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Cryovac Recordings is proud to release its' 20th edition on random colored vinyl. Cryovac is a gathering of minds that work together to create a physical record of their sound in this time. We go our own way in production and arrangement for our personal vision to endure. Our goal is to add a new layer to the Detroit soundscape.

D.J. Roach is a techno activist with a rhythm agenda of percussive techno. His banging and clanging romps rock through breakdowns and back again. Conga and claps work together to form a shaky funk. what is needed for a healthy dancefloor.

A.Garcia's subtle drone rides waves of synth in an offering of minimal ease. His moody atmosphere turns tone in soulful harmony; while simple drumming builds to a nonchalant bop. The rise and fall of the elements allow you to examine the track on all sides. Garcia smoothes out an early morning gem that is taylormade for a smoke.

Fans of Electro's big hitter DJs such as Helena Hauff, Dave Clarke, UMEK, Maceo Plex, and UMWELT won't have escaped the sonic assaults of Dutch artist RXmode and his fellow Transhumanism collective members; w1b0, Slaves of Sinus, TFHats.

RXmode's last EP 'Cerberus' was very much the EP he'd been building up to since his debut on Bass Agenda Recordings back in 2015; dark, sinister, heavy, and distinctive.

One of the tracks from that EP, 'Degraded', gets the remix treatment from the other Transhumanism members on this, the third vinyl release the collective have put out.

The original track kicks things off in style before the three very individual remixes take things to new territories. TFHats takes the track, remoulds it and adds his own lyrics and vocals to great effect. W1b0 brings what will certainly be looked back on as one of the heaviest tracks of 2018; his 'Violation in G Minor' mix is a brutal sonic assault with a bassline that will surely wake the dead. Last and by no means least Slaves of Sinus brings an abstract acid tinged version; laced with his own brand of sinister vibes and darkness.

5 catchy tracks by eighties bristol outfit Umo Vogue Umo Vogue formed in Bristol by Stig Manley, Russ Crook and Neil Deamer who were in Bath based ska rock outfit 'The AT's', along with Bristol based singer Debbie Marlow. Neil's Brother Clive joined the band bringing a fantastic new dynamic to the band on drums, percussion and heavy artillery. The band name is a deliberate misspelling of the ultra-chic Italian fashion magazine 'L'Uomo Vogue'. After winning the Bristol 'Battle of the Bands' in 1982 they were signed to Phonogram and dropped a few months later. They then signed to EMI in '83 and released their first single 'Just My Love' released in early 1984. The second single was 'Make It Real' and was never released as the band were culled from the EMI roster in late '84. For this reissue of their debut single we've added 3 bonus tracks, a demo of 'Just My Love', the unreleased follow single 'Make It Real' and a bedroom demo 'Erotica.'

Each song displays ridiculously catchy melodies and innovative electronic rhythms. The drum tracks, a combination of rhythm machines and hand percussion, were mixed down from the 4-track tape used as backing on stage, with the rich slap bass and Roland SH09 synths weaves fluid lead lines in between the harmony vocals. All songs have been remastered by George Horn at Fantasy Studios. The record is housed in an exact replica of the original jacket and includes an 8-page booklet with photos, notes and press clippings from the band's archive. 'We're synthetic but not antiseptic. We are interested in the naivety and spontaneity of music.' - Umo Vogue

A Band Called Flash's third EP on the J4J record label continues to expand with a new group of future funk goodies. With the highly anticipated release of the hypnotic dance track 'Dracula' along with the funky vocals 'There Will Be A Time' and 'VSL', artist, songwriter and producer Jared Hines doesn't disappoint. Add to that, the intergalactic groove 'Song For Spike' and you have an EP that will surely satisfy listeners and dancers alike.

