Buscar:on land

When Alanis Morissette took direct aim at an ex who wronged her on the eviscerating “You Oughta Know” in 1995, everything about the Top 10 song communicated it wasn’t the usual narrative about love gone south. Or the typical wounded singer wallowing in self pity. Morissette, and both the lead single from and her entire American major-label debut — the profoundly personal Jagged Little Pill — represented a sea change. They kickstarted a movement, one whose impact continues to echo throughout the mainstream nearly three decades later.

Ranked the 69th Greatest Album of All Time by Rolling Stone, included on the Rock and Roll Hall of Fame’s list of 200 Definitive Albums, and featured in several books about essential albums, Jagged Little Pill remains more than a blockbuster that has sold more than 17 million copies in the U.S. and 33 million units worldwide. It’s a statement, an attitude, a soundtrack for anyone seeking inspiration, an outlet, or permission to be themselves.

Sourced from the original master tapes, pressed at Fidelity Record Pressing on MoFi SuperVinyl, and strictly limited to 4,000 numbered copies, Mobile Fidelity’s UltraDisc One-Step 180g 45RPM 2LP box set of Jagged Little Pill presents the landmark effort in audiophile-grade sound for the first time. A key part of the record’s appeal and accessibility — Glen Ballard’s smooth production, touches that help Morissette’s exposed-nerve fare seem more accessible and melodic — comes through on this special 30th anniversary edition with an openness, presence, and dynamic explosiveness that make the vocalist’s songs that much more real and visceral.

The singer’s distinctive mezzo-soprano deliveries — the octave-rippling highs, dark-hued lows, dramatic crescendos, belted choruses, wispy reflections, occasional yodels — resonate with full-range ardor and depth. As crucial as anything on the record, Morissette’s confessional words take center stage like never before. Ditto the instrumentation and atmospherics that form the magnetic backgrounds of the songs. Key in on the contributions from Red Hot Chili Peppers Dave Navarro and Flea on “You Oughta Know” to Tom Petty & the Heartbreakers' co-founder Benmont Tench’s organ playing on six tracks.

The deluxe packaging of Mobile Fidelity’s Jagged Little Pill UD1S set underscores the work’s distinguished status. Housed in a slipcase, the LPs come in special foil-stamped jackets with faithful-to-the-original graphics that illuminate the splendor of the recording. Benefitting from an ultra-low noise floor, superior groove definition, and dead-quiet surfaces, this UD1S reissue is for listeners who prize sound quality and desire to engage themselves in everything involved with the album, including the now-iconic cover art that juxtaposes two portraits of the then-21-year-old singer-songwriter and features typewriter font.

That script — which suggests a raw, blood-on-the-floor document created without modern aids like spell check or language correction — hints at the heightened level of unvarnished intimacy, honesty, and catharsis Morissette offers throughout Jagged Little Pill. Named after a phrase uttered on the astute “You Learn,” the album explores the frank emotions, inherent contradictions, and wishful desires people feel everyday but are often too afraid to express. Morissette displays no such fear or shyness.

Akin to a woman reading from a diary, Morissette leaves nothing to the imagination as she skewers hypocrisy during the poignant “Forgiven,” seeks recompense on the vengeful “You Oughta Know,” and spills her guts on the soul-purging “All I Really Want.” For all the anger and bile ascribed to the singer and record, Jagged Little Pill is incredibly healthy and upbeat. Morissette uses the catchy pop-rock frameworks and moody ambience to suss out situations, to learn, to give hope. There’s the clever yearning of “Hand in My Pocket”; wry contrarianism of “Ironic”; kind-heartedness of “Hand over Feet”; the live-and-let-live spirit of “You Learn” – all positive and amiable.

Throughout Jagged Little Pill, the ever-approachable Morissette connects with listeners who recognize themselves in her — and has an intelligent conversation with anyone who wants to participate. It seemed almost everyone did. In addition to the mammoth sales that make the effort the 17th-best-selling album in American history, Jagged Little Pill collected four Grammy Awards, two American Music Awards, three Billboard Music Awards, and eight Juno Awards. In 2018, the record became the basis for a musical that netted 15 Tony nominations on Broadway.

Ironic? Anything but. Jagged Little Pill transcends generations, gender, and trends. As Morissette sings on the opening “All I Really Want,”, the album represents “deliverance” — “a place to find common ground.”

