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El Michels Affair follows up the massive success of their full length Yeti Season with The Abominable EP. A collection of unreleased tracks, alternate takes, and instrumentals from the Yeti Season recording sessions. EMA's blending their signature cinematic soul sound with influences from Turkis Funk and the grittiest of Bollywood soundtracks yielded an instant classic The Fader calls "a carnival of dusty funk and soul". The EP starts off with the unreleased gem "Messy Grass" whose synth intro, peppered with distant yeti cries, gives way to a tremendous backing track that Tamer Pinarbasi's Qanun dances over. On "Cham Cham" EMA invites Piya Malik to the microphone again to share her styled storytelling vocals over the instrumental track from Yeti Season's "Perfect Harmony". Where some of the tunes on the EP have vocals added, some of them have them removed letting the band take center stage; "Poison Song", "Uncut Gem", "Smoked", and "Progress" are all instrumental here giving them a wholly different energy than the vocal versions. The EP is being released with two different covers, each one has two paintings from different Ghanaian mobile cinema artists commissioned through Chicago's Deadly Prey Gallery and are interpretations of the original album artwork. One version is paintings by Stoger and Heavy J, who also contributed cover paintings to the Return To The 37th Chamber album. The other version of the cover is two paintings by Teshie and Farkira.

2024 Repress

Cool - gelassen - überraschend: Volume 15 dieser superlativen Serie wurde wieder von Compost’s Mentor Michael Reinboth zusammengestellt. Das pralle Paket birgt 21 Tracks, davon 8 exklusive unveröffentlichte Delikatessen und gibt es als 4-LP / 2xCD. Viel Vergnügen.

Die exklusiven Tracks kommen von: Area (schätze, man kennt seine brillianten Innervisions Veröffentlichungen), Arnau Obiols & KAYYAK (schwer von Gilles Peterson gefeatured, ihre EP “Chang‘an” war in seiner 2021 top 5 Liste), Ron Deacon (gehört zur Workshop-Crew mit Move D, Even Tuell and Kassem Mosse), Class Compliance, oh man was für ein Hammer Track, Mille & Hirsch (Operatoren des feinen Polish Records - Labels), All Is Well (dahinter steckt natürlich Fred Everything), Ben Sturm (ein neues Talent aus Leipzig’s viraler Underground Szene) und Oliver Kieser (bestens bekannt als Teil von Kieser & Velten mit einigen Platten auf G-Stone).

Gut, schön, wie immer, fast alle Tracks sind wunderbare Hybride, perfekt für jedes eklektische Set, aber auch für den entspannten Genuss von Wein, Bier, härterem oder grünem Zeug. Vielleicht besonders zu erwähnen wäre der Esa Williams Remix von Bantu Clan Vs Sarabi and Kevin Yost’s Original Mix von “Another World”, die gab es so in den Versionen bisher nicht auf Vinyl.

Diverse Magazine haben die Future Sounds Of Jazz als eine der besten Compilation - Serien aller Zeiten gewählt. Wir sind geschmeichelt. Mit dem Start der Reihe 1995 wurde das Genre Future Jazz quasi aus der Taufe gehoben, unetabliert.

TAPE012 ASYLUM - Is This The Price? 7” EP Formed in 1981 by a crew of hardcore punx and skins from Stoke-on-Trent in the industrial Midlands of England, Asylum fully embraced the ‘Noise Not Music’ rallying call. The missing link between Discharge and Japanese Noisecore, their sound is characterised by detuned ear-piercing distortion: buzzsaw guitars, fuzzed bass, charging drums and gargled vocals battle each other in a maelstrom of lo-fi production murk that reflects the bleak outlook of their lyrics. Only existing for a brief moment in time (playing a handful of mainly local gigs and releasing one demo tape and the occasional track on compilation tapes) and obscure even during their existence, Asylum were nonetheless influential, their ‘1,000 M.P.H. Hardcore Punk’ inspiring other U.K. groups such as Skum Dribblurzzzz and Napalm Death. This release contains the 6 Track demo Is This The Price? Which was originally released as a tape only EP on Retaliation Records. The tracks have been remastered and mark the first time Asylum have released anything on vinyl. Asylum had an urgent intensity that surpassed other bands of the era: Death of Music - Birth of Noise. (Nic Bullen) This reissue comes with a 12 page booklet and repro of the original lyric insert. FFO: LÄRM, Early NAPALM DEATH, DISCHARGE, WRETCHED, GASMASK, TRANQUILIZER, DISCLOSE

»Neon City« is the debut release by Erik K Skodvin & Otto A Totland's Deaf Center project, finally re-issued 18 years since its first appearance.

