Beats News

A new addition to our ever-growing discoid dance club is Curses. With recent releases on Snap Crackle & Pop, Bordello A Parigi and Dischi Autunno, the Italo American brings something a little darker to our party - four cuts of EBM influenced madness. Bone crunching snares and B-Movie samples sit atop shimmering synth licks that will be right at home on a wide variety of modern and retro dance-floors.

For Subapical04 we are delighted to have Greg Schappert return for another EP as SC-164.
Best known previously for his Donor alias, his SC-164 project is making waves with releases on Shipwrec and Cultivated Electronics skewing the boundaries of electro and veering into techno and industrial. For his 2nd release on Subapical the New York-based artist offers up 5 tracks of precise, gnarly electro that follows a trail through many curves and turns.
Artwork by Yamako King. Limited to 300 copies.

- 180 GRAM AUDIOPHILE VINYL
- INCLUDES INSERT
- LEGENDARY 1983 DEBUT-ALBUM
- LIMITED EDITION OF 1.500 NUMBERED COPIES ON RED VINYL

With Sympathy is the debut album by Ministry, released in 1983. Ministry's members at the time being Alain Jourgensen and Stephen George. The album could be considered more synth pop and new wave in comparison to the harder Industrial heavy metal style the band developed later on albums like Twitch and The Land Of Rape And Honey. Jourgensen's fake English accent was an homage to the new wave bands he loved at the time. Three singles were pulled from the album: 'Work For Love', 'I Wanted to Tell Her' and 'Revenge', the latter of which got a video.

With Sympathy is available as a limited edition of 1.500 individually numbered copies on red vinyl.

'In The Possessor Possesses Nothing Xosar tells the story of a tonal mutation. A montage of attractions. A straddled comment on organ systems. This album is a play. Broken chords suffocate in waves and get back on the scene.

Trying to control the world
I see you won't succeed.
T'ien hsia shen ch'i
The world is a spiritual vessel
And cannot be controlled.
Those who control, fail.
Those who grasp, lose.
Some go forth, some are led,
Some weep, some blow flutes,
Some become strong, some superfluous,
Some oppress, some are destroyed.
Therefore the Sage
Casts off extremes,
Casts off excess,
Casts off extravagance.

Xosar cites the above passage from the Dao as a key point of inspiration for her new album The Possessor Possesses Nothing and it's a more than apt bit of poetic philosophy, given that her album is about one girl's quest to liberate herself from oppressive forces.

The making of the record was for her an "exercise in decisiveness, action and liberation." This is music making in part as self-therapy - with Xosar cleansing herself "from my own fears" and embracing "self-acceptance, self-trust, responsibility for oneself." But the music was also created under a state of "optimistic nihilism" aimed directly at "anti-perfectionism, anti-elitism, anti-censorship and anti-fear based programming." Xosar aiming not only to liberate herself and her creative process from internal restraints but her listeners from external restraints too. It's telling then that she found herself experiencing "the feeling of being a kid again and allowing pure expression to flow."

These are heady and brave ideals - part of a long series of varied investigations Xosar has been putting herself through not only as a musician but simply in life. She draws from research into the ideas of Alchemy, Magick, Kundalini Yoga, Fractals, DNA Structure, the Golden Ratio, Biofeedback, Quasicrystals, Visualizing higher dimensions, The Human Energy Field, Psychedelic Medicine, Stand Up Comedy, Sound Healing and much more. Hardly your everyday Techno producer, then. "The Possessor Possesses Nothing" somehow takes all these ongoing themes and turns them into a whole. Clear your mind, open your ears wide and prepare for a wild trip ahead.'

For over twenty years, Mkl Anderson has curated a vast archive of recorded material for his cinematic ritual ambient industrial project, Drekka. He works with memory not only as a subject but also as a healing process, continually delving into this personal world of sound; examining, revisiting, and repurposing recordings in an attempt to recall a past which sings from the darkness surrounding the tenuous provinces of memory and dreams - the real ghosts of time and sound.

"No Tracks in the Snow" is a collection of tracks from the early days of Drekka's history; the third offering for Dais Records and an appendix between the second and third parts of the 'Tarwestraat' trilogy of LPs for the label.

Recorded between 1996 and 2002, the album showcases Drekka's early exploratory development across a variety of styles. And yet it is also Drekka in the present moment; culled, curated, and assembled with care. Not unlike Borges' "A Personal Anthology" - or indeed any of Drekka's own recent work - this recording can be understood as a cohesive narrative more than as a simple compilation.

As Drekka moved from its Bristol UK influenced space folk beginnings, backwards towards Anderson's earlier UK industrial tape culture foundation, his predilection for reworking pieces over time was emerging; recontextualizing narratives to bring out new truths from one's own history. This process would become a cornerstone of Anderson's work for the decades to follow.

The album begins with 'Strika' (1998), originally recorded for the lovesliescrushing side project, Vir (a "secret audio army" in which individual performers were not even aware of who the other participants were). The track features one of Anderson's earliest collaborations with Mark Trecka (of Pillars And Tongues / Dark Dark Dark), who would go on to be one of his longest standing co-conspirators.

