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Flock is a brand new collaboration between five leading musicians from London's open-minded jazz and experimental scenes: Bex Burch (Vula Viel), Sarathy Korwar, Dan "Danalogue" Leavers (Soccer96, The Comet Is Coming), Al MacSween (Maisha) and Tamar Osborn (Collocutor).

Clear Vinyl

Bartosz Kruczynski - the sometimes-ambient producer also known by his more club-ready moniker, Earth Trax - returns to the Shall Not Fade catalogue with his third full-length album. The Sensual World LP draws from both the moody, industrial soundscape of the cold wave-inspired LP1; and the warmer, more ethereal undertones of its successor. Whilst lending stylistic aspects from both, his latest release maintains their mercuriality and textural complexity whilst at the same time resembling something distinctly new. This 13-tracker sees the Warsaw producer continue to prove himself as one of the most versatile and consistent producers in the game.

Composed and produced during the 2020 pandemic, The Sensual World contemplates eco/environmental aesthetics and recontextualizes the genres that Kruczynski took as a springboard for the inception of his musical career. The aptly-named "Dream Pop" and "Fireflies" use arpeggiated melodies, vocal chops and luscious pads to capture the transportive allure by which early Earth Trax releases have been recognised; whilst later in the record, "Pearl" and "Splash" pair these tropes with those of industrial techno to create two pulsating dancefloor heaters. Elsewhere, the focus is on sound design and rhythmic complexity, with sharp, crystalline acid melodies ("Metal") and "Dreams Made Flesh's" broken drill beats and epic synths. Whilst other tracks see Kruczynski tap into the "bittersweet dance floor moments" for which he has become renowned over the course of his illustrious career ("Nowhere"), The Sensual World also offers its listeners sonic respite with some stripped-back, down-tempo slow burners "Nowhere" and "Everlong".

A protean producer who nonetheless has succeeded in helming a truly inimitable and idiosyncratic sound, The Sensual World LP sees Kruczynski cater for everyone - from the emotional ravers to the more hard-faced warehouse dwellers.

Nathan Hose, known more commonly as N8NOFACE, has built a heavy history behind his name. Known for his previous work with Crime Killz and a string of solo mixtapes, EP’s and collab projects, he comes out swinging to close out 2021 with “Homicide”.
For Fans of: Screamers, Le Shok, Suicide, Xiu Xiu, Atari Teenage Riot
Both a full-length album of all new material and his debut Blackhouse release, N8 shows up with a catalog of raging synth-punk jams, knocked out with only a synthesizer, a computer, and the true-life humility and humanity only he can deliver. The dose of reality that lives within N8NOFACE’s lyrics resonate with a population of people who have stayed true to themselves all the while feeling disenfranchised. People needing an outlet and something raw and new over a year and a half long pandemic (and counting) is the allure behind N8NOFACE, and this record is sure to deliver that and more.
Southern California. A Jekyll-and-Hyde atmosphere of glitz and glamour, with a seedy dark side that lays as an unspoken wasteland in the streets. There’s a thriving underground that has always existed among the Southwest United States. It’s a melting pot of the punk, metal, and hip-hop scenes, skateboarding, art, underground fashion, and custom car cultures. It’s also a hotbed for some real-life shit, to say the least. Crime, drugs, homelessness, porn, and shady activity is part of the life; proof that the city is not only wide awake at night, but it burns white hot. With all the musings one would need to inspire nothing less than a prolific output, when it comes to Long Beach-by- way-of-Tucson synth-punk dynamo N8NOFACE, calling him prolific is an understatement.

PRESSED ON RED SMOKE-COLORED VINYL!

When it comes to authentic, ride-or-die hip-hop, few crews have as much resonance as Mobb Deep. Featuring two double-threat MCs who also produced – Havoc and the sadly-departed Prodigy – the crew changed the hardcore rap game in 1995 with their sophomore classic The Infamous, and went on to rule the dark corners of hip-hop for the second half of the 90s and well into the 2000s. After multiple Mobb Deep platters in the ‘90s, Prodigy entered the 2000s as a solo artist with force, rolling over a stomping, piano-freaked backdrop laced by producer The Alchemist, with “Keep It Thoro.” It has held up over time, proving itself as an anthemic classic that the streets and clubs still respect. Flaunting a smooth-but-menacing flow, Prodigy’s no-nonsense lyricism on “Keep It Thoro” is prototypical modern age brag rap. Countless MCs have followed his flow, from Fabolous to Joey Bada$$. The song is short and sweet, clocking in at just over 3 minutes. There are no wasted verses, just hardcore rhymes that stay with you. But “Thoro” was the tip of the iceberg on what proved to be one of the more coveted rap full-lengths of the era. The album boasted other charting singles, including “Rock Dat Shit” and “Y.B.E.” (featuring B.G.), but it can be argued that the album’s real gems are buried deeper. “Genesis,” “What U Rep” (featuring Noreaga) and “Three” are all sinister yet pensive. “Wanna Be Thugs” and “Delt With The Bullshit” are strong and evocative Mobb Deep cuts, featuring production and vocals by Havoc. And alongside other standouts, perhaps the deepest cut of all – especially in light of Prodigy’s recent and way-too-soon passing due to complica- tions from Sickle Cell Anemia – is “You Can Never Feel My Pain,” which details the health issues and challenges this talented MC and producer had been facing his whole life. H.N.I.C. was Prodigy’s first solo album, but it is perhaps his best. Among fans he will never be forgotten, for his skills, his storytelling and his no-B.S. approach to the art of MCing.

First album by this duo, known separately for their work in Mouse on Mars
and Gastr del Sol.
 Two long-form pieces, utterly different from one another: one hyper-detailed
electronic music and sound poetry, and the other live-in-the-studio electric
guitar and laptop paint-peeling.
 The exciting first chapter in a long-anticipated collaboration
 David Grubbs and Jan St. Werner met in the mid-1990s when Grubbs was
playing with Gastr del Sol and The Red Krayola and St. Werner in Mouse on
Mars and Microstoria. After years of exchanging ideas, ‘Translation from
Unspecified’ marks their first time locking horns as a duo, and it’s clear this
deck-clearing collaboration was long overdue.
 In January 2020 Grubbs arrived at Mouse on Mars’ Berlin studio Paraverse
with a guitar and ‘Translation from Unspecified’, an open-ended, seemingly
self-generating poem suggesting AI, one of the themes in St. Werner’s recent
work. This became the side-length title track, a winding corridor of electronic
fanfares and spontaneous musical miniatures urging Grubbs’s slow and
steady recitation to grow wings and graduate into song.
 Who knows where this idiosyncratic mise-en-scène - day-glo, extrovert
electronics and task-oriented human - came from? Reference points - distant
ones - might include Robert Ashley and Paul De Marinis’s ‘In Sara, Mencken,
Christ and Beethoven...’ and the sound poetry of Anton Bruhin.
 Flip the record and you have ‘Soixante Ooze’, a live-in-the-studio duo for
guitar and computer more recognizably St. Wernerian and Grubbs-like that
reconfigures elements of the title track before finally morphing into needlepinning monoliths of sound.
 David Grubbs has released fourteen solo albums and appeared on more
than 200 releases. He was a member of the groups Gastr del Sol, Bastro,
and Squirrel Bait and has performed with Tony Conrad, Pauline Oliveros,
Luc Ferrari, Will Oldham, Loren Connors, the Red Krayola, Royal Trux, and
many others. His newest book is ‘Good night the pleasure was ours’ (Duke
University Press, 2022).
 Jan St. Werner is an artist and electronic music composer best known as
one half of the group Mouse on Mars. He has collaborated with Oval’s
Markus Popp as Microstoria and written music for installations and films by
visual artist Rosa Barba. In 2013, St. Werner released ‘Blaze Colour Burn’,
the first of a series of experimental recordings called ‘the Fiepblatter
Catalogue’. Recently his work has prioritized installation and interventions
with spatialized sound, including a number of collaborations under the name
Dynamische Akustische Forschung (DAF).

