Suche:nasty p

To give you an idea of what the New Jersey, USA band Cowardice sound like, “Atavist” exists somewhere on the spectrum between the sombre strains of Bell Witch and the tormented tones of Body Void, with the first half of the album (“Suzerain”) erring more towards the bleakly melodic style of the former, while part two (“Sentinel”) shifts the focus towards a darker, dirgier approach; somewhere on the edges between melancholic doom and experimental sludge metal. Perhaps inevitably, it’s not quite that cut and dry - the gut-churning grind of “Unforgeable Key” for example, is just as nasty and gnarly as anything found on “Sentinel”, while the desolate disharmonies of “The Diminutive Principle” channel a similarly angst-ridden aura as much of “Suzerain” - but this distinction between the two halves, subtle as it may be, plays a big role in giving the whole album its sense of direction and progression.

And while it is always recommended to listen to the totality of “Atavist” so as to get the most out of it - especially if you’re a fan of the likes of Cavernlight and/or Chained To The Bottom Of The Ocean, both of whom also serve as useful touchstones for any prospective listener - also pay extra attention to the gorgeously gloomy slow-burn of opener “To The Hilt Of Humanity”, the haunting melodies and heaving grooves of the sludge-soaked “Clairvoyance Anxiety” and the morbid majesty of “Hall Of Mages”, as some of the record’s major highlights. Indeed, it’s this last track which will both test your resolve and prove, once and for all, that “Atavist” is more than worth every second you’ve invested into listening to it so far, with every crushing, cathartic chord and ringing, harmonic note… every tortured, suffering snarl and trembling, melancholy melody… coming together over the course of seventeen absolutely massive minutes to demonstrate that, despite its imposing size and intense sound, “Atavist” is nothing to be afraid of. Green and red coloured double vinyl edition.

NDATL continues with the return of Mr. G to the imprint "Stronger Together" EP sounds like a journey through the depths of house music, with each track offering its own unique flavor and energy. Banger "One For Cath" sets the tone perfectly with its driving drums and nasty bassline, coupled with haunting vocals.

"Twist" takes things even deeper with its low swinging chord-driven groove. "We All Feel Something" whips the dancefloor into a frenzy with its strong percussion while "Dub In The System" with its shimmering hi-hats drawing you in deeper and deeper is the perfect way to close out the EP. This EP is definitely a must-have for any house music aficionado!

Here we have the third LP by the excellent Guy Hamper Trio, featuring James Taylor on Hamond organ, and Guy Hamper on guitar (sometimes called Childish) and what a first-class LP this is! 'Instrument of Evil' in particular has a very eerie vibe. We asked the man himself what was the inspiration for it? G.H. The track is the sequel to '7% Solution', which featured on the last Guy Hamper Trio LP (with Thee Headcoats standing in as rhythm section). A 7% Solution being the amount of morphine Dr Watson administered to Sherlock Holmes. For 'Instrument of Evil' I took Sherlock Holmes' later designation of his syringe as "an Instrument of Evil". This is originally a quote from the bible- "Wicked men do at times reject God's purpose for the state, transforming the good of civil government into an instrument of evil." Point of interest: Morphine addiction happens to tie in with another aspect of the song. In the section that nods to Elmer Bernstein's main title theme to the film of the book The Man With the Golden Arm, in which the main character is also a morphine addict. Another ingredient - we added six-string bass to that section in tribute to Jet Harris - he formerly of top group The Shadows, who recorded a great version of Bernstein's classic. To top it all off the record sleeve references the fine graphics of the great Saul Bass. The track also features contributions from Tom Morley (trumpet) and Anna Jordanous (sax) . Both Were a pleasure to work with. My job at the wheel is to basically make a playground and let Jamie, Anna and Tom loose in it with very little direction, apart from pointing out the swings and location of the roundabout. I told Tom "you're a Spanish trumpeter stood on a hill in Spain." For Anna, I think we said "go low and nasty." Other titles are taken from early poetry chapbooks I made in my youth. 'The First Creature is Jealousy' and 'Dog Jaw Woman' being examples. The title 'Incense Rising From a Censer' comes from Dostoevsky's The Brothers Karamazov, a book I really recommend. Prayer rises to God on the smoke of the incense burning in the censer. I imagine this track being some kind of antidote to 'Instrument of Evil'. They are all excellent tracks. I imagine film companies will be queuing up to use many of them.

