Cerca:distort

First release on the new french label Disques de la Spirale, featuring an experimental motorik-kraut-dub infused, semi-improvised live act built by Tamara Goukassova, Axel Larsen & Théo Delaunay (Panoptique, Succhiamo, Violent Quand on Aime, Radiante Pourpre..) from Simple Music Experience ; featuring Maoupa Mazzocchetti, Fiesta en el Vacío, Ventre de Biche, Kyle Knapp (Deliluh) …
For fans of Faust, Tomaga, Tony Conrad...


French non-jazz trio overflowed by Simple Music Experience’s funders Tamara Goukassova, Théo Delaunay & Alexandre Larcier, offering a 40mn of non-simple music madness, and navigating between a dozen of etiquettes from undecided space rock to motorik-infused-dub, medieval folk, cartoon trance; everything under the seal of psychedelia and half-improvisation.
Built from drums, violin, springs, samples, reiterations, overdubs, trumpets, synths, distortions; and the appearances of L. Cedrón (Fiesta en el Vacío), L. Retraite (Ventre de Biche), K. Knapp (Deliluh), F. Mazzocchetti (Maoupa Mazzocchetti).

Chimera embraced by three members of the Simple Music Experience label, also (co-) liable at one point for the acts of Axel Larsen, (The) Simplists, Violent Quand On Aime, Constance Chlore, T. Goukassova, Radiante Pourpre, Succhiamo or Panoptique; Parasite Jazz emerged in 2016 in the smoke of a suspicious performance on Simple Music TV. An improvised and protean artifact at birth, the project settled down at the end of 2020 as a trio (Axel Larsen, Constance Chlore, Tamara Goukassova) in Marseille, then as a sextet during the Illusio festival in the summer of 2021. A series of concerts with a shifting line-up followed - Kyle Knapp, Luca Retraite and Luna Cedrón sometimes appeared and with them, spontaneous incandescences. This first series of collective hallucinations took the form of an album during a perilous recording at Grrrnd Zero (Lyon) in October 2021, and is completed by live recordings gleaned over the course of the summer episodes.

All tracks are composed and performed by Parasite Jazz:
Alexandre Larcier: bands, FX, springs
Tamara Goukassova: violin
Théo Delaunay: drums, percussion, synthesizer, tapes

Florent Mazzocchetti: trumpet on "Carton Jazz" and "Alarm Twist" (sampled)
Luca Retraite: bass on “Terciopelo” and guitar on “Alarm Twist”
Luna Cedron: vocals on “Terciopelo”
Kyle Knapp: lap steel on “Terciopelo” and “Untitled live at Gigors”
Around Function: Sketches, band lettering

Recorded and mixed by Théo Delaunay at Grrrnd Zero (Lyon) and l'Embobineuse (Marseille) except "Terciopelo" recorded at Illusio (Pradelles) and "Untitled live at Gigors" at La Sye Electric (Gigors-et-Lozeron).

Mastering: Rupert Clerveaux
Cover: Diane Malatesta
Design: Alan Briand
Parasite Jazz thanks: Quentin Mosko, the Groovedge/Illusio crew, Théo & Clyde, Maoupa Mazzocchetti, the 3 jokers Luna Luca and Kyle, Grrrnd & the Embobineuse.

Liberation is the latest evolution by David West, a dedicated underground dweller and traveler with his groups Rat Columns and Rank/Xerox and previously spotted in Lace Curtain and Total Control. Many familiar elements of West's songwriting creep out from the speakers this time around, albeit in a sonically more adventurous and personal manner. Swathed in analogue and FM synths, pinned down by near-funk drum machines, and with a vision expanded into the past and future. While in previous incarnations, West's alienated and fragile vocal has battled with jangling guitars and distortion, Liberation sets free his woes and ruminations into space. Taking inspiration from the heyday of Mute Records, the beginnings of electronic dance music's rudimentary sampling, broken and sound art, Liberation's debut LP is 10 songs of the road, about the nameless ghosts on the highway, accidental lovers, the alienation of the stranger in a strange land, the unbearable weight of freedom.
Beginning with a curveball, Liberation's first vocal sets out the position of the forever-cuckold, the sad lover hanging on: Looking For A Lover combines a Roland 707's loping mid-tempo with creeped-out synth lines as West intones his intentions close to the ear. Continuing in a more baroque manner, Move Me makes astounding use of string samples and space, with esteemed engineer Mikey Young's (Total Control / Eddy Current Suppression Ring) production prowess making for a distilled yet inviting loneliness. Forget is the night-drive centerpiece of the album, a 7 minute that erupts into a nihilistic sub-disco darkness. A constant theme of Liberation is the friction between West's characters: a frustrated love in victim-status paired with a menacing intent. The adorable, fragile stalker in the moonlight, illuminated by Whatever You Want, a
subjugated protagonist offering they have while the city burns. The brightest pop moment of the album has this in abundance: Cold And Blue, a classic synth pop jam to be played on repeat til the end of time, like New Order played by one man in his bedroom, with no drugs for a cushion, coming down the stairs, she looks like a perfect fear and Im a monument to your existence. But West has moments of touching sincerity that speak direct to the listener, as in album highlight Leaves Falling; a sparse string arrangement frames his vocal, "why do I keep falling for you I must just really like to be alone." Liberation is the freedom from attachments, about how sometimes they're what you want most.

Abstraxion once again delivers another twist to his exotic musical tale with "Trance Body Music". A four track collection of 90’s-infused club rockets. Hi-NRG sounds that traverse the trance-techno-rave intersection.
Lead single ‘Whole’ is a distorted and relentless number that hammers along with skewed vocal chops and lashings of bounce. ‘Gold’ however, is a more pushy heads-down affair. It's ramped BPM and vocals muster dewy-eyed Bonzaimemories, whilst harnessing the free spirit of the resurging eurodance movement.
Next out of the rave cannon comes ‘Force’, with its fierce tempo, jittering synth stabs and playful melody working together to create a tidy dancefloor moment. The show is brought to a close with the bubbling title track Trance Body Music. A perfect, almost soothing, finale to a wonderfully energetic adventure.

On their first album, Me:You--a new collaboration between Mourning A
BLKstar co-founders RA Washington and LaToya Kent--presents a
simmering, enigmatic brew full of groove, distortion and haze
In contrast to the pointed lyrics and wide- ranging genre blend of Mourning
BLKstar, Me:You dunks music in a swirling brew of drum beats, guitars, bass,
synth, and tape loops, revealing an immersive world that spotlights a woman who
loves hard, with nods to punk, jazz and R&B. Along with Washington's production
and Kent's vocals, Field Tapes in Der Trash features contributions from Jah Nada
(of Obnox and Bloody Show, who released a winning collaboration with
Washington on Astral Spirits last year) and Laura B.

