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Survival Of The Sickest offers no respite from the horrors of reality. Instead, BLOODBATH’s latest and greatest album gleefully confronts the slavering ghoul lurking in the shadows, and treats him to ten songs of ripping death metal frenzy. In contrast with their last album, Survival of the Sickest goes straight for the jugular in true old school fashion. With strong echoes of everything from Morbid Angel & Death through to Deicide & Obituary. Survival Of The Sickest boasts a smattering of irresistible cameos from the great, and ghoulish of the metal underground, including Barney Greenway (Napalm Death), Luc Lemay (Gorguts) & Marc Grewe (Morgoth). On Survival Of The Sickest, BLOODBATH evoke their most horrifying sonic scenarios to date.

Paganizer are one of the most active and present
bands of shredmaster Rogga Johansson. This
Swedish metal guitar hero is part of many projects,
such as Massacre, Stygian Dark, Heir Corpse
One, Warmagic, Revolting, Megascavenger,
Ribspreader, Putrevore, Blood Gut, Dead Sun,
Graveyard After Graveyard, Necrogod and most
recently To The Gallows.
 This compilation album isn’t a sum up of songs
from other albums. Rogga did some work on old
songs and recorded them again with a little twist,
especially for Doc Records. He also dug into his
vault to find some never-released songs, so it’s
much more than just a compilation.
 For fans of Dismember, (old) Entombed, Grave,
Necrophobic, Unleashed, Bloodbath.

Rarely do two types of music meet on a level where they threaten to cancel each other out - let alone create something even more meaningful in their mutual vanishing. But the music created within the seminal Murder Ballads (Drift) by Martyn Bates (Eyeless in Gaza, & parallel solo career) and Mick Harris (Napalm Death, Lull, Painkiller, Scorn) creates just such a world. Murder Ballads (Drift) evolves Martyn Bates vocalisations / storytelling song-voices, by turns expressed as labyrinthine layers, calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resulting in a mesmeric conversation of musical inferences and correspondences. Murder Ballads (Drift) created the post-isolationist frame of reference, innovating and extemporising into a truly original dazzlingly unique form.

Mick Harris traffics in the isolationist ambience of Lull, while Martyn Bates is the emotive voice of literate cult-pop duo Eyeless in Gaza. The unlikely pair - one given to terminally frigid drone, the other to impassioned, bittersweet voicings - finds common ground in folk music's most macabre tradition, the murder ballad. These ghoulish parables are awash in blood and tears, the strands of love, hate, birth, death, sin, and salvation entwined within like the roots of an ancient tree. Mothers callously kill their children; suitors slay their maidens without remorse; and fate exacts its cruel price from all.

The archaic murder ballads that leak from Bates' vocal cords are intensely sad and carnal. They tend to leap off cliffs of hollow effects or drone darkly, offering neither a robust delivery nor an element of irony to take the edge off. The archetypal characters that live and die in them give life's full tragedy back to Harris' electronically numbed "post-isolationist" dreaming.

Drift (originally released in 1994) plays out an unbreakable and timeless cycle of bloody folklore (people) and hypnotic soundscapes (the god who watches). The effect is chilling yet engrossing. Where most ambient music has barely enough courage to ring the doorbell and run, Murder Ballads slips through the cracks of the unconscious and does its work with remarkable ease.

All the more reason to listen thoughtfully.

In 2021 - re-emerging nearly twenty years after its initial inception, and first time on vinyl - somewhat surprisingly, Murder Ballads (Drift) still remains/exists in an area overlooked by other artists, an area that truly still remains the sole province of M.J. Harris / Martyn Bates.

Rarely do two types of music meet on a level where they threaten to cancel each other out - let alone create something even more meaningful in their mutual vanishing. But the music created within the seminal Murder Ballads (Drift) by Martyn Bates (Eyeless in Gaza, & parallel solo career) and Mick Harris (Napalm Death, Lull, Painkiller, Scorn) creates just such a world. Murder Ballads (Drift) evolves Martyn Bates vocalisations / storytelling song-voices, by turns expressed as labyrinthine layers, calls and responses, muted and distant echoes, sung whispers and counter-melodies, ultimately resulting in a mesmeric conversation of musical inferences and correspondences. Murder Ballads (Drift) created the post-isolationist frame of reference, innovating and extemporising into a truly original dazzlingly unique form.

Mick Harris traffics in the isolationist ambience of Lull, while Martyn Bates is the emotive voice of literate cult-pop duo Eyeless in Gaza. The unlikely pair - one given to terminally frigid drone, the other to impassioned, bittersweet voicings - finds common ground in folk music's most macabre tradition, the murder ballad. These ghoulish parables are awash in blood and tears, the strands of love, hate, birth, death, sin, and salvation entwined within like the roots of an ancient tree. Mothers callously kill their children; suitors slay their maidens without remorse; and fate exacts its cruel price from all.

