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Cindytalk is the mercurial, expressionist outlet of Scottish artist Cinder. An evolution of her early 1980's Edinburgh-based punk band The Freeze, she launched the project upon moving to London, inspired by the crossroads of exploratory UK post-punk and early European industrial. Her work thrives on chance and transformation, collaging elements of noise, balladry, soundtrack, catharsis, and improvisation. After a series of celebrated albums for the Midnight Music label as well as collaborations with This Mortal Coil and Cocteau Twins, Cinder migrated to the United States, becoming involved with various underground techno collectives around the Midwest and West Coast. Subsequent relocations to Hong Kong and Japan further expanded Cindytalk's horizons, resulting in a fruitful partnership with Viennese experimental institution Editions Mego, for whom she released five albums of swooning, granular atmosphere. 2021 finds her as engaged as ever, at the precipice of long-awaited back catalog reissues alongside multiple new works, guided by her lasting love of discovery and deviation: “new pathways always being uncovered.”

Across decades of activity Cinder’s body of work has forever followed its own elusive muse but nowhere is this restless spirit more apparent and ambitious than the 4th Cindytalk LP, Wappinschaw. Conceived as “a call to arms” inspired by Scotland and its struggle for independence, the title refers to an archaic Scottish battle inspection during which clan chieftains surveyed their group's weapons to ensure they were combat ready. A mindset of reflective preparation threads throughout the record, manifested in forms both naked and noisy, ancient and anguished.

Opening with an aching solo vocal rendition of the British folk standard “The First Time Ever (I Saw Your Face),” the album then surges into the Cindytalk classic, “A Song Of Changes,” sparkling and spiraling in strange waves of sorrow and joy. From there the mood fragments, tracing asymmetrical paths of feverish dirge, pensive spirituals, noir abstraction, spoken word (landmark Glaswegian writer Alasdair Gray guests on “Wheesht”), bagpipe drone, and apocalyptic post-punk. Given its aggressive eclecticism, it's not surprising that Cinder describes the creation of Wappinschaw as a “precarious” process, composed from “scraps” with abruptly shifting personnel – a situation only compounded by the impending dissolution of their label at the time, Midnight Music.

Machines of Our Disgrace marked the return of Circle of Dust, the groundbreaking industrial project from Klayton, best known to many as the producer and artist behind Celldweller.

Pressed for the first time on vinyl, this Definitive Edition 2LP includes the brand new songs "Invisible World" and "Digital Messiah" along with a printed inner sleeve featuring full lyrics and artwork.

CM von Hausswolff pays tribute to writer Ira Cohen and musician Angus MacLise in this piece recorded in Kirtipur, Nepal.

Long standing influential British experimental group Coil began performing live again in 1999 after a 15 year hiatus. These now legendary performances included many pieces that were never released on album, including this album length epic version of "The Universe Is A Haunted House", captured live 12th of October, 2002 at London's Convay Hall.

"Recoiled" is a rambunctious alchemy, of magikal Coil sensibilities and hi-tech home circa 90s mixing technique, all fused in the cave-like early studios of Danny Hyde / Peter Christopherson. These were the unrestrained PRE- BIG studio- mix downs, of four songs which long time Coil admirer / collaborator Trent Reznor requested Coil to remix. Reznor sent over the original multi-tracks and DATs to Hyde / Christopherson, who independently mixed versions and then met to synch both creations, molding them into these master versions. "Recoiled" includes a fuller, more opulent version of the track 'Closer', which eventually made it onto the opening credits to the movie "SE7EN". These 5 lengthy compositions are pre-Ableton / laptop generation type priest song creations, with the use of baby alarms and numerous wires to create bespoke effects. These legendary tracks were always rumoured to exist and, only the due diligence of a dedicated NIN forum who hunted them down, are released/unleashed for your listening pleasure. Black vinyl LP+, printed inner!

