The stunning orchestral soundtrack is written by three-time academy award winning composer and conductor Howard Shore. Shore’s score credits span over 90 films, most notably for The Lord of the Rings and The Hobbit film trilogies. A long-term collaborator with writer and director David Cronenberg, Crimes of the Future marks Shore’s 16th feature film collaboration with him since 1979.
Set in a not-so-distant future, Crimes of the Future depicts humankind learning to adapt to its synthetic surroundings and, as humans alter their biological makeup - some naturally, some surgically - the body itself becomes art. With his partner Caprice (Léa Seydoux, No Time to Die, The French Dispatch), celebrity performance artist Saul Tenser (Viggo Mortensen, A History of Violence, Eastern Promises), publicly showcases the metamorphosis of his organs in avant-garde performances. Timlin (Kristen Stewart, Spencer, Twilight), an investigator from the National Organ Registry, obsessively tracks their movements, which is when a mysterious group is revealed… Their mission – to use Saul’s notoriety to shed light on the next phase of human evolution.
The infusion of electronic music into the score ultimately expanded into the inclusion of 11 remixes on the album, and it was an amalgam of inspirations which brought that idea to fruition. Both composers have worked extensively with electronic music, including their work on the celebrated, techno-infused Run Lola Run soundtrack.
Track A1 recorded live in San Francisco, The Warfield.
Track A3 recorded live in Warszawa, Sala Kongresowa.
Tracks A2, A4, A6 and B3 recorded live in Moscow, Lushniki.
Track A5 recorded live in Tokyo, Shibuya AX.
Track B1 recorded live in Tallinn, Exhibition Hall.
Track B2 recorded live in Riga, Olimpiska Hall.
deleted
The Item is out of Stock. We will send You an Email as soon as it´s available again if you click on "in Stock Mail"
Black Vinyl, DL Card. Following Lucy Gooch’s acclaimed ‘Rain’s Break’, her first release on Fire Records earlier this year, the artist’s acclaimed debut EP ‘Rushing’ is revisited with new artwork and a brand new track, ‘Orthione’. “Lucy’s sound marries the etheral qualities of ambient music with buoyant, effortless pop” Crack ‘Rushing’ in its original shorter five-track incarnation was heralded as a touchstone beneath the cascading torrent of modern times and an oasis for turbulent times. An intimate collection of songs built around Lucy’s emotive vocals and unique ambient dream pop, the newly added stand-out track ‘Orthione’ trips into the esoteric world of Laurie Anderson and Philip Glass; here her voice is the grounding force that travels to a space that heals and grows. “For an artist whose favourite trick is the seemingly infinite crescendo, she clearly knows the value of restraint” Pitchfork // “Expansive, upfront, spectral pop” KEXP // “The pastoral element of the music resonates more as you tune in to Lucy’s unique vocal.” Loud And Quiet
Ground Groove, the third full-length release from the LA-based, Iranian-American producer and DJ, Maral, begins with an invocation: the sprawling, achingly heavy Feedback Jam opens the floodgates of history. Conventional (linear) spacetime collapses, crushed beneath the track’s lumbering 4/4 heartbeat and successive waves of distortion. As each wave recedes, samples trickle forward in the mix — seeking, perhaps, to fill the void. Voices and instruments rise and fall in uncanny reverse. Overlapping, implied melodies flicker into focus, then flit away. Feedback Jam is at once an initiation ritual, and a thesis statement for the record that follows.
Drawing upon a vast personal archive of Iranian folk, classical, and pop recordings (some sourced from mixtapes made by her parents in the eighties/nineties), Maral presents, on Ground Groove, a further refinement of the signature “folk club” sound she developed as a live DJ— a sound she would later codify on Mahur Club (2019) and Push (2020). By collecting, dissecting, and re/presenting sonic fragments from Iran, Maral practices a kind of dance-floor ethnomusicology. The subject of her inquiry: Iranian
culture and contexts, throughout history and in the present. But, crucially, this inquiry is instantiated within and throughout the body of the listener, whether this listener is dancing in the club, or riding the train, nodding along with headphones on.
