Buscar:filth

ATROCITY sind mit aller Macht zurück: "OKKULT III" markiert das furiose Finale der "OKKULT" Album-Trilogie und ist gespickt mit brutalen Death Metal-Granaten! Sich ins Hirn schneidende Metal-Riffs, brutale Drumattacken und bitterböse Death Metal Vocals ergeben eine Vollbedienung in Sachen deutscher Metal Todeskunst! Freut euch auf ein Album mit gnadenlosen Nackenbrechern und grandiosen Death Metal Krachern!

Schon der Chart-Breaker "OKKULT II" begeisterte die ATROCITY Fangemeinde und die Metal-Presse gleichermaßen mit packenden Death Metal Songs, die unter die Haut gehen.
Mit "OKKULT III" werden ATROCITY ihre Fanschar endgültig zur Ekstase bringen: Sich ins Hirn schneidende Metal-Riffs, brutale Drumattacken und bitterböse Death Metal Vocals ergeben eine Vollbedienung in Sachen deutscher Metal Todeskunst!
Als Gastsänger sind Elina Siirala (Leaves' Eyes), Zoë Marie Federoff (Catalyst Crime, Cradle Of Filth) und Robse Dahn (Equilibrium) auf dem Album vertreten.
"OKKULT III" ist der krönende Abschluss der "OKKULT"-Trilogie und ein Meisterwerk deutschen Todesmetalls!

Detroit’s Filthiest presents Oddly Satisfying, a collection of ghettotech, electro, and techno tracks never released on vinyl before. This collection showcases why he is the king of kings in the underground scene. Imitated but never duplicated.

Type-303 returns to Super Rhythm Trax and spreads his wings to present a very acidic 4 tracker. It’s a beautifully balanced Ep that deftly moves between filthy warehouse bangers and poignant melodies cascading over broken beats, perfect for early morning moments of reflection.

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

Robocop Kraus wurden 1998 in Hersbruck, Deutschland, gegründet. Sie haben mehr als 800 Shows in Clubs, Kneipen, Konzerthallen und auf Festivalbühnen in ganz Europa, in den USA, Großbritannien, Japan und Russland gespielt. Sie haben 5 Alben auf L'Age d'Or, Epitaph, Anti und Day After Records veröffentlicht.



Robocop Kraus sind zurück! „Smile“ heißt das erste neue Album der „Robos“ seit unglaublichen 15 Jahren. Produziert wurde das Ganze von Jan Philipp Janzen (Die Sterne, von Spar etc.) und es klingt wie ... tja … unverkennbar nach Robocop Kraus! Können wir das ein für alle Mal festhalten, dass die Band, die wahlweise als deutsche „The Make Up / Franz Ferdinand / Talking Heads / The Rapture / Devo“ bezeichnet wurden, einfach einen ganz eigenen Sound haben? Das muss man erstmal schaffen. Apropos Schaffen? Wie haben wir das eigentlich so lange ohne Robocop Kraus ausgehalten? Und wie kann es sein, dass die Band 25 Jahre nach ihrer ersten Show in einem Hersbrucker Jugendzentrum nun das beste Alben ihrer Karriere veröffentlicht? Ein Album, das an einer komplett erfolgsoptimierten, blutleeren Indieszene vorbei auch eines der erfrischendsten Alben des Jahres 2023 sein wird?

Clear Vinyl

Robocop Kraus wurden 1998 in Hersbruck, Deutschland, gegründet. Sie haben mehr als 800 Shows in Clubs, Kneipen, Konzerthallen und auf Festivalbühnen in ganz Europa, in den USA, Großbritannien, Japan und Russland gespielt. Sie haben 5 Alben auf L'Age d'Or, Epitaph, Anti und Day After Records veröffentlicht.



Robocop Kraus sind zurück! „Smile“ heißt das erste neue Album der „Robos“ seit unglaublichen 15 Jahren. Produziert wurde das Ganze von Jan Philipp Janzen (Die Sterne, von Spar etc.) und es klingt wie ... tja … unverkennbar nach Robocop Kraus! Können wir das ein für alle Mal festhalten, dass die Band, die wahlweise als deutsche „The Make Up / Franz Ferdinand / Talking Heads / The Rapture / Devo“ bezeichnet wurden, einfach einen ganz eigenen Sound haben? Das muss man erstmal schaffen. Apropos Schaffen? Wie haben wir das eigentlich so lange ohne Robocop Kraus ausgehalten? Und wie kann es sein, dass die Band 25 Jahre nach ihrer ersten Show in einem Hersbrucker Jugendzentrum nun das beste Alben ihrer Karriere veröffentlicht? Ein Album, das an einer komplett erfolgsoptimierten, blutleeren Indieszene vorbei auch eines der erfrischendsten Alben des Jahres 2023 sein wird?

2023 Repress

Talismann dominates the assault with it's fourth release, marching towards imminent victory. Haunting soundscapes coming from the filthiest trenches, sudden rhythmic strikes with such brutal force that it will leave the auditory senses shell shocked...

2023 Repress

Noisia's uncompromising approach to dance music has never been more keenly felt. While they're turning out remixes for commercial acts such as Katy Perry and Deadmau5 that sound just as filthy as any usual Noisia production, the Dutch trio are also sticking to their D&B roots with releases on their own Vision imprint.For Vision's latest release label bosses Noisia team up with long-term collaborators, Phace, to whip up 'Program'. As you'd expect from one of their collabs, this one is hard and heavy complete with an intense breakdown reminiscent of Wolfgang Gartner's 'Undertaker'. Winding bass notes finish the job and rib-crushing subs will have the dancefloor churning every time this drops.Flip over and 'Regurgitate' brings you in slowly, stuffing you gently with an epic atmosphere and sultry guitar licks. Looped vocals bring you up to the drop before a trademark Noisia bassline pukes all over your best dancing shoes. If this one doesn't get people 'going sick' we don't know what will!

After a devastating opening salvo of 19 modernist rave mutations on a double tape pack for Sneaker Social Club, Minder lands on Hypercolour with another 19 cybernetic fever dreams still reeling from the open season NRG of hardcore.

