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When NYC-based experimental dance punks Guerilla Toss, active since 2011, were in Vermont recording their new full-length album You're Weird Now, frontwoman Kassie Carlson would prepare what she called 'punk lunch': a communal meal made by raiding the studio fridge for whatever was left and assembling a sandwich from the most random ingredients imaginable. Regularly joining punk lunch were two legends from their own corners of the weird music world: Stephen Malkmus (Pavement, The Jicks) and Trey Anastasio, Phish guitarist and owner of The Barn; the recording studio where Guerilla Toss were making You're Weird Now, with Malkmus in the producer's seat. Engineer Bryce Goggin, who has worked with Malkmus since Crooked Rain, Crooked Rain, and Ben Collette, Phish's longtime engineer at The Barn, were also part of the crew. While the idea of the guy from Phish and the guy from Pavement sitting around with Guerilla Toss, congenially assembling sandwiches from random foodstuffs dug up from the depths of a studio fridge, might seem absurd, it also makes total sense. Because really, if there's any band that serves as the natural bridge between slacker punks who saw Pavement way before you did, wild-eyed wooks who've seen Phish more times than you ever will, and even the eccentrics in '90s drip following former GT tourmates Primus-it's Guerilla Toss. A band so imaginative and unapologetically themselves, they're basically the real-life manifestation of a utopian, post-snob world where all musical ideas are worthy of expression and everyone is welcome. You're Weird Now powers this message. Guerilla Toss' fifth album and second for Sub Pop is a hugely creative and joyful statement about the joy of creativity. With You're Weird Now Guerilla Toss reclaim the word "weird" for everyone brave enough to let their freak flag fly and stay true to their artistic vision no matter what-a way riskier act than it's ever given credit for, and one that requires a certain amount of serene self-confidence that it takes time and effort to cultivate and sustain. And they do so with the enthusiastic support of their musical predecessors: a standout moment arrives with "Red Flag to Angry Bull," which builds to a campfire sing-along-worthy outro featuring Malkmus and Carlson duetting over a chatty, classically Phish-y (there's really no better word for it) solo from Anastasio. The band hopes the message of You're Weird Now will resonate not only with music heads but anyone who struggles with feeling weird in a world where it will always be hard to be different. At the end of the day, it's all about the spirit of punk lunch: there's room for everyone because music is for everyone. "Everyone loves and appreciates music," says Carlson. "If you don't like music, you're kind of an asshole." That's not weird-that's just true.

The Sub Pop debut by ever-evolving art-punk band Guerilla Toss, who have done prior releases with DFA, Tzadik, NNA Tapes and Feeding Tube Records. This album follows a 2020 Sub Pop Singles Club release.

Past releases have received great reviews, including acclaim from The Needledrop, Stereogum (Best EPs Of 2019) and more.

Dig deep enough inside yourself - start treating your body as your sanctuary rather than your enemy - and eventually you’ll find yourself blooming right back out into the sun. That’s the transformation Guerilla Toss trace on their newest album ‘Famously Alive’, their effervescent Sub Pop debut. After a decade sprinkling glitter into grit, building a reputation as one of the most ferociously creative art-rock groups working, the upstate New York band have eased fully into their light. This is Guerilla Toss at their most luminescent - awake, alive and extending an open invitation to anyone who wants to soak it all up beside them.

Singer and lyricist Kassie Carlson, multi-instrumentalist Peter Negroponte and guitarist Arian Shafiee wrote ‘Famously Alive’ at home in the Catskills during the pervading quiet of the pandemic year. The uncertainty of COVID-19 lockdowns and the total disruption of routine forced Carlson to negotiate with herself in new and challenging ways. “You have to be with yourself all the time during the pandemic,” she says. “I had to figure out a way to manage my anxiety. The pandemic was hard, but it helped me get comfortable inside my own body. My peace of mind came out of being thrust into the deepest shit. This album is all about being happy, being alive, and strength. It’s meant to inspire people.”

