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Double album feature some of the greatest soul artists and their film bangers.

Cemetery Sun has been building anticipation through the release of EPs & singles. Their previous single, “Fake Love,” has been streamed over 16 million times, and they have 6 singles with over 2 million streams. “IDNUA” was written as an anthem for letting go. It’s easy to feel trapped or suffocated by trauma or past mistakes, especially when you doubt yourself. Cemetery Sun will be supporting this release with 40 tour dates supporting The Score & Grayscale.

The ninth album in BBE Music's J Jazz Masterclass Series presents ‘At the Room 427’ by Koichi Matsukaze Trio Featuring Ryojiro Furusawa, a rarely heard exemplar of post-modal power bop and free jazz. Delivered by a trio playing with an intensity and energy that draws on classic Eric Dolphy and mid-era Coltrane but definitely with its own particular vibe, At the Room 427 is an exemplar of febrile improvised jazz that could only come from Japan. This deluxe reissue sees a welcome return to the J Jazz Masterclass series for saxophonist Koichi Matsukaze. Originally issued in 1976 on the cult ALM label, At the Room 427 is the debut album from one of the most exciting and forward-thinking instrumentalists to emerge in the mid 1970s. Matsukaze's distinctively angular, deconstructive style adds an unpredictable quality to the session that is balanced by the muscular bass of Koichi Yamazaki and the kinetic drumming of Ryojiro Furusawa, who provides a sound footing for Matuskaze’s fiery solos and free-form chemistry. The album opens with the epic Acoustic Chicken, a 20-minute tour de force of dynamic and explosive interplay. Featured on J Jazz: Deep Modern Jazz From Japan volume 3 and written by Furusawa, Acoustic Chicken's strong melody lines and scorching sax finely mesh with the driving rhythm section. Furusawa’s Elvin Jones-like rolls and batteries of percussion are underpinned by Yamazaki’s driving and rounded bass. At the Room 427 also includes a radical deconstruction of the Billie Holiday classic Lover Man and three more original compositions by Matsukaze. The album was recorded live in November 1975 before a small audience in – as the title states – Room 427, a classroom in Chuo University, the alma mater of both Matsukaze and Furusawa. However, despite the rudimentary surroundings, the recording by Yukio Kojima, founder of ALM, manages to give the listener the feeling of being in the room itself, up close to the band, bristling with an intense energy. This reissue of a long-lost rarity of post-bop/free playing maintains the exceptionally high standard set by the previous releases in the BBE Music J Jazz Masterclass Series. As with all releases in the series, At the Room 427 comes with full reproduction artwork and extra sleeve notes, with artist interviews and biographies. The J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.

For more than 20 years, Brad Barr has been counting the number 216. It’s a mysterious number that seems to show up everywhere—from clocks and license plates to Ouija boards and receipts—and now it’s also sewn the fabric of his new album, like the 216 stitches on a baseball. The Barr Brothers frontman has set aside his band, his microphone and even his lyric-sheet—picking up his instrument for a solo guitar album that ripples with immediacy, vulnerability, and the spell of six-cubed.

Barr spent decades developing his visceral approach to the guitar, first with The Slip and then across three LPs with the Barr Brothers. The Winter Mission—the follow-up to The Fall Apartment, Barr’s 2009 solo debut—had its origins in an instrumental commission for New York City’s All For One Theater. It “felt like a gift,” Barr recalls—to have a sound he could explore all by himself, away from the road, during COVID’s strange intermission.

Ike & Tina Turner Rediscover the most magnificent Soul, R&B duo of all time according to the Rolling Stones. This vinyl shocases 16 key tracks including the hits with their early recordings that created their popularity "A Fool In Love", "It's Gonna Work Out Fine", "I Idolize You", "Poor Fool", and "Tra La La La La".

How To Train Your Dragon 3: The Hidden World is the 2019 American computer-animated action fantasy film based on the eponymous book series by Cressida Cowell. It’s the third and final chapter of the trilogy. The story is written and directed by Dean DeBlois and stars the voices of Jay Baruchel, America Ferrera, Cate Blanchett, Craig Ferguson and F. Murray Abraham. The plot follows Hiccup who discovers Toothless isn’t the only Night Fury and how he must seek ‘The Hidden World’, a secret Dragon Utopia, before a hired tyrant named Grimmel finds it first.

The trilogy received acclaim from critics for its animation, voice acting and musical score. This third installment grossed over 525 million dollar worldwide, becoming the fifth highest grossing animated film of 2019. It was even nominated for Best Animated Feature at the 92nd Academy Awards.

The score was conducted by John Powell, who is best known for his work on Happy Feet (2006), Ferdinand and Solo: A Star Wars Story. He was nominated for an Academy Award for How to Train Your Dragon (2010). Powell has worked closely with Hans Zimmer and was a member of his music studio.

How To Train Your Dragon 3: The Hidden World features the track “Together from Afar” by Jónsi (Sigur Rós) and the bonus track “The Hidden World”. This 2LP is housed in a gatefold sleeve and is available as a limited edition of 500 individually numbered copies on solid blue (LP 1) and solid red (LP 2) coloured vinyl. The package contains a 4-page booklet and an exclusive postcard.

Cardinal Fuzz / Acid Test are proud to present to you the debut LP from Black Holes Are Cannibals – ‘Surfacer’.

Formed around the uber talent of Chris Jude Watson (founder of ‘Snakes Don’t Belong In Alaska’) who in BHAC found a band to take his vision to the outer most limits. BHAC are a collective with a varying line and each time they record all the music is improvised as they let their collective and innate abilities guide them, but what does bind them are the touchstones of Drone and Minimalism that runs through the music they create or just plain HEAVY. Call them Drone Metal or Psychedelic it matters not as the music created is an immersive, all consuming and thought-provoking transcendental listening experience that awaits those brave enough to take the ride with BHAC.

‘Surfacer’ was recorded at First Avenue Studios in Newcastle by the band using a TASCAM DR40 and is the embodiment of pent-up emotions gathered and endured during lockdown as they zap out every ounce of feeling and anguish into this recording.

‘Surfacer’ is not an album for the faint of heart with 2 long tracks of transcendence that will challenge and push you to lose yourself in the sonic experience of the timbre / vibrations of droning instruments and throat vocalisations as BHAC weave together mesmerizing waves of sonic texture.

‘Surfacer’ draws influence from bands like Neptunian Maximalism, Qujaku, Neurosis and the visual work of Andrei Tarkovsky, Kenneth Anger and Larisa Shepitko which influence the energy and darker sounds of the music while still taking influence from more traditional psychedelic sounds and experimental places like Taj Mahal Travellers, Suzuki Junzo, Pauline Oliveros, Vahvistusharha, and Tōru Takemitsu aurally and visual energies from occult works like Jodorowsky's 'Holy Mountain', Helena Blavatsky and Hilma Af Klint's Alterpieces 1-3.

