Cerca:warning

All songs recorded and mixed by Pat Lilley at Nexus Recording Studio in Waukesha
Wisconsin between 1998-1999. Songs 1,2, and 4 originally appeared on Parallel
Chlorophyll Regions (Highwater Records 005) 1998. Song 3 originally appeared on
Akarso/Seven Days of Samsara Split 7" (Ricky Schroeder Fan Club 001) 2000. Songs
5-8 originally appeared on Akarso/Faraquet Split CD (404 Records 002) 1999.
Milwaukee's underground scene of the late 1990s harbored many hidden gems, and
Akarso is certainly one of its finest. Blending elements of post-hardcore, math rock,
screamo, and noise rock, the trio quickly made a name for themselves during their
short yet intense existence. Their chaotic and intricate sound earned them a loyal
following within math and post-hardcore circles, and they toured extensively, leaving
behind a legacy that would influence the Midwest's underground music scene for
years to come. With Leave Quietly: 1997-1999, Akarso's complete recorded catalog has
been unearthed, giving listeners a chance to experience the raw energy and innovative
sound of a band that was well ahead of its time. Released through Expert Work
Records, this LP collects Akarso's recorded output from their brief but impactful run.
Featuring Nathan Lilley on vocals and guitar (who would later gain notoriety with Call
Me Lightning), Joe Wong on drums (now a prolific composer for TV and film and host
of The Trap Set ), and Greg Roteik on bass (of Key of Evil fame), the trio's musical
chemistry is undeniable. Their dynamic interplay and knack for combining dissonance
with technical precision is immediately apparent, and this collection serves as both a
time capsule and sheer example of their musical skills.
The songs feel unpolished in the best possible way, full of jagged guitar riffs, off-kilter
rhythms, and aggressive vocals. It's easy to hear why Akarso garnered attention
during their brief career: their music demanded attention. Tracks from the collection
highlight their ability to balance complex structures with visceral energy, reflecting
their post-hardcore roots while pushing into more experimental territory. At the heart
of Akarso's sound is their seamless blending of math rock's technical precision with
the ferocity of post-hardcore and noise rock. The intricate guitar work of Nathan Lilley,
coupled with the driving rhythms of Joe Wong and the powerful basslines of Greg
Roteik, creates a tense and unpredictable musical experience. Time signatures shift
without warning, dissonant riffs collide with frenetic drumming, and Lilley's vocals
pierce through the chaos with a cathartic and desperate intensity.
It's a challenging, chaotic, and emotionally charged album that captures the intensity
of Akarso's live performances and the raw energy of their songwriting. More than two
decades later, Akarso's music remains as vital and relevant as ever, and this collection
that their legacy will continue to inspire future generations of musici

Gregg Green brings his signature soulful sound which is perfectly complemented by the musical production style's of Pimpernel Jones (Herma Puma). Both sharing a deep-rooted passion for creating soulful, engaging music that uplifts and inspires their listeners.

Title track 'Hypocrite' is a calling out to the hypocrisy of the ruling entities in power. The B side 'You'll See' is meant as a warning for those entering the field of dreams to be aware and stay strong in their values.

Cover by Dan Lish (ego strip).

Cindy Lee, Arthur Russell, Viagra Boys, On-U Sound. In the discourse around new albums from singular, world-building artists, the phrase “a big step forward” can often be a blinking red warning sign. You know you’re about to be pulled somewhere new against your will. Inertia is a hell of a thing. It’s nice here. Surely, the party’s not over yet? JJULIUS’ Vol. 3 album is a big step forward, or a step up, out of the murky basement of the preceding two volumes. There’s no time to acclimate. A spindly violin grabs you by the hand and pulls you into the pastoral bounce of “Brinna ut,” which, in spite of its meaning (“Burn out”), creates the kind of blind positivity and warm stomach feeling less cynical people might find in self-help seminars. For us, we have records like this. And, inertia be damned, Vol. 3 has charm like a balm. JJULIUS records have always arrived like meteors from another planet, an impression hammered home by the fact that they’re titled like compendiums of artifacts. And while Vols. 1 and 2 carried that notable tinge of darkness, Vol. 3 has (almost!) cast that shadow, adding elements of disco (“Dödsdisco”) and dream-pop (“Etopisk hallucination”) to his forever favorites Arthur Russell, African Head Charge, and The Fall. Some of that new car smell could be attributed to a change in process. Each song was written over beats played by Tor Sjödén of the wild-eyed Stockholm group Viagra Boys, beats that were themselves inspired by tracks from the likes of Patrick Cowley, CAN, Count Ossie, Black Devil Disco Club and others that Julius would send to him as inspiration. Unless you’re Mark E. Smith, fervor fades. Eventually we all crave a lie down in some nice grass, a few minutes to gaze at the sky and wonder if everything is actually all that bad. Vol. 3 gives you 35 of those respiting minutes. “No looking back, no misery, no talking trash, no enemies.”

Kim Rapatti, aka Mono Junk, is a key figure in Finnish techno, known for his deep, hardware-driven sound. A firm believer in analogue synthesis, he has been shaping raw and hypnotic club tracks since the early '90s, drawing inspiration from Detroit pioneers like Derrick May and Juan Atkins. His releases have appeared on his own imprint, DUM Records, as well as Skudge, Forbidden Planet, and most recently, Cold Blow—earning him a dedicated following among DJs and collectors.

Recorded in Turku in 2002 using the Korg Minikorg 700s, Loving Your Mind showcases Mono Junk's signature stripped-down grooves and live hardware improvisation—an essential pick for anyone seeking an authentic slice of early-2000s machine funk. Alongside the title track is Gamma, a previously unheard production that was commissioned as an exclusive for a highly regarded mix series, further cementing Mono Junk's status as a trusted name in underground techno. Built around a percussive groove, a deep electro-funk bassline, and a four-to-the-floor pulse, the track unfolds in an atmospheric haze, balancing dancefloor functionality with hypnotic depth.

The B-side features remixes from Katerina and Sansibar, two of Finland's most notable international breakthroughs in recent years, known for their modern yet timeless club productions that nod to classic techno and house.

Katerina, a versatile DJ and producer with releases on Rekids, Running Back, and Cómeme, transforms Loving Your Mind into a high-energy techno duet, layering her own vocals over the original vocal track, with her infectious synth lead as the icing on the cake.

Sansibar, one of the fastest-rising names in the underground with releases on Kalahari Oyster Cult, WARNING, and Émotsiya, delivers a darker, four-to-the-floor rework—bringing a sinister edge while maintaining the raw energy of classic machine funk.

