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Limited edition 666 copies including insert and vomit orange colored vinyl. Ball is back from the grave! Wasted and slimy Swedish heavy psych speed freak power-trio. Dionysian fuck ‘n’ roll soaked in diabolical occult havoc. Drugged and toxic. Funky-proto-metal with a solid groove. Fucked-up, subhuman fuzz guitars. Depraved, screaming vocals. Gut-rumbling bass and caveman groove drums. This is hard rock from hell. “...this is what black metal would sound like if it was from Detroit ’68.” --Jus Oborn (Electric Wizard) Parental advisory – inside contains XXX-rated content. Buy at your own risk!

The 1994 demo "In The Shades Of Life" captures and breathes the unmatched unique mid nineties (Norwegian) black metal atmosphere and sound.

Soulseller Records proudly presents the official re-issue with artwork of the 1996 CD edition as created by Shagrath for Hot Records, including lyrics and early pictures properly documenting what once was.

Pictures for this release were provided by Tjodalv whereas the original DAT master tape has been provided by Grusom (aka Galder) !! In addition the 2 tracks from the sessions MCMXCVI previously released on the 1997 Hot Records compilation 'The Rape Of The Holy Trinity' are included as bonus tracks.

A true gem not to be missed.

The 1994 demo "In The Shades Of Life" captures and breathes the unmatched unique mid nineties (Norwegian) black metal atmosphere and sound.

Soulseller Records proudly presents the official re-issue with artwork of the 1996 CD edition as created by Shagrath for Hot Records, including lyrics and early pictures properly documenting what once was.

Pictures for this release were provided by Tjodalv whereas the original DAT master tape has been provided by Grusom (aka Galder) !! In addition the 2 tracks from the sessions MCMXCVI previously released on the 1997 Hot Records compilation 'The Rape Of The Holy Trinity' are included as bonus tracks.

A true gem not to be missed.

The 1994 demo "In The Shades Of Life" captures and breathes the unmatched unique mid nineties (Norwegian) black metal atmosphere and sound.

Soulseller Records proudly presents the official re-issue with artwork of the 1996 CD edition as created by Shagrath for Hot Records, including lyrics and early pictures properly documenting what once was.

Pictures for this release were provided by Tjodalv whereas the original DAT master tape has been provided by Grusom (aka Galder) !! In addition the 2 tracks from the sessions MCMXCVI previously released on the 1997 Hot Records compilation 'The Rape Of The Holy Trinity' are included as bonus tracks.

A true gem not to be missed.

The 1994 demo "In The Shades Of Life" captures and breathes the unmatched unique mid nineties (Norwegian) black metal atmosphere and sound.

Soulseller Records proudly presents the official re-issue with artwork of the 1996 CD edition as created by Shagrath for Hot Records, including lyrics and early pictures properly documenting what once was.

Pictures for this release were provided by Tjodalv whereas the original DAT master tape has been provided by Grusom (aka Galder) !! In addition the 2 tracks from the sessions MCMXCVI previously released on the 1997 Hot Records compilation 'The Rape Of The Holy Trinity' are included as bonus tracks.

A true gem not to be missed.

Imagine a perfect mix of early HELLOWEEN, early BLIND GUARDIAN and ACID: SENTINELS is precisely that! Entirely sung in Spanish, we consider "Trasciende" one of the best South American albums of recent years If you're a fan of speed metal with female vocals, then this album is for you.

With a total of eight songs full of fury, metal and the cry for freedom, "Trasciende will be available in an ultra limited edition on vinyl LP, with all the extras that our followers are used to

The official re-edition of WESTFALEN is now a reality and we are joyous with this opportunity of releasing this cult band from the '80s Belgian Heavy Metal scene! From now on, we will have the opportunity to listen WESTFALEN's 1985 self-titled mini-album on a vinyl reissue, which will include the original artwork concept, as well as live bonus tracks from the 2012 reunion concert at the Metal Legacy Festival in Genk, Belgium

Norwegian act Ulver rose to prominence from a blacker metal-rooted background in their early years, to becoming widely known for high- calibre soundscapes & exquisite experimental & electronic art as part of their continual & ever- shifting evolution.

