quête:master t

Repress 22.11.22 !

A STUNNING RHYTHMIC FUSION OF LATIN AND JAZZ WITH A UNIQUE SPIRITUAL PULSE.

If ever a record called be called a lost masterpiece then this record more than deserves that epithet. First released on an obscure French label in the 1970's it might have sunk further into obscurity and left no trace of it's passing but somehow a handful of copies turned up in various Jazz shops in London where it was snapped up by DJ Paul Murphy who was then playing to the embryonic jazz dance scene, based at the very first Jazz Room club: The Horseshoe in London's Tottenham Court Road, a decaying, seedy, sticky carpeted old West End ballroom that had seen better days. This and a select few records in a similar vein were being played to an appreciative audience who demanded tough raw percussive rhythms overlaid with some furious jazzy soloing and whenever this record hit the turntable it left even the most demanding groover sated.

It's a really fantastic collection from this barely known reedman and his excellent band which also features a guest appearance by American Legend Horace Parlan who is best known for his Afro-Cuban session "Headin' South" on Blue Note Records.

Superbly produced by drummer Peter Schmidlin, who has conjured up a spiritual modal mixdown of Afro-Cuban & Jazz extended percussive workouts that are uncompromising in their groove and which manage to sound both timeless and modern. The record is being re-released with the original striking artwork, guaranteed to be a talking point.

Matmos are one of the most prominent experimental electronic artists working today, crafting work by creating new conceptual frameworks & immediately testing those frameworks absolute limits. For Regards / Uklony dla Boguslaw Schaeffer they've focused on another artist known, in large part, for doing the same. Boguslaw Schaeffer was one of the first Polish artists creating electronic music. In step with American contemporaries like John Cage and Morton Feldman, he worked across the boundaries of classical composition, electronic experimentation, and radical theater in playfully form-breaking ways. Matmos are not the first ones to recognize the power of his catalog, from Solo (a 2008 documentary that garnered numerous international awards), to the annual Shaeffer's Era Festival (most recently celebrated simultaneously in Warsaw and Los Angeles) his work continues to inspire. Regards.. however, was not just inspired by his work, Matmos were given access to the entirity of Schaeffer's recorded works to use as they saw fit, commissioned by the prestigious Instytutu Adama Mickiewicza. They re-assembled & re-combined these recorded works with modern instrumentations in a way that only Matmos could, and what emerges is a composite portrait of the utopian 1960s Polish avant-garde and the contemporary dystopian cultural moment regarding each other across a distance. To facilitate the transcultural exchange that is the album's essential premise, all song titles and liner-notes are provided in both English and Polish. The album was mastered by Rashad Becker and features illustration and design by acclaimed artist Robert Beatty (Tame Impala, Osees, Mdou Moctar). Like the anagrams of the letters of Boguslaw Schaeffer's name that were re-assembled to create some of the song titles, the album itself is a musical re-assemblage of component parts into possible but unforeseen new shapes. Adding harp from Irish harpist Una Monaghan, erhu, viola and violin from Turkish multi-instrumentalist Ulas Kurugullu, and electronic processes from Baltimore instrument builder Will Schorre, and Horse Lords wunderkind Max Eilbacher, the resulting arrangements constantly toy with scale as they move from the close-mic-ing of ASMR and the intimacy of chamber music to the immensity of processed drones and oceanic field-recordings that close the album. Offering a "life review" of production styles, Regards / Uklony dla Boguslaw Schaeffer builds temporary shelters out of the panoramic wreckage of modernist composition, sixties tape music, seventies dub, eighties industrial music, nineties postrock and dark ambient, 2000s era glitch fetishism, and contemporary post-everything collage sensibilities.

Recorded and mixed by Low Order
Mastered by Daniele Antezza at Dadub Mastering
Artwork by Misha Brin
Layout by Anna Haleta

A luminary of anthemic and melodic-driven techno, Enrico Sangiuliano’s path to the upper echelon of dance music has been a rapid, yet authentic one. Taking us on his newest exploration into the world of sound design and story-telling, the Emilia-native unveils the first chapter in a series of opuses under his time-limited NINETOZERO record label. The highly-anticipated countdown of releases begins today with number 9; the 4-track “Silence” EP - out now across all streaming platforms.

The extended-player opens with the reserved ‘inner mix’ of “Silence”; a cinematic masterpiece that challenges the format and flow of techno cuts and instead, radiates a measured and reflective spirit. Bright, twinkling synthwork ebbs and flows between its crisp percussion and distorted bassline, creating a push and pull effect that allows each element its moment in the spotlight. The second offering, “Future Dust”, is teased with the sound of a ticking clock that morphs effortlessly into a strong percussive line, commanded by the raw hollow sensibilities of its kick. The distinct ticking returns to welcome in the break, bringing with it a hypercharged melodic sequence and pitch-bending rave stabs. The components soon flurry together in preparation for the monumental drop, which is succeeded by an unrelenting peak-time worthy drive to the finish.

