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It is with undoubted excitement that Stroboscopic Artefacts can present the new release from Irish duo Lakker as SA019.




This comes hot on the heels of Lakker's recent work for the label through the dark trappings of Monad XIV. 'Harbour' could imagine a vessel out to sea, battling a tempest. Heavily distorted rhythms build like the swirl of a storm, a distress signal popping on, radio distortion. As implosion seems near a moment of calm sets in and a less maniacal beat assumes control. But the unpredictable hammers resume once more, thumping above a sheet of glinting and sharp precipitation. The storm eventually ceases, abruptly, and the 'Harbour' is left still. 'eeAea' is a different experience. It is based on surer footing, concrete beneath the limbs. A thump, incessant, pounds in the background, giving clarity to a winding sigh and dissonant percussion. Yet there remains melody in the madness, with beautiful hi ends peeking through the atmosphere and a strut which surges towards conclusion. The conclusion ends (unresolved) at 'Valentina Lane'. It is a street of mystery, set upon a gas of syncopated flashes and airy scrapes. An uncomfortable synthesiser hums in the background, darting high and interjecting low. And it meanders thence, pausing for the odd moment of reflection. It is as deliberate as 'Harbour' is chaotic; it is a tight, cogent finale.

The collectable 1994 EP for the first time on vinyl or as deluxe 2CD combining including the full album version of “Unplugged”. Remastered for the best audio experience!

Trouble’s second album “The Skull” from 1985 is a cornerstone of Doom Metal!

An absolute classic: the legendary album from 1990 and the pinnacle of Trouble’s impressive career. Heavy Metal was never better than this! Finally re-issued!

Manic Frustration immediately pulls you into a time warp of 70’s metal bliss, with its razor-sharp guitar tones and muscular, crisp production! Finally re-issued!

Punchline: Enjoy this first single "Waiting For A Star To Fall" from swedish allstar band AT THE MOVIES, doing unique cover versions of their favourite movie songs. Taken from their upcoming album "The Soundtrack of Your Life - Vol. 2" and with members from Pretty Maids, HammerFall, King Diamond, The Nightflight Orchestra, Therion and more! 1. SINGLE - 12.11.21 „Waiting for a star to fall“ 2. SINGLE - 19.11.21 „Last Christmas“ 3. SINGLE - 10.12. „(I Just) Died In Your Arms“ 07.01.22 on album release day): - „Heaven Is A Place On Earth“ FOCUS TRACK: „(I Just) Died In Your Arms“ "Everyone has their own memories and associations with the great songs of the classic films of the 80s and 90s! AT THE MOVIES put the Corona-related time in quarantine to good use and put their soft spot into action, creating unique new interpretations of these classic Soundtrack hymns. The initial spark for this project was ignited by Chris Laney (PRETTY MAIDS), who chatted about the idea with his musician colleagues Allan Sørensen (PRETTY MAIDS, ROYAL HUNT) and Morten Sandager (PRETTY MAIDS, MERCENARY) as well as Björn ""Speed"" Strid (THE NIGHT FLIGHT ORCHESTRA, SOILWORK) and AT THE MOVIES was born. Metal-Heavyweights such as Pontus Norgren (HAMERFALL), Pontus Egberg (KING DIAMOND, WOLF) and Linnéa Vikström Egg (KAMELOT, THERION) as well as illustrious guests such as Ronnie Atkins (PRETTY MAIDS), Jacob Hansen (producer of VOLBEAT, PRIMAL FEAR) and Bruce Kulick (ex-KISS) completed the project, from which the albums ""The Soundtrack Of Your Life"" with Vol.1 (eighties) and Vol.2 (nineties) emerged. Featured are evergreens such “No Easy Way Out”, “Maniac”, “St. Elmo's Fire "", ""The Power Of Love "", ""The Heat Is On"", ""The Neverending Story"", ""The One And Only "", ""(I Just) Died In Your Arms"", ""(You Drive Me) Crazy"", ""Heaven Is A Place On Earth "", ""Crush "", ""I've Been Thinking About You"" and ""Venus""- all catchy tunes that you know and love, in a new, exciting and fascinating metal outfit. "

Killswitch Engage first shook the structure of heavy music upon climbing out of snowy industrialized Western Massachusetts in 2000. A musical outlier, the band pioneered a union of thrashed-out European guitar pyrotechnics, East Coast hardcore spirit, on-stage hijinks, and enlightened lyricism that set the pace for what the turn-of-the-century deemed heavy. 2002’s Alive Or Just Breathing became avowed as a definitive album, being named among “The Top 100 Greatest Metal Albums of the Decade” by Decibel and celebrated by everyone from Metal Hammer to Revolver. Not only did they bust open the floodgates for dozens to follow, but they also garnered two GRAMMY® Award nominations in the category of “Best Metal Performance” in 2005 and 2014, respectively, and gold certifications for The End of Heartache (2004) and As Daylight Days (2006). The group landed three consecutive Top 10 debuts on the Billboard Top 200 with Killswitch Engage (2009), Disarm The Descent (2013), and their career high best bow at #6 with Incarnate (2016). The latter two releases would also both capture #1 on the Top Rock Albums and Top Hard Rock Albums charts. Their total streams have exceeded half-a-billion to date. Along the way, the boys have shared stages with some of the biggest acts in the world and have sold out countless headline gigs in six continents across the globe.
In 2019 the quintet—Adam Dutkiewicz (lead guitar), Joel Stroetzel (rhythm guitar), Mike D’Antonio (bass), Justin Foley (drums), and Jesse Leach (vocals)—sharpened every side of this signature sound on their eighth full-length and first for Metal Blade, Atonement. The vision they shared two decades ago crystallizes like never before as evidenced by the first single “Unleashed,” “The Signal Fire” (feat. Howard Jones), “Crownless King” (feat. Chuck Billy), and “I Am Broken Too.”

The 7th edition in the Exit Planet Earth vinyl series features another serving of electronic cuts designed for space travel with 20/20 Vision debuts from The Exaltics & Paris The Black Fu, Alex Jann, Lost Souls of Saturn and Kim Cosmik.

Opening with an interstellar serving of classic electro funk from the pivotal figurehead of Germany's electro-tipped underground 'The Exaltics' of 'SolarOneMusic' and 'Paris The Black Fu' from the mighty 'Detroit Grand Puhbas'.
This heavy weight collaboration comes in the form of 'wea poni zedin form ation' a masterclass in acid-influenced and undoubtably charismatic electro, complete with distinctive Kraftwerk-esque vocals. Alex Jann follows up on the A side with 'Android Memory' combining bleep techno elements with futuristic electro in an expertly crafted high paced does of sci-fi funk peppered with chaotic glitches, driving grooves and punchy kicks.

On the flip side we're joined by Seth Troxler and Phil Moffa under their inter dimensional moniker 'Lost Souls Of Saturn'. L.S.O.F offer up a mind altering hybrid of sci-fi inspired electronica, techno, electro, acid, free-jazz and more, blurring genre lines and pushing boundaries deep into the cosmos. Under-pinned by a predominately break beat groove 'Rave is Back' incorporates a plethora of un expected elements, from orchestral drones and harmonic melodies to unidentifiable machine glitches.

Wrapping up the 7th outing in the Exit Planet Earth vinyl series, we're joined by long-time purveyor of UK Electro -
Cybersoul's 'Kim Cosmik', firing on all cylinders with a tripped out assault on the senses. Her track 'Moonrise' hammers home with a fast paced, glitch heavy groove, serving up complex patterns across an ominous soundscape littered with ghost like echoes.

American singer songwriter and LGBT Icon LP,
who has more than two billion streams to their
name and a devout global fan following, releases
their highly anticipated sixth album, ‘Churches’, via
PIAS Recordings.
 A 15-song track listing of lush, captivating
creativity, described by LP as such: “This album
feels like a friend. A friend who took me through
one of the most trying times in human history and
a fairly trying time in my own personal history. So
many real stories and realizations that I feel like I
was able to share here.”
 With a run of UK tour dates planned, plus a
performance at London’s Hammersmith Apollo on
25th of January 2022, LP is ready to shake up the
UK with this new record.
 ‘Churches’ features the singles ‘Angels’, ‘Goodbye’
and ‘One Last Time’.
 ‘Churches’ was executive produced by Mike Del
Rio (Kylie Minogue, X Ambassadors, Skylar Grey).

