Suche:substance

Eleven is a magic number in many cultures, for us maybe it is… or not, anyway our eleventh release is going to be something special with vinyl again as the main format after some only digital releases.

The man in charge of production duties is well known for crafting merciless techno exercises all over the place, RNGD is not a newcomer at all, his roots come from the late nineties and you can somehow feel that into his modern tunes.

These four cuts have a strong link with the classic Birmingham school, Regis,
Downwards, Female, Surgeon… but with a personal and unique twist.

Direct Source is a clear example of what I mentioned before, a few elements are enough to make the funk happen: a solid sequence, proper drums and a hypnotic arrangement.

Same approach on 037, proper neural funk with basic elements administered properly. B side opens with Degradation, again with the same mantra, anabolic, gymnastic and physical.

To close the release Diabólica, providing the mental slice of the pie with the
occasional pad and vocal samples but yet energetic and direct to the floor.

This is the true spirit of techno, don’t be fooled for the new trends. Timeless is the word here.

Text by Luis Rozalén / Hd Substance

An album for sleeping and waking, walking and driving, hunting and fishing, for loitering outside a roadhouse on the haunted tundra. Okay in elevators, not great for dinner. On Caveman Wakes Up, Friendship’s new album and second for Merge Records, the band’s historically capacious definition of country music grows wider still. Shambolic guitars are offset by flute pads, bleary poetry is set against a Motown rhythm section, a song about Jerry Garcia and First Lady Betty Ford fades out with a drum solo, like if Talk Talk came from a dingy Philadelphia basement and was fronted by James Tate. Songwriter Dan Wriggins’ ragged baritone cuts through eleven murky, swirling country-rock songs with profound lyrical substance and sincerity. Like an alarm clock incorporated into the edge of a dream, Caveman Wakes Up belongs equally to the conscious and subconscious mind, fraught with background, steeped in reference and experimentation, delivered casually and as a dire warning, dedicated, above all, to music’s creative soul. Over the years, dedication has paid off. Friendship has become a kind of reverse supergroup,
wherein the band itself and each individual member are located centrally in an increasingly prominent scene of young folk and country musicians and songwriters. Drummer Michael Cormier O’Leary leads the instrumental collective Hour and, along with bassist Jon Samuels, runs Dear Life Records, home to friends and peers who count Friendship as a major influence including MJ Lenderman, Florry, and Fust. (Samuels also plays lead guitar in MJ Lenderman and the Wind). Guitarist Peter Gill’s band 2nd Grade records prolifically. Wriggins began writing the songs of Caveman Wakes Up on a downtuned classical guitar of Lenderman’s and finished on a barely tuned piano in an apartment he shared with Sadurn’s G DeGroot.
In the summer of 2023, Wriggins had just left the Iowa Writers’ Workshop, where his love for poetry and mistrust for the academic poetry world grew in tandem. A relationship fell apart, and Wriggins crashed for several weeks at Lenderman and Wednesday’s Karly Hartzman’s home in North Carolina, where he recorded the first demos of “Resident Evil,” “All Over the World,” and “Love Vape.” Wriggins returned to Philadelphia, and the band got to work on new ideas, finally tracking the album in five days with engineer Jeff Ziegler (Mary Lattimore, War on Drugs). Wriggins recorded vocals with Love the Stranger engineer Bradford Kreiger, and organ, violin (Jason Calhoun), and flute (Adelyn Strei) were recorded by Lucas Knapp in a West Philadelphia church.

Perila returns with a contemplative spiritual successor to her album »7.37/2.11«, which was also released on Vaagner’s sister label A Sunken Mall back in 2022.

Featuring a collection of 8 pieces produced between 2021 and 2023, the album carries a serene vulnerability that underpins each work, drawing the listener in while gently grounding them amidst a drifting, ephemeral motion of echoing voices, droning guitars and sonorous soundscapes. Like a whispered conversation in the quiet moments of the day.

Perila has once again created a world unto itself, one that doesn’t need to be understood but simply felt. If anything, it’s an album that brings us back to the present, reminding us that the chaotic disarray of the world outside can be addressed and mitigated through our internal landscape. By embracing imperfection and forging new paths, »The Air Outside Feels Crazy Right Now« is a testament towards Perila’s ability to turn fragility into a powerful form of strength.

Divergence and Declaration is the second album by San Francisco Bay Area Darkwave duo Vague Lanes. The album features their signature two-bass configuration, with Mike Cadoo (Gridlock) handling the melodic six-string duties. At the same time, Badger McInnes (Here We Burn) propels the music forward with his low-end four-string.
The album opener, "Heptahedron", also features drums by Martin Atkins (P.I.L., Ministry, Killing Joke). The album's title eludes to the refinement and solidification of Vague Lane's manifesto, and by utilizing a more expanded pallet than their debut album Foundation and Divergence, the duo displays confidence in their creative trajectory and the overall substance of their musical voice.

T. Gowdy returns with a major statement and luminous stylistic expansion on his third album for Constellation. Trill Scan is an exquisite suite of songs literally and figuratively about alchemy, where Gowdy melds his background in choral and medieval music with his trademark analogue electronics. Following the acclaimed Miracles (Bleep Album of the Week / Albums of the Year 2022), Gowdy's bar-raising new LP centers human voice for the first time. Choral set-pieces and solo lead vocals, along with his own lute playing, are novel elements in Gowdy's work, and draw on strains of Middle Ages polyphony and the Baroque "broken style" to further distinguish Trill Scan from anything in his discography to date. Gowdy sees "the modal language of medieval Europe as a less distant cousin to indigenous traditional music practice" compared to a Classical-colonial "patriarchal order of tonality that honours a system of domination." The 12th century Notre Dame School of choral music and 17th century style brisé each carry tonal materiality, heterodox technique, and cultural-historical symbolism central to Trill Scan's conceptual and compositional alchemy. Gowdy coheres these beautifully into his palette of serpentine slowburn electronics, a minimal analogue-driven techno shaped by aleatory strategies and tinged with post-punk grit. Gowdy's sound has been aptly described as "gently transportative, flickering like a busted halogen lamp" and his overriding pursuit of psychoacoustic immanence likened to "getting your brain massaged" and praised as "blissful work that bristles with effervescent energy, like brain waves coming in and out of focus." Trill Scan expands this sonic sensibility with more conspicuous harmonic complexity, stylistic variety, and humanistic narrative arc. Alternately sacramental and intimately personal vocals, sometimes wordless and sometimes lyrical, are worked into superlative instrumental tracks, yielding a warmly immersive concept album that's equally Gowdy's most musical. Gowdy sings explicitly of alchemy on the hypnotic album centerpiece "Novus Lumen" with lyrics that gesture at these medieval processes of material investigation. The tension between the scientific and esoteric is crucial; the separation and synthesis of physical substances in medieval alchemy maps onto his fixation with the interplay between the materiality of sound and psychoacoustics. Gowdy follows the Jungian interpretation of classic alchemical texts as an historical bridge to theories of the psyche, where consciousness itself is treated as materiality and similarly subjected to methodical analysis and experimentation, to deconstruction, dissolution, transformation, reintegration, metamorphosis. Song titles like "Arislei Bone" and "Materiadiscipuli" further reference these mythopoetic throughlines from medieval alchemy to modern psychology. Gowdy chooses disruptive forms from the history of Western music that symbolize and prefigure the modern psychological subject and its struggle for/against order, even as they also evoke liturgy and the Renaissance court. The sacramental adds a potent dimension to his pursuit of psychoacoustic activation, meditation, and transcendence, as choral passages intersperse with electronic drone and pointillism throughout the album. His gorgeous Fennesz-meets-lute rendition of the Baroque composition "Courante" by François Dufault offers idiomatic salon-secular counterpoint. Album closer "Strewn" is bookended by a final recurrence of choral invocation, with pulsing earworm motorik techno in between, over which Gowdy whisper-sings a dreamlike vision quest of mythic-alchemical imagery: "as I washed my eyes they turned to metal / and the memories melted to the metal / the metal of my heart." A mesmerizing final song that explicitly invokes Gowdy's search for materialized abstraction and substantive musical immanence wrought from his own psycho-therapeutic subjectivity, and encapsulates the album's turn towards more harmonic, historicized, and humanistic elements. Trill Scan commingles empyrean and earthly electronic songcraft to genuinely original and absorbing effect. Thanks for listening. RIYL: Coil, Nicolás Jaar, Alessandro Cortini, Pantha Du Prince, Fennesz, Visible Cloaks, Actress,

