Our friends at Mom’s Basement Records are always bringing the heat with bad ass new releases, now more than ever! Case in point: tomorrow, Friday September 25th they’ll be throwing two new records from Jersey’s finest The Jasons and Columbus’ pop-punk three piece Mummula up on their webstore.
The Jasons’ brand new live album Live At Reggies releases tomorrow and will be available on three variants: red vinyl, clear w/ black splatter, and clear w/ white, red & yellow splatter. Mummula’s LP The Curse Of Mummula will also be available on three variants: slime green, purple, and clear w/ black marble colored vinyl. Both records will go live on the Mom’s Basement Records store at 12pm eastern time.
We’ve got an exclusive first look at all the color variants, so you can decide which ones you’re gonna grab or prepare your wallet to collect ’em all. Check those fuckers out down below!
By the way, if you’re in Europe, The Jason’s Live At Reggies will also be available from I Buy Records in Italy.
Metal band Sicksense have surprised their fans by dropping the brand new music video for “Seller’s Remorse” a full day earlier than expected. The group hosted a premiere on YouTube, giving listeners an unexpected advance look at their newest visual release.
The early drop of “Seller’s Remorse” arrives just in time to build excitement for their new EP, Funerals, which comes out tomorrow (September 26 – . By shaking up their schedule and launching the video as a surprise, the band continues to keep their audience on their toes with fresh music.
We had a chat with Essyllt, keyboardist for Italian black metal veterans Adversam, about their new album Daimon. We also talked about how the metal scene has changed since 1995, what inspires her synth work, and her advice for women looking to build a career in the industry.
Reuel
Hello Essyllt! I’m delighted to be talking with you. How are you and the rest of Adversam?
Essyllt
I’m doing great, thank you, and I’m really honoured by the attention you’ve shown us. Adversam is in top form right now , Daimon has brought a real wave of fresh energy to the band, and we’re excited to bring it to as many people as possible.
Reuel
Last March, you released your fourth studio album, Daimon, 11 years after your previous full-length record. What was it like to return to the studio with Adversam and work on a new release after all those years?
Essyllt
Honestly, we never really stopped. The band has always been working and playing live. We simply followed our own creative pace and needs, without forcing ourselves into artificial deadlines. Going into the studio for Daimon was just the natural next step in that ongoing journey.
Reuel
Brilliant! You’re one of the pioneers of the Italian black metal scene, and your debut left a huge mark both in Italy and beyond. When you have that kind of influence and stay away from releasing new material for years, you can end up with a “legendary” status, which naturally raises expectations. Did that create any pressure while you were working on Daimon? And how did you deal with it?
Essyllt
It’s really humbling to hear that our early work left such a lasting mark on the scene, and we’re proud of the history we’ve built over the years. But when it came to Daimon, we simply didn’t let external expectations get in the way. If you write music just to protect a status or cater to expectations, you lose the real spirit of black metal. We create out of a personal need, and the only standard we have to meet is our own artistic integrity.
Reuel
You’ve been with Adversam since its birth in 1995. That’s a lifetime! To be specific, almost my lifetime. A lot has changed in the music scene since then, especially with new technology and the growing popularity of metal. What’s one thing you think has gotten worse, and one thing that has gotten better?
Essyllt
It’s definitely surreal when you put it that way, but being around for three decades gives you a very clear perspective on how the scene has evolved. Staying true to our vision and remaining active across different eras is something we’re really proud of.
When you’ve lived through those changes from 1995 until now, the contrast is clear. The worst part is how fast people consume music today—streaming and modern habits have made listening much more superficial, and people rarely take the time to sit down and truly immerse themselves in a full album anymore. On the other hand, the big advantage today is global reach: you can easily connect with listeners everywhere, build relationships with other bands, and take advantage of the incredible opportunities this modern underground network creates.
Reuel
Very well said! Your keyboards add a lot of atmosphere to Adversam’s music, and in a way, they help express what lies beneath the songs. When you’re dealing with psychological and esoteric themes, how do you translate those ideas into the sounds and synth parts you create?