The archaic murder ballads that leak from Bates' vocal cords are intensely sad and carnal. They tend to leap off cliffs of hollow effects or drone darkly, offering neither a robust delivery nor an element of irony to take the edge off. The archetypal characters that live and die in them give life's full tragedy back to Harris' electronically numbed "post-isolationist" dreaming.

Passages (originally released in 1997) plays out an unbreakable and timeless cycle of bloody folklore (people) and hypnotic soundscapes (the god who watches). The effect is chilling yet engrossing. Where most ambient music has barely enough courage to ring the doorbell and run, Murder Ballads slips through the cracks of the unconscious and does its work with remarkable ease.

A1. DA SHAKE
A synthesizer-based production machine that turns inspiration into sound at maximum speed
recorded or extract (a small piece of music or sound) digitally for reuse as part of a composition or song like this one.

A2. GARDEN OF EDEN
In Abrahamic religions, the Garden of Eden (Hebrew: גַּן־עֵדֶן, gan-ʿĒḏen) or Garden of God (גַּן־יְהֹוָה, gan-YHWH), also called the Terrestrial Paradise, is the biblical paradise described in Genesis 2-3 and Ezekiel 28 and 31.12
The location of Eden is described in the Book of Genesis as the source of four tributaries. Among scholars who consider it to have been real, there have been various suggestions for its location:3 at the head of the Persian Gulf, in southern Mesopotamia (now Iraq) where the Tigris and Euphrates rivers run into the sea;4 and in Amnesia Ibiza

B1. HOLLOW
The foulest stench is in the air
The funk of forty thousand years
And grizzly ghouls from every tomb
Are closing in to seal your doom
And though you fight to stay alive
Your body starts to shiver
For no mere mortal can resist
The evil of the Hollow

B2. REC 4
If the recording is going on, the capture button turns red. In addition, a timer will be displayed, showing how long the recording is done.

A 12” filled to the brim with talent, Schrödinger’s Box have collected three juggernauts of wave tainted electronics for the latest. Dmitry Distant teams up with Norwell for a partnership of serious intent. The pair deliver a trio of blackened tracks, opening with the ghoulish caverns of “Transient State” before the long shadows, acid stains and painful echoes of “Visionary.” The duo venture into brighter territory with the computer funk of “On A Verge of Veil”, crisp beats and bubbling melodies changing the tone. Following Beyond the War, Cute Heels returns to occupy the flip. The Colombian is immediately on it with the swirling mirrors of “Kuriyaki Horizons,” a kick drum offering solid footing in this entrancing piece. An aloof, yet alluring, disco hook takes hold for “Litua”, a low thump keeping time. The finale arrives with the clipped industrial gait of “Determinated In Order.” Marching to a military beat, this work is industrial inspired with Cute Heels keeping a close ear to the pressure release gauge.

Much anticipated, the band's first full length release sees the four- piece surf a swirling wave of reverb-drenched organ, garage-rock guitars, hypno-motorik bass and pounding, ritualistic drums. Preferring to work in a village hall deep in the wilds of the east British countryside, JTV recorded live to an old 8 track machine with The Wytches' Kristian Bell.In 2020 the band released their third EP slice of
off- piste cosmic- beach psych before calling in top remixers ncluding UNKLE, Gabe Gurnsey, and James Welsh for a 2021 Record Store Exclusive around a headline UK tour culminating in a triumphant homecoming London show at The Lexington and playing with friends Snapped Ankles. EP III had followed two previous critically acclaimed and quickly sold out EPs supported heavily by key
alternative tastemakers from Marc Riley & Steve Lamacq at BBC 6Music to the likes of So Young, NME, and Clash.

Old friends John Cravache and I:Cube teamed up to release Chimère Fm’s debut album on Versatile records.

Endless improvised studio sessions seamlessly blending electronic synthesis and post dada cinematics.

Dreamy synth funk rubs against pagan rhythms and minimalist electronic drones.

This album will take you to soundwave paradise.
Chimère Fm is an imaginary radio station broadcasting its stellar weirdness live from Paris !

Paganizer are one of the most active and present
bands of shredmaster Rogga Johansson. This
Swedish metal guitar hero is part of many projects,
such as Massacre, Stygian Dark, Heir Corpse
One, Warmagic, Revolting, Megascavenger,
Ribspreader, Putrevore, Blood Gut, Dead Sun,
Graveyard After Graveyard, Necrogod and most
recently To The Gallows.
 This compilation album isn’t a sum up of songs
from other albums. Rogga did some work on old
songs and recorded them again with a little twist,
especially for Doc Records. He also dug into his
vault to find some never-released songs, so it’s
much more than just a compilation.
 For fans of Dismember, (old) Entombed, Grave,
Necrophobic, Unleashed, Bloodbath.

