throbbing gristle’s “part two - the endless not” (2x12 inch lp) and “tg now” (12 inch lp) in a collectors box.

limited edition reissue on white double vinyl. housed in a gatefold sleeve with download code and poster included.

the greatest hits from throbbing gristle on translucent orange vinyl. includes code for download of the full album plus bonus tracks.

2019 reissue

limited edition reissue of throbbing gristle’s 1980 album on blue vinyl. housed in a gatefold sleeve sleeve with download code, exclusive photographic print and 12 inch booklet included included.

limited edition reissue of throbbing gristle’s 1981 album on white vinyl with download code included.

20 jazz funk greats, das dritte studioalbum der britischen industrial-band throbbing gristle, erschien ursprünglich 1979 und wurde nicht selten als herausragendes album der band bezeichnet. es erscheint nun auf grünem vinyl inklusive downloadcode.

die wiederveröffentlichung von -the taste of tg - a beginner’s guide to the music of throbbing gristle- fasst das schaffen von throbbing gristle eindrucksvoll zusammen, erscheint erstmals auf (rotem) vinyl als doppel-lp im klappcover inklusive downloadcode. die sammlung umfasst, wie im original, tracks von verschiedenen tg-alben, live-aufnahmen und wird im rahmen dieser veröffentlichung durch den song -almost a kiss- bereichert.

throbbing gristle gelten heute zu recht als die wichtigsten vertreter der klassischen industrial music. die band ging aus der aktionskunstgruppe coum transmissions (ct) hervor, die etwa ende 1969 von cosey fanni tutti und genesis breyer p-orridge gegründet wurde. 1974 stieß der im jahr 2010 verstorbene designer und techniker peter sleazy christopherson zu ihnen, im jahr darauf chris carter. zum 40. jahrestag seiner erstveröffentlichung wird am 03.11.2017 -the second annual report- als limitierte edition auf weißem vinyl im original packaging inklusive downloadcode erneut veröffentlicht werden.

finest dark industrial soundscapes and atmospherics !!

excellent remixes by cral craig, two lone swordsmen, motor, carter tutti, ratcliffe ..played by richie hawtin & villalobos

night tides sophomore release welcomes two new names to the family. thommyy ra an simonn bring us the lost journey ep, a 6 tracker of analogue laden esoteric house. on the a, we have thommyy ra, label boss at nasty habits tape cltr and prone to a bi-annual name change, he contributed the silty seth nk remix of eluize’s “up all night on our labels debut record earlier this year. he opens with journey into nowhere, an eerie, coasting, synth drenched opus propelled by throbbing percussion and rippling leads, follows with die darling die a 90s touched, left of centre house cut, complete with a skipping kick and playfully nostalgic horn, and wraps the side with creepy, deep and groove heavy razzy moon. on the b, we introduce simonn for his first excursion on wax. unknown habits is a straight up, tried-and-tested party piece, its vibrant chords pulse amongst thumping drums issuing an undeniable call to the floor. he then turns his hand to something more aquatic, amphibious pads swell in lost in progress while layering percussion build before erupting into a euphoric break beat. finally, raw and unbleached is a delicate arpeggio outing, melodic ideas tumble and burst over one another, its light and dreamy yet gritty, innocence in sound

fresh from lovers rock: two new hypnotic live takes from ital, recorded at red bull studios in madrid this june. aptly-titled a-side *throbbing* rides a spiraling arpeggio in and out of focus against a jacking 909 beat, while *nodding* builds from a simple motif into a resonating, full-immersion soundscape.
continuing the thread started earlier this year with his 12 inch for workshop and the interplanetary prophets collaboration with jamal moss, *throbbing / nodding* showcases itals move away from a computer-based approach into live hardware. the results are two stunning balancing acts, simultaneously propulsive and melting, mysterious and raw.

arts is an independent label established in 2013 based on sonic dimensions. arts go forward with the immense talent of jonas kopp, no need to introduce jonas kopp anymore. the 4 tracks define the debut of jonas on arts in the best way possible. techno, concrete and functional.

the revenge has created a devilish duo of *lose my head* dub remixes to contrast against the funky original from brooklyn synth-pop quartet body language. relentless builds, tight drum kicks, and a hypnotic 303 bass-line create a perfect detroit house beast named dub 1. his equally naughty brother dub 2, will transfix you with throbbing chords and tight percussions, building up to an epic swell of dance-floor mania, beware of the insanity-causing drop!

