April 10 street date. Limited edition CD compiling both of BURIAL's 'Steet Halo' and 'Kindred' EP's, originally produced exclusively for the Japanese domestic market. All six tracks in their full length versions, totalling 50 minutes of music not previously available on CD, packaged in full size jewel case with Japanese obi-strip overlay. Please note, there will only be a single production run of this release, the quantity to be determined by advance demand, so preorders are essential!
December 18 release date. This influential London-based electronic musician is back with a brand new EP!! The release is comprised of two pieces of music, with a combined duration of 25 minutes 32 seconds. "Perhaps most importantly, his basslines sound like nothing else on Earth. Distorted and heavy, yet also warm and earthy, they resemble the balmy gust of air that precedes an underground train." --Derek Walmsley, "Dubstep", The Wire Primers: A Guide to Modern Music
December 18 release date. This influential London-based electronic musician is back with a brand new EP!! The release is comprised of two pieces of music, with a combined duration of 25 minutes 32 seconds. "Perhaps most importantly, his basslines sound like nothing else on Earth. Distorted and heavy, yet also warm and earthy, they resemble the balmy gust of air that precedes an underground train." --Derek Walmsley, "Dubstep", The Wire Primers: A Guide to Modern Music
Available now. BURIAL is back!! Clocking in at 28 minutes, his upcoming EP features 3 lengthy tracks of densley woven bass, inter-mingling with sizzling breaks n' whopping good beats. A highly anticipated release for bass fiends everywhere!!
Available now. BURIAL is back!! Clocking in at 28 minutes, his upcoming EP features 3 lengthy tracks of densley woven bass, inter-mingling with sizzling breaks n' whopping good beats. A highly anticipated release for bass fiends everywhere!!
June 14 street date. "It’s been nearly two years since Burial’s last solo releases: In late 2017, he enjoyed an unusually productive spell, putting out three 12"s in just a few months’ time, each one subtly expanding the boundaries of his sound. “Subtemple” and “Beachfires” were pure ambient; “Rodent” was a brooding, heads-down house groover; and “Pre Dawn”/”Indoors,” for Boddika’s Nonplus imprint, were cavernous rave anthems as big as anything he’d ever done. With “Claustro,” he returns to the UK garage that has always been fundamental to his sound. The rimshot-heavy beat shuffles and swings like it’s 1999 all over again, and the way he chops up the vocals has the unmistakable air of the 2-step bootlegs of R&B hits that once ruled the UK’s dancefloors. It’s slathered in all the vinyl hiss and moody sound effects we’ve come to expect from Burial, but despite the murk, the whole thing just moves, with overlapping vocal hooks, buried MC shouts, and errant rave stabs contributing to the forward motion." - PITCHFORK
December 6 street date. Topping off Hyperdub's 15th year, Burial selects 'tunes’ from the last eight years of his EP releases on the label, for this very welcome two CD collection. Sequenced by Burial, ‘Tunes 2011-2019’ shows the depth and brilliance of his post-‘Untrue’ development; from long, twisting, collage works which travel through unexpected zones, to a more pointed, poppier side, and back again to the haunted, open horizons of his beatless pieces. We hope this collection of Burial's work is familiar, yet unfamiliar, to each listener. 17 tracks across 150 minutes, all previously released, six being available on CD for the first time. TRACKLISTING: (DISC 1) - 01. State Forest 02. Beachfires 03. Subtemple 04. Young Death 05. Nightmarket 06. Hiders 07. Come Down To Us 08. Claustro 09. Rival Dealer (DISC 2) - 01. Kindred 02. Loner 03. Ashtray Wasp 04. Rough Sleeper 05. Truant 06. Street Halo 07. Stolen Dog 08. NYC
Please note new street date: May 21. ‘Chemz’ is hooky, rushy and loved-up - both an unhinged premonition of unleashed post-pandemic joy, and a demonic flashback to past ecstasies in a hardcore style perfected in the UK. ‘Chemz’ is a 12 minute rave monster that has ingested several tracks and incorporated them into its distended body. At the other end of the Burial bi-polar spectrum, ‘Dolphinz’ is a desolate oceanic love letter to our underwater friends.