Maral speaks of being in collaboration with her samples, treating each as a distinct bandmate, often consulting with an artist’s catalog (or even a single recording) as one would a trusted creative partner. In so-doing, Maral claims to seek to transcend the self. In this regard, her output neatly triangulates contemporary dance and heavy music with much of the traditional religious music that she samples. Broadly speaking, each of these idioms addresses a desire —shared by audience and performer alike—to transcend the self through volume, repetition, and movement.
Having, in her youth, studied the Setar under Nader Majd (the founder of Virginia’s Center for Persian Classical Music), Maral cycled through various genres (ex: punk, emo, dub) in her adolescence and early twenties, all the while expanding her knowledge of, and appreciation for, Iran’s diverse musical traditions during regular summer trips to Tehran. In college, Maral taught herself to make beats with a ripped copy of Ableton (which remains her DAW of choice), eventually transitioning to playing and hosting various club nights. Forever abiding by an autodidactic, DIY impulse to create art and foster community, Maral relocated to Los Angeles in 2013, where she quickly immersed herself in the city’s numerous overlapping music scenes.
Collaboration (beyond sampling) has proven an important component of her process, with notable spoken word contributions from the likes of Lee Scratch Perry and Penny Rimbaud, as well as a 2021 Panda Bear collab track (On Your Way), which the Animal Collective founder co-produced. Maral is equally attentive to the visual components of her records (album art, music videos, etc.), drawing upon the work of peers and friends for inspiration.
Indeed, the genesis of Ground Groove can be traced back to an audio-visual collaboration between Maral and the artist Brenna Murphy, originally commissioned for the 2021 Rewire Festival — a project that would eventually serve as the album’s foundation. Tracks eight through eleven on Ground Groove comprise Maral’s half of this installation, with tracks one through seven composed afterwards, inspired by the fruits of Maral and Murphy’s collaboration. Murphy’s visuals will be released alongside Ground Groove as a visual accompaniment. Additionally, Murphy designed the album’s art, directed the video for the lead single (the aforementioned Feedback Jam), and is featured on track six, Shy Night.
Composed largely on Ableton, Ground Groove features more frequent and more prominent live recordings from Maral (guitar, bass, and vocals) than either Push or Mahar Club. The cult favorite Roland MC-909 groovebox rears its head on Mari’s Groove. Mixed by Trayer Tryon (Hundred Waters) and mastered by Daddy Kev, the attention to sonic quality on Ground Groove constitutes another significant step in Maral’s development as a studio artist.
Ground Groove’s eleven tracks are “grooves” in the obvious sense, in that they are each driven by a persistent, propulsive rhythm, but the album’s title may just as well suggest the glacial passage of time—the scope of human history, in which individual voices, like streams, carve paths (impossibly) through earth and stone, winding their way to the vast sea of the present.
Since the release of mau5ville: Level 1, the project has gained over 40M streams globally. The multiple JUNO award-winning and Grammy nominated, deadmau5, has enjoyed international platinum -certified chart success, seven critically acclaimed albums and is one of the most respected electronic music producers today.
deleted
The Item is out of Stock. We will send You an Email as soon as it´s available again if you click on "in Stock Mail"
A unique collaboration between Industrial Breakbeat pioneers Meat Beat Manifesto (Jack Dangers) and the undisputed king of Japanese noise, Merzbow (Masami Akita). "We may not speak the same language, but in the vortex of sound, there's a raw, primal understanding that transcends words. Noise can be art, a visual representation could maybe be Jackson Pollock's No 5, a plexus of chaos redefining what music can and could be. Pushing boundaries with Masami wasn't just a musical adventure, it was a masterclass in sonic anarchy"
(Jack Dangers, January 2024). 'Extinct' sees the duo take listeners on a transcendental journey, focusing on the dismantling of beat and structure and recycling the result through layers of beautifully crafted noise and feedback loops, giving birth to new rhythms buried deep in the dirt. The 20 minute opener 'FLAKKA' takes constantly evolving breakbeats which are gradually broken down over time, driven through a filter of harsh noise, destroying the old to give birth to the new. Raw and unforgiving, the track is a behemoth that blends mutant forms of broken beats and hints of dub, creating rhythmic noise of the highest calibre in the process. 'Burner' takes the record to its ultimate conclusion, the initial drum beat broken down so that it is barely recognisable. Pulsating distortion and high end audio fragments bleed into each other as the track lumbers forth and destroys everything in its path before slowly unravelling, degrading and falling apart. A harrowing yet somewhat cathartic trip through walls of harsh industrial noise and audio degradation, 'Extinct' is a masterful pairing of artists who have delivered something truly unique yet totally relevant. Don't sleep on this one! (Todd Robinson / Subunit) Composed, recorded and produced November 2023 - January 2024 by Jack Dangers and Masami Akita.
