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DEATH's landmark Spiritual Healing record is nothing short of genre-defining. Originally released in 1990, Spiritual Healing marked a new turn in the DEATH discography, one which ushered in cleaner production, a new level of boundary pushing musicianship and songwriting skills that were previously unimaginable from a metal band. Spiritual Healing sets the standard for riffs, insane time changes and of course mainman Chuck Schuldiner's masterful guitar solos. Includes Digital Download

Seit langem fragen Leute, ob sie diese Alben erstehen könnten und bisher lautete die Antwort: Nein. Bisher! Wir sind begeistert, die Re-Issues dieser vier unglaublichen Alben mit verbessertem Artwork bekannt zu geben. Alle Alben wurden remastered und ist zum ersten Mal überhaupt auf Englisch erhältlich (eine englische CD-Version wird später auch noch erscheinen). Als die ursprünglichen Versionen veröffentlicht wurden, wurden die meisten Exemplare in Frankreich verkauft. Aber Yann wurde, nicht zuletzt durch den Soundtrack von ,Die fabelhafte Welt der Amelie auf der ganzen Welt bekannt. Für sein internationales Publikum hat er nun höchstpersönlich seine Titel mit größter Sorgfalt ins Englische übersetzt, um sicher zu stellen, dass die Originalinhalte beibehalten bleiben. Im Januar folgen die nächsten beiden Alben. "Dies ist die Synthese aus klassischem Können, postmoderner Kreativität und zugkräftiger Vorstellungskraft. YANN TIERSEN hat ein Album geschaffen, das zwei Bewegungen vereint, denn die beiden Kompositionen wurden ursprünglich für zwei Theaterstücke - "Freaks" (nach dem Film von Tod Browning) und "Le Tambourin de Soie" (nach einem Stück von Yukio Mishima - komponiert. Das Werk ist voller neuer Gedanken; ein zukünftiger Klassiker den man unter gar keinen Umständen verpassen sollte." - La Griffe, 1995

Massive slabs of distortion inhabit every seam of this monstrously linear album” Julian Cope. Japrocksampler

• Long-awaited re-issue on 180g blue coloured vinyl

• Limited, hand numbered editions

Demon Records presents the narrated TV soundtrack of a partially ‘lost’ six-part adventure set in a
future Ice Age, starring Patrick Troughton as the Doctor.
The Doctor and his friends land on Earth in the future, and find it in the grip of a new Ice Age.
They join a team of scientists struggling to hold back the huge glaciers that threaten all human
life. A giant creature is discovered inside the ice and quickly comes to monstrous life – it’s an Ice
Warriors from Mars! It intends to find its crashed spaceship, where a whole crew of Warriors is
waiting to be revived…
Presented across a trio of 140g Molten Ice vinyl discs, this 1967 TV soundtrack – only four
episodes of which survive as film recordings - is narrated by Frazer Hines, who co-stars as the
Doctor’s companion Jamie, with Deborah Watling as Victoria. The guest cast includes Bernard
Bresslaw as the Ice Warrior Varga, Peter Barkworth as Leader Clent, and Peter Sallis as Penley.
Incidental music is by Dudley Simpson, and the familiar strains of the Doctor Who theme are
courtesy of the BBC Radiophonic Workshop.
The coloured LPs are presented in fully illustrated sleeves which, when assembled together, form
the cover image. Original episode billings, and full cast and credits, are included.
Dummedy-dum, Dummedy-dum, Dummedy-dum, Dum-dum…

"To The End" is a tremendous demonstration of power that impressively unites all elements of its predecessors and paints a frightening picture of war, death and destruction at the end of which nothing remains but ashes and the realization of a masterpiece. It is the beginning of a new era. Since early October 2020, smoke is laying over Northampton near London. The machinery is well-oiled, the plan excellent - MEMORIAM have recorded their fourth studio album! The speed the British machinery has been working at since their early days is just enormous and equally amazing. Only back in 2016 the band inaugurated the public about their existence. Since those days the machines never stood still. The British Death Lead Commando caused a big rumble shortly after the first rumors about where the journey would go. "The Hellfire Demos" hit the worldwide scene with their old school Death Metal and left speechlessly torn open mouths which are still raving about the enthusiasm of this achievement today. When "For The Fallen", the debut album, is unleashed on mankind via Nuclear Blast Records in 2017, the impression is even more powerful – Truly an historic act for metal history. But as mentioned, there is no stand still in MEMORIAM. Meanwhile emancipated from other bands, they write their very own piece of history. While the first album was still heavy, oppressive and marked by grief, the second album "The Silent Vigil" (2018) showed a more merciless and aggressive side. The same applies to the third strike "Requiem For Mankind", which stands unmistakably in the short but impressive tradition of all previous MEMORIAM works. After this concentrated Death Metal trilogy, all signs were pointing to upheaval. As if the band wanted to completely break away from their old roots, they looked for a new home and signed a worldwide record deal with the upcoming label Reaper Entertainment Europe. While drummer Andy Whale had to take a forced break due to health reasons, Spike T Smith - a close friend of the band - took over the job in the rhythm section. Nevertheless "To The End" follows the tradition of its predecessors without leaving any doubt that one of the strongest albums of 2021 lurks here. Once again the groove is monstrous, the riffs deadly merciless and the atmosphere oppressive, paralyzing, even overwhelming. Willett's aggressive vocals give the sound the proverbial icing on the cake.

