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StriIn 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North
Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring drummers Gracie Clements, Tim
McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first
professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to
Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy,
short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.
During their last tour, the band introduced a handful of new songs, but never made it to the studio.
While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the
following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature
ending, their legacy is now immortalized with this physical recording.

In 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring
rummers Gracie Clements, Tim McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy, short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.

During their last tour, the band introduced a handful of new songs, but never made it to the studio. While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature ending, their legacy is now immortalized with this physical recording.

In 2013, Blue Smiley officially formed in Brian Nowell and John Slavin’s rodent-infested North Philadelphia apartment. With Nowell primarily composing from the hammock he used as a bed, Blue
Smiley created three short recordings within a year, featuring
rummers Gracie Clements, Tim McMonigle, and Joe Veltri. Matt McGraw, drummer and childhood friend of Slavin’s, later joined the
group to galvanize a sound that helped define Philadelphia indie rock of the 2010’s. Blue Smiley’s first professionally recorded album ok released in 2015, featuring dystopian noise-pop compositions with
fuzzy effects, unique for its focus on groove and precipitous tempo changes. Slavin then relocated to Austin, TX while close friend and bassist Michael Corso joined Nowell for the next iteration of the
group. True to the Blue Smiley ethos, their next full-length return soon followed, replete with snappy, short songs that waste no time getting to the point. On return, Nowell’s hushed vocals settle deeper
into the band’s tapestry, like an iridescent thread that catches your eye at just the right moment.

During their last tour, the band introduced a handful of new songs, but never made it to the studio. While celebrating his upcoming 27th birthday with his parents, Nowell expressed his intentions to put
these tracks together for a third LP. Tragically, Nowell was found unresponsive in his room the following morning on October 8, 2017, a victim of fentanyl poisoning. In spite of the band’s premature ending, their legacy is now immortalized with this physical recording.

Standard Sleeve singles & Engraved Wooden Box. Vinyl comes with Download Card & Custom Laser Engraved Wooden Box. Recommend If You Like: Kramer, Jad Fair, Britta Phillips, David Grubbs, Paul Leary, Rob Crow, Danielson, Eerie Wanda. “In 2022, the pandemic seemed to be receding to the point where artists could work together again, literally side by side. So, as a kind of 'follow-up' to my Joyful Noise 2020 Artist-in-Residence box set, I revisited the notion of a limited-edition vinyl box celebrating the joys of collaboration. i thought about it for a good long while, and eventually, it felt good. I then put the idea under a microscope and found that it felt even better when I minimized the project to six 33rpm EP's on 7" vinyl. The borderless landscapes of audio art, tempered by the imaginations of the artists I chose to work with, then cast against the myriad infinities of mysteries betwixt those ageless, spinning rings...those rings that seem to sing, "...listen to us..." Rings of Saturn won't change the world, but the words & music dervishing off these grooves accurately expresses the Love poured into the foundations beneath these Nocturnes (w/ Britta Phillips), Psalms (w/ David Grubbs), Preludes (w/ Eerie Wanda), Elegies (w/ Jad Fair & Danielson), Laments (w/ Paul Leary), and Hymns (w/ Rob Crow). Working with others is my lifeblood. I am nothing without them.” Kramer, 2023.

Dark Red Vinyl. Lambent Material is the debut album by Eluvium , the moniker for composer Matthew Robert Cooper 's sonic experiments and explorations. First released in May of 2003, Lambent Material was immediately recognized as much for its artful simplicity as it was for its deceptive complexity - an album of melodic austerity, alien transmissions, and titanic waves of cathartic noise. Previously only available on vinyl as part of Eluvium 's Life Through Bombardment Vol. 1 box set (a 7xLP collection released in 2008 that has been sold out for well over a decade), Lambent Material - Anniversary Edition finally gets its first standalone vinyl release. Beautifully remastered for vinyl by LUPO at Loop_O Mastering, it is packaged in a full-color jacket and heavyweight inner sleeve with fully restored original artwork.

"Acts of Light" ist eine Fuge, die aus neun langsamen, hypnotischen Klageliedern besteht. Auf ihrem dritten Album lehnen sich Woods' Experimentalismus und Klangforschungen an die Intimität und Zärtlichkeit dieser intuitiven Komposition an. Nach ihren Erkundungen von Gefühlen und Körperlichkeit durch Klang, die in ihrer 2021 erschienenen EP "Feral Hymns" gipfelten, ist "Acts of Light" ein beunruhigendes, persönliches Angebot an Wildnis, Verlust, Abwesenheit, Mysterien und höchste Liebe. Verletzlichkeit, Erhabenheit und Offenheit, hervorgerufen durch Drone, Noise, Synthesizer, Kontrabass, Field Recordings und sakralen Chorgesang, bilden das private Ritual. "Acts of Light" ist ein klangvolles, reichhaltiges und gewichtiges Lamento, das sowohl unterirdisch als auch abgründig ist, während gleichzeitig seine detaillierten Ranken verborgene Formen erwecken, die bei jedem Hören aus dem Schatten hervortreten. Texturaler Staub und gesprenkeltes Licht bewegen sich hier langsam und ausladend durch einen klanglichen und sensorischen Übergangsritus, bei dem Woods' bewegende Kompositionen uns das Gefühl vermitteln, mit dem ganzen Körper empfangen zu werden. Geschrieben, aufgenommen, gemischt und produziert über einen Zeitraum von zwei Jahren zwischen der Westküste Irlands und Dublin, nahm Woods die Chorsänger des Palestrina-Chores in der Pro Cathedral Dublin auf, zusammen mit den Stimmen des Galway City Chamber Choir. Die Streicher wurden von Jo Berger Myhre in Oslo aufgenommen, während die Feldaufnahmen nomadisch auf ihren Reisen durch den Nordwesten Spaniens entstanden.

Create-A-Dance: The eternal mantra for each and everyone making dance music. In this case it’s Johannes Albert delivering a fresh House EP on his very own Frank Music imprint. Yes, we are talking piano, phun-ky basslines, synth melodies and vocal statements on top. Another epic break? Included! Being known for constantly trying to find the perfect sweetspot in between House, Disco and Italo, Johannes delivers one of his most catchy EPs to date. As a bonus on the flip you shall find „Voices Traces Noises Spaces“ plus Johannes’ remix for Jean Crémant’s initial super heat „Hyperspace“. As Bryan used to say: „Don’t Stop, Don’t Stop The Dance“.

You don't know yet but you're about to discover one of Europe's unearthed diamonds: this is the shape of the industrial to come, where punk, noise, ebm and rave meet.

