Michigan artist John Beltran's 13th studio album and 3rd on Delsin is his most complete and personal work yet. Written largely on modular synthesizers for the first time, it melts 90s intelligent techno with post rock and ambient with leftfield downtempo. The seventeen tracks draw on his expert knack for sound design; for melody and atmosphere and make for yet another hugely absorbing affair.
Adam Beyer's Drumcode juggernaut attracts more fans and critical plaudits with each passing year. Holding firm on its future facing ethos, techno's number one label presents a new volume in its acclaimed A-Sides series with 20 prime tracks to signify its 20th anniversary.
Such is the volume of quality music Adam Beyer receives throughout the course of the year, releasing all of it would be impossible. Enter the blue chip A-Sides series: a chance for the quality-obsessive label head to issue a collection of outstanding tracks that couldn't fit in their regular EP release schedule.
With an eye on future talent, as much as the label's established roster of heavy-hitters, the compilation showcases the full breadth of Drumcode's multifaceted techno sound, equal parts inspiring and functional.
Led by the stealth techno funk of 'Nine of You', Beyer's deft collaboration with Mark Reeve, the compilation takes in exciting highlights from big guns such as Alan Fitzpatrick, Dustin Zahn, Bart Skils, Pleasurekraft, Luca Agnelli, Jay Lumen, Kaiserdisco and Gary Beck.
The rich vein of form displayed by emerging techno talent is similarly given prime position. Rising DJ/producer Boxia makes his Drumcode debut, fresh from a well-received warm up set for the crew at the hugely successful Junction 2 festival in London, while the likes of Enrico Sangiuliano, Juan Sanchez, Ian O'Donovan and Timmo also drop fire, establishing their credentials as some of the most promising talent breaking through the ranks in 2016.
Reinforcing the global scope of the label, artists such as The Junkies from Toronto and Layton Giordani from New York, prove techno is winning a place in the heart of the new generation of artists coming out of North America.
After having debuted on the KX label compilation (KX 10) last year with the excellent "Subwolfer", upcoming producer KRISZTIAN DOBROCSI continues to craft weighty and soulful dance tunes for his debut album PLAYBACK PHILOSOPHY. The second full-length release coming from KX presents nine sweeping cuts brimming with glistening melodies, succulent synths and earthy, propulsive beats. From the emotive loops of opener AMNETIC CINEMA to the dreamy epic PLANET NINE, the snappy KALEIDOSCOPE or the immersive soundscapes of LIGHT OF ZARTHA, this is a surprisingly mature debut, confidently balancing between deep textures and catchy hooks - making this a aunting and infectious listening experience for all fans of electronic dance music with heart.
MIA presents a high quality Various Artists double pack!
A fantastic selection of music for the winter season!
Vinyl only - be fast!
Rating 4/5 "Independent UK"
This solo debut by Air’s Nicolas Godin explores various elements of Bach, but without slavishly transposing his music to modern instruments in the manner of Wendy Carlos.
Instead, Godin uses themes and fragments from Bach as the jumping-off point for diverse musical explorations. In “Club Nine”, he borrows the “Take Five” rhythm, brushed out behind a cyclical piano figure, stained with resonant Bach chords on vibes and keyboard; and for “Clara”, the husky Latin croon of Brazilian singer Marcelo Camelo swoons over a stately dub arrangement of strings and woodwind.
The seven-minute “Bach Off” is the most dramatic piece, a suite shifting between interlocking Latin percussion, African highlife sax, stalking piano and harpsichord/woodwind interplay; while the blend of music-box, cellos, French horn, pizzicato and vocal pad makes “Elfe Man” sound like an outtake from Pet Sounds. A rich, rewarding indulgence.
Bell Gardens combines the musical visions of Kenneth James Gibson (formerly of Furry Things, now recording as
*Bell Gardens' origins began arguably as more of an experiment than the duo's current 'experimental' projects - McBride's drone- and string-laden ambient symphonies, and Gibson's ventures in dub and minimalist techno - as they sought to manifest their mutual reverence for folk, psychedelia and chamber pop in a traditional band structure without cannibalising any particular past genre. Bell Gardens' sound is less reliant on effects and studio trickery than the pairs' independent guises, laying bare as it does vocals and live instruments with emotional sincerity, and presenting songs imbued with an almost pastoral or gospel simplicity and timelessness.