As Terence McKenna might have said – BHAC are best experienced when listened to in complete solitude in a dark room while you are doing nothing else. To experience this album to the fullest, you must not have any distractions. Just sit down, relax, plug in, and let this album take you up into outer space.

‘Surfacer’ is pressed on Heavy Black Vinyl and presented in a 350gsm Outer Sleeve with artwork that perfectly matches the music drawn by James Watts (Inspiration coming to James from an article on beaked whales being "more surfacer than diver" before we had that jam and thats what inspired his drawing of an abstract beaked whale skull for the cover).

English jazz-funk band Level 42 released their tenth studio album Forever Now in 1994. While Forever Now marked the return of original drummer Phil Gould, it was the last album before the band’s breakup. Featuring the popular singles “Forever Now”, “All Over You”, and “Love In a Peaceful World”, the album was a commercial success. It reached #8 on the UK album charts. Music critics were also generally favourable, calling it the band’s “best album since the mid-80s heyday of World Machine and Running in the Family”.

Straightaways is the second album by the American rock band Son Volt. It was originally released on April 22nd, 1997. The group was formed by Jay Farrar after his previous band Uncle Tupelo broke up. The sound of this album is much related to the sound of their first album Trace. However, where Trace is still very alt-country oriented, Straightaways has a more alternative rock sound.

Over the last twenty years Comeback Kid have been hailed as one of the major counterparts when it has come to shaping and pioneering both the Canadian and international modern punk and hardcore sound and scene alike.
After having released their first demo in 2002, before quickly drawing the attention of Facedown Records for the release of their debut, Turn It Around, the last twenty-one years have seen the band produce some of the most acclaimed records within the genre. Signing to Victory Records (Thursday, Refused) for 2005’s career defining records, Wake The Dead and Broadcasting, the five piece have undoubtedly over the years been able to balance a DIY ethos and dependability, with that of a humanitarian ethos, and genre defining musicianship which has broken down the boundaries of hardcore, and transcended the genre onto a global stage. With a back catalogue that would produce some of the most seismic and influential anthems to transverse across both punk and hardcore, 2017’s signing to Nuclear Blast Records (Hatebreed, Madball, Slayer) saw the release of powerhouse heavy hitter, Outsider.
Arguably noted as a record and turning point in both sound and the band’s career, this release would be a definitive moment in pioneering a new path of which an entire generation of new artists within the genre would follow, thus solidifying Comeback Kid next to the likes of NOFX, Terror, and Converge as both major headliners, and forefathers to set the course for what it means to be one of the most adverse punk bands of the 21st century. “We’re a hardcore band, but we don’t feel like we belong to any particular sect of that,” states Neufeld alongside band members, Jeremy Hiebert (guitar), Stu Ross (guitar), Chase Brenneman (bass), and Loren Legare (drums). “We don’t want to be limited in any sense and prefer to work on our own terms.”
Now one of the most volatile leaders within the global heavy music community and continuing to break down boundaries and champion new territories, Comeback Kid’s seventh studio album, Heavy Steps is solidifying the band’s revolutionary status.
Returning to their roots, literally, by recording in Winnipeg and co-producing with John Paul Peters (Cancer Bats, Propagandhi) as well as collaboration with prominent mixer Will Putney (Knocked Loose, Every Time I Die, Four Year Strong), Heavy Steps is no longer a prerequisite to realizing Comeback Kid’s influence on modern punk, but a delivery of pure anthemic chaos, sheer speed and force. It is a statement of intent. “It’s about hitting the ground running, not knowing when or where the ground could break from underneath you.” summarizes Neufeld. “It's heavy steps on thin ice. Heavy steps on hollow ground.”

Nervous Records, the iconic label synonymous with the rise of house from the streets of New York City, will mark 30 years in the music industry by releasing the celebratory compilation LP ‘Nervous Records: 30 Years’ on October 1st (Part 1) and October 15th (Part 2).

Featuring original mixes of the label’s biggest tracks, plus remixes by some of its most celebrated acts, ‘Nervous Records: 30 Years’ is both a celebration of the past and of the future. Featuring a who’s who of electronic dance music, the long player sees names including Louie Vega, David Morales Darius Syrossian, Tensnake, Monki, Franky Rizardo, Danny Howard and more take on iconic Nervous cuts: ‘You Make Me Feel Mighty Real’, ‘Treat Me Right’, ‘Future Groove’, ‘Feel Like Singing’, ‘Get Up Everybody’, ‘Break You’, ‘Hot’, ‘End This Hate’, ‘Unspeakable Joy’, ‘Can Ya Tell Me’, ‘Jerk It’, ‘The Anthem’, ‘It Makes A Difference’, ‘Learn 2 Luv’ and ‘Don’t You Ever Give Up’.

The album marks one of the most enduring, extraordinary legacies to grace America’s illustrious music history, not just in electronica but far beyond. Founded in 1991 by Michael and his father Sam Weiss, and recognizable immediately by its distinctive character logo, the label grew rapidly, in no small part due to Michael Weiss’ practically unmatched passion for discovering new music.

“Louie Vega and Kenny Dope woke me at 4am on Tuesday night, Wednesday morning from their studio telling me they had something really different that I needed to hear,” Michael recollects. “I asked if they could play it over the phone. They said if I wanted to hear it I had to come to the studio. So of course I got myself up, got dressed and went there. That “really different track” ended up being ‘The Nervous Track’, a tune that became our signature release and was also highly instrumental in the emergency of London’s ‘Broken Beat’ movement.”

The label’s willingness to take chances on fresh sounds and innovative concepts rising up from the melting pot sidewalks of NYC ensured a body of work that has become a living musical history of the city. House cuts ‘Unspeakable Joy’ and ‘Nitelife’ (Kim English), ‘Get Up (Everybody)’ (Byron Stingily) and ‘Feel Like Singing’ (Sandy B) bump up against hip-hop anthems like ‘Who Got Da Props’ (Black Moon) and “Bucktown” (Smif-n-Wessun) and reggae cut ‘Take It Easy’ (Mad Lion); soulful flows from Mood II Swing (Kim English ‘Learn 2 Luv’, Loni Clark “Rushing”), Armand Van Helden (‘The Anthem’) and Nuyorican Soul (‘Mind Fluid’) sit alongside seminal techno singles like Winx’ ‘Don’t Laugh’. The young artists and producers who joined the Nervous Records’ family have gone on to become some of the most hallowed and celebrated dance acts of all time: Louie Vega, Kenny Dope, David Morales, Tony Humphries, Roger Sanchez, Armand Van Helden, Kerri Chandler, Kim English, Byron Stingily, Josh Wink, to name just a handful.