Set for release on June 23 via Asylum Records, x (multiply) is the hugely anticipated new album by Ed Sheeran.
It follows his critically acclaimed and hugely successful 2011 debut +; an album that was certified 6 times platinum in the UK alone and has achieved worldwide sales of over 4 million copies to date. It also saw Ed asthe recipient of various awards for the record, including 2 Brits, an Ivor Novello and multiple Grammy nominations.
Never an artist to stand still, Ed recorded x at various locations around the globe (all the while drawing on experiences and influences encountered on his over three years of unrelenting touring) with such luminary producers as Rick Rubin (Eminem, Jay-Z, Red Hot Chilli Peppers), Pharrell Williams (Daft Punk, Robin Thicke, N.E.R.D), Benny Blanco (Rhianna, Wiz Khalifa) and Jeff Bhasker (Alicia Keys, Jay-Z) adding new flavours to the classy work of key collaborators Johnny McDaid (Snow Patrol) and Jake Gosling (who produced +). xhas the musical ingredients to make it one of the most important global releases of this year.
The new set showcases the exponential growth (both vocally and musically) of an incredible artist, who at 23 exhibits the poise of a seasoned veteran. The songs for x came together whilst touring + and, in the same way as the latter was a snapshot of his life and relationship to-date, x charts his loves and life since. Only 'One', the perfect album opener and first song written for the record (in 2011 whilst on tour in Australia) looks back to that time and is the link between the two records. With 'One' under his belt, almost before he noticed he was writing, Ed had ten new songs and counting.
The breath-taking album-closer 'Afire Love' was written about his grandfather who passed away last Christmas. 'Always the hero of the family - such a cool guy - he'd been suffering with Alzheimer's for some time and I actually started writing that song two weeks before he passed away," Ed says. "I was thinking 'What if' and then he did...' Then there is the timeless ballad 'Photograph' written in May 2012 in a hotel room in Kansas whilst on tour with Snow Patrol. McDaid had a piano loop playing on his laptop while Ed was making a Lego X-wing Fighter to give to a charity auction. He just started singing as he put the pieces together and the song grew from there. 'Don't' started life as a riff on his phone and grew into another of x's massive moments. The deluxe version of the album also includes the original song, 'I See Fire', which Ed wrote, produced and recorded for the second Hobbit movie. This was after Academy award-winning filmmaker Peter Jackson personally commissioned him. With no promotion besides 3 tweets from his personal twitter account, it reached #2 on the UK iTunes chart.
However it's the Pharrell-produced lead single 'Sing', due out in the UK on June 1, that's pushing the envelope for Ed. #Sing was the number one trend on twitter globally ahead of launch with the track immediately tearing up airwaves nationwide including a 7-week add to Radio 1 and an unprecedented addition straight to the Super Hit list at Capital FM and Kiss Network. The audio upload on YouTube was Ed's biggest ever video launch, clocking 650k views in its first 24 hours. Already i-tunes Top 5 in 15 different countries (number 3 in the US), Top 20 in 36 countries and with all chart positions climbing, 'Sing' is well on the way to being a global smash.
On the back of 'Sing's' launch, x reached No.7 in the UK iTunes chart on pre-order alone with that success mirrored internationally with No.1 positions in the US and Canada, Top 5 in New Zealand, Sweden, Australia and Top 10 in 20 countries.
'I'm really proud of my new album and can't wait for people to hear it.' Ed says. 'It's definitely my best work.'

Delicate Wash presents its second fine selection of gentle cuts.

This time it will take you on a 80's electronic funk adventure filled with analog drum machines and sharp synth leads.
All four tracks are fresh, perky, futuristic, and thrilling.

Add this jewel to your collection.

World Music And Ethno Sounds With An Obvious Japanese Origin Meet Progressive Rock And Psyche. The Result Is A Captivating Piece Of Melodic And Deeply Atmospheric Music That Paints Pictures Of Life In Ancient Japan Into Your Mind When You Lay Back, Close Your Eyes And Listen Closely With Your Thoughts Turned Off. If Pink Floyd Were Japanese Their Music Might Have Sounded Like That. The Frequency Of The Arrangements On - benzaiten Reminds Of What Our English Heroes Have Created In The Early To Mid 70s Just With A Different Ethnical Approach. - benzaiten Is Even A More Progressive Effort Than Anything Most British Bands Have Ever Managed To Fabricate And Still Utterly Natural And Vivid Concerning The Flow Of The Music. All Participating Musicians Here Are Professionals And Their Performances Are Tight And Still Passionate. The Sound Is Warm And Vivid, The Song Structures Are Wide Open And Welcome You To Slip Inside. East Meets West On This Record And Osamu Kitajima And His Companions Really Grab You By The Soul. Electronic Elements In The Percussion Section Add Some Oddity To The Whole Musical Picture. Not Sure What Osamu Kitajima And His Band Intended When They Recorded This Record But I Am Certain They Achieved It. The Cool Aspect Of - benzaiten Is The Rocking Guitar Which Keeps The Whole Album Together. Must Be The Japanese Pendant To German Acts Like Amon Düül Ii, Embryo And Guru Guru. Well, There Is Definitely Some Truth In This Comparison. Anyway, This Album Will Enchant You!

