D-Trash's first ever vinyl release, recorded and compiled in 1999, delayed until a 2001 release. Straight originating out of Australia thanks to D-Trash's first incarnation's media assassin EVAN SMITH who ran the SPAGNHUM NAGASAKI digital hardcore zine in the early early days of digital hardcore on ....

After a few bumps, the folks at Dystopiaq have finally released a winter compilation.

Track 1 recorded 14 August 2007. encoded at 128 kbps.
Tracks 2 & 3 encoded at 320 kbps.

Scissor Shock - "The first minute is doom guitar drone, equalizer-fucking, some techno torture, and some keyboards. After that, the fun begins: MORE electronic torture, more gabber beats, and more screams. Not exactly terrifying, but it still makes Wolf Eyes jealous. Also note that it's in 1200bpm and i spent 6 hours on it. Made with drum machine, toy keyboards, roland techno synth, guitar, tons of fx pedals, computer mic recorded"

Evil Robot Ted - "A bunch of crap noises and samples made and mutilated with audiomulch. Beats made with Hammerhead and fucked with in audiomulch. Made in about an hour or two."

Improvisation realisee durant les sessions d'enregistrement ReuReu 2.
Enregistre a Grrnd Zero (bureau 1012), le 14 avril 2009, par Carlos Groenland.

Idle Sunder & Bogdan Dullsky kindly invite you to explore their latest collaborative effort. Finally, the Psygnosis trilogy

P color contains samples of Tracy's album Acidoulus pink and girls from Uranus remixed by Lezet.

Two molten slabs of noise from Japan's Kenji Siratori. This noise album is unbelievably tasty, but the scorched gastrointestinal tract you may experience as a result is the price of admission. There really is no other way.

The latest from Lezet / Throuroof is four timbrally akin pieces that form the transluscent walls of their aural pharmacy. I hear the sound of wet fingers circling around the edges of myriad crystal vials. Meanwhile, a recurring flock of cloned seagulls seem to be the stereo delayed glee club inside this four movement experiment. But then again, maybe it's not an experiment at all. Maybe L/T fully know what L/T are doing. Through the calculated use of hollowed out and echoic sounds we are drawn into a digital cathedral that is its own glass pipe organ, churning out ethereal hymns. The disciplined palette of sounds used relates to square waves, high frequency attack transients and incidental effects. This non - busy, unspectacular but nonetheless tasteful approach to composition ultimately results in a calming listening experience.