Slow Dawns for Lost Conclusions was again recorded mostly at home studios, but additionally the band made use of a friend's desert cabin in Wonder Valley, California, and it seems this willingness to retreat from the city has lent an expansiveness to the tracks, in particular the spacious, ceremonial 'Silent Prayer' (written in a snowbound mountain cabin in Idyllwild, C.A.) and the crepuscular 'She's Stuck in an Endless Loop of Her Decline' (mapped out under the stars in the desert).
While the addition of strings (contributed by Lauren Chipman of The Rentals and The Section Quartet) and trumpet (Stewart Cole of Edward Sharpe and The Magnetic Zeros) provides a double rainbow of tonal textures throughout, the nine tracks of Slow Dawns for Lost Conclusions are united by an understated elegance belying the newly expanded, communal effort in the studio: each instrument earns its place, nothing is overwrought or conspicuous. Moreover, it is McBride and Gibson's artistry in building stirring soundscapes from the barest of materials in their other guises that lends such assurance and sophistication to these arrangements.
The band is a result of the complimentary cross-pollination of Gibson and McBride's musical tastes - borne from a late-night conversation between the two that grew wings - and it is the universality of the sentiments and their restrained, reflective approach to writing and recording that allows the music to simultaneously straddle the past and the present. The music avoids pastiche, its pedal steel, sleigh bells and harmonies giving a nod to the ghosts of musical genres past, but never overriding or distracting from the emotional content of the sum of its parts.
The album ends with the glorious 'Take Us Away' - one of the first demos Gibson gave McBride when he was on tour with Stars of the Lid - neatly bringing their work to date full circle and exemplifying the band's mindfulness of their own serendipitous beginnings: the dawning of an auspicious, unique musical force.
Bell Gardens - Take Us Away -
Harmonies alert!! Actually, this is rather lovely. Slow-tempo, just the right side of 'twee' and packed full of strings, as if Air and Midlake had been taking balloon trips over the mid-West and sprinkling good-vibes dust across the land. From L.A. and subconsciously plugged into the '60s dream-pop scene, taking in a little bit of Mercury Rev and Brendan Perry en route, stopping off at Pearls Before Swine and Big Star's house for inspiration, before getting stoned with '70s era Brian Eno and Harold Budd.
#3[8,61 €]
Next to the regular catalogue number, here comes a strictly limited 3LP handmade package including represses of all parts from daniels "in days of old" voyage. Kann locks the awesome project with a complete collection of all tracks from "#one - #nine" that teases out Daniel Stefaniks many-faced shining talents in techno and housemusic. Welcome full edition "days of old" - Hello Future!
Mr. Stefanik concludes his 'days of old' ep series on KANN with this third and final part. As highly valued friend and artist from the labels neighborhood he locks his diverse journey to its own past with another awesome track collection. As part 'one' and 'two' already certified, KANN15 teases out Daniel Stefaniks many-faced shining talents in techno and housemusic.
Repress incoming!
Following the success of two collaborative releases (EMC “The Show”/2008 and Ace & Edo G “Arts & Entertainment” /2009), Masta Ace joins forces with the metal faced MF Doom for Son of Yvonne, a highly personal concept album that celebrates the life and legacy of Ace’s recently departed Mother. Like his 2004 landmark Disposable Arts, Son of Yvonne is meticulously constructed with stories, settings, and characters that resonate with flesh and bone humanity. Interstitial vignettes provide a thematic backbone to the experience, and each track complements and completes the previous to form a narrative whole: a sometimes visceral, sometimes nostalgic slice of Ace’s young life in Brownsville, Brooklyn. Entirely underscored by MF Doom’s iconic Special Herbs instrumentals, Son of Yvonne features the Juice Crew general Big Daddy Kane, new comers Pav Bundy (The Bundies), Reggie B and even MF Doom on the mic. It’s Masta Ace’s no frills flow, however, that looms largest above the dusty samples and digger loops that define Doom’s production. Ace’s photo-realistic rhymes about stick-up kids, spraycan artists and wack emcees add extra gravity to his already celebrated reputation as “truly an under-appreciated rap veteran and underground luminary” (Allmusic Guide). Like Eminem recalls in his 2008 autobiography The Way I Am, “Masta Ace had amazing storytelling skills. His thoughts were so vivid.” TRACKLIST: A1. DJ Ski's Intro A2. Ninteen Seventy Something A3. Son Of Yvonne B1. Da Pro B2. Store Frontin B3. Me & My Gang B4. Crush Hour feat Pav Bundy C1. Think I Am feat Big Daddy Kane & Mf Doom C2. Fresh Fest Reggie B C3. Hoe-Tel-leftovers C4. Slow Down D1. Home Sweet Home feat Pav Bundy D2. Dedication D3. I Did It D4. In Da Spot feat Milani The Artis D5. Outtakes
