MUSIC

First vinyl pressing of the long out of print 1993 classic many consider not only Skullflower's apex, but one of the finest noise rock records of the 90's. Edition of 600 clear smoke 2xLP in deluxe embossed sleeve.

Brooklyn's illbient cult Sensational meets Kyoto's composer unbuilt.

聽覺侵蝕 噪音宣言 2 years after their debut album on Utech Records, P/O MASSACRE goes deeper in their immersive noise experimentation in this collaboration album with Alex Buess, and Merzbow (Masami Akita 秋田昌美). An architecture of distortion, Moog processors, spring reverb, drone effects and more, then developed in different directions by two electronic/noise veterans. It’s a journey of pure sensation, destruction, and rebirth. A skull-vibrating sound decomposition to your face. For this very reason of searching the limit of frequency and sound structure, we’ve decided to make this album as double 45 rpm vinyl, for a maximum aural experience, cut for vinyl by Frédéric Alstadt at Mont Analogue Masters. As he says: “it’s the cut of the uncuttable”. The visual design and layout are taken care of by the Taiwanese noise builder Chia-Chun Xu (Karma Detonation Tapes), with the artwork from the film destroying artist Tseng Peng-Chieh. Heavy gatefold sleeve, with obi and a bonus CD which includes an exclusive track “Nonslaught” from the same recording session by P/O MASSACRE only.

Panasonic tracks remixed by Zoviet France and Muslimgauze

"A brittle metronome in a delirious tension landscape, WOMEN'S HOUR are a Glasgow based experimental post-punk duo featuring Contort Yourself head honcho Murray CY and artist Jenny Wicks. Creating noise, harmony and disquiet washed in synth and repetitive guitar, rough beats and distorted vocals, WOMEN'S HOUR are constantly trying to embrace the shouting in their heads." On this, their debut release, a 12 track lp, a true to form jagged 80s post-punk affair, the two piece bring to life the day to day in the grim North through their music. One can almost feel the chill coming from the brittle window panes of the dank drafty flats, filled with asbestos paint, busted heaters, and no hot water flowing for who knows how long. Desperate, urgent, coming close to falling apart, yet pulling it together to make it through to the next song...this is as "British" as it gets (yes we know Scotland is its own thing guys, don't shoot) The sun hasn't shown its face for many months, wind blows through the deserted streets, change jingles around in your pocket, a hungry dog barks. This is the music of Women's Hour. Limited to 300 copies, one time pressing. Includes insert and art by Jenny Wicks of Women's Hour.

Having been part of the family for quite some time now, Lauren Bush aka re:ni joins the Timedance roster with an incredibly potent quartet of Techno infused bass-bin weaponry. « BeautySick » sees re:ni plunging into a world of intoxicating serpentine grooves. Spectral vocal slabs chime like echoes of a distant hallucinatory trance, while industrial drumworks find a mesmerizing counterpoint in eerie dubwise atmospheres. These four compositions not only showcase re:ni's sonic evolution but also explore the transient moments where darkness converges with light. They stand as a testament to the sonic prowess of one or favorite dancefloor sorceress. Picture Hajime Sorayama’s ‘Sexy Robot’ in front of an unreasonably large stack of speakers at a dimly lit sound-system dance; this is the soundtrack.

The collaborative project of Northern Electronics' founders, Anthony Linell and Jonas Rönnberg, has never ceased to confront with their coupling of industrious delirium and pensive austerity. By now we know that only adrenaline can make sense of the toxic ensemble of purposes at the heart of Ulwhednar. Meditating on higher flights of thrill and disorder than their previous record, and with an acknowledgement of their Stockholm roots, 'Area 08' induces fever and anticipation with every gesture. The opening tracks make a raucous yet resolute introduction to proceedings, eventually issuing one of the album's most exquisite moments of reprieve with 'Akalla/Broken Swords'. However, it is the second half of 'Area 08' that formally admits their latest work has crossed a threshold yet unexplored by the pair. A suite of villainously propulsive tracks spit embers of caustic balms as they careen out of reach with the engorged march of 'Commuter Madness'. Cunning in as many ways as it is earnest and audacious, 'Area 08' is a welcome alarm from the nucleus of the mission.