A deluxe vinyl reissue of Demigod's 2002 album Shadow Mechanics. This version comes with a gatefold sleeve and is limited to 500 hand-numbered copies on violet splatter vinyl. Demigod’s criminally underrated second album of cult Finnish Death Metal from 2002 released on vinyl for the first time! Melodic, brooding and doom-laden death metal, punctuated with full-fledged scorchers such as the fierce and blasting "Gates of Lamentation", makes Shadow Mechanics an unpredictable treat, way ahead of its time. This seven-Finn act's potent, driving obscure death metal dispenses pure surges of metal-laced adrenaline thanks to the gruesome vocals and a monstrous Finnvox production. Layering the album with more solemn and atmospheric cuts, Shadow Mechanics shows Demigod pushing at the boundaries of their sound and the conventions of the scene at the time. Pressed in a limited quantity of 500 hand-numbered copies on violet splatter vinyl, with a gatefold sleeve and old-school classic Demigod logo replacing the typeface of the original CD issue, this highly collectible new Svart Records pressing is a treasure for any self-respecting Finnish Death Metal connoisseur to complete their collection.

We were playing the track ‘Common Ground’ out and it was getting the dance floor hot! It was an instrumental at the time and Renato Paris was in the dance (a singer that EVM has been working with, plays keys with Moses Boyd and is one of Gilles Peterson's one to watch) he came up and asked, “What's This?” grabbed the mic, peak time and layed down this dope freestyle vocal, it was a jaw drop kinda moment for us all! That was it, we had to make it happen! So we linked up Renato and Duke and it became the lead track on the EP. An infectious song that literally drips in soul and future R&B, and just fits perfectly over the strings on this killer broken beat track! It’s one that will stick in your head and make you play it twice!

The whole EP is nothing short of quality. From the sultry jazzy Bruk vibes of '2017 Heat Wave' to the monstrous club track ‘ Nighthawks’ an up front stomper with live drums and a bassline that'll make you shiver inside that funky top line.

‘Got My 606 Back’ has been getting rinsed by the Summer dance Forever crew’s KC The Funkaholic and was well received by dancers worldwide when it was used for an SDF promo earlier in the year. We’ve since had many of them asking when this is coming out! This one is a real body mover, sweat towel advised!

Finishing up on ‘IFZ Shuffle’ a wicked little house shuffler that almost takes you back to the 90’s. It has this sweet piano breakdown that then introduces synths and congas until the groove kicks back in again. This track and the whole EP for that matter, works in a multitude of situations. It wont fail!

Black vinyl pressing of the now sold out RSD 2020 reissue.

The Amorphous Androgynous unite their award winning psychedelic compilation series ‘ A MONSTROUS PSYCHEDELIC BUBBLE ( Exploding In Your Mind ) ‘ with their symphonic new single ‘ We Persuade Ourselves We Are Immortal’ ( taken from the forthcoming album ‘ LISTENING BEYOND THE HEAD CHAKRA ‘ ) to create this latest installment of the Monstrous Psychedelic Bubble series . Featuring a host of luminaries such as Peter Hammill -vocals ( Van Der Graaf Generator ) Paul Weller -piano and guitar and erstwhile members of the SPENCER DAVIS GROUP/ Ian Gillan Band AND SOFT MACHINE on lead guitar and sax among a plethora of other musicians ( including the Chesterfield Philharmonic choir and a full string section ! ) alongside collaboration & remixes with a host of bands ( ATOMIC SIMAO / HIGHER PEAKS / REGAL WORM / COBALT CHAPEL plus others ) to create one helluva progtronic psychedelic trip through the Amorphous Androgynous samplerdelic multiverse.

monstrously rare private pressing from 1973 originally on the deroy imprint, motiffe play twisted king crimson esque progressive rock with dark jazz elements, 99 were pressed with just a handful having hand drawn covers, record deals were offered but musical differences split the band, with the mighty Flux emerging jn the aftermath, before ace guitarist Grimaldi joined Argent to help craft their masterpiece 'Circus'. valued at £2000, this is the first fully authorised legal edition with all members consent and full history written by the band in the inner gatefold. The Gryphon image is also drawn by the band for the cover.

4 monstruous tracks straight from the basement feat. one of the original house music creator RON HARDY.All the real djs were looking for those for years. Grab it before it's sold out, we have very few copies. A must have

Cormac is pleased to announce the second release on his new record label Polari, the label he curates and through which he shares music from artists that he champions in his muchrevered DJ sets.
The name “Polari” references the slang used by the gay subculture in the 19th century.
The sophomore release is from Philadelphia based duo Zillas on Acid.
2019 was the year Zillas made the transition from DJs to break-out producers. Having honed their DJ skills at Philadelphia’s revered MAKING TIME clubbing institution, Thomas Roland and James Weissinger have released two EPs on Optimo Music and also on Ivan Smagghe’s Les Disques de la Mort in the past 12 months.
Cormac has also opted to showcase different LGBTQI+ visual artists' work for the sleeve art.
Artwork on this release is from SHREK 666; an Artist, Performer, Maker & DJ also known as Sorcha Clelland. Creator of Ministry of Pound, a Glasgow based Fetish Party & Mag and resident performer at Scotland’s most loved Queer party Shoot Your Shot. Combining
monstrosity, trans*ness & hypersexuality through the embodiment of an ogre creating new queer worlds.

Volume part 2/4 solo album set. (Monstruos Y Duendes). The music of Myrddin goes through marrow and bone and is both complex, passionately rhythmic and profoundly emotional. He fully masters the compás of flamenco, which gives him the freedom to converse with elements of jazz or classical music.