Isella doesn’t flinch from the horror stitched into the fabric of the feminine experience. Citing writers like Plath Margaret Atwood, and Mona Awad as germinal influences on her lyricism, Isella plunges into the underbelly of expectations of good-girlhood, of valiant womanhood. In her songs she splays out the stakes of it all, plumbing the viscera, unearthing the blood, guts, dirt, and decay lurking beneath. By the time she hit fifteen, Isella’s taste had expanded and grown darker and more mature. Artists like Nine Inch Nails and Tom Waits became a conduit for the kind of raw intensity she’d always been drawn to, and gave her permission to push herself to new depths of expression. This is evidenced on her latest EP; That freedom that Reznor et al. endowed to the songwriter are evidenced on her latest EP; Something is a shell . Isella’s vocals swing from coolly detached to emotional detonation, often in the span of the same song. She brings listeners into a world colored by feminist hyper-realism, challenging listeners to re-define ideas of femininity, and safety; to see that things are not okay.
Guests is the home recording project of Jessica Higgins and Matthew Walkerdine. Vaguely named as such to avoid any problems with the poster if they pull out of a gig (which has only happened once, about a year and half before any songs were actually written to be fair) but also to capture a sense of reverse hospitality. That is, arriving at your door with a bottle of good wine (can’t turn up empty handed) or a fist full of savoury or sweet snacks (time of day dependant); oversharing at the afters (and then passing out on your couch); reading to your toddler while you make their lunch or put everything back where it was meant to go (only to get torn apart again). So, something about what happens when private worlds meet each other, making or having been made a space for. But at times, it’s a different kind of intimacy, a temporal or material one, like the feeling of crisp fresh sheets, and abundant and soft, body-part appropriate towels in a hotel in a city you’ve been to before and love to go back to.
Their debut record, “I wish I was special”, was variously described as “a collage of concrète experiments and outerzone pop gestures, music that sounds as if it’s been written from the depths of a dream”; “music for people who love music but also hate it too”; “something like chasing ghosts or befriending a wild animal”; “pulling apart nervous sensations with haphazard ease and requisite humour”; and “a melody of refusal, of being all-in (…) finding the exact right WRONG sound to express the discontent”. Common Domestic Bird continues in this vein, layering synthesiser, keyboards and samples over rudimentary drum rhythms and field recordings, which are in turn sung or spoken with to create nine new songs.
Written and recorded between autumn 2024 and summer 2025 in Reading, Berkshire, the music has matured since its last outing, in a way, leaning less into collage and more toward structured composition and melodic depth, yet retains a healthy dose of indeterminacy and off-kilter rhythms for the forever-amateur. The songs on Common Domestic Bird hint at some “about”-ness through a series of discrete vignettes which sound a bit like architecture or end of year lists, gossip or over-thinking subjectivity, like disappearances and impressions, the support structure of the spine, letters and signs offs, things you could really do without and where they should go, hoping you’ll see something that isn’t there, pretences and performance. At times they feel kind of funny, others kind of sad or a bit angry and annoyed, a bit like you really.
Clear Smoke coloured vinyl[27,94 €]
Isella doesn’t flinch from the horror stitched into the fabric of the feminine experience. Citing writers like Plath Margaret Atwood, and Mona Awad as germinal influences on her lyricism, Isella plunges into the underbelly of expectations of good-girlhood, of valiant womanhood. In her songs she splays out the stakes of it all, plumbing the viscera, unearthing the blood, guts, dirt, and decay lurking beneath. By the time she hit fifteen, Isella’s taste had expanded and grown darker and more mature. Artists like Nine Inch Nails and Tom Waits became a conduit for the kind of raw intensity she’d always been drawn to, and gave her permission to push herself to new depths of expression. This is evidenced on her latest EP; That freedom that Reznor et al. endowed to the songwriter are evidenced on her latest EP; Something is a shell . Isella’s vocals swing from coolly detached to emotional detonation, often in the span of the same song. She brings listeners into a world colored by feminist hyper-realism, challenging listeners to re-define ideas of femininity, and safety; to see that things are not okay.