Berserk Finnish raw black metal disease Hexerei bring us their venom-soaked debut full-length abomination "Ancient Evil Spirits", a deranged aural gateway to unseen depths of madness and total hell that will reshape the listener's idea of terror and toss them into the outermost circles of insanity. Comprising of four primordial stabs of blown out and feral homicidal rawness, "Ancient Evil Spirits" overboils from the witches cauldron with the quintessence of evil like an acid-drenched spell, invoking ancient evil forces, uncontrolled hysteria, and malevolent plague-ridden rituals to torment the listener with merciless violence and abandon. Reminiscent in its malevolence and primeval cruelty to ancient black metal cults like Darkthrone, Mayhem, Cultes Des Ghoules, and Katharsis, Hexerei however push these limits further and redefine the very concept of total aural filth by working the formula into a wider canvas, with lengthier compositions, an even more perverse emphasis on primitivism, and a more unpredictable and ambitious songwriting that has unearthed truly unsettling and terrifying new manifestations of the craft.

There’s an ancient Japanese legend in which a horde of demons, ghosts and other terrifying ghouls descend upon the sleeping villages once a year. Known as Hyakki Yagyō, or the Night Parade of One Hundred Demons, one version of the tale states that anyone who witnesses this otherworldly procession will die instantly—or be carried off by the creatures of the night. As a result, the villagers hide in their homes, lest they become victims of these supernatural invaders.

Such is the inspiration for the latest album from EARTHLESS. “My son is really into mythical creatures and old folk stories about monsters and ghosts,” bassist Mike Eginton explains. “We came across the ‘Night Parade of One Hundred Demons’ in a book of traditional Japanese ghost stories. I like the idea of people hiding and being able to hear the madness but not see it. It’s the fear of the unknown.”

Whereas 2018’s Black Heaven featured shorter songs and vocals from guitarist Isaiah Mitchell on much of the album—an unprecedented move for the San Diego power trio—their latest is a return to the epic instrumentals EARTHLESS made their unmistakable name on. Night Parade Of One Hundred Demons is comprised of two monster songs—the 41-minute, two-part title track and the 20-minute “Death To The Red Sun.”

The scenario that allowed for this kind of exploration was a stark contrast to that of Black Heaven. At that point, Mitchell was living in the Bay Area, which made it difficult for the band to get together and work on the type of long instrumental pieces they’re known for. But in March 2020, the guitarist moved back to San Diego. More specifically, he moved back the night the pandemic lockdown kicked in. Bad timing, perhaps—or maybe perfect timing.

Plus, they were all on the same page about not wanting to do another record with vocals. “In a way, I think this album was a reaction to our last record,” Eginton says. “Black Heaven was outside our comfort zone. I think it was a good record, but it was challenging to write songs in a more traditional verse-chorus-verse format. This one was more enjoyable. I’m sure we’ll do more vocal tracks in the future, but for the time being I see that album as a one-off.”

Given the record’s inspiration, it should come as no surprise that Night Parade of One Hundred Demons strikes a more sinister tone than the rest of the band’s catalogue. “It definitely has a darker, almost evil kind of vibe compared to stuff we’ve done in the past,” Rubalcaba says. “There’s more paranoia and noise, and some of Isaiah’s whammy-bar stuff kind of reminds me of these Jeff Hanneman moments in Reign In Blood, where it just seems like everything is going to hell. It’s pretty fun.”

Night Parade of One Hundred Demons was recorded in San Diego with Rubalcaba’s childhood friend Ben Moore, who’s worked with everyone from DIAMANDA GALAS and BURT BACHARACH to CEREMONY and HOT SNAKES. When Eginton wasn’t tracking his bass parts, he worked on the album’s incredible sleeve art. “He really dedicated himself to the project,” Rubalcaba says. “He’d be drawing in the studio with, like, a coal-miner’s lamp on his head while we were doing overdubs. He really knocked it out of the park.”

All told, Night Parade of One Hundred Demons isn’t just a return to the band’s traditional format—it’s a return to their very beginnings. “This album actually has the very first Earthless riff in it,” Eginton reveals. “We just recorded it 20 years after we wrote it. But we’re really happy with how this record came out. We feel it might be our finest to date.”

Blackened Blues with Doom and Punk influences, Black Totem’s Deathrock is overflowing with superstition, vice and horror. Up to no good since 2008, Black Totem are notorious road-dogs of the Finnish underground, cutting their teeth and scraping their raw knuckles in a slew of live shows through the years. The band has shown promise since the early days releasing two EP’s and a self-titled debut album, which won an award for Best Rock Album at the Turku Music Awards in 2016. With their new album “Shapeshifting,” Black Totem are downright lycanthropic, breaking out of their enigmatic origins and taking on a much more unadulterated form. Their catchy, raucous Blues songs, with wild, untamed backing vocals and horror-soundtrack keys, give a distinctly Finnish lizard-disco hysteria to their fortified sound, coming across like a blood-bath in a moonshine distillery. Howling at the moon, with lungs of bile, Danzig/Misfits/Samhain influences are fleshed out with the Doom-laden riff-war of Celtic Frost, Venom and Darkthrone. Together with the catchier urban song-craft of the Black Keys, this cauldron of Black Totem’s magic formula makes “Shapeshifting” a familiar, yet heavily enjoyable natural genre-clash of their own.

