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The debut from new splinter alias of Manchester producer, sequencer designer, and Cong Burn label boss John Howes was made entirely on a Nord Modular G2, Elektron Machinedrum, and Monomachine – a rig he characterizes as “an authentic 2006 studio, best listened to on Windows XP Media Player or Winamp.” Paperclip Minimiser’s self-titled full-length collects eight elusively multi-dimensional constructs of stereo panned synthetics and slithering ambient techno, born of a web of generative patches subjected to improvisational alterations. Taking things further, Howes’ process involves “planting ghosts in the machines,” instilling each element with “some self-correcting behavior in a cybernetic / lo-fi AI / semi-autonomous agent kinda way.” The result is an ambiguous and dynamic hybrid of accident and intention, chaos and control, shuffling through an innerspace wilderness of psychic circuitry.

The title alludes to a 2003 thought experiment about the existential risk of artificial intelligence; how even a mundane objective, algorithmically extrapolated, could culminate in catastrophe. Here the notion is inverted, demonstrating the sonic infinities to be mined by “pushing and pulling at the strings” of musical systems. Howes aptly samples a vintage interview with electronic music pioneer Bebe Barron – co-composer of the Forbidden Planet soundtrack – discussing the anthropomorphic potential of randomized audio generation: “We thought of our circuits as actors in a script.” Paperclip Minimiser descends from a similar family tree, coaxed as much as crafted, flickering rhythmic synchronicities glimpsed in a mirage of wires and glass.

Over the last decade-and-a-half, C Joynes has ploughed a singular furrow through solo guitar, with a body of work incorporating English folk-tunes alongside North & West African music, and lifting proto-minimalist and improvised techniques from the European classical and avant-garde traditions.

His new release, ‘Poor Boy On The Wire’, is his first full album dedicated wholly to the electric guitar. Through a typically wide-ranging set, Joynes exploits the instrument’s potential by placing intricate parlour music alongside overdriven garage blues throw-downs, wiry electric folk and the brittle ringing tones of free improvisation. However, these explorations of the tones and timbres of close-mic’d guitars and amplification retain an overall coherence and unity through the deliberate use of a limited palette of budget instruments and vintage equipment.

With ‘Poor Boy On The Wire’, Joynes has released 9 albums to date, including ‘The Borametz Tree’ (2019), recorded with long-term fellow travellers Dead Rat Orchestra, and ‘The Wild Wild Berry’, a collaboration with singer Stephanie Hladowski (MOJO Top 5 Folk Albums 2012, fROOTS Editors Choice Album Of The Year 2012). He has played extensively across the UK, Europe and the USA, sharing bills with performers including: Shirley Collins, Martin Carthy, A Hawk And A Hacksaw, Marc Ribot, Alasdair Roberts, Richard Dawson, Jack Rose, Josephine Foster, Sir Richard Bishop, Six Organs Of Admittance and 75 Dollar Bill.

“As much Conlon Nancarrow and Ali Farka Toure as Blind Lemon Jefferson, the compositional mind at work here can take apparently disparate threads of modernism and ethnic tradition and treat them as though they were all archaic blues styles learnt from dusty 78s.”
BRUCE RUSSELL, THE WIRE

“An inheritor to Davy Graham; a lone operator prone to unexpected collaborations, with a repertoire that crosses continents and timezones with consummate ease, and dashed off with a phenomenal, yet lightly applied technique.”
ROB YOUNG, THE WIRE

“His epigrammatic re-castings and re-readings of widely-travelled folk melodies and rhythms from a variety of traditions suggest shared memories that might be intensely universal while seeming strangely out of reach.”
KEVIN MACNEIL BROWN, DUSTED MAGAZINE