Minimalistic but full of detail and big dynamics with songs that take you on a journey, there's not a single second wasted on his first 12"". From energy blasts like ""De Internet se sale"" or ""Disforia"" to the dystopic and dissonant synth pop gem of ""Parking Tanatorio"", through the EBM punk of ""Foto de un Caballo"" or ""Captcha"" which was debuted at Tresor at peak time and made everyone instantly scream their lungs out!

BTW If he's coming to play in your town don't miss it, it's one of the best live shows we have seen the last few years.

‘Life And Death - The Five Chandeliers Of The Funereal Exorcisms’ pulls back the veil unto a nocturnal scene populated by shadows, embers burning coldly in the underworld. Marina Zispin is your guide, siren and protector both. Marina Zispin is the negative space between musicians Bianca Scout and Martyn Reid. Love And Death is the duo’s debut release, five chandeliers of melancholic, vibrant synth pop twinkling in the inky blackness. Both originally hailing from the North East of England and forming a musical partnership before lockdown, Bianca Scout and Martyn Reid initially worked remotely. Having relocated to South London and Newcastle respectively, Marina Zispin was born in earnest after the duo could begin writing and practising in the same space. Bianca Scout is a celebrated musician and dancer with a number of solo and collaborative works in her discographywhile Martyn Reid is a mainstay of the UK noise and power electronics scene, most recently with solo project Depletion. Marina Zispin largely eschews both Scout’s deconstructed approach to song and Reid’s focus on visceral, noise- based productions; the result is a new entity, the underground pop star that exists only in darkened dreams. Marina Zispin, then, is an avatar cajoled, nurtured and directed by Scout and Reid. Analogue electronics redolent of the early 80s Cold Wave and Synth Pop era form the base of the Zispin worldview, with Bianca Scout donning the Marina disguise, embodying the character over five songs of swooning drama, playful melodic interplays and tear-stained, doe-eyed sentiment. Flowers In The Sea opens with an austere 4/4 beat and hypnotic synth parts before Scout/Zispin floats in across the lagoon. Scout’s vocal tone is an instant winner, sweet like honey pouring down over the cold, robotic productions and stereo-panned synth work. We can almost see the petals drift into the horizon before being pulled under by the artist’s sadness. Ski Resort bursts out with a Jacno-inspired bassline and backing that could have been buried in a French disco in 1982 (think Stereo or Linear Movement) before Scout’s narrative details frivolousness and regret before a magical shift for the final coda into major key. Backworth Gold Club closes Side A, a mysterious rigid beat and minor chord synth arpeggios swimming in space, floating and obscure. On Side B, Hymn carries the tone on, church-like synths holding down the pattern for Zispin/Scout to float above in a flowing gown of reverb. The marriage of Reid’s cold musical backbone and Scout’s effortless vocal and co- production is in full flow here, the vocals at times rising to the rafters of this nocturnal place of worship, at other points they’re fuzzy samples cutting in and drifting out or sung with an extreme autotune, abstract and perfect in the moment. Surprise Party is the most straightforward pop bullet, Scout/Zispin’s vocal peering out more from the fog, perhaps revealing more than usual: vulnerability, maybe, the wandering muse of the artists behind the veil or just another layer of mystery behind the enigma? Marina Zispin’s Life & Death - The Five Chandeliers Of The Funereal Exorcisms ends as it began, scintillating in obscurity, leaving everything unanswered but open.

Hard-hitting, outspoken West Coast metalcore trio MUGSHOT has announced plans to release a new EP, "Cold Will," on November 3rd with their new label Pure Noise Records. The furious 5-track, neck-snapping record is an uninhibited commentary on sociopolitical travesties infecting the country, set to the tone of merciless rage and crushing riffs. Commenting on the EP, the band says: "'Cold Will' is crafted by the pains of life: Abuse, depression, manipulation, trauma, and other existential themes that present themselves as the rudder that directionally steers this record’s “ship.” Lyrical themes are met by and married with the crushing weight of dissonant riffs and frenetic drum patterns that further push the listener into this mental space of this record’s daunting thoughts and overall aggression. The hardcore inspired metal record consists of a frenzy of chaotically heavy riffs, abrupt tempo changes, and pure unbridled anger that all coalesce into one definitive statement. This record serves as the callout to any abusive person that has manipulatively used their power or title to take advantage of another. And to the people who we’ve lost because of these types of actions – this record is dedicated to them. When one’s voice is lost due to the distortions of life – our responsibility should be to amplify their voice and bring awareness to it."

The whole of the UK mourned when Chas Hodges passed away in September 2018, and the parade of stars (including Eric Clapton, Joe Brown, Gary Brooker, Ralph McTell and Albert Lee) who performed at the tribute concert in December that year is testament to the regard in which Chas and his musical partner Dave Peacock are held.

Originally released on the duo’s Rockney record label in 1981, the “Mustn’t Grumble” album includes their two biggest hit singles – “Ain’t No Pleasing You” (# 2) and “Rabbit” (# 8) – as well as “I Miss Ya
Girl” and “Turn That Noise Down”.

This special edition has been mastered from the recently-found original ¼” production masters, and now also contains a newly-created inner sleeve. This features all the lyrics, photos, singles packshots and a brand new note by Dave Peacock himself about the writing and recording of the album.

2023 Repress

Reiko Kudo first debuted on the Tokyo underground music scene in 1980 with NOISE, a duo which apart from herself under her then maiden name Reiko Omura on voice, guitar and trumpet featured Tori Kudo on organ. Their only album TENNO (1980 on Engel) is probably one of the most outstanding and uncompromising records of all time.

Like other pioneering female producers from Japan such as NON (of NON BAND), PHEW and HACO, who had all begun their startling careers in the early days of the japanese Punk era, Reiko Kudo can surely be regarded as one of the most unique, uncategorisable and daring voices in the entire field of electronic and experimental music ever.

RICE FIELD SLOWLY RIPING IN THE NIGHT was REIKO KUDO's second album under her own name. It features TORI KUDO (MAHER SHALAL HASH BAZ) and SAYA and TAKASHI UENO (TENNISCOATS) on various instruments. The recordings took place in 2000 at Reiko' s and Tori's house in the rural surroundings of Shikoku island.

All recorded music on this album sounds like it originates in a parallel dimension where time and key signatures simply don't exist, Some might describe this as outsider music, but this doesn't really begin to do justice to the quality of the tracks, there is nothing accidental or forced here, this is simply music created in a very different way. Yet again REIKO KUDO had conceived of something utterly beautiful.

"After producing the album "Souvenir de mauve" with Maher Shalal Hash Baz which we released on our label Majikick, the idea came to us, to release Reiko Kudo's work. For Reiko's work, we brought our recording equipment from Tokyo to Shikoku and recorded the entire album at her house.

