Buscar:victim

dBridge - "So here we have it: the final plate of the Exit 100 series. I’ve been immensely proud of this project, and I believe this release is a fitting way to conclude it. We’ve curated a collection full of great music from artists I love, and I’m pleased that we’ve created a project that represents Exit’s future rather than its past."

Sleep Now Forever is the second and final album released by Sorrow, the post-Strawberry Switchblade group fronted by singer Rose McDowall. Originally released in 1999 and long since deleted it is a cornucopia of pastoral, elegiac folk music, swirling atmospherics, hymnal compositions and above it all the alternating towering and fragile vocal performances of McDowall. Recorded in the late 90s with fellow band member and co-songwriter Robert Lee, Sleep Now Forever is the definitive statement by the now defunct group and Rose McDowall’s most complete long-form work to date.
Released through the group’s own Piski Disk Records, Sleep Now Forever was distributed by World Serpent which struggled through the early 2000s with financial woes, eventually folding due to bankruptcy in 2004. Due to the company’s troubles, Sleep Now Forever was never distributed widely and was a victim of the company’s failure. Released on CD only, original copies are now rare and only traded on second hand channels. Remastered by Mikey Young for a limited vinyl release, Sleep Now Forever will be released on April 20th on double vinyl format, with one side an exclusive etching by Glasgow artist Holly Allan.
Despite its rarity, Sleep Now Forever enjoys a firm cult following. The album’s textures are expansive, lush, deliciously detailed and celestial. Recorded in home study Velvet Hole by Rose McDowall and then-husband Robert Lee, the album enlists an array of players from the underground Neo-folk / industrial scene: Nigel McKernaghan (Uilleann pipes, Whistles), Susan Franknel (Bassoon), John Contreras (Cello) and Lawrence Frankel (Oboe, Cor Anglais). The eleven songs here revolve around McDowall’s instantly recognisable voice. Brought up singing in the Catholic Church, McDowall’s vocals are impeccable and angelic, particularly on tracks like Turn Off The Light where her experiences with religion are canted over soaring oboe and guitar backing. By far the most evolved and realised version of Sorrow’s vision, it feels somewhat criminal that music this beautiful could be lost to time until now.
McDowall’s lyrics throughout Sleep Now Forever deal frankly with mental health, depression, altered states, death and redemption. Wave upon wave of harmony drench each song, McDowal’s vocal multi-tracked and imperious. Opener Soldier benefits from Robert Lee’s use of the studio as instrument, summoning forth a lilting group performance of sparkling guitar and percussion that recalls the Velvet Underground. Mikey Love’s master treats the compositions to brand new frequency dynamics and space. Harmonium and string drones form the counter to McDowall’s vocal on Love Dies, a slow, lurching lament that feels transcendent. On Haunting, the arrangement is orchestral and aching, bleeding into Fear Becomes You, with chord and harmony structure that recalls the baroque sixties pop of West Coast Pop Experimental Art Band or the 60s psychedelic folk movement. A towering, beautiful statement, this elegy for times lost and moonlit-illumination is finally resurfacing from the darkness.

2023 Repress

***
Fragments of our mighty voice,
our blood is like tears.
Above us shook the starry sky.
Desolate are the hours
into which we are rising.
***

HAUKE FREER'S latest offering includes two warm and moody original cuts plus an intense, bass heavy MATTHIAS REILING Remix - is that really you, SESSION VICTIM? While the duo's records usually strike a chord with a somewhat broad audience, Freer's solo output never tries to cater to the House Music masses. In fact, it feels very much tailored to please an acquired taste. ONE TINY UNIVERSE is a case in point, built upon a steady but wonky drum groove and a brizzling, retro, sci- kind of pad, eventually leading the song into an array of synth melodies that will reward you with discovering new things when listening repeatedly - showing Hauke's ability to subtly combine little bits and pieces into something that effortlessly outgrows the sum of its parts. Moving on to the ip, Reiling stripps the title track off it's warmth and beauty and replaces them with a tougher
drumset and a pressure heavy UK style bassline. You'll be reintroduced to Freer's synth work eventually, but in a less
fairytalish and, well, slightly hostile environment. MMMMM is the closing cut of the EP, a composition just as bare and raw as it feels soothing and gentle - like.... let's say beans and rice over a campre on a cold night under the starry sky of a far away tiny universe in the ngernail of some other giant lifeform.

