[engl] Deathsomnia is a UK and Estonia based three-piece band bringing forth a unique sound emanating from dystopian industrial punk soundscapes enveloped in raw emotion, industrial climatic momentum and live band energy.? The creative synergy between the multi-instrumentalist members Kadri Sammel (Bedless Bones), Richard Powley (Telepathy) and Bruno Russo, and their individual punk, hardcore and electronica backgrounds, are the source for Deathsomnia’s music genre bending originality.? New York based producer and collaborator, Ben Greenberg (Uniform. Black Marble, Bad Breeding, VR Sex), describes Deathsomnia’s blending of subtle industrial elements into guitar driven songs as cyberpunk and a welcomed break from current popular darkwave aesthetic tropes.? “What I’ve noticed in the past year is that people are looking for something new, they just don’t know what it is yet. There’s a huge space now for us to push things creatively to find new spaces that have either been ignored or misunderstood or simply did not exist yet in people’s minds. I think that Deathsomnia is very much a part of that,” says Greenberg.? While their groovy riffs and crashing percussions draw influences from Wipers, Dead Moon, Health and Godflesh, Sammel’s beguiling vocal melodies are dressed with Depeche Mode and Primal Scream undertones.? “We have an imperative to create new sounds by blending sounds that would not normally be combined and messing with the fabric of people’s reality to make them question what they are hearing,” says Greenberg.? The powerful song “Self Sabotage”, featuring drums by Mike C. Sharp (Uniform), is a poignant and catchy anthem about finding beauty in the depths of negative emotion.? “I wanted the songs to turn out gorgeous in a really classic way but also heart-breaking. I think this is what we have got with Self Sabotage. It’s beautiful but also really sad and that’s pretty accurate when I look around at the world,” says Greenberg.? Deathsomnia’s highly anticipated EP will feature a Swans cover and artwork by Dwid Hellion (Integrity). Produced by Ben Greenberg and mastered by Arthur Rizk (Power Trip, Ghostmane, Code Orange).?

[engl] Darkwave up-and-comers Deathsomnia are a UK/EUR-based three-piece who bring forth a sound that emanates from dystopian punk soundscapes enveloped in raw emotion, industrial climactic momentum and live energy. Today, they’ve announced their extraordinary ten-track debut album You Will Never Find Peace, set for release on September 3rd via Isolation Records. Today, the trio — featuring Kadri Sammel (Bedless Bones), Richard Powley (Telepathy) and Bruno Russo — have unveiled the album’s industrial-tinged first single, “Katabasis,” which features contributions from Kyle Kimball (of NOTHING + Night Sins). The track showcases the band’s ability to capture a balance between punk guitar rawness and ethereal synth tones. While the song’s title refers to the loss of voluntary movement, the marching drum pattern and pounding rhythm induce a high energy reaction impossible not to dance to. Kimball comments, "When I heard Katabasis I knew I wanted to be a part of it. Deadly serious but danceable with straight to the point lyrics. Deathsomnia made me a fan immediately. Here’s to descending…” The creative synergy between Deathsomnia’s multi-instrumentalist members ?and their individual punk, hardcore and?electronica?backgrounds, are the?source?for?You Will Never Find Peace’s unique dystopian?punk?and industrial sound and genre-bending?originality. Their?groovy riffs and?crashing percussions?draw?influences from Wipers, Dead Moon, Health and?Godflesh,?the?beguiling?vocal melodies are dressed?with?Depeche Mode and Primal Scream undertones.? You Will Never Find Peace also features notable collaborations from Gabriel Franco (Unto Others, formerly known as Idle Hands), Kyle Kimball (Nothing, Night Sins) and a remix by Selofan. Additionally, Mike Sharp (Uniform) plays drums on the album and Dwid?Hellion (Integrity) provided the artwork. The album was mastered by Arthur Rizk (Prurient, Power Trip, Code Orange) and produced by Ben Greenberg (Uniform, Cold Cave, Ceremony); the latter describes Deathsomnia's blending of subtle industrial elements into guitar driven songs as "cyberpunk and a welcomed break from current popular darkwave aesthetic tropes."