Cardinal Fuzz and Centripetal Force (North America) announce First Welcome, the eighth full length album from the ever evolving, veteran psychonauts White Manna. The album is being presented in a 500 copy vinyl pressing and will be made available for preorder on November 12th. The official release date is December 10th. White Manna's longevity as one of the leaders of the modern psychedelic movement is attributed to their willingness to introduce new elements to their sonic repertoire. Initially, these moves were subtle, but as the band has moved on through the years, these moves have become much more pronounced, always leaving listeners wondering what is in store for them as new releases are announced. So, here we are with First Welcome, an album that features warbled country leanings, airy blooms of ambience, and occasional hints of a German yesteryear, all implemented into the band's signature hazy and spacey mosaic of sound. None of these developments are unexpected, as they do build off of their previous album ARC, but here we see the band expand these elements and really make them their own. It should be noted that First Welcome is a product of the COVID era, with much of the recording happening in quarantine or while socially distanced. The band's process relied on communicating via email and sending music files back and forth. For White Manna this made the world of COVID both more fun and challenging, and they used the opportunity to get friends in different places to overdub tracks. Backing vocals and slide guitar were recorded while camping in the Mojave Desert. The saxophone was recorded in Liverpool. England. The trumpet sounds and some of the passages on the Rhodes were laid down in Northern California, and much of the vocals, piano, and synthesizer tracks were recorded in Costa Rica. As a result, the sound of First Welcome is reflective of the circumstances of these contemplative times. White Manna is recommended for listeners of everything from Hawkwind to Harmonia - and everything in between.

'It sounds like Roedelius remixing a Spacemen 3 track'

Classic Black Vinyl, DL card. Jane Weavers experimental ensemble in collaboration with Peter Philipson and Raz Ullah, Fenella returns with a hallucinogenic excursion into ambient textures and hypnagogic drones on new album 'The Metallic Index'. Taking further steps into their combined compositional universe with this follow-up to 2019's acclaimed Fehérlófia album. Loosely based on a genuine story accounting the short-lived abilities of a young psychic nurse in 1920's London, Fenella's niche muse justifies this celebratory return to vinyl but not once does it fall into the supposed tropes of staid hauntological-plunderphonics which repeatedly come to muddy our thirsty streams. Fenella make spirited melodic progressive pop music that pulsates with the same magnetism that fans of Jane Weaver's own The Silver Globe and Modern Kosmology have come to expect and hold closely. Handcrafted using a generous archive of some of the best vintage equipment in the country (partly recorded at Soundgas studios in Darkest Derbyshire) the sound structures you hear at the heart of this album form the basis for Fenella's best work yet, while the individual spectral vocalisations and ethereal electronics that circle the room capture this trio's return, as peripheral visions, in full-phantasmic bloom. "A sonic exaltation and refinement of craft, going further into the realms of atmospheric abstract cosmology blissfully morphed with the mythopoetic" The Quietus

Personnel: "Ascenseur pour l'échafaud" - Miles Davis (tp); Barney Wilen (ts); René Urtreger (p); Pierre Michelot (b); Kenny Clarke (dr


In 1957, Miles Davis is in Paris for an engagement at the Club Saint-Germain and a wonderful concert at the Olympia Theatre. Once in Paris, Miles came into contact with many members of the modern existentialist cultural environment in the neighborhood of Saint-Germain-des-Près. These include the director Louis Malle who had just finished his first movie : "Ascenseur Pour L'échafaud".

Jean-Paul Rappeneau, a Jazz fan and Louis Malle's assistant at the time, suggested asking Miles Davis to create the film's soundtrack. A private sceening has been organized.

On December 4 1957, Miles Davis brought three French Jazzmen - Barney Wilen on tenor saxophone, René Urtreger on piano, Pierre Michelot on bass and his american compatriot Kenny Clarke on drums - to the recording studio Le Poste Parisien without having them prepare anything. Miles Davis only gave the musicians a few rudimentary harmonic sequences he had assembled in his hotel room.
This recording was made at night in a most informal atmosphere.

