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AN ATLAS OF LOSS

Do minerals dream of becoming semiconductors? Do they yearn to carry charges, amplify, switch, and convert energy into emotions comprehensible to humans? And what if, from the darkness of the underground, they had been listening to us sing in caves before the emergence of the first flute? Could they have guided us, through the course of history, to find them, extract them, and create new sounds through sinusoidal waves, to form valves and bend circuits?

If so, minerals would transition from what philosopher Eugene Thacker defines as the ‘planet’—that virginal and unreachable realm for humans that we study through geology, paleontology, and environmental sciences—to the ‘world,’ the space we inhabit, interpret, and synthesise in our daily lives. Sadly, we only remember the world when it erupts violently, through climate catastrophes or when a new virus emerges. Sometimes a tsunami collides with a nuclear plant, or viruses are cultivated as biological weapons in high-security laboratories, provoking a deep biological anxiety, hard to quell, which we all feel beneath our skin.

There exists a third realm, disconnected from both the world and the planet: the ‘earth’, an immense, dense rock floating in space alongside other planets, situated in the cosmological dimension. Relating to the earth is so complex that we only do so through theoretical speculations of a scientific nature or through science fiction, interweaving until one becomes the prophecy of the other, in an infinite, pendular dance. Beyond the darkness of space and Lovecraft’s cosmic horror, the fantasy of human extinction is the most recurrent: to reach a collapse so devastating that we do not survive it, even though the earth does, without us.

In a world where we quantify everything through body sensors, financial algorithms, nanometre-scale robots, and surveillance drones—a world in which everything that can be domesticated and controlled can also be commodified—a superior artificial intelligence would survive the collapse of the species (some speculate it might even cause it) and learn from our mistakes, thanks to our obsessive gathering of data.

Long after our voices fade, minerals will persist in the darkness of screens, in the silicon of chips, and in their pure form, still unexploited underground. Over the millennia, this intelligence might piece together fragments of our reasoning, as if an alien civilization finally connected with one of our spacecrafts loaded with messages cast into the void. It would sort through endless streams of data, unable to grasp the depths of emotion behind what it quantified, recreating simulations of our past, stripped of the nuance that once defined us and conducting experiments in sandboxes.

Some remnants of our existence—faint echoes of forgotten beauty—would be pieced together in an atlas of loss, buried beneath layers of numbers, decayed bots, and corroded hard drives. What will follow? Perhaps bison will once again roam—trotting to the strange pulse of techno, their ancient forms framed by the ruins of our cities.

Buildings will crumble, slowly dissolving under the soft touch of ambient music, and a thousand flowers will bloom with that ancient music created through electrical signals and computation. 7 songs for a future both improbable and inevitable—a final message from a world lost to itself, from planet Earth to planet Earth.

Alfons Pich, 2025

The Shard: A colossal feat in engineering, savagely piercing the London skyline with zero f**ks.

Shard View: An uncompromising moment in Boylan’s bass engineering, piercing the London soundscape with even fewer f**ks.

It’s 2025. We’ve officially moved a second closer to extinction and Boylan’s wasting no time. After years of releasing noxious missives on the most influential likes of FWD>>, Artikal, Deep Dark & Dangerous, Sentry and Mean Streets, he finally launches his own label - Shard View.

A brand new vehicle for the potent strain of ice cold apocalyptic breakbeat he and his closest allies are currently making, Shard View is inspired by the vista he and the likes of Slimzee, Trends, D.O.K, U.S.F and Youngsta see every time they’re cooking up a darkness in his Peckham studio.

Coated in visual armor from Simon Oil Gang, Shard View is London, Detroit and Berlin wrapped up in one. It’s bass, it’s techno, it’s tribal, it’s No U-Turn, it’s Virus, it’s Horsepower, it’s warehouse raves. It’s timeless. And it starts with ‘Tunnel’, an extensive 10 track trip into instrumental, full physical, heavily percussive unapologetic breakbeat music. Boylan is the main consistency throughout but all the above-mentioned names are involved and always will be. Like the great collectives of past bass epochs, the energy here is molten as the friends inspire each other with this fresh take on a classic sound.