Zov Zov, a musical project formed by London-based duo Oliver Ho and Tommy Gillard, create a raw soundscape that is very appropriate for the era we are currently living in. The human race depends on destruction, the annihilation of our fellow man and the devastation of our environment, peace and coexistence is just a condition we experience between one war and the next. Songs of Blood And Earth is an EP based on experimentation and the development of intense textures. Blessed Are The Killers opens the A-side of the album with a minimalist first sequence involving only a kind of deep bursts and a tinkling sound that can remind us of hunger queues and the isolation suffered when the aggressor force sweeps over a vast territory. Musically, however, the track intensifies with heart-wrenching textures that hover above a haunting and disturbing vocal. On the next cut, The Maim, a constantly interrupting rhythmic structure reigns, which gives the feeling that at some point it will have a proper continuity, however, and although that continuity never comes, these pauses perfectly define the main idea which is that of the splitting of one or more body parts. The B-side of the EP is entirely religious in nature. Amen 2.5 is an updated version of the atrocities committed in the name of religion, a harsh sonic tale, in which a crushing roar subdues the listener to the point of collapsing his or her capacity for reasoning. The Holy Murder takes a more sinister turn, this time there is an incessant dominance with an unstoppable base that advances without changing its tempo or its form, in which everything that is built on it ends up yielding to its grandeur and ferocity. Godess Of The Hunt, the last track of the album, denotes an enormous cruelty, represented by the terrified screams of the victims who succumb to its exterminating atmosphere.

Clear Vinyl


As Rune & Ruin’s initial release, the duo of Lynette Cerezo and Zanias present a new offering of brutalizing intimacy.

'INSHROUDSS' marks the first Bestial Mouths release entirely written and conceived by Cerezo, vocalist and frontwoman since the project’s roots in 2006. Through each of the EP’s five tracks, Cerezo’s commanding voice usurps the role of victim for that of destroyer
- with scars where wings once beat the sky.

Drawing from the initial Bestial sound of emotionally gripping post-punk, Cerezo crafts deeply personal lyrics of self-stagnation and trauma, while longtime friend and collaborator Brant Showers (∆AIMON/SØLVE) provides a heart-pulverizing fury of industrialized electronics.

Along with production by new collaborator Alex DeGroot (Zola Jesus), INNSHROUDSS remains infinitely body-moving on even the most discerning of darkwave dance floors.

Mitreißend und hypnotisch markierte Ilana (The Creator) (2019) den Beginn eines neuen Kapitels für die nigerianische Band Mdou Moctar. Es ist das erste Album des nigrischen Gitarrenhelden, das mit einer Live-Rockband aufgenommen wurde, und fängt den schweren, psychedelischen Sound perfekt ein. Dieser Sound, den das Quartett durch endloses Touren verfeinert hatte, sollte später auf Afrique Victime in explosiver Form voll zur Entfaltung kommen.

Bettye Swann possessed one of the most emotive voices in soul music’s cannon but her recording career was that of a shooting-star; it blazed at the start, then illumined brightly before abruptly dissipating, all in just eleven years. In 1975 she ceased recording, moved to Las Vegas and retired her Bettye Swann persona.
The Louisianan Betty Jean Champion had relocated to Los Angeles as a young woman where in around 1964 she was introduced to Al Scott, owner of Money Records. It was her fourth Money 45 “Make Me Yours” that propelled Swann into the stratosphere. One of the defining songs of the era, it was her pathway to Capitol Records with whom she signed in 1968.
By 1972 Bettye was at Atlantic Records. The initial Atlantic 45 “Victim Of A Foolish Heart” b/w “Cold Day In Hell” recorded at Fame with Mickey Buckins and Rick Hall, made for a promising debut reaching #16 on the Billboard chart. It was followed by Bettye’s version of Merle Haggard’s “Today I Started Loving You Again” and “Til I Get It Right”, a gentle country-soul labour. “I’m Not That Easy To Lose” also dates from those sessions.
In an attempt to broaden her appeal Atlantic sent Swann to Sigma Sound in Philadelphia where she cut Phil Hurtt’s’ and Tony Bell’s “Kiss My Love Goodbye”, “Time To Say Goodbye” and “When The Game is Played On You”. Her fortunes continued to wane so Swann was next placed with Nashville producer Brad Shapiro. The results were artistically stellar and included three unissued gemstones in The Isley’s “This Old Heart of Mine”, a definitive version of Maxine Weldon’s “I Want Sunday Back Again”, and “Either You Love Me Or Leave Me”.