 “As a human being it’s really important to feel and express
emotions whether happy or sad,” says Hiro Amamiya, the
Teleman drummer whose solo guise is Hiro Ama. “I sometimes
struggle to and so these are a collection of songs that explore
different emotions. I want people to feel something through my
music so I called this EP ‘Animal Emotions’.”
 Amamiya follows up on swiftly on 2020’s field recording-heavy
EP ‘Uncertainty’ with a record made in his bedroom and during
a time of introspection to create something even more personal.
“On ‘Uncertainty’ I was using sounds from everywhere and
whatever sounded good,” he says. “But for ‘Animal Emotions’ I
stuck with fewer instruments so the EP feels much more united.
I also used more acoustic instruments as I sometimes feel
electronic music in general lacks some organic and human
elements so I tried to make this EP as organic as possible.”
 However, buried beneath the warm electronics, gently pulsing
grooves, infectious melodies and immersive soundscapes - that
veer from disco strut to IDM via jazz-laced ambient - you’ll still
find some field recordings. “You might not hear them as
obviously as on my previous EP but field recordings are there,”
he says. “I like them because it's very spontaneous and gives
some human feel. It also adds some air to a recording which I
quite like.” On the opener ‘Free Soul’ - which marries funk bass
with subtle electronics and squelchy grooves - you can hear a
voice sample of a woman from Southeast Asia singing a lullaby.
 “I wanted to make an up-tempo and danceable song so I can
dance in my room during the lockdown. I got lost in Jazz music
the last couple of years and it really changed and opened up
the way I make music.” The moods, tones and emotions on the
EP shift as seamlessly as the genres, never quite settling into
one single place and constantly exploring and expanding into
new musical terrain. A process mirrored by Amamiya’s own
varied influences and tastes that were funnelled into the record,
from film soundtracks to IDM to spiritual jazz such as
‘November Cotton Flower’ by Marion Brown and ‘Harvest’ by
Pharoah Sanders.

If you’re looking for a raw, sugary blast of distorted pop, look no further than
‘Weird Nightmare’. The debut album from METZ guitarist and vocalist Alex
Edkins contains all of his main band’s bite with an unexpected, yet totally
satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously
hissy miniature epics of classic-era Guided by Voices combined with the
bombast of ‘Copper Blue’- era Sugar - just tons of red-line distortion cut with the
type of tunecraft that thrills the moment it hits your ears.
 These ten songs showcase a new side of Edkins’ already-established
songwriting, but even though the bulk of ‘Weird Nightmare’ was recorded during
the COVID-19 pandemic, some of its tunes date back to 2013 in demo form.
“Hooks and melody have always been a big part of my writing, but they really
became the main focus this time” he explains. “It was about doing what felt
natural.”
 To be clear: Weird Nightmare is not a ‘pandemic album’, but an album - some of
which had been gestating for quite a while - that just so happened to be recorded
during the pandemic. “I had always planned on finishing these songs, but being
unable to tour with METZ, and forced to lock down, really gave me a push.” After
days spent homeschooling his son, Edkins would drive to the METZ rehearsal
room and tinker deep into the night on these songs’ deceptively simple structures
and rich, static-laden textures. “It was a godsend for me,” he states about the
creative process. “The hours would disappear and I would get lost in the music
and record. It was a beautiful escape.”
 ‘Weird Nightmare’ is, in its own way, a study in extremes: Edkins’ melodic
instincts and penchant for dissonance are both turned up to the max throughout,
the latter reflecting not only the barn-burning tendencies of METZ, but Alex’s own
sonic predilections. “It doesn’t sound right to my ears until it’s pushed over the
edge.” He also cites other artists who are masterful at mixing the sublime and the
punishing - Kim Deal and Scout Niblett among them - as influences on his own
songwriting. “My favorite songs are the simple ones,” he explains. “I’ve never
been attracted to virtuosity or technicality. Certain songs have the power to lift
your spirits like nothing else can. I wanted to create that type of song.”
 A few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad
VanGaalen adds his unmistakable touch to the ever-escalating ‘Oh No’, while
Alicia Bognanno of Bully lends her distinctive pipes to the thrashing ‘Wrecked’, a
collaboration that effectively saved the song. “I almost didn’t put it on the album
because I thought it was missing something,” Edkins explains. “I sent it to Alicia
and she lifted it way up.”
 And taking risks and reaching out of Edkins’ comfort zone was the name of the
game when it came to making ‘Weird Nightmare’. “I found myself doing new
things I didn’t have the guts to do before, recording everything by myself and
trusting all of my musical instincts,” he states. “I think when music manifests
quickly, a certain amount of honesty automatically comes along with it. When it is
a purely instinctual creation, there is no opportunity to obscure the truth.”
 Loser Edition LP pressed on Coke Bottle Green transparent vinyl.

If you’re looking for a raw, sugary blast of distorted pop, look no further than
‘Weird Nightmare’. The debut album from METZ guitarist and vocalist Alex
Edkins contains all of his main band’s bite with an unexpected, yet totally
satisfying, sweetness. Imagine The Amps covering Big Star, or the gloriously
hissy miniature epics of classic-era Guided by Voices combined with the
bombast of ‘Copper Blue’- era Sugar - just tons of red-line distortion cut with the
type of tunecraft that thrills the moment it hits your ears.
 These ten songs showcase a new side of Edkins’ already-established
songwriting, but even though the bulk of ‘Weird Nightmare’ was recorded during
the COVID-19 pandemic, some of its tunes date back to 2013 in demo form.
“Hooks and melody have always been a big part of my writing, but they really
became the main focus this time” he explains. “It was about doing what felt
natural.”
 To be clear: Weird Nightmare is not a ‘pandemic album’, but an album - some of
which had been gestating for quite a while - that just so happened to be recorded
during the pandemic. “I had always planned on finishing these songs, but being
unable to tour with METZ, and forced to lock down, really gave me a push.” After
days spent homeschooling his son, Edkins would drive to the METZ rehearsal
room and tinker deep into the night on these songs’ deceptively simple structures
and rich, static-laden textures. “It was a godsend for me,” he states about the
creative process. “The hours would disappear and I would get lost in the music
and record. It was a beautiful escape.”
 ‘Weird Nightmare’ is, in its own way, a study in extremes: Edkins’ melodic
instincts and penchant for dissonance are both turned up to the max throughout,
the latter reflecting not only the barn-burning tendencies of METZ, but Alex’s own
sonic predilections. “It doesn’t sound right to my ears until it’s pushed over the
edge.” He also cites other artists who are masterful at mixing the sublime and the
punishing - Kim Deal and Scout Niblett among them - as influences on his own
songwriting. “My favorite songs are the simple ones,” he explains. “I’ve never
been attracted to virtuosity or technicality. Certain songs have the power to lift
your spirits like nothing else can. I wanted to create that type of song.”
 A few guests pitch in on Weird Nightmare: Canadian alt-pop genius Chad
VanGaalen adds his unmistakable touch to the ever-escalating ‘Oh No’, while
Alicia Bognanno of Bully lends her distinctive pipes to the thrashing ‘Wrecked’, a
collaboration that effectively saved the song. “I almost didn’t put it on the album
because I thought it was missing something,” Edkins explains. “I sent it to Alicia
and she lifted it way up.”
 And taking risks and reaching out of Edkins’ comfort zone was the name of the
game when it came to making ‘Weird Nightmare’. “I found myself doing new
things I didn’t have the guts to do before, recording everything by myself and
trusting all of my musical instincts,” he states. “I think when music manifests
quickly, a certain amount of honesty automatically comes along with it. When it is
a purely instinctual creation, there is no opportunity to obscure the truth.”
 Loser Edition LP pressed on Coke Bottle Green transparent vinyl.