Essyllt
I think of my instrument as a way to give voice to what lies beneath the surface. Beyond just creating atmosphere, the keyboards act as a sounding board for the subconscious—giving expression to that deep emotional energy we all carry inside that wants to emerge. I want to tune directly into the listener’s mind, building a connection that truly stirs something within and touches them on a deeper level. Through synth harmonies, I try to bring those inner archetypes to light and let them dialogue with the visceral power of the other instruments.
Reuel
I saw a photo of you with Lord Ahriman on your Instagram, and your smile in that photo says it all! Who are some of the other metal heroes who have influenced you, personally or professionally?
Essyllt
Meeting Lord Ahriman was a true honor, and that photo definitely captured a genuine moment for me! Dark Funeral is easily one of my all-time favorite bands, and their work was a huge inspiration when I was first starting out on my musical path. Plenty of other bands guided and shaped my perspective—Samael, for instance—and those pioneers who built the foundation of black metal definitely left a lasting mark on my music. At the same time, my taste spans a wide range of musical styles, which has naturally enriched my approach over time. Most importantly, I believe my music has become a true expression of who I am, rather than a mere imitation of my influences.
Reuel
We have readers from all around the world, including women who still face barriers, and even persecution, in the music industry. What message would you like to share with those who dream of pursuing a music career?
Essyllt
It’s honestly senseless and completely unacceptable that anyone should still face barriers or persecution today just for wanting to create music. My message to them is simple: never ask for permission to take up space, and never compromise your vision just to make others comfortable. Turn every obstacle into a driving force for your music. Technical skill, determination, and authenticity will always rise above—just let the value of your work speak for itself.
Reuel
Thank you for your time, Essyllt! Is there anything else you’d like to add?
Essyllt
Thank you so much for this opportunity, for the deep attention you’ve given to me, Daimon, and Adversam, and thank you all for supporting women in music. I see this record as a true catalyst: my hope is that, through listening to it, people can open the doors to their true self and find the inner drive to follow their own Daimon.
Two pizzas, a boombox, and a demo CD-R were enough to keep Michael Mayer and Wolfgang Voigt out all night. In Mayer’s recollection, their first encounter with the music of young Regensburg producer Markus Guentner began in a Cologne park. The listening session continued as they wandered through the city, playing the same three tracks over and over. Something in those recordings had altered the evening sufficiently that neither man wanted to switch them off.
“We knew that we had found something outrageously beautiful and we wanted the whole world to listen,” Mayer recalls.
A quarter-century later, that encounter offers a useful way into In Moll. Music associated with introspection and solitude first won over two of its most consequential listeners in the open air, among streets and other people. It could change the character of a place, and the quality of the time spent there. As the album’s 25th anniversary is celebrated this September, those possibilities remain central to its appeal. Its return through Rafael Anton Irisarri’s Black Knoll Editions on November 6, 2026 also brings a substantial restoration: the complete album will finally be available on vinyl, including the previously omitted “In Moll 4.”
The photographs from around the album’s creation bring its history back to an everyday scale. There are headphones around Guentner’s neck, rows of mixer controls, a Technics T-shirt, and him as a young man sitting on a sofa with his arms folded. They place a face and familiar surroundings beside music often discussed in terms of vastness. Guentner was about twenty when In Moll appeared. Its compositional assurance can make that easy to forget.
Markus Guentner around the time of In Moll’s original release.
His Regensburg EP had appeared on Kompakt in 2000. “Regensburg 1” and “Pilot” followed on the inaugural Pop Ambient 2001 compilation, alongside music by Dettinger, Ulf Lohmann, Joachim Spieth, and others. The series gave a name and a shared home to an area of experimentation within the label’s wider electronic community. Melody could remain immediate even as the familiar structures of a song dissolved; repetition could carry an emotional charge without being organized around a dancefloor payoff.
Kompakt’s account of Pop Ambient emphasizes pop as an attitude, connected to subculture and Pop Art. That distinction helps recover the uncertainty and excitement of the early records. Producers were investigating what happened when the machinery of club music was allowed to move at another pace. A phrase might expand until its texture became as absorbing as its tune. Bass could give weight to an otherwise suspended passage. The space surrounding a sound became part of the composition.