2026 Repress

MOLA's music is the unadorned antithesis to a rosy world. She celebrates herself to death, pulls you into her inner chaos and does without the usual romanticising transfiguration of the merciless disorientation that catches up with you on the way home after the last cigarette.

MOLA knows better than anyone that she is a border commuter - and she has never made a secret of it. Perhaps it was fate that the course of events abandoned her shortly after her birth in Erba, Italy, in Germany's most austere metropolis. In Munich, where flying free and falling free are a little more complicated than in the cesspit of Berlin, where one would naturally place Isabella Streifeneder and her music if one didn't know better.

Temporarily reduced to intimacy, then escalating into iconic 80s "Purpel Rain" pathos, MOLA illustrates the emotional chaos that the inner dialogue of left and right brain triggers in her. Unconventional pop music that bundles the nonchalance of great soul anthems, the grace of the Italo-disco of the eighties and the ingenuousness of lascivious hip-hop bangers instead of trying to sound modern by force.

MOLA celebrates defeat, exposes life lies, criticises adulthood, documents radical mood swings. She balances along the abyss in her ball gown, jokes about things you don't joke about, praises and curses intoxication and love - "Vino Bianco no longer tastes like dolce vita, it only tastes like losing".

You can now see MOLA supporting Fatoni, Roy Bianco & the Abbrunzati Boys, Mayberg and Kaffkiez in a flurry of strobe lights after sold-out "nothing breaks me" shows in Munich, Cologne, Berlin & Hamburg. In addition to a festival season that couldn't have been more beautiful, they finally have a big tour of their own coming up for their next album, which will see the light of day in September.

After more than 40 festivals "Snow in Summer" on well-known stages like Lollapalooza Berlin, Rocken am Brocken, Puls Open Air, but also as support for Udo Lindenberg at the Hermann-Hesse-Festival, "Life is Beautiful", the darned second record, sounds almost cynical, ironic or simply naive? In the end, it doesn't matter, because when you are overcome by this spontaneous feeling that is far removed from any rationality, you don't ask any questions. It tastes like the melancholy of a summer in its last breaths, like the last drink of an uncompromisingly insane night.

There is sweating, pogoing and feeling together. Even where it hurts.
You are not just an onlooker or a silent spectator, but part of this empowering feeling of "we".

Fresh from beasting the end-of-year charts with her 'I Miss Your Love' remix project, Ghost Assembly, aka Manchester DJ and writer Abigail Ward, is back with a double A-side: RESIST! / I Keep on Making the Same Mistake.

RESIST! (Extended 12" Mix)
Laid down quickly and angrily after attending a demo in Manchester city centre, RESIST! aims to capture the galvanising spirit of protest and put it on wax.
A 111bpm acid chugger that will leave dancefloors of an ALFOS or Optimo persuasion begging for more, this is uncompromising machine funk at its crudest.
Duelling 303s twist around each other whilst a taut, snaking 707 groove underpins unexpected blasts of Arabic rhythm, almost as if DJ Pierre had remixed 'Get UR Freak On', relocating it to the Middle East.
As a stuttering Harper Hay vocal sample urges us to RESIST!, the track climaxes with an ice-cold acid house string coda banged out on a disobedient synth. Please note: the sub on this record may trouble your duodenum.

RESIST! (Utter Kunt Mix)
The Utter Kunt mix is a sparse and daring Sleng Teng-inspired avant-dub affair strictly for discerning dancefloors only. Improbably combining hints of the Mission Impossible theme, Les Negresses Vertes' 'Zobi La Mouche' and the rough-hewn sampling of 'Duck Rock', this is a radiant obstacle in the path of the obvious. Warning: collectors of On-U, EBM and New Beat could experience a spate of nocturnal emissions upon purchasing this record.

The A-side closes with a BONUS BEATS version of the Utter Kunt Mix: a must-have DJ tool.

I KEEP ON MAKING THE SAME MISTAKE
Picking up the pace to 120, 'I Keep on Making the Same Mistake' sees Ghost Assembly returning to her string-drenched sad banger comfort zone, pairing a chilly breakbeat with a bass riff reminiscent of Joey Beltram having a gut-wrenching cry wank. Keening vocals supplied by Hazel Grove are chopped up, tormented and eventually hurled down a K-hole as the strings build and the drama escalates.
When the credits roll on this cinematic masterpiece we hear a wistful French lesbian talking about 'borrowed bliss'.

A future comedown classic; also sounds good slowed down to 33rpm.

The E.P. signs off with a stunning string-a-pella that will linger long after the needle hits the run-out groove.

Franco Rosso’s epic cinematic opus of reggae social commentary, Babylon, landed in November of 1980. Moving through the film’s opening frames of grey dreary London, two spars – Blue and Ronnie – run with unrestrained anticipation to link with their Ital Lion Sound System brethren. Simultaneously the rest of the crew does what sound crews have done from time: Load them boxes up in the van and trod with vigor to the dance.

But that bassline…The soundtrack notes that carry the celluloid movements of the film’s opening scenes…That bassline…Upside down…Jazzy…Dubby…A bassline like no other reggae bassline the Ital Counselor has ever heard. The hook that got me deep into UK roots music from the band that is my number one inspiration.

If there is bassline that represents the core imperative of Ital Counselor Records, it would have to be Aswad’s Hey Jah Children. It seemed therefore only fitting to bring its absolutely resplendent glory to a new generation. Lovers of sounds and blues, it is time for the dread ital lion sound to once again rise to meet the day. So it is with the deepest of gratitude and respect to the legacy of Aswad (RIP Drummie Zeb) and Franco Rosso, that we present a deeper than deep next cut…Christened here…the Ital Lion Serenade.

In line with all IC releases, we have enlisted top tier session musicians and studio men. Long time IC collaborator, Inyaki BDF, is at the center of the action as the musical maestro. Hopping on the BDF sonic lorry are Aratz Diez on Trombone and James Zugasti on the dub mixes. This crew bring the original composition up-to-date with a heady dubwise weight. Syndrums ricochet while Inyaki’s bassline rumbles teetering as it does somewhere between a modern dubstep warble and its core roots-wise influence in Tony Gad’s original playing.

Diez’s trombone playing comes across like an x-ray of the Aswad Horn Section and keeps intact the jazzy abstraction of the original. In turn, Inyaki goes full 70s synth on the psychedelic dubwise of the B-side’s Operation Swamp 81. UK history buffs better you know the reference in that title and its thematic echoing significance from the UK depicted in Rosso’s film and carried on in remembrance on this here hotter than hot 12”.