The tenth anniversary edition of Venetian Snares' Traditional Synthesizer Music adds ten more tracks and alternative versions previously available only on a limited edition compact disc from the artist's Bandcamp.Traditional Synthesizer Music is a collection of songs created and performed live exclusively on the modular synthesizer by Aaron Funk. Each sound contained within was created purely with the modular synthesizer. No overdubbing or editing techniques were utilized in the recordings on Traditional Synthesizer Music. Each song was approached from the ground up and dismantled upon the completion of its recording. The goal was to develop songs with interchangeable structures and substructures, yet musically pleasing motifs.
Many techniques were incorporated to "humanize" or vary the rhythmic results within these sub structures. An exercise in constructing surprises, patches interrupting each other to create unforeseen progressions. Multiple takes were recorded for each song resulting in vastly different versions of each piece, a number of which are released for the first time on vinyl and digital for this updated version of the album. BIO Aaron Funk, mainly known artistically as Venetian Snares, is a Canadian electronic musician based in Winnipeg, Manitoba who’s been working since the mid nineties. He is widely known for innovating and popularising the breakcore genre being something of its breakout star. His signature style features complex drums and unusual time signatures and a knack for making ultra-vivid music that takes listeners into unusual places, from the aggressive and extreme, to the surreal, comic and sometimes plain beautiful. His musical explorations extend out in many different ways, from the complex Hungarian, classical-inspired Rossz Csillag Alatt Született, to acid explorations as Last Step, to innovations with modular synths on Traditional Synthesiser Music.
As a collaborator, he’s made music using intimate recordings as musical elements with the artist Hecate as Nymphomatriarch, as Poemss with Joanne Pollock, where they both sing over strange delicate pop. He’s recorded an album of rich, edited improvisations with producer and guitarist Daniel Lanois and he’s also part of the sometime duo Speed Dealer Moms with John Frusciante. Most recently he features on Rosalia’s album Lux on the song Reliquia, providing drum programming and production input.
Heavy, reminiscent of a release from the nineties, Younger Than Me pulls us through interdimensional soundscapes on his debut to the label — a wormhole morphing from ultra-emotive breakbeat and hallucinatory progressions into full-blown, boisterous acid techno at its very best. A producer with an endless catalogue of releases, notably on incredible labels including Jennifer Cardini’s Dischi Autunno, now steps up on Neptune Discs with his Vaco Loco EP. The Berlin-based, Italy-born producer is joined by Byron Yeates and label regular Biodive on the B-side, each taking turns remixing A3, Aargh!!!, pulling it in different direction — one leaning into trippy trance atmospheres, the other exploring a more immersive progressive terrain.
Metal up Your Ass was recorded on November 29, 1982, at the Old Waldorf in San Francisco. The support band was Exodus, featuring Metallica's soon-to-be lead guitarist Kirk Hammett. The band played all their original material (nine songs) that they had written up to that point, which included all the songs from their previous demo No Life 'Til Leather and two new songs (which were later released on the Megaforce demo). Two covers of Diamond Head songs were played: "Am I Evil?" and "The Prince". However, "The Prince" was not recorded as the tape had run out. Both the name and album cover of this demo was to be used as the band's first album name and sleeve. However, Metallica's record company did not let them use the name "Metal up your ass" for an album name. Cliff renamed the album when out of emotion, he said, "I hate the managers. Let's just Kill 'Em All".