In May 2021, for an exceptional residence on the Haunted Lighthouse of Tévennec, Molécule signs a new, mystical project straight out of the shadows. Faithful to his artistic dogma, the artist has entirely composed this album located in Tévennec's lair, at the gates of hell.
An Electronic and Ambient sound manifesto, stuffed with soundfield recordings: a rift towards the beyond.
deleted
The Item is out of Stock. We will send You an Email as soon as it´s available again if you click on "in Stock Mail"
When I finally lowered the Mordant Music portcullis after 20 years of sauntering alongside the mainstream I signed off with an EMS-based album entitled Mark of the Mould several tracks from which I re-worked for a Sony/KPM online-only library music release entitled Synthi Spores…during the ensuing C-19 castaway phase I composed a further hefty batch of library-style tunes intended for a mooted album with Sony/KPM, which was looking distinctly likely until my contact there vamoosed and corporate ‘reshuffles’ left the music abandoned and huddled in a folder on my desktop - classic ‘industry’ fayre I've witnessed many times and KPM itself has now moved St. Elsewhere…enter CiS, who had also previously re-released the Dead Air album and an eMMplekz 12” , to resuscitate ’n’ rally my underscores ’n’ jingles with their renowned gusto…myself and Phil Heeks fashioned a classic KPM-style ‘1000 Series’ sleeve and a random web pop-up provided the ad-hoc title (I was searching for raw plugs at the time)…I’ve made untold library tracks over the years for firms such as Boosey & Hawkes, Cavendish, Universal and Pifco etc and these are certainly some of my favourites, running a gamut of dinky styles for adverts, film and Netflix, whatever that means these days…njoi/endure, IBM
deleted
The Item is out of Stock. We will send You an Email as soon as it´s available again if you click on "in Stock Mail"
Strawberries ripen in the spring. Or so they used to, in a more reliable world, one that seems to be rapidly receding in our collective rearview mirror. Presently, “spring” is a troubled concept — fraught with anxiety. Our seasons, if they are seasons at all, are paradoxical. Crops fail, or they ripen prematurely, all at once, and into a burst of rot. Impossibly, somehow, the supermarket shelves stay stocked (mostly, for now at least), and there are buckets of strawberries on every corner. But, of course, their nature is suspect. And they don’t taste like they used to. Or maybe that’s just ruinous nostalgia. But somewhere along the way we certainly lost something. Everybody knows.
Strawberry Season (Leaving Records, November 9 2022) responds tenderly to this sorry state of affairs, not with false comfort — nor escapism. Rather, the album conveys, often wordlessly, that there remains an abundance of sweetness amidst our increasing unease. While much of twentieth century American popular and folk music may have dwelt on the beauty and plenitude of the prairie, More Eaze applies a similar Romantic focus to the small bursts of fecundity that now hide in plain sight. Blending found sound, generative music, a knack for elegant, classically-informed melodic arrangement, and a sort of Liz-Fraser-by-way-of-hyperpop approach to vocals, Strawberry Season offers unique solace — providing an occasion for the kind of deep listening that our overstimulated and undernourished spirits require if there is to be any hope at all (and of course there must be hope).
More Eaze (serving as composer, songwriter, multi-instrumentalist, producer, and sound artist) guides us incrementally to this locus of attentiveness. Strawberry Season begins with the softly sweeping gentle pets. Early intimations of Velvet Underground give way, indeed, to a string arrangement that John Cale might have saved for Paris 1919. The second track, Suped, features a kaleidoscopic swirl of grocery checkout scanners that eventually coalesce and release with the subtle strumming of a harp. On known, in the midst of a nearly elegiac outflow of feeling, a shower starts to run. Someone steps inside, pulling the curtain back, sending the plastic rings clattering. Moments later, the unmistakable sound of the showerer blowing their nose — an inclusion that is at once light-hearted and jarringly, movingly intimate.