Listening to »Neon City« in 2022 is like taking a melancholy journey down rainy city streets of the early naughts, made by the then two young Norwegians in their mid 20s after spending time together in a basement full of vintage items. Armed with young optimism and a sense of musical experimentation, they started sampling everything around them, be it an old television broadcaster, tape recorders, a game of table tennis or conversations on film and merging it with pianos, plucked guitar, strings and anything in-between. The record turned out as something unique in the fields bordering post classical and ambient music, though without landing on any set genre. The record was filling a place in music that was barely touched upon and made them further experiment with samples and classical music which landed them on the 2005's classic »Pale Ravine«.

Although Erik and Otto both had been making music solo before, »Neon City« was the start of their more focused future paths as purveyors of both light and darkness in music that seeps through your soul to battle the anxieties of the world. We're glad to see this important start again be available to new ears. The record comes with a remix of the opener track “Dial” by Helios aka Keith Keniff, taken from the same original.

An absolute BANGER mastered by Lucianno Lamanna

• First time on 7-inch for the classic P-funk break beat cut as used by the Prodigy, Fat Boy Slim and others.
• It’s the same deal with the alternate version of the downbeat funk of ‘Cookie Jar’.

Created on the western edges of the infinite plains and prairies of coldest Canada, Edmonton, Alberta's HOME FRONT dance freely and madly along the edges of time and create their own moment amongst the revered and long frozen reserves of THE CURE, SUICIDE, ECHO AND THE BUNNYMEN, "Second Empire Justice" era BLITZ, and NEW ORDER. A record bubbling over with analog synth, guitar loops, slammed 808 drums, and anthemic vocal pushes tugging at the great moment in-between the “death” of punk and the “birth” of new wave, pulling fresh sounds into their punk roots and shoving a studded leather jacket around a silk robe. Justice, violence, doubt and uncertainty a la Gary Numan narrating a Warren Miller Extreme Ski Special on the set of TO LIVE AND DIE IN LA: this is HOME FRONT. Recorded by HOME FRONT in an unheated plywood box in some semblance of fading daylight. Produced and mixed in the darkest depths of lockdown by Jonah Falco on a boat moored outside an isolated estate along the A40 in between sets of "The Evil Russian Pushup Challenge" and icy walks to Lidl

BARRERA follows up the NUEVO SONIDO BALEAR path started by ORDEN MUNDIAL, POU and PENA MÁXIMA with a debut release filled to the rim with lust, sex, power and distortion. Their songs are slow and acidic, with a tortured tone that would make GLOOM or BRAINBOMBS cry. The seven songs on “Visiones Nocturnas” are themed around the death of romantic love and are not afraid to look at the darkest side of life with a nihilistic conviction. Musically the record follows the path laid by STICKMEN WITH RAYGUNS or FLIPPER but are firmly rooted in Spanish Punk with DESECHABLES as a clear point of reference, both aesthetically and sonically. Although BARRERA occupy their own space with a sound that is clearly their own nightmare. Recorded and mixed by Chano Morales at Impala Uno Studio, Mallorca. Mastered by Shigenori Kobayashi at Noise Room, Tokyo. Artwork by Barrera.

Six months on from the release of their critically-acclaimed fourth album, ENTERTAINMENT, DEATH, Philadelphia trio SPIRIT OF THE BEEHIVE closeout 2021 with brand new 7” THE DOOR, comprising two previously-heard but never physically released songs in “THE DOOR IS OPEN” and “THE DOOR IS CLOSING”.

A special and limited release, 500 copies of the single have been pressed on cloudy teal vinyl. The 7” is led by “THE DOOR IS OPEN”, a 2020 single that marked a new chapter for the band ahead of the release of ENTERTAINMENT, DEATH. The song “continues to defy definition”, Stereogum said upon its initial release, before adding: “It’s amazing that they made such a short track feel like such a dreamy journey.”

It’s backed by “THE DOOR IS CLOSING”, a bright and skewed gem of a track that was originally released earlier this year via Through The Soil, a charity compilation that benefited the NAMI COVID-19 Mental Health Support Fund.

Whether opened or closed, THE DOOR is a bold reminder of SPIRIT OF THE BEEHIVE’S many layered and colourful ideas. It also ribbon-ties a brilliant 2021 for the band, one which saw ENTERTAINMENT, DEATH labelled as “an intensely beautiful, intensely difficult record” by Pitchfork, a “sprawling odyssey of haunting dissonance and blissful euphoria” by Flood Magazine, and a "storm of sound with a deep humanity coming through” by Fader.

SPIRIT OF THE BEEHIVE is Zack Schwartz, Rivka Ravede and Corey Wichlin.

