humans fancy that there's something special about the way they perceive the world the interconnectedness of the world's multiple crises is increasingly apparent. epidemiologists and conservationists have informed that outbreaks of coronavirus- like diseases are more likely in the future as a result of deforestation, global heating and mankind's treatment of nature. ''the emergence of the pandemic is not an accident. there have been repeated signals for years that we were exerting too much pressure on the natural world by our destructive lifestyles. habitat loss, intensive agriculture and the over-exploitation of wildlife are key drivers of the emergence of novel infectious diseases like covid'' sars-cov2 happened because of humans' utter disrespect of nonhuman life. with the rush to find vaccines, more and more animal lives are wasted. the vaccines in their turn will cause unwanted side-effects in years to come. social distancing and mask-wearing fear will psychologically damage generations. while our detachment to sensual nature, life and ourselves just grows. it's reached such a level of absurd. it all makes me cynical about a kinder, gentler future. we are the virus. our species has led us to a dying world. restrictions and reductions of life have never been greater. a society in fear and denial which celebrates and rewards selfishness and competition whilst mocking collaboration, compassion and sharing. at the expense of the very ecosystem we depend on for existence a collection of excuses for a decaying civilization on a dying world

Mei Zhiyong had been instrumental in arranging dp’s tour of China. When Mei Zhiyong and Dave Phillips first met in Beijing in July 2014, Mei spoke not a word of English and dp not a word of Chinese. And they we were to embark on an 18 city tour together. Verbal communication between Mei and dp was obviously difficult to say the least. It would often result in comical misunderstandings, total puzzlement or bewilderment, but it would also be a source of constant amusement with wonderful moments of instinctive trust. But then there is sound, the ultimate language… To return the favor, dp arranged a tour for Mei and himself in October 2015 through 20 European cities. Which is where the source material was recorded. dp then selected, dissected and transformed those recordings to work out something different, not just a collaboration, not just an amalgam of two styles, but something new for both. The compositions on this LP are the result. credits released April 25, 2017 All sounds by Mei Zhiyong, recorded live on tour in Europe 2015 by Dave Phillips. Composition by Dave Phillips, April 2016 – January 2017. Mastering by Riccardo Mazza. Cover by Mei Zhiyong, with photos by Mei Zhiyong and Tom Smith. Released by Urbsounds, Bratislava, in an edition of vinyl 300 copies and digital download.

IIIII continues the tradition of the unique Sclimpluch-Gruppe style found in the previous four titles; I, II, III and IIII released on various other labels. The random bursts of sounds are great but the equally random silence is the glue that brings it all together to form a brilliant listening experience. Powerfully mastered by Randy Yau. Fans of Runzelstirn & Gurgelstock will love this CD.

disappear was born of something that ceased to be, suddenly, unexpectedly, painfully. like two mirrors that reflected too strongly and burst. the shards that were left tell a story. of a trance meeting of an insect and a flower in a self-made paradise and the resulting journey that took them towards new dimensions but was brutally cut short before these could be explored. the sun disappeared. the resulting daze looked back and saw... mirrors don’t reflect what we want to see. disappear consists of 7 pieces composed alongside a presence. the story linking the pieces unfolds when the presence disappears and the 8th, last piece of the album appears, a cleansing lament disguised as an abomination. marnować means waste in polish. composed between january 2018 and november 2019, a period also known as the berlin daze. mastered by riccardo mazza. edition of 300. released by total black. dedicated to agata. Total Black 154

homo animalis collects some of dp's most accomplished work to date. composed between 2009 and 2011 (with two tracks from 2007) these pieces first appeared on limited edition cassettes in russia, poland and in the US. between 2012 and 2014 they were thoroughly reworked and conceived as an album. this album describes a phase in dp's life/work marked by incisive personal experiences formed into sound. an intensification of the compositional approach and the increased use of classical instruments are some of the more noticable sonic aspects. begun on "?", "homo animalis" takes a turn for the more sinister and satirical and contains the quintessence of this phase of life with the hindsight that “?“ couldnʼt have. a booklet text on humanimalism adds another dimension to this album. dp's humanimalism is a concept worded here for the first time. it describes a developed humanoid existence that has overcome the erroneous religious and material phases and has grown into an empathic creature that has made a clear shift towards an emotion-based existence, with social and environmental senses as primary and inherent functions.

