Suche:ravenous

Drei brandneue Slaughterday Songs und eine Coversion des Acheron Klassikers "Ave Satanas" sind ready auf Plastik, sprich CD und Vinyl gepresst zu werden. 20 Minuten kriechender, schmerzerfüllter Death Metal, die den Weg des Debüt Albums "Nightmare Vortex" fortsetzen und ebenfalls im Soundlodge Studio unter der Leitung von Jörg Uken aufgenommen, gemixt und gemastert wurden. Für das Artwork zeichnet sich diesesmal der Schwede Jan Pysander Whitney verantwortlich.

Spencer Parker invites Swedish artist Billie Jo to Work Them Records with five driving techno cuts entitled 'The Ravenous' EP featuring a remix from Me Me Me boss Man Power.

Hailing from Stockholm, Billie Jo is a founding member of the .WAV collective and resident DJ at Gothenburg's Rottweiler when not performing at clubs like Tresor. She now joins Work Them Records, bringing an array of robust productions with her.

With its pounding drums and ghostly vocals, 'Erroneous' quickly sets the tone of the release, leading into 'Saturn' with its glassy textures and echoing effects. 'Ravenous' then takes us into murkier territories, generating a duskier aesthetic with its twisted sounds before British producer Man Power provides a vigorous reinterpretation under his newly minted MPX moniker, which focuses on raw club tracks, featuring hard stabs and acid licks.

With its saw-like lead and trippy atmospherics, 'Dir Vsseu' sounds like being pulled through a vortex, making way for the powerful 'Planet 9' which concludes the package with metallic elements and subtle pads.

Red Panda is back on solid 180 gramm vinyl!
This time Roustam teamed up with Tolga Fidan for the Berlin Sessions vol. II
You know the deal...500 copies vinyl only - first come/ first serve. No repress!

DYING VICTIMS PRODUCTIONS is proud to present AGGRESSIVE PERFECTOR’s highly anticipated second album, Come Creeping Fiends, on CD and vinyl LP formats. Released in 2019 via DYING VICTIMS, AGGRESSIVE PERFECTOR’s Havoc at the Midnight Hour debut album introduced this British power-trio with no small amount of sleazy, Satanic fanfare. While their background may jointly lie in black metal, the three un-gentlemen of AGGRESSIVE PERFECTOR held high heavy metal done the ancient way: classic Tank, early Raven, Warfare, and of course the almighty Venom as well as modern torchbearers like Midnight, Whipstriker, and Power From Hell. Unsurprisingly, the album garnered international acclaim. Eclipsing that feat is the band’s second album, Come Creeping Fiends.

Truly titled once again, Come Creeping Fiends comprises nine tracks of heavy metal for the insane, forged in the Manchester morgue. Raging like a ravenous beast, summoning ancient ones, and agonizing with morbid doom, AGGRESSIVE PERFECTOR cover a lot of ground here, but like the rotting undead that inspired it, this second album somehow holds together. The same black magic that made Havoc at the Midnight Hour a highlight six(-six-six) years ago is here again, only this time with a higher kill count and hit rate. Cleaner and crisper in execution but somehow darker and dirtier in its content, Come Creeping Fiends offers highlights at every crooked turn; tunes like “Strange Companion,” “Fiend in You,” and lead track “Dead Undead” will have all the witches dancing. Needless to say, fans of maniacal, EVIL heavy metal music and horror movies will find a lot to love. The wait for AGGRESSIVE PERFECTOR’s second album might have been long, but Come Creeping Fiends will prove to be worth it…

Repress!

In May 2018, Belgium's Amelie Lens launched LENSKE, the fruit of working on new music and collaborating with her peers. The aim was to create a platform to release her own and friend's music that they use to tear apart dance floors around the globe. Less than two years after, LENSKE is putting out their 10th release and it's evolved into something more than just a label, but a family.

During this relatively short time, the prolific crew formed by Amelie Lens, Farrago, Milo Spykers, AIROD and Ahl Iver have released a collection of contemporary anthems, storming techno cuts and acid weapons. The imprint's catalogue illustrates their exploration for a shade of techno particularly focused on the hi-NRG factor. You can usually catch them at the Exhale showcases worldwide - at the likes of fabric London, Off Sonar in Barcelona and Dour in Belgium- testing their new productions that the crowd highly anticipate for their release.

For this fresh record, each artist contributes a track for a mini VA compilation showcasing the label's sound. Belgian producer Milo Spykers opens up with 'Traversing', a heavy-hitting cut with a ravenous sound design. Hot on the heels of her recent compilation for the fabric presents series, Amelie Lens steps up with her brand new tune 'The Future' featuring energetic synth hooks with her signature vocals. AIROD goes ravey with 'Divine Power' introducing jungle elements, while on the other side, Farrago delivers a catchy vocal-led slammer with 'Step Up'. Ahl Iver, the newest addition to the label, brings the final touch with the intoxicating 'Night Creature'. The future is bright!

Voivod wurde 1982 in Jonquière, Quebec, von Sänger Denis „Snake“ Belanger, Gitarrist Denis „Piggy“ D'Amour, Bassist Jean-Yves „Blacky“ Thériault und Schlagzeuger Michael „Away“ Langevin gegründet und nahm eine Reihe von Demos auf, bevor Brian Slagel auf die Band aufmerksam wurde und einen Vertrag mit Metal Blade Records unterzeichnete. Das Ergebnis war das furiose Debütalbum „War And Pain“, das im August 1984 veröffentlicht wurde. Zu dieser Zeit teilten sich alle vier Mitglieder eine Wohnung in Montreal und lebten von 150 Dollar Sozialhilfe pro Woche. Da sie die Schule bereits hinter sich hatten, konnten sie fast jeden Tag proben, was zur Entstehung ihres zweiten Albums „Rrröööaaarrr“ führte. Während der Aufnahme des Albums wurde fast die gesamte Ausrüstung aus dem Proberaum gestohlen. Um Geld aufzutreiben, organisierte die Band zusammen mit ihrem Manager Maurice Richard das legendäre „World War III“-Festival. Dort lernten sie Karl-Ulrich Walterbach kennen, der Voivod davon überzeugte, bei seinem Label Noise Records zu unterschreiben. Nach „Rrröööaaarrr“ von 1986 hieß Voivods zweites Album für Noise „Killing Technology“ und gilt weithin als der größte kreative und klangliche Sprung der Band. Es wurde in West-Berlin unter den wachsamen Augen von Harris Johns aufgenommen und kam 1987 auf den Markt. Weniger hektische Kompositionen wie „Tornado“, „Ravenous Medicine“ oder „Killing Technology“ hoben die Kanadier schnell von ihren Thrash-Zeitgenossen ab. „Rrröööaaarrr„ haben wir mit unserem Tontechniker in einer heruntergekommenen Schule ohne Geld selbst produziert“, erklärt Michael Langevin in dem Buch „Damn The Machine. The Story Of Noise Records“ des amerikanischen Autors David E. Gehlke. „Plötzlich hatten wir ein professionelles Umfeld, ein richtiges Studio mit einem richtigen Produzenten und ein Label, das die Finanzierung sicherstellte. Es ging Schritt für Schritt. Für „Killing Technology“ haben wir vielleicht ein bisschen langsamer gemacht. Wir konnten die Rollen spielen, und es hat viel Abwechslung. Es ist mein Lieblingsalbum und in meinen Ohren die perfekte Mischung aus Thrash, Prog und Hardcore. Es ist definitiv ein entscheidendes Album.“