The soundtrack was not released on it's own in the USA but ten songs from this soundtrack were released as one side of the album "Jazz Track" which received a 1960 Grammy nomination for Best Jazz Performance, Solo or Small Group.
"Ascenseur Pour L'échafaud" has become a great achievement of artistic excellence.

In an age where most contemporary bluesmen strive to mimic the past and pattern their music after the greats, Keb' Mo' is content to be himself. Original, charismatic, and immensely gifted, the guitarist/vocalist (born Kevin Moore) brings country blues in the late 20th century on his stunning self-titled Epic debut, which quickly climbed the charts and turned the former backing instrumentalist into a household name. Replete with gritty textures, close-up vocals, and resplendent acoustics, Mobile Fidelity's scintillating version of this 1994 set finally possesses the fidelity that brings Mo's Delta strains out of the backwoods and onto a lively back porch.

Half-speed mastered from the original tapes, this numbered edition 180g LP represents the very first time that Mo's watershed album has been given a much-needed sonic facelift. Gone are the hazes that obscured his singing, artificial ceilings that blunted the highs, and digital fog that interfered with the multitude of illuminating tones, details, and notes. What's revealed is startling intimacy and soothing emotion, Mo's gorgeous vocal timbres and inflections given equal space with his guitar, harmonica, and pace. Finally, a great-sounding contemporary blues record that doesn't resort to derivative recycling and bland revivalism.

The son of Southern parents, Mo' channels his heritage via a batch of superb folksy songs that relax, refresh, and regale. While he's since traveled in a more commercialized pop-oriented direction, Mo's initial salvo is nothing but raw, pure blues played with unbridled passion, tremendous conviction, and what is best deemed the essence of heart and soul. Keb' Mo' engages with a compelling mix of tradition and modernity, the headliner refraining from any attempt at assuming an artificial personality and instead basing his reputation on quality songs. As such, Mo's material resonates with deep, mellow vibes and extraordinary National steel guitar work, which complements his fluid, acoustic finger-picking and soulful strumming.

Mo' occasionally teams with an ensemble. But this record is mostly all about the basics: guitar, voice, and harmonica. Tunes such as "Victims of Comfort" and "Angelina" testify on behalf of his phenomenal country-blues songwriting; his covers of Robert Johnson's "Come On In My Kitchen" and "Kindhearted Woman Blues" speak to his reverence for the past. Shuffles, ballads, dance songs – Mo nails them all.

Keb' Mo' remains one of the finest blues albums made in the post-Stevie Ray Vaughan era. Don't miss this American gem that so many have since tried to copy.

"Bunn DeBrett Quintet is back with volume 2 of the eponymous album series of contemporary Jazz. Following on from the success of the critically acclaimed first album released in 2021 which sold out its vinyl run, volume 2 builds on the artistic and creative expressions of Volume 1 to bring together a group of artists to perform on Stephen Bunn and Jon DeBrett's compositions.

Once again featuring the core musicians of Stephen and Jon along with Neil Corcoran, Alan Barnes, Roger Beujolais, and the stunning spoken word vocals of Tenesha the Wordsmith. BDQ vol. 2 also benefits from the contributions of instrumentalists Nathan Haines, Crispin Taylor, Alastair Martin and the poetry of Daniel B. Summerhill.

Across the five tracks of this album this stellar line-up of musicians, composers and artists have created just under 40 minutes of the most fluid and fluent contemporary Jazz you will hear in many a year. Combining the spiritual with the modal and the modern, the atmosphere of this album will capture, enchant and enrapture all true music fans and those whose boundaries are blurred as to be non-existent."

Repress !


One of the first true moments of genius from saxophonist Nathan Davis - a mid 60s European session cut for the tiny SFP label - and a record that's even rarer than his early classics for MPS! The sound here is similar to the MPS sides - a mixture of soul jazz and modal jazz - served up with a bit more freedoms than Davis might have gotten on the US scene, and featuring a lineup that includes Woody Shaw on trumpet, Jean-Louis Chautemps on baritone sax, Rene Urtreger on piano, Jimmy Woode on bass, and Kenny Clarke on drums. The tight rhythm of Woode and Clarke is a nice counterpoint to the modernism of Davis and Shaw - Davis works a bit on soprano, which sounds especially great!