Emerging from the fertile chaos of Düsseldorf’s Salon des Amateurs scene, Sequence of Events, the collaborative project of Deniz Saridas and Joshua Gottmanns, presents The Art of Memory, an album that feels both intimate and ungraspable, like recalling a dream that fades upon waking.

Rooted in the post-industrial landscapes of West Germany, The Art of Memory channels the bleak resilience of these environments into its sound. It’s a collage of kraut-infused electronics, shoegaze textures, and industrial pulses, filtered through a lens of introspective psychedelia. “We don’t consciously break down or combine genres,” they explain. “Everything is interwoven, like chemistry. Some reactions happen immediately, others take years under pressure.”

From the opening track TAR, with its stoic vocals and drum-heavy propulsion, to the robotic Meagre Gardens, where autotuned chants coil around unconventional drum programming, the album moves like a fever dream through fragmented memories. Soul Divider unfolds like a cinematic journey through yearning and desire, its repetitive pulses echoing the ache of unfulfilled longing, while Nature Hates Life distills pop music through the eyes of a killjoy: “Kurt Cobain on an AKAI MPC2000,” as the band describes it. Even moments of tenderness, like the drifting Becomings, shimmer with absolute sensuality: a seductive exploration of presence defined by absence. We lift each other up and hold each other down.

The creative process behind The Art of Memory is as fluid as the music itself. Saridas and Gottmanns, both self-taught musicians with backgrounds in fine art, worked intuitively, drawing from a shared pool of samples, text fragments, and images. Operating somewhere in the space between fin de siècle aesthetics and occultism, it’s a dream wedding with a continuous stream of meaningless (moving) images generated by human and non-human entities.

Ultimately, The Art of Memory is not an escape but an immersion. A meditation on the sensory overload of the present and the ghosts it leaves in its wake. In a world where music is often reduced to background noise for consumption, Sequence of Events offers something more elusive: a record that lingers, unsettles, and demands to be remembered.

After several killer EPs and tracks on labels such as Tresor, Multi Culti, Hard Fist, or Playground Records, Antonio De Oto aka A-Tweed finally delivers "Spring Music" his first solo LP via Abstrakce Records, changing perspective on his music and way of producing. A minimal approach, where echoes and reverbs become some of the main characters of the full journey, mixing up weird acid, experimental downbeat, electro, dub, and tribal vibes across a wide range of tempos.

Slow-motion beats pulse beneath swirling acid lines, while dubby echoes and reverberations sculpt a landscape that is both immersive and mysterious. A-Tweed’s meticulous production draws from the label’s tradition of organic textures and ambient vibes, yet carves a distinct path balancing deep bass, shimmering synths, and a subtle sense of psychedelia that lingers long after the needle lifts.

A cohesive journey, crafted for those who seek introspective voyages without giving up new forms of dancefloor communion. A manifesto about the power of slow rhythms, dub sensibilities, and acid-tinged experimentation, out of any hype and trend, aiming for a distinctive sound. An essential addition to the ever-evolving Abstrakce catalogue. The spring has just arrived.

A1 - 1NC1N - No Man’s Land (System Check Interlude) : It’s a vinyl exclusive part of the release.


After 14 years since the founding of Zinloos Geluid Soundsystem, the very first release on vinyl is finally here. Expect various styles, each with its own story, just like the raves of Zinloos Geluid.

In addition, you will receive an EXCLUSIVE sound system check, only available on vinyl, to make your speakers sound great at your own rave or free tekno!

The Isle Of Lewis is the largest such of the Outer Hebrides archipelago, and a place where myth and folklore are abundant, The Callanish Stones, a cruciform circle reckoned by tradition to be the forms of petrified giants who would not convert to Christianity, once prompted notable chronicler of the ancient Julian Cope to pronounce himself “Lashed by wind and rain but surrounded by vibe”.