The future is a flash-back! Having dynamited the end of the 70s, in the next decade, Philippe Doray was still alive and kicking. With Laurence Garcette, he juggled with keyboards and all their simulations to begin the “second period” of the Asociaux Associés (the Antisocial Associates). Labyrinthine programming lead to songs which go crazy: electro, pop, krautrock, no wave…? In a word, French chanson as it was never heard before or since. “Nobody Move!”, so says Philippe Doray and his Asociaux Associés (the Antisocial Associates)! Having dynamited the end of the 70s with two radical albums – Ramasse-Miettes Nucléaires in 1976 & Nouveaux Modes Industriels in 1978, both reissued by Souffle Continu – Doray still hadn’t finished singing. Throughout the next decade he began his Composant compositeur which would document the “second period”, as he calls it, of his Asociaux Associés. The record includes new schizo-electro songs which make the most of his association with Laurence Garcette, who also plays any and all sorts of keyboards. A prolongation of the first period of the Asociaux Associés, the duo updates Doray’s poetry: in reaction to the current overcast atmosphere, here are some hallucinatory fantasies to the rhythm of an infernal circle dance (« Le petit géant ») or an ecstatic waltz (“Bombés fluo”) or even coded messages stuffed into bottles and thrown into space (“Secoue le flipeur”, “Choc d’amour”). On the bonus CD there are further iconoclastic examples: rare recordings (unpublished or even “inaudible”) of the Asociaux Associés but also by Crash, a duo that Doray formed with Thierry Müller (Ilitch, Ruth). At the controls of their experiment-bending machine the musicians multiply the possibilities: peripheral rock, arias in orbit, broken swing, industrial mantras and other joyful falsities. Enough to make you lose your mind ? No… as Philippe Doray promised: it is the “jackpot qui frissonne” (the shivering jackpot) which is there to excite.

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 neofolk 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 Copal 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.

Geneva-based duo Bound By Endogamy delivers a heavy blend of rave, synth-punk, and industrial music. Shlomo Balexert and Kleio Thomaïdes are both prominent figures in the local squat and punk scene, having been involved in numerous projects over the past decade. Following several cassette releases and a remarkable debut 7'' on Lux Records, the band presents a self-titled album that combines raw, growling basslines, crisp analog rhythms, and passionate vocals ranging from breathy to fiercely cutting. On stage, the project consists of drums, a sampler, and vocals. Shlomo handles the drums alongside sharp synthesizers, while Kleio delivers powerful vocals reminiscent of a professional boxer. Expect a fusion of DAF and Kleenex with a hardcore edge.

Geneva-based duo Bound By Endogamy delivers a heavy blend of rave, synth-punk, and industrial music. Shlomo Balexert and Kleio Thomaïdes are both prominent figures in the local squat and punk scene, having been involved in numerous projects over the past decade. Following several cassette releases and a remarkable debut 7'' on Lux Records, the band presents a self-titled album that combines raw, growling basslines, crisp analog rhythms, and passionate vocals ranging from breathy to fiercely cutting. On stage, the project consists of drums, a sampler, and vocals. Shlomo handles the drums alongside sharp synthesizers, while Kleio delivers powerful vocals reminiscent of a professional boxer. Expect a fusion of DAF and Kleenex with a hardcore edge.

