avant . leftfield . post-rock . drone . experimental


Genre pick of the week Cover of Tempo by Olga Bell.
Following on from the success of her critically acclaimed ‘Incitation’ EP, Olga Bell is back with new album ‘Tempo’, released via One Little Indian Records.

“Grand compositional ambitions and a dynamic voice... the arty, adventurous edge of pop” - The New York Times

“For those uninitiated, Bell’s work lies somewhere between an industrial night at Berghain and a cyborg performing at Carnegie Hall.” - Dummy


Barry says: Encompassing aspects of outsider-pop, synthwave and electronic soul, 'Tempo' confounds expectations of the singer songwriter. Quirky off-kilter rhythms and textures permeate the whole endeavour , rapidly switching from acid pulse-wave stabs to glitched out snares and clave hits. Like a medley of all the electronic tropes of the last 20 years, but distilled into a cohesive and concise representation of modern electronic music culture. This is a capable and sparkling outing, and at no point feels too far from comfort. Like hopping between ten different parties of ten different varieties, each playing different music, and loving each and every minute.


Deluxe LP Info: Deluxe edition includes art prints.

The Body & Full Of Hell

One Day You Will Ache Like I Ache

    ‘One Day You Will Ache Like I Ache’ is a brand new collaborative release from The Body and Full Of Hell. Through their own respective recordings, both The Body and Full Of Hell are internationally-revered as forward-thinking entities of harsh music, delivering their audio torment through incredibly intense and often unorthodox methods.

    The Body’s 2010-released ‘All The Waters Of The Earth Turn To Blood’ sophomore album stands among the band’s high points and remains one of the most groundbreaking and frightening albums of recent times.

    Similarly, Full Of Hell rapidly became a favourite amongst hardcore, grind, death and noise metal fans upon their formation with an incredibly energetic and destructive live attack. Their 2013-released ‘Rudiments Of Mutilation’ album solidified them as one of the most damaging new acts going and, since its detonation, the band’s intensity and hunger for experimentation continue to magnify.

    Both acts are proven collaborators, relishing the results of collective efforts to create life-numbing constellations of distortion and depravity. The two members of The Body joined forces with arcane producer The Haxan Cloak (Bobby Krlic) for the ‘I Shall Die Here’ long player, Louisiana’s darkest sludge troupe Thou for ‘You, Whom I Have Always Hated’, as well as ‘Nothing Passes’ with Braveyoung and myriad splits with artists as diverse and detesting as Australia’s Whitehorse, Japan’s Vampillia, Rhode Island’s Sandworm and New Jersey’s Krieg taking their virulent, insidious influence to unsuspecting destinations both stateside and abroad.

    The Body have just released their latest album ‘No One Deserves Happiness’ on Thrill Jockey to critical acclaim from Decibel, Pitchfork, NPR Music, Magnet, Noisey, SPIN, Terrorizer and more

    Full Of Hell made a huge impression on the ears of fans and those previously unfamiliar with the band with 2014’s two-part alliance with internationally feared noisemonger Merzbow, which resulted in the ‘Full Of Hell & Merzbow’ album and the subsequent ‘Sister Fawn’ EP. Their discography is littered with noise-sodden demos and splits that wrench Full Of Hell in to fresh dimensions of heaviness and extremity and their constant live actions never cease to stun.

    Full Of Hell have been praised by Pitchfork, Decibel, Echoes & Dust, Metal Injection and CVLT Nation, amongst others.

    This vinyl edition is pressed on virgin vinyl and packaged with an artworked inner sleeve. Initial copies on red vinyl.

    The Body and Full Of Hell recently played shows throughout Europe with Converge and have previously toured with Neurosis, Thou, Heat Dust, Sandworm, 1349, Weekend Nachos, Dropdead and Gaza and played such festivals as Roadburn, Southwest Terror Fest, Apex VI Fest, Moogfest, Incubate, Roadburn, Ieperfest, Fluff Fest, This is Hardcore and Maryland Deathfest.