A warning: the Zugasti dub cuts are devasting to speaker boxes.

Released in October 1983, “North Of A Miracle” was Nick Heyward’s first solo album after leaving Haircut 100. Produced by Geoff Emerick (The Beatles, Elvis Costello, Badfinger, America, Supertramp and many more), the album features the hit singles “Take That Situation”, “Whistle Down The Wind”, “Blue Hat For A Blue Day” and “On A Sunday”. The album went on to sell over 100,000 copies in the UK, earning a Gold Disc Award.

Deluxe 3CD Edition:
Expanded to a Deluxe 3CD Edition, Disc One features the original album mastered from the original stereo tapes, Disc Two features the various 12” mixes, instrumental versions and non-album B-sides, while Disc Three, entitled “Recordings 1984”, features Nick’s 1984 single releases “Love All Day” and “Warning Sign”, along with the tracks from their accompanying 12” singles. Also featured are three previously unreleased tracks: “Teach Till You Reach” (an unreleased single), “Give Love More Time” (an alternate instrumental version of “Love All Day”), and “Kiss Those Tears Goodbye” (an unfinished recording featuring the backing vocals only). Annotated by author and journalist Daryl Easlea, based on a brand-new interview with Nick Heyward, this 3CD set is presented in Deluxe 7” Packaging, with a 20-page booklet.

180g Vinyl Edition:
This new edition has been expertly mastered by Barry Grint at AIR Mastering from the original stereo tapes using precision half-speed mastering. Half-speed mastering is a vinyl cutting technique that improves groove accuracy and transient information creating an incredibly detailed stereo image with a natural high frequency response.

Presented in its original gatefold sleeve, pressed on 180-gram heavyweight black vinyl, featuring an obi strip and housed in a poly-lined inner sleeve, with a 2-page insert.

Maybe this warning is not really relevant. It doesn’t scare anyone anymore. We all know that what is actually hiding behind this green fence is a sweet doggy only waiting to happily greet you.

First there's Gabriel, who you probably already saw playing crazy drums (with Terrenoire, Cola Boyy…). And then there's Facundo, the magician on the synth and on his choice of shirts.

Together they are Chien Méchant: a duo made of two friends who met at the hairdresser (and in high school), and that makes you wonder if groove, rock, funk and synths could maybe coexist one more time.

The release of their first self titled EP Chien Méchant gave prominence to their first inspirations - as first releases usually do - and showed off their influences. They were at the same time trying to prove themselves but also preparing us for what is to come: the real journey.

A journey that will start next January with Métamorphose. A first album that will display a cast smelling like leather, like a John Carpenter movie with GrandMarnier (Yelle) directing, Ouai Stéphane on the mix and of course Gabriel & Facundo taking a twisted pleasure in deconstructing our common preconception on pop music.

Métamorphose has many shapes - don’t forget a dog can have 3 heads. The track “Nuit Blanche” reminds us of our dancefloor trances. “Sens Contraire” is a drum/synth ballad that takes us by the hand and slowly whispers in our ear that it is ok to be anxious. “Point Final” is pretty self explanatory and makes us feel like we are back on the dancefloor saying “ok this is the last one”. There are ten tracks on this album that will be released alongside their label - Nowadays Records.

You will quickly understand that Chien Méchant is a live band. You will dream about these drums, these blinking synths, these psychedelic carpets, and about dancing without thinking about what’s next. But beware, Métamorphose also reminds us that they are way more than that.

High Roller Records, reissue 2025, 180g black vinyl, ltd 500, insert printed on uncoated paper, 425gsm heavy cardboard cover, poster, mastered from a new source by Patrick W. Engel at TEMPLE OF DISHARMONY in May 2018. New vinyl cutting by SST! Ultimate audiophile edition of this eternal classic!

High Roller Records, deluxe plastic bag, cardboard insert, handnumbered, ltd 500

Model 500's "Deep Space," released in 1995, is a landmark album in electronic and techno music, crafted by Detroit pioneer Juan Atkins. This work seamlessly combines atmospheric textures with pulsating beats, reflecting the innovative spirit of the Detroit techno scene. With tracks like "The Chase" and "No UFOs," "Deep Space" captivates listeners through its hypnotic melodies and complex rhythms, creating an immersive experience that feels both expansive and futuristic. The album is revered for its groundbreaking sound and continues to inspire artists and fans alike in the electronic music landscape. This new pressing has been carefully remastered and re-cut from original sources to achieve The best sonic experience possible.

The Last Wave (also known as Black Rain in the US) was the final chapter in a trilogy of films scripted and directed by the leading auteur of the Australian New Wave, Peter Weir. Beginning in 1974 with the absurdist black comedy-horror The Cars That Ate Paris, and followed a year later by the lush gothic mystery Picnic At Hanging Rock, The Last Wave was a landmark in existential horror. Sitting alongside other Australian eco-terror films (e.g. Long Weekend) the film featured a haunting electronic soundtrack that is as mysterious and beguiling as the spiritual themes of the film itself. With no LP issued after the films premiere in 1977, and together with the mystery surrounding the true identity of its enigmatic composer 'Charles Wain', the score is a largely unheard recording of pioneering experimental film electronics, easily compared to the music that contemporaries Klaus Schulze and Tangerine Dream were composing for Australian films during the same period or the electronic soundtracks of John Carpenter. Tense atonal electronics, synthesizer drones and manipulated Didjeridu all perfectly capture the film's ominous atmosphere, punctuating the slow hypnotic pace of this brooding supernatural thriller.

14 songs deep and proudly devoid of gimmicks or distractions, Slaughter On First Avenue is a riveting and raw account of Uncle Acid in full flight. From early classics like I'll Cut You Down and Death's Door (both from Blood Lust), to more recent works of lysergic aggro like Shockwave City (from Wasteland) and sinister epic Slow Death (from The Night Creeper), this amalgamation of two fiery and unforgettable live shows has a mesmerising momentum all of its own. A throwback to the days when live albums were magical things, rather than cynical stopgaps, Slaughter On First Avenue is a jolting dose of dark electricity and psychedelic terror. Swollen with the greatest of riffs and performed with grit, power and haughty disdain, it loudly confirms that Uncle Acid & The Deadbeats have the raw, fuzzed-out power to drag everybody into their bewildering, bewitched vortex of doom. A dazzling, devilish squall to mark the beginning of a new chapter, Slaughter On First Avenue also clears the decks for this band's next malevolent move. Don't say we didn't warn you. "Yes, There will be another record which will hopefully appear at some point without warning or explanation," Kevin Starrs avows. "It will be completely different to anything else we've done. You can think of it as a late-night detour. Its appeal will be extremely limited but that's OK... 'When you're slapped, you'll take it and like it!'".

