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Celebrating 30 years of success, Candlebox has revealed their final studio album, titled 'The Long Goodbye,' will be released on Friday, August 25th via Round Hill Records. Emerging from Seattle’s burgeoning mid-90s grunge scene, Candlebox quickly found mainstream success with their deep, lyrically-driven melodies and big radio hooks, as evidenced by their massive hits “Far Behind,” “You” and “Cover Me” that propelled their self-titled debut album to sell more than 4 million copies worldwide. Their follow-up album, 'Lucy,' earned a platinum certification and solidified Candlebox as a tour de force in the thriving alt-rock scene. While the commercial success of the first album played a pivotal role in the band’s trajectory to the top, it was their raw and unapologetically honest live performances that ultimately solidified their place among Seattle’s elite. In 1998, Candlebox released 'Happy Pills,' which would be their last album before going on hiatus from 2000 to 2006. In 2008, the band reformed and released their fourth album, 'Into The Sun,' and hit the road for the first time in 10 years, touring extensively and releasing 'Alive In Seattle,' a live album that included tracks from every era of their career. 2016 marked the triumphant return of Candlebox with the release of 'Disappearing In Airports,' a more classic rock-tinged album hailed by many critics and fans as their best work in years. Singles “Vexatious” and “Supernova” drove the album to debut at #9 on the Billboard Charts and spurred multiple U.S. and international tours including major festival appearances at Carolina Rebellion, Welcome To Rockville, and Lollapalooza Chile. While these iconic rockers have been blazing full-steam since, releasing their latest album, Wolves, in 2021, Candlebox is now wrapping up their long and illustrious 30-year career with The Long Goodbye.

Dizzee Rascal ist der HipHop Shooting Star des Jahres 2003 in England. Sein Debüt "Boy In Da Corner" bekam überall überragende Kritiken und brachte ihm den begehrten Mercury Award ein. Mike "The Streets" Skinner ist zwar nicht der einzige, der in Dizzee Rascal die Zukunft des UK HipHop/Garage sieht, aber der Mann muss es wirklich wissen.

This 20th Anniversary 3LP release features instrumentals and never before heard rarities, pressed on White, Yellow and Black vinyl in a wide spine sleeve

Four years after they went all the way to Antarctica, Flat Worms are back in gen pop with the rest of us - but, as intoned on the album opener "Sigalert," "back again like I never was." Is this a nod to the way time passes over our sorely vexed synapses? Or are we to believe that there"s hope to be found in this broken world? Kick back with Witness Marks and see what other traces Flat Worms have left us in the dust. The album title alone leaves a foreboding impression. But look closer - "witness marks" aren"t something out of a forensic analysis - they"re actually practical; scratches placed in old clocks designed to aid continued maintenance further in time. Sure, there"s big questions and more on the board; primarily if we"re at all distinct from the absurdity coming down around us, or just another character in the mirror? Flat Worms are looking inward this time, outlining personal space in relation to themselves and others - sometimes even people they barely know. Among the slabs of slategrey outrage, the flowers of compassion are blooming, and the simmering power of their trio grows exponentially. Working once again with Ty Segall, Flat Worms continue to find new answers by digging into themselves and playing their kind of rock: hard and flat, bass and drums thrusting stalwartly forward with conviction, guitar twisting and spinning in outrage, deadpan vocals decrying a dire set of circumstances. The democracy of working together, so often messy and frustrating, was found to be a powerful release for Justin, Tim and Will. Acting as one, Flat Worms navigated challenging times by coming together, finding release in the clockwork repetitions of practice and the shared creative space they occupied together against the encroaching world. In the short century of their existence, Flat Worms have agitated against the status quo with a disquieting lyric bent, to emphasize the psychosis of the times. These are positions taken within songs, sung out to individuals in the world. As evidenced by the lyrics, "But I know I can always see you at the show Even though it"s only temporary and it"s time to go." . . .Witness Marks surveys an evolving sense of community. Flat Worms are dedicated to persevering and using the power of their collective. Come witness!

Four years after they went all the way to Antarctica, Flat Worms are back in gen pop with the rest of us - but, as intoned on the album opener "Sigalert," "back again like I never was." Is this a nod to the way time passes over our sorely vexed synapses? Or are we to believe that there"s hope to be found in this broken world? Kick back with Witness Marks and see what other traces Flat Worms have left us in the dust. The album title alone leaves a foreboding impression. But look closer - "witness marks" aren"t something out of a forensic analysis - they"re actually practical; scratches placed in old clocks designed to aid continued maintenance further in time. Sure, there"s big questions and more on the board; primarily if we"re at all distinct from the absurdity coming down around us, or just another character in the mirror? Flat Worms are looking inward this time, outlining personal space in relation to themselves and others - sometimes even people they barely know. Among the slabs of slategrey outrage, the flowers of compassion are blooming, and the simmering power of their trio grows exponentially. Working once again with Ty Segall, Flat Worms continue to find new answers by digging into themselves and playing their kind of rock: hard and flat, bass and drums thrusting stalwartly forward with conviction, guitar twisting and spinning in outrage, deadpan vocals decrying a dire set of circumstances. The democracy of working together, so often messy and frustrating, was found to be a powerful release for Justin, Tim and Will. Acting as one, Flat Worms navigated challenging times by coming together, finding release in the clockwork repetitions of practice and the shared creative space they occupied together against the encroaching world. In the short century of their existence, Flat Worms have agitated against the status quo with a disquieting lyric bent, to emphasize the psychosis of the times. These are positions taken within songs, sung out to individuals in the world. As evidenced by the lyrics, "But I know I can always see you at the show Even though it"s only temporary and it"s time to go." . . .Witness Marks surveys an evolving sense of community. Flat Worms are dedicated to persevering and using the power of their collective. Come witness!