Joni Void, the artistic persona of Montréal-based French-British producer Jean Néant (he/them) returns to songcraft on their warmest and most welcoming record yet, where the acclaimed sampledelic sound collagist chills out with an emotionally resonant song cycle tinged by downtempo, lo-fi, avant-pop, and trip-hop. Guests include Haco, Ytamo, Sook-Yin Lee, Pink Navel and N NAO. Every Life Is A Light expands on Void's recent stylistic turn towards more languorous and mellow lo-fi production, foreshadowed by the drifting looseness and ambient bricolage of their preceding experimental sound-art record. This transitional sensibility now shapes more defined song structures and styles, with loops are given time and space to unspool, and rhythms shot through the softer-focus lens of trip-hop and dub. Every Life Is A Light swaps the twitchy insistence of Void's acclaimed early albums for a newfound lightness and suppleness, still imbued with all the restlessness, sonic detailing, and emotional resonance that made their name. The neurotic brokenmachine kinetics of earlier Void, summarized by Sasha Geffen as "drawing despair and wonder from within the vast unfeeling of digital communication" in an 8.0 Pitchfork review, may be chilling out, but Void is becoming an ever better conjurer of hauntological feeling. Every Life Is A Light summons this in a comparatively buoyant, benevolent, head-nodding journey more open to tenderness and modest joys. Perhaps it's the sound of Void at greater peace with themselves and the world, despite the bittersweet cost: even as it channels grief, memorializing comrades and companions recently deceased, this album wants light. Void's raw materials continue to draw heavily from samples (their own Walkman cassette fieldrecordings and songs by others) and from a wide community of musical guests. Vocalists Haco on "Time Zone" and Ytamo on "Cloud Level" help levitate what could be lost tracks from a mid-90s Too Pure Records compilation of skewed-lounge electronica. Canadian musician Sook-Yin Lee sings on lead single "Vertigo," a sinewy 80bpm tape-loop and bassline groove propelled by psychedelically-layered lyrics that eventually turn the song in on itself entirely, like Grace Jones' "Nightclubbing" covered by Animal Collective. One of Void's greatest hip-hop loves is the Ruby Yacht collective; charter member Pink Navel drops some brilliant verses on "Story Board." The album's two minimal tracks, an extended piano loop set to a slow beat and shimmering electronics on "Muffin-A Song For My Cat" and the languid sampled bass riff and breakbeat of "Event Flow," are perhaps most overtly `lofi chill.' Indeed the whole album could be said to sit adjacent to those viral (if not already AI-generated) genre trends, which maybe begs the question on a lot of our minds: can specificity and authenticity of musical materials still be heard, still meaningfully signify substance and difference, still matter? Perhaps a question that fades in comparison to the career break Void could catch by landing on generic streaming playlists. More likely, these tracks remain too off-kilter, too genuinely lo-fi and ineffable, and too disqualified by the status of its peasant rights-holders, to catch the algos. Context remains the poor cousin of content. Meanwhile Void marches on, as a tireless organizer of local music events, bouncing around and often living in DIY venue, depending on the latest apartment eviction. With an ubiquitous polaroid camera in tow, they also document each communal happening with a single shot (and often a blinding flash bulb): a memory and metaphor for lives illuminated preciously, singularly, `imperfectly' in the moment. Dozens of these polaroids adorn the album's back cover and inner sleeve art in grid-like montages, as a fitting analog for the careful construction, grainy intimate materiality, and ephemeral feeling of these songs. Every Life Is A Light is Joni Void's most coherent and congenial record while relinquishing none of their experimentalist acumen as a producer or emotional attunement as a composer. Instead these qualities flourish, on an album that lights a humble flame for the fragile promise of homespun creative collaboration as unalienated labour and therapeutic communion, making an enchantingly idiosyncratic contribution to downtempo sample music along the way. Thanks for listening.

Limited white vinyl ! RIYL: Guided by Voices, Pavement, Terry, The Chills, The Clean, The Verlaines. Whoosh is The Stroppies first proper debut album and breezes along with boundless energy, a refrained pop strut, infectious grooves and the sort of jangling guitar melodies that sound like a prime-era Flying Nun band. The Melbourne-based band formed together around a kitchen table in 2016 with a heavy focus around the essence of collaboration and a DIY ethos. After a home recorded cassette release "Whoosh" is their proper studio debut. It's a record that possesses all the spunk and gusto of a young band hurtling forward yet also knowing when to take their foot off the accelerator. It's an album that simultaneously feels young and fresh but wise beyond its years by combining taut post-punk rhythms, indie jangle, seamless melody and sugary pop.

There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. Samtvogel' is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. When I was recording Samtvogel' in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.'

Thanks to these three months of work, between June and September of 1974, 'Samtvogel' was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork -titles added to the front cover, which weren't on the original private pressing. Brain also reissued it on the label's Rock On Brain' LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret - however it must be pointed that Schickert did not need any mind spreading substances to allow his sounds float out of his mind & soul, they just came out in the most natural way. It will also appeal to fans of the echoed athmosferic guitar work of other kraut innovators such as Ash Ra Tempel, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's 'Tago-Mago' era.

The Wah Wah reissue is housed in a quality sleeve that reproduces that of the original 1974 private pressing and features a 4 page insert with liners and photos - sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away again!

There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. Samtvogel' is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. When I was recording Samtvogel' in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.'

Thanks to these three months of work, between June and September of 1974, 'Samtvogel' was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork -titles added to the front cover, which weren't on the original private pressing. Brain also reissued it on the label's Rock On Brain' LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret - however it must be pointed that Schickert did not need any mind spreading substances to allow his sounds float out of his mind & soul, they just came out in the most natural way. It will also appeal to fans of the echoed athmosferic guitar work of other kraut innovators such as Ash Ra Tempel, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's 'Tago-Mago' era.

The Wah Wah reissue is housed in a quality sleeve that reproduces that of the original 1974 private pressing and features a 4 page insert with liners and photos - sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away again!

There are records that come from the soul. No matter how primitive may be the recording techniques the musician has access to, the soul gets its way to the heart and mind of the listener. Samtvogel' is one of those records. Günter Schickert recorded that amazing piece of human greatness in 1974, using the media he had at the time, putting his brain at work to find the best way of taping everything he had to say. When I was recording Samtvogel' in 1974 I had only 2 Taperecorders. I played one track and while listening I added the second one. And so on. Four times. When I mixed all together I borrowed a 3rd taperecorder. And still added the last track to the master. I had a small mixer with 2 stereo and 1 mono but it was possible to pan tracks. No equalization. It all came out of my still living G2000 Dynacord guitar amplifier, of course valve, with no master, even the voice recorded through it. If I made a mistake in 1 track I had to repeat it from the beginning. And if while mixing I was not fast enough in changing the tape I had to start again. So it took me more than 3 months to get ready.'

