Label Description: Recorded & Mixed at Cool Anatomy, 2026.
Contagious Orgasm – A New Home For The Fetus (deathbed tapes)
Tag Archives: beats
Cousin Silas & Wilfried Hanrath (The Cousin Silas Emporium)
Label Description: New album…
The track ‘Longings’ is a completely different version to the one on our 2nd album.
Dedicated to Viggo
j2kt-yzra
fxyy-7zh7
mcky-v6q5
fp3z-6gkr
5fxz-kuzl
b5ck-6vkj
wrp2-69tk
pmfd-kzf9
8bac-6zjz
k6zg-57s6
kz2z-behy
ktmz-xuar
zk8k-j5ud
nyk2-6rah
ltya-k4u5
czkg-6mef
e3yy-y6ra
rxkz-76h7
a4yz-vkq5
rpuk-6ykr
uklr-h8zz
vzpa-5rk6
6t9b-7dzk
zutw-5h89
z5zq-7ebz
z8t9-5us6
yznk-b5hy
yy5t-hfar
tk6t-vpud
2zy3-62ah
dtk5-klu5
jvbl-6679
6bv4-kkqz
kdbj-gk6g
zjar-b99u
zgfa-w9kq
ntdb-htzz
5zq5-52k6
gy8f-7czk
tuzl-5×89
tmtj-75bz
t8k8-efs6
vhyt-v9j5
7euy-6tzr
vrwy-knkl
fmhz-6jzj
lben-k6yk
ev7x-6k79
gfms-69qz
ywrp-y96g
tjmb-bz9u
t9r5-wzkq
2tlf-hgzz
uktn-kb5h
xyzv-6xn5
hty8-6qpf
qnkt-y9ba
fwyy-7z47
5hky-vzj5
bq3z-6gzr
5rxz-k7kl
rvck-6vzj
dbju-kkyk
pafd-k979
kvte-7arz
kgzg-5nc6
kt2z-be4y
zzmz-x75r
zy8k-j5nd
3kzu-k35h
wzya-k4n5
ctkg-6mpf
puyy-yzba
rwkz-7647
asyz-v6j5
k97v-ckzq
uyw7-xykz
vtpa-5rz6
9z9b-7skk
z3tw-5lg9
y9t9-57c6
ytnk-b54y
tkak-xu5r
ty6t-vpnd
2ty3-6r5h
xfj3-kztk
j5bl-66f9
97v4-k6jz
zlbj-gk9g
zpv7-3k6u
y6fa-w9zq
3zdb-h8kz
5tq5-52z6
8k8f-7dkk
t3zl-5hg9
tatj-75rz
7lzk-ukh7
vcyt-v9q5
fjuy-68kr
Cover by Wilfried Hanrath.
wilfriedhanrath.bandcamp.com
Chloroforms – Lay Low And Be Held (Triplicate Records)
Label Description:
Immediately, the industrial beats of the opening track ‘Rattle Can Paint Job’ tell you all you need to know about Chloroforms’ Triplicate debut ‘Lay Low and Be Held’. 1. The beats and fire and will consistently catch you off guard. 2. You’re gonna be taking in a genre, or subgenre at least that’s not immediately clear, but you’ll notice it’s seldom heard on our label. 3. You’re about to have a good time. Time to make it happen!
~~~~~~~~~~~~
INTERVIEW
~~~~~~~~~~~~
George Ernst, Triplicate Records: OK before I ask anything else, please, can you give some context to the mysterious MC referring to you by name on ‘Sonar for Sore Eyes’?
Michael Marchant aka Chloroforms: Yes. I like to collect audio snippets of things I hear out in the world and recontextualize them to besmirch my name. Ha! This was the first time I’ve used one from my collection. I’d be super curious if someone could place where this was taken from! We’d probably have an annoying amount of things in common.
GE: What IS heat vision? Or was that a Jeopardy answer?
MM: That is MY question, sir! WHAT IS HEAT VISION?! A question that randomly popped into my head while trying to name the project file for this song. Instead of making myself a separate note so I could go look up what heat vision was later, I named the song “What is Heat Vision?” as a reminder. Which reminds me…According to Wikipedia, heat vision is ‘the fictional ability to burn objects with one’s gaze’. Perfect.
GE: Was MX-80 a reference to the noise-rock band from Indiana?
