Search:the filth

Brighton sextet Opus Kink share their debut EP ‘‘Til The Stream Runs Dry’,
via Nice Swan Records (Sports Team, Pip Blom, FUR, English Teacher).
• Partnering up with the cult indie label for their first extended release, the
enigmatic collective - comprised of Angus Rogers, Sam Abbo, Fin Abbo, Jed
Morgans, Jazz Pope and Jack Banjo Courtney - lend a blend a dizzying
array of influences in their ever-evolving enigmatic style, producing an
experimental patchwork of explosive material that’s consistently earned
widespread plaudits since bursting onto the scene.
• With EP lead singles ‘I Love You, Baby’, ‘The Unrepentant Soldier’ and ‘Dog
Stay Down’ attracting praise from all corners of the press landscape (NME,
DIY, So Young, Dork, Clash, Gigwise), not to mention countless BBC 6
Music (Steve Lamacq, Lauran Laverne) spins, the six-piece are clearly
primed for a busy summer.
• Having already ticked off live dates alongside labelmates Malady and
Mandrake Handshake, in addition to a sold-out headliner at London’s
legendary 100 Club last month, the band have a slew of festival appearances
lined up in the months to come, as well as shows with FEET and Bull.
• Detailing their EP, Opus Kink stated: “You may begin by dipping one stained
and rancid toe, but you know that once those waters have been tasted
there’s only one way to go - into the stream, away down the valley like
flotsam and windfall. Here lie six songs of bad love, ill winds, possession,
stagnation and earthly delights.”
• “Horn-fuelled filth-funk, where punk & jazz combine in grimy circumstances” -
NME
• “A land where growled-jazz meets the blues in a showdown to end all
perceptions of genre… Opus Kink have succeeded in turning listeners on
their head” - So Young
• “A frenetic groove-filled glimpse of what’s to come” - DIY
• “Intense blast of guitar pop” - Clash
• “There is a sense that they are still only just beginning to hit their stride” - M
Magazine
 Tourdates - August 20 Beautiful Days, September 28 Oslo London, 29 Record
Junkee Sheffield, 30 YES (Pink Room), Manchester.

From a Balkan basement comes an EP so filthy that we had to cover the record with a color photo. KRI records first installment oscillates between EBM and electro, ready for sweaty dancefloors and those extra long afterhours needing some “warm leatherette”. A well crafted five tracker journey is a debut collab by two veterans, Christian Kroupa discovering his darker shades coming off of an LP on Natural Sciences under his Alleged Witches moniker, while Le Chocolat Noir is no stranger either with seals of approval on Return to Disorder and L.I.E.S among others. Get ready for plenty of melodies, massive chords and menacing vocals spiced with an epic acid remix by the Mannequin boss Alessandro Adriani.

Die dänische Melodic Death Metal Band DEFACING GOD steht mit ihrem Debütalbum The Resurrection of Lilith in den Startlöchern, das am 2. September 2022 über Napalm Records veröffentlicht wird. Die
2015 von Sängerin Sandie ”The Lilith” Gjørtz und Drummer Michael Olsson gegründete Band folgt mit ihrer harschen Musik skandinavischen Metal Traditionen und im Zentrum ihrer Texte steht der Mythos um den weiblichen Dämon Lilith, der Unabhängigkeit und unbeugsamen Widerstand symbolisiert. DEFACING GOD gelingt es mit ihren Erzählungen, ihrer Musik und der düsteren Ästhetik die Hörer in ein dunkles Universum von obskuren Mythen und uralten Geschichten zu locken. Gleichzeitig ziehen sie von diesen
Mythen subtile Verbindungen zu aktuellen gesellschaftlichen Themen, wie Unterdrückung oder auch inneren Dämonen. Auf klanglicher Ebene schließen DEFACING GOD an Bands wie Cradle of Filth, Carach Angren und Dimmu Borgir an und balancieren massive Melodien, die durch die grandiose Orchestrierung von Lars Vinther untermalt werden. Anstatt diese symphonischen Melodien mit Black Metal verschmelzen lassen, werden sie bei DEFACING GOD rohem Death Metal gegenübergestellt. Produziert wurde ihr Debüt The Resurrection Of Lilith von niemand geringerem als Jacob Hansen, der für seine Arbeit mit Fleshgod Apocalypse, Volbeat, Evergrey, Epica und unzähligen anderen bekannt ist.

