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Psycho 2000 - A dark but funky theme that begins with an occulting Italian echo-oscillator drone that is soon followed by pulsating bass and breakbeat drums, leads to tremolo guitars, an ostinato on electric mandolas, strings climbing eloquent ladders, otherworldly electronics, and a cinematic finale.
An evocation of a parade of wooden nutcracker soldiers elaborately dressed in gold-trimmed black uniforms down a wide avenue decorated with mardi gras beads and animal skulls upon golden cobblestones toward a tornado spiralling out purple-hued glissandos and curlicues of elephant smoke.

White Spiritual - Head nod action, the twinkling of a late 60’s Vox Continental II with sickly transistors, the noodling matrix of an intergalactic telephone exchange carried on a bed of bouncy bass with a firm backbeat.
The Johnny Guitar Watson-esque bite and sting of a ‘67 Teisco guitar preludes slabs of unison dark brown moog and organ giving way to the dance of fingers over the black naturals and white sharps of the Continental II.

Anno 2022 stiegen die deutschen Extrem-Metaller MYSTIC CIRCLE aus den dunklen Untiefen empor und veröffentlichten ihr selbstbetiteltes neues Studio-Album.

Dieses führte zu einer eindrucksvollen Rückkehr, samt einem furiosen Charteinstieg auf Platz #78 in den offiziellen deutschen Albumcharts.

Mit viel neuer Inspiration schufen die beiden Hauptmitglieder Beelzebub und A. Blackwar neun neue Tracks für ihr neuntes Studioalbum, das "Erzdämon" heißen wird und am 17. März 2023 auf ihrem neuen Label Fireflash Records das Licht der Welt erblickt.

There’s more than a hint of ambition on the double LP sophomore effort from Sam Austin Rabede, the producer known as DJ Black Low. Pretoria, South Africa-born and based, the young man makes amapiano with new ways of expressing this local turned-global style of dance music.

In DJ Black Low’s musical imagination, the songs manage to smoothly vacillate between dreamy and firmly-grounded. Adorned with vocalists across most of the twelve tracks, there’s a new dimension to Black Low’s now-signature approach to abstract, angular deconstruction of the rhythmic developments in his songs.

The album references influences and ambitions in its song titles and lyrics while the music itself is anthemic in its sonic and structural aspirations. On many of the songs a slow-burning tension transforms into something unexpected until you’re somewhere else as the track concludes. There is an emotional and compositional maturity that builds on his earlier work. Vocals and lyrics are in focus.

Production collaborators among Black Low’s Gauteng Province circle add to the constantly churning array of ideas that populate this consistently surprising release. Despite being a relative newcomer, DJ Black Low is onto something here.

In 1975, under the oppressive air of military dictatorship in Brazil, brothers Lelo and Zé Eduardo Nazario invited bassist Zeca Assumpção to join their musical experiments in a basement under Sao Paulo’s Teodoro Sampaio Street. As teenagers, the trio had already been playing together in Hermeto Pascoal’s Grupo, alongside guitarist Toninho Horta and saxophonist Nivaldo Ornelas, and it was while working together under Hermeto’s direction that the Paulista rhythm section (as they were then known) began to realise their own potential.

With many nightclubs and venues closed in the mid-70s and government censors dictating the output of radio, TV and art galleries, many Brazilian artists fled during the years of dictatorship. But underground, Grupo Um were fusing avant garde ideals with contemporary jazz and Afro Brazilian rhythm; making phenomenally free and expressive music - in stark contrast to the sterile, conservative conditions being imposed above ground.

Just like Hermeto Pascoal’s Viajando Com O Som from the following year, Starting Point was recorded over two days at Vice-Versa Studios, by revered engineer Renato Viola. The studio was one of the best in Sao Paulo and musicians communicated with engineers through cameras and a monitor, allowing the group complete immersion in the process. They also made use of the studio’s hemispherical tiled room, which served as an acoustic reverberation chamber.

The album begins with Zé Eduardo Nazario’s thunderous drum solo on “Porão da Teodoro”, before clearing the clouds with the lone Berimbau which opens “Onze Por Oito”. Built around a hypnotic electric bass line, heady Fender Rhodes improvisations, and more rip-roaring drums, it’s a rapturous, electrifying freak-jam in 11/8.