“The GRILL will fucking rule things…” – Backengrillen’s debut album out in January "Backengrillen's music is a paean to chaos and destruction. The basic idea is to take a death/doom metal, or noiserock riff and play it until it loses meaning and then break it apart like a ravenous cat would a tiny forest mouse. It's filled to the brim with the self-hatred endemic to the province of Västerbotten from whence the member’s hail. The record was written on a Thursday during their first ever rehearsal, performed live on a Friday and recorded on a Saturday, so what you're hearing is raw, stupid, gut instinct music played by seasoned purveyors of hardcore punk, metal, free jazz, noise et cetera. Record no 2 is in the making, less stupid, more ugly. Stay tuned and fuck the pigs." - Backengrillen, November 2025 Backengrillen is a new ensemble with their roots in HC, punk, noise and free Jazz. All members from Umeå, with roots in the original version of Refused – and one with starting points in the jazz-rock ensemble Nirvana (1980). With a solid and yet varied background in the creativities of Refused, TEXT, INVSN, Fire Orchestra, The International Noise Conspiracy, The End, Serpent, The Thing, Final Exit and other classic jazz combos we will now start our journey of 4 colliding locomotives, creating a new form of beauty and energy. Antifascist, antiracists free form death – jazz – in the memory of Lars Lystedt – Backengrillen arrives with new perspectives on jazz. And punk. In-your-face HC jazz inspired by The Cramps, Little Richard, Albert Ayler, Polly Bradfield, Entombed, John Zorn, Misfits, Stooges, Lars Gullin, Can and much more. Backengrillen’s self-titled debut album is out on January 23rd, 2026 on vinyl, CD, and digitally on Bandcamp via Svart Records. Backengrillen Dennis Lyxzén – vocal and effects Mats Gustafsson – saxophones, flutes and live electronics Magnus Flagge – bass David Sandström – drums and electronics

“The GRILL will fucking rule things…” – Backengrillen’s debut album out in January "Backengrillen's music is a paean to chaos and destruction. The basic idea is to take a death/doom metal, or noiserock riff and play it until it loses meaning and then break it apart like a ravenous cat would a tiny forest mouse. It's filled to the brim with the self-hatred endemic to the province of Västerbotten from whence the member’s hail. The record was written on a Thursday during their first ever rehearsal, performed live on a Friday and recorded on a Saturday, so what you're hearing is raw, stupid, gut instinct music played by seasoned purveyors of hardcore punk, metal, free jazz, noise et cetera. Record no 2 is in the making, less stupid, more ugly. Stay tuned and fuck the pigs." - Backengrillen, November 2025 Backengrillen is a new ensemble with their roots in HC, punk, noise and free Jazz. All members from Umeå, with roots in the original version of Refused – and one with starting points in the jazz-rock ensemble Nirvana (1980). With a solid and yet varied background in the creativities of Refused, TEXT, INVSN, Fire Orchestra, The International Noise Conspiracy, The End, Serpent, The Thing, Final Exit and other classic jazz combos we will now start our journey of 4 colliding locomotives, creating a new form of beauty and energy. Antifascist, antiracists free form death – jazz – in the memory of Lars Lystedt – Backengrillen arrives with new perspectives on jazz. And punk. In-your-face HC jazz inspired by The Cramps, Little Richard, Albert Ayler, Polly Bradfield, Entombed, John Zorn, Misfits, Stooges, Lars Gullin, Can and much more. Backengrillen’s self-titled debut album is out on January 23rd, 2026 on vinyl, CD, and digitally on Bandcamp via Svart Records. Backengrillen Dennis Lyxzén – vocal and effects Mats Gustafsson – saxophones, flutes and live electronics Magnus Flagge – bass David Sandström – drums and electronics

The story of Suffering began in the UK's West Midlands in 2012 and since those nascent days they have released a nefarious collection of occult black metal offerings, beginning with their debut album, 11, in 2018 and most recently the Symphonies: Diabolis EP in 2024. They have also built a reputation for intense, diabolical live performances, appearing alongside the likes of Esoteric, Ghost Bath, and Mol. The band recently signed with infamous label, Apocalyptic Witchcraft, with label founder Conor Droney describing Suffering's music as "dark, unflinching, and deeply atmospheric, exactly what we stand for." And now the first fruits of that new alliance are about to be unveiled, in the shadowed form of Things Seen But Always Hidden. Things Seen But Always Hidden is an enveloping nightmarish journey through temptation and spiritual destruction, an immersion in contrasting states of terror and ecstasy - it bewilders, consumes and possesses the power to change and scar. Each song seeps into the next, binding them into a grimoire of dehumanising ritual, yet they exist as powerful individual entities. There is 'Enthralled', constructed from classic black metal riffs and raw vocal exhortations_and something more, something imperceptible but profoundly affecting; 'What Once Was Shall Be Again And What Is Shall Be No More', a glimpse beyond the veil, a fall down the endless paths of inherited memory that binds you to this album, this place constructed from arcane sound; the fear filled and imperious 'Hell On Earth New Eden', driven by a ravenous, unholy hunger_each chapter in this tome of unmaking and desecration will burn itself into your mind. A fusion of blackest metal, ritualistic doom and unsettling, distressing atmosphere Things Seen But Always Hidden will never leave you, no matter where you run. The way to Things Seen But Always Hidden will be revealed by Apocalyptic Witchcraft on November 28th. But remember, once you have set foot on this path there is no way back_