If you need to understand where Minder wants to take you, strap in for the labyrinth narrative of ‘Knotted’, a smudged, 15-minute breakbeat suite barrelling through lurid dystopian street scenes with only a blown-out bass sprite as a guide. Throughout Sanctuary, bass is the constant when all else is chaos. It comes in thick, warped Reese tones on ‘Simulated Hunt’, gets twisted out through angry filters on ‘Popcorn Lover’, comes on wobbly in true 2-step style underneath grimey garage anti-anthem ‘Ard’.

There’s a lot to take in across the spread of Sanctuary. It’s the sound of every rave genre slowly digested over 30-plus years, until the lactic acid metabolises every snare rush, every searing lead line, every chipmunk vocal lick, and everything gets mashed up and spat back out into a gnarly signal chain at the flash point of inspiration. The time taken is key – this is the sound of a life in front of the speaker stack manifesting in something too wild and weird to be derivative. You’ll hear snatches of familiarity thrown into unfamiliar contexts, but for all the detectable lineage, Minder’s sound is unsettling in its originality.

Dislodged ragga jungle techno, muffled hardcore nightmares, hard n’ haggard acid trance, junked up jump up – you could write an essay on the sounds you can spot and the way they’ve been twisted. Aside from the omnipresent low-end, it’s the unflinching honesty of Korron’s repeat appearances on the mic throughout which bring Minder’s disturbing patchwork into focus. For all the futurism attached to these sounds, it’s also caked in a very human filth which can only come from this earth. The roots run deep, and the fruit is rotten, and isn’t that how it should be?

After an interminable wait due to the vinyl manufacture crisis, Mercury 200 is back stronger than ever, supplying some homegrown material that is conceivably as potent as GOTG001. This time they teamed up with 2 legendary OG's, Apoc Krysis & MCR-T, to spice up your musical experience and bring you the best of the two worlds. Dealing at the intersection of breakbeat, Ghetto tech and trance, this record will definitely catch your attention. Parental Advisory Explicit Content. Legally available only on prescription.

For the first track of the vinyl, they teamed up with the Atlanta based rapper Apoc Krysis to blend two opposite genres in a Memphis rap infused techno banger. This unique collaboration put on the table whats the both side has the best to offer: powerful and lethal flow. This track is here to pick you up and put you back on your feet after a breakup. When nobody's there for you, this track is.

Full of fast and filthy grooves "Caramelo" is the track that will make you sweat. A heavy stomping beat with devilish vocals ready to make your ghetto inner self dance. Heavy grooves and a powerful bassline this track will slap you into consciousness. 100% Floor impact guaranteed.

On the flip side we start with an outstanding collaboration with Berlin most notorious player in the ghetto house-techno scene: MCR-T. An uplifting, instant serotonin booster.

Building up the tension at the start with a breakbeat and OG (original gangsta) lyrics, the tracks eventually turns into four to the floor house infused groove. Party killer guaranteed!

Last track but not the least consists in a classic mercury 200 signature breakbeat track. A fine blend of trancy and infectious melodies with a short rap hook and chest punching drums.

Clear Vinyl

OMEGA INFINITY: Die Geschichte des endlosen Kreislaufs von Geburt und Tod, erzählt auf kosmischer Ebene, betrachtet aus der Leere, die die gesamte Existenz durchdringt.

Das Debütalbum "Solar Spectre" (erschienen 2020 bei Season Of Mist) bot einen düsteren und verstörenden Soundtrack für die Reise durch unser eigenes Sonnensystem, indem es wütenden Black Metal der 90er Jahre, harsche und bedrohliche Ambient- und Elektronikklänge mit kraftvollen Growls und Schreien kombinierte und bei seiner Veröffentlichung überwältigend positive Presse- und Fanreaktionen erhielt.

Nicht zufrieden mit nur einem einzigem Statement und einer größeren Vision für ihre Sicht der Leere folgend, hatten Tentakel P. (TODTGELICHTER) und Xen (NE OBLIVISCARIS/ ANTIQVA) zu diesem Zeitpunkt bereits ihr zweites Album fertiggestellt - nur die Pandemie verhinderte die Gesangsaufnahmen und somit eine frühere Veröffentlichung.

"The Anticurrent" eröffnete dem Hörer nun einen ganz anderen Blick auf Die Leere. Statt der Schwärze des Raums erforscht das Folgewerk die Zeit: Vom Urknall und der chaotischen Geburt des Universums geht es über den Aufstieg und Niedergang der menschlichen Zivilisation bis hin zum unausweichlichen Ende des Universums in dem bedrohlichen Finale des Albums.

Kein OMEGA INFINITY-Album wäre vollständig ohne Coverversionen (SEAR BLISS und EMPEROR) und die Beteiligung von Freunden mit Gastbeiträgen: Zusammen mit der Band kündigen (in der Reihenfolge ihres Erscheinens) Adrienne Cowan (SEVEN SPIRES/ AVANTASIA), Lindsay Schoolcraft (ANTIQVA/ ex-CRADLE OF FILTH), Andras Nagy (SEAR BLISS) und Marta J. Braun (TODTGELICHTER/ VYRE) den Untergang an

Wer schon immer mal wissen wollte, wie sich eine Unzahl von Schwarzen Löchern, die sich selbst in einer Zeitverzerrung verschlingen, anhört, sollte sich OMEGA INFINITYs zweites Album "The Anticurrent" nicht entgehen lassen!


Für Fans von: DARKSPACE, KHONSU, VALBORG, BLUT AUS NORD

Fly Me To The Sun is a breathtaking German library gem from the hallowed Coloursound label. Originally out in 1983 it features two Polish composers, Andrzej Marko and André Mikola. If outré synth-funk is your thing, you need this record.

Almost blindingly luminous with positive vibes and radiant optimism, Fly Me to the Sun is a collection of funky, sun-dappled compositions for synthesizer and live instruments like drums, bass and guitar. A dope blend of beatbox driven future jazz and electro pop.

The wonderfully sleaze-adjacent opener "Dhamma" includes some grandiose piano chords amid floating ambient sounds a la Steve Hillage with slick drums entering the fray at a languid pace. "Circulation" sounds like Bowie ran into Chaz Jankel during an extended stay in Los Angeles, the Thin White Duke emerging out of a studio at 6am, bleary-eyed and clutching this filthy, bleepy instrumental of sonic smut. "Magic Scenery" is as delicate and astounding as the title suggests, a deep ambient movement conjuring halcyon images of rolling fields with abundant fauna and flora; acid-tinged visions of intense colour and natural beauty. Cool, slo-mo breaks adorn the strutting melancholy of “Longing for Tomorrow” and “Nocturnal Flowers” to close out Side A.

