CONTAGIOUS ORGASM, the brainchild of hiroshi hashimoto from nagoya, japan, stands as a bold exploration of experimental sound and ambient noise. his compositions are a captivating blend of swirling psychedelia, crude samples, abandoned rhythms, and post-industrial noise, all woven into a seamless tapestry of ambient and concrete elements. this is music that demands active engagement, rewarding the listener with a hypnotic, immersive experience that is both inviting and disconcerting.
each composition is a rich vignette, balancing noise-soaked textures with exotic percussion, and gradually winding down into dreamlike interludes. CONTAGIOUS ORGASM’s work draws listeners into its nebulous darkness, offering a space for introspection, tension, and revelation. turn off the lights and let yourself be carried by this multifaceted, elegant journey through intimacy, alienation, and the blurred boundaries of perception and reality.
BEHIND CLOSED DOORS, time softened and blurred. each room held a fragment of feeling – a flicker of mood, a whisper asking thirsty?, and somewhere, a reflection of longing beneath the moon under water. shadows stretched gently, revealing a soft sensitivity in everything touched, a quiet ache threading through silence. reality wavered in the glass of an inverted mirror, showing not what was, but what might have been. then came the return – subtle, weightless, yet undeniable. beneath a suspended ceiling, where thoughts drifted like dust in filtered light, he understood: some truths only reveal themselves in silence, and only BEHIND CLOSED DOORS.
composed and performed by h h. and fts. recorded and mixed at cool anatomy and yard cemetery, 2023-2024
Label Description: Das Ich kehren mit „Fanal” zurück: Ein apokalyptisches Meisterwerk für das postfaktische Zeitalter Mehr als drei Jahrzehnte nach ihren ersten frevlerischen Kassetten, die mit Songs wie „Gott ist tot” und „Satans neue Kleider” die Geburtsstunde der neuen deutschen Todeskunst einläuteten, melden sich Das Ich mit einer erschütternden Diagnose unserer Zeit zurück. Bruno Kramm und Stefan Ackermann, die Pioniere einer Kunstform, die bereits mit frühen Werken wie „Satanische Verse” und „Die Propheten” Schauspiel mit Musik, Expressionismus mit Klassik und Elektronik mit Gothic zu ungekannter Intensität verband, präsentieren am 31. Oktober 2025 ihr neues Album „Fanal” – ein Werk, das brennender nicht sein könnte. Zwischen monumentalen Alben wie „Staub”, „Egodram”, „Lava”, „Antichrist” und „Cabaret” ließen die beiden Künstler stets lange Perioden der Inspiration verstreichen, um zu jeder Epoche eine eigene musikalische Sprache zu entwickeln. Auf ausgedehnten, weltweiten Tourneen durch Europa, USA, Südamerika, Asien, Israel und Russland vertraten sie nicht nur die Kultur eines neuen, expressiven Deutschlands, sondern inspirierten mit ihren kontroversen und intensiven Liveshows unzählige Bands und Kunstformen aller Sparten. Ihre Gedichtvertonung von Gottfried Benns „Morgue” ist bis heute Thema im Deutschunterricht, während Evergreens wie „Kain und Abel”, „Von der Armut” oder die technoide VNV Nation Remixversion von „Destillat” noch immer die schwarzen Parties weltweit befeuern. Nach einer schöpferischen Pause, bedingt durch Ackermanns schwere Krankheit und Kramms politisches Engagement, kehrt das Duo mit neuem Lineup zu einer Welt zurück, die ihre düstersten Visionen eingeholt zu haben scheint. Wo einst ihre Kunst über alle Szenegrenzen hinweg einen Ruf begründete, der auch 25 Jahre nach „Gott ist tot” keine Vergleiche kennt, brennt nun ein anderes Feuer: das Fanal einer Zivilisation am Abgrund. Die neun Leuchtfeuer des Albums spannen den Bogen einer Spezies, die ihre eigene Vernichtung zur Kunst erhoben hat. Doch „Fanal” ist mehr als nur kulturpessimistische Zeitdiagnose – es ist ein hellsichtiger Kommentar zu einer Epoche, in der Individuen in gefährlichen Massen aufgehen, programmiert von Demagogen. Diese erschaffen aus den Schatten einer digitalen Höhlenmalerei technokratische Diktaturen und inszenieren die KI-gesteuerte Massenüberwachung und unmenschliche Hetzjagd auf die Schwächsten als mediales Opus. Aus den einstigen nerdigen Hippies, die sich an kultureller Allmende und dem privatesten von Abermillionen bereichern, sind längst die Multimilliardäre