"Christmas 1973 or 1974" (1999) is a lament for a childhood which is almost entirely forgotten and a yearning for some tangible, physical proof that this childhood existed at all. The accompanying video for the track utilizes actual home movie footage of Anderson as a very young boy, fulfilling this longing and adding heart rending weight to the song and its lyrics.

"We Who Are Not Lonely" (2000) has become one of the most beloved works in Anderson's early canon. A gauzy musing on the catharsis of upheaval, the piece was written and recorded initially in the months leading up to Anderson's relocation from Chicago to Bloomington, Indiana. It is a brooding work which shows Anderson at his most self-possessed as a songwriter and is a confluence of the earliest playing-and-singing take on Drekka and the cinematic world building soundscapes to come.

The album closes with 'Tracking shot (wide)' (2000), a brief stream-of-consciousness sound piece dedicated to Andrei Tarkovsky. The track most certainly points in the direction that Drekka would explore extensively over the two decades; the direction which has led Anderson to where he is now firmly positioned.

"No Tracks in the Snow" is an exploration of the threads of continuity which bind the various modes of Anderson's oeuvre. As he nears completion of the third album in his trilogy of LPs for Dais Records, "No Tracks in the Snow" is an introspective pause and a celebration of a life spent listening to the world around us and its sleeping potential.

Emotional exploration through sound can become so indulgent that it overshadows the journey. JH1.FS3 eschews mining the human condition as mediation, opting for nuanced analysis rather than vanity. Using the seeds of improvisation as their root construct, the duo work without code, vocabulary or genre. Instead, they systematically work as individuals in tandem, using disparate and varied sounds and sources to create gauzy collages of ideas, sound and visceral sense reaction.

Comprised of Frederikke Hoffmeier (Puce Mary) and Jesse Sanes (Hoax, Liebestod), JH1.FS3 delineates a more subtle 'cinema of the ear', and acold approach to reflecting on experience without leveraging tropes or familiarity.

'We try to reconcile these emotionally massive things in a way that is sincere and measured, but without being sappily diaristic or confessional,' they explain. 'A cinematic quality develops really quickly and our attempts to traffic in generalizations, unbiased observers of 'relationships' gets turned on its head. We find these sets of unique errors that feel more like Super-8 (film) home footage.

'This transference allows cracks and fissured to be filled in new ways, where error is championed—highlighted as intention rather than happenstance. Throughout Trials and Tribulations, their debut LP for Dais records, the reconnection of idea and experience conducted with surgical diligence becomes a mode to deconstruct familiarity through shade and accident.

With each exposition on Trials and Tribulations, the duo ornately exploresthe relationship between space and time by reconfiguring the tendrils and fissures that bind them. Percussive oscillations, descant vocals, and deconstructed patterns create fields that vibrate, plunge, and drone. Sequentially, each track contributes a lucid vignette to the larger account, engaging the listener to query where, when, and how they're being driven. The contrast of the lead single 'Aleppo In Headlines,' with its thrusting syncopation to the cautious beauty of 'At the Bottom of the Night' compounds and depth and disquisition of the duo's process.

Emotional exploration through sound can become so indulgent that it overshadows the journey. JH1.FS3 eschews mining the human condition as mediation, opting for nuanced analysis rather than vanity. Using the seeds of improvisation as their root construct, the duo work without code, vocabulary or genre. Instead, they systematically work as individuals in tandem, using disparate and varied sounds and sources to create gauzy collages of ideas, sound and visceral sense reaction.

Comprised of Frederikke Hoffmeier (Puce Mary) and Jesse Sanes (Hoax, Liebestod), JH1.FS3 delineates a more subtle 'cinema of the ear', and acold approach to reflecting on experience without leveraging tropes or familiarity.

'We try to reconcile these emotionally massive things in a way that is sincere and measured, but without being sappily diaristic or confessional,' they explain. 'A cinematic quality develops really quickly and our attempts to traffic in generalizations, unbiased observers of 'relationships' gets turned on its head. We find these sets of unique errors that feel more like Super-8 (film) home footage.

'This transference allows cracks and fissured to be filled in new ways, where error is championed—highlighted as intention rather than happenstance. Throughout Trials and Tribulations, their debut LP for Dais records, the reconnection of idea and experience conducted with surgical diligence becomes a mode to deconstruct familiarity through shade and accident.

With each exposition on Trials and Tribulations, the duo ornately exploresthe relationship between space and time by reconfiguring the tendrils and fissures that bind them. Percussive oscillations, descant vocals, and deconstructed patterns create fields that vibrate, plunge, and drone. Sequentially, each track contributes a lucid vignette to the larger account, engaging the listener to query where, when, and how they're being driven. The contrast of the lead single 'Aleppo In Headlines,' with its thrusting syncopation to the cautious beauty of 'At the Bottom of the Night' compounds and depth and disquisition of the duo's process.