[engl] "Trying to look up “Deep Throats” on the internet to find out what year I first saw them just proved interesting...Clarion Alley 1999(?) I was a kid, I took mushrooms to help me 'ease into things.’ It was a perfect SF night. Warm and dimly lit. Shit and piss smelling Clarion Alley. A band took the eye-level built-that-afternoon stage. I had peeked up gender-bent punk’s chicken-leather skirt and into eternity. How old were they? Who were they? How were they so fascinating? They were blowing my young mind. I remember a show where, for some reason I can’t recall, but probably the cops had shut a party down, they got moved to a friends backyard down on 3rd street. They played in front of a halogen work light on cement and somebody threw a bucket of yellow latex paint into the sky. The show was incredible and unstoppable (until the bikers next door called the cops and broke the party up).I’m not sure how I made it home but the next morning I woke up to strangers sleeping on my living room floor and yellow paint footsteps covering my joint. I spent the next day gagging on my hands and knees scrubbing paint off the hardwood floor (even the shitty flats in SF have nice floors). Drugs, violence. General snottiness. Elastic paranoid guitar. SRO drum kit. Coke-bottle specs sharp bass sounds. An abstract guitar dance that still I can’t rip off without feeling guilty. Smirking medicated bass player whose heavy glasses slid down his sweating beak. Hot as hell and unapproachable drum master Sugar, whose boyfriend at the time I remember as like an extra from Warriors except he rode a BMX and was like 40...bad ass. Then there is Tracy. Sneer lip stick smear. Ripped stocking high heel in my eye. Tough as nails. Off the rails. A guitar as skinny as a knife. Bent on pushing an ideal into your face hole. I look back on these dark and aggressive times with much fondness. And now, here, we present to you the long lost final deep throats recordings, Good Bad Pretty, on frosted sugar injected vinyl. Dig in, kids." -John Dwyer, Thee Oh Sees

[engl] North-east Italy, late summer 2013: Cristiano Deison and Andrea Gastaldello (aka Mingle) meet online and begin to lay the foundations for what will be their first project together. Out of this comes Everything Collapse[d], an album centred around melancholy and desolation; a concept that does not leave much hope, forcing you to look within yourself. A foreign body coming from far away: sidereal matter which is about to implode; an object that has reached its limit. And everything collapses, swallowed up by itself. Recorded and produced between Mingle's Tower Home Studio and Deison's 1st Floor Studio, Everything Collapse[d] is a perfect union of our two sounds: drones, field recordings and processed loops intermingled with disturbed rhythms, melancholy harmonies and piano chimes. A gloomy and dirty electronic sound that turns into an extremely evocative score which is full of pathos. A precise, precious and cosmic album... One Million Parsec From Your Sun.

[engl] Spring 2014: Cristiano Deison and Andrea Gastaldello (aka Mingle)motion. The idea is that of moving forwards skeptically, maybe meeting someone or something, maybe not. You do not know. The important thing is to stumble through the rubble, the tangles and fragments of broken ideas...listening carefully to the pulse of weak life. Assembled, recorded and mixed by Andrea Gastaldello and Deison at Towerbeats and electronic treatments are inserted. As always these are dirty electronics which are extremely evocative, to which we have become accustomed. Cristiano Deison: Electronics, Processing. Andrea Gastaldello (Mingle): Electronics, Treatments.

[engl] Following on from the release of the Yes We Do 7”, Delivery are back with ‘Personal Effects/The Topic’, a double single release that continues to expand on the group’s razor-sharp blend of garage, post-punk and new-wave pop. While the four tracks on Yes We Do were developed around the sound of the project’s initial home demos, ‘Personal Effects/The Topic’ capture the five-piece working in full collaboration for the first time. Across these tracks, programmed beats and synths make way for heaving live drums, relentless guitar interplay and left-of-centre saxophone bursts, while the band’s triune vocals (split between Rebecca Allan, Lisa Rashleigh and James Lynch) are more dynamic and incisive than ever.

[engl] Pro-duplicated cassette release compiling the "Yes We Do" and "Personal Effects" 7" releases. 6 tracks as a repeat program on yellow shell cassettes w/ white imprint.