Thanks to these three months of work, between June and September of 1974, 'Samtvogel' was privately issued that same year. It would later be issued on the Brain label, with a small change in the artwork -titles added to the front cover, which weren't on the original private pressing. Brain also reissued it on the label's Rock On Brain' LP series, this time with a completely different sleeve. The album contained two tracks on side one and just one on side two, and its sound has often been compared to the most explorative works of Syd Barret - however it must be pointed that Schickert did not need any mind spreading substances to allow his sounds float out of his mind & soul, they just came out in the most natural way. It will also appeal to fans of the echoed athmosferic guitar work of other kraut innovators such as Ash Ra Tempel, Manuel Götsching or A.R. & The Machines, and some may find on the vocal passages certain resemblances to Damo Suzuki on Can's 'Tago-Mago' era.

The Wah Wah reissue is housed in a quality sleeve that reproduces that of the original 1974 private pressing and features a 4 page insert with liners and photos - sound remastered at Eastside mastering Berlin. Get this bird now, before it flies away again!

Metal Church’s 4th album is often cited as their best. Breaking through in the-mid eighties within a blossoming Thrash Metal scene, these guys from Seattle stuck to their guns while other bands were polishing their sound to meet popular demand. The Human Factor (1991) excels in chugging riffs, melodic breaks, pulsing beats and furious vocals - a true Thrash classic. The lyrics stand out in their substance: singer Mike Howe tackles political and social subjects on “Date with Poverty”, “Flee From Reality” and “The Final Word”.

The Human Factor is available as a limited edition of 1000 individually numbered copies on translucent red coloured vinyl.

GC'mon Tigre announces their new instrumental project, Instrumental Ensemble - Soundtrack for Imaginary Movie Vol 1. This album offers an alternate view of cinematic music: a soundtrack composed for a fictional film using a challenging and inventive method. This project investigates an alternative approach in which music shapes and guides visual storytelling. It's the first in a series of albums dedicated to as-yet-unmade films, enabling listeners to explore music as a key component in cinematic narrative. The original story that inspired this music was created in partnership with a large language model, which was taught and instructed in substance and style to best fit the project's artistic concept. C'mon Tigre works with AI to achieve collaborative harmony while contemplating on the unavoidable future ahead. Each track on the album depicts a scene, delivering stories about humans juggling personal issues and contacts with advanced technology. The end result is a story told by sound and text, designed to immerse listeners in a multisensory universe.

"Because it's the passion for music that drives the person behind the decks, a dj's debut is bound to exude authenticity. It's often themselves they're recounting in music, posing on the slip mats their DNA and what makes them who they are.

When you're just starting out, you're faced with a multitude of routes to take and styles to play. When you know just how devastating it can be to step out of line and empty the dance floor even faster than it filled up, it often takes a lot of audacity to break the unity of a funk evening with a punk track.

Over time, to evolve is to find oneself facing only two roads.

On the first one, to satisfy the greatest number of people and not lose the credit for his fees, the dj adapts to the trend. Whether he likes what he's playing or not, the road has become a freeway and, indeed, a very comfortable one. The audience already knows everything there is to hear and doesn't come to hear anything else. Thirty seconds, or even a minute of each track, is more than enough. Everything has to flow quickly. Everything is marked out and secured. Those who respect the regulations will (normally) make the journey without accident. Several times a week, several times a month, several times a year. Curiosity disappears altogether.

And then there's the other road. Where nothing is expected nor sometimes even ever heard. The road of an unquenchable passion for diggin' and the desire to always know more and more. A passion billed at the price of hours of research-finding spent in the discomfort and possible disappointment of never coming across anything exciting, as well as nights exploring platforms and multiplying clicks resulting in a good old headache. Until that moment of grace happens when, after thousands of fruitless shakes, the nugget stands alone in the sieve, without the slightest doubt as to its quality.

Coming from places never mentioned for their music, sometimes classics of their genre, they are also rarities miraculously saved from total disappearance, as much as current marvels, but threatened to never leave the immensity of the web. Even if the possibility of a text with substance is never excluded, they can tell long stories or be destined solely to make you dance till you're dehydrated. Scintillating with spirituality, some can also vaporize energy and replace it with a pure emotion capable of touching hearts in the bareness of simple percussions.

This road is marked by sincerity, singularity and surprises, but always in a communion between the dj and the audience, who embark on it together, with mutual confidence in the promise of hours of sharing and discovering. "

For that Bogotá that dismantles the boundaries of our sanity. For all the broken souls wandering this city in every direction. This music overflows with love and substance, with more madness than reason, given in the present moment to this land and its fragments that intoxicate us every weekend. Here, we take responsibility; as for the future, we don’t know.

Indignation Meeting are punky rail fans from Leeds. 15-year-old Peter is the driver - he's the drummer and lead singer, writes most of the songs, and also plays bass and trumpet on the album. The rest of the crew is his dad Michael on guitar, Hugo on bass, and with Keith, Heather and Sally often along for the ride when they play out. Here at DGHQ we loved listening to their self-released debut album Trouble In The Shed so much we eventually released it on vinyl for the first time. They now have a second album! Vocalist/drummer Peter very kindly talks us through the (train) tracks_ * "The Trainspotting Song" - Now, as a train geek, I go out filming trains an awful lot, and one thing you can't help noticing whilst out in the wilds of Staffordshire or the moors of Lancashire are a whole load of unnecessary 'Private Land' signs. This song is my response_ * "The Talyllyn Railway" - The history of the Talyllyn Railway is a fascinating one that I've long since wanted to explore, due to its unique nature as the first railway to ever be taken over by volunteers. This is the result! * "The Middleton Railway" - As a volunteer at the Middleton Railway, I had felt that a song needed to be written for quite a while. However, our guitarist Michael, ended up beating me to it! * "A Model World" - It was late one night, and I was lying on my sofa, trying my hardest to gain an ounce of enjoyment from 'Hornby; A Model World.' It was proving quite hard, due to the alarming lack of substance in the programme, so instead I decided that its name was rather good, and could be the basis of a song explaining my 'model world.' And, well, here it is! * "The Fifth Black Five" - This song is dedicated to the railway preservationists of old, who spent countless hours in cold, damp, dreary sidings, all to make sure us future generations would be able to enjoy the smell of a steam train. Thanks guys! * "Case Study" - This song is a commentary on the sensationalisation of disasters, when there's a massive tragedy and people at home just sit in their comfy sofas, watching the news and drinking tea. We know what's going on, but we can just choose to turn off the TV and forget it ever happened and continue with our lives. It also relates to the dehumanisation of those disasters you experience in school, where you have to write essays on someone who's just become homeless. It seems quite heartless sometimes_ * "Loco Motives" - This song is a fictional story of a man's personal struggle with a railway company, and the drastic measures he took to fix them_ * "That Would Never Suit His Grace" - With model railways, you always seem to get a few people who can never be satisfied with a layout or a model - no matter how hard someone's tried, there's always something to improve on, and they're never nice about it either. This song is a reality check for them_ * "Small Black Shunter" - This is our second homage to Zounds - Electrification would never be truly complete without its B-side. And this B-side is the story of a little loco who wanted to see the world. * "Rhydyronen" - Slowly but surely, we're going to pick off all of the stations on the Talyllyn Railway. Starting where Abergynolwyn left off, this is the story of our second favourite station on the TR. * "Typically English Day" - This is an homage to Mark Astronaut, a true punk genius who was gone before his time. Although there were many songs we could've picked to cover, it only seemed right to punk up one of his most popular tracks, and one of the main ones that got me into the Astronauts in the first place - Typically English Day, a heart-wrenching tale of an elderly couple trapped in the middle of a nuclear war, following their last moments before their inevitable demise. * "Just For The Record" - There is too much misinformation in the media these days, and one case I found particularly egregious was the gross misrepresentation of the strikers, who aren't so evil as the media want you to believe_

Błoto’s bold 2020 debut brought forth three albums in just twelve months. This prolific creative burst, followed by an ongoing tour and involvement in other projects, meant that fans had to wait over three years for the next release. During this time, new ideas took shape, and the vision for their fourth LP crystallized. The wait for Błoto's new album is nearly over. As always, autumn signals the arrival of Grzybnia (Mycelium).