Skip the title track, which opens up Side B, and head straight to “Birth of a Butterfly” for a slice of creeping digi-dub-soul niceness. This should've been front and centre of that Personal Space compilation a decade ago. Raising both the tempo and the temperature, “Riding on a Sunbeam” continues in the mesmerising cosmic funk style before "Osmosis", one of the clear stand-outs, presents a fine vintage synth solo over a mellow funky rubberband beat. The closing track, "Solar Heating", warms things up with slapped bass and bold drum machine beats and the synth lends Sci-Fi vibes to the dark dub-funk-reggae rhythm.

As David Hollander, in Unusual Sounds: The Hidden History of Library Music, states, Coloursound was "founded in 1979 by composer, music lawyer, and vibraphonist Gunter Greffenius. A Munich-based library with a reputation for releasing innovative and ambitious music, it catered largely to the market for experimental sounds, its first release was 1980’s Biomechanoid, an abstract synthesizer excursion by Joel Vandroogenbroeck, of the pioneering kosmische band Brainticket. The record — complete with imposing, anonymous title and unearthly H.R. Giger cover art — set the tone for the label’s progressive leanings. The label’s catalogue stands as a tribute to the unfettered creative license that libraries were able to provide to forward-thinking musicians who, frustrated by the whims and constraints of the commercial scene, found complete freedom in the world of production music."

As with all our library music re-issues, the audio for Fly Me To The Sun comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. Richard Robinson has brought the original Coloursound sleeve back to life in all its metallic silver glory.

160-gram heavyweight Vinyl LP with gatefold jacket displaying the painting series that inspired the music, and the story of Newtok. Newtok is a remote Alaska Native village situated on the Ningliq River, near the west coast of Alaska. Although a very remote and quiet place, Newtok has come face-to-face with climate change. Due to a combination of thawing permafrost, low levels of sea ice, and strong storms, the coastal land of Newtok is eroding dramatically. In 2016, Chicago visual artist Jennifer Cronin embarked on a trip to Newtok to document this changing environment. Upon returning, she spent the next several years developing a series of paintings and screen prints titled Seen and Unseen that captured this eroding landscape. In 2019, Cronin and musical Artist Patrick Mitchell (a/k/a Dusty Patches) began discussing the project after Cronin asked him to perform at the Gallery opening for the series. As a result, Mitchell created this album, Newtok - inspired by Cronin's Seen and Unseen series and the story of Newtok, Alaska. Mitchell is a multi-instrumentalist songwriter and producer from Chicago who has led numerous past projects in the Chicago DIY community including De Triomphe, New Color, and Whiskey Wise. He dove headfirst into synths in 2017 and adopted the electronic alias Dusty Patches. Dusty Patches released his debut project Filthy Four Track Machine: Volumes I & II (2018, Sooper Records), largely made with the Teenage Engineering Pocket Operators and OP-1. In 2020, he released Nocturnal Emissions from the Dablatory, his first project fully realized with modular synthesis. In approaching Newtok, Mitchell composed all of the constituent musical elements of the work and then recorded and live mixed the album during a single live performance on modular synthesizer. The album draws heavily on sprawling ambient synths, electric and acoustic post-punk guitar motifs, cryptic vocal sampling, vintage drum machines, and modular patches that often sound like birds or the sea. The subject matter of the album, the complexity of its arrangement, and its execution as a single live recorded performance makes Newtok a unique musical experience. About Newtok, Mitchell says: This record was an exploration of themes. When faced with the immense canvases Jen Cronin produced upon her return from the village of Newtok, one can't help but feel awe. With the sheer size of the works towering above you, you are compelled. There is overwhelming beauty, desolation, a sense of urgency, and a sense that it is, in fact, far too late. These visual themes, and the emotions they evoke, were connected to the sounds and compositions of this record. There is a coldness to the digital soundscape, but organic sounds of nature and humans tether and steer the album through a journey of musical storytelling. Newtok is a journey of musical storytelling about the tragedy of the Anthropocene in the age of climate change. FOR FANS OF: Mother Earth's Plantasia, Black Moth Super Rainbow, Boards of Canada, Bibio

Jetzt auch als limitiertes Vinyl in blauer Farbe erhältlich!! Das Baby hört auf den Namen THE HAMMER und brettert Euch drei verdammt gelungene Songs (+Intro) um die Ohren. Cradle Of Fire ist ein wahrhaftig gutes Debüt und bietet einen garantiert interessanten gewaltigen und kräftigen Ohrenschmaus. Einen Touch Accept hier, einen Funken HammerFall dort; doch letztlich haben THE HAMMER ihren eigenen Teutonen-Metal entwickelt und machen uns alle eine Freude! Lautsprecher aufdrehen, THE HAMMER knallen los!

LA veteran techno producer, AXKAN, lands his new full-length album on SONIC GROOVE. Inspired by a wave of torturous dreams during the pandemic, AXKAN dedicated his isolation time to curate the sound of this 12-track LP, NIGHTMARES. Dropping his signature soundtrack of angst fueled broken beat industrialized techno, AXKAN further displays his sophisticated sound architecture by delving into darker melancholic, experimental and rhythmic noise territories. Add three collaboration pieces featuring long-time friends ORPHX, UVB and AYARCANA and we have a well rounded album of monstrous proportions.

OMEGA INFINITY: Die Geschichte des endlosen Kreislaufs von Geburt und Tod, erzählt auf kosmischer Ebene, betrachtet aus der Leere, die die gesamte Existenz durchdringt.

Das Debütalbum "Solar Spectre" (erschienen 2020 bei Season Of Mist) bot einen düsteren und verstörenden Soundtrack für die Reise durch unser eigenes Sonnensystem, indem es wütenden Black Metal der 90er Jahre, harsche und bedrohliche Ambient- und Elektronikklänge mit kraftvollen Growls und Schreien kombinierte und bei seiner Veröffentlichung überwältigend positive Presse- und Fanreaktionen erhielt.

