Trading Places is what happens when three talented producers from different parts of the globe come together in Throne of Blood’s Brooklyn studio. Long time friends Moscoman (Disco Halal), Max Pask (Throne of Blood/Crodwspacer/DeeWee) and NYC legend Justin Strauss have built upon years of hanging out in New York and Berlin to form a loose, improvisational partnership. Recorded whenever Moscoman found himself in NYC and supplemented by sessions from frequent collaborators Strauss and Pask, Trading Places transforms a handful of days jamming together into one of Throne of Blood’s finest releases. It’s also the label’s first formal collaboration with Disco Halal, a one-off partnership similar to previous releases with Monty Luke’s Black Catalogue and Adam Marshall’s New Kanada. Opening the EP, the haunting and percussive “Submission” features vocals from The Golden Filter and is backed by a special Moscoman remix. “Elevated” takes a turn for the cosmic with its feet planted firmly in the club, and the EP closes with the epic slow burner, “Trading Places.

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The Laser EP is peaktime Hardway Bros business. “Friedman Feedback Loop Revision” (a nod to TOB boss James Friedman’s highly-valued opinions) is a masterclass in efficient simplicity, elevating a few basic loops into an exhilarating 8 minute monster. “The Laser” rounds out the a- side with a classic electro rhythm/bass/vocal sample combo could easily have landed in retro territory. Instead, Hardway Bros easily flips a clutch of oldschool tricks into an utterly modern execution. The b-side finds TOB’s label manager Max Pask injecting “Friedman Feedback Loop Revision” with his love for all things analog and Italo. With his impressive collection of synths brought to life by Chinatown Records’ Brennan Green, the song is transformed into an epic set- closer that’s already devasting dancefloors like Berlin’s Panorama Bar. The EP closes with “Afro Sirene,” a midtempo groover with melodic arpeggios built for the discerning DJ’s warm-up set.

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Having made his debut on Throne of Blood as a contributor to Moon Rock Volume 4, Cass. returns to the label with a blissed out 12” that builds upon the low-slung atmospheres of his recent output on Emotional Response and International Feel (in collaboration with Jan Schulte) to create a heady and modern sound influenced by both Balearic and 80’s pop sonics without every losing sight of the dance. The a-side “Red Atlantic” pairs a steady 4/4 kick with circular melodies, dreamy pads, and melancholic vocals before Cass. injects a post-punk bassline to beautiful effect. Autarkic (Disco Halal, Golf Channel) emphasizes the disco punk elements, twisting “Red Atlantic” into a dancefloor bomb with a looping take on the bassline, an insistent horn motif and a much more off-kilter atmosphere. On the flip, “The Voynich Manuscript” feels much closer to the best moments on Youth Sessions, Cass.’s brilliant full length on Emotional Response, slowing the tempo and pairing another pulsing live bassline with a narcotic melodic line built from woozy, pitch-shifted tones. It’s both glisteningly pretty and tripped-out. Longtime friend and label contributor Cosmo Vitelli drags “The Voynich Manuscript” back into dancefloor territory, upping the tempo and toughening the lushness of the original into an insistent late night chugger that’s been doing the business on dancefloors for a couple months now.

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In the three years since Moon Rock Volume 1 came out, interest and attention in ambient and cosmic music has broadened and deepened. What began as a experiment in how chill out might sound as reimagined by traditionally dancefloor-oriented producers has found an incredible community of listeners and creators. With Moon Rock Volume 4, Throne of Blood is once again gazing upwards and looking inwards as we collect our biggest survey of kosmische sounds. Featuring contributions from close friends and label contributors (Gilb’r, Black Deer, Man Power), respected members of the electronic underground with no prior connection to the label (Moscoman, Jabru, Brain Machine, Vactrol Park, MA Spaventi, Cass. & Stijn Hüwels, Danny Passarella, Maximilian Akiba, Craig Bratley, Not Ssandoz, Aris Kindt), members of the TOB family (Steve Cobby, Maxime Pasquier, Linus Booth’s new Warden CA project), and some surprises as well (Cale Parks, former drummer of indie rock band Yeasayer), Moon Rock Volume 4 is a soundtrack for excursions beyond the Ultraworld.. Spread over three LPs, Moon Rock Volume 4 was conceived in sides; six distinct sets of music that move through a range of styles and sounds, from crystalline arpeggios to cosmic ambience and darker droning noise. Intended to capture nothing beyond our own expansive interest in deeply psychedelic music for not dancing, Moon Rock Volume 4 is a further step out of the big room dance floors Throne of Blood is known for fueling thanks to releases from dance music fixtures like Bicep, Daniel Avery, Waze & Odyssey, and PBR Streetgang.
Tune in and space out…

