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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.

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.

»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‹.

Lowest Form of Animal — Kublai Khan TX

Texas metalcore band Kublai Khan TX recently released the new song "Resentment," and now they've announced a new EP, Lowest Form of Animal, featuring that song and four others. Along with the announcement comes new single "Swan Song," which features guest vocals from Terror (and Buried Alive and World Be Free) frontman Scott Vogel.
"'Swan Song' re-tells many of life's harshest realities — both from afar and close to home," says vocalist Matthew Honeycutt. "Seeing the mental and physical damage of the sex trade in every corner and pocket of the USA — most remaining nameless and unsung. For what it's worth, we seek to share a single story: To reflect the thousands of lives lost in the unforgiving system that operates, unrelentingly, day and night."

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)

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.

New Decade is a name that has been around since the early days of rave music, long before it split into hardcore and jungle, which has meant that he can walk the line between the styles easily. Fourth Beginnings is very much an early hardcore rave style track that sounds so authentic you’d swear it was from a lost DAT tape from 1992. It has all the elements that made that era, that year, so darn good! Then there is Extreme Levels. This walks a slightly later path and has a hardcore/jungle crossover sound from early 1993, just before the official split of rave music. Dark Style Hardcore as we called it back then, but in truth this is the birth of jungle. It has all the defining elements in place but maintains a slight hardcore feel. These are two excellent slices of yesteryear, built for today, from an original old shool master, New Decade. Showing that even after all these years, he still doesn’t miss a beat…

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

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”.

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

New compilation, pressed on black vinyl. Featuring many unreleased recordings and rarities from the cult favourite and all endorsed by the Tom Rapp estate. The grand masters of acid folk, Pearls Before Swine outline the genius of leader Tom Rapp on an album created from a dusty box of tapes left behind by the incisive tunesmith. Never before heard recordings remastered to create the perfect route into the essential ‘Balaklava’ and ‘One Nation Underground’ albums that kick started a whole genre. This new vinyl compilation was made in collaboration with, and fully endorsed, by the Tom Rapp estate.

Jackie Mittoo, organ and piano maestro, was not only a founding member of the legendary Jamaican Ska group The Skatalites, but through the course of Jamaican music’s long history has produced a body of work under his own name and of that with his various group incarnations, The Soul Brothers, Soul Vendors and the Sound Dimension. His distinctive organ and piano sound and musical arrangements have all played a major part in Jamaica's musical history.

Jackie Mittoo (born 1948, Kingston, Jamaica) began playing musical instruments at a very early age. Taught piano by his grandmother he was performing live by the age of 10 and recording by the age of 15. Two Kingston bands that he played with the Rivals and the Sheiks brought him to the attention of Studio 1's founder Coxsone Dodd. Who at the time was putting a group of musicians together to be his studio band. Impressed by his skills on both the organ and the piano, Jackie was asked to join in what would become Jamaica's foremost band The Skatalites. The fellow band members were Lloyd Brevett (bass), Lloyd Knibbs (drums), Don Drummond (trombone), Tommy McCook, Roland Alphonso and Lester Sterling (Sax), Johnny Moore (trumpet), Jah Jerry(guitar) and Mr Mittoo (piano). This line up ruled the Jamaican scene between 1964 - 1965 as well as inventing the Ska sound, they also performed the backing duties for the other top labels of the time including Duke Reid's Treasure Isle and Justin Yap's Top Deck label.

1965 saw The Skatalites disband, and Jackie Mittoo move on to his next musical project The Soul Brothers. Formed with fellow Skatalite Roland Alphonso,this band would back all the hits coming out of Studio 1 for the next three years with Jackie Mittoo working as band leader and musical arranger. Around this time Jackie also had his own single released, a Ska underground classic called 'Got My Bugaloo'. Rare, as it also features Jackie in the unusual role for him, as lead singer!!!!. 1966 saw the Ska sound evolve into Rocksteady, again with Jackie's band at the helm, and his first hit single the Rocksteady cut 'Ram Jam'. The success of which would lead to a solo career and album releases under his own name such as 'Now', 'Macka Fat', 'Evening Time', 'In London' and 'Keep on Dancing', to name but a few. In 1967 the hits at Studio 1 were still flowing when The Soul Brothers morphed into The Soul Venders and began backing such luminaries as Ken Boothe, Alton Ellis, Delroy Wilson, The Heptones, The Cables, The Wailers and many other of the label’s solo artists.