Stomping into the SBC universe comes 131bpm; a Berlin houseTM-hold head with his distinct signature style of sass’d up sexy dance floor burners. The 5 track collection “Ethereal Yarn” weaves in jacking house, bounce bass and flirty tech with a bonus remix from PSL; hot, heavy and ready for your play. Expect the unexpected as conventionality is unraveled through freaky vocal cuts, buckwild percussion and genre mashups for the gods. How long is a piece of string? Lick my chain if you’re nasty!

“For fans old and new, they can expect to be reintroduced to some raw, authentic, classic Detroit Hip-Hop from beginning to end.”-Phat Kat on the Deluxe Edition re-release of “Carte Blanche”.

Phat Kat’s phenomenal sophomore solo LP, “Carte Blanche”, first released in ’07 via Look Records, is the sound of Detroit. It’s gritty, soulful, and raw, three key ingredients in bringing the blue-collar city’s vibe to life in music form. It’s also a modern classic that is getting the deluxe edition re-release it deserves, Below System Records is adding two rare bonus tracks produced by late Detroit legend, J Dilla.

Anyone familiar with Kat or Dilla’s work knows the two shared a special bond. In fact, Dilla would often go to the gruff-voiced emcee whenever he was looking to create a particularly tough track. This friendship led to them forming the group 1st Down, and this re-release’s two bonus cuts, “World Premiere” and “It Don’t Get No Liver Than This (feat. La Peace),” which were recording in 1996 and ’97, respectively. Despite 1st Down never taking off due to label issues, Kat and Dilla remained close and recorded a number of underground classics. Those include several joints off “Carte Blanche”, such as the stirring “Don’t Nobody Care About Us”, “Game Time”, and the Elzhi-featured “Cold Steel”. It’s actually that last track that Kat picks as his favorite cut off the record.

“If I gotta choose one, it would have to be ‘Cold Steel’ because it makes you wanna wild out as soon as the beat drops”, he says, adding that this was the first time he got to choose a Dilla beat to rap over. “He would never let me rock over beat tape beats-he use to say ‘Nah Kat, just write to them cause I’m gonna make all ya shit from scratch.’ ”

The album also boasts collaborations with other Detroit rap heavy-hitters, such as Black Milk, Guilty Simpson, Nick Speed, and T3 & Young RJ (of Slum Village). With Kat as their host, they were able to not only capture the sound of the Motor city in 2007 (when the album was originally released), but also cement its place in the greater canon of hip-hop as we know it today.

Plastic Crimewave Syndicate returns with one collective foot in overdriven space-biker scuzz rock, but the other bigfoot kicking upward into new galaxies of synth punk, no-prog, and freek funk. Yes, dare we say it, the new PCWS LP, Tales From the Golden Skull, GROOVES--but from the perspective of the Japan n' Kraut/Eurorock undergrounds, coated in some nasty Windy City grime. Aided by the Chicago Cosmonaut Couriers Crew, ala famed renaissance man Mac Blackout (synths/horns/electronics), Przemyslaw Krys Drazek (trumpet) of longtime zone-jammers Drazek Fuscaldo/Mako Sica, Will MacLean on Moog keytar (!-- of local Silver vocoder-ed Apples lovin' treasures Protovulcan), plus the oldest-school synthlord Bil Vermette, who's been modulating since the 70s. We'll call Tales From the Golden Skull a near-concept lp (aren't they always?) that looks back at fallen friends and collaborators, and then into the unwritten golden future (as PCW himself hit the golden 50). The sonic journey dips into dark textural valleys, and chugging riffs rising to thee fiery heavens, as the thundering-but-subtle rhythm section of Jose "Beast but Best" Bernal and Rob "Dead Feathers" Rodak know when to crash and when to burn (one). Sir PCW lays down his trademark big muff-blastage and echo-cries, to channel the despair and feral bark of the mighty Vega/Hammill/Iggy/Dickie P/Haino/Mojo-Risin/Mizutani, but also knows when to shut up for some layered instrumental Embryo/Harvester/Fausty trance rock and dabbed/dubbed out "not-quite-shoegazin" calmness in the eye of the Ur-storm. This might be the most expansive, detailed yet furious PCWS LP yet, recorded at Rec Room studios with Eric Block, who has done all from a band with Sonic Youth's Steve Shelley to recorded Rhys Chatham 100+-peeps guitar orchestras. So strap the headphones on and absorb the tales of this spaced ritual-rock opus. Artwork - Steve Krakow

This release is a nod to the club. 5 tracks that are made for dancing in the dark.