DKA presents the new 12" EP from Collin Gorman Weiland, "In My Shattered Vase." Having previously released some of our favorite music on labels like Downwards and Jealous God, Weiland's new offering features 3 originals from the Minneapolis native + 2 edits from Germany's Mick Wills and a remix by DKA co-founders Pyramid Club, this is a journey through textured murk, melancholic musings and deranged rhythmic euphoria, distorted drums clash against harsh tones to create an environment both familiar and completely alien, grounded by Collin's deep, dead pan spoken word. For the b-side, Mick Wills revisits Collin's track from our previously released Strategies Against The Body vol. II LP compilation. an amazing yet utterly un-DJ-friendly track Mick has wrestled with and wrangled into an extended late night dance floor slayer. This is followed by Pyramid Club's reinterpretation of "Ballet Of Pose" from the A-side, stripping it back to it's most percussive elements and propelling it forward with a steadily snowballing momentum.

“Dance Till You Die” a loud and clear order and warning from one of the most uncompromising Japanese Post-Punk bands of the early 80’s. A raw, esoteric yet infectiously groovy gem for all No-Wave freaks out there!

Wretched, bleak, hopeless and incredibly dark. Canadian dark hardcore crust bruisers Dark Circles and American black sludge destroyers Abstracter bring forth waves upon waves of utter misery and horror on this crushing 12" split. Dark Circles' stark, rabid and virulently embittered dark hardcore is a firestorm of crust punk, grindcore and black metal that marvelously brings together the best and most confrontational elements of bands like Catharsis, Gehenna, Cursed, The Secret, etc. On the other hand Abstracter's bleak and hallucinatory side fuses doom, crust, drone and black metal to incarnate a staggering twenty minutes of total and horrific devastation, yielding a similar sonic hell as seen in dark and miserable slower bands like Triptykon, Primitive Man, Coffinworm, Indian, etc

Fill-Lex Records is eternally pleased to present on its 10th cassette release, the first full-length from one of the Catalan artists it has been following for the longest time. His name, Dark Vektor, is well known in the Spanish electro scene, as he has been active since 2001, being one of the biggest names in the genre. In “Els Guardians dels meus pensaments”, the artist shows us his most intimate side with tracks that have emerged from within him at various stages of his career. A timeless album that seeks to delve into the diversities of the genre, from tracks with an electro closer to IDM like “Galaxias”, which will transport you to other planets, or “Home 2.0” experimenting with sounds close to synthwave or retrowave with a melody that will linger in your head from the first time you listen to it. Never leaving aside his essence with rhythmic and combative bases, giving way to marked steps in a combination of dark and melancholic sounds, with a taste that few artists can reproduce in this way, in tracks like “Aural”, “S3R0S” and “Battle of Orion II”.

Die schwedische Industrial-Kultband DEATHSTARS meldet sich mit ihrem neuesten Output "Everything Destroys You" endlich zurück.
Verstärkte Angst, zerstörerische urbane Partynächte, Dystopie und glatter Glamour - ihr vielfältiges musikalisches Spektrum reicht von elektrischen, blitzschnellen Highways voller Spaß, Action und Adrenalin bis hin zu Dunkelheit und tiefschwarzem Humor.

"Der Grund, warum es so lange gedauert hat, ist, dass wir einfach eine Pause wollten - und brauchten - nach dem intensiven Touren und so weiter, und obendrein ist die Pandemie passiert, so dass die Touren verschoben wurden und die Veröffentlichung mit ihnen, so dass es sich fantastisch anfühlt, endlich 'Everything Destroys You' präsentieren zu können", sagt Nightmare Industries.

"'Everything Destroys You' ist das Gesicht der Exzesse unserer opulenten Nächte in der Stadt. Wir schreiben immer über unser Leben, und es gibt keine Fiktion, Spiritualität oder Seele im Mark von DEATHSTARS", sagt Whiplasher. "Es ist einfach nur das vernarbte Großstadtleben im Rohzustand."