Hailing out of Philadelphia, PA, OT The Real has been working relentlessly to put himself on the map. Following the successful release of several projects (including The Irishman, You Are Who You Eat With, Evil Empire, and more), OT now links up with producer DJ Green Lantern to bring you Broken Glass. The new collaborative album is fully produced by DJ Green Lantern and also features heavy hitters such as Benny The Butcher, Millyz, SKNJ, Mizz, Uncle Murda and Eto. The duo showcase their talents on each of the 13 tracks with an undeniable rapport among OT's gritty bars and Green's filthy production. This one is pure hip hop through and through and a must cop for every fan and collector alike.

Pressed On Emerald Green Vinyl
Limited To 300 Copies!
OT's First Vinyl Release!

Green Vinyl

Here we have the third instalment of the highly anticipated Knitebreed Remixes series on clear green vinyl. Following on from volumes 1 and 2, we have yet another amazing remix EP. Our headliner this time is none other than NRG, remixing an Ant To Be classic. NRG has a sound all his own and he really expresses that with this remix. Heavy chopped vocals and sharp as a knife breaks throughout, that leave you in no doubt that this is professional at the height of his powers. Meanwhile, Paul Bradley remixes Knitebreeds very own Sunny & Deck Hussy taking their piano based track and adding some filthy stabs and toughening up the breaks. On the flip side, Tenerife meets Germany when Wislov remixes TNO Project. These 2 have very different styles, but Wislov’s style really fits the manic style of TNO and this remix is wonderful. Rounding out this EP is a Hired Gun & Lowercase remix of a Wislov track, Do You Wanna Stay. The original is a very atmospheric track so when it was time to remix the only way to do it justice was to make it jungle, Hired Gun provided that perfectly whilst The Lowercase pushed him to go harder and then bring it back with a piano

Club / DJ Support
Jay Cunning, Billy Bunter, the Fat Controller, Liquid, Hyper On Experience, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Paul Bradley, Jimni Cricket, Bustin, Jimmy J, Doughboy, Lowercase, Dave Skywalker, Ponder and many others

Red Vinyl

Werdet Zeuge von KREATORs Rückkehr auf die großen Bühnen - hier als Headliner des legendären Bloodstock Open Airs 2021. Erlebt dieses atemberaubende Konzert mit Fan Favorites wie 'Betrayer' (feat. Dani Filth von CRADLE OF FILTH), modernen Klassikern wie 'Violent Revolution' und 'Phobia' und neueren Bangern wie 'Satan Is Real'. Verpasst eure Chance nicht, diesen Meilenstein der KREATOR-Geschichte im Regal stehen zu haben!

Die Version 'Transparent Red' ist limitiert auf 500 Stück!

Die Allgegenwärtigkeit des Todes inmitten des blühenden
Lebens und der Kreativität steht im Mittelpunkt von
SEVENTH STORM. Mike Gaspar, der fast 30 Jahre lang
den Rhythmus auf der wichtigsten portugiesischen
Metal-Galeere Moonspell vorgab, hat endlich ein neues
Ventil gefunden, um seine Liebe zum Heavy Metal, sein
kulturelles Erbe und seine Leidenschaft für ungezähmte,
wilde Musik zu zelebrieren, deren Wurzeln tief in das
Gewebe unserer Welt reichen. Hier hebt sich eine
hungrige Band empor, die ihre Seele für ihre Musik
gegeben hat. "Ich wollte ein Album schreiben, von dem
Fans aller Kulturen sagen können ?das ist für mich?",
meint er über den primären Antrieb, der hinter
"Maledictus" steht. "Mein Traum war es, etwas von
diesem unschuldigen Neunziger-Jahre-Touch
zurückzubringen und dabei traditionelle portugiesische
Musik mit Metal zu mischen." Mit Einflüssen, die von
Bathory über Samael, Tiamat, Paradise Lost, Fields of the
Nephilim, Cradle of Filth und Dead Can Dance bis hin zu
Van Halen oder Mötley Crüe reichen, machen sich
SEVENTH STORM gerade erst auf ihre Reise durch die
wilden und wundersamen Gewässer der Heavy
Metal-Geschichte. Und obwohl es kein Konzeptalbum ist,
wird "Maledictus" von einem starken Gefühl des
Schmerzes und der Wut zusammengehalten, gepaart mit
einer flackernden Hoffnung auf Vergebung für unser