This was where Holy Scum decided to take a pilgrimage for the recording of their second album proper for Rocket Recordings, All We Have Is Never. Frustrated by the physical and logistical challenges keeping the band members from collaborating, they decided the best way forward was at the residential Black Bay Studios on Great Bernera, a two hour plus ferry ride from anywhere. “The isolation of Black Bay was our salvation, a much-needed cleanse after a year of relentless misfortune” reckons the band’s Peter Taylor. Taylor describes the Holy Scum approach jokingly as ‘No riffs’ yet this belies an ability to carve abstraction and minimalism into monolithic and ominous shapes. Whilst the band are as handy as ever with excoriating and ear-splitting experimentation - as on the feverish guitar scree that underpins the taut‘Thieves’ - they also excel in a grittily vital charge as analogous to the ballsy kinetics of Fugazi and The Ex (the primal ‘I Am The Land’) as the overcast catharsis of Killing Joke and Voivod (the infectious ‘Witches’). “The title is a nod to the fact that everything ends - good, bad, ugly, beautiful “ reflects vocalist Mike Mare (Dälek) of their most focused work to date. “That is not a bad thing - it is a rebirth every time. We can spend a lifetime 24/7 together having shared experiences but living separate realities”. “I don’t think it is nihilistic,” he adds. “The despair turns into hope for sure”.

With a clutch of EPs under his belt spanning a wealth of pallets, Henzo narrows the focus on his debut studio album “The Poems We Write For Ourselves” - a culmination of persistent iterations over several years, distilling his sonic milieu into something that feels decidedly his own. The album proper is coupled with a debut live performance which reinterprets the tracks and splices them with omitted material from the time of writing - recorded in full in the intimate confines of Manchester’s growingly infamous Stage and Radio basement. Honing his craft in the shadows of Lancashire, Poems is an expansive reflection of the producer’s time spent away committing to the scope of an LP.

A thread of stratified sound design weaves throughout the record, but with a discerning dancefloor proclivity mostly prevalent. Cold opener “Noggin” riffs on noughties Raster-Noton a la Byetone rebuilt with fractal tear out DnB, with closer “Indulgence” following suit on a puckered plod of Dub Techno ambience. More club-focussed moments come in the form of “Rustica Slump” and “Blue Will...”, the former’s sickly sweet vocals resolved by the latter’s stoic UKG/Techno rudeness. “A Bouquet of Clumsy Words” channels mechanical shuffle with a stripped back 2/4 pulse whilst maintaining a firmly FWD>>energy alongside “Plant Your Roots In Me” on a similar vector - swapping out a straight kick pattern for a bludgeoning 808 assault on an early Hessle-indebted tip.

“Take Stock, Touch Grass” harks to golden era ClekClekBoom and Night Slugs with a bare bones kick and vocal motif, updating the formula with a tweaking lead line that places it firmly in the contemporary space. “Swell:Shrink” sings from the same sheet with a shrieking, space age wobble doing the heavy lifting, knocking the pace back to a shoulder-lean swagger on a slow fast conundrum Henzo has shown his flair for on previous releases.

The outliers to Henzo’s more known approach, “Worm Grunting” with Belfast’s Emby, an amalgamation of halfest time DnB and illest mannered Road Rap, plus “The Rest Is The Mess You Leave”, a starkly anti-retro Ghettotek endeavour, give grounds to the LP. Clearly rooted in the comfortable universe of the dancefloor, these tracks expand the producer’s realm into loftier heights as he graduates into long play land.

There are imagined landscapes we all carry within us—dreamed,
half-remembered, or just beyond reach. Lofoten, the new album by
Cate Francesca Brooks on Clay Pipe Music, is a musical reflection on one such place.
Located above the Arctic Circle, Norway's Lofoten Islands are known for their dramatic peaks, open seascapes, and distinctive red fishing cabins dotting the shoreline. Though Brooks has never visited this remote northern region, it became an unexpected source of inspiration.
The project began when Cate listened to a narrated "sleep story" set in the islands. Intrigued, she researched the region and found herself drawn to its stark beauty."I fell in love with creating an impression of somewhere I would probably never visit, but felt a real affinity with," she explains.
This ambitious album translates that connection into sound. Through carefully crafted electronics, melodic themes, richly layered textures and big production, Brooks captures the essence of Lofoten—its icy light, vast horizons, and profound quiet."The other thing that happened around the same time was the first lockdown here in the UK. I had taken the opportunity of having some extra time to learn a new (to me) method of synthesis; that of the Synclavier, which uses one aluminium wheel and an array of buttons to control every parameter of the sound.
"I took to it with intrigue and before I knew it, I had built up hundreds of original sounds, many of which were perfect for the textures I could hear in my head for Lofoten. So that (along with a Prophet synth and a TR-808) became the sound world." Lofoten stands as an evocative testament to how music can transport us to distant places, transforming geographical limitations into imagined creative possibilities.

