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Pitchfork - 8.1 - “explosive and action-packed”

NME - 4/5 - “Sigur Rós are at their blackest and most sinister, sounding not so much reborn as in the ferocious throes of an almighty exorcism.”

Line of Best Fit - 9/10 - “Neither the drums, guitars or synths are ever understated, lo-fi or polite – throughout, they’re devastating, taking control of the band’s poppier sensibilities and lighting vicious fires beneath them.”

Kveikur is the seventh album by Sigur Rós, originally released on XL Recordings in June 2013. Completely out of print worldwide, the album will now be re-released on the band’s own label, Krunk.

Described by the band as “more aggressive” than any of their previous work, Kveikur – which means ‘fuse’ or ‘candle wick’ in the band’s native Icelandic – is heavier, both thematically and sonically. All of the lyrics are sung in Icelandic rather than the wordless “Vonlenska” (Hopelandic) as on ( ), providing a more grounded experience.

From small beginnings in 1974 as a local cinema and university event, Film Fest Gent has grown yearly in stature and is now recognised as one of the major destinations for the film industry. A vital component is the celebration of film music in the shape of the World Soundtrack Awards which honours the very best composers at work in the world of cinema. In 2016 the award went to one of the most brilliant composers of his generation, Ryuichi Sakamoto. This is the first overview of his remarkable catalogue of film scores, fully approved by the composer and performed by the masterful Brussels Philharmonic under the baton of Dirk Brossé. Sakamoto was already a celebrated pioneer in electronic music and composer/pianist/singer in Japan when director Nagisa Oshima asked him to write the score for Merry Christmas Mr. Lawrence in 1983 and also to star alongside David Bowie. In a 30 year plus career since then he has worked with the cream of film directors including Bernardo Bertolucci (The Last Emperor), Brian De Palma (Snake Eyes), Pedro Almodovar (High Heels) and most recently Alejandro Gonzalez Inarritu (The Revenant). This compilation is a fitting tribute to his status as one of the greatest living musicians and film composers.

"I imagine myself playing these songs in a small club that is slowly burning," says A. Savage of his second solo record, Several Songs about Fire. After more than a decade in New York, the co-frontman of Parquet Courts has left the city, marking his exit with a masterpiece of maturity and a worthy corollary to his first solo venture, 2017"s Thawing Dawn. "Fire is something you have to escape from. This album is a burning building, and these songs are things I"d leave behind to save myself." Produced by John Parish on a 1" 16-track in just ten days in Bristol and studded by the support of Cate Le Bon and Jack Cooper (Modern Nature, Ultimate Painting) as well as saxophonist Euan Hinshelwood (Cate Le Bon), drummer Dylan Hadley (Kamikaze Palm Tree, White Fence), and violinist Magdalena McLean (Caroline), Savage"s outsize gifts as a lyricist and observer - a quality Parish calls "an emotional openness guarded by a laconic wit" - shine. Worrying questions of wealth and poverty, self and other, Savage displays the poet"s gift of knowing when to narrate and when to vanish, leaving the listener to their own emotional privacy rather than instructing them how to feel. The end result is tantamount to psychic odyssey, with "Elvis in the Army" placing us in a subterranean venue where the livid, ratifying cymbal raises the room"s blood pressure and "Mountain Time", evoking an austere waltz playing in a desolate house, returning those listening to life. Influenced by Sybille Baier and Townes Van Zandt, Savage joins a canon of songwriters constantly dilating aperture and perspective. In rendering the signage of laundromats and threats of debt collectors as glistering and totemic as the scope of mountains, rivers, seas, and skies, Savage finds hopes and curses in equal measure.