Zu Beginn des neuen Jahrtausends erklärte der Rolling Stone: "Soulfly scheinen für die Ewigkeit gebaut". Mehr als zwei Jahrzehnte, unzählige Welttourneen und ein Dutzend Alben später scheint diese Prophezeiung wahr.

Als Ikone des Undergrounds, Wegbereiter des extremen Metals, Krieger der Dritten Welt und Anführer eines vielfältigen und engagierten Stammes überlebt Max Cavalera nicht nur, sondern gedeiht, indem er ein Killer-Riff nach dem anderen raushaut. Dieselbe Stimme, derselbe Körper und derselbe Geist, die Soulfly 1997 ins Leben riefen, beschwören auch heute noch unfassbar schweren Lärm herauf, der auf dem zwölften Soulfly-Album "Totem" zehn Scheiben monströser Musik abwirft.

Very limited vinyl pressing, 500 copies in a full colour single outer sleeve and full colour printed lyric inner sleeve, housing black and white smoke effect vinyl. Two albums in and London’s Grave Lines, purveyors of ‘heavy gloom’ have already carved a unique niche in the myriad spheres of heavy music. Their first album ‘Welcome To Nothing’ set the tone for their distinct take on doom metal, which was broadened even further with album two ‘Fed Into The Nihilist Engine’. An epic feast of hard ‘n’ heavy riffs coupled with brooding sadness interspersed with thoughtful transcendent moments of introspection. Never a band to rely solely on trotting out those ‘doom metal’ tropes, the band began to weave in gothic and experimental elements into their music, to delve deeper into the dark shadows of the psyche. Now with their third album ‘Communion’ Grave Lines continue their exploration into the ugliness of the human condition, at the same time becoming a band that truly defies any pigeonhole. Continuing to hone and evolve their collective vision and aided by the masterful production of Andy Hawkins at The Nave Studios, 'Communion' sees Grave Lines creep further into the various corners of their sound. In a nutshell ‘Communion’ is a violent descent of bile-soaked intensity spiralling between filth laden swagger, and fragile mournful lament. The album delves into the internal aloneness of existence and the failings of the human connection. Owing as much to Bauhaus and Killing Joke as it does to Black Sabbath or Neurosis, there are moments of gut wrenching doomed up heaviness and bellowing noise rock, contrasting with ambient gothic passages and a thoughtful melancholy, to a create a powerful new chapter in their ceaseless journey through the gloom. The seven tracks act as distinctly separate representations of the album, each individually mirroring the remoteness of human consciousness. Opening track 'Gordian' doesn't waste any time, a burst of feedback kicks you straight into a filthy low slung punked up stomp before the band switch mood to drop off into a doom abyss, singer Jake raging at the void. 'Argyraphaga' continues the pummelling groove, gradually descending into nihilistic sludge. In direct contrast the sprawling atmosphere of 'Lyceanid' travels through the darkness. Jake’s vocals harnessing the spirits of Scott Walker and Mark Lanegan in equal measure. The rest of the band (on top form throughout) focus the dynamics over eleven enthralling minutes, as the song builds and builds to a towering crescendo before finishing with a plaintive acoustic coda. This is pure Grave Lines’. An immersive blend of darkness and light. 'Tachinid' is a violent palette cleanser, harsh industrial synths astride a hateful droning spoken word sermon. 'Carcini' is soaring melancholic doom, with the band at their most melodic whilst still able to crush the listener. Broodsac, with its circular riffs, is all gothic post punk noise rock meets fuzz fat riffs, and album closer ‘Sinensis’ offers a final delicate, melancholy moment of calm before launching into an industrial charged grind into oblivion. Grave Lines’ fusion of elements makes them one of the most powerful and mesmerising bands inhabiting the heavy music world at the moment, and with ‘Communion’ they have crafted an album that encapsulates their distinctive dynamic perfectly. ‘COMMUNION’ will be released in deluxe black and white smoke effect vinyl, housed in a full colour single sleeve with download included, CD and all digital platforms