Hypnosis is a mind control laced phenom. S.Ringer lends his voice as your guide to gratitude, and a good time as you move to the chords that push and pull your body to the beat.

The title track Echo Chamber, is an aggressively rhythmic beat. The atonal melody is accompanied by a looping bass-line that calls for circling the floor indefinitely.

Nasty is Stefan's current interpretation of a chicago style jack track. Simple and effective chunky drums with a jackin’ cadence are agreeably accompanied by panicked staccato synth lines and an almost hollow growling distorted bass that enforce the assignment…. to Jack!

Slanted House is a cool down. Feels like a tall glass of ice water after the heated dance session you just had. With chords that are smooth and deep, laced with that rhythm and bass-line that moves you instantly.

Sweet Chariot is a jewel in the crown of this release. Simply put, a song that is so smooth and yet grooves so strongly. A skating song if you will. Reminiscent of the so so def era in Atlanta but more laid back.

These are indeed 5 interesting dance cuts to match different temperatures of a party.

Quantum Baby is the second instalment of Tinashe’s BB/ANG3L trilogy following last fall’s first instalment, BB/ANG3L. The album includes the explosive single “Nasty” which is currently rising up the charts and has become the song of the summer amassing over 200M+ global streams. Billboard Hot 100 - #61, Top 5 Rhythm Radio, Spotify Viral US - #1, TikTok Billboard Top 50 - #2. The genre-blending album contains elements of R&B, Pop, Electronic and Hip-Hop. This album features production from Grammy Award Winning producer Ricky Reed, along with Nosaj Thing and more! Tickets are currently on sale for the North American leg of Tinashe’s Match My Freak World Tour, which kicks off October ‘24. The vinyl is housed in a gatefold jacket with printed sleeve and insert booklet. Available in standard black and a limited Indie Exclusive Edition pressed on Blue & Orange Swirl colored vinyl. Quantum Baby is the second instalment in Tinashe’s BB/ANG3L album trilogy. The first in the series, BB/ANG3L, was released Fall ‘23 and was followed by the BB/ANG3L tour and Tinashe’s first Tiny Desk performance. Tinashe began teasing the hit single “Nasty,” this past Spring, debuting the song at Coachella 2024. The song quickly went viral, to become the song of the summer. This led to everyone asking the most prevalent question of the summer: “Is somebody gonna match my freak?” “Quantum Baby is about getting to know me on a deeper level. It's about exploring who I am as a person and who I am as an artist. I’ve never been one to be put into a box, so the name Quantum Baby encompasses all the different parts that make up who I am as a creative,” says Tinashe, describing the album as “forward, hot and lots of bass

Vom Opener bis zum letzten Track vermittelt Soul-Crooner Joseph Malik dem Hörer, dass er sich auf einer musikalischen Entdeckungsreise durch äußerst originelle Soundlandschaften befindet und dass PROXIMA EBONY den Beginn einer neuen Ära der Zusammenarbeit mit internationalen Musikern markiert. Zu diesen zählen Hip-Hop/Rap-Künstler*innen wie Antoine Green aka Capitol A, Kameelah Waheed und DJ Nasty P und Top-Musiker wie Shuya Okino (Kyoto Jazz Massive), Chris Franck (Smoke City, Zeep) und die renommierte Jazzharfenistin Alina Bzhezhinka, die alle einen Trip durch vielfältige Genres mit Einflüssen von Afro-Futurismus über Dirty Soul und Punk Funk bis zu 1970'/80'er Disco und Acid Techno unternehmen.