Just as one can smell a storm swelling on the horizon, the cataclysmic tremor that is IMMOLATION approaches to unleash its latest, immense creation: ACTS OF GOD. Due to be released in winter of 2022, this 11th studio album serves as the next chapter of IMMOLATION’S Death Metal epic. With 5 long years passed since the most recent studio album, ATONEMENT, ACTS OF GOD vigorously showcases IMMOLATION’s ability to consistently create fascinating sounds, while still keeping their feet firmly rooted in the old school, New York Death Metal for which they are renowned.

Emblazoned with a haunting new masterpiece by artist Eliran Kantor, ACTS OF GOD displays a trifecta of angelic beings desperately trying to prevent one another’s flesh from melting in a blackened light from above. The muted colors and ethereal images will ring familiar to fans of IMMOLATION’s previous album covers. “We wanted this cover to feel much darker; more melancholy and hopeless. The music has always been very dark, and a lot of Kantor’s work had the feeling that we were going for; the semi-surreal colliding with a classic, almost renaissance feel,” explains founder and vocalist/bassist Ross Dolan. “It’s unnerving. It really reflects the music perfectly,” agrees founder and guitarist Robert Vigna.

The album’s third track “The Age Of No Light” is a powerful, hard hitting song with an extreme yet catchy melody. “It’s quick, hits hard, and gets straight to the point” explians Vigna. Consistently changing speeds and patterns throughout, the song is short but remains both dynamic and memorable.

“Blooded” has all the usual IMMOLATION elements: the slow, the fast, the explosive, the big overlaid sections of groovy harmony eventually dropping into evil, ripping guitar work. “It’s a little powerhouse,” describes Vigna, “it’s straightforward, and it has all the elements you would expect from us in a nice, neat package.”

A song like “Immoral Stain” is a slightly mid-paced track with an intense, creepy atmosphere. Equipped with plenty of unusual moments, the beat is catchy, dark, and echoing. Searing guitar starts to recite a story and then quickly begins a conversation with thunderous vocals and a vociferous beat. “That whole section of build up just needed to be done exactly as it is. That’s what makes it sound different and interesting,” describes Vigna. Much like the rest of the album, while the lyrics cover the usual, general topics of genuine evil and the great deception of religion, the specifics are most certainly left to the listener’s interpretation. Fortunately for IMMOLATION fans, there is no shortage of corruption and catastrophe in this world.

Fittingly, the concluding track “Apostle” was the last song written for the album. “Some of those chorus sections have a weird almost dream-like quality,” describes Dolan. Its steadily growing momentum discharges rounds of guitar solos and relentless vocals which eventually lead way to an explosive finale to the album.

The creative journey for ACTS OF GOD began with years of notes, and an abundance of inspiration. With Vigna at the helm of the structural writing as usual, further composing and concepts were tossed back and forth amongst all 4 members. Eventually, they began to skeletonize the beginning of what would become a full length, studio album. While the recording process and entering the studio can be a very sterile experience for some musicians, the ferocity of the demos combined with the expertise of long time friend and recording counterpart Paul Orofino of Millbrook Studios (BLUE OYSTER CULT, BAD CO, GOLDEN EARRING), assured that this would not be an issue for IMMOLATION. “Having such a level of comfort is key,” remarks Dolan. Final touches were brought about on the mixing and mastering by Zack Ohren of Castle Ultimate Studios.

Firmly aligned with Nuclear Blast Records, the often coveted sound of IMMOLATION has reemerged from the depths of a cursed and cruel world to illuminate our minds and ears with exquisite, sonic destruction.

There is a way a voice can cut through the fascia of reality, cleaving through habit into the raw nerve of experience. Nika Roza Danilova, the singer, songwriter, and producer who since 2009 has released music as Zola Jesus, wields a voice that does that. When you hear it, it is like you are being summoned to a place that’s already wrapped inside you but obscured from conscious experience. This place has been buried because it tends to hold pain, but it’s also a gift, because once it’s opened, once you’re inside of it, it can show you the truth. Zola Jesus’s new album, Arkhon, finds new ways of loosing this submerged, stalled pain.

There is a way a voice can cut through the fascia of reality, cleaving through habit into the raw nerve of experience. Nika Roza Danilova, the singer, songwriter, and producer who since 2009 has released music as Zola Jesus, wields a voice that does that. When you hear it, it is like you are being summoned to a place that’s already wrapped inside you but obscured from conscious experience. This place has been buried because it tends to hold pain, but it’s also a gift, because once it’s opened, once you’re inside of it, it can show you the truth. Zola Jesus’s new album, Arkhon, finds new ways of loosing this submerged, stalled pain.

Nachpressung des Albums von 2015. Obwohl er vielleicht nicht so bekannt ist, hat sich die sinnträchtige, deutlich amerikanische Musik von Kenniff zu einem allgegenwärtigen Sound gemausert, der im Radio, in Filmen, im Fernsehen und in Werbung von Apple, Facebook, Google und anderen auftaucht. Aufgenommen über drei Jahre hinweg fungieren die Songs auf seinem neuen Album ,Sometimes" wie ein Tagebuch, das die kurzen Momente am Tag dokumentiert, in denen Kenniff sich für Trost und unendliche kreative Möglichkeiten dem Klavier zuwandte. Kenniff schrieb und nahm alles auf dem Album selbst auf, mit der Ausnahme von ,A Word I Give", das eine Kollaboration mit dem japanischen Pianisten Ryuichi Sakamoto ist, der die Musik von GOLDMUND einst als ,so, so, so wunderschön" beschrieb. In einem Interview mit NPR diskutierte Keith Kenniff seine Vorliebe für Musik aus der Zeit des Bürgerkriegs und ihre Möglichkeit, ,in nur wenigen Noten solche Geschichten" zu erzählen. Auch die Improvisationen auf ,Sometimes" schaffen es, trotz ihrer technischen und kompositionellen Einfachheit, tiefgründig zu sein. Subtile Details und Dynamiken drücken das aus, was sonst nicht zu artikulieren wäre. ENG Though he may not be a household name, Kenniff's evocative, distinctly American music has become quietly ubiquitous in the past few years, often appearing on NPR, in films, on TV, and in ads for Apple, Facebook, and Google among others. Recorded over the course of three years, the material on his new album Sometimes functions as a journal, documenting brief moments in Kenniff's day when he could turn to the piano as a source of solace and unending creative possibilities. Kenniff wrote and recorded everything on the album with the exception of the track "A Word I Give", which is a collaboration with preeminent Japanese pianist Ryuichi Sakamoto, who once described Goldmund's music as "...so, so, so beautiful." In an interview with NPR's Weekend Edition Keith Kenniff discussed his appreciation of Civil War era music, and it's ability to covey "...so much story in so few notes." Similarly, these improvisations manage to be richly evocative despite their technical and compositional simplicity, using subtle details and dynamics to express what might otherwise be inexpressible.

Back in stock !

Brian Eno hat den Begriff Ambient Music geprägt und berühmt gemacht - die Musik aber hat er nicht allein erfunden. Brüder im Geiste waren die deutschen Musiker Hans-Joachim Roedelius und Dieter Moebius (Cluster). Es ist müßig, darüber zu spekulieren, wer wen beeinflusst hat, die Idee der Ambient-Musik lag Mitte der 70er-Jahre einfach in der Luft. Fakt ist, dass Brian Eno 1975 ein Konzert von Cluster in Hamburg besuchte. Er stellte sich strategisch günstig in die erste Reihe, und erwartungsgemäß bat man ihn zu einem Jam auf die Bühne. Nach dem Konzert verabredete man ein Treffen, das dann 1977 stattfand. Drei Wochen lang waren Eno und Cluster im Studio von Conny Plank. Zwei Alben entstanden daraus: "Cluster & Eno" sowie "After The Heat". Ersteres ist ohne Übertreibung das erste in Deutschland produzierte Ambient-Album. "After The Heat" ist jedoch etwas völlig anderes. Während auf "Cluster & Eno" die Handschrift von Cluster zu lesen ist (und Enos Ambient-Konzept die Hand führt), ist "After The Heat" eher ein Eno-Album mit den Stilmerkmalen der Cluster-Musik.