Introducing T-Flex London based artist and visual designer. Discovered when Datassette dropped one of his WIPs at the null+void Recordings launch party, there was an instant hook on his playful and intelligent sound. We're super honoured to be able to give his productions their first official home and cut to vinyl.

It's a bold and exciting debut - showing of a flair for pairing deep sub-bass with quirky off kilter rhythms and grooves. This from someone who's embedded himself in London's musical world - avidly following what's going on and interpreting it with a fresh new take.

Artwork by T-Flex. Mastered and cut by Keith Tenniswood at Curve Pusher.

Techno Thriller joins the Unknown Precept fam with a brand new mini-album. The first following the release of their eponymous full-length album a couple of months ago. Based in Brussels, although now relocating themselves in Marseille, France, the four-handed formation has steadily been crafting cybernated Gothic music over the past years. Recorded a few months back while drawing its inspiration from dark dungeons and occult folklore, not without evocative titles, Enfant de Sodome feels as muscular and thrilling as their live performances usually imply. Compelling murky synthpunk and industrial machinery colliding in fervor and howls. Free falling tumultuous bass lines lacerated by ominous muffled groans. Bone-bending primitive techno music catapulted over the walls in the most urgent fashion. At the end, it very much feels like trying to dance on some sort of cryptic electronic body music in a heavy chain-mail.

Roy Garrett Born Roy Sambar In Colonia, New Jersey Arrived In New York City Hungry To Explore The Sex And Porn Scenes He'd Seen Advertised In The Village Voice's Classified Section. He Danced In Times Square Theaters The Gaiety, Ramrod, And Big Top Before Moving Into Adult Film. From 1979 Through 1983 Garret Starred In Ten Films, Five Of Them For Joe Gage, Including His Lead Role In 'heatstroke'. Throughout This Period Of Self-discovery, He Wrote The Suite Of Poems That Became 'hot Rod To Hell'. In 1982 He Recorded 48 Of The Poems With Haunting, Atmospheric Score By Man Parrish, Who Also Did Several Soundtracks For Gage. The Project Was Produced For The Stage And For Cassette By Manhattan Illustrator Robert W. Richards. Richards Calls 'hot Rod', 'a Searing Voyage Through The Labyrinths Of Modern Male Sexuality; It's Geography Ranging From Porn Theaters To Back Room Bars To The Intimacy Of Shared Beds. Only A Man Born At Exactly The Moment In Gay History That Garrett Was Could Have Lived Through And Conceived This Work.' Roy Garrett Tells His Stories Of Sex, Violence, Truth, And Illusion, A Visceral And Personal A Record As Any Of That Moment In Gay History Pre-aids. Joe Gage, Describes 'hot Rod' As, '...sweet Danger. This Is A Perceptive Look At The Underside Of Love. It Is Funny, Scary, Surprisingly Moving And Best Of All, Extremely Acute In Observing The Specifics Of The Human Condition.' All Poems Have Been Carefully Remastered For Vinyl By George Horn At Fantasy Studios In Berkeley. The Records Come Housed In A Jacket Designed By Gwenael Rattke And Includes An 44-page Full Color Magazine With All 48 'hot Rod' Poems Plus 44 Previously Unpublished Poems From Garrett's Archive. All Proceeds From 'hot Rod' Will Be Donated To Housing Works, A New York City Based Non-profit Fighting The Twin Crises Of Aids And Homelessness.

Strut Present An Exclusive New Compilation Curated By Optimo's Jd Twitch, 'kreaturen Der Nacht', Bringing Together Classics, Rarities And Oddities From Germany's Original Post-punk And Diy Scene. 1979 To 1984 Was An Era Of Particular Artistic Upheaval In Germany As Strong Subculture Scenes Formed In Many German Cities. Emphasis Was Placed On Expression Rather Than Technical Perfection, Artistic Impact Rather Than Skill. Diy Self-organisation Prevailed With The Establishment Of Small Record Labels And Independently Produced Records And Cassettes. Bands Experimented Across Genres And Consciously Abandoned The English-speaking Mainstream With German Band Names And Lyrics. 'although We Had A Small Underground
Scene, It Was Very Vibrant,' Explains Gudrun Gut Of Malaria! 'bands Like Die Haut, My Frst Band Mania D., Malaria!... We Organised Gigs Ourselves Or Friends Would Open A Gallery And
Have Bands Playing. We Hung Around Together In A Handful Of Clubs Like Risiko Or Dschungel And Went To Gigs At So36. West Germany Had Other Regional Scenes Too: Düsseldorf And
Köln Around Der Plan And The Ata Tak Label And There Was The Hamburg Side With Abwärts. Germany Didn't Have A Real Music Industry Like The Us Or England Back Then.'
This New Collection Is A Personal Selection From Jd Twitch, Built Over Years Of Playing The Tracks In Club Sets. 'it Is Not Designed To Tell A Defnitive Story Of What Was Going On In
Germany In This Era,' He Explains. 'rather, It Is Simply An Arbitrary Collection Of Records I Adore From A Specifc Era With A Specifc Attitude That Hopefully Together Sum Up Some
Of The Musical Undercurrents In Germany At That Time.'
The Package Features A Host Of Rare And Unseen Photos From The Period Along With Extensive Interviews With Artists Including Beate Bartel (mania D.), Christoph Dreher (die Haut),
Michael Hirsch (p1/e) And Thomas Voburka (weltklang). All Tracks Are Remastered By The Carvery With Artwork By Optimo's In-house Design Man Andrew Beltran.