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, "There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate-more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead." Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. Visions of Bodies Being Burned is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. Before the release of There Existed an Addiction to Blood, Clipping and Sub Pop Records divided the material up into two albums, designed to be released only months apart. However, a global pandemic and multiple cancelled tours pushed the release of the project's "part two" until the following Halloween season. Visions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore-the purposely absurdist hip-hop subgenre that flourished in the 1990s-the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. The final track, "Secret Piece," is a performance of a Yoko Ono text score from 1953 that instructs the players to "Decide on one note that you want to play/Play it with the following accompaniment: the woods from 5am to 8am in summer," and features nearly all of the musicians who appeared on both albums. Since their last album, Daveed Diggs-the group's Tony and Grammy Award-winning rapper-has starred in the TNT science fiction series, Snowpiercer, voiced a character in Pixar's Soul, and portrayed Frederick Douglass in Showtime's The Good Lord Bird. Writer Rivers Solomon's novella based on Clipping's Hugo-nominated song "The Deep" has been nominated for the Nebula, Hugo, and Locus Awards, and won the Lambda Literary Award for best LGBTQ SF/Fantasy/Horror novel. Clipping's song "Chapter 319"-a tribute to George Floyd (AKA Big Floyd) the former DJ-Screw affiliated rapper who was murdered by police officers in May of 2020-was released on Bandcamp on June 19th and raised over $20,000 for racial justice charities. A clip of the song also became a popular meme on TikTok, generating over 50,000 videos in which teenagers rapped the song's lyrics ("Donald Trump is a white supremacist, full stop_") directly into the frowning faces of their conservative parents. The band also contributed a Skinny Puppy-esque rework of J-Kwon's "Tipsy" to Save Stereogum: An '00s Covers Comp.

Marian Himburg, the artist known as Causa, believes that less is more, both in his productions and his release schedule. With a lean and heavy catalogue built from releases on labels like Crucial Recordings, Infernal Sounds, and Artikal Music UK, Causa is as focused on producing quality dubplate ammo as he is with proper releases. His second chapter for ZamZam is exactly what you’d hope: heavy 140 wares for dark dances- soon may they return!!

"Hiss" is nothing if not cinematic: a queasy melody circling in a dying orbit until it crashes into its first monstrous drop. Led by a squelching, lumbering single-note bassline that crushes like an unstoppable beast freed from its chains, no-nonsense kick-snare power and a steadily rising hum increase our fight-or-flight response until the very end.

Causa says the tune was created after “re-listening to my very first couple of beats and getting inspired by how little I cared about certain placements and how I worked drums at that time… I didn’t follow any rules - because I didn’t know any back then."

“Palms” is the perfect companion, another 140 stormer with drums seemingly built from white noise and distortion, funked-up by syncopated brush hats & an utterly swarming bassline. Add paranoid textures and a bizarre monosyllabic vocal pitched this way and that, and you have another dystopian side to fall in love with in the bunker or the ball.

In the horror genre, sequels are perfunctory. As the insufferable film bro Randy explains in Scream 2, "There are certain rules that one must abide by in order to create a successful sequel. Number one: the body count is always bigger. Number two: the death scenes are always much more elaborate-more blood, more gore. Carnage candy. And number three: never, ever, under any circumstances, assume the killer is dead." Last Halloween, Los Angeles experimental rap mainstays Clipping ended their three-year silence with the horrorcore-inspired album There Existed an Addiction to Blood. This October, rapper Daveed Diggs, and producers Jonathan Snipes and William Hutson return with an even higher body count, more elaborate kills, and monsters that just won't stay dead. Visions of Bodies Being Burned is less a sequel than it is the second half of a planned diptych. It turns out, Clipping took to the thematic material of horrorcore like vampires to grave soil. Before the release of There Existed an Addiction to Blood, Clipping and Sub Pop Records divided the material up into two albums, designed to be released only months apart. However, a global pandemic and multiple cancelled tours pushed the release of the project's "part two" until the following Halloween season. Visions of Bodies Being Burned contains sixteen more scary stories disguised as rap songs, incorporating as much influence from Ernest Dickerson, Clive Barker, and Shirley Jackson as it does from Three 6 Mafia, Bone Thugs-N-Harmony, and Brotha Lynch Hung. Clipping's angular, shattered interpretations of existing musical styles are always deferential, driven by fandom for the object of study rather than disdain for it. Clipping reimagine horrorcore-the purposely absurdist hip-hop subgenre that flourished in the 1990s-the way Jordan Peele does horror cinema: by twisting beloved tropes to make explicit their own radical politics of monstrosity, fear, and the uncanny. The album features a host of collaborators: Inglewood's Cam & China, fellow noise-rap pioneers Ho99o9, Tortoise guitar genius Jeff Parker, and experimental LA drummer Ted Byrnes. The final track, "Secret Piece," is a performance of a Yoko Ono text score from 1953 that instructs the players to "Decide on one note that you want to play/Play it with the following accompaniment: the woods from 5am to 8am in summer," and features nearly all of the musicians who appeared on both albums. Since their last album, Daveed Diggs-the group's Tony and Grammy Award-winning rapper-has starred in the TNT science fiction series, Snowpiercer, voiced a character in Pixar's Soul, and portrayed Frederick Douglass in Showtime's The Good Lord Bird. Writer Rivers Solomon's novella based on Clipping's Hugo-nominated song "The Deep" has been nominated for the Nebula, Hugo, and Locus Awards, and won the Lambda Literary Award for best LGBTQ SF/Fantasy/Horror novel. Clipping's song "Chapter 319"-a tribute to George Floyd (AKA Big Floyd) the former DJ-Screw affiliated rapper who was murdered by police officers in May of 2020-was released on Bandcamp on June 19th and raised over $20,000 for racial justice charities. A clip of the song also became a popular meme on TikTok, generating over 50,000 videos in which teenagers rapped the song's lyrics ("Donald Trump is a white supremacist, full stop_") directly into the frowning faces of their conservative parents. The band also contributed a Skinny Puppy-esque rework of J-Kwon's "Tipsy" to Save Stereogum: An '00s Covers Comp.