Please note new street date is April 8. 2LP re-pressing with download - Now on 180 gram vinyl for the first time !! ALSO includes the beatless atmospheric tracks that have always been integral parts of the complete CD versions. BURIAL's eponymous album, which began life as a low-key release in May 2006, is now widely regarded as the benchmark release of the ever-widening dubstep genre, picking up unanimous critical acclaim along the way, and ending the year heavily featured in many best of polls. Now Burial returns with Untrue, a new record of weird soul music, which lovingly processes spectral female voices into vaporised R&B and smudged 2step garage. Vocal lines are blurred, smeared, pitched up pitched down and pitch bent until their content is cast adrift from their original context and they whisper their saccharine sweet nothings into the void. The album continues with the debut’s crackle-drenched yearning and bustling syncopations, haunted by the ghosts of rave, but also reveals some new Burial treats with a more glowing, upbeat energy.
September 22 street date. A complete stylistic shift from his last two EPs, ‘Rodent’ marks an emphatic return to the dancefloor with a rolling four minutes of Burial’s hallmark wistful rapture, backed with a crackling remix by Kode9.
Please note new street date is April 8. 2LP re-pressing with download - Now on 180 gram vinyl for the first time !! ALSO includes the beatless atmospheric tracks that have always been integral parts of the complete CD versions. The 2006 debut album from BURIAL, and perhaps the first great album in the Dubstep genre. WIRE magazine selected this as "Album of the Year". Allmusic.com - "the mood of Burial is dim, distant, and rather dreary; from a subjective standpoint, one might characterize it as the sound of 3:00 a.m., a time of reflection and perhaps remorse, of being alone after the party's come to an end. There is an emotional aspect at work that is key to this mood, a sullen sense of despair especially evident in the ambient interludes, communicated also in the ghostly vocal samples. The technical aspect of Burial is remarkable, too. The album's subterranean basslines and skittering rhythms, along with its array of found sounds and production effects, are simple yet inventive, austere yet evocative. Other dubstep producers have crafted a similar style, make no mistake, but Burial is the first to craft it on the scale of a full-length album so effectively".
BURIAL's eponymous album, which began life as a low-key release in May 2006, is now widely regarded as the benchmark release of the ever-widening dubstep genre, picking up unanimous critical acclaim along the way, and ending the year heavily featured in many best of polls. Now Burial returns with Untrue, a new record of weird soul music, which lovingly processes spectral female voices into vaporised R&B and smudged 2step garage. Vocal lines are blurred, smeared, pitched up pitched down and pitch bent until their content is cast adrift from their original context and they whisper their saccharine sweet nothings into the void. The album continues with the debut’s crackle-drenched yearning and bustling syncopations, haunted by the ghosts of rave, but also reveals some new Burial treats with a more glowing, upbeat energy. Untrue is available as a full 13 track digipack CD, including recent underground hit Ghost Hardware, and 9 track DJ friendly double vinyl set, from which some of the beatless pieces have been edited.
Available now at a lower price! The 2006 debut album from BURIAL, and perhaps the first great album in the Dubstep genre. WIRE magazine selected this as "Album of the Year". Allmusic.com - "the mood of Burial is dim, distant, and rather dreary; from a subjective standpoint, one might characterize it as the sound of 3:00 a.m., a time of reflection and perhaps remorse, of being alone after the party's come to an end. There is an emotional aspect at work that is key to this mood, a sullen sense of despair especially evident in the ambient interludes, communicated also in the ghostly vocal samples. The technical aspect of Burial is remarkable, too. The album's subterranean basslines and skittering rhythms, along with its array of found sounds and production effects, are simple yet inventive, austere yet evocative. Other dubstep producers have crafted a similar style, make no mistake, but Burial is the first to craft it on the scale of a full-length album so effectively".
Available now (at least in theory). The new single by BURIAL is "Street Halo". The B-sides are "NYC" and "Stolen Dog". Their combined length is 20 minutes, 41 seconds.