“We did a release with Josh Wink under his Winx alias entitled ‘Nervous Build-Up’,” Michael said. “It did well and it was obvious how talented Josh was. Subsequent to that release I was pretty persistent in asking him to continue to play me his new demos. During one phone conversation he said, “Mike I’m gonna play you something over the phone but don’t laugh when you hear it.” That demo ended up being ‘Don’t Laugh’, which became one of our biggest international hits and still to this day is one of America’s earliest and most impactful techno hits.”

As much a celebration of the label’s future as it is of their past, Nervous Records: 30 Years is but a marker in the imprints’ history, a clear sign of where they’ve been and also where they’re going. With 30 years behind them, the label’s determination to unearth new raw diamonds in the rough is as unwavering as ever.

“I’ve always been one to look at what others are doing (the industry at large) and think, “ok, are they doing this specific thing for a reason, or doing it because everyone else is doing the same thing” and make my decision based on that,” says Nervous Records’ General Manager Andrew Salsano. “In an age where data metrics and analytics reign supreme, I remain steadfast that they should be complementary to your decision and not the sole indicator to make one. So many songs today are written with 15 second hooks in mind for social media, and while there’s nothing wrong with that business model you will always be chasing the wave instead of carving out your own path and identity.

“My primary focus for the sound of the label has and will continue to revolve around signing good songs and music that has the ability to react at the street level first. The best results come from artists that are firstly given a bit of local love that grows into a global impact. Fresh ideas that express child-like curiosity and artists showing vulnerability in their music are also something I look for, artists and producers that are not making music with certain markets in mind, but rather their own style and signature that is unique but able to straddle the fine line of underground and overground.”

Still as raw, as underground and as finely tuned to the dance floor as they ever have been, perhaps the secret to the success - and the longevity - of Nervous Records has something to do with that hard, dogged, no-holds-barred NYC edge that runs through the veins of the label. With the next generation of producers rising from the clubs of New York, one thing is certain; Nervous Records will be there to find them, nurture them and bring them to the world at large, over the next decade and beyond.

As the 21st century was born, so Kreator underwent what was nothing less than a seismic creative rebirth. By this time, the iconic German band had released nine studio albums in the 1980s and '90s, which had established them as one of the most important metal names of these decades.In the first period, they had helped to shape and pioneer the thrash scene through such releases as 'Pleasure To Kill' (1986), 'Terrible Certainty' ('87) and 'Extreme Aggression' ('89). During the following decade, the band had opened up exciting horizons of experimentation on albums like 'Coma Of Souls' (1990), 'Renewal' ('92) and 'Endorama' ('99).
Now, though, it was time to move into a fresh era, as vocalist/guitarist Mille Petrozza explains.
“During the 1990s, we were definitely experimenting with what the band were doing. But (drummer) Ventor and I decided that for this album – our first of the new millennium – we wanted to go back to the sort of sound that we had at the start of Kreator. In other words, to get back to the reason why we began the band in the first place.”

There was also new guitarist introduced, as Sami Yli-Sirniö (who had made his reputation with Finnish band Waltari) took over from Tommy Vetterli. The latter (also known as Tommy T. Baron) had joined in 1996 and played on the 'Oucast' (1997) and 'Endorama' albums.

The producer for this album was Andy Sneap, who was now making a name for himself as one of the pre-eminent masters of this art in the modern metal world.“I had known and liked Andy since the days he had been the guitarist in Sabbat, as they were signed to Noise Records as Kreator were on that label. He was our first choice to work on this new project. I liked what he'd done for Testament on their album 'The Gathering' (released in 1999). He had given them a sound they'd never had before, and that really was what we were after. It was natural and organic, and also very modern. I remember phoning him at his Backstage Studios in England (Ripley in Derbyshire). And Warrel Dane, the vocalist in Nevermore, answered. Andy was producing their new album at the time ('Dead Heart In A Dead World', 2000). And when I heard this, again I was very impressed. So, I was delighted when he agreed to produce the new Kreator album.”

The album title came from something Petrozza had read. “In a book I came across a comment that John F. Kennedy said (in 1962). This was: "Those who make peaceful revolution impossible will make violent revolution inevitable”. I thought 'Violent Revolution' would make a good title for an album. So, I kept it in my mind for this record. I think 'Violent Revolution' is a title that makes a real impact.”

One interesting aspect of the track listing was that the 52 second instrumental 'The Patriarch' actually came after the opening song 'Reconquering The Throne'. Fans might have been expected that it would have opened the album. But for Petrozza, there was a logical reason for this not to happen. “We really wanted to lead off with a thrashing track, to show everyone what we were now doing musically. After 'Endorama', it was important that everyone should recognise this was a new era for Kreator.”

'Violent Revolution' is without question an excellent album. While in some ways it does hark back to the glories of the band's earlier days, nonetheless it does not sound at all nostalgic. The performances and production values are very much part of the contemporary era, and the strength of the compositions themselves are of the highest values. Rising to the challenge offered by a new generation of ambitious metal bands, Kreator proved they were far from being a spent force. Unlike so many of their peers, here was a band who still had so much creativity to offer, and were also clearly excited themselves by what they were doing. And when you hear the band themselves enjoying the entire process, then you know this is a bona fide revitalisation.

Newly remastered audio.
LP pressed on black vinyl & housed in a gatefold jacket.

Willie Nelson’s 1996 album Spirit is an emotional concept album illustrating the forlorn tale of a man abandoned by the great love of his life. We follow him down the path of loss as he confronts grief, gets back on his feet, and eventually finds solace in acceptance. While producing Spirit, Nelson assuredly knew the commercial risks behind releasing an album this melancholic. After all, in 1973 he himself wrote: “sad songs and waltzes ain’t selling this year.” Beloved by those familiar with Nelson’s deep catalog, Spirit largely slipped through the cracks in the mainstream, but remains highly revered amongst critics and fans alike.
Backed by legendary country fiddler Johnny Gimble (of Bob Wills and His Texas Playboys), sister Bobbie Nelson on piano, and his longtime touring guitarist Jody Payne, the song-cycle is anchored by lilting Spanish-inspired instrumentals that absorb a lonesome gravity when placed next to ballads that tug at even the most unwavering heartstrings. Likened to Bob Dylan’s Time Out Of Mind or Waylon Jennings’ Right For the Time, Spirit sees Nelson maturing most gracefully: he trades rousing sing-alongs and saloon tunes for gut-wrenching lyrics and instrumentation of greater precision and skill, proving this release as deep and as challenging as his career-defining albums released twenty years before.
Originally released by Island Records in 1996, Spirit is newly remastered and housed in a gatefold jacket. This is a chance to own this unique album in its most beautifully presented form.