    “The Body work in textured, patient torture, death by a thousand cuts, whereas Full Of Hell operate more like a woodchipper - but they’re united in the all-consuming gloom that consumes all of their best work” - Pitchfork

    “Full Of Hell and The Body seem like the perfect pair - a grind band and a sludge band, united by a love for baptismal noise. There’s some fucked-up chemistry on their collaboration ‘One Day You Will Ache Like I Ache’, for sure” - Decibel

    Braids are a three-piece experimental pop band from Montreal. In the spring of 2015 they released Deep In The Iris, their standout third record. Companion is the band's latest 4 track EP, written during the Deep In The Iris sessions, and completed during a burst of creative energy in August 2015. Here Braids use the palette of Deep In The Iris to paint decidedly different vistas – joy, disaffection, thunderous explosion to delicate introspection, the minimalistic power of "Companion" to the patient blossoming of "Sweet World". Distinct in their own right, these 4 songs are not to be dismissed as B-sides, outtakes, or the lesser of a group of songs. Though it uses Deep In The Iris as a compositional guidepost, Companion is a breath-taking journey all of its own.


    Includes MP3 Download Code.

    She was a composer who wrote scores with geometric shapes, a poet who became a pioneer of early electronic music. Joanna Brouk’s little-known body of work exists at the nexus between ambient, new age, drone, and classical minimalism - stark in its simplicity, lush in its expanse. Studying under Robert Ashley and Terry Riley at the fabled Mills College Center For Contemporary Music before graduating into the margins of the 70s bay area new music scene, Ms. Brouk blazed her own trail well outside of the musical establishment to create uncompromising electronic and acoustic work of sleek beauty and primal power. Describing herself as less a composer than a channel, she took her cues from the frequencies of the natural world and the talents of collaborators like Maggi Payne and Bill Maraldo. Hearing Music collects for the first time the deepest cuts from her beguiling and rare cassette releases and her archive of previously unreleased recordings.

    “I realized that, in many instances, it didn’t matter what you said, it mattered how you said it: the tone of the voice, the rhythm, the sound.... Because sound has an incredible effect on other people, it can make them dance, put them into trances, it can control emotions by a certain pitch, a certain depth.” – Joanna Brouk


    I Sing In Silence

      New music from Goat is always a time for celebration, and we are excited to announce the bands return with a 7” of brand new material. Last year Goat released the single It’s time for fun which saw the band experimenting with drum machines, which brought a different pulse to their tribal psych. And this desire to explore new sounds continues with their new single I Sing in Silence. But instead of ‘plugging in’ new instruments the band have ‘unplugged’ and created an addictive groove with mostly un-amped, acoustic instruments. Elastic guitar lines, woodblock percussion, and flutes which drive the song are enveloped by one of the strongest vocal deliveries by the bands enigmatic singers, resulting in a powerful and catchy psych-pop number.

      The B side is an instrumental called The Snake of Addis Ababa, is a looping North African mantra played on a teasing fuzzed guitar underpinned by a djembe groove. The repetitive mantra is disrupted by piano that freely solos over the groove, and a pounding drum lifts the song to a seriously head-nodding conclusion. This single is further proof that, in a world of similar sounding and similar looking psych bands, Goat are standing completely out on their own and we are all the better for it. This summer the band will be busy writing, recording, and blowing people’s minds across Europe’s greatest stages. 


      Ltd 7" Info: Limited transparent yellow vinyl edition.

      Happy Meals

      Fruit Juice

        Fruit Juice is the first new recorded material from Glasgow-based electronic avant pop duo Happy Meals since the intense aftermath of Apéro, their debut album which garnered a place in the Scottish Album Of The Year final 10. Shorter in scale but sharpened and expanded, Fruit Juice takes the tender experimental beginnings and unabashed pop moments of ther first LP into undiscovered countries glowing with possibility. Since Apéro’s release at the end of 2014, Suzanne Rodden and Lewis Cook have toured the globe, from Moscow to Bangalore via various European festivals, and have honed their dynamics live, in the moment, improvising and twisting the beat into new forms.

        As their live show has become more visceral and cinematic, Fruit Juice documents the duo’s new confidence. Run Around opens the E.P., with a sun-soaked tropicalia as conceived by the BBC Radiophonic Workshop, Rodden’s vocals warped into wordless peons to the rising sun. Lá Lá-bas reaquaints the listener to Rodden’s Franco-Gallic tendancies, but this time Happy Meals reveal a sparse melancholy, with spacious percussion and synth fragments giving way to one of the group’s most immediate moments to date. If You Want Me Now is pop music, pure and from the source. Alternating between French and English, Rodden recreates the live persona that has emerged since the group’s beginnings; an unrestrained performer bringing the innate sensuality beneath Happy Meals’ surface exploding into the light. Cook’s production work here sounds fresh and classic simultaneously, a glorious Jacno tribute enthralled to House music and Italo Disco.