By 1968 Jamaican music was ready for another change and Rocksteady rolled into a slower groove soon to be called Reggae. Jackie Mittoo would be at the forefront with his latest band The Sound Dimension. A line-up that included Leroy Sibbles (bass),Roland Alphonso and Cedric Brooks (saxophone),Eric Frater and Ernest Ranglin (guitar) and Bunny Williams (drums). Being the house band at Studio 1 they backed all the leading names of the time, John Holt, Horace Andy and Alton Ellis, all of Studio 1's output carried his sound. Jackie Mittoo emigrated in the late 60's to Canada but travelled to Jamaica and London to record with many of the big new names, who were trying to redress Studio 1's supremacy and needed his magic touch. Such producers as Bunny Lee used Jackie Mittoo on many of his sessions,Sugar Minott among others were always glad of his services.

For this release we have put together a selection of some of his finest recordings done with legendary reggae producer Bunny Lee. 1970’s cuts that feature Jackie’s numerous talents, showing his ability to embellish tracks with a feel few could better. Musical arranger, band leader and all around studio ace.

We hope you enjoy this great set with Jackie Mittoo in fine style and his organ super powered indeed…

Soul Music in Los Angeles was nearing its peak in 1966. The pre-eminent company was of course the giant Capitol Records and the uptempo songs that they released at the time still retain great power and attraction for many dancers today. But there were several small, private concerns making soul music, looking for that one big hit, and singers who were trying to find the break that would take their careers onto a new and higher plane. This album nods towards Capitol but concentrates on the varying styles of soul that the smaller, more agile labels released at the time. Many of these have been overlooked for far too long now, but here is the perfect opportunity to find out just how strong and varied the West Coast soul scene really was in the middle of the 1960s.

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.

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

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

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

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

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

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

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

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

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

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

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

“Airplayed the track”
Tom Ravenscroft — BBC6 Music

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

“★★★★★”
Iida Simes — Voima Magazine

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

“Cullinan” released on very limited LP "

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.

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.

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

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

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

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

"In Waves is a new sister label of Lee Burridge's All Day I Dream. Its third release comes from Zone+ and is a superb 13 track collection that sinks you deep into the artist's rich house sounds.

A Balloon In The Wind (Ambient) opens top with dreamy pads and spring day sounds, then supple grooves arrive like Hello to take you away into a hypnotic world. Shinobi has bumpier drums and elastic bass, Bohemian brings worldly percussive sounds and Mandalorian layers up smooth drums with soft pads and angelic vocals.

This most heady and cuddly of albums plays out through the clipped house and subtly funky kicks of What's Going On, the bubbly sounds and Middle Eastern vocals of The Musician and widescreen melancholic chords of Luna. Electric Dreams is a fine collab with Usif and the album closes on the tightly woven late night deep house of Uncommon.

This is a masterful album of smartly layered grooves, emotional pads and escapist vibes."

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

In the constant state of flux that house and techno are in since their inception, Berlin’s Sascha Funke is at once a fixture and an emblem of the city’s transformations. Probably best-known for his work on BPitch, Kompakt or the evergreen MZ, Funke’s EP for Running Back is an amalgamation of sounds, influences and atmospheres. Subdued rave euphoria, robotic disco-influenced techno-pop and hints of Berlin’s long gone „Dubmission“ party ethics get re-arranged, extracted and reconfigured with „German engineering“ values.
Take the ritual QAM for instance. Using a sample and the legendary morse melody of the weather forecast at the end of each „Tagesschau“ and putting it in a completely different context, is a prime example of a free-form approach to making music and making nostalgia future-proof.
That also holds true for the rest of the EP. While titles like FEZ (Freizeit- und Erholungszentrum) or SEZ (Sport- und Erholungszentrum) refer to lost places in East Berlin, the tracks are anything but. Yearning, precisely programmed and full of joie de vivre at the same time, they all lock into and complement each other. So much, that you will find a new favorite with every listen.