Repress of DVS1's highly anticipated album that came out on Axis digital during the pandemic. From the perceiving body to the liminal space of the dream-state, audible frequencies send a neurofeedback message. A paradigm-shift is activated in the mind. A movement from the present hour toward the realm beyond measure. The pulse of a synthesized kick. The distance between evolving rhythms of time & place left behind. Sensations created in forgotten corners of the consciousness are distant, yet familiar. A low-penetrating drum beat pulsates. Hypnotic hallucinations reveal detailed layers, oscillating from the back to the forefront of the dream. Synth programming yields abstract ideas into concrete images. Lucid percussion arranged to paint a deeper shade of architecture in this future-memory-system. Be aware that sensations resonate into imagination without warning. The observer extends from rational thought to a deeper state of understanding. The mind-body experience gives way to a transient response from a shock wave to the steady state. The senses reach entrainment.

James Johnson Jr AKA Kukri is one exceptionally talented electronic music producer, composer and DJ known across the world for his hard as nails techno sound. His calm demeanour belies the massive amounts of energy he creates in his highly technical DJ sets and from within the ethereal beauty of his live performances, with many top-flight DJs swearing by his output, dropping his tracks relentlessly throughout their sets.

Continuing with the ‘Limited As Fuck’ series of releases, on our fiercely independent techno label based in Scotland, we’ve got on our heavy duty high explosive under pants for this relentless detonator of a release comin’ at you all the way from across the pond in Ohio, USA. There’s more ruthless techno dynamite in this one release than if you strapped twelvty grenades to a set of decks and pulled all the pins out simultaneously, the roofs are all gonna blow off wherever this one goes KABOOM in clubland. And along-with the three original blast shattering tracks, Lee Holman, making his RIOT Radio Records debut, is on remix shenanigans for the fourth with an aggressively merciless Detroit infused mangling to ignite the crowds even further.

The full digital release also features the original version of ‘Detection’ which Lee Holman accepted an unceasingly intense RIOTous mission to reconstruct.

WARNING: AFTER DETONATION THE RIOT SENTINEL SHALL APPEAR

The second Burning Witch album. Circa 1997.

Black Vinyl. Limited and Non-Returnable.

Blurred edges of consciousness voids: time manipulation, experiments in black down -tuned drone and harrowing vocals.

Members went on to: sunn O))), Khanate, Goatsnake, ASVA.

An important artifact of the cryptic domain.

he debut album from Marcus Mumford, frontman of Multi-Platinum, Grammy, and Brit Award winning band Mumford & Sons. Collaborations with Clairo, Phoebe Bridgers, Brandi Carlile, and Monica Martin. Exclusive Limited Edition Version, includes Unique Artwork & 12-inch Clear Transparent

After navigating the labyrinthine musical chambers of their 2023 modern exotica album 'Palace Of A Thousand Sounds', Reno. Nevada’s Whatitdo Archive Group has returned with their first-ever holiday offering—venturing into the darker side of Christmas folklore with their new ice-cold 45, 'Wild Man'. Drawing inspiration from a global archetypical myth of the same name, Whatitdo Archive Group examines the ancient story of the Wild Man—the hairy, half-human, half-beast that stalks the shadows of humanity’s shared primeval past. The myth of the Wild Man is a folktale that goes by many names: The Yeti of the Himalayas, the Bigfoot of North America, and, of course, Krampus of Eastern Europe—a yuletide beast with a reputation as a child-devouring "Anti-Claus" who now finds himself the subject of Whatitdo’s latest musical exploration.

‘Wild Man’ gives us a glimpse into the band’s newest sonic direction. With a heavy rhythm section carried by Alexander Korostinsky’s driving bass line, the sticky wah-guitar of Mark Sexton’s L-5, and the acrobatic lines of the Wurlitzer electric piano, “Wild Man” revels in the spiritual jazz flavors of Pharoah Sanders and grooves hard like the classic soul-jazz stylings of Ramsey Lewis. Much like the Krampus myth itself, 'Wild Man' is meant to weave an ominous spell over any Christmas cocktail party long after the kids have gone to bed. Hear the warning for yourself in the song’s haunting chant: "You better watch out for your life, when the Wild Man comes in the night".

But mythology isn’t abandoned on the B-side. The band takes the traditional English folk melody 'Greensleeves' and reimagines it through the musical lens of Ethio-jazz. Recorded live at the Archive Group Studios, the track exudes a dark, roomy atmosphere, drenched in unease and mystery courtesy of the wandering electric piano dancing above the hypnotic rhythm section and mesmeric groove of the distant Batá drums. This fresh reimagining taps into the ancient, cross-cultural lineage of the "Green Man" myth, a pagan symbol of rebirth and the power of the natural world, further blurring the lines between holiday cheer and the primal, elemental forces enshrined in our collective cultural memory.

After the band’s 'Palace Of A Thousand Sounds' was named 2023’s "Best Library Record" by PopMatters Magazine, their new 'Wild Man' 7” capitalizes on the same creative process that shaped their last record, while now exploring new conceptual territory. By drawing inspiration from archaic global folklore and again utilizing their peculiar recording techniques, W.A.G. has crafted a truly unique holiday offering that unearths the darker, more primal undercurrents of the Christmas tradition. The 'Wild Man' 7" is released as part of the Snowflakes Christmas Singles Club, pressed on snow-white bio-vinyl and limited to 300 copies.

"For the first time, A Rush of Blood to the Head by Coldplay will be manufactured on EcoRecord. EcoRecord sounds and looks as great as a traditional vinyl record, but it’s been manufactured using 100% recyclable PET, instead of PVC. EcoRecords are also produced using injection moulding technology, with energy savings of up to 85% compared to the traditional vinyl process.
A Rush of Blood to the Head includes the singles In My Place, Clocks, The Scientist and God Put a Smile Upon Your Face. Produced by Coldplay and Ken Nelson, the album earned the band three Grammy Awards, including Best Alternative Album and Record of the Year (for Clocks)."

Maximum Violenceis Americandeath metalbandSix Feet Under's 3rd studio album. Thealbum goes back toChris Barnes' roots inCannibal Corpsewith violent themes/lyrics. Itwas also the first Six Feet Under album to featureSteve Swansonon guitars.