“New Expression Of Love” is the next to play; a quirky cut with plenty of intrigue and unpredictable twists and turns. Laced with offbeat synth hits that ooze a nostalgic timbre, the tune’s intro airs a subtle swing groove. As it reaches its all-important core, we’re cloaked in an intoxicating melody that serves as pure rapture for the ears, and will no doubt satiate the modern audience’s craving for euphoric sequences. Entering the break, Enrico flares his experimental capabilities, providing us with a moment of break-beat bliss that’s fuelled by acid goodness. A ‘vocal mix’ of “Silence” rounds out the EP with the distinct mantra, ‘we live in silence’, whilst its modular ‘beeps’ signal a countdown clock in reference to the project’s embedded concept of time.

Championing music on a deeper conceptual level, Enrico’s NINETOZERO output is a reflection of his tenacious appetite for evolution and refinement. Producing with a level of finesse well beyond his years, his artistic vibrancy has ensured quick elevation to the top, all the while maintaining a sound that is discernibly his own. Now standing as one of the circuit’s most cherished visionaries, and with an unrivalled back catalogue of Beatport No.1’s to his name, the contemporary sound designer’s first and forthcoming bodies of work under the NINETOZERO umbrella are further proof of his impending rise to dance music royalty.

Fear Inoculum is the Grammy award winning masterpiece from Tool. Following the release of the limited edition single pressing ultra-deluxe 5 disc vinyl box set, this critically acclaimed album is available now as a 3 disc 180g vinyl set that features new artwork in a triple gatefold jacket and an exclusive poster.

Tool members include drummer Danny Carey, guitarist Adam Jones, bassist Justin Chancellor and vocalist Maynard James Keenan.

Gunai/Kunai & Yorta Yorta artist dj pgz makes his Butter Sessions debut with a killer 2-track EPThe Dance / Hypnotic Suburbs.

dj pgz makes his affinity for the sounds of the underground known in A-side track "The Dance", where he masterfully commands a dark miasma of rolling bass and percussion. As per the title, "The Dance" is made for raging dancefloors and the relationships you make along the way, following in trajectory from his last release "Unknown at Night" (Pure space compilation - PROXIMITY ||). As the track blossoms into a frenzy of syncopated kick drum programming, rolling trap hi-hats and trusty claps, it's cognizant how dj pgz's experience drumming from the age of 13 has lent itself to his already developed idiosyncratic sound in electronic music production.

In "Hypnotic Suburbs" dj pgz explores new avenues, starting with an evocative use of space that transforms into beloved drum and bass. The sonic mold is pieced together with high-pitch synth melodies and rubbery bass lines, aided by local rapperTeether's vocals, which add an unbeatable live dimension you simply can't beat.

For an artist whose career is flush with enigma, myth, and disguise, Nashville Skyline still surprises more than almost any other Bob Dylan move more than four decades after its original release. Distinguished from every other Dylan album by virtue of the smooth vocal performances and simple ease, the 1969 record witnesses the icon's full-on foray into country and trailblazing of the country-rock movement that followed. Cozy, charming, and warm, the rustic set remains for many hardcore fans the Bard's most enjoyable effort. And most inimitable. The result of quitting smoking, Dylan's voice is in pristine shape, nearly unidentifiable from the nasal wheeze and folk accents displayed on prior records.

Mastered on our world-renowned mastering system and pressed at RTI, this restored 45RPM analog version zeroes in on the shocking purity and never-again-replicated croon of Dylan's vocals. Enhanced, too, are the images associated with the calmly strummed and picked acoustic guitars and decay connected to the fading notes. The dimensions and ambience of the Columbia studio translate via subtle echoes and natural blend of instruments melding with one another, akin to honey integrating with tea. Providing comparably soothing effects, relaxing vibes pour forth from this reissue, which affords this masterpiece the fidelity it's always deserved. Wider grooves mean more information reaches your ears.

"Is it rolling, Bob?," Dylan famously queries producer Bob Johnston at the beginning of "To Be Alone With You," indicating the laissez-faire feelings that surrounded the sessions and helped yield the laidback, convivial music defining the album – arguably the most unique in the artist's vast catalog. While he dipped his toes into country waters on the preceding John Wesley Harding, Nashville Skyline throws its collective arms around the style in bear-hug fashion and drops any obvious folk references. Everything from the songs' moods to the amicable arrangements reacts against the era's turmoil and popular sounds.