‘Cinnamon Sea’ is the perfect introduction to one of the most mysterious, ever-morphing underground bands from New Zealand. The Garbage and the Flowers make their long awaited return with another psychedelic masterpiece from the band that gave us 1997's cult dreampop gem 'Eyes Rind As If Beggars'. A hybrid fusion of the Velvets, Elephant 6 and any God-fearing stoned strummers you can think of, with a nod to Charlie Manson’s bedside balladry to boot. On their return, the band hone their songcraft with tracks like ‘Eye Know Who You Are’, a tantalising piece of Mazzy Star on steroids, a spiralling sonic rumble, that reaches a miasmic high on every hummed chorus. It opens the Pandora’s box of this release, a sleight of ear collection of five songs from this cosmology-observing Australia-based outfit. Tracks like ‘Red Star’ exist in a land where sound levels are destroyed by savage birds. ‘On The Radio’ trips into an untuned lagoon. There’s a quasi-religious zeal to proceedings, a nod to Sterling Morrison’s Velvet strum elsewhere, everything that would have been key to the Elephant 6 conglomerate not so long ago, maybe, if you can even imagine, My Bloody Valentine unplugged. ‘Cinnamon Sea’ was recorded in an abandoned courthouse in Freyerstown, a ghostly village in Victoria’s Goldfields in Southeast Australia, where you’re more likely to meet giant grey kangaroos bounding on its dusty main street than tottering prospectors these days. It unravels with claustrophobic glee as we traverse the structured climes of exemplary songwriting seasoned with the salt of improvisation. This from a band who previously released an album famously dubbed ‘Stoned Rehearsal’. It closes with the track ‘Jacob B’, a melancholy tale that’s a hybrid of Manson’s troubled tunes and the psychedelic folk songs of Quicksilver’s Dino Valente. File under: outsider music for insiders. “By some measure Wellington's most brilliant pop band, The Garbage & The Flowers are classic underground rock'n'roll with a hazy ramshackle sound pockmarked by bursts of genius.” Forced Exposure

hree years after the release of their self-titled debut LP, Shark Toys follow it up with ten more bursts of weirdo punk. Nine originals and cover of the Mekons classic, “Where Were You.” Ever since forming in 2008, the band has developed a reputation for sharp and choppy live sets, developing a loyal following around their home town of Los Angeles and around the US, from playing shows with bands like Ty Segall, Protomartyr, Parquet Courts, Terry Malts, the Urinals and many others. This batch of tunes were taken from the same session as the recent 7” single, a split with Florida’s UV-TV, on Emotional Response, earlier this year, recorded by Dave Fox of the Traditional Fools (who also recorded Fuzz, Scraper, Vial, and Wand). "A treble fueled look at Los Angeles that certain fans of Tyvek will consume lovingly. Usually the word shambolic would be thrown in for effect when describing bands attempting to transmit a Homosexuals/Tronics/Desperate Bicycles air, but this band does not have a shambling manner to these ears. They seem very propulsive and on target, with shards of errant guitar whipped into shape by the savagery of the rhythm. … They have a driving down highways at night nihilism that is hard to conjure … with ear slicing guitar “solos” somewhere between sneaker squeak and door creak. … Super catchy bedroom punk for people that clutch the Astral Glamour box set to their hearts and know all the words to Swell Maps B-sides …"— Maximum Rock N' Roll // “Much love for this synth-punk masterpiece, highly recommended by Strangeworld for members of Ausmuteants fan club.” - Strangeworld Records, Australia

19 minutes of brutally up front and relentlessly rowdy hardcore punk, that slams a firm British stamp on the classic Swedish Hardcore blueprint. This wrecking ball sits somewhere between the 80’s Hudiksvall sounds of MISSBRUKARNA, the damaged NO FUTURE confessions of THE PARTISANS and the sheer rock and roll audacity of the SKITKIDS. Back to back riffs that'll stick to your brain like the glue at the bottom of your bag and steaming drums blasts that’ll plough through your skull like a juggernaut driven by a maniac high on amphetamine. Mylo Oxlo provides the artwork once again, perfectly capturing the claustrophobic animosity of the Rat’s latest 12 song romp and rampage. Fittingly dropping on the year of the Rat while the Tories take a strangle hold of the U.K for another 4 years. Hold onto your seat, feel the burn and don’t you dare turn this fucker down.

TOXIC WASTE represents the hardest end of the CRASS milieu. While most anarcho-punk bands of the time sang about a war they’d only seen on TV TOXIC WASTE were being politically active in Belfast during the troubles. They played militant punk with melody and aggression. Borderline hardcore at times with a clear peace-punk message. Angry, intense and in your face. They were involved in the Warzone Collective and shared stages, experiences and activism with bands such as STALAG 17, CONFLICT , ASYLUM and ANTISECT. “Belfast” was originally released in 1987 on Vocalist Roy Wallace’s Belfast Records and has been out of print for 30 years. It was a compilation of previously released tracks and newly recorded versions of old tracks with Dino and Gary from D.I.R.T doing the female vocal parts and guitars. The 12 tracks on “Belfast” are nuggets of raging pissed off DIY anarcho punk with hard hitting lyrics and dual vocals. The recordings are raw and passionate and stand the test of time. The band released an iconic split 12” with STALAG 17 on Mortarhate (1985) - the tracks are included on “Belfast” and then the following year a split LP called We will be Free with STALAG 17 and ASYLUM before calling it a day and becoming a lost piece of the anarcho punk puzzle. This reissue comes with replica sleeve and fold-out lyric insert.

I don’t want to blow, I want to grow! The first Dis-clone? We don't know about that, but these are some early rumblings of Dis-mania, direct from the Merseyside in 1986. For every man, woman or child there is no escape from the dark war horse of This Attack! Disattack. 6 raw bursts of sonic bloodbath that will leave your ears bleeding in a ditch. The fear of doom dawning when the whole world will be bathed in Blood! The 4 song demo is complemented by 2 additional rehearsal songs and a 28 page booklet of archival material, hand-outs and photos. For those who worship Discharge, Anti Cimex and Sacrilege!

The Chicago-based, multicultural duo of vocalist Via Rosa and producer Na’el Shehade are pleased to share their inaugural effort, Gallows, on vinyl for the first time.

In early jam sessions the chemistry was clear; Rosa’s soulful delivery interlocked with Shehade’s chic Chicago house-infused production style. A lovesick sound emerged with their debut EP, Gallows in November of 2016. In celebration of its five year anniversary, Gallows will be physically released for the first time exclusively on violet vinyl.