Nicht zufrieden mit nur einem einzigem Statement und einer größeren Vision für ihre Sicht der Leere folgend, hatten Tentakel P. (TODTGELICHTER) und Xen (NE OBLIVISCARIS/ ANTIQVA) zu diesem Zeitpunkt bereits ihr zweites Album fertiggestellt - nur die Pandemie verhinderte die Gesangsaufnahmen und somit eine frühere Veröffentlichung.

"The Anticurrent" eröffnete dem Hörer nun einen ganz anderen Blick auf Die Leere. Statt der Schwärze des Raums erforscht das Folgewerk die Zeit: Vom Urknall und der chaotischen Geburt des Universums geht es über den Aufstieg und Niedergang der menschlichen Zivilisation bis hin zum unausweichlichen Ende des Universums in dem bedrohlichen Finale des Albums.

Kein OMEGA INFINITY-Album wäre vollständig ohne Coverversionen (SEAR BLISS und EMPEROR) und die Beteiligung von Freunden mit Gastbeiträgen: Zusammen mit der Band kündigen (in der Reihenfolge ihres Erscheinens) Adrienne Cowan (SEVEN SPIRES/ AVANTASIA), Lindsay Schoolcraft (ANTIQVA/ ex-CRADLE OF FILTH), Andras Nagy (SEAR BLISS) und Marta J. Braun (TODTGELICHTER/ VYRE) den Untergang an

Wer schon immer mal wissen wollte, wie sich eine Unzahl von Schwarzen Löchern, die sich selbst in einer Zeitverzerrung verschlingen, anhört, sollte sich OMEGA INFINITYs zweites Album "The Anticurrent" nicht entgehen lassen!


Für Fans von: DARKSPACE, KHONSU, VALBORG, BLUT AUS NORD

Eli Brown steps up to unveil his highly anticipated debut release on Drumcode.

The UK artist hailing from Bristol has long been on Adam Beyer’s radar. He made his debut on Drumcode’s sub label Truesoul in 2019, teaming up with Will Clarke for their standout EP, ‘Our Love’. Since then, Eli Brown’s sound has continued to evolve and develop, with his signature dark and subversive sonics exhibiting on labels such as on Filth On Acid, We Are The Brave and his Arcane imprint earning high praise in techno circles.

His maiden contribution to Drumcode is in the form of his high-octane four track EP ‘Deep Down’. The title track ‘Deep Down’ has been a go-to weapon for Adam Beyer who’s been slaying it at Awakenings, Ultra Europe x Resistance and Loveland. It’s a dynamic, vocal-led production driven by a squelchy psy-laced synth line. ‘Nazareth’ is a pumping acid-infused stomper that galvanised the masses at Tomorrowland. Brown draws inspiration from Detroit for ‘Can’t Stop The Feeling’, a track that delicately balances an exuberant soul vocal with a nostalgic rave vibe. The EP rounds out with the thrilling highlight, ‘Pressure’, as 90’s house chords and gritty synths combine with a luring vocal hook for an ecstatic conclusion to the EP. It went down a treat when Beyer played it at Drumcode’s Off Sonar party in June.

Es kommt selten vor, dass eine Band mit ihrem bisher besten Werk ein comeback feiert, aber die finnischen ...And Oceans beweisen hier eindrucksvoll, dass "Cosmic World Mother" aus 2020 eine Symphonie stürzender Dämme kreativer Schleusen war, die in ein neues Gewässer, einen Ozean, wenn man so will, einbrachen.

Alles, was das erste Album seit 18 Jahren Pause von ...And Oceans gut gemacht hat - rasanter symphonischer Black Metal, berauschende Themen, die sich mit der Verbindung zwischen Philosophie und Übersinnlichem befassen, und das für ...And Oceans typisch abenteuerliche Songwriting - schafft "As In Gardens, So In Tombs" in den Schatten zu stellen und neu zu kontextualisieren. Es ist der Sound einer Band, die jedes Quäntchen Schwung mitnimmt und in jeder Hinsicht den Einsatz steigert.

Obwohl ...And Oceans noch nie ein Album zweimal geschrieben haben, klingt ihr neuestes Werk in vielerlei Hinsicht wie eine Gelegenheit für die finnische Gruppe, das, was sie begonnen hat, fortzusetzen und zu verbessern. Symphonischer Black Metal fühlte sich noch nie so spaßig, frei und fantastisch an!

FFV: Dimmu Borgir, Cradle of Filth, Limbonic Art, Children of Bodom, Emperor

Clear Blue/ Red Marbled Vinyl

Es kommt selten vor, dass eine Band mit ihrem bisher besten Werk ein comeback feiert, aber die finnischen ...And Oceans beweisen hier eindrucksvoll, dass "Cosmic World Mother" aus 2020 eine Symphonie stürzender Dämme kreativer Schleusen war, die in ein neues Gewässer, einen Ozean, wenn man so will, einbrachen.

Alles, was das erste Album seit 18 Jahren Pause von ...And Oceans gut gemacht hat - rasanter symphonischer Black Metal, berauschende Themen, die sich mit der Verbindung zwischen Philosophie und Übersinnlichem befassen, und das für ...And Oceans typisch abenteuerliche Songwriting - schafft "As In Gardens, So In Tombs" in den Schatten zu stellen und neu zu kontextualisieren. Es ist der Sound einer Band, die jedes Quäntchen Schwung mitnimmt und in jeder Hinsicht den Einsatz steigert.

Obwohl ...And Oceans noch nie ein Album zweimal geschrieben haben, klingt ihr neuestes Werk in vielerlei Hinsicht wie eine Gelegenheit für die finnische Gruppe, das, was sie begonnen hat, fortzusetzen und zu verbessern. Symphonischer Black Metal fühlte sich noch nie so spaßig, frei und fantastisch an!

FFV: Dimmu Borgir, Cradle of Filth, Limbonic Art, Children of Bodom, Emperor

Tape Es kommt selten vor, dass eine Band mit ihrem bisher besten Werk ein comeback feiert, aber die finnischen ...And Oceans beweisen hier eindrucksvoll, dass "Cosmic World Mother" aus 2020 eine Symphonie stürzender Dämme kreativer Schleusen war, die in ein neues Gewässer, einen Ozean, wenn man so will, einbrachen.