I was lucky enough to release Godflesh 'Love is a dog from Hell' on my old label Pathological many moons ago. I was equally lucky to drop JK Flesh 'In Your Pit' on my new label PRESSURE three years ago, and then follow that up with the G36 vs JK Flesh sound clash 'Disintegration Dubs' last year. Justin has consistently handed me pure audio gold, and actually gifted me some of my favourite releases from him full stop, in an incredible career of riches which he has tirelessly. produced since Napalm Death til today. So again, I’m now totally psyched to drop 'Sewer Bait' on my label PRESSURE. The sixth album from JK Flesh, this album is a Slo-mo, Slo-fi, Sewer tech journey into utter gutter level filth. Overdriven, corroded, corrupted and absolutely blasted, it contains so many essential elements of clubland low life, but yet manages to remain beautifully original whilst pushing all levels deep into the red until it hurts in the best possible way. Anyone hooked on Andy Stott's dirtiest works, Porter Ricks deepest explorations or Techno Animal's speaker punishing grooves will find addictive nourishment within these relentlessly distorted heavyweight grooves.... Not so much hard as completely f-ckin brutal, the master stroke from Justin Broadrick however, is takin his raw materials and feeding them militantly into the dub chamber. This is like a wholesale destruction of Techno, 4/4 for people too wasted and strung out to give a f-ck about dancefloors, yet compelling enough and magnetic enough to completely insist upon fully body hypnotism in an undersized room with an oversized rig. The album's title track sounds like Drum & Bass don Digital or the peak of the Metalheadz label dragged down into hell for the ultimate bad rave trip, whilst 'Crawler' could be Killing Joke, jammin with Regis and his aggro allies from Birmingham Techno's underappreciated discography, deep in a warehouse warzone. You don’t have to dig techno to dig this dirt, you just have to enjoy having your head taken off and your body physically punished. If Jeff Mills output had been chopped, screwed and then painfully, slowly crushed, it may resemble the monolithic, psychedelic, crawl of 'Sewer Bait'.” – Kevin Martin

DMX Krew announces his return to Peggy Gou's Gudu Records with a new four-track EP, sharing the dreamy, Detroit-inspired title track, ‘Return to Jupiter’.

The full EP - out 14th April 2023 - will be his second release for the label and Gudu’s first release of 2023, set to be the label’s busiest year yet.

Ed DMX made his debut for Gudu with 2019’s Don’t You Wanna Play? EP, becoming the first artist to release on the label outside Peggy herself. Ed and Gudu have retained a regular working relationship ever since: he mastered Indonesian crate-digger Dea’s ‘Glazer Drum’ release for Gudu, contributed a pair of remixes to the reissue of Riff’s South African electro curio ‘Jacks Jive’, and now returns to the label with Return to Jupiter, a new original four-track EP.

Ed has been one of electronic music’s most respected faces for over 25 years. Debuting in the mid-1990s, he released his first decade of music almost exclusively through Grant Wilson-Claridge and Aphex Twin’s Rephlex label and his own Breakin’ imprint, but recent years have seen him ply his trade across a who’s who of dance music’s most respected underground labels: including Hypercolour, Balkan Vinyl, Central Processing Unit and, of course, Gudu.

Inspired by the futurist funk and vivid synthesiser epics of classic Detroit, ‘Return to Jupiter’ is dripping with richness and colour, driven by the sort of thick analogue basslines and distinctive melodies that have come to define Ed’s catalogue. The EP’s title track sets the tone for what’s to follow, introducing a language of sorts for the record - before ‘Altered Chords’ turns the funk up to 11, ‘U Ain’t Down’ aims its distorted kicks and wiggy, manipulated lead straight at peak time dancefloors, and ‘I Love Juan’ closes the EP on a star-gazing tip.

Founded by Peggy Gou in 2019, Gudu releases music from a global roster of artists, including DMX Krew, Maurice Fulton, Hiver, Dea, Mogwaa, Brain de Palma, Dukwa, JRMS and Peggy herself (including the hits ‘Starry Night’, ‘I Go’ and ‘Nabi’). 2023 will see Gudu’s busiest year to date, with new releases scheduled from the current roster and some exciting new faces.

Red Vinyl
Infonabeat Records (Mexico) is proud release ISSR A002
A Compilations of tracks from VA producers around the world
that projects a contemporary vision of Techno that emphasizes on industrial and obscure sonic scenarios.
with tracks By:

Olēka:The new alter ego of the already well-known Bosnia & Hercegovina-based DJ/Producer Forest People, He has affirmed himself as a new powerhouse in today's techno scene,
This moniker emphasizes the more industrial, and distorted side of techno.

Dahraxt: DJ producer and label owner based in Berlin Germany has a proposal with heavy basses and delicate rhythmic transitions.

Voca Negra : This project is the collaboration of Label Owners Ricardo Carmona (Ixbalanke) Based out of Tijuana Mx. and Miguel Angel Vazquez (Netika)Based out of San Diego Ca/ Tijuana Mx
This project portraits a contemporary and fresh approach to techno representing the region, displaying it with complex rhythmic patterns,
hard and robust bases with non conventional lead designs and vision.

Ixbalanke: Ricardo Carmona DJ/Producer and Label Owner Portrays a Obscure and abstract landscapes ,penetrating and vibrant sequences with unique Leads

Harlem & Irving label partner Brian Kelly assumes his Supplement alias here for a new and limited edition 12" that features two of his tasteful and challenging sounds. Kelly is always out to disrupt and subvert and does so with aplomb here as the a-side title track starts with a whisper but soon grows with layers of found sound, piano, percussion, and ethereal voices. It then collapses before reemerging with melodic and tonal guitars and pulses. On the flip, the same tune comes 'Revisioned' but is much more cold and distorted, edgy and urgent. This record also comes with s the published essay, Revision: Composing an Aesthetics of Performance Pedagogy (Kelly & Wooda, 2016).

REPRESS

Alessandro Cortini (Nine Inch Nails/How To Destroy Angels) composed the Forse series using a Buchla Music Easel. Forse, meaning "maybe" In Italian, is a series of 3 double LP releases Cortini recorded for Imprec to release in 2013.

"All pieces were written and performed live on a Buchla Music Easel, in the span of one month. I found that the limited array of modules that the instrument offers sparked my creativity. Most pieces consist of a repeating chord progression, where the real change happens at a spectral/dynamic level, as opposed to the harmonic/chordal one. I believe that the former are just as effective as the latter, in the sense that the sonic presentation (distortion , filtering, wave shaping, etc) are just as expressive as a chord change or chord type, and often reinforce said chord progressions.