Das fünfte DEATHSTARS-Album wurde von Nightmare Industries bei Black Syndicate in Stockholm, Schweden, produziert und von Jay Ruston (Stone Sour, Uriah Heep, Anthrax, Steel Panther, Fall Out Boy) in Los Angeles, USA, gemischt und gemastert.

Originally released on CD-R, then on tape, and now reissued on vinyl, »Juvenile Rock« comes as an essential collection of unreleased recordings from the legendary post-punk band Dendö Marionette. An entire double album full of demos, studio experiments, and live performances. An essential document from the 1980s Japanese underground.

At the dawn of the 80’s Osaka based band DENDÖ MARIONETTE were part of Japan’s legendary early Synth-Wave explosion. This essential album consists of their sole 7” release from 1981, plus a previously unreleased EP from 1982, plus lots of extra tracks from various demos. A double LP full of glorious, intoxicating, sounds from one of the most fascinating acts of the Japanese Post-Punk era.

2CD+2x12inch Vinyl

Das Chamäleon ist zurückgekehrt. Und es schillert in den tausend Farben der Nacht: Wie immer, wenn die Avantgarde-Elektroniker DIE FORM ein neues Kapitel in ihrem berauschenden Wirken aufschlagen, ist ihnen die Aufmerksamkeit der sinnlichen Klangästheten dieser Welt sicher. Auch nach mittlerweile 43 gemeinsamen Jahren hat der musikalische Paarungsakt zwischen Visionär Philippe Fichot und Éliane P. nichts von seiner Präsenz, seiner rauschhaften Wirkung, seiner grenzgängerischen Erotik verloren. Jüngster Spross dieser ebenso schicksalhaften wie fruchtbaren Partnerschaft ist ein Opus, das ebenso sprachlos macht wie anregt, das die tiefsten Tiefen unserer Psyche ebenso auszuleuchten weiß wie es der Nacht in all ihrer schrecklichen Schönheit ein oszillierend-elektronisches Denkmal zu setzen weiß. "Mental Camera", so der kurze wie vielsagende Titel, ist in seiner Etymologie bewusst mehrdeutig: Die Kamera, die Geisteszustände festhält, aber auch camera, das italienische Wort für Kammer. Nimmt man die beiden Bedeutungen zusammen, nähert man sich dem Kern dieses neuen düster-elektronischen Manifests: Eine Kammer des Geistes, ein wollüstig-dunkles Werk über das Verstreichen der Zeit, über das Hinfortrieseln der Träume. Stücke über unsere Vorstellungskraft haben DIE FORM geschrieben, über die gewaltige Welt in unseren Köpfen, über die Schatten, die Erinnerung und die Natur.
Entstanden in durchwachten Nächten, klingt "Mental Camera" wie der Soundtrack zu einem verschollenen David-Lynch-Film: Enigmatisch, zugleich fordernd, verheißungsvoll, abgründig. Ein nackter Tanz am Abgrund der Seele, ein von surrealen Meistern geformtes Meisterwerk der elektronischen Kunst, das an den ewigen Klassiker "Poupée Mécanique" ebenso erinnert wie die legendäre "Trilogy of Passion", mit der sich DIE FORM in den frühen Neunzigern endgültig unsterblich machten. Die partielle Rückbesinnung spukt auch durch die expliziten Bilder des Booklets. Kenner des Projekts wissen natürlich, was das bedeutet.
DIE FORM 2021, das ist aber natürlich auch mal wieder elektrifizierter Zeitgeist, eine Triebfeder ritueller Clubmusik. Deutlich macht das ein Stück wie das hypnotisch-treibende "Lilium Dolorosa", das zweifellos zu den stärksten, prägnantesten Werken Fichots gezählt werden darf. Gilt aber im Grunde für dieses gesamte Epos namens "Mental Camera": Sinnlich und intuitiv, bisweilen animalisch, bisweilen avantgardistisch, stets aber der Nacht, der Lust, den Schatten verschrieben. Und das seit 43 Jahren.