Cool Ghouls - a band fledged in San Francisco on house shows, minimum wage jobs, BBQ's in Golden Gate Park and the romance of a city’s psychedelic history turns 10 this year. What better a decennial celebration than the release of their fourth album, At George's Zoo!

How did San Francisco's fab four arrive at George's Zoo? The teenage friendship of complimentary spirits Pat McDonald (Guitar/Vox) and Pat Thomas (Bass/Vox) serves as square one. The Patricks were munching on Eggo-waffle-sandwiches and downing warm vokda in suburban Benicia (San Francisco bay) years before McDonald would hear George Clinton address his fans as "Cool Ghouls". The boys played their debut gig as Cool Ghouls at San Francisco's legendary The Stud in 2011, but there's no doubt the musical moment cementing the band's trajectory was much earlier at the 18th birthday party for boy-wonder Ryan Wong (Guitar/Vox) - at the Wong household.

You might remember the Ghouls' earliest days... McDonald’s hair hung luxuriously past his waist, Thomas dreamt of no longer having to crash on friends' couches to call SF home and Wong looked forward to turning 21. Cool Ghouls' Pete Best, Cody Voorhees, thrashed wildly – but briefly - on the drums and Alex Fleshman (Drums), who still claims he's not really "a drummer", turned out to be a really good drummer. Thomas would sleep pee on tour. Those were golden days!

Flash forward to today and everything is up in flames. No shows, parties or bars. Cool people are streaming out of SF. It's been 2 years since the last time Cool Ghouls have even played. The STUD is gone, The Eagle Tavern is for sale and The Hemlock has been demolished for condos. Your boss is an app. Fascism is no-knocking down the door. There's a pandemic.

Fortunately for us, the Ghouls got an album in before it all went to shit, and they made it count. At George's Zoo includes 15 of the 27 tunes they managed to eke out while simultaneously working through major life moves. It was a 5-month, all out, final sprint down the homestretch (to Ryan's moving day) with affable engineer Robby Joseph, at his makeshift garage studio in the Outer Sunset (pictured on the cover). Instead of recording the entire album over a few consecutive days - like they'd done with Tim Cohen, Sonny Smith and Kelley Stoltz for the first three LPs - the band took it slow by working through a few songs each weekend after rehearsing them the week before. Robby would cue up the tape, McDonald would throw some steaks on the grill and they'd get to work - much to the neighbor, George's, chagrin.

These guys have a real commitment to elevating as songwriters, musicians and ensemble players. It's always been for the music with Cool Ghouls and this long-awaited self-produced outing is a track by track display of the ground they've covered and heights they can achieve. Their vocals and trademark harmonies are front and center and out-of-control-good. Ryan's guitar solos are incredible. The horns by Danny Brown (sax) and Andrew Stephens (trumpet) hit in all the right places. Maestro, Henry Baker (Pat Thomas Band / Tino Drima), plays keys throughout. There's even a mesmerizing string section ("Land Song") by sonic polyglot, Dylan Edrich.

None of this growth is to the detriment of the fun, natural, feeling that fans have come to expect from the band. This is a fully realized Cool Ghouls album. It paints a remarkable portrait of SF's homegrown heroes and the many corners they've explored over the last decade. The songwriting, harmony and playing are nothing if not solid. The lyrics are keen. Robby's recording and mixing sound great start to finish and even better after mastering by Mikey Young. It's a triumphant addition to their catalogue. Recommended for Stooges and Beach Boys fans alike. Listen and see!

Yes, many things have changed since 2011. Who knows what the 20's will have in store for life on Earth, let alone the Cool Ghouls? We at least know that 2021 has At George's Zoo for us, a beautiful keepsake from the Before Times when we used to stand in living rooms together while bands played.

"Fantastically dark as it fuses slo-mo hip-hop and distorted trance its scare comes in how seductive if it is." Loud & Quiet 9/10

WHITE RING release their sophomore full-length SHOW ME HEAVEN, due out on Rocket Girl on 22 Jan 2021. This album arrives two years after their debut album 'Gate of Grief' which came after their benchmark EP, 'Black Earth That Made Me'. Swerving from aggressively abrasive to beautifully ethereal; musically they draw from a varied and challenging palette.

From 'Black Earth That Made Me' to 'Gate of Grief', 'Show Me Heaven' completes the story of loss and acceptance." Asking Bryan about the new album, he explains; "This album is about the consequences of darkness.

