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"Why "Bouncer"?
In Club Culture, the bouncer represents the image of determination, a
fundamental element that characterizes every produced track.

I imagined this album as a virtual club in the metaverse, where my
avatar is a BOUNCER.

Here, the music plays loud, the bar is open, and each track on the
tracklist carries a part of my soul and my influences.

For me, this project represents a meeting point between the roots of my eclecticism and the strength of the artists involved, creating a mix of sounds and styles that reflects my artistic and personal journey.

With this album, I want to celebrate Club Culture and all its influences
on my life and music, offering an authentic and deep sonic experience
for all fans of the genre.

**Debut album from former 'Eighties Matchbox B Line Disaster' front man Guy McKnight's new band.** **ORANGE MARBLE COLOURED VINYL - VERY LIMITED!!** The DSM IV’s debut album, “NEW AGE PARANOIA,” is an impressive collection of stories, beats, guitars, and noise. The album seamlessly weaves together sobering but dream-filled songs that explore the ways in which our collective minds are influenced by mass media, entertainment industries, and social media. Formed by Guy McKnight of critically acclaimed and cult favourite The Eighties Matchbox B-Line Disaster. The DSM IV has a dark sound that blends noise-rock, synth-pop and industrial, that delivers a unique musical experience. Their music is cacophonous and epic, featuring rich textures and melodic hooks that keep listeners captivated. The band’s powerful soundscapes, combined with their thought-provoking lyrics, create a mesmerizing atmosphere that both entertains and encourages introspection. The album prompts important questions about our society, such as what’s driving the normalization of a narcissistic culture that prioritizes personal desires over altruism. It delves into the ways in which technology, social media, and mass media shape our collective psyche and affect our relationships with ourselves and each other. The DSM IV’s music offers a timely and compelling commentary on these issues. The DSM IV is a band that creates music with a powerful message that resonates with people who feel that a kinder world is possible. Their songs are both nasty and nice, reflective and entertaining. With “NEW AGE PARANOIA,” The DSM IV has crafted an album that will captivate and inspire listeners, while also prompting deeper reflection on our society’s values and priorities.

Formed in 2016 by transatlantic buds Nick Mitchell Maiato and James
Toth, One Eleven Heavy is a band designed as a Venn diagram of the
pair's shared musical loves Crazy Horse, Grateful Dead, and Dylan come to the fore when listening to their joyful third album, Poolside, but the influences go much deeper.

Toth says, We were lucky to have our touring drummer, Jake Morris (Stephen Malkmus & The Jicks) at the ready to play drums. Nick's pal, the fantastic Guy Fowler, plays bass on the record.

Guided by mysterious producer Colin Sick, One Eleven Heavy spent
a year writing and recording the tracks that form Poolside, an album that feels like a gothic western romp through cartoon dreams of escaped criminal ciphers ( Tyrant King ), rebound coke binge recollections ( Rizzo In The Wig ), and tales of sasquatches crossing state lines ( Bama Yeti ).

Full Dose is back! Once again exporting their distinctive brand of mutated dub directly from Glasgow's Southside. The label's 13th release is the work of a new name: Brollachan - "a shapeless darkness that craves bodily form".

As the name would suggest, the music itself evokes a certain eeriness. Brollachan fuses this with the metallic textures and airy rhythms commonly heard on Full Dose records. Tracks like "Hall" could well be written by a smoked-out mythical being, with deep subs and spring reverb-laden tones throughout. Quality stuff.

This juxtaposition of influences continues throughout the release. "Graze" has a particular aquatic feel. Sonar-esque synths punch through the haze and sustained synth sounds keeps the track in midwest territory.

Despite the obvious variety on show here, Brollachan of course keeps fans of the Full Dose sound on-side. "Mad Dawg" is a grimey take on this. General MIDI style sounds appear throughout the intro. This is complimented by intricate drum programming and a growling bassline, to give us a track straight from the 22nd century.

13 releases in and the tight-knit crew behind Full Dose continue to promote a sound that is both unique and reliable - Brollachan is no exception!

Dishwasher_ are the latest disciples of yet another new wave of talent in the fertile Belgian groove and jazz scene. It would, however, be a shame to limit them to the constraints of any given musical style. Ever since their formation in 2019, the Ghent-based trio have been experimenting with all possible genres to create a contemporary sound they can now rightfully call their own. With their self-titled debut album, to be released in April 2023 via Sdban Ultra, they are closing off an impressive first chapter, delivering a unique and diverse yet coherent collection of groove-driven cuts.