The idea for the album had been simmering within the band since the release of Kwasy i zasady and finally took shape in late January 2023 at Warsaw's Studio Pasterka, under the careful guidance of Piotr Zabrodzki. It was by far the most fruitful session in the group's history, with ideas flowing in abundance. The chosen tracks not only resulted in two well-received singles, Szlam / Ścieki and Bakteria, but also provided enough material for an EP set to drop next year.

The seemingly chemical title of the album Kwasy i zasady (Acids and Bases) ultimately referred to interpersonal relationships, describing traits that prevent harmony. The album embodied the polarization of societies in the 21st century. The metaphor of Grzybnia (Mycelium) goes a step further. It emphasizes the importance of cooperation as a fundamental skill that can yield various results (fruits, fungi)—both good and bad. Above all, it underscores the power of collective action beyond divisions.

In a complex, unstable modern world that is breaking apart into pieces, the concept of mycelium offers a powerful model. Mycelium thrives in degraded, seemingly lifeless environments created by humans. A key aspect of the broader significance of mycelium is that cooperation benefits all involved parties, where each contributes something and receives something in return. Mycelium is a symbiont, meaning it forms a symbiotic relationship with certain tree species through mycorrhiza, where the roots of the trees and the mycelium exchange essential life-sustaining substances. This results in mutual benefits. The world of mycelium exemplifies cooperation.

A single mushroom, like a person, dies, but mycelium endures, much like humanity itself. Thus, similar to culture, it is immortal. Błoto operates in a manner akin to mycelium. It undoubtedly belongs to the underground realm, embodying the essence of the underground. It is also a destructor of music. In what sense? The Polish Nobel laureate Olga Tokarczuk noted in her book Primeval and Other Times that “... Mycelium thrives by drawing the last remnants of life from what dies, decomposes, and seeps into the earth. Mycelium is the life of death, the life of decay, the life of what has died.” In the same way, Latarnik, Cancer G, Wuja HZG, and OlafSaxx, through their collaboration, process cultural products to create entirely new and surprising combinations. The result of this work is both edible and poisonous mushrooms, manifested in the form of fat beats, house, spiritual jazz, improvised music, illbient, organic techno, and genre-defying electronics.

The peak mushroom season in Poland occurs in autumn, which is why Grzybnia will be released on October 11, 2024, via Astigmatic Records.

2024 Reissue

The syndicate manifests its sonic potential in full glory. Giving rise to this collection of colossal heavyweights, Sentry demonstrates its spotless record of selecting certified heavyweights for the discography once again, twenty-fold. Stepping into the ring are some of the scene's most prolific artists alongside a plethora of promising, choice newcomers.

Boasting more than an hour of supercharged sound system pressure with names like Caspa, Truth, Bukez Finezt, Nomine and Youngsta himself on the controls - the subsequent inferno proves to be an authoritative display of quality bass music, that is sure to reach roaring stacks of speakers all around the globe for years to come."

"Vintage flavours transmute into fiery low-end excursions in 'Sun Ra' as Onhell reigns with fire and brimstone and makes way for what's to come. Rolling on, Taso lays waste with dimly lit half-time flows as we enter the smoke-filled mansion of Argo's meticulously crafted 'Since Then' - a prime cut of hip-hop infused breakbeats and bass.

Abstrakt Sonance & Substance set the heater into overdrive and blunts aflame as we proceed into the shelling of 207's 'Gypsy Dub' - then promptly being crunched to bits by 'Crocodile' - encapsulating Dayzero's cold-blooded dance floor armaments. Brace yourself for battle as we step to the drums of Caspa's tribal warfare, full-frontal assault engineered for the club.

Unrestrained power surges propelling us onwards in Coltcut & Ourman's decidedly high-grade collaboration as listeners march through Khiva's haunting sound system belter 'Teeth' and a zealous dosage of Dubstep as envisioned by Truth. Led through eerie alleys and pressure-ridden environments with LSN on the buttons, the onslaught proceeds with the relentlessly driving 'R U Broke' in Mr. K's signature style.

Opus merciless injects straight fury in an auditory form in the spiked 'Lime Pickle' - Bukez Finezt keeping pace with a murderous Cembalo-ridden thug anthem, lunacy! Minimal instrumentation to its fullest effect, Sukh Knight's 'Modulate' keeps it spicy - as does the claustrophobic sub-bass chiming by Leftlow. Thanom ignites what's left of the residual air in 'Tumble It' - dangerous goods.

The subsequent time bomb armed by A:Grade & Feonix, cast into the abyss that is Nomine's space-bending 'Judas' - big speaker business. The clock strikes its final hour - Youngsta & Cimm finish off the survivors with a no-holds-barred showdown, the 'Last Judgement' executing its massive verdict.

2017 album now available at a cheaper price. Limited colour vinyl 12” (Marled colour) DL card included is for indie stores only. Standard LP + DL. CD digipack. Under license from Lakeshore Records. A Fire Records release. Back in 2006, Richard Linklater’s film adaptation of Philip K Dick’s sci-fi novel A Scanner Darkly was greeted with suspicion. No one had done justice to the “master” (Bladerunner, Minority Report, Total Recall, The Adjustment Bureau had or have all met with mixed reviews). And, movies attempting to conjure up the effects of drugs were met with derision from the stoned cognoscenti. How could a story of dependence on Substance D (“Death” for short) be created with multi-million dollar stars in the frame anyway? Linklater had a plan; He’d use rotoscoping (an effect that falls somewhere between Kiki Picasso’s sketches brought to life and Disney on ‘ludes). The celebrities would be shrouded in mystery, in fact Keanu Reeves’ skin suit would make him almost invisible at times, a mumbling wreck swaying centre stage. A waste of talent? A waste of money? To complete the experience, a left field musical score was needed to ensure that everything wasn’t as it seemed. The phone books are full of creative composers but Graham Reynolds And His Golden Arm Trio jumped off the page. The band name is from a Frank Sinatra film where he plays a drug-addled muso. Perfect. Graham Reynolds works in extremes, he’s collaborated with DJ Spooky, the Austin Symphony Orchestra and with live film collage creator Luke Savisky. More importantly his Golden Arm Trio are never three and never the same people twice. For the movie he created short sound bytes – a surf-like instrumental, a country-tinged breather, the sound of stuttering insects crawling through your hair. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities. THE SOUNDTRACK: “Strands of post-rock, electronica, jazz, and vintage rock are woven and recombined throughout the album for unusual juxtapositions.” All Musi // “A tactile, emotional resonance often missing in contemporary scoring.” Soundtrack.ne // The music in isolation is bold and uncompromising, shifting as it moves through genres and sounds. THE COMPOSER : Graham Reynolds works in extremes; Short take moments of sound – whether it be a surf-like instrumental, a country-tinged breather or the sound of stuttering insects crawling through your hair – are all in his tick box. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities.

