Cerca:worm

Vier Stücke des estnischen Komponisten Arvo Pärt, eines Pioniers des ,heiligen Minimalismus". Im Mittelpunkt des Albums steht eine bisher unveröffentlichte Interpretation von ,Silentium", dem zweiten Satz von Pärts berühmtestem Concerto "Tabula Rasa", gespielt vom Kammerorchester A Far Cry aus Boston. Die Gruppe spielt ,Silentium" in fast der Hälfte der Geschwindigkeit der bekanntesten Version, die 1984 bei ECM veröffentlicht wurde. Das Stück, das für seine heilende Wirkung auf Sterbende bekannt ist und oft in Palliativeinrichtungen verwendet wird (ein Patient bezeichnete es als ,Engelsmusik"), ist bei halber Geschwindigkeit atemberaubend und scheint die Zeit selbst zum Stillstand zu bringen. Das Album enthält einige der beeindruckendsten Interpretationen von Pärts Musik, die je aufgenommen wurden. ,Vater Unser (Arr. für Posaune & Streicherensemble)" ist irgendwie warm und streng zugleich. Ein Miniatur-Epos. Pianist Marcel Worm's Soloversion von ,Variationen zur Gesundung von Arinuschka" ist so schön, das man kaum Worte dafür findet. ,Fratres for Strings and Percussion" ist eines der berühmtesten Werke von Arvo Pärt. Diese Version des Orchesters der Ungarischen Staatsoper ist ikonisch, voller Emotionen, an der Grenze zum Romantischen, aber nie kippend. Pärts Herangehensweise an die Musik und das Leben ist so spärlich wie die Kompositionen, die er schafft. Er sagte einmal: ,Ich habe nichts zu sagen... Die Musik sagt, was ich zu sagen habe. Und es ist gefährlich, irgendetwas zu sagen, denn wenn ich es bereits mit Worten gesagt habe, bleibt vielleicht nichts mehr für meine Musik übrig." Silentium setzt die Faszination von Mississippi Records für diesen großen zeitgenössischen Komponisten fort. Hochwertiges, schweres Vinyl, gepresst bei Smashed Plastic in Chicago, präsentiert in einem luxuriösen Reverse-Board-Jacket mit einem Artwork von Pärts heilig-minimalem Zeitgenossen Eduard Steinberg.

Mongolian hip-hop producer Bodikhu has never been to Rio but this is his lovely letter to the city he has often dreamt of. He has a love of the great Joao Gilberto and armed with that and a worm out MPC he set to work, laying down tropical beats and sunny melodies. The result became an instant classic and spawned a number of tunes that went on to pick up more than a million streams. It's a record that excites the imagination as well as warming the soul and this version comes with superb original artwork designed by illustrator David Burnett on a lovely splatter-coloured vinyl inspired by its own cover.

My Boy, the third solo record from New Zealand singer/ songwriter Marlon Williams, announces an artist emerging anew. Gone is the solemn, country-indebted crooner with the velvet voice - in his place comes a playful, shapeshifting creature. Following the release of his second album, 2018's Make Way For Love, Williams' toured the world, playing major festivals and collaborating with Lorde, Yo-Yo Ma and Florence Welch. He also forged a fledgling acting career with roles in films The True History of the Kelly Gang and Netflix series Sweet Tooth, as well as a cameo in Oscar winning film A Star Is Born. My Boy parlays this flush of worldly experience into a vivid record as spirited and kinetic as the unfolding life of its performer. "I've always explored different character elements in my music," says Williams. "And the more I get into acting, the more tricks I'm learning about representation and presentation. To get braver and bolder with exploring shifting contexts and new ways of doing things." As the pandemic paused global travel, Williams found himself at home in New Zealand, reconnecting with family and friends. Soon new demos and lyrical themes emerged: of self-identity and escapism; tribalism and a gnarled family tree; and ruminations on the role of masculinity and mateship. Co-produced with Tom Healy and recorded at Roundhead Studios in New Zealand, My Boy finds Williams' leading a new band through a set of genre-hopping tunes: from the cheery sway of `My Boy' and chugging `80s noir sheen of `Thinking Of Nina', to the charging synth of `River Rival', and the sultry pop jam `Don't Go Back.' All this sonic and emotional whiplash is intentional, and ultimately My Boy sees Williams having fun, even while interrogating the behaviors of himself and those around him.