Recorded in 1989 on the remaining ten minutes left at the end of Swiz’s Hell Yes I Cheated reel-to-reel and originally released at the time as a 33 RPM 7-inch, this 2023 release presents a 12-inch 45RPM version remastered by Tim Green with an extra song recovered from the tape archives of Jason Farrell. The brief story of Fury: At some point in 1989, members of Washington DC punk bands Swiz and Ignition formed Fury as a loose experiment with no intentions beyond being a diversion. The band existed for a few months, wrote six songs, and played two shows. Shawn Brown and Chris Thomson switched their musical roles from their regular bands as vocalist and bass player. The eyes-closed leap into those unfamiliar positions imbued the recording its feeling of deranged chaos, while the well-seasoned duo of Jason Farrell and Alex Daniels nailed down each song with the signature agility and power displayed in their more familiar work together. The recording is a vexing listen that sounds like a Neapolitan swirl of Swiz, Void, and the Germs. Was it precision theatre? Or was it a natural step back into a more primitive and comfortable place for four young veterans that just wanted to fill the daily void of existential restlessness? The track “Resurrection” famously made it onto the final Swiz LP. The final track “Last One” got cut off halfway through recording and the band looped and spliced it into a dizzying psychedelic nightmare / masterpiece. The recording has faded into somewhat of an obsurity, a footnote to the larger careers of all of its members. In its time, it was revered by a small cult of obsessives from numerous early ’90s underground punk circles. It notably had a pronounced influence on the emerging Gravity Records scene, where its echoes can be heard on quite a few of the earlier releases. Resurrection is finally getting the deluxe treatment that it deserves after 34 years!

Augustus Muller (Boy Harsher) hat sich erneut mit Four Chambers zusammengetan, um CELLULOSED BODIES zu veröffentlichen, das die beiden Scores Crash und Automation enthält und über das Label Nude Club Records erscheint. Four Chambers ist das "Projekt" der experimentellen Pornografin Vex Ashley, Filmemacher, Fotograf und kulturelles Phänomen, wie er selbst sagt.
Beide Partituren dienen als Begleitmusik zu Filmen, die Ashley letztes Jahr über Four Chambers veröffentlicht hat.
Crash und Automation demonstrieren Mullers Beherrschung strenger, industrieller Klangwelten. Muller geht jedoch noch einen Schritt weiter, indem er Club-Elemente wie Nu-Disco-Tendenzen und Vocal-Samples einführt. Auf diese Weise greift er das Thema Körper und Maschine auf, das auch in den visuellen Inhalten der Filme behandelt wird. Crash ist eine Hommage an David Cronenbergs gleichnamigen Film von 1996. Sowohl Ashley als auch Cronenberg erforschen die Erotik von Autounfällen, ein Fetisch, der sowohl mechanisch als auch blutig wirkt. Diese gewalttätige Gegenüberstellung ist die eigentliche Inspiration für Muller. Body and Machine" aus Crash ist eine pulsierende Synthie-Hymne, die sowohl synthetische Echos als auch verspielte Highlights enthält. "Perverse Technology" ist eine groovige und disharmonische Nummer, während "Sharing a Smoke" eine düstere Strenge hat, man kann fast sehen, wie die Hände über Ledersitze gleiten, Glasscherben auf verschwitzte Körper prallen und Küsse mit offenem Mund im Scheinwerferlicht.

If your brain has a shortlist of bands that instantly evoke New Wave, Suburban Lawns deserve a slot right next to the likes of Devo, Talking Heads and the B-52’s. After putting out two singles on their own Suburban Industrial imprint, the Lawns signed to I.R.S. Records and released their debut LP in 1981. While the band gained cult status thanks in part to a Jonathan Demme-produced music video which aired on Saturday Night Live, their self-titled album would sadly be the five-piece’s only full-length statement. Suburban Lawns’ asymmetrical aesthetic is personified by co-vocalist Su Tissue, whose mesmerizing stage persona was at once childlike and terrifying. Her unique style embodies the awkward/arty female singer of the Reagan era, while the group’s male vocals—courtesy of Frankie Ennui, Vex Billingsgate and John McBurney—maintain the satirical themes of Southern California’s postwar mirage of limitless sprawl. Suburban Lawns’ catchiness can be attributed to their drum-tight performance and taut songwriting. Listen to the vocal trade-offs on “Anything,” which could have easily come out on any purely Punk label from LA at the time, while Tissue’s deadpan delivery on “Janitor” glides into the best art-warble this side of Lene Lovich, broaching the possibility of nuclear annihilation with a murmured “Boom, Boom, Boom, Boom.” From a West Coast scene dominated by 7-inch singles and EPs, the Suburban Lawns’ lone LP remains in a class with precious few. It’s not surprising that they found acceptance in the Hollywood punk scene, despite their Long Beach roots, and would influence other bands such as Minutemen. This is not a disc that will get parked in your collection hoping to get pulled once in a while; this is a record you will play.

Das intensive, neue Album der britischen Alt Metal Durchstarter!
2021 haben die UK Alt Metal Durchstarter VEXED mit ihrem Debut Culling Culture eines der aufregendsten Alben des Genres veröffentlicht. Mit roher Brutalität und urbaner Attitüde entpuppte sich die Band als die Neuentdeckung der Szene und weckte schon bald großes Medieninteresse. Ein durchschlagender Erfolg, an den das Quartett jetzt mit dem Nachfolgewerk anknüpft, das unter dem Titel Negative Energy am 23. Juni 2023 über Napalm Records erscheint. Auf ihrem Zweitwerk stellen VEXED ihr neues Selbstvertrauen unter Beweis. Brachialer und ungezügelter denn je verarbeiten sie dabei Themen wie Tod, Verrat, Schmerz und Trauer durch markerschütternd ehrlichen, modernen Sound.

Wie bereits der Titel erahnen lässt, hält Negative Energy nichts von erzwungener Positivität. Vielmehr dienen die 13 neuen Songs als Selbsttherapie gegen den aufgestauten Frust der Band. VEXED verpacken tiefgründige und ergreifend ehrliche Lyrics und laufen dabei zu musikalischer Höchstform auf.

„Um Stärke zu finden mussten wir zuerst akzeptieren, dass es uns nicht gut geht, unser Trauma annehmen und uns ihm stellen, indem wir unsere Verletzlichkeit, Ängste und Schwächen teilen”, fügt die
Band hinzu. Negative Energy erweist sich als atemberaubendes, zerstörerisches musikalisches Ventil, das VEXED hernehmen, um vorhandenem Schmerzund Frust Luft zu machen und den frei gewordenen Platz voller Wucht mit Leben zu füllen.