Introducing ''Sleek Vibra,'' the debut vinyl EP from Alessandro Gramaccioni (AFM), a compelling young Italian artist whose unique sonic vision has been forged through his involvement with the Amen Rave collective and a previous digital EP on Lapsus Records' CEE imprint. This powerful six-track offering for Adepta Editions sees AFM expertly fuse and reimagine a spectrum of genres, weaving together IDM, rave-oriented sounds, bass music, techno, and Afro-Arab rhythms. The result is an immersive sonic tapestry, where memory and tangible form converge into a cohesive audio-tactile experience. ''Sleek Vibra'' invites listeners on a futuristic journey through shadowy sonic landscapes, where the mechanical relentlessly intertwines with the organic. This intense sonic declaration holds nothing back, painting a vivid and uncompromising picture of sonic annihilation in its wake.

After two decades, the indietronic veteran returns with a powerful sonic reflection on today’s sociopolitical climate and a poignant reminder of music’s enduring ability to heal, unite, and inspire. Blending experimental electronics with krautrock sensibilities, the album thrives on spontaneity, collaboration, and the beauty of ‘happy accidents’.

While many of Nitrada’s sonic trademarks remain — intricate, rickety beats; enigmatic field recordings; and gut-punching string melodies — EVERYTHING THAT IS NOT COUNTED WILL BE LOST marks a shift in approach. Experimenting with different constellations of musical machines, Christophe Stoll, the mind behind Nitrada, recorded hours of improvisations (some shared on his Instagram). These sketches became the raw material for more elaborate, carefully structured arrangements.

True to his collaborative spirit, Stoll brought in like-minded artists to shape the final album: Jan Sturm (aka STURM) lends his touch to the shimmering FRAGMENTS OF LIGHT. The euphoric dystopian WE DANCE IN THE CHAOS features Landobe (Marco Heinle) and Patrick Siegfried Zimmer on vocals. Luca di Mira (of Giardini di Mirò fame) contributes synths, cello, and delicate textures to some tracks, while Johannes Schardt’s guitar work brings a visceral, post-rock edge to NO HYMN FOR NOBODY and IL ROMANTICISMO DELL’APOCALISSE, nodding to Stoll’s roots in punk and indie.

“The goal is to take listeners on a journey through different timbres and sonic landscapes — a collage of diverse ideas and inspirations,” says Stoll about his album which effortlessly juxtaposes experimental ambient soundscapes, heavy jagged guitars, and minimal techno pulses, making them feel as though they’ve always belonged together. Because, in the end, they do – all part of the shared vocabulary of our universal language: MUSIC.

This is an album made during a crucial period in South Africa’s history during which there was a palpable feeling of a slow turning towards the collapse of the apartheid state side by side with an increasingly well-organised culture of resistance through the formation of the United Democratic Front (UDF) and various affiliated bodies. However, as a result, there was increased pushback from the state security establishment, a turning to dirty tricks and the formation of hit squads whose members murdered and tortured many of our friends and created chaos throughout South Africa as well as neighbouring countries.

