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In den schwierigen Jahren der Pandemie nutzten Finnlands Dark-MetalMeister AMORPHIS die Zeit zu Hause, um dieses energiegeladene LiveAlbum "Queen Of Time (Live At Tavastia 2021)" aufzunehmen - jetzt erhältlich als grüne Blackdust-2LP im Gatefold mit Insert und als Digipak inklusive Live-Audio-CD und Live-BluRay.

Bell Curve's new EP Obelisk for Berlin's SSPB provides a daring evolution of her soundworld, channeling the bristling intensity of her previous work into a more expansive headspace. Alongside six mesmerising new tracks from Bell Curve, the EP features a remix from Hessle Audio rising star Toumba. Obelisk compiles Bell Curve's most compelling and enthralling work to date. Reveling in dazzling repetition and delicate sonic nuance, it is a cathartic and defiant statement in an industry that increasingly demands hollow immediacy and caters to short attention spans - an homage to struggles and affirmation of strength and self-belief, while equally offering euphoric escape for those willing to spend time inside its mystic whorl. Club sonics are here plucked from their original contexts and expanded outwards - icy rave stabs on "Staircase" ascending into the heavens or the astral breaks and springy bass of "Hope It Gets Better".

Subtle shifts in tone and texture guide the listener through the trip, reverb tails slowly extending into lysergic drift or rippling grain and feedback rising from pulsing bass tones. Jordanian producer Toumba amps up the tempo on his remix of "Staircase" while maintaining the original's emotional core, bolstering the track's dextrous rhythms with distinctive Levantine timbres. Obelisk captures a constant push and pull between emotional states - from anxiety and melancholy to joy and euphoria, working through turmoil to find transcendence.

Tracks like "Dance Skeleton Dance" particularly invoke this duality, drawing catharsis from darker sonics, reconfiguring bass pressure and anxious percussion into a humid dancehall stepper. "Without U" contains emotional struggle as part of the very circumstances of its making - written while working through heartbreak, its delicate repetitions and searching tone reflecting the process of reconnecting with oneself. Title track "Obelisk" forms the emotional core of the EP, coalescing from weightless vapors into dramatic synthesizer motifs, evoking euphoric memories of complete immersion on the dancefloor and our ability to find ecstatic experience even in the contemporary hellscape.

-15 year anniversary and first time on vinyl with brand new artwork, including previously unseen pieces from the Tame One archive.

-Remixed and remastered audio for a fresh listening experience. -Featuring guest appearances from Sean Price and Del Tha Funky Homosapien - One half of legendary graffiti rap group The Artifacts. -140 gram black vinyl, matte flood jacket with spot uv, 12x12 double sided insert with black poly lined inner sleeves. Rough, rugged and raw. Nothing better describes one's listening experience when they first heard Tame One & Parallel Thoughts, “Ol Jersey Bastard”. It was 15 years ago when Tame One came to "The Paradigm", the recording studio of Freehold's own Parallel Thought. One session turned into two, then quickly turned into three, resulting in a twice-weekly recording ritual that spanned three years. This ritual would give birth not only to this album, but three (Acid Tab Vocab & Parallel Uni-Verses w/ Del Tha Funky Homosapien) instilling a lifelong creative partnership. But let's focus on "Ol Jersey Bastard," Tame One's homage to the almighty and original OL Dirty Bastard. It was not the cleanest record to listen to, but it was true to Tame One's style and vision. He was not constrained by working with a group or having to answer to a label. As a side note, Amalgam Digital, the joke of a label who originally released this album wouldn't let us follow through with our original artwork concept. So the new cover and layout created by close friend Michael Interrante is Tame’s original concept. We also were able to include original scans of unseen artwork, tags & lyrics from Tames archive. This was unfiltered raw hip-hop, showcasing Tame One's unparalleled ability on the mic. Sometimes that called for no hook or maybe a 54 bar verse, traditional song structures were out the window. That being said, coming back to this album all these years later as producers, we wanted to elevate the album's listening experience. We cleaned up the mixes, so you might notice Tame sounds a little clearer, or those beats might knock a bit louder. It was what was needed to further elevate the music while not compromising our and Tame’s vision. Further demonstrating that music is a living, breathing piece of art. Always able to evolve. We hope you enjoy it!

Taavi Suisalu is an Estonian media artist particularly interested into complex and adventurous sounds, field recordings and harsh audio emergencies, organized under the form of symphony or as a result of performative interactions.

In 2014 Suisalu received the Young Estonian Artist Prize as curator of Project of In-existent Villages, an articulate exhibition full of installations and site-specific sound performances. The use of peripheral spaces and the crossovers, sometimes extremely creative, of human interactions, data, sounds and technologies, are recurring in the works of Suisalu, whose subjective perspective unconventionally investigates different social and cultural phenomena. He is always attracted by the different forms of technologies. It can be an old seismograph he reconstructs to record the underground vibrations of a volcano, or, it can be some 3D models he uses to analyze a grain of soil coming from the ancient Pompei. The results of the researches would lead to the installations. The whole set of data is often the premise of a narration, a datafiction, as in the case of the signals recorded from some abandoned satellites, who are later presented with a speed set by the position of other satellites gravitating above the gallery hosting the event.

