When other black metal bands have crept out of their caves and sell their music and merchandise at the global sunshine festivals, Furze keep curling themselves in their nest, somewhere in the outskirts of Norway, refining their peculiar brew of black metal, psychedelia and sounds of the beyond. Since their formation in 1998, Furze have released four albums that have puzzled and fascinated the metal underground. With each album they have questioned the fundamentals of metal through sound, originality and an extensive Furze-cosmology that is uniquely their own.

Furze is essentially a one-man band with Woe J. Reaper as the mind behind everything from music to metaphysics. He also handles most of the instruments and has very specific instructions when it comes to everything from production to coverart. The coverart for PMSC is executed by Sami Albert Hynninen of REVEREND BIZARRE and is inspired by Merciful Fate's "Nuns Have More Fun" and Slayer's "Reign in Blood". The name 'Furze' itself means "golden thorn" and refers to the blade of the reaper's scythe.

"The concept of the golden thorn is the channel to experience Reaper's music: A quality pain; meaning the Pain is "worth"something. For others it's a pain one can not Stand." - Woe J. Reaper himself.

PMSC is Furze's most challenging album to date and an unusual musical work in different ways. The whole album is 93% instrumental, whereas the previous albums have always featured vocals. The production was done as organic and analog as possible and no compression whatsoever was used to yield maximum depth and quality. PMSC was recorded in 3 different studios in the years 2001, 2009, 2010 and 2011 and contains material and riffs that dates back to 1992. In addition to the drums and guitars, the recordings also include electric violins (performed by S.A.Pehrson) as well as Tremola, Mellotron, Mini-Moog and more FX stuff performed by Reaper. But no modern synth stuff! The album consists of five tracks: Side A starts with the doomy gateopener 'Occult Soul, With Mind', followed by the album's 14 minute central piece, 'Psych Mooz Space Control'. Side B carries the horror-rocker 'Reaper Subconscious Guide', then 'Triad of Lucifer' before the album is closed a fast little punker called 'When Always Ready'.

Put togheter as an album, these pieces of music are made to have very specific effects on the listener:

"Infested in these tunes are the atmospheres designed to open up that "groove-length" that wants to connect your emotions down into the occult abyss of your soul..."

Furze transgress the borders of black metal and classic psychedelic rock, evoking a mystic sensation of terror and elevation, suggesting a musical archetype where the powers of Sun Ra, Hellhammer and Black Sabbath come into one.
On Furze's fifth, the music and myth reaches its purest form: PSYCH MINUS SPACE CONTROL.

Please approach with caution.

Debut 7" featuring four short and simple tracks of classic old school hardcore, think Circle Jerks, Minor Threat, RKL

LTD vinyl with handstamped and numbered covers

Featuring members from sXe stalwarts Tiebreak and Fairfuck

* The Ultimate X-mas feelbad record from the cold north!
* Exclusive tracks from both bands + a Stooges cover by Haust
* Limited green vinyl

This year it's not the Grinch, but the misantropic noisepunks Haust and Okkultokrati who steal Christmas and give it to the kids of the black hole. This is a celebration of the darkest part of the year and the dizzy subliminal effect of mulled wine, carnations and poinsettas. Three songs, two originals and a cover, about being ugly, unfortunate and under-informed. A hymn to the less unfortunate, the deviants and the perverts, its for anyone who's ever felt mislead by the stars and alienated in a crib surrounded by animals.

Recorded at the Black Hole by Ruben Willem of Haust Artwork by Esben S. Titland

Tracklist:
A1 Haust - No Christmas
A2 Haust - No Fun
B1 Okkultokrati - All I Want for Christmas is Glue

As the world is about to unhinge completely, it's good to have a solid force like Livstid to count on. Reaching out from Bergen, Norway, they've spent years perfecting the most conservative and uniform genre of today: D-beat hardcore.
Livstid carry the heritage of bands like Motorhead, Discharge and Wolfpack, nailing the most minute micro-details in rhythm and riffing. They have created a monsterous archetype of power which can now be witnessed on their self titled debut.