Two more EPs should follow later this year. And as the world continues to ramp up the turbulence, so will Shard View. This is not a drill.
Any questions about any of these products feel free to get in touch and we'll help you out!
albert.preston@sequence.cc

Take cover! It's impossible to get rid of the now legendary Stupeflip Crou (="crew"). Like a two-taste chewing-gum that's been stuck under your trainers since 1994, King Ju is back in force with Sons2ouf!!, an album meticulously selected from hundreds of unreleased tracks and alternative versions accumulated over the years. Always on the fringes of a bloated Game, Ju takes us on a tour of his strange cabinet of curiosities. Far from being a simple collection of sounds, the album is a real creation in its own right in the Stup discography. 'Mock-ups are often better than the final sound, like a sketch that's always more alive than a finished painting,' he explains. Here we find that first draft, bits of stuff not yet digested by the industry. Some of the nuggets are antediluvian, but they sound extremely lively, as if they had been written the day before. In Stupeflip's parallel world, time doesn't exist. We find the themes dear to Crou: childhood, rage, non- violence, the passage of time, a passion for music and nostalgia. As usual, the beat is cut with a meticulous flow, there's no time to take a breath, the Stup just does what it wants, churning out one bullet after another in a fusion of genres and styles that's as distinctive as ever. Specially dedicated to aficionados, the album celebrates 30 years of Le Crou! The Holy Grail for every Stup fan!

Mickey Nox is a techno enthusiast, label owner, DJ and producer from Melbourne, Australia. His impressively unique style and attitude towards his constantly evolving productions and DJ sets is dark, menacing and always maniacally exhilarating as he becomes progressively more entangled within his heavy hitting hardware.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we witness the return of the Australian assassin himself with the most rampant, fast paced release we’ve ever put out on our infamous label …….. so far. After the rip-roaring success of his first RIOT Radio Records release a few years back with his double vinyl album ‘Mad As A Cut Snake’, he’s back once more to knock some sense out of, or is it into you?

He’s pulled out all of the bashing implements he can muster into forging this conk buster of a release. Full bore mallets, truncheons, heavy mounted metal clubs and even franticly abused frying pans have all been industriously employed by this long-haired behemoth of an artist for driving, battering, pummelling, pounding, striking, bludgeoning and cudgeling all for the purpose of taking you into his world of being a ‘Hammerhead’.

The full digital release also features one bonus track with the ‘Rough Mix’ of ‘Tropic Corridors’ which you won’t find nowhere else. Rough by name, rough by nature.

WARNING: LISTENING TO THIS WEAPONIZATION WILL ENDUCE FILTH OF THE MOST OBSCENE NATURE

Intergalactic Noize Commander’s electrifying new EP blends elements of electro and electro-funk provoking a psycho dive into a cosmic journey. This sonic adventure unveils simple yet mysterious and dark sounds, transporting listeners to uncharted realms where pulsating rhythms collide with enigmatic melodies.

Experience a fusion of retro-futuristic vibes and captivating beats that resonate throughout the cosmos. Presented in ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid GREEN vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany). Includes inmediate digital download.

– Meow, Doc! Are you serious?!
– Hopefully, now we'll be able to program the cognitive processes of different creatures.
– The intranasal mutagen?
– With consciousness, too!

Spacelunch devoted all of his spare time to developing the virus. Once in the body, its molecules activate: they replace the configuration of neurotransmitters and start evolving independently. A small dosage of vapours reactivates brain navigation, whereas readings are taken from a nano-oscilloscope and sent to a tablet for further analysis. Augmented reality has long gone beyond virtuality, ladies and gentlemen!

The simulation of the collective mind has undergone a series of public tests initiated by enthusiasts from the Venus Biomolecular Institute. After a data leak from the lab's journal, the dangerous technology could have fallen into the hands of Aerospace Corporation, but luckily was intercepted by the Meta-Warp operational unit. Putting the development on pause, they shut down access to any information about the project. It remained unexplored, but the Professor's inquisitive mind wanted to understand the discovery that could change the future.

repressed !

Jasper Byrne Aka Sonic (sonic & Silver / Accidental Heroes) Spent The Late 90s & 00s Dropping Releases On Pretty Much Every Legendary D&b Label Going (reinforced, Metalheadz, Renegade Hardware, Formation, Virus, Soul:r And His Own Space Recordings), Before Mysteriously Disap-pearing To The Far East & Re-emerging Years Later As A Hit Indy Computer Games Developer (lone Survivor) & Soundtrack Artist (hotline Miami).

After A Chance Encounter With Dead Man's Chest At A Gig In La (where Jasper Had Been Working On A Game And Wholeheartedly Soaking Up The Local Low End Theory Music Scene), It Quickly Emerged The Two Had Shared Similar Musical Stories, Straying From Previous D&b Careers And Into The Musical Wilderness, Only To Drift Back Toward The Tempo With A New Found 'outsider' Approach And Eerily Familiar Conclusions..