Erstes Soloalbum des Queenryche Sängers Todd La Torre. Die durch die Pandemie verschobene Queenryche Tour bot Todd La Torre die Gelegenheit,das lang geplante Soloalbum zu verwirklichen. Todd tat sich mit seinem langjährigen Freund Craig Blackwell zusammen. Wie bei Queensrÿche's The Verdict spielte La Torre Schlagzeug und übernahm die Vocals, Blackwell spielte Gitarre, Bass und Keyboards. La Torre und Blackwell produzierten das Album selbst, zogen jedoch Queensrÿche- Produzent Zeuss hinzu. Gastauftritte von Jordan Ziff (Age Of Evil, Metalhead, Ratt) und Al Nunn. Insgesamt zeigt sich der Solo-Output vielseitig, ohne die progressive Basis von Queensryche zu vernachlässigen. Die Grundlagen sind allerdings mehr im klassischen Metal verortet und werden mit verschiedenen Einflüssen kombiniert. . Der Opener "Dogmata" oder "Vanguards Of The Dawn Wall" kommen mit mächtig Speed um die Ecke und mixen Heavy mit Speed und Thrash. "Pretender" erhält einen leichten epischen Touch und La Torre bewegt sich stimmlich in überraschende Höhen. Metallisch klassisch wird es mit "Hellbound And Down", dem starken "Vexed" und "Rejoice In The Suffering". Der progressive Part kommt bei "Darkened Majesty", "Apology" oder "Critical Cynic" zum Tragen. Die Balladenfreunde hören in "Crossroad To Insanity" rein.Zum Schluss gibt es mächtig dunkle Töne zu entdecken - "One By One . Craig Blackwells Gitarrenspiel setzt den Gesang von La Torre musikalisch perfekt in Szene. Todd findet sogar Vocals, die noch nie zuvor von ihm gehört wurden, wie auf dem Titeltrack und dem bestechenden "Vanguards of the Dawn Wall" zu hören ist. 2021 nur in den USA veröffentlicht, macht ROAR dieses Juwel nun endlich auch in Europa erhältlich, zusätzlich in 2 luxuriösen Vinyl Versionen. "Rejoice The Sufffering"ist ein herausragendes Opus von einem spät berufenen Sänger, der völlig losgelöst beweist, wie man eine wuchtig-moderne und vitale Metal Scheibe schreibt, arrangiert und produziert Für alle Queensryche Fans und Liebhaber des klassischen Metal.

After the "curfew" (cf. album Out Past Curfew) and the "strange time" of adaptation following the health crisis (cf. EP Stranger Times), comes the relief and the open up to the world until now confined: the Salvation. Third artistic collaboration for Youthstar & Miscellaneous, the album Salvation is a 13 tracks journey with strong and optimistic subjects such as motivation, the quest for happiness, mixed with more melancholic themes such as addictions or dependency but always through incredible percussive flows and chorus with heady gimmicks that make you want to headbang! Faithful to the rap/hip-hop that forged the duo, this album also borrows the codes of electro, trap, bass music or even reggae. We find on this album a whole crew of top notch beatmakers such as Tha Trickaz, La Fine Equipe, as well as renowned artists & MCs like Biga*Ranx, Dope D.O.D, FP from ASM... Ltd. col. LP (splatter)!

Jeugdbrand is the voice (Dennis Tyfus) and the beat (Jeroen Stevens) of Antwerp. They perform a sparkling drama, a theatrical tragedy, marinated in our classic Antwerp anarchic sense of humor. Recorded at Joris Caluwaerts’ Finster Studios - a landmark in Belgian music.

Inside the multiverse that is Dennis Tyfus’ oeuvre there exists this body of detailed pencil drawings of various sizes. In these drawings the artist puts himself in many tragic situations. Like vomiting on his way home after a long night at the bar. Boiling right wing idiots. Telling sweet little lies on your Tinder profile. Or, you know, taking out the garbage on a Sunday evening. The horror. These seemingly hermetic pencil drawings show a deceivingly simple world. But you’re often stuck with a bitter aftertaste when you understand a bit more what is actually happening behind the colorful masque.

When it comes to his music - and in contrast to aforementioned drawings - Dennis pencils a more piecemeal picture. His recordings and performances often feel like spliced excerpts. Strange sentences and funny remarks waiver by and interconnect. Musical symbols are casually thrown on the table. Instead of a clear picture, we now have the feeling of looking at a bunch of different doodles. Like… sometimes I have the feeling compared to how focussed Dennis works on his drawings, how unfocussed and sketchy he treats his music. We are simply thrown from emotion to emotion. From laughter to tears. It’s a bumpy ride.

I’d like to imagine that Dennis constantly notates all the shards of conversation he picks up during his regular walks in the centre of Antwerp - a wormhole congested with characters, the one more tragic than the other. In a kind of R. Murray Schafer way, Dennis takes in every sentence very un-arbitrary… and that’s the soundscape. Dramatic, normal, boasted, silly, urgent…

Enter Jeroen Stevens. Antwerp’s number one percussionist. If I would have to list all the bands he performs in this text, well, we would be truly wasting data and printers. Jeroen is the grand gift of the wellschooled session musician. But thank the heavens of white improv, he is also sweet and creative. Jeugdbrand is his second entry in the Edições CN catalogue, after taking care of some of the percussive fragments on the “KAGIROI" LP with Sugai Ken (2021). Recently Jeroen has been performing very lengthy - thus correct - performances of Satie’s Vexations for midi instrumentation; Christmas music; and his famed De Stoeltjes project, where he covers Stooges songs on a camping chair. Apparently much to the confusion of Iggy himself. This might all feel like a big joke to you, but when you dare to listen, you will have to admit that Steven’s adventurous music is very rewarding. Special stuff.