a true product of torontos thrillingly cosmopolitan grooving pot, this chinese-italian duo is quickly earning a rep for crafting highly effective acid tracks with just a hint of banger. they initially earned notice with their first ep, >vaporizer<, on this is music, before making fans out of some big names with these tracks, with brodinski championing >body acid< and forcing turbos a&r vibetrust to perk up their unbelievably jaded ears.
if you arent sold on the ontario-buzz, then maybe you will pay attention to two awesome remixes by the bombest bulgarian, kink. the deep mix is a lush, throbbing body-rub, and the acid version is a highlight-reel of peak time mayhem, already caned and charted by erol alkan and tiga. if nothing else, >body acid< is a vital reminder that acid goes into your body. thats just the way it works.
stamped white label, limited to 169 copies!

for the first time in 30 years throbbing gristle are now back on their own original industrial records label. to mark the occasion we are pleased to announce the rerelease of tgs first five albums on vinyl & cd. each album has been restored and remastered specifically for each format by chris carter from 24bit baked tape digital transfers of the original first generation analogue master tapes. each of the cd special-editions are presented in a gatefold sleeve featuring restored and remastered cover artworks and an integrated 8-page booklet (the booklets feature different artworks and content to the vinyl editions). while the cd releases feature the same track count and running order as the vinyl editions each cd special-edition also includes an exclusive bonus cd containing content from the year of the albums original release. this additional content includes tg live tracks and remastered singles. the greatest hits cd special-edition also includes two previously unreleased throbbing gristle mixes from the 1980s.

first released in 2001, this album is fully remastered, remade and presented once more in its entirety and features a certain ratio, cabaret voltaire, throbbing gristle, the human league, the pop group, gang of four, the slits, 23 skidoo and this heat.

cinematic soundscapes open the gates of the throbbing city, electro and techno beat alternate continuously, enriched by acid synths of disparate nature and distortion, creating the preconditions for the arduous end of the journey.

new label with a throbbing bass line, precise rhythms in a psychedelic landscape.

2lp including insert with liner notes. chapter 1 out of 3. including classic tracks with music from daf, throbbing gristle, nitzer ebb, mary moeoer..

copenhagens echocord colour returns this mid november with brendom moellers magic city ep, featuring four originals from the new york based artist. brendon moeller has long been a purveyor of authentic dub-infused techno since stepping onto the scene via his 2006 sweetspot / humpback ep via echocord and has since gone on to release on reputable imprints such as third ear, kimochi sound, delsin’s ann aimee, mule musiq and of course his very own steadfast. here though moeller makes a welcome return to where it all began with some fresh material for echocords colour sub- label. caravan takes the lead on the release and in typical brendon moeller fashion were treated to densely layered dub chords, throbbing subs and expansive atmospherics whilst robust drums drive the composition along. magic city’ follows and ups the energy levels even further with pounding industrial drums layered underneath billowing dub stabs and eerie drones. ‘magic city in dub’ follows and as the name suggests offers up a reduced take on the composition, dropping the tempo and shining light on the billowing echoes of the original whilst stirring in some off-kilter rhythsm and additional processing for good measure. lastly,departure closes the package, with haunting synth drones, bumpy rhythms and murky vocals wandering throughout the seven-minute composition

for fans of throbbing gristle, kraftwerk, skinny puppy and cabaret voltaire.

coloured vinyl - already a well-established presence on the outlandish fringes of experimental, alternative and dance music, celebrated israeli duo red axes make a surprise left-turn onto phantasy with a three-track 12inch, sipoor. unsurprisingly, the results are as pleasingly out-there as the occasion requires. following on from last year’s self-released lp, the beach goths, sipoor immediately announces the axes’ uncompromising return to the front and centre of the dancefloor with the raw, provocative bad time story. brazen, brash acid triggers this particular tale, as red axes briskly modulate their way through a ruff, tuff but never less than musical landscape of 303s and 808s. sipoor takes a more gradual approach to building offbeat rave tension, featuring an unknown male using his native tongue to request some kind of house, some kind of techno and some sort of release. his wish (and we hope, yours) is the axes command, as the music goes deep before seamlessly unfolds around a throbbing bassline and a playful, familiar keyboard sample, beckoning feet to the dancefloor and perhaps tongues ever so slightly to cheeks. concluding the 12inch, teroof takes each of red axes signature ingredients - deeply rhythmic ebm-inspired drums, spiralling electronics, unapologetically odd vocal distortions and reconstructs them amid what sounds like the monaco grand prix, as high-velocity motors speed past the soundscape, kicking up some serious dust.