OONA Recordings is proud to announce the upcoming release of the soundtrack for The Girl With The Needle by Frederikke Hoffmeier. Hoffmeier, whom performs under the stage name Puce Mary, brings a raw, intense and atmospheric score to this Oscar-nominated film, which is contending for Best International Feature. Known for her bold, experimental approach to sound, Hoffmeier’s composition immerses listeners in the film’s dark, emotionally-charged world. Directed by Magnus von Horn, The Girl With The Needle premiered at the Cannes Film Festival, where it earned praise for its uncompromising vision. The film went on to receive a Golden Globe nomination for Best Non-English Language Film and won two prestigious awards at the European Film Awards, including Best Score for Hoffmeier’s hauntingly powerful work. The score to The Girl With The Needle is as dark as it is compelling, a masterclass in creating tension, unease, and raw emotional weight. Hoffmeier’s sound design is equal parts abrasive and intimate, drawing the listener into a world of fractured beauty. Her use of organic textures, electro-acoustic undertones, and dissonant, atonal melodies challenges traditional notions of film music, offering something deeply visceral and unpredictable. The Guardian described Hoffmeier’s score as "nerve-abrading," highlighting the relentless, uncomfortable energy that underpins the film. The Chicago Reader similarly calls the score haunting, noting how it amplifies the film’s stark atmosphere. Drawing comparisons to the intense works of composers like Mica Levi, Awards Radar Magazine praises Hoffmeier for pushing the film’s emotional core to its breaking point, deepening the agony of the protagonist. Throughout the film, Hoffmeier’s score becomes as much a character as the people on screen. Her collaboration with von Horn is marked by a shared vision of pushing the limits of cinema and sound. Screen Daily describes the score as "daring," with its aggressive, contemporary tones standing in stark contrast to conventional film scores. The result is a uniquely modern, avant-garde work that reflects the film's visceral and unsettling nature. Hoffmeier crafts a world of sound that lingers long after the credits roll. The soundtrack’s fusion of organic instrumentation with electro-acoustic elements and bold industrial sounds sets it apart from the ordinary. The British Film Institute notes how Hoffmeier’s "atonal score" creates an "enervating effect," pulling listeners deeper into the film’s raw emotional depths. The combination of brutal sound design and haunting melodies builds a layered, evocative listening experience, one that grows increasingly intense with every listen.

German Army/GeAr – Endless Suburb (Cassette + 60 pages special magazine about German Army)
This is the story of a musical project that emerges with informative purpose. German Army work is not only about something recreational, its message is profound, it is an appeal to this whole society that lives quietly without questioning the health of our planet and of those who continually suffer collateral damage resulting from political or racial conflict.
German Army has always worked anonymously and will continue to keep his identity hidden. For this reason, from Industrial Complexx we offer their followers, and all those who wish to know how the mind of this North American project works, a pack that combines their music and a book that gathers all the concerns and secrets of German Army.

"- log p" is the debut release by the Hamburg based improvising duo David Wallraf and Klaus Frieler. The group takes a contemporary approach to classical concepts of Minimalism and Kraut. Repetition and layering are some of the main characteristics in the creation of rhythmical complexity through drums, field recordings and electronics.

On Drøm, HALSHUG expands their sound from the dirge-driven d-beat of their earlier albums Sort Sind (2016) and Blodets Bånd (2015), and explores the dynamics of longer songs, more audible lyrics, and altered tempos, which result in different shades of industrial, dark-wave, and post-punk.

Drøm was recorded by Simon Sonne (Orm) in Copenhagen, mixed at Dead Air Studio in Western Massachusetts (The Men, Warthog), and mastered by Peter Peter (The Sods, Bleeder).