Welcome to a time of global sousvelliance and psychophysical burnout _
Welcome to an inconsistent present that calls for schizophrenic rhythms and mutable harmonies _
Welcome to a future that doesn't need you anymore _
Welcome to your world _
Welcome to End2End _

In the Pacific there was another Atlantis, connecting Japan to what is now known as the United States. Swim with us through ancient caves and discover a secret that has been hidden from human eyes for thousands of years... Long thought lost Maiovvi productions from the early Berlin days remixed and remastered and made available for the first time.

By track two we've already blitzed Cutty Ranks samples via Dawn Of The Dead chatter through Street Fighter vamps and Pulse X resurrection subs. All you can do with Mars89's mesh of gutter sonics is pick out the landmarks you recognise: 'oh yeah that's kinda drill, mmmm gqom, oooo Night Slugs' but like the best hallucinations you just shut your eyes and ride it.End of The Deathsounds like it comes from no place in particular.

Slotting way outside of the current batch of hard-to-describe club music that we're all struggling with, End of The Deathis the Tokyo native's third release, his 2nd for Bokeh (after 2017's Lucid DreamEP) and his first official appearance on wax (after a run of 30 'Biological Tides'/'Poltergeist' dubplates). Bokeh pays full respect to Mars89's futuristic intent with a bad acid Akira sleeve airbrushed by Patrick Savile and a limited VR headset edition - accompanied by a 360° video environment by Seth de Silva.

Bokeh Edwards and Mars89 met at the Bokeh Versions x Diskotopia night in Tangram hairdressers, Tokyo (sponsored by Pioneer) in October 2016. He's a crucial member of the Tokyo's Chopstick Killahz, a self-described "Post Tribal DJ Unit" lurking on the fringes of the city's grime scene. Mars89's self released his debut EP East End Chaos in 2016 on a limited run of zines. He's also recently composed music for Amazon Fashion Week Tokyo 2017A/W and started a residency at Bristol's Noods Radio to highlight DJ and production talent elsewhere in Asia.

First Release of this new imprint by the owner himself. Kluentah is one half of Fallbeil. He recently released the Muskelbein EP on the french label Public System Recordings and the upcoming Taubens EP on Sister Recordings from England. Now he delievers four diverse Tracks that hailing on Side-A from electro ("The Return") to some kind of New Beatish Territory ("Higher Level") while the B-Side takes us on a tour of his own version of the EBM-Electroish Track "Enter Mars" and "Circle of Power".

Repress of their first 12'' single "The Stains". This extended edition includes a bonus track - 'Phantasmagoria'- and a friendly dancefloor cut of the title-track by Alessandro Adriani.

Conceived by vocalist Gerrie Brand, the band was starting out as performance art, and quickly became more as Gerrie surrounded himself with some of the best musicians from the club and art scene in South Florida, including our dear Mystic Bill, who was playing the guitar with the band in the early stages.

Originally self-released in 1991, the single "The Stains" became an underground club hit and charted on many college radio stations, in both the extended and the original version. The single was distributed as a hard to get promo only release. The repress contains also the title-track of the single 'Phantasmagoria" - another cult tune for early 90's goth djs - originally released in 1992. Mega tip!

FINE JEWELERS is the duo of Dan Helmer (solo Helmer releases on Valcrond Video and Anomia) and Matt Korvette (vocalist of Pissed Jeans). Working at dangerously high BPMs, FINE JEWELERS create neurotic industrial rave music and inhospitable gabber. This four-track debut is a techno headbanger's paradise, primed for subterranean club performance, dungeon Crossfit and outdoor bonfire parties with kids on dirtbikes. If that doesn't get you fired up, just braindance through the midnight d-beat and try again.

Die Form is a French post-industrial and electronic band formed in 1977 as the primary project of electronic musician and multimedia artist Philippe Fichot. He began by recording a number of experimental cassette releases in the late 1970s and formed the Bain Total label to release these early cassettes, as well as various side projects such as Krylon Hertz, Camera Obscura, Eva-Johanna Reichstag, Hurt and Fine Automatic. The name 'Die Form' means '(the) form/shape' in German and is a play on the English homonym 'deformed' and on the French homonym 'difforme' (deformed).