(transparent vinyl in custom transparent sleeve) Mexico's Lokier gears up for her first release with Lenske, "Back To Life EP", showcasing her ability to fuse the worlds of industrial, rave, techno and trance with an electrifying 3 tracker.

2020, a year that will be forever engraved in our memories as Year One of the Covid debacle.

So much has already been said about it that we feel there is no need for more.

However, 2020 was also the year when we’ve released Tapan’s remix to Decha’s song Niebla from her sold-out debut album Hielo Boca as part of MT0028 Decha - Hielo Boca Remixes. This remix led to a fresh collaboration between the Serbian duo and the German vocalist, which in time bred a brand new track, titled simply TWENTY.

On Twenty, Tapan’s massive bass lines, heavy kicks and their sense for drama and epicness, meets Viktoria Wehrmeister aka Decha’s soft poetic lyrics and tribal style. The result is a massive slow yet heavy tribal industrial track for the alternative dance floors and late night situations in dark dark basements.

The record is comprised of 4 tracks, an original version and a beatless version as well as a deep and trippy dancehall interpretation by our favourite remixers Full Circle (aka Joakim & Alexis Le-Tan) and a punky mid-tempo banger by Mexican maestro and total inspiration Rebolledo who gives his signature sonic attitude to his interpretation of the original track.

»Infuso Giallo aka Philipp Carbotta originally hails from rural Western Germany, first cut his teeth in the music scene of nearby Cologne and conducts a host of activities in Berlin for a couple of years now – co-running the label Kame House, designing graphics and producing and playing leftfield electronic music. His debut LP Ocular Soda presents an intersection of these activities – self-released, self-designed and of course self-produced. Even before the first synth chords and reverse atmospheres of the two-part opener 'Every Waking Hour' tickle the ear, it is the eye that is drawn to the bright, cut-out style cover art – itself made up of two eyes on the front and what seem to be their rough shapes or discarded counterparts on the back.
To stay within that metaphor, Infuso Giallo's music is indeed of a reflective and calm nature, taking cues from Berlin School, library and New Age musics from roughly the 1970s to the 1990s – steadily repeating and slowly evolving ostinatos, lush digital pads, quirky filtered toplines and electronic percussion that mostly eschews four-four monotony in favor of much more subtle syncopations. Balearic bomb 'The Big Rip' with its big drums and acid bass turns the energy level up a notch while retaining the somnambulistic, lingering quality that makes Ocular Soda such a coherent listening experience – music on the sheath of waking and dreaming, both worlds and their inherent logics freely bleeding into each other. There are moments of great expanse, such as in 'Mole Gaze' – I couldn't help but see myself hovering somewhere in mid-air while the music unfolds as if on a great deserted plane below me. Maybe this is what it sounds like once the mole leaves his tunnels and takes in the sound of the world overground. 'Hello World', indeed, in its multitude of information to eye and ear, in its gently overwhelming quality. The title track 'Ocular Soda' closes the proceedings with a whimsical nod to 1970s botany-centered library music, its brooding chord sequence and sweet lead lines gradually fading in the distance. A fitting ending to an impressive LP of highly evocative, at times sombre and at times blissfully naive pieces that leave me yearning for more.«

Written, recorded & produced by Infuso Giallo in 2020 & 2021 in Berlin. Mixed by Philipp Janzen & Sebastian Blume at Dumbo Studios, Cologne. Mastered by Sam Irl in Vienna. Design by Infuso Giallo.

With the release of SOUL FOOD 3, KOGNITIF exquisitely completes the SOUL FOOD trilogy and invites you for this feast he started 7 years ago.

Your host is generous and consistent: Punch for starters, chill for the main course and groovy cake for dessert, all of which sprinkled with Electro vibes, Hip-Hop beats, soul and blues. The basics of any healthy diet.

Chef's special suggestion ?

...Have some more Good Mood !

Grey Vinyl

Polymorphism Records continue their intercultural and cross-genre work with their third release E Source. Female vocals return to the label with four original tracks by Russian artist Sestrica, who brings in her characteristic emotional narrative. A remix by Konx Om Pax and
a rework by Antwood make up the crew boarding on a galactic grey/silver vinyl.

PM003 takes off with electro-to-techno beats fuelled by a mild, wrapping acid melody in Today We Meet, where the uplifting countdown to launch can be felt. Sentimental Value gets
us deeper into the spatial trip. Darker samples and a heavier bassline give extra gravity to the anthem of the journey across sonic galaxies. Floating to slow, surrounding sounds and loops we land on a calmer planet called Intention. Its tidal sensation is created by an
orchestral combination of meditative vocals and other layers of composition. New Era enters an orbit of elegant syncopation within a rotating reverb stardust. Ancestral beeps subtly acknowledge legacy to be taken forward to the next odyssey.

Musician and graphical artist Konx Om Pax from Glasgow beautifully introduces nostalgia to New Era with playful breaks and scratches, getting us back to our roots in this excursion visiting alien territoires. Sestrica’s vocals from her original track are drawn into the remix as
echoing words rendering a mysterious aura, travelling through a deep trance of diverse yet harmonic rhythms and effects. A journey within a journey.

Canadian producer Antwood’s rework of side A jumps into an epic vortex of more experimental, unexpected sounds. The album-closer builds up towards absolute chaos, to then create a vacuum to emptiness. A supermassive (tribute to black holes intended) drop
leads to the last minutes of the EP: up tempo cyber-influenced sounds that bring us to a bright futuristic landscape ironically far from a dystopian prophecy.

Purely coincidental fact: the last track of PM002’s originals being Crisis Apparition and its homologue in PM003 New Era, hope seems to be peeking through current times to send an accidental message with this first series of the label.

Mind the overuse of Space metaphors; in this year 2021 where humans are going farther and further in exploring new places out there, it is a tribute and celebration to discover new musical journeys like this out here, on Earth.

Environmental sustainability and social justice are core values of Polymorphism Records. Following their strong interest in contributing to a good cause, shown from the early days, all Bandcamp digital sales are donated to projects such as Team Trees or The Ocean Cleanup.meet f B3 E Source side A (Antwood rework)

A year after his debut on Atomnation, Milio unveils his exceptional first album Nachtzon. Due for release on October 8th, the 12-track album showcases the Dutchman's flair for escapist melodic sounds.