Sukh Knight's DAKU imprint comes strong again with its 3rd vinyl release, this time with some of Sukh's classic tracks getting the remix treatment. The title track is Cimm's much sought after monstrous remix of 'Diesel Not Petrol', with Cimm adding his trademark crisp drums, and extra riffs and stabs to give this classic track a modern vibe. This one has been in constant rotation in both Dubstep & Grime scenes getting instant reloads. On the B-side, finally getting a release after being a treasured dub for 12 years, is the VIP mix of Diesel Not Petrol, this one also still sounding as fresh and heavy as it did all those years ago. To top it all off, Mystic State come with their deep, heavy meditation vibes on the remix of 'Shutdown', guaranteed to take you on a journey. Timeless music!

Underground electro-cult figures, ALIEN FM (Anthony'Blaktony' Horton & Keith'K-1' Tucker) return to the reactivated Puzzlebox label for 2020...and beyond.

1) "Monochromatic Images"- Flooded with spatial rhythms and atmosphere, the title tracks leads you into the eps theme. Echoed computerized vocals riding into spaced out beats from the two interstellar travelers.

2) "Record Man"- Signature K-1 big beats accompanied by a Blaktony vocal arrangement brings the formula for this 'dedication to vinyl lovers' song worldwide. A salute to the industry standard and new anthem for the format. Featuring a guest appearance by Kelyn McKnight (K-1s daughter).

3) "Out There"- Big, bad jeep-beat drama for heads. Deep and emotionally driven for your mind and body. 4) "Out There (K-1 remix)"- Certified a cosmic ass-whooping' of a track and take no prisoners approach by Dj K-1's remix. Block-rocking beats, futuristic backdrops. Monstrous.

For the second instalment of Subaltern’s 2020 program, we welcome one of the scene’s best-kept secrets – Imajika. The three hard-hitting tracks take listeners on a sonic journey through tribal rhythms, punchy drums and immaculate sound design. Calling upon ancient forces, Imajika makes a powerful statement with the Stagger EP.

Stagger
Ethereal glass chimes sing in the distance underneath an airy pulse to create an eerie intro until the groove enters to break the tension. We are offered a moment to breathe before being submerged by staggering drums driven by powerfully persistent bass-waves. Playful dubby FXs, gritty wobbles and naughty drum fills keep the head nodding throughout this stomper. After offering one last breath, the second drop hits with a relentless grunt that leaves us gobsmacked and then proceeds to devastate any sub to cross its path.

Unti Pundi
Mystical textures set a ghostly tone, overlaid by the meditative ‘Unti Pundi’. We are whisked through the caverns of time - space is created through reverbs and echoes of snares and droplets. A sinister pitch-oscillating synth takes your hand and as Imajika takes you deeper down the rabbit hole. Evolving basslines and masterfully placed drum fills add new depth to this monstrous beat before a shattering second drop wreaks havoc - Imajika shows no mercy.

Inside the Sycamore Root
Foreboding voices whisper in a secret language, seemingly summoning ancient spirits in a circular tree-based ritual. A cataclysmic drop fused with a tribal rhythm and propels us deep Inside the Sycamore Root. The spirits have been awoken. A gnarly bass pulsates as calls of the wild and menacing laser-synth stabs respond to the ancestral voices. The summoning continues and takes us even deeper into the wilderness as rumbling bass and tribal percussion take over - the descent into the great unknown continues.

Ill considered are a group of musicians interacting with each other to create freely improvised music, based loosely around simple pre-written themes or composed on the spot. Deep grooves and plaintive melodies ranging from whispered chants to monstrous climaxes, the group react to the mood of the audience and the sonics of the room to create music that is unique to the moment. ILL CONSIDERED 8 was recorded during the band's European tour in the fall of 2018.

What can be said about this monstrous Disco Funk extravaganza from 1982? Well, plenty actually... the only entry in the mighty Prelude back catalogue from Michael Wilson, 'Groove It To Your Body' is what this music is all about, a proper dance record, drenched in the funk, a groove that just doesn't stop.

The A-side is incredible, but it's really the b-side dub mix that steals the show. Francois Kevorkian, who was Prelude's A&R man at the time, mans the desk on both mixes, but for a truly stellar work-out the dub flips all of the essential ingredients into a stew of rumbling synth and tape feedback and deep space delay and echo.

This mix could be seen as the template of what was to come, and is an all-out dancefloor wrecker. Try it! It doesn't get any better than this.

A Disco essential. 2nd hand copies of this nugget go for serious wedge these days, now's your chance to snag an *official* licensed reissue from Prelude direct. All totally Above Board! Do it!

Welcoming, 'Come Together' - a five track various artists EP drawn from our network of associates locally and internationally. With artists hailing from Japan, Italy, the USA and Australia the 12" features the sounds that bring our families together on dance floors around the globe.Italy's Matisa opens the record with a designer italo-house trip "Garbadine", armed with punchy drums, a warped guitar loop and hypnotic bass line. Melbourne group Polito's "Wallis Axiom" juxtaposes this with a guttural, gurgling outsider-techno piece. Frenetic percs and crunchy distortion collide with alien FX and bleepy modular synthesis for a dark journey.On the flip, New York City master producer Physical Therapy jumps into the deep end with "10000% Pure Love", a raw, hard hitting club weapon. The Allergy Season boss distils the pure, unbridled energy of a sweaty dance floor through a woozy bassline and manic cowbell action. Slowing the pace slightly, Berlin via Japan producer Yuzo Iwata delivers "Acid House" a rugged, growling beast which trips and chugs along as a monstrous 303 weaves in an out of the penetrating vocals "ACID HOUSE". The mysterious Serpent finishes you off with "In The Garden" a syncopated drum workout imbued with a ritualist, primitive energy by the heavily layered percussion and flickering synths.