Capping off a busy year as producer, DJ and label owner, Rory Hamilton provides a quick follow up to October's ‘Think About Me’ EP with the third release on his Italo Hiits imprint.

Once again arriving on coloured 10” vinyl, ’Strangeness’ takes the label's twisted disco sound into new territories that draws on both the genre’s darker hedonistic side and its more nostalgic leanings. The two-tracker will arrive on opaque green 10” vinyl & digital formats in November 2021.

Cie has been on an exciting musical journey since the foundation of the Form & Terra Records label and the first record "Auf Los" and now delivers further highlights with "Adventures". Together with a remix by Oliver Hess, the record has four driving tracks that will be released exclusively on vinyl.
The “Löwenburg” first appears on the horizon, and the closer you get to it, the more powerful it appears. Arriving at the gates, the lion extends his claws and with his pounding, multi-faceted beat and bubbling, lively sounds pulls every dance-loving clubber into the castle with full force.
Oliver Hess waits here with his musical tools and refines the masonry of the "Löwenburg" with crisp percussions and incredibly driving beats in his inimitable way. With a hammer and chisel, he sharpens the original in his remix and opens up new sound paths to the castle's secret locations.
Through the dark corridors of the castle we get to the "Bergfried", the first track on the B-side. Hypnotic synth runs and pulsating basses demand everything from every wall, no matter how thick, and enjoy testing it for stability.
Finally, it goes deeper into the underground with "Der Stollen". Wherever digging deep, fascinating things come to light in the club night: brilliant flashes of sound briefly sparkle like precious stones, and rattling, tirelessly driving beats ensure that you lose yourself in the depths of the sound of the
„Stollen“. Four exciting tracks that are ready for any club adventure. Vinyl only.

Germany-based metal band OBSCURA launch trilogy concept on stunning new album “A Valediction”. The group’s first (sixth overall) album for Nuclear Blast pivots on many fronts. Advanced, elegant, and yet refreshing, “A Valediction” sums up past endeavors effortlessly as it gazes with purpose and conviction into the future. OBSCURA are fan-renowned and critically acclaimed for challenging and then expanding upon norms. From “Cosmogenesis” (2009) through “Diluvium” (2018), the band flourished and made significant progress in a musical genre unprepared for a creative shot of German invention. “A Valediction” spearheads OBSCURA into a new era of extreme metal.

Guitarist/vocalist Steffen Kummerer founded OBSCURA in 2002. Early on, he set out to improve, redefine, and push forward. Under his self-label creation, the Bavarian released debut album “Retribution” (2006), followed by heavy touring throughout Europe. Word quickly spread that a brand-new band from the south of Germany was on the rise. Buzz lead to a deal with U.S.-based Relapse Records. The first record out was “Cosmogenesis”. In Europe, Metal Hammer Germany awarded the album 6/7 while in the U.S., “Cosmogenesis” hit the Billboard charts at #71. The cross-continental praise and fevered momentum landed OBSCURA on high-profile tours in Europe, North America, and Japan.

When follow-up “Omnivium” arrived in 2011, they upped their chart success (Billboard #11; Media Control #14), received more accolades from publications like Terrorizer, Rock Hard, and Decibel, had another massive round-world tour cycle, while enhancing and making progress on their clever brutality. OBSCURA further developed their sound on “Akróasis” (2016). Moored by jaw-dropping tracks like ‘Sermon of the Seven Suns,’ ‘Ode to the Sun,’ and the title track, “Akróasis” elevated OBSCURA to the highest levels of international renown, having climbed up the Billboard charts (#5) as well as earning top marks in Rock Hard (8.5/10), Metal Hammer Germany (6/7), and Revolver (4/5). The Germans toured the world yet again, playing over 100 shows in support of “Akróasis”.

OBSCURA’s most significant accomplishment was, however, just around the corner. The final part of a tetralogy, “Diluvium” (2018), fiercely pursued OBSCURA’s multi-album transformation into musical innovators and metal powerhouses. Music videos for the title track, ‘Emergent Evolution’ and ‘Mortification of the Vulgar Sun,’ in concert with a substantial interest in virtuosic, forward-thinking metal, posited OBSCURA in the good graces (yet again) of the worldwide press in addition to rocketing up, for the very first time, the official album charts in Germany (#58) and Switzerland (#93). The Germans also topped out at #3 on the Billboard Heatseekers chart with “Diluvium”.

OBSCURA‘s stats have been impressive: Twenty years active; six highly prized albums; over 600 shows on four continents. Worldwide fan and press engagement—the videos for ‘The Anticosmic Overload,’ ‘Akróasis,’ and ‘Diluvium’ have over 4.5 million views—is only getting stronger the longer OBSCURA continue to offer up and interact with (via play-throughs and member/gear spotlights) their very captive audience. This is only the tip of Kummerer’s custom ESP guitar, however. A Valediction finds OBSCURA turning the page to a new chapter in the band’s evolution. A year in the works, the songwriting sessions followed a new approach, where the framework was relaxed, allowing new inspirations, imagining, and opportunities to arise. Songs like the opening epic ‘Forsaken,’ the '80s-tinted ‘When Stars Collide’ (featuring Soilwork/The Night Flight Orchestra frontman Björn Strid), the brutal groove of ‘Devoured Usurper,’ the ethereal artistry of ‘Heritage,’ and the fleet-fingered title track benefitted compositionally (refined structures) and aesthetically (more dynamism) from OBSCURA’s restyled songwriting stratagem.

OBSCURA wrote, recorded, and finalized “A Valediction” during the pandemic. The stipulations of working during this time allowed OBSCURA to work cross-country, tracking each respective part—drums, guitar, and bass—in national studios across The Netherlands, Austria, and Germany. Once the pieces were completed, the recordings were shipped off to award-winning producer Fredrik Nordström and Studio Fredman (In Flames, Architects) in Gothenburg, Sweden, where Kummerer and Münzner completed vocals and acoustic guitars using custom-built ENGL amps. Nordström was also tapped to mix and master. The final result is a deeper, heavier, yet more rounded production.

Lyrically, “A Valediction” is layered in structure and meaning. The word ‘valediction,’ by definition, deals with goodbyes and farewells. In a way, this is auf wiedersehen to the four-part album series while also addressing complex topics of Kummerer’s personal life. Instead of obscuring issues of loss, death, and abandonment in metaphor and allusion, the German laid bare his torment across songs like ‘Forsaken,’ ‘Solaris,’ ‘In Unity,’ ‘The Neuromancer,’ and ‘In Adversity.’ But for every line of desperation, he also offers positivity. Indeed, new beginnings—physical, emotional, or environmental—can provide light in the darkness. Lauded artist Eliran Kantor (Testament, Helloween) was brought on board to visualize the leitmotif. The bronze-themed colourway Kantor used exemplifies OBSCURA’s resistance to individual and sonic corrosion.

In 2021, OBSCURA will lighthouse their musical prowess, thematic complexity, and lyrical ambition on “A Valediction”. The group continue to be a beacon for change. No doubt OBSCURA’s new stats will amaze, but what they’re focused on is the release of “A Valediction” and then taking it on the road. Several high-caliber tours of Europe, North America, and Asia are planned through to 2023, with routes are in the works for the band to visit Australia, South America, and beyond. Truly, there is no band quite like OBSCURA. “A Valediction” proves that persistence, perseverance, and enterprising minds can achieve anything. Welcome to the next level!