My Boy, the third solo record from New Zealand singer/ songwriter Marlon Williams, announces an artist emerging anew. Gone is the solemn, country-indebted crooner with the velvet voice - in his place comes a playful, shapeshifting creature. Following the release of his second album, 2018's Make Way For Love, Williams' toured the world, playing major festivals and collaborating with Lorde, Yo-Yo Ma and Florence Welch. He also forged a fledgling acting career with roles in films The True History of the Kelly Gang and Netflix series Sweet Tooth, as well as a cameo in Oscar winning film A Star Is Born. My Boy parlays this flush of worldly experience into a vivid record as spirited and kinetic as the unfolding life of its performer. "I've always explored different character elements in my music," says Williams. "And the more I get into acting, the more tricks I'm learning about representation and presentation. To get braver and bolder with exploring shifting contexts and new ways of doing things." As the pandemic paused global travel, Williams found himself at home in New Zealand, reconnecting with family and friends. Soon new demos and lyrical themes emerged: of self-identity and escapism; tribalism and a gnarled family tree; and ruminations on the role of masculinity and mateship. Co-produced with Tom Healy and recorded at Roundhead Studios in New Zealand, My Boy finds Williams' leading a new band through a set of genre-hopping tunes: from the cheery sway of `My Boy' and chugging `80s noir sheen of `Thinking Of Nina', to the charging synth of `River Rival', and the sultry pop jam `Don't Go Back.' All this sonic and emotional whiplash is intentional, and ultimately My Boy sees Williams having fun, even while interrogating the behaviors of himself and those around him.

Repress!

'Erotic Probiotic 2' is Nourished By Time’s debut album on Scenic Route, following up from last year’s two track EP, Erotic Probiotic, which had support from Jamz Supernova on BBC 1Xtra and NTS shows; Yaeji, Shy One, Macca, Anu, and more. 2023 has already been a busy year for the singer/songwriter/producer, supporting 4AD’s sardonic post-punk band, Dry Cleaning on their 20 stop tour of North America. As well as remixing their playful album track, Gary Ashby, dropping on March 1st. Nourished By Time also collaborates with progressive electronic artist Yaeji on her debut album, With A Hammer, out on April 7th on XL Recordings.

Erotic Probiotic 2 showcases the range of this rising Baltimore pop star, telling his transformative story through impeccable songwriting, infectious ear worm melodies, vivid storytelling and intimate DIY production. The album traveresses a broad spectrum of sound, allowing his songwriting to dictate the ever changing mood he orchestrates; whether it is love or loss. Sitting somewhere between indie, pop, alternative RnB, ultimately carving out a fresh sound defined by his vulnerable vocals, raw guitar licks and undeniable groove. Quantum Suicide is the lead single with a bitter sweet sentiment brought to life through fuzzy shoegaze guitar riffs, glimmering synths and beautiful melancholy vocals, leaving you with a dizzying sense of possibilities.

The album was recorded mostly in 2021 - 22 in his parents basement in Baltimore. “At this time, I was in a beautiful and formative relationship that was running its course. Songs like ‘Unbreak My Love’ and ‘Rain Water Promise’ come from that place of dealing with the end. A story of lovers parting and making sense of the battling feelings of resentment and longing. As well as the existential aspect of having to end of a relationship. All while with dealing long-time depression, songs like lead single “Quantum Suicide” and “Shed That Fear” exhibit the importance of choosing to live and that getting out of pits of despair requires tremendous amounts of effort and intention and is a very difficult lifelong task. Whilst other tracks such as ‘The Fields’ and ‘Daddy’ and ‘Workers Interlude’ are attempts at trying to aim my anger at productive targets like Capitalism which both songs are a critique of.”

This incredible 10" 5 vinyl box set is limited to under 200 copies, and comes with 3 black, and two white vinyl records. This is Ray Keith under his "Dune" name changing the entire game with some combination jungle and old skool rave in a way that only Ray can do. Absolutely epic, and absolutely unmissable!!!