After Teasing Us With 2018's 110174 Mixtape (ltd Edition Cassette Only Release) And His Appear- Ances On Blunted Breaks Vol.1, 2019 Sees Sonic Mark His Return To The World Of Dance Music Proper With This Two Part, Heavyweight Ep For Western Lore.

Blending Techno, Footwork, La Bass, Hardcore, Synthwave And D&b Under A Loose Jungle Tekno Framework, 110174 Sees Sonic Crafting Beats, Breaks & Bass With An Artisanal Deftness Rarely Seen.

Incoming, a massive EP from Anderson.

After his recent easter eggs EP, this four tracker is a blend of trance, breaks, drum & bass and experimental electronica.

Starting off the A side with the ‘Jelly Bean (Virus Outbreak Mix)’, this monster of tune will rattle your subs (and brain) with his crunchy kicks and trancey sequencing. This track will blast you off into oblivion eventually bringing you right into A2, ‘Level Quest’, a trancey chugging progressive tune building energy from the moment the first kick ignites.

After a much needed break, the B1 puts you in an immediate trancestate lasting just a few minutes and before you know it you will be blasted into drum and bass land with ‘Tasteful Nudes’ closing out the EP.

See you on the other side..

Pink Marbled

Limited 50 copy press

After his well received "Unknown Pharmacy" EP Rambal Cochet is back on Griffé almost a year later to the day with his "Matrix Convoy" EP! Once again the producer pleases us with his proggy touch filled with tribal & trancey motives for a full shamanic dancefloor experience. Liso his joigning him on the eponym track while Remotif serves an outstanding breaky downtempo remix of Virus Funk.

"Drums from heaven, keys from Mars, a bass made from mother earth's soil and guitars from a guy who's time-traveling from German Kraut in the last 60ies into the next 60ies and who happens to gift us today with this funky, dirty, pulsating, delicious music that's everything which music is supposed to be: ALIVE! (Note to self: Always keep a copy of this record in your suitcase!)." (Malakoff Kowalski)

"Afrokraut" is a stylistic expression of Krautrock, primarily associated with Can, and their creative use of time and space in music. "A Guide To Afrokraut III" is David Nesselhauf´s third and last contribution to the dusty shrine of this long forgotten style.

Next to "Afrokraut" (2016) and "Afrokraut II: The Lowbrow Manifesto" (2018), this album completes a humble sonic Trypticon in honour of David Nesselhauf's musical heroes. Experimentation was key in the immersive process of producing this album, which encompasses elements of Funk, Afrobeat and Krautrock as well as otherworldly Drones, early Elektronische Musik and even field recordings.

Inspired by the unfinished manuscript 'History Deletes Itself' by the late science fiction author Joseph Sabiers, Nesselhauf decided to produce a b-movie soundtrack to the original plot, ignoring the fact that there will likely never be a movie to this music.

In the original script, a virus has infected history, the resulting changes of historical facts leading to an unpredictable present and future for mankind. Every attempt to solve the problem – including time travelling – only worsens the situation. But three planets at the end of the known universe seem to be unaffected by the phenomenon, they become a sanctuary known as 'Afrokraut III'. Three brothers arrive there to start new lives. They are introduced to The Guide, their mysterious advisor...

The striking parallels to today's uncertainties, a strong feeling of hope and the idea to never stop exploring (come what may) certainly have encouraged the making of this album, which sees a belated release due to the obstacles everyone faces right now.

David Nesselhauf lives in Hamburg/Germany and appears as a bass player/songwriter in bands like Hamburg Spinners, The Drawbars, Diazpora, and Angels Of Libra.

Dark Speedcore and industrial hardcore, Bassy and progressive.
DJ friendy music with a massive cuit and mastering !

Mascore is deejaying since years and years... so belive me when i say he took care of this production !!


LTD 200 copies !

After their monumental rise from mask-sporting weirdos to forefathers of a new generation of mainstream metal, many wondered how or if Slipknot would manage to top their blistering self-titled debut, and its malevolent follow-up, 'Iowa.'

Hindsight paints doubts in curious colours, as 'Vol 3: The Subliminal Verses' is now regarded as one of the nine's most expansive, dynamic, and universally acclaimed works.