The music of Jeugdbrand reminds me a bit of the music of the late Ghédalia Tazartès - especially when it comes to reinterpreting and combining musical idioms - but trying to put a direct reference on this album does it a bit short. Most important, this is music how it could be: incomprehensible, hilarious, serious, ludicrous, well crafted, sloppy, non-genre. With a strong sense of personality. You know, a fragmented beam for your own overstimulated temple. To shake things up a little … “They told us, they told her. I told everybody.”The albums comes with a drawing by German artist Albert Oehlen and with a text by Angela Sawyer of Weirdo Records, Boston.

After previously releasing stand-out music on labels such as VEX, DPR, Rhythm N Vibe, Obstacle Records and on his own imprint Moodwing, DJ Perception has decided the time is right to truly express himself via the album format. As the standard bearer of modern UKG and after 1.5 years in the making Timehri is extremely proud to finally unveil DJ Perception's debut album, Journey To The Star. A 2x12" LP built for millennia in the future, retrieved during Perception’s deep exploration through space, guided by a faint starlight in the outer reaches and beamed back to earth for your listening pleasure.

As a forward thinking bridge between UK Garage and House music, Timehri Records has established itself as a fiercely independent, leading contributor to the underground scene in the UK and overseas since its inception. Three records deep, production guest mixes via cassette and events for the sonic purist provide the output for this label, who’s emphasis on heritage and the afrofuturistic ideas that underpin it, hold huge importance.

Vexed Sphere is proud to present its first vinyl release, 'VS4 - Various Artists', featuring four techno producers based in North America. On the A side, Müzmin (San Francisco) delivers 'Acid Sag', a peak-time, twisting, mental, stomping frenzy, and JX-216 (San Francisco) provides a thunderous, percussive drum workout with 'Argenteum'. FadeFace (NYC) opens the B side with 'Dispatch', an infectious, intercosmic groove, and Sone (Seattle) closes the record with 'Serriform', a thick, tension-building, subterranean roller.

All Tracks are written by - Thee Church Ov Acid House - (Oliver Bradford. Jörn Elling Wuttke) Klangfabrik Frankfurt am Main 2021
Published by Copyright Control - Exept A2 Produced by Jörn Elling Wuttke Oliver Bradford, Jörn Elling Wuttke by Courtesy of Vexed FM
Beat Poetry written and performed by Georg Heunoske
Mastered by Andreas Lubich In Memory Ov Andrew Weatherall and Genesis P-Orridge

The subterranean slumber of Nile mastermind Karl Sanders’ Eastern-ambient Saurian series finally ceases with the third chapter of his darkly hypnotizing saga, Saurian Apocalypse! The album’s musical and lyrical themes detail the vexing fictional journey of Dr. Eduardo Lucciani, one of very few survivors of mankind’s self-destruction, who descends into madness after discovering the violent horrors occurring at the hands of the Saurian Masters. Emphasized by unique instruments like the baglama saz (Turkish lute), Ancient Egyptian Anubis Sistrum, Dumbek (Middle Eastern goblet drum), glissentar and gongs, the album’s score weaves cinematic auras and deep grooves, accented by the tribal percussive stylings of original Nile drummer Pete Hammoura and returning Saurian vocalist Mike Breazeale. Whispering atop the ominous sands of opener “The Sun Has Set on the Age of Man” are resonant flutes, forewarning percussion, and an exquisitely tasteful and contextual acoustic guest solo by guitar virtuoso Rusty Cooley – kicking in the massive doors of Saurian Apocalypse. Immediately, the album’s impactful production and crystal clarity versus its predecessors is apparent

Limited to 500 copies worldwide.


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

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

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

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

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

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

Hailing from Adelaide, Australia's CHARNEL ALTAR formed in late 2018. Not long after, the band's self-titled debut demo followed in January 2019. Originally self-released digitally, a cassette version was soon released by Desert Wastelands Productions and a 12" vinyl version by Seed of Doom Records and Impure Sounds; a tape re-release then came in mid-2020 via Blood Moon Productions. With this underground momentum building, CHARNEL ALTAR released a split EP with fellow Aussies CARCINOID, which was released on tape by Headsplit Records and on 10" vinyl once again by Seed of Doom. During all this, CHARNEL ALTAR became a prolific force on the live front. Their first show was supporting Uada, and they went on to play with the likes of Incantation, Krisiun, Integrity, Primitive Man, Faceless Burial, Gutless, Ignivomous, and Vile Apparition. A tour with CARCINOID was planned for 2020, but was unfortunately cancelled due to the Coronavirus pandemic. Nevertheless, CHARNEL ALTAR make their full-length debut with the slimy 'n' stultifying Abatement of the Sun. Horrific and harrowing, churning and gestating with utter dread and doom, CHARNEL ALTAR's death metal is like a slo-mo melting of mind and matter. One could arguably qualify it as death-doom, but the band's version of such evades easy categorization and aims more for hovering tension and paradoxically spacious density - indeed, like old(er)-school death metal dragged through tar but trudging forward like a tank. That all three members previously played together in the cult Tombsealer - who toured nationally in support of Mournful Congregation and played with such acts as Dead Congregation, Portal, Fetid, Windhand, Cough, Inverloch, and Nocturnal Graves to name a few - shows in their seemingly effortless execution, that these dreadful 'n' doomed-out ruminations have been simmering in their hearts for time eternal. Or, put another way, Abatement of the Sun is all-too-perfectly titled: the end is not just nigh; it's NULL.

Eyedress' fourth album 'Mulholland Drive' is the latest evolution of the
Filipino musician's unique sound
Following his 2020 breakthrough 'Let's Skip To The Wedding', which introduced
global hits 'Jealous' and 'Romantic Lover', the new record features collaborations
with some of his favourite artists - King Krule, Dam-FunK, Triathalon, Vex Ruffin
and more, while staying true to his vision."This album is about loving yourself and
your life" Eyedress.
Album art by Brain Dead.
Recent Eyedress highlights:
'Jealous' hit 240M streams across platforms.
'Romantic Lover' hit 60M streams across platforms.
#14 Rolling Stone's 'Trending 25' for 'Romantic Lover'.
#19 Rolling Stone's 'Breakthrough 25', featuring "the fastest-rising artists of the
month".
Radio support from from Phil Taggart on BBC R1, Jamz Supernova on 1Xtra,
Steve Lamacq Tom Ravenscroft & Gilles Peterson on 6Music, and BBC Asian
Network.
Press support from Pitchfork, Hypebeast, DIY, Dummy, FADER, Alternative Press,
Pigeons and Planes, and Crack.