this album is dedicated to death. i don’t mean death the spectre that installs horror and fear in many (in the western world), nor death the enemy of the (western) for-profit medical system, but death as part of a cycle, like birth. death the only certainty in life. dying, like living, as something that can be done well - or not. death also something that can be a release, a relief, a liberation, the end of suffering, a freedom. this album is inspired by my father's illness, deterioration and death, and my being his carer for the 15 last months of his life. recording this album started 6 months into that journey, from October 2020 on. it was my father's wish to die at home, and my siblings and i granted him that wish. the album was sent off to press early June 2021, when my father died. -dp

dp's new album picks up where 'rise' (2017) left off, politically charged, hyperreal and unremitting soundscapes containing harsh social and self-criticism clad in a sense of impending doom spiced with an energizing optimism and informed by faith in the humanimal. a poignant reminder of humanity's position on this planet, the tension on this album is expressed solely through sound and 'lyrics' (as opposed to the extensive liner-notes that accompanied 'rise'), impliying a necessary shift from a rationalised perception of life to one of a sentient, a part of a whole, as suggested in dp's 'humanimalism' concept. sound sources/instruments include voice, body sounds, field recordings, cello, violin, piano, electric bass, live performance recordings and dp's organically growing bank of “hitting” sounds culled from recordings of whips, punches, slaps, smacks, slamming doors & windows, hammered chairs and tables and objects flying about and breaking. a careful playfulness with rhythmical structures, as hinted at on 'rise', is further pursued. the artwork is developed by long-time dp collaborator @rcrectum using machine-learning algorithms to hallucinate insectian imagery based on original photos. artwork refinement by rudolf eb.er. mastering by riccardo mazza. but what protest? in dp's words: “what i protest against is the restriction and reduction of life. of all life! the restriction of knowledge to rationality. the reduction of beings to objects, to food, or to lives to be exploited. the restriction of humans to problems locked out at borders. the restriction of our interesting differences to categorical & simplistic identification patterns such as nationality or religion. or the daft restrictions called borders, that inevitably lead to mental and self-restriction. the reduction of people to labour or consumers. the reduction of nature to a resource that is just there to be used. the reduction of the human potential via public educational systems to conditioned automatons. the reduction of produce, or energy, or lives, to waste. the restriction of the i as a being without interest in knowledge or growth of self, as binary beings that just compute and consume or otherwise sleep, as market and media suggest. i question these standards & values, they make me feel uncomfortable. i cannot agree with these restrictions, with this waste. but i am a part of it. so a lot of my criticism comes from self-reflection. i have to deal with the mind and world i live in. and i want to as well, learning is exciting, it makes sense, and pain is a good teacher. so my sound takes on the form of, for lack of better words, a kind of expelling, a purge, a healing, a ritual, where 'negative/energy- depleting/restrictive' objects, subjects and topics are addressed in order for them to be expelled. my work might touch on topics such as animal rights, human rights and environmental awareness and sensitization, but actually it’s the interconnectivity or hyperconnectivity (some call it chaos) between all these things that interests me - for example, how these topics relate to the idea of domination or to supremacy and hierarchical thinking, or to dualism (and binary dominance) or to the economic mindset, which, in my view, is one of the main destructive forces of our day and age. profit has become more important than life. my work talks about this disrespect. my work engages itself for respect. and for engagement.”