From the caustic anthem, 'Duality' to the surprisingly accessible 'Before I Forget', the collective managed the impressive feat of honing their craft to appeal to a wider audience while sacrificing little of the unbridled angst of their earlier projects.

Hearing frontman Corey Taylor let his guard down for gentle and hypnotic cuts like 'Circle' and 'Vermillion, Pt. 2', offered entirely new insights into a group known for their brutal intensity and little else. There's still plenty of that on display, with the venomous ode to their fanbase, 'Pulse Of The Maggots', ringing true with its abrasive composition.

Finally reissued alongside its predecessors, there's never been a more ideal time to finally lock down this seminal trilogy that would introduce, shock and cement Slipknot as legends of their own kind for decades to come.

Incoming, a massive EP from Anderson.

After his recent easter eggs EP, this four tracker is a blend of trance, breaks, drum & bass and experimental electronica.

Starting off the A side with the ‘Jelly Bean (Virus Outbreak Mix)’, this monster of tune will rattle your subs (and brain) with his crunchy kicks and trancey sequencing. This track will blast you off into oblivion eventually bringing you right into A2, ‘Level Quest’, a trancey chugging progressive tune building energy from the moment the first kick ignites.

After a much needed break, the B1 puts you in an immediate trancestate lasting just a few minutes and before you know it you will be blasted into drum and bass land with ‘Tasteful Nudes’ closing out the EP.

See you on the other side..

Pink Marbled
Limited 50 copy press

Die "JoJo's Bizarre Adventure: Golden Wind" Vinyl enthält mit 26 Titeln von Komponist Yugo Kanno die musikalischen Highlights der vierten Staffel des Anime und ist so der erste Vinyl Release zu dieser Serie. Mit dabei sind natürlich einige der eindrucksvollsten Titel wie "Il vento d'oro" (Golden Wind) und "Esperienza d'oro", die diese gelb-orangene 140g Doppelvinyl zu einem Must-Have für Fans macht, das die Energie der Serie gekonnt transportiert.

Compared to their debut, the band pushes even further the fusion between black metal and industrial electronics, resulting in a colder, more mechanical and chaotic sound. Extreme guitars and traditional black metal vocals are intertwined with drum machines, abrasive synths, and digital noise, creating the impression of a kind of "dehumanized" music, as the title suggests. The atmosphere is dystopian and aggressive, far removed from traditional metal: it does not aim for melody, but rather for a dense and oppressive sonic impact, where everything feels filtered through a technological lens. In short, it is a record that pushes the idea of black metal to its limits by placing it within an industrial, cyberpunk universe, becoming one of the band's most representative works.

Compared to their debut, the band pushes even further the fusion between black metal and industrial electronics, resulting in a colder, more mechanical and chaotic sound. Extreme guitars and traditional black metal vocals are intertwined with drum machines, abrasive synths, and digital noise, creating the impression of a kind of "dehumanized" music, as the title suggests. The atmosphere is dystopian and aggressive, far removed from traditional metal: it does not aim for melody, but rather for a dense and oppressive sonic impact, where everything feels filtered through a technological lens. In short, it is a record that pushes the idea of black metal to its limits by placing it within an industrial, cyberpunk universe, becoming one of the band's most representative works.

Norway's Aura Noir was formed in 1993 by Aggressor & Apollyon in pursuit of a more thrash-based form of black metal than much of what was coming out at the time - particularly in their homeland - citing bands such as Slayer, Sodom & Kreator as inspirations along with purveyors of the scene such as Venom, for a dirtier, stripped down, violent black/thrash metal sound. Their first official release was the 'Dreams Like Deserts' EP on Hot Records, & from there-on the band became a truly cult act, releasing a string of albums among ongoing live performances over the subsequent decades.

'Black Thrash Attack' was Aura Noir's debut full length album, originally recorded & released in 1996, & was a continuation of the intense thrash riffing displayed on 'Dreams Like Deserts'. This edition of 'Black Thrash Attack' includes a cover of the venom classic 'Heavens on Fire', from the cult 'Black Metal' album. All members of Aura Noir have had illustrious careers to date, with Carl-Michael Eide (Aggressor) notable for his work in Ved Buens Ende, Dødheimsgard, Virus, & Fleurety, as well as being part of other scene icons such as Ulver & Satyricon in their formative years. Apollyon, currently also seen in Coffin Storm with Darkthrone's Fenriz, previously featured in Dødheimsgard, as well as Lamented Souls & Immortal. Completing the trio is Blasphemer, formerly of fellow Norwegian legends Mayhem, as well as being current mainman in his recently established band, RUiM.