With 'Some Experiences with Shock', originally issued in 1984, Die Form return to sadistic pleasures. The album is a rare example of medical music, horribly sordid moreover, adding a more extreme dimension to their work. The first side, 'Survival & Determination', contains 7 tracks recorded in studio with analog equipment are the direct realization of previous works. In contrast the second side, 'Lacerations & Immolation', contains 5 songs improvised in the fever of paramedical oppression, with aggressive sonorities from new digital synthesizers. Devoted to the madness (the phantom of Antonin Artaud is not far) and handling the machines with instinct, Die Form advance on the way of industrial electronic creation, without concession. All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Each copy comes is housed in a replica of the original jacket designed by Philipe Fichot and includes a long post card insert with liner notes

2023 Repress
Re-cut from original Peter Christopherson approved masters.

The Ape of Naples is Coil's highly celebrated final album completed by Peter Christopherson following the tragic death of Jhonn Balance in 2004. Often noted for being a fan favorite, The Ape of Naples uses Balance's final recordings and material recorded at Trent Reznor's studio in New Orleans to create a deep, heavy masterpiece.

This re-press is packaged in a heavy duty jacket with Ian Johnstone's original artwork coated in a custom spot gloss. Each LP is housed in a printed inner sleeve and side D contains all three original etchings. Ape's lyrics are spread across the gatefold.

* "The Ape of Naples” is a deeply emotional and uniquely rewarding album. In its immediate accessibility it is somewhat reminiscent of their mid-1980s classic “Horse Rotorvator”
* The Infinite Fog version is the third Coil record receiving the fully remastered and enhanced 3LP/2CD treatment supervised by Danny Hyde.
* Includes 9 additional rare or unreleased tracks.
* All of the original material has again been carefully and sympathetically remastered by Grammy-nominated engineer Jessica Thompson who has been previously lauded for her splendid job on its sister release “The New Backwards”.
* The 3LP comes in heavy trifold cover, CDs in 6-sided Digpaks with booklet and posters.

The mysterious Barnes & Wobble comes back for the first Silver Fox Production 12' limited to 300 copies.
On A side the duo inaugurates the brand new shuttle between Bombay and Brussels with 'Love Fever (goa mix)'. Imagine a Bollywood movie filmed at the Bocaccio surrounded by dancers, flowers petals, elephants and tigers and you are really close to the point. Reports said that the track is already played in a lot of south India beach parties.

Barnes goes alone and takes no prisoners on B-side with the industrial kangaroo rampage made by 'Thick Thick Thick (Arm to Body Extension Mix)'. If Patrick Bateman ever did music instead of killing people he probably did this outrageous slashing track. NO MERCY NO PITY just Pain and Dance!

'GOTH-TRAD formed new unit 'EARTAKER' with Diesuck(vocal) and Masayuki Imanishi(noise) in 2017. Their doomful & dissonant sound with Diesuck's low scream feels like music that can be heard from the gap between end of the world and the new world. It is hard to categorise to any genre. This is the unit's first LP.'

A superb oriental electro sound... The Ingaza first press on vinyl. Gatefold Sleeve.

Flowing energies and social pressure, high expectations and pathetic fails, driving rhythms and cheerless inertia, so-called integration but effective exclusion; these are some of the opposite poles reeled out of the debut full-length delivery of Glass Knot (Lasse Bjørck Volkmann aka Metalized Man, and Nicolai Vesterkær Krog aka Misantrop) on Foul-Up. 'Present Tense', is a multi-level sonic object whose large-scale reach only equals the profoundness of the tale of love and hate it discreetly tells - in between the lines. Laying down a hot-blooded mixture of warped industrial rhythms, chopped-up breaks, off-kilter drones and hi-NRG anti- techno with a strong punk attitude, the seven tracks blaze their trail away from expectations and norms.

A1. Present Tense 1
A2. Present Tense 2
A3. Present Tense 3
A4. Present Tense 4
B1. Present Tense 5
B2. Present Tense 6
B3. Present Tense 7

- Mixed by Justin Broadrick in 212, mastered for vinyl by James Plotkin in 2018
- Original vinyl version was never distributed, only available on Roadburn Festival

Godfleshare the the genre-blurringband founded by Justin Broadrick and G.C. Green in 1988. Their approach melds electronic/dub influences with the aggression of the metal and punk world. This forward thinking style has made Godflesh one of the most important bands to ever surface from the 'extreme' music world. Laying the foundation for the blossoming post-metal world that dominates heavy music today.

Godflesh frontman Justin Broadrick believed that this performance was "the most coherent version of Streetcleaner ever played." The Quietus writer Jamie Thomson said this about the performance: "As [Godflesh] pummeled their way through a complete performance of Streetcleaner in the main theatre, the jackhammer drum machine and guitar crunch invoked more of a physical rather than emotional response - that response being: 'Ouch'." Thomson later wrote "Rather than being dwarfed by the occasion, the image of Justin Broadrick and G. C. Green stood alone on the giant stage reflected perfectly their stark, tormented sound."