Strawberry Season’s second to last song, low resolution at santikos, serves as a sustained meditation on all that has come before it. Building slowly throughout its nine minutes, teetering, at times, on the edge of danceability, it dissipates suddenly, and Strawberry Season concludes with the rustling of clothes, snippets of distant conversation, creaking floorboards, an exhale and a sniff. There is a feeling of having arrived, of temporary reprieve in the face of uncertainty. A hint of a season yet to come, or one that is perhaps only now accessible in dreams.
Nu Vision is Nipponese modernist kosmische that is therapeutic, multicolored, and alluringly strange, like a bioluminescent valley on an exoplanet discovered by a JAXA probe. With chopped-up kabuki howls and moonlit koto plucks placed ecstatically around floral billows of ambience and candy-coated synthesis, it at least approximates a picture-book about traditional Japan, cut-up and recombined to become an instruction manual for building the aforementioned spacecraft. The author of such a guidebook, Yuji Namiki aka began as a rapper and beatmaker, using hip-hop as a launchpad to traverse the plethora of genres he would later uncover during a formative stint working at a record shop in Tokyo. The musicological momentum he gained there would eventually lead him to establish his own label, UGFY Records, through which nubo and his peers continue to explore techno, acid-house, synthesis, and other electronic psychedelia. However, a marked shift toward the contemplative tone of Nu Vision arose out of spiritual necessity after Namiki's parents, concerned for his mental well-being as he slipped (understandably) further into dissatisfaction with the modern world, insisted he admit himself to a psychiatric hospital for three months. The pharmaceutical treatment he received there left him feeling creatively and emotionally detached. In his own words "judging that the world is sick, I was hospitalized, and it took me a year and a half," before he was able to make music of any kind. When the time finally came for nubo to retrace the musical steps inward to his sense of self, contemplative sounds became the torchlight by which he illuminated the path. "It was time," he says "to face my mind." He emerged with a Nu Vision, so to speak, one that folds his view of himself, his home country, and the cosmos at large into a psychospiritual codex of sound that only nubo himself could have fostered into existence. "The illusion for me is now the present world itself," he explains, "when we can see the world as being full of love, the scenery changes dramatically and we realize that life is infinite."
deleted
The Item is out of Stock. We will send You an Email as soon as it´s available again if you click on "in Stock Mail"
Logical Absurd is very proud to present the 20th Anniversary of the album "She And Me Fall Together In Free Death" by Nurse With Wound. "She and Me Fall Together in Free Death" is probably the most approachable, largely "musical" album that NWW has released since Rock N' Roll Station. It's also one of his strangest concepts, a marriage of trance inducing Krautrock grooves with a traditional jazz standard and some jarringly atonal musique concrete. Side A is the 20- minute title track: a slow-motion jam reminiscent of of one of Can's sidelong tracks on Tago Mago or the more avant-garde grooves of Tony Conrad and Faust's Outside the Dream Syndicate.
The propulsive Jaki Liebezeit drumbeat is the foundation for a long jam session with what sounds like a dijderidoo and layers of guitar feedback. It's a massive, heavy sound, the kind that Julian Cope would devote a whole chapter to in his "Kratrocksampler". Side B is one long piece with three distinct movements. Beginning with those familiar, World Serpent-trademark windchimes, the listener is quickly ushered into Staple- ton's singing debut (!) in a rendition of the oft-covered traditional jazz ballad "Black is the Color of My True Love's Hair" This was a favorite of the recently deceased Nina Simone, and also of the avant-jazz screamer Patty Waters. Nurse With Wound's version is backed by cello drones, repetitive guitar strums and tambourine, sounding very much like The Velvet Un- derground's "Venus in Furs".
It's such a treat to hear Steven Stapleton's multitracked vocals cover this classic song, and this eerie version rates as one of my favorites. This song and the title track prove to the naysayers that Nurse With Wound is equally adept at rock n' roll songcraft as he is at demented sound collages. The creepy jazz cover seques into "Chicken Con- cret (For Missy E)", a truly warped tape-edit job that juxtaposes chicken squawks and sythesized birdcalls with random bleeps, speaker hiccups and gongs.