“Noisephony of Lawn Mowers" was originally composed in 2013, but it was unreleased until now, when Staalplaat, a fundamental label for its unusual experimental connections and for the sound events performed in unconventional spaces, decided to publish it. It's a score for lawnmowers, whose making is given to a conductor and executed by a group of artists. Suisalu reminds us that historically, lawn has been a symbol of power and wealth as it required substantial upkeep and unused land. Today, it still indicates wealth, but is mainly maintained by the owners themselves. This puts us in a schizophrenic situation where we strive to be privileged by taking the role of the servants.

“Silver Meets Ted” is the other track included in the selection. It's a recording of over ten minutes, whose trend cryptically moves on and with some unsettling minimal tolls, always more metallic. Some deaf beats follow, and then we have a splash of water and some slightly hinted neighs, chirps, different spills of liquid, more intense and measured, clackings and vibrations, some hardly identifiable frequencies and again a series of punctuated metal bells. The work by Taavi Suisalu stands out as a calibrated combination of mathematical coherence and elements of surprise, automatized and causal processes, some small oblique utopias, that work well together by improving highly subjective resources and create some slightly unsettling final results.

This 40 year anniversary collection traces Brother Culture's career and includes some of his biggest hits, with remastered versions of these classics. The album includes his hits Jump Up Pon It (25 million streams), Supanova (15 million streams), My Selecta (2 million streams), and some of his most listened-to tracks ever released on vinyl.

A composition simply means things being put together. In music, we usually think of composition as a classical idea. But in recent years, the possibilities of what ‘composing’ can be, have dramatically increased. Based in Oslo, Norway, Deathprod (aka Helge Sten) has been making his own forms of music with no compromise since the early 90s. His specialty is a deeply atmospheric, grainy minimalism that slows time down and explores the very particles of sound itself. This music can sound forbidding and alien at first, but compared to his more brutal output, it’s an extraordinarily close and intimate experience. The first new Deathprod studio project since 2019’s OCCULTING DISK, Compositions is the result of an intense period at his legendary Audio Virus Lab studio in central Oslo. All tracks are released in chronological order – in other words, the order in which they were recorded. Helge used a personal, unique combination of obsolete digital audio processors and sound generators, combined with his own secret-sauce tuning system. Like gazing at the wonders revealed by an electron microscope with Helge compositional control directs your attention to a succession of ever more spellbinding details and textures. Helge adopted the Deathprod alias in 1991. A complex array of homemade electronics, samplers, sound processing and analogue effects – cumulatively known as the ‘Audio Virus’ – combined with obsolete samplers and playback devices, to distort and transform sounds into unrecognizable relatives of their former selves. On the new album Compositions, the virus has evolved into even more fascinating and kaleidoscopic new strains. Electronically generated sounds vibrate and tremble like undiscovered metals ringing and resonating together. Sonic forms attract or repel each other as if under the influence of a strange magnetism. None of the tracks are over four minutes, but no way are these ‘miniatures’. Each one contains its own fully-formed galaxy of tones and clusters, while all tracks audibly belong in the same universe. These are 17 compositions in search of a sonic ideal. His off-grid audio control centre created a parallel acoustic universe which he filled with mutated samples and electronic textures. Even the gaps between the tracks are part of that universe. Helge left the almost silent, twitching crackles of his snoozing analogue gear intact, ensuring a smoother transition between them. Helge is continually striving to find new parameters and possibilities for what music can be – what you can affect with the medium of sound. From the intricate homemade miniatures of Treetop Drive to the bonecrushing electronic barrage of Morals and Dogma and OCCULTING DISK, the different sides of Deathprod are all products of the same obsessive focus and self-discipline in pursuit of sonic exploration. His Compositions are private rather than public music: like introspective chamber or solo compositions instead of the more strident, outward-looking tones of a symphony. Helge is a founder of Norwegian improvising group Supersilent and has produced records by Motorpsycho, Susanna, Jenny Hval, Arve Henriksen and others. He recently composed music for Harry Partch’s legendary instruments, which can be heard on Sow Your Gold in the White Foliated Earth, released in 2022 on Smalltown Supersound.

To celebrate the 10th anniversary of Cloud Nothings' seminal album, Attack On Memory, the band has announced a very special limited edition vinyl pressing. 3000 copies worldwide.

It’s housed in a foil jacket with all new colorized artwork, is pressed on Sky Blue vinyl, and includes two bonus flexi 7"s with two never-before-released tracks, "You Will Turn" and "Jambalaya" from the original sessions at Steve Albini's Electrical Audio.