‘Famously Alive’ finds Guerilla Toss coming into the fullness of their power, celebrating their prismatic idiosyncrasies from a place of optimism and abundance. It is a joyous album, equal parts bizarre, accessible and fun.

The Sub Pop debut by ever-evolving art-punk band Guerilla Toss, who have done prior releases with DFA, Tzadik, NNA Tapes and Feeding Tube Records. This album follows a 2020 Sub Pop Singles Club release.

Past releases have received great reviews, including acclaim from The Needledrop, Stereogum (Best EPs Of 2019) and more.

Dig deep enough inside yourself - start treating your body as your sanctuary rather than your enemy - and eventually you’ll find yourself blooming right back out into the sun. That’s the transformation Guerilla Toss trace on their newest album ‘Famously Alive’, their effervescent Sub Pop debut. After a decade sprinkling glitter into grit, building a reputation as one of the most ferociously creative art-rock groups working, the upstate New York band have eased fully into their light. This is Guerilla Toss at their most luminescent - awake, alive and extending an open invitation to anyone who wants to soak it all up beside them.

Singer and lyricist Kassie Carlson, multi-instrumentalist Peter Negroponte and guitarist Arian Shafiee wrote ‘Famously Alive’ at home in the Catskills during the pervading quiet of the pandemic year. The uncertainty of COVID-19 lockdowns and the total disruption of routine forced Carlson to negotiate with herself in new and challenging ways. “You have to be with yourself all the time during the pandemic,” she says. “I had to figure out a way to manage my anxiety. The pandemic was hard, but it helped me get comfortable inside my own body. My peace of mind came out of being thrust into the deepest shit. This album is all about being happy, being alive, and strength. It’s meant to inspire people.”

‘Famously Alive’ finds Guerilla Toss coming into the fullness of their power, celebrating their prismatic idiosyncrasies from a place of optimism and abundance. It is a joyous album, equal parts bizarre, accessible and fun.

Compilation of work from the group, spanning 1986 to 1991.. Dub infused experimental tunes here!

Politico dub-collage practitioners Guerilla Welfare came from Edmonton, Alberta, coincidentally the birthplace of prophetic media sage Marshall McLuhan. Armed with vanguard ideas taken from Steve Reich, Fela Kuti, Robert Fripp and Material, the duo of Curtis Ruptash and Brian Schultze adopted the 'studio as instrument' mindset of Eno and King Tubby creating complex textural and polyrhythmic sonic insurgencies. They overdubbed drum computers, guitar, bass, noise-makers, mallet percussion, sitars, often accompanied by sampled vocals and found sound taken from TV. Their pan-global, multi-media palette supported zeitgeist commentary — often, with a healthy dose of gallows humour — on gender, power structures, and sexual and geopolitical tensions in the late 80s. Their DIY bunker studio experimentations align them with genre defying dub-infused outfits like African Head Charge, Dome, Lifetones, Naffi, Woo, Negativland and The Residents. The Nature of Human Nature captures Guerilla Welfare's most formidable output, compiling tracks selected from their entire discography (two LPs and a cassette collaboration with poet Mary Howes), all originally self-released from 1986 to 1991. Remastered from the original tapes.

bill youngman & neil landstrumm aka "the destroyaz"

Premier release of the Never before released iconic, cult & paramount original holy grail soundtrack recording for the action packed partisansploitation movies and TV series - Otpisani and Povratak otpisanih (The written offs & The return of the written offs). This music composed by Milivoje Markovic and recorded in 1972 & 1976 represents the epitome for original Jazz Funk music recorded in ex-Yugoslavia. The series had people glued to their television screens awaiting for their own ‘Inglorious basterds’, the Belgrade guerilla group, to appear gunning down nazis by the hundreds - backed by an original deep funk soundtrack.