Opeth are one of the biggest acts in the Prog Metal genre with numerous top 10 albums worldwide, ”The Last Will and Testament” is their new album set for release November 22. Guest vocals by Joey Tempest (Europe), and guest flute by Ian Anderson (Jethro Tull). “A restless musical journey in a way mirroring my own relationship with music as a consumer of it," narrates band leader Mikael Åkerfeldt. "I pick up something here, dismiss something there. I worship and I hate music at the same time. This ambivalence leads me down some type of creative path of my own and then, all of a sudden, a collection of songs has been written. Best case scenario, these songs are good enough to impress the band. Good enough for the ”powers that be” in terms of the industry. Good enough for ”you”?! I love this record. I have to say it (write it). Maybe I’m proud even? There are some familiar ingredients in there I suppose. Most of our music has sprung from the same source, so I guess it’s not much of a shocker if it’s going to sound like ”us”. I’m a bit in awe of what we did with ”The Last Will and Testament”. It feels like a dream. There is some ”coherence" and ” songwriting skills” I hope, but what do I know? I tend to favour the ”strange” over the ”obvious”, but I feel like I’m in the minority, and that’s fine. So…fair warning! Don’t expect an instant rush (as per usual), but if you do ”get it” (have you got it yet?) right away, that’s ok too!"

Eine hochkarätige Mischung aus Queensrÿche, Solitude Aeturnus, Marillion, Ghost und My Dying Bride! Epischer als episch, mit einer sehr starken
Produktion und einfach wunderschön... Eines vorweg - in diesem Jahr wird mit ziemlicher Sicherheit kein Album an das Debütalbum von Aiwaz
emotional heranreichen. Und selbst in meinen jährlichen Umfragen der letzten zehn Jahre würde "Darrk... It Is!" verdammt oft ganz oben auf dem
Siegertreppchen gelandet. Da das nun geklärt ist, möchte ich Aiwaz beschreiben. Man nehme die tiefgründigsten musikalischen Momente von
Solitude Aeturnus, Wheel, Marillion und Warning's 'Footprints'-Song und füge dem Ganzen sensationelle Vocals hinzu, was natürlich an Wheel's letzte
Tour de Force "Preserved In Time" erinnert (natürlich singt Arkadius auf beiden Combos), aber noch einen Tick stärker ist, und obendrauf sechs
fantastische Texte, an denen offensichtlich jahrelang gearbeitet wurde - das Ergebnis ist ein bahnbrechendes Debüt für Genre-Fans, das hoffentlich
für Furore sorgen wird und bei allen geschmackssicheren Freunden epischer Musik am Ende des Jahres auf den vorderen Plätzen landen wird. Wer
einmal 'The Ghost That Once Was I', 'Garden of Despair' und meinen Favoriten 'When Judas Spins the Wheel' gehört hat, wird sie nie wieder
vergessen

Am 08.11. erscheint mit „DISCOVER II“ das zweite Cover-Album von Zucchero, in dem der italienische
Superstar seine liebsten Songs neu interpretiert.
Mit dabei ist auch die neue Single „Amor Che Muovi Il Sole“, welches ein Cover des The Killers Klassikers
„My Own Soul’s Warning“ ist.
Zucchero gilt als „Vater des italienischen Blues“ und hat mehr als 60 Millionen Alben verkauft. Der
Ausnahmekünstler stand bereits 13-mal an der Spitze der italienischen Albumcharts und wurde mit dem
Verdienstorden der Italienischen Republik ausgezeichnet.

Certified Silver by the BPI, Warnings/Promises was the band’s fourth album and their second to break into the Top 10 following the success of their previous album, The Remote Part. After the release of The Remote Part, the band had a change in personnel with Gavin Fox replacing bassist Bob Fairfoull and touring guitarist Allan Stewart became a permanent member.

Warnings/Promises saw them take a different approach to the writing process, involving the whole band for the first time with a sound that marked a shift towards melodic rock as well as contemporary folk. A more stripped back sound than their previous albums, it featured the singles I Understand It, El Capitan and lead single, Love Steals Us From Loneliness.

Certified Silver by the BPI, Warnings/Promises was the band’s fourth album and their second to break into the Top 10 following the success of their previous album, The Remote Part. After the release of The Remote Part, the band had a change in personnel with Gavin Fox replacing bassist Bob Fairfoull and touring guitarist Allan Stewart became a permanent member.

Warnings/Promises saw them take a different approach to the writing process, involving the whole band for the first time with a sound that marked a shift towards melodic rock as well as contemporary folk. A more stripped back sound than their previous albums, it featured the singles I Understand It, El Capitan and lead single, Love Steals Us From Loneliness.

New music by The Mole. High Dreams contains four tracks, three originals and one remix from Circus Company favourite Dave Aju. The Mole savours dreaming and welcomes the mystical landscapes ofthe mind with High Dreams, a collection of uptempo dance pieces inhabited by ghosts and welcoming creatures from the deeps. This unpretentious collection cuts straight with the rhythms, and carries long with the arrangements. Dancefloor sizzle. Subsonic rumble. Ghosts! Your body moving requisites lie within this simple plate of wax. Turn up your amps and bathe in it. The Mole is known for his “hits” (Baby You’re The One, Hippy Speedball, In My Song, Lockdown Party) and his “work” with many Top labels (Perlon, Kompakt, Wagon Repair, Maybe Tomorrow, Ostgut Ton) is played by many Top DJs. Only his third release with Circus Company (Little Sunshine, The River Widens), this Ep is a reminder that the Mole is still at it, and a warning. There’s a new album upcoming.
And it sounds nothing like this…
With his 19th release with the label since 2003, Dave Aju is one of the pillars of modern Circus Company. Aju amplifies Losing Track, adding percussion and fresh, modern programming, giving the remix a whole new purpose while maintaining the erie cries, calling out, desperate - don’t leave me hang ’n … of the original. A certain go to for the Deep Heads.

SITW’s fourth studio album is a satirical celebration of mistakes. A joyous lambasting of everyone and everything that’s wrong in the world, against the real-time backdrop of global uncertainty, corruption and political unrest.

A London Charivari. Rough Music. A gleeful old-fashioned cancelling. A Chaunter’s delight. 14th Century recording demons collecting mistakes in a sack. Women mugging rich merchants. Nettles being pissed on. Shit food at Lent. A terrible plan. An undoing. The aftermath of a car crash. Catching people doing something they shouldn’t. Nursery rhymes reimagined as death threats. Behind the sarcastic acerbic delivery, Nicola Kearey and Ian Carter convey thoughtful, essential interpretations encouraging us all to check ourselves, through the multi-layered music of cities through time.