"I Can't Let Go" ist das erste Album der britischen Sängerin und Schauspielerin Suki Waterhouse und wurde von dem Grammy-nominierten Produzenten und Songwriter Brad Cook (Bon Iver, The War On Drugs, Snail Mail, Waxahatchee) produziert. Neben ihrer Tätigkeit als Schauspielerin (The Bad Batch, Assassination Nation, Misbehaviour) und Model (Burberry, Ferragamo, Tommy Hilfiger) katalogisiert die Britin ihre intimsten, prägendsten und bedeutendsten Momente ihres Lebens am liebsten in Songs. Die in London geborene und aufgewachsene 30-Jährige fühlte sich schon früh zur Musik hingezogen und sah das Medium immer als eine Möglichkeit, Kreativität auszudrücken und Geschichten zu erzählen. Bis heute haben Bands wie Oasis einen ganz besonderen Platz in ihrem Herzen, Suki hört aber auch gerne Songwriterinnen wie Sharon Van Etten, Valerie June oder Lou Doillon. Bevor sie sich mit dem angesehenen Produzenten Brad Cook für ihr Sub Pop-Debüt zusammengetan hat, erschienen bereits die auf eigene Faust veröffentlichten Singles "Brutally", "Good Looking" und "Valentine", die auch ohne großes Label im Rücken bis heute fast 20 Millionen Mal gestreamt wurden.

Written and recorded between 1972 and 1982 in Western Oregon, Back to the Woodlands is a previously unreleased, and nearly lost, album made by Ernest Hood during the same era as his near mythical album Neighborhoods . A visionary combination of field recordings, zithers, and synthesizers, Back to the Woodlands offers an unprecedented depth of access to this singular artistic mind. Born into a musical family, Ernest Hood began a promising career as a jazz guitarist during the 1940s, touring internationally with his brother Bill Hood and the saxophonist Charlie Barnet , before contracting polio in his late twenties. The disease left Ernest unable to play the guitar and confined him to a wheelchair for the rest of his life. It also forced him to adapt and innovate around his musical practices in the face of adversity; Hood's value of sound matured with a remarkably democratic and nonhierarchical approach and application. Taking up the zither, a less physically-demanding stringed instrument to the guitar, embarking upon the unprecedented process of incorporating field recordings into his work as early as 1956, and eventually discovering the synthesizer, Hood's music became imbued with optimism and subtle cultural critique. This ethos and technique - refined over the coming decades - would lay the groundwork for a sprawling body of radio work, mail order recordings for homebound listeners, and Neighborhoods , self- issued as a small vinyl edition in 1975. Where Neighborhoods , a nostalgic opus, drawing from a well of collective memory of the 1950s, is defined by traces of human activity, Back to the Woodlands leaves the modern world behind, delving into Hood's love for nature. Only recently discovered in his archives, the album dramatically expands his concept of "musical cinematography," imagistically triggering states of sensory memory from within its zither and synthesizer melodies, intertwined with field recordings made during Hood's extensive travels throughout Oregon. If Neighborhoods is a retreat into the gauzy joys of a romanticized past, Back to the Woodlands is an immersion in the timeless sanctuary of the natural world. A fascinating counterpoint to its predecessor, Back to the Woodlands brings us even closer to Hood's belief in the transportive qualities of sound; that field recordings could serve as a vehicle for the imagination and liberation, particularly for those with similar mobile disabilities as his own. Across the album's twelve compositions, the rippling instrumental harmonics - shifting between abstraction and playful melody - fold so seamlessly into the birdsong, bubbling brooks, and other environmental ambiences, that they often give the impression of having been recording within the landscapes toward which they whisper. Falling somewhere between the immersive calm of healing music and New Age, the creative field recording practices of sound ecologists world building for Folkways, and the jazz infected ambiences during Obscure / Editions EG's highest heights, Back to the Woodlands sculpts an singular proximity of music for its moment; a form of ambient sonic realism that draws the consciousness toward its surroundings as much as within. Working closely with his estate to maintain his original vision, Freedom to Spend has restored and remastered this never before released, lost masterpiece by Ernest Hood from the original tapes. Ernest Hood's Back to the Woodlands will be issued on vinyl, as well as on CD in combination with its contemporary Where the Woods Begin , with new liner notes by Michael Klausman . On behalf of Ernest Hood and Freedom To Spend, a portion of the proceeds from this release will benefit Oregon Wild, an organization dedicated to protecting and restoring Oregon's wildlands, wildlife, and waters as an enduring legacy for future generations.