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In almost ten years of existence, Throne of Blood has cultivated a diverse family of musical talent spread across the Americas and Europe, refusing to settle into any particular sound or scene. Foremost among this crew of almost-impossible-to-pigeonhole producers is Dissident veteran Hardway Bros aka Sean Johnston, known to many as Andrew Weatherall’s partner in A Love From Outer Space. His third EP for the label, “Pleasure Cry,” is characteristic of Sean’s style : a modern sound with sly winks to his rich history in electronic music. The proceedings kick off with “Pleasure Cry”, an ode to submission featuring the exotic talents of vocalist Sarah Rebecca (formerly known as SR Krebs) anchored by a classic “Reece” bassline. Possibly not suitable for work but we suggest you blast it at the office to see what happens. The tune gets the remix treatment by Gerd Janson and Philip Lauer aka Tuff City Kids, piling on the pianos and cutting up the vocals in a very Saundersonian fashion. “Argonaut” was originally written for an ALFOS gig on the Adriatic sea, and pays homage to the sounds of early 90’s Balearic house. It’s perfect for sunsets AND sunrises, we’ll let you pick which works best for you. The self explanatory titled “My PNO” is Sean’s take on piano house, steering clear of throwback clichés. Its hook, however, should have a similar arm raising effect on dancefloor revelers.

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After a relatively quiet 2015 which saw Brooklyn's Throne of Blood release the third volume in the Moon Rock ambient series and a handful of singles from Man Power, Jimi After, and Vito & Druzzi, things are already heating up for 2016. Kicking things off is a really special collaborative 12" from Steve Cobby, the Hull-based producer best known as one half of downbeat legends Fila Brazillia, and Stephen Mallinder of Cabaret Voltaire fame. Throne of Blood is honored to be working with such towering influences, and excited to be bringing some truly special recordings to life. The proceedings kick off with "Tumblefish" a cosmic soup of hangdrum samples and breakbeats backed by an acidic bassline built for Balearic b-boys. Mark E's remix strips the proceedings back, morphing "Tumblefish" into a grinding chugger that's equal parts techno and house. Things get really interesting on the B side with Cobby and Mal versioning one of the holiest of holy grails in leftfield music, "Vitamin C" by krautrock legends, Can. Drenched in echo and anchored by a mechanically teutonic beat, their version swaps the moody desperation of the original for a dislocated mechanical swagger. TOB label manager Max Pask's dub raises the tempo and retrofits "Vitamin C" for maximum dancefloor impact. Closing things out, Correspondant/Voyeurhythm hotshot Man Power returns to TOB with a driving remix layering drum machines, shambolic synths, and a driving bassline to close out the ep.

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On the heels of last year's "Moon Temple" EP, Throne of Blood co-founders Vito & Druzzi return with the two floor-ready vocal house jams featuring Xavier, a veteran vocalist best known for his brilliant version of "Gimme the Night" by George Benson released on erstwhile NYC disco imprint, A Touch of Class Recordings. Road tested everywhere from Brooklyn clubs to Electric Elephant festival, "It's EZ" and "Deep Into It" deliver the goods, from hands-in-the-air hooks to speaker rattling bass and emotive keys. This is modern dancefloor house music rooted in classic 90s vibes. Longtime friend of the label and Delft Records founder LA-4A strips "It's EZ" down, dropping short loops of Xavier's vocals over a massive acid line. With precious little of the original instrumental in evidence, he delivers some straight-up machine funk for big dance floors. For her remix of "Deep Into It" Mexican upstart Lokier builds upon recent releases for Have A Killer Time and Viall as well as her new collaboration with Morgan Hammer as She Makes Monster. Her version is a dislocating miasma of synths and drums, amping up the psychedelia and drug chug atmosphere.