MM: You know, it wasn’t; but my noise-rock band, IfIHadAHiFi, has played quite a few shows in Bloomington. And I really like the MX-80 album Out of the Tunnel. When I was making the track “MX-80” I was trying to make it sound like the musical equivalent of an old dot matrix printer shaking itself off of a desk. I named it after the Epson MX-80 which would be an incredibly bitchin’ instrument in the hands of the right noise-rock band.
GE: Can you tell us a little about both the name of your project Chloroforms’, and the inspiration behind the album title?
MM: I’m going to show my age here, but Colorforms were a toy from my childhood that were these little vinyl clings in the shape of cartoon characters that you could stick to smooth surfaces. That was BIG entertainment to a small child at the time, but life goes on and I had fully forgotten they existed.
Then one day not too long ago I see them for sale out in the world, the first time since I was a child. I instantly recognize their iconic logo, but my brain reads it as CHLOROFORMS. Instant band name. FONT FACT, the font that I used for the free_refills_or_die EP is the closest to the Colorforms logo I could find.
As far as the album title goes, Lay Low and Be Held is two things to me. First, it’s a play on the phrase “lo and behold”. Second, it’s just a nice thing to aspire to.
GE: Your honest opinion on kangaroos: give it to me please. I’ll know if
you try to lie.
MM: I love these questions. I am strongly in favor of kangaroos. Especially YouTube videos of kangaroos who are keeping it real. One long night after a show in Louisville, Kentucky my bandmates and I watched a video titled ‘Kangaroo Shoved Through Fence During Tussle at Canberra Nature Reserve’ approximately 135 times and almost died from laughter.
Link to the good stuff:
youtu.be/N7M6lhzYOow?si=rAjq4gzSz2tsNJ6m
GE: What was your favourite track to work on? I really love Maximum
Capacity Dry Spell.
MM: Thank you! I was 100% happy with everything on this album so it’s difficult to choose a favorite. “Maximum Capacity” has a great groove and was the quickest thing I wrote for the album. Satisfying when that happens. “Cadaver Chiropractic” was written in 5/4 which is strange and proggy and took the longest to get right, so that sticks out. “Hide the Smoke” was an exercise in subtlety which is not always where my brain leads me. “The Proud Parer” might be the winner (for today) since it was my attempt to write a Chloroforms version of “I Wanna Dance
with Somebody (Who Loves Me)”. I think I nailed it.
~~~~~~~~~~~~
REVIEW
~~~~~~~~~~~~
Chloroforms: ‘Lay Low and Be Held’. A fascinating project from Milwaukee that we couldn’t be more excited to share with you! With dark titles like ‘Mugger’s Lullaby’, ‘Cemetery Symmetry’, and ‘Cadaver Chiropractic’, no one has tricked you. You’re going to be diving head first into some extremely danceable murk. Let’s analyze!
As soon as the industrial beats of ‘Rattle Can Paint Job’ blast out from the periphery and into the forefront, you know you’re in for something engaging, something you’ve not heard before. Hardcore, relentless pounding, interspersed with light-speed wooshing and a bassline that perfectly flirts with fuzz without leaving it feeling overbearing.
There’s also a paranoid bent to several of the songs on show here, the first bearing such baggage is the fraught yet funky ‘What is Heat Vision’. Alienated fear-beats or funk-laden bop. You be the judge. But really it’s both, and manages to pull these vibes off in a spectacularly grandiose manner. ‘Mugger’s Lullaby’ on the other hand, tricks you. You think you’re in for a straightforward stripped down macho-sounding THUNK-THUNK beat, then half way through, the gentleman responsible for this record, whose first name I know but will henceforth be referred to as ‘Mr. Chloroforms’, swipes the floor away, and you’re left in a void of ultra-fast IDM. It’s a trip that comes out of nowhere and pulls off a perfect bait and switch!
‘Lay Low’ on the other hand offers a lighter collection of melodies and textures than the opening trio. That’s not to say it’s some breezy intermission. The tambourine jangle works beautifully with a series of warbling synths, and I mean, hey! (extreme Ron Howard Voice) ‘That’s partially the name of the record!’. We segue neatly then, into the equally brief, yet decidedly more Lynchian-static-laden eccentricity of the aforementioned ‘Cadaver Chiropractic’, which to be fair does indeed give the old bones a good thorough shake. As does the similarly darkly titled ‘Cemetery Symmetry’, which offers a bag full of beat-treats, and Mr. Chloroforms’ isn’t shy about switching things up on a dime, creating a blistering, disorienting, but undeniably appealing effect. This three-minute microcosm of an industrial mixtape is done when he damn well says so, ok?
