Label Description: I switched the remixes of It’s All Right To Fight and By Purpose Not By Plan out for the 7″ versions, which make more sense to me in the context of the album. Maybe it’s better this way?
-Matt
Label Description: “Celebrating 40 years in underground music, “The Bridge” is a collection bridging my cassette culture years, with Magic Moments At Twilight Time and Ehrlich Bullet, to my digital era project, Magic Bullet, and on to the bridge of my radioshow’s starship, the WSS Boobyprise (Consolation Class).”
– Mick Magic
Includes bonus items:
The Bridge” – The official 40th anniversary album guide
(PDF format booklet, 24 pages)
“The Second World Chronicles” by Sati Varg
(PDF format book, 244 pages, the ‘lost time journal’ from the 2016 Magic Moments At Twilight Time 30th anniversary online event, “Down The Rabbit Hole”)
Concept, Mix, Mastering – Mick Magic
Also see individual track notes for further details.
“Radioshow To The Stars” Pts. 1-8 recorded aboard the
WSS Boobyprise (Consolation Class), June 2026
Cover Art includes elements originally drawn by:
Kate Twilight: Ford Escortron and Magic Moments band picture
Kevin Trundley: The WSS Boobyprise and Magic Bullet band picture
Thayen Rich: The Starship Psychotron, with party going on
Iaino Davies: Ehrlich Bullet logo and band picture
Design and Layout by Mick Magic.
www.mickmagic.net
Licensed from Music & Elsewhere 2026
Published by Klappstuhl International
[SP 048]
Label Description: -Subcultura- by Giuseppe Antonuccio & Antonio Murga
A big welcome to Giuseppe Antonuccio here at Petroglyph Music
This album is truly a wonderful journey into a surreal world of experimentalism. Each track invites you to explore unexpected soundscapes, blending innovative rhythms and textures that challenge the ordinary. It’s like stepping into an imaginative dream where every note pushes boundaries and sparks curiosity. A must-listen for anyone eager to experience music beyond the conventional!
No sé cuántos trabajos hemos hecho juntos Giuseppe y yo, algunas maravillas sin duda. Esta Subcultura es idea suya, como muchas iniciativas. En esta ocasión donde él se basa en guitarras y percusión y batería he intentado como siempre hacerle un buen traje. Pero la impromta y la sensibilidad, el ensayar algo, el revivir…
La palabra, el alma, el amor… Es que algo tengo que escribir. Y espero sorprender a Giuseppe con el contubernio y ayuda de Øystein Petroglyph!!!
Non so quanti progetti io e Giuseppe abbiamo realizzato insieme, alcuni davvero meravigliosi, senza dubbio. Questa sottocultura è una sua idea, come molte delle sue iniziative. Questa volta, concentrandomi su chitarre, percussioni e batteria, ho cercato, come sempre, di darle l’importanza che merita. Ma la spinta e la sensibilità, il processo di prova, la rinascita… La parola, l’anima, l’amore… Devo assolutamente scrivere qualcosa. E spero di sorprendere Giuseppe con una collaborazione, supportata dallo straordinario Øystein Petroglyph!
I don’t know how many projects Giuseppe and I have done together, some truly wonderful, no doubt. This subculture is his idea, like many of his initiatives. This time, focusing on guitars, percussion, and drums, I tried, as always, to give it the importance it deserves. But the drive and sensitivity, the rehearsal process, the rebirth… The word, the soul, the love… I absolutely must write something. And I hope to surprise Giuseppe with a collaboration, supported by the extraordinary Øystein Petroglyph!
[REDEEM CODES IN ALBUM DESCRIPTION]
giuseppeantonucciometauro.bandcamp.com
antoniomurga.bandcamp.com
Label Description: I’m once again back on my sleep-music BS thanks to a bout of early waking insomnia. I made these four deliberately slow, drifting meditative drones for myself but I think they are good enough to release to the wider world. I hope you enjoy them too.
The album cover is an edit of a photograph I took about ten years ago on the bank of the River Ness during some heavy fog (haar in Scots).
I’ve included the J-cards in the bonus content once again just in case anyone wants to make their own tape.
Label Description: Feral Grace was written around old childhood places reclaimed by nature, or replaced by new housing estates. Places long forgotten, their purpose discarded as the world moved on. Yet the memories stay there, caught in the undergrowth, thought of once in a while.
We remember gathering leaf moss from the woods for our tomato plants. Building dams in shallow streams. Filling our wellies with frog spawn and carrying it home like treasure. Small acts that felt large at the time.
Fishing banks where we spent hours. Not talking, just sharing food. Two cans of shandy bass and egg sandwiches. The water long drained and the people gone, but if you look hard enough you can still see the faint outline of where it once was.
Some places still hold the paths where people once walked to work. The tracks remain cut into the land, but the work itself has gone. Trades smashed during the years of Thatcher, ripping communities apart. That memory still lives on. You see it when a scab walks into the pub. Some things are never forgotten.
The music on Feral Grace sits between then and now. A bridge between memory and the present day. A last spell cast before those memories fade and the fingerprints disappear.
Who will know we were here at all?
Perhaps only a distant echo left behind in our Feral Grace.
Written, Mixed, Produced and Mastered By The Black Dog – 353
Label Description: THE SECOND STUDIO ALBUM FROM THE NORWEGIAN EXTREME METAL PIONEERS, COMPRISING MEMBERS OF ARCTURUS, THORNS, MAYHEM & 1349.
Mortem was originally known as the Norwegian cult band which preceded Arcturus. Formed by Marius Vold & Steinar Sverd Johnsen in 1989, Mortem was one of the first black metal bands to crawl out of the woodwork in Norway, releasing the highly coveted and brutal ‘Slow Death’ demo, with Euronymous & Dead of Mayhem acting as producer and cover artist respectively (whilst also featuring Hellhammer on session drums). After the release of ‘Slow Death’, the band was laid to rest, with members going on to form and feature in acclaimed titans such as Arcturus and Thorns, both of which would become mainstays in the black metal scene and beyond.