The Plague Within is the 14th studio album by the British band Paradise Lost. It was the band's return to their death doom roots, ranking among the most diverse albums they have ever recorded. Paradise Lost reward the listener with plenty of memorable moments and fantastic guitar riffs. This album broods and builds more with each subsequent listen, and each time you feel a little more entangled in its web.

The gothic metal band Paradise Lost are considered to be the pioneers of the death-doom genre and a big influencer for the gothic metal. They have been active for over thirty years, in a stable line-up where only the drummers changed during the years

Old-school industrial live improvisation with overdubs on 4 track portastudio.

Recorded at Black Prince Studio, Coventry, England. 1982.
Influenced by classic zombie films, “Death House” lends truth to that rumor by delivering forty-six minutes of blackened paranoia-inducing ambiance. Split into two sprawling pieces, “Death House” conjures the grim, unsettling atmospheres of such films like “The Last Man On Earth” and the original “Night of the Living Dead” and portrays them
into musical form. Step inside this nightmare Remastered by Martin Bowes at the Cage, Coventry, England. 2020.

These soundtrack recordings were originally issued on cassette on Adventures in Reality, September 1982.

- The Complete Film Score by Tom Holkenborg aka Junkie XL - 180 Gram Neon Pink Vinyl (Disc 1) and Neon Yellow Vinyl (Disc 2) - New Artwork and Design by Oliver Barret - Exclusive Liner Notes by Director Zack Snyder - Deluxe "Zeus Zombie" Tear Away Front Cover with Triple Gatefold Jacket // Tom Holkenborg is a Dutch composer, multi-instrumentalist, DJ, producer, and audio engineer. He has worked with Hans Zimmer and his company Remote Control Productions on Man of Steel and Batman v Superman: Dawn of Justice, as well as composing the scores for Zack Snyder's Justice League, Mad Max: Fury Road, Deadpool, Tomb Raider, Terminator: Dark Fate, Sonic the Hedgehog, and Godzilla vs. Kong. Waxwork Records is thrilled to present the score music to ARMY OF THE DEAD as a deluxe double LP album featuring never-before-seen interactive packaging with new artwork and design by Oliver Barrett. Listeners must tear open the screaming visage of Zeus, the film's zombie leader, to reveal a locked vault door. The packaging then expands into a neon pink and yellow soaked triple gatefold which unlocks the vault to reveal a horde of Las Vegas zombies inside. As the listener continues opening the album packaging, and all zombies are killed, you'll be greeted by Valentine, the film's beloved (and first-ever?) zombie tiger! The score has been pressed to 180-gram neon pink and yellow vinyl and the album features exclusive liner notes by director Zack Snyder.

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.”

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.

Continent is the fourth studio album by American hardcore powerhouse The Acacia Strain. This is the first album with bassist Jack Strong and second with drummer Kevin Boutot. Recording began on April 13, 2008 with acclaimed producer ZUESS and Planet Z and it was released originally August 19, 2008 via Prosthetic Records. Founding member and vocalist Vincent Bennett spoke to MTV News about the band's forthcoming LP, saying it was the band's "darkest" effort to date. The album debuted at No. 107 on the Billboard 200 chart and No. 2 on the Billboard Heatseekers chart with first week sales of almost 5,600 units "The Acacia Strain’s Continent is perhaps one of the first records to really bring to my mind an even fusion of hardcore and death metal and it’s an aggressive, engaging album – period." - METALSUCKS

First ever vinyl release of the soundtrack for this Wes Craven classic from 1991.

Limited Electric Blue and Oxblood "AsideBside" with Brown Splatter.

Composer Don Peake created an incredibly atmospheric and spooky score for this film. Peake's career is insane –as a guitarist and member of the Wrecking Crew, he’s played on albums by Marvin Gaye, Phil Spector, Everly Brothers, Mahalia Jackson, John Lennon, Jackson Five and more.

It's an incredible career and his musical diversity shines on this score. Fun fact: People Under the Stairs opened at #1 on the box office chart and stayed in the Top 10 for a month.