• 180 GRAM AUDIOPHILE VINYL
• INCLUDING INSERT
• FEATURING THE BRODSKY QUARTET
• LIMITED EDITION OF 2500
INDIVIDUALLY NUMBERED COPIES ON PURPLE COLOURED VINYL

The Juliet Letters is the 14th studio album by singer and songwriter Elvis Costello. Originally released in 1993, the critically acclaimed album peaked at No. 18 on the UK album chart. The entire instrumental backing for The Juliet Letters is provided by The Brodsky Quartet. Costello had become interested in classical music around the time of Spike and began attending classical concerts. One of the ensembles he enjoyed most was the Brodsky Quartet. Once Costello and the Quartet got to know each other, they were keen on working together, eventually resulting in a full length album.

Costello described The Juliet Letters as “a song sequence for string quartet and voice and it has a title. It’s a little bit different. It’s not a rock opera. It’s a new thing.”

The album is available as a limited edition of 2500 individually numbered copies on purple coloured vinyl and includes an insert.

New label Golden Ape Records kick off their journey with some raw Electro-Funk chic from the Funk Messiahs with their brilliant debut single, 'Save Me' Vocalist Lucy (Veeresh's Humaniversity Sound), whose deep sultry understated vocals soothe the soul; the amazing Pest trio (Ninja Tune) of Matt on guitar, Vinny on sticks and Tom on Trombone to provide the rhythm and driving funk. Super talented Kitty (Kitty, Daisy & Lewis) moving booties with the bass, and A-Lo adding Electro vibes with his vintage synths. Remixes from Crazy P's Jim Baron, who delivers a seductive percussive Disco vibe under his Ron Basejam moniker; 'Dark Wobble' (aka Michel Williams), who injects some Scouse street style flavas; and Ben Pest amps up the electro filth with a gritty electronic outing.

Zu Beginn des neuen Jahrtausends erklärte der Rolling Stone: "Soulfly scheinen für die Ewigkeit gebaut". Mehr als zwei Jahrzehnte, unzählige Welttourneen und ein Dutzend Alben später scheint diese Prophezeiung wahr.

Als Ikone des Undergrounds, Wegbereiter des extremen Metals, Krieger der Dritten Welt und Anführer eines vielfältigen und engagierten Stammes überlebt Max Cavalera nicht nur, sondern gedeiht, indem er ein Killer-Riff nach dem anderen raushaut. Dieselbe Stimme, derselbe Körper und derselbe Geist, die Soulfly 1997 ins Leben riefen, beschwören auch heute noch unfassbar schweren Lärm herauf, der auf dem zwölften Soulfly-Album "Totem" zehn Scheiben monströser Musik abwirft.

Limited to 500 copies worldwide.


Heavy as f-ck and deep as hell, this devastating split album gleefully corrupts and corrodes Dub’s sunshine reflections. Celebrating rhythm & noise in its dank echo chamber, these demolition dub tracks are built from obsessive studies in distortion, overdrive and seriously ruff textures, amongst an absolutely insane amount of sub-bass level.