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With each successive volume of Throne of Blood’s MOON ROCK compilations, the New York label attains a deeper appreciation of electronic music’s most chakra-massaging tendencies, participating in a communal dialogue devoted to a new dynamic beyond the confines of the dance floor. Sharing a spiritual and aesthetic kinship with a burgeoning community of psychonauts and astral voyagers like Multi Culti, Emotional Response’s Scheißen series, Andras Fox’s A.R.T. Wilson project, MOON ROCK VOLUME 3 casts a wide net, folding in crystalline contributions from label veterans like Steve Moore, Ulysses, Curses, Luv*Jam, Anti Hero (aka Chris McIntyre from Jokers of the Scene), Clean Plate (aka Pink Skull), Tempelhof, and Pittsburgh Track Authority, as well as expansive contributions from friends like Stone’s Throw affiliate Chrome Canyon, LA mainstays Kisses and Anzano, testpressing.org’s Apiento & Co., CCC’s Night Plane, Peacefeast mailman Tim Love Lee, and Hivern Discs’s C.P.I. Pushing beyond the terrain so capably explored in Volumes 1 and 2, MOON ROCK VOLUME 3 begins in a familiar place with cyclical arpeggios and orchestration deeply indebted to Brian Eno. An interlude of reverb-drenched percussion and harp segues into cinematic synths and a series of selections rooted in the low slung rhythms of chillout. Fluctuations in intensity slowly give way to a darker tone as more unnerving drones and atmospheres close out this fifteen track selection. As always, MOON ROCK is music for comedowns, meditation retreats, and adventures beyond the Ultraworld. Tune in and space out...


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An idea who's time has clearly come, MOON ROCK VOLUME 1 struck a nerve upon release last spring. A collection of deeply atmospheric ambience, cosmic, and chillout techno, it was the opening salvo in a much longer-term effort by NYC-based THRONE OF BLOOD RECORDINGS to establish a platform for a diverse collection of friends and musical fellow travellers to explore composing music for folding time and exploring innerspace. Now, just months after Vol. 1 hit shelves,MOON ROCK VOLUME 2 is upon us… An evolutionary step further into the ether, Vol. 2 evokes a familiarly offkilter and contemplative vibe. But it is also more sonically diverse than Vol. 1, presenting a more expansive view of chakra-stimulating spacemusic straddling techno, strange acoustic instrumentation, and Balearic flavors. In addition to artists that have released on Throne of Blood before, like Bunker New York's Ulysses, Tel Aviv's Red Axes, producer/visual artist Pixelife, studio maestro AKA JK, and the inimitable Pittsburgh Track Authority, Moon Rock Vol. 2 features contributions from Tempelhof & Gigi Masin, Jonah Sharp (Reagenz) and DJ Spun (Rong Music) in their Loose Control Band guise, Balearic Gabba Soundsystem feat. peeDoo, Toronto's Arthur Oskan, Margot (Les Disques de la Mort), Ima Cliché boss Cosmo Vitelli (Bo'tox), and two contributions from Cologne Tape'sJens-Uwe Beyer/Popnoname. This is music for comedowns, meditation retreats, and adventures beyond the Ultraworld. Tune in and space out…