Erste offizielle Veröffentlichung auf Vinyl! Kim Wildes sechstes und letztes Studioalbum für MCA Records erscheint endlich auf Vinyl in Form dieses liebevollen 2LP-Sets auf weißem 140Gr. Vinyl. 'Now & Forever' wurde 1995 ursprünglich nur auf CD und Kassette veröffentlicht. Kim und ihr Bruder und Producer Ricki entfernten sich dabei vom Pop-orientierten Sound früherer Alben und gingen einem zeitgenössischeren elektronischen Soul-Vibe entgegen. Eine Zusammenarbeit mit dem in London ansässigen DJ-Produzenten und Remixer C.J. Mackintosh (M/A/R/R/S, Nasty RoxInc.) bei vier der Tracks half dabei, ein Album zu schaffen, das Einflüsse aus Gospel House, Dance und Loop-Beats enthielt. Zu den weiteren Autoren und Mitwirkenden gehörten Pam Sheyne, die später 'Genie In A Bottle' für Christina Aguilera mitschrieb, und Tony Swain, der als eine Hälfte von Swain & Jolley R&B-beeinflusste Klassiker für Imagination produzierte. Über diesem fesselnden neuen Klangbett lieferten die Wildes eine Reihe sofort eingängiger Melodien, nicht zuletzt auf den beiden Singles 'Breakin' Away', und 'This I Swear'.

'Celebration Of ignorance' is the third full length studio album of Tripped.

A nasty collection of heavy kickdrums including a collab with the RABBeAT & Doormouse + A remix of a legendary Celsius track.

ALBUM NOTES:
While humanity seems to get more stupid over time, (blame social media brainwashing & misinformation)
It is tough to deal with life and everything that comes on our path in general.
The intention of this album as always, is my creative outlet.
I do hope however that it can help you to place some emotions and let go of some frustrations.

This one is for the real people. People who dance like no one is watching with nothing but a smile, the dreamers, the eccentrics and outcasts who care about the world and aspire to be better every day.

Ignore the fakes and forget the digital word for a while & listen to some gabber kickdrums.

For the past two decades, Dr Roman Belavkin (Solar X) has been deeply involved in AI research and mathematics at British universities. His albums from the 1990s are a testament to an era defined by the early internet-bulletin boards, FTP sites and mailing lists. In keeping with this, Solar X's music sounds surprisingly futuristic, a romantic artifact of a time eagerly anticipating tomorrow.

Following the re-issue of Solar-X's "Xrated" in 2019, GALAXIID is releasing his debut "Outre X Mer". All tracks are from the original DAT tapes and have been remastered for this release. "Pozdno Utrom", "Dileg" and "Solar X" were originally released on the "Outre X Mer EP" on Defective Records in 1995. Other tracks are out on vinyl and digital platforms for the first time.

"I was homebound for two years between 1992 and 1994, and the only way I could escape was through computer networks and writing," Belavkin recalls. Before the nasty car accident he was a member of the USSR/Russia national wushu team. Confined to his home, Belavkin started creating tracks based on ideas from his school days in the late 1980s, when he first recorded melodies on cassette tapes. This time, however, he fused those sounds with Soviet analogue synthesizers and PC sound cards. He shared these tracks via email with friends in different countries, becoming part of the "Analogue Heaven" mailing list, a community of enthusiasts united by their passion for analogue synthesis dating back to the 1960s.

During his initial pursuit of a PhD in Computer Science, Roman wanted to explore the intersection of what electronic music could offer humanity, the potential for AI to experience emotions, and whether emotions enhance or hinder intellect. These themes resonate in the music of Solar X. The album embodies ambient techno with intricate rhythms and ear caressing melodies, choppy percussion and blissful synths, making it both tranquil and danceable. Like a shimmering spaceship navigating between anxious dreams and visions, it transports the listener to a naively hopeful era yet to come.

Toy Tonics ITALOMANIA Vol. 2 is a compilation dedicated to NEW ITALIAN DISCO. (Not Italo Disco.)
13 young contemporary Italian producers made new organic disco, indie dance, avant pop and house tracks with Italian vocals.

