Cerca:the void

3 collabs between Fifth Era and 14Anger, and a remix from Murmuur...

Dark Hardcore, downtempo from the Doom creator.
Superb second venue on Call of The Void !

Having thrived throughout the underground realms for the last ten years, Question built a respectable body of work displaying a sound meeting constant progression, a vision sharpened and perfected with each output. Six years following the debut full-length recording, the Mexican quintet unleashes “Reflections of the Void”, a grand tome of sheer Death Metal might in eight tracks that take Question’s sonic traits and overall concept to a whole new level of magnitude. In perfect unison with the majestic Shoggoth Kinetics artwork that adorns the album’s cover, “Reflections of the Void” stands apart and invites the listener to a pathway beyond the horizon, a detailed journey on life and death and yonder. Such carefully threaded concept meets its aural accomplice as Question carries a cloud of impending doom, a dense and arrestive atmosphere on brilliantly crafted songs that drink from the fountain of the past yet blistering in its very own with a striking sense of dynamics which assuredly puts the group in the major leagues of Death Metal mastery. Obscure, threatening riffs blaze through the first moments of the record, trading somber licks and faster belligerent attacks, yet never failing to enter a redundant path, for a tempo change or a dissonant endeavor spells unexpectedly and takes the listener on an intense rollercoaster. Fiercely crafted, the pulsing bass impulses and organic drumming patterns exhale as the pounding heart of “Reflections of the Void”. Technical, precise, enter a scorching performance in taste and dexterity, never sounding dull or plastic but shining for its soulful presence, side by side with the dazzling production, utterly potent and vibrant, taking the defying arrangements to greater extents. In and above this sonic frenzy, a vociferated voice grunts the illusions of our existence with a resonating dark tone spawned directly from the imposing void. As this opus resumes into the boundless vacuum, we are left with a sense of distress and awe. Question crafted a work for the ages, one which with every listening reveals a further dimension, a hidden mystery, just like the classics in the unholy pantheon to which this opus will surely belong someday.

“Reflections of the Void” is released under the banner of Chaos Records.

**Black vinyl. Gold foil-printed gatefold jacket** With its ethereal, buzzing acoustic riffs, helix of resonant drones and vocal delivery that often sounds like an ancient form of prayer, Julie Beth Napolin’s Only The Void Stands Between Us sure-footedly takes its place in the post-’70s experimental folk lineage. “This is cosmic folk of the highest caliber. Julie’s vocal melodies grow in your mind like they were planted on the shortest day of the year. An absolute treat for all of us temporal adventurers.” – Ben Chasny (Six Organs Of Admittance)

3rd pressing on 1xLP Black Vinyl with Universe Sparkle Please Note: "The quality of sparkle vinyl is comparable to vinyl with metallic effects" Universe Sparkle: Fine blue glitter Beautiful gatefold sleeve with original art by Daniele Giardini We're excited to announce that we're releasing Chris Christodoulou's soundtrack to Hopoo Games' Risk of Rain 2 DLC SURVIVORS OF THE VOID on limited edition vinyl. The vinyl comes in a beautiful gatefold sleeve with stunning original artwork by Daniele Giardini. While a direct continuation of the original Risk of Rain 2 soundtrack, SURVIVORS OF THE VOID also marks a return to the roots of the ROR music-verse, reintroducing and reimagining several themes from the original game as their void-corrupted counterparts! Heavy on guitars & synths, punctuated by pounding drums, washed in lush reverbs, the album also introduces new timbres with lyrical woodwinds, soaring violins and deranged saxophones. "It's been a fun challenge revisiting these old pieces as was conjuring new ones. The void theme of the DLC offered the opportunity to write some darker-than-usual material, which I really enjoyed, I hope you will too." - Chris

Legowelt returns to Clone Records with yet another sonic journey that defies conventional electronic music boundaries, offering an album that is as eclectic as it is immersive. Blending different styles and textures seamlessly and proving that electronic music can still be creative and that function doesn't always prevail style. He delivers a collection that transports listeners through a kaleidoscope of retro-futuristic sounds, deep grooves, and cosmic melodies. Despite being in the music game for more than 25 years the music from Danny Wolfers remains playful and refreshing. Stylistically taking elements from his whole musical career and not commiting to the latest trend or any genre specifically, and low-key taking the piss with everyone who takes themself to seriously. While many electronic music artists are stuck in their own void, busy pleasing the big room, Legowelt meticulously crafts rich textured soundscapes, balancing between cosmic exploration and the dancefoor, that evoke both nostalgia and futuristic visions. His ability to fuse elements of house, techno, disco and electro with cinematic influences results in an album that is not only ready for club use but also gratifying at home. Each track offers something unique--whether it's the hypnotic rhythms, the lush synth lines, or the subtle, eerie undertones that creep in unexpectedly. Legowelt's attention to detail and passion for his craft shine through, making this album a worthy follow up to his last album on the Clone Jack For Daze series.

