Cerca:l ow

The roots of Naima Bock’s music are far reaching. Born in
Glastonbury to a Brazilian father and a Greek mother, Naima spent
her early childhood in Brazil before eventually returning to England
and various homes in South East London. This heritage combines
with more recent pursuits in Naima’s music. From the Brazilian
standards that the family listened to while driving to the beach, to the
European folk traditions she tapped into on her own, and the pursuits
that interest her today - studies in archaeology, work as a gardener,
and walking the world’s great trails - Naima’s music draws from
family, the earth and music handed down through generations.
 Naima’s debut album, ‘Giant Palm’, is undoubtedly infused with the
Brazilian music of her youth and regular family visits. She found
inspiration in “the percussion, the melodies, chords - and particularly
the poetic juxtaposition of tragedy and beauty held within the lyrics.”
 By the age of 15, Naima was embedded in the music scene of SouthEast London, eventually forming Goat Girl with school friends and
touring the world. After six years playing bass in Goat Girl, Naima left
the band to try something new. She set up a gardening company and
started a degree at University College London in archaeology
because, as she jokes, “I liked being near the ground.” During this
time, she wrote music, played guitar, learned violin, worked with evershifting South-London collective Broadside Hacks, and met producer
and arranger Joel Burton through Memorials of Distinction labelhead
Josh Cohen. Joel’s burgeoning interest in Western classical music,
global folk music, and experience in large scale arrangement and
orchestration informed the collaborative process that eventually
culminated in ‘Giant Palm’.
 Recorded with the help of over 30 musicians (including Josh Cohen
on synth / electronics) by Dan Carey of Speedy Wunderground at his
studio space in Streatham, South-East London, and engineered by
Syd Kemp, the songs on ‘Giant Palm’ represent a snapshot of a
specific feeling, of brief moments in Naima’s life that make up a larger
whole.
 The expansive yet delicate arrangements highlight Naima’s love for
the collectivist values of traditional folk music, in which songs belong
to everyone, and singing can take on countless forms without the
need to exactly replicate something. “All the other representations
that I’d had of singing felt so unattainable,” she recalls. ‘Giant Palm’
finds Naima bucking these expectations to let her unique voice and
sense of communal creativity flourish.

The wiggy wanderings of Oog Bogo wind up on the same island of lost joys all at once, manufacturing a virtual jukebox of singles and side flips that won’t unplug, and just keeps reeling and raging on instead. A bright metallurgy of guitar pop, psych, post-punk and apocalypse disco embosses the sleek, multicoloured flash of ‘Plastic’.

 Oog Bogo are a four-piece rock band from Los Angeles and their new album is ‘Plastic’, an electrifying set of songs and sounds that just don’t stop, working like a machine that makes joy and endless flips and repetitions, whether in front of the turntable or out in the real world.
 In the past several years, Oog Bogo dropped two records that previewed this explosion in wildly divergent ways: 2019’s ‘Oogbogo’ EP, with wigged-out production, its contorted fun house mirror images pulling punk, psych and new wave in and out of focus in a chaotic procession of mutant tunes. 2021’s ‘EP2’ radiates a starkly different vibe, as chilled-out guitar-pop tunes conjure a flowing medley of plaintive echoes and atmospheres in a mellow mist of hiss.

 Kevin Boog recorded these records in a largely hermetic state: at home on 4-track, playing all the parts, slowly drawing out the sounds. The songs for ‘Plastic’ were demoed this way too, as a starting point for a group interpretation - but when, for obvious reasons, logistics prevented everyone from getting in the same room to even rehearse, the planned recording session at Ty Segall’s Harmonizer Studios took on a different shape.