Like some invertebrate deep-sea curiosity, the free-form “Organica” is made up of Lelo Nazario’s playfully eerie prepared piano, with Zé Eduardo’s percussion flurries darting around Assumpçao’s double bass. The equally non-conformist, percussion-only piece “Jardim Candida” features many of Zé Eduardo’s home-made instruments, including a long saw blade played with vibraphone sticks and violin bow. While working with Hermeto, Zé Eduardo famously built his own all-in-one percussion set-up known as the “Barraca de Percussão” (Percussion Tent) - the first of its kind in Brazil, which he would also use on Hermeto Pascoal’s Viajando Com O Som and throughout his career.

“Suite Orquidea Negra'' (Black Orchid Suite) was written by Lelo Nazario as the score for an imaginary movie - the story of a rare, black orchid which produced a substance meant to cure all diseases, but which had mysteriously disappeared from the laboratory… “As a screenplay it’s not very good” reflects Lelo in jest, “but the music ended up being very interesting, the way its parts are chained to one another carries a little of the mystery I imagined for the movie.”

The album closes with the triumphant “Cortejo dos Reis Negros” (Procession of Black Kings) - a groovy variation on the Maracatu rhythm, with a two-note bassline underpinning piano improvisations, exultant wordless vocals, cuicas, slide-whistles and a very special guest appearance from Zé’s dog Bolinha.

Starting Point was to mark the inception of one of Brazil’s most daring instrumental groups. Their debut now sits in the lofty echelon of otherworldly 70s Brazilian music, alongside the likes of Marcos Resende & Index’s self-titled debut, Cesar Mariano & Cia’s Sao Paulo Brasil, Azymuth’s debut and indeed Hermeto Pascoal’s Viajando Com O Som. But just like all of those titles, which were either shelved or largely ignored at the time, Grupo Um - so radically ahead of their time - struggled to find a label to release their debut album. So Lelo kept the tapes safe in his archives, which is where they sat for almost half a century. Finally, almost fifty years later, this mesmerising piece of history is here, and it was only the beginning...

Grupo Um’s Starting Point will be released by Far Out Recordings, on vinyl LP, with an insert featuring unseen photos and liner notes by the Nazario brothers, as well as a CD on 17th February 2023.

Cremation Lily’s »Dreams Drenched in Static« exists at the horizon of consciousness and heavy experimental music. Through the use of frenetic vocal melodies, tape degradation, and guitar noise, the album documents the liminal moments at the edge of sleep, and the distressing thoughts that often accompany late-night R.E.M. disturbances. The lyrics were largely written at three in the morning and serve to evoke the depression and meditations on death that seem to haunt these early hours.

Based in London, England, Cremation Lily is the project of Zen Zsigo. Like many Flenser artists, the work of Cremation Lily is difficult to classify. The project began in 2009 as sample-based ambient music, but has evolved to incorporate more rock-oriented guitar instrumentation and influence from a wide range of genres such industrial, shoegaze, tape loops, noise, and power electronics.

Although rooted in electronic music, Cremation Lily shares similarities with Flenser artists like Planning For Burial and Have a Nice Life, as well as black metal. »Dreams Drenched in Static« is the first Cremation Lily album to rely primarily on guitar and vocal-based contributions, and is the project’s most intentional and developed work to date.

SMK aka South Memphis King is one of the real godfathers of Memphis rap. He released his first album in 1991 and is still active today. This is one of his early recordings, never released on vinyl before, Straight bangin' underground shit for the streets of your city. Roll a blunt and enjoy the sick madness over here.

COLLECTION OF SIGH'S EARLY DEMOS, EP & RARITIES ON VINYL -
INCLUDES AN INTERVIEW & LINER NOTES COURTESY OF MAINMAN
MIRAI KAWASHIMA ON THE FORMATIVE YEARS OF THE JAPANESE
LEGENDS.
Cult Japanese black metal legends Sigh formed in 1989/90, featuring
mainman Mirai Kawashima, Satoshi Fujinami & Kazuki Ozeki
Following initial demos, Shinichi Ishikawa was brought into the band. It was following this shift that the band set about recording the masterpiece debut 'Scorn Defeat' for Euronymous' Deathlike Silence Productions, going on to become one of the country's greatest & most revered metal exports. With a journey through the strange & the psychedelic, incorporating a whole eclectic mix of genre styles & experimentation throughout their career, Sigh has remained a
vital creative force in the avantgarde field. However, at its core, Sigh has always remained true to its roots of old school metal.
'Eastern Darkness' contains a collection of Sigh's early rare works showing their swift musical evolution as well as the strong utilisation of keyboards in their compositional process throughout. The collection includes the band's legendary demo tapes, 'Desolation' & 'Tragedies', plus their 'Requiem For Fools' EP, along with the 'Far East Gate In Inferno' version of 'The Zombie Terror'. 'Eastern Darkness' is presented on the vinyl format & includes an interview with Mirai Kawashima about the early years of the band, along with his recollections of the origins of each title contained within the release, three decades on from Sigh's formation.