For Patrick Flegel, Cindy Lee is more than just a recording music project. It is the culmination of a lifelong exploration of art, the electric guitar, queer identity and gender expression. "Singers like Patsy Cline and The Supremes carried me through the hardest times of my life," explains Flegel, "and also provided the soundtrack to the best times."

Following the dissolution of Canadian experimental indie band Women, Flegel would delve deeper into songwriting that bends further toward high atmospherics and bracing melodies – a unique space where splendor naturally collides with experimentation. Delivering moments of sheer beauty through somber reflections on longing and loneliness, Cindy Lee is something to hold onto in a world of disorder.

What's Tonight To Eternity, Cindy Lee's fifth long-form offering, showcases the project's most entrancing strengths: ethereal snowdrift pop and sly nods toward classic girl-group motifs. Recorded at Flegel's Realistik Studios in Toronto and featuring younger brother Andrew Flegel on drums, the album travels hand in hand with a spectral guide.

Flegel found inspiration for Cindy Lee in the form of Karen Carpenter, drawing on the singer / drummer's early recordings as well as her look and style. "I found a deep interest and comfort in Karen's story, which is a cautionary tale about the monstrosity of show business, stardom at a young age and being a misfit looking for connection. The darkness and victimizing tabloid sensationalism she suffered is easily tempered and overwhelmed by her earnest output, her artistry, her tireless work ethic. Something utterly unique and magical takes shape in the negative space, out of exclusion. What I relate to in her has to do with what is hidden, what is unknown."

What's Tonight To Eternity remains a mix of pop culture indoctrination, pain and suffering, hopes and dreams, fierce confrontations and wide-open confessional blurs. Closing with the song "Heavy Metal" (dedicated to the memory of former Women bandmate Chris Reimer) and adorned by Andrea Lukic's Journal of Smack artwork, the album continues the bold and rewarding path on which Cindy Lee has embarked.

Volume one of a four part solo album set. (Monstruos Y Duendes).
The music of Myrddin goes through marrow and bone and is both complex, passionately rhythmic and profoundly emotional. He fully masters the compás of flamenco, which gives him the freedom to converse with elements of jazz or classical music. His swiftness sometimes seems extraterrestrial, but whoever takes the time to listen intensively to his music will soon find an immense world of pure emotions, beauty and peace. After four CDs and numerous concerts Myrddin proves that great virtuosos of flamenco don’t necessarily have to come from Spain.

4 monstruous tracks straight from the basement feat. one of the original house music creator RON HARDY.All the real djs were looking for those for years. Grab it before it's sold out, we have very few copies. A must have.

MERRY CHRISTMAS EVERYBODY!
Let's celebrate the most peaceful time of the year with this fantabolous double-sided soul bomb! "Christmas Is A Drag" starts with a monstrous open drum break and goes straight into a 1960s boogaloo-type funk track! The b-side is a fierce instrumental which might even appeal to the open-minded Northern Soul crowd.

The perfect gift for your record loving husband! Limited edition too!

Back with a vengeance, Cimm returns to the imprint with a highly anticipated succession to his Sentry debut from last year, stamped on a irresistible 2 x 12" vinyl release. Infernal halftime beats and top-notch Dubstep shells, firmly entrenched at the frontier of sound system music and its invaluable heritage. The London-based producer and DJ rose to swift and significant acclaim in the last few years with releases on institutions like Tempa, J:Kenzo's Artikal and Wheel & Deal as well as notable residencies at Rinse FM and the renowned Fabric night club, among other recent achievements. Now coming to a turntable near you, Cimm delivers four bespoke cuts, primed for the dance and your enjoyment, battle-tested by the scene's foremost tastemakers.

Diving into unidentified transmissions, 'Unknown Caller!!' sets the pace with eerie reverberations and filtered resonance. Amid the faint hiss of machinery, larger-than-life drums set up shop alongside subterranean pressure emissions. Hefty breaks, hold tight! Retro synth melodies keep us on track within the monstrous switch-ups and unquestionably meticulous arrangement, sure to shut down any dance in style. Cutting no corners with the B-Side, Cimm teams up with veteran vocalist Rider Shafique for a dystopian sub-bass onslaught, swaggering militant chants and the apocalyptic ambience to go with it. Steaming low-frequency oscillations bubble and hurl their weight, stripped of all restraints, coveted in freezing harmonies and ethereal atmosphere. Vibrating in a more uplifting spirit, the dedication to the Jamaican roots of sound system culture unfolds in the Londoner's signature style - dubbed out soundscapes ahead. 'Tosh Dub' keeps it a laid back, with vintage instrumentation, scattered skanks and swirling organ chimes. Taking an ultimate trip through unremitted grit and off-kilter grooves, 'I Am Jack Travis' lures us in with rainy undertones and hypnotic foley sampling. Promptly revealing its true nature with plenty of pressure and scrupulous syncopation, a ghostly heavyweight ensues and closes the deal.

Another fine slab of that Disco goodness from the mighty Kojak stable. Toronto party machines & re-edit maestros The Patchouli Brothers step up to the plate this time with 2 monstrous sides of peak-time Disco heat.
'BDSM / Gert A Chance' will not leave your bag, these cuts are primed, ready and able to lift the roof off of your discotheque, road-tested by the bros and deemed suitable the gods at Kojak Giant Sounds & Disco Promotions. Say no more. Essential wax for the discerning mirror ball fiend right here. Limited, as always. Do it!

Our Danish secret weapon ANTN is back on Counterweight with his new monstrous release. Four original tracks with his very own and distinctive vision of techno.

Fast, straight, raw and pretty industrial, but without loosing the groove, that's our boy. If this wasn't clear for you yet, now you know why you should keep an eye on this excellent producer.