This edition of 'Black Thrash Attack' marks the 30th anniversary of the release, & is presented on limited marble vinyl, following the layout of the original.

Norway's Aura Noir was formed in 1993 by Aggressor & Apollyon in pursuit of a more thrash-based form of black metal than much of what was coming out at the time - particularly in their homeland - citing bands such as Slayer, Sodom & Kreator as inspirations along with purveyors of the scene such as Venom, for a dirtier, stripped down, violent black/thrash metal sound. Their first official release was the 'Dreams Like Deserts' EP on Hot Records, & from there-on the band became a truly cult act, releasing a string of albums among ongoing live performances over the subsequent decades.

'Black Thrash Attack' was Aura Noir's debut full length album, originally recorded & released in 1996, & was a continuation of the intense thrash riffing displayed on 'Dreams Like Deserts'. This edition of 'Black Thrash Attack' includes a cover of the venom classic 'Heavens on Fire', from the cult 'Black Metal' album. All members of Aura Noir have had illustrious careers to date, with Carl-Michael Eide (Aggressor) notable for his work in Ved Buens Ende, Dødheimsgard, Virus, & Fleurety, as well as being part of other scene icons such as Ulver & Satyricon in their formative years. Apollyon, currently also seen in Coffin Storm with Darkthrone's Fenriz, previously featured in Dødheimsgard, as well as Lamented Souls & Immortal. Completing the trio is Blasphemer, formerly of fellow Norwegian legends Mayhem, as well as being current mainman in his recently established band, RUiM.

This edition of 'Black Thrash Attack' marks the 30th anniversary of the release, & is presented on limited marble vinyl, following the layout of the original.

Wheelchair Sports Camp is certainly not your average hip-hop act. Hailing from Denver, CO, fronted by Kalyn Rose Heffernan—a wheelchair using, profanely queer and tiny rapper, with a very distinctly high-pitched sense of humor. Backed by her gimp Greggy on drums, the band combines fantastic beats with an absolutely face shredding live show. Playing shows everywhere they could, the band has expanded into performance art, museum takeovers, politics, prison tours, permanent installations, theater, film, and now the release of their newest album, “Oh Imperfecta!” on Alternative Tentacles Records. They bring together contributions from Jello Biafra (twice), Radio Pete (who happened to come up with the name Dead Kennedys when Biafra was a teen in Boulder, CO, and this is their first time ever collaborating musically), Kimya Dawson (Moldy Peaches), Oliva Jean, Junia-T, Amy Goodman, and some honorary WSC members: Qknox, Michelle Rocqet, Wes Watkins, RAREBYRD$, and many more; to create 11 absolute bangers.

On his fourth solo album, and debut work for Nick Klein's Psychic Liberation imprint, Henrik Munkeby Nørstebø presents »Faint Light Blackens«, a negotiation between the atomized instrumentation of the solo trombone is pushed towards a full range wall of sound over the concise sprawl of seven distinct acts on two sides of a vinyl record.

The seven acts that make up the album were developed specifically for recording within Emanuel Vigeland’s »Tomba Emmanuelle«. The fresco within the mausoleum anchors themes of existential weight, ripe with weighted imagery of love, birth, and death. The solemn space is a cavernous acoustic terrain wherein reverberant reverie makes it almost impossible to speak aloud, let alone sing through horn and electronics. This chamber's expanse is baked into the compositional directions employed on »Faint Light Blackens«.

Experientially, the record was produced in a long form performance gesture, with no overdubs. While edited to fit the record format, no additional post production coloring took place. Here Nørstebø shines as an instrumentalist, wherein the symbiosis of the site specific architecture and his sound sources are synced. At once musing and brooding, the gamut of emotive sonic landscapes is at play for a fully dynamic listening experience. The territory in Nørstebø’s vocabulary through interplay with the mausoleum is not vaulted , unlike Vigeland’s urn’ed ashes. On »Faint Light Blackens«, the spirit takes bound beyond the cavern and reanimates the listeners stereo alters for a holistic listening experience of perfectly challenging electroacoustic endeavors.