[engl] Deux Boules Vanille is a two-piece band from the Rhône Alpes area, south-east France. In 2015, they recorded Tutti Frutti, outstanding first full-length album released by our colleagues from SK records, Mon Cul C'est Du Tofu? and Gnougn, but they honour us with the sequel today. Planète Gougou will you be immersed in the new adventures of these two drums connected to home-made synths, drifting away in polyrythmic compositions, repetitive music, techno and acid house. Enough to shake it.

[engl] Definitely a head-scratcher, this one. A crazed outing from this French band, almost Ministry-esque music that's riff-heavy and dense and very well-produced, fronted by what sounds like either Gibby Haynes or Mike Patton doing his best work at running a game show or a pledge drive. Weird, challenging, confident, and hard to latch on to, like if a rock band was commissioned to write circus music. Sounds like they're having a blast, whatever the hell it is they're doing. - Razorcake

[engl] Under the pavement of frozen metropolises, strange processions parade. They bring together in narrow caverns of alcohol and smoke those who have come to thank electricity. Three operators respond to them, one controls the primitive mathematical oscillations of his machines, the other chants so that the frightened God holds back his lightning, so that the hungry people spared below kiss his feet. The last, a human quartz holds the metronome of necromantic hypnosis and completes the ritual of submission. They create the speleological storm, the troglodyte fury. Making the dead move isn't easy unless it's the only job you know.

[engl] 6 Kraut klassics broadcast from deep out in the spacelab, where the sun don’t shine and noone can hear you scream... so you beep, whizz and chant monotone commands at the control board while the days turn into eternity and suddenly you can’t tell if it’s Berlin 2020 or West Germany ‘79.. With an enthusiasm and charm that brings to mind the early transmissions of cross border comrades DAF and F242 (I said “early”!) the execution is perfect. This is what languages like French and German were invented for and it’s delivered here ice cold. ( Daryl Sulfate / Diät / Clock of Time )

[engl] I wonder what Die Letzten Ecken did during the past 2 1/2 years since their debut EP. Did they steal Jürgen Engler’s Stahlofon? Did they listen to Nitzer Ebb’s Basic Pain Procedure for the cold minimalistc EBM appeal ? Did they ask Matthias Schuster how to combine this with the psychedelic electronica of the Berlin School like he did on Atemlos? Probably none of that. Find out for yourself but do not forget your Talisman to listen to it on a stroll. There is much more to discover here than whether there are Seen Links or Schlösser Rechts.

[engl] A new star in the retro sky. Mauerstadtmusik which could also have been recorded in 83.

[engl] From the minds of Haley Himiko (Pleasure Leftists), Noah Anthony (Profligate) and Christopher Brown (Cloud Nothings), Disintegration's Time Moves for Me EP transcends the post-punk and synth pop sounds of the past into something entirely new and futuristic. The Cleveland group recorded these four songs in summer 2022 and self-released them on cassette shortly after. Himiko's soaring vocal range carries the EP forward atop a mix of sounds that draw from the worlds of minimal synth, programmed percussion, noise rock guitar, and pure pop melody to create an incredible seventeen minute debut. Feel It is proud to present Time Moves for Me on a vibrant 45 RPM 12" and cannot wait to hear what Disintegration does next!

[engl] Years in the making, the follow-up or maybe even companion piece to 2015's "Positive Energy", "Positive Disintegration" sees the band with a bit more of a pop zap to the ever present post punk dreariness of modern Berlin life... Or even modern life at large as most of the lyrical content has to do with the monotony of barely getting by or trying to have a meaningful exchange with a remotely interesting person. These things are hard to come by most of the time and this music eats at that very feeling. It's almost enough to make you wanna throw in the towel and move to Spain without a care in the world to haunt your remaining days. You probably won't though, you'll most likely listen to this record while you sip your overpriced room temperature coffee drink whilst ordering new bulbs for your anti depression lamp from a major online retailer. It just feels like life is getting away from you, ya know? Dark. 200 copies on translucent orange, 550 on black 140gr vinyl housed in a 24pt reverse board jacket with lyric sheet, poster and download card included. Recorded at DongXuanProductions. Mastered by Daniel Husayn. Art by Yuta Matsumura and Made Ollosp.