The piano was positioned in a room with a high ceiling. We would set up our small recording equipment in the room and started to record. The basic tracks were recorded without any rehearsal and just a few overdubs were added on top of it. To have a distant sound on the recording, Tori played trumpet in the next room. The choir was standing outside the house, singing "Enya-totto, enya-totto" through the open window. It was early spring, I remember that it was still a bit cold and the members of the choir were freezing outside.

Reiko plays only at certain times of the day, so that we were able to complete only two or three recordings a day. Therefore we had plenty of free time. We went to a hot spring, to a cafe, or we tried pottery on a spinning wheel at Tori's workshop. It was a very rewarding time.

When this album was finished, we brought it to her to listen to. She said happily "I think this is the best work I have ever done." We felt that all our efforts were richly rewarded. Secretly, we thought the same, so we are delighted that this album will be re-issued." - Saya and Ueno (Tenniscoats), Tokyo 2018

Originally released on Majikick Records, Japan, 2000 Restauration and mastering by Detlef Funder at Paraschall Mastering, Düsseldorf. Vinylcut at Calyx, Berlin Translation by Miki Yui and Claus Laufenburg. Many thanks to Reiko Kudo, Tori Kudo, Saya and Takashi Ueno, Satoru Higashiseto.

Die Alternative-Rock-Band The Neighbourhood präsentiert uns zum ersten Mal auf Vinyl: 'Hard to Imagine The Neighbourhood Ever Changing' ein Album, das ihre drei 2018 erschienenen EPs 'To Imagine', 'The Neighbourhood' und 'Ever Changing' vereint. Der Einfluss der Band wächst inzwischen weiter auf der internationalen Bühne und in den sozialen Netzwerken mit den viralen Erfolgen von «Softcore» und «Sweater Weather»

The latest album release by acclaimed Norwegian band Erlend Apneseth Trio is made in collaboration with renowned experimental composer and vocalist Maja Ratkje. Their impromptu concert together in 2022 was a glorious kick-off for a five-day festival and was luckily put on tape. After reworking and reimagining the recorded material with their steady collaborator Jorgen Træen, the result is a refreshing take on improvisations-turned-compositions. Featuring innovative soundscapes with archival material and an engaging transitory state. Listening to the album is akin to being on a voyage of discovery, in and out of the dream state. From the very beginning, the listener is met by ancient voices on tape, surrounded by distorted and dispersed sounds. Like stars on a moonless night, the sounds fall in and out of perceptibility, most twinkling, some falling. You suddenly wake up on a speeding train. As it enters a tunnel, ghostly voices sing a lullaby. The music gradually unfolds from mesmerizing melancholia to a ritualistic blowout. The music always takes the route of the unexpected and reaches momentums which shows why this is one of Norway's most unique constellations. Orbiting sounds gather around and assemble themselves into scenes, forming uncanny rooms collectively dreamed up by the artists. The album's first track Tre Vegar follows an enthralling pathway layered with field recordings and intensified by noise, suddenly plunging into a delightful stream of chords fleeting in mid-air. The variety of sounds that make up this glorious and aptly named 'Collage' is astounding. Elemental sounds range from the howling wind and soft-bright ringing of sheep-bells to the timeless trickling of a small stream of water. Strings of many timbres soar over animated croaks and quacks, assembling into a swampy symphony. The well-balanced diversity of acoustic and electric sounds has become the band's trademark. It is ever-present, complementing and creating new improvisatory trails to follow. Erlend Apneseth: Hardanger fiddle Stephan Meidell: baritone acoustic guitar, live sampling, modular synth Oyvind Hegg-Lunde: acoustic & electronic drums, percussion, timpani Maja S. K. Ratkje: voice, electronics

All vinyl comes w/ printed inner sleeve + download card. Genre: Metal. Limited edition Transparent vinyl available exclusively to indie stores. Legendary Tacoma, Washington mathcore/hardcore/metal band Botch’s final EP An Anthology of Dead Ends was originally recorded in 2002, serving as a swan song sending off one of heavy music’s most inventive groups.

Now, the band’s final EP is set to be re-issued on Sargent House over 20 years after its original release. Their monstrous concoction of metal, noise, indie rock guitar trickery, and depth is on full display.

This is a last will and testament to the group's drive and intent, cementing their legacy as one of the untouchable greats, already having influenced many a group. Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, eventually becoming one of the most significant bands of their time.

Their final show was June 15, 2002, the same day as the original release of An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup.

Over 20 years since they played their final show, Botch are reuniting for select dates across the US throughout the end of 2023. Botch continue their first live performances in over 20 years throughout the end of 2023.

All vinyl comes w/ printed inner sleeve + download card. Genre: Metal. Limited edition Transparent vinyl available exclusively to indie stores. Legendary Tacoma, Washington mathcore/hardcore/metal band Botch’s final EP An Anthology of Dead Ends was originally recorded in 2002, serving as a swan song sending off one of heavy music’s most inventive groups.

Now, the band’s final EP is set to be re-issued on Sargent House over 20 years after its original release. Their monstrous concoction of metal, noise, indie rock guitar trickery, and depth is on full display.

This is a last will and testament to the group's drive and intent, cementing their legacy as one of the untouchable greats, already having influenced many a group. Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, eventually becoming one of the most significant bands of their time.

Their final show was June 15, 2002, the same day as the original release of An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup.

Over 20 years since they played their final show, Botch are reuniting for select dates across the US throughout the end of 2023. Botch continue their first live performances in over 20 years throughout the end of 2023.

Since forming Youth Fountain in 2017, the Vancouver BC-based Tyler Zanon has been a prolific writer, ascending on the shoulders of a cutting, introspective sound Kerrang hailed as “so raw and young that one can't help but wonder if Youth Fountain were peers of Taking Back Sunday and Saves The Day back in the early 2000s.” As he revisited lyric notebooks and hard drives from Youth Fountain early days and previous bands, Zanon amassed a collection of demos he brought to producer Anton DeLost (State Champs, Mayday Parade). Together, the pair worked to transform them into TOGETHER IN LONESOME standouts – like the skate-punk pit-starting “Clarity,” angular “A Few Notes For Orpheus” and skyscraping “Twin Flame” – while crafting songs like “Identical Days” and first single “Fallen Short,” the anthemic encapsulation of Youth Fountain’s unbridled, nostalgic blend of emo, pop-punk, and alternative rock, from the ground up.