Henrik Munkeby Nørstebø – acoustic & amplified trombone, monotron, feedback, sound files.
Recorded by Espen Reinertsen October 10. and 11. 2023 in Tomba Emmanuelle, Oslo Norway.
Cover Photos and mix by Henrik Munkeby Nørstebø
Mastered by Helge Sten (Deathprod) at Audio Virus Lab

A tribute to Bob the Landlord from Rotterdam. Bob the Landlord became known in Rotterdam after appearing in a documentary about the harbor cafe Willems Kantine. He was a loud and direct landlord who rented small rooms to people around the area. Bob was famous for his strong Rotterdam attitude and the way he spoke to people without filtering his words. One of the most famous moments was when Cowboy Jos asked him for five euros. Bob angrily replied, "Five euros? On your face!" This line later became a well-known quote in Rotterdam. Even though he could be rough and strict, Bob became a memorable character and a small cult figure in the city. 4 tracks on one very special release. A1 by Doctr - Our Minds Belong Together. The long awaited super nu italo hit already played by David Vunk at many festivals and clubs where everyboday is waiting for! A2 by Theo Scuera - Your Virus. Club banger and Dancefloor filler with crazy sexy bassline and pumping rhythm section. Half electro half techno. Endmix legendary by Endrik schroeder. A1 David Vunk and Ben la Desh - Unrealized prophet. Long time friends Ben la Desh and David Vunk team up again with another super deep techno house track, layered analog sequencial prophet 5 synths sound, Erica Perkons drums and fx. All of this comes together in an exciting tech break with space-like sounds. Be prepared for this secret wapon. B2 Patricio Diaz - Come To My Hell A Parisian space house techno track with energetic beats and 90ies vibes. Pure energy. Get your 10000 steps on this one. Hint: Most likely people will already buy this just for the cover. So be quick for this release and don't miss this.

Analog Tara’s Life of the Mother is a sonic meditation on the depth, expansiveness, complexity, and power that this phrase holds. This album is made from layers of generative processes and interactions with them. Analog Tara uses a Zillion sequencer and Xone mixer as system guides, and sounds of the ARP 2500, Jealous Heart, Access Virus, Oberheim OB-6, Jomox XBase, Moog DFAM, and more to create a compelling electronic narrative.

Composed, recorded + mixed by Tara Rodgers. Mastered by Piper Payne, assisted by Colby Gustafson, at Neato Mastering in Nashville, TN. Art by Jackie Milad, She Goes Ancient, mixed media, 2019.

Carnival Diablos is an album of red-blooded metal that connected Annihilator’s legacy to their present-day and re-established Jeff Waters’ place in the thrash pantheon. From the frenzied call-and-response of album opener ‘Denied’ to the progressively-edged mid-tempo sway of the title track, Carnival Diablos is a wholly satisfying offering of steak and potatoes heavy metal thrash – more heavy metal, less thrash, but 100% Annihilator at one of their many peaks.

An album you say ?
Oh yes... A bloody overview of the Scuderia scene over the years !!!!

The Black Hole EP continues in the vein of recent Maximum Minimum releases with some hi-octane techno from Ciuciek, Dilks, Luca Pointzero, and Pest Control - all acid artists showing what they can do without their trademark 303 blitzkrieg. Ciuciek pounds the st out on 'Lost In Underground' whilst Dilks and Luca Pointzero create some driving Acid Techno (but without the 303) on their respective tracks 'Blatant Fkery' and 'Virus', whilst Pest Control whips up a stunning old school rave homage on the brilliant 'Nomads Of The Sky'.

Fifth chapter of Disturbo Records, our bigger collaboration so far with great friends and great artists, delivering 8 tracks of pure mayhem. this time out on a double 12" gatefold fully illustrated by our brother in Kota Kinabalu: Mamink aka No Solucion.
All tracks written, arranged and mixed by the artists.
Masters by Exchange.

Following the release of Deltron 3030, all three members participated in the Gorillaz' self-titled debut album. With Del aka Deltron Zero on vocals, Dan the Automator aka The Cantankerous Captain Aptos on production, and Kid Koala aka Skiznoid the Boy Wonder on turntables, this album takes the listener on a paranoid journey set in a dystopian year 3030 dealing with viruses, the apocalypse, an oppressive government, and a war waged against a huge company called the Corporate Bank of Time that rules the universe, all to the well-crafted and consistent musical backing of the Automator. Appearances by Damon Albarn (The Gorillaz, Blur), Prince Paul, Peanut Butter Wolf, DJ Money Mark, Paul Barman, Mark Bell (Bjork, production), Sean Lennon, and Mr. Lif compliment Del's vocal style and add the right amount of flavor to this classic period piece.