1. Some records hit you with an instant impression of timeless brilliance, and Low Life’s Dogging is one of those records, what the wise call “an instant classic”. 2. From Squats to Lots: The Agony and the XTC of Low Life is more like their second album Downer Edn (read Edition), a little more withdrawn, a little more textured. Complex. Rich. Which is to say: you’re going to need some time with it. 3. Some show, some grow. Low Life have done both. This one is a grower. Spend some time with this one. It’s got that nuanced flavour. Don’t guzzle. Sip. Savour. 4. Sip it, and sense the recurring brilliance of Mitch Tolman’s lyrics, exploring the usual territory of gutter life, lad life, punk life, low life. The dirge. Disgust and shame in white Australia. Council housing, bills piled to the neck, substance abuse and rehabilitation, the fallen lads and lasses who stood too close to the flame, loss and loneliness, from squats to lots. Un-Australian gutter symphony. 5. There is a celebration of resilience and that’s a central theme of this record and a time like ours needs a record like Agony & XTC. Low times are coming through, but if you’re low they won’t get to you. 6. Iggy Pop’s Bowie produced studio rock masterpieces ‘The Idiot’ and ‘Lust For Life’ are important reference points to the 3rd album sounds of Low Life. Here comes success! 7. ‘The Agony and Ecstasy’ is a 1985 novel by Irving Stone about the life of Italian Renaissance painter Michelangelo. Stone wrote another novel about the single eared painter Vincent Van Gogh called ‘Lust For Life’. This synchronicity hit me. 8. Iggy and the Stooges are a pretty safe reference for Low Life (and all good rock music). Iggy and the Stooges are a low life’s Michelangelo, but solo Iggy like Lust for Life is a better reference for this particular incarnation of Low Life, which is to say they are studio rock albums. 9. Bowie later referred to this period of his life as profoundly nihilistic. But Iggy looked at it as the period of his life that saved him from an early grave. This confrontation is Low life lore. 10. Let’s stick to this, because there’s something about this era of Bowie that makes sense with Low Life’s new album, particularly Low. One should never miss the Low in our new album from Low Life. Producer and studio boss Mickey Grossman has the ear for the Low, and he has carved out a little statue of David right here. 11. Mickey’s ears are recording, mixing and producing the best of Sydney, most notably the Oily Boys Cro Memory Grin. A great companion record to this one. Use Agony & XTC AFTER Oily Boys. Not on an empty stomach, and don’t try to operate heavy machinery (bobcat, bulldozer etc). 12. The relationship between Low Life and Sydney hardcore should not be understated, but it also shouldn’t guide how to listen to Agony & XTC. This is not austere, disciplined music. 13. Think, like, if Poison Idea were given the kind of studio time and budget as Happy Mondays. You wouldn’t play it to a teenager. It’s not for children. This is a mature flavour, one for the adults who have had to contend with failure and hardship, medical bills and disappointed family members, betrayed lovers and worrisome growths, police brutality and tooth decay, humiliating bowels and collapsed septums, detoxing and drying out, for those who have seen themselves as corrupted and putrid and unloveable, for those who endure all of this and aren’t willing to lie down and cop it sweet: Low Life are still here and they ain’t going nowhere. NOTES ON HOW NOT TO LISTEN TO AGONY AND XTC OF LOW LIFE: 1. Don’t think of shoe-gaze. It suggests a safe passage to 90’s reminiscences, a vogue style of our time, but nothing to do with Low Life style. Low Life style is always of its time. The content changes. Agony & XTC shares weight of records like My Bloody Valentine’s Loveless and Slowdive’s Kebab, records that were laboured on after the songs were recorded, songs that were written as they were recorded. 2. We can call these “studio albums” as opposed to albums built in the heat of live performance. Studio albums from the 90’s are called shoe-gaze by some journalist nerds, but we know better than to use words like this. 3. Studio albums are excessive and, at the same time, so empty. Agony & XTC, Loveless, Kebab, Rumours: excessive! And empty. This is not to suggest this is Low Lite, some throwback, soft. A band like Low Life can make an overproduced studio rock album without having to use the word shoe-gaze. So, don’t think studio albums mean anything especially 90’s. Don’t look back. 4. Let’s lose these distasteful labels, like “shoe-gaze”, “rehab rock”, “stab”, “guitar OD overdrive”, “western Sydney wonder”. They can fade out. A low life was once referred to as a vagabond. Who uses this term today? Nobody. Language can murder. Words can die. Kill ‘em all! - Daniel 'DX' Stewart, Melbourne, 2021.

The first vinyl LP release from Fluxus pioneer Alison Knowles (b. 1933). Sounds from the Book of Bean is an assemblage of noises and texts related to The Book of Bean (1982), Knowles’ 8-foot tall walk-in book constructed at Franklin Furnace in New York. This recording, the sounds of making the big book, was continually played back inside of the installation. Echoes of Yoshi Wada hammering together the circular spine of the book, other collaborators mixing ink, feeding a horse, the flowing waters of the Hudson Valley... all superimposed with texts and poems read by Knowles and her daughter Jessica Higgins.

On the second side of the album, the piece Essential Divisions features Knowles performing with red, black, and white beans. Recorded in Annea Lockwood’s underground studio, Knowles sounds the beans in glass, ceramics, wood, as well as in her mouth. Further bean histories and sound poems are recited, concluding with “Popular Bean Soup” – an ancient recipe translated by George Brecht.

Knowles’ big books are, as she describes them, transvironments: a transformationally experienced environment. The phenomenological nature of her book is distilled aurally in the case of this record. As Knowles describes the end of her book, “the reader leaves via a ladder or out the window and through a muslin panel printed with contradictory wisdom concerning beans and dreaming… one can begin again either by going on or turning back.”

Originally published as a cassette in 1982 on the New Wilderness Audiographics label, this remastered edition has been transferred from original tapes. An expansive 20-page booklet is included, holding graphics and writings from Alison Knowles, George Quasha, and Charlie Morrow.

Recorded by Alison Knowles, 1980
Produced by Alison Knowles, Sean McCann, & Charlie Morrow
Design by Alison Knowles, cover image courtesy George Quasha
Jessica Higgins adds voice to tracks 1, 3, 4, 5

Every once in a while, a band emerges ready to take on the world. Sweden's own Knights Of The Realm bring the thunder and deliver the goods (pun intended). From the first note of the intro, to the last on the outro, they deliver their own lovingly crafted blend of classic 80's metal. Knights Of The Real is many years of heavy metal experience combined into a pure vicious heavy metal machine. Larry "The Hammer" Shield (Lars Sköld) has toured the globe and recorded with legendary band Tiamat for as long as he can remember, and is without a shadow of a doubt the band's backbone. Megalomagnus (Magnus Henriksson) has been making history with his band Eclipse since the end of the 90's and is a bonafide guitar hero, who's both capable of some heavy duty riffage as well as delivering gorgeous melodies. Mean Machine (Marcus Von Boisman) has been working in the shadows of metal for many years, and played with Swedish bands Windupdeads and Stormen. And as far as the Mean Machine goes, well, the name says it all! He delivers the soaring rock vocals we all love, with attitude and feeling. The love for classic heavy metal is the driving force behind this band. The aim from the beginning was to write heavy metal hits that should, or could, have been on the albums they grew up listening to. When the songwriting process began, it was like opening Pandora's box. The overall feeling was that those songs were calling out to be written and to be played, and the band's collective ideas, dreams and experiences merged into something new, something that can hopefully lure a new generation of rockers into that metal club we all love. Knights of the Realm is a Swedish heavy metal band, and their aim is to spread their music to as many metal heads as possible, all the while having a blast doing it. They are getting ready to go on a crusade, and to take their true place on the metal throne as Knights Of The Realm.

This album is a critical meditation on variations of Orientalism practiced by Arabs themselves, as well as those who were born and raised within the diaspora. It originally began as a documentation of extended drum techniques, but eventually morphed into a project of more ambitious scope. Having an open timeframe, Julius Masri gave himself reasons to include all the instruments he obsessively picked up and learned over the years. The work accumulated intentions and guiding principles, and it became rather autobiographical in nature. Some of the tracks either refer to or were recorded in the actual physical spaces he grew up near, in Tripoli, Lebanon during the 1980s. The "Arabic Room" of the title refers to the sitting room in his family‘s house that was decked out in hyper orientalist exoticism, mashing together furniture, fixtures, paintings from all over the Arabic speaking world. The sitting room, or salon, is common in Lebanese homes made specifically to host and entertain guests. Rimsky-Korsakov's Sheherazade and other western made Orientalist cultural artifacts not only had ubiquitous presence in the house, but also found their way onto tv shows and commercials. After moving to the US, his parents recreated this room in their home. Additionally, his father's generation was one that saw their country transform from a post-agrarian trading society after WWII to a center of banking and finance within the span of a few decades. The sense of some lost Eden like innocence of the interwar years permeated much of the media that was available to him growing up there. This album is neither ironic nor some judgmental pronouncement. Call it critical nostalgia. For Masri, there isn't much difference between this form of exotic fantasy creation, and his own adolescence steeped in comic books and listening to bands like Voivod. They both seem to him part of what's known in German as Fernweh, "a nostalgia for a place one's never been". All instruments are performed by Masri himself, (drums, Egyptian rababa, Azeri kamancheh, circuit bent electronics, keyboards, hammered dulcimer, and vocals). Genre-hopping is foundational to the album’s ethos; jazz, metal, experimental, electro-chaabi, and sound collage all appear within the framework of Arabic music, creating the sense of adventurous possibilities best associated with well curated mixtapes. Julius Masri is a Philadelphia based multi-instrumentalist and performer/composer, originally born in Tripoli, Lebanon. The Arabic Room is his debut solo-album. Currently he is working and playing with members of the Sun Ra Arkestra. The album will be released on vinyl only in an edition of 300 copies.