How Cheeky Do You Want It? the Hedzup Crew Have Been Transmitting Crafty-as-Hell Minimal House From Paris to the World for Many a Year Now, and They're Not Letting Up in Their Quest to Inject Some Freaky Fun Into the Club. This Latest Drop Is Another Split From Label Main Men Mancini and Wlad, Leading in With the Former's 'Cure Hater' Which Bounces Into Ear Shot With an Irrepressible Groove and Plenty of Wriggling Noises Snaking Around the Mix. Nu Zau Then Steps Up With a Remix Which Tips the Ingredients Into a Tougher, 90s-Styled Beatdown Without Losing Any of That Heads Down Energy You Expect From a Hedzup Release. Wlad Brings a Shimmering Sophistication to the Chords on 'Lucky Star' Without Losing That Naughty Rhythm Section, Giving Floog Plenty to Work With for a Remix Which Heads Further Into Techy Territory....

Die + Cry + Loathe is the latest EP from Colorado's dirtiest noise-rock quartet, Lost Relics and is packed to the brim with anthems of disruption, truth and existential dread. Inspired by the blueprints created by such bands as Fugazi, Melvins and Eyehategod, Lost Relics is renowned for their unique blend of heavy rock, sludge and psychedelic elements. Die + Cry + Loathe has been highly anticipated by the metal/rock scene and has garnered high praise, being described as a "powerful and unforgettable listening experience"

Lebanese-Canadian musician and classically-trained singer and pianist, Natalie Chami, records music under the moniker TALsounds. On her 3rd LP, Shift, Chami’s intimate electro-acoustic compositions
glow with a crisp, icy tonality. She injects the drama and raw emotion of Björk and Sade into the alien rameworks of ambient, drone, and noise quadrants of the experimental.

Bad Wolves refuse to follow. Instead, the platinum-certified Los Angeles band — John Boecklin drums, Daniel 'DL' Laskiewicz lead vocals, Doc Coyle [lead guitar, backing vocals] and Kyle Konkiel [bass, backing vocals] — circumvent convention by stretching the boundaries of hard rock with earthquaking heaviness, enigmatic experimentation and enthralling melodies. Bulldozing boundaries is nothing new for the boys and their upcoming album, 'Die About It, maintains that narrative. With a story that emphasises the sarcastic statement pointed towards those defending their own beliefs into absurdity, wrong or right, Bad Wolves believe that if you're gonna cry about it then you might as well Die About It,

Run-D.M.C.'s Raising Hell remains the turning point at which hip-hop crashed through mainstream barriers and never left. Anchored by the crossover smash "Walk This Way," the 1986 blockbuster still sounds like a revolution unfolding in real time. It has everything – hard-rock riffs, turntable scratching, itchy rhythms, hit singles – not the least of which are the trio's invigorating raps and inseparable chemistry. And now it's the first rap record afforded audiophile treatment, courtesy of Mobile Fidelity.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, the reissue label's numbered-edition 180g 33RPM SuperVinyl LP elevates Raising Hell to sonic heights on par with its musical and cultural significance. Ranked the 123rd Greatest Album of All Time by Rolling Stone, 43rd on Pitchfork's Greatest Albums of the 1980s, one of the Top 100 Albums of All Time by TIME – and included on "Best of" lists by Spin, Paste, XXL, Entertainment Weekly, and basically every other significant media outlet – the triple-platinum effort rocks the house.

Benefitting from the ultra-low noise floor and groove definition of SuperVinyl, Raising Hell unleashes a torrent of massive dynamics and tsunami of frequency-plumbing details underlined by Rick Rubin's taut, crisp, albeit raw and streetwise production. Just as the Queens-based group both defined what hip-hop could represent – and displayed just how big it could get – Rubin's work melded ear-worm hooks, savvy drum loops, metal-leaning guitars, and, of course, Run and D.M.C.'s cross-fire lyrical interplay into watertight frameworks bursting with ideas, tones, samples, and beats. Heard anew on Mobile Fidelity vinyl, Raising Hell is in every regard the aural equivalent of a direct-to-console 1970s classic. And it sounds as fresh as hell.

As for the music, it ranks among the most influential, inventive, and invigorating ever released – rap or otherwise. Vanguard artists such as Ice-T, Eminem, Jay-Z, and Public Enemy's Chuck D – who declared it his all-time favorite and "the first record that made me realize this was an album-oriented genre" – have testified on behalf of its brilliance. And never mind the presence of the Top 5 single "Walk This Way," whose power helped make Aerosmith's Steven Tyler and Joe Perry relevant for the first time in nearly a decade – and literally put Run-D.M.C. in bedrooms ranging from the Bronx to Bartlett to Bad Axe.

Look instead to the rest of the entirely filler-free set, be it the corkscrew turns, slippery wordplay, and "My Sharona"-meets-"Mickey" mixology of the boisterous "It's Tricky," the fat-but-minimized bass grooves and warped turntable wobble of the hysterical "You Be Illin'," chimes-accented inertia and boombox-on- shoulder thunder of the now-iconic "Peter Piper," or voice-as-percussion attack of the funky "Is It Live." With Raising Hell, the answer to the question is always affirmative – a sensation bolstered by the fact the group always had something to say.

The definition of Golden Age Hip-Hop in every way, Run-D.M.C. avoids the negativity and misogyny that later plagued the style, spinning assertive tales about identity (the biographical and culture-changing "My Adidas"), work ethics ("Perfection"), and, most notably, pride (the Harriet Tubman- and Malcom X.-referencing "Proud to Be Black"). Pavement-packed inner cities, tree-lined suburbs, and cornfield-rimmed rural areas would never again be the same. And rocking a rhyme that's right on time would become trickier than ever.

Following on from the Primal Scream frontman’s brilliantly-received previous release for Ace, ‘Sunday Mornin’ Comin’ Down’ (accolades included being short-listed for Rough Trade’s compilation of the year), Bobby Gillespie brings us another slice of the music that soundtracks his life. And in this case, it’s his touring life. Drawing on the experience of ‘the way that the noise and clamour of the road can tire you out, wear you down and frazzle your nerves to shattered fragments of jangled exhaustion’, these are the records Bobby turns to for solace, for comfort, for empathy and for resourcefulness.

The compilation features an introduction from the man himself, talking us through his personal choices as though he’s sitting cross-legged on the carpet going through records with you in his lounge. Also long-time cohort of the band, Kris Needs has written extensive liner-notes, serving up an intensive track by track insight and analysis.

Titled after and kicking off with the Willie Nelson track of the same name, ‘I Still Can’t Believe You’re Gone’ leads us through a darker and deeper exploration than its predecessor, featuring Nick Cave’s funereal version of ‘By The Time I Get To Phoenix’ and Ry Cooder’s sparse and beautiful reworking of ‘Dark End Of The Street’. And we get there via such greats as Bob Dylan, JJ Cale, Donnie Fritts, Crazy Horse, Lee Hazlewood, Al Green, Thin Lizzy and so many more.