Acclaimed NY-based singer songwriter Jordan Lee aka Mutual
Benefit announces ‘Growing At The Edges’, on Transgressive
Records, his first record since 2019.
 ‘Growing at the Edges’ is sonically expansive, artfully blending
genres from country to classical with the help of multifaceted
co-producer Gabriel Birnbaum (Wilder Maker) and critically
acclaimed string arranger Concetta Abbate. The band,
alongside Lee and Birnbaum, was made up of Wilder Maker
members Sean Mullins (Andy Shauf) and Nick Jost (Baroness)
and features help from Jonnie Baker of Florist and Eva
Goodman of Nighttime among others.
 “I approached ‘Growing at the Edges’ as an act of worldbuilding. It was a place we visited often over the past 5 years
collaging and sonically redecorating until it reflected the joy and
the pain of being human in a universe that will always be
changing. I wanted to make music that could simultaneously
mourn versions of the past but still find hope in the seedlings
which could, perhaps, bloom into better futures” - Jordan Lee
 The album cover is a purposefully ‘unfinished’ weaving by fibre
artist Natalie Phillips.
 “I had this theme for ‘Growing at the Edges’ where I was
thinking about the first little life forms that pop up after
something natural like winter or less natural like a disaster and
kind of channeling their spirit for the art and music. That got me
imagining one of Natalie’s beautiful weavings but in-process
with stray yarn and loom still visible. Incomplete yet still
beautiful. I couldn’t be happier with how it turned out.”
 Mutual Benefit’s live shows are known for their rotating cast of
wide-ranging musicians leading to inspired interpretations of the
extensive catalogue on notable stages like MoMA’s sculpture
garden or UK’s Green Man Festival as well as the occasional
surprise park or basement show at home in Brooklyn.
 Throughout the years Mutual Benefit has been in Album Of The
Year lists among Pitchfork and Stereogum, as well as Folk
Musician Of The Year by New York’s Village Voice.

"I imagine myself playing these songs in a small club that is slowly burning," says A. Savage of his second solo record, Several Songs about Fire. After more than a decade in New York, the co-frontman of Parquet Courts has left the city, marking his exit with a masterpiece of maturity and a worthy corollary to his first solo venture, 2017"s Thawing Dawn. "Fire is something you have to escape from. This album is a burning building, and these songs are things I"d leave behind to save myself." Produced by John Parish on a 1" 16-track in just ten days in Bristol and studded by the support of Cate Le Bon and Jack Cooper (Modern Nature, Ultimate Painting) as well as saxophonist Euan Hinshelwood (Cate Le Bon), drummer Dylan Hadley (Kamikaze Palm Tree, White Fence), and violinist Magdalena McLean (Caroline), Savage"s outsize gifts as a lyricist and observer - a quality Parish calls "an emotional openness guarded by a laconic wit" - shine. Worrying questions of wealth and poverty, self and other, Savage displays the poet"s gift of knowing when to narrate and when to vanish, leaving the listener to their own emotional privacy rather than instructing them how to feel. The end result is tantamount to psychic odyssey, with "Elvis in the Army" placing us in a subterranean venue where the livid, ratifying cymbal raises the room"s blood pressure and "Mountain Time", evoking an austere waltz playing in a desolate house, returning those listening to life. Influenced by Sybille Baier and Townes Van Zandt, Savage joins a canon of songwriters constantly dilating aperture and perspective. In rendering the signage of laundromats and threats of debt collectors as glistering and totemic as the scope of mountains, rivers, seas, and skies, Savage finds hopes and curses in equal measure.

20 albums and 25 years into her recording career and only now does Thea Gilmore feel enough of herself to make the self-titled album that renews her vows to music - her first love. The album is released on 6th October. The album was entirely written, played and produced by Thea. Thea Gilmore is absolutely the record she wanted to make. In many ways the record she had to make. Sustained by the very public dissection of her personal life laid bare on her last full-length release, the stunningly intimate Afterlight, Thea's hard-earned reputation as one of the most distinctive, strident and bold singer songwriters of her generation propels her to reach for new ground and this new release feels like a great leap forward into tomorrow. "That's why this is my first self-titled album," she explains. "On my last album I changed by name to Afterlight and drew a line under everything I'd done up to that point. Not to invalidate it, but to put an end to the 'before'. It was a very inward-looking record that was rooted in the darkness of everything that happened to me up to 2019, whereas this album has its head up and is eyeing the world as a challenge. It's a logical forward motion - the emergence from the shadows of Afterlight into the relative lightness of Thea Gilmore - in a renewal of my vows to music; my first love. In a weird way it feels like a debut of sorts so it made sense to make it eponymous." Across 12 tracks Thea delves into the cracks between the paving slabs of life's big themes. She's exploring the understanding that comes with experience, choosing her battles and finding out who she is now. The stunning 'She Speak In Colours' is a song for love and loss written as part of BBC Radio 2's critically lauded 21st Century Folk project; while 'The Next Time You Win' with its simple piano figures and its collage of spoken and sung lines seems to both accept the way the world works while reaffirming the pledge to stand on the frontline of change. Thea is also excited to bring the album to the stage. She will play London’s Union Chapel on 12th October and then an 11-date tour around the UK in early 2024. Full dates below. Thea Gilmore has made 20 albums since the release of her first, Burning Dorothy, in 1998. The veteran of hundreds of festivals, she has sold out shows across the globe.