GREEN TINT CASSETTE[14,08 €]
Niemand hätte jemals die Entwicklung voraussehen können, die Hardcore nehmen würde, als diese Bewegung entstand. Und Anfang der 2000er Jahre hätte niemand vermutet, dass eine Band wie TERROR auch 24 Jahre nach ihrer Gründung noch immer eine der einflussreichsten Bands des Subgenres sein würde. Ihre Aggressivität, gepaart mit ihrer Liebe und Wertschätzung für die Szene, die so viele gekommen und gegangen sind oder sogar ganz vergessen haben, hat ihnen Erfolg beschert - nun veröffentlichen sie ihr zehntes Album, STILL SUFFER, das am 24. April bei Flatspot Records erscheint. TERROR stammt aus Los Angeles, Kalifornien, aus einer Zeit, als Hardcore eine Band brauchte, um wieder auf Kurs zu kommen, da das Genre aus der Bahn geraten war. TERROR stürmte herein, machte sich sofort einen Namen und ließ nicht mehr locker. Die Band hat ihren Ursprung in der kalifornischen Hardcore-Szene, die sich in den späten 1980er und frühen 1990er Jahren von der Punk-Szene abspaltete. TERROR stammt aus Los Angeles, Kalifornien, und entstand zu einer Zeit, als Hardcore eine Band brauchte, um die Dinge wieder ins Lot zu bringen, da das Genre aus der Bahn geraten war. TERROR stürzte sich in die Szene, hinterließ sofort seine Spuren und gab sie nie wieder auf. In Zusammenarbeit mit dem Produzenten (und ehemaligen Gitarristen) Todd Jones schuf die Band zehn schnelle, aggressive, provokative Tracks, die die Themen aufgreifen, die TERROR überhaupt erst so einflussreich gemacht haben. Songs über Selbstermächtigung, Überleben und den unerbittlichen Willen, sich Herausforderungen mit den Werten und der Unterstützung zu stellen, die innerhalb dieser Mauern zu finden sind. STILL SUFFER wurde durch die Technik und zusätzliche Produktion von Taylor Young im The Pit Recording Studio, das Mixing von Jon Markson und das Mastering von Brad Boatright bei Audiosiege vervollständigt, mit zusätzlicher Vocal-Technik von Jay Zubricky bei GCR Audio und Drum-Technik im Studio 606 von Taylor Young und Oliver Roman. Die Gastvocals auf dem Album stammen von Jay Peta von Mindforce bei ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine bei ,Deconstruct It", zusammen mit Hot Water Music's und Drum-Technik im Studio 606 von Taylor Young und Oliver Roman. Die Gastvocals auf dem Album stammen von Jay Peta von Mindforce bei ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine bei ,Deconstruct It", zusammen mit Hot Water Music's Als Gastsänger auf dem Album sind Jay Peta von Mindforce in ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine in ,Deconstruct It" sowie Chuck Ragan von Hot Water Music zu hören, der in ,Fear The Panic" eine selbstbewusste Performance liefert. Dieser Song wurde auch von Chad Gilbert von New Found Glory co-produziert. Von Anfang an hat TERROR nie den Dingen den Rücken gekehrt, die diese Band seit ihrer Gründung so wichtig gemacht haben. Mit der Veröffentlichung von STILL SUFFER wird deutlich, dass die Band keine Anzeichen einer Schwäche zeigt und weiterhin mit den Werten und der Unterstützung, die sie innerhalb dieser Mauern findet, Herausforderungen direkt angeht. Die Songs handeln von Selbstermächtigung, Überleben und dem unerbittlichen Willen, sich Herausforderungen mit den Werten und der Unterstützung, die innerhalb dieser Mauern zu finden sind, direkt zu stellen. Von Anfang an hat TERROR nie den Dingen den Rücken gekehrt, die diese Band seit ihrer Gründung so lebendig gemacht haben. Mit der Veröffentlichung von STILL SUFFER wird deutlich, dass die Band keine Anzeichen einer Schwäche zeigt und weiterhin erfolgreich ihre Mission verfolgt, authentischen Hardcore zu liefern und der Welt zu zeigen, dass dies viel mehr als nur Musik ist. Diese Gemeinschaft und Bewegung, die niemand wirklich in Worte fassen kann, ist genau der Ort, aus dem die Energie stammt, die TERROR antreibt, mit STILL SUFFER weiter zu wachsen und sich weiterzuentwickeln. ,Die Ewigkeit ändert sich nicht, du bist genauso beschädigt wie ich."
