Cerca:u know

For the 7th installment of their split-series, Dalmata Daniel welcomes both Roberto Auser for his sophomore contribution to the label, as well as a fresh addition to the catalogue: Cestrian, aka. Ali Renault, the tireless Margate-based DJ and producer, well known for his frantic, dazzling and rough releases at labels like Bunker, Cyber Dance Records or Mechatronica.

Massive, thumping kickdrums and hypnotic whispers introduce the first tunes of side A, that is 'Awakening' - Auser's take on slow, EBM-esque industrial vibrations as an eerie, industrial waltz. 'Selvage' drives effortlessly to disco- and retrofuturistic territories, arriving at the closing track of Auser's side, 'Long Night' This third cut is his longest one, steadily building up harmonic layers of dark, intertwining melodies with the devoted beats of a minimalistic drum machine, full of echoes and shimmering high-ends.

Side B starts with the energetic, rolling bassline of 'Satan'. Ideal title for such a fiery, blazing electro hit: if you ever find yourself in any sort of Inferno-situation trying to Shazam that heated banger you hear, it is likely that it's one of Cestrian's intense tracks from this 12". 'Zoltan' delivers a gentle rumbling of a dusty bass-synth. An atmospheric, chill sequence dominates the split's penultimate track, with dreamy chords and smooth twists on a chaotic noise-source. Finishing off the split, Cestrian hits us with 'Lids' - an excited and raw vision of electro, full of hazy sparks and detuned, tense oscillations. The bass cuts into our minds like blades from a giallo-opus, leaving behind nothing but the unsolved mystery of ineffable horrors.

Kristian Matsson has never remained in one place for very long. Having spent much of the last decade touring around the world as The Tallest Man on Earth, Matsson has captivated audiences using, as The New York Times describes, “every inch of his long guitar cord to
roam the stage: darting around, crouching, stretching, hip-twitching, perching briefly and jittering away…Mr. Matsson is a guitar-slinger rooted in folk, and his songs are troubadour ballads at heart.”

Now, Matsson returns as The Tallest Man on Earth with Henry St., his sixth studio album following 2012’s There’s No Leaving Now, full of “vivid imagery, clever turns-of-phrase, and devastating, world-weary observations” (Under The Radar) and 2015’s Dark Bird Is A
Home, his “most personal record… surreal and dreamlike” (Pitchfork). Henry St. notably marks the first time he recorded an album in a band setting. “My entire career I’ve been a DIY person––mostly fueled by the feeling that I didn’t know what I was doing, so I’d just do everything myself.”

But now, longing for the energy that’s only released when creating
together with others, Matsson invited his friends to come and play.
Nick Sanborn (of Sylvan Esso) produced Henry St., which includes contributions from Ryan Gustafson (of The Dead Tongues) on guitar, lap steel and ukulele, TJ Maiani on drums, CJ Camerieri (of Bon Iver) on trumpet and French horn, Phil Cook on piano and organ, Rob
Moose (of Bon Iver, yMusic) on strings and Adam Schatz on saxophone.

Students of Decay presents "Kaivajaiset" by Finnish composer Niko-Matti Ahti. Best known for his work alongside his partner Marja as Ahti & Ahti, Niko-Matti has been an active participant in the Finnish underground since the late 1990s. "Kaivajaiset" is his first solo recording and was originally conceived of as an installation. Part horspiel, part musique concrete, it is a piece of music that draws comparisons to the work of pioneering avant-garde composers such as Henning Christiansen, Annea Lockwood, Luc Ferrari, and Pierre Mariétan. Ahti weaves vivid foley and domestic recordings together with oration and classical instrumentation (violin, clarinet, bass clarinet, and flute) to arrive at an expansive, narrative, and at times thrilling composition. “Kaivajaiset" was exhibited in two Finnish galleries: B-Galleria in Turku (2019) and 3H+K in Pori (2020). The installation drew inspiration from The Diggers' 1649 pamphlet and Michel Foucault's extension of Friedrich Nietzsche’s concept of genealogy, and consisted of sounds, opinion pieces, a print copy of the pamphlet, and four cardboard collages. This record is a summary of the sounds of the installation.