“My introduction to “noise” came from a record shop in Lake Worth, Florida ran by a musician named Kenny 5. Kenny had left Detroit sometime in the mid nineties and had begun selling used records and CD’s from the downtown strip of this tiny southern Florida city in a humble shop sandwiched between a deli and a dog grooming business. Kenny previously was on labels like Amphetamine Reptile and timeSTEREO, and the records and videotapes that would be on repeat at his shop were a vast sonic expanse that spoke to the eclecticism of his experience as a touring musician participating and adjacent to American noise culture through the early to late 90’s. In 1998, I was eleven years old and I would order a pizza with him and watch VHS tapes of Japanese noise and deathmatch bootlegs, as well as any other sonic and subcultural rarities that far outstripped my age to comprehend (notably the RRR “Journey Into Pain” compilation and various Vanilla Tapes videos). This widecast net of information formed an introduction to a reality that did not fall deaf on me, but it took many years later for me to reorient the specific freedoms of what this dense and cathartic sound culture had imparted on my life and would continue onward to.

What does this have to do with this selection of choice recordings from the Secret Boyfriend catalog for the enmossed label? For the uninitiated, Secret Boyfriend is the long running moniker of Ryan Martin, North Carolina musician and label proprietor of the Hot Releases imprint. For over a decade from this writing I have watched Secret Boyfriend, and Hot Releases by extension as a curatorial and archival effort, embodying the multiplanal capacity that noise loosely functions from as an umbrella ideology and formalist avenue for sound creation. For anecdotal purposes, from (before) 2006 until roughly 2023 the East Coast of the United States showcased a vibrant network of eclectic regional festivals that saw wide swaths of artists addressing and negotiating the notion of what qualified “noise” from a conceptual and ideological perspective. Some festivals honed in on particularities in aesthetics and tropes, and others had a kind of “catch-all” implementation that allowed for a salvation of the sort of alienated and singular artistry that was amassing throughout these territories. While clear guidelines had been set from regional predecessors as to how noise with a capital “N” should maneuver, Secret Boyfriend is emblematic in the spirit of fluidity that was either implicitly coupled to the notion of the genre, or grew to evolve towards or devolve from.

Within Secret Boyfriend performances, I have seen and admired a mirroring from a ravenous appreciator of this culture at large back towards itself. Typical of a Secret Boyfriend set is an interchangeable narrative arc wherein blistering feedback laden scrap metal improvisations are forayed into naive ambient or “pop” songs, or skipping CDs, or mixer feedback play, or delayed Roland 707 drum workouts all at once and in a unique hegemony. Secret Boyfriend's stylistic mastery of each endeavor is at once an homage to a history of loving listening and enacting, while a brave step into the realm of actualizing the unique fluidity of his own practice. In performance and the action of network engagement, Secret Boyfriend operates a survey of that which he sought to hear and that which he cultivates around his work. His operations are mirrors, and the project (alongside his other peers) is a reflection on the ethos of his time.

Conversely his recording practice narrows in on these moments and allows for a different kind of intimacy or alienation for the non live listener. This record of selected “pop songs” (let's call them that) is particularly poignant at a time when the culture Martin mirrors is at a strange crossroads with itself. The aforementioned festival networks necessarily change and shift. The onlookers become the artists, the artists find new horizons, and the spaces for these cycles fade into locales of a distant memory. It seems, from my perspective, that audiences currently yearn for a more bottlenecked experience, searching for some ontologically vetted manifestation of an idea, of a sound and less for an experience that functions in opposition to our collective banalities. This makes sense in the face of general global catastrophism that plagues us. We need certainty of what something is somewhere, don’t we? Noise as an idea has expanded and contracted to so many iterations of itself it is hard to tell what it even is, and it is particularly difficult to identify in the absence of solid network activations a moment to reflect on its own complexities and nuances. In the face of so much change, I argue that the language of noise culture at large has on one hand become increasingly didactic and predictable, and laughably inclusive and non linear on the other. Probably has always been this way, but now we are in the midst of a moment of extreme access and indexicality, which somehow cauterizes expansion and naivety and chance.

This record highlights the Secret Boyfriend that obscures didacticism by highlighting output that opens up for more challenging catharsis and emotive signal processing. It provides an entry to the materialism of a cultural field full of ecstatic complexity and beautiful inconsistency. In these muted moments Secret Boyfriend has given us over his career we have an argument for evolving languages that further challenge our notions of what is supposed to happen and how it is supposed to be presented. In his more song oriented expansiveness, we can punctuate the ability to think in new modalities. Listening to these recordings reminds me of the polarity of sitting in the record store as a kid and understanding that His Name Is Alive is on 4AD and (gasp!) timeSTEREO. This trite early impression that nothing is really as different as our imaginations might want them to be, and that we can do whatever we want mostly within the creative realms we work through is an important filter to look through Secret Boyfriend as a project and a vessel. If we can achieve abandon and vulnerability through our artistic endeavors, then we have a sound model for, maybe, new potentialities. If that’s too much projection, or just complete liberal bullshit, I am fine with that. Secret Boyfriend's oeuvre at best offers us moments of reprieve to ponder these complexities, or at least a moment to zone out on a drive through North Carolina Highway 54.

You have one pocket of life that you must do whatever you want to inside of. Secret Boyfriend does it affectionately, in a variety of forms, and always with deep sentimentality. These recordings are a wonderful set of songs to begin further investigation from. Thank you Ryan for allowing as many avenues as possible to continue a broad cultural exchange and conversation that intersect and refract while being the kind of artist that is brave enough to not phone in the effort.”