2021 prpress! true to the dna of luke slaters imprint, rene wise fires off a throbbing combination of big room-ready 4/4 mechanics, high-velocity bass and hypnotic acideries on a dopey, dubby flex - engineering the tools of chaos for a highly immersivedive into the basements teeming underworld and its nocturnal fauna.

celebrating the summer solstice with a gorgeous collection of 12 tracks on sunburst coloured vinyl (orange & yellow).

ltd 2020 repress - for the latest jungle cakes release, deekline and ed solo have been at it again and alongside rubi dan they have created a dancefloor sensation entitled zunga. the drums are tight and punchy and the bassline is rolling! add some ragga style stabs and vocals and some funky horns for the hook and you have something that is guaranteed to work and create that ultimate party vibe wherever you are from. next up, serial killaz have remixed deekline & ed solos no no no. all the usual jungle cakes goodness you would expect is there! steppy breakbeats, throbbing, rolling bass that punches you in the chest, ragga stabs and vocals, infectious horn lines and the classic dawn penn vocals all come together elegantly and this divine remix is sure get you moving!

throbbing ebm / electro / techno from the hiroshima 45 chernobyl 86 windows 95 posse

repress - already a well-established presence on the outlandish fringes of experimental, alternative and dance music, celebrated israeli duo red axes make a surprise left-turn onto phantasy with a three-track 12inch, sipoor. unsurprisingly, the results are as pleasingly out-there as the occasion requires. following on from last year’s self-released lp, the beach goths, sipoor immediately announces the axes’ uncompromising return to the front and centre of the dancefloor with the raw, provocative bad time story. brazen, brash acid triggers this particular tale, as red axes briskly modulate their way through a ruff, tuff but never less than musical landscape of 303s and 808s. sipoor takes a more gradual approach to building offbeat rave tension, featuring an unknown male using his native tongue to request some kind of house, some kind of techno and some sort of release. his wish (and we hope, yours) is the axes command, as the music goes deep before seamlessly unfolds around a throbbing bassline and a playful, familiar keyboard sample, beckoning feet to the dancefloor and perhaps tongues ever so slightly to cheeks. concluding the 12inch, teroof takes each of red axes signature ingredients - deeply rhythmic ebm-inspired drums, spiralling electronics, unapologetically odd vocal distortions and reconstructs them amid what sounds like the monaco grand prix, as high-velocity motors speed past the soundscape, kicking up some serious dust.

2019 repress - first recorded in 1983 under the name visual, boyd jarvis s cut the music got me is one of the first true house records. a staple on the 80s new york club scene, the visionary instrumental dub was played everywhere from the paradise garage to zanzibar, dance-floors packing to it s mix of throbbing bass and wooshes of analogue synth magic. at ransom note we ve long been obsessed with the record, so when house hunting s aiden d araujo interviewed boyd - and found out that we could license it - we jumped at the chance. now, we present the music got you sounding bigger and better than ever before. remastered from boyd s original tapes by keith tenniswood at curved studios, the music got me is pressed on limited edition, heavyweight vinyl for clarity and bass pressure. complimenting the original release come 2 completely new mixes the first is a dubbed out masterpiece from edit-king nick the record alongside dan tyler of the idjut boys. between them they take the essence of jarvis s original and tease it out into a cavernous disco killer. next up comes bawrut man behind ransom notes debut release, the nu-acid anthem ciquita. bawrut does what he does best, throwing in latin percussion, layers of screwball 303 burbles, and a sense of joy, all whilst keeping boyd s original bass groove rolling.

first release of 2019 for ice city and this one needs no special introduction. one of the ultimate -crossover- soul records - ever. mid 70s chicago masterpiece pamoja written and produced by keith stevenson. -oooh, baby- is an uptempo soul groover designated to light up any proper dancefloor. due to its scarcity and overall demand, it has become a treasure hunt nightmare for cratediggers worldwide. finally, the official reissue is here! and if that s not enough, flip the 45 over and go deep on the ballad -only the lonely know-, with the throbbing, shrill falsetto vocals from keith himself.

for synth fans!

ebm, black synth and dark beats from the 80s on double vinyl, housed in a gatefold sleeve.

acid steve’s avinit label delivers 4 more warm and throbbing london squat party acid techno anthems from the heart of the london acid techno underground. featuring some of the major players of the scene - geezer/secret hero etc. - and newer producers like acid steve himself, benji 303, and rats on acid, this release is already being championed by the likes of chris and aaron liberator.

in his long career as a pioneer of sound, the advent has become a legend in every sense of the word. back with a new offering for our revamping of thema recordings, dorian blue is the sound of an artist who truly hasn t lost their stride. never afraid to bend around genres and cliches, he throws the whole of dance music history into a blender. as he is known for, the advent breathes new life into different versions of his tracks, with back-splitting electro to 909 workouts that will leave your feet throbbing for more. we here at thema are honored to work with such a master to help get us in touch with our roots. play it loud, play it fast.