Die 2007 gegründete deutsche Heavy-Metal-Formation KISSIN DYNAMITE hat sich mehr als nur einen
Namen in der Szene gemacht: Mit sechs Studioalben und diversen Chart Erfolgen (#7 in den GERAlbumcharts mit dem 2018er Full-Length Ecstasy) etablierte die Band ihren Trademark-Stil - geprägt
von modernen Sounds, wuchtigen Hymnen und eingängigen Hooks, gepaart mit 80er-Jahre-StadionrockAttitüde und einem außergewöhnlichen Look. Nun steht die Kombo in den Startlöchern bereit, ihr Napalm
Records-Debüt Not The End Of The Road zu veröffentlichen und mit 12 kraftvollen Tracks den Weg des
Metal im Jahr 2022 zu ebnen.
Produziert, aufgenommen und gemischt wurde das neue Studioalbum von Sänger Hannes Braun selbst, der
auch schon mit Bands wie SANTIANO, THE KELLY FAMILY oder BEYOND THE BLACK gearbeitet hat.
Das Mastering übernahm Jacob Hansen in den Hansen Studios, der Grammy Award nominierte Produzent
ist bekannt für seine Arbeit mit Bands wie VOLBEAT und vielen mehr.

Jung, wütend und mit einem klaren politischen Statement gegen Rassismus, Sexismus und Homophobie im
Gepäck - SETYØURSAILS nehmen bei Weitem kein Blatt vor den Mund. Die Newcomer aus Köln spielen
kompromisslosen und dennoch melodischen (Post) Hardcore gewürzt mit signifikanten Metalcore-Parts und
überzeugen sowohl Live, als auch auf Platte.
Nun steht die Band mit ihrem zweiten Album und Napalm Debüt Nightfall in den Startlöchern, das
am 21.01.2022 veröffentlicht wird. Bereits der Intro-Track “Ghosts”, featuring Annisokay-Fronter Rudi
Schwarzer, zeigt schnell in welchem musikalischen Fahrwasser die Band unterwegs ist: Schwirrende Gitarrenlinien, mischen sich mit beinah elektronischen Einflüssen und formen die imposante Rückmeldung
von SETYØURSAILS, die ihre musikalische Vielfältigkeit unter Beweis stellen. Die Mischung aus Metal-,
Death- und klassischen Hardcore Elementen zieht sich durch die komplette Scheibe und lässt dabei aber
auch immer wieder Platz für Überraschungen, ohne den typischen Trademark zu verlieren.
SETYØURSAILS sind aber auch stets für Überraschungen zu haben. Gemeinsam mit Mike Perez von No
Braggings Rights covern sie „Shallow” (aus dem Film “Star Is Born”) von Lady Gaga und Bradley Cooper
und verleihen der Ballade ihren persönlichen Touch, womit sie erneut ihre musikalische Vielfältigkeit beweisen.
Auf insgesamt 13 Tracks stellen SETYØURSAILS vor allem eines klar: Sie sind mehr als bereit die Szene
zu erobern!

King Gizzard & The Lizard Wizard announce an album of remixes of tracks from ‘Butterfly 3000’, their second studio LP of 2021 alone. ‘Butterfly 3001’ features reworks courtesy of (among others) DJ Shadow, Donato Dozzy, The Scientist, DāM-FunK and The Flaming Lips!


"We’ve put off doing a remix album for a long time. Maybe it was conscious, maybe it wasn’t. But it’s happening now. That’s not to say that Butterfly 3000 makes the most sense to remix. It might seem like the obvious one, but it’s not. Yes it’s electronic. But so is a fridge. Have you tried to dance to Butterfly? It’s hard. It ties your shoelaces together. It’s duplicitous in it’s simplicity. But Butterfly 3001 expands on this. It also deviates and obliterates. We’re honoured to have such esteemed people go to work on these songs. We hope you love this album as much as we do. See you in Da Club!!!" - Joey Walke