Beware of the blazing sun when she's orange and transparent.
Overwhelmed with the ecstacy of flight, Icarus soared into the sky like a bird, or rather a god. Drawn by desire for the heavens, he ascended higher and higher towards the sun. When the heat melted the wax on his wings, he fell from the sky and vanished into the dark blue ocean, where feathers, still today, ride the waves of the Icarian Sea. Aimed at dancefloors in sleazy bathhouses, seedy basements and soiled warehouses, Icarus Traxx' first offering takes us back to the mythical days of anonymous, muscular power house. Delivering no less than three takes of 'Commandment' (plus two acapellas), the 12 inch, starring the enigmatic voices of Jesse B. Simple and Charlotte B. Good, supplies a choice cut for every disc jockey.
'Jack 88 Tape Mix' starts things off with a vigorous kick, prosperous strings and the spirited voice of Jesse B. Simple. The oracle proclaims celebration times. Addicted to Jesse's vocal delivery The acapella will guide you through your most ecstatic moments.

The lights go out on 'Get Your Life' just before it wakes you up with a slap to the face. Again, it's Jesse in the vocal booth, groaning his mantra to 'dance, jack and get your life to this' on a bed of erratic kicks, jittery acid and vexed rave stabs.

On the flipside, the celestial Charlotte B. Good glides into the room. Her sensual Spanish stanza gracefully inhabits 'Spanish Fly Reprise', made for horny, high as a kite early mornings. Charlotte alerts you that your time to snatch up your one true love on the dancefloor has nearly expired.. Like a siren, she lures you into her universe with sweet lamenting whispers. Better think twice before you follow.

Glasgow's Wheelman provides the tenth iteration of DBA's Dubs series, following a series of high profile releases on Huntleys & Palmers, Studio Barnhus, and his own Stereotone label. Signal is Wheelman's most ambitious effort to date, its searing amen stabs and deep sub bass guaranteed to wreck any club, while floating pads and crystalline strings add a bittersweet moment of rave nostalgia to the breakdown.

On the flip, in line with the DBA Dubs concept of pairing a house track from an up and coming UK producer with a remix by an established techno name from across the pond, Detroit In Effect provide a cold, bleep-drenched take which raises the tempo of Wheelman's original to an almost breakneck speed. D.I.E, also known as Cybonix, were prolific throughout the late 90s and early 00s on their own M.A.P. label and more recently on Rotterdam's Clone.

To coincide with the release of the tenth edition in the DBA Dubs series the label are also making all ten original tracks available as a digital package, while all ten of the remixes from the series get their own bundle, with Wheelman and Basic Soul Unit providing a megamix of each edition respectively.

Fresh off the release of his 'Cosmo EP' earlier this year, longstanding label stalwart Fetisch reignites the fire with 'Singularity EP' - the second EP from the forthcoming Terranova album. A six-tracker featuring four original cuts plus a pair of remixes from Seattle's Pezzner and Istanbul's Rising Star Alican along with collaborations with Sifa (Congo) & Ivory (Milan). The outerspace'y stomp of Terranova's prime versions of 'Cosmochord' feat Flashmob and 'Cosmocode' feat Voltague, both lifted from his latest outing Cosmo EP, resonates deep into the grooves of the present platter, whilst the ethereally hypnotic vibe of 'Let It Fail' (feat. Sifa & Ivory), with its brittle percussions and slow-scudding pad tapestries, as well as the left-of-centre, hovering electro of 'Powergrid' draw in a further zero-G atmospheric vein and 'Sophia (Ode to a Robot)' are tailored for dawn-time party communion and intense stargazing momentums. All of these tracks are inspired by Fetisch's obsession with the current developments in creating artificial intelligence and robotic technology and his ambition to add androids to the impressive list of humanoid guests of the Terranova Soundsystem.

Already quite the jacking pumper, 'Cosmochord' gets a further menacing treat with Pezzner at the controls - ramming the doors of the club by means of loud kicks and lusty piano chords - each of them pounding with the impact of an apposite Glasgow kiss. Meanwhile Alican takes 'Cosmocode' further into Saturnian confines, densifying the minimal backbone of the track with an extended battery of arpeggios, bleeps and middle-eastern percussions thrown in for good measure. With the rolling techno shuffle of 'Escape Ism' and stuttering rhythmic engineering of 'Tempelhof' (the 'Terranova Maschinenraum' studio is located inside Berlins old airport). Fetisch loops the loop on a pulsating note, expanding the mind to horizons both poetic and physical - further establishing his unmatched sound signature.