Formed after a vicious floorshow in Norwegian suburbia summer 2006, the band took off on their first European tour, after releasing only half a 7" on the notorious hardcore label Halvfabrikat Records. The same year the band made an appearance at the annual punk gathering in Europe - the infamous Obscene Extreme Festival in Czech Republic. It was a welcome breather that drew a significant crowd. Teaming with Hungary's legendary Human Error, the band released another split 7", a record that saw Livstid's signature onslaught grow harder than ever.

Livstid's debut was recorded by the band themselves and mixed and mastered by Dag Erik "Dagger" Nygaard in Fifty-Fifty studio in Bergen. While Dagger is best known for his work with more melodic oriented hardcore bands like Blood Command and Death is Not Glamorous, his years of being the drummer in the brutal hardcore combo IOU, has given him authority on how to turn the primal urgancy of Livstid into a bombastic wall of sound.

To lay down his incidious vocals, singer Kristian had been on a diet of alchohol, chewing-tobacco and dry crisp bread to get the sound just right. The problem was, the diet made him pass out so many times during the recordings that he forgot where he was. On several occasions, he had to be convinced that he was in fact with the band in the studio, not held captive by a suppressive force.
He furthermore claims his unique vocal technique is derived from attempting to perfect a hardcore version of Axl Rose, combined with swedish death metal, and includes violently stomping his foot in time with the music to keep on beat, the D-beat.

The striking artwork is done by Prins Preben, one of the most confronting visual artists in contemporary Norway. The Prince has scissored and glued images so piercing that you may find yourself reaching for bandages after looking at them.

In the run of the 16 tracks on the album, classic political lyrical themes like rasicsm, sexism, animal rights and enviromentalism are covered, but the album also go deep into themes like individual isolation, social fragmentation and suspicions about the general sanity of modern society and its leaders.

KILLL is a project that has challenged the boundaries of their own expression since they came together in 2003. With abstract and chiselled metal presented in an epileptically evoking op-art sceneography, they have been a much talked about live phenomenon. However, they have refused presenting themselves on any format except the live concert - until now: Presented in a 8-panel digipack including two posters, a CD and a DVD with live footage from the band's concerts in the period 2005 - 2009, this a manifestion of the visual and musical phenomenon KILLL is.

KILLL consist of visual- and soundartist Are Mokkelbost, producer and musician Erlend Mokkelbost (JR Ewing, Montée), drummer Martin Horntveth (Jaga Jazzist) and guitarist Espen Hangård (No Place To Hide, Altaar). In addition, the band's light engineer Kyrre Karlsen is regarded a member of the band.

The film is a painstakingly constructed collage of movie- and sound recordings from concerts around Europe. Filmed with everything from surveillance cameras to cell phones to steadycams, the movies are to a large extent based on material donated from the audience and organisers. In stark contrast to the slick hi-res standard of many live videos today, the KILLL footage is characterized by the use of early models of digital cameras and their lacking ability to process hardcore strobes and hyperactive LED lamps. Instead of trying to reconstruct a moment, the KILLL movie presses the digital to the breaking point, and even a bit further - then, cut as tightly and uncompromisingly as the music itself.

KILLL hover on the border between the enjoyable and utterly insufferable and their combination of primal sonic energy and frantic visual cacophony can be directly disturbing to the nerve system. In fact, KILLL are obliged to warn epileptics before their performances. Yet, the band's unusual visual presentation also works as a portal, a direct entrance into highly energetic sensations that moves outside the standardized markers of the metal and noise genre. Evoking a state of emotion that ranges from total confusion and emptiness to blissful enthusiasm and a strong sense of belonging.

Norway's three most exported music genres are jazz, metal and noise. With KILLL all these come into one.

* Fifth album by the Norse Gods of Noise Rock!
* Arabrot playing their purest, wildest, ugliest rocknroll!
* Recorded and mixed by Steve Albini!
* Fiftieth release on Fysisk Format!