In Bobby’s own words: ‘These songs are soul savers to soothe frayed and battered nerves and to ease and settle the heart. They work on me like medicine every time. I would like to share this wonderful music that has given me strength, joy and inspiration over the years with you the listener, so that you too might get the same feelings of protection and inspiration that I do whenever I listen to these songs. We're all travellers on some kind of road through this life, and we all need respite from time-to-time - the music on this compilation is soul food of the highest order - I hope you enjoy it.’.

It may have been 13 years since the last record, but Crime In Stereo are back with the announcement of its forthcoming album House & Trance, set for release on 27th October 2023 on Pure Noise Records. Lead single Hypernormalisation analyses the apathy of people in the face of their imminent demise,"The wildfires gathered themselves together, advancing enough petition signatures to force a vote on rerouting subterranean magma ducts directly into any east/west commuter corridors. Cities of water rushed in from the sea only to circle the neighbourhood for hours, stymied by alternate side parking." House & Trance feels like the natural next step for Crime In Stereo. It was entirely self-produced by the band (outside of it, both Romnes and Cioni are acclaimed and accomplished producers), and flows on so well from their past that it’s almost like the intervening decade and a bit hasn’t happened.

Breaking Teeth (3rd Single / Will have a music video & Reddit AMA) Breaking Teeth is the 3rd of 4 singles from their new album The Fear Of Letting Go. Tyler Tate (vox) describes this track as the heaviest song on the record and sounds simply - "pissed off". "When I wrote the lyrics I was so fed up with the world & my life in general. Set back after set back, problems around every corner. Living should be simpler but the society we live in prevents that. We should all be pissed about it.” Band will do Reddit AMA & MV Visualizer We're All Left Suffereing (2nd Single / With Album announce) 'We're All Left Suffering' is the second of four singles from Michigan based metalcore band Hollow Front's upcoming album 'The Fear Of Letting Go'. The release follows their 2022 album ‘The Price Of Dreaming’ (#9 Current Hard Music Albums, #35 Current Digital Albums, #42 Independent, # 48 Current Rock Albums) which received praise from New Noise “a blistering and bruising experience, evoking myriad emotions and conveying a heady and moving blend of euphoria and despair.” and RockNLoad “Hollow Front has dropped nothing short of a phenomenal album with The Price of Dreaming. While the release doesn’t do anything new, it takes an already established formula and polishes it into a perfect shine. If you’re a fan of any of the modern Metalcore titans, you’ll love this release, hopefully as much as I do. Utterly brilliant.” 'We're All Left Suffering' is the first song the band has released since the announce of Dakota Alvarez's departure (former guitarist/singer) and marks the next chapter in the bands journey. The song will be accompanied by a music video and lined up with the announce of their forthcoming record "The Fear Of Letting Go" (Out October 27th). Lead vocalist states “This track is an anthem for the broken spirited. We live in a world riddled with heartache and constant struggle. Whether mentally, physically, or financially; we area collective of human beings doing our best to survive. I think with everything that’s happened in the world over these last three years, things might seem hopeless. It feels like the whole world has gone mad, and we’re all just here suffering along for the ride. It can be incredibly discouraging being a human in today’s social and economic climate. So I think this song is for those people who are sick of dealing with the bullshit life is throwing at them, and just want to truly breathe for once.”

For 14 years Throat have been the sonic equivalent of forcing a square peg into a round hole; often abrasive, causing utmost irritation at times and on a rare occasion a feverishly pleasant dose of brooding darkness in one's otherwise dull existence. The peg now fits. We Must Leave You sees Throat dropping pegs of all shape and size through the same hole. The last confines of musical genres are behind them, resulting in an album which can be regarded as the easiest listening Throat has ever presented or simultaneously their most difficult and puzzling work to date. Thematically what we have here is a breakup album. Never ones for thinking small, Throat breaks up with the world. Enough is enough. Bring back lockdown. No need for petty social commentary on how the world is burning. Let it burn. Throat is already walking away and it remains to be seen where they end up next. If anywhere. Breakups always require dramatic music and We Must Leave You more than fits the purpose. Throat have already hinted at new directions and new sounds on their previous two albums, but here it all breaks loose. Rooted in the same heavy, dark rock sound as always, but a touch of gothic drama from the 80s has been injected to the band's sonic palette which obviously means a few deeper shades of black. The noise and dissonance remains, but this time it all has been dipped in honey and black grease paint. We Must Leave You was written over a few years time and finally recorded in 2023 at Tonehaven Recording Studio with Tom Brooke and the band's own Amplified Human Audio. Once again, Andrew Schneider mixed the album at Acre Audio and Carl Saff handled mastering duties at Saff Mastering. Photography by Dorota Brzezicka and design by Stefan Alt of Ant-Zen.

Therapy? are an alternative metal band from Northern Ireland. The band was formed in 1989 by original members guitarist-vocalist Andy Cairns and drummer-vocalist Fyfe Ewing and Michael McKeegan. For their fourth album Semi-Detached, which was released in 1998, the line-up included Graham Hopkins and Martin McCarrick as full-time band members while Fyfe Ewing left the band before recording. The album entered several European album charts and features the singles "Church Of Noise" and "Lonely, Cryin' Only" and the final single "Stay Happy".

Semi-Detached is available for the first time as full-length vinyl LP, celebrating its 25th anniversary. The album is pressed on yellow and black marbled vinyl and includes an insert with lyrics.

"Pop inflected avant- garde that bubbles over with unruly post- punk energy and adventurous, cantankerous layers of noise" - FECKING BAHAMAS "Somewhere between post punk, folk, and indie, but with a lot of strange ideas gluing everything masterfully together" - EVERYTHING IS NOISE "Sparse and often ominous... yet charmingly raw and homespun - and there are a few moments where the vocalists sound like an avantgarde version of The B-52s" - The ELITE EXTREMOPHILE

Bill Seaman is a musician, media artist and media researcher int the field of interactive and generative music (he calls this recombinant music). He has been working on a series of works that combine elements of ambient, noise, experimental, new classical and more. He describes these works as being alt.genre. He has recorded five solo albums (on Eilean Rec. and Fluid Audio) and a numerous of collaborative albums with some music artists such as Craig Tattersall, John Supko, Offthesky, Rutger Zuydervelt, Stephen Vitiello, between others. Seaman has also often created video works to accompany a number of his solo and collaborative pieces. Seaman is self-taught as a musician and composer, and is a Professor in the Music Department at Duke as well as Art, Arth History & Visual Studies.

