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Crying Bamboos is a translation of the pidgin description of the sound of sacred flutes: "Mambu i cry, i cry, i cry".

Sacred flutes are blown to make the cries of spirits by adult men in the Madang region of Papua New Guinea. Pairs of long bamboo male and female flutes are played for ceremonies in the coastal villages near the Ramu River. There are seven male initiation flute cries from Bosmun, four flute cries from Bak: Borai with occasional single garamut percussion and two flute cries from Kaean, one with vocals and hand drums. The flute players were of the last generation to have learned this skill during a complete cycle of male initiation. These previouslyunreleased recordings were made in 1979.

Recorded by Ragnar Johnson

Notes by Ragnar Johnson and Jessica Mayer

Photographs by Ragnar Johnson

Tape to digital transfer and mastering by Dave Hunt at

Dave Hunt Audio, London

Cut by Rashad Becker at Dubplates and Mastering, Berlin

The new release features 6 tracks and follows Julien's critically acclaimed debut album, Fallen. Released in 2016, the autobiographical LP was a bold new direction for Julien, and the first release under his birth name. Over the years, the Apron Records boss' bold, experimental electronics, jagged club cuts and outside-the-box collaborations have seen him carve out a lane all of his own making. His debut LP was divided into two musically contrasting sides, and told the tale of a fallen angel though jazz-fusion, chiming soundscapes and dark acid-tinged techno.

Since his album release, Julien has continued his creative streak by playing across the globe, from Tokyo, Seoul and Shanghai to Montreal and Melbourne, and further developing his label, which released a string of underground 12's in 2017 from the likes of Max Graef, Hanna, Molinaro and more.

On 'Bloodline', Steven continues the soundtrack style mood of 'Fallen' - channeling ominous analog techno, drifting synth-house masterpieces, warm soul and hints of new age. Both the title and artwork is a nod to the influence of Julien's family on his rich musical world and distinct nonconformist style, explaining how: 'the influence my family has given me growing up and my ancestors from Africa to native Indians from the Caribbean, has all played a big part in the music I create.'

Recorded in Apron Studios based in East London, each track on 'Bloodline' also features a tr808 or a piece of a 808, as a dedication to the iconic Japanese engineer Ikutaro Kakehashi, who passed away April 2017. The much-loved Roland founder and TR-808 creator revolutionised electronic music in the 1980s and 90s.

Here Appear is an invocation, a salutation, and a celebration — of past and perfect lives, forgotten and remembered, exchanged and borrowed. Eve Essex's solo debut is a multi-instrumental fea(s)t combining synthesizer, drum machine, alto saxophone, piccolo, electric organ/harpsichord, harmonica, slide whistle, bells, guitar pedals, and voice— composed, arranged, and performed by Essex herself. What began as an improv set at Berlin's Harlekin bar, developed over the past two years into a complete body of work evoking multiple time periods, genres, characters, and sonic landscapes. The seven tracks that make up Here Appear harness elements of classical, drone, avant-jazz, and distorted pop, coupled with an ambitious vocal delivery that draws on the phrasing and articulations of Essex's own woodwind playing, to create a quasi-narrative me´lange retaining the vulnerability of live performance. On the opening track Grind Away,' otherworldly harmonica strains set the stage for lyrics citing Chinese sci-fi novel The Third Body Problem as source material. Saxophone and piccolo interludes Immediate Communicator' and Colorless Stone' move between medieval-tinged melodic inventions and textural noise, recalling a Pharoah Sanders-influenced fever dream, while the linguistic abstractions of Russian conceptual poet Lev Rubinstein guide the looped, layered, and textured vocals of title track Here Appear.' The album closes with a languid take on Jacqueline Humbert & David Rosenboom's 1978 composition Clear Light' from My New Music, recently reissued by Unseen Worlds. Here Appear owes its minimal production to the conditions of its genesis, evidencing the restrained process of the solo artist, instrumentation is confined to what can be played simultaneously. True to the album's avant-garde roots, each song involves an element of improvisation, often taking the form of prompts or variations on a melody rather than explicit compositions. Even its most structured pieces make use of live-sampled loops, which inject a spirited unpredictability into the songwriting process and subsequent performance. Classically trained in bassoon at New England Conservatory before receiving a BFA in sculpture from RISD, Eve Essex has performed as a solo artist at Artists Space, Commend, Safe Gallery, Signal, Trans Pecos, and U.S. Blues, in New York, Harlekin/Mathew Gallery and StudioAcht in Berlin, and the PUFFERSS Festival in Providence, RI. In addition to her solo practice, Essex regularly performs as one half of Das Audit (with Craig Kalpakjian), as well as in trios Hesper (with James K and Via App) and HEVM (with MV Carbon and Hunter Hunt-Hendrix), and has collaborated extensively with Juan Antonio Olivares as installation/performance-art duo Essex Olivares. Prior to the LP release on Sky Walking (April, 20), Here Appear arrives via New York City-based label Soap Library on March 9, 2018 in both cassette and digital format, mastered by Helmut Erler at Dubplates & Mastering, Berlin and recorded by Al Carlson at Gary's Electric, Brooklyn.