        Fruit Float, opening Side 2, brings us back up into the cosmos, with arpeggiated synths from Cook’s synth arsenal duetting with a flute solo before Suivez-Moi delivers another pop song worthy of eternal repeat, a slice of electro not unlike the heady heights of Dare!-era Human League. Seductive and irresistible, it precedes the biggest step-up in Happy Meals’ history, the acid-fried Now That You Have Me: ostensibly a high-BPM remix of If You Want Me Now that hints at the insanity of the final moments of a Happy Meals live show. Released as a limited to 500 12” featuring marble-painted artwork hand-made by the band, Fruit Float precedes Happy Meals’ 2nd full length album, being prepared for October release. Each copy of Fruit Float will be different and feature a digital download.

        Holy Fuck took the world by surprise around 2005 because there was just nothing like them—a hardcore thrift-store found-object punk band with a relentless commitment to rhythm and a sense for atmosphere better matched to a close encounter of the third kind than a simple rock concert. Think Einstürzende Neubauten re-inspired by Fela Kuti with Brian Eno working as keyboard tech and every channel on the mixer set to max power.

        Checking into a “proper” studio, rather than the barn in rural Ontario where most of Holy Fuck’s records were made, Congrats was recorded by the same lineup that recorded Latin (2010). As they worked, they discovered that Congrats was a process of refining things both physically and philosophically. Their ad hoc arsenal of low-budget hi-tech toys has been streamlined and the result is the moment when Holy Fuck take the chaos and craziness (and charm) that have always been at the heart of their band and not so much control it as concentrate it.

        Now they’re heavier, wilder, leaner, sharper, more daring and more unpredictable than ever before, on fire with the power of inspired outsiders like Suicide, Silver Apples, Can, Mission of Burma or the Monks or even Sun Ra whose pursuit of his own kind of musical purity is exactly what Holy Fuck are after.


        Barry says: Following on from 2010's 'Latin' was never going to be an easy task, and though it may have taken them 6 years, Canadian noise/psych/electronic wonders Holy Fuck have smashed it with this one. Furthering the brash and abrasive electronic scree we have come to know and love from them, this is an expansion in every direction. Brutal, uncompromising but reassuringly familiar : elements of psych rock are woven within the groans and distorted blanket of nose. Whispers of melody surface only to be buried beneath electronic miscellany and resonant drones. A triumphant return to the fray for Holy Fuck, and a stunning development of their already venerable musical palette.


        Ltd LP Info: Gatefold LP with die-cut sleeve + download

        Elon Katz (White Car, Streetwalker) aligns perfectly with Diagonal in a prickling debut vocal release, 'The Human Pet'; his first original solo issue in four years, containing an intensely personal, puckered perspective on electronic dance music and experimental pop.

        Structured around a schizoid yet coherent juncture of EBM, IDM, curdled rock music and art school techno-pop, 'The Human Pet' is riddled with idiosyncratic notions on “cryptic topics like rebirth, nullification in stream speed adaptivity, dependence and wealth inequality” to portray a unique intellect and sonic vocabulary operating at the crux of his expressive powers.

        The project began circa 2012, around the time of Katz’s relocation from L.A. to art school in Chicago, and cocks a canny snook, both thru candid lyrics and obsessive edits, back towards the megatropolis where he was born and spent much of his youth. It can therefore be considered an attempt to better understand himself in relief of big city manias by channelling and parsing his own stubborn outsider personality from the madness.

        To our ears it feels like a concise dissection of Chicago’s industrial history and Californian digital psychedelia; probing at their twisted, fluoro guts with the inquisitive nature of a mad scientist or psycho-analyst between the yelping, warped and hyper-piquant yacht boogie of 'The Rhino Powder of New Sensitivity' and a heavily affected dislocation of harmonised pop hooks and whirring body mechanics in 'Clean Crash'.

        It all occupies a strange perch between introspective and exuberant, veering from mid-‘90s AFXian pop rephlexion in 'You Are Alone', to signature Diagonal tackle in the gas-chugging EBM-pop force of 'The Human Pet', whereas Unarmed twists into fractal phantasia, all of which maintain a thread of logic that belies the record’s vintaging period of refinement and distillation.