Jesus and Mary Chain, Shop Assistants, Black Tambourine, Sarah Records, My Bloody Valentine. Star Party began in March 2020 as a Seattle living room project between Carolyn Brennan and Ian Corrigan (Gen Pop, Vexx) - both sharing a love of high energy rock n roll music. The idea to start a band percolated during trips to the high deserts of eastern Washington to pick sage and see the sun as a brief reprieve from the misty and grey Pacific Northwestern Spring. A few months later, Star Party released Demo 2020 on Feel It Records, featuring two originals and covers of The Shop Assistants' "Something to Do" and the classic "All I Really Wanna Do" (in the vein of Cher's version). Over the course of 2021, Star Party wrote and recorded their debut LP, Meadow Flower, wherever and whenever they could. Employing like-minded Feel It label mate Caufield Schnug of Sweeping Promises (who also moonlights as one part of Melody Men Mastering) to mix and master the album, Meadow Flower follows a direct line from where Demo 2020 left off. Brennan's soft and clearly American vocals float over waves of feedback and drum machine racket like a delicate mist sitting just above a mountain lake. Melodies bob and weave inside an omnipresent static that fills in every nook and cranny of the recording. Drawing from a quiver of influences such as Black Tambourine, Confuse (JP), The Count Five, and of course The Shop Assistants (RIP Alex Taylor), Star Party's debut album seamlessly meshes together noise, melody, and harmony

E-L-Rs zweites Album "Vexier" oszilliert elegant zwischen samtener Dunkelheit und Ausbrüchen wilder Energien. Der Stil der Schweizer wird oft als "Doomgaze" oder "Post-Metal" bezeichnet, und beide Begriffe treffen durchaus auf die mäandernden Down-Tempo-Doom-Epen des Trios zu. E-L-R variieren und verzerren hypnotische Riffs in sich wiederholenden Schleifen, die an schamanische, mit psychedelischen Farbspielen durchtränkte Rituale erinnern. Ausdauernd und sorgfältig webt das Trio einen subtilen Klangteppich, dessen Motive in ein Labyrinth voller verschlungener Details und verborgener Schätze locken.
"Vexier" gibt seine Geheimnisse nicht so leicht preis, denn in seinen Klangschatten verbergen sich zahlreiche Details und überraschende Wendungen, so wie es der Albumtitel bereits andeutet. Dieser leitet sich vom lateinischen Wort "vexare" ab, was so viel wie "plagen, irritieren" bedeutet und sich im Begriff "Vexierbild" wiederfindet. Dialektal kann "Vexier" auch ein Geduldsspiel meinen.
E-L-R wurde 2016 in der Schweizer Stadt Bern von I.R. (Bass) und S.M. (Gitarre) gegründet, die beide auch den Gesang beisteuern. Bald gesellte sich der Schlagzeuger M.K. dazu, dessen gefühlvoller und komplexer Stil sich als die perfekte Ergänzung erwies. Ihr Debütalbum "Mænad" (2019) wurde von Fans und Kritikern gleichermaßen hoch gelobt.
Mit "Vexier" machen E-L-R einen weiteren entscheidenden Schritt nach vorne und laden auf eine abenteuerliche Reise durch ihren ebenso faszinierenden wie multidimensionalen musikalischen Kosmos ein.

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.

If your brain has a shortlist of bands that instantly evoke New Wave, Suburban Lawns deserve a slot right next to the likes of Devo, Talking Heads and the B-52's. After putting out two singles on their own Suburban Industrial imprint, the Lawns signed to I.R.S. Records and released their debut LP in 1981. While the band gained cult status thanks in part to a Jonathan Demme-produced music video which aired on Saturday Night Live, their self-titled album would sadly be the five-piece's only full-length statement.

Suburban Lawns' asymmetrical aesthetic is personified by co-vocalist Su Tissue, whose mesmerizing stage persona was at once childlike and terrifying. Her unique style embodies the awkward/arty female singer of the Reagan era, while the group's male vocals – courtesy of Frankie Ennui, Vex Billingsgate and John McBurney – maintain the satirical themes of Southern California's postwar mirage of limitless sprawl.

Suburban Lawns' catchiness can be attributed to their drum-tight performance and taut songwriting. Listen to the vocal trade-offs on "Anything," which could have easily come out on any purely Punk label from LA at the time, while Tissue's deadpan delivery on "Janitor" glides into the best art-warble this side of Lene Lovich, broaching the possibility of nuclear annihilation with a murmured "Boom, Boom, Boom, Boom."

From a West Coast scene dominated by 7-inch singles and EPs, the Suburban Lawns' lone LP remains in a class with precious few. It's not surprising that they found acceptance in the Hollywood punk scene, despite their Long Beach roots, and would influence other bands such as Minutemen. This is not a disc that will get parked in your collection hoping to get pulled once in a while; this is a record you will play.

Soul Jazz Records new 'Two Synths, A Guitar (and) A Drum Machine' is a new collection of current D-I-Y post-punk bands shaped by the mutant sounds of no wave, punk funk and New York Noise bands from the late 70s and early 80s that collided with the world of underground dance music found at the Paradise Garage, Mudd Club in New York City (ESG, Arthur Russell, Bush Tetras, Talking Heads, Suicide, Liquid Liquid). Other influences cited here include Manchester and Sheffield's industrial post-punk sounds of the 1980s (Joy Division, Cabaret Voltaire, Gang of Four) as well as the 1970s German electronic experimentalism of Cluster, Neu!, Harmonia and Can. Featured artists from around the globe include Los Angeles D-I-Y band Automatic, New Fries from Toronto, artist/music collaborators Toresch from Germany, Susumu Makai from Japan/UK, VexRuffin from the Philippines/California and Madmadmad, Gramme, Tom of England and other UK groups. That all the bands featured here manage to make distinctive contemporary music out of these 80s roots is testament to the wide range of other musics that are seamlessly absorbed into a modern melting pot of sound - hip-hop, the electronic European avant-garde, rave culture, and more.