Down across the railroad tracks, on a narrow road called Church Street in West Point, Mississippi, there"s a windowless brick building that"s been converted into a house of worship called The Message Center. One chilly January morning, the original members of a little-known gospel group from Aberdeen, Mississippi, called the Staples Jr. Singers gathered there to play some of their early songs for the first time in nearly 50 years. Many of these songs, which they wrote when they were just teenagers, first appeared on their only full-length release in 1975, When Do We Get Paid (Luaka Bop, 2022), but none have been revisited-until now.

Mit der Veröffentlichung des ersten Full-Length-Albums "Entropic Reflections Continuum: Dimensional Unravel" wurde sofort deutlich, dass VoidCeremony einen Weg beschritten, den nur wenige gehen. Das Album bewies, dass Death Metal mit dem gleitenden, kontrollierten Chaos und dem geschmeidigen Fluss eines Jazz-Quartetts dargeboten werden kann und den Hörer dennoch in einem Kerker gefangen hält, mit wenig HP, ohne Zaubersprüche und umgeben von tödlichen Dämonen.

"Threads of Unknowing" ist eine Reise, die frühere Konzepte wieder aufleben lässt und immer progressivere und technischere Kompositionen hervorbringt. Mastermind und Gitarrist/Sänger Garrett Johnson sowie Gitarrenvirtuose Phil Tougas (Atramentus, Chthe'ilist, Worm, First Fragment) teilen sich hier den Gesang und die Leadgitarre, während Bass-Gott Damon Good sowohl den bundierten als auch den fretless Bass meisterhaft beherrscht und Schlagzeuger Charlie Koryn nicht nur Geschwindigkeit und Brutalität, sondern auch eine feine Mischung aus Präzision und Improvisation aus dem Jazz-Fusion einbringt. Das Endergebnis ist VoidCeremony und ihr unverkennbarer Sound: Zeitschmelzender Death Black Fusion.

Mit einem treffenden Coverbild, das die lyrische und philosophische Vision einer alten und vergessenen Zukunft darstellt, scheint VoidCeremony selbst in einer alternativen Death Metal-Zeitlinie zu operieren, die einst nur kurz präsentierte und bald für mehr kommerzielle Attraktivität zurückgelassen wurde. Doch das Portal hat sich wieder geöffnet und die Verschmelzung dieser grenzenlosen Möglichkeiten und Richtungen wird nun wieder direkt hervorgebracht.

- Das erste Album in voller Länge seit dem Debüt "Entropic Reflections Continuum" von 2020
- Die Vinyl-Version enthält eine Klappeinlage
- Cover-Gemälde von Juanjo Castellano (Majesties, The Black Dahlia Murder, etc.)
- Die Band besteht aus Mitgliedern von Atramentus, Worm, Mournful Congregation, Stargazer, Ascended Dead, Incantation, Chthe'ilist und First Fragment
- Gemischt und gemastert, mit zusätzlichen Synthies von Gabriele Gramaglia von Cosmic Putrefaction
- FFO: Stargazer, Pestilence, Chthe'ilist, Morbid Angel, Immolation, The Chasm, Aenigmatum, Atheist, Timeghoul, Liers in Wait, Innana

Mit der Veröffentlichung des ersten Full-Length-Albums "Entropic Reflections Continuum: Dimensional Unravel" wurde sofort deutlich, dass VoidCeremony einen Weg beschritten, den nur wenige gehen. Das Album bewies, dass Death Metal mit dem gleitenden, kontrollierten Chaos und dem geschmeidigen Fluss eines Jazz-Quartetts dargeboten werden kann und den Hörer dennoch in einem Kerker gefangen hält, mit wenig HP, ohne Zaubersprüche und umgeben von tödlichen Dämonen.