The debut full-length from industrial mastermind Godflesh is suffocating as a live recording. Rumbling bass, squealing guitars and strong vocals bring Streetcleaner to life in a different way than on the studio album, but it works to Godflesh's benefit. The songs are more dissonant and, at times, cacophonous, a powerful incarnation of the record more than 20 years after its release. (Decibel Magazine)

For fans of: Jesu, Scorn, Neurosis

'Snakedressed' is the fourth studio album by most active Dirk Ivens's incarnation. It was released in 1997 by Daft Records and had once again the collaboration of Ivan Iusco of Minus Habens Records and Nightmare Lodge fame. A well produced and arranged work with the usual noise infused, yet dance oriented tracks full of harsh bass lines overlayed with intricately woven and noisy synth patches. An album that catapulted Dive as a cult act and one of the strongest influences for lot of artists. For the first time available on vinyl record with all original tracks plus some extras from 1996 including songs from the split EP's with Kirlian Camera and Controlled Bleeding and a couple of tracks from the compilation '2/3' (Hands Productions).

Superb concept album for a story telling spacial Ambient moment... Discupt surprise !

After a long time in the works, Mothball Record is proud to present a lost album from legendary Italian wave band: Ruins.

Hailing from Venice, Ruins are one of the pioneering artists of the Italian new wave scene beginning in the late seventies: an explosion of new and exciting art, music and film.

The tracks on 'New Record' were taken from the self-distributed, tape only release from 1983 'Side Roads'.
This album was timed directly before their most well-known releases in contemporary times, the 'Fire / Crime' 12' and the eponymous 4 track EP on Black Square.

Taken from the original master tapes and selected by Ruins themselves, the album should be listened as a whole to gain the full experience, but immediate 'must-hear' tracks are 'I Don't Know', 'I Love You' and 'Last Night DJ Killed My Wife' featuring early use of Roland TB303.

At times unsettling, beautiful, violent, harmonious, these songs will finally get the audience and exposure they deserve 35 years later.

Rough and ready machine tracks from Brazilian producer/December collaborator Innsyter (LA Club Resource). CYN002 picks up where Coletivo Vandalismo left off, channeling that same wild, DIY bedroom studio spirit across nine individual recordings. Opening with sprawling synth motifs fighting against a steady rhythm track, 'Desintegrado' sounds like an industrial dub punk trying to channel early Cluster or Moebius and strangely succeeding. The rest of the LP treats us to vaguely Drexciyan, subaquatic electro ('Bries') and twisted lo-fi minimalism with bonus eerie monologue samples ('Superficial Love'). The one recurring theme on Magnetic Healing is Innsyter's clear love for mournful, post-punk inspired melodies. It comes across loud and clear on almost every track yet never sounds tired. Things eventually draw to a close with the hopelessly romantic new wave instrumental 'Forest Shaman' - a short ballad for all those weary-eyed party-goers who stuck around til the sun came up!

Composer, filmmaker and photographer Phill Niblock is a true pillar of the New York avant-garde. In the past 50 years, he has curated over 1,000 performances at his Centre Street loft and steadfastly built a massive, multidisciplinary body of work. While his earliest musical compositions date back to 1968, Niblock waited until the early '80s to release any recordings. Nothin To Look At Just A Record, a powerful debut with densely layered trombones, would be the first to unfurl his unique approach to sound.

The second album and perhaps the most rare in Niblock's vast catalogue, 1984's Niblock For Celli / Celli Plays Niblock is a meeting of two great minds. Working with reed player Joseph Celli (a composer in his own right, who has collaborated with John Cage, Pauline Oliveros and Ornette Coleman), Niblock nimbly removes the breathing pauses from Celli's oboe and English horn to create seamless, enchanting drones.

Niblock insists that his music be played loud: only in this way can one experience the visceral ringing of these long instrumental tones through the speakers and their natural overtones generated by the room. Niblock For Celli remains deeply absorbing.

This first-time reissue is recommended for fans of Alvin Lucier, Yoshi Wada and Dome.

Serration Pulse Is Daniel Tomczak (terrible Twos) And Kayla Anderson. Both Are Metro Detroit Natives Who Currently Live In The City, Having Recently Moved Back After Some Years Spent In Nashville. Formed In 2012, Their Music Took Shape As They Participated In That City's Electronic/noise Scene.
The Duo's Influences Construct An Artistic Harmony That Represents Them Well. Tomczak Cites Sounds Of Machines, Things In Radios, And Vacuum Cleaners As A Source Of Inspiration From A Young Age. Anderson Writes The Lyrics, But Considers Herself More Visual Than Verbal. She Is Creatively Driven By That Which She Sees Around Her Or Out In The World. Together, The Two Strike A Serenely Somber Balance That Is Systematically Executed In Their Music.
The Three Songs On Their Self-titled Ep (mastered By Eric Van Wonterghem Of Absolute Body Control) Are Glacial, Menacing Electro-dirges — The Spirit Of Punk Filtered Through The Angst Of Electronics. 'the Beach' Is Cascading Waves Of Electro-terror, An Icy Shore Traversed By Anderson's Haunting Voice. 'faces Down' Is The Charred Remains Of Humanity, Dust In The Wires Of Shrieking Electronics, Snakes Hissing, Crystals Popping. 'stockholm' Is Hypnotic Cynicism, Devotion To Despair, A Paean To The Gloom.
The Music Of Serration Pulse Avails Itself Of The Full Range Of The Synths' Possibilities, Sounding At Once Both Full And Grotesque, Ethereal And Coarse. Yet No Life Is Lost. It Is All Contained In Their Instruments, Transformed Into Logarithmic Sorrow, And Released In Grimly Spellbinding Reverberations Upon Unsuspecting Audiences.