While labeling Diswasher_ as a jazz band wouldn’t do them enough justice, it is a fact that improvisation and a certain free approach turn out to be key in the creation and performance process of the album’s tracks. Werend, Louise and Arno specifically aim to capture their live energy and synergy on the album by experimenting with structures and textures, playing with song lengths and implementing influences from various other styles — electronic music in the first place, but as well traces from (Middle-)Eastern and Balkan music, next to dance, hip-hop and even metal.



As a result, the record tends to be a pure and honest representation of Diswasher_’s musical identity and artistic quest over the past years — both as individual musicians and as a band. Saxophones drenched in effects, diverse layers of synthesizers, a bass guitar hopping from fingerpicking licks to deep and drone-like bass tones, drums can sometimes sound like drum computers, and sometimes as subtle rhythmic chords: it’s pretty clear how deep this trio have dived to search and find something totally fresh and new.



Members of the band are Arno Grootaers, Werend Van Den Bossche and Louise van den Heuvel. Their debut album is coming out on Sdban Ultra, the innovative label of Black Flower, ECHT! and Compro Oro (among others). In 2023 they will fully focus on new talent, by signing Dishwasher_, but also KAU (formerly KAU trio) and Schroothoop. Apart from that, you can expect debut albums or EPs by LũpḁGangGang, Bandler Ching, KVR trio and Adja coming out this year. Stay tuned.

In the early 1990s, a handful of black metal artists were enticed by the possibility of conjuring new fantastical worlds from the deep isolation of their home setups. Rather than the dense metal sound of their existing projects, this new direction would be centred around intimate synth soundscapes: forlorn organs and otherworldly MIDI theatrics.

The music on ASCEND is predominantly from self-produced, self-distributed releases, typically manufactured in small numbers. Though some artists producing this style of music, most notably Mortiis and Burzum, gained wider recognition outside underground circles, it is only in recent years that the sound and its influence has really been appreciated. This is particularly the case with the late Matthew Davis and his recently reappraised Secret Stairways project, whose song ‘Lammas Tide’ (from the 1997 Enchantment of the Ring album) appears on ASCEND. A simple home recording on a Yamaha KX-W392 manages to be both elegant and tortured, ambiguously devotional and recalling latter years Popol Vuh.

This battle between dark and light is a constant thread through ASCEND, with simple minimal synth lines that can be both delicate and menacing. Compilation opener ‘The Dark Dreamquest’ from Italian black metal group Evol is loaded with occult warning, and Finnish act Kadotus 609’s ‘The Summoning Through Crimson’ is languid, twisted and dark. In spite of the darkness, several pieces of the music on ASCEND have formal similarities with the sometimes saccharine new age music that rose to prominence in that era: but to a rougher, darker ends. The closing song from Darkthrone icon (and past NTS radio host) Fenriz, under his Neptune Towers pseudonym, pulls us further out, with ‘To Cold Void Desolation’ — an astral synth project, akin to ’70s kosmische muzik masters Harmonia.

The gentler side can often amplify an uncannily sinister edge, heard in German act Dolch’s ‘Tumulus’, where orc marching horns contrast against delicate rompler harps and softly whispered chanting. It hammers home a deep loneliness and detachment constant throughout ASCEND, made possible by these unusual contrasts, both unsettling and otherworldly.

You Can Can is an echoed affirmation, an album which traces song forms around silence, field recordings, and degraded analog memories. This is folk music transmogrified and mutated, as if recorded and reconstructed in Pierre Schaffer’s GRM studio.

Not your typical Mariposa folk duo, the group is comprised of Toronto avant-music scene stalwarts, vocalist Felicity Williams (Bernice, Bahamas) and bricolage artist and synthesist Andrew Zukerman (Fleshtone Aura, Badge Epoch). The album feels like a somnambulant conversation, fragmented and half-remembered with Williams’ vocals traveling through a landscape of field recordings and Zukerman’s saturated concrète topographies. It is an electro-acoustic assemblage, both analog and digital, comprised of air, electricity, minerals, wood, and water. Although the album nods towards traditional forms of folk and musique concrète (if at this point it can be called a traditional form), it is outwardly and inwardly contemporary; non-linear, citational, opaque, and sui generis. In a way it feels like a sonic index of the narrative experiments found on the infamous Language school-related publisher The Figures, in the work of Lyn Hejinian, Clark Coolidge, and Lydia Davis. In the musical continuum, the album picks up where Linda Perhacs left off in the early 70’s—explored by Gastr Del Sol in the ‘90s—a convergence of rural acoustic idioms and urban avant-electronics. This is country music for the discerning cosmopolitan citizen of the 21st Century.