‘Disintegration Dubs’ is a three way low end collision, between G36 (The Bug aka Kevin Martin/Gorgonn’s rig torturing beat project) and JK Flesh (Justin Broadrick of Godflesh/Jesu etc…). As the album title suggests, this instrumental pile up of floor crawling, sound system crushers, is a clearer sign than ever, that these three producers crave their dub cuts to be mutant and heavyweight, totally damaged and completely atomised. Dub as sonic obliteration

Anyone previously smitten by Techno Animal’s deeply psychedelic face off with Porter Ricks, on the long out of print ’Symbiotics’, or who worshipped Zonal’s recent rhythmic wreckage via Relapse records, will surely gorge greedily on Disintegration Dubs’. Likewise, newbies, who have snapped up this year’s ‘Fire’ by The Bug or ‘New flesh in dub’ by Godflesh, will find endless pleasure within these dread-tech, annihilated dubs and Industrial strength steppas rhythms. Echoes of Basic Channel, early Iration Steppas, Public Image Limited or even Andy Stott can be heard within this collection’s haunted atmospherics and bulldozing rumble. Yet, these three individual producers have obviously found their own recognisably original sound, within these monolithic grooves, and what makes this album so utterly refreshing, is just how well the three disparate sound manipulators complement each other fully, as they collectively set their sights on some shared, relentlessly futuristic sci-fi vision, for a new form of dub.

Obviously, Martin as The Bug, and Broadrick with his colossal dubs of Godflesh and his filthy back catalogue of JK Flesh releases, have both long since subscribed to the genre, aesthetic and fragmentation of Dub. Meanwhile relative newcomer, Gorgonn, is The Bug’s long time, live soundman, and former bandmate with DJ Scotch Egg in Devil Man, as well as having formed Dokkebi Q with Kiki Hitomi (ex-King Midas Sound), so he is no stranger to the art of deviant dubs either…

G36 dropped their appropriately titled debut EP ’Floor Weapons’, in 2018, on PRESSURE, as well as providing the backing riddim for the first ever release from Jamaican MC phenomena Nazamba, with his startling debut, ’Vexed’. Alternately, Justin has previously released seven albums solo, as JK Flesh, that systematically contorted, distorted and completely bastardised techno for labels such as Hospital Productions, Downwards and Speedy J’s Electric Deluxe… (Next year will also see a full JK Flesh album on PRESSURE too…!)

This album is Mastered by Stefan Betke aka POLE, at Scape Mastering.

Following up their hugely respected 2 demos (also available as a compilation) and fairly recent 7”, CHAOTIAN are back to release ultimate Death Metal barbarity into the underground in the form of their debut full length. Storming into life with a rotten amalgamation of putrescent riffing and blastbeats, the instrumental unity of this Danish titan is a juggernaut of pure filth. It is telling when a band can have those super groovy pinch harmonic laden riffs and not making them sound like all the others. This may seem a weirdly specific observation (perhaps a guitarist just being a guitarist) but it makes all the difference with heaviness, intensity and also the catchiness on the records. When met with the sewer-spewing vocals and weird dissonant spasms in the music, it doesn’t take long to recognise this will be a truly warped and maniacally brutal experience of Death Metal might. Interlinking primitive hooks that grasp you by the throat then transcend into these weird effects or spacious riffs, there’s nothing predictable about the album yet it has that familiar feeling that all good Death Metal has where it feels a bit daunting, unnerving and yet you cannot escape it. Obviously Denmark and this trio does not let the scene down. Amazingly this small country seems to have so much diversity in their rotten underground movement and CHAOTIAN are a shining example who embody the grotesqueries, masterful songwriting and tight musicianship that has become associated with this otherwise pretty and peaceful nation. It explains that mysterious gurgling from the sewers at least! Bludgeoning, cavernous and ultimately otherworldly, CHAOTIAN masterfully combine the cerebral and cosmic with brutish, old school music that is damned heavy and doesn’t feel pretentious nor directionless. Their debut LP is not just as strong as their previous works, but a more refined and complete vision, showcasing the bands full potential (so far)…

High Roller Records, black vinyl, ltd 500, 425gsm heavy cardboard cover with 7mm spine, 20 page A4 booklet, 2 x double sided poster, 3 x A5 photo card in a sepcial envelope, 4 track black vinyl 10" with p/s and insert, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

High Roller Records, black vinyl, ltd 500, 425gsm heavy cardboard cover with 7mm spine, 20 page A4 booklet, 2 x double sided poster, 3 x A5 photo card in a sepcial envelope, 4 track black vinyl 10" with p/s and insert, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

This is the 4th release on Zimp Recordings, an independent techno label based in Scotland.