 Starting off with only drummer Thomas Alvarez (Audacity) to accompany him, Kevin
realized that any obstacles to getting the record made were also opportunities, for
something else that was also right to happen. Rather than reach for the design of the
demos, he kept himself in the present moment, approaching every passage as fluidly
as possible, playing what he needed to play, staying open to what he needed to
know. It didn’t hurt that the laptop with all his songs crashed right after he walked into
the studio! There was no way possible but forward.
 The direction was right on with the guys at Harmonizer - Ty Segall’s sense of
imagination made him the ideal production counterpart to walk together with Kevin
into this world, psyched to experiment and ready to get weird at any time. Ty and
engineer Matt Littlejohn met all requests and requirements in the form of sounds, with
gear and approaches that amazed and delighted, and an eternally ebullient spirit.
 As this was Oog Bogo’s first time recording away from home, Kevin was a kid in a
candy store - where the store owner turns out to be a Wonka-esque philanthropist.
As band members Mike Kreibel (Dirty & His Fists) and Shelby Jacobson (Shannon
Lay) joined the session, there was a synchronicity and community with everyone
involved, finding an unexpected road to realizing the songs, with all the colours and
hues they added making everything pop that much harder.
 Fluidity was key: ‘Plastic’’s tunes depict a polymorphic cast of characters. As in life,
they leap avidly from style to style; from pretty psych rock to new wave apocalypse
disco and harsh post punk bleakness, sometimes in a verse and a half. Corkscrewing
over and over like a riff-driven space-coaster, morphing in and out of each
successive moment with increasing momentum and gravity, ‘Plastic’ defines and
redefines Oog Bogo, with sweet tunes, barely-controlled intensity and sharp
production moves - a killer first album and an equally killer evolving state of mind.

The wiggy wanderings of Oog Bogo wind up on the same island of lost joys all at once, manufacturing a virtual jukebox of singles and side flips that won’t unplug, and just keeps reeling and raging on instead. A bright metallurgy of guitar pop, psych, post-punk and apocalypse disco embosses the sleek, multicoloured flash of ‘Plastic’.

 Oog Bogo are a four-piece rock band from Los Angeles and their new album is ‘Plastic’, an electrifying set of songs and sounds that just don’t stop, working like a machine that makes joy and endless flips and repetitions, whether in front of the turntable or out in the real world.
 In the past several years, Oog Bogo dropped two records that previewed this explosion in wildly divergent ways: 2019’s ‘Oogbogo’ EP, with wigged-out production, its contorted fun house mirror images pulling punk, psych and new wave in and out of focus in a chaotic procession of mutant tunes. 2021’s ‘EP2’ radiates a starkly different vibe, as chilled-out guitar-pop tunes conjure a flowing medley of plaintive echoes and atmospheres in a mellow mist of hiss.

 Kevin Boog recorded these records in a largely hermetic state: at home on 4-track, playing all the parts, slowly drawing out the sounds. The songs for ‘Plastic’ were demoed this way too, as a starting point for a group interpretation - but when, for obvious reasons, logistics prevented everyone from getting in the same room to even rehearse, the planned recording session at Ty Segall’s Harmonizer Studios took on a different shape.

 Starting off with only drummer Thomas Alvarez (Audacity) to accompany him, Kevin
realized that any obstacles to getting the record made were also opportunities, for
something else that was also right to happen. Rather than reach for the design of the
demos, he kept himself in the present moment, approaching every passage as fluidly
as possible, playing what he needed to play, staying open to what he needed to
know. It didn’t hurt that the laptop with all his songs crashed right after he walked into
the studio! There was no way possible but forward.
 The direction was right on with the guys at Harmonizer - Ty Segall’s sense of
imagination made him the ideal production counterpart to walk together with Kevin
into this world, psyched to experiment and ready to get weird at any time. Ty and
engineer Matt Littlejohn met all requests and requirements in the form of sounds, with
gear and approaches that amazed and delighted, and an eternally ebullient spirit.
 As this was Oog Bogo’s first time recording away from home, Kevin was a kid in a
candy store - where the store owner turns out to be a Wonka-esque philanthropist.
As band members Mike Kreibel (Dirty & His Fists) and Shelby Jacobson (Shannon
Lay) joined the session, there was a synchronicity and community with everyone
involved, finding an unexpected road to realizing the songs, with all the colours and
hues they added making everything pop that much harder.
 Fluidity was key: ‘Plastic’’s tunes depict a polymorphic cast of characters. As in life,
they leap avidly from style to style; from pretty psych rock to new wave apocalypse
disco and harsh post punk bleakness, sometimes in a verse and a half. Corkscrewing
over and over like a riff-driven space-coaster, morphing in and out of each
successive moment with increasing momentum and gravity, ‘Plastic’ defines and
redefines Oog Bogo, with sweet tunes, barely-controlled intensity and sharp
production moves - a killer first album and an equally killer evolving state of mind.