Fresh from touring with Hugh Masekela ( The Boy's Doin' It'), Gboyega Adelaja goes into the lab to drop heavy keyboard science on his Moog and Fender Rhodes. Its Joe Sample meets the Afro Funk of BLO. With names like Jake Sollo on guitars, Mike Odumusu (BLO, Osibisa) on bass guitar and Gasper Lawal on percussion. This is a top quality, Afro-Funk, all-stars affair that shines from the inspired interventions, masterly arrangements to the sublime production.
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Additional Notes:

I was already following Hugh Masekela when I met him, he was an outstanding musician and I knew of his collaboration with
Hedzoleh, that band brought him nearer to many of us, because he was playing authentic African melodies with the Hedzoleh
sound which was mostly percussion oriented. Yes I knew about Hugh's music before I met him. Infact when we started playing
together, he insisted that I stay with him in our three bedroom apartment, other members of the band had their own apartments,
but Hugh and myself shared the same 3 bedroom apartment'.

We were touring, under Casablanca owned by Neil Boggart, we toured as professional musicians, flying to our gigs. There was
a time when we were touring with George Clinton and Parliament Funkadelic we had two luxury buses deployed for our use.
We made many friends where ever we went to play, we met many big and popular musicians who came to watch our shows, the
Spinners came to see us in Detroit, we met Wayne Shorter of Weather Report, Freddie Hubbard, we played a gig with Herbie
Hancock at the Carnegie Hall New York City, we toured almost all the 50 States of the US.'

As we celebrate the 25th year of V Recordings, it couldn't be a better time for another release from DJ Patife & Vangeliez. One of the OG's of Brazilian D&B Patife teams up with fellow countryman Vangeliez (formerly one half of Human Factor) once again. Fresh from their last single, as well as features on last year's very well received 'Viva Brazil' compilation released in conjunction with SUNANDBASS, this duo has definitely found their own lane!

* On 'Living Together' they link up with two of the most recognizable voices in the D&B, MC Fats and Stamina MC to create an uplifting summer anthem, that spreads the positivity of music across the globe. These two vocalists need little introduction, but in case you don't know, they are behind some of the most seminal moments in our genre's history, classics like Calibre's 'Drop It Down' , DJ Hype's 'Peace, Love & Unity, DJ Marky & XRS's 'LK', D Kay's 'Barcelona' and so the list could go on... Basically with the coming together of these four names you're in safe hands! 'On The Floor' continues to push a euphoric feeling, but adapts a sub low bass that could tear through any system!

* Teaming up with Manchester's finest for vocals on 'Ain't That Bad', the tracks follow in the vein of their previous collaboration on Soul-R, and DRS delivers a stellar vocal performance that brings the track to life, and is again full of good vibes, definitely something you can never have enough of! 'Unexpected' is dripping with original liquid vibes - think Carlito & Addiction, Calibre, D Bridge Big Bud, Solid State - with a 21st-century twist - one for the those who like it deep.

* Drum & Bass as a genre now has so many different sounds and styles, but one sound that has ridden the waves of fashions and emerged as timeless is on display here as the duo deliver 100% organic, funk-filled Drum & Bass music for the soul.

* LABEL MARKETING: Features on V Recordings Podcast, Dedicated newsletter to 85,000 V Recordings subscribers. 80,000+ Facebook reach through label controlled Facebook and Twitter. Press on websites across the globe.

For this EP, Jófríður Ákadóttir has re-recorded some of the finest songs from her bands and solo-projects (JFDR, Samaris, Pascal Pinon) with new string arrangements. These versions have a simple, inherent beauty that is juxtaposed with their seething, stark intensity.

To replace the original arrangements with strings was originally planned as a one-off event: When preparing a Pascal Pinon performance in Portugal, Jófríður asked NYC-based composer Ian Davis to help her re-arrange four tracks. After the show Jófríður realized that the material deserved to be captured.

The featured songs were chosen from the repertoire of JFDR (her solo project) and Pascal Pinon (the duo she forms with her sister Ásthildur). There were no objective selection criteria: - I chose the songs that called for strings, songs that I was interested in continuing their story', Jófríður says. - Making this EP was meant to cast new light onto old bodies, to explore what is song and what is arrangement'. Indeed, the arrangements establish a fresh perspective on the selected songs (except for - My Work' - as the track will appear on a forthcoming JFDR album). Being freed from genre, these versions also expose JFDR's voice and its dynamics— the absence of beats gives her vocal performance new possibilities.