It could only have happened in Detroit. It was in the ashes of this Detroit, that Tribe Records was born - a community-led platform where artists took control of marketing, promoting, and releasing their own music. Two original founding members, saxophonist Wendell Harrison and trombonist Phil Ranelin, are still active in the Detroit jazz community, and act as global ambassadors for the Tribe legacy. In the years that have followed, the path Tribe blazed has become the blueprint for generations of independent artists. With the upcoming release of Ranelin and Harrison"s joint entry in the Jazz Is Dead series, they continue the mission of Tribe to provide "a new dimension in cultural awareness".

After last year’s Black Clouds Above The Bows, Amsterdam-based collective Wanderwelle presents the second entry of their trilogy for Important Records, which is dedicated to telling the story of the climate crisis and its effects on coastal areas around the globe. For this album the artists incorporated the sound of a dying organ, fatally wounded in a climate related event.

All Hands Bury The Cliffs At Sea consists of electro-acoustic threnodies for an environment at risk due to the effects caused by receding coastlines around the globe. Wailing odes tell the story of the catastrophic activity of eroding waves and winds shaping the land that are enhanced by the climate crisis. First hand experiences and meetings with local maritime experts on the subject of these receding coastlines inspired Wanderwelle to compose these albums.

During their travels, the artists stumbled upon a small church in a town on the east coast of Scotland. The building was quite damaged, the roof was being stabilized and the ancient walls showed great tears running vertically down the structure. One of the church’s volunteers told Wanderwelle that the damage had been caused by a nearby cliff that collapsed in the sea. An event increasingly common in the region.

The church organ was ruined in such a way that it was deemed unplayable, as most of the pipes were gravely damaged and in dire need of restoration. Musical instruments directly affected by the environment -and especially the climate crisis- are quite rare. Despite the damage, the artists were allowed to record a few tones of the instrument with their equipment, which was actually meant to be used for field recordings later that day.

In Black Clouds Above The Bows, antique cavalry trumpets were recorded and manipulated by Wanderwelle to sound an environmental alarm in the same manner as they were once used to warn men on the battlefield. Similar processing was used on the recordings of the dying organ, resulting in spectral, deconstructed tones beyond recognition. In addition to the damaged organ, the artists recorded piano, cello and harmonic additive synthesizers in later stages of the composition process, manipulating these sounds to mimic the perpetual activity of the sea shaping the land.Furthermore, a great deal of inspiration was found in maritime superstition, lore and mythology.

As told in the legend of Aspidochelone, a legendary sea creature of enormous size, was once mistaken for an island. After sailors docked and lit a fire, the beast submerged resembling a land mass sliding into the sea. The album’s title is derived from the saying ‘All Hands Bury The Dead’, a maritime burial phrase, as the duo likes to think ‘All Hands’ refers to all of mankind since we are all responsible for these impending catastrophes.

Cello, violin, voice, pipe organ (damaged), bowed guitar, EBow, Prophet-6 synthesizer, modular synthesizer, field recordings.

RIYL: Oliveros/Deep Listening, Arvo Part, Lambda Sond, Sarah Davachi

Regular Edition Silver/Grey - Craftpack Black with glued Sticker - Sticker Kicking things off on the A-Side is an brutal technoish interpredation & exclusive vinyl only version of the italian guy I-ROBOTS track “Frau” by ILLNURSE........ Current releases from I-Robots OPILEC MUSIC and iLLnurse RAW ......followed by the renowned Columbian Artist Filmmaker the owner of his Label Body Musick who’s welcomed to our Bombtrap Camp for the first time. His productions are demanding, multi-layered and spread a morbid atmosphere that we appreciate very much. We could not decide and so there are 2 nasty dance floors monsters of him on it...... current releases Tartarus Records ......In case you weren't awake, "Endless" by the Georgian Downwell from Tiflis conjures up the distorted depths of screaming vocals and sub-splitting kicks for a wake-up call..... current releases Persephonic Sirens ( Ancient Methods ) , X-IMG , HEX Techno movement and Deviate records ...and this is where "Body Theory", from Lyon based guy NƵM 99 seamlessly picks up. The whipping hi-hats and polyrhythmic surfaces kicks you into your own afterlife...... current releases Persephonic Sirens ( Ancient Methods ) and Flesh or Die ( Rave Or Die ) .....the closing "LIES" comes from our mate Delectro also from columbia and he get you a KO finish with his EBM killer vision of a post apocalyptic view of the future of the world. current releases on Dame-Music and Industrias Mekanikas so play it loud and attack your crowd. peace