der digitalen Vollstreckung geworden. Die Fackel auf dem Albumcover fungiert dabei als doppelte Metapher: Sie ist sowohl Warnung vor den Klippen, auf die wir zusteuern, als auch das letzte Licht der Aufklärung – ein Leuchtfeuer des Humanismus und der Empathie für alles Lebende, um den wieder erwachenden Geistern einer düsteren Vergangenheit zu entfliehen. Nach dem Charterfolg ihrer Vorab-Single „Lazarus”, die direkt auf Platz 6 der Deutschen Alternative Charts einstieg, beweisen Das Ich einmal mehr, warum ihre Magie auch im neuen Jahrtausend noch immer zu spüren ist. Mit „Fanal” vollenden sie nicht nur ihr künstlerisches Vermächtnis, sondern entzünden selbst ein Leuchtfeuer – als Zeugnis und letzte Hoffnung gleichermaßen.
Release Dates Bandcamp Digital : 14th November 2025 Vinyl / Stream / Digital : 21st November 2025 There will be two editions of the vinyl… A ‘DINKED’ ltd edition on coloured vinyl with a free additional 12″ ft the extra digital tracks 13-16. And the standard edition which will ft tracks 1-12 on black double LP.
Press release : When Chuck D proclaimed “Bass, how low can you go?” on Public Enemy’s anthemic ‘Bring the Noise,’ maybe he was pre-empting or inciting the 10,000 fathoms-deep, spine-bending basslines and sub-quake tremors of ‘Implosion.’
Implosion is a crushing split album, appropriately released on The Bug’s own PRESSURE label. Mapping out a new form of spectral dub, the sound is deliberately immersive, introverted, and yes, definitely implosive. In pursuit of heavy lids, blurred vision, and merciless bass bin punishment, it’s one part meditation, two parts low-end theory, and essentially a confession of devoted sound system addiction.
As expected from a tag team featuring British soundlab explorer and ‘London Zoo’ composer Kevin Martin, aka The Bug, and Michael Fiedler, aka Jah Schulz—a long-time graduate of Germany’s new school of sound system reggae culture—the duo approaches their target differently yet share the goal of keeping their sound “raw” (Fiedler) and “brutally minimal” (Martin). This proves that opposites can attract, even if their tools are different and their methods sometimes diverge.
From such a disparate combo, hailing from different geographical and aesthetic backgrounds, contrasts are certainly on display, even within each artist’s own contributions. From the melancholia and transcendence of ‘Alien Virus (West Indian Centre, Leeds),’ to the duality of ascension and descension on ‘Hope,’ or the Sunn 0))) in dub, visceral drone of ‘Dread (The End, London),’ to the tripped-out repetitions of ‘Midnight,’ which reinvents Chain Reaction for post-millennials, the result is both sacred and narcotic. Each track illuminates the emotional impact and atmospheric pressure being explored across this deceptively sparse album—a mastery of tone and texture.
This collection might be as reduced, minimal, and deep as The Bug has ever gone, perhaps echoing the solemnity of his recent Kevin Richard Martin Black release and invoking the futurist steppas self-pioneered on his previous Pressure album. Alternatively, Fiedler‘s Ghost Dubs project ventures into his most heavyweight direction yet, which is no mean feat considering his previous, the critically acclaimed album Damaged, was a monstrously massive triumph of analogue weight and enviable sound design.
Implosion is ice-cool, a stark contrast to the warmth and sociability of traditional Jamaican roots and the current trends in digi-dub. Instead, the mood is soaked in tension and intense dread, finding an unexpected melting point where classic dub’s stark rhythm attack, isolationist ambience’s eerie drift, dub techno’s floatation strategies, and even the relentless riffs of doom metal collide. As the bass-obsessed pair drop what is arguably the heaviest ambient dub album to emerge from any electronic sector—a moody counterpoint to The Orb’s fluffy clouds, etc, Martin has cited The Roots Radics, Black Jade, and On U Sound’s Pounding System as heavily influencing his approach to the album, while Fiedler has expressed his admiration for Adrian Sherwood’s productions and Rhythm & Sound’s enchanting soundscape. Yet, the super heavyweight pulsations, emotive resonances, and bone-rattling vibrations detonated here effortlessly go far beyond these influences.