In den letzten zehn Jahren haben sich Portrayal of Guilt als feste Größe in der extremen Underground-Musikszene etabliert. Mit unerbittlich konsequenten Veröffentlichungen wie dem orchestralen Albtraum ,Devil Music" aus dem Jahr 2023 und ganzjährigen Welttourneen mit Bands wie Deafheaven, Uniform und Pg. 99 haben POG zweifellos ihren eigenen Weg eingeschlagen. Seit ihrer Gründung lassen sie sich nicht in eine bestimmte Kategorie stecken. Das Trio mischt Elemente aus Black, Death und Nu Metal mit Crust, Screamo, Powerviolence und Hardcore, wobei ,The Beginning of The End" die Genregrenzen weiter verwischt. Die Band hebt die verstörende Disharmonie in den Album-Highlights ,Ecstasy" und ,Human Terror" auf die nächste Stufe, mit KoRn-ähnlichen Gitarrendissonanzen, gnadenlosen Death-Metal-Tiefen und eindringlichen gesprochenen Passagen, die selbstbewusst die Grenze zwischen ,Life is Peachy" und ,Scum" überschreiten.

In den letzten zehn Jahren haben sich Portrayal of Guilt als feste Größe in der extremen Underground-Musikszene etabliert. Mit unerbittlich konsequenten Veröffentlichungen wie dem orchestralen Albtraum ,Devil Music" aus dem Jahr 2023 und ganzjährigen Welttourneen mit Bands wie Deafheaven, Uniform und Pg. 99 haben POG zweifellos ihren eigenen Weg eingeschlagen. Seit ihrer Gründung lassen sie sich nicht in eine bestimmte Kategorie stecken. Das Trio mischt Elemente aus Black, Death und Nu Metal mit Crust, Screamo, Powerviolence und Hardcore, wobei ,The Beginning of The End" die Genregrenzen weiter verwischt. Die Band hebt die verstörende Disharmonie in den Album-Highlights ,Ecstasy" und ,Human Terror" auf die nächste Stufe, mit KoRn-ähnlichen Gitarrendissonanzen, gnadenlosen Death-Metal-Tiefen und eindringlichen gesprochenen Passagen, die selbstbewusst die Grenze zwischen ,Life is Peachy" und ,Scum" überschreiten.

Over the last decade, Portrayal of Guilt have solidified themselves as a pillar in the extreme underground music scene. With relentlessly consistent releases like 2023’s orchestral nightmare Devil Music, and year-round world touring with the likes of Deafheaven, Uniform and Pg. 99, POG have unquestionably carved their own path.
Defying accurate categorization since formation, the three piece blends elements of black, death and nu metal with crust, screamo, powerviolence and hardcore, with the bands forthcoming LP …The Beginning of The End” continuing to further obscure genre lines. The band takes the unhinged discordance to the next level on album standouts “Ecstasy” and “Human Terror”, with KoRn-like guitar dissonance, punishing death metal lows, and haunting spoken passages confidently riding the line between Life is Peachy and Scum.

VHF debut and second widely-available LP by Liam, part of a new generation of underground “American primitive” guitar players serving the traditions and smashing them up simultaneously. Prodigal Son is a portrait of an artist on the road, changing fast, recording things as they spring from the fountain. The sound here is raw – grass and dirt instead of pre-fab; homemade/handmade instead of high-tech, etc. There’s a visceral quality and immediacy of culture that’s being lost every day in modern life – Prodigal Son is a chance to grab some of it back. “Palmyra” has Liam on weissenborn-style lap steel, the sound fuzzed out and distorted by the guerilla recording technique. “Salmon Tails Up The River” stretches out to nearly 13 minutes, a dense meditation on 12 string that sustains a dark and heavy mood for the entire duration. On the B side, “Insult to Injury” reverses the mood, with an elegant and unhurried 12 string sequel of deep beauty. Liam’s unexpected take on Loren Conners’ “A Moment at the Door” is a perfect translation of Loren’s reverb-heavy electric drift to unadorned acoustic (and tape hiss) – a frozen moment of absolute grace. Wrapping things up is a take on “Old Country Rock,” with fiddle and banjo, just a brief taste of the barnstorming old-time sound of Liam’s touring trio.

