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"Chicago-based composer, improviser, multi-media artist and underground legend, Rob Mazurek, joins forces with modular-synth maestro and light magician, Alberto Novello for a blacklight invocation that hurls us out into new and uncharted sound-dimensions.

Born of a chance encounter, Alberto Novello and Rob Mazurek's improvised collaboration, Sun Eaters, was recorded in a single afternoon at Dobialab, an experimental artist run space in Northern Italy. Alberto provided a loose rythmic and timbral bedrock over which Rob Mazurek sketched and weaved delicate harmonies with trumpets, adding atmosphere with bells and sampler.

Sun Eaters is a dizzying and disorientating space ritual, a totally out excercise in telepathic collaboration and psychedelic sound."

Modular Synth by Alberto Novello.
Trumpets, sampler, bells by Rob Mazurek.
Produced by Alberto Novello.
Recorded at Dobialab, Italy on 6th February 2024 by Michele Pegan.
Mixed by Alberto Novello at Ni Dieu Ni Maitre Studios Italy & Air Residency Austria.
Mastered by Hrvoje Nikšić, Croatia.
Artwork by Giulia Spanghero.

Dedicated to the memory of Filippo Novello.

Jackpot Records is proud to reissue what many call arguably the greatest album of the punk rock era: The Flesh Eaters’ 1981 punk-noir masterpiece, ‘ A Minute To Pray A Second To Die. Once referred to as an all-star roots/voodoo combo, The Flesh Eaters could only have crawled out of the myst of the late L.A. 70s punk scene. Fronted by punk poet/composer Chris D. (Desjardins), the band was a satellite for exquisite collaborators that allowed him to bring the full force of his dark, messed-up lyrical nightmares. Members of X, Wall Of Voodoo, Los Lobos, The Blasters, and The Plugz all hopped into his unmarked car to take a drive with Chris D. Its grabbed-by-the-throat vocals are powerfully buoyed by the tight melodicism emanating from the players on this record (John Doe andDJ Bonebrake from X, Steve Berlin of Los Lobos, Dave Alvin & Bill Bateman of The Blasters). Hell, we even get the perfectly executed John Doe original, “Cyrano de Berger’s Back,” which was re-recorded by X in 1987. The creators of this record made a pulp novel for your ears with an equal chance to scar your heart. Do not miss out this is punk noir at its greatest.

« Tas Malonumas »
Lithuanian word
Def: meaning That Pleasure
Example: conversation between a young, inexperienced person and an elderly person who’s near death’s door. The old one is telling the young one how life is an unceasing search for pleasure.
Track: takes the form of a mental stroll that takes you far, far away.

« Room of Men Eaters »
Human expression of cannibalism
Def: absurd situation in which men and women eat each other in a room
Track: the contrast between the absurdity of the situation and the apparent normality of speech told by the vocoded voice of Shkema is just astonishing.

« Sarka Syrkaza »
From the future
Def: meaning “super sarcasm”
Example: one day you wake up in the morning and you feel that something within you has changed. All seems to be nonsense and you start to look at everything through the grey glasses of sarcasm. One might look enjoying oneself, but in reality this is an extremely draining state of mind.
Track: musical expression of that state of mind

« Je n’aime pas les fêtes »
World expression
Def: parties are boring
Track: Shkema remix of his friend Afrodelic is a wacky version that contrasts French lyrics talking about how disastrous parties feel with a beat that just makes you want to dance.

Hellfish and Bryan Fury, the Axe Gabba Murda Mob, are two of the biggest innovators in hardcore techno. Both have been pushing the genre in all kinds of directions for over two decades providing the pulse for thousands of parties around the globe. So with this in mind, we are honoured to present 'Baby Eaters', an earth shaking joyride to the very edge of the human psyche and beyond.

The eponymous A-side strikes terror into the hearts of men, splitting brain cells like atoms with destructive chain reactions of radical distortion and soul-stripping screams. Pure demonic catharsis, sound frequencies don't get more violent than this. The B side 'Acid Abyss' is an LSD stained hardcore techno anthem where eerily cold voices are strangled by crunchy bellowing kick drums and bleeding 303s. Despite still being cranked up, the precision of the fills in this track offsets the chaotic kicks of the A-side, coming off almost subtle in comparison.

This single is for connoisseurs coming lovingly housed with artwork by the wonderful Jim'll'Paint it, depicting the deadly duo conducting some rather grizzly research in their underworld studio.

For fans of: Venetian Snares - Bloody Fist

Gold Vinyl

Lael Neale still has a flip phone and there were no screens involved in the creation of her new record Star Eaters Delight. The album is her second for Sub Pop and reveals an expansion of her sonic collaboration with producer and accompanist Guy Blakeslee. In April of 2020, in the wake of transformations both personal and global, Lael moved from Los Angeles back to her family's farm in rural Virginia. Looking at the world from a distance and getting in tune with her own rhythms, she wrote and recorded steadily for two dreamlike years, driven by a need to make order out of chaos. Forged in isolation, Star Eaters Delight is a vehicle for returning, not just to civilization, but to celebration. She says, "Acquainted with Night (recorded in 2019, and released in 2021), was focused inward, amidst the loud and bright Los Angeles surrounding me. It was an attempt to create spaciousness and quiet reverie within. When I moved back to the farm, I found that the unbroken silences compelled me to break them with sound. This album is more external. It is me reaching back out to the world, wanting to feel connected, to wake up, to come together again." Album opener and lead single "I Am The River" melts the ice with a dynamic explosion of minimalist transcendental pop clearly descended from the Velvet Underground's branch of modern music's family tree. Blakeslee's spare yet cinematic arrangements create an ambient space in which Neale's clear and unaffected voice can explore familiar themes in an unexpected way. Subtle but potent references to Shakespeare, Emerson and the Bible (which she hasn't read) swirl together with deeply personal musings and touches of wry humor, always more optimistic than cynical. While this is a record about polarities- country vs. city, humanity vs. technology, solitude vs. relationship - the deeper intention is to heal; to come to terms with our differences and put the broken pieces back together again. Lael's affinity with the Transcendentalists has to do with her quest to hold onto sovereignty over her own mind. In a time when our devices are constantly flooding us with information, opinions and propaganda, Lael is intentional about what she takes in - hence the flip phone and the cassette recorder. Neale identifies as a minimalist "not because I don't like things, but because I value freedom more."