Email van den Dungen started this solo alias in 2020 after previous success as part of the Tunnelvisions duo. But he has ways been a skilled pianist from a musical family, which explains why his well-crafted, emotive melodies always make such an indelible mark. He has a love of beautiful voicings, coloring, melody and harmonies. Personal relationships and close friendships also instill his music with a sense of fun and honest connection and he is someone who spends hours honing his craft, practicing theory and growing ever more conformable with his array of both vintage and modern synths, pianos, guitars and drums. All of this translates to this debut album, which is an expansive affair stuffed with gorgeous grooves and real musicality.

Nachtzon is a widescreen record that proudly wears its heart on its sleeve.

Lo-Fi was rather an involuntary attribute in the 90s. 90s hip hop instrumentals with the sound aesthetics of old 12-bit samplers are the blueprint for everything that runs under chill and lo-fi beats today. For this double LP, SEPALOT dug deep into his demo box, listened to countless DAT cassettes and dug up 36 pearls from the period 1996 - 2002.

Sepalot: "I had to laugh a lot at times and was sometimes embarrassed, but the innocence of the early days also has an insane power. The best beats demos and sketches from my early days now get their moment."

With a little patience and a lot of finesse, Jakobin & Domino cooked up a fine new five track House EP for Luv Shack Records.

The eponymous opener "Lost Memories" effortlessly blends jazzy rhodes and emotive string samples with a funky percussive track and a stomping four to the floor beat.

"Hypnotica" delivers what the title suggests; haunting arpeggios go hand in hand with eerie 7 chords and hushed vocal samples, albeit with a jacking groove laying the foundation.

On "Molecules", Jakobin & Domino evoke classic Chicago house vibes with a shuffling beat, a funky synth bass and uplifting chord stabs to boot.

The arguably most classic J&D sounding track on the EP is "Needed", a hard hitting joint that blends a sombre piano chord progression with dreamy acid lines, evoking major dub house feelings.

"Unbogeba" is a laid back slice of deep house that nicely wraps up the EP, with a lingering afro vocal sample and super lush organ chords, it's the perfect track for hazy afterhours.

Adam Arthur's tunes like "Down Down Falling Down" are pure somnambulist groove, a uniquely bizarre form of hypnosis that drifts through the dream state into our realm and back, deeply interdimensional. The loose and dirty power of "When I Touch You" still surprises me every time I hear it, the most gentle yet powerful and compelling sleazy house song I can imagine. Many of his sides are represented here, including his experimental formless ambient side in the shape of "Tearing the Television Sky" and the digital bonus track "The Forbidden Creature". "The Bard's Tale" closes the EP and balances his hypnotic dream state logic with Azerbaijani Mugham music in something that feels like it would be equally at home on Livity Sound. Live the dream with his debut release on Interdimensional Transmissions.

A Colourful Storm presents Tangerine, a collection of songs by Reiko and Tori Kudo. Recorded at Village Hototoguiss, Japan, in 2011 and 2012 and Cafe Oto, London, in 2009, Tangerine is the result of over thirty years of improvisation and intimacy between Reiko Kudo and Tori Kudo (Maher Shalal Hash Baz, Fushitsusha, Noise, Ché-SHIZU). Their live performances would welcome local musicians, neighbourhood children, friends and passersby on stage while in the studio, they have been joined by Ikuro Takahashi (LSD March) and Takashi Ueno (Tenniscoats), releasing on indie labels such as Geographic and K. A touchstone of contemporary Japanese folk minimalism and significantly the last recorded appearance of the duo. Originally released on CD by Hyotan in 2013 and presented for the first time on vinyl by A Colourful Storm. Full-colour sleeve with insert, postcard and lyrics in Japanese and English.

Aussie producer Captn K is dishing up another great slice. This time Marvin Gaye's Get It On goes from slow sex chant to upbeat sex bomb. It still maintains its smoothness with joyess synth stabs and a grooving electro 808 breakbeat. I Need Some Loving with a repative sample and hook has no kick and just begs to be slipped under some minimal beats. Side B sports Captn k's signature style in the form of an 8min dream wrapped in vinyl. It Will Take An Eternity To Break Us is littered with uplifting vox samples and the most gorgeous pads, you will lose time listening to this one.

Inhale Exhale is extremely proud to present you the latest release of Buzz Compass from Russia, this time with a LP ! This guy has it all. The Album is a perfect Journey from Classic Deep House, over Funky Cuts to Ambient House Vibes with a Bliss of 80s Synth Sound a la Jan Hammer. Our 12th Vinyl Release will make you jumping out of your Shoes and Socks !!!

Lockdown took its toll on Clive. Not the isolation or sense of impending doom - that was normal - but specifically the worldwide marmite shortage in April. On the verge of a 'Driving to Dundee barefoot' style meltdown, Clive found solace in his 20 year obsession with Alan 'foot on a spike' Partridge.

Taking Musique Concrete to its textbook conclusion, Clive has made music only using sounds from TV series 'I'm Alan Partridge'. Over 100, mainly foley samples were repurposed into the two title tracks of the Alan EP.

Alan A is a raw yet melodic, big plate of House. Containing everything from drawer slams to air bass, cereal destruction to Black Beauty, this orchestra of found sound makes for some unique and exciting rhythmic textures. Grab a cup of beans and enjoy.

Things take a dubby turn for Alan B. Late night broken beats and sultry bass worthy of Alan's Deep Bath. Featuring Lynn on jungle time-stretched vocals.

The EP is bought to a close by off-kilter acid-tinged synthwave nugget, Linton TT. It doesn't fol-low the Partridge sampling rules but needless to say has the last laugh.

Bonus Easter egg for the vinyl heads is a "Dan!" locked groove at the end of side A. Cook a cat!

Label info:
Income Trax is Clive from Accounts' filing cabinet of curiosities. Home for his more eccentric and exotic ideas.

Artist Bio:
Regional tiddlywinks champion, stationary cupboard loiterer and all-round beige sky thinker, Clive From Accounts likes two things; pens and music. But mainly pens. Using springs, tape and old synths with fonts he admires, Clive creates the musical equivalent of warm photocopies. If it's going to be that kind of party, Clive's going to put his Filofax in the mashed potato.

It's been an interesting couple of years for Clive. After being picked up by keen-eared funk wizards Fouk, Clive's vinyl debut hit the shelves perfectly to coincide with the largest record shop and club closure in living memory. Undeterred and with a fire in his belly no amount of pepto-bismol could squash, he pressed on.
A string of releases on highly respected labels On The Corner in London (making the Guardian's best tracks of 2020) and Dirt Crew Recordings in Berlin have led him nicely into the second half of 2021 with an EP on New York disco colossus Razor n Tape and the debut release of his own label: Income Trax.