First ever box set from one of the most thrilling bands of the Twentieth
Century.
 Deluxe 7” singles box set featuring the phenomenal original run of singles
with two bonus singles exclusive to this set. Seven 7” singles housed inside
a lift-off lid box with a booklet featuring an essay by Clinton Heylin,
reminisces from Thurston Moore, Henry Rollins, Mark Lanegan X and Dan
Stuart, rare photographs and flyers, new exclusive issue of the ‘Fire of Love’
fanzine, Ruby Records postcard and a ‘Gun’ button badge.
 If ever there was a band seemingly determined to come from nowhere and
go straight back there, it was The Gun Club. Jeffrey Lee Pierce’s search and
destroy combo was spawned by the LA punk scene in 1979. Two years later
their first LP, the incendiary ‘Fire Of Love’, was spewed out by Slash
Records, a matter of months after the punk zine Pierce wrote for, and the
label named itself after, breathed its last. ‘Fire Of Love’ was one of the 80’s
genuinely shape-shifting US debuts, igniting post-punk depth and minting
genres including blues, psychobilly and Americana.
 Jeffrey Lee Pierce was an extraordinary character. Learning to play guitar at
the age of 10, he quickly immersed himself firstly in reggae and later the
Delta Blues, particularly works by Tommy Johnson and Robert Johnson. By
1976, he had become obsessed with Blondie, going on to become President
of the West Coast Blondie Fan Club. It was Jeffrey Lee Pierce who
suggested to the band they cover ‘Hanging On The Telephone’. The Blondie
connection would later resurface in 1982 when Chris Stein signed and
produced The Gun Club for his Animal Records label. In 1996 after releasing
seven studio albums, 37-year-old Jeffrey Lee Pierce sadly passed away
following a stroke. What he left behind is a legacy of work that has had a
prolific effect on some of the most distinguished rock acts of the past 20+
years, these include Nick Cave & The Bad Seeds, Sonic Youth, The White
Stripes, Mark Lanegan, Primal Scream and The Black Keys.
 “Jeffrey was a human tornado. Yet during the most turbulent points in his life,
he was able to tap what seemed to be a limitless supply of astonishingly
beautiful music. Even now, songs like ‘Flowing’ and ‘Desire’ catch me up.
The immense power that passed through Jeffrey, like an electrical current,
informed his amazing body of work. That level of unrelenting heat and
incandescence is simply not survivable. I wouldn’t wish it on anyone.” -
Henry Rollins (April 2021)
 Six 7” singles reprinted with original artwork. Additional ‘Miami Demos’ 7”
exclusive to this box set. All singles remastered especially for these vinyl
editions.

"When I was approached to participate in Monsterland I was immediately attracted to the idea of working on a series where horror, science fiction and gore could converge. I had never done music for a project like this before and the sole idea of venturing into some new playground immediately sparked my interest. And just after reading the first two episodes I realized I had to get involved in the project.

Several things connected with me deeply. I found in the stories elements that reminded me of the “magical realism” that I grew up with in Latin America through writers like Horacio Quiroga and Gabriel García Márquez. Also, the idea of tapping into a landscape in which fear and horror have a metaphysical quality connected to the psyche of the characters appealed to me.

Working with Juan Luquí was key in making this score. His capacity to deeply understand my vision and his masterful skills add another dimension to Monsterland. A land of monsters so human in nature, that in many instances seemed extremely and frighteningly familiar."

Composed by Gustavo Santaolalla
Artwork by Matt Ryan Tobin
Manufactured in Czech Republic

Classic Max Steiner soundtrack to the 1933 masterpiece King Kong.

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.

King Gizzard & The Lizard Wizard announce an album of remixes of tracks from ‘Butterfly 3000’, their second studio LP of 2021 alone. ‘Butterfly 3001’ features reworks courtesy of (among others) DJ Shadow, Donato Dozzy, The Scientist, DāM-FunK and The Flaming Lips!

"We’ve put off doing a remix album for a long time. Maybe it was conscious, maybe it wasn’t. But it’s happening now. That’s not to say that Butterfly 3000 makes the most sense to remix. It might seem like the obvious one, but it’s not. Yes it’s electronic. But so is a fridge. Have you tried to dance to Butterfly? It’s hard. It ties your shoelaces together. It’s duplicitous in it’s simplicity. But Butterfly 3001 expands on this. It also deviates and obliterates. We’re honoured to have such esteemed people go to work on these songs. We hope you love this album as much as we do. See you in Da Club!!!" - Joey Walke

Flee Lord brings you his Lord Talk Trilogy album on limited edition vinyl. Originally released in 2020, this album is the third installment of his Loyalty or Death / Lord Talk series. The 10-track project is fully produced by godBLESSbeatz and also features guest appearances from Ransom, Eto and T.F. In 2020, Flee Lord pledged to release a full length album for every month of the year. Not one to let his fans down, Flee kept his promise and released 12 high quality projects in 2020, culminating with the release of the acclaimed In The Name of Prodigy album. An ode to the legacy of the late Prodigy, Flee Lord tapped in with Havoc (of Mobb Deep) to handle all of the production. Looking to keep up his momentum, Flee has since teamed up with Roc Marciano to drop their collaborative Delgado album to rave reviews in 2021. In 2022, Flee followed up with the release of Pray for the Evil 3 and his latest effort, Ladies & Gentlemen. Lord Lord!