Waxwork Records in partnership with Back Lot Music is honored to release NOPE Original Motion Picture Soundtrack by Michael Abels. Oscarr winner Jordan Peele disrupted and redefined modern horror with Get Out and then Us, he reimagines the summer movie with a new pop nightmare: the expansive horror epic, Nope. The film reunites Peele with Oscarr winner Daniel Kaluuya (Get Out, Judas and the Black Messiah), who is joined by Keke Palmer and Oscarr nominee Steven Yeun as residents in a lonely gulch of inland California who bear witness to an uncanny and chilling discovery. NOPE marks Abels' third feature film score with director Jordan Peele, having previously scored Peele's GET OUT and US. The album also features songs from the film, including a new version of Corey Hart's classic "Sunglasses at Night (Jean Jacket Mix)", Dionne Warwick's "Walk on By", The Lost Generation's "This is the Lost Generation", Exuma's "Exuma, the Obeah Man", and a never-before-released gem by a young Jodie Foster, "La Vie C'est Chouette" from the 1977 film MOI, FLEUR BLEUE. "NOPE is my most ambitious score to date," says Abels. "There are elements from the genres of sci-fi, action, horror, and westerns, but always through the tonal palette of Jordan Peele's unique vision. The lines between source music and score are blurred, as a good part of the score seems to be playing at the theme park, which is a key location in the story. The score is at times terrifying, yet also invokes the sense of awe and wonder that the characters feel as they realize what they are seeing. The film eventually becomes a grand adventure, and so the music expands into the larger-than-life scale we expect of a summer blockbuster." He goes on to say, "it was a joy to compose a score that encompassed such a broad range of genres and emotions, and I'm thrilled to have audiences experience all of them through this album." "Michael is one the most exciting composers working today - he has this amazing ability to create new sounds which was important for this film," Jordan Peele says. "He's able to play in the familiar and in the unfamiliar at the same time, so that helps give every film its own character, and he has an incredible mastery of so many different music genres." Abels is known for his genre-defying scores for the Jordan Peele films GET OUT and US, for which Abels won a World Soundtrack Award, the Jerry Goldsmith Award, a Critics Choice nomination, and multiple critics' awards. The hip-hop influenced score for US was short-listed for an Academy Awardr and was named "Score of the Decade" by The Wrap. Abels is also co-founder of the Composers Diversity Collective, an advocacy group to increase visibility of composers of color in film, gaming and streaming media. Waxwork Records is thrilled to present the official NOPE deluxe double LP soundtrack album. The package comes complete with 180-gram colored vinyl, quality packaging, original artwork by Ethan Mesa, heavyweight gatefold jacket with matte coating, a multi-page 12" x 12" booklet, liner notes, & more!

(2022 REMASTER)

Murcof"s first three albums are to be reissued on vinyl to mark the 20th anniversary of the release of his seminal debut album, Martes. Out of print for many years, these albums have been hugely influential in the worlds of minimal and ambient electronic music in their use of modern classical instrumentation, and are significant landmarks in the history of The Leaf Label. Each of the reissues is presented in a new gatefold sleeve featuring updated artwork, with Remembranza and Cosmos featuring fully remastered audio, and Cosmos including a previously unreleased bonus track.