It wasn’t until 2019, when Mortem’s studio debut ‘Ravnsvart’ was released, and the magic of old undoubtedly returned with that same spirit and brutality of the original incarnation, whilst injecting new elements to form an opus of ferocious yet atmospheric horror. This was followed soon after by the fully re-recorded and re-worked ‘Slow Death’ tracks.
And now Mortem returns with new ode to the dark, ‘Mørketid’. The album presents an expansion and marked progression over the debut, with brooding mid-paced monumental riffs interspersed with periods of hyperspeed black metal. The album presents eight tracks of savage yet eerie and also often epic Black Metal of the highest order, adorned with the indomitable keyboard textures of Sverd, along with Hellhammer’s unmistakable percussive prowess, and the returning vicious snarls of vocalist Marius Vold.
‘Mørketid’ was recorded at Toproom Studio in Norway, by Børge Finnstad & Kevin Kleiven.
Label Description: Nova Mitologia é um deselogio aos tempos que nos são contemporâneos. Bruto, maquinal, acídico. Derrotado, magmático, contemplativo. Explorativo por natureza, não foi planeado — foi sendo feito.
Do EBM ao industrial mais barulhento, com lamirés ambientais e outsider-folk, houve preferência pelas tecnologias neo-arcaicas e a sujeição ao erro.
Conta com a nobre participação de Vile Karimi, Violeta Azevedo e Inês Malheiro, que elevam e transportam o disco para novos territórios que sozinho seriam impossíveis.
O artefacto musical (CD) está disponível em rottenfresh.bandcamp.com/album/nova-mitologia
Miguel Béco – Música, trabalho técnico e gráfico
Inês Malheiro – Voz e efeitos (faixa 7)
Vile Karimi – Sintetizadores e efeitos (faixa 1)
Violeta Azevedo – Flauta transversal e efeitos (faixas 5 e 6)
Label Description: Tibshelf bring a new album to Cruel Nature: The Effete Descendants Of Robber Barons Are Poison To Civilisation.
The result of infinite splicing and pasting, The Effete Descendants.. is a layered cake of charred beats, morphing time and ecstatic repetition. The album channels both the Dusseldorf and the Jamaica of the 1970’s alongside vintage EDM, dancehall, the lyrical lament of Remains and the avalanching angst-pop of McBride. While tracks You Better and McBride might aggravate rhythmic norms, Champs and I Do Like A travel direct, the album veering from disorientation to frazzled urgency in reflection of the producer’s erratic brain.
The words to McBride are adapted from the novel A Girl Is A Half-Formed Thing by Eimear McBride.
Produced in Newcastle, 2024-26.
Mastered by Dominic Clare at Declared Sound.
Label Description: A Lily – aka British-Maltese musician and founder of Phantom Limb James Vella – releases Id-Dar Tal-Missier, a collection of dark and mythological ambient-doom-folk compositions laced with his signature deep moodsetting.
Vella wrote and performed the instrumentation on Id-Dar Tal-Missier himself, recording at home and creating finished pieces layer by layer. Though the main body of composition is based on guitar and voice, Vella’s list of instruments performed also includes banjo, cello, organ, xylophone, an ancient Chinese harp named guzheng, and drumkit, amounting to subtle and intelligent arrangements, heavenly textures and a more song-based approach to the work he is best known for. Present here are verses and choruses, as if pop music, but also hazy, dreamy journeys through nocturnal sparseness and strangeness.
A few contributions from Vella’s friends also grace the record: Mercury Prize Nominee C Duncan lends lush choral vocals to “Banana Moth” and (yndi halda co-founder) Daniel Neal performs violin across several pieces.
Often inspired by non-musical forms, Vella writes that Id-Dar Tal-Missier was instead created under the influence of sensory experiences. He lists filmmakers Werner Herzog and Apichatpong Weerasuthakul; the TV show Stranger Things; his dog Sully; the (“painstaking”) process of writing his first novel; books by Cormac McCarthy, Gabriel Garcia Marquez, John Cheever and Carson McCullers; travels around India, South America and the Middle East.
Mixed by Julian Tardo
Mastered by John Hannon
Photography by Mark Vella
Design by David S. Blanco
Label Description: With Konstellationen, Camilla Pisani explores language as a fluid and universal force, extending beyond words into sound, gesture, symbols, and even the movements of the stars. At the heart of the work lies rhythm, the fundamental principle linking music, astronomy, and human perception, transforming disparate forms of expression into a unified creative language.
Through layered arrangements, hypnotic pulses, and suspended atmospheric textures, Pisani creates a series of immersive sonic environments where rhythm becomes more than structure, evolving into a vehicle for emotion, transformation, and connection. Delicate yet powerful, the compositions unfold as dreamlike spaces suspended between intimacy and vastness.
Expanding beyond the purely musical, Konstellationen embraces a multidimensional artistic approach in which sound, text, and imagery exist in constant dialogue. Each composition is accompanied by writings developed by the artist over several years, offering poetic entry points into the work and enriching its narrative depth.
Conceived as both a personal reflection and a universal gesture, Konstellationen presents electronic music as a spiritual language, one capable of transcending cultural boundaries through shared sonic experience. Cyclical rhythms echo celestial movements, natural forces, and collective human experience, inviting listeners into a world where perception, imagination, and communication converge.
CD Edition of 200 copies in 4 panel Digipak with 16 pages Booklet.
Mixed and mastered by Matteo Gualeni at @c.o.s.a.studio
Teaser by Rosalia Giuliano at @studiogleba
