ToolBox Records

2 breakcore tunes in the vibe of Donna Summer Versus Sickboy. + 1 electro nice techno for some cool Electronica-core sounds in the Bowa/suburban trash vibe. An excellent record coming out from the US, autoproduction for a re-newing of the sound !

bernard had been buying mirex releases since the very first, somatic responses’ tlooz 7-inch, back in 2001. since that time bernard made sure to save his money so that every few months, when mirex unleashed another one of its limited-release experimental break records, he’d be sure to be the first to get one. bernard had heard of sickboy’s incredibly twisted breakcore releases on death$ucker and peace off, so he was especially excited to pick up mirex’ newest release, sickboy’s into oblivion. but after just one listen to into oblivion, there would be no point in bernard buying any more records. upon the first few sick notes of into oblivion’s first cut, 'owleybass,' bernard began to feel a burning sensation in his ears; the lumbering macabre bass line and frenetic break-splicing was scrambling his senses—more than the usual dj scud or phthalocyanine 12-inch. it starting as a mild itch in his ear canal that progressed to an intense heat that, by the time 'heart' blared through the speakers with its carefully mutated amen intensity, began twisting bernard’s sense of reality into a devilish, mutinous auger, cleaving its way into his frontal lobe first. blood trickled out of his nose and puss from his eyelids under the pressure of the raucous 'spiral formation' and 'nomadic hunters,' which sounded to bernard a little like the industrial d’n’b that panacea had pioneered nearly a decade ago, but was far beyond anything he’d ever heard from mathis mootz, venetian snares, fanny…or anyone else. into oblivion ground on, shredding bernard’s parietal lobe next; a green flow erupted from the down-turned corners of his mouth along with a delicate foam. 'metropole insomnia' sent strangely ambient, apocalyptic imagery through what remained of his aural and visual senses. by the time he reached the closing 'let’s hear it for the hardcore,' bernard’s face was covered in tears—but he wasn’t sure whether they were from the sheer joy of experiencing such brilliant breakcore music, or from the pain those pummeling metallic beats exerted on his senses. it doesn’t really matter though, mused bernard in the last thought he’d ever have, ‘cos into oblivion is the last record i’ll ever need.

Wood Records are proud to present the long-awaited third album by Belgium's breakcore artist Sickboy Milkplus. With a unique and fresh sound, this 8 track album doesn't fail to surpirise you with its efforts to combine fun and raw breaks. Some say this isn't the usual Sickboy we can expect - others say you can expect anything from Sickboy - but what he did on this album is taken all his musical influences and simply made a difference that leaves you feeling of warmth and bass. It sounds like a very personal album. Remarkably are the countless synthesised landscape feel atmospheres that overule the overall sample based work of Sickboy. If one thing stands out on the album is its wicked programmation, variation and innovation. It almost doesn't sound like laptop music anymore and yet this album truely sounds like a breakcore record that you've never heared before. The grand opening of "The Return Of The Tigermask", the killer basslines and shouts from "Heyo-Rhythm", the stompin kickchant of 'Noboby Ever Push Me Around' during "The Drifter", the void and desert-like sound of "Quicksand", the questions and hoovering basslines during "The Riddler", the vocals from Evi Hanssen and Mauro Pawlowski in this epic and final remake of "Meet Me On The Moon", The organs and unforgetable strings during "Moodswinger", and finally, the bassiest beast gets unleashed by the end and goes out like "Metropole Hysteria".