This beautiful and beautifully executed effort might stand as Dylan's most effective protest ever, even if many missed the point upon original release. Advocating peace, love, and old-world allure without calling attention to any characteristic in an overly forward manner, Dylan frames the songs as ballads, rags, lullabies, and gentle honky-tonk dances. He adheres to expeditious brevity, keeping the arrangements tight and free of any filler, thus allowing the melodies to immediately work their magic and place hummable memories inside listeners' heads.

Indeed, if any Dylan masterpiece is overlooked, it's Nashville Skyline. In addition to his superb singing and infallible songs, Dylan enjoys backing from a crackerjack assembly of Nashville session musicians including Charlie Daniels, Marshall Grant, W.S. Holland, Charlie McCoy, Ken Buttrey, and Norman Blake. Country pros, and their respective performances, don't come any better.

As much as on any of his records, Dylan resides in a good place, mentally and emotionally. The idyllic, warmhearted environs of Nashville Skyline stand apart now just as they did in the late 1960s. The sincerity conveyed on the inviting "Lay Lady Lay," relief sighed on the romantic "Tonight I'll Be Staying Here With You," and unlimited promise expressed on the jittery "To Be Alone With You" parallel the lessons-learned yearning and genuine desire found on "One More Night," bracing "I Threw It All Away," and eternal "Girl From the North Country," performed to perfection with Johnny Cash.

Re-released after being unavailable for 2+ years. Andrés Landero embodies like no other the spirit that made it possible to bring cumbia to the world. His legacy represents a creative pinnacle of tropical music and has influenced countless artists. This collection gathers tracks from 1966 to 1982, taken from his albums on Discos Fuentes and other labels. They all are extraordinary masterpieces of Colombian popular music. Includes liner notes by Carlos Mario Mojica (Don Alirio).
Andrés Gregorio Landero Guerra, born in 1931 in San Jacinto, Colombia, embodies like no other artist the spirit that made it possible to bring cumbia music to the world. Synonymous with the evolution of this musical genre, inevitably any selection of Landero's best songs cannot aspire to do him full justice.From the very first note he played, Landero managed to charm audiences through a complex weave of compositions, shot through with local nuances and diverse derivations from his native Caribbean province. A torrent of words and refreshingly original, he constantly sought to create his own language while remaining acutely alive to tradition. Driven by a strong personality and undeniable abilities, and solely governed by his desire to follow his musical vocation and write songs that faithfully reflect the stories of his pure native land, Landero left home at seventeen, manifesting his passion to take artistic creation to the limit while demonstrating his belief in freedom and communal living, expressed through the free rein he gives to transparent narratives in all of his songs.
Not one of the records released during Andrés Landero's career is bad, mediocre or dispensable. His coherent and constant efforts to build on the foundations of the cumbia tradition form an extraordinary legacy rich in masterpieces of Colombian popular music. Sixteen years after his death, he continues to be the creative summit of an entourage of names associated with the folk music of the tropics. He is the author of a polyphonic blossoming whose beats still sound fresh today and the outstanding figure through which to appreciate, from a historical perspective, the syncretism of indigenous and African slave music from the Caribbean coast, namely cumbia.

Utter presents the second full-length album by enigmatic duo Vādin - a collaboration between sound artists and performers Christian Duka and Lucie Štepánková (aka Avsluta). “Black Tortoise” is a voyage accompanied by the uncanny, the shadow-dwelling specters and arcane symbolism derived from ancient Chinese astronomy.

“Astrologia” opens the album with an eerie torrent of droning voices and glassy, percussive interventions, leading into the patiently unfolding opening of the “The Presence” with it’s ominous narrative riding the swelling, thunderous rhythms culminating in swarms of hallucinatory chaos. The doom of “Calliope” follows, infused with cavernous, beastly vocalisations which lure the listener into “The Furnace”, a drowsy kaleidoscope of rhythms weaved together with Štepánková’s mother-tongue narration. And further on still, into the make-believe world conjured up by the buzzing and swarming objects overheard on “Plateau”.

Available on limited vinyl and digital formats. A special fold-out pamphlet is included with physical copies.

Spoken word by Lucie Štepánková. Mixed at SAE Institute by Christian Duka and mastered by Rashad Becker at Clunk. Transferred and cut by Helmut Erler at D&M.

Artwork designed by Marco Maldarella.