This album is situated in this political environment however it took advantage of the new do-it-yourself music technologies available at that time. Technologies that made it possible to make and release records without interference from traditional record company executives. Two musician friends of mine pooled their resources after their respective bands had broken up. Ivan Kadey (National Wake) and Lloyd Ross (Radio Rats) built an 8-track recording studio control room and fitted it out in a second hand caravan and called it Shifty. They parked it in a garage attached to the only house left in a demolished and derelict mining village near Soweto on the outskirts of Johannesburg.
All the work on this album was completed there, mainly after hours and mostly alone where I enjoyed an exhilarating freedom to develop a whole new set of musical skills and ideas, incorporating my love of a wide range of music I’d grown up with. Influences of 1970s progressive/kraut/and psychedelic rock combined with mbaqanga bass styles, early reggae/dub and Indian tabla rhythms. Stockhausen, early Zappa and Holgar Czukay were radio text and shredding influences, and Chris Cutler’s band Henry Cow & Art Bears helped me see a way to political expression. Mostly though was the exciting post-punk and no-wave music coming through to us from Europe and America: bands like This Heat, the Mekons, Raincoats, Sonic Youth and Pere Ubu were immensely important to me as was my reading from the period: J.M.Coetzee’s first 3 novels are strong influences on Free State Fence; the stark landscape, superstition, ritual, and sexual repression are in many of his settings. JG Ballard was a constant presence throughout that period, especially whilst living in such a surreal environment, surrounded by mine dumps, but mostly I think the whole French post-modern philosophical movement—Derrida, Foucault and of course, Baudrillard’s Simulacra and Simulation—set out a new sense of possibilities, possible ways to express oneself, ways to think, and ways to try and analyse the political intersection of public and private life. Most important at that time was the influence of sound recordings I had made and experiences garnered from working as a sound recordist on documentary films. These financed my work and later the studio and were consistent employment throughout the 1980s. Film work also enabled me to experience much of South Africa that was hidden from most. The track Independence Day is a good example; drawn from some time spent in the rural homeland of Venda. This then was the first full length Kalahari Surfers album, completed in summer of 1984 it was taken to EMI pressing plant but rejected by the cutting engineer as being ""political, pornographic and anti religious"". Chris Cutler at Recommended Records took up the challenge and released the album through his label. He wrote the original liner note

Nachgepresste Vinyl-Zusammenstellung von frühen Singles und EPs der kanadischen Alternative-Künstlerins LOLO! Die aus Toronto, Kanada, stammende LOLO hat sich zu einem aufstrebenden Star der alternativen Popmusik entwickelt. Ihr Durchbruch gelang ihr mit ihrer Overkill-EP, in der sie sich mit peinlicher Adoleszenz (,lonely and pathetic"), Herzschmerz (,hurt less") und Selbstironie (,death wish") auseinandersetzt. Das People Magazine bezeichnete sie daraufhin als ,Emerging Artist" und Spotify nahm sie in seine EQUAL-Kampagne auf, die aufstrebende Künstlerinnen fördert. Nachdem sie bei Hopeless Records unterschrieben hatte, trat LOLO mit ihrer Zusammenarbeit mit der Alt-Pop-Künstlerin Maggie Lindemann ins Rampenlicht. Der Song ,debbie downer" landete in allen Pop/Alt-Playlists und brachte ihr Tourneen und Festivalauftritte beim Lollapalooza und Sad Summer Festival sowie eine UK/EU-Tournee mit Leah Kate ein. Mit der Veröffentlichung ihrer zweiten EP ,Debbie Downer" feierte LOLO mit dem eingängigen ,u turn me on (but u give me depression)" Erfolge im kanadischen Pop-Radio und gestaltet die Alternative-Pop-Szene weiter mit, zuletzt mit ihrem 2024 erschienenen Debütalbum ,Falling For Robots And Whishing I was One". "LOLO creates honest, grungy breakup anthems and hot-girl bangers that mix genres and confuse categories."-Westword "Full of all the anger, angst, cynicism and depression that makes a proper pop punk artist, Toronto singer-songwriter LOLO is well on the rise." -Paper Für Fans von Charlotte Sands, Maggie Linderman, Stand Atlantic, Alternative Rock, Indie-Pop, Punkpop Diese neue Vinyl-Ausgabe der Singles-Compilation kommt in transparentem Rot!

Folk isn"t exactly a genre and it isn"t always an aesthetic, it"s the lore that"s curled around the roots of myths, ballads and anecdotes, burying itself just inches beneath the surface of contemporary culture. On their debut album, Canzonieri brush away some of the dust from Western civilization, excavating forgotten sonorities, philosophies and motifs to figure out what impact this knowledge might have on a chaotic, apocryphal modern reality. Processing familiar acoustic instruments and utilizing an arsenal of idiosyncratic self-built devices, acclaimed artist Emiliano Maggi and musical artist Cosimo Damiano - both members of Italian surrealist quartet Salò - survey the uneven, challenging landscape that surrounds them, calling attention to the conflicts and illusions that underpin art in all its forms. They take a widescreen view of centuries of musical evolution, juxtaposing simplicity and complexity, past and present, city life and the pull of nature to distill the essence of folk - emotional histories that are whispered from person to person.