- Nick Klein , May 2024

Voivod wurde 1982 in Jonquière, Quebec, von Sänger Denis „Snake“ Belanger, Gitarrist Denis „Piggy“ D'Amour, Bassist Jean-Yves „Blacky“ Thériault und Schlagzeuger Michael „Away“ Langevin gegründet und nahm eine Reihe von Demos auf, bevor Brian Slagel auf die Band aufmerksam wurde und einen Vertrag mit Metal Blade Records unterzeichnete. Das Ergebnis war das furiose Debütalbum „War And Pain“, das im August 1984 veröffentlicht wurde. Zu dieser Zeit teilten sich alle vier Mitglieder eine Wohnung in Montreal und lebten von 150 Dollar Sozialhilfe pro Woche. Da sie die Schule bereits hinter sich hatten, konnten sie fast jeden Tag proben, was zur Entstehung ihres zweiten Albums „Rrröööaaarrr“ führte. Während der Aufnahme des Albums wurde fast die gesamte Ausrüstung aus dem Proberaum gestohlen. Um Geld aufzutreiben, organisierte die Band zusammen mit ihrem Manager Maurice Richard das legendäre „World War III“-Festival. Dort lernten sie Karl-Ulrich Walterbach kennen, der Voivod davon überzeugte, bei seinem Label Noise Records zu unterschreiben. Nach „Rrröööaaarrr“ von 1986 hieß Voivods zweites Album für Noise „Killing Technology“ und gilt weithin als der größte kreative und klangliche Sprung der Band. Es wurde in West-Berlin unter den wachsamen Augen von Harris Johns aufgenommen und kam 1987 auf den Markt. Weniger hektische Kompositionen wie „Tornado“, „Ravenous Medicine“ oder „Killing Technology“ hoben die Kanadier schnell von ihren Thrash-Zeitgenossen ab. „Rrröööaaarrr„ haben wir mit unserem Tontechniker in einer heruntergekommenen Schule ohne Geld selbst produziert“, erklärt Michael Langevin in dem Buch „Damn The Machine. The Story Of Noise Records“ des amerikanischen Autors David E. Gehlke. „Plötzlich hatten wir ein professionelles Umfeld, ein richtiges Studio mit einem richtigen Produzenten und ein Label, das die Finanzierung sicherstellte. Es ging Schritt für Schritt. Für „Killing Technology“ haben wir vielleicht ein bisschen langsamer gemacht. Wir konnten die Rollen spielen, und es hat viel Abwechslung. Es ist mein Lieblingsalbum und in meinen Ohren die perfekte Mischung aus Thrash, Prog und Hardcore. Es ist definitiv ein entscheidendes Album.“

It has now been four years since our return to earth in "2020 back to earth". There we had found a cold and inhospitable place, humanity was inexorably channeled on the path to extinction. We therefore decided to flee immediately in search of another planet where we could dwell.
We therefore came to New Babylon, a planet inhabited by humanoids but also by monstrous and ravenous creatures. There are "giants" that march about raising immense clouds of dust, stealing and plundering everything from people. Giants much like our corporations, they know no defeat and have no weaknesses, at least apparent ones.
There are old warriors like jarek who wait for war to feel like heroes, to feel alive. They find their dimension within the battle, where the line between hero and assassin magically blurs.
There are pyramids erected by men who think they are gods and turn the things life gives them into weapons and death, changing their use and meaning. Little men who think themselves omnipotent, burying knowledge of how life works under piles of lies.
We find a myriad of slaves, surrendered to live in huge troughs. They toil at nothing and find meaning in nothing. They prefer a convenient lie to an inconvenient truth.
In short, we realize that we have arrived in a world very much like earth. We are aliens but in a certain way we feel at home. We want to know, to understand, to evolve. We don't recognize ourselves in this deceived humanity, we don't give in, we believe. Nature, life is wonderful but when one thing loses its usefulness life gently explains to it that it is time to make room for something else. This existence has already explained to the dinosaurs.
Kayleth continue their journey, never stopping because who seeks will find itself.

"New Babylon ranks next to Space Muffin as Kayleth’s best album for me and one that contains some of their best grooves of their career to date." - Outlaws Of The Sun
"Sit down and really take in We Are Aliens as it’s a joy to listen to, but are the aliens we think exist, just like us? Let Kayleth take you on their journey of discovery." - The Sleeping Shaman
"On this album the Italian five manage to translate heroism into wild and wonderful sounds, often sounding even more like a grungier, metal version of Monster Magnet, mixed with mix a definitive love for Kyuss, Orange Goblin and a prog rock outfit like Riverside." - Stoner Hive
"It’s a call to arms for the dreamers and the rebels, a reminder that no matter how dark the journey, there is always light to be found. This album is a must-listen for anyone into psych stoner rock!" - Witching Buzz
"New Babylon is a triumph. It’s an album that demands to be listened to in full, each track a journey through heavy riffs and cosmic themes." - Iron Backstage
"Listening to a piece like 'New Babylon's Wall,' you can appreciate the richness and sonic fertility of the group, with beautiful melodies enriched by the right amount of electronics, starting from a psych conception of the stoner sound, and there is no lack of prog elements, all with beautiful melodies. As mentioned earlier, a sci-fi band in both approach and essence." - InYourEyesEzine
"KAYLETH doesn't reinvent anything, but they absolutely crush it by the rules!" - Rock'N Force
"Stoner rock has rarely sounded as original, diverse and intoxicating as it does here!

As one of the most triumphant and beguiling directorial debut features to emerge from the fruitful Polish New Wave, Andrzej Zulawski’s 1971 film Third Part Of The Night not only earned the thirty-year-old filmmaker a place next to other radical Polish directors such as Polanski, Skolimowski and Has, but also galvanised a creative bond with long running collaborator and composer Andrzej Korzyński, providing fans of foreign abstract/suspense cinema with a potent creative fusion to match those of Polanki/Komeda, Fellini/Rota and Argento/Goblin, amongst others.

Quite simply one of the heaviest psych rock film soundtracks of all time Andrzej Korzyński’s short and unreleased score matched the blueprint that adorned the drawing boards of conceptual French jazz orch rock composers like Jean-Claude Vannier, Francois De Roubaix and Alain Gourageur, creating a soundtrack that unknowingly begs comparison to Masahiko Satô’s Belladonna Of Sadness and Billy Green’s Stone. As one of the first progressive pop writers to come out of the vibrant (but carefully scrutinised) Polish beat scene with his bands Ricecar 64 and later Arp Life (and composing for national heroes such as Czeslaw Niemen, Niebiesko-Czarni and Test) Korzyński’s growing passion for conceptual rock and jazz music soon lead to instrumental composition and soundtrack scores.