[engl] ndustrial Records - the label of Throbbing Gristle first released this pop gem in October 1980 and it was possibly the straightest yet weirdest release the label ever did. Dorothy was described as a 19 year old with no prior releases, but was actually Max the drummer from Rema Rema with help in the song writing department from Alex Ferguson from Alternative TV and Genesis P-Orridge. I Confess is a perfect super cute pop ditty with lyrics that sound like a catholic confession. The flipside Softness is a DIY Disco dancefloor nugget with Dorothy's silky smooth vocals.

[engl] Double Job combines peeps from other famous Leipzig Bands like Maraudeur, Dolphins, Planets are on it. Sometimes they remind of early records of Abwärts (but stranger!) sometimes of recent bands like Toyota - you can't deny there is a strong 80s DADA- MUSIK vibe. Vocals are either in French or German, sometimes both. We hear single notes over grooving bass lines and minimal drumming, when suddenly dissonant parts break in.

[engl] made by dylan mccartney at the attic in the village by the cemetery. with ancient tapes, several drums, two or three synthesizers, a bass guitar, shakers of a few sizes, a cowbell, a century old bugle, a broken melodica, two tambourines, the "thing", a harmonizer, a destroyed contact mic, barely functioning buzzing amplifiers, sounds of the 1401, two warped electric guitars, a hand drum from my late uncle Gordon, a computer on the brink of a fatal crash, consumer grade microphones, a truculent flanger, a few bottles of ouzo, a bevy of self-induced paranoid delusions, bridges between Cincinnati and Kentucky, the companionship of a frightful cosmic tale, the solitude of the forsaken spot, vivid and visceral nightmares, red lights, night rides and poisoned air.

[engl] It begins with a rustle of noise, equally reminiscent of distorted factory noise and a cassette recording of cathedral bells unspooling, before a near-robotic beat and stuttering bassline enter the fray. Initially, you could be forgiven for thinking you’ve stumbled across the lost tapes of Joy Division’s early Warsaw incarnation, but the atonal blast of strafing guitars fading in and out soon make you realise this is a very different proposition. This is The Drin, and ‘Engines Sing for the Pale Moon’ is their debut album. It’s also one of the best things you’ll hear all year. Helmed by Dylan McCartney, drummer of the rock band Vacation, The Drin originally released this album as a hyper-limited cassette via Future Shock. It’s as much of a departure from McCartney’s usual output as it is for Drunken Sailor Records; songs don’t so much explode out of the gate as drift towards you like a creeping fog that turns your skin inside-out and leaves you sloshing organs all across the carpet. Second track ‘Guillotine Blade’ shows the pieces all coming together, a dubbed-out riot of claustrophobic noise that feels like Pere Ubu trapped in a cupboard one minute, and ‘Warm Jets’-era Eno trying on Bauhaus’ trenchcoats the next. Meanwhile, ‘Down Her Cheek A Party Tear’ unfolds across jittering, skittering rustles of drums and an undulating bassline, making you wonder why post-millennial post-punk so often settles for dickheads shouting non-sequiturs over landfill indie, when it could be entering these dark, unsettling territories instead. The Drin like to get weird. The Drin like to get wild. The Drin rarely cut loose, but that’s because the trip is already intense and haunting enough without things getting raucous in here as well. Hey kids, turn off those [shite band name redacted] records and get into this; you deserve so much better, and better’s right here. Fall into it, immerse yourself and step forward into a brave new world.

[engl] Way out there. From up in the attic, in the village of Cincinnati - the third album from the Drin has arrived to commence 2023. Cold rhythms reverberate through the layers of tape spliced together by Dylan McCartney and his impressive cadre of musical companions. The Drin spawned from a debut cassette edition of 50 on the Future Shock label, since teaming up with both Drunken Sailor and Mangel to issue two LPs. Their loose, careening live unit features members of Corker, Crime of Passing, the Serfs and Fruit LoOops. 'Today My Friend You Drunk the Venom' is the Drin's finest hour as a creative entity. McCartney's incredible command of rhythm lies at the forefront of the mix, complimented by a group that is able to seamlessly transport between post-punk, acid guitar jangle, and krautish experimentalism. There's even a stellar dub track on here. As much as contemporary artists tend to flaunt their affinity for the past - it's entirely worthless to apply such trappings to the Drin. Their genre-expansive abilities and deep knack for rhythm and layering are something entirely new and futuristic. Ohio has never sounded so close to outer space.