March 27 street date. Anyone with access to the internet probably already knows that a new EP by BURIAL appeared as a download release on the Hyperdub website a couple of weeks ago and that Pitchfork has already drooled all over this (8.7). Featuring three new tracks pressed on high grade 180 gram vinyl for optimum sound reproduction, and running beyond 30 minutes, the 'Kindred EP' is an ambitious work that pushes further into the unique musical territory Burial occupies.
October 2 street date. Non-returnable CD. Repress of the Memento Mori's 2012 official reissue of this underground Death Metal masterpiece from The Netherlands, originally released through West Virginia Records back in 1993, featuring the "Frigid Cold" demo (1992) as bonus tracks for a total of 13 songs of crushing and rotting old school Death Metal that's aggressive yet catchy and killer riffs aplenty, that will appeal to any fan of genuine Death Metal and legendary bands like Death, Massacre, Morgoth and Pestilence. It's a real shame that such a monster of an album passed through almost unnoticed two decades ago and it's so hard -and expensive- to get nowadays (even our 2012 reissue is!!!), so this repress is the greatest chance for new listeners, old fans and people who missed out on our 2012 reissue to grab a copy for a very reasonable price.
Available now. A third volume of the essential reissue series featuring rare and out-of-print vinyl releases from horror electronics maestro, Burial Hex. This collection goes further back in time to a more raw and singular vision, whilst still infused with passionate vocals and eire religious allusions that would eventually lead to a development of increasingly more compositional elements in the Burial Hex cycle. Collecting his sides from the split 7" with Sylvester Anfang on Aurora Borealis (2008), the split 12" with Iron First Of The Sun on Cold Spring (CSR 153LP, 2011), and taking a side each from Bagirwa Hymn on VON Archives (2009) and From The Rites Of Lazarus on Urashima (2010), Throne provides focuses on the death industrial roots of this expansive project. Without as much focus on otherworldly hybrids, yet still organically eclectic, this offering will bring the grinding grey atmospherics and the nauseating aggression of early horror electronics into focus. Artwork by Nathaniel Ritter (Kinit Her).
Burial Hex first made itself known to Aurora Borealis a few years ago when browsing obscure blackened electronic treats online. Initiations, their debut recording for Aurora Borealis, is a lengthy proposition. Clocking in at one hour thirteen minutes, it represents a journey, a metaphysical odyssey of uncertain outcome. RIYL Throbbing Gristle, Wolf Eyes, Whitehouse, etc. Fancy package vinyl limited to 500 copies.
May 22 street date. During the period in which Clay Ruby first began working on this piece of art, he had become so completely surrounded by evil and deception that he was forced to begin summoning a particularly extreme and ancient force of protection and vitality just to make it alive through the end of 2008. Aside from spiritually fortifying Ruby's life, the complexities of these new elemental entities brought with them circumstances causing a much more rich and intense recording experience than he could have ever composed on his own. Classic horror electronics and post-industrial apocalyptic soundscapes with unsettling notes, anguished cries and voices of the dead. His most ritualistic album yet. Reissue of the extremely limited LP with bonus tracks taken from the split LPs with Kinit Her and Zola Jesus, all available on CD for the first time!
November 8 street date. Superb trans-Atlantic power electronics/death industrial face-off between Wisconsin's Burial Hex and Birmingham's Iron Fist Of The Sun. Burial Hex presents two "pre-industrial" conceptual compositions. Aside from one synth at the
end of the first track, this music was all made with acoustic sounds. Intense power electronics, but without using amplification or electronically-generated sounds. Just like how many industrial artists have flirted with depicting sounds and atmospheres from the first and second World Wars, these pieces were composed imaging atmospheres closer to the American Civil War-era. IFOTS's four tracks were recorded at Crushing Obelisk, Birmingham, England. Dedicated to betrayers of family/faith/country. Birmingham nihilism! 40 minutes. Limited to 500 copies.
Available now. NON-RETURNABLE. A constitution of dark faith and inexorable nature, Greece’s Burial Hordes has earned their ranks in the Black Metal sovereignty with Devotion To Unholy Creed. It sears through the unbelievers and still preserves the authenticity of Black Metal ideology! Fans of early Marduk and Mayhem will revel with this soon-to-be cult classic.