Limited Picture Disc 7“

Mit „Hey Tú!“ entfesseln Hocico eine ihrer aufregendsten Kollaborationen: Gemeinsam mit Rafael Reyes von Prayers liefern die Industrial-Electro-Pioniere eine gnadenlose, zweisprachige Hymne über Verrat, Wut und Selbstermächtigung. Ein Aufeinandertreffen zweier unverkennbarer mexikanischer Stimmen, die ihre Karrieren auf schonungsloser Ehrlichkeit und furchtloser Selbstentfaltung aufgebaut haben - und nun gemeinsam die Welt in Brand setzen…
Musikalisch ist „Hey Tú!“ ein aggressiver, treibender Track, der sofort in Bewegung versetzt. Hocicos typisches Industrial-Venom trifft auf kantige EBM-beats und kreiert eine Energie, die Körper und Seele gleichermaßen befeuert. Es ist vor allem das explosive Zusammenspiel von Erk Aicrags gnadenloser Wut und Rafael Reyes’ ungehaltener Provokation, das den Song auf ein ganz neues Level hebt. Lyrisch ist der Track ganz bewusst konfrontativ - auf Englisch und Spanisch rechnet „Hey Tú!“ scharf mit Verrat und falscher Spiritualität ab. Zeilen wie „You’re a poser, you’re a loser, you’re a fucking fake“ oder „Soy el infierno que viene por más“ lassen keine Fragen offen: Das ist Kriegspoesie für eine digitale Generation, aufgeladen mit persönlicher Wahrheit und ungefilterter Wut. Der Song prangert Heuchelei an, entlarvt Opferrollen als Machtspiel, und holt sich in jeder gebrüllten Zeile die eigene Stärke zurück. Der Refrain „Hey tú! come mierda“ wird zum gnadenlosen Schlachtruf. Und in Reyes Worten „Without me, your name carries no fucking weight“ ist die Botschaft eindeutig: Es geht um Vermächtnis, um Verrat, und um das unerschütterliche Selbstbewusstsein jener, die ihre Narben mit Stolz tragen. „Hey Tú!“ ist ein musikalischer Mittelfinger an Blender, Mitläufer und spirituelle Hochstapler. Hocico und Prayers zeigen sich hier von ihrer rohesten, aggressivsten Seite.

The 57-member neural necromancers Itchy-O have returned to unleash Sypherlot / Hallowmass 2020, a double-live album recorded during the chaos collective’s groundbreaking 2020 drive-in concert series. It was against this backdrop of isolation and suspended reality that Itchy-O heeded the call for a radical evolution in shared catharsis and new sonic experiments: short-band radio broadcast turned each car interior into a private listening experience for a post-apocalyptic simulation, while roving bands of mysterious beings opened a temporary escape portal with contactless chaos, engulfing each and every vehicle in rite and ritual for the ages. As the blaring car horns attested, these incredible live performances delivered a needed spirit-lift in the absence of concerts as one knew them amidst shuttered music venues, lighting a proverbial and literal torch during one of the darkest moments of modern history. Double live shows via short-band radio during the pandemic of Denver-based 57-member percussion-centered electronic ensemble.

The incredible posthumous solo album from Front Line Assembly-member Jeremy Inkel Hijacker is an album that celebrates Jeremy Inkel's life. It's an album of hard-hitting EBM and techno grooves and industrial dancefloor experiments. But it's also an album about late-night work. It's about life on the road and life in back-stages, about life in small towns and love in big towns. Hijacker shows its influences: acid techno looms large, as does early WaxTrax dancefloor 12" records. Fans of Stephan Bodzin will hear his unique style in the mix, and repeat listens will bring out deeper doses of Deadmau5, The KLF, and, of course, the modern sound of Front Line Assembly, which Jeremy had such a hand in shaping.