After the success of our first release, UR2wo’s Move Me (including Blame’s legendary Shadow Mix on vinyl) and continued support from big names in clubs and socials, Break-The-Future returns with a new signing: Nathan Cable. A veteran of progressive house, Nathan gained recognition as part of Tenth Chapter, with tracks like Wired on William Orbit’s Guerilla Records in the 90s, supported by DJs like Sasha, Pete Tong, and Dave Seaman. Now back under his own name, Nathan offers a modern blend of intelligent breaks, with a rich, emotional sound that fits alongside Ninja Tune's style. His new tracks are already getting support from John Digweed on Transitions Radio Show.

The release kicks off with Nathan's Innocence featuring the All Tribes Mix, which blends lush pads, whispering arps, and gated vocals. Nathan’s Gyroscope Mix follows with a deeper take, built on rubber bass and rich keys.

For the remixes, we bring Northern Ireland's Richie Blacker, who ramps up the BPMs for the club with a spacey, synth-driven journey.

Last but not least, we have legendary rave innovator Nookie, who offers two remixes: the nostalgic Speed Remix, channeling 90s rave, and the darker Not So Innocent Remix, reminiscent of London’s Rage. Essential!

repress !

Paranoid London, the electronic band of Gerardo Delgado and Quinn Whalley, has become synonymous with stripping acid house back down to its basics, rescuing the sound from smiley faces, rave, and sugary excess while paying respects to its gay, black, American roots. Performing mainly live with hardware only, often with vocal guests, as well as unique hybrid DJ sets, the duo has established a tongue in cheek, grumpy punk sound and attitude without taking it too seriously.

Following 2019’s latest album PL and a bunch of 12” singles and edits, their new long-player Arseholes, Liars, and Electronic Pioneers refers to the cavalcade of c***s we find ourselves surrounded by. Our only respite being the joy that musical geniuses bring. The cover artwork and gatefold of the vinyl reflect this with a collage-like poster including personalities of all kinds, from politicians and royalty to music legends. When we asked them to highlight key music pioneers from their picks, they mentioned American electro don Aldo Marin, British producer Andrea Parker and Post Punk band WIRE.

Inspired by early ‘90s British prog house on the likes of Sabres Of Paradise Records and Guerilla Records, the album presents a step up on their production while the anarchic attitude remains unaltered, unadulterated and undiluted.

In Quinn’s words: the album has a slightly more Hi-Fi sound than previous efforts, but retains the urgency and punk rock attitude that we're known for. It was tested over the summer, where it lit up festival stages at Glastonbury, Houghton, Love International, and many, many others.

As expected, PL has recruited a bunch of special guests on vocals including Primal Scream’s Bobby Gillespie, US house veteran Monica “DJ Genesis” Lockett, the novo-New Romantic/gothic, Jennifer Touch, and Joe Love, from Fat Dog, Brixton’s current ones-to-watch. As well, previous collaborators Josh Caffe and Mutado Pintado return for new recordings. All bring something unique to the party, while integrating perfectly with PL’s Fuck you! circuitry.

Spotlight Records is proud to announce the release of the original soundtrack for Bruce LaBruce’s new film, The Visitor. Composed by the acclaimed UK-based DJ and producer Hannah Holland, the soundtrack presents an eclectic mix of cerebral soundscapes and pulsating dance floor anthems, a defiantly bold score for a truly provocative narrative. The deluxe limited edition double vinyl package comes with a guerilla sticker sheet.

The Visitor sees the legendary filmmaker and photographer continue his decades-long creative journey with a transgressive reimagining of Pier Paolo Pasolini’s 1968 classic Teorema, set against the dystopian backdrop of a paranoid, xenophobic post-Brexit London. Washed ashore from the sea in a suitcase, a mysterious refugee disrupts the lives of a privileged white family, leading them through a series of explicit and transformative encounters. The film, which features performance artist Bishop Black amid a series of explicit, hardcore sex scenes, premiered at the 2024 Berlinale Film Festival.

With reverence and reference to Ennio Morricone’s iconic score for Teorema, Hannah Holland has crafted a soundtrack that both honors the original and brings a contemporary twist. The album features collaborations with a stellar lineup of artists from both the queer and electronic music underground, including Ghost Culture, Jonjo Jury, Josh Caffé, Joy Joseph, ROY INC, and Ziah Ziah.