MINT from Stock

Pumpin tribe breaky flavour. Probably one of the best record melting these 2 styles. Really a pearl :)

Riding in on an eviscerating vocal alarm call and originally released in 1988 as the final installment of her Masque of the Red Death trilogy, Diamanda Galás" You Must Be Certain of the Devil is as unflinching now as it was on release in 1988. It remains a swaggering, furious fuck-you to those who might cast aside the sick and dying in the name of faith and scripture. Often misunderstood as simply dark for its subject matter, You Must Be Certain of the Devil in fact shines a light of such total exposure it leaves nowhere to hide, forensically unmasking the fury and pain of real grief and the vast spectrum of emotions rendered by the AIDS epidemic. It is an album that looks you square in the eye, pins you against a wall and makes you look at and feel the horror the virus visited upon a person, the knowledge of certain death in a hostile environment, and the hypocrisy of those who claim to be Samaritans or protectors.

Born out of the Northern California DIY scene, Moms With Bangs started as a ragtag group of high schoolers looking to build a musical community filled with loud, chaotic, unfiltered energy. Quickly becoming known for their loud experimental sound and unhinged live shows. Moms With Bangs become legendary for being high-volume, high-energy, and having zero barrier between them and their audience. It was these qualities that caught the attention of Jello Biafra
himself, who was so impressed he signed them to his label Alternative Tentacles Records, making Moms With Bangs the youngest signing in the history of the label. Recorded at Tiny Telephone in Oakland, CA over the course of two days in January of 2024, Leo Hirsch, Michael Cook, Austin Kennedy, Axel Sanchez, and Oliver John live-tracked these songs in one large recording room, recording at the same time facing each other, to make sure the recording captured the unfiltered energy of the live show as much as possible. As for the name of the 7”? “Do What’s Delicious” came from a suggestion from Jello Biafra himself, while the band was in the studio, as a name he once considered for a Dead Kennedys release. The two tracks on “Do What’s Delicious” capture the throttling high energy rhythms of bands like Thee Oh Sees. Showcasing an affinity for the off-kilter groove of bands like Deerhoof or Black Midi. Moms With Bangs aims to disgust and delight with no limits! We couldn’t be more excited.

Jeder, der sich ein wenig mit aktueller elektronischer Musik auskennt, hat den Namen Mechatok, alias Emir Timur Tokdemir, schon einmal gehört. Er machte sich einen Namen durch weltweite Tourneen und eine Reihe von Veröffentlichungen und Kooperationen mit einigen der innovativsten Künstler*innen des letzten Jahrzehnts - darunter Drain Gang (Bladee, Ecco2k, Whitearmor, Thaiboy Digital), Charli XCX und Lorenzo Senni. Oft zurückhaltend im Ausdruck, verbreiteten sich diese Arbeiten sowohl in der Underground-Szene als auch im angrenzenden Mainstream und prägten dabei subtil die Entwicklung von experimentellem Pop und Clubmusik. Tokdemir versteht Mechatok als eine Art Avatar, der es ihm ermöglicht, neue Facetten seiner selbst zu erforschen und dem kreativen Prozess Offenheit und Freiheit zu verleihen. Als Inspirationsquellen nennt er Künstler wie Daft Punk und Gorillaz: zeitlose Figuren, die das Konzept des künstlerischen Projekts selbst zu einem Kunstwerk erhoben. Nach Jahren der Klangforschung als Mechatok präsentiert er nun "Wide Awake" - sein fast schon kaleidoskopisches Debüt-Soloalbum. Die Platte kristallisiert eine sehr persönliche Reise heraus und etabliert Mechatok nicht nur als herausragenden Kollaborateur, sondern als unbestreitbaren Solo-Künstler, der seine Vision voll im Griff hat. Durch die Mechatok-Persona findet er Ausdrucksformen, die paradoxerweise intimer - und zeitloser - wirken. Alles auf "Wide Awake" wird durch eine verspielte, aber zutiefst intuitive Klangwelt und eine Reihe haikuartiger, zentraler lyrischer Themen zusammengehalten. Das Album stellt Fragen nach der Möglichkeit von Authentizität und dem Status von Selbstausdruck im Zeitalter algorithmischer Vereinheitlichung. Mechatok vermeidet utopische Lösungen und entscheidet sich stattdessen dafür, mit seltsamen Mehrdeutigkeiten zu leben und deren schöpferisches Potenzial zu nutzen. Mit Features von Bladee, Ecco2k, Isabella Lovestory, Tohji und anderen deckt "Wide Awake" ein breites emotionales und stilistisches Spektrum ab, bleibt dabei aber stets durch Tokdemirs präzise Vision gefiltert. Das Ergebnis ist ein sorgfältig komponiertes elektronisches Pop-Opus - eine Sammlung süchtig machender, persönlicher Mantras; Fragmente, die gleichzeitig flüchtig und dauerhaft erscheinen.