Korpses Katatonik was a musical solo project of Zoe DeWitt during the years 1982 and 1983. Unlike DeWitt's later project Zero Kama, the work of Korpses Katatonik remains entirely within the realm of electronic music and shows an uncompromising experimental style comparable to that of other industrial bands like Throbbing Gristle, SPK, or Cabaret Voltaire. Like many other exponents of industrial culture Korpses Katatonik was inspired by dark psychiatry, pathological abnormalism, necrophilia, and other types of paraphilic aberration. These served as a metaphor for the dark side of a dehumanized society that seeks to maintain control by the suppression of anything that could be regarded as dark, sinister, deviant, or unpleasant from the viewpoint of popular mass culture. As a means of escape from this totalitarian pressure - thus a statement by Korpses Katatonik - there remains only self-destruction, murder, or the withdrawal into catatonic schizophrenia. Korpses Katatonik's first release was a Nekrophile Rekords cassette entitled subklinikal leukotomy aphrenia spasmophiik lyssophobo asphyxia sinister lethal anorex. The titles on the album were: shatok, schmertzlabor, enzephallik mortuor, nekom, kcok transzlant, kaltfleisch corporor, skarzisko and okzipital slash. The terminology of psychopathological disorders was used by Korpses Katatonik in a subversive way for its own poetic value and many of the rare vocals and track titles (as for example shatok, enzephallik mortuor and kaltfleisch corporor) were taken from writings of patients of Viennas famous psychiatrist hospital in Maria Gugging (dissolved in 2007). The title skarzisko refers to a national socialist concentration camp in the polish town Skarżysko-Kamienna. The upcoming influence of occultism within the postindustrial underground of the 1980s is finally reflected in the last track of Korpses Katatonik, Choronzon, which was published on the Nekrophile cassette compilation The Beast 666. This track, which refers to a ritual performed by Aleister Crowley and Victor Neuburg in the desert Sahara in 1909, anticipates the strong occult implications of Zoe DeWitt's musical follow-up project Zero Kama. In 2012 all recorded tracks by Korpses Katatonik have been released under the title Oeuvres complètes by the Viennese label Klanggalerie. Currently, the remastered album is reissued on IFP on VINYL, CD, TAPE, and ultra-limited collectors box. Recorded in 1982 by Michael Zoe Dewitt (synth, guitar, voice, tape loops) and mixed at the Institute for Composition and Electroacoustics at the University for Music and Performing Arts Vienna (Wiener Konzerthaus studios). First published as audio cassette NRC01 on Nekrophile Rekords in 1983. Remastered by Zoe Dewitt for Infinite Fog Records in 2022.Korpses Katatonik was a musical solo project of Zoe DeWitt during the years 1982 and 1983. Unlike DeWitt's later project Zero Kama, the work of Korpses Katatonik remains entirely within the realm of electronic music and shows an uncompromising experimental style comparable to that of other industrial bands like Throbbing Gristle, SPK, or Cabaret Voltaire. Like many other exponents of industrial culture Korpses Katatonik was inspired by dark psychiatry, pathological abnormalism, necrophilia, and other types of paraphilic aberration. These served as a metaphor for the dark side of a dehumanized society that seeks to maintain control by the suppression of anything that could be regarded as dark, sinister, deviant, or unpleasant from the viewpoint of popular mass culture. As a means of escape from this totalitarian pressure - thus a statement by Korpses Katatonik - there remains only self-destruction, murder, or the withdrawal into catatonic schizophrenia. Korpses Katatonik's first release was a Nekrophile Rekords cassette entitled subklinikal leukotomy aphrenia spasmophiik lyssophobo asphyxia sinister lethal anorex. The titles on the album were: shatok, schmertzlabor, enzephallik mortuor, nekom, kcok transzlant, kaltfleisch corporor, skarzisko and okzipital slash. The terminology of psychopathological disorders was used by Korpses Katatonik in a subversive way for its own poetic value and many of the rare vocals and track titles (as for example shatok, enzephallik mortuor and kaltfleisch corporor) were taken from writings of patients of Viennas famous psychiatrist hospital in Maria Gugging (dissolved in 2007). The title skarzisko refers to a national socialist concentration camp in the polish town Skarżysko-Kamienna. The upcoming influence of occultism within the postindustrial underground of the 1980s is finally reflected in the last track of Korpses Katatonik, Choronzon, which was published on the Nekrophile cassette compilation The Beast 666. This track, which refers to a ritual performed by Aleister Crowley and Victor Neuburg in the desert Sahara in 1909, anticipates the strong occult implications of Zoe DeWitt's musical follow-up project Zero Kama. In 2012 all recorded tracks by Korpses Katatonik have been released under the title Oeuvres complètes by the Viennese label Klanggalerie. Currently, the remastered album is reissued on IFP on VINYL, CD, TAPE, and ultra-limited collectors box. Recorded in 1982 by Michael Zoe Dewitt (synth, guitar, voice, tape loops) and mixed at the Institute for Composition and Electroacoustics at the University for Music and Performing Arts Vienna (Wiener Konzerthaus studios). First published as audio cassette NRC01 on Nekrophile Rekords in 1983. Remastered by Zoe Dewitt for Infinite Fog Records in 2022.