Since releasing a track on the RND034873349921 compilation on the Pause_2 label in 2001, Tim Diagram has released over thirty-five albums as a solo artist or as part of collaboration projects. he has appeared on many well-respected labels, such as; False Industries, Static Caravan, Nomadic Kids Republic, Fluid Audio, Time Released Sound, Chemical Tapes – to name but a few. Tim runs the Handstitched* label in the UK which specialises in bespoke, handmade packaging for the more electro-acoustic and drone-like elements of his and other artists work, and he is involved in audio-visual commissions, including art gallery installations and music videos for a global clothing brand. As well as Maps and Diagrams, Tim also records music under the Atlantis name and works in collaboration with Genoveva Kachurkova as Bluhm, with Charles Sage as Hessien, alongside Rob Lyon as Somme & with Arbee under the name Emba.

Stephen Spera is a New York based artist working in sound, photography, and plastic arts. His works have been released on some labels such as Handstitched, Tesselate, and Editions Vaché. In 2020 he began a series of collaborations with Bill Seaman, as the two artists admired each other’s work and found much in common. Their work together was graced with an ease which kept them composing an album- “Architectures of Light” -which was released on Britain’s Handstitched label. The project was very well-received. The two stay in touch and kept working, joined now by Tim Martin whose work as Maps and Diagrams was long-admired by Stephen and Bill. They too found instant understanding of each other’s work, and “ The World was turning Before” is the result of their collaboration. The three artists possess an almost uncanny communication that enables them to work whilst still enjoying each other’s individual voice, and this trio has come together so well that, in Spera’s words, “We no longer know who played what…”

Das bahnbrechende Album Spirit Trail von Bruce Hornsby aus dem Jahr 1998 wird dieses Jahr 25 Jahre alt. Im September werden BruceHornsby & The Noisemakers eine Herbsttournee, um diesen Anlass mit einer Spirit Trail:25th Anniversary Edition Box-Set.Spirit Trail 25th Anniversary ist ein 3-Album-Boxset, das das remasterte Album, vier unveröffentlichte Tracks und zehn Live-Songs enthält unveröffentlichte Tracks und zehn Live-Songs.

See Through You is the highly anticipated 6th album from Post-Punk Legends A Place To Bury Strangers. Outpacing even their own firmly blazed path of audio annihilation, this album repeatedly
delivers the massive walls of chaos and noise that every A Place To Bury Strangers fan craves in spades. See Through You is an explosive journey which explores the listener's limits of mind-bending
madness while simultaneously offering the catchiest batch of songs in the band's discography. It’s a nod of the cap to the art school ethos of the band's origins, while forging a new and clear direction forward. Simply put, See Through You is an epic, instant classic.

Dark Red Vinyl. Lambent Material is the debut album by Eluvium , the moniker for composer Matthew Robert Cooper 's sonic experiments and explorations. First released in May of 2003, Lambent Material was immediately recognized as much for its artful simplicity as it was for its deceptive complexity - an album of melodic austerity, alien transmissions, and titanic waves of cathartic noise. Previously only available on vinyl as part of Eluvium 's Life Through Bombardment Vol. 1 box set (a 7xLP collection released in 2008 that has been sold out for well over a decade), Lambent Material - Anniversary Edition finally gets its first standalone vinyl release. Beautifully remastered for vinyl by LUPO at Loop_O Mastering, it is packaged in a full-color jacket and heavyweight inner sleeve with fully restored original artwork.

Ltd Black & White Splatter Vinyl, DL Karte. 500 Stück gepresst. Zum 10. Jahrestag der Wiederveröffentlichung von "Peace on Venus" von Bardo Pond, Philadelphias führenden Vertretern des psychedelischen Rocks, auf schwarz-weißem Splatter-Vinyl. Enthält 'Kali Yuga Blues', ein wahres Ungetüm von einem Song und ein leuchtendes Beispiel für die ekstatische Intensität der Band. Die Band taucht tief in ihr Unterbewusstsein ein, um es ins Bewusstsein zu bringen, und glänzt auf ihrem 2013er Werk mit ihrer Gabe für schwere Riffs, die mit hochfliegenden Vocals und Klangschwaden verwoben sind. Bardo Pond hat die äußerlichen Merkmale einer Rockband, aber die Flüsse, die in den oneirischen Fluss der Band münden, haben ihr Quellgebiet in den Gefilden des ekstatischen Jazz, des Free Noise und der Avantgarde. Bei der Aufnahme von "Peace On Venus" wurde das Prinzip der Quintessenz angewandt, ein Prinzip, das der Arzt Paracelsus im 16: "Nichts von wahrem Wert befindet sich im Körper einer Substanz, sondern in ihrer Tugend, und dies ist das Prinzip der Quintessenz, die, sagen wir, 20 Pfund einer gegebenen Substanz in eine einzige Unze reduziert, und diese Unze übertrifft die 20 Pfund bei weitem an Potenz. Je weniger es also von einem Körper gibt, desto größer ist seine Tugend im Verhältnis. "Obviously, Bardo Pond are the greatest band in the world" Vice.

UK dance music antagonist Works Of Intent redefines big room techno on ‘Richer Sound’, an album sampler with four new tracks to accompany the digital release of his album of the same title which features with six

all-new tracks alongside six cuts previously released on Laurent Garnier and Scan X's COD3 QR label.



Works Of Intent is a vital voice in the underground who champions the sounds and stories of South Asian creatives in his role as Project Manager and Visual Designer for DAYTIMERS. He has also written multiple essays on race, class and privilege in the industry while laying down expressive sets across four decks at key clubs like fabric, Panoramabar and Rex. His emotive, storytelling sounds have come on labels like Turbo, Rekids and Monkeytown, and outside that, he's a go-to mix engineer for some of the UK's most exciting prospects.



‘Richer Sound’ features six tracks previously released on the label’s Various Artist EPs and six brand new offerings that avoid tired big room tropes. Gone are the snare rolls, white noise risers and kick drops, instead Work's operates under the mantra of "big tunes for big hearts" where musicality makes the motive. The artist himself has taken care of the artwork, mixing and mastering and says of the album, “It’s melancholia turned up so loud you can’t ignore it. It’s a deafening barrage of emotions designed for super clubs. It’s unsubtle, it’s unabashed, it’s unrelenting, and it wears its heart on its sleeve. It’s unmistakably a work of intent.”