Of all the years with Nine Inch Nails the period spent writing and recording the instrumental record Ghosts I-IV is probably the one which changed my approach to music making the most. After that record I started getting more into instrumental composition, although I tried to approach it in a different way. While we had a vast array of tools and instruments at our disposal then, I decided to approach my pieces limiting myself to one instrument only, as I found myself being more decisive when faced with a limited creative environment."

PURPLE VINYL


A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din. Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void - somehow - you see everything. The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange - which is in-line with Hartzman's own ethos: "Everyone's story is worthy," she says, plainly. "Literally every life story is worth writing down, because people are so fascinating." But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details - how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen - but it's mostly the way those tiny moments add up into a song or album or a person.

Marcos Díaz has been part of Buenos Aires underground for many years, being in projects like Bosques and making solo music under the pseudonym Entidad Animada (animated entity). Under this project, Marcos has explored sounds that involve a mix of feedback/distortion through synthesizers, guitars and drum machines that hint at the influence of Stereolab, Spacemen 3, and mid-nineties shoegaze. However, there are also ambient soundscapes with a slight rubbed of the ritualistic psychedelia of the Popol Vuh. The display of colours in his music comes together in the midst of a playful, relaxed and optimistic environment that is simultaneously melancholic. Because of the nature of those pieces, but also because in Entidad Animada there is also space for collage sounds that blend randomly with textures of a primitive analog sound, which inevitably causes a paradox between what is alive and what is inert. And it is because Entidad Animada is precisely that, a spectrum or a vision, a ghost. And these sounds are proof of his existence.

Pruebas de existencia (proofs of existence) is a collection of recordings that Marcos has made in recent years and that we have selected for this album, his first work on Umor Rex. A couple of these pieces were only released digitally, while the others have been on ltd cassette editions through Fuego Amigo Discos in Argentina. Pruebas de existencia is an Umor Rex compilation and remastered edition.

Guitar, sampler, synthesizer, organ, bass, drums & electronic beats, vocals, recording and mixing by Entidad Animada in Buenos Aires. Mastered by Rafael Anton Irisarri at Black Knoll Studio, NY. Cover photography Natch Tablescape (1979) by Langdon Clay. Layout by Daniel Castrejón, Mexico City.

Tape

A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din. Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void - somehow - you see everything. The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange - which is in-line with Hartzman's own ethos: "Everyone's story is worthy," she says, plainly. "Literally every life story is worth writing down, because people are so fascinating." But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details - how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen - but it's mostly the way those tiny moments add up into a song or album or a person.

If Es’ debut album for Upset the Rhythm explored the “tension between intent and interpretation”, the London group’s 2023 EP, ‘Fantasy’, constructs a coda for resistance against the distorted gaze. A four-track contact-high anxiety amid fact and facsimile, the new release attempts to define a sound that still resonates in an increasingly confused public theatre, where cerebral dreams manifest in corrupt fascination.
Echoing the legendary Pylon or the later, disco-inspired releases from PIL, tracks like ‘Emergency’ and ‘Unreal’ blend the band’s established disjunctive style of gothic restlessness with brighter, poppy, and danceable tones. These stylistically unwind in transition with the increasingly claustrophobic pieces like ‘Too Late’ and ‘Swallowed Whole’, syncopating a parallel design of the frantic and the fashionable.
Paired with a lyrical intricacy which emits a desire to break the fetish of false representation, ‘Fantasy’ reminds us that worthy punk records, like any manifesto of neurotic suspicion, balance testimonial, speculative-fiction, and social critique. Indebted to the past but pointed sharply to the future, Es deconstruct our modern wreckage of personhood and self-deceit, granting a sense of solidarity inside alienation. Inside ‘Fantasy’ we visualize our own estrangement, and it is only when this mirror fades that we find the tools to fight back.

BKM Etah 167 - Vinyl 180gr - Transparent Green - Poster A1 - ltd500
Re-Release of the 1998 original (CD)
Missing tracks will be released as part of the DJDead Vinyl

Hawthorne is the powerful new album and short film from Queens-by-way-of-Detroit emcee Motown Priest, a gifted lyricist with a penchant for writing gripping narratives. More than just a gifted storyteller, he also has a phenomenal ear for production that helps to take this project to another level. It’s a cohesive, poignant, and incredible piece of art that serves as a searing look at the world we all live in today. “This album and film weren’t about cheap moralism or heady preaching, it's a very simple idea of confronting who we are, and who we are affects the world around us,” Motown Priest explains. “This is where Hawthorne, in both music and film, connects.” He’s true to his word, too, because the album’s 12 tracks bang just as hard as they make you think. They’re the type of songs you can sit with and unpack, or you can blast them at full volume to make your system rattle - or both. Tracks like “For Sale” and “The Calogero Effect” boast soulful, nostalgic production that fits their more meditative narratives of succumbing to vices and childhood innocence. On the other hand, “Pandora’s Box” straight-up slaps thanks to its distorted guitars and live drums, while “New Religion” is an aggressive, teeth-gritting banger. It’s all part of Motown Priest’s plan to fully engage with his audience while delivering one of the year’s best releases, regardless of genre and medium. In addition to the album, Hawthorne exists as a short film that further explores many of the same themes (ceaseless desire, identity, and capitalism) through the visual format.Within its 35-minute runtime, the film follows the same protagonist as the album, a young man who seeks change and fulfillment but doesn’t consider the pain and damage he causes along the way. It makes for a damning look at so many cultural ills, and it couldn’t have arrived at a more fitting time.

A Wednesday song is a quilt. A short story collection, a half-memory, a patchwork of portraits of the American south, disparate moments that somehow make sense as a whole. Karly Hartzman, the songwriter/ vocalist/guitarist at the helm of the project, is a story collector as much as she is a storyteller: a scholar of people and one-liners. Rat Saw God, the Asheville quintet's new and best record, is ekphrastic but autobiographical and above all, deeply empathetic. Across the album's ten tracks Hartzman, guitarist MJ Lenderman, bassist Margo Shultz, drummer Alan Miller, and lap/pedal steel player Xandy Chelmis build a shrine to minutiae. Half-funny, half-tragic dispatches from North Carolina unfurling somewhere between the wailing skuzz of Nineties shoegaze and classic country twang, that distorted lap steel and Hartzman's voice slicing through the din. Rat Saw God is an album about riding a bike down a suburban stretch in Greensboro while listening to My Bloody Valentine for the first time on an iPod Nano, past a creek that runs through the neighborhood riddled with broken glass bottles and condoms, a front yard filled with broken and rusted car parts, a lonely and dilapidated house reclaimed by kudzu. Four Lokos and rodeo clowns and a kid who burns down a corn field. Roadside monuments, church marquees, poppers and vodka in a plastic water bottle, the shit you get away with at Jewish summer camp, strange sentimental family heirlooms at the thrift stores. The way the South hums alive all night in the summers and into fall, the sound of high school football games, the halo effect from the lights polluting the darkness. It's not really bright enough to see in front of you, but in that stretch of inky void - somehow - you see everything. The songs on Rat Saw God don't recount epics, just the everyday. They're true, they're real life, blurry and chaotic and strange - which is in-line with Hartzman's own ethos: "Everyone's story is worthy," she says, plainly. "Literally every life story is worth writing down, because people are so fascinating." But the thing about Rat Saw God - and about any Wednesday song, really - is you don't necessarily even need all the references to get it, the weirdly specific elation of a song that really hits. Yeah, it's all in the details - how fucked up you got or get, how you break a heart, how you fall in love, how you make yourself and others feel seen - but it's mostly the way those tiny moments add up into a song or album or a person.