"Threads of Unknowing" ist eine Reise, die frühere Konzepte wieder aufleben lässt und immer progressivere und technischere Kompositionen hervorbringt. Mastermind und Gitarrist/Sänger Garrett Johnson sowie Gitarrenvirtuose Phil Tougas (Atramentus, Chthe'ilist, Worm, First Fragment) teilen sich hier den Gesang und die Leadgitarre, während Bass-Gott Damon Good sowohl den bundierten als auch den fretless Bass meisterhaft beherrscht und Schlagzeuger Charlie Koryn nicht nur Geschwindigkeit und Brutalität, sondern auch eine feine Mischung aus Präzision und Improvisation aus dem Jazz-Fusion einbringt. Das Endergebnis ist VoidCeremony und ihr unverkennbarer Sound: Zeitschmelzender Death Black Fusion.

Mit einem treffenden Coverbild, das die lyrische und philosophische Vision einer alten und vergessenen Zukunft darstellt, scheint VoidCeremony selbst in einer alternativen Death Metal-Zeitlinie zu operieren, die einst nur kurz präsentierte und bald für mehr kommerzielle Attraktivität zurückgelassen wurde. Doch das Portal hat sich wieder geöffnet und die Verschmelzung dieser grenzenlosen Möglichkeiten und Richtungen wird nun wieder direkt hervorgebracht.

- Das erste Album in voller Länge seit dem Debüt "Entropic Reflections Continuum" von 2020
- Die Vinyl-Version enthält eine Klappeinlage
- Cover-Gemälde von Juanjo Castellano (Majesties, The Black Dahlia Murder, etc.)
- Die Band besteht aus Mitgliedern von Atramentus, Worm, Mournful Congregation, Stargazer, Ascended Dead, Incantation, Chthe'ilist und First Fragment
- Gemischt und gemastert, mit zusätzlichen Synthies von Gabriele Gramaglia von Cosmic Putrefaction
- FFO: Stargazer, Pestilence, Chthe'ilist, Morbid Angel, Immolation, The Chasm, Aenigmatum, Atheist, Timeghoul, Liers in Wait, Innana

Last year's Big Time brought Angel Olsen to a deeper, truer sense of self than ever before. Borne from the twin stars of grief and love, the album delivered beautiful sense of certainty, the sure-footed sound of an artist fully, finally at home with herself. But within that wisdom comes the realization that there is no finish line, no destination or static end point to life while you're living it, and Forever Means collects songs from the Big Time sessions that hold this common theme. They are, in Olsen's words, "in search of something else." "I was somewhere traveling," says Olsen, "stopped for a few days and wandering the city, and I was thinking `what does `forever' really mean? What are the things I'm seeking in friendship or love, and how can `forever' be attainable if we're always changing?'" Sitting with the reality of that entropy, Olsen realized "maybe the secret to ongoing love is to embrace change as part of love itself, that forever must have something to do with playing, looking, constantly searching things out for yourself, never letting yourself think you're finished learning or exploring." `Forever'", says Olsen, "remains curious while trying also to be kind and honest." All this packs into the four precious songs that comprise Forever Means, songs from Olsen's roads traveled and the ones ahead. "Nothing's free / like breaking free" Olsen sings, comfortable with the costs of her clarity, her heart and voice fixed on the present, the future, the not-yet-known and the beautifully unknowable

Last year's Big Time brought Angel Olsen to a deeper, truer sense of self than ever before. Borne from the twin stars of grief and love, the album delivered beautiful sense of certainty, the sure-footed sound of an artist fully, finally at home with herself. But within that wisdom comes the realization that there is no finish line, no destination or static end point to life while you're living it, and Forever Means collects songs from the Big Time sessions that hold this common theme. They are, in Olsen's words, "in search of something else." "I was somewhere traveling," says Olsen, "stopped for a few days and wandering the city, and I was thinking `what does `forever' really mean? What are the things I'm seeking in friendship or love, and how can `forever' be attainable if we're always changing?'" Sitting with the reality of that entropy, Olsen realized "maybe the secret to ongoing love is to embrace change as part of love itself, that forever must have something to do with playing, looking, constantly searching things out for yourself, never letting yourself think you're finished learning or exploring." `Forever'", says Olsen, "remains curious while trying also to be kind and honest." All this packs into the four precious songs that comprise Forever Means, songs from Olsen's roads traveled and the ones ahead. "Nothing's free / like breaking free" Olsen sings, comfortable with the costs of her clarity, her heart and voice fixed on the present, the future, the not-yet-known and the beautifully unknowable

