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viewing 1 To 8 of 8 items
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2LP
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PRESH 028LP
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$41.00
PREORDER
RELEASE DATE: 2/27/2026
Just when you thought Kevin Richard Martin's music couldn't go any slower, lower or deeper, Sub Zero emerges. A slow-motion excavation of drug-tech, dub, dreamy noise and frozen ambience, the album gradually mutates into hypnotic pulsations and melodic melancholia. It is arguably Martin's most striking release to date under his given name. Originally released digitally on Bandcamp only in the depths of winter 2022, amid the final year of the COVID-19 pandemic and Russia's initial invasion of Ukraine, this desolate epic went on to become KRM's best-selling digital album on the platform. With persistent demand for a vinyl pressing and a full DSP release from fans, Martin thought the time was right for Sub Zero to finally surface in its full glory: remastered and paired with fresh new artwork. Unnervingly, the album is as beautiful as it is solemn, as glacial as it is relentless, and as subtle as it is terrifying. A trip into a sonic abyss, with a tour of a philosophical void, it's to my ears, KRM's most seductive work yet, and also his most emotionally resonant. Martin expertly balances tear-jerking motifs with heavier than hell rhythmic weight. With its melodic fog, eternal drones and eerie atmospherics, the peripheral throb of distant kick drums, the heartbeat punctuation of cavernous subs and the snowstorm blizzard of fuzz absolutely envelopes the mind, whilst crushing the soul. In terms of lineage, Sub Zero might recall a more paranoid Porter Ricks, a dystopian GAS, or a brutally dubbed-out Pan Sonic. Most fitting, however, is its kinship with the deepest dub terrain Martin previously explored on In Blue, The Bug's acclaimed 2020 collaboration with Dis Fig for Hyperdub, where he obsessively probed subaqueous pulses and low-end modulations. Sub Zero is possibly the most minimal, desolate, and deviant dub record yet released on Martin's PRESSURE label. It marks the point at which dub disappears into its own effects trails. Dub music capturing frozen moments in time. Dub as an addictive painkiller, that sounds both sacred and ocean deep.
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2LP
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PRESH 027LP
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Double LP version. Implosion is a crushing split album, appropriately released on The Bug's own PRESSURE label. Mapping out a new form of spectral dub, the sound is deliberately immersive, introverted, and yes, definitely implosive. In pursuit of heavy lids, blurred vision, and merciless bass bin punishment, it's one part meditation, two parts low-end theory, and essentially a confession of devoted sound system addiction. As expected from a tag team featuring British soundlab explorer and "London Zoo" composer Kevin Martin, aka The Bug, and Michael Fiedler, aka Jah Schulz -- a long-time graduate of Germany's new school of sound system reggae culture -- the duo approaches their target differently yet share the goal of keeping their sound "raw" and "brutally minimal". Each track illuminates the emotional impact and atmospheric pressure being explored across this deceptively sparse album -- a mastery of tone and texture. This collection might be as reduced, minimal, and deep as The Bug has ever gone, perhaps echoing the solemnity of his recent Kevin Richard Martin Black release and invoking the futurist steppas self-pioneered on his previous Pressure album. Alternatively, Fiedler's Ghost Dubs project ventures into his most heavyweight direction yet, which is no mean feat considering his previous, the critically acclaimed album Damaged, was a monstrously massive triumph of analogue weight and enviable sound design. Implosion is ice-cool, a stark contrast to the warmth and sociability of traditional Jamaican roots and the current trends in digi-dub. Instead, the mood is soaked in tension and intense dread, finding an unexpected melting point where classic dub's stark rhythm attack, isolationist ambience's eerie drift, dub techno's floatation strategies, and even the relentless riffs of doom metal collide. The super heavyweight pulsations, emotive resonances, and bone-rattling vibrations detonated here effortlessly go far beyond the artists' influences. Shadowy and elusive, there's a mysteriousness at this record's core. A haunting moodiness oscillating between nostalgia and future shock. Implosion is a testament to being enveloped in bass, seduced by bass, submerged in bass, and utterly crushed by bass, as The Bug and Ghost Dubs seek to craft a new form of dub for zonal headz and Babylon seekers. Mastered by Stefan Betke (a.k.a. POLE) at Scape Mastering studio.