J. Alberts “config” EP for Couldn’t Care More is one more step into his very own microcosm of electronic music wizadry: There is the flickering groove of “Armor”, myriads of cut-up sonic pieces morphed into a glorious track somewhere next to Techno and House and there’s the distorted quiet beauty of slowly breathing “config4”, ambientesque but filled with tension like Huerco S does it. There are the holographic breakbeats of “config5”, with voice samples and synth stabs melted in New Yorks fiercest heat and there’s the sped-up ambient groove of ghostly “config2”. The last track “Court” sums it up, a breathless groove mutation topped by spheric keyboard sounds. J. Albert gets it all together and he does it with a quite uncanny certainty. A different level.

Magna Pia, a.k.a seasoned producer, DJ, and composer Hüseyin Evirgen, announces his second full-length album, ‘QUT’, arriving on Inland’s Counterchange label in March on double vinyl.

After 2 steamrolling EPs of club tracks on the label - now entering its tenth year of action - Magna Pia presents his most complete and advanced body of work to date, weaving a dense narrative of drone, figurative synthesis, bass-heavy electronica, and abstract techno.

Over eight tracks each referencing his rich cultural and musical background, we are treated to a unique overview of a producer at the crest of his art. The word ‘Qut’ is an ancient positive affirmation, in one short word encompassing all that is scared, pure and good. The Old Turkic term meaning not only ‘good fortune’ and ‘joy’, but in shamanic circles, the ‘wonder of the heavens’, permeates the roots of Evirgen’s multi-heritage history.

That Evirgen expresses his interpretation of this central theme through the marriage of bewitching melodies with atonal, experimental and rumbling electronics is a conscious comment on the distortions and mutations of our Modern Era. We now exist in the digital age of the Technosphere for better or worse, and must seek beauty where-ever possible.

The opening ‘Prologue’ invites the listener into a futuristic yet organic sound world, where lush stereo processing goes hand in hand with rumbling bass and subtly detuned drone languages. From the echoes of traditional Uyghur folk music, translated via synthesizers into a glistening slow-diving opus (‘Qizil’), to churning dub-techno adorned with a symphony of evolving sine-waves (‘Venus M’), Evirgen then deploys ‘X’ - a haunting experimental piece composed predominantly with his voice and electronic processing.

The interweaving synth lines of ‘Gudanna’ pierce the fog with a radiant and transcendent club-techno bounce before the ode to the ancient Bronze Age goddess ‘Astarte’ unfolds its snare-driven broken-beat formations. The title track ‘Qut’ embodies by far the heaviest club track of the album, in a deadly, stripped-back moment of future-techno hypnotism. Dancing flames of purple-tongued synthesis are held (just) in line by a wonderfully tough throb of drums.

With his ‘Epilogue’, Magna Pia allows the spectral ideas and concepts laid out across the LP to connect and travel full circle, confirming our suspicions that this could be one of the most coherent and exciting works to emerge in the brave new field of introspective, and sensitive techno-electronic language.

"Goldfish" Indie Store Exclusive Color Vinyl Brooklyn-based musician and producer Barrie Lindsay, known simply as Barrie, has a passion for creating left-of-center pop music. She spends her days writing songs and tinkering in Logic, stockpiling her creations in a vast archive of folders and hard drives. When it came time to select the songs for her sophomore LP, `Barbara,' she narrowed it down to sixteen tracks. As the record came together, it became clear that there would be two separate projects - the first being `Barbara,' an emotionally charged collection of songs dealing with the loss of a parent, the love of a new partner, and finding one's own identity. The remaining five tracks, which were more light-hearted and o the cu, were compiled into a new project titled `5K.' As an avid runner, Barrie named the EP after the common foot race. The aptly titled lead single, "Races," is a delightful synth-pop track in a unique 12/8 time, built around a bombastic drum kit and giddy key ris. "Nocturne Interlude" acts as a segue between `Barbara' and `5K,' showcasing a haunting melody amidst dark brass-like synths. Second half highlight "Ghost World" has a distorted guitar ri and classic drum pattern that evokes a forgotten 90's radio b-side. The song was recorded entirely by Barrie herself, serving as her own band on guitar, bass, keys, and drum kit. Even though most people would finish listening to the project front to back before finishing a 5k run, the short, sweet, and melodically rich EP begs to be replayed over and over. With `5K,' Barrie showcases her versatility as an artist, closing the loop between the sounds found on her debut LP `Happy To Be Here' and her follow-up `Barbara'.

The endlessly prolific and unpredictable Richard Youngs returns to Black Truffle with Modern Sorrow. As any Youngs fan knows, one of the great pleasures of following his career comes from not being able to predict what the next entry in his inexhaustible string of releases will bring: Unaccompanied voice? Country songs? Shakuhachi? Guitar pieces played with his feet? Shredding fuzz bass over the top of hyper-speed distorted drum machine beats? Continuing in the grand Youngs tradition of exploring new techniques, instrumentation and approaches while bringing to all of them his idiosyncratic touch, Modern Sorrow serves up two sides of twistedly elegiac, radically stark takes on contemporary pop production. The side-long title track is built from a piano sample, synthetic bass notes and organ swells, and an iterative blurt that seems to have wandered out of a 90s jungle track. Eventually joined by a shuffling drum machine, the track moves very slowly through a series of chords, each delayed long enough that its arrival comes as a major event. Over the top, Youngs’ heavily pitch-corrected voice is heard. The processing paints his signature wandering melodic improvisations with shades of contemporary R&B; at the same time, it cuts the natural swoops and glides of Youngs’ melodies into rapid microtonal trills, giving his voice a quavering, middle eastern feel. Unfolding languorously over more than 17 minutes, the piece’s final minutes make room for an extended drumless coda, returning to the stark palette of its opening moments. On the second side, the two parts of ‘Benevolence’ push this minimalism ever further, its first half consisting of nothing more than a remarkably slow drum machine hit, bass-heavy chords and pitch-corrected voice, here so heavily processed that it starts to resemble a shawn solo. In its second part, the harmonic foundation drops out from under the piece while two more voices join; at some moments the voices pause, leaving nothing more than isolated, metronomic drum hits. Though Youngs has explored the sound worlds associated with dance music and contemporary pop in previous work, here these elements are radically reduced, foregrounding a meditative bed of silence with a boldness equal to any more academically inclined contemporary composer. Embracing the accessible digital tools of contemporary music production just as at another moment he would pick up a kazoo, like much of Youngs’ work Modern Sorrow uses simple DIY tools to generous ends, producing formally radical music that remains both free from pretension and deeply moving.