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Hardway Bros (otherwise known as Sean Johnston of A Love From Outer Space) returns to Throne of Blood with their second EP. After successfully exploring Belgian New Beat influences on last years "A/B Music"/"Shorty" release, Sean continues to explore the darker side of vintage electronic tropes with the Sleaze EP. The EP's opener "Legato" operates on the interface between electronic body music and early techno, invoking Chris & Cosey, nights at the Dorian Gray, Suicide and Belgian 24 hour Discotheques. Remixer Kasper Bjørke, riding a killer bass line, pushes things deep into late night warehouse rave territory. On the flipside, "Thoughts On Modern Living" comes over like a deranged early Murk production and is fashioned for late night basement jams. Closing out the EP is "Sleaze" a cover of a 1983 Marc (Almond) and The Mambas B-side and a collaboration featuringHorton Jupiter (They Came From The Stars I Saw Them / DJ Mystic Rock / Puwaba) on vocal duties and Mat Flint (Death In Vegas / Revolver / Deep Cut) providing guitar textures.

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After teasing us over the last two years with compilation and split EP releases on labels such as Let's Play House, Horn Wax and Throne of Blood/Black Catalogue, acclaimed visual artist and filmmaker Sean Dack drops his first solo EP as Pixelife for Throne of Blood. Deftly navigating the grey areas in between house, techno and acid, Pixelife delivers two original tracks built to move the dancefloor at strobe-saturated warehouse parties. "Waves of Titan" lulls you into a false sense of security with a steady minor chord groove before slipping into a doomsday Doppler effect siren freakout. Meanwhile Pittsburgh Track Authority return to TOB, refreaking "Waves" into a highly functional piano jam suspended between deep house and still deeper techno.. On the flipside, "DC to Daylight" moves from a push/pull groove anchored by a tense Juno bassline through an unraveling breakdown, building back up into a peak hour acid techno jam complete with snarling FM bass and laser ready swells. Fresh off his recent "Moon Temple" EP with his bandmate Vito Roccoforte, The Rapture's Gabriel Andruzzi anchors his propulsive yet soulful remix to the track's original bassline, effortlessly building "DC to Daylight" into a joyful acid house rave-up.

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Throne of Blood has been on a rampage of late. From our acclaimed ambient compilation Moon Rock Volume One the the End Scene LP from Jokers of the Scene and the debut single from The Rapture's Vito & Druzzi, we are on a musical mission and there's so much more in store. While many labels take it easy during the summer, lounging by the pool and getting a tan, we're doubling down with the soundtrack to a heavy night bathed only in strobe lights. For our latest release, the aptly named "Freaks"/"Yeah" EP we've recruited UK legend Richard Norris to lead our latest foray into the darkest and sweatiest corners of the weekend Best known for his contributions to storied projects like Beyond the Wizard's Sleeve (with Erol Alkan) and the Grid (with Dave Ball), to say nothing of his cosmic disco project, The Time and Space Machine, Norris here is sailing alias-free for the very first time. As efficient as they are simple, the aptly named "Freaks" and "Yeah" are to the point, post midnight analog jams, what Norris calls basement filth. Three superb remixes complete the EP: The Hardway Bros make their second appearance on TOB with a storming version of "Freaks," dragging the original into Belgian new beat territory. Boot & Tax's Brioski also reworks "Yeah" into a shuddering polyrhythmic chugger. Rounding out the EP is one of our all time favorites, the one-and-only Ivan Smagghe, who turns in a mind-bending 8 minute version of "Freaks" that trades much of Norris's signature filth for 60's-era organs and hair grease

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It's safe to say that without Vito & Druzzi, we wouldn't be here today. Indeed, along with the other members of the Rapture (ever heard of them?) and James Friedman, they founded Throne of Blood. Our histories go hand in hand. After releasing classic albums on labels like Sub Pop, DFA, Vertigo, and Motown- and spending more than a decade touring the World with LCD Soundystem, Soulwax, The Cure, Interpol, and Franz Ferdinand to name a few- Vito & Druzzi have spent the last few years shifting their focus towards DJing and production, building a studio in Brooklyn and churning out the jams. It's been a labor a love and we're very happy to present you with the first fruits of their collaboration. "Moon Temple" and "King of the Jungle" have a classic (but not retro) feel to them: "Moon Temple" gradually builds towards analog madness, the groove held together by relentless rim shots reminiscent of Plastikman's seminal "Spastik". "King of the Jungle" is to Chicago what "Moon Temple" is to Detroit: slightly groovier, with ample use of organ sounds that'll please fans of Mike Dunn, all while retaining the same modern analog approach. Again, rimshots are omnipresent, but what did you expect coming from the guys who inspired an entire decade of cowbell driven disco jams? Curses reworks "Moon Temple," molding the track into a "doom house" stormer that fits right in with his Call the Doctor EP: The reverbs are cavernous, the bass is low and the vibe is right. Fresh off their Achilles EP, PBR Streetgang house up "King of the Jungle", adding hats, cut up vocal bits and sirens, steering the EP right into the middle of the dancefloor. Literally and figuratively, this is 100% Throne of Blood.