Known as ‘Mr. Guitar’, Chet was one of the greatest and most influential musicians in Country
Music. He was an RCA Nashville Producer from the late '50s through to the mid-70's,
masterminding sessions for Dolly Parton, Charley Pride, Waylon Jennings and Jim Reeves. Chet
moved to Nashville and became a session man, playing on records by the Everly Brothers, Elvis
Presley and others, while also performing as a solo artist on the Grand Ole Opry. An in-demand
figure at this point, Chet commenced his own recording career with an instrumental version of
Indian Love Call. Followed by Yankee Doodle Dixie, a showcase arrangement on which Chet
played the Bass strings and Treble strings simultaneously! An architect of the Nashville Sound, he
recorded an instrumental version of the Chordettes' hit Mr. Sandman, which provided him with his
first Country Music chart entry. His records began to cross over into Pop and he enjoyed Hot 100
success with the percussive Boo Boo Stick Beat, Teensville, One Mint Julep, Sleep Walk and Oh
Lonesome Me

Gretchen Goes to Nebraska is the second studio album by American heavy metal/hard rock trio King’s X. It is a concept album based on a short story written by drummer Jerry Gaskill.

The album received virtually universal critical praise for its uniquely progressive musical approach and varied styles and is considered as one of their works, a seminal record within the progressive metal genre. It achieved high slots on various Album Of The Year-lists, including #4 in Kerrang!.

Gretchen Goes To Nebraska is available as a limited edition of
1500 individually numbered copies on gold coloured vinyl.

Malice was one of the more noteworthy bands of the ‘80s Los Angeles metal scene. License to Kill was their second album and was originally released in 1987. Max Norman produced, engineered, and mixed the album, he’s best known for producing several Ozzy albums during the ‘80s, as well as Megadeth’s Countdown to Extinction, and albums of various other metal bands like Y&T, Armored Saint, Savatage, and Lynch Mob a.o.

Old-school Megadeth fans will be tickled to discover that Mustaine and Dave Ellefson are credited with background vocals on two songs. Another guest appearance was made on this album by Tommy Thayer of Kiss. Founder Jay Reynolds later joined Dave Mustaine’s band Megadeth for a brief spell, and after that became a member of Metal Church.

License To Kill is available as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl

For their debut album, Chappaqua Wrestling knew that they wanted to step above the noise of the concrete everyday. “To match their song about political despondency and social change, Jake Mac and Charlie Woods wanted to create surrealist artwork, teetering on the brink of despair and release.

“We wanted to kind of render ourselves in, jumping off this roof with a beautiful landscape behind it,” says Jake. “Falling gracefully, but also potentially not making this crazy fall.”

“It’s a record about exploring,” nods Charlie. “We just wanted to get something that has us thrusting ourselves into this new place, but get this weird eye-trickery thing going on. You want to start a conversation, like is this real? Maybe that’s for us to know…”"

Perhaps slightly better known for his dancefloor-enlivening electro productions, this is actually the third full length ambient album from UK producer Emile Facey under the Plant43 moniker. He's been writing and storing up atmospheric synthesiser experiments alongside his dancefloor oriented output since his last ambient LP The Countless Stones released in 2020, and the eight tracks here are meditative, ethereal affairs, Facey carving out a beautiful set of vivid emotions out of crystal clear pure sounds and arpeggios rolling like gentle waves lapping at a shore. Imagine classic Tangerine Dream combined with the balance and poise of Global Communication and you're getting close.
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Brazilian experimental multi-instrumentalist Carla Boregas follows plates for Bokeh Versions and Hive Mind with a ghostly set of deep listening electronics that plays like a symphony for an imagined woodwind orchestra.