After kicking off the year with releases by Wheelman and General Ludd, we're very pleased to announce that Naum Gabo completes our recent trilogy of releases from Glasgow based artists. Alongside Ivan Smagghe, it's no secret that Optimo have been a huge influence around these parts and having released Ivan's Smagghe & Cross project on Belters last year, it's a huge honour to work with Naum Gabo - the production partnership of Jonnie Wilkes (JG Wikes of Optimo) and James Savage (Mastering Engineer for Optimo Music).Fittingly enough, Naum Gabo played live at the first ever Optimo related parties we attended at the Sub Club back in 2005 and Jonnie's influential and supportive presence has been felt over the years as we started to become more involved in the Glasgow scene and as the label developed.
So it didn't require much thought to do this release before we had even heard these new Naum Gabo tracks...they are absolute slammers of the highest order! Really big release, bringing to our minds the likes of Errorsmith.Belters is a new club-focussed label brought to you by Huntleys + Palmers.

Melodies International proudly moves forward with an elusive piece of mid-tempo Chicago soul originally performed by Gloria J. Jennings in 1977.

Gloria was signed to Stage Productions as a gospel singer with pure and raw talent she had developed in the choir of her father's Southern Baptist Church. She was 16 years old at the time. To tutor her for R&B vocals, Willie C. Nance of Stage Productions spent 3 months taking the artist back and forth for vocal training 25 miles each way, 3 days per week.

At the time, Mr. Nance had made plans to work with singer and songwriter Theresa Eagins to record Know What You Want'. However, two days before the recording was set to begin, Ms. Eagins refused to move forward with the recording as she chose to take her religious faith more seriously and forgo the singing of secular music. Hence, Stage Productions turned to Gloria Jay to perform a song that would go on to move people thousands of miles away, many years later.

One of them was Patrick Forge: Back around 1990 I had a residency upstairs at the Wag Club on a Friday night alongside Paul Martin (he was Gilles P's A&R right hand man at Talkin Loud), the night was called Respect and we played mainly Soul, Boogie and Jazz-Funk. Many years later I bumped into Paul at a record shop and he quizzed me about a tune I used to play at the end of the night at Respect. Hhe described it as being an independent Soul seven inch on a red label, slow to mid tempo... and more to the point a bullet of a record. It piqued my curiosity so much I burrowed through my seven inches and even made Paul a compilation of likely contenders, his response was lovely selection, but it's not on there!'. Damn, a mystery! Many moons later whilst I was living in Japan, my tenant in my London flat said she'd found an old mixtape I'd done for her way back when and was desperate to know the identity of something she was calling the choo choo song'. Eventually when I was back in London she played the mixtape and I quickly identified her tune as Fabrica' by Cesar Mariano, however letting the tape play some time later a familiar descending chord sequence catapulted me back to those Friday nights at The Wag, and Gloria Jay's plaintive vocals reminded me of a record that had been absent from my life for far too long. I've no idea what happened to my original copy, I hunted another one down straight away, and I've kept it close ever since. Know What You Want' is a song that goes deep in such a simple, unaffected, almost naive way, Gloria's voice is both sweet and raw, it's built on simple chords and obvious instrumentation, but it's so much greater than the sum of its parts.

Know What You Want' is soul music, pure and unadulterated, there's nothing getting in the way of the feeling, it's straight from the heart.' Carefully re-mastered from the tapes, MEL008 comes forth in its original 7' format with a 14'x14' poster.

Felix Kubin (org, electr,sampler)
Milosz Pekala (vib, xyl, sampler, perc, effects)
Magdalena Kordylasinska (mar, perc, effects)
Hubert Zemler (glsp, dr, perc)

Music composed by Felix Kubin, tracks A1+2 together with Milosz, Magda and Hubert.