Tape

Lael Neale still has a flip phone and there were no screens involved in the creation of her new record Star Eaters Delight. The album is her second for Sub Pop and reveals an expansion of her sonic collaboration with producer and accompanist Guy Blakeslee. In April of 2020, in the wake of transformations both personal and global, Lael moved from Los Angeles back to her family's farm in rural Virginia. Looking at the world from a distance and getting in tune with her own rhythms, she wrote and recorded steadily for two dreamlike years, driven by a need to make order out of chaos. Forged in isolation, Star Eaters Delight is a vehicle for returning, not just to civilization, but to celebration. She says, "Acquainted with Night (recorded in 2019, and released in 2021), was focused inward, amidst the loud and bright Los Angeles surrounding me. It was an attempt to create spaciousness and quiet reverie within. When I moved back to the farm, I found that the unbroken silences compelled me to break them with sound. This album is more external. It is me reaching back out to the world, wanting to feel connected, to wake up, to come together again." Album opener and lead single "I Am The River" melts the ice with a dynamic explosion of minimalist transcendental pop clearly descended from the Velvet Underground's branch of modern music's family tree. Blakeslee's spare yet cinematic arrangements create an ambient space in which Neale's clear and unaffected voice can explore familiar themes in an unexpected way. Subtle but potent references to Shakespeare, Emerson and the Bible (which she hasn't read) swirl together with deeply personal musings and touches of wry humor, always more optimistic than cynical. While this is a record about polarities- country vs. city, humanity vs. technology, solitude vs. relationship - the deeper intention is to heal; to come to terms with our differences and put the broken pieces back together again. Lael's affinity with the Transcendentalists has to do with her quest to hold onto sovereignty over her own mind. In a time when our devices are constantly flooding us with information, opinions and propaganda, Lael is intentional about what she takes in - hence the flip phone and the cassette recorder. Neale identifies as a minimalist "not because I don't like things, but because I value freedom more."

Eddie Roberts returned to his roots on his side project THE FIRE EATERS releasing a stream of thoughtfully reworked soul jazz covers, and P-VINE is excited to be bringing two fan-favourites to 7" vinyl format. The A side is a real treat for rare groove fans with an instrumental cover of the original powerhouse single "I Believe in Miracles" by Mark Capanni. The cover of legendary Jazz keyboardest Eddie Russ is as danceable as it is elegant with its groovy mid-tempo arrangements.

Whereas many electronic producers aim at being the most prolific in their genre, or the most extreme, Lucy and Rrose have wisely chosen to be the most consistently curiosity-provoking representatives of their craft.


Whereas many electronic producers aim at being the most prolific in their genre, or the most extreme, Lucy and Rrose have wisely chosen to be the most consistently curiosity-provoking representatives of their craft. Their decision to team up as a production duo for the newest Stroboscopic Artefacts EP may have seemed inevitable, given their shared responsibility for shifting techno's focus towards the facilitation of profound psycho-acoustic effects. And yet, even those who saw this coming will still be in for a wild ride.

Lucy's skill as a studio technician - displayed capably over his trilogy of full-length albums - has always been enhanced by his skill as a storyteller and as an artist with reverence towards myths and the pull of the unknown. This sonic personality is a perfect complement to the scientific severity of Rrose, for whom the electronic pulse beat and subsonic massage permit entry to a febrile psychic landscape whose contents are never entirely what the individual listener might expect or be prepared for.

As with both of the artists' solo offerings, these recordings feel as much like the branching off point for new creative acts rather than as objects to be passively enjoyed. As such, the opening "Chloroform" is a somewhat ironic title for a piece that is anything but anesthetic: at high volumes, its monstrous low-end surge and prickly, scintillating sonic ephemera are very likely to bring attention to otherwise imperceptible phenomena. "Peeling" continues in this style with a more urgent tempo, developing its own cascade of sensory impressions from seemingly unstable deep-bass loops, injections of intentional surface noise, and pitch-shifted / harmonizer-effected phantom phrases.

"Stained Glass," maybe the most straight-ahead piece on the record, is still a potent distortion of the mundane primed with shivering bell tones, tamed feedback and hints of speaker cones fraying. The climactic "Foil Gardens" is an elegant study in harmonics whose time-dissolving ability nods to the works of composers like Charlemagne Palestine or Eliane Radigue, without being a pure homage to either. The undertow of distortion beneath the glistening tone waves, in particular, provides a distinct update to the legacy of so-called
tonal 'minimalism'.

The end result here is a record that feels uncannily lifelike: an organism that always seems on the verge of a heuristic breakthrough, and whose full potential may not even be known by its creators.

Words by Thomas Bey William Bailey

Van Ghost is the sinister collision of fine art and grimy underground Hip Hop. Released in 2018, the album pairs Washington, D.C. MC ANKHLEJOHN with producer Big Ghost Ltd. for an 11-track journey inspired entirely by the paintings and troubled world of Vincent van Gogh.

Each song takes its name from a Van Gogh work, from The Night Café and The Yellow House to The Starry Night, The Red Vineyard, and The Potato Eaters. But rather than simply paying tribute to the painter, ANKHLEJOHN and Big Ghost translate that imagery into something darker, rawer, and distinctly their own. Big Ghost's ominous, cinematic production creates a bleak and atmospheric backdrop for ANKHLEJOHN's abrasive, unpredictable delivery and vividly street-centered lyricism.

“Slide in the party like three monkeys wearing a trench,” GDP says in the opening seconds of Cross Off Matthew, his first solo album in over a decade. The line is indicative of the New Jersey emcee/ producer’s relationship with music, one that’s ebbed and flowed throughout his career and eclectic discography. Entirely self-produced, Cross Off Matthew feels like a reintroduction as well as an expansion of what makes the cult rapper so beloved. GDP came up in the respective punk, hardcore, and skateboarding scenes of New Jersey, roots that inspired his DIY approach to making hip-hop. He applied a decidedly punk ethos to his brand of neo- boom bap on early releases like 2009’s Realistic Expectations and 2011’s Useless Eaters, albums that celebrated his youthful indiscretions but also signaled an old soul lying beneath the surface.
He opted to release them on punk/indie labels (including Run For Cover and Ride The Fury Records) instead of more traditional hip-hop outlets, and along with an ambitious touring schedule, he carved out a dedicated fanbase throughout the early 2010’s. Cross Off Matthew is a slow-cooked labor of love, born out of taking enough time away from something to understand the journey with greater perspective and appreciation.“I’m older, arguably wiser, but that creative fire stayed with me,” he says. “I wanted to make something that felt nuanced, something that I could feel proud of.” Throughout the album, the production toggles between foreboding and facetious just as deftly as his bars. Tracks like “Island In The Sky” and “Location Therapy” make rap confetti out of caustic guitars and glaring distortion, while “Seroquel” and “Rock For Light,” (the latter a nod to NJ rap royalty, The Outsidaz) embrace GDP’s signature blend of East Coast hip-hop and punk sensibilities, with lyrics that highlight the sharp wit and heady philosophizing that he made his name on. GDP examines vices, interpersonal relationships, the collective dread of late-stage capitalism as well as the pitfalls and rewards of trying to lead a creative life throughout it all. The wiseman that peaked out from beneath the shield of debauchery on his early releases has now come to the forefront, as GDP’s trademark humor and commentary feel refined by years of life lived experience