FKOFv004 is the third physical release from FKOF Records in 2020, following WZ’s FKOFv003 in January and the 2x 12” FKOF10 album celebrating 10 Years of FatKidOnFire earlier this summer. We open with the heavyweight Chad Dubz and Biome collab – ‘455’ – that’s been inspiring gunfingers and screwfaces around the world since being teased online a few months ago. It’s everything you’d hope the combination of two of 140bpm’s finest talents would create: incredible synths, crushing percussive power and atmospherics for days. Pure weight.

Mind Against launch their eagerly awaited imprint Habitat with a 15-track compilation titled “METAFLORA”, available as a deluxe transparent vinyl 3LP box set including a 24x12” fold-out poster.

Suitably, the compilation features new and emerging artists with whom Mind against have relationships, and recurrent motifs of subtly unsettling melodic house/techno building alternate worlds in soundscapes.

Mind Against & Sideral – ‘Criseide’ heralds this new world with portentous pounding beat/bass, the melodic synth singing beneath like beauty surviving under threat, the vocal/lyrics with an edge of alarm: ‘if you think it couldn’t happen to you…’

‘Talk To Me’ by Dyzen (who also collab’ed with Mind Against on their fabric presents compilation) has stately chords riding a prancing beat while sombre piano and sweet high vocal create a heraldic, post-apocalyptic nu-medieval world, whereas Sam Shure’s ‘Plus Ultra’ has rattling percussion, with melody like a coded message from an abandoned spaceship to which something replies in stark tones…

Marino Canal, whose debut album was released by Nicole Moudaber’s MOOD, and who has support from many big names including fabric’s founder Keith Reilly, features plangent notes veering up, down and off the scale for a disturbing effect in ‘Ample’, while Swiss duo Read The News in ‘A Place’ set a fast, kicking beat against a female voice yearning for ‘a space where I can just be’.

Remcord, often played by Black Coffee, Tale of Us and more besides MA, show us why in ‘Entourage Effect’ while Laroz gives a lively melody and raucous chords in ‘Don’t Touch’ feat. Sheera as her cool, raunchy, layered vocals come to the fore.

"Every Mile" was recorded during a particularly tumultuous time in the life of the band, and of the band members - There were record deals won and lost, tours that were equal parts triumph and tragedy, and relationships that bit the dust
And, yet, we remained hopeful, we remained friends, and we remained committed to the songs you find here. Jon Nolan once called this record "pain with a hope chaser," which about sums it up. In a quintessential Say ZuZu moment, we recorded "Every Mile" in Memphis because we broke down there mid- tour and
tried to make the best of it. We had more songs than would fit on this record, so we curated 12 songs that belonged together, and we intended to record the others on a follow- up record that never happened. Some of those tracks found their way onto Jon and Cliff's solo records, and some have yet to see the light of
day. Either way, "Every Mile" emerged from a remarkably fruitful chapter in the band's songwriting history, and their treatment here is seasoned with the grit of
our lives at that time.