Solar Anus is the fifth album by Norwegian noise rock act Arabrot. Their previous album, REVENGE from 2010, marked the "end of an era and the beginning of something new". While the first four Arabrot albums showed a staggering level of ambition and a sense of musical dramaturgy like no other band, Solar Anus shows a band that has found its form, the ambitions and latent genius of the past has come into light.

All of the eight tracks that make out Solar Anus are recorded and mixed by Steve Albini, known for his work with Pixies, Nirvana and his own bands Big Black and Shellac. Albini’s stripped down approach to recording fit well with Arabrot’s arrangements, consisting of nothing more than drums, vocals and a baritone guitar. After finishing the main recordings Arabrot collaborator Concept.Virus infested some of the tracks with electronics, but still most of the tracks were kept clean, open and focused on the primitive force of rhythms, chords and guttural vocals spitting out filthy prose.

The title and part of the thematic inspiration of the album is from the french literate Georges Bataille. Like Bataille, Arabrot is fascinated by the joy and energy of unifying the high and the low, the filth and the pure, the animalistic and the divine in man. In songwriter, vocalist and guitarist Kjetil Nernes’ own words:
Gold indicates the sun as we hail Bataille’s take on the subject of abjection. Solar Anus betokened the Golden Calf - juxtaposed between utmost evil and greater sanctity. Such as the eternal radiance of heaven or the egregious iniquities of the abyss. Or the alchemist of The Holy Mountain converting faeces into gold.

Solar Anus’s eight tracks is Arabrot playing their purest, wildest, ugliest rocknroll. Even the tiniest ears in mother earth’s soil will open like flowers to the sun.
Solar Anus is the first album of the new Arabrot and the fiftieth release on Fysisk Format
Recorded and mixed by Steve Albini in Electrical Audio Studio A, Chicago, Il, March & May 2011.
Mastered by Jason Ward at Chicago Mastering Service June 2011. Cover artwork and design by Transgressive Productions. Songs by K. Nernes. Arranged and structured by Arabrot

Solar Anus is out September 2011 on CD, vinyl with download codes and as digital virus on Fysisk Format

European tour November/December 2011

Please welcome Spring Forward - the third album from the Norwegian melodic hardcore punk unit Death is Not Glamorous!

While they are almost completely unknown in their home country and nearly invisible in any \"official\" music scene, Death is Not Glamorous is nevertheless a major force in the European underground hardcore punk scene. Few bands have toured more extensively, through more countries and met more fans eye to eye, than Death is Not Glamorous. Their first EPs has sold 12.000 copies on shows and mailorder alone and their 2008 album, Soft Clicks, has been selling several editions and is still a growing underground favorite.

Spring Forward presents Death is Not Glamorous at their most intense and urgent. It\'s a short album, containing just 7 tracks, and it was recorded in a fury: One take straight through and very few overdubs. A perfect snapshot, a raw documentation of the band at the given time.

Still, in all its rawness, Spring Forward inherits a sensibility in its lyrics seldom heard in hardcore punk bands. Whether it is inward oriented personal advices, more aggressive outbursts, quotes from Albert Camus and the iranian revolutionary poet Ahmad Shamlou, it is obvious that Death is Not Glamorous is a band out of the ordinary.

Third installment in Fysisk Format\'s split series! This time the 12\" comes wrapped in full gatefold artwork by Sebastian Rusten

Okkultokrati has had a busy year with the release of their debut No Light for Mass and the following tour with Kylesa and has gone from zero to a massive underground cult phenomenon in no time. Their side of the split was written and recorded under the motto \"The riff rules\" and shows the band evolving the doom-punk sound of their debut into an abyss of explosive ritual riffing.