* New from Innerground Records (co-founded by DJ Marky), also the home of Calibre, BassBrothers, Random Movement and Blade, comes the highly anticipated double vinyl LP from DJ Marky & others, ‘100’. Drawing inspiration from the past 18 years of Innerground’s vast history and impact on the Drum & Bass movement, and the signature latin influences of DJ Marky that have brought excitement and vitality to stages around the globe. This special collaboration between one of the most important figures in the genre, and a collection of some of the most highly respected producers and artists in the scene, creates a ground-breaking LP that marks the 100th release from Innerground Records.

* It should come as no surprise that the double LP packs a punch, when looking at the combined experience of its contributors. ‘100’ begins as a bold statement from the main man DJ Marky, laying down the foundations of what’s yet to come from this veteran D’nB lineup. We’re taken on a ride through morphing tempos and enchanting vocals that hammer home what this immense centennial is all about - a special milestone in the genre that will be remembered in years to come.

TRACKLIST:

A1 : DJ Marky Feat. Lorna King – Changing Moods (LEAD SINGLE (SPECIALIST RADIO PLUGGING BY LISTEN UP)
The album launches with the warm Brazilian sunshine D&B that Innerground’s main man Marky is known for. Lorna King’s uplifting harmonies intertwine with playful melodies to shape not only a guaranteed party starter, but a track that will put a smile on your face. Shades of his legendary ‘LK’??!

A2 : Data 3 – String Theory
After the Brazilian sunshine comes the rain… We’re taken on a detour through a dark valley as spiralling synths ascend to a glitch filled break. Ominous chords reverberate around the onslaught of rattling hats and deep choral vocals.

B1 : Random Movement – Patty Melt
The American D&B veteran returns to Innerground, bringing a funky fast guitar filled banger. Rapid drums and airy synths balance over happy vocals and undulating groovy bass guitar to create a track you can’t help but move to. Potential (slow-burner) track of, ’Innerground : 100’, the album?

B2 : Melinki & D'Cypher - Listen To Everything
A dark bopper with swaying hats chiming over aggressive basslines. Vocal samples provide a short-lived breather from this menacing track’s all-consuming energy. This isn’t the first time Melinki & D’Cypher have linked up and we look forward to many more from these two!

C1 : Saikon - Guilty Pleasures
Anticipative strings and a steady break lead to snappy vocal chops, crescendos at a break that unfolds in to house-led bouncey stabs. You wouldn’t expect anything less from Saikon!

C2 : Carlito - About You
Fans know that this is far from Carlito’s first Innerground rodeo – he’s back with a track that balances male and female vocals over enchanting pads. Synths twinkle amongst racing breaks to make for a certified club heater.





D1: Collette Warren, DJ Marky & Tyler Daley - One Exception (Pola & Bryson Remix)
As the album draws towards its close, cinematic piano and vocals to make your hair stand on end craft a beautiful contemplation between Tyler Daley and Collette Warren. D&B household names Pola & Bryson show their take on the track originally produced by DJ Marky. If this song doesn’t move you, you’re made of stone!


D2: Fluidity & Loz Contreras - Back To You
The LP finishes with a bang. Fluidity & Loz Contreras pair up to transport us back to the sunshine that Marky initiated. Oceanic pads and wispy vocals merge seamlessly to craft a warm and groovy finale that will leave you craving more Innerground energy, as this incredible centennial LP boldly forges its place.

Aarhus (DK) based MØL blend swirling guitars and hissing vocals with the dreamy ambience of shoegaze to form a unique blend of soundscapes and crushing passages. Inspired by bands like My Bloody Valentine, Slowdive, Drop Nineteens, Lantlôs and Alcest, MØL released their self-titled debut EP back in 2014. A year later, the band had perfected their sound on their second EP "II", produced by Jacob Bredahl and released in 2015. Both EPs were very well received and drove them on to do some empathic live shows, which were praised by press and helped establishing a dedicated audience. In 2018, MØL made an international breakthrough signing with Holy Roar Records (UK) who released their debut album “JORD” to critical acclaim. Recorded at Grapehouse Studios and mixed and mastered by Chris Kreutzfeldt, “JORD” gained massive media acclaim turning MØL into one of the most talked about Danish metal newcomers in recent years. The album was also released as an instrumental version and in 2019, the band re-released their two first EPs, remastered for CD and vinyl. On November 5th, 2021, MØL now return with their second studio album, “DIORAMA”, the group’s first for Nuclear Blast Records. Recorded and mixed by Tue Madsen (Gojira, Meshuggah, Heaven Shall Burn), the band has successfully developed its captivating, aggressive sound even further. Brace yourself for a ferocious yet melodic blackgaze monument! Praise for ‘JORD’: “It’s epic and stirring stuff. Absolutely crushing” - Daniel P. Carter , BBC Radio1 Rock Show “JORD is one of the exhilarating blackgaze albums to drop in a long time” - Metal Hammer “JORD has received unanimous praise and has immediately seen them heralded as one of the greatest examples of the blackgaze movement” - The Independent UK “By far one of the genre’s most accomplished records” - KillYourStereo

Lists and nomations for “JORD” Metal Hammer - #12 on “The 50 Best Albums of 2018” Loudwire - #19 on “The 30 Best Metal Albums of 2018 Kerrang! - #17 on “The 50 Albums that Shook 2018” Kerrang! - Music video for Bruma on “The 12 Best Music Videos of 2018” The 405 - #20 on Top 50 Albums of 2018 Distorted Sound Magazine - #2 on “Top 20 Albums of the Year” WhatCulture - “10 Best New Heavy Metal of 2018” GAFFA Awards 2019 – Nominated for “Best Metal Album of the Year”

"With over 20 years of experience and six studio albums under their belts, Hungarian Black/Pagan Metal outfit BORNHOLM are no longer strangers to the scene! Now, the four-piece is ready to present their exciting Napalm Records debut and releases their brand-new studio album, Apotheosis. Apotheosis not only showcases BORNHOLM’s tonal development, but also goes back to the origins of the band’s history and the heavy, often almost doomy influences mixed with indispensable atmospherically dark and raw flavor. Accompanied by sinister sacral sounds of historic proportions and a hypnotizing, incantatory chant, intro track ""I Divine"" heralds the dark ride to nowhere. It is precisely in the void between Pagan and Black Metal that the sound finds its home, with tracks like “Spiritual Warfare” and “Black Shining Cloaks” - including its sinister, atmospheric intro “The Key to the Shaft of the Abyss”- representing the mellowness and extremes of the band. The almost melodic borrowings and acoustic guitar inserts in combination with the pure rawness of “To the Fallen” and the hammering fast attacks of the track “I am War God” highlight the band’s variety and sonic progression. The title track “Apotheosis” is a slow, howling homage mixing aggressive, shrieking vocals and melodiously grim anecdotes. Album closer “Enthronement” closes the metaphorical and musical bracket and provides the 52-minute piece with a venerable, instrumental conclusion. On Apotheosis, the band has built a flowing, epochal sound concept that combines explosive guitar/bass lines with thunder-fast drums, spiced with choral elements and leading into a heavy blend, which BORNHOLM present successfully in all kinds of variations from track 1 to 11.