With a penchant for folklore- laced black metal in their formative years & with what could be considered even then to be eclectic & unconventional compositions compared to the more raw & primitive offerings from other arising acts in the scene at the time, Ulver made a big mark on the genre since their formation in the early 90's, spawning a unique & celebrated trilogy of early works which arrived in quick succession, starting with their monumental 1995 debut, 'Bergtatt', before the more serene acoustic- driven experience of 'Kveldssanger'
the following year & completed by the more feral & ferocious
utpouring of #Nattens Madrigal' in 1997.


Before this much revered trilogy, though, came 1993's 'Vargnatt'. This was Ulver's
first foray into the wilds & an exceptional debut demo, utilising what was to
become a staple acoustic guitar implementation amid melodic & often complex &
obtuse arrangements, conjured & delivered with an already advanced degree of
musicianship, with vocals appearing courtesy of longstanding frontman Kristoffer
"Garm" Rygg. This early incarnation of Ulver also notably featured Carl- Michael
Eide of Aura Noir/Ved Buens Ende fame on drums, plus this recording featured
Robin "Mean" Malmberg on bass guitar, from fellow Norwegian pioneers
Mysticum.
This edition of 'Vargnatt' marks 30 years since its original release. The audio itself
is sourced from the original DAT, plus this release contains the bonus track
'Vargnatt', captured live at Bootleg TV in Oslo, 1993 & sourced from the original UMatic, courtesy of the National Library of Norway.

Already in the early stages of the label, Stijn Hüwels joined Dauw after a string of self-released albums. It was very much at the beginning of his artistic career but his Dauw debut – centered around melancholic narratives - was exactly what we wanted to bring with the label. During the years, Hüwels gradually found his place into the field of ambient with numerous releases and collaborations (Chihei Hatakeyama, Michel Banabila, Ian Hawgood...). While his sound definitely changed over the years - coming from a direct or transparent sound to his current more abstract sound design - his work still evokes the same familiar sentiments. For a label, this is one of the most interesting movements you can see in the artistic practice of the people you’re working with and ‘Décalages’ perfectly illustrates this. To coincidence this release, we made a second edition of his Dauw-debut 'If you remember me then I don't care if everyone else forgets', released 9 years ago.

A note from Lawrence English:

Occasionally ideas present themselves in ways that no one can expect. This recording from Australia’s Eugene Carchesio and the UK’s Adam Betts is one such unexpected presentation.

A couple of years ago, Eugene passed me a collection of recordings that he explained were in the orbit of his now legendary Circle Music series. The recordings, in Eugene’s particular manner, maintained an intensely rhythmic quality rooted in a deep and unwavering sense of minimalism. Eugene has a way of making a tiny cosmos from just the barest of materials. He wondered though, about mixing it up and adding something unexpected to the pieces, and asked about some drums being added.

At almost exactly the same moment, I had been reminded of the amazing work of Adam Betts, who I have been fortunate to be in the orbit of for more than a decade now. We’d first met at Bad Bonne, sharing a bill, and then crossed paths most recently in Tbilisi where he was performing with Squarepusher.

The reason Adam was on my radar though was entirely unrelated to music and it was down to the fact that he had just participated in a welsh toss competition and done quite brilliantly. Somehow, watching Adam lug those weights made me think he’d be the perfect candidate to work with Eugene on this project. To my delight, he agreed.

What results here is a melding of two incredible musical spirits, each of whom have an unerring sense of restrained energy and rhythmic ferocity. It is a parallel reading of how minimal motion can create giant affective waves of energy. It’s also a record of careful listening and generous exploration.

It’s not everyday music can emerge from such curious orbits of thought, but when it does it is a cause for celebration. With that in heart I am so pleased to share this incredible edition with you.