The eight track effort has succeeded in breathing life into the resurgence of ’80s iconic synth, resulting in a sound that blends R&B with dance music that’s sprinkled with funk and bursting with emotion. Named after “Gallows Humor,” the album reflects on the pain of heartbreak, while also giving a nod to the comedy of that same experience. Self-described as “happy-sad music,” DRAMA presents a collection of songs on Gallows that bring you up when you are feeling down.

wieder lieferbar Cluster boten live eine Art Performancekunst, die wesentlich aus Improvisation, Krach, bewusster Vermeidung von rhythmisch-harmonischen Strukturen und dem zügellosen Einsatz elektronischer Klangerzeuger bestand. Dazu kamen Auftrittsdauern von bis zu sechs Stunden, in denen Künstler und Publikum nicht selten in rauschhafte Zustände gerieten. Clusters Musik war anfänglich roh, brutal, spontan und wurde mit einfachstem Equipment - keine Synthesizer, keine Sequencer, keine High-End-Verstärker - erzeugt. Hans-Joachim Roedelius und Dieter Moebius ließen keine mechanischen Prozesse ablaufen. Sie benutzten ihre Maschinen, aber verließen sich nicht auf sie. Vielmehr setzten sie auf Intuition. Das Experiment glückte nicht immer, aber oft. Dann spürte man tatsächlich so etwas wie Magie und hörte das Entstehen einer utopischen Klangwelt. Die zwei von Moebius und Roedelius autorisierten Mitschnitte dieses Albums geben eindrücklich die Atmosphäre und die Magie eines Cluster-Auftritts wieder. Der eine fand 1977 während eines Science-Fiction-Festivals in Metz statt, der andere entstand im Januar 1972 bei einem Auftritt in der Hamburger Fabrik. Die Tonqualität ist mäßig, weil damals das Gelingen der Performance wichtiger war als ihre perfekte Aufzeichnung. Wir heutigen Hörer sollten das akzeptieren.

2020 erschien mit "KiCk i" der Grammy nominierte Auftakt zur Serie; auch nominiert bei den Latin Grammy Awards als "Best Alternative Music Album". 2021 setzt Arca mit "KICK ii" bis "IIIII" nun die "KiCk"-Serie auf XL Recordings fort. Jetzt erscheinen diese auch physisch auf CD und Vinyl! Als Künstlerin war Arca schon immer eine Gestaltenwandlerin - äußerlich wie musikalisch. Sie produzierte Musik für Lady Gaga, Frank Ocean, Björk, Kanye West und FKA twigs, komponierte Musik für das MoMA, trat 2020 mit den Labèque Schwestern, zwei fantastischen Pianistinnen, bei der Burberry Fashion-Show auf, schrieb einen Soundtrack-Beitrag für die HBO-Serie "Euphoria", erschuf gewaltige Noise-Skulpturen oder gab sich auf Partys als exaltierte Diva. Arca wurde für einen GLAAD Media Award nominiert und ist die erste nicht-binäre Künstlerin, die schließlich für einen GRAMMY nominiert wurde. Sie hat ihr eigenes Album-Artwork entworfen und gemalt, für Bottega Venetta, Calvin Klein und Loewe gemodelt, Musikinstrumente der nächsten Generation mitentwickelt und auch mit KI experimentiert. Alejandra Ghersi Rodriguez, wie Arca eigentlich heißt, wurde erst vor kurzem von Publikationen wie dem Time Magazine, Guardian, DAZED, Billboard, Pitchfork, Stereogum und der Los Angeles Times zur einer der innovativsten Künstlerinnen des 21. Jahrhundert ernannt. Als nonbinäre Latinx-Transfrau will Doña Arca die Rolle des Popstars für kommende Generation neu definieren - mit "KICK ii bis IIIII" entführt sie uns in diese Zukunft und öffnet die Tür in eine neue und nonbinäre Soundwelt.

2020 erschien mit "KiCk i" der Grammy nominierte Auftakt zur Serie; auch nominiert bei den Latin Grammy Awards als "Best Alternative Music Album". 2021 setzt Arca mit "KICK ii" bis "IIIII" nun die "KiCk"-Serie auf XL Recordings fort. Jetzt erscheinen diese auch physisch auf CD und Vinyl! Als Künstlerin war Arca schon immer eine Gestaltenwandlerin - äußerlich wie musikalisch. Sie produzierte Musik für Lady Gaga, Frank Ocean, Björk, Kanye West und FKA twigs, komponierte Musik für das MoMA, trat 2020 mit den Labèque Schwestern, zwei fantastischen Pianistinnen, bei der Burberry Fashion-Show auf, schrieb einen Soundtrack-Beitrag für die HBO-Serie "Euphoria", erschuf gewaltige Noise-Skulpturen oder gab sich auf Partys als exaltierte Diva. Arca wurde für einen GLAAD Media Award nominiert und ist die erste nicht-binäre Künstlerin, die schließlich für einen GRAMMY nominiert wurde. Sie hat ihr eigenes Album-Artwork entworfen und gemalt, für Bottega Venetta, Calvin Klein und Loewe gemodelt, Musikinstrumente der nächsten Generation mitentwickelt und auch mit KI experimentiert. Alejandra Ghersi Rodriguez, wie Arca eigentlich heißt, wurde erst vor kurzem von Publikationen wie dem Time Magazine, Guardian, DAZED, Billboard, Pitchfork, Stereogum und der Los Angeles Times zur einer der innovativsten Künstlerinnen des 21. Jahrhundert ernannt. Als nonbinäre Latinx-Transfrau will Doña Arca die Rolle des Popstars für kommende Generation neu definieren - mit "KICK ii bis IIIII" entführt sie uns in diese Zukunft und öffnet die Tür in eine neue und nonbinäre Soundwelt.

2020 erschien mit "KiCk i" der Grammy nominierte Auftakt zur Serie; auch nominiert bei den Latin Grammy Awards als "Best Alternative Music Album". 2021 setzt Arca mit "KICK ii" bis "IIIII" nun die "KiCk"-Serie auf XL Recordings fort. Jetzt erscheinen diese auch physisch auf CD und Vinyl! Als Künstlerin war Arca schon immer eine Gestaltenwandlerin - äußerlich wie musikalisch. Sie produzierte Musik für Lady Gaga, Frank Ocean, Björk, Kanye West und FKA twigs, komponierte Musik für das MoMA, trat 2020 mit den Labèque Schwestern, zwei fantastischen Pianistinnen, bei der Burberry Fashion-Show auf, schrieb einen Soundtrack-Beitrag für die HBO-Serie "Euphoria", erschuf gewaltige Noise-Skulpturen oder gab sich auf Partys als exaltierte Diva. Arca wurde für einen GLAAD Media Award nominiert und ist die erste nicht-binäre Künstlerin, die schließlich für einen GRAMMY nominiert wurde. Sie hat ihr eigenes Album-Artwork entworfen und gemalt, für Bottega Venetta, Calvin Klein und Loewe gemodelt, Musikinstrumente der nächsten Generation mitentwickelt und auch mit KI experimentiert. Alejandra Ghersi Rodriguez, wie Arca eigentlich heißt, wurde erst vor kurzem von Publikationen wie dem Time Magazine, Guardian, DAZED, Billboard, Pitchfork, Stereogum und der Los Angeles Times zur einer der innovativsten Künstlerinnen des 21. Jahrhundert ernannt. Als nonbinäre Latinx-Transfrau will Doña Arca die Rolle des Popstars für kommende Generation neu definieren - mit "KICK ii bis IIIII" entführt sie uns in diese Zukunft und öffnet die Tür in eine neue und nonbinäre Soundwelt.