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This year has been a time for Throne of Blood to stretch out a bit. Following a string of well-received singles exploring the quirkier corners of the dancefloor (DJ Chloe, Brioksi, Pleasure Planet, Bohemian Groove, PBR Streetgang) as well as Moon Rock a long-percolating exploration of modern ambient music, we're dropping a springtime megabomb aimed squarely at the big room. Luca Venezia aka Curses may be new to the Throne of Blood fam, but he's a familiar fixture in clubs around the globe and an ambassador for heavy bass thanks to the countless bangers he's released over the past decade or so on labels like Institubes, Marble, and his own Trouble & Bass imprint. Having shelved his long-running Drop the Lime project, Venezia certainly hasn't abandoned the dark menace that has become his sonic signature. Kicking things off, "Call the Doctor" focuses down to simple efficiency: digital sirens, pitched-down vocals, and tooth-rattling subs demonstrate that Curses hasn't forsaken his love for bass or the brutality his fans have come to expect. "String Static" combines big reverb and ominous atmospheres with a bounce sure to move the crowd. In keeping with the "not for the chillout room" theme, Curses asked his friend Riton (Ed Banger) to lend his inimitable touch to a remix of "Call the Doctor." Never one to err on the side of moderation or modesty, Riton takes Curses' banger to another level, upping the tempo and chopping vocals on top of frenzied crescendos. This one was definitely designed for the world's most massive dancefloors. "Pompopo" winds things down, complimenting Riton's rampage with a lengthy groover that's sure to become a secret weapon for savvy DJs.

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Bonar Bradberry and Tom Thorpe make up the boogie boat that is PBR Streetgang. One of the most interesting and evolving partnerships to form through the infamous circus of Leeds nightlife. A collaboration that has earned them respect across the musical spectrum. PBR counts fans among luminaries such as Lindstrom and Greg Wilson to Clive Henry and Pete Tong. Their unique musical approach threads Paradise Garage disco to deep groovy house and tracky beats seamlessly, never failing to connect with the crowd. Over the last five years, their DJ partnership has evolved into audience enthralling sets which flow effortlessly from Ableton live to the turntables and back again. The duo have landed a much sought after and prestigious residency at the famed WeLove…party playing on the terrace at Space, Ibiza as well as playing all over the world, from The Garden Festival to the Warehouse Project and Renate. Building on from critically acclaimed releases on labels such as 2020 Vision, Future Boogie, Hot Creations, Hypercolour and Southern Fried Records, PBR have come to Throne of Blood with three quirky and emotive house jams. The Achilles EP is an eclectic trip through deep house, moving from the piano-heavy "Achilles" to the narcotic vibe of "Name It Later" and the discoid "Trap Door." Completing the package, Bradberry and Thorpe asked the Montreal-based producer Iron Galaxy (Turbo Recordings, Audio Culture, Born Electric) to turn in a remix of "Achilles." Pairing the deep low end of the original with a whole new atmosphere and heavily psychedelic layers of synths, the Iron Galaxy remix is as invinsible as it's namesake Greek demi-god.