Can it really be just be over a year since Yard Act
exploded into the national consciousness with their
debut EP ‘Dark Days’, released via their own Zen
FC imprint? Yard Act have gone on to be one of
2022’s defining artists with the release of their
debut album ‘The Overload’, and their rise has
been as entertaining as it has been meteoric. And
as well as touring the world and smashing sales
records, they’ve still found time to continue Zen
FC, releasing acclaimed 7”s from Baba Ali and
Benefits.
 Being the budding record industry moguls that they
are, they couldn’t bear to see the ‘Dark Days’ EP
languishing out of print. So they commandeered a
Danish pressing plant and rudely shoved their way
to the front of the queue, picked a new colour
(silver in honour of ‘The Overload’ finishing second
in the Album Charts) and rushed through a repress
in time for the summer. And while they were at it,
they sorted out a run on the format of the future –
the noble cassette.
 So there you have it: while you’re thinking about
putting ‘The Overload’ at the top of your albums of
2022, you can enjoy the EP of 2021 all over again.

Camp Trash seemingly burst out of nowhere with their debut EP Downtiming at the beginning of 2021, armed with catchy riffs and infectious vo- cals that earwormed their way into your head and wouldn’t let go. It landed on several prominent playlists from NPR, Stereogum, and the cover/ feature track of Spotify’s official editorial list, ‘Fresh Finds- Rock’.

8 years after his debut album entitled "What You Give", it's time for the Greek musician's second long player! No doubt, this is Bengoa's most mature work to date and a product of countless studio hours. Pushing his electronic sound forward, the Greek musician, dj, songwriter and label owner, delivers an outstanding 9-track LP, floating between trip hop, nu-jazz, mid and downtempo motifs. The extensive use of physical instruments like saxophone, trumpet, guitars, piano, percussion and bass add musicality and deepness to the whole record, on which Bengoa has also written most of the lyrics himself. "Music For Your Red Parts" flows like an undercurrent of nervy isolation and late night melancholy, toying with the emotional structure of it's own sound. Songs that signal something memorably, indelibly and hypnotically sexy, without talking about sex. Music that you feel - strong, soft and filled with emotion. It wants to meet you in your deepest parts. It will play games with you, fill you with sorrow, or send you into a deep reverie. out now through SAOS RECORDS.

Midland are an American country music trio. Having released an EP last summer en route, Midland’s Cameron Duddy, Mark Wystrach and Jess Carson are on the verge of arriving at their ultimate destination with The Last Resort: Greetings From on May 6 via Big Machine Records. The trio spent the pandemic exploring their creative depths, from progressive Country that grew out of “Urban Cowboy” through Dwight Yoakam’s post-traditionalism and arrive with their third studio album. As Midland’s “Sunrise Tells The Story” rises at Country radio, the two-time GRAMMY® nominees dial in their Laurel Canyon-cum-Bakersfield sound for a tension that also promises release. Falling harder than the singer imagined throughout the spicy hook-up song, melting harmonies lean into a more erotically charged proposition. RADIO: BBC Radio 2, BBC local stations (session on BBC Radio Ulster), CountryLine's 'Artist Of The Month', Absolute Radio Country, Downtown Country, Smooth Country PRESS: Entertainment Focus (5* review), Building Our Own Nashville (5* review), Maverick, Americana UK, RNR Magazine, SW London Magazine, country specialist outlets Socials: TW: 62.3K, FB: 307.9K, IG: 276K, TikTok: 91.5K

Samantha Togni makes her TITDM debut with five uncompromising cuts, exploring the darkest corners of techno and channeling her artistic expression in a flurry of controlled yet innovative directions. This compulsion to work without boundaries isn't new to Samantha, having always leaned toward a 'do it your own way' attitude, leading to Samantha founding Boudica in 2017; a collective aiming to give visibility to women and non binary artists through their events, conference, radio show and podcast.

'Trust The Heat' rattles through the speakers with its bone twitching bass, spilling out from its kickdrums and marching forward at an unnerving pace. The accompanying grooves give way to primal movements and an added layer of welcomed spice. There's no sing-songy samples here, just a vocal phrase with the energy of a megaphone edging through a busy club; guiding dancers to keep moving. 'No Pressure to Fit In' follows up with its spiraling basslines opening and closing, providing the movement against a backdrop of percussive power. Togni brings back the vocal snippets. this time to greater hypnotic effect.

'Sensible Social Lies' sounds like the type of techno you'd expect to hear on a planet from Dune; shapeshifting its way through sand with a heavy onslaught of newly discovered sounds. 'Cockroaches' scales back, remaining functional and still packing a serious punch, before the record comes to a pupil dilating close with 'In Vivo' a melodic, left-leaning piece honoring what makes techno so great, while remaining fiercely contemporary and unique to the artist who created it.