Lemegeton Party is the narcotic and occluded industrial-ambient debut for the Junkie Flamingos, a project conceived in 2017 by Luca Sigurtà, Alice Kundalini, and Daniele Delogu. Each of these musicians has their distinctive sounds: Sigurtà with his vertiginous electronica, Kundalini best known as the author behind the death industrial project She Spread Sorrow, and Delogu in the bombastic folk of the Barbarian Pipe Band. Their collective amalgamation shifts but does not denude each of these aesthetics in the construction of this oblique, sidereal album.

Inspired by Freidrich Holderlin’s Hyperion, Lemegeton Party is gilded with a neoclassical sheen that alludes to both the divine and the diabolical. Kundalini’s whispered invocations which have so creepily effective in addressing psychosexually abject conditions in She Spread Sorrow are immediately recognizable here. Yet, she shifts the content towards messages of power and strength, even if cast in the shadows of desolation and solitude.

The arrangements ebb and flow upon a rhythmic spine of drum machines and cybernetic sequences, laden with acoustic instrumentation bathed in effects and treatments that all serve to bolster Kundalini’s allegorical declarations. To think of Coil’s post-MDMA experiments in chill-out isolationism wouldn’t be far from the mark, with the Junkie Flamingos making a stark nod to the slow motion, proto-techno torpor of Elettronica Meccanica instead of ‘90s British rave culture.

Mastered by James Plotkin and photograph by Stefano Majno.

If Punk culture and Aesthetics have a poet, it’s undoubtedly KŌ MACHIDA. Eleven years after his 1981 masterpiece “Inu”, the Artist—now a celebrated writer and distinguished professor—repeats that success with this album, updating its sound for the modern era with the support of the band Kitazawagumi. Here, the power and expressiveness of the music perfectly elevate the weight and meaning of his words. Reissued for the first time with meticulously retranslated English lyrics included, this is a chance to share a universal literary and musical masterpiece with the world.

Reissued for the first time, Maximum Joy's fourth 12", led by their amazing Timmy Thomas rendition and originally released on Garage Records in 1983. Includes an unreleased and restored version of the title track plus three extra live tracks recorded in Germany in 1982.

Methods of Mayhem was Tommy Lee’s first project after leaving Mötley Crue in 1999. He was joined by rapper Tilo and released their self-titled album that same year. It charted on the US Billboard 200 at #71 and went on to be certified Gold by the RIAA. The album features two singles, “Get Naked” and “New Skin”, and is full with guest appearances
- Fred Durst (Limp Bizkit), Snoop Dogg, George Clinton (Parliament-Funkadelic), Lil’ Kim, Mix Master Mike (resident DJ of Beastie Boys), Kid Rock, U-God (Wu-Tang Clan), Scott Kirkland (The Crystal Method) and Filthee Immigrants.

Industrial, post-punk recommended for fans of Chrome, Brainiac, Six Finger Satellite, Cabaret Voltaire, Foetus, Italian Occult Psych scene, Gnod.

Paranoid, alone, possessed, vibrant… has this ever been your state of mind on your morning commute to work? Just a human lost in the city, lost in the sea of machines, overwhelmed by fate, facts and the inevitability of those train tracks that someone has already laid out for you.

American industrial metal band Ministry was founded by lead singer Al Jourgensen in 1981. Originally a new wave synthpop outfit, Ministry changed its style to become one of the pioneers of industrial metal in the mid-‘80s. In Case You Didn’t Feel Like Showing Up is a live album by the band. The record was originally released in 1990 and contains the live show performed in Merrillville on February 22, 1990. It is six songs long, but delivers big time for each of them. The energy, the maniacal chaos and an order under the surface of this chaos. In 2005 In Case You Didn’t Feel Like Showing Up was ranked number 328 in Rock Hard magazine’s book “The 500 Greatest Rock & Metal Albums of All Time”.

In Case You Didn’t Feel Like Showing Up is available as a limited edition of 1000 numbered copies on silver vinyl. The package includes an insert.