Niemand hätte jemals die Entwicklung voraussehen können, die Hardcore nehmen würde, als diese Bewegung entstand. Und Anfang der 2000er Jahre hätte niemand vermutet, dass eine Band wie TERROR auch 24 Jahre nach ihrer Gründung noch immer eine der einflussreichsten Bands des Subgenres sein würde. Ihre Aggressivität, gepaart mit ihrer Liebe und Wertschätzung für die Szene, die so viele gekommen und gegangen sind oder sogar ganz vergessen haben, hat ihnen Erfolg beschert - nun veröffentlichen sie ihr zehntes Album, STILL SUFFER, das am 24. April bei Flatspot Records erscheint. TERROR stammt aus Los Angeles, Kalifornien, aus einer Zeit, als Hardcore eine Band brauchte, um wieder auf Kurs zu kommen, da das Genre aus der Bahn geraten war. TERROR stürmte herein, machte sich sofort einen Namen und ließ nicht mehr locker. Die Band hat ihren Ursprung in der kalifornischen Hardcore-Szene, die sich in den späten 1980er und frühen 1990er Jahren von der Punk-Szene abspaltete. TERROR stammt aus Los Angeles, Kalifornien, und entstand zu einer Zeit, als Hardcore eine Band brauchte, um die Dinge wieder ins Lot zu bringen, da das Genre aus der Bahn geraten war. TERROR stürzte sich in die Szene, hinterließ sofort seine Spuren und gab sie nie wieder auf. In Zusammenarbeit mit dem Produzenten (und ehemaligen Gitarristen) Todd Jones schuf die Band zehn schnelle, aggressive, provokative Tracks, die die Themen aufgreifen, die TERROR überhaupt erst so einflussreich gemacht haben. Songs über Selbstermächtigung, Überleben und den unerbittlichen Willen, sich Herausforderungen mit den Werten und der Unterstützung zu stellen, die innerhalb dieser Mauern zu finden sind. STILL SUFFER wurde durch die Technik und zusätzliche Produktion von Taylor Young im The Pit Recording Studio, das Mixing von Jon Markson und das Mastering von Brad Boatright bei Audiosiege vervollständigt, mit zusätzlicher Vocal-Technik von Jay Zubricky bei GCR Audio und Drum-Technik im Studio 606 von Taylor Young und Oliver Roman. Die Gastvocals auf dem Album stammen von Jay Peta von Mindforce bei ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine bei ,Deconstruct It", zusammen mit Hot Water Music's und Drum-Technik im Studio 606 von Taylor Young und Oliver Roman. Die Gastvocals auf dem Album stammen von Jay Peta von Mindforce bei ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine bei ,Deconstruct It", zusammen mit Hot Water Music's Als Gastsänger auf dem Album sind Jay Peta von Mindforce in ,Beauty in the Losses", Brody King von God's Hate und Dan Seely von King Nine in ,Deconstruct It" sowie Chuck Ragan von Hot Water Music zu hören, der in ,Fear The Panic" eine selbstbewusste Performance liefert. Dieser Song wurde auch von Chad Gilbert von New Found Glory co-produziert. Von Anfang an hat TERROR nie den Dingen den Rücken gekehrt, die diese Band seit ihrer Gründung so wichtig gemacht haben. Mit der Veröffentlichung von STILL SUFFER wird deutlich, dass die Band keine Anzeichen einer Schwäche zeigt und weiterhin mit den Werten und der Unterstützung, die sie innerhalb dieser Mauern findet, Herausforderungen direkt angeht. Die Songs handeln von Selbstermächtigung, Überleben und dem unerbittlichen Willen, sich Herausforderungen mit den Werten und der Unterstützung, die innerhalb dieser Mauern zu finden sind, direkt zu stellen. Von Anfang an hat TERROR nie den Dingen den Rücken gekehrt, die diese Band seit ihrer Gründung so lebendig gemacht haben. Mit der Veröffentlichung von STILL SUFFER wird deutlich, dass die Band keine Anzeichen einer Schwäche zeigt und weiterhin erfolgreich ihre Mission verfolgt, authentischen Hardcore zu liefern und der Welt zu zeigen, dass dies viel mehr als nur Musik ist. Diese Gemeinschaft und Bewegung, die niemand wirklich in Worte fassen kann, ist genau der Ort, aus dem die Energie stammt, die TERROR antreibt, mit STILL SUFFER weiter zu wachsen und sich weiterzuentwickeln. ,Die Ewigkeit ändert sich nicht, du bist genauso beschädigt wie ich."