This is about as far away from pastoral folk music as you can get.

In their typical wry city-weary style, a beady eye is cast over those committing wrongs in plain sight, with Kearey narrating a series of tales of people fucking up, or being fucked up, with some brief respite in Lavender - one of London’s oldest street melodies - the album being named after the 14th Century story of Tittivilus, the recording demon, who collects scribes’ mistakes (pokes) and the idle chatter of the “liars with their hairy tongues” congregation.

Despite this seriousness, the album’s working-class dry gallows humour carries a stoic “if you don’t laugh you’ll cry” feeling amongst the corruption, scandals and barefaced lies we all observe on a daily basis, with a warning that “only you can fix your deficits” and “it’s your words and deeds that matter…and let me tell you, they speak volumes”.

The core of the record imagines a sound of traditional London music, where the musical continuum is unbroken by the population decimated by the world wars, or by gentrification and social cleansing that has forced communities apart, and yet absorbs all the influences of all the communities that call London their home.

Carter and Kearey attempted sessions at The George Tavern, Whitechapel, and in Spitalfields, at Denis Severs’ House, and a restored weaver’s townhouse, carrying the aesthetic of the record in their heads as they moved from location to location, before settling into an old factory building and their own workshop. The resulting sparse and economical sound is harsher, more present, more essentially them. It is a mighty haranguing that demands your attention.

ERIS inaugurates the Plexus 4 label with the stylish psychedelic club sounds of 'Glimmers'. The Sardinian-Croatian duo consisting of Enrica Falqui and Dea Dvornik drops their next EP this June. ERIS, AKA Enrica Falqui and Dea Dvornik, mint the Plexus 4 label with the 'Glimmers' EP.

Their music mixes acid, techno, and house and has found a home on the likes of Warning, 20/20 Vision and DJ Masda's CABARET Recordings. ERIS 'Glimmers' drops via Plexus 4 15th June 2024.

Drab Majesty's third album, Modern Mirror, is a journey of self-reflection, nostalgia, love, beauty, and heartbreak told across eight addictive and emotional synth pop anthems - a seemingly classic tale delivered unblinkingly through the frame of the modern world. Elements of classic tragedy weigh heavily in the reflection of Modern Mirror in songs like "The Other Side", possessing a fundamental sound that is energetic, luminous and hopeful. Fusing the sonic aesthetics of predecessors like New Order and The Cure within the cautious instruction of Greek mythology and modern science fiction, Drab Majesty has birthed a hybrid of dreamy malaise, captured for a future moment. The first single, "Ellipsis", romantically plays up the distorted concept of courting through modern technology in a world that has yet to adapt, while on "Long Division", Deb's resounding guitar cascades around the chorus shared with No Joy frontwoman Jasamine White-Gluz, wistfully warning us against our vanity and self-obsession. Even when hope for everlasting love peeks through in "Oxytocin", a sparkling and stoic track sung by Mona D., we are firmly reminded our fleeting existence. Produced by Josh Eustis (Telefon Tel Aviv) with appearances by Jasamine White-Gluz (No Joy) and Justin Meldal-Johnson (NIN, Beck, M83, Air).

Earlier this year we were excited to announce the return of one of our most beloved bands of recent years: New Street Adventure. To mark the 10th Anniversary of their debut album ‘No Hard Feelings’, on 4 October we are releasing a special, limited edition olive green colour vinyl reissue. The release will coincide with an extensive UK tour.

‘About eighteen months ago, someone asked if I had a spare vinyl copy of ‘No Hard Feelings’. I checked the shelves, and found my own copy and no more. I checked Discogs and saw that it was changing hands for far more than an 8-year-old album should be. Released in the pre-vinyl-revival years, its limited original pressing means that demand is now out-stripping supply – a measure of just how good this record is. With that in mind Nick Corbin and I hatched a plot for a 10th Anniversary reissue, and here it is!

I loved New Street Adventure. They were smart, looked great on stage, and in Nick was one of the best front-men and songwriters I have ever worked with. With their own ecosystem of self promoted gigs, they created their own audience, and for a while it looked like a major label deal was in the offing. Eddie Piller had wanted to sign them from the first time he met Nick, and when the big deal didn’t happen, he was still there for the band as they became an Acid Jazz act in 2013.

There were endless back-and-forths on how the album should sound (and some despair that it wasn’t quite sounding as good as it should have). Then Mitch Ayling came on board to produce the final mix. He brought out the songs, lifted the playing, delivering the shiny finished recording that took its place as one of the finest moments in the Acid Jazz catalogue. Nick’s songs now sparkled. As his love of soul shone through, his politically and socially aware lyrics showed a rare, wry observational gaze that was turned on 21st Century life. From the warnings against populist hatred of ‘On Our Front Doorstep’, to the hopeless ennui of ‘Foot In The Door’, and the day-to-day pursuits of being in your twenties in a big city. Through it all shines a passion – sometimes coming out as anger – that drives the music. It is of course encapsulated in ‘The Big A.C.’, written about the night that Nick’s dad took him to the 6Ts Allnighter at the 100 Club, which brought him into the world of Northern Soul. It’s a classic that nails the feeling of excitement as well as anything written.

The album was released late in 2014 and for those who want a vinyl copy – even the CDs cost a fair penny now – we have prepared this special 10th Anniversary Edition on transparent olive-green coloured vinyl. The inner sleeve is illustrated with never-before seen photos from the archive, both candid and by early band supporter Dean Chalkley, and has sleeve notes by Nick and myself. Nick is taking New Street back on tour this Autumn, and it you would be foolish (once more) to miss either the tour or the record.’

"Once more with attitude: April Art have set out to do nothing less than change the world. That may seem bold, true, but you know what: They have the songs to back this attitude. It’s a modern metal sensation like no other, emerging from the underground and led by sparkling frontwoman Lisa-Marie Watz. In, fact, April Art have risen so rapidly in recent years that it could make you feel dizzy just by watching them. Now, however, the time has come for the big leap, for their breakthrough: their third album “Rodeo” unapologetically changes into the fast lane, speeding away from everyone else with huge hits, a brutal bite and peerless power.

Trigger warning: a German band hasn’t sounded this explosive, this hungry, this insatiable for a very long time. “Our music stands for hope,” says the German band. “We want to give strength and courage to believe in yourself and in life. The more people realise that they can take their lives into their own hands, the less room there is for hatred and envy.”