Everything on this compilation has been produced in 2023. Fresh dance music by Italian indie electronic star Myss Keta together with DJ Severino (of Horse Meat Disco) and newcomers Sam Ruffillo, Fimiani, Magou, Tommiboy, Daniel Monaco, Giovanni Damico. And new music by artists Stump Valley (from Dekmantel), Munk (Gomma records), Rodion (Slow Motion Records) and DJ legend Lele Sacchi,

The ITALOMANIA compilation was initiated by Toy Tonics boss Kapote. The idea is to show the status of Italian Disco of today. It’s like a „manifesto“!
Kapote invited the most relevant Italian producers to make new tracks with Italian vocals and show different styles of modern Italian disco, dance and house music.
with Italian vocals. All tracks compiled by Kapote aka Mathias Modica aka Munk. Italo-German producer, DJ, keyboarder and head of Toy Tonics and Gomma records.

Italian Disco is not Italo Disco.
While the last years the slightly trashy pop music of the 1980’s called Italo Disco (with English lyrics) had a big revival. But now also the attention for more quality and organic dance music with Italian language is rising. This compilation is about this Italian Disco,
It’s a fact that not just in Italy but also in France and Germany there are now artists singing in Italian or using Italian words and names - even if they are not Italian.

Let’s not forget: The world’s culture of party, dancing, showbizness and pop music would be unimaginable without the heritage and creativity that Italians contributed.
Italy is not just the country of good food, beautiful beaches and high fashion, but it’s also the original country of dance music. Since almost 3000 years, since the ancient roman times the Italians have been making (dance) music culture, creating popular culture and being the maestros in organizing parties.
Also the disco wave of the 1970ies and the Pop music of the 1980ies has been co-created by Italians (and Italo-americans in New York).

The ITALOMANIA artists & tracklist:

M¥SS KETA
The most famous artist on the compilation is singer M¥SS KETA. The Italian press calls her "the Italian Lady Gaga“. M¥SS KETA is an edgy performer that reached the top of the charts with indie pop songs, but is also well rooted in the Milan art, fashion and LGTB scene.
To create a song for Italomania she teamed up with DJ Severino. The Italian part of London’s Horse Meat Disco DJ collective. Probably the world leading queer DJ team. (M¥SS KETA recently was invited to perform Berghain in Berlin).

Sam Ruffillo
Sam Ruffilo has contributed a new (party) version of his song Mediterranea. A organic disco track with lyrics in Neapolitan dialect. Sam Ruffillo is an upcoming Italian DJ and producer and one of the lead artists of Toy Tonics (along with Coeo, Kapote and Cody Currie). He had a few underground hits combining leftfield disco and Lofi House with Italian vocals creating a new genre that is finding lot of fans right now. One of his songs (Chiamami Subito) made it into the rotation of big Italian radio station M20. On Instrgam you can see his DJ sets where hundreds of Italians sing his songs at Toy Tonics parties.

Munk
Toy Tonics head honcho Kapote reworked the Munk song ‚La Musica‘ for this compilation. Munk is the former producer name of Mathias Modica aka Kapote. The creative mind behind Toy Tonics and Gomma records. ‚La Musica‘ is an Italo house song that he originally released 2010 when he was doing his former label Gomma records. Now there is this new version of this catchy dance song with the Italian hookline that became almost iconic when first released.
It made sense to include a new version of this track on ITALOMANIA because its a blueprint of italian disco and sounds so fresh again now.

Giovanni Damico
The south Italian DJ, producer made „Tropica“. The song is a tribute to the music of the Italian discos of south Italy of the 1980ies. A Balearic session that can be great at a beach in the afternoon, but also for dancing in the early morning. Damico is part of the new Italian disco scene releasing his dance tracks on international labels like Lumberjacks in hell and White Rabbit records since 2013.

Kapote
His new song „Sono tropical“ is an ironic Latin pop song based on a classic salsa piano riff and a strong Latin soul bassline. It reminds the big tunes from the 1970ies New York Salsa Scene (Tito Puente, Willie Colon, Fania All Stars). The vocals performed by Kapote are a mix of Italian and Spanish. The girl’s voice is also performed by Kapote. But transferred into a female voice by an AI. All instruments played by Kapote who before starting to get into the DJ and label business used to to study jazz piano. Before starting Toy Tonics Kapote he released 3 albums under his former name Munk and produced records with big names from the electronic music scene like James Murphy of LCD Soundsystem, Peaches, The Rammellzee and three albums of Danish band WhoMadeWho. Mathias/ Kapote also worked with artists like Franz Ferdinand, The Rapture and Asia Argento.