Fabric resident Anna Wall and production partner Corbi link up again for the first time since their debut EP 'DATs In The Attic' dropped on Ritual Poison in 2019. Between then, Anna has gone on to release music on her own label Dream Theory and turned in a gorgeous deep cut for music platform 22 tracks' final send off before closing. Corbi has been no stranger to production either, heading up important label Fina records and releasing stand-out EPs on Rough Recordings & Kouncil Cuts.

The pairing bring their newfound knowledge to LTWHT, shape shifting between colorful displays of breakbeat and melodic perfume. Ahead of the release, Anna & Corbi spoke of their love of digging into the past, delving into old techno and rave records and inspired by artists like LFO. While the influences are apparent their sound remains unique, contemporary and flourishing with personality.

Title track 'Persistence' opens with choppy breakbeats and deep subs, adding extra depth and weight; providing the perfect base for the record's shimmering synth lines. 'Consciousness' then conjures wide-eyed atmospherics, joining hands with a soothing, deep bassline and diamond shaped arpeggio. 'I'm just changing consciousness' is gently spoken as the track ebbs and flows across the oceans moon-lit surface.

Subtly euphoric and inherently introspective, B side opener 'Take A Moment' shows a developing side to the pair's growing sonic palette. Early trance meets breakbeat, in an emotive display of otherworldly electronics and primordial whispers. The tracks bassline and lead add an extra layer of playfulness, turning the track from a cerebral workout to a blissful dance around an open flame. The record comes to a close with 'Regardless' an acid inspired dream that unfolds amongst a backdrop of clouded pads and intoxicating patterns.

A revelatory collection of recordings from Japanese free-sound quintet Gu-N. Formed in 1994 by Fumio Kosakai (Incapacitants, Hijokaidan, C.C.C.C.) and Hidenobu Kaneda (Yuragi), alongside Ikuro Takahashi (Fushitsusha, Kousokuya, LSD March), Ryuichi Nagakubo (C.C.C.C., Yuragi), and Morihide Sawada (Yura Yura Teikoku, Marble Sheep), Gu-N played regularly at Plan-B in Tokyo, but released little during their relatively short time together. Hazy and hypnotic, their laminar improvisations, four of which appear on this untitled album, are compelling, oneiric visions for the ear.

In his liner notes for the album, Michel Henritzi writes that these Gu-N recordings situate the group within a broader trajectory of free improvisation and collective sound within Japan – Taj Mahal Travellers, East Bionic Symphonia, Marginal Consort, each of whom sprung, in many ways, from the radical vision and creativity of Takehisa Kosugi. But there’s a unique spirit here that aligns Gu-N with these predecessors, while also marking out singular territory.

Kosakai’s background in noise, via his participation in Hijokaidan and Incapacitants, can be heard in the unrelenting oscillations and heavyweight drones that purr throughout each of these four tracks. Both Kosakai and Nagakubo were members of C.C.C.C., perhaps the clearest precursors to Gu-N in their psychedelic density, though Gu-N trade in C.C.C.C.’s volcanic energy for a more tempered, sensuous exploration of tone and time.

There’s also a brutish element to Gu-N’s improvisations – see the saturated spectrum, rumbling and phasing throughout the album, and the crushing, almost Amon Düül-esque drum tattoos that Takahashi pounds out on the second track (recorded in 1998), punctuating the music from deep inside its hallucinatory murk. Elsewhere, as on the third track (one of three recorded in 1994), Kosakai’s cello scrapes out armfuls of buzz-tone as Sawada’s bouzouki trills out, elastic and vibrant, across spindrift electronics and lung-spun winds.

What’s most impressive here, though, is the way each player, formidable musicians in their own right, defers to the might of the communal and the collective. The quintet broke up in 1998, leaving behind scant recorded evidence – just one, self-titled CD, on Pataphysique, released in 1995. This LP is a most welcome addition to the small but blissful body of recorded work made public by this mysterious quintet of spirit channelers.

Leicester born Kevin Hewick is still considered a truly representative force of the post-punk counterculture. His first ‘proper’ gig was on a bill with Joy Division, A Certain Ratio and Section 25. He released a couple of records on Factory in the early 80's, then moving to Cherry Red in 1982. His collaboration with The Sound stands truly as his own masterwork. Recorded and mixed at Elephant Studios, Wapping, London on November 3rd, 4th & 5th 1983, this EP still is a refreshing example of their combined effort. The four tracks move along a sort of outsider folkish post-punk, being perhaps his most accessible work ever.