Touch Sensitive is honoured to dig into the vaults of legendary cult French group Vox Populi! with a collection primarily pulling from their creative highpoint of 1986-1990. The vast majority of the works are unreleased and all make their first appearance on vinyl. The recordings have been licensed from the group's extensive archive, mastered by Rupert Clervaux and cut by Andreas Kauffelt at Schnitstelle. The release is completed by liner notes focusing on Vox Populi!'s creative process and prolific output. Springing from the rip it up restart of post-punk in 1980 and primarily active throughout that decade, Vox Populi!'s discography is a perfect showcase of an almost unclassifiable group. The often-used 'ethno-industrial' tag - even if not approved by the group - goes some way to describing a melting pot of primarily self-taught techniques and vast cultural influences. Founding member Axel Kyrou's parents were avant-garde musicians and filmmakers resulting in a heavy cultural immersion from a young age. His partner and bandmate Mitra moved from Iran to Paris in 1978 - followed a few years later by her virtuoso brother Arash who joined the group at the age of 14. Based in their 14th arronidissement studio - previously Axel and his brother's family playroom - Vox Populi! quickly became a lynchpin in the Parisian experimental scene and beyond through the burgeoning mail-art scene. The group contributed work to a huge number of independent labels. Their music and approach quickly progressed from rudimentary experiments to harness transcendental spiritual qualities and moments of intense beauty. In this collection, we can feel the vibrations of Don Cherry's Organic Music Society, Faust's communal explorations and King Tubby's forward-thinking studio experimentation. "We recorded everything - every idea. We would always have a cassette or a reel running. We made such different styles - freaky, alternative, experimental, industrial etc. We had no rules and no plans - our main motives were play and pleasure. I think that many people can feel that in the music." Three tracks recorded in 2017 by a reconfigured Vox Populi! sit perfectly with music from 30 years previous - "We were never defined by fashion or the zeitgeist. So we remained ourselves. Our sound is still natural. We had to be turned on by our own music and we wanted the music to have an impact on consciousness. We were the subjects of our own experiments and there was also a kind of mystery - even for us." The Psyko Tropix collection is another magical and mysterious addition to the open-hearted and open-eared world of Vox Populi! "The music of Vox Populi! found me several years ago and it was one of my record digging highlights. Their stark contrast of dark and light paints a beautiful picture of the physical and mental world we all live in. This new album doesn't miss a step in exploring further in both directions" Cut Chemist

After more than two decades flexing his muscles on the local underground scene and gaining a legendary cult status on his Tenerife home turf, the island’s most famous postman, as he’s affectionately known by his consorts, Tomás de la Rosa aka Postman breaks radio silence to bulldoze his way through the canyons surrounding his hometown of Santa Cruz into an unknown and unsuspecting world. We present thus, Postman’s first ever album of original bangers, micro chopped two steppers and rage induced breakbeat anthems.

Constructed over the course of global confinement, Seeds of Light marks a return to creative activity from the man who regularly delivers your post (its not just a random artist name). Postman aka Tomás de la Rosa has taken his time, compiling sketches and unfinished songs, rummaging through the deep ends of his hardrive, stitching early production sketches with recent compositions, revising, reediting and rebuilding with a more mature and concise attitude, eventually completing, almost unintentionally, the perfect self referential retrospective album. Far from being just a compilation album, Tomás managed to create an explosive document, suspended in time, in which styles are intertwined regardless of fashions and fads – letting go of the ‘modern’ or ‘up to date’ burden - so common these days in electronic music.

It is not an easy album, like many of his previous work it demands extra attention to experience the full crystallization of his complex sound structures. We find ourselves in front of a truly surgically precise work of art whose result comes as a waterproof war machine, refined and incisive, resonating deep with soul and groove.

Postman develops his sound palette throughout the album from very basic sound snippets into a concrete dance world of synthetic sounds eventually creating a parallel reality where J. Dilla could be living in Chemnitz instead of Detroit and releasing records for a label called Raster-Throw. Glitch sampladelics!

Incursions into Grime are also abundant with nods to the ineffable East Man, reunions with his beloved Funkstörung or many other stimulating revisions of lifelong genres and breaks populate this multidimensional sound space, see soul, dancehall, breakbeat, two step and the UK hardcore continuum.

Special mention to the magnificent fluid artwork by the very talented Catalan visual artist Alba de Corral. A still photo from one of her kinetic AI systems programmed directly in code, which matches perfectly the essence of Postman's brutalist alien sound.

Vinyl limited to 200 copies

Light Green Marbled Vinyl
Naarm/Melbourne 4-piece screensaver is back with a double A-side 7-inch single just 6-months after delivering their 10-track debut album Expressions of Interest on Upset the Rhythm (UK) and Heavy Machinery (AU) to positive international response.
See praise for the record on Maximum Rock ‘n’ Roll, KEXP, and Post Trash. The album has also been a regular feature on Henry Rollin’s KCRW Santa Monica radio show.
The band return with two distinctly different tracks that extend upon the blend of post-punk, new wave and synth-punk on their debut.
Side A, Clean Current is a burst of high-energy: nervy guitars and groovy bass underpinned with krautrock drums and cosmic synth noise, overlayed with delay heavy vocals. Repeats is the flipside of the coin, a moody post-punk stomper, led by gritty sawtooth synth, chorus-soaked guitar, textural percussion and soaring vocals. Lyrically Clean Current spits out retorts aimed at the engulfing nature of anxiety whilst Repeats critiques the repetition of modern life, languishing human existence.

Can You Sleep (04:30) Idler Chronicles A Personal Struggle With Insomnia That Inspired The Album's Title, It Combines Bossa Nova, 70s Analog Synths And The Polymorphous Vibrations Of London's New Burgeoning Jazz Scene.

Jamie Isaac Is A Young Producer And Songwriter, Born In Croydon To Burmese And British Parents. He Signed To Marathon Artists In 2014 And Has Been Harnessing His Sound Ever Since, Operating In The Space Between Jazz, Soul,

R&b, Electronics And Hip Hop. Across A Handful Of Singles And Eps, As Well As A Mixtape, His Debut Album And Its Follow-up, He Has Evolved Into A Formidable Artist With A Transatlantic Following.

Wings And Doing Better Have Both Been Heavily Featured On Spotify, Apple And Deezer Playlists.

Much in demand album from 1986.

Not much is known about the mysterious pop sensation Vumani or his short musical career. Originally from KwaZulu Natal he made his way to Johannesburg in the mid 80’s to follow his dream of becoming a recording artist. He was able to make that dream come true when talent scouts from Decibel Music came across the charismatic youngster. At the time Decibel was still a small fish trying to make waves and the label believed in Vumani they had found the star they were looking for. Being a label with mostly groups signed to the catalog they needed a Front Man to push into the growing demand for Solo Artists that were dominating the airwaves and catching the hearts of youngsters.

Up to this point Decibel had one major hit record. In 1986 they released a single by an artist named David Thanzwane. The music was a direct rip off of the first hit Single by Shangaan Disco pioneer Paul Ndlovu. Copying the music of both sides of the original single the “covers” offered different lyrics and hooks also sung in xiTsonga. This was enough to trick the masses and the single led to record sales for the small label. The unintentional outcome of the single was that from then on the producers and label had one sound they wanted to pump out in hopes of recreating that magic. This desire to create another Shangaan Disco hit would be the backbone of the Vumani sound and what makes his music so special and collectable after all these years.

That same year Vumani would release two Singles, Black Mampatile and Guy Fawkes. Musically these playful and fun singles would have great appeal to youngsters as they sung of daily life in the Townships. Black Mampatile being a game of Hide and Seek, Banana Kari referring to the trucks that would go around the Township exchanging chips and snacks for glass bottles and of course every child’s favourite reason the dress up on November 5th, Guy Fawkes Day. Both singles were received well and a few more tracks were later recorded to create the full album Isiqedakoma. Although he would sing in Zulu the music was unmistakable for Shangaan Disco. The synth heavy bass lines and happy melodies along with relatable fun lyrics were a perfect blend for an album that would make people dance if they were out at a Tavern or Shabeen on a weekend or just enjoying at home with family and friends.

Vumani quickly became the Label’s top priority with managers making sure he always had the freshest clothing styles to go along with his persona, and he never missed any performances or opportunities to impress a crowd. His popularity grew in the Township’s but with that came the unfortunate and all too common problems with fame. He started getting mixed with wrong crowds. He would record another album for Miracle Music, the Decibel sub label that had emerged to focus on the more underground sounds of the post synth pop era. Musically things were going well for Vumani but it would be his life off the stage that would catch up with him. Always known for his commitment to his music and fans one day he uncharacteristically failed to show up and was never heard from again. His body would later be found in a burnt car on the outskirts of Soweto. What led to his tragic death was never known but with the company he kept it is not hard to imagine what one of the many situations that led to that horrific ending could be. His funeral was attended by the entire Township it seemed as people packed the service and flowed out onto the streets, a testament to his popularity and the love the people had for one of their own.