„Sybilline“, „unique“ and „peerless“. These are some of the adjectives that were used to describe Everyone Is A Door – Panoram’s first full-length on Edinburgh’s Firecracker Recordings. Since then, the elusive producer, founded his own label Wandering Eye, produced automated piano music in Los Angeles (Thom Yorke Sonos playlist approved), composed synth lines underwater for Amen Dunes Freedom and toured two years with the band as well being involved in their collaboration with Sleaford Mods Feel Nothing and their upcoming album on SubPop. But Panoram can also hold its own very well. His debut on Running Back’s Incantations series lets you hear and experience that after the first few bars already. Acrobatic Thoughts is surreal, abstract, puzzling and urgent, yet filled with beautiful, slow-moving melodies and emotional passages. Eccentric humor meets serious soundscapes, acrobatic thoughts evolve around abstract key notes, while an out-of-time and out-place atmosphere surrounds a microcosmos that seems to be otherworldly and very natural at the same time. Panoram manages to build a house that can be as much of a home for ambient record collectors as for futuristic pop fans and all the ones in-between those poles. Or to describe it one sentence while quoting two titles of this enigmatic record: Seabrains controlled by beautiful engines.

Hypernatural, comprises of Dan Whitford, better known as one of the pillars of Melbourne heavyweights Cut Copy, Mirko Vogel, the engineer extraordinaire who has recorded for Modular and Room40, and Mike Gamwell, also known as Knightlife, who’s racked up several releases on Cut Copy’s own Cutters Records. You could say their roots are in Melbourne, Australia, but it seems unfair to pinpoint the trio to any specific location.

That’s because their sound lies somewhere deep in misty forests, or half-remembered dreams and subconscious wells of ancestral emotion. The transformative power of these 7 tracks was no accident however. The music was pieced together during two trips - one to the remote Swedish coast and another to the Scottish highlands. The three producers used a set of guidelines that allowed each of them to compose and arrange tracks separately yet collectively, like a connected Oblique Strategy. They took inspiration from the stark beauty of their natural surroundings, which had a huge effect on the music they were making.

The resulting tracks inhabit a world of their own, full of shimmering arpeggios and drifting pads, taut drums and sound effects. The opening track Longboat cruises into view with white noise washes and galley master rhythms, conjuring Old Norse battleships and a sense of sailing the open sea, destination unknown. The single Stormfront is a depth-charged deep house burner, bristling with atmospheric energy and rolling like thunder. With its cascading synth arpeggios and weighty drops, it swells like moody clouds on the horizon and releases tension like the first rain of a summer storm.

Hypernatural particularly succeeds in its world-building, and there’s a cohesion to the tracks despite their many differences in tempo and style. Spirit Walk joins marimbas with modular pulses, as well as slide guitar and snappy shakers, to bring out some Ry Cooder swagger. Unknown Caller taps into the phone line at the speed of 5G, sending breakbeats down the wire on a cold calling mission to recruit ravers for the next after hours. But there are also tracks nodding to blissed-out comedowns and daydreams. Both Changing Tides and New Dawn slow down time to an introspective moment, a catch of the breath, the witness to a beautiful moment. Album closer Valley harks back to classic rave-era ambient, an avalanche of optimism down a majestic mountainside.

Hypernatural evokes panoramic vistas and serene countryside, and you could certainly imagine it soundtracking a hike along coastal hills, or a field at a festival. But it also resides beyond the pastoral, finding a home in airport departure lounges and autobahn service stations, until it eventually settles down inside us - even without the headphones on.

Stormfront
Hypernatural’s single Stormfront is a depth-charged house-tempo burner, bristling with atmospheric energy and rolling like thunder. With its cascading synth arpeggios, raindance incantation and weighty drops, it swells like moody clouds on the horizon, and releases tension like the first rain of a summer storm.

Few groups arrive as fully formed as EPMD did. This dropped as the third single from the album of the same name, and further cemented their distinctive aesthetic: Slow rhyming, trading lines rather than the rappers being confined to their own verses, and backings that were ruthlessly funky and simple at the same time.

They’d go on to be labelmates with Public Enemy when Def Jam picked up their contract in 1990, and to compare and contrast the two is illuminating. While PE at that time were making waves with the Bomb Squad’s breathless, kitchen sink approach to production, EPMD were equally adored for taking the opposite approach.

Here, there’s a sprinkle of drums from Kool & The Gang’s oft-sampled ‘Jungle Boogie’, paired with a very recognisable portion of Eric Clapton’s ‘I Shot the Sheriff’. And that’s pretty much it – the two samples are linked, looped and left to their own devices. Such was Erick and Parrish’s confidence in their own rhyming ability and strong voices, no further embellishment was needed.

That confidence extends to the subject matter. While their debut album and later projects were heavy with concepts – the ‘Jane’ series – and notable guest verses, this was the third straight single of pure brag rap. Two MC’s, one beat, a whole heap of lyrics about how good they were. It’s something you can’t do unless you truly are special, and this duo most certainly were.

Paired with the classic instrumental version, which didn’t make it to the US 7” releases – it’s only on a hard-to-track-down French 7” pressing from 1989 – this this is a timely reminder of how breathtakingly perfect hip-hop can be.

Slam collaborate with Hector Oaks, 999999999, Keith Tucker (AKA Optic Nerve), Amelie Lens, Rebekah, AnD & Perc, for a new five part Soma Records project LOUDER THAN CHAOS.

On March 2020 the world was abruptly thrown into collective disarray. The Pandemic stopped almost everything dead in its tracks. No social gatherings, self isolation, a sense of panic and bewilderment prevailed. An industry that had become so dependent on human connection and unity, was suddenly switched off and put on pause for an unforeseeable future.

It was in this climate that The Louder Than Chaos project was born, facilitated by Soma Records head honchos and techno protagonists Slam. A collaborative project with friends, colleagues and contemporaries normally only seen at airports, or events, now brought together under a completely different set of circumstances, allowing for a purposeful connection in a time of disconnect. The focus of the project is built on a powerful mutual participation, remotely constructed over time and fully intended for holding court on peak time dance floors when they inevitably return. That time has now finally come.

The Louder Than Chaos project is a series of 5 releases, on 12 vinyl" & Digital, to be released monthly via Soma Records. Featuring collaborations between Slam & Hector Oaks, Slam & 999999999 Slam & Keith Tucker (AKA Optic Nerve), + more to follow.

Each EP features specially commissioned artwork from German based artist PPP Panic, which consolidates into one constructive piece over the 5 releases.

Slam collaborate with Hector Oaks, 999999999, Keith Tucker (AKA Optic Nerve), Amelie Lens, Rebekah, AnD & Perc, for a new five part Soma Records project LOUDER THAN CHAOS.