Korpses Katatonik was a musical solo project of Zoe DeWitt during the years 1982 and 1983. Unlike DeWitt's later project Zero Kama, the work of Korpses Katatonik remains entirely within the realm of electronic music and shows an uncompromising experimental style comparable to that of other industrial bands like Throbbing Gristle, SPK, or Cabaret Voltaire. Like many other exponents of industrial culture Korpses Katatonik was inspired by dark psychiatry, pathological abnormalism, necrophilia, and other types of paraphilic aberration. These served as a metaphor for the dark side of a dehumanized society that seeks to maintain control by the suppression of anything that could be regarded as dark, sinister, deviant, or unpleasant from the viewpoint of popular mass culture. As a means of escape from this totalitarian pressure - thus a statement by Korpses Katatonik - there remains only self-destruction, murder, or the withdrawal into catatonic schizophrenia. Korpses Katatonik's first release was a Nekrophile Rekords cassette entitled subklinikal leukotomy aphrenia spasmophiik lyssophobo asphyxia sinister lethal anorex. The titles on the album were: shatok, schmertzlabor, enzephallik mortuor, nekom, kcok transzlant, kaltfleisch corporor, skarzisko and okzipital slash. The terminology of psychopathological disorders was used by Korpses Katatonik in a subversive way for its own poetic value and many of the rare vocals and track titles (as for example shatok, enzephallik mortuor and kaltfleisch corporor) were taken from writings of patients of Viennas famous psychiatrist hospital in Maria Gugging (dissolved in 2007). The title skarzisko refers to a national socialist concentration camp in the polish town Skarżysko-Kamienna. The upcoming influence of occultism within the postindustrial underground of the 1980s is finally reflected in the last track of Korpses Katatonik, Choronzon, which was published on the Nekrophile cassette compilation The Beast 666. This track, which refers to a ritual performed by Aleister Crowley and Victor Neuburg in the desert Sahara in 1909, anticipates the strong occult implications of Zoe DeWitt's musical follow-up project Zero Kama. In 2012 all recorded tracks by Korpses Katatonik have been released under the title Oeuvres complètes by the Viennese label Klanggalerie. Currently, the remastered album is reissued on IFP on VINYL, CD, TAPE, and ultra-limited collectors box. Recorded in 1982 by Michael Zoe Dewitt (synth, guitar, voice, tape loops) and mixed at the Institute for Composition and Electroacoustics at the University for Music and Performing Arts Vienna (Wiener Konzerthaus studios). First published as audio cassette NRC01 on Nekrophile Rekords in 1983. Remastered by Zoe Dewitt for Infinite Fog Records in 2022.Korpses Katatonik was a musical solo project of Zoe DeWitt during the years 1982 and 1983. Unlike DeWitt's later project Zero Kama, the work of Korpses Katatonik remains entirely within the realm of electronic music and shows an uncompromising experimental style comparable to that of other industrial bands like Throbbing Gristle, SPK, or Cabaret Voltaire. Like many other exponents of industrial culture Korpses Katatonik was inspired by dark psychiatry, pathological abnormalism, necrophilia, and other types of paraphilic aberration. These served as a metaphor for the dark side of a dehumanized society that seeks to maintain control by the suppression of anything that could be regarded as dark, sinister, deviant, or unpleasant from the viewpoint of popular mass culture. As a means of escape from this totalitarian pressure - thus a statement by Korpses Katatonik - there remains only self-destruction, murder, or the withdrawal into catatonic schizophrenia. Korpses Katatonik's first release was a Nekrophile Rekords cassette entitled subklinikal leukotomy aphrenia spasmophiik lyssophobo asphyxia sinister lethal anorex. The titles on the album were: shatok, schmertzlabor, enzephallik mortuor, nekom, kcok transzlant, kaltfleisch corporor, skarzisko and okzipital slash. The terminology of psychopathological disorders was used by Korpses Katatonik in a subversive way for its own poetic value and many of the rare vocals and track titles (as for example shatok, enzephallik mortuor and kaltfleisch corporor) were taken from writings of patients of Viennas famous psychiatrist hospital in Maria Gugging (dissolved in 2007). The title skarzisko refers to a national socialist concentration camp in the polish town Skarżysko-Kamienna. The upcoming influence of occultism within the postindustrial underground of the 1980s is finally reflected in the last track of Korpses Katatonik, Choronzon, which was published on the Nekrophile cassette compilation The Beast 666. This track, which refers to a ritual performed by Aleister Crowley and Victor Neuburg in the desert Sahara in 1909, anticipates the strong occult implications of Zoe DeWitt's musical follow-up project Zero Kama. In 2012 all recorded tracks by Korpses Katatonik have been released under the title Oeuvres complètes by the Viennese label Klanggalerie. Currently, the remastered album is reissued on IFP on VINYL, CD, TAPE, and ultra-limited collectors box. Recorded in 1982 by Michael Zoe Dewitt (synth, guitar, voice, tape loops) and mixed at the Institute for Composition and Electroacozustics at the University for Music and Performing Arts Vienna (Wiener Konzerthaus studios). First published as audio cassette NRC01 on Nekrophile Rekords in 1983. Remastered by Zoe Dewitt for Infinite Fog Records in 2022.