Lele Sacchi
Lele Sacchi is an Italian DJ legend and host of Italy's most important DJ radio show on RAI national radio. He has been djing all around the world playing from Circoloco Ibiza to Avalon LA. He has Besides being on Italian national radio he has been doing shows on NTS Radio or guest on BBC Six. He produced for labels like Soul Clap, !K7, Internasjonal, Nervous, Snatch, Crosstown Rebels, Poker Flat and his own Stolen Goods imprint.
Sacchi teamed up with young vocalist Elasi, a new talent from Milano that is making waves in Italy for a few songs she released in a indie disco style. Their song is an interpretation of late 70’s cult slow disco pop classic ‘Malamore’ by the underdog Enzo Carella. A mix of slow house and playful pop with a slight touch of acid!

Tommiboy
Tommiboy made a nasty, disco rock song called Sfinge. Only 26 years old he is one of the most hyped up Italian disco diggers and collectors. Originally from Rimini, the capital of discos, he is the son of a father who was a regular dancer in Rimini’s clubs of the 1980is and fed his son with all things disco.
Tommiboy started to do parties and compilations under the name Disco Stupenda three years ago. By now he and his parties are a big thing in Italy and has fans all around the country. He also is DJ for fashion brands like Gucci and he is the guy who re-introduced 1980s stars like Pino D’Angio.

Fimiani aka BPlan
The DJ und producer from Napoli is part of the new, vibrant disco scene from Napoli. (NuGenea, Mystik Jungle, Manny Whodamanny )
His collabo with italian 1980ies crooner Angeleri called SessoSpaghetti is a remake of a song originally released in 1983, but never became famous when it came out. The drums on the song are played by Napoli legend Tullio De Piscopo and the guitar by Lucio Battisti guitar player Massimo Luca.
The new version is a ironic summer disco with sexy vocals and Italian fun rapping about beach life, beautiful girls and sex on the beach. Fimiani also does edits of rare italo disco under the name of BPlan

Daniel Monaco
Daniel Monaco is a multi-talented artist, producer, and bass player DJ, bandleader and producer from Napoli - but has been living for many years in Amsterdam where he hosted show on Red Light Radio released on Labels of the likes of Rush Hour and Bordello a Parigi. Is one of the key figures of the scene due to unique fusion of Italo Disco, Proto House, Obscure Disco, and a captivating tropical touch. His latest EPs came out on Slow Rush Hour records and Periodica Records contributed the song ‚Milly‘ for Italomania. Played with a 5 person band.

Stump Valley
The two DJs, producers and vinyl collector are experts in all things Italo Disco and Balearic music. Before joining Toy Tonics they released an album on Dekmantel records. One of the guys (Brain de Palma) is the favorite DJ of Peggy Gou. He is regularly opening the shows of Peggy as a warm up DJ and releases his solo records on Peggy's label Gudu records. For this compilation they made Non dire di no. An old school piano house track with catchy vocals in the finest tradition of the piano house style that Italians invented in the early 1990ies.

PRESSED ON ORANGE SWIRL COLORED VINYL PACKAGED IN A GATEFOLD JACKET WITH A FOLDOUT LYRIC SHEET

In 1996, after 14 years in the game that started with Too $hort and Freddy B selling tapes out of the trunk of their car in East Oakland, Too $hort announced he would be retiring. On May 21, 1996, Too $hort released his 10th studio album Gettin' It with the lead single of the same name featuring Parliament Funkadelic. Retirement was more of a hiatus as Too $hort got back in the game in 1999 with the appropriately namedalbum Can't Stay Away. If Gettin' It was going to be Too $hort's last album, he was going off on a high note by earning his 6th Platinum record. In addition to having Parliament Funkadelic contribute to two songs, Ant Banks and Shorty B are back with their laid-back Bay Area funk along with some G-Funk contributions by Colin Wolfe, L.A. Dre, and Spearhead X. Too $hort delivers another Bay Area classic full of nasty pimpin' rhymes with dope features by MC Breed, Erick Sermon and Rappin' 4-Tay. Previously only available on promo vinyl, Get On Down in partnership with Sony's CERTIFED is proud to present a proper vinyl release of Gettin' It in an orange swirl-colored vinyl run packaged in a gatefold jacket with a foldout lyric sheet.