Carlos Alberto García Moreno, better known by his stage name Charly García, is an Argentine singer-songwriter, multi-instrumentalist, composer and record producer, considered one of the most important rock musicians in Argentine and Latin American music.
Named "the father of rock nacional", he is known for the complexity of his compositions covering genres like folk rock, progressive rock, symphonic rock, jazz, new wave and many others.

a conceptual rock opera featuring experimental passages and two big hits, "Chipi Chipi" and "La Sal No Sala".

La Hija De La Lágrima is available as a limited edition of 1000 individually numbered copies on silver coloured vinyl.







g B1. Calle Taxi







[g] B1. Calle [Taxi]







[g] B1. Calle [Taxi]

Red Vinyl

The Communards’ sophomore album ‘Red’ consolidated the genius of the musical partnership between Bronski Beat singer Jimmy Somerville and pianist Richard Coles. Fusing synths and hi-NRG production with lush string and horn arrangements, The Communards straddled pop and the political, the album’s themes set against the political unrest and moral panic of late 80s Britain. A global smash upon its release, this remastered and expanded 35Th Anniversary Edition features an extensive array of B-sides, live tracks, demo versions and remixes, including classic mixes by legendary 80s club doyens Shep Pettibone, Clivilles & Cole (better known as C&C Music Factory) and a euphoric new 2022 remix of ‘Never Can Say Goodbye’ by UK outfit The 2 Bears (Hot Chip’s Joe Goddard and DJ Raf Rundell). Available on Deluxe Double CD , Collector White & Red Double Vinyl , Black Vinyl. All editions remastered , with new sleeve notes.

Juegos Nocturnos is the new project from two essential musicians of the '80s Spanish scene, coming from iconic bands like Décima Víctima and P.V.P. In this new musical venture, they deliver nine guitar-centered, refined pop-rock songs that reflect influences developed over 40+ years, recorded between 2020 and 2022. Jesús Amodia (guitar, vocals, programming, and keyboards) was a founding member of the punk-rock group P.V.P., a band often compared to The Clash and other British acts of the era thanks to their blend of punk energy with Jamaican influenced sounds. The project also features Per Mertanen (bass), member of cult band Décima Víctima, known for crafting a very distinctive sound with echoes of Joy Division, The Cure, and other British post-punk groups. Now united in this new musical adventure called Juegos Nocturnos, they present nine guitar-driven, sophisticated pop rock tracks that showcase influences shaped over more than four decades of musical career, recorded between 2020 and 2022.

On one hand, it could be bumming out the people who enjoyed hearing what the band evolved into. On the other hand, nostalgia sells...and daddy needs to eat! So...Nevermind 2! Broken Bones and Bloody Kisses has seen a few vinyl pressings in the past, but landing a physical copy of You Are My Canvas (which was only released on burned CDs, crafted in the Lovat- Frasers' basement) is almost impossible. And ooooooh boy...the pre- demo demo (or PDD) versions of "Sketch Artist Composite" and "The Anatomy of the Journey"? Those puppies - with me (Connor...hi!) on vocals/drums and Jeff playing everything else - were only available on the Y2K version and basically only used to recruit other band members. Smash all these old chestnuts together in one release and see what happens! Why not? It perfectly captures the whole spirit of early BOYS NIGHT OUT. But what title does one bestow upon such a sonic siphonophore? There are 3 versions of "Sketch Artist Composite".