ASA Arturo Lanz Saverio Evangelista AtomTM are the last three futurists on earth. »Radial« is the result of a vivid creative merge between Esplendor Geométrico and AtomTM. A transparent diamond formed by a heavy implosion. Its underlying massive mechanics are covered by a crystal surface made to cut reality in half. Just one letter short of “radical”, this album is no less than exactly that - an orgy of powerful, blunt repetition and hyperbolic simplicity, a profound evocation of nothingness and its surroundings. The 13 tracks (which comprise the digital full-length version) of »Radial« are the exact expansion of sonic ideas those three artists have explored during the last couple of decades. Unexpectedly so, this makes this production an outstandingly atemporal one - some would even classify it as meta-contemporary. A selection of 10 tracks of the digital full-length album will be released on CD through raster on September 01, whereas an accompanying vinyl release is scheduled for the end of 2023.

Underground prominent figures of the Belgian 80's scene, Alain Neffe and Nadine Bal have released and produced dozens of tapes under different monikers. Bene Gesserit is probably their most famous and iconic one due to its multiple facets. Originally a tape released in 1981 on their own Insane Music label, "Best Of" encaptures all the DIY and creative freedom of the band. From the yagé vapors of "Erg Habbiana" to synth madness of "Gloria" or "Gppm" this album summarizes the full spectrum of their ethos:Insane music without borders. This reissue additionally includes four unreleased tracks from Alain Neffe vault. Remastered by Krikor Kouchian and limited to 300 copies.