His cinematic debuts scoring two consecutive transitional new wave films for Andrzej Wajda (in collaboration with the radical Polski pop groups Trubadurzy and Grupa ABC) also provided Korzyński with another significant cinematic muse in that of the stunning actress Malgorzata Braunek with whom they would both eventually achieve their finest performances under the direction of the ravenous first-timer Żuławski. Third Part Of The Night (1971) perhaps epitomises that triangular on-screen unison in its vibrant youth and feeds it through a hallucinogenic mangle finding astonishing beauty (within a repulsive synopsis) against a bleak and shattered backdrop and accompanied by progressive, psychedelic orchestral rock music – elements which would intensify for all three creatives with the next film, Diabel, which was banned by the Polish government the following year until 1988.

Third Part Of The Night also marks the public unison of Żuławski and Braunek whose later private romantic relationship is said to form the basis for another defining Żuławski/Korzyński defining endeavour with the 1981 film Possession exactly a decade later, encapsulating a period that bequeaths a previously unopened vault of some of the composers finest and most inspired sonic adventures.

As the void stares back at me, I am consumed by the waves of this new sonic transmission. ESP's Goblin Synth reigns supreme, guiding me into the darkest corners of my mind, as the Galaxian remix shatters my being into a thousand pieces. This release is a frenzied piece of IDM, braindance, and DnB, fueled by a chemical fury that leaves my mind in a state of pure ecstasy. The relentless pace and shifting soundscapes of the A-side are the perfect conduit for the raw power of the Galaxian remix, taking me beyond the limits of what I thought was possible.

On the B-side, I am treated to a liquid dnb homage that is no less relentless in its pursuit of sonic intensity. Here, the rhythms are more organic, more fluid, but no less potent in their ability. This is music that demands a total surrender of the self.

The insidious rhythms of ESP's Goblin Synth seize my consciousness like a viral agent, rendering my being porous and open to the twitching, glitching transmissions emanating from the depths of the machine. With each stuttering break and howling, modulated synth line, I am hurled headlong into a world of ravenous, cybernetic abandon - a blackened, dystopian horizon of shattered glass and flickering neon.

As my mind is hijacked by the rushing currents of amphetamine psychosis, I realize that this is no mere exercise in genre or form, but an all-out assault on the very fabric of reality itself. The sonic textures here are hyper-real, beyond the grasp of normal human perception - this is the sound of the post-human, the sound of the inhuman, the sound of a future that is rapidly bearing down upon me, whether I am ready or not.

And yet, amidst the chaos and decay, there is a kind of perverse beauty at work - a beauty that can only be glimpsed through the shattered glass of my own shattered subjectivity. With each burst of static and each crunching bassline, I am hurled deeper into a vortex of metallic, crystalline wonder, a realm of pure, unadulterated sound that is as terrifying as it is sublime.

Black Vinyl

Auf "Wages Of Sin" muss sich die neue Sängerin Angela Gossow nun zum ersten Mal einem scheinbar übermächtigen Schatten aus der Vergangenheit stellen. Schließlich ersetzt sie keinen Geringeren als Johan Liiva, der bereits vor dessen Carcass-Tagen mit Arch Enemy-Gitarrist Michael Amott in der Ur-Death-Metal-Combo Carnage zusammengespielt hatte. Dass sie diese Aufgabe so bravourös gelöst hat, ist unglaublich!Ähnlich wie 'Burning Bridges' aus dem Jahr 1999 ist 'Wages Of Sin' ein mächtiges Sperrfeuer an komplexen Riffs, das zwischen blendend brutal und atemberaubend melodisch wechselt und dabei eine Intensität beibehält, die man bei heutigen Metal-Aufnahmen nur noch selten hört. Das musikalische Können ist wie immer tadellos, wobei die Amott-Brüder einmal mehr beweisen, dass sie Meister ihres Fachs sind, wobei der Großteil ihrer Gitarrenarbeit ebenso viele Death-Metal-Obertöne aufweist, wie sie von einem traditionelleren Hard-Rock-Ansatz abgeleitet zu sein scheinen, insbesondere bei den Songarrangements, die nur selten vom Konventionellen abweichen.- Schweres 180g Vinyl als schwarze sowie farbige Version, jeweils inklusive 2-seitigem Einleger- Special Edition CD, in "PocketPac" (umweltfreundliche Verpackung) und mit 16-seitigem Booklet

Red Vinyl

Auf "Wages Of Sin" muss sich die neue Sängerin Angela Gossow nun zum ersten Mal einem scheinbar übermächtigen Schatten aus der Vergangenheit stellen. Schließlich ersetzt sie keinen Geringeren als Johan Liiva, der bereits vor dessen Carcass-Tagen mit Arch Enemy-Gitarrist Michael Amott in der Ur-Death-Metal-Combo Carnage zusammengespielt hatte. Dass sie diese Aufgabe so bravourös gelöst hat, ist unglaublich!Ähnlich wie 'Burning Bridges' aus dem Jahr 1999 ist 'Wages Of Sin' ein mächtiges Sperrfeuer an komplexen Riffs, das zwischen blendend brutal und atemberaubend melodisch wechselt und dabei eine Intensität beibehält, die man bei heutigen Metal-Aufnahmen nur noch selten hört. Das musikalische Können ist wie immer tadellos, wobei die Amott-Brüder einmal mehr beweisen, dass sie Meister ihres Fachs sind, wobei der Großteil ihrer Gitarrenarbeit ebenso viele Death-Metal-Obertöne aufweist, wie sie von einem traditionelleren Hard-Rock-Ansatz abgeleitet zu sein scheinen, insbesondere bei den Songarrangements, die nur selten vom Konventionellen abweichen.- Schweres 180g Vinyl als schwarze sowie farbige Version, jeweils inklusive 2-seitigem Einleger- Special Edition CD, in "PocketPac" (umweltfreundliche Verpackung) und mit 16-seitigem Booklet