Five-time Grammy Award winning blues singer Robert Cray recorded his fifth studio album Strong Persuader together with Grammy Award winning producer Bruce Bromberg. After its release in 1986, the album became his big breakthrough and made Cray a pop star, despite making a classic blues album. The 10-track album included three singles, including “Right Next Door (Because Of Me)”, “I Guess I Showed Her” and “Smoking Gun”, the latter reaching #2 on the US Rock chart and #22 on the Billboard Hot 100. Strong Persuader sold over two million copies by 1995 and earned him a Grammy Award for Best Contemporary Blues Recording.

 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.

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' 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

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

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

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

Am 27.05. veröffentlichen Taking Back Sunday „Tell All Your Friends (20th Anniversary Edition)! “Tell All Your Friends” ist das bahnbrechende Debütalbum von Taking Back Sunday aus Long Island. Mit den Hit-Singles ”Cute Without The ’E’ (Cut From The Team)”, ”Great Romances of the 20th Century” und ”You’re So Last Summer” ist das Album hochgelobt und hat in den letzten 20 Jahren Künstler aller Größen und Genres beeinflusst.

Diese 20th Anniversary Edition mit 2 Discs enthält als Bonus eine 10” mit vier bisher unveröffentlichten Demos.

Tell All Your Friends is the groundbreaking debut album from Long Island’s Taking Back Sunday. Boasting the hit singles “Cute Without The ‘E’ (Cut From The Team),” “Great Romances of the 20th Century” and “You’re So Last Summer,” the album is highly acclaimed and has influenced artists of all sizes and genres over the last 20 years.

Harrison Whitford, LA-based multi-instrumentalist, producer and songwriter, announces his new album Afraid Of Nothing, released via Screwdriver Records, building on his previous work, his delicate vocals and signature guitar tones being joined by lush layers of instrumentation. It's both emotionally devastating and sonically impressive, an immersive record that warmly embraces the listener. He has spent the last several years lending his warm, expressive guitar skills to Phoebe Bridgers (who lends backing vocals to select tracks on the album) and even when her music started being noticed, Harrison still felt the urge to flex that creative muscle. A departure from his previous method of writing and recording quickly, Afraid of Nothing is an album that has benefitted from the time afforded to Harrison from being able to truly focus. “Recording Afraid of Nothing taught me an important lesson: don't stop until you're happy with it,” Harrison says. Recording was seen as a constantly evolving process, every single kink ironed out until he was sure every track was how he envisaged it.

Hits package from the original 'Pop Idol', celebrating 20 years since he won the competition. Includes that massive initial #1 "Evergreen", plus "Light My Fire", "Leave Right Now", "The Long And Winding Road", "You And I", "Your Game", "Fridays Child", "Daniel" and many more... A 20 track single CD and double LP set pressed on black vinyl, both of which include 2 new songs, plus a deluxe 2CD set containing 13 bonus songs of session tracks/remixes/demo's. Upcoming nationwide UK tour dates to promote this release. TV promo includes The One Show, Sunday Brunch, BBC Breakfast, Lorraine, ITV Jubillee Street Party, Britain's Got Talent and more TBC. Radio promo includes Zoe Ball interview, Jo Wiley session, R2 playlist, Magic FM and ILR support. Extensive coverage across all press.

'The City Needs A Hero' is the highly-anticipated sophomore album from Murkage Dave, following on from the critically acclaimed debut 'Murkage Dave Changed My Life' which cemented him as one of the UK's most exciting new singer-songwriters. Includes the singles 'Please Don't Move To London It's A Trap, 'Awful Things (feat. Caroline Polachek)', 'Us Lot', 'World I Want To Live In' and more.

'The City Needs A Hero' is the highly-anticipated sophomore album from Murkage Dave, following on from the critically acclaimed debut 'Murkage Dave Changed My Life' which cemented him as one of the UK's most exciting new singer-songwriters. Includes the singles 'Please Don't Move To London It's A Trap, 'Awful Things (feat. Caroline Polachek)', 'Us Lot', 'World I Want To Live In' and more.

 ‘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.

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

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.’

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.