Dark Entries reissue the debut album from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn's adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.

In 1983 Carolyn met vegetarian peace punks who changed her course a bit, and which influenced the political aspect of her first release, 'Charred Blossoms.' Although 'Charred Blossoms' was referring to the destruction of war, it was really about the indoctrination process of the human mind. All songs were recorded at her parent's house in the suburbs using her brother's Moog Opus 3, her father's PAiA, Drummer Boy, synths, flute, saxophone and a Rhodes piano. She positioned microphones against amps to get frequency changes. While never physically cutting tape, Carolyn would try and get as many tracks of sound into 4 tracks via many starts and stops. Thus began the CYRNAI sound: music and sound layered, combined snapped together, creating an unintentional new form referred to as 'experimental', though it had no particular intention of experimenting. Rather, it was naturally composing sound almost in a vacuum. The 6-track 12' EP was released in 1985 by Mind Matter Records with a 48-page zine featuring Carolyn's poetry and drawings, re-printed here. For this reissue we've added 8 unreleased bonus tracks recorded between 1980-1984 and included a 6-page press kit with photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios.

Dark Entries reissue the 2nd full length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn's adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.

In 1986 Carolyn moved into her family's building in downtown San Francisco providing a space to develop her own art and music for the next two decades. She was the only tenant of the five story building. The top floor had 36 abandoned rooms with building materials and holes between floors, staircases that created natural reverb. It was during this isolated time that Carolyn would start working on her second release, 'Parts of The Insomnic Wheel,' 60-minutes of ten untitled pieces that ran into each other. This was also the first release on cassette due time constraints of the LP. She spent many nights at the 24-hour diner across the street chatting metaphysics, parallel universes, the 5th dimension and astro-projections. Carolyn would sleep next to paper/pencil and report dream states, experimenting with mental techniques, investigating how far her mind could go. It was a journey to unravel the 'dark night of the soul'. Utilizing her industrial surroundings, Carolyn would bang on sheet metal and record percussion on found materials. Originally released by Ladd-Frith in 1986, this reissue adds 4 unreleased bonus tracks recorded during the same period. Each copy includes a 16-page zine with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios.

Dark Entries reissue the 3rd full length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn's adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.

In 1987, towards the end of art school, Carolyn won another award from the New York Society of Illustrators. During the trip to New York to accept the award, she met electronic/dulcimer musician, Dan Joseph. After writing some letters they decided to make a split cassette titled 'Hypno-Seizure'. CYRNAI contributed 30 minutes of music to Side A of the cassette, 10 untitled pieces that ran into each other. She had just bought a round-the-world ticket going from China to Europe via Eurails, to Egypt, where she liked to wander. She picked up instruments from several countries and recorded the sounds of her new surroundings. Technology was changing into early sampling and she used a Commodore 64 with large floppy disks to record loops. Originally self-released in 1988, this reissue adds 3 unreleased bonus tracks recorded during the same period. Each copy includes a double sided insert with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios.

Dark Entries reissue the 4th full-length from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. Carolyn's adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991.

By 1988 Carolyn's recording gear had many changes and upgrades, from cassette 4-tracks, 8-track reel-to-reel 1/2 inch, a TASCAM 388 to DAT, to floppy disk sampling. She spent three to four nights a week developing sequences for 14 hours from 10pm onwards. Samples would sometimes begin on a Synclavier keyboard with its sophisticated sequencing capabilities. Her fourth album, 'To Subtle-Drive', was self-released in 1988 as 8 untitled songs spread across a 30-minute cassette. Then in 1989 Carolyn discovered the first Digidesign digital recording software and changed the project to have more ethnic sounds and samples stemming from tapes collected during a trip to Egypt. In 1990 'To Subtle-Drive' was re-released with 2 songs from the 1988 release and 4 new compositions. This reissue adds 5 bonus tracks recorded during the same period spread across a double LP set. Each copy includes a double sided insert with lyrics, photos and notes by Carolyn. All songs have been remastered by George Horn at Fantasy Studios. "Old-soul beat tracks on cassette with time and techno-guilotine songs."

Dark Entries reissue the first 4 full-lengths from Carolyn Fok / CYRNAI, an Asian-American female solo artist from the Bay Area. The 6xLP box set contains all of Carolyn's officially released music as CYRNAI between 1980-1990, as well as bonus materials. Most of these songs will see their first vinyl appearance ever in a deluxe edition limited boxed set (333 copies). Remastered by George Horn, the set features an exclusive 48-page booklet with photos, quotes, interviews and liner notes written by Carolyn and introduction by Greg Allen (author of 'Klaus Schulze, Electronic Music Legend'). Over 70 songs, 4 hours of music, spread across six records plus an exclusive bonus 7' of cover songs by The Cure and Gang Of Four all packaged in a black matte wrap box with crimson red foil stamping.