Innerhalb der letzten Jahre hat ein ganzer Pit an schlagkräftigen Bands, wie exemplarisch Whitechapel,
die Flamme des progressiven, modernen metal neu entfacht: die Leerstelle aus roher Brutalität und einem
gewissen Maß an urbaner Attitude blieb jedoch bisher unbesetzt. Die britische Kombo VEXED aus Hertfordshire sind eine der wohl spannendsten Neuentdeckungen und präsentieren auf ihrem lang erwarteten
Debüt Culling Culture eine Mischung aus aggressivem Groove und brodelnder Atmosphäre.
VEXED Front-Dame Megan Targett verbindet stechend-scharfe, tiefe Growls, cleane Vocals und rapnuancierte Texte (siehe ”Fake” und ”Weaponize”) mit schlagfertiger Leichtigkeit und wird von den technisch versierten Bandmitgliedern Willem Mason-Geraghty (Schlagzeug), Jay Bacon (Gitarre) und Al Harper
(Bass) unterstützt.
Starke Riffs à la Genre-Größen wie Meshuggah, Periphery und Vildhjarta, kombiniert mit stratosphärischen
Soli und Leads beweisen, dass VEXED die größten Open-Air-Bühnen ebenso souverän beherrschen, wie
klassische Hardcore-Shows.
Mit sehr persönlichen Erfahrungen gespickt, ist Culling Culture eine Hommage an Hass, Verrat und Wut,
während es gleichzeitig die postmoderne Gesellschaft mit auffallend ehrlichem Songwriting und schwerem
Groove reflektiert. Hass kann entweder zerstören oder echte Stärke verleihen, und auf diesem 11-Tracks
starken Album beweisen VEXED das Letztere.

Guedra Guedra presents Vexillology, an elevation of tribal consciousness and futurism from underground musical universes. The album offers listeners an immersive experience made from hypnotic and rhythmic arrangements, rooted in ancient culture. Referring as much to Sub-Saharan as to North African cultures, Guedra Guedra presents a synthesis of his pan-African appreciation and a full immersion into the traditional rhythms of these lands, especially within the Berber culture which is found in countries such as his home of Morocco, and across Tunisia, Algeria, Libya, Northern Mali, Northern Niger and beyond. The body of work is a complete celebration of cultural roots and future bass, bubbling in hotbeds of the global underground. Guedra Guedra is synonymously known for his ability to explore tribal rhythms and instruments of the past, as well as dancefloor innovations from contemporary underground scenes. For Vexillology and in true Guedra Guedra style, a myriad of immersive recording techniques were applied. The album is built upon a multitude of field recordings capturing live and 'in the moment' cultural happenings, encountered in everyday life, at tribal festivities and also on his travels. By also using video in his field recordings, Guedra Guedra enables himself to encapsulate the heat and entirety of the moment, applying this 'moment' and evolving it into his productions.

Steve Von Till has charted an extraordinary musical path over the last several decades, from his main duties as singer and guitarist of the boundary-breaking Neurosis to the psychedelic music of his Harvestman project and the gothic Americana he's released under his own name. But No Wilderness Deep Enough is truly like nothing you've ever heard from him before—an album that's devastatingly beautiful and overwhelming in its scope, reminiscent of the tragic ecstasy of Nick Cave and the Bad Seeds' recent work as well as the borderless ambient music pioneered by Brian Eno, late composer Jóhann Jóhannsson's glacial compositions, and the electronic mutations of Coil. 

FOR FANS OF : MARK LANEGAN/MICHAEL GIRA/NICK CAVE.

Over the course of recent time, an aching, growing void has developed where our normal way of life has resided. Uncertainty abounds, and Steve Von Till's No Wilderness Deep Enough provides a voice of existential wisdom and experience to offer comfort and perspective in an era of uncharted territory. These six pieces of music shape a hallucinatory landscape of sound that plumbs the depths of the natural world's mysteries and uncertainties—questions that have vexed humanity since the dawn of time asked anew amidst a backdrop that's as haunting as it is holistic.

Von Till’s fifth solo album is a swirling and iridescent blend of ambient, neo-classical, and gothic Americana that swan-dives into the darkness of modern life, with the resulting emergence a sonic document of rural psychedelia that transcends the physical world—towards a greater spiritual acceptance that connects naturalism, spiritualism, and the corporeal form.

With a foundation of simple melancholy piano chord progressions embellished with mellotron, cello, french horn and electronic treatments Von Till's scorched ache spreads across the terrain of No Wilderness Deep Enough like a brushfire, adding a tactile level to his sonic creation as well as an inviting level of friction to the burning beauty painted across the album's framework.

With a foundation of simple melancholy piano chord progressions that came to fruition during jetlagged nights in his wife’s childhood home in Germany, No Wilderness Deep Enough was further embellished with mellotron and electronic treatments in Von Till’s home studio in North Idaho.  Viewing the emerging result as an ambient instrumental album, he consulted friend and engineer Randall Dunn (Marissa Nadler, Earth) about adding live cello and french horn and piano in a proper studio.  After enlisting Brent Arnold on cello and Aaron Korn on french horn, he challenged Von Till to sing over the music and make it his next solo album—which is exactly what happened, with final work being completed at Tucker Martine’s (the Decemberists, Neko Case) Flora Recording and Playback in Portland.

This massive 12” EP combines some of Sublove’s rarest releases with a brand new surprise. Vexation is an AMAZING track that was recently discovered by Sublove sitting on a DAT. How this superb piece of amen mayhem wasn't released I just do not know, but finally it gets its day on wax, where it always deserved to be. A huge 1994 styled jungle Amen roller, truly amazing. This track sits next a bunch of other tough to find and mindblowingly good Sublove tunes. Get in!