Nurse with Wound's epic Thunder Perfect Mind was originally released in 1992 on United Dairies and was a sort of twin sister album to Current 93's album sharing the same title. Both albums featured contributions from Coil's John Balance, David Tibet, Colin Potter, Rose McDowall and more. A masterclass in ominous ghostly atmospheres and mind-warping psychedelic sound collage, this enhanced, extended and remastered edition has been overseen by Stephen Stapleton himself.
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?
deleted
The Item is out of Stock. We will send You an Email as soon as it´s available again if you click on "in Stock Mail"
Originally released in 1982, Pascal Comelade's Sentimientos is one of the most elusive and sought after LPs in the French composer's vast catalogue. Recorded on a two-track Revox machine, the album is an eclectic series of brief pieces – only two of the twenty tracks exceed four minutes – showcasing his poetic imagination and impressive range.
While much of Comelade's early work hints at many of the major electronic movements to come, Sentimientos remains earthbound and organic. Melodic fragments performed on piano, organ, plastic saxophone, vibes, guitar, toy piano, ukulele and synthesizer place Comelade's boundless creative spirit on display.
It is telling that Comelade chooses to cover a Brian Eno tune not from the ambient pioneer's seminal Music For Airports, released just four years earlier, but rather the more traditional "Taking Tiger Mountain," here rendered to highlight the song's previously hidden hymn-like qualities.
Like fellow countryman Ghédalia Tazartès, there is something distinctly unclassifiable about Comelade's music. Undoubtedly, the two artists share a flair for the mischievous.
Sentimientos is an unapologetically whimsical, frequently dizzying and loveably anarchic album of manic energy and radiant mystery – a perfect introduction to Comelade's singular musical mind.
deleted
The Item is out of Stock. We will send You an Email as soon as it´s available again if you click on "in Stock Mail"
On Electro Records' ''Sci Fi Electro'' series, each artist has created a 15 minute track for each side of the record, taking you from pure electro tracks to very experimental compositions, sounds and atmospheres. Each side is divided in ''movements'' in a continuous morphing process without any pause between different tracks. The series is a collection of seven releases inspired by the following films created in the 20th century: THX 1138, 2001 A Space Odyssey, Blade Runner, The Thing, Akira, Terminator and Tron.
deleted
The Item is out of Stock. We will send You an Email as soon as it´s available again if you click on "in Stock Mail"
Traveling the spaceways as Spiral Galaxy, flautist/painter Sara Gossett and treated guitar/machines manipulator Plastic Crimewave (of Plastic Crimewave Syndicate/Galactic Zoo Dossier magazine) have created devotional sonic voyages and droney soundscapes with the occasional rhythmic pulse to conjure the textural and kosmische vibe of 70s German seekers like Yatha Sidhra, Emtidi, Popul Vuh, Achim Reichel, Sand, and early Kraftwerk. The duo have just completed their first album, expansive tracks they had been performing live on tours in the UK and Italy, plus USA events like Chicago Psych Fest, Milwaukee Psych Fest, Far Out Nashville festival, and The Feed Me Weird Things series in Iowa City.
Treating the studio as an instrument, new layers, instruments and collaborators were added to the heady mix, like special guests Jean-Hervé Péron of legendary avant-German collective Faust (who Spiral Galaxy was lucky enough to open for, and collaborate with on stage); Kawabata Makoto of Japanese communal psychlords Acid Mothers Temple on chants and spoken voice; and Alisha Sufit of UK 70s eastern-folk band Magic Carpet (also chanting her heart out). Also appearing on the album are guitar wunderkind Ryley Walker (playing backwards guitar on this, not easy!), Taralie of Spires that in the Sunset Rise on Terry Riley-ish circular sax, sitar-player Hands of Hydra, Moog-maestro Will MacLean of Protovulcan, and Christian Luke Brady of meditative Virginia cosmonauts Fargon. What results is a dense, hallucinogenic, sonic tapestry of an LP that covers many moods—from divine soundscapes to Krautrock's motorik beats, doomy experimental pieces to dark acid folk, and beyond.