In 2009, Cleveland’s Dylan Baldi began writing and recording lo-fi power-pop songs in his parents’ basement, dubbing the project Cloud Nothings. His music quickly started making the Internet rounds, and fans and critics alike took note of his pithy songcraft, infectiously catchy melodies, and youthful enthusiasm. Baldi soon released a string of 7”s, a split cassette, and an EP before putting out Turning On—a compilation spanning about a year’s worth of work—on Carpark in 2010. January 2011 saw the release of Cloud Nothings’ self- titled debut LP, which, put next to Turning On, found Baldi cleaning up his lo-fi aesthetic, pairing his tales of affinitive confusion with a more pristine aural clarity. In the interval since the release of Cloud Nothings, Baldi has toured widely and put a great deal of focus on his live show, a detail that heavily shapes the music of his follow-up album, Attack on Memory.

After playing the same sets nightly for months on end, Baldi saw the rigidity of his early work, and he wanted to create arrangements that would allow for more improvisation and variability when played on the road. To accomplish this desired malleability, the entire band decamped to Chicago—where the album was recorded with Steve Albini—and all lent a hand in the songwriting process. The product of these sessions is a record boasting features that, even at a glance, mark a sea change in the band’s sound: higher fidelity, a track clocking in at almost nine minutes, an instrumental, and an overall more plaintive air. The songs move along fluidly, and Baldi sounds assured as he brings his vocals up in the mix, allowing himself to hold out long notes and put some grain into his voice. Minor key melodies abound, drums emphatically contribute much more than mere timekeeping, and the guitar work is much more adventurous than that of previous releases.

For all of early Cloud Nothings’ fun and fervor, Baldi admits that it never sounded like most of the music he listens to. With Attack on Memory, he wanted to remedy this anomaly, and in setting out to do so, Baldi and co. created an album that showed vast growth for a very young band.

(Cargo Collective Title) RIYL: Barker, burger/ink, Andy Stott, Shackleton, Monolake, Jan Jelinek, Perila, Fax. 180gLP in 350gsm jacket + 190gsm inner + DL. CD in custom mini-gatefold paperboard jacket. T. Gowdy has kept up a productive albeit mostly virtual pace since the release of Therapy With Colour (his third full-length album and first for Constellation) which dropped just as things were locking down back in spring 2020: performances at numerous festivals including MUTEK Montréal, Node Festival and NEW NOW; audiovisual pieces exhibited at various European galleries and events; a track and video for Constellation’s Corona Borealis Longplay Singles Series; sound design for the documentary Atalaya by filmmaker Emma Roufs. Gowdy now returns with Miracles, his second full-length for Constellation, which draws on source materials originally performed in 2018 for an unreleased audio/visual project based around surveillance footage—a precursor to video1capped, monitor-based horizons that soon took on new meanings. Re-immersing himself in those recordings, Gowdy disassembles and deploys them as raw source material for new experiments with vactrols, noise gates and analog-to-digital triggering and aliasing, the original recordings juxtaposed anew amidst their successive textural and rhythmic treatments. Gowdy keeps this re-composition process stripped down, elemental and purposive, guided by an ascetic Aufhebung: synthesis as sublation—subjecting a temporal material/theme to analysis and transformation, reintegrating to form a whole that overcomes what it preserves without erasure, reshaping and intrinsically carrying its origins forward. Where Therapy With Colour was strictly and rigorously a set of stereo live performances, Miracles fuses iterative—though still spartan—layers of performance. “Therapy With Colour was about healing through self-hypnosis; Miracles is about forging a future with memory through subjection to trigger mechanisms” notes Gowdy. The result is a captivating collection of minimal IDM and oscillated electronics from the Montréal/Berlin producer, working primarily in a 120-140 BPM zone of tonal percussion and corrugated pulse. Gowdy’s sensibility and sound palette gets deeper and dirtier, summoning new pathways of alluvial flicker and abraded euphoria. As the album progresses, low-pass gate vactrols coalesce into a clear and vital theme, conveying immanence through woody timbres at times reminiscent of the Shinrin-yoku aesthetic (Japanese ‘forest bathing’), though always with a grainy transcendence rather than invoking any clean pure sheen. Gowdy consistently heats and heightens the presence of each component in the mix, balancing different elements in democratic compression/distortion, attaining an unornamental and earnest form of mantric-industrial majesty. Miracles is live, corporeal, activated electronic music of the highest caliber, deployed with monastic and meditative focus. Tracklist: 1 350J 2 Miracles 3 Déneigeuse 4 Transcend I 5 U4A 6 Vidisions 7 Clipse 8 Transcend II

One of the most highly awaited records on the planet. In true Bad Company UK style, going against the grain to bring you what you want. Oxygen - Prolix Remix and Dogs on the Moon - Delta Heavy Remix have been immortalised together on one piece of vinyl #1, kickstarting the BCUK Remix vinyl project which has been evolving and developing over the past 7 years, to bring you something very special. As supported by the likes of Andy C, The Prototypes, AMC, Audio and everyone else, these tracks are locked and loaded.
Dogs On The Moon Delta Heavy Remix - A bouncy catchy remix by Delta Heavy, with a bass line and drop that is an energetic anthemic Bad Company UK dance-floor classic. Fit for the old school Drum & Bass heads while also being a perfectly modern new age banger with a fast tempo for those who like to move, dance, run, exercise or just enjoy DnB at its best.