The EP was recorded live in a studio in Reykjavík, where Jófríður was joined by producer Albert Finnbogason, her sister Ásthildur (additional vocals and piano) and a string quintet. Ian Davis also made it to the recording sessions and brought two new transcriptions: - I wanted to have moments of clear simplicity juxtaposed with more dense, experimental passages. Sometimes the strings are just holding root notes and simple chords and other times they open up into more contrapuntal and textural moments', Ian explains. As a result, you'll find both moments of modest beauty as well as intensely seething passages. Even if Jófríður's voice clearly is the main attraction here, this EP - as she emphazises herself - is a collective work of those involved: - Trusting your collaborators is the truest gift'.

If you want to know what Gabe Gurnsey's debut album
'Physical' sounds like, the first thing you should do is forget all
about Factory Floor, the group he co-founded 13 years ago.
Gone are the cold, lengthy, stripped back deconstructions of no
wave electronica and industrial techno, abandoned in favour of
something altogether warmer, torrid and succinct.
'It's a real departure from Factory Floor,' he explains. 'Yeah,
that was the intention. There's only one track over six minutes
long! There's only one crossover point on the song 'Night
Track', which is 6'33' - that's probably as close to Factory Floor
as it gets. What I wanted to get into with 'Physical' had more to
do with exploring songwriting and structure. The album is very
escapist in one sense even though I don't want to escape from
Factory Floor but what I do on my own has to be separate and
it has to explore new avenues.' Gurnsey started writing tracks in his downtime from the group early 2017 and by the start of that Summer he had 30 demos ready for work. He admits he worked very quickly initially but then gave the tracks 12 months to develop fully into a new sound.
And that new sound - a 21st Century take on muscular electro,
Balearic synth pop, EBM, proto-Hacienda militant funk, early
Chicago house and minimal, Neptunes-referencing beats - can
be experienced in full on 'Physical' the album released on Erol
Alkan's Phantasy label. The album features additional production from Erol Alkan, who also mixed the record.
Double LP format includes printed inner sleeves and digital
download code. Press - Reviews in Q, Loud & Quiet, The Quietus, Record Collector, Uncut.
Features in Loud & Quiet, Electronic Sound, Q, Clash, The Quietus, Gigwise, Silver Soundz.








[]I C2 | I Get
[]J C3 | Version

Deadbeat graced ZamZam with a release in our very first year of operation. Lending his name & gravitas to our young effort with ZamZam06 meant a lot to us at the time, and is something we never forgot, so we couldn't be happier to have him back for a second outing. Canadian by birth, now residing in Berlin, Scott Monteith is known the world over as one of the most adventurous and reliable producers in the areas of techno and dub-inflected electronic music. Extremely tight quality control over multiple full length albums and countless singles on seminal labels including ~scape, Echochord, and his own flawless BLKRTZ have made him a household name in dub techno and beyond.

Deadbeat's second ZamZam sets aside obvious techno constraints for a mid-tempo reggae scorcher that sounds like it was beamed straight from the humid & heady glory days of the Black Ark studio. Anchored by a tar-thick bassline recalling Lee Perry's 'Dub Organizer,' 'Wail Ball and Cry' leans hard into its rockstone drum kit, with whip-sharp turnarounds, clattering Binghi drums, melodica stabs and restrained yet ever-present flange and reverb keeping the atmosphere swampy and sparkling. A sweet falsetto intones on the loneliness and alienation we all navigate in these times of political debasement and (social) media spectacle.

'Dub Ball and Flange' mutes the vocal for a traditional version focused on nuance rather than over-the-top effects; high hats take the spotlight through expert filter & phaser work, as the heat inches up in the room with a stew of bubbling reverb & delicate echo trails adding to the already simmering & shimmering vibe.