Tape

The Forbidden Dance label is marking their first year of existence and with already top-notch names (Vick Lavender, Alton Miller, The Mechanical Man) with the first three releases, they are celebrating the one year mark with another global gem, disco and house finest - Ilija Rudman!
Where Wild Horses Go is conveying an unquestionable sense of 80's electro and synth boogie filled with smooth and heavily reverberated rhythmics drenched in strong snares. Aligned with catchy and spaced-out disco pads, the album is riddled with ever strong analogue elements processed in a light, quirky and summerish way but with enough groove in some tracks easily applicable on the dancefloors in the late hours.
Dead Horse Gang is a brainchild music band/brand by Ilija Rudman dedicated to cinematic dance concept laying on the Los Angeles funk attitude, Art Of Noise perception of sound and raw 12-bit grooves making a statement of mid 80's culture with surf vibe of California summer.
"Dead Horse Gang Music is more than music, it's a way of life, a way of thinking, a path to a maximum freedom of the one, who can accept it."
-Ilija Rudman

C.Z. debuts on LA's Evar Records with the uncompromising Heat Index EP.

The Los Angeles-based producer, beatmaker and DJ sets a course through IDM, techno, jungle and trance to deliver five frenetic, emotionally-charged dancefloor cuts.

Over the course of an intensely productive career, Colby Zinser (aka C.Z.) has made music spanning genres like pop, rap, hardcore and jungle. As well as releasing music as C.Z., he's operated multiple aliases, including the prolific Ice Underlord. Drawing from a longstanding fascination with breaks, trance and the IDM of artists like Warp Records' Clark, he's developed his own rich and eclectic style of club music - a sound that crystalized on his 2020 debut album Hyperfocus.

C.Z. emerged from 2020 armed with a mass of new dancefloor tracks, freshly inspired to make club music a central focus, after years of smuggling techno, trance and breaks elements into the rap beats he was making for others. As he explains: 'It's great to come back to music and just make what I love, I don't want to be someone else's secret weapon, I want to be my own.' Heat Index refuses to toe a line, steering skillfully through genres and setting a tone that oscillates between club-fuelled euphoria, heartbreak and the looming threat of planetary crisis.

Opener 'Midnight' rattles along at a breathless 160 BPM, transporting you to a breakdown in the middle of a pounding hard trance set. Within a minute the rushing neon trance synths collide with huge, sub destroying kicks. The title track 'Heat Index' follows, with brooding pads bolted onto a tight breakbeat, leaving space open for the razor sharp, searching synth line.

Moving rapidly through the gears, 'Hurricane' is an aptly titled exercise in precision programmed classic jungle breaks, carried forward by bubbling earworm melodies. 'Retrograde' shifts the focus again - a pitch-black, dark, fast and seething techno track ripe for warehouses and dungeons, before 'Radial Lens', a melodic, anthemic set-closer built on a muscular, downtempo break.

C.Z.'s first appearance on Evar Records, the LA label founded in 2020 by Trickfinger and Aura T-09, follows a series of hard-hitting releases from Speed Dealer Moms, Limewax and Kilbourne, all artists who like C.Z., are able to traverse twisted electronica, club music and pure abstraction with ease. 'I want to help encourage a more open electronic music space, less pretentious, and encompassing all genres.' C.Z. says. 'It's an important goal of mine, and one the label shares.' Heat Index is a wide-ranging EP from a versatile producer, and a celebration of unfettered expression, for minds and dancefloors free from inhibition or genre restriction.

Gwendoline, is a duo-antihero of the Rennes indie scene. Sensitive loosers and jaded start-up nation greats, Micka and Pierre shape their own style, a dark shlag wave in a percussive and poetic spoken-word style, with counter discussions as their primary source of inspiration, looking at those around them. Between fatalistic lyrics, self-deprecation, sarcasm and bitterness of the world's mediocrity, their sincere cold-wave is the symbol of a disenchanted youth and the perfect soundtrack to protest.

In 2017, they recorded their first album by locking themselves up for a fortnight to compose everything in one go, feeding off their daily environment in Rennes, numerous evenings spent at the bar and the anxieties of our time. At first self-produced on Bandcamp, this album "Après c'est Gobelet!" is pressed in confidence on vinyl in June 2020 on the Spanish indie label Dead Wax Records, whose stocks run out before the end of the year and which is now unavailable in France.

At the end of 2020, Gwendoline has also seen the doors of the Trans Musicales open to her, a favourite of Jean-Louis Brossard, for a live show at the Ubu, captured by FIP & Culturebox and accompanied by Maëlan and Romain, their stage accomplices.

Written without pretension and ambition, the duo is surprised by the interest shown in the project, between their programming at the Transmusicales, and the feedback from the press including major international media (KEXP, France TV, Les Inrocks, Post Punk Magazine...).

A video clip was released in April 2021 to illustrate one of their flagship tracks, the heady and heady "Chevalier Ricard", which was also a favourite of Franck Vergeade, music editor of Les Inrockuptibles (January 2021).

Gwendoline is the project from Micka (a.k.a. Mikoune) and Pierre (a.k.a. Daniel).