Mike Ladd. Diejenigen, die ihn kennen, sprechen diesen Namen mit einer gewissen Ehrfurcht aus. Wenn du mir eine unvollkommene Analogie gestattest: Ladd ist der Terrence Malick des Underground-Hip-Hop - ein kompromissloser Autor, dessen frühe Werke sowohl unkonventionell als auch von der Kritik gefeiert waren, bevor er sich abrupt aus der Szene zurückzog, die er mit aufgebaut hatte, und nach Paris abhob, um nie wieder von sich hören zu lassen. Natürlich ist die Realität komplexer als die Legende. Mike Ladd hat nie aufgehört, Musik zu machen; im Laufe der Jahre ist er bei allerlei unerwarteten Kollaborationen aufgetaucht - wer könnte seinen mitreißenden Auftritt auf billy woods' ,Aethiopes" vergessen -, hat den Soundtrack zu einer Netflix-Serie beigesteuert und mit bildenden Künstlern an Orten wie dem Pantheon in Paris zusammengearbeitet. Dabei sind all die Bühnen, auf denen er als Teil verschiedener Tournee-Bands und Live-Acts für Furore sorgte, noch gar nicht mitgezählt. Dennoch liegt Ladds letztes Soloalbum mehr als zehn Jahre zurück, und sein Meisterwerk ,Welcome to the Afterfuture" erschien Anfang 2000. Wenn wir der Analogie folgen wollen, ist ,Nonechosen" Mike Ladds ,The Thin Red Line. Ein unerschütterlicher Beweis dafür, dass sich der Künstler weiterentwickelt und gewachsen ist, dabei aber dieselbe Gravitas bewahrt hat, die seinen Namen zu dem gemacht hat, was er ist. Hier sind wir nun, tief in der ,Afterfuture", und es ist, als hätte Ladd schon immer auf diese Zeit gewartet und auf diesen Moment hingearbeitet. ,Jetzt weißt du, warum ich auf meinem Posten geblieben bin", rappt er auf ,Nonechosen", überzeugt davon, dass sich seine Geduld ausgezahlt hat. ,Nonechosen" ist ein Soloalbum, aber Ladd wird dir als Erster sagen, dass er es nicht allein geschafft hat; er hat schon immer mit alten Freunden zusammengearbeitet. No Surrender und Tom Degeeter haben an jeweiligen Tracks mitgewirkt. Sobald Mike das Album mit seiner eigenen Produktion zu 95 % fertiggestellt hatte, gab er es an Preservation weiter, der das Projekt mit ein paar gut platzierten Feinschliff-Maßnahmen auf ein neues Niveau hob. Backwoodz Studioz fühlt sich geehrt, Teil von Ladds kometenhaftem Comeback zu sein, und freut sich darauf, diesen wegweisenden Künstler einer neuen Generation von Hip-Hop-Fans gebührend vorzustellen, wenn wir schon dabei sind.

Mike Ladd. Diejenigen, die ihn kennen, sprechen diesen Namen mit einer gewissen Ehrfurcht aus. Wenn du mir eine unvollkommene Analogie gestattest: Ladd ist der Terrence Malick des Underground-Hip-Hop - ein kompromissloser Autor, dessen frühe Werke sowohl unkonventionell als auch von der Kritik gefeiert waren, bevor er sich abrupt aus der Szene zurückzog, die er mit aufgebaut hatte, und nach Paris abhob, um nie wieder von sich hören zu lassen. Natürlich ist die Realität komplexer als die Legende. Mike Ladd hat nie aufgehört, Musik zu machen; im Laufe der Jahre ist er bei allerlei unerwarteten Kollaborationen aufgetaucht - wer könnte seinen mitreißenden Auftritt auf billy woods' ,Aethiopes" vergessen -, hat den Soundtrack zu einer Netflix-Serie beigesteuert und mit bildenden Künstlern an Orten wie dem Pantheon in Paris zusammengearbeitet. Dabei sind all die Bühnen, auf denen er als Teil verschiedener Tournee-Bands und Live-Acts für Furore sorgte, noch gar nicht mitgezählt. Dennoch liegt Ladds letztes Soloalbum mehr als zehn Jahre zurück, und sein Meisterwerk ,Welcome to the Afterfuture" erschien Anfang 2000. Wenn wir der Analogie folgen wollen, ist ,Nonechosen" Mike Ladds ,The Thin Red Line. Ein unerschütterlicher Beweis dafür, dass sich der Künstler weiterentwickelt und gewachsen ist, dabei aber dieselbe Gravitas bewahrt hat, die seinen Namen zu dem gemacht hat, was er ist. Hier sind wir nun, tief in der ,Afterfuture", und es ist, als hätte Ladd schon immer auf diese Zeit gewartet und auf diesen Moment hingearbeitet. ,Jetzt weißt du, warum ich auf meinem Posten geblieben bin", rappt er auf ,Nonechosen", überzeugt davon, dass sich seine Geduld ausgezahlt hat. ,Nonechosen" ist ein Soloalbum, aber Ladd wird dir als Erster sagen, dass er es nicht allein geschafft hat; er hat schon immer mit alten Freunden zusammengearbeitet. No Surrender und Tom Degeeter haben an jeweiligen Tracks mitgewirkt. Sobald Mike das Album mit seiner eigenen Produktion zu 95 % fertiggestellt hatte, gab er es an Preservation weiter, der das Projekt mit ein paar gut platzierten Feinschliff-Maßnahmen auf ein neues Niveau hob. Backwoodz Studioz fühlt sich geehrt, Teil von Ladds kometenhaftem Comeback zu sein, und freut sich darauf, diesen wegweisenden Künstler einer neuen Generation von Hip-Hop-Fans gebührend vorzustellen, wenn wir schon dabei sind.