April Art deliver this important message in the best possible way – with uplifting, electrifying, euphoric music somewhere between modern metal and alternative rock. The band are just as averse to blinkers as they are to racism, homophobia or division, spicing up their energising brew with flavours ranging from pop to rap and electro. “Rodeo” gives us all wings. Let’s soar together. In 2022 and 2023 alone, April Art earned two million streams on Spotify, appeared on WDR Rockpalast and will be on stage at the legendary Wacken Open Air this year. "

What an unbelievable record. From the wild cover to the iconic breakbeats, Roots from Ian Carr’s Nucleus is one of the dopest albums we know. This is seriously thick, funky-prog jazz-rock heaven. Originally released on Vertigo in 1973, other than a couple of versions at the time for other territories, Roots was never re-pressed since so it’s gone on to become another one of those impossible to find records.

Maybe it was a little too out there for the time, but it’s aged very, very well indeed and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels.

Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet.

The spellbinding title track immediately renders the album indispensable. Riding the illest of loping breakbeats, “Roots” is low-slung, doped-out heist-funk. An absolute monster. If it sounds familiar then that’s likely down to it being sampled by Madlib for Lootpack and Quasimoto’s “Loop Digga”, as well as by a whole host of beat manipulators. “Roots” conjures prime instrumental hip-hop / beat music, only 20 years ahead of its time. Truly, these are the roots. Through sinuous bass, twinkling keys and a hypnotic guitar riff, a smoky brass motif weaves its way into a gloriously deep haze around Carr’s solos. “Roots” is over 9 minutes long, but there’s not a single wasted second, not surprising given that this is a condensed version of an originally 40 minute long commissioned composition.

The soothing vocal fusion delight of “Images” follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates’ silky vocals and Dave MacRae’s Rhodes never sounding better. The cool, driving “Caliban” closes out the first side. Originally the third movement in a four part commission to celebrate Shakespeare’s birthday it stands up on its own, all robust rhythms and blended brass. Keyboard colour and Carr’s trumpet are splashed across the funk drums and basslines (and there’s even some bamboo flute). This really is fusion: the elements of jazz and rock coming together in beautifully synthesis.

Side two opens in riotous fashion with the short, thrilling samba of “Wapatiti”. Next up, “Capricorn” forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would’ve envied, “Odokamona” is a venomous slice of riff-soaked jazz metal (yes, you read that right), elevated by Carr’s wah-wah horns.

The album closes with MacRae’s exceptionally cosmic “Southern Roots and Celebration”. Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. It’s another sure-fire party starter and the sound of the band having a righteous blast, building an ecstatic chaos that ends with Yates screaming.

And of course we need to talk about Keith Davis’ cover for Roots. Perhaps the coolest record cover of all time? Certainly one of the most bonkers. Just your run-of-the-mill high-gloss, acid-tinged airbrush dystopian/utopian living-room party scene. Consider this your chemical flashback trigger warning.

Front-and-centre the hip-to-death green robot holds court with their giant ball of yellow barbwire wool, hooked up to… something(?) being teased out from under the stairs (probably best not to ask). A thoroughly zoned-out, long-legged Pop Art party-goer lounges half-plugged in to the painting behind her as a pair of legs flail into shot from the the top of the stairs opposite. We won’t even begin to guess what the chap’s up to in the middle, but the view out of the windows is rather nice, and someone’s already got the hoover out ready to tidy up. All of the Nucleus sleeves are something special, but this particular one? Crikey.

This Be With edition of Roots has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Pete Norman’s cut to weave their usual magic with these wonderful recordings. The crazy cover has been restored at Be With HQ as the finishing touch to this long overdue re-issue.

Macht euch bereit für Even Flow, die progressive Metal-Sensation aus Italien. Gegründet Ende der 90er Jahre von den Brüdern Lunesu, at diese Band
seit ihrer Gründung für Aufstehen in der Metal-Szene gesorgt. Mit einer einzigartigen Mischung aus technischer Finesse und gefühlvollen Melodien
hat sich Even Flow ihren eigenen Platz in der Welt des progressive Metals geschaffen. Nachdem sie bereits zwei EP-Veröffentlichungen in der
Vergangenheit hatten, bereiten sich Even Flow nun auf die lange erwartete Veröffentlichung ihres zweiten Studioalbums vor. Aufbauend auf dem
Erfolg ihres Debütalbums können Fans eine aufregende Reise durch komplexe Kompositionen und kraftvolle Darbietungen erwarten.
Was Even Flow auszeichnet, ist nicht nur ihr musikalisches Talent, sondern auch ihre Zusammmenarbeit mit renommierten Musikern von Bands wie
Fates Warning, Symphony X und Dream Theater. Dies spricht Bände für das Können und die Anerkennung innerhalb der Branche.
Neben ihrer Studioarbeit hat sich Even Flow auch als fesselnde Live-Band etabliert. Nachdem sie Bands wie Firewind und Eluveitie auf vergangenen
Touren supportet haben, haben sie bewiesen, dass sie unvergessliche Auftritte auf der Bühne liefern können.
Für Fans des progressive Metals, die nach etwas Frischem und Aufregendem suchen, ist Even Flow eine Band, die Aufmerksamkeit verdient. Mit
ihrem bevorstehendem Album, das Grenzen überschreitet und Erwartungen trotzen wird, ist jetzt der perfekte Zeitpunkt, um sich der Reise von Even
Flow anzuschließen.

Samosa Records dips its toes back into the Afrikano waters with Volume 3 of the Afro themed, genre-busting series and features four deadly tracks from some of Samosa’s most trusted lieutenants.

Breaking the ice as the first track of this exceptional EP is Vincent Galgo and ‘African Rebel’. Mr Galgo has clearly read the brief here – giving us a 125bpm marauder that’s a melting pot of unstoppable horns, furious rhythms and an Afro-pop style bass that is the beating heart of the track.

Track 2 is Samosa regular Frank Virgilio who introduces us to his ‘Mistress’. As a straight up jazz-infused, mid-tempo rhythmic chugger, ‘Mistress’ quickly gets down to the important business of racking up the beats and instrumentation. The generous spread of guitar riffs, assertive bass and organ stabs are expertly lifted by the layered and always rolling drums and bongos induce a trance-like state of mind, so be warned!

On the B-Side Samosa newcomer Casper Leo wears his Tribal heart on his sleeve with the enchanting and utterly captivating jangler - ‘Tom Tom’. You can never have too much Kora guitar and ‘Tom Tom’ has lashings of it, with delicious sprinkles of melodic Marimba – perfect for West African sunsets.