Do you call it Sketch Artist Composite Plus Other Songs? Do you go all in on a lyric- based title like Fuck Us Where We Breathe? Decisions, decisions! Probably best to follow Costa's sage advice and go with Nevermind 2. So, almost exactly two decades after our first show - July 19, 2001 @ The Oakville Pine Room with Sky Came Falling, Unearth, and Rise Over Run - may we present unto you, Nevermind 2! What's old is new again, probably?

Santa Somnia is an imaginary saint, shaped like a medieval folktale figure, who steals the sleep and childhood creativity of his victims to feed a kingdom of oblivion and torment. The album's lyrics follow the journey of a protagonist stripped of rest and innocence, wandering through a decaying dreamworld reminiscent of Dark Souls, Bloodborne, and Elden Ring. Santa Somnia becomes an allegory of lost hope and the crushing weight of adulthood, drawing further thematic influence from the bleak darkness of Kentaro Miura's Berserk. Santa Somnia is a sonic trip through a crumbling psyche-- drenched in despair and shadows-- ruled by the struggle against madness brought on by sleeplessness, the inner torment of depression, and the inevitable, sometimes merciful, pull of death.

The influence of FromSoftware and Berserk emerges through the album's cryptic, oppressive storytelling, where the line between nightmare and reality barely exists. While rooted in the band's earlier works, the sound of Santa Somnia blends the crushing weight of doom metal with classic and thrash metal elements and injections of punk- rock melody, mirroring the emotional instability and mental agony woven throughout the lyrics.

Santa Somnia is an imaginary saint, shaped like a medieval folktale figure, who steals the sleep and childhood creativity of his victims to feed a kingdom of oblivion and torment. The album's lyrics follow the journey of a protagonist stripped of rest and innocence, wandering through a decaying dreamworld reminiscent of Dark Souls, Bloodborne, and Elden Ring. Santa Somnia becomes an allegory of lost hope and the crushing weight of adulthood, drawing further thematic influence from the bleak darkness of Kentaro Miura's Berserk. Santa Somnia is a sonic trip through a crumbling psyche-- drenched in despair and shadows-- ruled by the struggle against madness brought on by sleeplessness, the inner torment of depression, and the inevitable, sometimes merciful, pull of death.

The influence of FromSoftware and Berserk emerges through the album's cryptic, oppressive storytelling, where the line between nightmare and reality barely exists. While rooted in the band's earlier works, the sound of Santa Somnia blends the crushing weight of doom metal with classic and thrash metal elements and injections of punk- rock melody, mirroring the emotional instability and mental agony woven throughout the lyrics.

Reissue 2026

A hit born... three times over!

Released in 2005, "Born Again" was re-released in 2011 after becoming one of the most sought-after dance records in Europe.

It went straight to #1 in the Netherlands, where it also went gold!

Now available again on vinyl, remastered by Gianni Bini at HOG Studio, with versions by Balearic Soul, Pastaboys, and Funkerman.

The lyrics are truly powerful and different. I was born into a system that doesn't give a shit about you, or me, or life.

Don't be a victim of the things I do to survive, because I've always known, you Babylonians are good...

i am so thrilled to share the film for my concert cornucopia with you . this has been a long journey with hundreds of people helping out . i am so beyond enormously grateful to every single one of them .

i feel the modern concert film is a matriarchially friendly construct , welcomed in the current climate . where female musicians can share their worlds uncorrupted . in cornucopia , i was joined by musical director and multi instrumentalist bergur þórisson , percussionist manu delago , flute septet Viibra , harpist katie buckley and the hamrahlid choir .

i spent last decade working with 360-degree sound and visual software in virtual reality and animation, creating Biophilia and later Vulnicura as a VR album . i was deeply inspired by the idea of a fully-immersive experience spreading Utopia and Fossora into fully surround speakers . my intention was to bring what we had created for 21st-century VR into a 19th-century theatre - taking it from the headset to the stage .

this vision was realised with 27 moving curtains that captured projections on different textures and LED screens , creating a digitally animated show : a "modern lanterna magica" for live music . i also wanted to feature bespoke instruments: a magnetic harp , an aluphone , a circular flute , and a reverb chamber , specially built with an audio architect to enhance the most intimate version of a performance—in a personal chapel .

throughout this tale, there is a subplot woven in : a second story of an avatar—a modern marionette who alchemically mutates , from puppet to puppet , from the injury of a heart wound to a fully healed state . i hope you enjoy it . warmness , björk

Kommen Sie mit auf die Reise mit den Masters Of Metal, deren Schicksal es weit nach ihrem zweiten Album war, zu Legenden zu werden.