hekla’s music exists singularly. a one-off talent, emerging from no particular scene, ascribing to no particular rules.
as a creative tool, the theremin - bizarre, unique, and rarely heard - can be expressive, intuitive and highly adaptable. in hekla’s hands, her instrument covers an enormous range, from skittering birdsong of high frequency chirrups and chirps, to grinding, tectonic sub-bass. we are given the throbbing, apocalyptic dread of muddle and the baroque beauty of traditional icelandic hymn “heyr himna smi&#8706,,ur” in sequential tracks on the album’s a-side. appropriately, she also writes that the album title - Á - is similarly multifaceted in her native icelandic: “a river is an á and also it means ouch like when you hurt yourself, and also when you put something on top of something you put it á (on) something.”

the flamboyant and off-kilter title track from rones latest album, mirapolis is one of the last solo tracks that the producer composed in the spring of 2017: its one of the rare tracks on the album for which i thought about the live performance. while putting the final touches to it in the studio, i imagined myself at festivals via memories of previous tours. i wanted to record a festive track, which completely stands by its funfair vibe. with this new four-track ep (including three remixes), combined with a new video by aurélie castex, rone extends the carnival of electronic cultures of his latest musical citadel to the dancefloor – and our screens. johannes brecht, shadow craftsman of the hamburg label diyanamics studios, offers a refined reading throbbing with cerebral pulsations. appropriating the main theme in a subtle way, coated with multiple harmonic layers, his textures alternate white noise with organic basses that builds up to a delightfully classical cello outro. german-based figurehead of the south american scene, comeme label boss and founding member of the late closer music project, matias aguayo, has never ceased throughout his career to set off little revolutions on the planet of demanding dancefloors. playful and wild, aguayo sweeps in with a ritornello of chiptune sounds and orchestral arrangements, washing it over with a huge wave of analog synthesizers that destroys everything in its path. french techno scene boss laurent garnier embraces the original piece in all its meticulousness and its psychedelic lifeblood. a hypnotic and mischievous loop infiltrates itself without warning into the reptilian cells of the listeners brain.

2018 reissue of an unknown masterpiece regrouping old recordings from the chelmsford (uk) based chen yi commune. the sound of chen yi is rough & brutal. electronic music, soundcollages that reminds to throbbing gristle or (early)spk aswell as electro-pop-tracks & songs like early cabaret voltaire, chris & cosey, severed heads.

following on from his debut on mörk last year, jon fay delves even further into the depths of the nocturnal shades of dub techno. deep, throbbing percussion thumps under twitching, sparse electronics that evoke an alluring, alien soundscape. a soft, gentle heartbeat sinking into the soul. a celestial exploration into unknown territories.

ruben montesco s new ep comes loaded with the purest, full-effect nineties sounds.
this throbbing 12inch is the artist s tribute, as well as a complete review, of some of the musical icons of this golden decade in electronic music.
ebm, new wave, techno and electro are the main styles blended in the four tracks included in this release.
a further listening reveals a clearly dancefloor-oriented ep that caches the essence of these styles and subtly brings them back to the present with elegance and savoir-faire.

is / was is incredibly proud to introduce the enigmatic, insanely gifted, man-of-many-vibes himself, teakup. hailing from ohio, our man is yet another in a long lineage of shut-in freak-beat enthusiasts from the humble state. with a style referencing the melodic funk and swing of titonton duvante and the broken, advanced-beat wizardry of archetype, teakup steps into this proud heritage with a 4 tracker of various vibes sure to sate even the most discerning of dweebs. “lose my mind” is of the swung and jacking nü haus variety popularized by the will & ink lads. “shimmer” soothes with soft pads and throbbing bass while simultaneously spanking you upside the head with cracking snares and corrosive claps. “darkcore 2020” indulges in sci-fi breakbeat antics, earning the much sought-after status of “banger”. lastly, “i don’t fkn kno” slinks along in the timeless tradition of low-slung n’ swung house groovers. welcome to the sound of teakup.

following fine scalpel-focused outings from ltj and les inferno, many of many aliases stefano de gama returns to samosa with a trio of subtly tooled-up disco edits. a-side -son of slave- sees him join together bits of soulful disco-era classics -slide- and -son of slide- to form a tasty new whole. while heavily compressed and noticeably chunkier than either of the original tracks, de gama s version is loose enough to please those who think edits should merely be dj-friendly re-arrangements. turn to the flipside for the lolloping, low-slung afro-funk goodness of -1972- and the throbbing peak-time disco celebration of filter-sporting closer -star buk-. this too boasts booming drums and bass, but also enough musical looseness to avoid the usual disco-house pitfalls.