Back in 2006, Richard Linklater’s film adaptation of Philip K Dick’s sci-fi novel A Scanner Darkly was greeted with suspicion. No one had done justice to the “master” (Bladerunner, Minority Report, Total Recall, The Adjustment Bureau had or have all met with mixed reviews). And, movies attempting to conjure up the effects of drugs were met with derision from the stoned cognoscenti. How could a story of dependence on Substance D (“Death” for short) be created with multi-million dollar stars in the frame anyway? Linklater had a plan; He’d use rotoscoping (an effect that falls somewhere between Kiki Picasso’s sketches brought to life and Disney on ‘ludes). The celebrities would be shrouded in mystery, in fact Keanu Reeves’ skin suit would make him almost invisible at times, a mumbling wreck swaying centre stage. A waste of talent? A waste of money? To complete the experience, a left field musical score was needed to ensure that everything wasn’t as it seemed. The phone books are full of creative composers but Graham Reynolds And His Golden Arm Trio jumped off the page. The band name is from a Frank Sinatra film where he plays a drug-addled muso. Perfect. Graham Reynolds works in extremes, he’s collaborated with DJ Spooky, the Austin Symphony Orchestra and with live film collage creator Luke Savisky. More importantly his Golden Arm Trio are never three and never the same people twice. For the movie he created short sound bytes – a surf-like instrumental, a country-tinged breather, the sound of stuttering insects crawling through your hair. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities. THE SOUNDTRACK: “Strands of post-rock, electronica, jazz, and vintage rock are woven and recombined throughout the album for unusual juxtapositions.” All Musi // “A tactile, emotional resonance often missing in contemporary scoring.” Soundtrack.ne // The music in isolation is bold and uncompromising, shifting as it moves through genres and sounds. THE COMPOSER : Graham Reynolds works in extremes; Short take moments of sound – whether it be a surf-like instrumental, a country-tinged breather or the sound of stuttering insects crawling through your hair – are all in his tick box. The resultant soundscape is itchy and scratchy, full of mood swings and musical metaphors, an ever changing and unpredictable set of highs littered with reflective undertones and occasional soft, almost super numb realities.

Ltd Double Silver Vinyl, Monochrome edition artwork, DL card. Originally released in 1990, Royal Trux’s ‘Twin Infinitives’ is being re-issued in all its (yet to be translated) alien glory, by Fire Records. A dismantled overture that sprawls out over two records, an avant-garde masterpiece that was the spark for Drag City Records and generations of new sound seeking musicians. Hailed in the same immortal breath as Beefheart’s ‘Trout Mask Replica’, the Velvets’ at their frenzied peak and Ornette Coleman at his most avant-garde, the duo of Pussy Galore’s Neil "Michael" Hagerty and Jennifer Herrema recorded ‘Twin Infinitives’ while imbibing all kinds of mind-altering substances to create an inadvertent blueprint for what the duo was building with Moogs, guitars and melodicas to name a few ingredients. It is the legendary second album from the masters of the genre mashup - long before “genre mashups” even existed. Arguably, the term “mashup” was coined to describe what Trux, as they subconsciously scrolled through the radio stations of their lives. The album’s chaotic sound and offbeat construction laid the foundations for a string of Royal Trux albums that spiralled between genres, tunings, and noise. Through the 90s they would re-invent the rock ‘n’ roll ethic, straddle alien surf music, re-align boogie rock, not to mention 80s hair metal, and confound critics by their wildly meandering and courageous rites of passage. Remastered as part of a career spanning catalogue deal with Fire Records. The infamous and influential duo of Jennifer Herrema and Neil Hagerty will be delving into the archive with a comprehensive reissue series, unearthing the vaults and revisiting what made them such a compelling benchmark for their contemporaries and imitators. Reawakening their prolific output within a new monochrome vinyl series covering 1988-1993, they begin with their seminal deconstructed rock masterpiece Twin Infinitives. “Sounding like a subway ride inside a television inside an earthquake inside the end of the world and a pounding death rhythm of apocalyptic now.” Pitchfork. Track List: Disc One: A1 Solid Gold Tooth A2 Ice Cream A3 Jet Pet A4 RTX-USA A5 Kool Down Wheels B1 Chances Are The Comets In Our Future B2 Yin Jim Versus The Vomit Creature B3 Osiris Disc Two. C1 (Edge Of The) Ape Oven D1 Florida Avenue Theme D2 Lick My Boots D3 Glitterbust D4 Funky Son D5 Ratcreeps D6 New York Avenue Bridge

Through X Scroll Era, Gabo Barranco, aka AAAA, conducts a rigorous overhaul of the aesthetics and statements of low-profile IDM, trance, and progressive-acid music typical of the early 2000’s. In addition to this inherent and undeniable veneration for the era, the pieces on this album — which originated from recordings and experimental exercises with gear and accidentally became an album — serve also as a kind of retrospective inspection of Mexico City's suburbs (Lomas de Sotelo), with landscapes full of indiscriminate concrete, highways of two and three levels, factories, and parking lots that have supplanted nature with their own detached beauty. It is a sound memory, a specific melancholy that praises skate squads of the area, friends from the past, parties, and substances. It reviews the decline of rave culture but also its resilience and capacity for transformation. What AAAA offers us with X Scroll Era is an almost multigenerational soundtrack, a memory that feels collective and recollects euphoria, ecstasy, and nostalgia.

After several LPs and EPs (Acid Test, Omnidisc, Janushoved) and several years active in the dance and contemplative electronic music circuit (MUTEK, BERGHAIN, iii Points, RBMA), X Scroll Era is the first album by Gabo Barranco, aka AAAA, published on the Mexican label Umor Rex.

UFC presents Cybernetic Implant, its seventh release, an EP where electro and cyberpunk go hand in hand with hardware equipment for a trip to an unpromising future. The Ep consists of six tracks, three originals mixes produced by Ático Corp. and three remixes by producers Hd Substance, 7053M4R14 and Robot City.

In the three original tracks we find three different visions of electro where broken and sharp rhythms are mixed with bursts of synthesizers, atmospheres and samples that refer directly to less optimistic science fiction.


On the other side we have the three remixes where each artist contributes their particular vision by reimagining the tracks in their studios directly from their hardware gear. Synthesizers, drum machines and hardware effects are once again invited to the journey. Welcome this time not to a credible future, but to a dystopian future.

1STEP Process 180g 45rpm 2-LP, Pressed on VR900-Supreme Vinyl!
The ultimate edition of Frank Sinatra’s famed 1950 concept album
Cut Using Original Analogue Mix-down Masters by Chris Bellman and Andreas Meyer! Strictly Limited To 5,000 Numbered Pressings!
Two 45-rpm 1STEP LPs pressed by RTI on VR900 Supreme Vinyl
New lacquers cut after each run of 500 pressings
Distinctive Impex 1STEP packaging featuring a gorgeous tip-in 36-page booklet with exclusive photography and period graphics, an expanded historical essay by Charles L. Granata

A heavy-stock two-sleeve Monster Pack jacket by Stoughton Printing and a luxe colour-matched slip case


We are beyond thrilled to announce the release of a very special limited edition of Frank Sinatra’s historic Sing and Dance with Frank Sinatra on Impex 1STEP! Our all-analogue 2-LP set adds further narrative substance and sonic greatness to The Voice’s first big-band jazz long-play vinyl “concept” album! Our 33.3 release was a landmark reissue, but this is a whole other level!