Anfangs waren sie traurig und kämpften im 1976 noch nach Ruhm und Anerkennung, was sich heute in 2011 ganz anders darstellt und sie nun nach einer erfolgreichen Karriere mit ihrem massiven "Epitaph" eine weltweite Abschiedstournee feiern.

Dieses Album mit dem klassischen Line-Up mit KK. Downing und Glenn Tipton an den Gitarren und im Mittelpunkt mit dem souveränen Sänger Rob Halford, ebnete Judas Priest den Weg als eine der einflussreichsten und manchmal auch umstrittenen Band. Dieses Album der jugendlichen Band enthält neun aufregende Tracks, unter anderem Meilensteine wie "Victim Of Change" und "The Ripper" und natürlich den mächtigen Song "Epitaph".

“The album explores the duality between nature and mankind, and the blurred line where we become both the executioner and the victim. I’ve always felt this inner struggle, the pull between instinct and reason, between animality and humanity. This album reflects that ambivalence: an intimate journey where I allow myself to be consumed by my contradictions in order to be reborn. It’s a cry, a waking dream where we shed our masks to become whole again. I blend wildness with tenderness, fury with poetry — because deep down, I’m an animal who dreams, and a man who roars.” Sébastien Tellier

Tschechische Melancholie in härtester Form: Abbie Falls melden sich mit ihrem neuen Album „Life is just a temporary plan“ zurück. Am 12. Dezember 2025 liefern sie eine Kriegserklärung ans Mittelmaß: Eine Lehrstunde in moderner Härte, mit einer Seele so düster wie ein grauer Winter in Prag. Die fünfköpfige Modern Metal Wrecking Crew ist bekannt dafür, jede Bühne in ein Trümmerfeld zu verwandeln. Abbie Falls vereinen rohes Chaos, messerscharfe Präzision und überraschend viel emotionale Tiefe zu einem Sound, der sich anfühlt wie ein Frontalzusammenstoß mit einem Güterzug voller Gefühle. „Life is just a temporary plan“ führt durch existenzielle Abgründe, nihilistischen Humor und persönliche Höllenfahrten. Wenn du jemals das Gefühl hattest, die Welt bricht über dir zusammen und du brauchst einen passenden Soundtrack - das ist dieses Album. „Life is just a temporary plan“ ist eine chaotische, emotional ausgebrannte Reise in die dunkelsten Ecken der menschlichen Existenz

40 Jahre ”Welcome To The Pleasuredome”!
Diese Jubiläumsausgabe, die erstmals in Zusammenarbeit mit der Band selbst zusammengestellt wurde,
enthält 28 unveröffentlichte Titel und nimmt den Hörer mit auf eine Reise von den frühesten Demos und
BBC Radio One Sessions der Band über die Singles bis hin zum Album und darüber hinaus.
Jede CD enthält seltene und in den meisten Fällen unveröffentlichte Versionen von Songs, die den Goldstandard der Musik der 80er Jahre darstellen.
Der weltbekannte Künstler, Produzent und Remixer Steven Wilson hat einen Atmos-Mix sowie Stereound 5.1-Mixe für die Blu-Ray beigesteuert. Das Booklet wurde von Philip Marshall gestaltet und enthält
seltene Fotos und Erinnerungsstücke sowie eine Zeitleiste zum Aufstieg der Band zum Ruhm mit Beiträgen
aller Mitglieder von Frankie Goes to Hollywood.
Darüber hinaus erscheint ein Deluxe-2CD-Set, welches das neu gemasterte Album sowie Versionen aus der
Session und eine Auswahl von Outtakes enthält. Die beiden CDs werden in einem 8-seitigen Digipak mit
einem 20-seitigen Booklet präsentiert.
Außerdem wird es ebenfalls das Album mit Steven Wilson Mix als Remaster auf 2LP geben.
Ab dem 31. Oktober erhältlich!