Cars and motorsport have been a recurring theme in previous Works Of Intent releases and appear again here in 'Left Unseen', which has the high octane, death-defying adrenaline of rally driving perfectly transposed into a big room techno experience. ''Old Ways, New Mistakes' bounces boisterously with stadium-sized kick drums and synthetic mourning that will break hearts across arenas. 'Dreamt I Saw You' takes fawning imaginations to lucid heights with a synthand cymbal pairing designed to get you stargazing in the club.



‘Richer Sound’ is just the sort of expertly-crafted, genre-busting work of emotional and physical potency you would expect from such a restless nonconformist as Works Of Intent.

Polish jazz rebels sneaky jesus are back with their second studio album For Chaching Taphed.The highly imaginative quartet out of Wroclaw comprising Maciej Forreiter (Guitar), Matylda Gerber (Saxophones), Ben Łasiewick i(Bass) and Filip Baczyński (Drums) have won fans around the world for their restless, quirky brand of jazz which takes in breakbeats, twisting chord progressions and improvisation as well as a wealth of musical influences.

The band have been touring their asses off ever since they surprised the world with their debut album For Joseph Riddle in 2021. From out of nowhere their debut LP of 500 copies sold out in a month and they quickly went on to sell close to 1,000 CDs of the album. Fast-forward to 2023 and the band are sharing stages with artists such as Ill Considered and Theon Cross.

For Chaching Taphed was created in complete isolation. The group locked itself in a barn at the Museum of Agricultural Technology in Piotrowice Świdnickie. It worked on its sophomore output surrounded by machinery, trucks and carriages. These new compositions mirror the abstract conversations which the group frequently has just for fun. Contrary to For Joseph Riddle, this album is simple and does not rely on ongoing grooves. This enabled the group to be much more experimental. The band was joined by friends Flautist Mariya Mavko on Piękno Niemożliwe (Impossible Beauty) and her playing is sampled in Hipotetyczny Taras (Hypothetical Terrace). Pięciu Pszczelarzy (Five Beekeepers) closes the album featuring EABS' Jakub Kurek on trumpet. His fiery solo is one of the most intense moments of the album.

Spacer Po Nadodrzu (A walk around Nadodrze) opens the album and is inspired by one of the districts of Wrocław. It is a sonic story depicting a walk through Nadodrze late at night. A steady bass rhythm imitates a careful pace and the responding sax line is a spooky theme that might pop to oneʼs head in a moment of uncertainty.

The album's first single Krztusiec (Whooping Cough) finds the group diving head first into their most recent influences. The trackstarts with drum improvisation, rolling into a solid hip-hop backbeat provided by Ben Łasiewicki on Bass and Drummer Filip Baczyński. Sax and Guitar weave steady but dissonant lines, written by Maciej Forreiter after many hours spent listening to the Ethiopian jazz greats. The track takes off right after that. Matylda Gerber delivers a fiery Sax solo, while the group picks up the tempo and quickens the groove. The essence is the middle section, a dubby collective improvisation. Forreiter, Gerber and Baczyński take turns playing both classic dub phrases and fierce avant grade lines. Łasiewicki keeps everybody in check with a steady bassline. The energy slows down until Baczyński's drum solo, which explores phrasing detached from the rest of the tune.

Second single Chiński Sprzedawca Smażonych Kasztanów (Chinese roasted chestnut seller) is a fusion of breakbeats, energized songo rhythms and motifs inspired by South African melodies. Presenting the group with spacious and rhythmic horn lines, guitarist Maciej Forreiter wrote a chord progression while Beniamin Łasiewicki and Filip Baczyński took care of the rhythm section. This first part of the track suddenly drops out and explodes into the dramatic main motif which includes double sax and fierce guitar playing in harmony, plus the rhythm section playing more and more jungle-esque. Powerful guitar and sax solos feature before we return to the main theme with a completely different rhythmic backdrop.

W Klatce z Bykiem (In a cage with a Bull), starts like a race. The music plays with an incredible nerve and when the theme is right on edge it suddenly stops. It is followed by an animalistic growl on the saxophone and a doom metal-esque bash of downtuned, distorted guitars and heavy drums. In this heavy fashion it slowly approaches the finishing line hitting one final metallic clang.

Piękno Niemożliwe (Impossible Beauty) features wonderful flute playing of Mariya Mavko (Kadabra Dyskety Kusaje). Her work in the opening motif evokes sounds of Polish and Ukrainian folklore. This brief mellow moment serves as a contrast to the usual frantic sounds of sneaky jesus. It is an appreciation of thepolish jazz music of the past, intrinsically-linked to folklore. The band took this idea and reworked it into their own unique style.

Hipotetyczny Taras (Hypothetical Terrace) is built on top of a lengthy vamp in an unusual 7/8 time-signature. The bass anchors the quartet in a simple line, while the rest of the quartet share an emotional conversation. This track is the most open of the whole project and it ends accordingly. The final burst is a call back to the basics ofspiritual jazzand the whole band shows every emotion simultaneously and gracefully fades out.

Pięciu Pszczelarzy (Five Beekeepers) is For Chaching Taphed's conclusion and is a non stop assault of heavy horn lines, punk rhythms and noise. The band is joined by the extraordinary trumpeter Jakub Kurek from EABS, who blends in perfectly with sax and guitar. His exchange of solos with Maciej Forreiter is a combination of classic jazz phrasing and discordant clatter. In the same fierce manner the whole group works within the motif, switching up accents and breaks.

In the short space of two years, sneaky jesus has gone from ambitious upstart looking to break out from its home city playing spit and sawdust venues, to touring Europe as well as prestigious Jazz clubs such as Jassmine in Warsaw. In the process, it has delivered two full-length albums that don't stay in lane or pander to established jazz sub-genres as so many groups do. Some artists make the same record twice or even more than that, but not sneaky jesus. For Chaching Taphed shows the band as restless, experimental, fun, irreverent but purposeful as never before.

“A lot of over-hyped improv / jazz projects out there at the moment and Sneaky Jesus are genuinely excellent and out on their own. Drawing on the expansive atmospherics of a barn as the recording's setting, the album immediately pulls you in with the unsettling 'Spacer Po Nadodrzu' and lifts off on 'Krztusiec', effortlessly moving from angular, abrasive jazz to trippy dub and cinematic intrigue. Tempos shift and intensities shift naturally. The whole set warrants a deep listen from start to finish and watch out for two great guest features from flautist Mariya Mavko and Jakub Kurek bringing some mad fuzz licks to the boisterous closer. Brilliant album.”
Quinton Scott — Strut Records

2023 Repress!

A stunning follow-up to his late 2018 release. Mostly recorded live at the Apollo Hotel Amsterdam in 1991. This is a compilation of the ''Apollo Hotel CD box'', that Ronald made himself, for family and friends.. BIG tip!