Shadowy and elusive, there’s a mysteriousness at this record’s core. A haunting moodiness oscillating between nostalgia and future shock. Despite the deadly fixation with SLOW and HEAVY, the album maintains a totally hypnotic swing throughout. Implosion and its lead single ‘Imploded Versions’ are testaments to being enveloped in bass, seduced by bass, submerged in bass, and utterly crushed by bass, as The Bug and Ghost Dubs seek to craft a new form of dub for zonal headz and Babylon seekers.
Mastered by Stefan Betke (a.k.a. POLE) at Scape Mastering studio, this record is heavy as f-ck without resorting to continuous distortion. It’s low-end worship taken to an absolute extreme, yet remains highly listenable and definitely danceable, albeit at the slowest of paces. Sacred and narcotic, this is low-end worship amplified to the max. Dive in if you dare.
As The Bug, Kevin Martin’s music is built from an overwhelmingly explosive sub-bass pressure, with relentless in-the-red beat production that amplifies mutant industrial sound design, fuzzed, expectant crackle, and bleak greyscale harmonics. Over decades of diverse and storied projects and releases, Martin has earned a reputation as a subverter of expectations. In 2008 – after his gritty, tumultuous album London Zoo, where he and his long-term collaborator Flowdan delivered the instant classic ‘Skeng’ – he unexpectedly formed the new trio King Midas Sound, whose mix of spoken word poetry and Japanese-language vocals (performed by British-Trinidadian dub poet Roger Robinson and WaqWaq Kingdom’s Kiki Hitomi, respectively) created a storytelling approach new to his work. Further collaborations followed as his range and output grew. He worked with long-established experimental composer Fennesz, post-metal pioneers Earth, and even the rarefied, mournful drone-folk of solo artist Grouper, each bringing new dimensions to his sound. In 2019, after the trauma of his son’s problematic birth, he abandoned all aliases and released Sirens, a deeply emotional exploration of dread and paternal love set in the most isolated ambient territory, winning rave reviews.
Michael Fiedler gained international recognition in 2024 with the Ghost Dubs album Damaged, released on The Bug’s own PRESSURE label. The Stuttgart-based artist crafted a wholly original fusion of low-end pressure, live dub techniques, and industrial sound aesthetics which, although inspired by traditional dub/roots, dub techno, and even shoegaze or drone, captured many listeners’ attention with Fiedler’s futuristic sound design and mesmerising, slo-mo dubbed gyrations. Previously known and established under his alias JAH SCHULZ, he is a graduate of Germany’s vibrant dub/reggae sound system scene. It was through that scene that he first released international records, performed at festivals, and developed legendary live dub shows where he began rearranging tracks in real time. Under the name JAH SCHULZ, he founded and co-owned Infinite Density Records and released music on various other labels, including Echo Beach, Green King Cuts, and Basscomesaveme. He also gained support from major international sound systems such as Iration Steppas, King Shiloh, Jah Shaka, and Blackboard Jungle, who regularly feature Jah Schulz tracks in their sets.
Ken Li 2025
released November 21, 2025
Music / Production : The Bug tracks : The Bug (Kevin Richard Martin) Ghost Dubs tracks : Ghost Dubs (Michael Fiedler)
Mastered : Stefan Betke (Scape Mastering)
Artwork : Simon Fowler Gatefold inner photography : Eric Audoubert
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.
Written and Produced by Michael Marchant Artwork by Michael Marchant Mastered by Michael Southard
Re:Mission Entertainment is proud to announce SILENCE, MELT AND MOURN, the new album from Dead Voices on Air, arriving October 31st, 2025. Created during preparations for a US tour, the album features new material alongside reimagined versions of songs from across Mark Spybey’s career. The live set will include selections originally released by Download, Beehatch, DVOA, and other collaborative projects. Working with Nathan Jamiel of The Drood and longtime friend Stephen Weatherall, Spybey approached the process by writing new music and revisiting older work with fresh arrangements and a renewed focus on vocals and song structure. SILENCE, MELT AND MOURN is a reflection of that journey, built on collaboration, reinvention, and respect for the creative voices that shaped it.