The 5 track cult classic EP from 2014 finally repressed! MERWYN SANDERS of OG house group VIRGO FOUR lends vocals to INKSWEL'S early drum machine experiments. Backed with outer worldly remix from UK enigma LINKWOOD, and STONES THROW alum GB. Xtra dope pic sleeve by DISCREET UNIT.

green vinyl / full colour sleeve / incl dl. code

Klute, a.k.a. Tom Withers is no stranger to the LP format, Whatever It Takes is his 9th solo album. It was recorded over a period of 18 months in his own PBJ Studio, located in Suffolk.

Whatever It Takes contains Klute's signature blend of Drum & Bass, Hardcore, Jungle, House, Techno, Electro & Ambient stitched together with Klute' typical disregard for the rules of each genre.

Split into two halves, the album begins in high gear with 8 tracks of Drum & Bass. A rich pallet of D&B styles delicately layered with hidden depths and melancholic harmony. The album then shifts into Klute's own brand of House Techno & Electro, fully revealing his vivid tapestry of musical influences. The end result is highly original, individual and unique. Nobody sounds like Klute.

Klute on the album: "...with so much going on in the world and all the noise created by a growing instant culture I felt compelled to retreat into my own imagination and write individual chapters in melody and rhythm as a form of distraction and personal remedy. Early on in the process I made a conscious decision to make a wholly solo and instrumental record - the first time since my debut album CASUAL BODIES in 1998".
"There's something powerful in the mystique and imagination of music, closing your eyes and letting your mind and body loose to create its own visions. I feel that there is a lot of "surface" music around at the moment that physically dictates what you are supposed to feel. The music I love the most, the music that stays with me the longest is always the stuff that enters my subconscious state."

"Whatever It Takes" is an album for the long haul, to stand the test of time. Take your time, switch off your phone and listen and keep coming back for more.

Facts on Klute: Over the past 25 years Klute has established himself as a leader not just in the world of Drum & Bass but the entire Electronic music spectrum, counting a diverse range of luminaries amongst his fans, including the likes of Goldie, Laurent Garnier, Sasha, Mary Ann Hobbs, Doc Scott, Lee Burridge, Zane Lowe, Nastia, Andrew Weatherall, BT, and the sadly passed Marcus Intalex, David Bowie and late great John Peel.

Klute continues to tour the world as both an in demand DJ and drummer and singer in his hardcore band The Stupids.

Futurismo proudly present a vital compilation born in the shadows of American punk; AMERICAN GRAVE Gothic Punk / Deathrock USA: 1978-1988, the third volume in their Altered Vision anthology series.

Drawing from darkest depths of the American spirit, American Grave is testament to a subculture spawned from late night savagery, graveyard hangouts and suburban isolation. Deathrock, post-punk, goth, whatever term you prefer, this compilation showcases the sounds and aesthetics of a tarnished golden era, an underground movement that took the DIY concepts of punk and the velocity of a burgeoning hardcore scene and immersed it in echoes, distortion, tribal rhythms and macabre vocals, thematically preying upon cult horror flicks, surrealism, and the manipulation of religious iconography. Whilst the UK had a counterpart scene many would hail as Goth, this was different, this was a truly American incarnation, a new breed of youth haunted by the ghosts of old blues, garage and glam, bleak theatrical imagery dressed up to evoke a response, smeared eyeliner, leather, bones…black. This was a backlash against a culture in decay, bucking against a puritanical oppression brought on by the archaic social standards set by their parents. It was aggression manifested as gloom, it was a ceremony, the celebration of death.

American Grave has been co-curated by Wesley Eisold (Cold Cave/American Nightmare/Heartworm Press) in collaboration with Futurismo head honcho Del Jae, to bring you a haunting tracklist ranging from the all important integral mainstays of the genre to those rarer and more elusive artists, including many recordings that have never been reissued before on any format. Featuring the music of Christian Death, T.S.O.L., The Cramps, Of A Mesh, The Gun Club, Twisted Roots, Kommunity FK, The Brainz, Theatre Of Ice, Burning Image, Fur Bible, PSI Com, Shadow Of Fear, Super Heroines, 45 Grave and more.

The music on this compilation is reinstated further from a visual perspective by an array of incredible images by famed punk photographer Edward Colver, and lovingly designed to the level you would expect from a Futurismo release.

2xLP on limited edition ‘Splintered Tomb’ coloured vinyl. It is housed in a gloss laminated outer sleeve with colour inner sleeves and contains a large fold-out poster with unseen photos by the great Edward Colver, words by Lisa Fancher and liner notes by Wesley Eisold of Cold Cave/American Nightmare.

Tapper Zuki's debut album 'Man Ah Warrior' was originally released in 1973.It's classic Dee Jay style has been copied by many but bettered by few. An album that more than most shows that raw talent with little resources can still be a great, great thing.
Tapper Zukie (b.1956,David Sinclair , Kingston, Jamaica) was raised in the rough and tough West Kingston area of Jamaica between the districts of Trench Town and Greenwich Farm.
Living pretty much on the streets from an early age the youth including the young Tapper had no choice but to fall into the hands of the political parties that controlled the various ghetto areas of the town.
Fear of landing in even more trouble, a plan was devised by Tapper's Mother ,Brother ,Reggae producer 'Blackbeard' and family friend Bunny 'Striker' Lee .The plan was to send the wayward Tapper to England to cool his ways.
A UK tour with the number 1 Reggae Dee Jay U-Roy was already arranged on his arrival, Bunny Lee got the young Tapper to toast over a Slim Smith rhythm, the London crowd loved it
He also caught the eye of producer Larry Lawrence who took Tapper on and cut his first single 'Jump and Twist'
Nine further tracks were recorded for producer Clement Bushey that would result in this album 'man ah Warrior.
We hope this introduction to Tapper Zukie's music inspires you to look further into his catalogue of great music.
An artist ahead of his time, whose music has influenced many........
as Patti Smith stated 'Music of the Most High'............