A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan. Genre: Alternative / Post-Punk / Cold Wave

Das Album The Silver Lining von Soul Asylum aus dem Jahr 2006 wird zum ersten Mal auf Vinyl wieder veröffentlicht! Es war das letzte Album mit dem Bassisten Karl Mueller, der tragischerweise vor der Fertigstellung des Albums an Krebs verstarb. Es ist auch das erste, auf dem Michael Bland am Schlagzeug zu hören ist. Die Doppel-LP wurde von John Fields produziert und von Justin Perkins bei Mystery Room Mastering für Vinyl gemastert. Sie enthält bedruckte Hüllen und eine Klappverpackung sowie den Hidden Track "Fearless Leader". Das Album wurde weithin als eine Rückkehr zur Topform für die langjährige Rockband aus Minneapolis angesehen, die in den 90er Jahren mit Grave Dancer's Union und Let Your Dim Light Shine kommerziellen Erfolg hatte, nachdem sie in den 80er Jahren im Untergrund Anerkennung gefunden hatte.

Format: Ltd. Schwarzes Vinyl 140 Gr. 2LP mit bedruckter Hülle in Gatefold-Verpackung.

John Ondolo spent his life traveling between Tanzania, where he was born, and Kenya, where he recorded a string of singles for independent labels in the late 1950s and early 60s. Unlike most guitarists from the region, Ondolo used open tuning (a favorite of American blues guitarists), creating a hypnotic drone over which he laid down endless rhythmic variations on his main themes. Inspired by the exploding pop music scene in Nairobi, the newest rock and roll imports from the US, and the Abakuria tribal music of his youth, Ondolo transposed traditional instruments and rhythms to his guitar, playing it more like a traditional harp at times, and inventing a sound totally unique in the recorded history of African guitar. This album brings together John Ondolo's rare early 78rpm recordings in the first-ever overview of this innovative but overlooked artist. The music traces Ondolo's creative output, from the resonant acoustic guitar masterpiece Tumshukuru Mungu to the relentless guitar and flute (!) interplay of Kenya Style to his later electric guitar, bass, and drum recordings with the Jolly Trio, all tied together by Ondolo's unique rhythmic sense and vocal style. The breadth and variety of Ondolo's recordings may be a result of his sporadic recording history. Unlike more famous artists, Ondolo wasn't sucked into the Nairobi nightlife scene of the early 60s, instead traveling from his farm in the foothills of Kilimanjaro on occasion to record. An outsider and devout Catholic whose music was sometimes at odds with the style of the times, he later left music entirely, shifting to film and driving a mobile cinema van for the Tanzanian government, introducing socialist and Pan-African films to the countryside. An accident in his mobile cinema led to the loss of his left arm, though he continued his travels. He died in 2008 in Dar Es Salaam, leaving behind two wives and 11 children. Over a decade in the works, Hypnotic Guitar of_ includes an insert with lyrics and translations, as well as notes by Tanzanian musician and historian John Kitime. Expertly restored and mastered by Michael Keiffer and pressed on 160gm black vinyl at Smashed Plastic in Chicago. Licensed from the Ondolo family in Tanzania.

High Roller Records, reissue 2022, black vinyl, ltd 250, lyric sheet, poster, mastered for vinyl by Patrick W. Engel/ Temple of Disharmony

High Roller Records, reissue 2022, black vinyl, ltd 250, lyric sheet, poster, mastered for vinyl by Patrick W. Engel/ Temple of Disharmony

On December 2013, during Alain Pilot's show “La Bande Passante” and as part of the celebrations for Manu Dibango’s 80th birthday, Radio France Internationale gathered around the African master a bunch of prestigious guests including the Ethio- Jazz ambassadors : Akalé Wubé.

The band decided to play live and on air African Pop Session and Ekedi - both written and recorded by the Cameroonian saxophonist in the early seventies - quickly joined by Manu Dibango and his saxophone. Two live recordings of this session will be taken out this pathbreaking and improvised meeting.

A great complicity shortly settled between them and, a few months later, Akalé Wubé invited Manu Dibango on their track Anbessa (The Lion in Amharic) composed as a tribute to him. This collaboration led them to share several stages together in the following years.
With this RFI session still in mind, Manu Dibango invited the band to join him in studio for Akalé Wubé to arrange and re-record 5 other unknown nuggets from his catalogue : La Colère des Dieux, Du Bush a Bush, Gentlemen de Camp Yabassi, Otetena Munja and Peaceful Homeland.

Im Frühjahr erschien das Kracher-Album „Monster Mind Consuming“ welches mit den Ohrwürmern „Ori Ori“ und „Heathens“ zu einem Meilenstein der Bandhistorie wurde. Nur knapp ein halbes Jahr später legten die Außnahmekünstler mit der „Nightcall EP“ nach.