June 11, 2024 — Today, techno titan Charlotte de Witte announces her latest electrifying single, “How You Move”. The dynamic production is the second revelation from her highly-anticipated “Roar” EP, set to be released on vinyl June 20th. In sync with her latest offering, de Witte will captivate New York City once again with a monumental takeover inclusive of an Extra Butter Merchandise pop-up and a massive KNTXT show at Brooklyn Storehouse, marking a significant moment as one of the first headliners to conquer the new venue.

“How You Move” is a testament to de Witte’s signature style of pushing boundaries and encapsulating the raw essence of the techno genre. The release boasts a fusion of pulsating acid and a mesmerizing energy that promises to resonate deeply with listeners, mirroring the intense, adrenaline-fueled experiences of her live performances.

From Charlotte de Witte:
"This has been such a fun track to make. It's a high energy track containing all of the ingredients that I love the most: straightforward, engaging vocals and a powerful acid line. Show me how you move, how you get down!"

It’s a sonic exploration of motion and intensity, syncing with the heartbeat of the city that never sleeps. Coinciding with the release, de Witte’s forthcoming KNTXT takeover at the Brooklyn Storehouse is poised to be a highlight of the summer, aligning with the visceral energy of the “Roar” EP. Situated in the heart of the Brooklyn Navy Yard, The Brooklyn Storehouse is the first US-based venture from Broadrick Live – Drumsheds, and former Printworks operator – brought to fruition in partnership with Teksupport. The venue has been designed to host up to 6,000 attendees, setting the stage for an unforgettable experience.

Following her takeover last year that electrified New York City, de Witte returns to the city that never sleeps with an even bigger spectacle. Last May, de Witte kicked off an electrifying campaign and tour for her “Overdrive” EP which featured a pop-up store at Extra Butter, two sold out shows at Brooklyn Mirage and a guerilla-style surprise performance that closed down Orchard Street in NYC. This June, de Witte will deliver a high-octane immersion for New Yorkers once again with her second consecutive KNTXT pop-up shop at Extra Butter. Opening on Friday, June 21, the KNTXT pop-up at Extra Butter Lower East Side will offer exclusive merchandise, limited-run apparel and unexpected live music experiences at every turn, uniting loyal fans and new audiences alike.

Originally released in 2018 on Undisputed Records, "The One Love Family" is Skarra Mucci's 7th studio album. For this featuring album where one or more guests appear on each track, the artist invited a cast of choice with guests from various backgrounds such as the heavyweights of French Reggae from Dub Inc or the Jamaican stars of yesterday and today such as Ken Boothe, King Kong or Chezidek… This album is a hymn to sharing in which we find the many facets of the Dancehall President.

Sebastian Heda's new EP is a auditory glimpse into the insides of the haywired central nervous system of a man machine. The opener DISSOLUTION takes no prisoners and sets the direction for this exploration in modular-made attacks from a dystopian future. Followed by no less than two great remixes by ARCHITEKTUR and CAREMAJOR. The next and eponymous track CV GUERILLA is at arms and aims at you with relentless, percussive drum fire and another well executed version by ENDLEC. Finally you get short bursts of radio traffic from a RANDOM SOURCE, leaving nothing but silence and a big grin on your face.

Gargantuan is the debut studio album by U.K. electronic duo Spooky (Charlie May and Duncan Forbes), released by William Orbit's Guerilla Records in March 1993.

Today Gargantuan is regarded as a landmark album in the history of progressive house and British dance music. As Guerilla’s standard bearer, they helped coalesce an immersive sound that was neither Detroit, nor Chicago, nor Manchester.

The duo became renowned for being at the forefront of the progressive house scene that emerged in the aftermath of the "post-rave comedown", joining fellow acts like Orbital and Underworld in re-casting house music in an energetic live environment.

Gargantuan has been out of print on vinyl since 2006 and is re-released on 21st June.