Carla Boregas is best known from her tenure in São Paulo's genre-bending experimental post-punk scene, playing in long-running outfit Rakta as well as other related offshoots. Her solo material has been knottier to unpick, here developing ideas from a collection of unfinished fragments and notebook scribbles exploring the possibility of finding a wind instrument that could be played collectively by several musicians. Coinciding with the pandemic, however, she soon realised the inherent risks involved with sharing breath and so the concept took a different direction, with added resonance.

Boregas developed a synthetic alternative, layering vocals and environmental recordings to suggest wind instrumentation without attempting to mimic it. The sounds here are airy, but rarely diegetic - on the title track, Boregas uses analog arpeggios and plucked, sustained tones to approximate the kosmische world of Ash Ra Tempel or more recently Emeralds, as if trapped in a wind tunnel, moved forward by an unseen force.

There's a whisper of the ancient past that harmonises with Wojciech Rusin's speculative medieval gasps, and Bloedneus & de Snuitkever's severely underheard ‘Milli Mille’, an examination of the ancient Greek aulos. On ’Grafia Do Invisível' the sound is completely different again, but the concept remains, using precise analog drones and minuscule timbral shifts to imitate the character of a wind instrument and simultaneously harmonise with the deep listening meditations of Éliane Radigue and Kali Malone.

A voice enters the frame on 'Sopro’, chopped into deviated gulps and syllables, creating a language that's unfamiliar and percussive. The use of breath is subtle, and vocalisations criss-cross between synths and faint whistles, forming an expression that's different from its predecessors but intrinsically interlinked. This is where ‘Pena Ao Mar’ excels, by viewing breath and its application in electronic music from multiple angles simultaneously. Fans of Lucy Duncombe, Lucrecia Dalt, or Sarah Davachi - don't miss this one.

Underneath his mysterious metal mask, MF DOOM hides the cachet underground legends are made of. After his first group KMD’s sophomore album Black Bastards was shelved by Elektra in 1994, and his blood brother Subroc — one half of the sibling rap duo — passed away, surviving frontman Zev Love X slowly mutated into the supervillain MC known as MF DOOM, and the rap world is better for it.

The 1999 release of Operation: Doomsday marked MF DOOM’s official debut, reintroducing a mysterious figure who would soon become one of underground rap’s greatest voices. Within its 19 tracks, Operation: Doomsday reveals the confluence of DOOM’s tragic past, personal interests and daring creativity. His clever rhymes and remarkable schemes stood out against the landscape, and every sound he touched — from cartoon theme songs, to ‘80s soul, to rap classics and more — got reinterpreted into something brand new and surreal.

Decades later, MF DOOM is still celebrated for all facets of his work and influence. In the face of tragedy, DOOM re-infiltrated the rap game on his own terms, and crafted an instant cult classic. Operation: Doomsday stands as a testament to the power of betting on yourself against all odds.

In 2015, when we launched Hip Dozer, we were overwhelmed by the amount of talent that was still championing this old school way of making beats and the incredible creativity that was circulating in the scene.

In a period where hip hop was evolving so much and going further (sometimes for the better but also for the worse), it was obvious to us that we had to defend this rising scene of young beatmakers who were so attached to the roots of old-school beatmaking but who were always taking it to another level.

It's been 7 years since we created Hip Dozer Records with our first anniversary compilation and that's what makes this compilation so special every time. Its purpose remains the same and will always be to champion the art of beatmaking that we love and to help showcase new artists in the scene.

This year we are lucky enough to have some of our favourite talents from the scene on board with artists like Saib, Flughand, Phoniks, Cookin Soul, SoulChef and Wun Two.

We would like to say a huge thank you to all the artists who have been involved in this project and who have been as enthusiastic as we are in making it happen. It has been such a pleasure since the beginning of this adventure and this is only the beginning. Much love to all of you who listen and support wherever you are.

Day Of Action sees Low Order reinforcing his vision of unrelenting techno-realism. Knowing the Tel Aviv producer’s general direction, it shouldn’t be inherently shocking that his latest 5-track EP comes storming out in radical fashion, immediately punching one in the face with its blunt, incredibly heavy bassdrums. Text by Benedikt Eiden (Lärm & Gestalt ).