For the first 47 release of 2025, Grenoble-based artist Pause makes his debut on Tommy Four Seven’s imprint. Known for crafting deep, pulsating techno, 47044 sees Pause deliver more heavy yet sophisticated slabs of bass, slinking between rugged, airy grooves and elegant sound design. The 5-tracker also sees Pause explore territories beyond his trademark steady-paced, hypnotic sound via the off-kilter closer, culminating in a polyrhythmic wormhole. 47044 is out February 14th, available as vinyl and download

Aphelion Recordings marks its 30th anniversary with the release of a long-awaited EP featuring the iconic track Arrest and remixes by techno legends

Zugzwang's debut EP was released in 1995 on their own Aphelion Recordings, sounding like an instant classic. Four tracks of fully formed ambient techno: deep, immersive and richly textured. Despite being hitherto unknown, this music held its own against the best of its peers: Aphex Twin, Boards of Canada, etc. With original copies changing hands for over £250, it is today recognised as an iconic, timeless piece of British electronica. The heart-stoppingly beautiful Euphonic was recently included in arbiters of good taste Ivan Smagghe and Ivan Ivkovic's IDMEMO compilation.

Zugzwang, also working under the aliases Aphelion and Replicant, went on to become electronic cult heroes. They released on Worm Interface and Ambient Soho Records and were featured on the celebrated ALT Frequencies compilation alongside artists like Gescom and Autechre. They were on the cusp of signing a deal with Jeff Mills Axis Recordings, and Tom Middleton once called the family landline to wax lyrical about their work.

Now, 30 years after APH001, Aphelion Recordings is proud to announce APH003. This is both a vital historical document and a forward-looking statement of intent. This new EP revives the legendary Arrest track in its original form, sounding as timeless as it did in 1995. Alongside the original mix, the EP features three killer remixes by some of electronic music's most celebrated figures: Nuron, Voyance (Ben Sims & Nick Dunton), and Mike Golding of B12.

In summer of 2015 Seattle's doom fixtures Bell Witch released Four Phantoms' on Profound Lore Records, the highly anticipated doomed follow up to the band's now classic debut full-length Longing' (2012). But Longing' was not the band's first effort. Bell Witch first appeared in 2011 with a well-received demo that was simply titled Demo 2011.' At 37 minutes this recording was a massive statement of purpose which far-eclipsed the "demo" status implied by the name. It was recorded by Brandon Fitzsimons (Wormwood), the same engineer that worked on the band's debut Longing.' Demo 2011 showcased Bell Witch's minimalist depressing sound that has proven to be timeless, relevant, and undeniably sad. The band is heavy. The Flenser is proud to unleash this new pressing of a classic moment in contemporary US doom history. Artwork by the band's own Adrian Guerra (RIP) presented with an updated layout and in a more sustainable package than the initial pressing.

Upon its release in 2017, Bell Witch's Mirror Reaper cemented the Seattle duo's status as one of doom metal's most formidable acts. Its single, monolithic track also served as a tribute to the band's former drummer Adrian Guerra, who tragically passed away the year before.

Five years earlier, on the back of a highly praised demo, the band released their debut album, Longing. Featuring the original line-up of Dylan Desmond and Adrian Guerra (RIP), the album was recorded by Brandon Fitzsimons (Wormwood, Samothrace). It is a time-stretching journey through darkness, pain, and suffering, and doomed minimalism that is now considered a classic of the genre.

Originally released on CD by Profound Lore in 2012 and on vinyl by The Flenser, the vinyl edition has been out of print for several years until now. The Flenser offers a new pressing of this timeless masterpiece. Longing is packaged in a thick, old-style case-wrapped gatefold jacket with printed inner sleeves.

Mike Parker returns to Samurai Music to apply his steely, rigorous approach to another EP navigating the 170BPM zone. As a widely celebrated pioneer of ice-cold wormhole techno, Parker finds profound depth in alien textures and ruthless repetition which he ably twists to the drum & bass template.

The A side of Envenomations leaps forward with urgent jump-up grooves as the driver for lean, rolling workouts. With his minimalist tendencies, 'Voc-1 Robot' and 'Ee-Yo' strike a cool and deadly mood similar to classic mid-90s Krust, swapping jazzy samples for atonal synthesis.

Parker was last spotted experimenting with this techno-D&B crossover on 2023's Sabre-Tooth, but the keen-eared may have already detected his interest in half-time on the Stinging Insects / Stages Of Metal digital single he dropped on his own Geophone label back in 2020. Both tracks make a welcome arrival on wax to form the B side of this release, channelling Parker's signature palette into more spacious surroundings.