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CD
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PRESH 027CD
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Implosion is a crushing split album, appropriately released on The Bug's own PRESSURE label. Mapping out a new form of spectral dub, the sound is deliberately immersive, introverted, and yes, definitely implosive. In pursuit of heavy lids, blurred vision, and merciless bass bin punishment, it's one part meditation, two parts low-end theory, and essentially a confession of devoted sound system addiction. As expected from a tag team featuring British soundlab explorer and "London Zoo" composer Kevin Martin, aka The Bug, and Michael Fiedler, aka Jah Schulz -- a long-time graduate of Germany's new school of sound system reggae culture -- the duo approaches their target differently yet share the goal of keeping their sound "raw" and "brutally minimal". Each track illuminates the emotional impact and atmospheric pressure being explored across this deceptively sparse album -- a mastery of tone and texture. This collection might be as reduced, minimal, and deep as The Bug has ever gone, perhaps echoing the solemnity of his recent Kevin Richard Martin Black release and invoking the futurist steppas self-pioneered on his previous Pressure album. Alternatively, Fiedler's Ghost Dubs project ventures into his most heavyweight direction yet, which is no mean feat considering his previous, the critically acclaimed album Damaged, was a monstrously massive triumph of analogue weight and enviable sound design. Implosion is ice-cool, a stark contrast to the warmth and sociability of traditional Jamaican roots and the current trends in digi-dub. Instead, the mood is soaked in tension and intense dread, finding an unexpected melting point where classic dub's stark rhythm attack, isolationist ambience's eerie drift, dub techno's floatation strategies, and even the relentless riffs of doom metal collide. The super heavyweight pulsations, emotive resonances, and bone-rattling vibrations detonated here effortlessly go far beyond the artists' influences. Shadowy and elusive, there's a mysteriousness at this record's core. A haunting moodiness oscillating between nostalgia and future shock. Implosion is a testament to being enveloped in bass, seduced by bass, submerged in bass, and utterly crushed by bass, as The Bug and Ghost Dubs seek to craft a new form of dub for zonal headz and Babylon seekers. Mastered by Stefan Betke (a.k.a. POLE) at Scape Mastering studio.
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2LP
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PRESH 024LP
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Repressed! Ghost Dubs, real name Michael Fiedler, aka Jah Schulz, announces a rebirth with Damaged, his first album for PRESSURE label. Having recently dropped two criminally overlooked, experimental dub LPs, with his Dub Over Science series, the German producer/bass specialist, now stretches his own parameters of outwardness still further, with these twelve fresh explorations of dub deviance. For those who feel the fusion of dub techno and ambient drone had creatively ended with the demise of the short lived, Berlin based Chain Reaction label. Ghost Dubs now upgrades and extends that legendary blueprint's abstract methodology even further and deeper, floating away upon a wonderfully warm sea of hiss and static bliss. This is dub so atomized that it disintegrates within your eardrums. Its music, where the machines take over and virtually all traces of humanity are erased. But thankfully, the warmest soul still oozes seductively from the pores of Fiedler's robo riddims. Relentlessly hypnotic, seriously sedated, Damaged celebrates the point of departure within its mesmerizing low-end grooves. For batty shakers and headtrippers alike, there's added thrills aplenty, as Ghost Dubs' richter scale tremor rhythms remain impressively massive, and the atmospheric depths of Damaged appear tantalizingly oceanic. Throughout the duration of the dreamy selection, there is an obsessive balance of bewitching ambience and heavyweight bassbin shaking. Impressive indeed, Fiedler's mastery of live dubbing on his mixing desk shines across the duration, and gives the album an improvised edge, and sense of peripheral chaos. With a tip of the cap, and nod of the head to Pole ("Second Thoughts"), it's no surprise then that PRESSURE would then turn to the great, Berlin based producer Stefan Betke, to master/cut this collection at his infamous Scape mastering room. If you like your melodies submerged, your dub narcotic, your basslines obese, and your beats evaporating, Damaged provides the perfect prescription and entry point into Ghost Dubs' spectral soundworld. FFO: Pole, Rhythm & Sound, Mika Vainio.