AUSTERE sind wieder da. Die Australier kehren mit ihrem dritten Album zurück - und sie sind ebenso lakonisch und bodenständig wie zuvor. Die neuen Tracks auf "Corrosion of Hearts" stehen auf dem gleichen soliden Black Metal Fundament wie zu dem Zeitpunkt, als die Band nach der Veröffentlichung des zweiten Langspielers "To Lay Like Old Ashes" im Jahr 2009 in einen langen Winterschlaf ging, Die vielschichtigen, rauen und oft sogar verträumten Gitarrengewebe von Mitchell Keepin werden durch das gefühlvolle Schlagzeugspiel von Tim Yatras perfekt ergänzt. Letzterer steuert auch Keyboard-Tüpfel und cineastische Klanglandschaften bei. Die Australier komponieren weiterhin mäandernde, fließende musikalische Gedankenströme von meist epischem Ausmaß. Auf "Corrosion of Hearts" entwickelt sich AUSTEREs Stil zu einer reifen und klar definierten Ausdrucksform weiter. Dies ist keine große Überraschung, da beide Musiker während ihrer Auszeit von der Band anderweitig musikalisch aktiv waren und so ihren Horizont erweitern konnten. Das Duo hat sich gleichwohl mehr Zeit genommen, um die neuen Songs so zu gestalten, bis sie ihrer Klangabsicht exakt entsprechen. Die größere Erfahrung bringt auch mehr Entschlossenheit mit sich. AUSTERE entstanden aus einem bestehenden Soloprojekt des Multiinstrumentalisten und Sängers "Desolate" alias Mitchell Keepin, der im Jahr 2005 auf den Schlagzeuger, Keyboarder und Sänger "Sorrow" aka Tim Yatras traf. Obwohl sich die Australier schnell eine ebenso treue wie beachtliche Fangemeinde erspielen konnten, beschlossen AUSTERE, eine längere Pause einzulegen, bevor sie im Jahr 2021 ihre Aktivitäten wieder aufnahmen. Als erstes Zeichen ihrer Wiedergeburt veröffentlichte die Band eine Zusammenstellung ihres früheren Materials, das als Artbook-Edition unter dem Titel "Towards the Great Unknown" bei Lupus Lounge erschienen ist. Mit neu entfachter Leidenschaft und einer klaren Vision kehren AUSTERE nun mit ihrem längst sehnsüchtig erwarteten dritten Album "Corrosion of Hearts" zurück. Voller Schönheit, Stolz und Dunkelheit zieht ein mächtiger schwarzer Sturm aus Down Under herauf.

AUSTERE sind wieder da. Die Australier kehren mit ihrem dritten Album zurück - und sie sind ebenso lakonisch und bodenständig wie zuvor. Die neuen Tracks auf "Corrosion of Hearts" stehen auf dem gleichen soliden Black Metal Fundament wie zu dem Zeitpunkt, als die Band nach der Veröffentlichung des zweiten Langspielers "To Lay Like Old Ashes" im Jahr 2009 in einen langen Winterschlaf ging, Die vielschichtigen, rauen und oft sogar verträumten Gitarrengewebe von Mitchell Keepin werden durch das gefühlvolle Schlagzeugspiel von Tim Yatras perfekt ergänzt. Letzterer steuert auch Keyboard-Tüpfel und cineastische Klanglandschaften bei. Die Australier komponieren weiterhin mäandernde, fließende musikalische Gedankenströme von meist epischem Ausmaß. Auf "Corrosion of Hearts" entwickelt sich AUSTEREs Stil zu einer reifen und klar definierten Ausdrucksform weiter. Dies ist keine große Überraschung, da beide Musiker während ihrer Auszeit von der Band anderweitig musikalisch aktiv waren und so ihren Horizont erweitern konnten. Das Duo hat sich gleichwohl mehr Zeit genommen, um die neuen Songs so zu gestalten, bis sie ihrer Klangabsicht exakt entsprechen. Die größere Erfahrung bringt auch mehr Entschlossenheit mit sich. AUSTERE entstanden aus einem bestehenden Soloprojekt des Multiinstrumentalisten und Sängers "Desolate" alias Mitchell Keepin, der im Jahr 2005 auf den Schlagzeuger, Keyboarder und Sänger "Sorrow" aka Tim Yatras traf. Obwohl sich die Australier schnell eine ebenso treue wie beachtliche Fangemeinde erspielen konnten, beschlossen AUSTERE, eine längere Pause einzulegen, bevor sie im Jahr 2021 ihre Aktivitäten wieder aufnahmen. Als erstes Zeichen ihrer Wiedergeburt veröffentlichte die Band eine Zusammenstellung ihres früheren Materials, das als Artbook-Edition unter dem Titel "Towards the Great Unknown" bei Lupus Lounge erschienen ist. Mit neu entfachter Leidenschaft und einer klaren Vision kehren AUSTERE nun mit ihrem längst sehnsüchtig erwarteten dritten Album "Corrosion of Hearts" zurück. Voller Schönheit, Stolz und Dunkelheit zieht ein mächtiger schwarzer Sturm aus Down Under herauf.

AD INFINITUM - Die heißeste Band im Modernen Symphonic Metal
2023 heizen AD INFINITUM erneut die Szene auf und melden sich mit ihrem spannungsgeladenen dritten Studioalbum, Chapter III – Downfall, zurück, das am 31. März über Napalm Records erscheint.
Der unverkennbare Sound des Quartetts aus druckvollen, fast progressiven Riffs, symphonischen Nuancen, mitreißenden Refrains und Melissa Bonnys einzigartigem stimmlichen Facettenreichtum führte zu
einem unaufhaltsamen Aufstieg in der Metal-Welt, der nun mit Chapter III – Downfall eindrucksvoll vorangetrieben wird. Das neueste Werk unterstreicht den bisherigen Erfolg der energiegeladenen Formation
– bestehend aus Melissa Bonny (Gesang), Adrian Thessenvitz (Gitarre), Korbinian Benedict (Bass) und
Niklas Müller (Schlagzeug) –, der sich seit der Veröffentlichung des Debütalbums 2020 auch in Millionen
von Videoaufrufen und Streams weltweit widerspiegelt.
Produziert von AD INFINITUM und Jacob Hansen in den Hansen Studios, zeigt Chapter III - Downfall, dass diese aufstrebende Band das Genre mühelos auf den Kopf stellen kann, indem es ihm zeitgemäße
Vibes verleiht, ohne auf die musikalischen Ursprünge zu verzichten, und dabei alle Metal-Fans auf ihrem
Weg an die Spitze begeistert!