A couple of months before Arabrot went over to Steve Albini to record their fifth full-length (due in September 2011), Arabrot spent a week in their home field studio, ConceptVirus, to do four tracks for this split. The first two tracks are of classic Arabrot noise rock breed, not unlike the most rocking parts of their 2010 album, REVENGE. The last two tracks will surprise even the most seasoned Arabrot-fan, each in it\'s own way. With this release, Arabrot solidifies their status as one of the most original and truly inspired bands of our day and age.

First pressing of 480 copies!

The seed to what would become Next Life was planted when songwriter Hai Nguyen Dinh as a six-year old played "Exploding Fist"on his Commondore64 and blew the speakers of the family TV. Years later Hai met future Next Life partner Tormod Christensen on a pre-internet copy-party, where young people challenged the force of primitive processors in the same way previous generations went kiting or cliff-diving. This love for transistor culture and digital storytelling is still very present in Next Life's sound.

At the time Next Life did their first show in 1999, everyone present knew that it was a band destined for cult worship. An unidentified mixture of chip-sounds and extremely violent music, presented by fast-moving, almost cartoon-like characters, made the Next Life shows become an instant classic. It was quite describing that Next Life's debut album from 2006 was named Electic Violence.

Since then, Next Life has been a band of ultra-slow evolution. From the more electronic output of their Red End 7" (2000) and their debut, to the synth/guitar hybrid of The Lost Age (2009), to The Resurrection EP (2010) which marked the 10th anniversary of the band by adding a drummer to the line-up.

The EP was the testing ground for Artificial Divinity, the third album by Next Life and shows a band with a wider approach to music than before. The 12 tracks of the album range from meditative sub-channel industrial sounds to ultra-complex metal blow-outs and will excite both new and old fans.

Next Life's distinct sound and self-imposed limitations has created expectiations that Next Life has a grand plan - a goal to their evolution that lies far beyond the present state of music. And while other bands change their styles and sound dated after a couple of years, Next Life's output keep sounding more futuristic for each year that passes.

Like the two foregoing albums, the artwork is made by Are Mokkelbost.

Hope I Die Virgin have - with their chaste and low key mix of rainy british indie and Dischord sound - been a cult band reserved a few seeking souls. Two self released EP\'s, the most recent produced by Emil Nikolaisen of Serena Maneesh, recieved nods of approval from besserwissers. Still the band with the strange name have been walking by themselves in the murky mud on the banks of Oslo\'s underground, barely visible for the past two years.

Hope I Die Virgin let the world be and created an alternate reality in Harrys Gym studio through innumerable sessions in 2009 and 2010. Is Forever No Way was from the beginning a megalomaniac project - a fantasy of a record so extensive, so deep and discomposing that the world had never heard anything like it. The more time the band spent in the studio, the more self-exhausting their ambitions became. Every bass note, every last beating of the cymbals have been subjected to infinite interpretation and assosiation processes. Every chord shift has been analysed with astrological and scientifical intent. The texts, on the other hand, are earthy, yet spiritual, and range from a homage to a norwegian journalists masculine beauty to unbridled drug fantasies from the perspective of a drug virgin.

All these corridors of musical excess were finally fed to Christian Engfelts mixing table. There they were carefully combed and cut to generally understandable song structures, melodies and rhythms. Bob Weston (Shellac, Mission of Burma) sealed the madness with his mastering. He assures that the album now is ready to be set onto the public world and can be used on internet and radio, as well as analogue home systems. All the audience has to do is chose a format of choice; vinyl, cd or one of the modern digital solutions.

Now everyday people with everyday chores can live their everyday lives and consume Hope I Die Virgin\'s debut without having to face the qualms, mental as well as aesthetic, that lie behind. On the surface it seems like Is Forever No Way is a perfectly ordinary record.

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The norwegian newcomers, BLOOD COMMAND, follow-up their debut Ghostclocks with a brand new recording, featuring 6 new tracks of deadly catchy Rocknroll-Hardcore. Hand Us the Alpha Male is the final piece in Blood Command\'s trilogy of 10-inches and is also available as digitpack CD. The EP picks up where Ghostclocks left off, adding a pinch more intensity and darkness to the Blood Command universe.