Mar 292017
Borghesia + Srečko Kosovel

Rodovnik / A Genealogy
Slave the Servant.
Slave Servantich the Servant.
Slave Slavetich Servantich the Humble.
Slave II.
Slave Humblich III.
Servantich IV.
Janez the Humble, the Craven, the Grandiose.
(Srečko Kosovel,1926; translation by Nike Kocjančič Pokorn)

On March 18, 2017 (the 113th birthday of the renowned Slovene poet Srečko Kosovel), the legendary Slovene electro-rock band Borghesia presents their brand new song ‘Rodovnik’ (‘A Geneaology’). On the new song Borghesia used Kosovel’s lyrics, which presents the poet’s confrontation with the nature of the petit bourgeoisie.

With the new single Borghesia announces their upcoming full-length album ‘Proti kapitulaciji’, on which the formation of Aldo Ivančić, Dario Seraval, Irena Tomažin, Jelena Rusjan and Ivo Poderžaj will tackle with Srečko Kosovel’s poetry. Selection of twelve Kosovel’s poems, still relevant to this very day, is the basis for Borghesia’s new musical adventure.

Srečko Kosovel (1904–1926) was a Slovene post–World War I avantgarde poet and is considered to be one of Central European major modernist poets. He has been labelled as an impressionist poet of his native Karst region, a political poet, an expressionist, a dadaist, a satirist, and as a voice of international socialism, using avant-garde constructivist forms. But most importantly, his poems are timeless, still relevant 90 years later and could have easily been written today. Srečko Kosovel died at an early age of 22, but not without leaving a legacy – an impressive collection of 1400+ poems!

Against sterile parliamentarism, secret diplomacy and Nero in a red executioner’s cloak!
(S. Kosovel – Before Capitulations)

Listen to the Borghesia song ‘Rodovnik’ here:

Moonlee Records
Mar 292017
Ghost Twin
Plastic Heart
Artoffact Records
19 May 2017
Combining roaring synthlines, dirty pulsing bass, dreamy guitar and a haunting vocal dichotomy where Baroque meets industrial. Produced by Maya Postepski (Austra, Tr/st, Princess Century) and Michael P. Falk (Head in the Sand, Les Jupes). Postepski also provides live percussion, drum machine programming, and additional vocals. Features 11 tracks imbued with occult aesthetics, including Blue Room, Not Our Time, Mystic Sabbath, The Haunt and Chymical Wedding.
“Retro sleaze ball synths buzz around eerie baroque vocals.” – Julijana Capone, Beatroute
Limited edition Chymical Blue vinyl. 200 copies worldwide. Comes with an insert.

Only the Heart Beats…
Artoffact Records
19 May 2017
Formed around 1980 by punk rocker Rude van Steenes (ARSON) and Kurt LaPorte, GLAMATRON! is one of the best kept crate-digger secrets in the Canadian vaults. Their sole LP, Only the Heart Beats….Inside the Silence was self-released in 1981, and proudly showed its influences, Bowie, Roxy Music, Lou Reed, Marc Bolan & T-Rex, as well as early Ultravox, Wire and Magazine, on its sleeve. The band played several shows and made radio and television appearances, recorded a second album (which was shelved) and ultimately broke up in 1984. van Steenes and LaPorte then formed Vis-A-Vis, which was nominated for two awards and won the 1987 CASBY Award for Best Independent Artist.
This Artoffact Records reissue includes the entire Only the Heart Beats LP on Side A, while the unreleased album, Chrome Horizons, is released for the first time on Side B. van Steenes shares his memories of GLAMATRON! and the early New Wave scene on an insert included in the package.
The vinyl is available on black or collectors’ pink and also comes with an amazing fold-out poster. The CD edition includes bonus tracks not available on the vinyl, including live recordings from Toronto’s famous Rivoli club, as well as a band interview originally broadcast on CHUM-FM.

Mar 292017

Artist: DJ T-1000 a.k.a. Alan Oldham
Title: Ratchet Traxx EP
Release date: 7 April 2017
Label: BPitch Control
Cat. No.: BPC331
Format: 12″
Distribution: Rough Trade 

Listen on Soundcloud

The legendary Detroit icon Alan Oldham, aka DJ T-1000, makes his first guest appearance on BPC with his brand new EP Ratchet Traxx. With four highly explosive tracks, Oldham serves up his quintessential “Bangin’ Funky Ass Techno”: a straight-up 909 beat, undeviating basslines and vocal samples that constantly and relentlessly burrow into your senses. Time and again the master of his trade springs a surprise with quirky breaks and sublime details. In short, Ratchet Traxx has what it takes to become a classic and perfectly sums up everything we have come to expect from “Detroit Techno’s Renaissance Man”. Don’t play this at home, kids…


A1. Booty Shaking Ghetto Gagging
A2. She Loves Big Black Cock
B1. We Need Our Weave
B2. Black Guys Really Love My Big Fat White Ass

Mar 292017



Mute is pleased and proud to announce the re-ignition of its worldwide partnership with Throbbing Gristle. The first stage of this partnership sees the Throbbing Gristle catalogue available on streaming services for the first time. Over the course of the next three years, Mute will make all of the band’s classic catalogue available both physically and digitally whilst also making available long out of print and important pieces of work. The release pattern will also see some new box sets of previous unreleased material and imagery.