July 20 street date. Burial Invocation started in 2008 as an ode to the ancient and obscure death metal demos of the 90's. Following their own trail of desecration and decay, the band released a MLP, a split 7" with Anatomia and played on the first two incarnations of Kill-Town Death Fest before being laid to rest. The time passed bereft of any signs of life, but the soil was uneasy, the graveyard was in turmoil and apparent-ly the souls weren't ready to be obliterated in an ignominious grave yet... Burial Invocation now as-cends from its slumber once more
August 7 street date. For the past five years, Australia's Faceless Burial have been flying the flag of classicist 90s death metal, first across a demo in 2015 and then the subsequent (and acclaimed) "Grotesque Miscreation" debut album in 2017, along with the follow-up "Multiversal Abattoir" 12-inch a year later. Those latter two recordings, in particular, portrayed the potency of this power-trio, displaying an unremittingly dark and dexterous sound which draws in a variety of death metal traditions. Going from strength to strength, the band play their strongest hand yet with the full-length "Speciation". Altogether sharper and more finessed than all previous, this release spreads unimaginable death metal might with malignant ease across its deceptively epic 36-minute runtime.
September 4 street date. Altogether sharper and more finessed than all previous, "Speciation" spreads unimaginable DEATH METAL MIGHT with malignant ease. Faceless Burial exude a charisma that's totally their own, which largely comes down to the song writing itself. Where the preceding records maintained a murky 'n' malodorous aspect, that was predominantly in the sound itself; here on "Speciation", it's been parlayed into the tense 'n' treacherous textures they explore. Otherwise, no great changes have been made, nor should there be: forever twisting and never stagnating, each of these six songs reveals new corridors through which to spelunk, and efficiently so across the album’s deceptively epic 36-minute runtime. Adorned with form-meeting-content cover artwork, "Speciation" is bound to be the year's most forward-thinking/backwards-looking death metal album.
October 5 street date. Burial and Kode9 unite for the 100th and final installment of the iconic FabricLive mix CD series in its current form. The mix draws from gqom, juke and footwork to trance, jungle and grime, as well as a wealth of material that defies categorization, from all over the world. Since launching his seminal Hyperdub imprint Kode9 has a reputation as one of the most innovative artists, curators and DJs, with three studio albums, three mix CDs, and releases on labels ranging from Aphex Twin's Rephlex imprint and Soul Jazz to Warp and Domino. Burial's two highly-influential studio albums are masterpieces. His instantly recognizable sound has made him one of the most important artists of the 21st century.
November 2 street date. Burial and Kode9 unite for the 100th and final installment of the iconic FabricLive mix CD series in its current form. The mix draws from gqom, juke and footwork to trance, jungle and grime, as well as a wealth of material that defies categorization, from all over the world. Since launching his seminal Hyperdub imprint Kode9 has a reputation as one of the most innovative artists, curators and DJs, with three studio albums, three mix CDs, and releases on labels ranging from Aphex Twin's Rephlex imprint and Soul Jazz to Warp and Domino. Burial's two highly-influential studio albums are masterpieces. His instantly recognizable sound has made him one of the most important artists of the 21st century.
June 22 street date. After the release of his debut album, Leaving (2010), Planning for Burial’s Thom Wasluck wrote and recorded a series of EPs that have become collectively known as Quietly. It was a tumultuous time in Wasluck’s life, and the songs he composed reflect the intense feelings of longing and jealousy that he was experiencing. As the title suggests, these tracks are more restrained in approach than the work which preceded them. They are also set apart from much of Wasluck’s other output by their recording process, which was largely done live with few or no overdubs in order to properly capture every emotion in its rawest state. For almost a decade, Wilkes-Barre, Pennsylvania-based musician Thom Wasluck has been releasing his signature gloomy dirges under the name Planning for Burial at a nearly relentless pace. He now has three full-length albums (most notably 2017’s monumental Below the House) under his belt as well as countless EPs and splits. The Quietly sessions took place between 2011 and 2012 and will be available for the first time on vinyl from The Flenser. This new version includes a song that was previously only issued on a floppy disc as well as an unreleased track from the same era. This collection was remastered specifically for this vinyl release by Nicholas Wilbur (Mount Eerie) at The Unknown.