Based in Rennes, musically influenced by the classic cold wave which originated in their country, precarious and aimless, they shape Gwendoline to their own image.

Pure DIY ethics, quick recordings at their home studio.

Dark lyrics, self-mockery, criticism, sarcasm derived from the world’s mediocrity.

His partnership with the label has already resulted in a collaboration with Modern Heads, as well as one of the first entries in the Monad series, and now a fascinating new EP that showcases his talent for testing the limits of perception.
Alistair Wells is a producer whose current work is synonymous with a kind of benevolent intensity: he excels at sculpting tonally rich and percussively complex tracks that seem to both enlighten and confront. Under his most well-known alias as Perc, he has established a deep roster on his Perc Trax label to carry out a similar-minded program, and has built up a formidable arsenal of EPs and singles in the wake of enigmatic LPs like 2011's Wicker & Steel. His 'eclectic-yet disciplined' methodology practically guaranteed he would eventually come into the orbit of Stroboscopic Artefacts. His partnership with the label has already resulted in a collaboration with Modern Heads, as well as one of the first entries in the Monad series, and now a fascinating new EP that showcases his talent for testing the limits of perception.

The ominously titled opener "Death of Rebirth" - a title hinting at some form of hellish repetition - starts things off with a sense of dark premonition. Yet, in signature Perc style, that aura of uneasiness beckons listeners to explore further rather than to flee from it: in this context, the reliable 4/4 kick drum throb is the only means of orienting oneself or angling through a glassy and metallic labyrinth where foreign objects conspire to make previously unimagined percussive noises. "Negative Space" is a variation upon this theme of trying to maintain focus within a foreign environment bristling with strange enticements and potential dangers: with the kick pattern from the previous pice still acting as a trusty guide, new sound forms arise at every turn: a novel sort of hybridized piano / gamelan tone, a shuddering assembly line, and snaking delay feedbacks. Like dub music meant to be listened to in a hall of mirrors, "Negative Space" induces a heady feeling of multiplying realities.

The closing "Ma", if translated into Japanese, can mean "space / pause" and thus acts as a nice complement to "Negative Space." However, this massive, side-long audio force field dispenses with the previous tracks' steady pulse, and suggests a rigorous act of ritual contemplation taking place in the midst of phenomenal chaos and challenging blows to the body. "Ma" succeeds in modernizing the industrial-era rhythmic invocations of artists like Z'ev, achieving an almost classical solemnity without sacrificing Perc's usual love for cleverly maniuplated electricity. Altogeher, 'Ma' is an eye-opening, ear-infliltrating statement that will warp your understandings of time and space in a most exquisite way.

This is the repress of celebrated American rock band Against Me!'s album 'Shape Shift With Me' on blue double vinyl. Originally released back in 2016, it has been out of stock on vinyl since 2018. It is the follow up album to the band’s critically acclaimed studio album, Transgender Dysphoria Blues, and came out at the same time as frontwoman Laura Jane Grace announced her memoir titled TRANNY: Confessions of Punk Rock’s Most Infamous Anarchist Sellout. Recorded, mixed and engineered by Marc Jacob Hudson (Taking Back Sunday, Saves The Day) at Rancho Recordo, ‘Shape Shift With Me’, Against Me!’s seventh full length album, has the distinction of the first album frontwoman Laura Jane Grace has written truly from the heart, with no metaphorical cloaks cast over the lyrics. It’s an album about love, that deceptively complex emotion we all struggle with yet has somehow eluded most of Grace’s songwriting for the past 20 years. In a career already full of classic punk records, Shape Shift With Me feels like the definitive Against Me! album—it’s poppy and catchy (“Rebecca,” “Suicide Bomber”), aggressive and in-your-face (“ProVision L-3,” “Dead Rats”), sentimental and longing Crash,” “All This (And More”). Moreover, it’s the culmination of four years of existence as Laura Jane Grace—there’s no going back now, so she might as well embrace it.

"Beyond the Permafrost" is a tightly played, thrashy as hell, and damn tuneful album. The disc combines classic thrash with a bit of melodic death and black metal, and a NWOBHM undercurrent, all of which is given a modern (though not glossy) production. An added twist are the scruffy and snarling (kind of like a CARCASS-y "Heartwork" era crossed with black metal) vocals of Chance Garrette. The guy strikes the balance between a truly sinister aura and good 'ole evil fun. Some death growls are smartly utilized as well. Count "Beyond the Permafrost" as one of those albums that just feels right. Hell bent and upping the irons, SKELETONWITCH gets "it" right on every single one of these smoking tracks. I'll even go out on a limb by saying that from the standpoint of talent and urgency of approach, SKELETONWITCH reminds me a little of THE BLACK DAHLIA MURDER when they first began their ascent. Crank this one really, really loud. - BLABBERMOUTH

Trouble’s classic debut album from 1984 with faithfully restored audio represents everything that Doom Metal should be.