Hammered Hulls are a brand new band from Washington D.C. made up of some very old connections.
Mary Timony (bass) and Alec MacKaye (vocals) grew up in the same Washington neighborhood and have spent the better part of their lives in each other’s somewhat distant orbit. Always aware of each other, but never able to play together.
Mark Cisneros (Guitar) has been in D.C. for more than a decade. He cut his teeth in Los Angeles listening to both Mary and Alec’s bands, but also a healthy dose of free jazz and garage. He is the man who plays every- thing with everyone, but this is his band.
Hammered Hulls are rounded out by Chris Wilson (drums), a monstrous drummer with no shortage of love for all three of his bandmates. Every person in this band is a fan of every other person in this band. Mutual respect drives this train. But to say they are an odd collection of influences is to understate the point. If you tried you couldn’t imagine what this band might sound like.
This single was recorded and mixed in a single day at Inner Ear studios, appropriate home to everyone in the DC scene.
mark Cisneros - guitar Alec macKaye - vocals mary Timony - bass Chris Wilson - drums

Shimza, one of South-Africa’s shining talents, makes his return to Cadenza with ‘Eminence’, a burning compound of profound percussions and late-night rapturing synths. This Gauteng-born artist is one of the most celebrated African electronic musicians and has garnered the reputation of the “Effect Master” and “Vinyl Assassin” for his technical prowess and intricate mixing abilities. The vibrating drums and persistent arpeggios of ‘Eminence’ make for a captivating peak-time anthem, offering the nostalgic essence of Detroit’s late-nineties splendour. As the EP journeys to ‘Dancefloor Keeper’, the slick trance-inspired stabs and permeating bassline expose its ominous nature as it swells to a seismic drop. On the B-side, Shimza expresses his creative flare with ‘Kunye’; a hypnotic cut that blends the spirit of futuristic synthwave with the soul of African tribalism. ‘Warrant For Arrest’ is a charged number, driven by a snappy compressed kick drum and chiming sequences. As its percussive forces fall away to the second break, a monstrous siren and obscure vocal cuts take focus, guiding it to its summit. The penultimate offering ‘MSC’, is a euphoric gem that flows with expressive phrases and evolving synth pads. The EP’s digital-only bonus track ‘Mirrors’ shuffles effortlessly with a funk-tinged riff, maintaining a high voltage pace, closing the EP in an emphatic manner. Shimza has been on a mission to make 2019 his biggest year to date. Launching his One Man Show concept in Soweto in 2009 to help raise funds for underprivileged children, the project has now matured into an annual event that draws in over 25,000 people each year, hosting some of the country’s most in-demand artists, such as AKA, Black Coffee and Black Motion. The show has seen international editions in France, Spain and Portugal and has helped position Shimza as one o

What kind of band would choose a double vinyl, gatefold LP for their first release The Hare and Hoofe. Their eponymous first release consists of two discs. Disc One rounds up their 'hits' so far - 2018's smash hit White Blindness, the space gregorian
chant that is Voyager, and the pastoral tale of Appledore Fayre. The second consists of their rock opera, The Terror of Melton. Time-travelling scientists. Giant laser-eyed robots. A rock opera to end all rock operas...

Pitched somewhere between The Who, The Stooges, ELO, Sparks, Pink Floyd, Voivod, Pete Townshend, Brainiac, Bowie and Judas Priest, The Terror of Melton is a headspinning,
ambitious journey. In turns stomping, tear-jerking, full-on rocking and dreamlike, it will transport you. Prog Magazine's Dom Lawson described it as 'absurdly entertaining and deliciously weird... An unmissable trip for fans of the fuzzy and farout'.
2018 saw the band recording a BBC6Music Marc Riley session before even releasing a physical record. In addition, they've had plays on Stuart Maconie's Freak Zone. The band have also gained a monstrously good live reputation, playing an instantly
legendary set at Hastings' Beatwave festival, as well as headlining Tannerfest, Pitch Fest, playing with Focus and The Fierce and The Dead, and the John Snow Society's annual celebration of the eminent epidemiologist.
Some describe them as 'educational psych', others prefer 'polytechnic beat', still more as 'a seventies garage band'. There's certainly primeval drums, fuzz bass, lashings of guitar and synth noises from another planet.
Formed from a gang of friends from Folkestone, Hoofe members have played in groups including The Heliocentrics, The Priscillas, Ye Nuns, Jail Cell Recipes, The Frank Sidebottom Oh Blimey Big Band, Chalet and Hyperglo.

Daniel Avery broadens the exquisite sonic universe established on last year's critically-acclaimed sophomore LP Song For Alpha, presenting the collected B-sides & Remixes. Showcasing cuts from the album's writing and recording process, as well, Avery also invites a number of his contemporaries and some of the most vital underground producers in the world to rework his original material, with transformative results.

The frosty melancholy of Citizen // Nowhere is reworked by London producer Manni Dee into something altogether monstrous. Introducing itself with a kick drum powerful enough to level a warehouse, and only getting more urgent from there forward, Dee's remix blends a knowing rave glint in the eye with a nonetheless uncompromising stance.

The Copenhagen-via-Moscow producer Anastasia Kristensen immediately justifies her status as a rapidly rising talent on the scene, locking into a delicate yet no less powerful groove for her sparkling remix of Glitter. Seamlessly heightening the almost meditative qualities of Avery's original, she weaves a blissful rhythmic trip, taking in razor-sharp percussions and spectral dub techno.

A longstanding fixture on the Midwest US rave scene, Patrick Russell applies his typical grit to 'Song For Alpha's firmly dancefloor focused centrepiece, Diminuendo. In subtly shifting the focus to the track's passages of overwhelming feedback, he sculpts a black hole of snarling electro and piston-like breaks, sure to prove an inviting wormhole to those willing to surrender further, deeper and darker.