Paraphilia is an American death metal band hailing from the pacific northwest (Portland, Oregon). This cellar dwelling duo debuted their nasty brand of guttural destruction in the form of 2021's EP Primordium of Sinister Butchery. A frenzied titanic sized sixteen minute beatdown.

So here we are now 2023, brings us their 'super' debut full length "The Memory of Death Given Form". This record is already creating some major ruckus in death metals underground circle.

Comprised solely of SP (vocals/guitars/bass/programming) and KRP (vocals/lyrics), Paraphilia's brand of brutal & technical death metal is of the thick and chunky variety. Foot stomping groove mixed with gut punching brutality. This unmerciful bastard child snorts, snarls, growls, and lurks about waiting to hammer your bones into dust. The song structures are complex enough to impress, but also memorable and downright unforgiving in the headbanging department.

With a touch of the old school, some intricate guitar dissonance, masterfully written songs, and teeth loosening heaviness, "The Memory of Death Given Form" will delight and destroy even the hardened of death metal elites.

It contains 7 massive tracks (with a Bloodbath cover) chock-full of sophisticated dense riffs and relentless drum pummelling that's nothing short of being an aural sledgehammer, the album kicks off with a crushing track that takes no prisoners.

Technically proficient but insanely groovy "Memory of Death Given Form" is a thick beast of jarring tempos and vomit inducing guitar savagery. Harsh, drawn out gutturals over rhythmic guitar mayhem is enough to make anyone feel like they could run straight through a brick wall. Unadulterated death metal ferocity.

To put it bluntly, this is DAMN fucking GOOD, and you would be hard-pressed to find any better death metal this year.

Sure for fans of: Bloodbath, Hate Eternal, Suffocation, Devourment & similar.

Available on a delicious black and yellow super marble 180gr. vinyl, and solid yellow vinyl, and both are limited at 100 copies each.

Paraphilia is an American death metal band hailing from the pacific northwest (Portland, Oregon). This cellar dwelling duo debuted their nasty brand of guttural destruction in the form of 2021's EP Primordium of Sinister Butchery. A frenzied titanic sized sixteen minute beatdown.

So here we are now 2023, brings us their 'super' debut full length "The Memory of Death Given Form". This record is already creating some major ruckus in death metals underground circle.

Comprised solely of SP (vocals/guitars/bass/programming) and KRP (vocals/lyrics), Paraphilia's brand of brutal & technical death metal is of the thick and chunky variety. Foot stomping groove mixed with gut punching brutality. This unmerciful bastard child snorts, snarls, growls, and lurks about waiting to hammer your bones into dust. The song structures are complex enough to impress, but also memorable and downright unforgiving in the headbanging department.

With a touch of the old school, some intricate guitar dissonance, masterfully written songs, and teeth loosening heaviness, "The Memory of Death Given Form" will delight and destroy even the hardened of death metal elites.

It contains 7 massive tracks (with a Bloodbath cover) chock-full of sophisticated dense riffs and relentless drum pummelling that's nothing short of being an aural sledgehammer, the album kicks off with a crushing track that takes no prisoners.

Technically proficient but insanely groovy "Memory of Death Given Form" is a thick beast of jarring tempos and vomit inducing guitar savagery. Harsh, drawn out gutturals over rhythmic guitar mayhem is enough to make anyone feel like they could run straight through a brick wall. Unadulterated death metal ferocity.

To put it bluntly, this is DAMN fucking GOOD, and you would be hard-pressed to find any better death metal this year.

Sure for fans of: Bloodbath, Hate Eternal, Suffocation, Devourment & similar.