Carolyn's adventures in sound began with recording stories on a tape recorder at age 9 in 1976. A short time later, exploring the scattering of musical instruments and effects units her father left lying around the family home. She became especially fascinated by his TEAC reel-to-reel recorder that set off a lifelong fascination with sound design. By the age of 16 Carolyn had become inspired by industrial electronic act Cabaret Voltaire, as well as anarcho-punks Crass. Creating the stage name CYRNAI, a rearranging alphabet of Carolyn Fok, she played in several Bay Area bands including Treason, A State Of Mind, Trial and Rhythm & Noise between 1983 and 1991. Her debut release as CYRNAI, 1985's 12' EP 'Charred Blossoms', followed by the cassette albums 'Parts of The Insomnic Wheel' in 1986, 'Hypno-Seizure' in 1987 and two versions of 'To Subtle-Drive' in 1989/1990.

Despite having been featured in publications including Electronic Musician, Keyboard and with a long term association with Industrial music, Carolyn has remained an intensely private musician, artist and writer until now. However, she has launched an ambitious project that involves releasing her vast archive of music as a 'memoir' via her website memoirofsound . Having spent extensive time in the studio amassing around 100 albums worth of electronic and experimental music, field recordings, collaborations, band projects and more, these are now being released in one place. 'Her time is beyond due to be recognized, represented and attributed for her contributions to experimental analogue culture with sounds still fresher than tomorrow.' Eloise Leigh (New Age Rage, Berlin Community Radio)





















































ZZA J7. Everlasting Eye
ZZB K1. To Subtle-Drive
ZZC K2. Techno-Guillotine
[ZZD] K3. Pocket Zimbabwe
[ZZE] L1. It's A Crazy Fear
[ZZF] L2. Subliminalogy
[ZZG] L3. Far Above The Clouds
[ZZH] L4. Electric Meditation
[ZZI] L5. Falling
[ZZJ] M1. Suppressionist
[ZZK] M2. Death Row Lingo
[ZZL] M3. Climb The Sun
[ZZM] M4. Lost Your Soul
[ZZN] N1. Backbone Beat
[ZZO] N2. Friction Song
[ZZP] N3. When The Morning Comes
[ZZQ] N4. The Guidelines Of Labor
[ZZR] N5. Always

Experimental industrial Bass music. Something unexpected and sometime techno, really worked-out on the sound quality. Meeting of noise a,nd mechaniks. Crazy stuff is so important in our life...

Following the release of critically acclaimed LP Wake in Fright, which had two songs featured in the new season of David Lynch's Twin Peaks, it was time for Uniform vocalist Michael Berdan and instrumentalist Ben Greenberg to return to the studio. The duo decided to up the ante and add a third member to help perfect their vicious post-industrial dystopian cyber-punk. After some deliberation, Greenberg called upon drummer Greg Fox (Liturgy, Zs) to help round out the sound they were looking for. Using a mix of triggered samples and real drums along with layered synths and good old electric guitar, the trio arrived at what would become The Long Walk after only a few short days in the studio. 

From the opening whirr of the title track, it's clear that the band is onto something special. Recorded in Strange Weather studios in the first part of 2018, The Long Walk is eight new tracks by the duo of Greenberg and Berdan, incorporating Fox's skills behind the drum kit to add an entirely new dimension to the signature Uniform sound. Ditching sequenced tracks, Greenberg opted for single takes to highlight the Frankenstein-like guitar-bass-synth hybrid that oozes throughout the recording. Meanwhile, crushing guitar thunder is punched up by Fox's masterful drumming while Berdan's cries from the nether feel more desperate and morose than ever.

Following the release of critically acclaimed LP Wake in Fright, which had two songs featured in the new season of David Lynch's Twin Peaks, it was time for Uniform vocalist Michael Berdan and instrumentalist Ben Greenberg to return to the studio. The duo decided to up the ante and add a third member to help perfect their vicious post-industrial dystopian cyber-punk. After some deliberation, Greenberg called upon drummer Greg Fox (Liturgy, Zs) to help round out the sound they were looking for. Using a mix of triggered samples and real drums along with layered synths and good old electric guitar, the trio arrived at what would become The Long Walk after only a few short days in the studio. 

From the opening whirr of the title track, it's clear that the band is onto something special. Recorded in Strange Weather studios in the first part of 2018, The Long Walk is eight new tracks by the duo of Greenberg and Berdan, incorporating Fox's skills behind the drum kit to add an entirely new dimension to the signature Uniform sound. Ditching sequenced tracks, Greenberg opted for single takes to highlight the Frankenstein-like guitar-bass-synth hybrid that oozes throughout the recording. Meanwhile, crushing guitar thunder is punched up by Fox's masterful drumming while Berdan's cries from the nether feel more desperate and morose than ever.