 OxygenProlix Remix - An uptempo Drum & Bass remix from the highly talented Prolix, of the classic Bad Company UK deadly sinister theme - Oxygen. The old school Drum & Bass generation are thrilled to see the ‘Drilla Killa’ classic updated for 2022, giving the new age fans who are more and more interested in the foundation of the scene, a slice of the past with a modern twist. This rhythmical beast will get you showing off your best moves while screwing up
your face.


Dj support: UKF, Andy C, A.M.C, DC Breaks, Ed Rush, Audio, Prolix, Futurebound, The Proto- types, Dj Marky, Bryan G, Mampi Swift, Jumping Jack Frost.

T. Gowdy has kept up a productive albeit mostly virtual pace since the release of Therapy With Colour (his third full-length album and first for Constellation) which dropped just as things were locking down back in spring 2020: performances at numerous festivals including MUTEK Montréal, Node Festival and NEW NOW; audiovisual pieces exhibited at various European galleries and events; a track and video for Constellation's Corona Borealis Longplay Singles Series; sound design for the documentary Atalaya by filmmaker Emma Roufs. Gowdy now returns with Miracles, his second full-length for Constellation, which draws on source materials originally performed in 2018 for an unreleased audio/visual project based around surveillance footage_a precursor to videocapped, monitor-based horizons that soon took on new meanings. Re-immersing himself in those recordings, Gowdy disassembles and deploys them as raw source material for new experiments with vactrols, noise gates and analog-to-digital triggering and aliasing, the original recordings juxtaposed anew amidst their successive textural and rhythmic treatments. Gowdy keeps this re-composition process stripped down, elemental and purposive, guided by an ascetic Aufhebung: synthesis as sublation_subjecting a temporal material/theme to analysis and transformation, reintegrating to form a whole that overcomes what it preserves without erasure, reshaping and intrinsically carrying its origins forward. Where Therapy With Colour was strictly and rigorously a set of stereo live performances, Miracles fuses iterative_though still spartan_layers of performance. "Therapy With Colour was about healing through self-hypnosis; Miracles is about forging a future with memory through subjection to trigger mechanisms" notes Gowdy. The result is a captivating collection of minimal IDM and oscillated electronics from the Montréal/Berlin producer, working primarily in a 120-140 BPM zone of tonal percussion and corrugated pulse. Gowdy's sensibility and sound palette gets deeper and dirtier, summoning new pathways of alluvial flicker and abraded euphoria. As the album progresses, low-pass gate vactrols coalesce into a clear and vital theme, conveying immanence through woody timbres at times reminiscent of the Shinrin-yoku aesthetic (Japanese `forest bathing'), though always with a grainy transcendence rather than invoking any clean pure sheen. Gowdy consistently heats and heightens the presence of each component in the mix, balancing different elements in democratic compression/distortion, attaining an unornamental and earnest form of mantric-industrial majesty. Miracles is live, corporeal, activated electronic music of the highest caliber, deployed with monastic and meditative focus.