'For The Colleagues Of Ubu & Their Authorities' is the brainchild of Vienna based vinyl enthusiast, DJ & producer The Reboot Joy Confession. What once started as a series of mixes has been expanded into this compilation, on which he brings together diverse genres of music like electronica, modern minimalism, folk, post-rock, avant-garde or modular music, which also reflect his own versatile musical taste. 'As I stopped thinking in genres, my attempt was to merge my musical taste in the most fluent way possible onto one record. There are mesmerizing songs from some of my favourite contemporary artists - I feel a timelessness in their music, I can ´t get tired of. With the compilation I wanted to create a contemplative, fictitious, surreal world, merging those different styles together. Giving it that title, I wanted the listener to be able to imagine a tale that is building up with each song. I am really happy about the outcome of this compilation and hope that many other listeners can feel the magic.' The compilation includes the surreal work of Swiss producer Dim Grimm (also known as Dimlite), as well as a collaboration between Merz & Julian Sartorius Drum Ensemble who radically altered the original version of 'The Hunting Owl' into a monstrous percussive live version. Taken off the debut album from one of Poland ´s most interesting musicians at the moment, Waclaw Zimpel & Kuba Ziolek, 'Wrens' is a fusion of folk, jazz and modern minimal music. Experimental pop musician & filmmaker Tujiko Noriko appears with an emotional piece that challenges the paths between pop and avant-garde. Gerhard Zander, whose musical work started on the outskirts of experimental pop music in the early seventies in Germany, delivers a modular synth masterpiece with unique sounds, textures and a far-out synth choir. Rock and ambient influenced musician Helen Money (also known as Alison Chesley) is a Los Angeles based cellist and composer who appears with a massively dark post-rock song called 'MF', which was recorded at Steve Albini's Electrical Audio studio in Chicago in 2009. Often compared to Frank Zappa and known for their richness of ideas, Liverpool's a.P.A.t.T. contribute the hypnotic 'Young Free & Parasite', with references to British glam, post-punk or synth rock, but in a fresh and obscure sounding outfit. SSELLF, the moniker of New Zealand ´s Christoph El Truento, inspired by post-punk and noise. 'Visitors' is simple and simply in your face, with lo-fi drums, distorted synths and raw vocals by Christoph himself. After a few seclusive years, The Reboot Joy Confession returns with a new, crispy and soulful track. Cinematic strings written by Martin Riedler, arranged by Flip Phillip, and recorded at the established Vienna Konzerthaus, based on a properly arranged drum outfit and played by a villain named Gurlimu. Both strings and drums are guiding through the whole song and culminate in Glockenspiel and Rhodes melodies. Oceaneer aka Japanese pianist Oneechan Nanashi completes the compilation with her beautiful and profound composition 'The Sea, Forever'. She describes her music as 'improvised instrumental underwater music from the bottom of the Pacific Ocean, played with broken instruments, directed by the spirit of drowned people who are talking through the hands of the pianist. It's lonely and bleak music for the dead.'

Seven Dials Records enlist the expertise of Hugo alongside Fiona McMartin on vocals for their fourth release - the heavyweight UKG tinged, 'Cold Fingertips'.

There's a dark UKG flavour to the 'Vocal' mix, reminiscent of the transition from UKG into early dubstep yet softened with those silky tones. Layers of sub bass and wonky synth lines intertwine, with the skippy, 2-step rhythm providing the perfect basis for Fiona's alluring voice. Label boss Seb Zito takes it more US in style, switching to a 4x4 swung beat, chopping the vocals into a mesmerising melodic element, and adding a host of spin back samples for full garage enlightenment.

Take to the flip for a dubbed-out version of the original, allowing those killer sub synths to come to the fore whilst echoing out the vocal refrains. Closing out the EP the 'Ethereal' mix ventures deep into the realms of dubstep with monstrous undertones, glitching stutters and celestial pulsations, ready-made to cause damage in the dance.

Domestic Exile are proud to present the devastatingly deplorable and malevolent recordings (that are sure to corrode yet electrify your ears) by Glasgow's very own KLEFT.

KLEFT aka Vickie McDonald is rooted in and has actively propagated the underground DIY radical queer punk and feminist movement here in Glasgow. Their projects have included the skull crushing sludge doom of Cartilage, the unflinching and infamous multi- membered hard core stars that were DIVORCE and the sacrificial, druid drone glitch of MOURN. Alongside these projects they have uncompromisingly disrupted, motivated and facilitated collective endeavors to take down the capital power structure of the dominant system of patriarchal club venues and abhorrent fuckers in this town.

For this record 'H+ Sexualis', KLEFT explores the neo-modern space where flesh is left behind. Negotiating, analyzing and tearing to shreds the relationship and balance between flesh and technology. KLEFT's expansive and palpable sonic offerings delve into themes of transhumanism and body hacking and seep into our collective skin begging the question; can flesh ever be created digitally. Does a lack of physicality alienate human experience in a post transhumanism society Are we all destined to be skinless yet digitally connected Will the body become superfluous Toward "the utopian dream of the hope for a monstrous world without gender," as stated on Donna Haraway's essay ''A Cyborg Manifesto.'

From the opening track 'Ossein' the listener grasps a foreboding lethargic build up, lurking out of the spatial ritualistic shadows into a sea of suffocating nothingness. A void where there is no gravity. Skeletal and brittle shattering rhythms which echo DMZ / Skull Disco dubstep alongside the more frozen, glacial ominous explorations of grime are often felt proving KLEFT is an artist whose inspirations run deep and wide and generally exist in the darkest recesses of our subconscious. These fearful, disjointed rhythms are set against weightless atmospheric oscillated synths, as if roaming through bleakly opaque, claustrophobic narrow corridors on a first person survival horror video game such as Resident Evil.