Michael Gendreau and Suzanne Dycus-Gendreau have been working under the name Crawling With Tarts from 1983 to 1998. They have released musical work on cassette and vinyl and have appeared on several compilations. In 1991 they released a video collection which included their works made with video, 8mm film, and with the PXL2000 camera. Their musical work ranges from structured composition to free improvisation, and their output documents a varied approach to music as well as highlighting collaborative efforts which have spanned the years and the globe. While Crawling With Tarts (Michael Gendreau and Suzanne McKee) are now best remembered for their lengthy experimental works, their 1984 cassette Tearoom, reissued on LP for the first time by Concentric Circles in an edition of 300, reaches back to a more primitive, elemental time for the duo. Tearoom is a notable document of Gendreau and McKee’s early music, where guitars and voices collide in unexpected ways, with buzzing organs and wispy clarinets tangling over thudding drums. While it sits comfortably within the parameters of the eighties cassette underground, Tearoom has its very own character, one untroubled by any need to align with the dominant stylistic moves of the music made by their peers. Opening track “Ithurial’s Spear” remarkably foreshadows the pared-back, home-baked non-rock of labels like Siltbreeze and Majora. With wah-fuzz guitar scrawled over a Peter Hook-esque bassline and McKee’s naive, almost childlike voice murmuring in the listener’s ears, it’s a perfect example of kitchen-sink psychedelia. From here, Tearoom continually unravels itself, taking off layers as it progresses to its close. The delay-drenched guitar of “Gentle Wind” could have fallen from an early Roy Montgomery release, while “Chilada” takes slurred, slowed voices and rubs them up against clattering guitar, tin can percussion and tetchy bass. The rest of the second side is a wild ride, shuffling between organ/clarinet spray, scrawling tape spew, and on closer “House Spirit,” a typewriter ticking out letters as the city goes about its everyday business outside the bedroom window. Tearoom is the perfect example of an album with surprises lurking around every corner, ricocheting from and finely riding the line between the most abstract of pop and experimentation in the truest sense of the term. With the humblest of means Crawling With Tarts created a musical world all their own, in the process making a truly revelatory experience for curious ears and gently twisted brains alike.

ASA Arturo Lanz Saverio Evangelista AtomTM are the last three futurists on earth. »Radial« is the result of a vivid creative merge between Esplendor Geométrico and AtomTM. A transparent diamond formed by a heavy implosion. Its underlying massive mechanics are covered by a crystal surface made to cut reality in half. Just one letter short of “radical”, this album is no less than exactly that - an orgy of powerful, blunt repetition and hyperbolic simplicity, a profound evocation of nothingness and its surroundings. The 13 tracks (which comprise the digital full-length version) of »Radial« are the exact expansion of sonic ideas those three artists have explored during the last couple of decades. Unexpectedly so, this makes this production an outstandingly atemporal one - some would even classify it as meta-contemporary. A selection of 10 tracks of the digital full-length album will be released on CD through raster on September 01, whereas an accompanying vinyl release is scheduled for the end of 2023.

Industrial music pioneers and chaotic art terrorists Throbbing Gristle came together in 1975 in Kingston Upon Hull, a formerly industrial city then in the midst of a long spiral of decline. Very Friendly, aka The First Annual Report is the legendary ‘lost’ album the quartet recorded in 1975 as the group morphed out of its COUM Transmission beginnings, the shocking title track an epic confrontational dirge recounting the brutal Moors murders of Ian Brady and Myra Hindley; elsewhere there are minimalist electronic deconstructions, episodes of distorted anti-music and droning chants of disturbing obscurity. In other words, essential TG!

At the time, being the first of the many semi-official bootlegs and live releases that Swans put out over the years, Feel documents the 1987 European tour for Children of God, recorded quite well on a professional walkman by the band's sound engineer. The track list exclusively focuses on Children material, so the album has much of the same general variety as its parent release, though all of the edges are a little rougher. "Blood and Honey," for example, maintains the synth-string arrangements from the album as well as Jarboe's low, haunting vocals, but the louder instrumental breaks have a stronger power here. In the meantime, already overpowering songs like "New Mind" and "Beautiful Child" rage all that much harder in a live arena, with Gira holding little back, if at all. At the same time, a tune like "Trust Me" maintains the newer Gira's commanding-yet-controlled croon amidst the more textured, elegant arrangement, though he definitely starts to let himself go more towards the end. Naming every highlight would take nearly forever, but special mention has to be made of "Children of God," featuring a fantastic call-and-response vocal tradeoff between Jarboe and Gira while the band brilliantly backs them up, and versions of "Sex God Sex" and especially "Blind Love," which make the album versions seem like gentle walks in the park by comparison. Another definite bonus on Feel is the demonstration of Swans' hitherto hard-to-find sense of humor: "Willy in Ravensburg" is a recording of a PA tape of Willie Nelson with drunken audience response, while a number of tracks near the end document a variety of performance goofs and improvisations, including some muffled but amusing audience banter at points. ~ Ned Raggett

Provocative post-punk from Israel's undercover goth prince. Megira's lone album with the Modern Dance Club showcased a grimier, more driving vision of his brand of trashy no wave. Spread across 31 tracks and two LPs, Love Police schizophrenically mixes industrial soundscapes, surf ditties, hardcore, swamp pop, bubble grunge, screaming, ecstasy, and enough fuzz to warrant a needle check.