WHITE RING were originally formed by Bryan Kurkimilis and Kendra Malia, before they were joined by Adina Viarengo in 2017.
In October 2019 while writing this album, Kendra passed away after an on-off struggle with drugs and schitzophrenia. She was slated to be involved but didn’t get the opportunity to contribute before her death. Thematically, Show Me Heaven focuses on the aftermath of grief and is dedicated to Kendra Malia.
 
With their DIY ethos while dwelling on the outskirts of pop music, WHITE RING have developed a unique style while pushing the boundaries of accessibility and musical genre. They have created a piece of art that is brimming with symbolism and underlying tensions, that seduces, scares and comforts in equal measure.

LP COMES WITH A DIGITAL DOWNLOAD CARD

"With their distorted synths, gunshot claps and ghoulish diva... evoking a horribly claustrophobic atmosphere." Uncut
 
"Less shoegazers-on-codeine, more Fuck-Buttons-go-mad-in-a-crypt." Time Out

180g yellow colored vinyl

WRWTFWW Records is not trolling when it says it is very very very happy to announce the official reissue of Richard Band’s soundtrack for horror fantasy classic Troll (1986).The limited edition yellow-colored 180g vinyl LP is housed in a heavy gatefold sleeve with full movie gallery, obi strip, and video store stickers.The album is also available on CD house in a classic jewel case with cavalier and video store sticker. Both versions contain liner notes by Richard Band himself.

The infamous Troll score is its very own kind of monster: an extended five-movement symphony conducted by Richard Band in full sorcery mode, creating exhilarating moments of excitement and seat-gripping intensity. At the center of the magnum opus lies the incredible "Cantos Profanae" and its chorus sung in a mix of old English, Gaelic, and Latin - an irresistible magic rhythm, an anthem of fantasy, a true cult classic. Richard Band often cites Troll as one of his favorite works - no wonder, it’s absolutely amazing!

This is released in conjunction with the soundtracks of Empire Pictures’ Ghoulies and TerrorVision, also out on WRWTFWW Records November 20th. Established by producer and director Charles Band in 1983, Empire Pictures quickly became notorious for the horror-comedy classics made during its brief but legendary lifespan. With wild special effects, outrageous humor and over-the-top horror action, Ghoulies, Troll and TerrorVision were three of Empire’s finest works, and each movie featured an unforgettable score by Charles’ award-winning composer brother Richard Band.

180g blue colored vinyl LP vinyl,

WRWTFWW Records is giggling with pleasure as it announces the official reissue of Richard Band’s director’s cut soundtrack for sci-fi horror comedy classic TerrorVision (1986).The limited edition blue-colored 180g vinyl LP is housed in a heavy gatefold sleeve with full movie gallery, obi strip, and video store stickers. It includes liner notes by Richard Band himself.

People of Earth
Your planet is about to be destroyed...
We're terribly sorry for the inconvenience

Conceived as a late 1960s Lost in Space type score with a 80s electronic twist, TerrorVision is one of the most unique soundtracks in Richard Band’s discography. Part oddball adventure, part eerie soundscape, it mixes the fun and flashy colors of the era with synth explorations that flirt with minimalism and experimental music. Band composed with a Yamaha CS70 plus twin ARP 2800s, a mini Moog synthesizer, as well as DX5 and DX7 keyboards, creating a groovy twilight zone of electrifying alien funk. The soundtrack also includes 5 numbers by deliriously wild LA band The Fibonaccis. One of a kind - like the movie itself!

This is released in conjunction with the soundtracks of Empire Pictures’ Ghoulies and Troll, also out on WRWTFWW Records November 20th. Established by producer and director Charles Band in 1983, Empire Pictures quickly became notorious for the horror-comedy classics made during its brief but legendary lifespan. With wild special effects, outrageous humor and over-the-top horror action, Ghoulies, Troll and TerrorVision were three of Empire’s finest works, and each movie featured an unforgettable score by Charles’ award-winning composer brother Richard Band.

(Full Uncut Original Soundtrack) 180g pink colored vinyl LP vinyl + 7"
WRWTFWW Records is ghoulishly happy to announce the first everl release of Richard Band’s full uncut soundtrack for cult horror comedy classic Ghoulies (1985).The limited edition pink-colored 180g vinyl LP is housed in a heavy gatefold sleeve with full movie gallery, obi strip, and video store stickers.The album is also available on CD house in a classic jewel case with cavalier and video store sticker. Both versions contain liner notes by Richard Band himself.

One of the most sought-after soundtracks from horror/sci-fi/fantasy film scoring master Richard Band, Ghoulies is finally getting the full official release it deserves. Packed with 16 tracks, plus two bonuses by Fela Johnson (including the fan-favorite "Dancing with a Monster", a true disco…monster!), it beautifully flows, covering all aspects of 80s b-movie horror music, from eerie vibes to palpable tension, full on satanic darkness, epic momentums, and just the right amount of wackiness. Band has a true talent for subtle tones and precise moods, fully capable of taking you on an uninterrupted magical ride/listening experience - one that feels like a trip to a 1985 video store and a whole world of mysterious treasures to discover!