Gene Pitney was a musician’s musician. Having begun his career as a songwriter, he was not content merely being the faceless pen behind his peers’ success, becoming a singing star in his own right. He did this during a time when America’s shores were being invaded by a wave of British talent led by The Rolling Stones and The Beatles. Pitney turned the tables by finding success in the UK and went on to enjoy a 45- year career. 1962 was Pitney’s breakout year in the US. He shot to Number 4 in April with the Burt Bacharach and Hal Davidpenned hit (The Man Who Shot) Liberty Valance, intended as the theme for the John Wayne
flick of the same name. He followed that up with his highest-charting US single, Only Love Can
Break A Heart. It would go on to be covered by numerous artists, Dionne Warwick attempting
her own version in the late Seventies. He left behind a four-decade career that saw him notch
up 16 US Top 40 singles and 22 in the UK. His legacy is also evident in the hits of others, like
Orbison, Bobby Vee and Ricky Nelson. This collection showcases the best of Pitney’s early
work, and gives an insight into one of America’s most gifted musicians, a man who found his
own voice.

TRANSMISSION EDITION OF PORCUPINE TREE'S 2008 MINI ALBUM 'NIL
RECURRING'.Following on from the announced reissue series from
Porcupine Tree, issued through their own Snapper Music imprint
Transmission, 2008's mini album 'Nil Recurring' will be made available on
classic black vinyl edition
Originally released on CD in 2008, the mini- album (29 minutes of music) was
written during the 'Fear Of A Blank Planet' sessions, completed over the Summer
of 2007 & is presented as a cohesive, self-contained Porcupine Tree work in its
own right. The title track features Robert Fripp on lead guitar, & the album moves
through the full Porcupine Tree spectrum of atmospheric ambience, melodic
hooks & crushing riffs.
Porcupine Tree are gearing up for the release of their new album in June, marking
another step forward in the incredible journey of the band that began as a solo
studio project created by Steven Wilson in the late eighties to a multi grammy
nominated act & one of the world's most revered live bands, selling out arenas
across the globe & wowing fans with their incredible performances.
This new Transmission reissue of 'Nil Recurring' remains faithful to the original
artwork & has never sounded better.
"post- prog pearls of modern intelligent, rock- propelled pop....very tasty indeed"
Classic Rock

Sam Cooke was such an important pioneer of soul music that he was commonly known as the king of the genre. His distinctive emotive voice is one of the most easily recognizable of all in popular music and his work paved the way for countless other giants, including Otis Redding, Marvin Gaye, Curtis Mayfield and Al Green, among many others. A native of Clarksdale in northwest Mississippi that was raised in Chicago, he was the fifth of eight children born to a Pentecostal minister. Beginning his career with his siblings as The Singing Children, he led gospel group The Highway QCs in his teens and then joined The Soul Stirrers, reaching greater glory upon going solo in the mid-1950s, when he scored the first of many number-one hits for the short-lived Keen label, and then reached a wider audience upon switching to RCA in 1960. My Kind Of Blues was recorded for the label in 1961 (just as Cooke was launching his own SAR Records imprint), being a collection of show tunes and jazz standards, delivered in a soulful blues style by Cooke atop lush orchestration, arranged and conducted by trumpeter and bandleader, Sammy Lowe. Highlights include a soave version of Duke Ellingston’s “I’m Just A Lucky So And So,” a cool cut of “Nobody Loves You When You’re Down And Out,” a stirring take of George Gershwin’s “But Not For Me” and a lovely rendition of Irving Berlin’s “The Song Is Ended.”

Playing in Dixieland jazz bands during his teens and then passing through some Kansas City jazz acts, New York-born alto saxophonist Steve Lacy became associated with the avant-garde jazz movement from the mid-1950s, playing on free jazz pianist Cecil Taylor’s influential debut LP and early work by the Canadian pianist Gil Evans, before serving a long tenure with the idiosyncratic improv pianist Theolonius Monk, whose work he would continue to reference throughout his career. Visiting Europe from the md-1960s, starting with a trip to Copenhagen with pianist Kenny Drew (who made the Danish city his home thereafter), Lacy later travelled to Italy to form a quartet with Italian trumpeter Enrico Rava (who had earlier played in Argentinian sax player, Gato Barbieri’s group), plus South African exiles and former Blue Notes members Johnny Dyani on double bass and Louis Moholo on drums. Lacy subsequently moved to Paris, which became his permanent base from 1970, leading a sextet there whilst also exploring the limits of the alto saxophone as a solo instrument. The disparate and often discordant album Threads was recorded in Rome at Mama Dog studio in 1977 for filmmaker-turned-record producer Aldo Sinesio’s Horo Records label; comprised of six of Lacy’s own compositions, the album saw Lacy supported by Alvin Curran on piano and Frederic Rzewski on flugelhorn, synthesizer and percussion, the pair both longstanding members of the experimental group, Musica Elettronica Viva.GO

limited pressing

Sergey's second release on his own Funkyjaws Music label ready for summer, vinyl only limited pressing!

