together with impeccable instrumentation and a united vision.
 On debut ‘Wednesday’, the band played with dreamier soundscapes and
production techniques, and ‘Heart Under’ serves as the next stage of this
development, with every instrument brilliantly pushed to its limit and every
boundary of the band stretched.
 After the band had finished recording and producing the album, ‘Heart Under’
was pushed even further into singular territory when the band worked with
mixer David Wrench, whose previous collaborators include Frank Ocean,
Let’s Eat Grandma, Jamie xx, FKA twigs and beyond. “We wanted someone
who had done pop and electronic records and didn’t just work within rock
music,” Katie says.
 “Ireland’s buzziest new band” - The FADER
 “Their rapturous reception here at SXSW is a testament to their startling
evolution as well as the excitement that can only come from watching a band
just beginning to realise the full extent of their powers.” - NME
 “They have well and truly mastered the art of atmospheric rock” - Loud And
Quiet (9/10)
 Supporting Fontaines D.C. on their European and US tours this year. They
were handpicked by Robert Smith to support The Cure in Dublin in 2019.
 Eire headline tour in June, UK headline tour in September, including Village
Underground, and EU headline tour in October.
 Choice Music Prize nomination for Irish Album Of The Year for their debut
album, ‘Wednesday’.
 CD housed in a cardboard wallet with lyric and photo insert.
 LP pressed on black vinyl and housed in a single sleeve jacket with lyric and
photo insert.

To say that Aretha Franklin was one of the greatest American artists of all time is an understatement. Her multi-octave voice moved millions around the world during an unrivalled career that spanned six decades and garnered the singer-songwriter every achievement and honour imaginable. Franklin has sold more than 75 million records worldwide making her one of the biggest selling music artists of all time.
Amazing Grace, a live album originally released in 1972 is Franklin’s best-selling album of all time. To celebrate the 50th anniversary of the album, Rhino will be releasing a limited edition 2LP white vinyl. Featuring the title track ‘Amazing Grace’ as well as ‘Climbing Higher Mountains’.

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.

REPRESS

Slide into summer with the Numbers repress of Kornél Kovács’ Radio Koko, available in vinyl for the first time since its original release in 2015. Radio Koko revives a dream radio station where music never sleeps and the hits keep coming, a soundtrack for both sweaty nights out and laidback beach BBQs. Listeners will already be familiar with the irresistible curveball house hit Pantálon, the Reese + Mentasm riffs of Gangsta, the jacking Lighthouse and the ecstatic/melancholic soundclash of Malon with Marcus Price. Coming on the heels of Kovács’ solo albums The Bells and Stockholm Marathon, this repress is a timely reminder of the prominent producer and DJ’s festive musicality and party-starting approach.

Julian Jeweil returns to Drumcode for his first EP in two years with the inspired six-tracker ‘Boreal’ split across two records.

The Frenchman has been a vital member of the extended Drumcode family since 2017 when he debuted with the fantastic ‘Rolling’ EP. Since then, highlights have included playing main stage at Drumcode Festival and dropping the critically acclaimed ‘Transmissions’ album in 2019.

His ‘Boreal’ EP marks his fifth outing on the imprint. Part I kicks off with the title track, a truly special record, striking the sweet spot between euphoria and melancholy, as airy pads and stirring waves of melody stamp it with a timeless feel.

On the flip, ‘Time’ is a propulsive weapon built around a steely industrial backbone and is a necessary tool for every set. ‘Reverse’ closes out part one in style - a low-slung beast that builds up intergalactic energy throughout.

Cuba: Music and Revolution: Culture Clash in Havana: Experiments in Latin Music 1975-85 Vol. 2 is the new album compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records) that takes off in exactly the same vein as the much-acclaimed Vol. 1 – exploring the many styles that came out of Cuba in the 1970s as Latin and Salsa mixed with heavy doses of Jazz, Funk, and Disco to create some of the most dancefloor-friendly music ever made!

The album comes as a heavyweight 3xLP and deluxe 2xCD set, complete with extensive sleeve notes, and is jam-packed with heavy bass lines, synth and Wah-Wah guitar funk combined with the heavyweight percussion, powerful brass lines and the all-encompassing Latin rhythms of Cuban music known
throughout the world.

Much of the music on this album is featured in the deluxe large format book ‘Cuba: Music and Revolution: Original Cover Art of Cuban Music: Record Sleeve Designs of Revolutionary Cuba 1959-90’, released by Soul Jazz Books and also compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records),
featuring the music and record designs of Cuba, made in the 30-year period following the Cuban Revolution.