Hamburg’s Polycarp Records delivers the ‘Never Ever’ EP by Bonn this January, backed with remixes from Johannes Albert and The Cruiser.
The Polycarp Records imprint was launched in 2016 by Simon Ferdinand and across its past ten releases has unveiled an array of material from the likes of Pleasant Systems boss Tilman, Frank Music founder Johannes Albert and Simon Ferdinand and Basch both under their own artist names and of course their collaborative project, Bonn. In 2019 Ferdinand and Basch inaugurated their Bonn guise with a debut album entitled ‘Forget Forgot Forgotten’, 2021 saw the release of a follow up EP entitled ‘Ravenous’ and here the story continues with the pair’s latest collaborative works.
The original mix of title-track ‘Never Ever’ opens the EP and lays down
crunchy, off-kilter drums alongside mystical atmospherics, an unfurling acid bass lead and loopy, fluttering stab sequences. Johannes Albert’s twist on ‘Never Ever’ follows next, the fellow German producer takes things down his signature cosmic, nu- disco path via bubbling arpeggio lines and 80’s tinged resonant leads melded together with fragments from the original composition.
‘Phero’ then opens the flip side and sees Bonn deliver a twitchy house
workout fuelled by fidgety synth bleeps, dubbed out chords and bumpy,
saturated drums. Last up to round things out, The Cruiser turns in a
high- octane interpretation of ‘Phero’, upping the tempo and reshaping the original’s raw elements into a murky, dynamically unfolding thumper.

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.
 Now available as three different coloured vinyl
editions: clear smoked grey, marbled grey and
marbled red

: Thou have a bit of a reputation for doing Nirvana covers, even releasing of a full album of them titled Blessings of the Highest Order during the height of quarantine. The infamously ravenous Thou fans were stuck in their rooms, drinking every drop and begging for more and just their luck the band decided to release a full-length compilation of their non-Nirvana covers they recorded and released from 2009-2022.

All of the songs on A Primer of Holy Words appeared on limited pressings of various split EPs and benefit compilations. The range of bands being covered is wide: Pearl Jam and Alice in Chains from abandoned tribute projects; Born Against from a small press

: Thou have a bit of a reputation for doing Nirvana covers, even releasing of a full album of them titled Blessings of the Highest Order during the height of quarantine. The infamously ravenous Thou fans were stuck in their rooms, drinking every drop and begging for more and just their luck the band decided to release a full-length compilation of their non-Nirvana covers they recorded and released from 2009-2022.

All of the songs on A Primer of Holy Words appeared on limited pressings of various split EPs and benefit compilations. The range of bands being covered is wide: Pearl Jam and Alice in Chains from abandoned tribute projects; Born Against from a small press

This 2001 album from the Brazilian death metal war machine Krisiun has never previously been available on vinyl, apart from a limited picture disc release back in the day.

Throttling his focus into a number of studious and reflective releases in the last years, Anthony Linell's new EP breaks for a chaotic descent into a sinuous and muscular syntax to reveal some of his most refined yet ravenous works. Seamlessly arranged, each track finds a unique way of balancing syncopation to kindle unease at the peaks.

Back in 1968, a pair of Germanic behind-the-scenes sound
librarians called Horst Ackermann and Heribert Thusek left a
tiny but indelible pinprick on the history of German Pop in the
misshaped form of a sexy horror cash-in concept album called
‘Dracula’s Music Cabinet’. Shelved at a micro-cosmic axis
where Krautrock meets lesbian vampire Horrortica and easy
listening meets psychedelia, the delayed reaction of this mutant
concoction eventually exploded in the mid-1990s in the hands of
a generation of ‘record diggers’ sending currency-crushing
tremors through the wallets of mods, rockers, hip hoppers and
psych nuts around the plastic-pillaging planet. The vinyl junkies
had resurrected a monster but, like addicts do, they ravenously
sucked it dry and moved on looking for the next fix to feed their
habit.

Luckily for some, Ackermann and Thusek were also creatures
of habit. And it wouldn’t take a genius to figure out that they
were holding the next dose, but by the turn of the millennium
the mad scientists had been given a thirty-five-year head start
on the pop archaeologists and their mythical sequel was literally
light-years ahead of their previous draconian instalment.
Encouragingly, the unclosed cabinet left a shiny white clue in
the form of its closing track ‘Frankenstein Meets Alpha 7’.

The Ackermann and Thusek duo were far from dynamic. They
were undercover agents hiding behind user-friendly mock-rock
monikers and, like most B-Musicians, the only way to sniff them
out would be to read the small print. But when an unidentified
record on an unknown label with a title like ‘Science Fiction
Dance Party’ crops up in the Eins Deutschmark crates it’s not
exactly rocket science - although the track titles might suggest
otherwise. ‘The End Of A Robot’, ‘Monster On Saturn 1’,
‘Galactic Adventures Of The Outer Space Fleet’, ‘The Whistling
Astronauts’, ‘Death Rays Out Of The Universe’… The tell-tale
signs are all there and if that doesn’t clench the deal then what
will?

Even rarer than its horror counterpart, this ultra-rare record
regularly reaches sums in excess of €400 plus online.

Stygian Dark, the purveyors of dirty, down-tuned,
old school death metal, release their debut fulllength album, ‘Gorelords Of War’.
 The band was created by vocalist Dave Ingram
(Benediction, Bolt Thrower) and guitarist Rogga
Johansson (Paganizer, Massacre, Heir Corpse
One, Revolting, To The Gallows). The line-up is
completed by Alwin Roes (Dead End) on bass and
Jon Rudin (Wombbath, Just Before Dawn, Dead
Sun, Wormveil) on drums.
 If you like Benediction, Bolt Thrower, Grave and
general stumping, old school, aggressive, ultraheavy and raw down-tuned, straight to your face
death metal, this one can’t fail in your collection.
 For fans of Benediction, Grave, Asphyx, Obituary,
Six Feet Under, Dismember, Gorefest, Bolt
Thrower.

The career defining 5th album from South African Slam juggernauts VULVODYNIA. Featuring a slew of guest performances and production from Christian Donaldson. Looking in a medical textbook will tell you the following: Vulvodynia is a chronic, severe vaginal pain with no identifiable cause. While the severe part is dead on, what a medical textbook won’t tell you is that Vulvodynia is also the pioneer in what is rapidly becoming South Africa’s most eviscerating export: Technical Slamming Brutal Deathcore. With lobotomizing, lurid riffs, skin-shredding blast beats and slams gruesome and filthy enough to induce septic shock, Vulvodynia are a lethal plague, spreading throughout the flesh of today’s heavy music scene—infecting one set of ears at a time, and leaving no survivors. Vulvodynia have toured Europe, USA, Australia, New Zealand, and played numerous festivals worldwide.