180g LP + 10" im Gatefold mit Thermographie, bedruckten Innenhüllen und Download Coupon. GY!BE kehrt mit einem weiteren Soundtrack für unsere Zeit zurück, wie ihn nur dieses unnachahmliche und ehrwürdige Ensemble schmieden kann. Das neue Album besteht aus zwei fesselnden, 20-minütigen, LP-Seiten füllenden Epen aus lärmgetränktem Breitwand-Post-Rock, während die beiden begleitenden 6-minütigen Stücke der 10" die Band aus Kanada in ihrer verheerendsten, eindringlichsten und elegischsten Form zeigen. Unerbittliches Tuckern blüht auf, während einige der hochfliegenden, brennenden Melodien der Band inmitten von Geigen- und Basskontrapunkt abprallen und zusammenlaufen. Field Recordings und aufgewühlte, halb-improvisierte Passagen umrahmen diese inbrünstigen Epen. Ergreifende Atmosphären, geräuschhafte Orchestrierung, Drone, hypnotische Swingtime-Crescendos, unaufhaltsam geschichtete Türme aus verzerrtem Klargesang: STATE'S END verkörpert jede geliebte Facette der Band. Fünfundzwanzig Jahre später ist dieses neue Album so vital, mitreißend, zeitgemäß und unerbittlich wie jedes andere in der geschichtsträchtigen Diskographie von Godspeed You! Black Emperor. So wie STATE'S END die ganze Bandbreite der klanglichen Trademarks von Godspeed vereint, so umspannt auch das Album-Artwork die gesamte visuelle Geschichte der Band: die körnige, monochromatische Fotografie der letzten Veröffentlichungen findet ihren Weg auf die Innenhüllen, während das Klappcover auf die ikonischen Grafiken früherer Klassiker wie Slow Riot For New Zero Kanada und Lift Your Skinny Fists Like Antennas To Heaven zurückgreift. STATE'S END ist mit Illustrationen von William Schmiechen versehen, wobei die Taijitu-Blumen auf der Vorderseite und die Tränengaskanister auf der Rückseite des Covers in erhabener, thermografischer, schwarzer Tinte auf dem Doppelvinyl-Albumcover abgebildet sind. Das leuchtende Kreuz von Godspeeds Debütalbum F#A#INFINITY taucht auch auf der Innenseite des Klappdeckels wieder auf, als wiederkehrende Hommage an das elektrifizierte Hügelkreuz in der Heimatstadt der Band in Montreal. STATE'S END wurde im Oktober 2020 in Montreal im Homebase-Studio der Gruppe, Thee Mighty Hotel2Tango, von Jace Lasek aufgenommen und abgemischt, dem altgedienten und preisgekrönten Indie-Produzenten (und Mitbegründer von The Besnard Lakes), der mit Godspeed bei dieser Aufnahme zum ersten Mal zusammenarbeitet. Danke fürs Zuhören. UNSERE SEITE MUSS GEWINNEN. (R.I.P. D.H.) ENG audiophile 180gLP + 10" in gatefold jacket with thermography, colour flood interior, artworked inners, DL card. GYBE returns with another soundtrack for our times, like only this inimitable and venerable ensemble can forge. As the heretical impudence of the anarcho-punk title implies, Godspeed harnesses some particularly raw power, spittle and grit across two riveting 20-minute side-length trajectories of noise-drenched widescreen post-rock: inexorable chug blossoms into blown-out twang, as some of the band's most soaring, searing melodies ricochet and converge amidst violin and bassline counterpoint. Field recordings and roiling semi-improvised passages frame these fervent epics, and two shorter self-contained 6-minute pieces find the band at its most devastatingly beautiful, haunting and elegiac. Poignant atmospherics, noisedrenched orchestration, drone, hypnotic swingtime crescendos, inexorably-layered towers of distorted clarion sound: STATE'S END encapsulates every beloved facet of the band. Twenty-five years on, this new album is as vital, stirring, timely and implacable as any in Godspeed You! Black Emperor's storied discography. Just as STATE'S END summons the gamut of Godspeed's constituent sonic trademarks, so the album artwork spans the entirety of the band's visual history: the grainy monochromatic photography of recent releases finds its way onto the inner sleeves, while the gatefold cover art harkens back to the iconic graphics of earlier classic records like Slow Riot For New Zero Kanada and Lift Your Skinny Fists Like Antennas To Heaven. STATE'S END features illustrations by William Schmiechen, with the front cover taijitu flowers and back cover tear gas canisters rendered in raised thermographic black ink on the double-vinyl album jacket. The illuminated cross from Godspeed's debut F#A#8 also makes a reappearance on the inside gatefold drawing, in recurrent homage to the electrified hilltop landmark crucifix of the band's Montreal hometown. STATE'S END was recorded and mixed in Montreal in October 2020 at the group's homebase studio Thee Mighty Hotel2Tango by Jace Lasek, the veteran awardwinning indie producer (and co-founder of The Besnard Lakes) who works with Godspeed for the first time on this recording. Thanks for listening. OUR SIDE HAS TO WIN. (R.I.P. D.H.)

After their debut full-length album, Puritan Masochism, took the entire doom and heavy metal scene by storm upon its release in 2020, critically acclaimed Danish blackened death doom outfit KONVENT returns with a sophomore offering that doubles down on the band’s songwriting talent and brutal, heavy sound! The sonic evolution of KONVENT over the course of just two years is immediately evident on Call Down The Sun, surprising with new elements at every turn. Undoubtedly inspired by recent dark times, the ongoing pandemic and cancellation of live performances, the new album sees the Copenhagen-based band more pissed off, fast-paced and pitch black throughout. Rikke Emilie List’s guttural, sublime growls and fierce screams perfectly integrate with a heavy as hell wall of blackened death and funeral doom metal riffs from guitarist Sara Helena Nørregaard, backed by a thick, profound rhythm section provided by bassist Heidi Withington Brink and drummer Julie Simonsen. Tracks such as “Grains” – a ground-shaking, stomping black doom metal epos that will be a must-hear on KONVENT’s upcoming live setlists – showcase the band’s deep black soul with a hint of post-metal and even progressive elements. Featuring a haunting violin and cello guest performance by Felix Havstad, the band creates dark, eerie yet epic atmosphere on “Harena”, revealing threatening yet beautiful facets of their sound. With songs such as “Pipe Dreams” and massive album opener “Into the Distance”, the four-piece unleashes hurricanes of blackened death doom metal. Recorded and mixed by Lasse Ballade at Ballade Studios, Sweden and mastered by Brad Boatright at Audiosiege Studio, the new album’s thunderous apocalyptic sound is impossible to escape. Call Down The Sun a refreshing, vibrant record that is not only poised to top 2022 Album Of The Year lists, but reign as one of the best death and blackened doom metal records of modern times!