Alles, was das erste Album seit 18 Jahren Pause von ...And Oceans gut gemacht hat - rasanter symphonischer Black Metal, berauschende Themen, die sich mit der Verbindung zwischen Philosophie und Übersinnlichem befassen, und das für ...And Oceans typisch abenteuerliche Songwriting - schafft "As In Gardens, So In Tombs" in den Schatten zu stellen und neu zu kontextualisieren. Es ist der Sound einer Band, die jedes Quäntchen Schwung mitnimmt und in jeder Hinsicht den Einsatz steigert.

Obwohl ...And Oceans noch nie ein Album zweimal geschrieben haben, klingt ihr neuestes Werk in vielerlei Hinsicht wie eine Gelegenheit für die finnische Gruppe, das, was sie begonnen hat, fortzusetzen und zu verbessern. Symphonischer Black Metal fühlte sich noch nie so spaßig, frei und fantastisch an!

FFV: Dimmu Borgir, Cradle of Filth, Limbonic Art, Children of Bodom, Emperor

Turbo Recordings is proud to present a 12”-inch vinyl release of Tiga’s trance pilgrimage to the centre of your personal space, “There Is No Distance Between Us.”
Co-produced by Tiga and on-again/off-again musical life partner Jesper Dahlback, the track was originally released digitally as a b-side to the Tiga mega-hit “Easy” earlier this year, and is now available in its glorious physical manifestation with an insane after-hours techno remix from Paris producer u.r. trax, perhaps the first Turbo
artist with a Master’s Degree in something other than Comparative Tiga Studies.
“Yeah, I’m back up in your area,” says Tiga from atop the rock-climbing wall inside his virtual panic room. “Something just didn’t sit right with me about this track not existing on the material plane. Here I am singing about human connection and not giving you something you can hold in your filthy hands? Anyone who knows me knows I
hate hypocrisy, so I had to make things right, vinyl-style. If I could make the world’s problems go away by pressing records, I would. And I can, so I will. This is only the beginning."

ATROCITY sind mit aller Macht zurück: "OKKULT III" markiert das furiose Finale der "OKKULT" Album-Trilogie und ist gespickt mit brutalen Death Metal-Granaten! Sich ins Hirn schneidende Metal-Riffs, brutale Drumattacken und bitterböse Death Metal Vocals ergeben eine Vollbedienung in Sachen deutscher Metal Todeskunst! Freut euch auf ein Album mit gnadenlosen Nackenbrechern und grandiosen Death Metal Krachern!

Schon der Chart-Breaker "OKKULT II" begeisterte die ATROCITY Fangemeinde und die Metal-Presse gleichermaßen mit packenden Death Metal Songs, die unter die Haut gehen.
Mit "OKKULT III" werden ATROCITY ihre Fanschar endgültig zur Ekstase bringen: Sich ins Hirn schneidende Metal-Riffs, brutale Drumattacken und bitterböse Death Metal Vocals ergeben eine Vollbedienung in Sachen deutscher Metal Todeskunst!
Als Gastsänger sind Elina Siirala (Leaves' Eyes), Zoë Marie Federoff (Catalyst Crime, Cradle Of Filth) und Robse Dahn (Equilibrium) auf dem Album vertreten.
"OKKULT III" ist der krönende Abschluss der "OKKULT"-Trilogie und ein Meisterwerk deutschen Todesmetalls!

- Produziert, gemischt und gemastert von Alexander Krull im Mastersound Studio (Leaves' Eyes, Doro, End Of Green, Belphegor etc.)
- Coverartwork von Stefan Heilemann / HEILEMANIA.
- Soundeffekte von der mit dem Emmy Award ausgezeichneten Sounddesignerin Katie Halliday ("SAW", "Stranger Things", "The Strain", "Star Trek: Discovery" etc.)

ATROCITY sind mit aller Macht zurück: "OKKULT III" markiert das furiose Finale der "OKKULT" Album-Trilogie und ist gespickt mit brutalen Death Metal-Granaten! Sich ins Hirn schneidende Metal-Riffs, brutale Drumattacken und bitterböse Death Metal Vocals ergeben eine Vollbedienung in Sachen deutscher Metal Todeskunst! Freut euch auf ein Album mit gnadenlosen Nackenbrechern und grandiosen Death Metal Krachern!

Schon der Chart-Breaker "OKKULT II" begeisterte die ATROCITY Fangemeinde und die Metal-Presse gleichermaßen mit packenden Death Metal Songs, die unter die Haut gehen.
Mit "OKKULT III" werden ATROCITY ihre Fanschar endgültig zur Ekstase bringen: Sich ins Hirn schneidende Metal-Riffs, brutale Drumattacken und bitterböse Death Metal Vocals ergeben eine Vollbedienung in Sachen deutscher Metal Todeskunst!
Als Gastsänger sind Elina Siirala (Leaves' Eyes), Zoë Marie Federoff (Catalyst Crime, Cradle Of Filth) und Robse Dahn (Equilibrium) auf dem Album vertreten.
"OKKULT III" ist der krönende Abschluss der "OKKULT"-Trilogie und ein Meisterwerk deutschen Todesmetalls!

- Produziert, gemischt und gemastert von Alexander Krull im Mastersound Studio (Leaves' Eyes, Doro, End Of Green, Belphegor etc.)
- Coverartwork von Stefan Heilemann / HEILEMANIA.
- Soundeffekte von der mit dem Emmy Award ausgezeichneten Sounddesignerin Katie Halliday ("SAW", "Stranger Things", "The Strain", "Star Trek: Discovery" etc.)

ATROCITY sind mit aller Macht zurück: "OKKULT III" markiert das furiose Finale der "OKKULT" Album-Trilogie und ist gespickt mit brutalen Death Metal-Granaten! Sich ins Hirn schneidende Metal-Riffs, brutale Drumattacken und bitterböse Death Metal Vocals ergeben eine Vollbedienung in Sachen deutscher Metal Todeskunst! Freut euch auf ein Album mit gnadenlosen Nackenbrechern und grandiosen Death Metal Krachern!