Lucy Railton trusts in the nuance of her own creative instincts on an intensely modern, quietly radical new album, her second for Modern Love. Following her 2018 solo debut Paradise 94 (LOVE 108LP), and countless collaborations in the time since, Railton's diverse musical circles here bleed into each other, creating an insoluble testament to a lifelong pursuit of sound. The multi-instrumentalist further articulates her own tonal register, embracing her solo strengths and trusting the process to reveal vulnerable and compelling emotional facets through a fluid mix of composition, and pure expression. On the simplest level, Corner Dancer is a record that revels in the momentum of creation. Through a range of approaches, Railton gradually loosens her grip and allows her identities to expose themselves; cut to the bone, sinew and spirit of music making. Reaching outside tried and tested zones, she lands at a charged space characterized by unmetered pacing and an embrace of imperfection, using cello, viella (a medieval cello), Buchla, 808, a fan, synths, horse hair whips, a handheld harp and her own voice, across eight tracks that arc from an opening sequence of ruptured asymmetries, to something bordering the sublime on "Blush Study," the album's masterful closing flourish. In between, Railton invokes psychoacoustic, heady spins and repetitions, while also allowing space for live performance, a mode to which she feels most attuned, and here captured best on "Held in Paradise" (her violin debut) and "Rib Cage." Collapsing boundaries, Railton harnesses a lifetime of formal training in order to patiently trace more ambiguous, intimate and sometimes deviant shapes, operating to a fuzzed logic that loops back to themes with an ingenious underlying dramaturgy of energies, dismantling the form from the inside out, in a way that bends through feeling, rather than design.。

Gnarled outliers Scheich In China slam the hardcore panic button with five ruthless ramrods for acolytes of Nkisi, Gabber Modus Operandi, Service Animal, Hellfish & Producer, The Ephemeron Loop, Fifth Era… Dispatched beside a complementary album of death metal via their self-titled label, they unleash total hell via torrents of radical hardcore techno that absorbs aspects of doomcore, power noise, industrial and gabber musicks without any fucking about. Just as their Death Metal gear properly gnaws on its aesthetic bones, Scheich in China’s take on this sound is equally true to the ‘core, incendiary and primed to cause havoc at free parties or febrile clubs. ‘Fkk in Dänemark’ hews to a template of fast trot and down pitched doomcore dread next to a passage of inverted kick drum artillery, while ‘Bullenschweine (För Demos) + extra Track - Fick Die Oma - Mexican Mescal Mix’ churns up comparisons to vintage Hellish & Producer Deathchants. At its most radical, ‘Fickt Schafe (Russland is out Sodomie Mix)’ and the tracey death spiral of ‘Arschlöcher Überall’ recall the depth and intensity of The Ephemeron Loop or Fifth Era’s cold rushing doomcore arrangements. Be fucking daft not to.

Vladislav Delay presents the third EP in his "Hide Behind The Silence" series with five 10" releases coming throughout 2023. Intuitive and raw music, momentary and reflective, released on Ripatti's own label "Rajaton". Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me. Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness. Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’ The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in. A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size. It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

This selection of obscure eighties and nineties experimental and industrial music was taken from even more obscure cassette releases on labels such as Nihilistic Recordings, Harsh Reality, Cauchy Productions, Cafardage, Illusion Production, Watergate Tapes, Afterbirth Records, IEP and Out Of Nowhere. Crazy selection of cult noise and experimental from the 80s and the '90s. Edition of 300 copies. Featuring Kinexus Stringenus, Bernard C., Winter, Lyke Wake, Varoshi Fame, Toshiyuki Hiraoka, Mortification To The Flesh, Louis Pasteur, Det Wiehl, Nox, and A Violated Body.