All music produced by: Nathan Jamiel, Mark Spybey and Stephen Weatherall
Nathan Jamiel – Guitar, Bass, Synthesizers, Keyboards, Vocals Mark Spybey – Drums, Keyboards, Vocals, Trumpet, Toys Stephen Weatherall – Bass, Vocals Mark Sanderson – Synthesizer, Baritone Ukelele (2,5) All lyrics by Nathan Jamiel and Mark Spybey
Mastered by Mark Pistel Art by Mark Spybey, layout by David Babbitt With thanks to Wes Turner and scott crow
eMERGENCY heARTS / Re:Mission Entertainment
Dedicated to Vince Wald (1976-2024) and Daniel Doss
The Tear Garden, the legendary experimental project of Edward Ka-Spel (The Legendary Pink Dots) and cEvin Key (Skinny Puppy), is set to release their highly anticipated new album, Astral Elevator. This record marks a significant return for the duo, delivering a soundscape that is both familiar and refreshingly new. As with their past work, the album is a journey through surreal, often haunting electronic textures and Ka-Spel’s distinct, poetic lyricism and mysticism.
Produced entirely by The Tear Garden themselves, Astral Elevator is a testament to the enduring creative partnership between Ka-Spel and Key. The album also features contributions from a stellar lineup of guests, including the late Dwayne Goettel, who provides a poignant and powerful presence. The sound is further enriched by the talents of Randall Frazier and Dre Robinson, and the entire experience was brought to its final form by the expert hands of Greg Reely on mixing and mastering.
In addition to the album’s release, fans can look forward to a full visual experience. The stunning artwork for Astral Elevator was created by Simon Paul, perfectly capturing the album’s ethereal and otherworldly themes. Furthermore, videos directed by Cory Gorski will accompany the singles due out during the album cycle.
Astral Elevator marks not only a return for The Tear Garden, but also their first record for Toronto-based Artoffact Records, home to many of cEvin Key’s other projects.
Produced By The Tear Garden Edward KaSpel and cEvin Key with Guests Dwayne Goettel , Randall Frazier and Dre Robinson Mixed and Mastered by Greg Reely Artwork by Simon Paul
Four extended songs ranging from experimental and minimal acoustic to heavy industrial doom metal, with the addition of saxophone, French horn, harp, and multiple voices.
snow pellets are small, resilient spheres or irregular fragments of crystallized snow, often encasing frozen water within their compact structures. born through delicate atmospheric processes, partial melting, refreezing, or the gradual compaction of snow by wind, they embody the intricate geometry of winter’s transient artistry.
this winter, anatoly grinberg invites us into his newest creation: a resonant world of granular synthesis where sound becomes sculpture, and the hush of frozen air turns into music – a space where science dissolves seamlessly into poetry. credits releases November 4, 2025
anatoly grinberg, known by his artistic moniker tokee, is a moscow-based sound mixer, mastering engineer, and composer whose work bridges film, television, and experimental electronica. he refined his craft in sound engineering and mastering at the israeli school of sound in tel aviv, where his fascination with the hidden architecture of sound began to take shape.
since the early 2000s, anatoly grinberg has sculpted sonic landscapes that balance emotional resonance with meticulous precision, marking the emergence of a distinct and contemplative voice within the electronic avant-garde. through the influential ant-zen label, he has collaborated with artists including mark spybey, gwenn tremorin (flint glass), and andreas davids (xotox), each project revealing new dimensions of his immersive and introspective sound world.
UK-based L/F/D/M is back with a freshly scalped body musick EP ‘Strategic Revulsion’, after his album ‘Cult Routines’ he returns with this freaky 4-tracker ready to blast on your soundsystem. L/F/D/M is also know for releasing on such labels like Cititrax, Clan Destine Records and Osaré Editions.
Tracks by Richard Smith Mastering & artwork by Faunes Efe
Music For The Rest Of Us 