Nach ihrem gefeierten Debüt Album Puritan Masochism, das mit Veröffentlichung im Jahr 2020 die gesamte Doom- und Heavy- Metal Szene im Sturm eroberte, steht die dänische Blackened Death- und Doom Metal Macht KONVENT nun mit ihrem 2. Longplayer in den Startlöchern, auf welchem sich die Band mit ihren Songwriting Qualitäten und brutalem Sound selber übertrifft!

Die musikalische Entwicklung von KONVENT ist im Laufe von nur zwei Jahren auf Call Down The Sun unüberhörbar und überrascht an jeder Ecke mit neuen Elementen. Zweifellos inspiriert von den jüngsten und dunklen Zeiten der anhaltenden Pandemie und Absagen diverser Live Auftritte, kommt das neue Album der Kopenhagener Band deutlich böser, schwerer, angepisster und pechschwarz daher.

Aufgenommen und gemischt wurde das neue KONVENT Album von Lasse Ballade in den Ballade Studios in Schweden, für das Mastering zeichnet sich Brad Boatright der Audiosiege Studios verantwortlich. Call Down The Sun ist eine Apokalypse von Sound, dem man sich nicht entziehen kann. KONVENT haben hier ein unfassbar erfrischendes und lebendiges Album geschaffen, welches sich mit Leichtigkeit nicht nur auf die Top-Album-Listen des Jahres 2022 einreihen, sondern sich möglicherweise als eine der besten Deathund Blackened Doom Metal Scheiben der Neuzeit etablieren wird!

MICROCORPS is the new project by artist and musician Alex Tucker (Grumbling Fur, Alexander Tucker, Imbogodom) exploring electronics, cello and voice. The debut release XMIT, an eight-track album featuring collaborations with Gazelle Twin, Nik Void, Simon Fisher Turner and Astrud Steehouder, is out on 16 April 2021. Tucker's ever-evolving soundworld continues to unfold with this collection of harsh realms centred around processed electronic systems, strings and vocal manipulations. On the new album, MICROCORPS employs altered voices, sound synthesis and atomised beat constructions. In a move away from previous projects XMIT investigates erasing the self, removing obvious traits of the hand and voice, and allowing a focus on the humanoid rather than the human. Instead of recognisable lyrics and coherent imagery, MICROCORPS evolved synthesised voices to generate alternate characters. He expands, "I was investigating how language brings our world into being and how manipulating the actual grain of the voice could open up momentary shifts in perception." Each track is born from a balance between composition and improvisation within set parameters. At each stage audio is heavily processed and then reconfigured. Setting up systems that are non-repeatable, where decisions can be premeditated and intuitive but never the same with each performance, using hardware and instruments outside of the computer to make live stereo takes that have limited room for editing and mixing. "I'd been looking into combining dream music with machine rhythms, but there are so many great examples out there of both music forms, so I started to cut up the drones and really filter the drum patterns to create a hybrid space." The album artwork features manipulated ink drawings by Tucker that originally featured in his recent comic ENTITY REUNION 2. XMIT refers to a time in which information both physical and nonphysical transfers at an alarming rate beyond human comprehension into an age which is at once banal and terrifyingly alien.

MICROCORPS is the new project by artist and musician Alex Tucker (Grumbling Fur, Alexander Tucker, Imbogodom) exploring electronics, cello and voice. The debut release XMIT, an eight-track album featuring collaborations with Gazelle Twin, Nik Void, Simon Fisher Turner and Astrud Steehouder, is out on 16 April 2021. Tucker's ever-evolving soundworld continues to unfold with this collection of harsh realms centred around processed electronic systems, strings and vocal manipulations. On the new album, MICROCORPS employs altered voices, sound synthesis and atomised beat constructions. In a move away from previous projects XMIT investigates erasing the self, removing obvious traits of the hand and voice, and allowing a focus on the humanoid rather than the human. Instead of recognisable lyrics and coherent imagery, MICROCORPS evolved synthesised voices to generate alternate characters. He expands, "I was investigating how language brings our world into being and how manipulating the actual grain of the voice could open up momentary shifts in perception." Each track is born from a balance between composition and improvisation within set parameters. At each stage audio is heavily processed and then reconfigured. Setting up systems that are non-repeatable, where decisions can be premeditated and intuitive but never the same with each performance, using hardware and instruments outside of the computer to make live stereo takes that have limited room for editing and mixing. "I'd been looking into combining dream music with machine rhythms, but there are so many great examples out there of both music forms, so I started to cut up the drones and really filter the drum patterns to create a hybrid space." The album artwork features manipulated ink drawings by Tucker that originally featured in his recent comic ENTITY REUNION 2. XMIT refers to a time in which information both physical and nonphysical transfers at an alarming rate beyond human comprehension into an age which is at once banal and terrifyingly alien.