Previously Unreleased Modern Soul Recorded at Wishbone Studios, Muscle Shoals Alabama around 1976 are seeing a release for the first time anywhere in any format

Mit 'Terror Winds' kehren T.O.M.B. mit sechs Tracks, die nach altem, rohem, blasphemischem Black Metal riechen, und von einer faszinierenden symphonischen Atmosphäre und nekromantischen Noise-Klanglandschaften durchdrungen sind, zu ihren Friedhofswurzeln zurück. Das Album steht für epische Weiterentwicklung der Band, deren Black Metal-Feeling für die frühen 90er authentisch ist. Das Album wurde live in den Ossuary Studios in New York City aufgenommen und von Tore Stjerna in den Necromorbus Studios in Schweden gemastert. Im Laufe der über 20-jährigen Bandgeschichte haben T.O.M.B. hat kontinuierlich die Grenzen der extremen Musik überschritten, indem es Elemente aus Dark Ambient, Doom, Death Industrial und Power Electronics zu einem einzigartigen Stil von erschreckendem Black Metal Noise zusammengefügt hat. Es ist ein Stil, der der Band einen wohlverdienten Platz als einer der Top-Innovatoren des modernen Black Metal eingebracht hat.

Gold Vinyl

No binaries, no simple opposition. Either/or is subsumed by infinite relations and dizzying possibilities, by the perpetual crest of and/and. Freedom is the key to bring about all complex and incongruous multiplicities. Embodied, embedded, relational freedom is the key.
Mue is a duo based in Tiohtià:ke/Montréal composed of Catherine Debard and Léon Lo. Formed in the Spring of 2020, the electronic musical project merges two distinct practices and explores the way they interact with each other. Drawing on early-IDM, illbient, minimalism, and natural phenomena, the resulting real-time hardware improvisations weave asymmetric patterns, create spaces, and digest various sounds.

Recorded in 2020, Les vasières explores unsynchronized hardware electronic impro-visations where individual sonic elements come to life by creating new and complex layers and organizational logics — melodically and rhythmically modulating each other.
The French album title translates to “The mudflats.” Sounds from disparate sources form an aural silt that is brought to life by waxing and waning cycles, each improvi-sation presenting a new, different mudflat scenario.
Mue asked visual artist Katherine Melançon to create the album’s artwork, which was the artist’s first dive into compost as source material. The resulting image—an otherworldly organic smear, both intimate and alien — was incorporated into graphic designer Haley Parker’s montage, hard frames recalling the flatbed scanner used by Melançon, and branch-like typography nodding to the organic concerns of all the artists involved.

Wir präsentieren 'Prelude To Obscurity', einen ungeschliffenen Edelstein des brutalen Underground Death Metal, der nach 25 Jahren endlich ausgegraben wurde! Embalm stammen aus Wisconsin und gründeten sich 1995 während ihrer Highschool-Zeit - in der Ära von Ablated Records, Frozen Dawn CD-Compilations und IllNoiz Death Fest, um nur einige zu nennen.

Embalm schufen wahrhaft denkwürdige Grooves aus mittelschnellem, eingängigem und verdammt brutalem Midwest Death Metal, der auch die üblichen Einflüsse des schwedischen Death Metal und sogar einen Hauch von Harmonie im Stil von Dissection enthielt, was dieses Demo von jeder erzwungenen Retro-Nostalgie abhebt.