The pieces are soundtracks to educational and industrial 16mm films dealing with the subject of "work".

They were commissioned by NDR das neue werk (North German Radio).

Recording engineer: Robert Migas, Black Kiss Studio, Warsaw
Mix: Tobias Levin, Electric Avenue Studio, Hamburg
Mastering: Rashad Becker, D&M, Berlin
Production: Felix Kubin

Film archive: Metropolis Kino, Hamburg
NDR editorial department: Dr. Richard Armbruster

Artwork: Stephen O'Malley

Originally developed as a film score "Takt der Arbeit" is inspired by a handful of industrial and instructional films from the early 1960's until the early 1990's that portrait different forms of work. Felix Kubin is translating these historic documents into a musical poem of conceptual depth. "Takt der Arbeit" - the beat of work - is not only serving as a title but also as constructive element in this endeavour.

Being hunted down by the ever accelerated pulse of our reality is an omnipresent issue in capitalist societies of the the Western world. Living in times of constant exhaustion, it's not only our bodies that have been disciplined by and synchronized to the rhythms of working processes, but also our minds that rage in the tempo of our surroundings. Following an almost analytical effort, Kubin and an ensemble of 3 percussionists are investigating the different qualities and intensities of time that are catalyzed in working processes. While picking up precise temporal and motoric motives of the films, condensing paces and excavating rhythmic patterns, the ensemble is mapping out an animist choreography, shifting from a time when labour was still relying on bodily efforts to a time when machines and ticking clocks seem to reign and model our perception. While Side A is dedicated to procedures that are still based on manual and mechanical movement, Side B is inspired by the digital age, marked by invisible processes and subcutaneous pulses that we internalize.

The result is a critical and poetic reflection on the rhythms of our daily life and yet another example of Felix Kubin's skills as a composer, placing him in the field of orchestral music.

This record is meant to be enjoyed like a seascape. It offers a Mediterranean journey, one that Ulysses, Aeneas, and Jason with his Argonauts charted first and Valencian artist, Pep Llopis, retraced and retread — from the islands of Menorca to Santorini. All of his experiences are aboard this vessel of sound: no format in mind, no course but the chasm within self. While Poiemusia La Nau Dels Argonautes materializes at this moment as an album, another object suits Pep's project: Lewis Carroll's Map of the Ocean' from his The Hunting of the Snark. It's a simple illustration: the thin outline of a blank rectangle that represents the sea with no trace of land. Carroll offers this empty space as an object that all can understand, a container for possibility. Likewise, Poiemusia offers a musical language that any listener can understand. Untethered to the meaning of words, one is set adrift and free in minimalist sound and traditional music. Llopis, who often composed for dance, originally wrote Poiemusia for a performance at the Poiemusia festival (the Greek contraction of poetry and music). Peer composers, Carles Santos and Wim Mertens, also participated in the festival, which took place over several days at the Teatro Princesa in Valencia. Llopis paired his newly formed avant-garde compositions with the poems of fellow Valencian, Salvador Jàfer.

In the studio presentation of Poiemusia, voices softly converse, only to evaporate. The poetry is incanted by the poet himself. Jàfer enunciates at the verge of song, drawing dimension from his Mediterranean travels. He is accompanied by Montse Anfruns' vaporous voice. She extends the roll of her r's and the hiss of each s as if casting a spell of Salacia. Pep bathes their conversational performance in slight delays and reverb, allowing their voices to dissolve into an ocean of sound.

Llopis was influenced by minimal American composers like Steve Reich and La Monte Young. He embraces the melodic sides of these masters in the winds of El Vell Rei De La Serp' and the tender piano on Nits de cristall.' You will find yourself submerged in tonality on tracks like Jardins Aquàtics' and La Nau Dels Argonautes' which have a kinship to Philip Glass or Daniel Lentz. Each piece extends from 5 to almost 14 minutes. The music gently laps against listening skin— sometimes placid, sometimes shimmering. Ripples of sound swell and quicken. Flutes like schools of fish. The spray of chimes. Taught strings break like the shore. Tingling, undulating synths. The record cover acts as a map, tracing the forms of the original art and providing the poems in Catalana and Spanish. Once bathed in these sounds one will emerge like Carroll's map: a perfect and absolute blank.' Poiemusia La Nau Dels Argonaute emerges in vinyl and digital formats on May 19, 2017 through Freedom To Spend.