‘Rituals’ is the new album of spiralling drone & ambient formations by Italian artist Danilo Betti aka April Clocks (Union Editions / Mixed Up); a new work of sublime disorientation by the Rimini-based outlier, arising from a period of reinvigorated artistic practice.

Emerging just over a year after the project’s second album ‘It Takes Time’, ‘Rituals’ heads deeper into spheres of consuming, hypnagogic haze, coursing through nine coalescent compositions of amorphous yet absorbing electronics.

Where ‘It Takes Time’ represented an autodidactic interpretation of Betti’s formative influences – namely shoegaze & proto-ambient - ‘Rituals’ is an enigmatic proposition, the product of subconscious resonances, a mysterious sound world that finds traces of evanescent beauty and uncanny captivation in sustained tones, cavernous oscillations, and aesthetic imperfections, like the notes of subtle surface noise embedded within many of these productions.

Attesting to the value of Betti’s background as an industrious solo artist, making music away from prevailing sites of activity, ‘Rituals’ consolidates the inspirations and hallmarks of the April Clocks project into an acute reflection of Betti’s vision, one that feels completely his own.

In the buried somnolent splendour of the opener ‘Hypersleep’, through the sound art rustle and time-stretched cycles of ‘A Cure’, into the stroboscopic magnitude of ‘Ceremony’ and the haunting string loops of ‘Coward’, Betti captures compelling impressions drawn from a submerged perspective; a deluge of smokescreens and crosscurrents from the other side.

Bearing the influence of subliminal states, ‘Rituals’ is nevertheless lucid and arresting. There are sumptuous holding patterns of ambient evaporation that stream into vast maelstroms of sound (‘Displaced Euphoria’), enervated organ themes that distil sensations of stasis and dissociation (‘Wound’), as well as psychedelic movements in wide tracts of negative space (‘No Time, No Land’). From here, the acoustic glitch of ‘Disappearer’ and the stratospheric slipstreams of ‘Mirror Being’ bring the album to an astonishingly dramatic conclusion.

Throughout such moments of reverie and tension, ‘Rituals’ makes for a hypnotic listening experience. It’s an album that signals a pronounced sense of development for the April Clocks project, from past vestiges of physicality to present degrees of heightened abstraction and ethereality, from the Warp-influenced rhythms and frameworks of ‘It Takes Time’ to the wide- ranging, experimental sounds that unfold here.

Encompassing forms of decomposition and otherworldly futurism, decay and sublimation, distortion and lustre, this is unique, cerebral music that reaches inward and ascends outward, drifting elsewhere, according to its own coordinates.

Recorded and Mixed at Tower of Disintegration, 2022.
Mastered by Miles Whittaker.

Roy Porter's classic 1975 album Inner Feelings has long been a treasure trove of sample sources for hip-hop artists over the years. DJ Spine is one of those who made use of parts of the album's opener 'Party Time' in his own tune 'Rock.'

Now for the first time that single gets reissued on 7" along with DJ Spinna's edited version on the flip. The original is a real funk classic with fat bass grooves and hefty drum breaks. This track was once released on the famous tax scam label with the artwork which is presented here. It makes for a package with a great backstory and an even better sound for lovers of rare grooves and hip-hop.

“F(r)icciones is a complicated piece of miscellaneous works. A set of experiments in preparation for a gig at a noise convention in Orozco that never happened, an 18 women choir piece composed for a soundtrack to a documentary that doesn’t have a release date yet or trying to create a drone piece by accumulating guitar noise. The result? Burnt psychedelic blues with electronics ”

Partly an official soundtrack to “Durangas”, a documentary focusing on women and heritage, discussing civil war, education, sex or violence in the town of Durango, Basque Country. And partly a non musical accompaniment to an imaginary movie, F(r)icciones is the new album by A. Maiah.

Self described as Guitarist / Composer / Improviser of Idiomatic Noise / Microtonal Blues Ist or Psychedelic Populist, Asier has been self-releasing albums for nearly a decade now, focusing mostly on prepared guitar or improvised noise

Durangas was composed by Asier, arranged/conducted by Garazi Navas, performed by an 18 women choir from Durango and recorded live at San Agustin Cultural Centre. All of the other tracks were recorded between 2021-2022 in between portable recorders in Burgos or at Estudios Nomadas.