On March 2020 the world was abruptly thrown into collective disarray. The Pandemic stopped almost everything dead in its tracks. No social gatherings, self isolation, a sense of panic and bewilderment prevailed. An industry that had become so dependent on human connection and unity, was suddenly switched off and put on pause for an unforeseeable future.

It was in this climate that The Louder Than Chaos project was born, facilitated by Soma Records head honchos and techno protagonists Slam. A collaborative project with friends, colleagues and contemporaries normally only seen at airports, or events, now brought together under a completely different set of circumstances, allowing for a purposeful connection in a time of disconnect. The focus of the project is built on a powerful mutual participation, remotely constructed over time and fully intended for holding court on peak time dance floors when they inevitably return. That time has now finally come.

The Louder Than Chaos project is a series of 5 releases, on 12 vinyl" & Digital, to be released monthly via Soma Records. Featuring collaborations between Slam & Hector Oaks, Slam & 999999999 Slam & Keith Tucker (AKA Optic Nerve), + more to follow.

Each EP features specially commissioned artwork from German based artist PPP Panic, which consolidates into one constructive piece over the 5 releases.

Grace Cummings is an actor and musician from Melbourne, Australia. Grace
learned piano as a child and took up the guitar as a young adult, but only
began to write and perform music in 2018. She went from a debut gig at
Melbourne’s Old Bar to a breakthrough performance at Boogie Festival in the
space of six months, picking up support slots with J Mascis and Evan Dando
along the way.
 With buzz building around her powerhouse live show, Grace grabbed the
attention of Flightless Records (King Gizzard and The Lizard Wizard), who
released her debut album, ‘Refuge Cove’, in late 2019. Refuge Cove won
praise from publications around the world, including Pitchfork and All Music,
and Grace was tapped for support slots with Weyes Blood, Cash Savage,
Teskey Brothers and Allah-Lahs.
 In 2020, Grace recorded the single ‘Sweet Matilda’ for Mexican Summer’s
‘Through the Looking Glass’ series before landing a worldwide deal with
indie powerhouse ATO Records (Alabama Shakes, My Morning Jacket, King
Gizzard and the Lizard Wizard). Her sophomore album, ‘Storm Queen’, is
now set for release.
 Available on CD and opaque white vinyl. (Once the coloured vinyl format has
sold out, a standard vinyl format - ATO0589LP - will be made available.)
 A graduate of the drama program at the Victorian College of the Arts, Grace
appeared in Elbow Room’s award-winning production ‘Prehistoric’, which
played to packed houses and widespread critical acclaim at the 2018
Edinburgh Fringe. In 2021, she made her debut with the Melbourne Theatre
Company in 2021, in Joanna Murray-Smith’s ‘Berlin’.
 “Cummings isn’t content to merely sing along to her melodies. She tears her
low, surging voice to shreds, braying like she’s beckoning you from the
opposite end of a crowded room. It adds an eerie, intense quality to her
music - a desperation behind the calm of her arrangements.” - Pitchfork
 “One of Melbourne’s hottest new talents... filled with raw power.” - Beat
Magazine
 “Cummings has a voice that demands to be heard, while her lyrics cut
through to the heart, leaving listeners gasping for air.” - Folk Radio UK
 “Like a combination of Sandy Denny, Odetta, Tom Waits, Leonard Cohen
and Marianne Faithfull... as the last piano chord ends, you are left wanting
more.” - Your Music Radar
 “There’s a striking androgyny in her tone, it brings the power needed for
these songs to make you stop and listen...Her wit is very sharp and it bites
back with cunning rhetoric.” - Stomp and Stammer
 “Take notice of Cummings as a fresh new Australian talent.” - X-Press Mag

***
When you are
standing still
and things
are really slow
***

The words legendary, seminal, and classic get thrown around at will these days, but Rudimentary Peni’s debut album is all of them. Recorded over two days at Southern Studios by John Loder and originally released in 1983 by CRASS off-shoot label Corpus Christi, “Death Church” showed a band moving away from the urgency of their two early 7”s and into their own realm. Creating a template that bands have been trying to replicate ever since, while ticking all the boxes to become a genre-defining album. Iconic artwork, a unique sound and their own lyrical universe. All merging seamlessly. Sonically the album is full of Nick Blinko’s extraordinary vocals and equally remarkable guitar, Grant Matthews’ big meandering driving basslines and Jon Greville's tight and relentless drum work which together made something intricate and hard hitting, with a sequence that makes the 21 songs on the album flow perfectly. Visually, the album is every outsider art lover’s wet dream. A six-panel poster sleeve with every inch covered in Nick Blinko’s claustrophobic black and white line drawings, while lyrically the songs deal with madness, religion, death, and questioning humankind from a dark poetic place rarely found in any art form. Remastered from the original master tapes by Arthur Rizk and housed in a replica poster sleeve, including the original insert, “Death Church” is back in print in LP, CD and cassette after nearly a decade of no official reissues.

Grey Marbled Vinyl
Mit unerschütterlicher Hartnäckigkeit hat die undurchdringliche Schwermetall-Hartkernfabrik HATEBREED eine weitere eiserne Guss- und Schallwaffe mit dem Gewicht des falschen Selbst hervorgebracht. Es ist keine Überraschung, dass ihr achtes, abendfüllendes Album das Ergebnis des üblichen Schweißes und Blutes ist, das HATEBREEDs einzigartige Nische in der Musikwelt seit über zwei Jahrzehnten zementiert hat. Bekannt für ihre Fähigkeit, ihren Fans eine intensive und kathartische Veröffentlichung zu bieten, haben HATEBREED ihren Schreibstil durch diesen Albumzyklus herausgefordert, um Material zu produzieren, das in einer zeitgenössischen Welt, die von Überreizung, emotionaler Dämpfung und mangelnder sozialer Geduld überflutet ist, außergewöhnlich gut zu vergleichen ist. "Weight Of The False Self' ist eine perfekte Darstellung von HATEBREED im Jahr 2020, ein frischer Ansturm von baldigen Klassikern mit all den Elementen, die Sie vom ersten Tag an hierher geführt haben", erklärt Gitarrist Frank Novinec. Fast jedes Individuum trägt ein metaphorisches Gewicht in Bezug auf sein emotionales Konstrukt. Unsere Erfahrungen prägen, wer wir werden, und im Laufe der Zeit entsteht allmählich eine schwere Last, die wir immer weiter mitschleppen. Für viele von uns wird die Last so groß, dass wir uns schwer tun, von unten herauszukommen, geschweige denn uns zu bewegen.