Correspondant can finally reveal the release of the remixes for Man Power's debut LP, which was released last year on Correspondant.
A year in the making, the remix package features artists and friends hand-picked by both Jennifer Cardini and Man Power himself.
Disco Halal's Moscoman remixes the baggy splendour of Beilsteiner, creating a rolling and belching extended opus more focused toward the peak time dance floor.
Hivern Disc's JMII takes Hunting Swan and turns it inside out, exploring space with a cerebral, schizophrenic quality.
Alternatively, Pale Blue (Mike Simonetti) takes Boys Beware and re-imagines it as an aggressive drum workout.
Completing the package, Suade, the artist who also mastered the original album, replaces TEN's balearic leanings with an IDM sensibility, yet still retains the optimism of the original track.
All 4 remixes manage to exist as distinct works in their own right, while paying homage to the "magpie" approach of the original long player.

TOTAL compilation series hardly needs an introduction: we rummage through the Kompakt releases to select our favorites from the past year that reflect our best and unsaid tracks, compiled and packaged as a cohesive whole.

For TOTAL 16, the 2xCD and digital track listing features 25 prominent cuts from artists such as THE FIELD, WEVAL, REX THE DOG, TERRANOVA, HUNTER/GAME, FRANKEY & SANDRINO, JOHN TEJADA, BLOND:ISH or PATRICE BÄUMEL.

On top, TOTAL 16 includes eight exclusive tracks which happen to make up the 2xLP vinyl track listing. What you have is a dynamic assortment and comprehensive profile of Kompakt's current label portfolio, including both newcomers and veteran producers in peak form.

Keeping up a good old TOTAL tradition, we also planted brandnew material from core artists and friends - check out exclusive tracks such as MICHAEL MAYER's aptly named ACTION, an absolutely rinsing acid cracker, or MATIAS AGUAYO's stellar KOMM, sitting comfortably among his best and most stirring work to date. Meanwhile, JÜRGEN PAAPE drops silky, atmospheric synth pads on EDEN and THE MODERNIST teams up with Hot Chip's JOE GODDARD for the pop-infused THE PRICE OF LOVE. Another highlight is the debut release from exciting newcomer LAKE TURNER: BEACON FIELDS is a misty- eyed, melancholic piece focussing on exquisite electronic textures and sweeping melodies.

As with previous TOTAL installments, we collect these exclusives on a separate 2xLP edition, but like to add a handful of cuts that can only be found on the vinyl version - for TOTAL 16, these include ALEX UNDER's LLAMAN A LA PUERTA, a densely layered, slow-paced synth jam that makes for a inspired detour from the propulsive, lean beats the Spanish producer has become known for. SWEET 100 present a masterfully crafted study in hypnotic minimalism on SIX, while VOIGT & VOIGT hark back to the pounding, sensual abrasiveness of early Auftrieb releases on DENKEN SIE LAUT, crossbred with the tongue-in-cheek gloom of the brothers' later, more psychedelic offerings.

The Kompakt favorites from the past year, compiled and packaged as a cohesive whole, with cuts from THE FIELD, THE ORB, COMA, BLOND:ISH, HUNTER/GAME, JOHN TEJADA, REX THE DOG, TERRANOVA and many more..

Features exclusive new tracks from MICHAEL MAYER, MATIAS AGUAYO, JÜRGEN PAAPE, THE MODERNIST, ALEX UNDER, SWEET 100, VOIGT & VOIGT and LAKE TURNER

In 1989 Oumou Sangare, a young singer from the Wassoulou region of southern Mali, went to the JBZ
studio in Abidjan, Cote d'Ivoire to record her debut album. Except for electric guitar and bass, the
line-up was traditonal - kamalengoni or 5-string 'youth's harp', karinyang (iron scraper) and violin
(substtutng the local one-string fddle). The music they recorded was exactly the kind of music per-
formed by hunters to charm the wild animals and invoke the protectng spirits, but with updated lyrics
refectng the concerns of young women living in African cites today.

The music of Wassoulou, with its funky beat and strong melodies has become increasingly popular
in Mali over the last few years. But no one could have foretold the wild success of Oumou Sangare's
recording, which within a few months had sold over one hundred thousand copies in West Africa
alone - not countng bootlegs. This was Mali's best selling cassete ever. And not a drum machine or
synthesizer on it!