They live! If this summer’s endless bout of heatwaves seems an odd setting for a new Altar Of Eden record, maybe we should consider that the fast-accelerating destruction of life on Earth is an appropriate setting for more deathrock. The eagle-eyed among you might recognise guitarist Ben Redman from recent lineups of symphonic noiseniks …And You Will Know Us By The Trail Of Dead, while vocalist Albert Efraim has been making a thrillingly unholy racket with Texan hardcore faves like the Creamers and Nosferatu - and they both played together in gothed-out sensations Altar Duata before that band’s untimely demise. Altar Of Eden have thus far produced two mighty LPs of smartly chilling post-punk for Drunken Sailor - 2020’s wondrous The Grotto Screams and 2022’s superb follow-up Chimeras - but now they return with a sequel to their debut: The Grotto Screams II.

In keeping with their previous offerings, it’s superb. Redman’s guitar is brittle and minimal, but lurches into eardrum-lacerating strafes of deafening, brutal noise without warning, while Jake Cloud brings driving, pulsating basslines to the fore, dripping with the influence of Killing Joke’s Youth as they hold it all together somehow. Efraim intones his lyrics solemnly over the top, drenched in reverb and tucked deep into the mix; as much a texture as a means of delivering hooks. He’s cited the poetry of Jean-Pierre Duprey and Rene Daumal as influences in the past, and tracks like The Erasure and Light And Shade certainly contain their own suffocating sense of surrealism and obfuscated reality. It all builds to the epic finale of closing track The Moon, which handles their signature tricks in moodily grandiose fashion - a bleakly compelling version of post-punk that sears and soars even as it chills the heart. Arguably Duprey’s most famous line goes, “I shouldn't have got stuck in this galaxy,” and as humanity brings about its own destruction, it’s worth suggesting that this applies to us all. But at least Altar Of Eden bring a hell of a soundtrack while we all burn.

2026 repress


ZOMBI 3 - THE SOUNDTRACK Classic Edition & Special Edition - Available Now on We Release Whatever The Fuck We Want ! WRWTFWW Records is delighted to unleash the complete uncut soundtrack for Lucio Fulci & Bruno Mattei's cult zombie-ploitation gem Zombi 3 (aka Zombie Flesh Eaters 2 aka Sanguelia 2, 1988) available on 2 different collector's edition vinyls for the first time ever. The Classic Edition comes in red is dead colored vinyl with a red Japanese Sanguelia 2 VHS obi and has a helicopter pictured on the back cover. The Special Edition has the same songs as the Classic Edition PLUS bonus skits/interludes with DJ Blue Heart talking (taken from the movie) on the b-side and comes in green inferno colored vinyl with a green Japanese Sanguelia 2 VHS obi and DJ Blue Heart pictured on the back cover. Both versions are housed in heavy old style Stoughton casebound tip-on jackets - pick your poison - get infected! This future deluxe edition OOP classic is packed with menacing synths, ghoulish melodies, and contaminated anthems remastered directly from the rare original reels of maestro Stefano Mainetti which were found at an abandoned top secret research facility.

Cinna Peyghamy unveils new album fusing Persian tombak and modular synthesis Five years in the making, "Music For Tombak & Synth" bridges heritage, technology, and personal identity. The project, initiated in 2019 during Peyghamy's master's thesis research on contact microphones, was conceived as a means to reconnect with his Persian roots while exploringexperimental sound design. In the album, Peyghamy seamlessly blends the traditional Persian tombak with modular synthesis and digital signal processing, creating a distinctive musical landscape that bridges live improvisation and studio production. The album’s genesis traces back to Peyghamy’s exploration of improvised electronic music and his desire to craft a performance-ready setup. Over
several years, the project evolved from capturing the energy of his live shows into a fully composed studio work.

"Music For Tombak & Synth" stands as the first record where Peyghamy unites his dual identities as a live performer and producer, resulting in a body of work that reflects his deep connection to family, memory, and cultural heritage. The album features personal elements such as his father’s voice reciting the poetry of Ahmad Shamlo on the track Dar Shab ,?? ??collaborations with long-time friend Quelque Bourdon on clarinet, and the evocative sounds of the Persian setar, all anchored by the physicality and rhythms of the tombak. A sentiment further reflected in the album cover; a photograph taken by his father, Khosrow ‘Payram’ Peyghamy, picturing both his parents and grandparents.

With this release, Peyghamy moves beyond conventional boundaries of "traditional versus contemporary" or "acoustic versus electronic," instead offering a nuanced exploration of identity through sound. Each track serves as a keepsake, referencing cherished memories, emotions, and musical influences that define his experience as a French-born artist of Iranian descent, unable to visit his home country. "Music For Tombak & Synth" invites listeners to engage with a deeply personal narrative, rooted in both cultural history and sonic innovation.

Mouth By Mouth ist das erste Album von His Name Is Alive bei dem die Band alle Prozesse - einschließlich des Mixings - selbst kontrollierte, und markierte einen deutlichen Wandel: Es ist zugleich ihr vielfältigster und zugänglichster Katalogeintrag. Die kontinuierliche künstlerische Weiterentwicklung des Projekts ermöglichte es Defever, einen außergewöhnlich experimentierfreudigen Ansatz für Klang und Vision des Albums zu verfolgen und seiner Liebe zu unterschiedlichsten Musikstilen freien Lauf zu lassen - von loop-basiertem Dub über zuckersüßen Pop der 1960er, verzerrten Dream-Gaze, atmosphärischen Alternative-Noise bis hin zu gitarrenbetontem Folk. Indem die Band das Surreale aufgriff und ihren experimentellen Ansatz noch weiter intensivierte, während Defevers Studiofähigkeiten voll zur Entfaltung kamen, gilt dieses Album für viele als ein Höhepunkt ihres Schaffens.

Beau Wanzer is back with another meaty morsel of undercooked music for the starving beat eaters. This slobbery slab serves up a mix of gothy goobers and techno toddlers....scavenging the dance floor for another hit to make it through the night. Who will win?

His 7th release on his recently reactivated self-titled imprint. A conveyor belt of gurgles and spurts for the doomed dancer.