Like all Impex 1STEPs, this audiophile recording is pressed at 45-RPM on high-definition, VR-900 Supreme vinyl for incredible clarity, immediacy and a tonal depth that virtually mirrors the original monophonic master tape. Additionally, the tapes and discs we mastered from have rarely been used by other labels, delivering the original recording sessions closer than releases whose tapes have gone through mastering chains over and over. Silent, flat surfaces provide for near-perfect audio playback without distracting non-fill issues.

Exclusive to the Impex 1STEP edition are two previously unreleased bonus recordings and an extended version of the “It All Depends On You” Session + Take, where Sinatra capably arranges the musicians in real time!

The luxurious 1STEP packaging includes a gorgeous 36-page full-colour booklet with expanded historical liner notes, unique photos and graphics, and a deluxe slipcase. It provides an excellent listening experience and a “coffee table book” for your living room or den!

Tuk Smith is the kind of rock'n'roll ambassador you didn't think existed anymore. Punk maverick from rural Georgia, Biters frontman, producer and solo artist, he's seen the best and worst of a music industry in constant flux. By turns it's left him critically acclaimed, poised for stadiums, dropped, burned out, back in the game and beloved by those for whom rock is still everything. Now based in Nashville, and with his own label Gypsy Rose Records, he creates from a more real place than most. The result is Rogue To Redemption, Tuk's second album with solo project The Restless Hearts. The sonic lovechild of Thin Lizzy, 90s power pop and melody-driven punk, it shows an artistic peak born from adversity. The sound of a man bottling a lifetime of experiences, stories and characters from working class America. Produced by Tuk and mixed by Chris Dugan (Green Day, Iggy Pop, U2), Rogue To Redemption was written over the last three years but recorded down to the wire - right up to the summer of 2024. Joined by long-term Restless Hearts compadres, drummer Nigel Dupree and bassist Matthew 'Ponyboy' Curtis, he cut the bulk of it at home. So if any of this resonates with you - if you crave rock'n'roll with substance, an edge, 21st century eyes and an old soul's heart - you've come to the right place.

Tuk Smith is the kind of rock'n'roll ambassador you didn't think existed anymore. Punk maverick from rural Georgia, Biters frontman, producer and solo artist, he's seen the best and worst of a music industry in constant flux. By turns it's left him critically acclaimed, poised for stadiums, dropped, burned out, back in the game and beloved by those for whom rock is still everything. Now based in Nashville, and with his own label Gypsy Rose Records, he creates from a more real place than most. The result is Rogue To Redemption, Tuk's second album with solo project The Restless Hearts. The sonic lovechild of Thin Lizzy, 90s power pop and melody-driven punk, it shows an artistic peak born from adversity. The sound of a man bottling a lifetime of experiences, stories and characters from working class America. Produced by Tuk and mixed by Chris Dugan (Green Day, Iggy Pop, U2), Rogue To Redemption was written over the last three years but recorded down to the wire - right up to the summer of 2024. Joined by long-term Restless Hearts compadres, drummer Nigel Dupree and bassist Matthew 'Ponyboy' Curtis, he cut the bulk of it at home. So if any of this resonates with you - if you crave rock'n'roll with substance, an edge, 21st century eyes and an old soul's heart - you've come to the right place.

Tuk Smith is the kind of rock'n'roll ambassador you didn't think existed anymore. Punk maverick from rural Georgia, Biters frontman, producer and solo artist, he's seen the best and worst of a music industry in constant flux. By turns it's left him critically acclaimed, poised for stadiums, dropped, burned out, back in the game and beloved by those for whom rock is still everything. Now based in Nashville, and with his own label Gypsy Rose Records, he creates from a more real place than most. The result is Rogue To Redemption, Tuk's second album with solo project The Restless Hearts. The sonic lovechild of Thin Lizzy, 90s power pop and melody-driven punk, it shows an artistic peak born from adversity. The sound of a man bottling a lifetime of experiences, stories and characters from working class America. Produced by Tuk and mixed by Chris Dugan (Green Day, Iggy Pop, U2), Rogue To Redemption was written over the last three years but recorded down to the wire - right up to the summer of 2024. Joined by long-term Restless Hearts compadres, drummer Nigel Dupree and bassist Matthew 'Ponyboy' Curtis, he cut the bulk of it at home. So if any of this resonates with you - if you crave rock'n'roll with substance, an edge, 21st century eyes and an old soul's heart - you've come to the right place.

Sweet soul and sentimental music has never really gone out of style, and in the particular cases of the innovative wave of 1950's filin era Cuban boleros, or 1960's Nuyorican street soul, they both remain a thriving beacon of timelessness and universality, capturing a particular style of breezy Caribbean romantic music that has stubbornly thrived in the tough concrete landscape of New York City.

Perhaps there is some love in the heart of the city, as the new ensemble La Triunfadora has managed to tap into something of significant substance on their debut recording, Clasicos Sentimentales Para Una Nueva Generación. Co-produced by band leader Benjamin R. Juliá and renowned talent William Holland aka Quantic (recorded and mixed at the latter's Selva Recording studio in Brooklyn), the group has managed to capture the essence of this reemerging style of classic music, while further injecting their own inspired vision of experimental and psychedelic arrangements.

On A-side display for this debut 7-inch release on Names You Can Trust are two canonized Cuban boleros from maestro composer and guitarist Cesar Portillo De La Luz, stacked together in an old school continuous medley, and transformed with lush orchestration that has the talented musicians sparkling behind the duet of lead vocalists Candace Camacho and bandleader Juliá.

The B-side jumps from 1950's filin into Ralfi Pagan's iconic 1969 latin soul masterpiece "Hijo De Mama." Once again La Triunfadora peppers in just enough exquisite arrangements and musicianship to transform the original into something fresh, yet still guided from an analog sensibility, and ultimately performed with a familiar romanticism that these classic lovers' songs have managed to express over the decades to different generations.

Going solo while still keeping intact his devotion to RS Produções, Nuno appears as a true heartbreaker. Silky, space soul, why not even risk the patented future r&b? But this music exists and manifests itself apart from the established production centres, the golden arches of hype edifices and synthetic promotion regurgitated by a thousand cloned fingers. "Sai Do Coração" is a very brave, romantic improbability, shying away from DJ bravado and dancefloor top speed. Through these grooves comes a pure distillation of love, an alchemical sublimatio resulting in the much sought-after "higher substance", a bright globe issuing rays of affection all around.

With love we most likely also buy into a degree of suffering, and though this is not at all the ID of the album, Nuno explicitly connects the two sentiments in "N'Dengue", a cathartic cold cut one grows to cherish intensely by the time it is over. It's a key moment, grief pours out, liberation achieved in the dance - "I will love, I will suffer, I will shout, I will dance". Flip to the other side for "Confusão No Ghetto", another gritty expression, a richly percussive, slow tempo observation of things gone wrong. All the rest in the album feels simple, direct and yet sophisticated like photosynthesis. Like the soil, through which geological becomes biological. Nuno whips up a variety of textures and flavours into the invisible form of Music, romantic fiction into action.