What is the secret of Oumou Sangare's astounding rise to fame Partly the sheer force and beauty
of her voice - she frst trained with the Mali Natonal Ensemble and then lef to join the independent
group Djoliva Percussions (with whom she toured France and the UK in 1986). And undoubtedly, be-
cause of her powerful lyrics, which address the problems of young Malian women - torn between the
old values of the countryside and the modern ways of city life. But it's also the brilliant arrangement
of the typical Wassoulou sound - with its slow-driving rhythm punched out on the bass strings of the
harp and its soaring melodies. 'Moussolou' ranks among the best recordings of Malian music of all
tme.

Now for the very frst tme World Circuit are releasing this iconic album on deluxe single vinyl.
Mastered at Abbey Road the vinyl is pressed on 180 gram heavyweight vinyl and presented alongside a
beautful 10 page booklet and download card.

* Returning to Dispatch LTD after a string of successful and hard hitting releases, DBR UK are back to present their debut album, entitled 'Rough Edges', comprised of sixteen original productions from the UK trio.

* 'Rough Edges' is an ethos by which DBR UK live by in the studio, an ethos and distinctive style which has been developed over the years and throughout their own influences. Made up of varying elements, styles and attitudes within drum & bass, the album covers the trio's full spectrum, carried out with their own unique flair. * Certified masters of crafting their basslines and low ends to perfection, the pulse keeps every track pumping with soul, carefully mapped out and delivered to a tee, whatever the chosen direction. Eloquently arranged, but purposely gritty, dynamic but not over-complicated and never straightforward, glossy or predictable, it's an ideology the group stand by, whether it's a melodic vocal swathe or a murderous minimal mod. * Equipped with murky steppers for the shadowy back rooms such as 'Demolition' (ft. Slippy Skills), the album journeys through old skool & dub focused influences, like reece thronged 'Dark Alley' and hypnotic stroller 'Man Hunt'.

* Alongside their solo productions, the album also sees guest collaborators from the past and present combining efforts, with Skeptical, Structured, Gremlinz & Ahmad helping craft the gullied landscapes, the poignant and piercing vocals of MC Fokus striking at the jugular in 'Blood Water and the smooth, dulcet tones of Amanda Seal perfectly contrasting to the darkness and hysteria, before leading the listener back up the garden path.

* Back on the scene with a vengeance, having blown us away with an astounding quality and output, DBR UK deliver their first long player, 'Rough Edges', utilizing their subtly edged weaponry to maximum effect.

For the second release, the artist Kaelan joins the ranks of the squad of Shaw Cuts with the EP 'The Silent Swordsman'. Equipped by his sharp stabbing weapon and a mysterious fighting technique taught by the head chief of the Sun Moon Sect Master Wu himself, Kaelan strikes out to hunt. Not hectic but silent, so watch your back!
The chase starts off with 'Latch', a straight techno banger with swirling chords and thrusting percussions that can easily slice the villain's face into pieces. Bloodbath.
'Claw' already gives hint to another weapon of Kaelan just by the track's name. Filled with filtered moving chords and vigorous and intense drums, this tune would be the perfect soundtrack for the final fight between two kung-fu masters, surrounded by befogged dead bodies lying on some mossy floor.
On the B-Side, Farron bolsters up the silent swordsman with a more break-beat orientated version of 'Claw', filled with energetic clap combos, subtle pads and big bass drum hits.
The whole EP is topped off with the track 'Hasen', a beautiful journey into ambient music with a touching atmosphere.
Mission completed. The carnage continues

Auntie Flo returns with his 'Theory of Flo' LP masterpiece, his
first release on H+P in over 3 years!
Following his critically acclaimed 'Future Rhythm Machine' LP,
'Theory of Flo' is a bold step ahead from FRM, as it takes us on
the trip of a lifetime, spanning continents, genres, languages and
cultures to create a wholly unique listening experience, and one
which is only possible in 2015.
Teaming up with long term collaborator, Esa Williams, the album
also features collaborations with the incredible Ghanaian singer,
Anbuley (who last appeared on the Autonomous Africa hit
'Daabi'), Shingai Showina (of The Noisettes / Matthew Herbert /
Dennis Ferrer fame) and has experienced a lengthy recording
process between Havana, London and Glasgow - with outstand-
ing results.
'Theory of Flo' lands this November, in the meantime, his 'So In
Love' smasher and the spellbinding 'Waiting For A (Woman)' drop
on limited 10'..