Moving through to 'CMBR', KLEFT's dissonant, degrading soundscape ferociously ascends. The resilient kick drum is propulsive and pulverizing akin to 'ardcore tekno - or intense gabba if you have the guts to adjust the tempo up to +8 - aesthetics that overwhelm and agitate finally revealing it's grotesque biological / amorphous bio structure. Elevating the repetitive 4/4 kick to a destructive, distorted banger of a track as layers of converging atonal noise and sound design simultaneously further enhances the sense of imminent radioactive contamination.

Next is 'Writhe, Squirm, Broken' continuing the convulsive, nauseating permutations of the prior track but reconfigured like a mangled, gruesome Cronenberg-esque parasite that has infiltrated an open wound, excruciatingly feeding off of the inner anatomy of it's hosts body from within. Repulsively reformulating the shape and dimension. The intro is akin to a panic stricken bouncy ball contracting and expanding, the spring reverb building momentum and traveling further away in distance and speed.

'Hackfleisch Deluxe' is a muuurrderous stomper and is one of the more grime / bass orientated tracks that deconstructs and disrupts the tempo familiar to sub-low producers on Black Ops / Jon E Cash / DJ Dread D. The crawling, plummeting frequency of the synth is a nauseating rush of coagulating blood to the heed; a deep throbbing sensory depravation in sharp, paradoxical contrast with the driving harmony layered on top which proves to be infectiously addictive. Furthermore are splintering programmed vocal samples that gives a sense of artificial disorientation, mind over matter, a possible hint at our evolving sentient cognition within a nightmarish simulated, augmented reality

Second to last we have 'Keratin' which is filled with the near fatal dissolving thud of Djax-Up acid that gives the impression that you're a biologist peering through a microscope into a petrie dish and witnessing the rapid and furious genetic cellular replication of bacterial and viral organisms.

Culminating in 'Bruised and Bleeding Hands' where the squashed density of a deflated and depressurized helium filled balloon and elastic umbilical cords, barbed wire and copper wires grind n' coil around the lens of a zooming camera. Taking no prisoners, this is a punishing grime weapon. A phat, surgical kick drum bulldozes its way thru causing carnage, syncopated punching snares after every rave stab and dizzying third beat. It won't be long until ye hear this on Silver Drizzle's youtube channel in the near future.

This record transports us to the hyperkinetic mutation scene on the cult cyberpunk film Tetsuo The Iron Man where the organic flesh / mechanical rust of the Iron Man metamorphoses with the Metal Fetishist during the rebirth sequence and we say 'LONG LIVE THE NEW FLESH!''.

Obituary's death metal debut album Slowly We Rot was a ground-breaking release at the end of the 1980s. As one of the pioneers of this genre they created a heavy album where everything was monstrous. From their down-tuned guitar riffs, deep growls and moans and distinct tempo changes. The songs are often slowing down to a doomy tempo, a revolutionary thing at the time of release. Slowly We Rot is inspired brilliance, where the meaning of the title is illustrated in the music and lyrics. Overall, you're in for one hell of a package with this album, as this is the true classic from the death metal.

The Floridian death metal band Obituary is one of the most successful death metal bands of all time. With the exception of their 1997-2003 split, they continue to perform live around the world.

Obituary is available as a limited edition of 2000 individually numbered copies on coloured (solid yellow & transparent green mixed) vinyl.

For the third chapter of Refined Productions Aleksandra Grünholz aka We Will Fail delivers her third full length album entitled Dancing on her recently launched label with Jakub Mikolajczyk, head of MonotypeRec label and MonotypePressings. Here she tells the story:

'Taking a break from rationality, my first thoughts about the theme of this album were about the night, when our sight is limited and thoughts are corrupted by fatigue. I don't dance anymore, I don't party, I don't let myself go. Some time ago that part of life slipped away from me. This album is like silently entering into a place you shouldn't be in. A lot of rave inspired sounds were used on the album, dreamy pads, arpeggios, simple melodic structures; but this album is not easy and simple.

As head of a graphic design studio in Warsaw, last year was very hard for me, the amount of work started to overwhelm me; I started to feel stupid and possessed by the work, this is how the tracks 'Very Urgent' and 'Economic Maladies' were born. While the track 'Reason' is about losing rationality and how easy it is to do.

'Put Your Hands Up in the Air' encompasses the rave. It's also a kind of question, can music itself tell a story Very often in EDM or trance music there is a story and I like to call it catharsis. A moment, when the beat slows down and melody/pads become solo. I tried to extract this moment, without adding drops and aggressive rhythms.

'So Who's the Man' is about regaining the power, slowly but consequently. This album is a about feeling bold, monstrous and strong. Like looking insolently into someones eyes. You have to be patient with this one, because it builds up slowly. If you listen only for a fragment you miss the whole idea.

'Beasts from the East' was inspired by the thought of being a small peace loving person in a chaotic world that is dominated by stupidity.

The track '2018' epitomises the rave, but more complicated. Each of the layers are a but simplistic and could construct a dance track, but as there are so many sounds simultaneously, it can become disturbing in the perfect way.

'Diving in Plastic' was fit for the last track, I didn't want the album to have a perfect conclusion, I wanted to leave the listener hanging and ready for more.'

Gifted Culture collective is ready to unleash the second jam session of the announced trilogy. GMI Jam Venice comes from the filth and the mug of the abandoned ex-industrial area in the outskirts of Venice. There, Autre and Two Thou invade Hawaiian Chips' top-notch studio, where all together ride 70's synthesizer rarities and try to domesticate the monstrous Yamaha CS 80. This jam, inspired by the post-industrial Venetian scenario, dives between the dreams of archetypal electronic music and reminiscences of psychedelic progressive bands, giving birth to two long journeys ready to gently carry the dance floor into the outer space.