Clint Mansell's incredible synth score to Ben
Wheatley’s ‘In The Earth’.
 The score is pressed on 180g black vinyl and
housed in a deluxe spined sleeve with double
sided printed insert and digital download card.
 For the score, Mansell actually captured the sound
of singing plants via the PlantWave MIDI Sprout
machine, in keeping with the vegetal themes of the
film.
 “It’s big, ominous, sometimes beautiful and often
eerie - think Blade Runner or ‘Annihilation’ - not to
mention unsettling at times,” says Clint. “Paranoia,
isolation, anxiety, synths, plants... something for
everyone!”
 ‘In The Earth’ was made by Ben Wheatley during
lockdown and was one of the most talked about
films of Sundance Film Festival. As the world
searches for a cure to a devastating virus, a
scientist and a park scout venture deep into the
woods. As night falls, their journey becomes a
terrifying voyage through the heart of darkness as
the forest comes to life around them.
 Press - Features in Brooklyn Vegan, Empire, The
Guardian, The Quietus, Dead Central.

[a] Mycorrhiza [60-250 Hz]




[f] Mycorrhiza [250-500 Hz]


[i] Mycorrhiza [2-4 Hz]

Compound X launch new limited edition vinyl label CX BLACK, with four innovative tracks that set an immediately high standard.

Compound X is DAR and DULUM, both progressive and dedicated journeymen, their visions melting psychedelic rock and deconstructed techno to deliver a forward-thinking take on electronica. Their innovative sound first debuted in April 2020 on Distopic Utopia Records, and a live debut is scheduled for Dark Mofo festival in Tasmania, Australia, this June. The act's dynamic range and genuine sound artistry are what set Compound X beyond the status quo, something that’s clearly displayed with this latest release.

The opener 'Sending Me Signals' is dark and thrilling techno. The blistering synths bring fizzing energy to the hammering kicks, while tortured voices add extra layers of eeriness. There is haunting paranoia to the unsettling voices that loop in the background of 'Gone 2 Far.' The drums are again brilliantly brutal, and the whole atmosphere is utterly arresting.

The synths on 'Asexual Orgasm' sound as if fired from a machine gun with caustic textures, scraping hits, and dehumanised vocals add up to a wall of intense techno noise that will disorientate all dance-floors. Finally, 'Ancient Sentient' is a slightly more spacious cut with buzzsaw synths, undulating rhythms, and distorted bass that makes for maximum impact.

In divided times, the power of music is undeniable. When that music is ferociously original and defiantly uplifting, the impact is even greater. Formed in Paris, December 2014, by Dublin-born singer/guitarist Gary Kelly and Parisian guitarist Steven Andre, MOLYBARON have swiftly become one of the most talked-about bands in the modern metal scene. With a sound that encompasses everything from state-of-the-art tech-grooves and anthemic metal to multi-layered atmospherics and giant, muscular hard rock riffs beyond, the band’s eccentric flair always sets them apart from the rest. From the infectious aggression and giant hooks of opener “Animals”, to the thunderous denouement of crushing closer “Ordinary Madness”, The Mutiny once again affirms MOLYBARON’s idiosyncratic identity and irresistible charms. As Metal Hammer UK put it: “Diverse and satisfying, The Mutiny is a banger!” The album was also declared Album of the Month in Rock Hard magazine. Kelly’s songwriting has hit new heights of ingenuity, and the ensemble performances of comrades Steven Andre (guitar), Sebastien de Saint-Angel (bass) and Camille Greneron (drums) are never less than precise, potent and bursting with personality. Right now, these fearless artisans are in a field of one, evoking the visionary fervour of bands like System Of A Down, Muse, Pain Of Salvation and Rush, while never sounding remotely like any of them. The Mutiny will be re-released by InsideOut Music/ Sony Music Entertainment and is available as 180g black Vinyl + 2page Insert, Ltd. CD Digipak and Digital Album.

Kulk are a Norfolk two-piece wielding a barrage of sonic density across sludge, noise metal and psych. Jade Squires (drums and synth) and Thom Longdin (vocals and guitar) are distinctive and stark in their execution; a hungry new face of UK heavy music, cultivating acclaim from Metal Hammer, Echoes and Dust, Outline, Anti-Despair Machine, Down The Front Media, with radio plays from IORadio, BBC Introducing Suffolk and Future Radio as well as Steve Lamacq (BBC 6 Music).

Kulk’s sophomore monolith ‘We Spare Nothing’ is a demonstration of their importance within the UK underground and their progression into sharper, harder hitting noise rock. Glacial, pummeling riffs and drum passages give the spine to their stifling atmosphere, a refreshing take on the psych-tinged doom of entities like Sleep, The Melvins and Pigsx7. With their blistering live performances in tow,
‘We Spare Nothing’ will sear it’s mark into the UK scene in 2021.

Belched from Hell’s depths into the rustic charms of the Witch County, Suffolk thirty long and disturbing years ago, CRADLE OF FILTH are undisputed giants of the heavy metal realm. Imperious purveyors of a perennially unique strain of dark, dastardly and wilfully extreme metal, with deep roots in the worlds of gothic horror and occult curiosity, the band led by Dani Filth has weathered three decades of tumult and trial, earning a formidable reputation as both a singular creative force and one of the most riotously entertaining live bands the metal world has ever produced.
From primitive early works like 1992 debut »The Principle Of Evil Made Flesh« to more expansive and theatrical classics like ‘Cruelty And The Beast’ and ‘Midian’, CRADLE OF FILTH defied trends and constructed their own idiosyncratic world of foul grandeur, becoming one of the UK’s most notable metal bands in the process. Since then, they have traversed the world countless times, hoovering up plaudits and praise from an ever-expanding international fan base. Resolutely prolific, the band’s catalogue has grown in depth and stature all the while, irrespective of line-up changes or the whims of the faithful.
In more recent times, CRADLE OF FILTH have hit an unmistakable hot streak of creativity and urgency. As a new line-up coalesced around the creation of 2015’s »Hammer Of The Witches«, fresh impetus propelled the band to new heights, as the revitalised crew became more in demand around the world than ever before. 2017’s ‘Cryptoriana - The Seductiveness Of Decay’ repeated the trick with even more explosive flamboyance. Until a global pandemic brought the music industry to a jarring halt, CRADLE OF FILTH were almost permanently on the road and absolutely fucking flying. As a result, it should surprise no one that the band’s brand new album, ‘Existence Is Futile’, is yet another monumental and electrifying journey through the dark.
Buoyed by these recent triumphs, CRADLE OF FILTH recorded »Existence Is Futile« during 2020, piecing the record together in isolation, at Grindstone Studios in Suffolk with studio guru Scott Atkins (Devilment/Benediction/Vader). Although instantly recognisable as the work of these veteran blackhearts, the thirteenth CRADLE OF FILTH album is a wholly different beast from its immediate predecessors. Pitch-black, perverse and at times absurdly brutal and extreme, it hangs together with mesmerising fluidity. It is also absolutely rammed with giant, rousing melodies and moments of jaw-dropping invention. No one could mistake the venomously catchy likes of ‘How Many Tears To Nurture A Rose?’ or monstrous ballad ‘Discourse Between A Man And His Soul’ for anything other than CRADLE OF FILTH, of course, but ‘Existence Is Futile’ confirms that the band’s exploratory instincts remain as sharp as ever.
Underpinned by its huge and disarmingly organic production, »Existence Is Futile« is plainly the darkest and most unsettling album CRADLE OF FILTH have made in a while. Eschewing the band’s trademark twisted storytelling in favour of horrified glimpses into the mortal void and ruminations on the inevitable destruction of life on Earth, its poignancy and relevance to the cluster of nightmares facing humanity in 2021 is impossible to ignore, even if Dani Filth insists, not unreasonably, that he didn’t anticipate a global pandemic when the news songs were being written.
With the best possible timing, CRADLE OF FILTH were already due to make a new album during those long, lonely months of lockdown in 2020. Having grabbed the opportunity with both hands, Dani avows that unavoidable isolation from the rest of the world was the best possible incentive to get the job done, while also adding plenty of eerie atmosphere to the whole experience.
Sonically speaking, ‘Existence Is Futile’ is easily the most powerful and dramatic record CRADLE OF FILTH have ever made: it’s the sound of band’s enviable onstage chemistry spilling over into the studio, propelling each member of the band to new levels of intensity. Combined with the expected labyrinthine arrangements and moments of spellbinding bombast, ‘Existence Is Futile’ may be the most vivid representation of the CRADLE OF FILTH experience yet.
Also, diehard fans will be thrilled to learn that horror icon Doug 'Pinhead' Bradley makes a welcome return to the CRADLE fold, lending his dulcet tones to the epic ‘Suffer Our Dominion’, and to one of the forthcoming new record’s bonus tracks, as Dani explains.
“There are also two bonus tracks in addition to the album, one of which is the culmination to the ‘Her Ghost In The Fog’ trilogy, which began on »Midian«.
For this we had little hesitation in enlisting our friend and actor Doug Bradley to reprise his narrative role. Doug lives in Pittsburgh, which he refers to ‘The Pit’, thus we directed his narrative over Skype from his local studio. He adopts this almost David Attenborough-ish role on ‘Suffer Our Dominion’, which is possibly the most politically astute song we’ve written of late. As a band we usually shy from branching into politics, but it’s something that needed spouting. The fact we’re fucking our ecology up and desperately need to address the situation pronto…”
So, if we’re all going to perish in the fire of our own stupidity, we might as well have a suitably deranged and destructive soundtrack to do it by.
A bewitching, fearless nosedive into the abyss, the band's thirteenth studio album confirms the ferocious efficacy of CRADLE OF FILTH in 2021. Bold, brave, wildly imaginative and heavy as hell, the band’s latest runaway train-ride through the flames is the perfect album for these most imperfect of times. As Dani concludes, “Be like the virus! Mutate and survive!”