Originally released to a fan base and music press that were unprepared for the band to move on from the punk fury of "Crossing The Red Sea", The Adverts "Cast Of Thousands" has since been recognized as a lost classic of the time. TV Smith's cutting observational lyrics and sharp musical instincts saw his song writing grow and move in unexpected directions. The primal thumping was replaced by dynamic and driving drumming, acoustic guitars and probing solos emerged, and Tim Cross joined to add keyboards and fill out the overall sound. The one constant was the pounding throb of Gaye Advert's bass. Encouraged to experiment by surprise producer Tom Newman (Mike Oldfield "Tubular Bells") the band found themselves stretching creatively, both in song writing and recording techniques. They might agonize over the sound of recording a match being lit in the middle of one song, while doing a single take of a vocal via a microphone hung in the bathroom for another. Giant choirs were built meticulously over multiple tracks, while the sound of a rat running through the reverb room would be captured forever. The results wrapped some of TV's best songs in strange and inventive sounds to compliment his anti-pop smarts and rock and roll heart. They did not know it at the time, but the band was falling apart. Tensions would soon rise to the level that replacement players were called in to finish their final tour. Punk fans left them in droves. Critics skewered the singles from the album. Their record label had moved on to the next big thing. Feeling that they had reached a creative peak made the tumble even harder to swallow. Time has been very kind though, and fans discovering punk after the first wave have been able to hear "Cast" for what it is - a brilliant and biting collection of rock and roll. Still full of stomp and swagger even when stripped down on "My Place" or via the anthemic surge of "Television's Over", with TV's hook factory on full display on the anti-love song "Love Songs", and the band closing the album with the creeping ballad "I Will Walk You Home"; The Adverts had grown from a great punk rock band to a great rock band. Black vinyl.

2025 Repress

Sciahri & Hertz Collision take control of this series collaboration EP 035

Vigil is a (heavy & avantgarde) doom/death metal band from the Unites States, with an aggressive sound - yet emotional and obscure, but also beautiful and emotional. A dark doomy road of sorrow and anger. With two bass players and some influences of post-rock, thrash and progressive metal, Vigil is a showpiece of the apocalypse filtered through ears, hands and emotions. The songs range from old-school European styled doom, with an aggressive death touch, like My Dying Bride, Paradise Lost and Katatonia, all the way to current atmospheric post-rock/metal acts as The Ocean, Isis and Intronaut. There are slow tempos to drag you through the emotional pain, and there are blast beats and thrashy grooves occasionally to spice things up

2024 Repress
Clear Vinyl

Arguably one of the best punk albums of the 70s, The Boys self-titled debut (produced by Dangerfield & Steel) is a cult UK classic. The album is filled with the pop punk gems, the kind of immediate salvos that would elevate Buzzcocks into the charts. In the intervening years, the history of punk rock has been written and re-written and a whole heap of bands have been sidelined. The Boys’ debut album, re-mastered here still sounds as fresh and immediate as it did back then and it also includes two classic punk rock singles in ‘I Don’t Care’ and ‘First Time’ (the latter, along with The Undertones "Teenage Kicks", the ultimate punk anthem of teenage romance and adolescent angst). Along with the Sex Pistols, Clash and the Damned, The Boys were part of the first wave of the mid-1970’s UK punk explosion. Armed with an arsenal of killer Steel/Dangerfield songs The Boys became the first UK punk band to sign an album deal in January 1977 and subsequently released two albums, their self-titled debut and the follow-up “Alternative Chartbusters” in quick succession. Highly regarded by the music press and their contemporaries, yet somehow criminally ignored by a wider punk audience, unable to grasp their heritage of vintage rock ‘n’ roll that went back to Chuck Berry courtesy of The Beatles. Their well-crafted songs, together with Steel and Dangerfield’s layered harmonies, even led to them being described as ‘The Beatles of Punk’.

A punk classic, gloriously anthemic power pop from the cult UK outfit. On 17 March 1978, a mere six months after the release of their self-titled debut, The Boys second album “Alternative Chartbusters” was released (once again, produced by Dangerfield & Steel). As AllMusic recognises, “Alternative Chartbusters” was way ahead of its time, a buried treasure that only got dusted off much later: “Condemned at the time for offering up little more than a straight carbon copy of its predecessor, the second Boys’ album has since ascended to the pantheon of power pop greats, a combination of the band's own inestimable position at the forefront of what, by early 1978, was already a burgeoning movement, and their seemingly effortless grasp of the rudiments of, indeed, a great pop song.” Along with the Sex Pistols, Clash and the Damned, The Boys were part of the first wave of the mid-1970’s UK punk explosion. Armed with an arsenal of killer Steel/Dangerfield songs The Boys became the first UK punk band to sign an album deal in January 1977 and subsequently released two albums, their self-titled debut and the follow-up “Alternative Chartbusters” in quick succession. Highly regarded by the music press and their contemporaries, yet somehow criminally ignored by a wider punk audience, unable to grasp their heritage of vintage rock ‘n’ roll that went back to Chuck Berry courtesy of The Beatles. Their well-crafted songs, together with Steel and Dangerfield’s layered harmonies, even led to them being described as ‘The Beatles of Punk’