Obwohl Embalm nie internationale Bekanntheit erlangten, waren sie Teil eines größeren Netzwerks und konnten sich im Vorprogramm von Bands wie Rotted, Internal Bleeding und Incantation behaupten. Während sich diese Sammlung auf das Meisterwerk und tragische letzte Demo mit dem treffenden Titel "Prelude to Obscurity" konzentriert, werden Sicko-Freaks auch mit dem buchstäblich unmöglich zu beschaffenden ersten "Demo '95" verwöhnt, das die bösartigsten und düstersten Keller-Nekro-Aufnahmen bietet, die - obwohl primitiv und grausam - immer noch eine minimalistische Erinnerung an die wahre Underground-Demo-Kassettenkultur bewahren. Ebenfalls enthalten sind die beiden letzten Live-Tracks, die es leider nie ins Studio geschafft haben. Sie wurden nach "Prelude..." geschrieben und zeigen das wahnsinnige Genie der Band: für Dunkelheit, Slam und gequälte Leads.

Die Sammlung wurde von Arthur Rizk sorgfältig von den originalen DAT- und Kassettenbändern neu gemastert und enthält ein umfangreiches Zeitkapsel-Booklet mit Flyern, Ephemera, Zine-Rezensionen und Live-Fotos aus den vergangenen glorreichen Tagen des TRUE Brutal Death Metal! Ein Wegweiser für jede neue Band, die einen Einblick in das bewährte "brutale Zeug" sucht. Eine erstmalige Co-Veröffentlichung zwischen zwei modernen Underground-Titanen, 20 Buck Spin und Hospital Productions.

Blood Red Vinyl

Wir präsentieren 'Prelude To Obscurity', einen ungeschliffenen Edelstein des brutalen Underground Death Metal, der nach 25 Jahren endlich ausgegraben wurde! Embalm stammen aus Wisconsin und gründeten sich 1995 während ihrer Highschool-Zeit - in der Ära von Ablated Records, Frozen Dawn CD-Compilations und IllNoiz Death Fest, um nur einige zu nennen.

Embalm schufen wahrhaft denkwürdige Grooves aus mittelschnellem, eingängigem und verdammt brutalem Midwest Death Metal, der auch die üblichen Einflüsse des schwedischen Death Metal und sogar einen Hauch von Harmonie im Stil von Dissection enthielt, was dieses Demo von jeder erzwungenen Retro-Nostalgie abhebt.

Obwohl Embalm nie internationale Bekanntheit erlangten, waren sie Teil eines größeren Netzwerks und konnten sich im Vorprogramm von Bands wie Rotted, Internal Bleeding und Incantation behaupten. Während sich diese Sammlung auf das Meisterwerk und tragische letzte Demo mit dem treffenden Titel "Prelude to Obscurity" konzentriert, werden Sicko-Freaks auch mit dem buchstäblich unmöglich zu beschaffenden ersten "Demo '95" verwöhnt, das die bösartigsten und düstersten Keller-Nekro-Aufnahmen bietet, die - obwohl primitiv und grausam - immer noch eine minimalistische Erinnerung an die wahre Underground-Demo-Kassettenkultur bewahren. Ebenfalls enthalten sind die beiden letzten Live-Tracks, die es leider nie ins Studio geschafft haben. Sie wurden nach "Prelude..." geschrieben und zeigen das wahnsinnige Genie der Band: für Dunkelheit, Slam und gequälte Leads.

Die Sammlung wurde von Arthur Rizk sorgfältig von den originalen DAT- und Kassettenbändern neu gemastert und enthält ein umfangreiches Zeitkapsel-Booklet mit Flyern, Ephemera, Zine-Rezensionen und Live-Fotos aus den vergangenen glorreichen Tagen des TRUE Brutal Death Metal! Ein Wegweiser für jede neue Band, die einen Einblick in das bewährte "brutale Zeug" sucht. Eine erstmalige Co-Veröffentlichung zwischen zwei modernen Underground-Titanen, 20 Buck Spin und Hospital Productions.

Saturnus' moderner Doom-Metal-Klassiker als Neuauflage von Prophecy Productions. Gatefold-2LP (schwarzes Vinyl) mit Ätzung auf Seite D, gefütterten Innenhüllen und Schutzhülle