If the name of this collection of traxxx offends you, move on — there’s no hope for you here. If, on the other hand, Toribio’s salacious fun-pun cracked your cool exterior, here’s an introduction to a set of bangers that helps exemplify New York’s increasingly exuberant dancefloor, and what producer/DJ Cesar Toribio brings to it. His is a ribald, rhythmic take on dance music, neither for the weak of musical character (purists need not apply) nor for the weak of ass (-shaking). In fact, the proof is right there, in Toribio’s label’s and monthly party’s name: Bring Dat Ass. This command is not optional, but *the* key ingredient for a good time.

The five songs Toribio has created for “Tongue In Cheeks,” BDA’s first release, comprise a horny melting pot of tribal house and Linn-drum plug-ins, minimalist synth textures and basslines, hi-hats reminiscent of electro and freestyle classics, some of which are infused with New York’s Latin club history and futures. The lead-off track, “No Pare,” is based on the producer’s 808-driven reinvention of the call-and-response hook from Proyecto Uno’s 1993 merengue-house smash “El Tiburón,” marking the first time the group has ever cleared a sample of this Nuyodominican classic. We predict that “No Pare” will be a Fall 2023 monster.

Guest vocal appearances by The Illustrious Blacks and Maluca, cornerstones of different dance-floor scenes in a city currently hitting peak-energy levels, show the breadth of Toribio’s regard for community: There is a lot of crossover to how the punky Dominicana MC from Washington Heights chooses to slang-tastically “Werk It Out,” and how the Neo-Afro-Futuristic-Psychedelic-Surrealistic-Hippys Monstah Black and Manchildblack infuse a dollop of booty into “Work Dat Shit.” And the two different metallic beats point at seemingly separate parts of Toribio’s musical heritage uniting. There’s no formula, but if there was, it would be: Make it sexy. Make it (consensually) grindy. Make it funny to the point of ridiculous but so funky that the laughter becomes more fuel to the joyous momentum propelling the movement. Then make it home — or try to.

Cesar Toribio’s home is, originally Tampa — and the DR, where he’d spend summers with family. He was a drum-corps prodigy who went to Berklee to become a jazz drummer and be like Gil Evans. He idolized Miles’ orchestral arranger’s work as much as Dilla’s beats, but then discovered house music, so it was a wrap. The 2021 band album Toribio made under the name Conclave — which included his sister Sharin and musicians from such great projects as Standing On the Corner, No Regular Play and Irreversible Entanglements — unearthed the work of a singer-songwriter-arranger-producer of immeasurably nuanced, soulful jazz-house music. But when Toribio started DJing more and more, he decided to listen to the devil on his shoulder who told him to Bring Dat Ass. As Cesar damn-well knows, it’s the devil who has the better jokes and holds the better parties, so his ears perked up. “Tongue in Cheeks” is the music Toribio says he made to play at these parties, because he can’t find it anywhere else. It’s hard to disagree.

Another Michael, the captivating and introspective musical artist, is poised to make a profound impact with their highly anticipated upcoming record, “Wishes to Fulfill.” Comprised of Michael Doherty (vocals, guitar), Nick Sebastiano (bass), and Alenni Davis (drums), the band has honed their craft and expanded their sonic horizons, promising a musical journey that will resonate deeply with listeners.

With “Wishes to Fulfill,” Another Michael continues to delve into the depths of human experience, exploring themes of longing, hope, and the pursuit of dreams. The album showcases their signature heartfelt songwriting, as well as their ability to craft intricate melodies and lush arrangements. Michael Doherty’s evocative vocals guide listeners through a tapestry of emotions, inviting introspection and connection on a profound level.

Anticipation for “Wishes to Fulfill” has been steadily building, with fans eagerly awaiting the band’s next chapter. Another Michael’s previous releases have garnered critical acclaimand a devoted following, and their latest record promises to be a culmination of their artistic growth and exploration. With its thoughtful lyrics, mesmerizing instrumentation, and captivating performances, “Wishes to Fulfill” is set to solidify Another Michael’s position as one of the most exciting and introspective acts in contemporary indie music.

Rudi Zygadlo returns with his third album ‘Doggerland’, his first in ten years and most expressive yet. A bubble of hope in a sea of doom, saluting the oncoming tides with big hooks and a wry sense of humour.