Integrating equal parts black metal savagery and rock n' roll defiance, Vancouver’s WORMWITCH saw their debut album, "Strike Mortal Soil", released worldwide through Prosthetic Records on May 12th, 2017. Hailing from Vancouver, Canada, an early incarnation of the group was more of a hardcore/punk band but as the band’s influence of Celtic Frost, Darkthrone and Disfear started showing up more in their music, they chose to rebrand themselves as Wormwitch. In October of 2015, they released their first EP, The Long Defeat. In early 2016, No Clean Signing premiered a new track, Coffin Birth, describing it as a “high-octane rush of deep, grinding riffs, piston-driven drumming, and thundering bass, with a heavy-as-hell production.” It was then that they caught the attention of Prosthetic Records and soon a worldwide deal was struck.

On January 14th, 2022, Elvis Costello and The Imposters release, ‘The Boy Named If,’ a new album of urgent, immediate songs with bright melodies, guitar solos that sting and a quick step to the rhythm. Costello tell us, ”The full title of this record is 'The Boy Named If (And Other Children’s Stories).’ ‘IF,’ is a nickname for your imaginary friend; your secret self, the one who knows everything you deny, the one you blame for the shattered crockery and the hearts you break, even your own." Produced by Sebastian Krys & Elvis Costello - the album is a collection of thirteen snapshots, “That take us from the last days of a bewildered boyhood to that mortifying moment when you are told to stop acting like a child - which for most men (and perhaps a few gals too) can be any time in the next fifty years," as Costello put it.

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

3-LP on 180-gram vinyl, housed in a two-piece box. Limited-Edition of 9,000 (WW). Liner Notes By Jesse Jarnow & Michael Parrish. Audio timing and speed correction by Plangent Processes and newly mastered by Jeffrey Norman. Available for the first time on Vinyl. Not available in other official physical or digital formats. Produced for release by David Lemieux.

Survival depends on evolution. As conditions change and tides turn, we must change with them in order to stay one step ahead of the coming challenges. It’s clear that Fit For An Autopsy have embraced that mantra as they continue to perpetually evolve with each subsequent body of work. Not just blurring, but eradicating the lines between technical metal virtuosity, death metal menace, hardcore intensity, melodic insidiousness, and abstract approaches, the New Jersey band embody an uncompromising vision of their own.

The six-piece—Joseph Badolato vocals, Patrick Sheridan guitar, Timothy Howley guitar, Will Putney [guitar], Peter Blue Spinazola [bass], and Josean Orta Martinez [drums]—perfect this approach on their sixth full-length offering, Oh What The Future Holds [Nuclear Blast Records].

Fit For An Autopsy have never stopped moving forward though. Following their caustic 2011 debut The Process of Human Extermination, the group quietly carved out a place among extreme metal’s modern vanguard with their second LP Hellbound. Revolver cited 2015’s Absolute Hope Absolute Hell among “15 Essential Deathcore Albums.” And In the wake of The Great Collapse two years later, the band had truly created their own space in the realm of what could be described as “post-deathcore”. This ascent reached another level on the 2019 opus The Sea of Tragic Beasts. Widespread praise from the fans and press alike is all but too common for their refreshing approach to modern aggressive music both on record and in concert.

When the Global Pandemic changed everyone’s tour plans, Fit For An Autopsy dove into writing in spring 2020 and made the most of their time off the road.
“We had no real timeline, so we didn’t feel much pressure,” says Putney. “Once we realized touring wasn’t opening up, we decided to have fun with the process. I got to spend more time than I usually do on records. We definitely took some of the songs into new places because of that. It’s our longest album. We composed more than we ever have and it was a rewarding feeling to put real work into all these ideas.”

In early 2021, Fit For An Autopsy congregated in-person at Putney’s Graphic Nature Audio and recorded Oh What The Future Holds. Now, they introduce the album with the single “Far From Heaven.” Swirling as a perfect storm, airy guitar cuts through a pummeling percussive groove as melodic vocals slip into a guttural groan offset by neck-snapping riffs and powerful dynamics.
“The world we exist in is clearly “far from heaven”. Institutions are exploited, and people are taken advantage of. There’s a power struggle between those in control and those who aren’t. This is a fairly literal reflection on the world today.”

In the end, Fit For An Autopsy haven’t just personally evolved on Oh What The Future Holds; they’ve brought heavy music with them.

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.