Available on a delicious black and yellow super marble 180gr. vinyl, and solid yellow vinyl, and both are limited at 100 copies each.

KIM SALMON. Muss man da tatsächlich noch mehr Worte verlieren oder reicht es, zu sagen, das Mr SALMON der unerreichte Meister des Swamp Sounds ist? Mit seinem neuen Projekt und ,Rock Formations" ist er über alle Grenzen erhaben und entwickelt eine Theorie maximaler Brutalität. Dazu tragen auf den Instrumental-Stücken sicherlich die sechs Gitarren und zwei Schlagzeuge bei. Das erinnert an eine potente Mischung aus frühem Grunge der MELVINS oder GREEN RIVER mit BLACK SABBATH in der Ozzy-Ära und dem modernen Sound von Kim Salmons eigenen SCIENTISTS oder SURREALISTS.













[m] PUNK FATWA/AXES OF EVIL SEGUE INTO CHEAP'N'NASTY [LIVE] 04:40





[s] CHEAP'N'NASTY SEGUE INTO LICENSED 2 ROCK [LIVE] 02:30
[t] S.M.R [LIVE] 01:20
[u] THE AXES OF EVIL [LIVE] 03:34

Darren Hayman New Starts are a spikey, fresh sounding band recalling the poppier ends of new wave and angular guitar rock. Their influences include The Cars, Breeders, Bay City Rollers, The Velvet Underground and ZZ Top. Lead singer Darren Hayman has his own long career running from the late 90s with John Peel faves Hefner to his more recent thematic and historical albums dealing with the English Civil War, William Morris and forgotten rural idylls. “I wanted a band again,” says Hayman, “and not a band that just backed me up and played my old songs. When we form our first bands in our teens we just find some friends and work through the musical differences. I usually look for players who play in a way I’m used to. This time I looked for variance and was led by people’s personality.” Guitarist Joely Smith of South London’s noise-pop adults and recently DIY-punks Fresh was recommended by a mutual friend who said, ‘She makes everything better’. Hayman and Smith shared a coffee and agreed on the correct number of guitar pedals and decided to proceed without an audition. “There is a tendency for me to make my chords too pretty. Joely cuts against that and plays in the opposite direction.” Hayman is a fan of rules and constraints and employed a new, oblique strategy on this record. “Even though I wrote all the songs, I wanted the songs to belong to everyone during arrangement. I decided that I would say ‘yes’ to every suggestion from the band, regardless of my instinct.” This made the songs warp and bend into new shapes and ensured that the record was the product of four individuals. Bassist Giles Barrett and drummer Will Connor come from funky afro beat influenced band Tigercats. “Pretty much the only rhythm I use, left to my own devices, is the ‘road runner’ rhythm. Will takes to care to find where the drum beat can be and we always end up somewhere I didn’t expect.” More Break Up Songs is a collection of 12 Break Up songs because Darren broke up with someone. Again. “I suck’, he says, “But it’s never anyone’s fault. It makes me very sad but I do have to work through these things in song and there’s always something to learn. I try to make songs about breakups that could be understood by both parties. I’m not interested in nasty songs.” Opening song ‘Little Stone in my Heart’ blisters along with Joely’s wildest guitars. The protagonist will do anything to make things right, but nothing ever is. ‘Under the Striplights’ has driving, choppy, incessant riffs, and is about the need to be anywhere but somewhere other than here. We could be under the moon or under the strip lights as long as we have each other. Another barely kept rule that Darren instigated on this album was that each song would be a tonal equivalent to one from The Velvet Underground’s third album. To that end ‘Don’t Need Persuading’ is this record’s ‘Pale Blue Eyes’ with the narrator being unable to break free of a vortex, knowing they will stay the night against all better judgment. ‘I’ve had a long standing distrust of the guitar,’ says Darren, ‘despite it being my primary instrument for twenty years. I thought it was time I made a record with two guitars and drums and bass. I wanted it to be bright, immediate and young sounding, despite the fact I’m old. We recorded it in four days and I think this might be the record a lot of my audience has wanted me to make for a long time.’ “bold and unique" The Sunday Times. // “Hayman has hit a creative purple patch… a treat” Mojo // “uniquely intimate and very satisfying”

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