Am 12.08.2022 entfesseln sie mit ihrem brandneuen Album „Kreatura“ die nächste musikalische Bestie, die bereit ist, die Charts und die großen Bühnen zu stürmen.

Wenn man das Album „Kreatura“ hört, weiß man sofort, das ist MANNTRA! Die Kombination aus brachialen Metal-Riffs, harten Industrialsounds und traditionellen Folkinstrumenten beherrscht die Band, wie keine Zweite – denn es gibt keine. MANNTRA sind einzigartig!

„Kreatura“ ist das dritte Album der Kroaten, auf dem sie sich (vorwiegend) der englischen Sprache bedienen.
Musikalisch hält die Scheibe einige Überraschungen bereit. Starke Chöre verleihen den Songs eine ungeahnte Kraft und Dramatik, während die markante Stimme von Mastermind Marko M. Sekul die Geschichten der Songs so erzählt, als würdest Du sie erleben. Geheimnisvoll, mystisch und schaurig.

Auf ihrem neuen Album zeigen die vier Musiker wieder eine ganz neue Facette ihres Könnens. Zum ersten Mal sind auf dem Album drei Songs mit zum Teil deutschen Texten zu hören. Gekonnt spielen MANNTRA mit verschiedenen Sprachen und setzen diese perfekt zu der Story des jeweiligen Songs ein.

FP030F pressed in half black half purple vinyl 500 copies hand-numbered. FP030G pressed in black with red splatter vinyl 500 copies hand-numbered. A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan.

Very limited vinyl pressing, 500 copies in a full colour single outer sleeve and full colour printed lyric inner sleeve, housing black and white smoke effect vinyl. Two albums in and London’s Grave Lines, purveyors of ‘heavy gloom’ have already carved a unique niche in the myriad spheres of heavy music. Their first album ‘Welcome To Nothing’ set the tone for their distinct take on doom metal, which was broadened even further with album two ‘Fed Into The Nihilist Engine’. An epic feast of hard ‘n’ heavy riffs coupled with brooding sadness interspersed with thoughtful transcendent moments of introspection. Never a band to rely solely on trotting out those ‘doom metal’ tropes, the band began to weave in gothic and experimental elements into their music, to delve deeper into the dark shadows of the psyche. Now with their third album ‘Communion’ Grave Lines continue their exploration into the ugliness of the human condition, at the same time becoming a band that truly defies any pigeonhole. Continuing to hone and evolve their collective vision and aided by the masterful production of Andy Hawkins at The Nave Studios, 'Communion' sees Grave Lines creep further into the various corners of their sound. In a nutshell ‘Communion’ is a violent descent of bile-soaked intensity spiralling between filth laden swagger, and fragile mournful lament. The album delves into the internal aloneness of existence and the failings of the human connection. Owing as much to Bauhaus and Killing Joke as it does to Black Sabbath or Neurosis, there are moments of gut wrenching doomed up heaviness and bellowing noise rock, contrasting with ambient gothic passages and a thoughtful melancholy, to a create a powerful new chapter in their ceaseless journey through the gloom. The seven tracks act as distinctly separate representations of the album, each individually mirroring the remoteness of human consciousness. Opening track 'Gordian' doesn't waste any time, a burst of feedback kicks you straight into a filthy low slung punked up stomp before the band switch mood to drop off into a doom abyss, singer Jake raging at the void. 'Argyraphaga' continues the pummelling groove, gradually descending into nihilistic sludge. In direct contrast the sprawling atmosphere of 'Lyceanid' travels through the darkness. Jake’s vocals harnessing the spirits of Scott Walker and Mark Lanegan in equal measure. The rest of the band (on top form throughout) focus the dynamics over eleven enthralling minutes, as the song builds and builds to a towering crescendo before finishing with a plaintive acoustic coda. This is pure Grave Lines’. An immersive blend of darkness and light. 'Tachinid' is a violent palette cleanser, harsh industrial synths astride a hateful droning spoken word sermon. 'Carcini' is soaring melancholic doom, with the band at their most melodic whilst still able to crush the listener. Broodsac, with its circular riffs, is all gothic post punk noise rock meets fuzz fat riffs, and album closer ‘Sinensis’ offers a final delicate, melancholy moment of calm before launching into an industrial charged grind into oblivion. Grave Lines’ fusion of elements makes them one of the most powerful and mesmerising bands inhabiting the heavy music world at the moment, and with ‘Communion’ they have crafted an album that encapsulates their distinctive dynamic perfectly. ‘COMMUNION’ will be released in deluxe black and white smoke effect vinyl, housed in a full colour single sleeve with download included, CD and all digital platforms