Includes previously unreleased / bonus tracks and early versions

Holuzam's third release features a fearless long-time sound activist: Ondness is one of many aliases of Bruno Silva. You may know him from Sabre (with Carlos Nascimento) or solo as Serpente; under the Ondness alias he’s been putting out music on Where To Now?, Seagrave or Sucata Tapes (a sister label from Discrepant). “Not Really Now Not Any More” is a beautiful resilient piece, mastering the fine line between album and mixtape.

Both the title and the contents of “Not Really Now Not Any More” have been inspired by the idea that we are constantly floating around unfinished ideas. The title is taken from a graffiti that inspired Alan Garner to write “Red Shift” (Mark Fisher wrote about it in his book/essay “The Weird And the Eerie”). The typo and the idea around “not really now not any more” serves this album perfectly well.

During its ten tracks, Ondness is constantly going back and forth on the way he explores soundscapes and how they can pair up with their own resolution. Nothing in “Not Really Now Not Any More” is really finished but also it isn’t unfinished. It’s a subtle idealization of the importance of accepting how things are. “Torre” starts and ends the album as two different songs sharing the similarities – not only the title – that encapsulate the whole essence of “Not Really Now Not Any More”.

“Esquina, Espera” points out this whole idea of never-ending construction, it’s dub-ska-industrial- techno perfectly crafted to make the listener feel the freakish anxiety that we have to be everywhere right now. It’s pop-up music, constantly moving and fading away, reappearing with a new idea and then leaving it out in the open. It tells the listener about how it lacks ideas because it contains too many ideas.

Those ‘too many ideas’ make this a perfectly fit record for 2019. Music that is everywhere and nowhere. But it's not loud or trying to show off. It lets the listener peel its skin and find the magnificent sci-fi extravaganza that “Not Really Now Not Any More” inspires. Going nowhere being somewhere. Do you feel me?

You have in your hands the third release of Miguel A. Ruiz alias Orfeón Gagarin for Verlag System. This is the reissue, for the first time published on vinyl and digital disc, of his first album of homonymous title published in 1986. A record considered as a reference of electronic music underground Spanish, first release of record label Toracic Tapes , also reference of the independent Spanish record labels.

“The elaboration of the timbres and the envelopes, the treatment of the voices, the construction of the sequences ... all assembled with mastery in a timeless work. In short, its edition on vinyl is more than wise and deserved.”

Teo Martínez · Cloruro Sónico


“This Orfeón Gagarin’s debut of 1986 sounds to the XXI Century and collects the savoir-faire of Miguel. The signal of the DIY punk spirit is evident.

It is a clear designation of origin for that underground electronic eighties cassette from outdated Madrid; the one who had no place in the exquisite “movida madrileña” (madrilean new wave). It is evident that "In vitro process" could never access that Olympus of the gods. It is perceived in courts as "Last Instance" to that young man who is around the twenties, who hears crackling needles of the turntable in the groove of the German LPs of Sky, as it would happen to the founder of Mute Records or the ambient series of Eno in "Eucarystics”.

It is that crude, hard cover, full of thick points, that portrays the viewer's gaze beyond the shape of the dish. This image captures the essence and mystery of this album.

Do not be deceived, that look goes beyond the O.V.N.I. and from human finitude observes with stupor the immeasurableness of the cosmos, its infinite, its power.”

Antoni Aura · Tagomago Fest/Verlag System

“Toracic belonged to a second wave, along with other labels such as IEP or Proceso Uvegraf, among many others that appeared throughout the Iberian Peninsula (Spain-Portugal). The first cassette of O.G. it was undoubtedly the most original that I had heard inside that alternative and underground world: synthesizers with welltreated electronic home recordings and effects, in a unique mix of experimental, industrial music, ethnic sounds, glimpses of electronic pop, ambient..., very inside the home spirit and the "do it yourself" of that time.”