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

BOA is a new collaboration from Best Available Technology and Orvis Arum, this 12” is their debut release

The duo explore dub and classic UK bass vibes in heavy, desiccated forms, produced entirely across an array of analog gear

RIYL Vex’d, Andy Stott, Kahn, Cannibal Ox, K-Lone, DJ Normal, V.I.V.E.K., Old Apparatus

12” is backed with a humid, animated remix from Mosca that features various strands of BOA’s DNA from these two originals, as well as their forthcoming debut album Outer Gateways

Seefeel, Peel Session, 27/05/94: Eine Liveband-Session von Seefeel aus der Phase ihres "Succour" Albums (1995) mit den exklusiven Tracks "Rough For Radio" und "Phazemaze", die nirgendwo sonst zu finden sind.

Zur Sommersonnenwende 2019 nahm Warp den Onlineradiosender NTS für ein ganzes Wochenende in Beschlag, um die Feiern zu seinem 30-jährigen Jubiläum zu eröffnen. Über 100 Stunden Programm mit Mixsets, Dokus, Live-Performances und Sessions des gesamten Warp-Artistrosters von Aphex Twin über Brian Eno bis Kelela samt Gästen wie Ryuichi Sakamoto wurden von hunderttausenden Fans weltweit live verfolgt. Jetzt knüpft Warp mit der Veröffentlichung der "WXAXRXP Sessions" an diesen Event an, einer Serie aus zehn 12" Vinylen mit Radiosessions aus 30 Jahren Labelgeschichte, von frühen Peel Sessions bis zum diesjährigen WXAXRXP x NTS Wochenende, allesamt in höchster Audio- und Design-Qualität. Feat. Boards Of Canada, Aphex Twin, Flying Lotus, Bibio, Oneohtrix Point Never, Mount Kimbie, u.v.a.

Portuguese multi-instrumentalist SAIR and American vocalist and boogie producer Adam Chini are known for their respected releases on the most go-to boogie labels of the moment, like Omega Supreme, Star Creature Universal and Hobo Camp.

They've now teamed up to deliver 2 stunning slices of modern Synthy Soul on Boogie Café's Neon sister label. With Adam's dope vocals on the A and the SAIRs jazzy instrumental on the flip... this is already getting early support from headz worldwide.

DJ Support:

Liquid Pegasus, Razor'n'Tape, Danny Spence / Austin Boogie Crew (ABC Records), Andrew Morgan (PPU Recordings / Ear Cave), Boogie80, Marcia Carr (Mi-Soul Radio), Dennis Probert (Ghetto Disco/ Liverpool Disco Festival), Natasha Kitty Katt Probert (Suncenbeat/Ghetto Disco/ Liverpool Disco Festival), E.Live (Elivity), Pepe Hausius (Born To Shine), Paul Conroy (Soul Train Radio), Mike Vitti (Mi-Soul Radio), Deli Gee (The Touch), Vex Kiddy (Royale Athlete, Germany), Yam Who (ISM/Midnight Riot), Gwizski (Omega Supreme Records), Dave Jarvis (Love Vinyl), Teddy Mike (Neon Finger), Feel The Real Soundsystem.

Beware of the blazing sun when she's orange and transparent.
Overwhelmed with the ecstacy of flight, Icarus soared into the sky like a bird, or rather a god. Drawn by desire for the heavens, he ascended higher and higher towards the sun. When the heat melted the wax on his wings, he fell from the sky and vanished into the dark blue ocean, where feathers, still today, ride the waves of the Icarian Sea. Aimed at dancefloors in sleazy bathhouses, seedy basements and soiled warehouses, Icarus Traxx' first offering takes us back to the mythical days of anonymous, muscular power house. Delivering no less than three takes of 'Commandment' (plus two acapellas), the 12 inch, starring the enigmatic voices of Jesse B. Simple and Charlotte B. Good, supplies a choice cut for every disc jockey.
'Jack 88 Tape Mix' starts things off with a vigorous kick, prosperous strings and the spirited voice of Jesse B. Simple. The oracle proclaims celebration times. Addicted to Jesse's vocal delivery The acapella will guide you through your most ecstatic moments.

The lights go out on 'Get Your Life' just before it wakes you up with a slap to the face. Again, it's Jesse in the vocal booth, groaning his mantra to 'dance, jack and get your life to this' on a bed of erratic kicks, jittery acid and vexed rave stabs.

On the flipside, the celestial Charlotte B. Good glides into the room. Her sensual Spanish stanza gracefully inhabits 'Spanish Fly Reprise', made for horny, high as a kite early mornings. Charlotte alerts you that your time to snatch up your one true love on the dancefloor has nearly expired.. Like a siren, she lures you into her universe with sweet lamenting whispers. Better think twice before you follow.

(2x 180 gr LP in a gatefold sleeve with download card) The debut album of Talamanca System, aka Gerd Janson + Mark Barrott + Philipp Lauer. Their past is your future!

On the white island, between Ibiza Town and the infamous fish shack high up on a rock next to a bird sanctuary, you will find the beach of Talamanca. Plagued by too much seaweed, anchored middle-class yachts and joggers, it is also surprisingly the spiritual home of a correspondent post-Balearic group. As luck would have it, a remix request by Mark Barrott bedded the International Feel boss in a trio with Philipp Lauer and Gerd Janson, alias Tuff City Kids. A highly sought-after 12-inch later ("Balanzat"), as well as fantasies of getting together to work on more material, led to a fruitful and effortless studio session on the non-Balearic outskirts of Frankfurt am Main.

The outcome of that meeting forms the homonymous debut album of Talamanca System. A documented vision, or a sunburned imagination of a day and night spent on said island, during a moment in time that probably never was or will be. Still summed up best by dungarees, long hair, yellow sunglasses, espadrilles or that famous picture of people grouped around roofless Amnesia's pyramid well, it is the food of the Balearic gods. But, dear nostalgia, stop right here! Even though Talamanca's debut flies the Balearic flag, it is not about turning back the clock, but rather about a past that could be the future. Dusted, danceable, driving, dreamy and dapper at the same time, this is an album for the club, the car, the beach, the (coke)float and the fountain.

