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THRONE OF BLOOD

Hardway Brother's back on Throne Of Blood with some peaktime business for the label. “Friedman Feedback Loop Revision” is a masterclass in efficient simplicity, elevating a few basic loops into an exhilarating 8 minute monster. “The Laser” is rugged and electric, with a highly stimulating sound palette and rock solid rhythms galvanized through gentle distortion and maximum headroom on the b-line. The B-side finds TOB’s label manager Max Pask injecting “Friedman Feedback Loop Revision” with his love for all things analog and Italo. With his impressive collection of synths brought to life by Chinatown Records’ Brennan Green, the song is transformed into an epic set-closer that’s already devasting dancefloors such as Berlin’s Panorama Bar. The EP closes with “Afro Sirene,” a midtempo groover with melodic arpeggios built for the discerning DJ’s warm-up set. What a set! 

This year has been a time for Throne of Blood to stretch out a bit. Following a string of well-received singles exploring the quirkier corners of the dancefloor (DJ Chloe, Brioksi, Pleasure Planet, Bohemian Groove, PBR Streetgang) as well as Moon Rock a long-percolating exploration of modern ambient music, we’re dropping a springtime megabomb aimed squarely at the big room. Luca Venezia aka Curses may be new to the Throne of Blood fam, but he’s a familiar fixture in clubs around the globe and an ambassador for heavy bass thanks to the countless bangers he’s released over the past decade or so on labels like Institubes, Marble, and his own Trouble & Bass imprint. Having shelved his long-running Drop the Lime project, Venezia certainly hasn’t abandoned the dark menace that has become his sonic signature.

Kicking things off, “Call the Doctor” focuses down to simple efficiency: digital sirens, pitched-down vocals, and tooth-rattling subs demonstrate that Curses hasn’t forsaken his love for bass or the brutality his fans have come to expect. “String Static” combines big reverb and ominous atmospheres with a bounce sure to move the crowd. In keeping with the “not for the chillout room” theme, Curses asked his friend Riton (Ed Banger) to lend his inimitable touch to a remix of “Call the Doctor.” Never one to err on the side of moderation or modesty, Riton takes Curses’ banger to another level, upping the tempo and chopping vocals on top of frenzied crescendos. This one was definitely designed for the world’s most massive dancefloors. “Pompopo” winds things down, complimenting Riton’s rampage with a lengthy groover that’s sure to become a secret weapon for savvy DJs.


Packed with three headphone jams that work on the dancefloor, Animals marks the entry of a new creative force into the Throne of Blood family and a return to a lighter, more spaced-out vibe than much of the NYC-based imprint’s output over the past year. With an eye towards pushing things forward whilst keeping a foot firmly planted in a shared past spent raving to all sorts of dance music, Throne of Blood is proud to introduce our latest signing: Pleasure Planet.

While sharing space in the Throne of Blood Studio, Populette’s Andrew Potter and long-time friend Brian Hersey started making music together to explore their own weird ways, fondness for left-leaning techno, and adolescent memories of genre-less dance music. The product of this collaboration is a massive collection expansive, free-form jams which have been tweaked and freaked for maximum impact.

Captivated by the demos she was hearing when she dropped by their shared studio space to work on her solo material, DJ/vocalist/producer Kim Ann Foxman (ex Hercules & Love Affair/Need Want Records) jumped into the fold, lending her production and vocal skills on the title track “Animals.” The song serves as an apt introduction to PP and builds upon Kim Ann’s recent vocal turns for the likes of Maya Jane Coles and Snuff Crew.

Compiled from a series of live takes, the Animals EP crystalized slowly over the last year. Consequently, Pleasure Planet’s debut offers three distinct but complimentary visions of Andrew and Brian's utopia and serves as a precursor for a longer follow-up record already in production.



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