July 14 street date. “When I hear these songs, I can still feel the rooms they were recorded in.” — Thom Wasluck // For Planning for Burial’s Thom Wasluck, Matawan, New Jersey, represents a location and an era. It is the first place that truly felt like home to him, where he affectionately named his home and studio the “Red House.” In this house he recorded his first two albums, and a wealth of lesser known material in between. Matawan - Collected Works 2010-2014 showcases the songs from this period that were released outside of his full-length albums. During the four-year interval between Planning for Burial’s first full-length Leaving (2010, Music Ruins Lives) and his second album Desideratum (2014, The Flenser), Wasluck was hard at work writing and recording music for over a dozen EPs and splits with likeminded artists. This is a compilation of the now out-of-print and sought-after material from this period, including several previously unreleased tracks. All twenty tracks have been mastered specifically for this release, which has a running time of nearly two hours. Since the beginning, Planning for Burial has been a solo endeavor. Wasluck has been producing music by himself in a home studio and touring extensively as a one-man band, playing hundreds of shows in both DIY spaces and nightclubs, where he has shared the stage with acts like Deafheaven, King Woman and Chelsea Wolfe. Both incredibly loud and intimate, his music plays with an unrivaled passion and funereal grace that is equally at home in basements and large venues.
June 9 street date. The Flenser presents the first-ever vinyl issue of Planning For Burial’s debut full-length Leaving. The 2010 album is a depressing journey though isolation and sadness now recognized as a cult classic. Originally released by the legendary micro-imprint Enemies List Home Recordings, CD copies of Leaving have since become sought-after collector’s items. The Flenser is proud to offer a limited edition of Leaving in its intended analog format with updated artwork designed by longtime collaborator Niels Geybels. Planning For Burial is the solo work of gloom prince Thom Wasluck, who has toured the DIY circuit with his one-man show extensively and become an unlikely sad-boy figurehead in the new-school gloom-gaze movement alongside labelmates Have a Nice Life. With heavy, dark shoegaze, ’80s goth, and ’90’s rock influences, Planning For Burial is hard to categorize and hard not to like. The project has released a slew of EPs and splits on various labels in the last five years, and shared the stage with a wide breadth of musical compatriots from Chelsea Wolfe to Deafheaven. The Flenser released the band’s second full-length Desideratum in 2014. “Wasluck’s longing and misery plays such a role in Planning for Burial’s music that it often receives equal credit alongside the instrumentation.” —Pitchfork “Thom Wasluck feels pain, and you certainly will also.” —Sputnik Music
March 10 street date. New album from Planning For Burial, A blend of slowcore, shoegaze, doom, 90s alt rock and drone. In late 2014, Planning For Burial’s Thom Wasluck left the red house in New Jersey he’d called home for the last decade to return to his childhood bedroom in the mountains of Pennsylvania. Back in the house where he grew up, Wasluck found himself cut off from the familiarities of the previous decade as he put himself to work in the family trade. The monotony of routine quickly set in; work, home, and alcohol day after day became the norm. The childhood room that had given birth to his primordial four-track recordings was now a place of emptiness. These conditions set the stage for Planning For Burial’s third full-length, Below the House. In terms of genre, Planning For Burial is often simply characterized as “gloom,” which can be seen as a blend of slowcore, shoegaze, doom, 90s alt rock and drone, and this album offers nine sullen and frequently heavy songs that brim with nostalgia and suburban ennui. It is a return to form of sorts to his beloved first album, 2010’s Leaving — an introverted work characterized by its heavy dynamics and personal obsessions. Since the beginning, Planning For Burial has been a solo endeavor. Wasluck has been recording music himself and touring extensively as a one-man band, playing hundreds of shows in DIY spaces and nightclubs, where he has shared the stage with acts like Deafheaven, King Woman and Chelsea Wolfe. Both incredibly loud and intimate, Planning For Burial plays with an unrivaled passion and funereal grace that is equally at home in basements and large venues.