SABÏRE has now returned in 2024 with a 15 track epic, self-styled "half-concept" album, "Jätt", 5 years in the making. SABÏRE began at the tail end of 2010 as an idea to have a band that played simply what came naturally on guitar to Scarlett Monastyrski with no set genre or category. Simply the natural music. Shortly thereafter, the concept grew to accompany that sound with a big show and distinctive stylisation. The biting and sharp sound production, along with their personal lyrics, birthed for them a label for their music: ACID METAL. Not to be confused with the mind altering substance, Acid Metal took its name from the concentrated corrosive fluid not unlike the blood of the Xenomorph in the Alien films. The instruments are awash with acidic modulation, "like a drop of acid in the dark." The lyrics all hold a tinge of biting realism that once realised by the listener, stings them like a droplet of acid resting upon their skin. To take their metaphor further, their distinctive production style let's stand apart from the rest of the "modern" sound that degrades the potentcy of many new bands. They call it "brick culture," because it all sounds the same. Concentrated acid burns all the way through anything solid leaving a hot trail behind it, like the band continues to do so with garnering the attention of the world of heavy music. Band leader Scarlett Monastyrski comments : " 'Jätt' is meant to be THE sound of SABÏRE. A monolith to what we stand for artistically. We wanted this album to be its own art piece rather than simply a collection of arbitrary songs, a really 'blue' coloured sound. The physical copies hold beautifully styled texts detailing the concept for those chosen songs, as well as small epistles to accompany each track," says . “ 'Jätt' is a “blue” sounding album; the colour. You may understand that more when listening to the album yourself. The cover of 'Jätt', “Dante and Virgil in the Ninth Circle of Hell” - Gustav Doré, 1861, could be seen through a symbolic lense in which the listener is symbolised as Dante, the artist as Virgil, and the bodies locked within the ice of frozen lake as the music surrounding them; we as the artist are shepherding the listener through the mire. This could be perceived like this, or you may just see it as an attractive album cover. “ "We put our heart and soul into this one and can't wait to give our Wild Ones and Acid Fiends what they've been so patiently waiting for

Tekno substances, from 150 to 170 BPM.
A deep Hard Tekno/Tribe one, mental and hypnotic, daring textures and structures... mMny surprises for a "Mental" EP, addictive ideas that need to be scanned really :)

Super soundcut !!

A must have !

LIMITED EDITION LILAC COLOURED VINYL LP WITH DOWNLOAD CODE
It's a year later and everything has gone from bad to worse.

Machiavellian Art and Riot Season Records present "Population Control". A Sonic Examination of the Mechanisms of Control.

An intense exploration of societal and self-imposed controls, encapsulated in a dynamic contrast between Side A's visceral anger and the introspective ambiance of Side B. This duality mirrors the contrasting themes of external control versus internal reflection.

"Population Control" extends beyond its predecessor, "Indoctrination Sounds," in both musical depth and thematic scope. The album confronts a broad spectrum of modern-day addictions - not just to substances, but to technology, social media, and the relentless 24-hour news cycle. These themes manifest across tracks like "A Slow Death," "Population Control (1) + (2)," "Fear of the Outside World," and "Crisis," each exploring the resulting isolation, paranoia, fear, and hopelessness. "Seaside Holiday," a critique of environmental negligence, specifically highlighting the issue of untreated sewage being dumped into Britain's waterways by private companies.

Previous praise:

"Incredibly progressive, psychedelic but massively discordant, saxophone and static infused psych rock chaos" (Nineherz)

"Nasty noise rock with sax and freeform jam segments, but also—because you may have heard music which answers to that description before—a stamp of individuality." (Maximum Rock N Roll)

"Want a weird and dangerous album with a lot to say then Indoctrination Sounds is that album. " (Outlaws Of The Sun)

"Indoctrination Sounds is a total exercise in distorted, claustrophobic riffs, uneasy, anxious vibes, and industrial noise." (The Sleeping Shaman)

Machiavellian Art are: Amy Murphy, Benjamin Thomas, Joe Parkes, John Andrews,Sam Hunt

NEW WORLD DEPRESSION by $uicideboy$ delves deep into a tumultuous psyche, portraying a world riddled with inner demons, existential crises, and a stark defiance of societal norms. Throughout the album, the duo navigates through themes of fame, self-destruction, and the relentless search for identity amidst chaos. Their raw, unfiltered lyrics serve as a gritty narrative of personal turmoil, substance abuse, and the struggle for authenticity in a world that often feels cold and indifferent. This album is an unapologetic exploration of the darker sides of human experience, resonating with anyone who has ever felt out of place or battled with their own shadows.

"The new avant-garde isn't about creating something that doesn't yet exist, it's about abandoning and confusing rigid genres. I want to open up, in order to both abolish and reconstruct the musical past." — Noémi Büchi

Noémi Büchi's album 'Does It Still Matter' completes a series of releases whose titles - 'Matière', 'Matter', and 'Does It Still Matter' - place the physicality of music in the center of attention. Büchi's specific sound structures and aesthetic choices question the state of materiality in a world that is becoming more and more fluid and intangible.

From 'Matière' to 'Matter', Büchi subtly transferred from a focus on substance to questioning the enigmatic core of

being, passing from a noun to a verb, and from a single word to an inquiry. 'Does It Still Matter' weighs in on the importance of questioning. Her pieces juxtapose multi-layered analog synthesizer textures, crystal clear sounds and almost brutalistic noises, while they unfold in compositional structures akin to pop songs. Driven by an orchestra of myriad parts, her music creates transcendent intonations that resonate deeply with the listeners' bodies. A daring blend of complexity and accessibility are molded into captivating sound sculptures that challenge and intrigue listeners alike.

Deviating from conventional time divisions, 'Does It Still Matter' immerses listeners in a discordant succession of elements, and guides them towards an eternal present that erases the past with each new revelation, while maintaining it through recurring themes that serve as intimate memories. Büchi's electronic maximalism questions our linear perception of time, offering a glimpse into a world where the past, present, and future converge into a singular moment. Her avant-garde approach rejects predictability, inviting listeners to immerse themselves fully in the present. Everything starts anew at any given instant. Each musical idea exists for one precise moment, rendering the future unpredictable.

'Does It Still Matter' unfolds against a backdrop of collective disaster and biocidal urgency, challenging the very essence of time. Büchi explains: "The world appears to have gone mad. It's all but impossible to reflect on the meaning of avant-garde in music, considering the future in this sepulchral kind of stability of the human condition." Her compositions resonate like an infernal machine, questioning the instantaneous dissipation of everything. Finally, echoes and fragments of sounds remain, haunting memories like ghostly companions.

'Does It Still Matter' is an immersive experience that invites listeners to contemplate the impermanence of our world and the enduring power of sound.

Originally released in 1990, Royal Trux's 'Twin Infinitives' is being re-issued in all its (yet to be translated) alien glory, by Fire Records. A dismantled overture that sprawls out over two records, an avant-garde masterpiece that was the spark for Drag City Records and generations of new sound seeking musicians. Hailed in the same immortal breath as Beefheart's 'Trout Mask Replica', the Velvets' at their frenzied peak and Ornette Coleman at his most avant-garde, the duo of Pussy Galore's Neil "Michael" Hagerty and Jennifer Herrema recorded 'Twin Infinitives' while imbibing all kinds of mind-altering substances to create an inadvertent blueprint for what the duo was building with moog's, guitars and melodicas to name a few ingredients. It is the legendary second album from the masters of the genre mashup - long before "genre mashups" even existed. Arguably, the term "mashup" was coined to describe what Trux, as they subconsciously scrolled through the radio stations of their lives. The album's chaotic sound and offbeat construction laid the foundations for a string of Royal Trux albums that spiralled between genres, tunings, and noise. Through the 90s they would re-invent the rock 'n' roll ethic, straddle alien surf music, re-align boogie rock, not to mention 80s hair metal, and confound critics by their wildly meandering and courageous rites of passage. Remastered as part of a career spanning catalogue deal with Fire Records. The infamous and influential duo of Jennifer Herrema and Neil Hagerty will be delving into the archive with a comprehensive reissue series, unearthing the vaults and revisiting what made them such a compelling benchmark for their contemporaries and imitators. Reawakening their prolific output within a new monochrome vinyl series covering 1988-1993, they begin with their seminal deconstructed rock masterpiece Twin Infinitives. "Sounding like a subway ride inside a television inside an earthquake inside the end of the world and a pounding death rhythm of apocalyptic now." Pitchfork Ltd Double Silver Vinyl, Monochrome edition artwork, DL card.