Pachakuti is a musician and producer with family roots in Colombia. He plays keys, tenor saxophone and clarinet. While living and working in Berlin, he draws inspiration from the natural world, investigative travels, and ancestral traditions of Latin America and beyond. His expressive and rhythmical playing and his instantaneous compositions are directed at the human core, arousing subtle experiences. While not being conformed to one style, it always invokes a sense of liveliness and depth to be delved in. young.vishnu is a producer and DJ. He has studied philosophy and music in Hildesheim, Germany, which heavily influenced his views on meaning and mythology in music. In his DJ sets he selects and plays classic and contemporary Funk, Soul and Afrobeat. His practice as a DJ informs his work behind the boards directly, adding also more organic grooves and broader spectrum of musical styles to his in Hip-Hop based production. If you had to put one single tag on their forthcoming album Dédalo, the best choice would be Jazz. That being said, Pachakuti and young.vishnu's sound worlds might be better described in their own words: "We just make music and try to incorporate what we love about it". They are musical freethinkers with shared interests in eastern philosophy and botany who interweave Hip-Hop, Latin and Funk with musical storytelling and world mythology. Undoubtedly, their most ambitious work to date, Dédalo (Spanish synonym for labyrinth), recorded and produced over the course of a year, shows Pachakuti & young.vishnu's ambitions and growth. Where their debut work Semilla (2020) centered around the image of the seed, Dédalo takes on the entire garden. Besides playing multiple instruments by themselves, Pachakuti & young.vishnu invited a growing group of befriended musicians into the studio, including percussionist maestro Eric Owusu (Pat Thomas, Ebo Taylor, Jembaa Groove) and drummer Leon Raum (Bokoya, Wyl), as well as Brazilian newcomer vocalist Laíz, and members of their former band project Soularkestra. The 16 recorded songs, ranging from 1:19 to 14:58 minutes, take you on an emotionally honest, metaphoric journey through the maze of human existence, of modern society and mythic poetry. The mostly instrumental tracks build on expressive melodies, layered rhythms, and a wide range of musical instruments, merging the sounds of Jazz with the classical word of orchestras and choirs, and urban soundscapes with traditional instruments such as the Andean Kena and Charango, the Colombian Gaita and Marimba de Chonta, and an Indian harmonium. The Album thus weaves together past and future, and diverse cultural threads, sounds and ideas in an act of cultural appreciation and global conscience. Mixed and mastered by Roe Beardie at The Brewery Studios, Berlin. The album artwork itself merges the visionary art of Mexican painter Sergio Chávez Hollar with an original artwork-inlay of Brazilian artist Laíz and the work of Carsten Pölking of the Nima Compositions Archive.

Dédalo will be available digitally and on double-vinyl with inside-out print cover and colored inlay with credits and painting by Laís De Mello Barbero.

Black vinyl edition. Available for the first time ever on vinyl, cassette tape and digital, the reissue features fully remastered tracks and new artwork along with a 12“ size insert, 2x12“ size poster, sticker and DL-Card. Vocalist Chaka Malik and guitarist Chris Traynor met in the New York hardcore band Burn and began playing together as early as 1992. With an early version of Orange 9mm, the duo released a live EP in 1993. The recording earned the band a contract with East West, and after picking up bassist David Gentile and drummer Matthew Cross, Orange 9mm began recording. Driver Not Included was released in 1994, and the band spent time touring with Helmet before signing with Atlantic the following year. Gentile left later in 1995 and was replaced by Taylor McLam just after recording ended for Tragic, with production by Barkmarket's David Sardy. Tragic was released in 1996; it would be three years before Orange 9mm issued a follow-up, which bore the title of Pretend I'm Human.

Erupt offer up five fiery tracks on Left To Rot. Treading the blurry lines between extreme punk and extreme metal, Left To Rot is a cacophony in all the right ways. Fast as, heavy as, nasty as. Featuring members of Sheer Mag, Geld and Gutter Gods - Erupt brings its own molten explosions to the surface. These burnt offerings are recommended for fans of Sodom, Celtic Frost, Iron Age, Warthog, Mindsnare and the other hordes of apocalypse old and new.

RIYL: Velvet Underground, Lou Reed, Nick Cave, Patti Smith, Leonard Cohen, Iggy Pop, Radiohead & Tom Waits. "If you have never heard the Doctors of Madness, you should. Musically they are the Velvet Underground, New York Dolls with shades of glam, hippie, prog and punk all rolled into one, yet are still totally original. Vastly underrated, they should have been huge. Pure genius" Vic Reeves…. The DOM are “the missing link between David Bowie & The Sex Pistols” (The Guardian May 2017). Exploding onto the music scene in 1975 with their theatrical, William Burroughs-inspired Sci-fi nightmare, they were misunderstood by many, but those who knew understood the importance of the band’s dangerous, uncompromising approach to lyrics, to music and to performance. Among the many fans of the band were acts as diverse as The Damned, Vic Reeves, Joe Elliott of Def Leppard, Spiritualized, Julian Cope, The Adverts, The Skids and Simple Minds. The Sex Pistols supported them, so did The Jam & Joy Division. They were the first to combine the avant-garde approach of The Velvet Underground with a distinctly European aesthetic. The blue hair, exotic stage-names, the lyrical themes of urban decay, political propaganda, mind control and madness were all taken up by the punk bands who followed in their wake. The DOM were trailblazers, pioneers, adventurers…pushing the boundaries of rock music and theatre to see how far it would go before it bust. What happened after them was due, in no small part, to what they achieved in 3 short years. They may not have been Jesus Christ, but they were, arguably, John the Baptist!!! Now, 40 years after they imploded, they are back…with an album seething with lyrical anger and passion. It is the most potent and incisive musical dissection of modern life and contemporary politics released the decade. With tracks titles like “So Many ways To Hurt You”, “Sour Hour”, “Make It Stop!” and the ground-breaking sonic assault of the title track “Dark Times”, Richard “Kid” Strange proves once again that he has his finger firmly on the pulse of our times, just as he had when he founded the band in 1974. Produced by John Leckie (Radiohead, Stone Roses, Pink Floyd), the new album, Dark Times, features contributions from Joe Elliott (Def Leppard), Sarah Jane Morris (Communards), Terry Edwards (PJ Harvey, Nick Cave etc), Steve ‘Boltz’ Bolton (The Who, Scott Walker) and the young protest singer Lily Bud, alongside the current thrilling and thunderous DOM rhythm section of Susumu Ukei (bass guitar) & Mackii Ukei (drums) of the Japanese extreme glam-metal band Sister Paul, and Dylan O Bates (violin and keyboards). Julian Cope, another rock star who, like Strange, found the confines of music too tight for his ambition, his energy and his imagination, was blown away when he first heard the songs, declaring, “These Dark Times are enormously informing: the RULES OF THE FUTURE are indeed being forged right now”. Top producer Martyn Ware (Human League/Heaven 17) said the album “…reminds me of Iggy Pop’s Kill City album – love it.” and Biba Kopf (The Wire) declared, “Still listening to new DOM album with immense interest and pleasure”. The first single, Make It Stop!, is an impassioned howl against the global drift to right wing extremism and persecution of minorities, and is already a live showstopper for the band. It features the thrilling cross-generational combination of Def Leppard’s Joe Elliott and Lily Bud on backing vocals. In the period since the last DOM gig in 1978, Richard has written a memoir, collaborated on a cantata with internationally celebrated composer Gavin Bryars, worked as an actor on films with Tim Burton, Martin Scorsese, Harmony Korine & Jack Nicholson, toured the world in a Russian version of Hamlet with James Nesbitt as his grave-digging co-star, played Glastonbury, sung baritone in the British premiere of Frank Zappa’s200 Motels at the Royal Festival Hall, directed a multi-media evening celebrating the life and work of William Burroughs, won Best Art Film Prize at the Portobello Film Festival last year, had his own live talk show, worked with Tom Waits and Marianne Faithfull on the William Burroughs/Robert Wilson stage play The Black Rider, curated events for the Tate Gallery, and sung Walt Disney songs with Jarvis Cocker.