The In Sound Company returns to Delights with a new comic-themed double-sider.

Shay Landa and Markey Funk reunited with power duo Left for another studio jam and cooked two new cuts of groovy psychsploitation. The A-side "Spaceman Spiff" is a banging ode to the cult comic-within-a-comic intergalactic explorer, led by Rotem Bahar (Şatellites, Itamou) on flute. On the flip, the Company gets heavier and delivers a piece of raging fuzz-meets-synths crime funk - "Stunt Double".

New Traditions is a collection of pipe music, electronic music, mouth music and folk music from five emerging and prominent Scottish artists.

It started in Sutherland with a recording of The Waters of Kylesku. “Do you learn any Gaelic at the school?” asks Hamish Henderson of Christine Stewart. “No,” she answers. “That’s a shame,” he responds, “Isn’t it?” she says. Then she sings. Her voice is of the peat itself, grown from the earth as the language was. It soars raptor-like above drenched ground and scoured pink rock.

Next, to Nancy Dorian, a linguistic missionary of sorts, who came from America to watch a language die. She charted the decline of Gaelic in a cluster of Sutherland villages from 1963 to 2020 when the terminal native speaker passed. Gaelic has origins in nature, with each letter of the alphabet named after a tree. It seems significant that the land of the north is now all-but devoid of forest.

Enter Alan Lomax, who travelled the world documenting indigenous music. Material from his archives feature on (fucking) Moby’s platinum selling Play. Despite the record’s worldwide commercial success we know very little of the music he essentially exploited.

Then musician Martyn Bennett, who built tracks around Lomax recordings of Scots and Gaelic voices, and did so with love that shared his blood with the cancer that killed him. His records both popularised and preserved obscure indigenous Scottish music.

This collection of tunes has similar intent: to consolidate ephemeral words in physical grooves - real as the rigs that still scar the earth - but also a desire to interpret. These versions have the greatest reverence for the originals at heart, but like the architecture of a great gallery, serve to protect and elevate.

This Project is really a two in one offering. Combining the three tracks from Ringer’s 2021 release, the “Meta Music EP” and his darker more aggressive moniker, Black Sued’s offering the “Rogue EP”. The EP is sort of a yin and yang. Monotone is a deep chordal track with uplifting vocals and a pulsing almost distorted bassline. This track is complimented with minimal drums and a simple yet beautiful synth riffs that bring it all together. New Plan is a fast paced cut that insights the listener to move. The drums and chords wrestle in a rhythmic dance while Ringer’s voice projects the essence of this side of the 12”. Positivity and persistence, the energy is alive in this track. YIA, an acronym that stands for Yes I Am, is meditative and filled with affirmations for the listener. Deep solemn chords, and the sounds of a thunder storm take the listener into a inner place of self reflection. The affirmations are for the listener to embody, a solid thought provoking end to this side of the 12”.

Rogue, the title track of this side of the record, is an intelligent, dark and jazz filled groove, that takes the listener on a journey. The groove is easy to catch, and wraps the listener into an almost mysterious landscape of rhythm and melody. Keeping the tone of this side of the 12” is Maze. The chords and rhythm walk in tandem to a beat that almost favors a marching band. A higher energy feel arrives as the 16th high hats meet a long defining chord that take this track to the next level. Deep Dirt reminds me of a drum machine tweaking or malfunctioning. The ominous chords paired with the distorted synth and bass lines that carry the listener through the filth that is this track.

The third offering from Marco Passarani's Studiomaster label heralds a significant return: M.Chrome. Absent since 1994 when it debuted on Alan Oldham's Generator, this alias is resurrected to explore new sonic frontiers. While its roots subtly echo a certain legendary Detroit imprint, "Flare Rider" stands as a testament to evolution. This isn't just an EP; it's a series of compelling sonic narratives, guiding listeners through techno and house territories. Expect subtle acid inflections, deep cosmic voyages, and a powerful, melancholic harmonic core that defines its distinct planetary landscapes. Best experienced as the sun begins to rise and the vision of distant planets starts to fade!

Parisian producer Bassam lands on somewhere… with a deep, hypnotic EP rooted in mental grooves. Three originals designed for intimate dancefloors, topped off with a remix from Voigtmann. No need to say more!