The American rock/metal band Alter Bridge released their third album AB III in 2009. It was a new venture in which they combined progressive metal and hard rock. The album received acclaim from many music critics. Rob Laing from MusicRadar called it “one of the guitar albums of the year” and Rick Florino from Artistdirect gave the record a perfect 5 out of 5 score and said “it’s a sprawling masterpiece that illuminates just how brilliant this band truly is". "Isolation", the band’s most successful single to date, is one of the many highlights the band recorded for this album. It doesn’t matter if you like to call it a metal or a hard rock album, because it’s the music that speaks for itself.

Alter Bridge was formed by Creed bandmembers Mark Tremonti, Scott Phillips and Brian Marshall. They recruited vocalist Myles Kennedy, and have since released five albums, all of which charted in both the UK as well as the US charts.

'Dreamer Awake' is the fifth album from Rachel Sermanni, her first for
Navigator Records (Katherine Priddy, Kitty Macfarlane, Sam Kelly & The
Lost Boys, Bellowhead)
Hailing from the Scottish highlands, Sermanni is an enchanting singer-songwriter,
whose performance and lyrics draw from a deep well of mysticism, dreams,
nature and the simple-complex experience of being human; a contemporary folk
musician influenced by a wealth of genres including jazz, rock, old- time and
traditional.
'Dreamer Awake,' was recorded at Middle Farm Studios, Devon with co-producer,
Peter Miles. Recording live to tape with people that, "most of the time, are jazz
improvisers," the sessions were conducted with an almost Lynchian approach,
with Sermanni choosing "to flow through the experience like a dream". The result
is an album that captures the intimacy of the room, and the immediacy of these
songs that transform thought, memory and emotion into such wondrous light.
Channelling the metamorphic experience of becoming a mother, and processing
the demise of a long-term relationship, Sermanni dove deep into her psyche and
returned with songs that have a sharpness, an acuity of feeling, and that capture
the fluidity of our mind and the depth of our emotional experience.
Rightly described by critics as a "Folk noir gem" (MOJO), "Stately, poetic" (CLASH)
and "Folk of the Highest Order" (Time Out), Rachel Sermanni has been making
music for over a decade and has developed her artistic voice over her many
releases, each time pushing boundaries and experimenting with different musical
textures while maintaining the raw emotional connection, to herself and others,
that defines her music.
Rachel Sermanni has toured the globe, played alongside artists such as Mumford
& Sons, Fink, Ron Sexsmith, John Grant, The Staves, Karine Polwart, The Maes
and many more at venues and festivals all over, most recently playing with Charlie
Cunningham. She also runs a songwriting workshop called Cultivating A Creative
Life and her podcast, Rachel Sermanni's Finger That Points To The Moon,
similarly explores her relationship to creativity and inspiration, with the hope that
it will help point in the direction of truth for herself and those listening

In February 1942, having fled persecution but lost all hope in the world,
the Jewish Austrian writer Stefan Zweig and his second wife Lotte took
their own lives in the Brazilian city Petropolis
There is a photo of both of them in bed, dead but still holding hands, that has
haunted Robert Rotifer for a long time.
This is Robert Rotifer's 11th record and his first new music since 2019. Having
since worked with Helen McCookerybook, Louis Philippe & The Night Mail, Andre
Heller, Fay Hallam, Swansea Sound and more alongside his day job as a journalist
and broadcaster, in the summer of 2022 Rotifer set to work on this new set of
songs, calling on friends and collaborators to contribute. Guests include,Ian
Button on drums, Fay Hallam on keys, Helen McCookerybook and Kenji Kitahama
on added backing vocals, plus contributions from Amelia Fletcher, and Austrian
musicians Ernst Molden and Paul Pfleger, uniting the two separate musical
worlds Rotifer has been moving in since leaving Vienna for the UK some 26 years
ago.

Jakob Mäder is a DJ and producer based in Stuttgart. Very close to Johannes Albert (Frank Music). He has been multiplying his releases in the last years. His universe is a subtle mix of house, italo and even trance. And it’s some good house music with some slightly trancy touches which are in the spotlight on the first track of this EP for our beloved label Skylax Records: The fabulous „Chord Anthem“. 