swedish producer tiger stripes, the alias of mikael nordgren, brings his techno touch to hot creations for his debut ep on the label this summer. jack my yum is a heavyweight three-parter that sees the swede invite hot creations stable mate, matt tolfrey, to provide a stellar remix. opening track jack my yum is a warped and heavy roller with a smattering of dark vocals. haunted brings with it a bass that you can feel reverberating off the concrete walls of a darkened club, interspersed with an eerie melody. following his recent release americas on the label, leftroom records boss matt tolfrey brings his groove and a bouncier bassline to proceedings with his version of the title track. dunjacka completes the ep, with nordgren sewing together a techno beat with broken vocal stabs, underpinned by a throbbing groove throughout. tiger stripes has collaborated with legendary names such as kerri chandler, adeva, leroy burgess, riva starr and jerome sydenham, with his brand of deep and futuristic techno seeing releases on some of the underground’s biggest imprints including desolat, drumcode and cajual.

the shortest connection between the past and the future leads through the music of boston 168. drawing inspiration from both classic and contemporary approaches to the acid techno sound, early nineties rave culture and the throbbing pulse of the now, sergio pace and vincenzo ferramosca have carved out a niche for themselves which over the past four years has become a musical microcosm of its own. having released a slew of records on such labels as involve, attic, odd even and dustin zahn s enemy, the italian duo now presents its most cohesive musical statement thus far on ellen allien s bpitch. on the three tracks of »drops in heaven«, boston 168 seamlessly mold together lysergic acid lines with elements of nineties ambient techno and a rhythmic groundwork that is as thrilling as it is intricate. »cosmic tribe« translates its idea of universal togetherness into a nerve-wrecking groove punctuated by complex percussion work and a subtly building acid line, while »drops in heaven« uses a booming kick drum as base for an emotionally driven exploration of sonic textures. the psychedelic »straight to light« nods to nineties pioneers like emmanuel top, showcasing ferramosca and pace s talent for creating musical depth by ingeniously bringing together a few select elements to greater effect. these are tracks that relentlessly head towards the unknown final frontier of what techno can sound like in 2018, while not in the least neglecting the rich tradition that they draw from.

broken arrows are sudeep menon & bill ambrose, both long time affiliates of magic waves radio and cyber dance records. here they don 4 new tracks for the vivod imprint making up their second ep. a slight departure in style from their first outing on giallo disco a couple of years ago, these tracks still have that unique mechanic box jam sound they are becoming known for. female predator kicks things off in a techno fashion. charging drums lead the way with a cool throbbing bassline. fear eats the soul is more of an instrumental 80s wave track with its laid back pads and structure looping away with ease. title track edge of darkness is the stand out track on this ep and won t fail to hypnotize. meandering pads in a cosmische style with rock solid drums , simply awesome. basic structures finishes the ep off and this is more towards their jamming style from their previous ep, more aggressive, blistering hats, slamming kicks et. great ep again from broken arrows !

to kick-start artificial dances 2018 release programme, the label has once again delved deep into the darkest corners of the dutch electronic underground. the result is a debut solo ep from another future hero, hague-based pasiphae. born in greece, pasiphae took up djing and music production when she moved to the netherlands five years ago. by 2016, she was confident enough to hold her own in the studio with intergalactic gary, with the resulting collaborative 12inch, made of glass, winning praise for its floor-rocking rhythms and throbbing electronic instrumentation.

taken from gabe gurnsey’s upcoming debut solo lp, ‘physical’ on phantasy, eyes over zones in on a proto-hacienda groove that’s undistilled militant funk, loose and lucid elements of electro and dub-laden drums conspire to offer an alluring landscape for gurnsey’s restless vocals. the harder-hitting extended dub takes more precise aim at the dancefloor, allowing each disparate, analogue element more room to unfold across a throbbing baseline.

on a mission is exactly that, a mission of love, a mission of peace . the positive vocals hark back to those of early 90s house tracks, which created unity through music and clubbing. the rhythmic beat of the drum is determined, as percussive layers build and the vocals bleed into the synths. francois k provides two variations of the track. his remix features more prominent drumbeats driven by a growling bassline. on his rockers dub version, francois goes all out and dubs us into the stratosphere. up next is the michael mayer remix, with a more electronic take on the original with driving synths and a whirring, throbbing bass-line.