Some words from the label:

From 1986 until 1992, Ronald had a residency in the lounge of Amsterdam’s Apollo Hotel. He would play there 5 days a week, for 5 hours a day. In 1991, throughout several sessions, he recorded himself on a cassette recorder. The recordings were ranging from re-interpreted cover versions to multiple own compositions.

The Apollo was particularly known for its sophisticated and elegant crowd. Guests would come to meet in the lounge to talk business, or end the day with a drink at the bar - dancing was never an option.

Listening to the album, one must wonder how some of this music would go hand in hand with a place like that. It seems Ronald gets lost in music and returns in unequally balanced patterns. Lounge sounds meet drum computer rhythms, punchy baselines, distorted space noises, reoccurring clarinet interludes and improvised piano solos.

Back then, just as now, Ronald never liked to be the center of attention. He simply tried to interact with the surrounding as a provider of the mood - as he explains himself.

Instruments
Live: Grand Piano, Yamaha QX1 Sequencer, 2x Yamaha TX7 Tone Generator, Drumtraks Sequential Circuits, Clarinet, Voice
Added at home: Yamaha DX7 Sounds, Roland R-8
Space Train: Kurzweil Piano, Yamaha DX7, Roland R-8, Soprano Sax, Voice

Recorded live at the Apollo Hotel Amsterdam in 1991, except 'Space train', which was recorded in Ronald’s living room.

All instruments played and arranged by Ronald Langestraat.
All tracks written an composed by Ronald Langestraat, except 'Lowdown' which was written by David Paich & Boz Scaggs, 'Give and take' which was written by Michael Shrieve, Tom Coster & Carlos Santana and 'Orpheus' which was written by David Sylvian.

First time on Vinyl, presented in Gatefold Sleeve on Double LP. Originally released in 2015 and carefully forged between 2011 and 2014, "De Aeris In Sublunaria Influxu" showcases a magically crafted alchemical wedding between these two titans of drone ambient. The 2LP features an exclusive bonus track. Troum navigates through cavernous, subterranean spaces where cyclical sounds reverberate towards impressive crescendos of icy noise, luminous drones and dramatic, guitar-driven ghostly melodies. Their truly unique soundscapes shine in a perfect symbiotic movement with the Swedish dark ambient maestro Peter Andersson. Engulfed in a hauntingly beautiful kaleidoscope of grey-ish melancholia, raison d’être comfortably walks deeply into Troum’s vast territory, delivering his very own trademark of eerie tones, ominous sacral ambience and crystal clear constructions. Airy lush enigmatic atmospheres live together with dark breathing, reverberant transformative drones. Rich and gorgeously layered.
All sounds assembled and recorded by raison d'être (Peter Andersson) and Troum (Stefan Knappe, Martin Gitschel) between 2011-2014. All sounds processed, manipulated and structured by Peter Andersson 2011-2014. K-14 level mastering by Peter Andersson 2014. Artwork by Ritxi Ostáriz.

2LP Vinyl Edition of 300 copies, Gatefold Sleeve, Matt Lamination, Black Paper Innersleeves. 8 Tracks. Running Time 76:28

Limited to 300 copies, this 2x12" double vinyl VA is the third physical release of the industrial techno label, Askorn Records. Including 8 tracks ranging from dark and tortured slow beats to hard and industrial techno bangers, this release brings together 9 producers from Belgium, UK, Poland, Australia and France: Twan, Dahryl, Mickey Nox, Tripped, 14anger, Draugr, Hel.IV, Ogmah and Hatelove.

A1: Twan & Dahryl - Ammunition
Pure industrial techno banger. 142bpm bomb full of fast rolling drums and screaming synths, this collaboration between
Belgium based artist TWAN and Dahryl from United Kingdom, is a furious dancefloor destroyer.

A2: Mickey Nox - Switching Horsepower
Classic industrial hammer by Mickey Nox from Australia. A crazy 4-4 techno track with his famous stomping kick, strange FX sounds, chopped with some glitchy voices. Sounds like an unstoppable engine.

B1: Tripped - Fat Load
Tripped demonstrates the perfect mix between hardcore and techno into this track, using his famous and indescribable style. Industrial hardcore and destroyed 909 gabber kickdrums, scary synths, amen breaks and terror atmosphere.

B2: 14anger - Bachman
Heavily distorted bass-line, overdrived kickdrum, an acid break and some electrical noises: Bachman is the latest 14anger
banging track. This raw industrial techno track definitely brings some oldschool rave vibes to this project.

C1: Draugr - Discipline
A dark and groovy track by Draugr. He brings his famous threatening atmospheres, spooky bass and catchy drums on
this one. Crunchy kickdrum, radar noises and a perfectly chosen speech about order and discipline.

C2: Hel.IV - Brave & Thick
Hard, dark and punchy as usual, let's introduce Hel.IV from Paris. Deep and hard kickdrum with catchy drums patterns
surrounded by a screaming distorted vocal sample, and an epic and menacing synth.

D1: Ogmah - No Feelings, Pure Wrath
New harsh and scary bomb by Askorn's founder, Ogmah. A slashing and industrial beast with some shrill highs drums,
creaky and industrial FX sounds, and a long break with scary vocals about sins.

D2: Hatelove - Snakebyte
A slow and dark track with a deep as hell atmosphere, produced by the one and only Hatelove from Poland. Full of filters
automations, psycho and spooky noises, banging drums and crazy sound design. Angering af.

The artwork is an engraving by the artist Daniel Girault from Brittany in France. This is the result of a dark and disturbing
abstract design engraved on a hard metal surface, made by cutting grooves into it with differents sharp tools. After being
drowned into an acid bath, this metal plate is finally pressed with black ink on a thick paper sheet.

Oakland CA's Blue Ocean have been working around the fringes of the
Bay Area indie scene since 2019, honing their very particular noisesoaked racket into a unique and instantly identifiable sound - They blend
elements of shoegaze, pop, noise rock and electronics into a dense,
sometimes disorienting soundworld that embodies a spectral mystery
that recalls forebears like Disco Inferno, Bark Psychosis and Flying
Saucer Attack
"Fertile State" is their debut album, following on the heels of 3 tape EPs and a LP
drawn from those tapes that sold out instantly on release in 2021. Songs like
"Ode," "Fertile State" and "Syncnine" show how much Blue Ocean has grown in the
last few years. They've easily shrugged off many of the markers of their punk/
indie roots, allowing their experimental urges free rein and and the noise to find
it's own level. It's a bracing, invigorating album that truly rewards deep listening
and points the way forward to an intriguing future