It was released on February 2, 1993 and is celebrating its 30th Anniversary. Lead MC Grand Puba left the group to pursue a solo career in 1991, following the release of their revered debut One for All. DJ Alamo also left to work with Puba, leaving MC's Sadat X and Lord Jamar, who enlisted DJ Sincere to join the group. It was a safe bet that In God We Trust wouldn't have attempted any new jack swing crossovers or tie-dyed imagery. Though the makeover is drastic, it is convincing, with Lord Jamar and Sadat X stepping up with some of the era's fiercest, most intense rhymes and lyrics that were extremely militant reflecting the group's identity adhering to the philosophy of the Nation of Gods and Earths. The album produced two singles, Punks Jump Up to Get Beat Down and Love Me or Leave
Me Alone which both charted on the Billboard Hot 100 chart.

British musician, multi-instrumentalist, producer and DJ cktrl returns with the release of his new EP ‘Yield’. Born from a desire to change the narrative around contemporary Black British music, the boundary-pushing musician aims with this project to prioritise the art of bonafide musicianship. A stark departure from cktrl’s previous work, ‘Yield’ is a celestial and palpably more inward body of work that harkens back to the pre-electric age of modal jazz while simultaneously pulling in elements from the disciplines of classical and baroque music. Speaking on the project’s sonic identity, cktrl says: “I want to be able to show that you can make things from scratch again that have that feeling and beauty without having to sample an old record. Even though that’s an art-form within itself, I want to show raw orchestration and instrumentation can be the sole source” The origins of the title came from a period where cktrl was looking to find solace in himself after an introspective period of grief and heartbreak. As an intentionally instrumental project with minimal vocals, cktrl wants prospective listeners to see these new songs as guided meditations where they can wholly insert themselves in it. Eliciting and reaping whatever feelings come to the fore. Speaking on what ‘Yield’ means to him as a concept, cktrl explains: “Some people who I've asked to define the word ‘yield’ have looked at it from a harvest point of view, whereas others have seen it as something to submit to, to render, like you're giving up yourself. I see it as a barometer for how you feel - no matter if you're at your lowest or your highest vibration, you still need to show up for yourself. You still have to be present. It’s about getting the best from yourself no matter where you are in life” The new project is the follow up to last year’s ‘Zero’ which featured collaborations with esteemed contemporaries like the GRAMMY-nominated Mereba and anaiis. Upon the project’s release, it was met with a plethora of critical acclaim from highly regarded publications and platform such as British Vogue, Dazed, CRACK Magazine, Resident Advisor, NOTION, Harper's Bazaar and ES Magazine for its sprawling and experimental scope, spanning avant-garde jazz, classical music, alternative R&B and electronica. cktrl has a tune for every occasion: as content making beats by himself at home in Lewisham as he is amongst this generation’s fashion and cultural vanguards. Music has been a part of his life for as long as he can remember: from clarinet lessons throughout his school life to fond memories from his NTS days. Moulded by a unique blend of his West Indian heritage, years of classical training in both the clarinet and saxophone, cktrl strives to do what hasn’t been done before. His approach to creation is decidedly wide-ranging and broad. In fact, where sonic descriptions might fail to encompass the breadth of cktrl’s scope, three words surface when he unpacks his musical aims: freedom, range and feeling. Elsewhere, throughout his career, cktrl has been recognised and heralded by fashion and film VIPs as he firmly embeds himself within the black cultural renaissance emerging here in Britain. Acquiring a global network of creatives that include the late Virgil Abloh, Bianca Saunders, Tremaine Emory, Saul Nash, Maximilian Davis, Ahluwalia, Stephen Isaac Wilson, Sean Frank, Campbell Addy, Ib Kamara and Jenn Nkiru who secured him a cameo in Beyoncé’s ground-breaking film ‘Black Is King’.