Edinburgh based DJ and producer Filthy Rich, label boss at Zimp Recordings, is a deliciously slippery artist with an engorged techno sack who’s always at the ready to spurt his computer generated juicy tit bits all over your proverbial techno flaps.

There’s five tracks full of sub-bass madness, as well as a plethora of dizzying scratch samples, on this release of intense experiences where beauty meets anger. Pulling influences from dubstep, roots and disciples, the tracks on this next instalment from Zimp Recordings dive deep into ska based warehouse techno, swelling basslines and utterly focused dance floor mayhem, all with the added bonus of feeling like you’ve been punched in the face by a massive bag of skunk. Along-with the three original tracks there’s a destructive hi-energy dancefloor banger of a remix by Edinburgh legend Morphamish and an industrially relentless, experimental, neuro-bass tonal pounder of a remix from Tokyo’s Yu Ikemoto.

* Strictly limited-edition 2x12” vinyl in full colour sleeve. Includes card to download full album in WAV format.
* ‘Strange Days’ the debut album from one of the standout Drum & Bass acts of recent years, due for release on the legendary V Recordings on 3rd December 2021.
* Features collaborations with Serum, Makoto, MC Fats, Lorna King, 2shy MC, Cleveland Watkiss, Blak, Riya, A Little Sound, Elipsa & T.R.A.C.
* With support already secured from the likes of Shy FX, Bryan Gee, Fabio & Grooverider, Rene LaVice, Hybrid Minds, Serum, Randall and with a growing international fanbase at their back, Paul T & Edward Oberon's new album 'Strange Days' is set to be one of 2021's defining drum & bass releases.
* Their recent run of singles, including two Beatport number ones and collaborations with vocal talents like Cleveland Watkiss, MC Fats, A Little Sound & Lorna Kings have given us a flavour of this monumental project. An eclectic array of influences from jazz to jump up have been filtered through the unique musical perspective of this duo to bring us something that we've never quite heard before.
* Drum & bass has the capacity to deliver, on the one hand, soulfully emotive musicality and, on the other, sheer rave-inflaming filth. Paul T & Edward Oberon, however, have consistently performed the alchemical magic of bringing together both the music and the mayhem without compromising either.
* But of course they have. Paul and Edward have years of experience creating music for some of the most prestigious labels in the scene and drawing from a myriad of influences. Individually, they have credits stretching back decades, and, as a combo, they've been dusting dances around the world since 2011.
* Having won an army of new-gen fans with anthems like 'Stomp', 'Look for the Light' and the absolutely huge scene smashing Serum-collab 'Moon in Your Eyes', these veteran artists have wasted no time in stepping things up to even greater heights as they gear up to drop their album.
* Balancing vibes and viciousness, 'Strange Days' lays out the definitive manifesto for Paul T & Edward Oberon's dirty soul sound. Operating as both a self-contained audio journey and a collection of rave-ready deejay weapons, this LP is a piece of work that demands your attention!

Speedcore masterpiece from the US crazy crews !!

Reissue des Debütalbums 'Press On' (2007) des Multiinstrumentalisten, Produzenten und DJs Adam Gibbons (aka Lack of Afro). Gibbons ist ein Koloss der UK Retro-Soul/Funk-Szene, war jahrelang auf Freestyle Records gesignt und betreibt nun sein eigenes Label Bastion Music Group. Sein glorreiches Debüt 'Press On' wurde von iDJ als 'eines der wichtigsten Alben der modernen Funk-Ära' beschrieben und kürzlich vom Future Music Magazine als 'Klassiker' bezeichnet. Transparent-gelbes 180g Vinyl im Gatefold mit farbigem 12x12" Booklet.