Backed up by an additional pair of digital-only tracks, Envenomations is another standout exercise in the fertile synergy between techno and drum & bass, delivered by a true auteur with an unmistakable sound.

In summer of 2015 Seattle's doom fixtures Bell Witch released Four Phantoms' on Profound Lore Records, the highly anticipated doomed follow up to the band's now classic debut full-length Longing' (2012). But Longing' was not the band's first effort. Bell Witch first appeared in 2011 with a well-received demo that was simply titled Demo 2011.' At 37 minutes this recording was a massive statement of purpose which far-eclipsed the "demo" status implied by the name. It was recorded by Brandon Fitzsimons (Wormwood), the same engineer that worked on the band's debut Longing.' Demo 2011 showcased Bell Witch's minimalist depressing sound that has proven to be timeless, relevant, and undeniably sad. The band is heavy. The Flenser is proud to unleash this new pressing of a classic moment in contemporary US doom history. Artwork by the band's own Adrian Guerra (RIP) presented with an updated layout and in a more sustainable package than the initial pressing.

Upon its release in 2017, Bell Witch's Mirror Reaper cemented the Seattle duo's status as one of doom metal's most formidable acts. Its single, monolithic track also served as a tribute to the band's former drummer Adrian Guerra, who tragically passed away the year before.

Five years earlier, on the back of a highly praised demo, the band released their debut album, Longing. Featuring the original line-up of Dylan Desmond and Adrian Guerra (RIP), the album was recorded by Brandon Fitzsimons (Wormwood, Samothrace). It is a time-stretching journey through darkness, pain, and suffering, and doomed minimalism that is now considered a classic of the genre.

Originally released on CD by Profound Lore in 2012 and on vinyl by The Flenser, the vinyl edition has been out of print for several years until now. The Flenser offers a new pressing of this timeless masterpiece. Longing is packaged in a thick, old-style case-wrapped gatefold jacket with printed inner sleeves.

Early support from Luke Slater, Kr!z, Truncate and Rødhåd. After 4 years, Blenk is back on Enemy with another incredible EP. “Breaking the Loop” is 5 tracks of Blenk’s signature hypnogrooves that will easily compliment each part of the night. This EP kicks off the 20th year anniversary of Enemy Records. Over the course of 2025, expect a handful of new releases and represses from our most indemand records!

“Lost” is the EP’s warm, ambient kick off. It perfectly sets the tone for starting up or finishing off a set at any time. We all need intros, so…here ya go.

“Outline” is a monstrous track that has been hammered regularly by a few of our select friends. It’s as funky as it is punchy. We could write more words, but who cares…it’s the big one.

“Silo” is the tracky roller of the EP. This one is for the “Just the grooves please, I’ll take it from here” type of DJs.

“FM9” is for Interstellar travelers, or at least for the people who took enough acid to think they are. If you’re into ‘wormhole techno,’ this is one is right up your quadrant.

“Dissociative” does exactly what the title says. While it has those A side qualities, it’s the perfect introspective wrap up for the infamous B2 spot.

Get on track with Fidelio and Luca Piermattei.

Fidelio’s triple-vision A-side gives a taste of the unorthodox, blending 90s acid rawness with the timeless elegance. This is where baroque drama meets warehouse ecstasy.

Fidelio unleashes an avant-garde fusion of classical organ melodies and razor-sharp acid basslines, echoing through your spleens. Each track oozes groove, driven by punchy kicks and hi-hats that sizzle like sparks on steel.

Fidelio’s mix pulses with a sense of urgency, like a techno odyssey through a neon-drenched dystopia.

Luca Piermattei will catch you on the flippity-flip. ‘Gas’ feels like a transmission from a synthetic consciousness trying to breach the uncanny valley. The track opens with a pulsating bassline that wobbles like liquid mercury, creating a sense of disorientation. A warped robotic voice enters, glitching and stuttering, its eerie attempt at human inflection both captivating and unsettling.

The groove is undeniable—polyrhythms weave through intricate layers of percussive clicks, offbeat hats, and swelling synth stabs. Just as you think you’ve found the rhythm, the track bends your mind with unpredictable shifts, like machinery spiraling into controlled chaos.