Amnesia Scanner announces Tearless, the Berlin-based duo’s second LP. As Amnesia Scanner founders, Ville Haimala and Martti Kalliala watch their icy home country of Finland thaw, the staggering scale of political recalibration and the worldwide climate crisis to come blows open old norms. This album reflects what it feels to experience Earth at a time when collapse is emerging as the prevailing narrative.


The musical scope of the record is expansive, with guest vocalists—the Peruvian artist Lalita and the Brazillian DJ/producer LYZZA—descending into a vast uncanny valley of sound. Tearless follows the 2014 AS Live [][] mixtape, 2015 audio play Angels Rig Hook, two EP’s for Young Turks, and their 2018 debut album, Another Life (PAN).



“There’s a looming sense of radical change,” they note, connecting the present to a fin de siecle horror and curiosity regarding what new world is being ushered in. Someone called Tearless a “breakup album with the planet.” To which Amnesia Scanner responds, on the LP’s closing track: “Youwill be fine, if we can help you lose your mind.”


With the crossfader on Tearless sitting closer to pop than abstraction, so too does the audience for this record widen in scope. Listening through: Opener “AS Enter” sets a sombre tone until the fucking riffs of the second track(the titular, Lalita-helmed “Tearless”) make clear there’s plenty of roaring to come. A feature from metalcore band Code Orange on “AS Flat” follows, along with “AS Trouble” (feat. Oracle, the third, machinic ghost-member of Amnesia Scanner) and together they hit as black-metal-gaze dirges. At the album’s midpoint, Lalita returns for the beautiful, operatic breakdown of “AS Acá” (released as a single in 2019), before “Call of the Center” guides listeners through three club ready tracks—the grain-processed dembow of “AS Too Late” and “AS Going” with LYZZA, and then the ambientheadbanger “AS Labyrinth.” Closing “Tearless” is the sadboy grunge of “AS U Will Be Fine” with a clear statement of intent: doom, despair, insanity, absurdity, it’s all natural, all cathartic, and all OK. Refuse like the ‘90s and party like the ‘20s—if that seems senseless, you are doing it right.

Ital Tek (a.k.a. Alan Myson) returns to Planet Mu with his sixth album ‘Outland‘. The album was written during a period of new beginnings following a move out of the city to a quieter space and the birth of his first child. During this time of self-imposed isolation Alan recorded a huge amount of source material and spent weeks and months sitting up at night with his newborn, listening back and making notes on how the new record should take form, focusing and developing ideas to shape this lean ten-track album.

Alan talks of the record being a collaboration between two parts of himself, something that definitely comes across as the album unfolds. Textures are something Alan excels at and on his last album, the largely beatless ‘Bodied’, it felt as if he was building a new sound-world. On ‘Outland’ he expands upon this. The album brings together the extremes of Alan's sound, contrasting roughened bass and beats with starker more detailed atmospheres and emotions.

The most beat-driven song here is ‘Deadhead’, with its gnarled bouncing bass, angular distorted melodies and cavernous textures. On tracks like ‘Bladed Terrain’ the contrasts are even more defined with buzzing drones and razor sharp drums plunging into a grainy fog, giving the track a dramatic 3D feel.

Then there are the stop-start pauses of ‘Leaving The Grid’, where the song evaporates into space before reemerging with shuddering rhythms and ghostly textures. Melodies crawl around these tracks as if they’re just waking up, as heard on the atmospheric ‘Angel In Ruin’.

The sleep-deprived fraying of the senses became Alan’s routine and one which he says gave him a renewed creative energy; half-asleep, working through the night, and then into the daytime super-focused but exhausted. Prone to audio hallucinations whilst writing the album, he aimed to capture these distortions in his perception of pitch and time, and you can hear these effects interpreted on tracks like ‘Endless’ and ‘Open Heart’ as melodies phase and slip out of time like an emotional Doppler effect.

This is also true of the soaring atonal synths at the peak of ‘Diamond Child’, which feel like the aural equivalent of eye floaters. These intuitive feelings and functions are a difficult thing to capture in sound, but Alan manages it beautifully and always makes the result feel warm and adventurous, heartfelt and epic.