The music on this new album features a host of rarities from legendary Cuban artists such as Los Van Van, alongside Grupo De Experimentación, Farah Maria, Ricardo Eddy Martinez, Juan Pablo Torres, Grupo Sintesis and Orquesta Riverside, most of whose names remain largely unknown outside of Cuba but have long been favourite club tracks and secret-weapons in Gilles Peterson’s record boxes!
The music on this album reflects the most cutting-edge of Cuban groups that were recording in Cuba in the 1970s and 1980s – all searching for a new Cuban identity and new musical forms reflecting both the Afro-Cuban cultural heritage of a nation that gave birth to Latin music and its new position as a socialist state. Most of the music featured on this album has never been heard outside of Cuba.
Both Gilles Peterson and Stuart Baker have been involved in Cuban music for more than two decades – Gilles Peterson with his many Havana Cultura projects for his Brownswood label and Stuart Baker with a number of Soul Jazz Records albums recorded in Cuba. This Soul Jazz Records album is released in conjunction with Egrem, the Cuban state record company, and has been put together after the many crate-digging trips that both compilers have made on the streets of Havana and beyond in Cuba stretching over a 20-year period, searching out rare and elusive original Cuban vinyl records

Kicks & Hugs, a multi-disciplinary platform established in 2017 to hold space for like-minded creators, now launches its own label showcasing emerging sonic spheres that reach beyond momentary hype and trends alike. Based in Berlin, the foundation of Kicks & Hugs lies at intersectional crossroads of music and art, with their first record establishing a definite attitude towards contemporary artistry. Kicks & Hugs celebrates an immersive spectrum of talent across different mediums and promotes ideas composed of color to challenge a steady current of long exhausted black & white patterns within the realm of electronic music. The debut EP available on black & limited edition colored marble vinyl assorts a kinetic flow of ideas produced by a seemingly divergent roster. Completely ecstatic & exhilarating maze of rhythm by The Lone Flanger, additionally reworked with Varg2TM versus contrasting yet innovative dancefloor mechanics by Bertrand., ending with a hypnotic mix by Dasha Rush, the record is an absorbing material of dynamics that subtly surprise and leave nothing but an ambitious statement for what’s yet to come. KH01 is dedicated to a musical shape-shifter, a paramount figure, ephemeral talent & a dear friend – Andrew Smith. To end in his own words, Keep It Fungki. The Lone Flanger was an audio-visual project from the artist Jasen Loveland also known as Andrew Smith (1980-2021). Dedicated to exploring the intersection of music and visual arts in the expanded dimension, the work of TLF picked up where Loveland’s eponymous acid-based project left off, aspiring for a kind of transcendence that takes the listener beyond the previously known concepts to experiments with the possibility of creating a resonant bridge between frequencies, worlds and dimensions. The work of TLF questions, obfuscates and complexifies notions of rhythm, melody and musical genre… even our ability to rely on our senses for accurate information about the work in question Varg2TM also known as Jonas Rönnberg casts a cryptic shadow from the North over contemporary aesthetics, continuing to create in his largely collaborative and always thrilling approach. Tempering a caustic rhythmic sensibility with a pneumatic palette for high definition synthesis, his unique embrace of risk tests the reliability of the forms he works in as well as the genre borders he surveys. Bertrand.’s work as a producer incorporates a wide spectrum of influences and aims to create beyond the common means of electronic dance music. Bertrand.’s restless nature and desire for technical perfection bleed into his productions of bass-heavy futuristic soundscapes often juxtaposed with playfully intense dancefloor fundamentals. Dasha Rush constructs a rather wide assortment of electronic music and arts projects. She sees the genre as a starting place, not a destination. Rush brings up a mixture of rather rare electronic experimentation more akin to the brief movement of underground music. Credits: Mastering and mastercut by Andreas LUPO Lubich at Loop-O Cover artwork by Fredrik Altinell Graphic Design by Marta Braga Inner label artwork by Tommy Dwane Vocals by Kawala Bravo

Madre Lingua is a collection of songs born via the constant interactions among the Artists that gravitated around Mother Tongue in the first two years since its opening.

On the back of this continuous exchange of musical ideas and vibes MT’s own Patrick Gibin full time coordinator and producer of many of the songs here worked on this project like painting a blank canvas inviting Tiombé Lockhart, Kaidi Tatham, K15, Mark de Clive-Lowe, Tommaso Cappellato, EDB, Gary Superfly and the mysterious 黒舌 (Infectious Madness) to bring their colourful and heartfelt contributions to this unique collection of songs.

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

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

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

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

To celebrate the 3 years anniversary of Mother Tongue and remind us all the sheer quality of the Madre Lingua album project from last year, MT’s own Patrick Gibin curated this special remix double A-sider!

Patrick himself teamed up once again with Kaidi Tatham to refreak the EDB & Gary Superfly collaboration ‘Pressure’….the result is pure nasty and rude house vibes aimed at the dancefloor!

On the flipside Mark De Clive Lowe gave a spacey and beatless twist to the electronic opus ‘Apollo 3000’ another big favourite from Madre Lingua moving things into more abstract territories!
The best of both worlds on a single phat 12 inch!

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

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

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

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

Dirty machine gun funk, dripping in fudgy acidic grooves on this twisted heater from native London badass Shy One. Techno collides with Jazz Fusion across three jams recorded straight out the box and cut exclusively onto wax for Eglo Records. This 7" marks the first in a series of releases from the kinetic, undefinable talent.

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.’