        There can be little doubt that this is one of the most complex, rigorous and distinctive in Diagonal’s catalogue. Closer attention is required. File amidst records by Luc Van Acker, Aphex Twin, Savant, Powell…


        Barry says: A visceral and industrial distillation of post-rave techno and loungy glitch vibes. Ascerbic vocal shards and razor-sharp percussive cuts permeate the howling resonant 303's, and swooning pads. Reminiscent of early Aphex drinking shots with Nine Inch Nails and the more upbeat offerings from Blackest Ever Black ; Thumping, unsettling and startling. Intelligent electronic music at it's best. A gem.

        Andrew Liles (Featuring Dave Anderson / Hawkwind)

        A Million Infant Breaths

          The first side of this 10″ is a short story written by Michel Faber. Michel is the author of the Whitbread-shortlisted novel Under the Skin which was brought to the big screen in 2014 by Jonathan Glazer. He is also the author of the highly acclaimed The Crimson Petal and the White, which was adapted into a four-part TV series for the BBC in 2011. He has also written the novellas The Hundred and Ninety-Nine Steps (2001) and The Courage Consort (2002) and has won several short-story awards, including the Neil Gunn, Ian St James and Macallan. His latest book is The Book of Strange New Things.

          Side Two is a cover of the classic Hawkwind song Master of the Universe and features a special guest appearance from Dave Anderson who played bass on the original recording.

          Limited to just 300 copies, it comes in a stunning “mirror” sleeve, nodding quite blatantly, but respectfully to the original pressing of Hawkwind’s Doremi Fasol Latido

          Pye Corner Audio / Dalhous

          Run For The Shadows EP

            It’s an honor for us to announce that Lapsus' next EP is by two of the label's favourite artists: Pye Corner Audio and Dalhous. After their participation in Lapsus Festival, both artists agreed to the label's request to make a split EP and the result is "Run For The Shadows", an EP composed of four magnificent tracks (two from each artist), which includes some of the most impressive work from their respective discographies. The kinematics and bubbling sonic frequencies of "Stream Four" and the emotional techno low pulse of "The Simplest Equation" will be well appreciated by fans of Mr. Martin Jenkins aka Pye Corner Audio. Two extraordinary pieces of analogue electronic music whose slow-(e)motion dynamics adhere to the already mythical Black Mill Tapes. As for Dalhous, they have created two of their best songs to date. The beautiful and incredibly melancholic melodies of "The Essential Wander" are surrounded by an extraordinary rhythm section full of surprising twists. Secondly, the brief but amazingly intense (and painfully beautiful) "Another Witnessed By Resolution" closes one of the best chapters in the history of Dalhous, the magical musical project from Scotland which continues to open new ways in its increasingly personal world, far removed from popular trends. "Run For The Shadows" is, without doubt, the most outstanding album that Lapsus Records has released so far. An exceptional work by two unique artists. An stunning sensory journey. 

            SAVE! is the new musical vehicle from Marc Nguyen Tan, aka Colder. On ‘Monsters And Fairies’ he steps aside as vocalist and collaborates with American poet and singer Craig Louis Higgins Jr. Craig contributed unsettling spoken word to the acclaimed dub-acid trax by Paranoid London (recording under his Mutado Pintado moniker).

            The world they have created together, with Craig recording in London and Marc in Spain, exists in a dream, suspended between the two locations. A creeping, creepy Lynchian-world, where acid-dub work-outs combine with stream-of-consciousness monologues to make one of the strangest records this side of Serge Gainsbourg’s reggae albums like ‘Aux Armes et cætera’. The record warps and shimmers as if seen through a heat haze, a confused existential daydream or a dark wave mirage.

            Released on Parisian DJ Ivan Smagghe (It’s A Fine Line / Kill The DJ) Les Disques De La Mort label, SAVE! finds Marc operating in the experimental shadows, against the grain, much as Colder’s post-punk sound originally appeared in the context of the other dance music in 2003.

            Space Age Recordings are very pleased to announce the official re-release of the Spectrum albums "Live Chronicles" volumes 1. Presented in shrink-wrapped 6 panel fold out card wallet the optikinetic illustrations used on the CD cover are based on the work of Japanese artist Hajime Ouchi.

            Space Age Recordings are very pleased to announce the official re-release of the Spectrum albums "Live Chronicles" volumes 2. Presented in shrink-wrapped 6 panel fold out card wallet the optikinetic illustrations used on the CD cover are based on the work of Japanese artist Hajime Ouchi.

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