Then we have ‘MX-80’. At several points this track feels like it’s pursuing you. You know? No? Just me? Ok… moving on.
‘Hide the Smoke’ conjures the misty atmosphere in your mind that the title promises. Whirring disembodied wind-enveloped synths haunt the mix, while a stark and sparingly-riffed-on bit of percussion rumbles away in the dark. It’s effective and fun, even if it’s not meant to be. Meanwhile ‘Route Driver, Asleep at the Wheel’ feels so hyper-charged with dark static that it might combust at any second. Here the drums pound with greater grit and otherworldly malaise than ever, and coalesce to make a murky and melodically fascinating piece of music, increasingly frantic until the half-point switch up, the delightfully batshit-ramifications of which, you need to hear and draw your own conclusions. (But if they’re not positive, you’re wrong.)
‘Maximum Capacity Dry Spell’ Starts as a ultra-focused, borderline synth-wavey bop, and for the most part maintains its slick composure in the face of equally slick percussive flourishes. The rubbery, cool-as-shit bassline compliments the arrangement perfectly and cements MCDS as a highlight. Similarly fun, yet decided more off-kilter is the mysterious ‘Sonar for Sore Eyes’, a relentless slammer, soaked in spooky vibrations and prefixed by an equally unnerving recording of a woman referring to Mr. Chloroforms by his government name. What does it all mean? Well keep reading to find out, hopefully. Otherwise, it just slaps!
Equally slapworthy is the final, ‘The Proud Parer’. A fun pun, and a decidedly chill way to end a record. While ‘Lay Low and Be Held’ can at times feel like a mission statement akin to ‘make cool weird music and set yourself apart from the herd’ (stop me if I’m way off), the music is utterly unpretentious. Borrowing its studious delights from sources across the electronic spectrum, with some good industrial rock thrown in for good measure, the album ends as it started: with a fabulous piece of music that puts you in a lively mood. That was all I ever wanted. I want that for you too, dear reader.
~~~~~~~~~~~~
INTERVIEW
~~~~~~~~~~~~
George Ernst, Triplicate Records: OK before I ask anything else, please, can you give some context to the mysterious MC referring to you by name on ‘Sonar for Sore Eyes’?
Michael Marchant aka Chloroforms: Yes. I like to collect audio snippets of things I hear out in the world and recontextualize them to besmirch my name. Ha! This was the first time I’ve used one from my collection. I’d be super curious if someone could place where this was taken from! We’d probably have an annoying amount of things in common.
GE: What IS heat vision? Or was that a Jeopardy answer?
MM: That is MY question, sir! WHAT IS HEAT VISION?! A question that randomly popped into my head while trying to name the project file for this song. Instead of making myself a separate note so I could go look up what heat vision was later, I named the song “What is Heat Vision?” as a reminder. Which reminds me…According to Wikipedia, heat vision is ‘the fictional ability to burn objects with one’s gaze’. Perfect.
GE: Was MX-80 a reference to the noise-rock band from Indiana?
MM: You know, it wasn’t; but my noise-rock band, IfIHadAHiFi, has played quite a few shows in Bloomington. And I really like the MX-80 album Out of the Tunnel. When I was making the track “MX-80” I was trying to make it sound like the musical equivalent of an old dot matrix printer shaking itself off of a desk. I named it after the Epson MX-80 which would be an incredibly bitchin’ instrument in the hands of the right noise-rock band.
GE: Can you tell us a little about both the name of your project Chloroforms’, and the inspiration behind the album title?
MM: I’m going to show my age here, but Colorforms were a toy from my childhood that were these little vinyl clings in the shape of cartoon characters that you could stick to smooth surfaces. That was BIG entertainment to a small child at the time, but life goes on and I had fully forgotten they existed.
Then one day not too long ago I see them for sale out in the world, the first time since I was a child. I instantly recognize their iconic logo, but my brain reads it as CHLOROFORMS. Instant band name. FONT FACT, the font that I used for the free_refills_or_die EP is the closest to the Colorforms logo I could find.
As far as the album title goes, Lay Low and Be Held is two things to me. First, it’s a play on the phrase “lo and behold”. Second, it’s just a nice thing to aspire to.
GE: Your honest opinion on kangaroos: give it to me please. I’ll know if
you try to lie.
MM: I love these questions. I am strongly in favor of kangaroos. Especially YouTube videos of kangaroos who are keeping it real. One long night after a show in Louisville, Kentucky my bandmates and I watched a video titled ‘Kangaroo Shoved Through Fence During Tussle at Canberra Nature Reserve’ approximately 135 times and almost died from laughter.