In the spring of 2019, a new rock band consisting of four otherwise ordinary Okies would arise out of seemingly nowhere, swiftly turning heads with a grotesque new take on noise rock fuelled by the existential anguish that has defined the 21st Century. Taking its name from the towering mounds of toxic waste that stand as monuments to capitalism’s cruel hubris across its home state, Oklahoma City’s Chat Pile made an immediate impression, soon culminating in the release of its landmark 2022 debut album, God’s Country and 2024’s expansive follow up Cool World
While the massive success of God’s Country would propel the quartet from the status of underground favorites to an international sensation, Chat Pile’s mission to take rock music to new zeniths of intensity was part of the plan from the very start. In fact, during its first handful of months as an active project, Chat Pile began writing and recording some of the heaviest, hellish, and harrowing music of its entire catalogue, laying the foundation of the themes and traits that would eventually manifest in the band’s debut LP. The result of these sessions would be a pair of EPs, This Dungeon Earth and Remove Your Skin Please, released in the summer and winter of 2019, respectively.
Initially put out by Reptilian Records in 2020, The Flenser is proud to present a special reissue of Chat Pile’s pivotal first two EPs, each compiled onto a single disc. This dual EP compilation chronicles the earliest moments of the Oklahoma City quartet’s discography, a snapshot of the band’s pre-Flenser days and of the eight tracks of noxious, nihilistic noise rock that would propel the Midwest band to a globe-spanning, underground heavyweights.

In the spring of 2019, a new rock band consisting of four otherwise ordinary Okies would arise out of seemingly nowhere, swiftly turning heads with a grotesque new take on noise rock fuelled by the existential anguish that has defined the 21st Century. Taking its name from the towering mounds of toxic waste that stand as monuments to capitalism’s cruel hubris across its home state, Oklahoma City’s Chat Pile made an immediate impression, soon culminating in the release of its landmark 2022 debut album, God’s Country and 2024’s expansive follow up Cool World
While the massive success of God’s Country would propel the quartet from the status of underground favorites to an international sensation, Chat Pile’s mission to take rock music to new zeniths of intensity was part of the plan from the very start. In fact, during its first handful of months as an active project, Chat Pile began writing and recording some of the heaviest, hellish, and harrowing music of its entire catalogue, laying the foundation of the themes and traits that would eventually manifest in the band’s debut LP. The result of these sessions would be a pair of EPs, This Dungeon Earth and Remove Your Skin Please, released in the summer and winter of 2019, respectively.
Initially put out by Reptilian Records in 2020, The Flenser is proud to present a special reissue of Chat Pile’s pivotal first two EPs, each compiled onto a single disc. This dual EP compilation chronicles the earliest moments of the Oklahoma City quartet’s discography, a snapshot of the band’s pre-Flenser days and of the eight tracks of noxious, nihilistic noise rock that would propel the Midwest band to a globe-spanning, underground heavyweights.

In the spring of 2019, a new rock band consisting of four otherwise ordinary Okies would arise out of seemingly nowhere, swiftly turning heads with a grotesque new take on noise rock fuelled by the existential anguish that has defined the 21st Century. Taking its name from the towering mounds of toxic waste that stand as monuments to capitalism’s cruel hubris across its home state, Oklahoma City’s Chat Pile made an immediate impression, soon culminating in the release of its landmark 2022 debut album, God’s Country and 2024’s expansive follow up Cool World
While the massive success of God’s Country would propel the quartet from the status of underground favorites to an international sensation, Chat Pile’s mission to take rock music to new zeniths of intensity was part of the plan from the very start. In fact, during its first handful of months as an active project, Chat Pile began writing and recording some of the heaviest, hellish, and harrowing music of its entire catalogue, laying the foundation of the themes and traits that would eventually manifest in the band’s debut LP. The result of these sessions would be a pair of EPs, This Dungeon Earth and Remove Your Skin Please, released in the summer and winter of 2019, respectively.
Initially put out by Reptilian Records in 2020, The Flenser is proud to present a special reissue of Chat Pile’s pivotal first two EPs, each compiled onto a single disc. This dual EP compilation chronicles the earliest moments of the Oklahoma City quartet’s discography, a snapshot of the band’s pre-Flenser days and of the eight tracks of noxious, nihilistic noise rock that would propel the Midwest band to a globe-spanning, underground heavyweights.