Belched from Hell’s depths into the rustic charms of the Witch County, Suffolk thirty long and disturbing years ago, CRADLE OF FILTH are undisputed giants of the heavy metal realm. Imperious purveyors of a perennially unique strain of dark, dastardly and wilfully extreme metal, with deep roots in the worlds of gothic horror and occult curiosity, the band led by Dani Filth has weathered three decades of tumult and trial, earning a formidable reputation as both a singular creative force and one of the most riotously entertaining live bands the metal world has ever produced.
From primitive early works like 1992 debut »The Principle Of Evil Made Flesh« to more expansive and theatrical classics like ‘Cruelty And The Beast’ and ‘Midian’, CRADLE OF FILTH defied trends and constructed their own idiosyncratic world of foul grandeur, becoming one of the UK’s most notable metal bands in the process. Since then, they have traversed the world countless times, hoovering up plaudits and praise from an ever-expanding international fan base. Resolutely prolific, the band’s catalogue has grown in depth and stature all the while, irrespective of line-up changes or the whims of the faithful.
In more recent times, CRADLE OF FILTH have hit an unmistakable hot streak of creativity and urgency. As a new line-up coalesced around the creation of 2015’s »Hammer Of The Witches«, fresh impetus propelled the band to new heights, as the revitalised crew became more in demand around the world than ever before. 2017’s ‘Cryptoriana - The Seductiveness Of Decay’ repeated the trick with even more explosive flamboyance. Until a global pandemic brought the music industry to a jarring halt, CRADLE OF FILTH were almost permanently on the road and absolutely fucking flying. As a result, it should surprise no one that the band’s brand new album, ‘Existence Is Futile’, is yet another monumental and electrifying journey through the dark.
Buoyed by these recent triumphs, CRADLE OF FILTH recorded »Existence Is Futile« during 2020, piecing the record together in isolation, at Grindstone Studios in Suffolk with studio guru Scott Atkins (Devilment/Benediction/Vader). Although instantly recognisable as the work of these veteran blackhearts, the thirteenth CRADLE OF FILTH album is a wholly different beast from its immediate predecessors. Pitch-black, perverse and at times absurdly brutal and extreme, it hangs together with mesmerising fluidity. It is also absolutely rammed with giant, rousing melodies and moments of jaw-dropping invention. No one could mistake the venomously catchy likes of ‘How Many Tears To Nurture A Rose?’ or monstrous ballad ‘Discourse Between A Man And His Soul’ for anything other than CRADLE OF FILTH, of course, but ‘Existence Is Futile’ confirms that the band’s exploratory instincts remain as sharp as ever.
Underpinned by its huge and disarmingly organic production, »Existence Is Futile« is plainly the darkest and most unsettling album CRADLE OF FILTH have made in a while. Eschewing the band’s trademark twisted storytelling in favour of horrified glimpses into the mortal void and ruminations on the inevitable destruction of life on Earth, its poignancy and relevance to the cluster of nightmares facing humanity in 2021 is impossible to ignore, even if Dani Filth insists, not unreasonably, that he didn’t anticipate a global pandemic when the news songs were being written.
With the best possible timing, CRADLE OF FILTH were already due to make a new album during those long, lonely months of lockdown in 2020. Having grabbed the opportunity with both hands, Dani avows that unavoidable isolation from the rest of the world was the best possible incentive to get the job done, while also adding plenty of eerie atmosphere to the whole experience.
Sonically speaking, ‘Existence Is Futile’ is easily the most powerful and dramatic record CRADLE OF FILTH have ever made: it’s the sound of band’s enviable onstage chemistry spilling over into the studio, propelling each member of the band to new levels of intensity. Combined with the expected labyrinthine arrangements and moments of spellbinding bombast, ‘Existence Is Futile’ may be the most vivid representation of the CRADLE OF FILTH experience yet.
Also, diehard fans will be thrilled to learn that horror icon Doug 'Pinhead' Bradley makes a welcome return to the CRADLE fold, lending his dulcet tones to the epic ‘Suffer Our Dominion’, and to one of the forthcoming new record’s bonus tracks, as Dani explains.
“There are also two bonus tracks in addition to the album, one of which is the culmination to the ‘Her Ghost In The Fog’ trilogy, which began on »Midian«.
For this we had little hesitation in enlisting our friend and actor Doug Bradley to reprise his narrative role. Doug lives in Pittsburgh, which he refers to ‘The Pit’, thus we directed his narrative over Skype from his local studio. He adopts this almost David Attenborough-ish role on ‘Suffer Our Dominion’, which is possibly the most politically astute song we’ve written of late. As a band we usually shy from branching into politics, but it’s something that needed spouting. The fact we’re fucking our ecology up and desperately need to address the situation pronto…”
So, if we’re all going to perish in the fire of our own stupidity, we might as well have a suitably deranged and destructive soundtrack to do it by.
A bewitching, fearless nosedive into the abyss, the band's thirteenth studio album confirms the ferocious efficacy of CRADLE OF FILTH in 2021. Bold, brave, wildly imaginative and heavy as hell, the band’s latest runaway train-ride through the flames is the perfect album for these most imperfect of times. As Dani concludes, “Be like the virus! Mutate and survive!”

Grey Marbled Vinyl

VARIÁT is the new experimental metal one-man band of Ukrainian artist Dmytro Fedorenko. Through dissonant noise poetry, corrosive synthesis, and subtle seeds of interiority and folk song, VARIÁT creates a sound world of austere urban psychedelia, invoking themes of primitivism and mysticism within the volatile currents of a contemporary digital era.

Conceived in 2020 as a provocative creative outlet, VARIÁT is founded on ideas of transgression, reinvention, and liberation, the consequence of observing prescribed artistic boundaries and pursuing new depths of aesthetic freedom. The project began as an exploration of new recording techniques: metallic materials used as percussion and channelled through blown amps, toms played with a hammer, drilled cymbals, raw, dimensional textures produced from found objects.

For the project’s debut album ‘I Can See Everything From Here’ a library of recordings rooted in musique concrète initiated countless sessions of seismic, discordant guitar noise and overloaded detonations of low end. Synthesizers calibrated and treated to sound like traditional instrumentation, rhythms of deluge and disarray. Compositions constructed with an intent to preserve their original modality; the chaotic spark of their inception.

The artwork created for ‘I Can See Everything From Here’ is an aquarelle (watercolour) painting, an ink-based projection which mirrors the sound of the album with dense, fragmentary shades of black and extensive tendrils of detail. A microcosmic depiction of the graphic power that defines ‘I Can See Everything From Here’.

Hammer returns to his nascent Italo Hiits label for the second release of Hi-NRG grooves made in an Italo-inspired period of furiously productive creativity. Road tested on Hammer's global livestream at London’s Saatchi Gallery and his supporting set for Bicep at their recent sold out Brixton Academy date, this latest pair of effervescent disco cuts are fully designed for dancing, and a taste of many more to come from both Hammer and Italo Hiits.