"Ritual Protest Music" picks up where "Rise" (album from 2017) left off, politically charged, hyperreal and unremitting soundscapes containing harsh social and self-criticism clad in a sense of impending doom spiced with an energizing optimism and informed by faith in the humanimal. A poignant reminder of humanity's position on this planet, the tension on this album is expressed solely through sound and "lyrics" (as opposed to the extensive liner-notes that accompanied "Rise"), impliying a necessary shift from a rationalised perception of life to one of a sentient, a part of a whole, as suggested by DP's "humanimalism" concept. "Clearing" a 4 track mini-album was released on lathe-cut 10” in an edition of 50, continues this path, and also is possibly DP's most “song”-oriented work to date. The bonus track was composed at the same time as "Ritual Protest Music" and originally released on Moscow label Mikroton. Protest music? But what protest? In DP's words: “What I protest against is the restriction and reduction of life. Of all life! The restriction of knowledge to rationality. The reduction of perceiving to thinking. The reduction of beings to objects, to food, or to lives to be exploited. The restriction of humans to problems locked out at borders. The restriction of our interesting differences to categorical & simplistic identification patterns such as nationality or religion. or the restrictions called national borders, that inevitably lead to mental borders, mental restrictions and self-restriction. The reduction of people to labour or consumers. The reduction of nature to a resource that is just there to be used. The reduction of the human potential via public educational systems to conditioned automatons. the restriction of the i as a being without interest in knowledge or growth of self, as binary beings that just compute and consume or otherwise sleep, as the (western) market and media suggest. the reduction of produce, or energy, or lives, to waste. all this waste.... i question these standards & values, they make me feel uncomfortable. i cannot agree with these restrictions, with this waste. but i am a part of it. so a lot of my criticism comes from self-reflection. i have to deal with the mind and world i live in. and i want to as well, learning is exciting, it makes sense, and pain is a good teacher. so my sound takes on the form of, for lack of better words, a kind of expelling, a purge, a healing, a ritual, where 'negative/energydepleting/restrictive' objects, subjects and topics are addressed in order for them to be expelled. my work might touch on topics such as animal rights, human rights and environmental awareness and sensitization, but actually it’s the interconnectivity or hyperconnectivity (some call it chaos) between all these things that interests me - for example, how these topics relate to the idea of domination or to supremacy and hierarchical thinking, or to dualism (and binary dominance) or to the economic mindset, which, in my view, is one of the main destructive forces of our day and age. profit has become more important than life. My work talks about this disrespect. my work engages itself for respect. and for engagement.

compiled from recordings made between 1995 to 2011, 'collection of hair' is a sequel to 'a collection of curses ' (2006) and gathers hard to find tracks, compilation contributions, reworkings, live recordings as well as unreleased pieces by dave phillips: a mutinous punk, aktionist and activist, a member of schimpfluch-gruppe and ohne, the man behind dead peni and a mingler and mangler in and of numerous other projects. 32 tracks/150 minutes of sound, including an unreleased recording of 'abolishing religion', a unique tel aviv performance, a radio piece curated by 23five, an edit of the schimpfluch-commune berlin wild boar feeding grounds piece and lots more, "collection of hair" is all about psychoactive sonics, minutiae micro-compositional rackets juxtaposed with flourishing audio-pastures, psycho-acoustic shock treatments and an almost scientific approach to musique concrète - a wide spectrum of recordings that illustrates the convulsive and always channelling body of work from the blackened man in black.

compilation tracks, outtakes, oddities, rareties, unreleased stuff, from 2004 - 2016. most tracks remastered, some revamped. 2 hours 2 minutes playing time.

process during a period dominated by severe disturbances of loss, loss of selves, mental abysses and despair, "?" is the new gospel from Swiss experimentalist Dave Phillips, co-founder of grindcore legend Fear of God, a member of the sense perplexing Schimpfluch-Gruppe and the pulverizing force behind the Rudimentary Peni one-man-doom-drone worship act Dead Peni, among numerous other projects. "?" offers a 79 minutes album of field recordings oriented compositions that feature murky cello, piano and accordion parts, nocturnal voices, a vast array of concrete snippets and more resonances of existences that give Albert Aylers' "Music is the healing force of the universe" new depths and meanings. "?" sees Phillips observing and carefully dissecting his human psyche into ten intimate and innovative music pieces, confronting them with the bile and degradation of the omnipresent while deconstructing his own ravage with a binding urge to cleanse. And it's a fascinating insight to listen to.