RIYL: Luc Ferrari, Brannten Schnüre, William Basinski, Oval, Eric Chenaux, Emmanuelle Parrenin About Everything In Time and Failure Figures, Felicity Williams says:

Everything In Time is indebted to the language of Brazilian author Clarice Lispector (as translated by Alison Entrekin). Drawing on insights from psychoanalysis, we trace the roots of melancholy to render them available to consciousness; words from the ghostly realm of the transpersonal filter through dreams and shine a beam of light onto a lone trillium in a forest at night. Other influences include the experience of not knowing, of being subject to a gestation outside of one’s control. This is an ode to the power of naming to obliterate, to set free.

Failure Figures is a meditation on the radical contingency of reality and the vicissitudes of the will. With Slavoj Zizek as my guide (think: “Hegel for dummies” - I’m the dummy in this scenario), I wander through the valley of the shadow of death, and take heart. The last verse refers to an experience I had recording at a studio in Brussels. I was singing in French, with which I have some fluency, and the producer was complaining to the artist whose song it was that my delivery was not convincing. Thinking I was out of ear shot, he said in French, “c’est comme elle n'est pas là”; I was pronouncing the words correctly, but I failed to express anything. So what or whom is responsible for conveying meaning, if not the form of the word itself? And if the connection between meaning and form is broken, how do we fix it?

Gratitude to Thom Gill (guitar) and Daniel Fortin (bass) who joined us on the recording of Failure Figures. Thanks as well to my old roommate Christopher Willes, who unwittingly left behind his hand bells deep in the hall closet. We unearthed them by accident, and the bells became an important sound element. Thanks to other past roomies Robin Dann and Claire Harvie, whose childhood piano and guitar respectively still reside with us, and were used in the recording. Field recordings were made in Toronto, Canada and Celestún, Mexico in 2020.

The very first initial Minimum Success Records release features the legacy of some finest mix of breakbeat, gabber & hardcore influenced tracks with some ghetto touch produced in the studio sessions between 1993-1997 by the duo Amalgam 5 at West 20 Studio in Turku, Finland. Well after a decade being buried in the deepest master tapes archives these tracks are finally seeing a daylight and becoming available on a beautifully designed vinyl release by Bank™.

Gayance joins forces with Rhythm Section for her debut album ‘Mascarade’ - a swaying dance that moves between poetic, soulful odes to the past, accounts of the Afro-diasporic feminine experience and playfully energetic dance floor grooves.

Mascarade is a collection of dancey, broken rhythms, interwoven with heartfelt stories and bright, unapologetic outpours of joy. In her own words, “It's the story of my 20's. I wanted to pay homage to this kid everybody knew, but not deeply. It's about taking back a power that is mine and was always in my hands...It's about making peace with the past and moving forward”.

Gayance (real name Aïsha Vertus) takes her alias from the Haitian creole word for joyfulness.Based in Amsterdam, born and raised in Montreal-Nord, she started as a DJ in 2013, and has toured the world with shows in Paris, Brooklyn, Marrakech, Berlin, Sao Paulo and more, bringing electrifying and contagious energy wherever she goes.

Her own production is influenced by underground UKG and the respective house scenes of Detroit and New York, with nods to the vivid, sun-soaked colours of Latin America. Shades of blues, jazz and gospel can also be heard in her newest project, pulling together styles from each corner of the world. Following her catalog of entirely self-released projects, Gayance announces her full-length debut album on Rhythm Section, bringing some fellow Montrealers along for the ride.

On the heels of their monolithic collaborative LP Mental Wounds Not Healing, the collaboration between industrial-noise post-everything bands Uniform & The Body returns with a second entry, Everything That Dies Someday Comes Back. Comprised of an amalgam of abrasive influence that spans Swans-y dirge and purge, Whitehouse’s clenched-jaw noise, middle-period Ministry’s penchant for metallic post-industrial everything, New Order’s nose for melodic emotionality, and Juicy J-inspired beats, Uniform & The Body’s approach delves deeper down the rabbit hole than before, igniting a sonic world of terror and bliss poised to grip the throats of fans yet again. Prepare for a record that the band self-describes as “the middle ground between Robyn and Corrupted, but weirder.”

Much like the collective’s bombastic debut, Everything was built over a series of collaborative sessions with Seth Manchester at Machines with Magnets in Rhode Island, mixing industrial-influenced synths, squalls of harsh noise, manipulated guitar, oodles of samples along with hard rock-inspired riffs, saccharine pop, and the alternately antagonistic and harrowing vocals of Michael Berdan