This excellent opener reminds us the mid 90’s finest hours when there were no genre barriers. A title designed to last! To be played without moderation as well as in a house, italo or trance DJ set. “The Essence”, a solid and smooth title, receives the „Shan“ (from Running Back) treatment. “Magic Pitch” is eyeing the side of Chicago with always this hovering and acid side. And to close this EP, the uptempo “There Is Hope” because yes there is indeed a lot of hope for this young producer full of future. Note that on the label’s bandcamp, with the purchase of the vinyl, you can get 3 exclusive bonus tracks (!): „Always A Dreamer“, „The Essence“ (original version) & Universe.

Original self-released by Malik king this lp has been on many peoples lists of holly grail private-press jazz wants for years , very rarely turning up on ebay and the like.. selling for up to $500.

Malik King was an important part of the St Louis jazz scene of the 70's & 80's.

He studied under Albert Ayler in NY in the early 70s before returning to the Midwest. He was a member of; The Human Arts Ensemble, the Shirley Le Flore's ensemble "Free N' Concert". He also served as musical director of The Creative Arts & Expression Lab, The African Peoples Continuum, & The Black Arts Alliance, The worrier poets, as well as various Emerging Force Ensembles.

Zimbabwe Nkenya (1953-2022), a creative artist and innovative musician, was brought up on army bases in the USA and Spain. He spent 30 years traveling and performing in New York, New Mexico, Arizona and St Louis. playing with a who's who of jazz. In New Mexico he became an integral part of the scene, producing and hosting the KUNM'S radio show "THE HOUSE THAT JAZZ BUILT" .

Luckily Malik self-released "Time & Condition" in 1982, capturing his work together with Qaiyim Shabazz. It's not just a crate diggers Holy Grail, but an important artistic and historic document of the St Louis scene. Time & Condition stands alone as a (very) individual, spiritual jazz classic.

We hope this reissue will finally grant these musicians the wider acknowledgement & credit they deserved during their life time.

Original self-released by Malik king this lp has been on many peoples lists of holly grail private-press jazz wants for years , very rarely turning up on ebay and the like.. selling for up to $500.

Malik King was an important part of the St Louis jazz scene of the 70's & 80's.

He studied under Albert Ayler in NY in the early 70s before returning to the Midwest. He was a member of; The Human Arts Ensemble, the Shirley Le Flore's ensemble "Free N' Concert". He also served as musical director of The Creative Arts & Expression Lab, The African Peoples Continuum, & The Black Arts Alliance, The worrier poets, as well as various Emerging Force Ensembles.

Zimbabwe Nkenya (1953-2022), a creative artist and innovative musician, was brought up on army bases in the USA and Spain. He spent 30 years traveling and performing in New York, New Mexico, Arizona and St Louis. playing with a who's who of jazz. In New Mexico he became an integral part of the scene, producing and hosting the KUNM'S radio show "THE HOUSE THAT JAZZ BUILT" .

Luckily Malik self-released "Time & Condition" in 1982, capturing his work together with Qaiyim Shabazz. It's not just a crate diggers Holy Grail, but an important artistic and historic document of the St Louis scene. Time & Condition stands alone as a (very) individual, spiritual jazz classic.

We hope this reissue will finally grant these musicians the wider acknowledgement & credit they deserved during their life time.

Toy Tonics going New Wave Disco with Baby’s Berserk’s self-titled debut album (to be released on 29 September).

There are many shades of funk in dance music. Berlin’s Toy Tonics label brings up artists that reflect many of these different aspects in dance music. Now the label comes up with a band! A band that is inspired by 1980ies New Wave as well as the Y2K Indie dance scene. Two guys and 2 girls from Amsterdam and Montreal called Baby’s Berserk.

Baby’s Berserk is about taking the freedom to be who you want to be, about being comfortable. Having played in all-girl punk bands since the age of 14, the bands singer Lieselot is an expert on female empowerment. “Dress like a girl and act like a boy,” is a catchphrase she lives up to every day and it clearly is a message that resonates with the band’s wild fans.