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2LP
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PRESH 018LP
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Opaque red vinyl. "I dropped JK Flesh 'In Your Pit' on my new label PRESSURE three years ago, and then follow that up with the G36 vs JK Flesh sound clash Disintegration Dubs last year. Justin has consistently handed me pure audio gold, and actually gifted me some of my favorite releases from him full stop, in an incredible career of riches which he has tirelessly produced since Napalm Death til today. So again, I'm now totally psyched to drop Sewer Bait on my label PRESSURE. The sixth album from JK Flesh, this album is a slo-mo, slo-fi, sewer tech journey into utter gutter level filth. Overdriven, corroded, corrupted and absolutely blasted, it contains so many essential elements of clubland low life, but yet manages to remain beautifully original whilst pushing all levels deep into the red until it hurts in the best possible way. Anyone hooked on Andy Stott's dirtiest works, Porter Ricks deepest explorations or Techno Animal's speaker punishing grooves will find addictive nourishment within these relentlessly distorted heavyweight grooves... Not so much hard as completely f-ckin brutal, the master stroke from Justin Broadrick however, is takin his raw materials and feeding them militantly into the dub chamber. This is like a wholesale destruction of techno, 4/4 for people too wasted and strung out to give a f-ck about dancefloors, yet compelling enough and magnetic enough to completely insist upon fully body hypnotism in an undersized room with an oversized rig. The album's title track sounds like Drum & Bass don Digital or the peak of the Metalheadz label dragged down into hell for the ultimate bad rave trip, whilst 'Crawler' could be Killing Joke, jammin with Regis and his aggro allies from Birmingham techno's underappreciated discography, deep in a warehouse warzone. You don't have to dig techno to dig this dirt, you just have to enjoy having your head taken off and your body physically punished. If Jeff Mills output had been chopped, screwed and then painfully, slowly crushed, it may resemble the monolithic, psychedelic, crawl of Sewer Bait." --Kevin Martin
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12"
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PRESH 017EP
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Transparent amber vinyl. The friendship between Al Cisneros (Sleep/OM) and Kevin Martin (The Bug/King Midas Sound) begun when King Midas Sound supported OM at the Scala in London in 2012. Subsequently the duo quickly realized via passionately animated conversations, that they shared a serous addiction to reggae 7", and in particular, a mutually insatiable appetite for roots and the deepest dub versions being consistently transmitted from Jamaica... This resulted in Cisneros, then inviting Martin to specifically drop hardcore dub sessions as support to Sleep in Berlin, and on tour with OM. It was during the European Om tour in 2019, that Cisneros offered to record an ep for The Bug's fledgling Pressure label. And now "Rosin" is the fulfillment of that promise. Al's side of the single, showcases the low-end specialist extending the bassbin pounding methodologies of those incredible bline masters who first inspired him to relentlessly explore the infinitely resonant worlds of bass and space. So "Rosin Immersion" and it's subsequent dub "Dabby You", echo "Flabba Holt's classic work with the Roots Radics or Robbie Shakespeare's tremendous output for Channel One with The Revolutionaries... These devastating mixes extend the hallowed roots tradition that Cisneros worships, and gleefully opts for an even lower, slower, grind... It's another fantastic example of Al's parallel dub world, that he has been tirelessly promoting with his incredible Sinai label releases for the past few years, as he simultaneously continues to reshape metal with Sleep and zoned "out" rock with OM too. On the flipside, Martin took up Al's invitation to remix his original song, but Kevin here opts for radical mutation instead of homage. What may have begun as a single remix, ends as two militantly distinct future dubs aimed straight at the body and dome... Echoing Kevin's recent collaborations with Will Bevan aka Burial, for their collaborative Flame series, as previously released on Pressure, this pair of thundering tracks reflect The Bug at his most immersive and psychedelic. "Fathoms" and "50 hz" revel in their otherness, and the sonic sorcery of his Brussels based sound lab. The twin rhythms are undoubtedly inspired by the spirit of The Bug's production heroes Scientist, King Tubby or Adrian Sherwood, but are set adrift in a futuristic sci-fi format for ambient heads and sound system disciples alike to get fully lost in.
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12"
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PRESH 008EP
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The Bug and Burial return as Flame 2, on The Bug's Pressure imprint. Following Flame 1's Fog/Shrine 12" on Pressure (2018).
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12"
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PRESH 009EP
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Planet Mu Recording artist, Gobstopper label boss, and Boxed Club night founder Mr. Mitch provides the third Pressure release of 2019. Futurist dancehall at its most exhilaratingly demented. Random synth patterns, chaotic bleep emissions, and all-round oscillating madness ensures this furiously fresh track, flows freakily, like a bogle frenzied droid transmitting from Kingston, Jamaica, year 2049. Kevin Martin, aka The Bug, remixes "Not Modular" into two additional atomized remixes. Conclusively alien and ridiculously infectious. Blue and yellow splattered vinyl; Edition of 300.
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