This is released in conjunction with the soundtracks of Empire Pictures’ TerrorVision and Troll, also out on WRWTFWW Records November 20th. Established by producer and director Charles Band in 1986, Empire Pictures quickly became notorious for the horror-comedy classics made during its brief but legendary lifespan. With wild special effects, outrageous humor and over-the-top horror action, Ghoulies, Troll and TerrorVision are three of Empire’s finest works, and each movie feature an unforgettable score by Charles’ award-winning composer brother Richard Band.

The Grouse approaches, intent on witnessing Helium Robots release the ghouls and demons from their machines. What potent mix can this mean? Channeling the raw energy of their 2018 track Sly on Running Back, the monolithic baselines and surging, dense forces of Defy Me and The Grouse itself unfurl from the speakers. To mop fevered brows after those torrents, the alchemy changes to create the fuzzy warmth and bounce of Pang. Playful vocal samples flicker and weave through the chords, giving way to the final melodic flow of Revel. And we’re done. The Grouse, unruffled, proudly turns and stalks away……

Ryan Crosson takes care of the fifth EP on tastemaking Detroit label My Baby Records with a fantastically forward-looking four-track vinyl offering. Ryan Crosson is a complex artistic creature who has roamed far and wide in his storied career. His always innovative music has come on groundbreaking labels including Wagon Repair, M_nus, Spectral Sound, and of course his own Visionquest. Each time he explores a new sound world and draws on things as diverse as musique concrète, Downtown New York funk, and East African jazz. Now he cooks up more beguiling brilliance on this fresh new EP. Opener ‘Speaker Dubs’ is a deep, bubbly rhythm track with dub chords rippling out to infinity. It’s a stylish track full of far-sighted reverence and supple groove that locks you in a trance. ‘Ogilvie’ is a piece of absorbing ambient with found sound recordings of muffled voices that sounds like you’re in an underground station. B-side opener ‘FutureTheory’ is another minimal masterpiece with glitchy sound design and eerie chords peeling off a tight, kinetic groove. Ghoulish voices add more late-night atmosphere and the whole track grows ever darker and more consuming as it unfolds. The excellent ‘OortCloud’ takes you back to the heart of a dance-floor with futuristic menace: the smooth drum loops are militant, the voices are dehumanised and the searching synths speak of a desolate landscape. It’s heady, brilliantly bleak stuff that is utterly infectious. This is another hugely inventive EP from one of the underground’s most consistent talents

A key player in the New York scene and boss of her own Dusk & Haze label, it was Francis Harris' Kingdoms that initially released Sophie Saze's standout two-part album, and that is where this forward looking package of highly original remixes lands. First up is German artist Roman Flügel, who’s responsible for a myriad of musical aliases and just as many different sounds. Here he is in experimental electronic mode and reworks 'Cure' into an elongated groove with twisted synth lines layering up over the shimmer, shadowy beats. It's a ghoulish track with a creepy atmosphere.
Swede Anthony Linell makes tripped out, heady techno on Northern Electronics, always with a stylish aesthetic. That continues here as he reimagines 'Aliens' as an absorbing cosmic soundtrack. Supple, rubbery drums bubble down low while broad pads and astral motifs colour the airways above and sink you into a state of trance. New York beat maker and Blueberry Records boss FaltyDL then steps up with a remix of 'Self'. It is a typically off-kilter groove that seems to float on post-jungle drums while distant synth details make for a dreamy atmosphere. Closing out this killer package is Saze's original track 'Dreams', an intense techno cut where coarse textures peel off the industrial clatter of the drums.

rRoxymore's long-anticipated debut album, Face To Phase, was born of her annual creative hibernation practice. Whereas her previous appearances for Don't Be Afraid - Thoughts Of An Introvert, Parts 1 & 2 - revealed inner worlds of saturated colour and natural expressiveness, she retreated into her studio at the turn of winter 2018 occupied with the idea of dismantling the dancefloor-centric pressure paradigm.


The resulting album, Face to Phase, finds rRoxymore methodically and mindfully stripping back to fundamentals: rumbling minimalist dub, sparse polymetric drums, boldy unpredictable melodic narratives and subtleties which hover out-of-reach or disappear into vapour. Forged by the spirit of club music cultures, Face To Phase favours deep listening; resisting the temptation to reflect on the past or project towards the future, it's an album that is firmly rooted in the contemporary.


Sparked by her own archive of field recordings, and produced primarily but not exclusively in the box, Face To Phase adds several facets to rRoxymore's already wide repertoire. The pensive and beatless opener "Home Is Where The Music Is" was inspired by her longtime friend Planningtorock, while "Forward Flamingo" is a spiraling dream-state of house music dissociation; elsewhere "Energy Points" remains anchored to the ocean floor, radiating heavy dub waves, "Passages" is a ghoulish skeleton of UK break beats, "What's The Plan" closes the album in a blissfully blunted fashion, while twisting, shape-shifting rhythms push and pulse "PPS21" into series of ever-evolving shapes and forms.