Coined by the colourful and respective talents of the three individuals behind Talamanca, you will hear nine tracks ranging from up to downtempo, piano house smashers that would have deserved the prefix Italo-, percussion rituals captured by a group of Zoo animals on the loose, soundtracks for dusk and dawn, hushed vocals, rites of ambient passages, powerful synth ballads and vamp choirs. If this album were a car, it would be a Citroen 2CV remade by Tesla.

We've said it before and we'll say it again: their past is your future!

In this space between chaos and conformity disorderly moments welcome new phases into existence, leading to the awakening of an elevated version of the self. Between highs and lows, Transitions of Life remain; the concept behind Synthek's first solo full length sound narrative on his Natch Records imprint. Unfolding across a vexing two-year transformation phase, Synthek's crossings along rough roads are the tribulations to reveal this intimate personal journey of reve- lation through emotional downshift, spiritual upheaval and cerebral quandary. In this dominion, Synthek shapes the eleven track escapade along a sophisticated array of synths and warm analog drums, while contrasting the build and decline of atmosphere through deep bass soundscapes.
Pivotal turning points execute the programming of the album's three part sound design; beginning from darkness and repression, evolving to a more colourful aerial majesty of lucid dream state, morphing into the developed nature of life lessons learned; Transitions of Life making its incarnation into the discovery of the self and re-entry into reality.

*Transitions of Life is a 2x12' release made available through Natch Elements, intro- spective extension to the Natch Records imprint. Visual embodiment of the project artfully presented with photographic time capsule by Salar Kheradpejouh of Berlin, Germany with graphic work curated by Jacopo Saveritano, co-founder of Natch Records.

Schmer-007 "Smoking is Still Bad for You - Volume 1" is here and contains old school and new cool tracks from all the original Schmer culprits plus some loops from our new friends. Dietrich Schoenemann and Prototype 909 dug their tracks out of their vast archives of unreleased originals. DJ RX-5 and BPMF delivered some hot new Schmers to get us moving again.

For the last 20 years we've all been tormented by the great issues facing mankind and most vexing among them of course was "When will the next Schmer record finally come out" I am happy to say that the answer, my record distributing friend, is NOW!

Prototype 909 demands that you ( redacted ) ... "The Volume"! A track recorded in 1997 and finally getting released for the first time here. Prototype 909 was a "group" from "New York" that made "techno" in the "90s". Since then, the three members of this group all went on to do things. #TrueFacts

Dietrich Schoenemann has been so busy being one of the last men cutting all the records in the world that he hasn't had time to organize his catalog of unreleased gems. I distracted him with the old "look over there" trick and stole "8 Feet" from him while he wasn't looking. ( Hopefully he didn't recognize it while he was mastering it )

The last Schmer vinyl was DJ RX-5 "A Taste for Crap EP" from the then Moscow based very underground DJ Compass Vrubell. Nina Kraviz thought it was so crappy she put a track from it on fabric 91: Nina Kraviz; so I asked Alexey to make some more crap. He did it His Shway and this is the result. ( PS He still has all the patterns for the RX-5 from the original release so remaster, remixes and rereleases are in Schmer's future, HUZZAH!)

BPMF - The original Schmer artist had nothing better to do so he kommt back and gave us this track.

We love to torture the engineer so we just had to include some loops:
Rhizome is the alter-ego of Moscow wunderkind Nikita Zabelin.
Philly based Hero/Victim has been victimizing soundsystems up and down the East Coast with his mad live performances.
The Wise Caucasian is a pseudonym for some super famous London based producer and label owner, or at least that's what he claimed when I picked up his bar tab.

Welcome to Berlin's best kept secret: 'Hot Pony: The Nightclub At The End Of The Universe'. It's from this fertile womb that 'Royal Athlete' was born. Created as a platform for the 'cosmic-italo-afro-electrofunk-boogie' sound that 'Hot Pony' blends so well, these release's will be various artists only and guaranteed party weapons for cybernetic lovers and space-jockeys. Always limited, always slamming. For this release we present the 'polyrhythmic renegade' turned electrofunk wizard Vexkiddy, his first new music since 2012's Pedantic Romantic on Human Shield, more cosmic nightdrive action from Giallo Disco's Antoni Maiovvi, a beast of a dancefloor heartbreaker from Bill Ambrose and Marika Gauci - the voice of UK Italo, better known together as 'The Dreamers' and finally the first release from Berlin's Dimitri SoEmotional a smooth modern-boogie-workout. Not to be missed!

*A pure slab of noise... a ruckus on vinyl! A limited edition piece of wax featuring remixes by the Circus Records superstars Funtcase & Genetix.

*Funtcase has been producing since being inspired by d&b as a kid growing up in Bournemouth. In 2009 he created his dubstep alias Funtcase and released his first single on 4:20 Records. The following year he signed with Circus Records and released the killa 'So Vexxed/Matress Punch'. He is also known for his standout remixes, including mixes for Plan B, Camo & Krooked, The Wideboys & Skizm.

*For this remix Passenger organised Spyda (Pendulum 'Black Tarantula'/Knife Party 'Fire Hive') back into the vocal booth to lay down some fresh vocals for the remix. A former Passenger vinyl buyer, Funtcase is no stranger to the sounds of the label and adds his own nod to its history by flipping some breakbeat twists and turns to proceedings to create what many are saying is his best remix to date!

*The flipside remix is from fellow Circus Records crew members and Bournemouth badmen Genetix. Following a similar path to Funtcase, Matt & Rich started off making d&b before switching the tempo and laying down some filth at 140. With regular appearances on the MistaJam's radio show, guest mixes on KissFm for Hatcha and Crazy D and remixes for the likes of Bassline Smith & Drumsound and Kelly Clarkson, to name a few, these guys are continuing a south coast tradition of bass noise and terror.

*With the label instructions to 'make it as heavy as you can, Genetix took the vocal of Sporty-O, recorded at DJ Lethal's (House Of Pain/Limp Biskit/La Coka Nostra) studio in LA back in 2007, and brought it up to speed with a track that flips from militant dubstep into some proper 808 trap biz.