deleted
The Item is out of Stock. We will send You an Email as soon as it´s available again if you click on "in Stock Mail"
Kristian Jabs is one of Bristol’s favourite sons in the modern era of electronic music. As Pessimist, Boreal Massif and Soft Boi, Jabs has solidified his position as a leader of a generation of artists. In his latest carnation Jabs presents ‘Too Long’, a new 7 track album project under a new artist moniker of Stigma. Enlisting a prolific cast of collaborators in the form of L, Justin K. Broadrick (Godflesh, Napalm Death, JK Flesh), Taylor E Burch (Tropic Of Cancer, DVA Damas) and Karim Maas, Too Long clocks in at almost 40 minutes of personally reflective, intimately authentic cyber-noir-esque trip hop. Industrial anarcho breaks, syncopated sleaze, analogue call and response. Too long is a tale of texture, feel and tone. Unadulterated. Aiming to shine a light on the relationship between poverty and mental health issues in the UK, all proceeds from the album will be donated to Second Step Bristol, a charity dedicated to supporting people with mental health problems, gently acknowledging the possibilities for change.
deleted
The Item is out of Stock. We will send You an Email as soon as it´s available again if you click on "in Stock Mail"
Long-time friends, and trustful party partners , the Brussels duo, Techno Thriller, joins the Teenage Menopause Records family with a batch of slow and cranky misshapes. During the past decade, we've linked them with the filthy EBM and chopped Indus-Techno they’re performing during massive lives, stabbing the dark rooms audiences. Two albums released on both l’Entorse and the Brussels’ pioneer Unknown Precept, integrating the C12 agency, they scoured Europe, releasing some smoky tracks, for those who love cinderblocks, leather and sweat. On the strength of this impeccable resume, they’re offering, now for Teenage Menopause, a free-reading of the Decameron: a 10 texts chronicle, by the florentine Boccace, describing the spread of the Great Plague of 1352 in his city. While exploring the limits of new sounds, expanding electronic music, Techno Thriller looks back into their medieval influences, sharpening the blades on the literature of British authors, cutting guts on dark folk moods. The rhythms are slow, the gears are dedicated to building a dark and gloomy feeling, helped by featurings like Naomie Klaus or violinist Tamara Goukassova.
deleted
The Item is out of Stock. We will send You an Email as soon as it´s available again if you click on "in Stock Mail"
On Electro Records' ''Sci Fi Electro'' series, each artist has created a 15 minute track for each side of the record, taking you from pure electro tracks to very experimental compositions, sounds and atmospheres. Each side is divided in ''movements'' in a continuous morphing process without any pause between different tracks. The series is a collection of seven releases inspired by the following films created in the 20th century: THX 1138, 2001 A Space Odyssey, Blade Runner, The Thing, Akira, Terminator and Tron.
deleted
The Item is out of Stock. We will send You an Email as soon as it´s available again if you click on "in Stock Mail"
The resurrection of the originators of Black Industrial. The limited edition 10" 'Ulvens Broder' is taken and adapted from the forthcoming album and features a very special B-side with Tomas from Ordo Rosarius Equilibrio.
180 gr Vinyl + insert, 12 Tracks. Again an unique compilation by leading Belgian re-release label Walhalla Records, specialized in Minimal synth. Following the widely acclaimed – and sold out - Underground Wave series, 5 albums released so far, and counting, there is now Volume 6 with mainly Belgian bands such as Onderbronders, White House White, Spleen, Tangible Joy, Blitzzega with a strong international presence by Hades from Brazil and SS20 from France. Again a wealth of ultra rare and previously unreleased material, deeply rooted in the electronic 80’s.
deleted
The Item is out of Stock. We will send You an Email as soon as it´s available again if you click on "in Stock Mail"
Warzou and Gil.Barte joined together for WARZABART side project, based on modular and analog setup. The album, recorded in a day at Big Science Studio by the duo, results into noise textures and industrial punk-pop vibes, cooked by layers. Struggle vocals arrangements from the french situation, polyrhythmic and disonnant wind instruments, for a dark club vision.
deleted
The Item is out of Stock. We will send You an Email as soon as it´s available again if you click on "in Stock Mail"