Closing the EP off in style is Afro beats grand master, Lego Edit and the filthy-sexy ‘El Safari’. No other producer can take the essence of the Afro beat structure and bend it to their will like Lego Edit can. Like a late night fist-fight in Club Coco Bongo, ‘El Safari’ punches its way out of the doors. A slinky, wily alley cat of a tune that digs deep with its claws and doesn’t let go and another masterpiece from Lego Edit.

Afrikano Vol.3 has done the impossible and set the bar even higher for this wonderfully diverse Samosa series. We want more. We want ‘4’. With this in your record box, you’ll come with a warning.

Warning French content! RIXE is back with a four track EP, their most French material to date. Keeping
one boot firmly in the CAMERA SILENS/ WARRIOR KIDS camp while the other one dances around METAL
URBAIN, KARNAGE, BUTCHER or even D-STOP and MOPO MOGO, creating an unlike threesome of
fuckwave, OI! And pop music as infectious as their previous four EPs.

Death and the Maiden’s Uneven Ground draws back the velvet curtain on the trio’s crepuscular dreamworld with nine songs of their distinctive shadowy slow-motion fusion of underground electronic dance music and post-punk guitars washed through with psychic unease. The trio’s name is taken from that of a nineteenth century engraving by Edvard Munch: an artwork steeped in mythology, exploring the dark boundaries between love and death, strength and frailty, beauty and decay. Their three albums to date each reinforce the symbolism of the name, and Uneven Ground’s title could apply as much to their own journey in the years since Wisteria, their previous album, as to the times in which we live. Bassist and vocalist Lucinda King is the bedrock, guide and storyteller. Guitarist Hope Robertson weaves swooping, soaring motifs and sometimes deconstructed layers of noise to build analogue atmosphere for these alternate worlds. Danny Brady’s beats mix old-school drum machines with electronic tones and distortion, while his synth arrangements blend elements of psy-trance and acid house with more amniotic ambient and industrial textures. While Uneven Ground may be the most overtly “pop”-sounding album in their catalogue, it also ratchets up the ominous atmosphere, noise and experimentation. Once again King’s evocative lyrics appear as cryptic stories, built from events, memories, dreams, moments, warnings, regrets; where questions raised are left unanswered, and possibilities remain open.

Die Hohepriester des finsteren Dooms kehren mit "Evil Remains" zurück, ihrem sechsten Album und dem ersten für Hammerheart Records!"Evil
Remains" ist ein hakengeladener Heavy Metal-Thrill-Ride in Nosferatu-Nächten!
Zurück nach einer sechsjährigen Pause mit voll aufgeladener schwarzer Magie, hat Castle einen Moloch von Riffs in einer hakengeladenen Mischung
aus Doom und psychedelischem Classic Metal abgeliefert. Elizabeth Blackwells geisterhafter, vollblütiger Gesang trägt zur majestätischen
Doom-Atmosphäre bei und ist eine elektrische Hexenhymne des Todes und des Wahnsinns: "Hear my warning, heed my call".
Aufgenommen bei Raincity Recorders in Vancouver B.C. von Produzent Jesse Gander (Anciients, 3 Inches Of Blood, Brutus), hält "Evil Remains"
klanglich die Waage zwischen warm und kuschelig und der bombastischen Kraft einer alternativen Stadionrockband. Bassistin/Sängerin Elizabeth
Blackwell und Gitarrist/Sänger Mat Davis bringen ihre einzigartige weibliche und männliche Gesangsattacke und ihre glühenden, schlangenartigen
Riffs zu schwindelerregenden neuen Höhen.

Red in Clear Vinyl. First compiled as a double CD in 2002, Moon's Milk (in Four Phases) is a suite of four EPs that Coil released seasonally via their in-house Eskaton imprint across 1998. The line-up for these sessions were John Balance, Peter "Sleazy" Christopherson, Drew McDowall, and William Breeze. Recorded primarily at their home studio in Chiswick, London on the eve of a permanent relocation to the small seaside town of Weston-super-Mare, the collection has long loomed as a pivotal and pinnacle work in the group's discography, but has never been officially reissued, or repressed on vinyl. Time has only ripened its tapestry of regal strangeness.Arranged sequentially in tribute to the equinoxes and solstices, Moon's Milk captures Coil at a revelatory crossroads, leaning deeper into improvisation, spontaneity, and sound design. "Moon's Milk or Under an Unquiet Skull" initiates the proceedings on Spring Equinox, a two-part netherworld organ séance woven from vocal drones, cathedral keys, seasick strings, and opiated undertow. From there, Summer Solstice skews lighter but no less incantational, with Balance embracing his voice-as-instrument across lucid dream torch songs ("Bee Stings"), purgatorial spoken word ("Glowworms/Waveforms"), sultry chamber pieces ("Summer Substructures"), and falsetto ravings ("A Warning From The Sun (For Fritz)").Autumn Equinox exudes more of a pensive and twilit mood, from the Rose McDowall-sung folk ballad "Rosa Decidua" ("I hear your voice sing near to me / I've put away the poisoned chalice (for now) / And lie down amongst the flowerbeds") to hall-of-lords hallucination "The Auto-Asphyxiating Hierophant" to the liminal string-plucked classic "Amethyst Deceivers," featuring excellent alien guitar by Breeze layered with Balance's oft-quoted couplet: "Pay your respects to the vultures / For they are your future."The album's final chapter, Winter Solstice, is its most swooning, remote, and ceremonial. Opener "A White Rainbow" stirs strings, layered choral vocals, and shivering rhythm into an imploding burial hymn. "North" oscillates bleakly, a ghost in the machine murmuring opaque prophecy ("This black dog has no owner / This black dog has no odour"), while "Magnetic North" is its inverse, a guided meditation of gently flickering software and surreal chakra poetics ("Red rose filling the skull / Yellow cube in the lower pelvis / Silver moon crescent below the navel"). The suite fades to grey with a traditional English carol ("Christmas Is Now Drawing Near"), rendered like an executioner's song by Rose McDowall's doomed, beautiful voice.The Dais box set includes the entirety of the rare Moon's Milk Bonus Disc CD-R / 2019 Threshold Archives CD, which includes three collaborations with Thighpaulsandra. This material is as rich and intoxicating as the previous four phases, ranging from electro-acoustic singing bowl rituals ("Copal") to dissonant electronic recitations of visionary Angus MacLise poetry ("The Coppice Meat") to ominous classical melancholia ("Bankside"). Once again, Coil confirm the vastness of their confounding, infinite alchemy, explored and refined across decades of experimentation - both sonic and bodily. From post-industrial to post-everything, theirs is an art untethered, in the wilds of its own design.