Link to the good stuff:
youtu.be/N7M6lhzYOow?si=rAjq4gzSz2tsNJ6m
GE: What was your favourite track to work on? I really love Maximum
Capacity Dry Spell.
MM: Thank you! I was 100% happy with everything on this album so it’s difficult to choose a favorite. “Maximum Capacity” has a great groove and was the quickest thing I wrote for the album. Satisfying when that happens. “Cadaver Chiropractic” was written in 5/4 which is strange and proggy and took the longest to get right, so that sticks out. “Hide the Smoke” was an exercise in subtlety which is not always where my brain leads me. “The Proud Parer” might be the winner (for today) since it was my attempt to write a Chloroforms version of “I Wanna Dance
with Somebody (Who Loves Me)”. I think I nailed it.
~~~~~~~~~~~~
REVIEW
~~~~~~~~~~~~
Chloroforms: ‘Lay Low and Be Held’. A fascinating project from Milwaukee that we couldn’t be more excited to share with you! With dark titles like ‘Mugger’s Lullaby’, ‘Cemetery Symmetry’, and ‘Cadaver Chiropractic’, no one has tricked you. You’re going to be diving head first into some extremely danceable murk. Let’s analyze!
As soon as the industrial beats of ‘Rattle Can Paint Job’ blast out from the periphery and into the forefront, you know you’re in for something engaging, something you’ve not heard before. Hardcore, relentless pounding, interspersed with light-speed wooshing and a bassline that perfectly flirts with fuzz without leaving it feeling overbearing.
There’s also a paranoid bent to several of the songs on show here, the first bearing such baggage is the fraught yet funky ‘What is Heat Vision’. Alienated fear-beats or funk-laden bop. You be the judge. But really it’s both, and manages to pull these vibes off in a spectacularly grandiose manner. ‘Mugger’s Lullaby’ on the other hand, tricks you. You think you’re in for a straightforward stripped down macho-sounding THUNK-THUNK beat, then half way through, the gentleman responsible for this record, whose first name I know but will henceforth be referred to as ‘Mr. Chloroforms’, swipes the floor away, and you’re left in a void of ultra-fast IDM. It’s a trip that comes out of nowhere and pulls off a perfect bait and switch!
‘Lay Low’ on the other hand offers a lighter collection of melodies and textures than the opening trio. That’s not to say it’s some breezy intermission. The tambourine jangle works beautifully with a series of warbling synths, and I mean, hey! (extreme Ron Howard Voice) ‘That’s partially the name of the record!’. We segue neatly then, into the equally brief, yet decidedly more Lynchian-static-laden eccentricity of the aforementioned ‘Cadaver Chiropractic’, which to be fair does indeed give the old bones a good thorough shake. As does the similarly darkly titled ‘Cemetery Symmetry’, which offers a bag full of beat-treats, and Mr. Chloroforms’ isn’t shy about switching things up on a dime, creating a blistering, disorienting, but undeniably appealing effect. This three-minute microcosm of an industrial mixtape is done when he damn well says so, ok?
Then we have ‘MX-80’. At several points this track feels like it’s pursuing you. You know? No? Just me? Ok… moving on.
‘Hide the Smoke’ conjures the misty atmosphere in your mind that the title promises. Whirring disembodied wind-enveloped synths haunt the mix, while a stark and sparingly-riffed-on bit of percussion rumbles away in the dark. It’s effective and fun, even if it’s not meant to be. Meanwhile ‘Route Driver, Asleep at the Wheel’ feels so hyper-charged with dark static that it might combust at any second. Here the drums pound with greater grit and otherworldly malaise than ever, and coalesce to make a murky and melodically fascinating piece of music, increasingly frantic until the half-point switch up, the delightfully batshit-ramifications of which, you need to hear and draw your own conclusions. (But if they’re not positive, you’re wrong.)
‘Maximum Capacity Dry Spell’ Starts as a ultra-focused, borderline synth-wavey bop, and for the most part maintains its slick composure in the face of equally slick percussive flourishes. The rubbery, cool-as-shit bassline compliments the arrangement perfectly and cements MCDS as a highlight. Similarly fun, yet decided more off-kilter is the mysterious ‘Sonar for Sore Eyes’, a relentless slammer, soaked in spooky vibrations and prefixed by an equally unnerving recording of a woman referring to Mr. Chloroforms by his government name. What does it all mean? Well keep reading to find out, hopefully. Otherwise, it just slaps!