Schon der Chart-Breaker "OKKULT II" begeisterte die ATROCITY Fangemeinde und die Metal-Presse gleichermaßen mit packenden Death Metal Songs, die unter die Haut gehen.
Mit "OKKULT III" werden ATROCITY ihre Fanschar endgültig zur Ekstase bringen: Sich ins Hirn schneidende Metal-Riffs, brutale Drumattacken und bitterböse Death Metal Vocals ergeben eine Vollbedienung in Sachen deutscher Metal Todeskunst!
Als Gastsänger sind Elina Siirala (Leaves' Eyes), Zoë Marie Federoff (Catalyst Crime, Cradle Of Filth) und Robse Dahn (Equilibrium) auf dem Album vertreten.
"OKKULT III" ist der krönende Abschluss der "OKKULT"-Trilogie und ein Meisterwerk deutschen Todesmetalls!

- Produziert, gemischt und gemastert von Alexander Krull im Mastersound Studio (Leaves' Eyes, Doro, End Of Green, Belphegor etc.)
- Coverartwork von Stefan Heilemann / HEILEMANIA.
- Soundeffekte von der mit dem Emmy Award ausgezeichneten Sounddesignerin Katie Halliday ("SAW", "Stranger Things", "The Strain", "Star Trek: Discovery" etc.)

Iowa’s blackened punk 4-piece outfit, DRYAD, are the latest band to join Prosthetic Records roster. Featuring crusty dual vocals and relentless buzzsaw riffs, DRYAD is an anomalous combination that eludes easy classification, using elements of d-beat punk, old school death and atmospheric black metal, along with their own touch of bizarre, blackened forest filth. Since the debut of The Black Pullet EP in early 2017, DRYAD has emerged from the basements of Iowa’s DIY scene to perform regularly with a wide variety of acts like Dawn Ray’d, Street Sects, and Drugcharge. Their second offering, The Silurian Age, was released to cassette in June of 2018, and has since been quietly gaining momentum in the underground metal scene across the globe. Inspired by the earth’s ancient glacial lakes that once covered Iowa and fossil-covered cliffs that now remain, the album deals mostly with themes of ecological and political disaster and is a timely reminder of the earth’s inevitable revolt against its most destructive creatures. Since being named one of Astral Noize’s Artists To Watch in 2019, DRYAD has released a crushing split with Acid Leather on cassette, and recently completes a three-week stint across the country with THEORIES and Neckbeard Deathcamp, as part of the Free Speech In America tour.

CHRISTIAN DEATH was formed by Rozz Williams in Los Angeles, California in 1979. Williams was eventually joined by guitarist/songwriter Rikk Agnew of ADOLESCENTS, James McGearty on bass and George Belanger on drums. This CHRISTIAN DEATH line-up was responsible for recording the band's iconic 1982 debut, ONLY THEATRE OF PAIN, widely regarded as the #1 American goth album of all-time. This exclusive double-LP version of OTOP commemorates its 40th anniversary- the first disc is the digitally remastered, original version of the album while the second disc is comprised of "Dogs" from HELL COMES TO YOUR HOUSE, four pre-Frontier demos, two studio demos made for a second Frontier Records' LP that never happened and two alternate studio mixes from OTOP. The gatefold LP jacket is printed in its original its black and metallic gold, includes a Colver collage poster and a hardcover copy of the photo book, ONLY THEATRE OF PAIN and all come in a hard slipcase. The oversized 12" x 12" book features rare and never-before-seen photos of CHRISTIAN DEATH as well as new interviews with photographer Edward C. Colver, the surviving band members, Frontier's Lisa Fancher and others. Colver befriended the band and followed them around in late 1981 and early 1982 at more than a dozen concerts as well as photo shoots in Rozz Williams' family home (used on the back cover and insert of ONLY THEATRE OF PAIN) and a session of now famous images at a Pomona CA cemetery. Info: Just as the theatrically-minded LA punk scene was beginning to give rise to such morbidly themed outfits as 45 Grave and the Flesh Eaters, an androgynous teenaged street performer named Rozz Williams (né Roger Painter) founded CHRISTIAN DEATH, one of the most prolific, enduring, and beloved gothic acts of all time. Williams' otherworldly groan can make "Only Theatre of Pain" difficult going for those that aren't the gothic faithful, but the loud/not-too-fast music (courtesy of ex-ADOLESCENTS guitarist Rikk Agnew and the walking-dead rhythm section of bassist James McGearty and drummer George Belanger) is appropriately doom 'n' gloomy, with inventive arrangements and clear sound - thanks to Frontier Records' go-to punk production legend, Thom Wilson- capturing the mood in full B-movie fidelity. The lyrics sacriligiously address horror topics and religion: they're overwrought (the backwards masking of 'Mysterium Iniquitatis' being one clever exception) but easy to overlook in the wash of inspired rock noise. The original lineup's recorded debut is a gem. Artists inspired by CHRISTIAN DEATH include Danzig, Craddle of Filth, Paradise Lost, Korn, Type O Negative, Nine Inch Nails, Marilyn Manson and Jane's Addiction. Press: "A depraved masterpiece, this was punk rock made poetic, subversive, and gracefully savage."- AV Club "The Gothic album to out-gothic all others" - Melody Maker "Only Theatre of Pain's influence should not be underestimated" - Record Collector Limited availability!

Orange Vinyl
Four trax of filthy warehouse techno featuring two fast and furious bombs from Spanish underground whizz-kid Seon - "Fuck The Church" already garnering a cult following with it's cheeky sample. Co-Ax and Pest control go dark and dirty with the clanging "Saturated", whilst Technika funks it up on "It's Alive!".

VINYL COLOUR IS GREY. BORSTAL, the UK-Hardcore band featuring Nick Barker (Brujeria, ex-Dimmu Borgir, Cradle Of Filth) & Pierre Mendivil (Knuckledust) release details of brand new 2 track 7". Produced by Russ Russell (Napalm Death/The Exploited/At The Gates). The 2 songs are a follow up BORSTAL's debut EP "At Her Majesty's Pleasure". The 7" record is a collaboration between Rucktion Records & 4 Family Records. Both labels are offering different variants and bundles of the 7" in extremely limited quantities. Pressed on heavyweight Vinyl and including a free download code! Front man 'Pierre' comments on the new video 'No Surrender'; "This song is inspired by confronting the defeatist mentality that society seems to want to push on us, on so many levels! And even in ourselves as we battle everyday to try better and strengthen our mental attitude just to deal with life these days." BORSTAL Guitarist 'Lee' continues "It's nice to finally get some fresh music out there. We recorded these 2 songs in 2021 with our brother Russ Russell. But due to delays with pressing plants and so on, we got held up! I feel like our sound is really coming together now, and these new tunes are just a teaser for what's to come. We've nearly finished writing our full length too, so they'll be news to follow that soon". The cover artwork for the 7" is by Australian artist Mick Lambrou. Mick has recently designed t-shirts, flyers and artwork for the likes of hardcore legends Agnostic Front, Madball & Slapshot.