The career defining 5th album from South African Slam juggernauts VULVODYNIA. Featuring a slew of guest performances and production from Christian Donaldson. Looking in a medical textbook will tell you the following: Vulvodynia is a chronic, severe vaginal pain with no identifiable cause. While the severe part is dead on, what a medical textbook won’t tell you is that Vulvodynia is also the pioneer in what is rapidly becoming South Africa’s most eviscerating export: Technical Slamming Brutal Deathcore. With lobotomizing, lurid riffs, skin-shredding blast beats and slams gruesome and filthy enough to induce septic shock, Vulvodynia are a lethal plague, spreading throughout the flesh of today’s heavy music scene—infecting one set of ears at a time, and leaving no survivors. Vulvodynia have toured Europe, USA, Australia, New Zealand, and played numerous festivals worldwide.

The career defining 5th album from South African Slam juggernauts VULVODYNIA. Featuring a slew of guest performances and production from Christian Donaldson. Looking in a medical textbook will tell you the following: Vulvodynia is a chronic, severe vaginal pain with no identifiable cause. While the severe part is dead on, what a medical textbook won’t tell you is that Vulvodynia is also the pioneer in what is rapidly becoming South Africa’s most eviscerating export: Technical Slamming Brutal Deathcore. With lobotomizing, lurid riffs, skin-shredding blast beats and slams gruesome and filthy enough to induce septic shock, Vulvodynia are a lethal plague, spreading throughout the flesh of today’s heavy music scene—infecting one set of ears at a time, and leaving no survivors. Vulvodynia have toured Europe, USA, Australia, New Zealand, and played numerous festivals worldwide.

This is the 26th release on RIOT Radio Records, a fiercely independent techno label based in Scotland.

Moscow based Trust True is a producer and DJ who’s quite literally off his rocker. Displaying agonizing and often deranged broken beats which seize the very beat of your heart, his music rushes, grinds and pulsates with so much ferocity, even your living breath will be succumb to its lethal effect.

Continuing with our ‘Limited As Fuck’ series of releases, this additional hard hitting ‘OUTBURST’ will further provocatively attack your gnarly senses in an additional unrealised beguilement stemming from this mental Russian’s 1st ever vinyl release on RIOT Radio Records, ‘Outburst – The Red Mixes’, in April 2021.

Four tracks from that menacing beast have been given the full-on remix treatment and oh boy, what a bunch of hard as nails remixers are on this obliterating follow up release. The Scottish contingent kicks proceedings off with Duellist at the helm followed by Argentinian duo 909distortion & AxggaA literally melting the wax it’s printed on their remix is that fierce. It continues at a relentless pace with Canada’s Patrick DSP mangling the howls of ‘AAIRAA’ to ravenous levels and the mechanical mind of Italian Max Durante finishes the release off with borderline hardcore vengeance.

WARNING: FROM AFAR THE DEMENTED BRINGS FORTH IT’S DERANGED LUNACY ONCE MORE

NOTON signs Italian-born, Bern-based sound-artist and producer Saele Valese.
In ‘IVIC’, his debut LP, Saele Valese, distills hauntological noise, droning tonal experiments and minimalist rhythms into a series of electro-acoustic-wave ventures written over five years in Berlin, Saas-Fee and Thun.
Drawing influences from the psychoacoustic properties of the live album format, IVIC’s 11 tracks were mixed and recorded live on DAT cassettes and through DAW experimentation, without the possibility to revise the final recordings. Valese adopted this approach to conceptually propose reconciliations between the irreversibility of the
past, and acceptance of its residuals in the present. The track titles themselves follow this pathos, citing the works of the American photographer Francesca Woodman and the poet Sylvia Plath. The inclusion of passages incorporating live sonics and throes of industrialismnso,ton.info contributes to the images of gravity, intimacy and spatiality that the music presented here invokes.
In keeping with this imagery, the music possesses a dilated, shuffling rhythmic base, much like the firm traversal of a tanker against a storm of jangling components, and still moments of gloomy sonics
alternating with more ravenous upheavals of power electronics.
If the track divisions do not pass by unheeded, they are consistently assembled to sonically accompaign the emotional charges and momentum of an imaginary cinematic experience; the beats caves in
for instants of relief, only to recoil in a cognated tempo but rearranged structurally. In another gesture of cogitated stride, the portentous waves of the record progressively rage into a turmoil in its third quarter during 'Horse The Color Of Rust'. The album reaches its closure fluctuating through microtonal oscillations to slowly eclipse into silence.
´In Your Rosary ì and Yì ou Cannot See Me From Where I Look At Myself ì were previously released on vinyl via Saele Valese’s own imprint, JSMË.
The track ‘You Cannot See Me From Where I Look At Myself’ 4 - is dedicated to the memory of Marco Bacher.
Artwork designed by Carsten Nicolai. Mastering by Matt Colton (Metropolis Studios, London).

RECORDED LIVE ON THE BAND’S 30TH ANNIVERSARY TOUR. LIVE AT THE FORUM, LONDON, DECEMBER 2006. INCLUDES THE CLASSICS ‘EVER FALLEN IN LOVE’, ‘ORGASM ADDICT’, ‘WHAT DO I GET?’, ‘HARMONY IN MY HEAD’, ‘WHY SHE’S A GIRL FROM THE CHAINSTORE’ AND TRACKS FROM ACROSS THE BAND’S EXTENSIVE BACK CATALOGUE.

NEVER BEFORE ON VINYL.

PRESSED ON RED VINYL.

LIMITED TO 1,000 COPIES WORLDWIDE.

Join Buzzcocks as they celebrate the 30th Anniversary of the band’s formation in front of a ravenous London audience. Recorded in December 2006, and never before released on vinyl, ‘30’ captures the band on excellent form, performing twentyeight songs from across their back catalogue, including the seminal late ‘70s hits and highlights from the rest of their career. Still wired, still buzzing with punk energy and still playing loud, fast and unapologetically, this is the sound of a band on unstoppable form, led, as ever, by the inimitable combination of Pete Shelley and Steve Diggle.
This red vinyl edition promises to be a must-have for die-hards and collectors, and a brilliant primer for those not yet in the know.