Fans of the Escapers know the love of Rock Steady and Reggae Music. This time they pay homage to a Johnny Taylor sung Stax classic and transform it into a Lover’s Rock thriller. A bass heavy Roots rhythm combined with Colton’s haunting lead guitar create a perfect platform. Johnny Ruiz to express his love. Hey baby “Ain’t That Lovin You”? Definitely, and for “More Reasons Than One”

More of a double A-Side release, the b-side has The Escapers calling on The Heavyweight Dub Champion himself...the mighty Scientist to reinterpret their biggest single “Stay”! Overton “Scientist” Brown gives this tune a classic style “version” with all the echo and distortion any reggae fan would want. A real privilege to work with one of the true legends of dub music!

Introducing a brand new artist on Skep Wax Records, MARLODY releases debut album I’m Not Sure At All. Limited edition white vinyl LP plus digital DL and signed postcard. Marlody’s first album I’m Not Sure At All takes anxiety, weakness, fear - and turns them into strength: powerful melodies, the sweetest harmonies you ever heard, and lyrics that insist on the possibility of hope, without losing sight of the possibility of despair.

Dominated by her extraordinary keyboard playing, Marlody’s songs are illuminated - and sometimes made sinister by occasional bursts of programmed percussion, submarine bass and distant, chiming digital bells. These are deep, darkly beautiful pop songs. When she was a girl, Marlody was one of the higher-achieving classical pianists of her generation, winning competitions and destined for greatness.

She hated it, and threw it all away. In the intervening years, putting more and more distance between herself and her classical origins, she listened to Yo La Tengo and Shellac and a hundred other things that took music to new, untutored extremes. I’m Not Sure At All is the outcome. Marlody’s painful personal journey is not glossed over in the lyrics: Words is about the debilitating effect of psychiatric medication; Malevolence is about the horrible urge to commit inexcusable violence;

Friends in Low Places is a remarkable hymn of solidarity with all those people who’ve contemplated taking their own lives. But the songs are strangely uplifting: they offer up their truths so calmly and are so generously wrapped in harmonies that they feel like gifts. There are great stories here too: Summer takes a child’s point of view, describing the beginnings of new life after the loss of a parent.

Wrong relates the history of an adulterous affair, with a piercing sympathy for the emotional state of the adulterer. There are musical echoes: the infectiousness and daring of some of the vocal melodies might remind you of Kate Bush, the intimacy might remind you of Cate Le Bon, the stabs of anger and pain might remind you of Liz Phair. The keyboard is sometimes as smooth as Fleetwood Mac; other times it’s as raucous and distorted as Quasi. The harmonies are from another place again – you could imagine hearing them in an Unthanks recording. I’m Not Sure At All will be released by Skep Wax on limited edition white vinyl and all digital services.

. Follow up EP to 2022s ‘Barbara’, which was praised by The New York Times, NPR Music, KEXP, KCRW, Stereogum, The Line Of Best Fit, Billboard, Consequence, Under The Radar, Clash and more. Fresh o­ff support tours with Alex G in the US and Japanese Breakfast in the UK. Barrie will be showcasing as an offcial artist at SXSW 2023. New EP expands on the sound of ‘Barbara’ while taking a fresh approach to songwriting and collaboration. Brooklyn-based musician and producer Barrie Lindsay, known simply as Barrie, has a passion for creating left-of-center pop music. She spends her days writing songs and tinkering in Logic, stockpiling her creations in a vast archive of folders and hard drives. When it came time to select the songs for her sophomore LP, ‘Barbara,’ she narrowed it down to sixteen tracks. As the record came together, it became clear that there would be two separate projects - the first being ‘Barbara,’ an emotionally charged collection of songs dealing with the loss of a parent, the love of a new partner, and finding one's own identity. The remaining five tracks, which were more light-hearted and o­ the cu­, were compiled into a new project titled ‘5K.’ As an avid runner, Barrie named the EP after the common foot race. The aptly titled lead single, "Races," is a delightful synth-pop track in a unique 12/8 time, built around a bombastic drum kit and giddy key ri­s. "Nocturne Interlude" acts as a segue between ‘Barbara’ and ‘5K,’ showcasing a haunting melody amidst dark brass-like synths. Second half highlight "Ghost World" has a distorted guitar ri­ and classic drum pattern that evokes a forgotten 90's radio b-side. The song was recorded entirely by Barrie herself, serving as her own band on guitar, bass, keys, and drum kit. Even though most people would finish listening to the project front to back before finishing a 5k run, the short, sweet, and melodically rich EP begs to be replayed over and over. With ‘5K,’ Barrie showcases her versatility as an artist, closing the loop between the sounds found on her debut LP ‘Happy To Be Here’ and her follow-up ‘Barbara’

For over 30 years Richard Adams has been quietly documenting his own particular corner of the English countryside both with Hood, the post-rock band he formed with his brother in 1991, and since 2007 with The Declining Winter. Recorded over a five year period and inspired by rustic English alternatives such as Talk Talk and Robert Wyatt, The Declining Winter’s latest work ‘Really Early, Really Late’ is a collection of beautiful songs, immersed in a richer sonic spectrum incorporating strings, horns and lush electronic textures, alongside Adams’ own unique guitar tones and characteristic dubby bass. Though it retains the homespun scratchiness of previous The Declining Winter records, ‘Really Early, Really Late’ is also their most ornate. A remotely collaborative effort, the record is scattered with decorative embellishments from violinist Sarah Kemp (Brave Timbers), cellist Peter Hollo (Tangents), and guitarist Ben Holton (epic45), among many others. Adams’ distorted whisper of a voice has never been more exposed leading to a brutally emotive and intensely personal song-suite, both raw and beautiful in equal measure. The storybook curiosity of Mark Hollis’ work is a particular influence. Like Hollis, this music is imbued with magical realism: beholden to nature, it hints at the mysteries lurking in mundane local landscapes and the more remote Yorkshire moors and valleys. A record to hold close to your heart, ‘Really Early, Really Late’ sees Adams and his collaborators emerge from the shadows with their most complete work to date. Home Assembly are proud to present the album on lush crystal clear, double vinyl, bundled with a CD housed in an oversized vinyl-style sleeve.

marbled vinyl
Warg Records proudly welcomes its first release in over a year. With a consistent release schedule planned and many renowned artists signed, the future of the label is exciting.