Hailing from Queens, NY, the original members of Onyx were discovered by the legendary Jam Master Jay of Run-D.M.C Onyx released their ninth studio album, Onyx Versus Everybody. Almost 30 years since their debut, Onyx still have raw energy, undeniable boldness and their pulse on the culture. The 10-track LP is a cohesive body of work that is full of street tales featuring appearances by Big Twin, Ricky Bats, Harrd Luck and Termanology. If you're a diehard fan of Onyx, this is one of the group's best projects in their legendary career. According to Sticky Fingaz, the album was completed in just two weeks thanks, in part, to the group's new songwriting process. "We didn't really write anything," he recalls. "We wrote a little bit but you know, we got a new technique where we just vibe and get on it. We recorded everything in the Batcave. That's Fredro's studio." Fredro says their classic "Last Dayz" from their sophomore album, was the inspiration behind the production on their new album. "'Last Dayz' is a Hip Hop classic beat you know? It was in 8 Mile and that made it even more legendary so I wanted to get the vibe on the album," he says. "I know what I know when it comes to making beats and my style never changed. That's why it sounds like 1996 because I didn't change the way I make my beats. When it comes to producing, Fredro claims to have the hardest tracks in the game and he brought that same energy to the new album. "I don't get nothing from a beat machine," he added. "I don't even use a hi-hat. I got my own drums. I play my own drums. My shit is dirty. I need it to be dirty. My shit is filthy. I got the nastiest, grimest, beats in Hip Hop." With their signature hardcore lyricism and gritty production, Onyx Vs Everybody makes a strong case for being named among the best albums of 2022 so far, but that isn't the recognition they seek. "Onyx Vs Everybody is the hottest, grimmest, dirtiest album of the year," Sticky Fingaz boasts. "I don't want the best album of the year. They can have that. This is the grimmest album of the year." Coming off a Versuz beating Cypress Hill at the forum in LA and now on a international tour, for fans of Cypress Hill, Public Enemy, Run DMC

"THE BEASTS OF BOURBON were scabby-knuckled, Australian blues-punk motherf*ckers, severely haunted, whiskey-twisted, savage, doomed, old hard-asses, ruined, fat, mean guys in filthy t-shirts... NOT yer local tattoo-shop fonzies singin' 'bout "Sin" and "Hell". These dudes weren't greasy kids, even back then. They were venomous and aching, former members of THE SCIENTISTS and HOODOO GURUS, and the talent pool of this revolving door operation remains astonishing. - Sleazegrinder Magazine Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this shines in striking hues of blood and gold.Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this piece of wax shines in striking hues of blood and gold.

"THE BEASTS OF BOURBON were scabby-knuckled, Australian blues-punk motherf*ckers, severely haunted, whiskey-twisted, savage, doomed, old hard-asses, ruined, fat, mean guys in filthy t-shirts... NOT yer local tattoo-shop fonzies singin' 'bout "Sin" and "Hell". These dudes weren't greasy kids, even back then. They were venomous and aching, former members of THE SCIENTISTS and HOODOO GURUS, and the talent pool of this revolving door operation remains astonishing. - Sleazegrinder Magazine Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this shines in striking hues of blood and gold.Little Animals, the last album in the official canon of the Beasts of Bourbon, was originally released unexpectedly, after 9 years of total silence from the band, in 2007. What could have been a new century renaissance for the group was cut short, however, during the next decade with the death of founding member Spencer B. Jones. Over the Beasts’ decades-long career the Beasts put out six albums and managed to carve their name into the annals of Australian rock’n’roll. Little Animals is a fitting epitaph to a legend, ten tracks of vicious and dirty crash-and-burn rock’n’roll. Svart Records is proud to present an official reissue of this hard-to-find record on vinyl, the original format for rock’n’roll. Wrapped in a gatefold jacket and limited to 500 on black and 500 on red vinyl, this piece of wax shines in striking hues of blood and gold.

Super deep n’ rolling ambient junglist mutations from hyped cloakroom attendent Florian T M Zeisig and mysterious XPQ? operator PVAS, uniting under the NUG moniker for a highly atmospheric session beamed directly from that short-lived, elusive sweetspot in the mid 90’s when Omni Trio and DJ Crystl collided with Mo Wax’s Some Scientific Abstract Type Shit! and Gescom’s Disengage, all red lights dappling thru a dense fog of smoke.

Rinsed out under the timeless influence of “bong & sterni” - who sound like a legendary Berlin ambient duo, but are just weed and beer - Zeisig and PVAS collide in midair for a stereo-swirled recollection taking us back to 1995 - that Autechre radio show on Kiss FM, peak Mo Wax, Kodwo Eshun’s ‘club trax’ column, just before everything went fully tasteful. Throwing links to more contemporary refractions found on various J. Albert workouts as much as Skee Mask’s most vapourised breaks, the NUG sound keeps toes and heads off the ‘floor with a rugged but lush suite of rave suspension systems making critical use of negative space and recoiling dub dynamics.

One for the early hours of the club, ‘Not Many People Here yet’ gives acres of room to bounce off the walls, while the ruder ‘Filthy Club’ sounds like the backroom heard from ceramic tiled bogs, and you’re already healthily zonked for the zombie float of ‘Is Under The Blanket.’ The radiant pads and swingeing breaks of ‘Morpheus’ dial up Skee Mask’s most pendulous rave visions, and ‘Napping Under God’ rolls out on 9 minutes of webbed breakbeat for the locked-in steppers, with Florian’s ambient texturing fully coming into effect on the blurry-eyed flex of ‘Lite.’