NYC electronic music collective P.E. return with their third and final album Oh!, due October 3 on Wharf Cat Records. Oh! Is the sound of a startled exclamation punctuating an exit, and the embodiment of the music within: fun and fluorescent, fluid and flirty, dirty and a little dangerous. From their conception in 2017 through the NOPE Tape series, P.E. existed as an experiment in co-conspirited collaboration. Oh! continues to cast a wide net, featuring an expanded lineup from their original formation, including Eleanor Friedberger of The Fiery Furnaces on the lead single "Color Coordinator". The resulting music ranges wide as ever, from the jubilant grooves of the title track and "Color Coordinator" to "The Fiction Writer" - a tender duet between Veronica Torres and Jonny Campolo - through the city pop sounds of "(Do You Like) So So?" and "Purple On Time", and into the abstracted beyond. This isn't a goodbye, but a "see you around". A tear falls down the cheek of a stranger, dancing as they catch your smile in the reflection of a glass building. Ceremoniously, serendipitously, they sidewalk surf away, stepping on something sharp - "Oh!" - leaving a teardrop on the city pavement. Following the last P.E. show, Jonny Campolo fully embraced his persona of The Grayscale Clown. You can hear him crooning in pets (along with Nick Campolo and Chase Ceglie) and droning in Microfibers (featuring Keegan & Eugene of Decor). His brother Nick Campolo successfully uploaded his consciousness to the cloud. He & his simulacrum perform in the aforementioned pets and solo as Nick Nun Ca. Ben Jaffe was in a freak nuclear waste accident when his DNA merged with a puma - he is now known as The Puma Man. You can catch him prowling around NYC with Sleaze Generator and as a sax beast for hire. Bob Jones went on a silent meditation and forgot how to speak. He now quietly releases music under the name R.A. Jones (as on his recently released Whispered to A Child), and as Scythe with David West (on A Colourful Storm). Jonathan Schenke disappeared for six months without a trace; when he returned he had developed a nervous tic anytime he heard a 909 rimshot or a saxophone. His recent solo album Passages (on No Gold) features neither of the above, nor does his project Gift Horse with Matthew Hord. Veronica Torres headed west to pursue her studies, developing a ceramic polymer whose beauty has caused madness in certain individuals. Her band Cha Cha 9 is a darling of the Minneapolis scene. P.E. would like to say thank you from the bottom of our hearts to everyone who listened to our records and danced at our shows - your love is felt. Thank you so much to Wharf Cat Records for all of the support over the years. Thank you to the fans. Thank you Pill and Eaters. Mitwirkende

A pre-release 7-inch cover single by Sapporo-based new-generation R&B/soul singer Ruto Kasahara is now available!

Side A features his first cover collaboration single, "Asahi no Ataru Michi," arranged by producer/DJ Sam is Ohm, who has produced for Kick a Show
and worked with MALIYA, KEN THE 390, ZEN-LA-ROCK, and others.

Side AA features a double-sided disc of his new single, "I Wish I Knew How It Would Feel to Be Free," arranged by THE SOUL EATERS, the soul band
for which Ruto is the lead vocalist.

Lael Neale's minimalist drone pop draws inspiration from the Transcendentalists, the alienation of modern life, and a rich array of musical influences-ranging from Dionne Warwick and John Lennon to primitive American gospel and Spacemen 3. Her expansive new record, Altogether Stranger, due May 2, was written and recorded in the early morning quiet of Los Angeles. Clocking in at just 32 minutes, the 9-song LP covers an unexpected breadth of musical and lyrical terrain-from garage rock nursery rhymes and creation myths to Motorik dance dirges and solitary Omnichord meditations. A brilliant lyricist, Neale has a unique ability to uncover the extraordinary within the mundane, tackling themes of polarity that recur throughout her work-country vs. city, humanity vs. technology, isolation vs. society. This album is her third collaboration with producer Guy Blakeslee who helps expand the tonal palette while staying true to Neale's commitment to the raw immediacy and hand-made intimacy of home recording. Altogether Stranger - a stunning album filled with dreamlike reverie, Neale's crystalline voice, and echoes of the Velvet Underground - was conceived after four years of oscillating between rural solitude and urban chaos. It finds Neale perched at the piano in a hilltop bungalow, looking down on a rare curve of Sunset Blvd. Here, in this daily ritual of writing, singing, and painting-what David Lynch referred to as "the Art Life"-she creates the space for her most adventurous work to date. Born and raised in Virginia's idyllic countryside, Neale brought the high-lonesome sound of her home state with her when she moved to California to pursue music. After years of writing songs on guitar and playing small venues in Los Angeles, she discovered the Omnichord in 2019, which sparked a new creative direction. This led to her 2021 Sub Pop debut album, Acquainted With Night. That album's 2023 follow-up, Star Eaters Delight, deepened the collaboration with Blakeslee, infusing minimalist soundscapes with a heightened electric energy. The album found a devoted audience, and Neale's subsequent tour included sold-out shows in Los Angeles, New York City, London, and Paris, multiple trips across Europe, and a West Coast run supporting kindred spirit Weyes Blood. This marked yet another return to Los Angeles. Indeed, Los Angeles is not just the backdrop of Altogether Stranger but a lead character. The album's accompanying film - created with Neale's faithful Sony Handycam - builds on her ongoing series of videos, telling the story of Neale as an alien in a suit of mirrors stranded on Earth. Wandering through modern-day LA, she finds both absurdity and beauty in our fragile, untenable way of life. Over the long year it took to write Altogether Stranger, Neale vacillated between childlike optimism and existential melancholy. While she may not have been able to reconcile these opposing states, Altogether Stranger represents an ambitious breakthrough for this singular, self-sufficient artist.

Stass is the perfect German/Swedish collaboration in the old school death metal scene.

Old school 90’s death metal, where the guitars have a fat sawing sound.

Brutal vocals by Crematory-singer Felix Stass.

Together again with his Swedish buddy master-guitarist Rogga Johansson, and new Dutch bass-player Alwin Roes (Dead End, Stygian Dark), this album brings Stass to the next level!

“New Dead World Order” is the 3th full-album by Stass, after “The Darkside” (2017) and “Songs Of Flesh And Decay” (2021).

For fans of: Carnage, Dismember, Lik, Unleashed, Paganizer, Crematory, Entombed & Entrails.

Stass is the perfect German/Swedish collaboration in the old school death metal scene.

Old school 90’s death metal, where the guitars have a fat sawing sound.

Brutal vocals by Crematory-singer Felix Stass.

Together again with his Swedish buddy master-guitarist Rogga Johansson, and new Dutch bass-player Alwin Roes (Dead End, Stygian Dark), this album brings Stass to the next level!

“New Dead World Order” is the 3th full-album by Stass, after “The Darkside” (2017) and “Songs Of Flesh And Decay” (2021).

For fans of: Carnage, Dismember, Lik, Unleashed, Paganizer, Crematory, Entombed & Entrails.

Stass is the perfect German/Swedish collaboration in the old school death metal scene.