“We seem to be caught! Trapped, somehow…”
Published for the first time on audio, Demon Records presents a narrated full-cast TV soundtrack, starring William Hartnell as the Doctor in one of his most weird and wonderful adventures!
In this vintage 6-part adventure, first shown on BBC TV in February and March 1965, a strange magnetic force pulls the TARDIS down to the craterous surface of Vortis. The Doctor and his friends learn that the planet has been invaded, and the parasitic Animus is slowly enveloping it in a web-like domain. The giant ant-like Zarbi are under its control, whilst the butterfly-like Menoptra are battling to reclaim their planet.
Presented across 3 x heavyweight 180g pieces of pink vinyl, this narrated TV soundtrack evokes a classic Doctor Who adventure in all its aural magnificence. The alien ambience of Vortis, the insistent chirruping of the Zarbi, and the supernatural voice of the Animus are all accompanied by the eerie sonics of Ron Grainer & Delia Derbyshire’s theme tune.
Written by Bill Strutton, this was the Doctor’s most exotic and lavish adventure yet. Linking narration is provided by Maureen O’Brien (Vicki) and the cast includes William Russell as Ian, Jacqueline Hill as Barbara, Martin Jarvis as Hilio and Roslyn de Winter as Vrestin. Accompanying the pink vinyl LPs are full episode billings, cast and credits, and eight illustrated
panels form a superb artwork montage. This is a first-time audio release for this very special
adventure. Dummedy-dum, Dummedy-dum, Dummedy-dum, Dum-dum…

Schmer has tried to stop, we've all gone into therapy, but there's no hope, short of setting the world ablaze: we can't stop smoking! 2019 see's Schmer pressing TECHNO records in the EU and PRICED in Europe as a domestic release. As if the continent didn't already have enough problems, here we come with our latest COMPILATION!

First to drop a match is Amber Shoshona aka Bastet. She is a live electronic music performer and DJ based in Baltimore, MD USA. Her live set is coarse-grained and atmospheric, developing a slow-burning, hypnotic groove. In the studio she creates genre bending electronic experiments. For Schmer she made 'Torn', which sneaks right up to you and lights you up.

Delivering oil to the blaze from deep in the Russian arctic is Maxim Makarenko aka 777minus111. The unknown hero from the Russian Techno label he remains in the shade and keeps it real! He runs underground parties in Moscow and is a member of Vinyl Ambulance project in India. He keeps our compilation 'Getting Dirty Quick' with his Dan Bell inspired MINIMALISM.

On the flip the fires start with Vague Audio Tapes label head Dominic Martin aka Hero/Victim. Hero/Victim is a sonic attempt at translating unanswered and unheard emotions. Visceral and physical; so as to both, engage and purge the evolving dissonance. Never content. With sound as a context-sensitive metaphor, stories are heard. He also makes weird electronic music and then Schmers all over us with a 'New Stress'.

Schmerhead BPMF hides a track from another release in this inferno. Its super short as in it goes on FOREVER with a LOCKED GROOVE at the end. If you're gonna be an emcee, do it in a Wormhole on a LOCKED GROOVE so that the rock will never stop.

Liza Weinstein, Zach Vietze and Jason Szostek were Jack Move. In 1994 they may have made two tracks together, but this is the only one we found lying around in the basement floor. Long before the skinny jean hipsters were rocking beats deliberately designed to confuse the dance floor with their lack of flow, The Jack Movers were experimenting with cryptic funk... It was a Jack Move on their part and they immediately ran out of town to escape retribution, leaving behind their 'Krippy Shit'.

We Can't Stop Smoking so you'll always be able to find us because where there's smoke, there's fire... and where there's TECHNO there's SCHMER!

These last few years Rome based producer Egisto Sopor has been turning heads with a steady stream of most excellent releases. A cdr on Legowelt's Strange Life Records, a tape on 100 % Silk, a double LP on Planet Mu and an evergrowing series of jams that are put on soundcloud or on his youtube channel. All of which offer atmospheric acid tinged techno laced with idiosyncratic touches. He has thus developed quite a cult following among lovers of lo fi electronic music who eagerly await his next grainy video, that feel like lost transmissions from an early nineties MTV broadcast. Polysick doesn't get out much and keeps a low profile which adds to his rather enigmatic standing.
With his new LP 'Daydream', Egisto has created the perfect soundtrack to a midnight trip through darkened cityscapes. Starting out like a confused jam session it slowly takes off and twists into uncanny shapes conjuring up images of a futuristic nightlife that plays out under neon lights, with a feeling of dread constantly lurking in the shadows. This is techno that tells a tale; a storyboard that comes pushing through in muffled flashes. A chase scene through deserted back alleys, executed while hunter and prey are both in a half-awake state, stuck in an infinite loop. And when the ambient synth twirls unravel and a 4/4 pulse kicks in and tears through the dreamy state of conciousness, it never signals a reassuring release of tension. You might dance to it, but not without anxiously looking over your shoulder.