Andrés Noarbe · Rotor/Geometrik Records

Massive bass. That was the idea behind Primitive Ignorant. That and history; his and Britain’s. Primitive Ignorant is Sym Gharial from 80s Matchbox B-Line Disaster and Sikh Punk is about him growing up as a Ladbroke Grove Sikh; not fitting in until he found release with punk rock, bands and, for better and worse, drugs. It looks at the Brexit-fuelled return of the racism he experienced as a kid and traces its roots back to the lingering arrogance of Colonialism and Empire.

It's digs into rejecting his Sikh roots, bleaching his skin, (in peak whiteness, Sym appears on the cover of Pulp’s Different Class), experiencing addiction, racism and coming out the other side, completing a redemptive arc. Sym’s been clean for ten years and embraced his Sikh roots, wearing a turban once more at his wedding last year.

Sikh Punk is loosely inspired by Sandinista, his favourite Clash album as he pushes into new musical genres. There's no guitar, for a start. From the outset, the idea was to carve out a HEAVY POP between Health’s rough edges and Chromatics’ reverie although inevitably it ended up somewhere quite different. He's a bassist so Sikh Punk is bass-driven, using R'n'B production tics to make it kick hard. Sym is not, however, a singer, so aside from some screaming and BVs, he's found other people to sing his very personal lyrics: casting him as the record’s id and other voices as its ego.

Leonore of International Teachers Of Pop sings on Dress Like Me; Jon from The War On Drugs added mournful Jerry Dammers' brass to Sikh Punk I-V, narrated by Sym’s nephews Ivo and Sahib, IDLES’ Joe Talbot and Sym’s hero, Mick Jones from The Clash, reading extracts from Oscar Wilde's Ballad Of Reading Gaol and Panthea. Bess on Worship Art is an old friend from Ladbroke Grove, Daisy on Beautiful Scum he met online over lockdown and Le Junk is a friend who sits close to Iggy’s edge; Pete Teleman puts in an appearance; Katie Kaboose sings White Jeans and Eyeliner about an old friend Adam who turned him onto art and cinema but died at 17. There are found sounds throughout from Portobello Market and it’s all mastered by Barry who cut Like A Virgin, Prince’s Kiss and the last Radiohead record. Primitive Ignorant’s visual collaborator, Steve Gullick supplied the sleeve to the limited vinyl edition and shot the Ballad video.

Prong’s distinctive industrial Metal sound influenced subsequent bands such as Korn and Nine Inch Nails.

Former New York club CBGB’s soundman Tommy Victor founded Prong in 1987 as his outlet for sonic fury. Having their roots in the Thrash Metal and Hardcore scenes, Prong carved a niche for themselves - groovy, angry, massive; just perfect mosh music.

The trio wrecked stages and impressed audiences all over the world. They built on their signature sound with their 4th full length album Cleansing. Aptly titled, the album indeed cleansed their sound, resulting in 12 stripped down, highly effective musical precision bombs. The single “Snap Your Fingers, Snap Your Neck” became one of their significant highlights.

Cleansing is produced by Terry Date and feat. ex-Killing Joke members Paul Raven and John Bechdel. Prong will be performing the album live around the globe in 2019.

This is a limited 25th anniversary edition of 666 individually numbered copies on silver & black marbled vinyl.

Qual, the solo project of William Maybelline from Lebanon Hanover, is back with his new EP. Oldschool EBM mixed with Industrial Electronics and heavy rhythms. A great remix is also included by the amazing artist Sarin. Pressed on Transparent Red with Black. LTD Edition of 500 copies.

The third release looks back to Italy to show the work of ‘Religius Order’, a young producer that we have followed for a long time and who already has a few works in which he travels through the Darkwave and the Industrial with ease and mastery.

This “Al Dirsi Di Osiride” that he presents through Industrial Possession includes nine tracks in which predominates dense and dark environments combined with slow rhythms that evoke pagan dances in basements full of smoke and vice.