Our story begins in Jerusalem 1980 – Zadik Zecharia – a folk musician whose speciality is the Zorna – a traditional kurdish woodwind instrument – recorded a cassette of kurdish melodies played on Zorna and Dola, a kurdish drum.

The tape was released independently and distributed mainly around the kurdish-jewish community in Israel. Zadik mostly performed at weddings and ha as / celebrations and was also known by the nickname “Iron Lungs”, because of his ability to take only a few pauses for breath during his long gigs.

In 2005, one tape found its way to “Something on the Road” – an underground CD-r Jerusalem based label which reissued the music on CD-r. Overnight, these intense melodies became a cult phenomena in the hipster-ish circles of Jerusalem and beyond. The kurdish melodies could suddenly be heard during dj sets, topping electronic beats, or adding drones to heavy experimental sessions. which later led “Something on the Road’s” founder to initiate a remix compilation with Jerusalem’s nest producers. One of them is your truly, Mule Driver. The remix has became a cult by its own.

Fast forward to present time, a conversation with Legowelt about folk music led Mule Driver to dig an unreleased longer version of this techno remix. As well as ask the mighty Legowelt for his interpretation, that turned out as a killer acid track followed by an EBM – electro belter by Juju (Juju and Jordash) and PRZ (Clone).

Sixteen arrives to the label straight from Detroit, by the owner of Vigilante Cartel - Dave P who is also known as Dirty Dave or Dirty Dave P, who has been releasing records since the early 90’s. This Electro & House infused 12’’ is made by the man together with his friend Rick Tuner and consists of 4 track journeys starting from the space and heading way beyond any known stratospheres known to mankind.

This record is very dear to these artists and to all the people who took part into making this project come to life. All aboard the “Saturn V” as it’s taking off into the wilderness of clubs & institutes of electronic music all over the world. The weather seems bright and the sky is clear, which makes it absolutely perfect conditions for the launch.

TAF KIF Records present their first release: Fools Gold Vol. I, a four track compilation with an eclectic selection of dancefloor-ready cuts for this summer.

Studio Barnhus' head honcho, Axel Boman, starts off the A side with a catchy bassline, hypnotic and nostalgic synths and ring modulated guitars. After being road tested for years, we are super happy to finally get to release his song "Oasis", a surfy summer heater in all its glory.

A2 comes from TAF KIF's own Velmondo, known for his work on Hivern Discs and Compost Records. He blesses us with "Echo Welt", a leftfield psychedelic excursion filled with Balearic vibes, krauty bubblegum beats and exotic percussion. What else could you ask for?

TAF KIF's MLiR, a usual name for those familiarised with the Studio Barnhus' catalogue, open the flip side with the mega sexy "It's Baby Time". Smooth operators in the house, baby!

Last but not least, Lusille delivers an afro fire starter called "Une Long Route", a secret weapon from the likes of Hunee among others. Very limited edition with just a few hundreds of copies, don't sleep!

THE DEBUT ALBUM OF COLD & PRIMITIVE OLD-SCHOOL NORWEGIAN
BLACK METAL, BORN FROM THE ASHES OF CULT ACT, TULUS
PRESENTED ON THE VINYL FORMAT FOR THE FIRST TIME.Norwegian black
metal band Khold formed in Oslo in the year 2000, by Gard & Sarke (also known
from his own, self-named act, alongside Darkthrone's Nocturno Culto). Khold is
what emerged out of the ashes of the cult band, Tulus. Khold has recorded 6
albums to date & have successfully toured with bands such as Satyricon &
Behemoth in the past. Khold is also notable for their use of old Norse for songtitles & lyrics. 'Masterpiss Of Pain' was Khold's debut album, released in 2001 on
Moonfog Productions & was recorded at Panser Studios (Arcturus, Chrome
Division, Fleurety) in Oslo.
'Masterpiss Of Pain' also features a guest appearance by Galder (Old Man's Child,
Dimmu Borgir) on the track 'Rovnatt'.
This edition of 'Masterpiss Of Pain' is presented on the vinyl format for the first
time & contains inner sleeve with lyrics.