Mastered by Sam at Precise

Seth Troxler & The Martinez Brothers' Tuskegee Music welcomes Chicago legend K- Alexi Shelby for a new EP that features some essential solo cuts as well as two great collaborations with Tony Lovlesss.K-Alexi is a genuine Chicago great. He's been at the core of the scene since the eighties and releasing his raw grooves on DJ International, Trax and Transmat, as well as his own K Klassik label. He has recently remixed for Seth Troxler's other label, Say It Play It, but is now back serving up the sort of engaging originals that have made him such an enduring star.
Excellent opener 'Cherry K Moon' is a raw slice of deep and soulful tech. The driving bassline melts your mind as afro percussion and driving drums make for a solid groove below. It's one for the late-night hours that will twist and turn any crowd inside out. The superb 'Dark Smile' is less tense and more house oriented in nature, with preacher style vocals up top and busy kicks down low. Live, chattery hand claps bring an organic feel and synth stabs inject looseness that will get hands in the air.
The pressure then builds through the manic Tony Lovlesss collab 'Anal Probe', a powerful techno track with hi tech drums and taught synths freaking you out as they ride up and down the scale. Their second track together 'Fly Shit' is more playful with radiant synths opening it up to the skies and lively, funky drum programming bringing a real sense of a sun kissed terrace party. Last of all, the standout 'Run With Jackals' feat. A.D.M is another heavily percussive track with rattling toms, vocal chants and hammering hits all adding up to a compelling afro-house rhythm. These are all innovate tracks that explore various different moods and grooves with a real sense of quality.

Max Graef and Julius Conrad are Ratgrave. Electronic P-Fusion from earth. Recorded over a period of 3 years in different locations.
Stop Wars and investors.'

All tracks written, produced, mixed and performed by Julius Conrad and Max Graef

Additional EFX by Ludwig L.
Made on earth, recorded over a period of 3 years in different locations.
Stop wars and investors.

During the eighties it was possible to observe an Italian fascination with the mysterious Far East. This can be found across art, design and music in Italy during this time, in subtle or obvious ways. Specifically there are Italo-disco records that proudly show this influence, some of the best known being: Fun Fun Living In Japan, Koto Chinese Revenge and City-O' Rose of Tokyo.Following in this theme is Fancy Null Null. Not to be confused with the famous Euro-disco artist behind Slice me Nice, this 'Fancy' is a one-off project from Italo-disco icon Raffaele Fiume, the artist and voice behind many great Italo-disco hits, such as: Helicon You See, Malcom & the Bad Girls Shoot Me and Ralph River Band Strange Vibration.Adding to the original tracks of the 1982 release is a totally ecstatic and powerful remix from Betonkust: one of the most talented and exciting Dutch producers of recent years. Also included is an instrumental edit from Hysteric, for those who find the unique vocals challenging.

To coincide with the release of their eagerly awaited debut album Gate Of Grief (now due out on 20 July), US dark electronic outfit WHITE RING release a double AA side 7' single of the two lead tracks on the album 'Leprosy' and 'Nothing'. Blending heavy, distorted electronics with eerie, unsettling vocals they push the boundaries further, subverting genre ideas and mashing them all together, with industrial, metal, rave, chopped and screwed, rap, grunge, neo folk, post punk and new wave all in the mix

'Leprosy' is brooding, abrasive and ethereal all at once, the track draws from a varied and challenging palette, steeped in existential dread. It was the first song they wrote for the album and features the vocals of co-founding member Kendra Malia. As Bryan Kurkimilis explains; 'This song was the first time we really wanted to start exploring aggression in our music.'

'Nothing' is underpinned by gothic 80s beats and sinister synth bass-lines. It crackles and fizzes with arcade bleeps with wraith-like melodies floating over the top. In this song, nothing is true and everything is permitted. It features the first collaboration with newcomer Adina Viarengo, who added her vocals in 2016 to the existing instrumental track that Bryan Kurkimilis created for the first set of WHITE RING demos in 2009.

WHITE RING were originally formed by Bryan Kurkimilis and Kendra Malia, before they were joined by Adina Viarengo, with Bryan and Adina currently touring as a duo. Gate Of Grief arrives a full eight years since their benchmark EP, Black Earth That Made Me, which sold out almost instantly, making their records some of the most highly sought after on the underground scene and earning them a cult following across the globe.

Swerving from aggressively abrasive to beautifully ethereal, musically they draw from varied and challenging palette, whilst tackling themes of loss and acceptance due to struggles with drug addiction and existential dread on a broader scope.

Dwelling on the outskirts of pop music, WHITE RING grew up in the age of the internet and were exposed to a huge range of music. They have developed a unique style while pushing the boundaries of accessibility and musical genre. They have created a piece of art that is brimming with symbolism and underlying tensions, that seduces and scares in equal measure.