When Eastward was first announced back in 2018, it was heralded for its pixelated prowess and quirky sense of style. In the three years leading up to its release, the hype train continued to gather steam as more and more was unveiled. Upon launch, it became clear that Eastward was about so much more than just style. It had substance, too. A modern celebration of early '90s video games, Pixpil's Eastward delivers a poignant yet hopeful post-apocalyptic story set in a delightfully dark world. It's a story of tribulation and triumph for a small indie studio and offers a thought-provoking exploration of societal constructs whilst also providing some warm-hearted and good-humoured fun. Eastward's iconic art style is complemented perfectly by its incredible original soundtrack composed by Joel Corelitz. In celebration of Eastward's recently launched and highly anticipated Octopia DLC, Black Screen Records and Lost In Cult Records have teamed up to bring you an exclusive opportunity to secure a series of beautiful Eastward OST items.

When Eastward was first announced back in 2018, it was heralded for its pixelated prowess and quirky sense of style. In the three years leading up to its release, the hype train continued to gather steam as more and more was unveiled. Upon launch, it became clear that Eastward was about so much more than just style. It had substance, too. A modern celebration of early '90s video games, Pixpil's Eastward delivers a poignant yet hopeful post-apocalyptic story set in a delightfully dark world. It's a story of tribulation and triumph for a small indie studio and offers a thought-provoking exploration of societal constructs whilst also providing some warm-hearted and good-humoured fun. Eastward's iconic art style is complemented perfectly by its incredible original soundtrack composed by Joel Corelitz. In celebration of Eastward's recently launched and highly anticipated Octopia DLC, Black Screen Records and Lost In Cult Records have teamed up to bring you an exclusive opportunity to secure a series of beautiful Eastward OST items.

repress

This December, Slovenian label Cogo is presenting their second release. After the amazing success of the first release by Tonske with remixes from Magna Pia and Volster, Cogo presents this four track various artist vinyl release with modern and futuristic techno sound. The EP contains tracks by Stanislav Tolkachev, Inigo Kennedy, Samuli Kemppi and Tonske. Early support by: Marcel Dettmann, Ben Klock, Dax J, Josh Wink, Charlotte de Witte, Terence Fixmer, The Advent, Benjamin Damage, Wata Igarashi, Electric Rescue, Takaaki Itoh, Svreca, Ness, Kaiser, Dimi Angelis, Orde Meikle, Kr!z, Stephanie Sykes, Arnaud Le Texier, Arjun Vagale, Kessell, Tensal, Hd Substance, MTD, Brendon Moeller, Juho Kusti, Leiras, W.I.R.E., Joton, Xhei, JP Enfant, Audio Units, Alderaan etc.

Cathartic avant-rock, literate DIY folk & experimental composition exploring displacement, love, climate change, belonging & the places we call home - RIYL Jim O’Rourke, Richard Youngs, This Heat, Richard Dawson, Flying Nun. ‘Real Home’ is the new album by the Manchester-born, London-based artist Kiran Leonard. His sixth album proper (not including innumerable tour-only CD-Rs and short-run cassettes), since his precocious debut in 2013, ‘Real Home’ finds Leonard invigorated by inspiration and experience, making passionate, literate, and mercurial music that explores displacement, love, memory, climate change, connections to home and more. Encompassing songs recorded after moving to South London, ‘Real Home’ reflects on ideas of belonging and domesticity through folkloric, stream-of-consciousness songwriting. Across nine tracks, Leonard traces lived impressions of the household and the city, expressing sentiments of dislocation, alienation and stasis, but contentment too. Infusing the avant-rock effervescence, terraced dynamics and visionary lyricism of his music with what he defines as a greater sense of openness, Leonard is as versatile, fervent and imaginative as ever on ‘Real Home’, yet his music is somehow more intimate, affecting, and acutely expressive. Shaped by dual considerations of simplicity and formalism, ‘Real Home’ is by turns beautiful, allusive, and ruminative, an album on which Leonard considers what his songs have resembled in the past and what they mean now. In recent years, Leonard has crafted eloquent chamber music inspired by the likes of James Joyce and Clarice Lispector (‘Derevaun Seraun’), responded to contemporary politics and communication breakdown in the digital age (‘Western Culture’), and compiled solo works and ensemble recordings for a longform ode to Jonas Mekas and to one of Leonard’s enduring themes; home (‘Trespass On Foot’). On ‘Real Home’, Leonard reiterates this abiding thematic focus yet ascends to new, different heights, in music of cathartic delicacy and dissonance where all the myriad dimensions of his work to date seem to crystallize. There are sinuous songs about struggle and defying the pace of city life through drift and diversion (‘Pass Between Houses’), stirring songs of intense feeling and crescendo, described as a form of speculative detective fiction (‘Theatre for Change’). There are touching solo piano ballads (the title track), symbolic contentions with carbon capture and climate change (‘Utopia of Bog’), modes of experimental minimalism (‘Void Attentive’), and other profuse feats of compositional range, embroidered with wild tendrils of narrative and lyrical depth. A record to pore over, and get lost in. Exemplifying the vast aesthetic scope of Leonard’s music, lead single ‘My Love, Let’s Take The Stage Tonight’ is inspired by country lodestar Hank Williams, Russian poetry and a late period love poem by William Carlos Williams. Yet for Leonard, the song signals a sense of accessible materiality, and is the product of a more linear approach to writing songs: “My imitation of the great Hank Williams, in spirit if not in substance…This is one of the best efforts on Real Home at a song-as-object. Looking at it now I realise I was trying to write a song that made itself known as a song to the listener, and I wonder whether that’s crucial if you want a song to transcend its context. And that this is either accomplished through a total openness – by being inviting, by laying the tricks of the song out plain to see, as Williams and his many ghostwriters did so well – or by adopting a knowing aloofness, positioning oneself against the listener but letting it be known that that’s what it’s doing. In this song I try both, but mostly the former: as in, I wanted to write a song where every line follows on from the next.” Imbuing the endlessly elaborate and inventive qualities of his music with a newfound streak of candid, clear-cut melodicism, Leonard has reached a special place in his artistry, on a record that feels familial, and expresses closeness. Assembled with affiliates including Lauren Auder, Otto Willberg, Jasper Llewellyn (caroline), Tom Hardwick-Allan (Shovel Dance Collective), Magda McLean (caroline, The Umlauts), Alex Mckenzie (caroline, Shovel Dance Collective), Isabelle Thorn (Dear Laika) & more, the recording process had a significant influence on the subject matter of ‘Real Home’, in sessions defined by close-knit camaraderie and artistic eccentricity: “The theme of the home obviously recurs throughout the record; the album was mostly recorded in domestic spaces with friends, and the name of the album is Real Home. I like the qualifier ‘real’, like you’re getting past the cloak of the word and towards the thing-itself…also nearly all the percussion in this record was recorded on items from my dad’s shed (jam jars, sandpaper, blocks of wood, etc). Real home record!” ‘Real Home’, like anything by Kiran Leonard, is a record of dazzling multiplicity. Yet it’s a companionable prospect with a central premise; a collection of songs where listeners old and new can find a home. An album led by a scene; of Leonard standing at the threshold, ready to welcome you inside. “Exceptional songs that linger” - The Guardian // “An autodidact of amazing talent & energy” – Pitchfork // “A ridiculous amount of talent…confrontational, celebratory, provocative or perverse – he manages all of these emotions & more” - The Quietus /