Through and in between the eight songs of Face To Phase, rRoxymore fortifies her status as a seasoned artist, grounded by over a decade of live performance and touring, collaboration, composition and experimentation. With a new live performance collaboration with a percussionist set to debut the LP at Atonal on 1st September, rRoxymore is primed to expand her reputation even further as one of the most vital and distinctive artists on the fringes of contemporary club culture.

Alessandro Adriani has become a trusted source for all kinds of beyond-the-grave minimal synth, industrial and coldwave delights. Aside from his work in releasing forgotten gems and up to the minute synth incantations, Adriani has also been quietly issuing out his own music as well.

Originally released in 2016, 'Montagne Trasparenti' is now repressed on Mannequin Records with a full new graphic design.

'New wave/neu beta psychopomp, Alessandro Adriani ov Mannequin Records, makes an arresting solo LP debut with Montagne Transparenti's ghoulish suite of atypical Italian horror atmosfear and stylised body music, highly recommended if you're into Demdike Stare, Not Waving or Italian Library Records...' (Boomkat)

The album was recorded between Adriani's native Rome and adopted Berlin, 'in various years of travelling, composing, fighting with cables and machines.'

SC-164 is a new label based out of Brooklyn, NY, run by Greg Schappert aka Donor.
The Channel series is set to include a run of electro and experimental EPs under his SC-164 alias. For the second installment, he presents inventive, rough-edged future music with no signs of human life, and it's utterly thrilling.

The first track is a blizzard of frosty, serrated synths and hard drums that are designed for dance floor destruction. 002-002 continues this way, an intergalactic face-off, with laser synths firing across the face of jittery, punch drum programming. Textured and raw, it's pure and powerful machine music. Next up, 003 layers up ghoulish white noise and synth bleeps that are brilliantly bleak and dystopian. The closer is a roaming electro cut, with menacing bass and groaning synths taking you to the heart of a stone-lit frenzy.

Jac Berrocal, David Fenech and Vincent Epplay return with Ice Exposure, their second album for Blackest Ever Black. A sequel and companion piece of sorts to 2015's Antigravity, its title couldn't be more apt: sonically it is both colder, and more exposed - in the sense of rawer, more volatile, more vulnerable - than its predecessor, capturing the combustible energy and barely suppressed violence of the trio's celebrated live performances with aspects of noir jazz, musique concrète, no wave art-rock, sound poetry and spectral electronics all interpenetrating in unpredictable and exhilarating ways. While there are moments of great sensitivity and even a cautious romanticism, the prevailing mood is one of anxiety, paranoia, and mounting psychodrama: close your eyes and Ice Exposure feels like a dissociative Hörspiel broadcasting from the seedy backstreets of your own troubled mind. Before he picks up an instrument or opens his mouth, Berrocal's unique and compelling presence can be felt: a combination of studied, glacial cool and anarchic, in-the-moment intensity that has served him well over a long and storied career. It was honed during his time as a theatre and film actor, and in the 70s Paris improv scene, it powered his influential Catalogue group in the 1970s, numerous seminal, sui generis solo sides, and far-sighted collaborations with the likes of Nurse With Wound, Lol Coxhill, Pascal Comelade and James Chance which have seen him come to be valorised by two generations of avant-garde agitators and eccentrics. Now in his eighth decade, it comes with an added gravitas, perhaps, but no less energy or vitality. On Ice Exposure, his lyrical, instantly recognisable trumpet playing is a key feature - see especially the ghostly, dubwise take on Ornette's 'Lonely Woman', the dissolute exotica of 'Salta Girls', and the sublime echo-chamber soliloquy 'Opportunity'. But more often it's his voice that commands centre-stage, whether casually discharging surreal poetic monologues or moaning in animal despair - a vocal tour de force that transcends language and culminates in the Dionysian frenzy of 'Why', Berrocal's half-spoken, half-howled exclamations jostling with David Fenech's slashes of dissonant guitar, over Badalamenti-ish, panther-stalk drums. Fenech's origins are in the mail-art scene of the early '90s, when he led the Peu Importe collective in Grenoble, and since then, in addition to his own recordings he has worked as a software developer at IRCAM and played with Jad Fair, Rhys Chatham and many others. Together with Vincent Epplay he is responsible for Ice Exposure's inspired arrangements and vivid, vertiginous sound design. Epplay is a visual artist and composer with particular interest in aleatory composition, concrete, and the reappropriation of vintage sound and film material. He and Fenech fashion a remarkable mise-en-scene for Berrocal to inhabit, one that embraces cutting-edge electronics while also paying homage to the best traditions of outlaw jazz and libidinous rock'n'roll ('Soundcheck' invokes the brutish spirit of Berrocal's hero Vince 'Rock N Roll Station' Taylor). On 'Blanche de Blanc', Berrocal's voice is framed by a groaning, ghoulish orchestra of industrial drones, while 'Equivoque' evokes the most humid and hostile Fourth World landscapes and 'Panic In Surabaya' lives up to its name, a hectic, pulse-quickening concrète collage that leaves you gasping for air. This is a searching and singular trio operating at the absolute peak of their powers, with an interplay that transcends studio and stage and occurs at an almost telepathic level. Ice Exposure is a triumph of that group mind, an underworld dérive as life-affirming as it is unnerving and psychologically precarious.