Die 1984 gegründete Band Sepultura ist der wohl größte
brasilianische Musikexport und feierte im Laufe ihrer
Karriere weltweit große Erfolge. In dieser Zeit haben sie
fünfzehn Studioalben veröffentlicht und weltweit über 20
Millionen Einheiten verkauft. "A-Lex", ursprünglich 2006
veröffentlicht, ist das 11. Studioalbum der Band und
basiert auf dem 1982 erschienenen Roman "A Clockwork
Orange" von Anthony Burgess.

The Jak has returned with 2 new Dirty bLends in extremely limited quantity.

Introducing nU cOhort to the label:

The Falcon(a silent assassin)

this new artist alias to the label has contributed to the further effort
of maintaining the sound from the early inception of chicago tracks like the days of old that still lives and breathes in us today that honors and treasures enriched essential dance music history.

DirtyBlends Edition 7 both sides IZ straight HEAT!

The Jak kicks the A-Side into madness with a Jakbeat blueprint of energetic electronics and various bass lines on this obscure creation honoring Ron Hardy, Frankie Knuckles and Farley that resonates a confrontational question repeatedly saying “Who said i can’t beat U for the title track ‘An Offbeat Formation of Control’

The Falcon Flys fiLthY iLL on the B-Side wit a whiPLash idea influenced from Chicago’s south-side of rhythm styles Paul Johnson and Chip E!!! made 2 Jak 4 Crazies that is truly Definitive Jakbeat.

Waterloo Teeth is true demonstration of Sugar Horse's refusal to conform or sit still. A community-building, genre-hopping release, the EP sees Sugar Horse letting the good times roll. Recorded during the Christmas break at Small Pond studios, sleeping among the amps, the four-track record is the Bristol group's excuse to work with some of the coolest musicians on the planet.

“A weird and jagged record for weird and jagged times.” – The Quietus
"A sucker punch of sludge-punk"
"Bold, charismatic, and nuanced.” – Everything Is Noise
“An extraordinary act” – Noizze
“Expertly balance filth and ambience” – Metal Hammer 7/10
“SUGAR HORSE are definitely a band to look out for.” – Distorted Sound Mag
“they truly deserve to be massive.” – Echoes And Dust

A colossus of the funk & soul world, Adam Gibbons (aka Lack of Afro) has been releasing music for 15 years and continues to go from strength to strength. Previously signed to Freestyle Records in London and running his own label The Bastion Music Group since 2015, he has been responsible for some of the genre’s most important releases, not least his debut album Press On described by iDJ as “one of the most important albums of the modern funk era” and more recently given ‘classic’ status by Future Music Magazine.

An accomplished multi-instrumentalist, producer, DJ and composer, his music has won worldwide critical acclaim and to date has gained 115 million streams on Spotify. It has been featured on films, TV shows and adverts all over the globe, on networks including HBO, ABC, Sony Pictures, BBC, ITV, Sky TV, Fox Pictures & Warner Brothers Television, and used in multi million ad campaigns by the likes of Google, Spotify, Miller Lite and Adidas.

As a DJ and live performer, he has performed in over 20 countries worldwide and undertaken countless live sessions for radio and TV including two for the BBC at the highly revered Maida Vale Studios.

To date, he has released seven albums under the Lack of Afro moniker (most recently I’m Here Now in 2020), three as The Unity Sextet, one under LUSTRE, one under his own name, an EP with Herbal T as The Damn Straights, albums for other artists, music for several TV shows and over 60 remixes. He has also produced 13 award winning, sample packs for Loopmasters.

In the year 2909, the first naturally-born human is found with endogenous AI code built into its DNA. As we cross into the 31st century, all living humans are controlled by a decentralized master AI known as MINDFRAME: The system has access to all of human consciousness with the ability to store and manipulate the data of every interaction and thought — even operating within your subconscious mind. It becomes impossible to know when or how you’re being controlled.

During each sleep cycle, our behaviors and memories are reformatted to align with MINDFRAMES control and order programming. Some have discovered that during these cycles, there are parts of the AI’s algorithm left exposed to extraction. Through meditative states, gifted cyber-shamans are now on a mission to reverse engineer enough of the AI to escape its grip and free us all.

FRANCOIS DILLINGER (Ben Worden) glides between the two worlds of electro and techno. His journey through the genres is dark while retaining a cerebral, dancefloor-oriented quality. This stems from influences of Industrial, Detroit’s rich history of electro, minimal techno, and even Ghettotech. In the studio, he uses primarily all external hardware and modular gear, utilizing Ableton for final arrangements and editing. His Live & DJ sets lean heavily into the generation of hypnotic loops, creating long protracted mixes between elements to form an unshakeable tension.

While he grew up an hour east of the Motor City, his musical roots were firmly planted there – taking hold over decades worth of defining moments in sound. As a fan, former promoter, and DJ he’s been a part of the Detroit scene for over 20 years, having lived there multiple different times. Currently, he also works with local Detroit label Infolines to manage branding and art direction alongside his wife, Ashely.

Prior to the MINDFRAME: CYCLES LP, he had released a track on SPEC-017’s VA release, and will feature a remix on an upcoming Specimen Records project as well. Early in 2021, his second album was released on Diffuse Reality featuring remixes from Keith Tucker/K1, Detroit’s Filthiest, and Squaric. Upcoming releases from DILLINGER include a variety of collaborative projects — Machine Men EP with Lloyd Stellar on LDI Records, an LP with Cyphon and Obzerv, and a number of VA releases with artists like RXMode (via Pareidolia Recordings), CYBEREIGN (via Science Cult), ADMN (via Infolines) and others. Look for other releases coming soon on Noise To Meet You, Roulette Rekordz, and Syntek Industries.

His previous releases have landed on Blind Allies, Natural Sciences, Dionysian Mysteries, Ukonx Recordings, Fanzine Records, and ZwaarteKracht—as well as a debut album on Narrow Gauge, ‘Chasing the Red’. Support for his music has come from the likes of Richie Hawtin, Dave Clarke, Jensen Interceptor, UMWELT, and others.

E.L.I. lands on MRT shores and pollutes them with all sort of filth. The label second last instalment takes us to Britain and it is one of the most aggressive so far. The distorted screams, the ultra darkness, the violent atmosphere it creates is tinted in black and white by the stroboscopic lights of underground clubs. A perfect mixture of relentless basslines and straightforward rhythmic patterns for the dancers with no cause, with no hope for tomorrow. Places made famous by death and disaster.