Recruiting some of his closest friends–who also happen to be some of rap's biggest stars–to help realize his vision, Scheme shares FAMILY, his debut album. Recent single "Soda" (over 2.5 million Spotify streams) connects unlikely kindred spirits Cordae and Ski Mask The Slump God over a stomping piano-led beat by Scheme and Take A Daytrip. Scheme also finds new angles for artists who share similar styles, creating a smoothed-out West Coast riders' anthem for Lil Mosey & Ty Dolla $ign ("Bussin' Out") and reuniting Ski Mask, Lil Yachty, and Danny Towers for "E-ER," a spirited sequel to their Gold-selling collab "How You Feel" (which also appears on the project). An ambitious debut for the multi-talented DJ/Producer/Artist, FAMILY establishes Scheme as a tastemaker with a distinct aesthetic and a wide musical range. Featuring additional appearances from Skrillex, Zacari, Lil Gnar, Shakewell, TheHxliday, Tes-X, and more.

Fans have been waiting eight long years for this new album from Ishi that
is expected to drop under Swedish Indie Label Icons Creating Evil Art, the
home of Flora Cash, Summer Heart, and Glamour Hammer.
It will be titled ‘Sweet Gold’ and feature the hit singles ‘Not My Girl’ and ‘LoFi Love Affair’ and the new single ‘Fly Away’. Ishi’s ability to successfully walk
the line between an ambitious studio act and a multi-sensory live experience
allows him to engage the audience in an uplifting celebration of life. His subtle
undertones of inner exploration combine to create a concert experience that is
unequivocally one-of-a-kind.
Each night, Ishi intends to create an entirely unique environment of mysticism,
awareness, love and acceptance. Adored by fans and critics alike, there is no
denying that Ishi is an immersive experience that everyone should discover.
Following the successful release of the Yuksek remix of ‘Not My Girl’ (supported by the likes of A-Trak, Kiss FM, Ministry of Sound, Amazing Radio etc.) and
a remix collaboration with the internationally acclaimed EDM-producer Oliver
Nelson, and his Goody Goody collab with fellow Texans CAPYAC; Ishi now line
up some new original music and the new album dropping early fall.

VERY LIMITED COPIES OF THIS PREVIOUSLY RSD U.S. ONLY RELEASE

Engine Kid, the post hardcore collective featuring Greg Anderson (Southern Lord label owner, also in Sunn O))), Goatsnake & Thorr's Hammer) announce a special Record Store Day 6 x LP box set release Everything Left Inside, featuring the Novocaine/Astronaut 12 inch, Bear Catching Fish 2xLP, Angel Wings 2xLP and Split w/ Iceburn / Everything Left Inside 12 inch.

Almost 30 years since the inception of Engine Kid and the trio find themselves comprehending the enormity of their creation, honouring and celebrating the mountains they formed and the canyons they created.
Engine Kid was born in Seattle, WA 1991. The band's original lineup consisted of guitarist/vocalist Greg Anderson (Southern Lord, Sunn O))), Thorr's Hammer, Goatsnake), drummer Chris Vandebrooke & bassist Art Behrman. The three had all been in hardcore/punk bands around town and all had a burning desire to create a sound that was unlike anything they had done in the past. After just a few months of existence they quickly recorded and self-released the Novocaine 7”. Circa 92’ a close friend and bassist Brian Kraft (Krafty) replaced Behrman, and at that moment the entire aesthetic and execution of sound became heavier, darker and extremely dynamic. The power trio was picked up by local label C/Z records and set out upon recording the new music they were quickly creating. In 1993 the band had two releases on C/Z; their first offering was the Astronaut five song EP recorded by John Goodmanson. The songs were primitive and exemplified the bands worship of Slint and their loud/quiet song dynamic In the summer of 93’ the band drove all the way to Chicago to record with their hero Steve Albini in the basement of his house. They emerged with the eight song album they called: Bear Catching Fish. Albini intuitively captured the band exactly as they were at that moment: raw, vulnerable and mammoth.

Shortly after the albums’ release Jade Devitt replaced Vandebrooke on drums. This transition was extremely crucial in the “second phase” of the group. Devitt was an absolute beast and his power helped launch the band miles beyond where they had ever been before. The sound of “The Kid” started to transform into a sound much more of their own. The three dudes were hellbent on pushing the bounds of sonic exploration to its absolute fullest. Suddenly there was an abundance of depth within the sounds they were creating. Eclectic influences of punk/hardcore (Black Flag, Die Kreuzen), Metal (Entombed, Carcass) and even jazz (Mahavishnu Orchestra, Miles Davis electric era) were in a full collision course with the already dynamically heavy foundation of the band. The levee had broken and the resulting flood of sound completely saturated everything in its path.

Engine Kid toured relentlessly. They were constantly on the road playing every nook and cranny they possibly could. Any moment not spent on the road was instead spent focused on making their new material as potent as possible. Early in 94' the band decided to pay homage to their mutual love of jazz/fusion and recorded three instrumental pieces that would become a split album with like minded powerhouse Iceburn. The Engine Kid/Iceburn album showcased each group's love of jazz loosely framed by the intense enthusiasm of underground music. The album was released by Revelation records in 1994.
During the summer of 94’ the band reconvened with producer John Goodmanson at Bad Animals & AVAST! studios to record the new material that was literally bleeding out of the reinvigorated trio. These recorded songs were much more progressive, heavier, harder and more focused than past works. They even tackled John Coltranes’ “OLE” adding saxophone and trumpet from their brothers in Silkworm. In March of 1995, Revelation Records released these recordings as the Angel Wings album. Unfortunately "the Kid" flew too close to the sun and broke up very shortly after the album's release.

Everything Left Inside 6xLP box set (RSD release) includes:
LORD 288.1 Engine Kid-“Novocaine/Astronaut” 12”
LORD 289 Engine Kid-Bear Catching Fish 2xLP
LORD 290 Engine Kid-Angel Wings 2xLP
LORD 288.2 Engine Kid-Split w/ Iceburn /Everything Left Inside 12”
16-page color photo/liner note booklet.

MyBrothertheCow isthefourthstudioalbumbytheAmerican grunge band Mudhoney. The album includes several direct references to bands that influenced Mudhoney’s sound. For instance, “F.D.K. (Fearless Doctor Killers)” refers to the Bad Brains song “F.V.K. (Fearless Vampire Killers)”, “Orange Ball-Peen” alludes to Captain Beefheart and Led Zeppelin, and “1995” pays tribute to The Stooges.

Available as a limited edition of 1500 individually numbered
copies on turquoise coloured vinyl.

Native from south of France, Ogmah is a DJ/Producer of industrial and noisy techno, embellished with hardcore influences. Founder of the label Askorn Records, his music is raw, hard hitting and harsh, and his mixing style is fast, hard and precise.

A1) This first track deserves a powerful broken beat rhythm, combined with some aggressive noises & FX and a stormy atmosphere. Sounds like an unchained monster in a disaffected metallurgic factory.

A2) Pure violence into this hard hitting 4x4 industrial track. Collapse of the business techno. Heavy hammering kick with some organic noises, perfect soundtrack for a sacrifice.

B1) Keepsakes brings his famous crazy groovy drums patterns in this one! Boxing kick, scary atmosphere & disturbing synth, perfect for dancing until you die in a gloomy & wet Berlin cellar.

B2) Noisy as hell remix with a crazy sound design by Exome! Dark & violent, this track is a fucking tank that will crush your soul and chase you in your scariest nightmares...

B3) This last remix by Alessandro Nero will make you broke into a furious gallop! Metallic noises with a recognizable modular style, this track will make you remember some good old schoolish hardcorish vibes.

Hammer Films has long held a special place in the hearts of horror fans, defining the British genre during the 1950’s with classics such as Dracula and The Curse of Frankenstein. Composer James Bernard scored both and went on to compose the music to a host of horror films for Hammer during the Sixties and Seventies. His distinctive clashing harmonies, often doubling the musical theme a tone higher, raise the on-screen action to a frenzied pitch, terrifying 20th Century cinema goers to the degree that his scores have become synonymous with the titular monsters.