Slight Function is made up of Krenzlin and Rhombic. Their release features three original tracks with a remix from Argentinian born and Barcelona based, Pfirter. The tracks are made up of driving low end, distorted synths and sharp hats. An overall intense and moving techno production.

“These things happen,” says K. Leimer of LUYU. Listen Until You Understand is a test drive through an obstacle course designed for new instruments, arrangements, juxtapositions, and real-time experiments dedicated to leaving the original impulses untouched and unadorned. Joined at times by digital percussionist Dolphie Stein, the music throws itself against itself without loyalty to genre or form, mashing granular particles into a tremulous spectrum of soundwalls, transitions, noise, distortions, and the occasional clearing. As close to live improvisation as one can get in a multitrack studio setting, LUYU takes generative techniques and drops them into short-form events by building its soundstage in thickets of shifting elements, collapsing phrases, broken signatures, and implied patterns. An outlier in Leimer’s catalog of general stillness and subtle detail, LUYU revels in the bare sound of things usually hidden in the mix.

Kerry Leimer founded Palace Of Lights in 1979. Leimer’s work has also been issued by Abstrakce, Autumn, First Terrace, Les Giants, Invisible Inc., Origin Peoples and RVNG. His work is included in the Cherry Red Noise Floor compilation series and his early cassette work is featured in the critically acclaimed VOD box set American Cassette Culture. Leimer has been actively producing music since the mid 1970s—his current catalog includes twenty solo albums plus collaborative albums with Savant, Marc Barreca, and Three Point Circle. Recent soundtracks include work for video artists Cristiane Bouger and Fred Birchman, HBO’s How To With John Wilson and the Netflix documentary John Was Trying to Contact Aliens. His work is included in the collection of The British Library.

Le Motel and Bruce Wijn met at school, during a school art trip to Munich. They went separate ways for a long time.

Hailing from Brussels, Le Motel's world is a vortex of sight and sound that takes in the many and varied corners of the planet. As a music producer and film composer his versatility has taken him to festivals and clubs in every direction as naturally as he has ventured out to the less accessible areas of the globe as a field recordist. It's somewhere in between these spaces that Le Motel operates, gathering unique experiences and sounds to channel through his studio.

Bruce Wijn is a Brussels-based guitarist who played in several postrock kind projects such as Sound Film, 52 Commercial Road, or more shoegaze Lazy Sin. These collaborations gave him the opportunity to perform in various locations in Belgium, France, England, and the USA. As a musician, his focus has always been attracted by progressively built rhythmic melodies, which would eventually turn into long reverberated or distorted swells, or the otherway round.

All these experiences brought them both to the idea of scoring movies with different yet similar approaches.

That's how their first collaboration happened as Le Motel was working on the soundtrack of the movie Binti, and invited Bruce Wijn for the track Exode, in 2018. Since then, they've been working on other scoring projects, such as the feature film 'Aller Retour' more recently.

Alongside the movie scoring activities another audiovisual live project was born, in collaboration with Antoine de Schuyter and his mesmerizing images.

This one is more focusing on tape textures, field recordings and glitchy effects in order to build atmospheric tracks that they decided to bring together in a first E.P. 'MAAR'.

'MAAR' is elaborated as a soundtrack for an imaginary journey between cold seas and volcanoes explorations.

From the first echoing sounds of playing kids on the shoreside in the opening track 'La Perche' Le Motel & Bruce Wijn let you slide in a technicolor dreamworld, reverbing slowly innocent childhood memories into a chilled, out of range, future.

'MAAR' dives deep into a kaleidoscopic microcosmos watching Nautilus playing hide and seek with 'Captain Ahab' floating on sonic breaking waves, while seagulls gently spread their wings flying through the breezy and misty clouds of Blankenberge.

Lava vulcanica slowly melts in the sad euphorica of the cold North Sea, crystallizing sounds only Le Motel and Bruce Wijn can deliver.

clear vinyl

Stephen Disario delivers four-tracks as the debut release on his newly-launched imprint, and in so doing sets the tone for the output we can expect in years to come: driving basslines and infectious percussion crafted with meticulous perfection.

Throughout the four tracks, Disario showcases what he does so well as a producer: groovy, funky techno that will always find its home in a proper underground techno setting.

The EP starts off with "Under The Rug", an hypnotic masterpiece that sucks listeners in and takes them deeper and deeper as the track's intensity builds and reaches its peak. "Walking Through Trees" is next, picking up the tempo with an added groove carrying the track throughout... a real dance floor mover.

The pace continues with "The Marathon", a percussion-driven stomper characterized by well-crafted peaks and valleys permeated by distorted eerie vocals.

To conclude the EP, "Lights Down Under" showcases Disario's other signature techno soundscape. Here he takes the funk route, using an 808 clap and eerie howl broken by hard to discern and yet catchy vocals to great results.

Ground Groove, the third full-length release from the LA-based, Iranian-American producer and DJ, Maral, begins with an invocation: the sprawling, achingly heavy Feedback Jam opens the floodgates of history. Conventional (linear) spacetime collapses, crushed beneath the track’s lumbering 4/4 heartbeat and successive waves of distortion. As each wave recedes, samples trickle forward in the mix — seeking, perhaps, to fill the void. Voices and instruments rise and fall in uncanny reverse. Overlapping, implied melodies flicker into focus, then flit away. Feedback Jam is at once an initiation ritual, and a thesis statement for the record that follows.

Drawing upon a vast personal archive of Iranian folk, classical, and pop recordings (some sourced from mixtapes made by her parents in the eighties/nineties), Maral presents, on Ground Groove, a further refinement of the signature “folk club” sound she developed as a live DJ— a sound she would later codify on Mahur Club (2019) and Push (2020). By collecting, dissecting, and re/presenting sonic fragments from Iran, Maral practices a kind of dance-floor ethnomusicology. The subject of her inquiry: Iranian


culture and contexts, throughout history and in the present. But, crucially, this inquiry is instantiated within and throughout the body of the listener, whether this listener is dancing in the club, or riding the train, nodding along with headphones on.

Maral speaks of being in collaboration with her samples, treating each as a distinct bandmate, often consulting with an artist’s catalog (or even a single recording) as one would a trusted creative partner. In so-doing, Maral claims to seek to transcend the self. In this regard, her output neatly triangulates contemporary dance and heavy music with much of the traditional religious music that she samples. Broadly speaking, each of these idioms addresses a desire —shared by audience and performer alike—to transcend the self through volume, repetition, and movement.