Equally slapworthy is the final, ‘The Proud Parer’. A fun pun, and a decidedly chill way to end a record. While ‘Lay Low and Be Held’ can at times feel like a mission statement akin to ‘make cool weird music and set yourself apart from the herd’ (stop me if I’m way off), the music is utterly unpretentious. Borrowing its studious delights from sources across the electronic spectrum, with some good industrial rock thrown in for good measure, the album ends as it started: with a fabulous piece of music that puts you in a lively mood. That was all I ever wanted. I want that for you too, dear reader.
Written and Produced by Michael Marchant
Artwork by Michael Marchant
Mastered by Michael Southard
Scattle – Grandmaster (Self-Released)
Label Description:
Music by Scattle
Art by Ariel ZB
Cavern Cult – Approach (Self-Released)
Label Description: Guitars, bass, synths, beat programming, Kalimba, recording mixing and arrangement: Frank Ehrhardt
Mastering: Alexander Kolb
Synths and additional beat programming on Broken Shadows: Erdem Cakir (magikkarpetkaravan.bandcamp.com)
Additional effect manipulation on Algorhythmic Dreams: Alissa Jäger
Additional guitars and additional beat programming on Of Hope and To Go On and additional mixing: Stefan Harth (gigalurgh.bandcamp.com)
Drawing: Frank Ehrhardt
Design: Marius Schmitt
Videos: Korneli Gorbatchev (kogofilm.de)
Kompuls – Interalto (Ant-Zen)
KOMPULS is the solo project of tim kniep, best known as one half of the industrial duo synapscape. a longtime figure in the german electronic music scene, kniep is recognized for his intense vocal delivery, complex rhythmic structures, and innovative sound design.
‘interaltro’, the debut album by KOMPULS, is an intricate fusion of depth and complexity, where rhythmic noise provides a dynamic foundation. the relentless pulse serves as a canvas for eclectic sonic threads, capturing the spirit of the times with subtlety and nuance.
balancing raw intensity with refinement, the album ventures into experimental territory, propelled by broken beats and technoid influences that create a surreal auditory experience. kniep’s sound design intertwines electronic, idm and glitch, creating a constantly shifting klangteppich – a sound carpet – where timbres evolve and fragment in perpetual motion.
ultimately, ‘interaltro’ stands as a cohesive artistic statement, inviting the listener into a layered exploration of structure and fragmentation, where sound unfolds with intellectual rigor and unpredictability.
KOMPULS : tim kniep
artwork by stefan alt
this is ant-zen dig109
Tech Level 2 – Indifferent. EP (Avalanche Recordings)
Label Description:
With Tech Level 2, Justin K Broadrick harks back to the days when drum and bass was ruff, rugged and raw, in the 90’s and very early 00’s.
And, for those who don’t know, Justin worked tirelessly in the drum and bass scene in the mid 90s to the early 00’s producing many records on revered UK drum and bass labels, both as Tech Level 2 and his pre Tech Level 2 project Youpho (which was a duo). More info can be found on the blurbs for the previous Tech Level 2 releases on Avalanche Recordings.
Drum and bass / Jungle, had a huge impact on Justin from its inception in the early 90’s, and he brought that influence into his Godflesh productions from the mid 90’s onwards. An influence that has been omnipresent ever since, in not only Godflesh, but across every project.
Now operating without engaging in any scenes or DJ culture, Tech level 2 still exists to continue flying the flag for the roots of pure, raw and minimal/maximal drum and bass.
credits
released March 14, 2025
Produced 2020 – 2024 by Justin K Broadrick /
AVALANCHE RECORDINGS /
AREC077 /
2025 /
h{EE}l – Lividity
Label Description:
Cave Fluffer
Body Cavity Stuff, A Downward Rope
A Long, Twisted cable
Gut Luck & Rib Jangle
Body Cavity Stuff, A Downward Rope
A Long, Twisted cable
Gut Luck & Rib Jangle
Cash on the Dime & Dollars
for Organs
Charity Teeth ~
The Best Beak in the Buisness
We’re still your best entertainment Value ~
credits
released February 20, 2025
This Album created using the sounds of
Scott Bazar / CViard / Stick Skiffy / CP McDill / Bim Prongs / Jo Bled / James Ghost / {AN} EeL
Scattle – Soulmate (Self-Released)
James Hoehl – Patterns (Self-Released)
Music For The Rest Of Us 