GATEFOLD DOUBLE VINYL WITH SPOT UV FRONT COVER

Following the skewed-unself-help-brilliance of ‘Sus Dog’ (which marked his first full foray into songs, abetted by Thom Yorke), and its companion piece ‘Cave Dog’, Chris Clark returns to the dancefloor’s simple, but no less affecting pleasures, with ‘Steep Stims’.
“I found it hard to pull away from listening to this record, hard to stop making it, I had to remove myself from the Stims and stop enjoying it at some point. The album feels like nature to me. I love it when electronic music feels more naturalistic than acoustic music, more potent, that’s the devil’s trick, the promise of electronic music.” comments Chris.
“I used an old synth - the Virus on all of the tracks. I used it at Mess in Melbourne - run by my friend Robin Fox - I loved it so much I had to buy one when I got back to the UK, it took a while to find. They’re a bit clunky to program but make some of my most favourite sounds.”
‘Steep Stims’ marks a back-to-basics approach, invoking the early years of gung-ho creativity enforced by limitations in technology at the time. “Most of the tracks on this album capture the spirit of making music on old samplers, which don’t have much memory time”, explains Clark. “It reminds me of making ‘Clarence Park’, my first album, where I would have to finish tunes in the session, as they would be saved on floppy disks and I couldn’t easily go between tracks. This new record is just a few synths and a few choice sounds; the writing is the important thing.”
Made quickly, ‘Steep Stims’ reflects the immediate rave energy of his live show, but that’s not to say it’s basic floor fodder, as it’s rife with personality, synth magic, and knack for melody. Although swift and impressionistically captured rather than laboured over, it’s still formidably deft, with plenty of oddball weirdness lurking beneath the dancefloor.
Soft, orange, scorched, brutal, the opening track ‘Gift and Wound’ captures the classic dance music dread / awe / euphoria combo perfectly, before ‘Infinite Roller’ merges sparkly-minimalism with snarling bass and soft sines, which turn more dense and metallic as it progresses.
The melancholic smoke belch of ‘No Pills U’ gives strong classic vibrations, which is belied by its creation, made in just 20 minutes. “I love working quickly sometimes”, comments Clark. “Inspiration hits, rough and ready. It’s off the cuff but also screams ‘don’t gild the lily with nonsense, keep it simple keep it clean’”. Segueing into its elder brother, the piece becomes bigger and beatier on ‘Janus Modal’, where it permutates for over 7 minutes of fluttering, beatific club majesty.
At ‘18EDO Bailiff’ you inexplicably find yourself at a clearing, things have suddenly got much quieter. You enter a decrepit and eerie old house, and as you move through its unsettling interior, you arrive at ‘Globecore Flats’. A real piano tuned to 18 notes per octave gives the pair of tracks a haunted, olde worlde feel, which promptly gets eaten by a huge tech step tearout monster, birthing a strange but exotic beast.
The white hot ‘Blowtorch Thimble’ is all hooktasm-rave-hyper-amen-energy, whilst acidic flute leaps around like Ian Anderson on pingers throughout the catchily simple jump-up lurch of ‘Civilians’.
“‘In Patient’s Day Out’ is like some sort of Morricone-does-kraut-rock-with-drum-machines, but that’s probably just in my head” says Clark. “I made several versions of this then went with the early mix but cranked through some choice outboard because it just had something.”
Drumless, yet still full of exhilarating-big-trance-drama, ‘Who Booed The Goose’ flashes by in stroboscopic fast forward, then ‘5 Millionth Cave Painting’ gives a palate cleanser, letting “the virus with its delicious broken, luxurious reverb have a moment”, before ‘Negation Loop’ swoops down in all its glory, with Clark’s tweaked vocals leading deconstructed trance breakdowns, tape edits and brutal noisebursts.
An antidote to the bombast of its predecessor is ‘Micro Lyf’, which closes the set on a poignant note, of sorts. Muted staccato gives way to field recordings “that gradually put it in this outside space; alien in a meadow somewhere nameless. It feels like a sinkhole. The record kinda swallows itself up and then is gone”, ends Chris.