Old school 90’s death metal, where the guitars have a fat sawing sound.

Brutal vocals by Crematory-singer Felix Stass.

Together again with his Swedish buddy master-guitarist Rogga Johansson, and new Dutch bass-player Alwin Roes (Dead End, Stygian Dark), this album brings Stass to the next level!

“New Dead World Order” is the 3th full-album by Stass, after “The Darkside” (2017) and “Songs Of Flesh And Decay” (2021).

For fans of: Carnage, Dismember, Lik, Unleashed, Paganizer, Crematory, Entombed & Entrails.

St. Morris Sinners is a band of troublemakers who were born in 2011 in Adelaide (Australia). "Nightmares" is their second LP out throught Beast Records. Stephen, the leader of the group proclaims in a spoken word with off-key singing and a strong voice, these feverishly hallucinated texts as if under the influence of an evil demonic spirit. Sporting an anarchic and unpredictable approach, his apostles are: Django Martin (guitar), George Thalassoudis (bass) and Angus Mason (drums) with noisy post punk sounds. These incarnate pieces touch on electric hysteria telling a twilight vision of existential excesses. The ego-altering gravity of melancholy in the tortuous timbre of Stephen's howls where the vitality of a tribute to decay, As a cursed preacher, despite the ordeals narrated, he seeks absolution with a lost look towards the captivated audience. Crazy and terribly captivating!

This album was a self imposed ambitious project for us. Something to kick in the creative flow. The last few years, having been a challenging time in general, felt like a good time for a pivot. The last two albums were so guitar and keyboard centric, I wanted a weird and fun set of parameters for us to work with. I demo’d everything at home on cassette 4 track (harkening back to simpler times) using drum loops, and just had at it 'til I had a pile of “songs”. Tom and I chose one sound each using synths and created a range of 3 octaves of that sample, then loaded them into Roland SPD-SX samplers and learned the transcribed songs using drum sticks. The idea was to change the way we wrote and to have 4 people along the front of the stage essentially playing percussion. So no guitar, no keys. As we were recording I kept thinking how the sounds, when paired up, sounded a bit like brass. So, we added a saxophone horn section to round out the horniness of the sound with a bit of reedy bell tones. Thanks to Cansfis Foote & Brad Caulkins on tenor and Baritone saxophones :) Sort of a Dexy’s Midnight Runners meets Von LMO meets The Flesh Eaters meets the Screamers kinda punk junk. Poppy and hooky, heavy at times.. Sort of vacuous and maybe a bit sci-fi in sound. Boneheaded in riff and heady in lyrics. Recorded at Stu-Stu-Studio by me on 8 track 1/4” tape . So pretty hot and raw. Lots to write about today. A lot of these lyrics were taken from things people said in passing about taking on life right now that stuck with me. Things that made me reflect. Things that made me laugh. Things that made me WTF. Some folks are kind, genuine & give you love and energy. Some are greedy manipulative ghouls who hang off your veins. You must be strong, composed and take care of yourself. Be self aware and check your mind for cracks. Learn to relax and be well. There are moments of beauty and redemption. Its not all bad news and there’s always hope. People continue to surprise me one way or another. Anyhow, Hope you enjoy and good luck out there. — John Dwyer

2024 Repress

Finders Keepers invite you to witness the incredible first ever Buchla synthesiser concerts/demonstrations providing a distinctive feminine alternative to The Silver Apples Of The Moon if they had ever been presented in phonographic form. This is history in the remaking.

This spring Finders Keepers Records are proud to release an archival project that not only redefines musical history but boasts genuine claim to the overused buzzwords such as pioneering, maverick, experimental, groundbreaking and esoteric, while questioning social politics and the evolution of music technology as we've come to understand it. To describe this records as a game-changer is an understatement. This record represents a musical revolution, a scientific benchmark and a trophy in the cabinet of counter culture creativity. This record is a triumphant yardstick in the synthesiser space race and the untold story of the first woman on the proverbial moon. While pondering the early accolades of this record it's daunting to learn that this record was in fact not a record at all... It was a manifesto and a gateway to a new world, that somehow never quite opened. If the unfamiliar, modernistic, melodic, pulses, tones and harmonics found on this 1975 live presentation/grant application/educational demonstration had been placed in a phonographic context alongside the promoted work of Morton Subotnick, Walter Carlos or Tomita then the name Suzanne Ciani and her influence would have already radically changed the shape, sound and gender of our record collections. Hopefully there is still chance.

In short, Suzanne was a self-imposed twenty-year-old employee of the Buchla modular synthesiser company, San Francisco's neck and neck contender to New York's Moog. Buchla was run by a community of festival freaks and academic acid eaters whose roots in new age lifestyles and the reinvention of art and music replaced the business acumen enjoyed by its likeminded East Coasters. In the eyes of the consumer the creative refusal to adopt rudimentary facets like a piano keyboard controller rendered the Buchla synthesiser the more obscure stubborn sister of the synth marathon, steering these incredible units away from the mainstream into the homes and studios of free music aficionados, art house composers and die-hard revolutionaries. Championed and semi-showcased by composer Morton Subotnick on his albums The Bull and Silver Apples Of The Moon, Buchla's versatility began to open the minds of a new generation, but the high-end design features and no-compromise modus operandi was often confused with incompatibility and, in the pulsating shadow of Moog's marketing, the revolution would not be televised nor patronised. Suzanne Ciani, as one of the very few female composers on the frontline (and also providing the back line) did not lose faith.

These concerts' are the epitome of rare music technology historic documents, performed by a real musician whose skills and academic education in classical composition already outweighed her male synthesiser contemporaries of twice her age. At the very start of her fragile career these recordings are nothing short of sacrificial ode to her mentor and machine, sonic pickets of the revolution and love letters to an absolutely genuine vision of and 'alternative' musical future. In denouncing her own precocious polymathmatic past in a bid to persuade the world to sing from a new hymn sheet, Suzanne Ciani created a bi-product of never before heard music that would render the pigeon holes ambient' and futuristic' utterly inadequate. Providing nothing short of an entirely different feminine take on the experimental records' of Morton Subotnick and proving to a small, judgmental audience and jury the true versatility of one of the most radical and idiosyncratic musical instruments of the 20th century. These recordings have not been heard since then.