Panic In Surabaya

Detroit label My Baby focusses on letting underground local talent shine, and that is the case with the second EP, a various artists affair featuring label boss Mister Joshooa, plus Remote Viewing Party and Tammy Pickle with a remix from My Baby.
The acts featured on this release are all residents of the famous TV Lounge/TV Bar venue in Detroit. The 12" includes Eddie C along with My Baby boss and TV Bar booker Mister Joshooa-who work together here as Tammy Pickle-plus Rickers, who is one half of ATAXIA, and How to Kill Detroit co-founders Remote Viewing Party, while Rickers and Joshooa also link as My Baby to remix one of the tracks.
First up are Remote Viewing Party with the superb '410'. It's five bumping minutes of silvery tech with whirring machines and gurgling synths all weaving around well programmed and punchy drums. Sure to infect real energy and freakiness into any club set.
Mister Joshooa makes his first appearance with the alluring 'Alright Fine', a slow and absorbing track of gloopy bass, percolating drums and unsettling vocals. Subtle acid lines and prickly hi hats all make this one really jump out of the speakers.
Next up, Mister Joshooa links with Rickers for a standout remix of '410' that is even more physical and driving. The metallic groove is run through with alien sounds, shooting synths and ghoulish voices that are filled with paranoia and will make a great atmosphere in the club.
Joshooa and downtempo disco don Eddie C then collaborate as Tammy Pickle for 'Indifference,' which is a perfectly slow and sensuous number with elastic synths and bass. Crisp hits drive it along and encourage you to sink deep into the groove.
This record is jam packed with talent and original ideas, and one that marks out this label as one to watch.

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.

For its fifth release, Amsterdam's Taped Artifact offers up a various artists EP that features four tracks including one from the boss, Kevin Arnemann, as well as Hiver, Elmer and Physical Therapy. It is a moody and atmospheric deep techno offering that fits in with the label's ever more singular aesthetic. Up first is Physical Therapy, a producer who since 2012 has put out some fine EPs and LPs on labels like 1080p, Unknown to the Unknown and Liberation Technologies. It is a roomy affair with corrugated mid tempo drums down low and haunting pads up top. Building in intensity with some icy hi hats, it ends up as a ghoulish number that adds real theatre to the floor. Next up is Elmer, key part of Brussels' Bepotel Records crew. Melting techno, wave and dub into raw and expressive new forms, this new cut 'Simple Models' makes great use of analog machinery. Again deep and horizonless, a rippling lead synth line plays off an industrial bass riff as paddy drums roll on below. It's humid and heady stuff, to be sure. Then comes the boss who offers a more dubbed out and bumpy dub­techno track with expansive chords rolling off into the distance and light and airy hi hats dancing in the mid ground. It's one to get floors moving before the Hiver duo of Giuseppe Albrizio and Sergio Caio from labels like Curle and Vidab close things out with the dusty old breakbeats and woozy spaced out synths of 'Intersect.' This is a subtle but impactful EP full of sensitive underground sounds that pack a real punch. Vital Sales Points: - 5th release on Taped Artifact - First Various Artists compilation on Taped Artifact - Custom made artwork by photographer Merel Kemp - Artwork

The second release on TB Arthur's (312) label finds the mysterious artist revealing a collaborative project with Magda as Blotter Trax. The pair first encountered each other at the famous Motor City record store Record Time, when Detroit artist BMG introduced his then co-workers Magda and Derek Plaslaiko to Arthur, who was visiting the shop from Chicago. Sometime after that meeting, Magda and Arthur went into the studio and jammed together for a week, the session was recorded live on analog 1/4" tape and then three tracks were selected for release. 1A is six and a half minutes of modulated synth sounds that are psyched out and sci-fi, spooky and truly atmospheric. Full of cerebral cinematism, acid lines and ghoulish textures all add up to a truly standout track. 2A then marries dark wave pops and clicks, unsettling alien lifeforms and menacing, slo motion industrial drums into a physical and imposing groover riddled with paranoid sirens and drones. Last of all, 2B snakes and slithers its way through undulating drums, cosmic freakiness and gloopy synth sounds that are all seductive and subversive in equal measure. This, then, is a truly fascinating pairing.