Enter Luca’s wormhole with ‘Third Rec. With Tascam 122’: Meet the captivating 4×4 electro groover that pulls listeners into an otherworldly soundscape. Anchored by pulse-driven basslines, the track delivers a surprising and dynamic arrangement that keeps you guessing.

The sections are seamlessly divided with intricate, pinball-like percussion, creating a playful yet precise rhythm. Perfect for late-night explorations, this track balances hypnotic grooves with unexpected twists, making it a standout on the dancefloor.

Astro returns with a high-octane collection of tracks, peaking at the dizzy heights of 138 BPM, engineered for late night club moments and steeped in early 00s/90s influences. We were fortunate to have Cape Town's own Biodive for a remix, bringing a driving yet minimal sound, effortlessly captivating listeners.

A1, Subatomic, seizes the spotlight with its relentless, driving energy. It immerses us in a 2001 trance soundscape, featuring sharp synth lines and dynamic vocal chops, while echoing, panned stabs enhance the track's deep, otherworldly ambiance.

River Torque, panning UFO pads from a different dimension, shifting gears with precision. A tunnelling groove locks in, firing us straight into peak-time. Direct, relentless, and built for the highest intensity—this one drives everything forward. No escape, just pure momentum.

A3 sees Astro reconnect with his dub-techno origins, pulling in the deep, atmospheric vibes of his early work. Basic Channel-inspired textures are unmistakable, but here they surge. Reverb-soaked layers cascade over a pumping 909, while razor-sharp hats slice through the fog, propelling the track into a hypnotic, futuristic drive.

Wormhole is your go-to for testing low-end limits—bass-heavy, deep, and undeniable. This might be the most floor-shaking, post-pumping Astro track yet. The rich, undying textures crafted from the Blofeld Waldorf deliver sweeping alien FX, creating a soundscape that feels both immersive and extraterrestrial.

Biodive is one of those rare artists who can take a track to another level, almost transcending into another dimension. This remix embodies a minimal yet fierce Detroit sound—stripped down but powerful, hitting with precision and intensity. It’s the perfect choice to close out the EP, leaving a lasting impression with its raw energy and driving beat.

Nine Pound Hammer, die für ihre raue, überdrehte Mischung aus Punkrock, Hardrock, Country-Musik und Hillbilly-Ikonographie bekannt sind, waren eine der prägenden Bands der Cowpunk"-Szene, die in den späten 80er und frühen 90er Jahren den Weg für Alt-Country ebnete. Kanppe sechs Jahre nach ihrer ursrünglichen Auflösung spielten Scott Luallen, Blaine Cartwright, Matt Bartholomy und Bill Waldron im Jahr 2000 ein paar Reunion-Shows mit Nine Pound Hammer, und 2004 schließlich beschlossen Luallen und Cartwright, dass es an der Zeit sei, die Gruppe noch einmal loszulassen. In neuer Besetzung kehrten NPH mit "Kentucky Breakdown" auf die Bildfläche zurück. Das fünfte Album der legendären Band aus Lexington zeigt die Band um die Original Mitglieder Scott Luallen und Blaine Cartwright, der zwischenzeitlich mit NASHVILLE PUSSY beachtliche Erfolge feiern konnte, wieder in bestechender Form. Das liegt laut NINE POUND HAMMER daran, das "...das wahre Leben uns zu rauheren, verbitterten und durchgeknallteren Typen gemacht hat..." und das heutzutage "...so viele Crap Rock und leichtgewichtige Alternative Country Bands draussen sind, wir sind echt sauer und zeigen denen wie es gemacht wird!". "Kentucky Breakdown" wurde von Dave Barrick produziert und zeigt vor allem eins: NINE POUND HAMMER - oft kopiert, nie erreicht!!! Vinyl Reissue des Comebackalbums der Cowpunk-Urgesteinen NINE POUND HAMMER zum 20sten! Mit den Originalmitgliedern Scott Luallen und Blaine Cartwright (Nashville Pussy). Gepresst auf transparent-gelben Vinyl mit schwarzem Splatter. Limitierung 500 Stück weltweit, enthält einen bisher unveröffentlichten Bonustrack! Für fans von Nashville Pussy, Supersuckers