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Just over a year after their debut single for Throne of Blood, Canadian/Finnish trio Bohemian Groove return with two more slices of gritty, technoid funk on "A Musical Drama." Fusing the filmic sensibilities of Toronto's Jokers of the Scene with the bugged-out vibe of Berlin's Renaissance Man, Bohemian Groove have staked out a place right at the heart of the freakiest, most forward-facing dance floors. "B.G. Funk" doesn't waste time on a frivolous intro. Catapulting into dark techno territory, Bohemian Groove employ a hypnotic mix of broken organs, reverb tricks and distortion to deliver dance floor devastation. Offering a slight reprieve from the filth of "B.G. Funk," "Everybody Here," keeps to similar themes: noise, analog synths and FX mingle with a haunting vocal sample while syncopated breaks keep the focus on functionality in the mix. Remixes come from Posthuman, who soften "B.G. Funk" a little, with vintage drum machine grooves and squelchy acid lines. Talking about acid , an avalanche of 303's and 808's define Hieroglyphic Being's extended take on "Everybody Here," which will definitely appeal to the fans of the rawest, weirdest strains of underground dance music. Completing the package is a digital-only bonus remix from two good friends of the TOB family: JDH (Fixed NYC) and his long time pal Chupacabras, who revamped "B.G. Funk" in pure analog fashion, adding their own brand of moody synths, classic drum machine funk, and 303's.

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Packed with three headphone jams that work on the dancefloor, Animals marks the entry of a new creative force into the Throne of Blood family and a return to a lighter, more spaced-out vibe than much of the NYC-based imprint's output over the past year. With an eye towards pushing things forward whilst keeping a foot firmly planted in a shared past spent raving to all sorts of dance music, Throne of Blood is proud to introduce our latest signing: Pleasure Planet. While sharing space in the Throne of Blood Studio, Populette's Andrew Potter and long-time friend Brian Hersey started making music together to explore their own weird ways, fondness for left-leaning techno, and adolescent memories of genre-less dance music. The product of this collaboration is a massive collection expansive, free-form jams which have been tweaked and freaked for maximum impact. Captivated by the demos she was hearing when she dropped by their shared studio space to work on her solo material, DJ/vocalist/producer Kim Ann Foxman (ex Hercules & Love Affair/Need Want Records) jumped into the fold, lending her production and vocal skills on the title track "Animals." The song serves as an apt introduction to PP and builds upon Kim Ann's recent vocal turns for the likes of Maya Jane Coles and Snuff Crew. Compiled from a series of live takes, the Animals EP crystalized slowly over the last year. Consequently, Pleasure Planet's debut offers three distinct but complimentary visions of Andrew and Brian's utopia and serves as a precursor for a longer follow-up record already in production.

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It's not everyday that an EP comes your way after extensive roadtesting by none other than A LOVE FROM OUTERSPACE aka ANDREW WEATHERALL and SEAN JOHNSTON). But an intro email and a gentle nudge from Johnston is indeed how Milan-based BRIOSKI's new EP wound up on THRONE OF BLOOD. Coming just a few months after the SHORTY EP from Johnston's HARDWAY BROS project, Brioski is continuing a streak of releases on THRONE OF BLOOD which blurs the lines between techno, house and a wild combination of influences, including new beat, electro, balearic, post punk, disco and more. The dark, druggy vibe puts the LATE NIGHT EP alongside Throne of Blood sureshots from Split Secs, Chloe, Bohemian, and Daniel Avery (who's MOVEMENT EP got remixed by Weatherall as well…) Brioski kicks things off with "Late Night," pairing drum machine funk with a warped bassline, smokey atmospherics and some italo synths to lighten the proceedings. The vibes persist even as the tempo falls with "Hey Gringo," a slo-mo groover with heavy bass and some spacey vocal samples. "Let Me Hit" brings things back to the dancefloor, juxtaposing a robotic house loop with one of the biggest basslines we've heard in a while. Brioski's off kilter brand of funk shines, twisting the groove into a leftfield acid breakdown halfway through. "Rough Sailor" closes out the LATE NIGHT EP, pairing still more analog synths with robofunk bass throbs and a finely tuned handclap. Be it a big dark room or a cramped basement jam, jams like these ensure it will be a LATE NIGHT.

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