Tinnitus Tonight is the latest & sneakiest full-measure serving from LARS FINBERG, world-class bon vivant and prolific Panic Rock artiste. Why so sneaky? Here’s the dirt: Finberg developed a nerve rash leading up his 2017 tootle, the TY SEGALL-assisted Moonlight Over Bakersfield. Rather than blindly leap from the comfy zone, he tip-toed in secret to a friendly but far-flung (cough*Sacramento*cough) studio to capture a reserve of slanted tunes with a proven-effective team of buds. Those comrades – the glorious LAUREN MARIE MIKUS on keys, frequent collaborator & forever-gent KAANAN TUPPER on drums and, at the controls and elsewhere, the indestructible CHRIS WOODHOUSE – all fostered a supportive framework that first allowed Finberg to “think” beyond THE INTELLIGENCE, gearing him up for a life in the spotlight (or moonlight, as it were). So yes indeed: what appears to be an adventurous follow-up also doubles as a prequel. Keep accurate score or you’re dusted. The core of Tinnitus Tonight centers on an assemblage of Finberg’s most golden riffs – trash-coustic but driftwood-smooth, naughty and infinite, all of ‘em bangers and/or buggers. Tunes sprout and move matador-like until an inevitable goring. The past-it grunt that kicks off “Burger Queen” prompts a mimed chef’s kiss. “My Prison” and “The Doors” are quintessential, truly distilled Finberg moments, compounding his trademark acerbic, out-for-blood wit with these absurdly cool, whip-crack guitars. The massively impressive “Public Admirer” is unequivocally the loudest, most damaged blurt from this doggie in at least a decade. In total, Tinnitus Tonight is a wonderful and welcome reminder that our guy is a very real rouser and a vital, unique purveyor of artful aggression, playful and powerful. Finberg beams really fuckin’ brightly under his own name, perhaps more so than with any group orchestration he happens to be braising with. Do these higher personal stakes call for a dastardlier delivery? Maybe this permeating 2020 End Times feeling prohibits the normal corralling of the subconscious mind? Whatever the answers are, you will find them here.
"The gift Lars Finberg has to disfigure rock riffs into minor chord marvels should serve as a glowing example for those who feel the need to pick up a guitar and make some noise to share with the world. Using the conventional tools of rock and roll flavored with a mix of garage punk, post punk, synth punk and mutant surf, Mr. Finberg, with seemingly effortless cool, has crafted or contributed to countless albums with bands like The Intelligence, Puberty, Rubber Blanket, A Frames and more, all with a magnetic pull and genius lyrics that stand out from the indie rock heap and reveal an exceptionally creative mind that’s actually done its homework." - Noise For Zeros

2022 Repress

Grey MArbled Viny

New Rasta Vibez with Mystic Pulse ft. Pixel

Ltd to 100 copies

Presented in a double vinyl gatefold edition with two beautiful paintings by Tenerife painter Sema Castro.

For fans of Sun Ra, Alice Coltrane and every single mystic brother and sister carrying the free spiritual jazz torch! Dive DEEP!

Spectacular mystical jazz infused psychedelics from Canary Islands’ cult band GAF.

Using a series of different add-ons to their (already obscure) band acronym GAF (Grifa Ambient Factory) such as Love Supreme Arkestra or GAF & La Estrela de la Muerte amongst a few, the Tenerife based band illustrate clearly what mutation or influence they’re feeding through (their mind) by the judicious use of these referential add-ons. Rotating around the vision of local lynchpin, Mladen Kurajica aka Bonni, Keroxen label head, festival organizer, producer and musician with numerous projects including helming the GAF outfit. The Love Supreme Arkestra variation here being the more Coltrane leaning (Alice rather than John) and Sun Ra- esque influenced thematic of the 6 piece band. Over a series of 7 huge sounding themes, we can hear twirling saxophones, trumpets, marimbas, modulars and rhythmic sections intertwining like flying spiral snakes over a burning sea of lava.

Recorded live and freely over a completely improvised jam session on a sunny afternoon in the mountainous region of La Esperanza in Tenerife, the band lets rip free of any previous albums particular sound choosing instead to purge into a world of musical liberation by embracing the aforementioned pioneers of the genre whilst unconsciously absorbing in their surroundings - as an additional inspiration for musical freedom.

The result really shines through its 74 mins of mind blowing adventurous music. A journey to the peaks of the Teide Volcano and down the green valleys, into the blue and black volcanic coasts of liberation!

At the tender age of twenty-five, while he was working part-time at an Italian restaurant in Tokyo's Kamata district, Kazuki Tomokawa released his debut record, fittingly titled Finally, His First Album. While he had already penned hundreds of songs, including his first single "Try Saying You're Alive!," written on a long train ride past fields and rice paddies, it was this recording that introduced Japan to one of its most unique musicians of the postwar era. Each track, as record label exec Kiichi Takahara writes in the LP's liner notes (here translated for the first time), is not a song but a "flesh-and-blood human being," birthed by the singer-songwriter and the raw, guttural cries that would become a hallmark of his incomparable sound. 1970s Japan was a time and place marked by a profound desire for authenticity amidst the onset of television and media saturation. Tomokawa arrived on the scene as a musician with "the personality of a hydrogen bomb," to borrow a phrase from his frequent collaborator Toshi Ishizuka. In an unwieldy interview included here, members of the notorious leftist band Zun? Keisatsu (Brain Police) put it bluntly: here was a man surrounded by the "disingenuous," the "wishy-washy," and the "superficial," who was delivering "real life, unvarnished." These songs are lullabies for the lost, staring not into the void but-as the fourth track declares-from inside it. Finally, His First Album is the first of three Tomokawa records to be reissued by Blank Forms Editions in conjunction with the US release of Tomokawa's memoir, Try Saying You're Alive!, the first-ever English translation of his writing. This debut captures the self-assured trademarks that Tomokawa would hone over the course of decades. Multiple tracks are performed in his native Akita dialect, a distinct and highly regional vernacular of northern Japan seldom heard outside the prefecture-and even more rarely heard in music. Tomokawa's lyrics locate profound interiority in the rituals of everyday life, and are sung against sparse folk arrangements of tender, lilting chords-a prelude to the rock and electronic stylings to come in later years. A self-proclaimed "living corpse," Tomokawa wallows, whispers, shouts, and cries, yet still, through his existential doubt, asks to be heard.

After releasing two EPs from rising talent MOY, Batrachian’s journey through mystical synths, breakbeat and electro rhythms, and ear-worm melodies continues in the capable hands of Bristol-based Jack Wiles. On Wiles’ debut EP, ’Too Real Eyez’ is a slow-burning spiral of acidic frequencies and tough breaks with a killer vocal snippet, while ‘Bientam’ is a rolling junglist piece driven by chopped drums, meandering bass and an intricate bell melody: the perfect mix of rhythmic heft and IDM intrigue. ‘Slowrush’ matches offbeat electro drums with a bittersweet synth part, and finally, Wiles remixes MOY’s ‘Echolab’ (recently released on the EMOTEC label) into an early Warp-style acidic masterpiece.