Es sind diese Kämpfe, die sich durch das Gewicht des falschen Selbst übersetzen lassen. "Ob man es sieht oder nicht, jeder trägt eine Last. Die Musik, die wir lieben, hilft uns, diese Last zu tragen", erklärt Sänger Jamey Jasta. Stücke wie "Cling To Life" liefern ein Wortspiel, das normalerweise bedeutet, sich verzweifelt an die letzten Atemzüge zu klammern, aber hier zeigen diese Worte, dass es nach wahrem Verlust und Trauer aufrichtige Erleichterung bringen kann, sich an die Idee von Glück und Zukunft zu klammern. Am anderen Ende des philosophischen Spektrums präsentiert die erste Single "Instinctive (Slaughterlust)" nicht nur ein neues Vokabular-Wort, sondern schreit auch nach der Kraft, die von unseren Verteidigungsmechanismen ausgeht, wenn wir in eine Ecke gedrängt werden. Wenn jemand von seiner Vergangenheit verfolgt wird, von einer anderen Person, oder wenn er nur sein eigenes Territorium verteidigt, ist es nur eine Frage der Zeit und der Entfernung, bis er zu einer wilden, ursprünglichen Bestie explodieren kann. "Es sollte verboten sein, ein so schweres Lied zu machen", beschreibt Bassist Chris Beattie. Das Lied "Wings Of The Vulture" ist eine Metapher für all die negativen Kräfte der Natur, des Schicksals und der Menschheit, die hoffen, uns in einigen unserer schwächsten Momente zu erbeuten, indem sie auf den Tod von etwas Sinnvollem warten. "A Stroke Of Red" berührt, entgegen dem, was auf den ersten Blick scheint, das Konzept, die Wahl zu haben, sich selbst oder anderen zu schaden. "Auge um Auge, aber das macht jeden blind. Wenn man einmal diesen dunklen, gewalttätigen Weg gegangen ist, gibt es kein Zurück mehr.

Dieses Lied ist eine dunkle Leinwand; ich verlasse meinen Körper, um schreckliche Dinge auf einer anderen Ebene zu tun, und komme zu mir selbst zurück, um daraus zu lernen, so dass man diesem dunklen, fleischlichen Verlangen niemals nachgibt", erklärt Jasta. Das Album-Artwork des renommierten Heavy-Metal-Künstlers Eliran Kantor zeigt einen Mann, der an der massiven Skulptur einer Steinbüste herummeißelt. In Kantors klassischem Malstil, der durch den Lehm von Aufruhr und Traurigkeit bricht, beginnt ein Licht durch den Fels zu scheinen, während der Bildhauer sein Gesicht von den blendenden Strahlen der Heilung abwendet. Das Bild kombiniert visuell die Themen des Albums, nämlich den emotionalen Kampf und die Überwindung des Schmerzes, nachdem Schichten von Depression, Angst, Verrat und Herzschmerz die Seele eines Menschen verhärtet haben. Im Laufe von mehr als 20 Jahren und 8 Alben ist der Schreibprozess für eine Band wie HATEBREED in ihren Wurzeln sicher geblieben, aber dennoch hat sie sich nach knackigen und überzeugenden Stücken mit progressivem Sound umgeschaut, die dem Mix hinzugefügt werden sollen. Es gibt Wellen von frischen Klängen, während das massive Fundament, auf dem HATEBREED stehen, weiterhin stark gehalten wird. "Auf diesem Album habe ich mich wirklich angestrengt und mich dazu gebracht, die Dinge umzuschreiben, bis sie besser waren, bis es klickte. Ich habe mich aus dieser Komfortzone herausgerissen. Im Zeitalter der Altlasten, in dem die Bands so viele Hits aus ihrem Katalog bei Shows spielen müssen, hören wir gerne, dass die Fans neue Songs verlangen, wenn wir live spielen", erklärt Jasta, "wir haben mit diesem Album wirklich unsere Stärken ausgenutzt". "An fleischigen Rippen und adrenalingeladenen Trommeln mangelt es auf dieser Platte nicht. Ich bin stolz darauf, dass wir durchweg einen Soundtrack liefern, zu dem man in seinem Wohnzimmer moshen und seine Wohnung zerstören kann", erklärt Schlagzeuger Matt Byrne. Bei der erneuten Aufnahme des Albums mit Hilfe von ZEUSS erlebte die Band ein Gefühl der Herausforderung und des Durchbruchs, das es ihr ermöglichte, eine neue Ebene des Klangs zu erreichen.

Nachdem er mehrere Jahre lang mit der Band gearbeitet hat und während er normalerweise seine Zeit mit Bands verbringt, die einen ziemlich anderen Sound haben, ist Zeuss in der Lage, HATEBREED zu testen und ihre bereits berüchtigte Schwingung zu erweitern. "Es war wirklich großartig, wieder mit Zeuss an diesem Projekt zu arbeiten. Ich liebe die Art und Weise, wie die Gitarren klingen", kommentiert Gitarrist Wayne Lozinak. Im Laufe der Zeit scheint die Qualität der Produktionstechnologie immer besser zu werden und ein sicheres und produktives Nest zu schaffen, in dem das Album

SA015 is a split vinyl taken care of by long term label artist, Pfirter, and by a new voice that's been adding to the SA story across the summer, Kangding Ray. Pfirter's 'Caos y Orden Superior' is a weighty odyssey spread across nine minutes. Its opening is languid but somehow relentless as strange synthesised sounds are interrupted by insistent beats. Across the arc of this track 'chaos' and 'order' lose their static definitions, and played over a large club rig this has the potential to throughly disorientate. From here Kangding Ray takes over duties with 'Wars', a fragmented meditation on the darkest side of human nature. Created from hues saturated by the pain of mistakes and regrets, it pulses, rocking gently, swooning in and out. This stunning slice of electronic music acts as a balm for the very wounds that conflict leaves behind.

Zeitgeber is a project that sees Lucy and Speedy J exploring roots and limits. The duo have both indulged their experimental sides from time to time. Perhaps most notably Speedy J with his mid-'90s run on Novamute, and Lucy on his 2011 full-length for Stroboscopic Artefacts. But Zeitgeber is something more, with two artists pushing each other to go further. SA018 is a single that gives only a slight hint as to what is to come in the shape of a complete LP. 'Body Out' is floor-ready techno with a twist. The textures that lie beneath feel like they're just as important (if not more), slithering and twittering away in constant dialogue with the just-slightly-off-the-grid beat. 'Body In' is the inverse of the A-side, a slow-moving chorus of indescribable ambience. As a precursor to the forthcoming album, it's a perfect taster of the uncompromising sounds yet to be heard. - Zeitgeber is a new project run by Lucy (Stroboscopic Artefacts' label head) and Speedy J (Electric Deluxe's boss). ' - 'Body Out Body In' is the Single that precedes Zeitgeber upcoming Album.