March 10 street date. New album from Planning For Burial, A blend of slowcore, shoegaze, doom, 90s alt rock and drone. In late 2014, Planning For Burial’s Thom Wasluck left the red house in New Jersey he’d called home for the last decade to return to his childhood bedroom in the mountains of Pennsylvania. Back in the house where he grew up, Wasluck found himself cut off from the familiarities of the previous decade as he put himself to work in the family trade. The monotony of routine quickly set in; work, home, and alcohol day after day became the norm. The childhood room that had given birth to his primordial four-track recordings was now a place of emptiness. These conditions set the stage for Planning For Burial’s third full-length, Below the House. In terms of genre, Planning For Burial is often simply characterized as “gloom,” which can be seen as a blend of slowcore, shoegaze, doom, 90s alt rock and drone, and this album offers nine sullen and frequently heavy songs that brim with nostalgia and suburban ennui. It is a return to form of sorts to his beloved first album, 2010’s Leaving — an introverted work characterized by its heavy dynamics and personal obsessions. Since the beginning, Planning For Burial has been a solo endeavor. Wasluck has been recording music himself and touring extensively as a one-man band, playing hundreds of shows in DIY spaces and nightclubs, where he has shared the stage with acts like Deafheaven, King Woman and Chelsea Wolfe. Both incredibly loud and intimate, Planning For Burial plays with an unrivaled passion and funereal grace that is equally at home in basements and large venues.
May 13 street date. Death to false gloom! Desideratum is New Jersey cult gloomgaze act Planning For Burial’s sophomore full-length and the followup to their 2010 statement of purpose, Leaving, issued by legendary lo-fi imprint Enemies List Home Recordings. Simultaneously nostalgic and futurist sounding, Planning For Burial is the work of mastermind Thom Wasluck, who filters his influences thorough a droning, gloomy spyglass to evoke the most haunting blues this side of the gray waters of the Atlantic. The project is often lumped in with the current wave of 'bedroom recording artists', yet Wasluck stands apart from his peers due in no small part to his education and expertise in sound design. Planning For Burial’s brand of dark shoegaze is hard to categorize, but it incorporates elements of slowcore, doom, drone, ’90s alt-rock, ’80s goth, black metal and mournful, Neil Young-esque regret. In the last four years, Planning for Burial has released a slew of EPs and splits on various labels, and shared the stage with a wide breadth of musical compatriots from Chelsea Wolfe to Deafheaven, seeming out of place alongside none.
May 13 street date. Death to false gloom! Desideratum is New Jersey cult gloomgaze act Planning For Burial’s sophomore full-length and the followup to their 2010 statement of purpose, Leaving, issued by legendary lo-fi imprint Enemies List Home Recordings. Simultaneously nostalgic and futurist sounding, Planning For Burial is the work of mastermind Thom Wasluck, who filters his influences thorough a droning, gloomy spyglass to evoke the most haunting blues this side of the gray waters of the Atlantic. The project is often lumped in with the current wave of 'bedroom recording artists', yet Wasluck stands apart from his peers due in no small part to his education and expertise in sound design. Planning For Burial’s brand of dark shoegaze is hard to categorize, but it incorporates elements of slowcore, doom, drone, ’90s alt-rock, ’80s goth, black metal and mournful, Neil Young-esque regret. In the last four years, Planning for Burial has released a slew of EPs and splits on various labels, and shared the stage with a wide breadth of musical compatriots from Chelsea Wolfe to Deafheaven, seeming out of place alongside none.
January 24 street date. Premature Burial is the solo project of JM Dopico, the mastermind behind Grind legends Machetazo and also a member of the cult D-Beat squad Dishammer. With such credentials is not too difficult to figure out you're in for a wild ride... fueled by Dopi's passion for the darkest Heavy Metal, Doom Rock and Punk from the glorious 80's, Antihuman is an ass-kicking, skull crushing, statement of intentions from a man that's gained -for many reasons- a cult status among extreme music followers.
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