Having, in her youth, studied the Setar under Nader Majd (the founder of Virginia’s Center for Persian Classical Music), Maral cycled through various genres (ex: punk, emo, dub) in her adolescence and early twenties, all the while expanding her knowledge of, and appreciation for, Iran’s diverse musical traditions during regular summer trips to Tehran. In college, Maral taught herself to make beats with a ripped copy of Ableton (which remains her DAW of choice), eventually transitioning to playing and hosting various club nights. Forever abiding by an autodidactic, DIY impulse to create art and foster community, Maral relocated to Los Angeles in 2013, where she quickly immersed herself in the city’s numerous overlapping music scenes.

Collaboration (beyond sampling) has proven an important component of her process, with notable spoken word contributions from the likes of Lee Scratch Perry and Penny Rimbaud, as well as a 2021 Panda Bear collab track (On Your Way), which the Animal Collective founder co-produced. Maral is equally attentive to the visual components of her records (album art, music videos, etc.), drawing upon the work of peers and friends for inspiration.

Indeed, the genesis of Ground Groove can be traced back to an audio-visual collaboration between Maral and the artist Brenna Murphy, originally commissioned for the 2021 Rewire Festival — a project that would eventually serve as the album’s foundation. Tracks eight through eleven on Ground Groove comprise Maral’s half of this installation, with tracks one through seven composed afterwards, inspired by the fruits of Maral and Murphy’s collaboration. Murphy’s visuals will be released alongside Ground Groove as a visual accompaniment. Additionally, Murphy designed the album’s art, directed the video for the lead single (the aforementioned Feedback Jam), and is featured on track six, Shy Night.

Composed largely on Ableton, Ground Groove features more frequent and more prominent live recordings from Maral (guitar, bass, and vocals) than either Push or Mahar Club. The cult favorite Roland MC-909 groovebox rears its head on Mari’s Groove. Mixed by Trayer Tryon (Hundred Waters) and mastered by Daddy Kev, the attention to sonic quality on Ground Groove constitutes another significant step in Maral’s development as a studio artist.

Ground Groove’s eleven tracks are “grooves” in the obvious sense, in that they are each driven by a persistent, propulsive rhythm, but the album’s title may just as well suggest the glacial passage of time—the scope of human history, in which individual voices, like streams, carve paths (impossibly) through earth and stone, winding their way to the vast sea of the present.

Electronic duo Pale Blue return to Crosstown Rebels with ‘No Words’, the second single from their forthcoming album ‘Maria’, with remixes from DJ Tennis and Perel.

Italians Do It Better founder Mike Simonetti and Silver Hands’ Elizabeth Wight’s rich and storied careers within the electronic realm and beyond only elevated further with the launch of their Pale Blue project in 2015, unveiling a series of critically acclaimed releases via Simonetti’s 2MR imprint with plaudits including Pitchfork, FACT and Resident Advisor, to name just a few. Having provided the first look into their forthcoming album on Crosstown Rebels entitled ‘Maria’, scheduled for release on the label later this year, the pair return to open March with the second single from the project, ‘No Words’ - accompanied by remixes from DJ Tennis and Perel.

Detailing the backstory to the record, Simonetti notes both upcoming single ‘No Words’ and the majority of the tracks on the duo’s forthcoming album project were made on the exact synths used to create Jaydee’s iconic 1993 hit, ‘Plastic Dreams’.

Guided by a captivating bassline accented by Wight’s charming vocals, which flutter amongst the mix, ‘No Words’ is a hooky and compelling production that ebbs and flows across its near five-minute duration with effortless ease, capturing the playful nature alluded to by Simonetti. Life and Death head honcho DJ Tennis’ remix arrives next, veering down a hazy yet absorbing path as crisp organic drums and engrossing melodies form around the vocals and journey through light and dark textures.

The B-side of the record belongs to DJ/producer, vocalist and DFA Records favourite Perel, offering a cosmic dive through spacey synths, skittering bleeps and pops, and tough kicks across her take on the production - before distorting and warping the vocals and shifting the emphasis on the ever-evolving electronics across her ‘Dub Version’.

Back in print for the first time this century, first time for tip-on jacket, the definitive edition remastered from the original tapes.Meeting at the halfway point between Bleach and Damaged, Unwound's 1995 self-titled album arrived years after the original trio of Vern Rumsey, Justin Trosper, and Brandt Sandeno made their Avast Studios debut. Compiling their EPs for Kill Rock Stars and Gravity Records with five more session outtakes, Unwound was released on Rumsey's Punk In My Vitamins as the band began flirting with the mainstream. Witness a band's prehistory as it plays out in a feral maelstrom of screaming, distortion, feedback, and abrasive promise.

Back in print for the first time this century, first time for tip-on jacket, the definitive edition remastered from the original tapes.Meeting at the halfway point between Bleach and Damaged, Unwound's 1995 self-titled album arrived years after the original trio of Vern Rumsey, Justin Trosper, and Brandt Sandeno made their Avast Studios debut. Compiling their EPs for Kill Rock Stars and Gravity Records with five more session outtakes, Unwound was released on Rumsey's Punk In My Vitamins as the band began flirting with the mainstream. Witness a band's prehistory as it plays out in a feral maelstrom of screaming, distortion, feedback, and abrasive promise.

After several years of intense performance activity, the Italian sound artist and
vocalist SARA PERSICO releases her debut EP "Boundary", to be followed by a full album.


Born and raised in Naples, Berlin-based sound artist / vocalist SARA PERSICO cut her teeth
experimenting on the fringes of Naples' fiery underground experimental/noise scene, developing a
technique that would integrate her voice with analogue electronics, field recordings, and samples.
PERSICO holds a BA from the Conservatory of Napoli and a Master's Degree from the
Conservatory of Bologna and gained several residencies and scholarships like Temp Studio,
Lisbon (2018), Amplify Berlin (2021), Sonoscopia, Porto (2022), Sardegna Teatro - V2 Unstable,
Argentiera (2022). She presented her work in festival and events like Ballroom Blitz Beirut, CTM
Festival, Ortigia Sound System Festival/Bosco Colto, Codex Club, Documenta Fifteen, Dancity
Festival, Radical DB, Life Libertas Festival, among others.


As improviser and performer, she has collaborated with a wide spectrum of artists, joining EVELYN
SAYLOR's vocal ensemble for CATERINA BARBIERI's acclaimed "light-years" show at Rewire
Festival and London's Southbank Centre, and worked on projects alongside THE EX's ANDY
MOOR, TONY ELIEH (KARKHANA), LUDWIG WANDINGER, DIRAR KALASH, ELVIN BRANDHI,
RECORDAT, and many others.

She's also a fearless DJ who's able to straddle vastly different worlds, offering just as much
attention to abstract electronic sounds as she does bass-heavy club music, noise, and vocal
experiments. She is currently a resident on Bethlehem's Radio Alhara.