When a label within thirteen catalog releases has only one of them branded as 'various artists', than the focus on this release seems to be really interesting. Exactly that is the case with DREIZEHN and it's three protagonists. Der Dritte Raum co/pilot ‚Ralf Uhrlandt' opens up the split-release with his elegant-motor - skills house to techno track New Sights on the A side. With his contribution the door's lifted from the hinges and when the guitar hook line appears you're kissed from the sun in a world of an easy-going, feather light dance expressed manifest. On the B1 CLICK FARM crafts a wonderfully layered, deep minimal bassline driven hunter-techno masterwork which surely will be heard this summer on the dancefloors. B2: Der Dritte Raum - an old friend and labelowner of the swinging addiction- grooves here with his tune ‚El Sonido' and shows again the great school of easy techno music production. Big 12 release.

Annie Hall's new LP Random Paraphilia on Detund™ explores these experiences through five original tracks with remixes by Richard Devine, Valance Drakes and ERP.

Setting the stage for this intense journey into experimental electronics is Annie Hall's track DSM-5 which when spliced and diced in the remix by rhythmic mutilation master Valance Drakes establishes an ache deep inside mind and body. Together they offer a bold introductory to Random Paraphilia. Annie's collaboration with Shadow Huntaz in Bandit 28930 adds a male vocal and sets the stage for release of the pent-up pressure, through a remix by none other than Richard Devine, who emerges after months incommunicado from his new Atlanta based studio with Bandit 28930 Remix -- a remix for which many around the world have been anxiously awaiting. Prepare yourself for new Richard Devine frequencies creating what we believe to be the most blissfully disturbed / re-aligned symphonic nerve rhythms of aural affect. Annie takes the reigns back pumping a frenetic, raw, experimental sound in Sada Abe. Tables are next given to Convextion aka E.R.P. who captures her snare for a mesmerizing effect in his gorgeous idm electro soul Sada Abe remix. Annie's voice and rhythm machines respond with breakbeat-style in Foihtreiu diversifying the set with what only a graceful feminine touch can produce. Rounding the set out is Symphora featuring new synced visual work by CPU Bryant Place, SF based Obscura digital artist, complementing the mystical journey with a visual experience unlike any other.

Record Sleeve and promo video are by DMAS3 who once again completes the audio-visual package with elegantly futuristic visual art appealing to our desire for journey far and wide. Annie Hall's Random Paraphilia is personal, intimate and political. It is a highly-charged and dynamic 8-track LP beckoning us to explore the world anew.

ArsGoatia ist ein besonderes Geschöpf. Eine neue Formation mit vielen Verbindungen in verschiedene Richtungen. Es ist kein Geheimnis, dass sie sich aus dem Umfeld der "Funkenflug Society" und den Bewohnern der mystischen Neudegg Alm zusammengefunden haben. Die "Funkenfluag Society" ist ein Kollektiv von leidenschaftlichen Menschen. Sie betreiben eine kleine, aber feine Brauerei hoch oben in den Alpen, es gibt Kunst und Freiheit, Handwerk, Performance, Höhepunkt ist das Musikfestival "House Of The Holy" während der Sommersonnenwende. B.R. ist der Gründer und Mastermind des Festivals und Frontmann von ArsGoatia: "Wir alle bestehen aus Klang... Musik erleuchtet und verbindet Menschen! Unser Spirit ist es, Regeln zu brechen, Mauern zum Einsturz zu bringen und Grenzen zu überschreiten!"

"Agitators Of Hysteria" ist ArsGoatias zweites Album. Wütende Ausbrüche, die aus den Tiefen eines undurchdringlichen Abgrunds aufsteigen und luziferische Wahrheiten predigen, durchdrungen von Perversion, finsterer Bosheit, unerbittlicher Gewalt und Tod. Eine psychedelische Erfahrung wird vom ersten Song an versprochen.

Erstaunlich ist die Produktion von "Agitators Of Hysteria". Das Album wurde in den Q7 Studios/Deutschland von Michael Zech (The Ruins Of Beverast, Ascension, Hell Militia) aufgenommen und gemischt und in den Woodshed Studios/Deutschland von V. Santura (Trypticon, Dark Fortress, Celtic Frost) gemastert. T.K. erklärt: "Viele von uns schätzen einen lebendigen, feurigen Soundblast und diese Jungs liefern!

Profanität! Infamie! Fackeln hoch!