The Paradigm-Shifting Fourth Studio Opus From The Norwegian Pioneers.
Presented On 2cd Deluxe Digipack Format & Including A Retrospective Look
At The Album Courtesy Of Writer Jeff Wagner.
‘Themes from William Blake’s The Marriage of Heaven and Hell’ is the fourth
studio album by Norwegian experimentalists Ulver.
Having been known for their more folklore-tinged black metal compositions on
early studio releases, in late 1997, mainman Kristoffer Rygg invited keyboardist, sound conceptualist, and composer Tore Ylwizaker into the collective, and
together they devised a plan for The Blake Album; an altogether far more adventurous endeavour than prior releases.
What resulted was a seamless integration of electronic & industrial music, with
elements of progressive metal & avantgarde rock, all fused with ambient passages, & following Blake’s plates as track indexes. A work of deep and personal
art, the album, while initially surprising to fans due to its complete shift in genre, has become a classic today, and a prime example of the boundary-pushing
evolution beyond the confines of genre expectations through the latter part of
the 90’s. Upon release, ‘The Marriage of Heaven & Hell’ received widespread
acclaim from critics within the rock, metal & alternative music press, being
awarded Album of the Month in several high-profile magazines such as Terrorizer, Metal Hammer, and Rock Hard.
The album notably includes guest vocal appearances from Darkthrone’s Fenriz,
as well as Ihsahn & Samoth; most known for their work in Emperor.
This newly remastered edition of ‘The Marriage of Heaven & Hell’ is presented
on 2CD deluxe digipack format, including full lyrics/text, plus a new article from
writer and journalist Jeff Wagner on the background, nature & triumph of such
an ambitious release.

Can Love Be Synth are in love with old analogue machines and define their specific sound in the legendary Synthesizer Studio Hamburg. A synth collectors paradise hidden behind the big grey walls of a Bunker building and the club Uebel & Gefährlich between the Reeperbahn and Schanzenviertel district in Hamburg, Germany.

Their new song ‘Bunker’ is now available as a digital and vinyl release on A CLEAN CUT including fantastic remixes by Richard Fearless, Terr and quadratschulz.



The Bunker building is currently extended with a 54-meter-high superstructure for an ultra-violent instant gentrification. In the original version of the song the heavy blows of hammers are clearly audible. This sound journey from zen to noise is a beautifully shimmering ‘black hole made from music’, where implosion and explosion energetically meet. If it needed another reason for the clubs to reopen, this song would be the one - it is perfect for long nights and for days without light rays.

Canadian collective The Hello Darlins, dubbed “the Broken Social Scene of
Americana”, release their first full-length LP Go By Feel on June 11, 2021.
With over 500,000 combined Spotify streams for their initial three singles, it’s
safe to say there’s a lot of anticipation for their debut album. The buzz began
building almost immediately after the Calgary, Alberta-based Americana collective debuted on the scene in early 2020, with American Songwriter calling the
group “the product of a talented pool of session musicians craving more,” while
Americana UK stated, “It’s great to see a band put together by the talented
folks who would usually be ‘behind the scenes.’”
So, who exactly are The Hello Darlins? The seeds of the band took root in 2016
when vocalist/producer Candace Lacina crossed paths again with keyboardist/
producer Mike Little after first meeting at a recording studio years earlier. Once
reconnected, they soon found themselves making music together in between
their work with other artists, an impressive list that ranges from Shania Twain
to Charlie Major, The Road Hammers to George Canyon as well as the late B.B.
King.
In short order, the couple began inviting others within their circle to participate, including Murray Pulver (Crash Test Dummies), Clay- ton Bellamy (The
Road Hammers), Matt Andersen, Dave and Joey Landreth (aka The Bros. Landreth), Russell Broom (Jann Arden), and ace fiddler Shane Guse.
On Go By Feel, this incredible collection of talent has forged a hybrid of country,
gospel and blues like no other, from the heart-wrenching ballads “Aberdeen”
and “Prayer For A Sparrow” to the classic country-rocker “Mountain Time” and
the album’s soulful title track.
Making music influenced by times of joy and sorrow is natural for Candace and
Mike, as both come from families with long musical traditions within Canada.
It all adds up to The Hello Darlins preferring to add “North” to the Americana
genre, a more than symbolic gesture that’s in line with a musical vision that will
continue to evolve as soon as the band gets a chance to play live with a lineup that could potentially consist of anywhere between five to nine players on
stage.
Until then, audiences will now be able to fully savour the tunes, musicianship
and production of Go By Feel, proof positive that teamwork ultimately leads to
exceptional results.

Interlacing black metal and high-energy rock n’ roll with gothic melodic and harmonic flourishes, Wolf Hex, the 3rd LP from Canada’s Wormwitch, is filled with monumental moments continuing the band’s upward trajectory in the global metal scene. "Shortly after 2019’s release of Heaven That Dwells Within, we went on an indefinite hiatus. Just before the beginning of the virus and the first quarantine, we made the decision to come back to Wormwitch with rejuvenated spirits and write a new record. The result is 10 songs that we recorded between 3 studios over the course of this past Autumn. The writing and recording process has been the smoothest, most natural, and most fulfilling we’ve experienced thus far and we’ve never been so confident in a record throughout its creation. As always, endless thanks to those who have been with us since the beginning as well as those who have discovered us through HTDW. Your individual support is absolutely noticed and appreciated. We think about you and remember your names." - WORMWITCH

‘Falling From Fame’ is Takida’s follow album to the hugely successful ‘Sju’, which has become a milestone album in Takida’s over two decades long career, as ‘Sju’ broke the band outside of Sweden, and specifically in Germany, with tracks like ‘Master’ and ‘What About Me’. ‘Falling From Fame’ could be Takida’s most solid album, 11 newly composed tracks with a range of strong singles such as the introducing track- ‘Goodbye’.

Kevin Martins erstes Solo-Album unter dem Namen The Bug seit sieben Jahren könnte zeitlich nicht besser passen: „Fire“ - der dritte, berauschende Teil eines urbanen Triptychons, das mit dem explosiven „London Zoo“ von 2008 begann und mit dem bewusstseinsverändernden „Angels & Devils“ von 2014 fortgesetzt wurde - besteht aus vierzehn Tracks, die die Synapsen zum Schmelzen bringen, die den Körper durcheinanderwirbeln und die Hörerinnen und Hörer auf cineastische Weise von der Beschwörung einer düsteren, abgeriegelten Stadtlandschaft bis hin zu schwindelerregenden, tiefenscharfen Nahaufnahmen der Psyche von Martin, die ihn und seine Kollaborateur*innen an die Belastungsgrenze führen.

Die Aggression, die Attitüde, der beeindruckende Umfang und die destabilisierende, beunruhigende Raserei des Bug-Sounds ist durchweg perfekt umgesetzt, aber „Fire“ ist keine bloße Wiederbelebung der Vergangenheit - für Martin ist das Album sowohl eine Antwort auf die einzigartigen Umstände des vergangenen Jahres als auch eine Chance, seine eigene Reise vom zurückgezogenen Sound-Besessenen zum Familienvater zu reflektieren, und seinen Durst zu stillen - in einer Zeit erzwungener hermetischer Isolation - nach Kontakt, nach dem Chaos, das nur zwischen Menschen, Lärm und Bässen stattfinden kann, die Irritation der Sinne, die stets Bugs Methode und Weg waren, seit er in den späten 90ern aus den tiefsten Ecken Londons herauskroch.

Es ist das bisher beste Album von The Bug, möglicherweise die wildeste und bewegendste Musik, die Martin je gemacht hat, und es berührt immer noch die anfänglichen Sehnsüchte und Impulse, die „London Zoo“ wie eine Rohrbombe durch den Briefkasten in Ihre Welt katapultiert haben. Es ist eine hungrige Platte, in jeder Hinsicht.

Die MCs, die auf dem Album zu hören sind - einerseits langjährige Weggefährt*innen wie Flowdan, Roger Robinson, Moor Mother, Manga Saint Hilare, Irah & Daddy Freddy, andererseits relativ neue Namen im Bug-Stall wie Logan, Nazamba und FFSYTHO - reflektieren unweigerlich den äußeren Wahnsinn einer auf den Kopf gestellten Welt, graben aber auch tief in sich selbst, um nachdenkliche, erbarmungslos ehrliche Darstellungen der Wut, des Widerstands und der Resignation zu schaffen, die das letzte Jahr in uns allen hervorgerufen hat.