2025 REPRESS

A DJ, producer and significant figure in contemporary electronic music, Marcel Dettmann steps forward to contribute to Running Back’s ongoing Mastermix series. Whereas previous editions of Mastermix have taken an ear to the sound of lapsed, legendary clubs such as Wild Pitch and Front, Dettmann’s curation deftly captures the man himself in ongoing perpetual motion, raiding the vault for his own precision-tooled edits, long-employed on dancefloors to devastating effect. Alongside a continuous mix, this release arrives as a 3LP gatefold, and as a limited edition cassette.

Closely associated with Berlin’s techno landscape, Dettmann was born and raised in the former GDR, then later immersed in the bleary-eyed counter cultural landscape of post-unification Berlin. Initially oriented by post-punk, industrial and new-wave music, Dettmann has been DJing since 1993, always expanding and perfecting his repertoire. He later began working behind the counter at the city’s tastemaking rave boutique Hard Wax, and a decade after he first dropped a needle, became (and remains) resident at notable local nightspot Berghain/Panorama Bar, where his instincts have helped sculpt the signature sound of both main dancefloors.

Of course, you’re probably not asking, “Who is Marcel Dettmann?” More importantly, you might want to know; just what treats has he gifted us here? The trip begins with a simple pitch-shift skywards, transforming Identified Patient’s creeping ‘The Female Medical College of Pennsylvania’ into a peak-time freakout, before an alternate take on Toctronic’s ‘Bis uns das Licht vertreibt’ emerges from the vaults for the first time. Dating from 1995, and one of Dettmann’s all-time favourites, Cristian Vogel’s ‘Untitled’ clambers back into the box with respectable cuts, while John Bender’s ‘Victims of A Victimless Crime’ kicks off the flip sporting a new arrangement, transporting us back to the foundations of a confident, stripped-back sound.

A few subtle edits to Clark’s perilously funky ‘Dirty Pixie’ takes us to Dettmann’s remix of Junior Boys. Produced in 2010, it transposes the Canadian duo’s sophisticated pop with our curator in his minimal prime, and has since become an irresistible prize for high-minded diggers. The same can be said for Experimental Products’ explosive proto-electro anthem ‘Who Is Kip Jones?’, empowered from pricey Discogs purgatory with just the slightest of tweaks. It’s deservedly sandwiched between the guiding influences of Chicago and Detroit in the form of Mutant Beat Dance’s raw ‘The Human Factor’ and a shimmering new version of previous solo production ‘Water’, featuring close friend and Ostgut Ton ally, Ryan Elliot.

The second half of the Mastermix seamlessly connects the mechanical past and digital present of EBM and industrial in the dance, with Dettmann’s instincts as a guiding hand. Severed Heads’ iconic ‘We Have Come To Bless This House’ emerges with mere nips and tucks, while Nitzer Ebb’s ‘Shame’ is significantly reimagined as a highwire act of rhythm and tension, setting up a sensual second take on a 2017 remix of ‘Limbo’ from Swiss synth heroes, Yello.

Core musical memories are shaken and stirred with a context-shifting take on Frank Duval’s emotional classic ‘Ogon’, while Ian North’s ‘Sex Lust You’ and Ford Proco’s notable Coil collaboration ‘Expansion Naranja’ effectively throb with only minor adjustments, respectfully imagined as “shadow versions”. Meanwhile, a simple breakbeat lifts Albert Kuningas’s ‘Astraalprojektio’ in the direction of wide-eyed dancefloors, while a fresh take on K-Alexi Shelby’s ‘Season of The Real’ inexplicably emerges somehow even funkier than before.

The conclusion of the compilation leads back to Das Tier from the prolific experimentalist Conrad Schnitzler, whose swirling synths and hypnotic vocals are duly tightened by Dettmann, but only as he puts it, “in conversation with the original.” Concluding three discs and thirty years of commitment to the dancefloor, this Mastermix not only offers us the opportunity to eavesdrop on this endless exchange, but to gain some sought-after material for our own record collections.