With Scream If You Don’t Exist, Richie Culver metamorphoses from outsider musician to underground fixture, feeling his way from the fringes towards a growing community of musicians that have gravitated towards his singular sound world. Building upon the stark catharsis of his previous dispatches, on his sophomore album the artist draws from grimdark drone, industrial noise, experimental hip-hop and UK rave to map out a space for himself, caught between genre and discipline. While on his debut, I Was Born By The Sea, Culver took a last glimpse back at his grey, salt-flecked past while struggling towards somewhere brighter, here, he documents the process of finding fresh waters, parsing through the complexity of inhabiting a more open and optimistic place while contending with the weight of his resolve, staring hard won self-acceptance in the face. The album’s title speaks to this creative and emotional work, serving both as the foundational paradox from which the artist’s new discordant sound emerges and as a call to action, a defiant cry in the face of existential angst.

Part of this process involves visiting familiar territory with renewed focus. Macabre opener ‘Hottest Day Of The Year’ signals an unpleasant memory with crow caw, queasy, gas leak ambience and dental drill whir as Culver recalls a life lived in nihilism: “Everything is just something that happened / Reductionism, muscles spasms, a mother’s first contraction.” Yet, on Scream If You Don’t Exist, Culver’s irresistible formula for ragged machine poetry is shot through with palpable urgency. No longer listless and despairing, he finds new intricacies for these compositions, tracing a stark interplay between crushing bass excavations and penetrating vocal clarity, a contrast picked out in the delicate threads of rhythmic pulse suggesting themselves in the blunt pressure and skittering creep of ‘Weakness’, on which Culver offers up vulnerability as a tentative solution to self-described emotional constipation: “Please do / Do take my kindness for weakness / For I am weak / And that is ok.” The amniotic soundscape of ‘YOLO (then u die)’ gives way to depth charge drone and unnerving machinic improvisations, like a noise show heard from deep in the Mariana trench, while on ‘Underground Flower’ the low-end fog lifts to reveal a brighter, colder scene. “Love me for who I could be / Not who I am,” he pleads, tending gently to his own tenacious bud.

Scream If You Don’t Exist gives us a glimpse of this flower in bloom. On the album’s cursed self-help tape title track stuttering loops of off-kilter keys and childlike repetition make light of the very real risk of disappearing all-together, a nervous breakdown rendered as a malfunctioning nursery rhyme. Paranoiac anthem ‘Say 4 Sure’ introduces bit-crushed boom-bap stomp, as though hammered out on a water-logged Game Boy, swarms of loose-wire noise sparking up against guttural grunts and ragged exhalations, while ‘On The Top’ enacts a seance for the hardcore spirit, with loops of rave piano and hiccuping vocal chops pirouetting through knackered samples, air raid sirens and the ghostly crash of breakbeat cymbals. As though in response to the solitary nature of much of his musical exploration, this time, the artist invites other voices into the world of Scream If You Don’t Exist. On ‘Swollen’, the unflinching, brimstone prophecy of Billy Woods sounds clear through an expanse of spirallic bass, preaching the same frayed gospel as Culver when he issues the quietly devastating contemporary diagnosis: “Computer broke but it still works for now / That’s the best you can say for most of us anyhow,” while another fearless correspondent from the fringes, Moor Mother, brings earthbound heft to the ambient drift and obliterating barrage of ‘Restaurants,’ teasing out meaning with elongated intonation and pitch-shifted intensity.