All this energy and experience radiates from her solo debut "Boundary": PERSICO's expressive
vocals play a central role, but her command of precisely sculpted electronic textures and dynamic
rhythmic structures is just as crucial to the overall experience.
Deconstructed beats, experimental voice, harmonic music, distorted rhythms craft a dense
introspective work that explores intimately the boundaries of the self. Identity rupture as a survival
technique, a voice-research climax with an unconventional approach - multi-faceted ideas melt in a
heavy-aesthetical 6 track solo EP that brings together different styles like noise and clubby sounds.

CRIM, formed in 2011, is arguably the biggest punk band in Catalonia (Spain). These extremely talented musicians have achieved serious local fame, playing to thousands over and over again, and writing powerful songs that are in many ways driving a very much flourishing scene in Northern Spain. Crim's popularity outside the Catalonian region has been growing rapidly, as that same sense of authenticity trickles down into the music itself, and their "no compromise" approach to writing and performing powerful and catchy tunes is in many ways universal - and for fans, easily identifiable and inviting, regardless of what language they speak. Anyone has who is seen this band live or heard their albums can attest to the power and drive that fuels this impressively talented group of free thinking musicians. Their music delivers tenfold, showing people across the world that CRIM are a band worth paying attention to! This LP version is Aside/Bside Evergreen & Brown with lots of gold splatter vinyl! FFO Cock Sparrer, Leatherface, Social Distortion

Back in print for the first time this century, first time for color and tip-on jacket, the definitive edition remastered from the original tapes.
Meeting at the halfway point between Bleach and Damaged, Unwound’s 1995 self-titled album arrived years after the original trio of Vern Rumsey, Justin Trosper, and Brandt Sandeno made their Avast Studios debut. Compiling their EPs for Kill Rock Stars and Gravity Records with five more session outtakes, Unwound was released on Rumsey’s Punk In My Vitamins as the band began flirting with the mainstream. Witness a band’s prehistory as it plays out in a feral maelstrom of screaming, distortion, feedback, and abrasive promise.

Back in print for the first time this century, first time for color and tip-on jacket, the definitive edition remastered from the original tapes.
Meeting at the halfway point between Bleach and Damaged, Unwound’s 1995 self-titled album arrived years after the original trio of Vern Rumsey, Justin Trosper, and Brandt Sandeno made their Avast Studios debut. Compiling their EPs for Kill Rock Stars and Gravity Records with five more session outtakes, Unwound was released on Rumsey’s Punk In My Vitamins as the band began flirting with the mainstream. Witness a band’s prehistory as it plays out in a feral maelstrom of screaming, distortion, feedback, and abrasive promise.

Mark Grusane's latest offering, A House of My Own is a testament to his long-standing discipleship to the craft of producing hard-hitting house tracks with authenticity and depth. The title-bearing opener on A1 strongly demonstrates this notion with a slew of raw bass stabs and emotive pads leading through a battery of driven percussion in a manner that calls to mind those early 90's Mr. Fingers records. While A2's Essence of Life (Afterhours Mix) takes us further into the darkness with a spiraling timber of percussions lain over distorted vocal arrangements, the "Daytime Mix" of A3 builds on the momentum of its predecessor with a robust uplifting synth lead and sounds of atmospheric ambiance added to the mixture, effectively taking the composition to an entirely new level. B1 kicks off punching and swinging with the track Knock knock, Who's there?, a ferocious gut-puncher of a track that sees classic Chicago "beat-track" style 909 arrangements lay over an intense saturated 303 bassline that relentlessly worms its way throughout the mix with a booming urgency. B2 sees a turn for the naughty on the track Love And Lust with a xxx-rated vocal line slithering its way through the track, sandwiched in between high-pitched keys and a slinky drumline. Finally, Jack Your Ass Off closes out the album and ties it all together on B3 showcasing the full-fledged insanity of the classic trademark Chicago "jack" style that sees the title of the track frantically screamed over and over though a sampler amid hard hitting drums and 303s engineered to make you dance like a freak. A serious 'must have' for any selector or music enthusiast.

If credibility were currency, FAKE NAMES" wealth would be off the charts. Composed of Brian Baker (Minor Threat, Bad Religion, Dag Nasty), Michael Hampton (S.O.A., Embrace), Dennis Lyxzén (Refused, INVSN, The International Noise Conspiracy), Johnny Temple (Girls Against Boys, Soulside) and the newest member Brendan Canty (Fugazi, Rites of Spring), the band is a veritable post-hardcore dream team. However instead of rehashing the past, Expendables is a reinvention that sees the band dialing back the distortion and leaning into the melodies. The result pairs their unparalleled pedigree with a pop sensibility that"s slightly unexpected and wholly satisfying. "For our last record 2019"s FAKE NAMESthe general influences were 70"s U.K. punk and power-pop; but it wound up with a little classic rock vibe as well, like the Vibrators meets Aerosmith. We never saw that coming!" , Baker explains. For Expendables the band enlisted producer Adam "Atom" Greenspan (IDLES, Yeah Yeah Yeahs). Baker explains, "The pop influences are a little more out front on this one and the production really helps it shine. It sounds more direct, more urgent." Expendables is the latest exchange in a musical conversation that spans four decades. Baker aptly refers to the lineup of FAKE NAMES as a "mutual admiration society" and says that once the five members got in the same room together, it felt as if they had already been in the band together for years.

LIMITED BLACK & WHITE COLOURED VINYL EDIT

If credibility were currency, FAKE NAMES" wealth would be off the charts. Composed of Brian Baker (Minor Threat, Bad Religion, Dag Nasty), Michael Hampton (S.O.A., Embrace), Dennis Lyxzén (Refused, INVSN, The International Noise Conspiracy), Johnny Temple (Girls Against Boys, Soulside) and the newest member Brendan Canty (Fugazi, Rites of Spring), the band is a veritable post-hardcore dream team. However instead of rehashing the past, Expendables is a reinvention that sees the band dialing back the distortion and leaning into the melodies. The result pairs their unparalleled pedigree with a pop sensibility that"s slightly unexpected and wholly satisfying. "For our last record 2019"s FAKE NAMESthe general influences were 70"s U.K. punk and power-pop; but it wound up with a little classic rock vibe as well, like the Vibrators meets Aerosmith. We never saw that coming!" , Baker explains. For Expendables the band enlisted producer Adam "Atom" Greenspan (IDLES, Yeah Yeah Yeahs). Baker explains, "The pop influences are a little more out front on this one and the production really helps it shine. It sounds more direct, more urgent." Expendables is the latest exchange in a musical conversation that spans four decades. Baker aptly refers to the lineup of FAKE NAMES as a "mutual admiration society" and says that once the five members got in the same room together, it felt as if they had already been in the band together for years.