The importance of these genuinely lost pieces of electronic musics puzzle almost eclipses the glaring detail of Suzanne's gender as a distinct minority in an almost exclusively male dominated, faceless, coldly scientific landscape. Those familiar with Suzanne's work, a vast vault of previously unpublished non-records', will already know how the creative politics in her art of being' simultaneously reshaped the worlds of synth design, advertising and film composition before anyone had even dropped a stylus in her groove. Needless to say this record, finally commanding the archival format of choice, courtesy of the Ciani and Finders Keepers longstanding unison, was not the last first' with which this hugely important composer would gift society, and the future of a wide range of exciting evolving creative disciplines.

You have found a holy grail of electronic music and a female musical pioneer who was too proactive to take the trophies. With the light of Buchla and Ciani's initial flame Finders Keepers continues to take a torch through the vaults of this lesser-celebrated music legacy shining a beam on these non-records' that evaded the limelight for almost half a century. You can't write history when you are too busy making it. With fresh ink in the bottomless well, let's start at the beginning. Again. You, are invited!

This album was a self imposed ambitious project for us. Something to kick in the creative flow. The last few years, having been a challenging time in general, felt like a good time for a pivot. The last two albums were so guitar and keyboard centric, I wanted a weird and fun set of parameters for us to work with. I demo’d everything at home on cassette 4 track (harkening back to simpler times) using drum loops, and just had at it 'til I had a pile of “songs”. Tom and I chose one sound each using synths and created a range of 3 octaves of that sample, then loaded them into Roland SPD-SX samplers and learned the transcribed songs using drum sticks. The idea was to change the way we wrote and to have 4 people along the front of the stage essentially playing percussion. So no guitar, no keys. As we were recording I kept thinking how the sounds, when paired up, sounded a bit like brass. So, we added a saxophone horn section to round out the horniness of the sound with a bit of reedy bell tones. Thanks to Cansfis Foote & Brad Caulkins on tenor and Baritone saxophones :) Sort of a Dexy’s Midnight Runners meets Von LMO meets The Flesh Eaters meets the Screamers kinda punk junk. Poppy and hooky, heavy at times.. Sort of vacuous and maybe a bit sci-fi in sound. Boneheaded in riff and heady in lyrics. Recorded at Stu-Stu-Studio by me on 8 track 1/4” tape . So pretty hot and raw. Lots to write about today. A lot of these lyrics were taken from things people said in passing about taking on life right now that stuck with me. Things that made me reflect. Things that made me laugh. Things that made me WTF. Some folks are kind, genuine & give you love and energy. Some are greedy manipulative ghouls who hang off your veins. You must be strong, composed and take care of yourself. Be self aware and check your mind for cracks. Learn to relax and be well. There are moments of beauty and redemption. Its not all bad news and there’s always hope. People continue to surprise me one way or another. Anyhow, Hope you enjoy and good luck out there. — John Dwyer

Soul Jazz Records’ new 10th anniversary one-off limited-edition heavyweight special-edition orange coloured vinyl pressing (+ download code) exclusively for Record Store Day 2024 of their long out of print Punk 45: Kill the Hippies! Kill Yourself! Soul Jazz Records’ debut Punk 45 album charts the rise of underground punk across the United States of America in the years 1973-1980. This album is fully remastered, relicensed with new tracks exclusively for RSD 24 and includes new tracks from Iggy & The Stooges, Nervous Eaters, The Angry Samoans and more!


The Punk 45 album features a collection of seminal, classic, obscure and rare punk and proto-punk 45 singles from the likes of Electric Eels, The Pagans, The Deadbeats, The Randoms, The Lewd and many more - a lightning-rod journey across the states of America - Cleveland, Detroit, Los Angeles, Akron, New Orleans, Philadelphia – tracing the rise of punk music in these various towns and cities. The album comes complete with extensive text, biographies on each of the bands, exclusive photos and original record artwork.

On Gut Buster, Yosa Peit spawns fleshy sonic escapades, a swarm of vigorously processed vocals and soulful bass, set to a backdrop of visceral percussive structures. Full of roguish curiosity, the record is cast with an air of lo-fi experimentation, but with a platinum glint of pop sensibility. Peit's second album grapples with the destructive force of modern consumption, Gut Buster is an anti-capitalist battle cry that syntheses intimacy and hostility; a surrealist-punk affirmation and a testament to Peit's singular vision and unique approach. The free-ranging sound of Yosa Peit recalls the intense arrangements of a cyber-era Prince with the surrealist tones of Arthur Russell and early Björk. At the album's core, "World Eaters" unleashes scorching guitars in search of humankind's end, "I was born on a planet, I got hungry and I ate it." Even in the face of planetary doom and personal obstacles, Yosa evokes our propensity for mischief, humor and pleasure. "bb moon" processes sound solely from her bass into wicked oblivion. "CALL ME," a song about friendship, chews up it's anthemic melody into a gnarled strut worthy of an A$AP Rocky production, while "HAD3S" urges us to find balance, nodding to the mystical fuzz of Prince. Yosa's work has been called "personal, punk, poignant, deep" yet her genre-defying production, as textured as it is catchy, escapes definition. Gut Buster takes that collective playground for creation to planetary reaches, congregating friends from Berlin, Cologne, and New York's fuzzy musical underbelly: Employee, Funkycan, Gerry Franke, Glenn Astro, Nauker, Paingel, Tbz, and UCC Harlo. The record was mixed by Brainfeeder affiliate Benjamin Vukelic in Portland and Jan Brauer in Berlin. "Glitchy yet supple, the broken beats and warped abstractions are wholly unpredictable yet deliciously odd, like an esoteric mashup of Bjork, Aphex and Laurie Anderson" Electronic Sound Classic Black Vinyl, Gloss Laminated Sleeve, Printed inner "Gut" sleeve plus DL card.

GOUTLAW, 4 piece rock and roll band, filthy and unhinged, as it should be, hailing from Melbourne Australia. Crystal visions. A moment captured in time. Picture Howlin' Wolf with Girl Trouble. The Virgin Mary, hooked on cough syrup, staring down the end of the line. Think Stooges, Beasts of Bourbon, Chrome Cranks and the Flesh Eaters. Elvis is dead and I'm not feeling too well myself. GOUTLAW to visit European shores in 2024 to showcase their self titled album, watch out!

NYC experimental producer Neud Photo is up next on EYA's LONEWOLF series with a killer 5 tracker named 'Echoes.

The EP brilliantly oscillates between various inspirations with a strong machine sound; an incredible and hauting journey into electro,new beat, minimal and techno.