Listen to Throbbing Gristle on Spotify now:

Throbbing Gristle, one of the most politically and sonically antagonistic bands of all time, have left an impact on music, culture and the arts that is immeasurable and still felt today.

Throbbing Gristle are Chris Carter, Peter ‘Sleazy’ Christopherson (who sadly passed away on 25 November 2010),
Cosey Fanni Tutti and Genesis Breyer P-Orridge.

Chris Carter releases a new solo on Mute in autumn 2017, his first solo album in 18 years.

Cosey Fanni Tutti releases her autobiography, Art Sex Music, published by Faber on 6 April 2017.

Genesis Breyer P-Orridge (PTV3) performs a reinterpretation of the soundtrack to Derek Jarman’s In The Shadow Of The Sun
(originally performed by Throbbing Gristle) at Café Oto in May 2017.

COUM Transmissions were recently honoured with a retrospective of their work for Hull City of Culture 2017 proposed and co-curated by Cosey Fanni Tutti. The exhibition traced the radical art collective’s work from their formation in Hull to their termination at the ICA Prostitution show, which marked the beginnings of Throbbing Gristle.

Mar 292017


Hundreds of releases and countless live performances littered the path that lead to 2012’s Modern Jester, artist Aaron Dilloway’s last major artistic statement as a solo artist and one his most well received documents since leaving Wolf Eyes, the prolific noise troupe that Dilloway co-founded in the late 90’s with musician Nate Young. Within these pieces, we find a surreal treasure hunt that helps guide us through Dilloway’s obsessions, neurosis and influences while also developing a splintered maturity of someone with great complexity stumbling through a well thought out, yet totally unplanned “long game” of an artistic career. Since then, Dilloway has been busy collaborating with the likes of Genesis Breyer P-Orridge and Jason Lescalleet, releasing various short form sketches and running his retail outpost, Hanson Records, while slowly working on his next major album, The Gag File.
Introducing itself with the cover image of a posed dummy ready for his yearbook portraiture, The Gag File picks up right where Modern Jester left off; its identity is directly tied to an absurdly uncomfortable head shot that stays permanently fixed in the listener’s mind whenever the album is summoned. The opening track, “Ghost”, sets the heartbeat for the record. A rogue pulse that becomes lost in a disjointed, trapdoor loop but becomes even more unorthodox as Dilloway introduces himself through parable of jumbled, confused vocals and phrasing. Past this point, nothing in this record is typical or expected.

Sudden, crude cuts from one piece to another and psychotic jumps in fidelity make one re-think the ideas of confusion and desperation as something more abstract rather than visceral. “Karaoke with Cal” and “It’s Not Alright” have an intoxicated sense of depression, taking in the world’s problems and regurgitating them back in hopes of finding some enjoyment. That enjoyment seems to be found in the non-music aspect of side B’s long form party field recording, that loops in on itself making sure you never really know when the party begins or ends, regardless of one partygoers claim. Nods to Dilloway’s recent live performances have been unusually captured as the song “Inhuman Form Reflected” doubles as a sound portrait of the artist’s internal struggle with hysteria, but suddenly breaks away from a recorded song into an accidental segue way of someone on the edge.

Most hallmarks of Dilloway’s signature are seemingly here but not firmly imprinted into the recording. Instead, Dilloway used his methods of vocal manipulation and frenzied reference to tell a completely foreign narrative, one that subjects himself to naked uncertainty, audible anxiety and discourse.

Dais Records releases The Gag File by Aaron Dilloway in limited editions of 100 copies on clear/blue swirl vinyl and 400 copies on translucent light blue vinyl, as well as standard black vinyl on April 28, 2017.

LISTEN: Aaron Dilloway – “Karaoke With Cal”

PRE-ORDER: Aaron Dilloway – The Gag File

Aaron Dilloway
The Gag File
Dais Records
April 28, 2017

1. Ghost
2. Karaoke With Cal
3. Inhuman Form Reflected
4. Born in a Maze
5. It’s Not Alright
6. No Eye Sockets (For Otto & Sindy)
7. Switch
8. Shot Nerves