Partiboi69 strikes poses, chords and hot irons. Australia’s spiciest export since INXS’s front man is a sensation on many (meta-)levels. Musically, aesthetically and hedonistically exhilarating, the man’s man shows his sensitive side on Running Back. Four tracks answer the Call of the Void with a showcase of sounds and moods that are as much informed by the rules of old school dance music (Bodies) as they draw inspiration from classic rave closing tracks (Playin’), plangent pop (Feel This) and a former new romantics band that just discovered house music pre-internet (Call of the Void): surprisingly serious and simultaneously not-so-serious. Composed and executed with serious songwriting skills and an uncanny feel for the aural world of Running Back Records. A mutual pleasure, indeed.

Short: Partiboi69 strikes poses, chords and hot irons. Showing his sensitive side for Running Back with four tracks that are as much informed by the rules of old school dance music (Bodies) as they draw inspiration from classic rave closing tracks (Playin’), plangent pop (Feel This) and a former new romantics band that just discovered house music pre-internet (Call of the Void). A sensation on many meta-)levels and a mutual pleasure, indeed.

Into the void hits from second one. Strong beats lead the way into this dreamlike soundscape, where metallic drum elements and effortless reverb tails take us on a journey. We get lost in a slow build and an unassuming bass-line drives us home, until the track collapses just to hit twice as hard coming back in. Dreamy vocals float over dirty synth lines, melodies that feel familiar guide the way to continuous build ups, where we can’t help but move our bodies to the gritty, thumping bass-line pushing us forward relentlessly.

Tempest is all about the beat. Simple, yet endearing, it reels us in and guides us on an endless rise where fragile synth swells and powerful percussion elements tease our ears. High-pitched glimmers dance across the soundscape with ease. A track that rises again and again, yet never quite implodes in-between. Instead it builds, in the most natural way, skilfully and exquisitely, whilst sirens add a well-rounded urgency, that’s hard to resist.

RIYL: Sigur Ros, Explosions in the Sky, Bark Psychosis, Caspian, Mogwai, This Will Destroy You. Exclusive vinyl colour (Opaque Mix Hellfire), limited to 1000 copies, and features a gatefold jacket, printed two-sided Euro sleeves, four art prints, and download code. Breaking from the strange monotony and abnormal norms that took hold during two years of pandemic life, Hammock returns with Love in the Void, an album that looks to the future, seizes the present, and unabashedly relishes the experiences and bonds that bring meaning to our days. Known for crafting orchestral works of stirring cinematic ambience, on Love in the Void the Nashville-based duo of Marc Byrd and Andrew Thompson bring guitar-forward, heart-pounding urgency to songs that shout through and shatter the static of complacency. Since forming as Hammock in 2003, Byrd and Thompson have released 14 critically-acclaimed albums and are renowned for their unique talent for bringing inexpressible emotion to life. The Covid-19 pandemic followed closely after one of Hammock’s career-defining works, the Mysterium, Universalis, and Silencia trilogy that chronicled the incomprehensible loss of Byrd’s 20-year old nephew. At their homes and apart, Byrd and Thompson then recorded Elsewhere, an album of shimmering ambience that channelled alienated longing and displacement into avenues that gave way to worlds and possibilities yet realized. Shaken awake and needing to break free of frustrations and longings, Love in the Void pulses with an unbridled spirit for action and experience and a burning desire for connection. Across songs that hammer home the keenly felt emotions of life’s highs and lows, Byrd and Thompson crest soaring crescendos awash in reverb and delve to keenly felt moments of quiet introspection, with unflinching lyrics on tracks like “Undoing” and “Denial of Endings’’ that weigh choices made and circumstances that can’t be changed. Lush and dramatic string orchestration from Matt Kidd (Slow Meadow) and emphatic drumming from Jake Finch heighten the stakes in play, and Christine Byrd’s (Lumenette) ethereal vocals leave mysteries lingering in the haze. Love in the Void is Hammock’s loudest album to date, embracing daring and vulnerability with palpable vitality at its core, and moving into an unknown future without fear.

Los Angeles born Nita Strauss has become a force in music. After reaching mass acclaim with her first album, Controlled Chaos, she returns with her second full-length on Sumerian Records, The Call Of The Void. Featuring the highly popular "Dead Inside," and "The Wolf You Feed," the album is a combination of melodic sounds and hard-hitting riffs that Strauss has become known for, proving time and time again that she has solidified her presence as one of Rock's greatest