In the great tradition of Roxy Music, Throbbing Gristle and Malcolm McLaren, Baby’s Berserk is not just about the edgy music, but also about a very strong own visual style. They readily blend their sounds with underground fashion. What you see is what you get and seeing Baby’s Berserk is feeling right at home. Lieselot is a visionary when it comes to stage presence. Have you always wanted to see an electronic band with a punk attitude perform wearing a mix of haute couture and Flintstone-style rags? Look no further, it’s Baby’s Berserk.

Following on the critically acclaimed singles ‘What I Mean’ (2020) and ‘Toxic Kisses’ (2022), Baby Berserk’s highly anticipated self-titled full-length is now finally about to see the light on Berlin’s Toy Tonics records. Sonically designed for gritty rock venues as well as up-to-date edgy dance clubs, Mano’s lush compositions smoothly intertwine with the highly associative lyrics written by Puggy and Lieselot. Poets and literary addicts may think they’ve just discovered the rock & roll equivalents of Sylvia Plath, Kurt Vonnegut and Allen Ginsberg. To tell you the truth: their wild guess is pretty accurate as the works by these greats lie scattered around the Baby’s Berserk studio for inspiration.
The band was born in a laboratory back in 2019. Tired of being in bands with unruly and unpredictable humans, Mano Hollestelle set out to create a group of high precision robots to create the post-punk sound he had in mind. His outdated technology of floppy disks and cassette tapes worked well to program the androids, until one day a 90s rave mixtape was mistakenly entered into his computer. House music is a feeling and the punk bots instantly got hooked on it upon hearing it for the first time. They could never be reset to factory settings again. Mano worked tirelessly with his androids, currently known by their humanoid names of Lieselot Elzinga, Puggy Beales and Eva Wijnbergen, to fulfil his evil plan to make the rockers dance and the dancers rock. Baby’s Berserk is the fiendish extension of this plot. Beware, the band’s bass driven grooves and computerized beats have been known to cast a spell upon all within earshot.

So what do the songs on ‘Baby’s Berserk’ tell you? That it’s totally fine to have lots of fun in life! To have a boyfriend as an accessory (‘Accessories’), to get inspired by Sponge Bob (‘Dancing with the Fish’) and to blend your spirits with mixers whenever the hell you feel like it (‘Rum ‘n’ Kola’).

Baby’s Berserk member Puggy Beales on ‘Limousine’: “Decant the wine from my tip jar to yours. Soon we'll be on easy street, chauffeured home from the rat race each evening. Is it everything you'd hoped it would be?”

Check not only the debut album but also the forthcoming Remix EP with remixes by Each Other, Niklas Wandt, Sam Ruffillo, Kris Baha and Nicolini.

"The Flying Guillotine 2" is the bloody sequel to Serenace's first appearance on Shaw Cuts in 2019, continuing the head-lopping violence with a group of freedom fighters lead by the heroic Ma Teng battling against the evil despot Emperor Yung and his reign of terror.

Teng has developed a protective device, similar to a spiky metal umbrella, that allows him to defend against the deadly flying guillotine attacks of the violent regime. "Current", its bombastic drum patterns, razor-sharp synth waves and vicious vibe strengthens the rebels to resist the brutal assaults.

But the Emperor immediately reacts, creating a double flying guillotine to counter Ma Teng's iron umbrella and the rebel union is left defenseless again. "Aiming From A Distance", a vivid breakbeat cut combining rolling percussion, arpeggiated synth chords and sirens from hell, raises the rebels' hopes to give them another answer.

Secret insurgent Na Lan infiltrates the Emperor's inner circle by gaining his trust with a group of female warriors whom he allows to train with the flying guillotine palace guards. However, Na Lan only wants to steal the plans of the improved weapon and deliver it to the rebel squad, in order to devise another counteracting force. With the crisp bassline and the energy-filled breaks of "Test 21", the rebels can gain an insight into the elaborated guillotine and find a possible way to defeat it.

Farron's profound techno version of "Current" brings in the necessary tension for the final showdown. The improved double flying guillotine VS a new secret defensive system. Will the rebels be able to team up and defeat the tyrant once and for all? No matter what happens, the saga continues.