It’s during the album’s most meditative moments that we might recognise this space Culver has found for himself for what it really is. ‘OMG They’re Gone’ follows a chopped and slowed monologue from Culver’s wife, who works as a death doula, reflecting on her own experiences with grief and the reality of living within a culture both terrified and ignorant of the process. Floating over glistening ebb, etherised croons and luminous chimes, her words stand as a prescient reminder of the power of ephemerality. Just as Culver flourishes in imperfection, here we can find enormous strength in transcience. But it’s with ‘Just Jump In,’ which unfurls like a buoyant counterpart to the sparkling oil rigs of ‘I was born by the sea’, that Culver illuminates the hopeful waters we realise we’ve been making our steady way towards. “I know now / That you loved me,” he admits, a revelation a lifetime in the making. Through the rawest reflection Culver has found a way forward, driven by an optimism drawn from a resolve to be better, to love and be loved, an admission to weakness and the discovery of a new kind of strength. “Don’t test the water,” he reassures us and himself, “just jump in.”

Scream If You Don’t Exist will be released in November 2023 by Participant, on limited edition vinyl, and digital download . The release will be accompanied by a series of films directed by Mau Morgo, Josiane M.H Pozi, William Markarian-Martin, Simon Bus, and Bruxism.

Limited Edition Promo White Label.
250 Press.
Hand Stamped.
No repress

It's time for a new match on Waxmania, Lello Di Franco aka L.D.F. vs the Dutch icon Orlando Voorn for the super Challenge EP!

Bangalore-based brotherly duo Ashwin and Ashrith Baburao combine as Audio Units on a potent new EP for Lady Tazz's Mind Medizin, featuring remixes from Ben Sims and Temudo.

Obsessed with quality, soul and futurism, Audio Units have vast experience of DJing worldwide and real studio know-how. Each of their tracks is a perfect blend of intricacy and experimentation, and they have turned the heads of tastemakers on labels like Dutchie Music, Deep Edition Recordings and Sinnmusik.

They open this high-octane EP with the raw and unrelenting drum funk of 'Aristotelian Tradition', which is run through with warped synths and carefully layered up with gritty percussion and FX. Vocal snippets and smeared pads further flesh out the groove, making for an uplifting sound. Machine party and label head Ben Sims is a UK techno heavyweight at the forefront of the scene. His remix shows that as it ups the percussive energy and allows the synths and vocals more prominence with hypnotic effects.

The second original, 'I'm Just All You Need,' is a twisted and intense mix of fragmented vocals and pulsing synths over vast rock-solid kick drums. It's an urgent track that cannot fail to sweep the floor off its feet and keep it locked for the ride. Next is a remix from new school tastemaker Temudo, who has already put out outstanding records on labels like Klockworks, Soma and Modularz. His version of 'I'm Just All You Need' strips it back to icy hi-hat loops and buffed metal synth lines that weave in and out of the minimal yet tribal techno drums

The ‘Aristotelian Tradition’ EP is another superb release from Mind Medizin that combines the dark and kinky allure of techno with all-out dance floor dynamics.

Tommy Boy Music veröffentlicht ein Compilation-Projekt mit dem Titel "... And You Don't Stop", um das 50-jährige Jubiläum des Hip Hop mit einem 6 LP Box-Set zu feiern. Es wird einige der größten Hits aus dem Katalog enthalten, von den kultigen Naughty By Nature, De La Soul, Digital Underground und Queen Latifah bis hin zu digital unveröffentlichten Hits von G.L.O.B.E & Whiz Kid, Sweet Trio und mehr.

A 'Double Cup' reissue will be available this year to celebrate and honor the 10 year anniversary since the release of this seminal record. This was the debut studio album from the late footwork pioneer, Chicago-based DJ Rashad.

Released originally in 2013, it ended up on year-end lists from Pitchfork, The Guardian, Dazed, Resident Advisor, Crack Magazine, The Wire and Complex, as well as decade lists from Pitchfork, Noisey and SPIN. Rolling Stone described it as "somehow both weightless and brutally powerful" while Pitchfork said it as "unquestionably the strongest footwork-related LP" and NME said it was "unprecedented".

The 'Double Cup' reissue will be pressed on limited edition gold vinyl and includes new artwork created by Teklife visual artist Ashes57 and will be released on December 8, 2023, on Partisan.