In Moll belongs to the cultural interval those experiments opened up. In the chillout and comedown era, electronic music had acquired a life in the hours surrounding the club: the quiet room, the trip home, the morning when exhilaration gave way to more complicated feelings. Dub minimalism’s treatment of bass and empty space met a distinctly post-industrial sadness. Guentner gave that meeting an unusually intimate form, allowing warmth and unease to occupy the same stretch of music.
Wolfgang Voigt’s GAS was an obvious contemporary reference point, with its dense textures and softened rhythmic presence. Guentner developed a more private expression within related territory. In his April 2002 review for Pitchfork, Mark Richardson recognized the connection while drawing attention to the album’s industrial unease and enclosed spaces. That early response is useful now: the music’s beauty has always accommodated discomfort.
Its emotional proximity to post-punk is easy to understand. Solitude, urban stillness, and longing held under restraint have sustained entire bodies of work in that tradition. In Moll, whose title translates as “in minor,” gives those feelings an electronic form. The low frequencies suggest weight and distance; small melodic details offer something close enough to hold. Melancholy becomes a relationship between the individual and the space around them. You can imagine the deserted street as readily as the room overlooking it.
That relationship gives the ten-minute “In Moll 3” particular significance. The album’s most popular track, selected as the anniversary edition’s second single, is an especially apt introduction to its darker emotional register. Its heavy synthesizer layers and deep echo give it a substantial, almost architectural presence. Within that scale, the melodic pull remains personal. The tension between those qualities helps explain how a piece of such duration can become the record listeners return to most readily.
Ten minutes also allows a different kind of encounter with a piece of music. A feeling can occupy the foreground, recede, and become apparent again as attention shifts. For listeners drawn to coldwave’s inward concentration or dream pop’s prolonged emotional suspension, “In Moll 3” offers a natural point of entry. Its place at the centre of this anniversary campaign makes sense: it gives newcomers enough time to discover the album’s proportions, and returning listeners a reason to settle into them again.
Watch the visualizer for “In Moll 3,” with music and video by Markus Guentner, below:
Born in Regensburg, Germany, in 1981, Markus Guentner discovered electronic music at thirteen and secured his first weekly DJ residency while still a teenager. His listening extended across shoegaze, dream pop, indie rock, pop, ambient, and techno, giving him an appreciation for both the directness of a melody and the expressive possibilities of texture. Those interests informed a musical life rooted in his hometown, where he later co-founded the SUBLIME collective in 2006.
The connection to the broader post-punk family also has a concrete history. In 2005, Guentner worked with 4AD founder Ivo Watts-Russell on The Hope Blister’s Underarms and Sideways, supplying the reworkings that formed its second disc. His version of Talk Talk’s “Such a Shame,” featuring Dana Grey, had meanwhile carried his affection for pop into a club setting through Ware Records. These projects reflect a musician whose interests could move naturally between a song’s emotional clarity and the possibilities of abstraction.
Across releases for Kompakt, Ware, Warner, Sending Orbs, and Affin, Guentner has continued to move between minimal techno, beatless composition, and extended drone. Collaborations with Rafael Anton Irisarri, Julia Kent, Brock Van Wey (bvdub), Joachim Spieth, and zakè have brought other approaches into contact with his own, sustaining an exchange between musicians whose work shares an interest in depth and duration.
His association with A Strangely Isolated Place began in 2012 with Talking Clouds, released through the label’s Places Series. Theia followed in 2015, beginning the loosely connected trio of albums completed by Empire and Extropy. These records gave his bass drones and slow melodic developments a larger, cosmic setting. In 2024, Kontrapunkt brought eight collaborations together, with contributors including Arovane, Abul Mogard, Benoît Pioulard, Karen Vogt, and Hollie Kenniff.
Guentner’s work also extends into graphic design and cinema. His longstanding partnership with Joachim Spieth includes shaping Affin’s visual identity, while his music has featured in Drake Doremus’ Equals. That attention to the relationship between sound and image continues in the new visual presentation he has designed for In Moll.
For Irisarri, the influence of In Moll reaches directly into his own beginnings. He first heard the album shortly after its 2001 release, while still discovering what he wanted to express through electronic music.
“Markus showed me entirely new possibilities for what electronic music could communicate,” he recalls. His assessment of its importance to his project The Sight Below is unequivocal: “The Sight Below would not have existed without IN MOLL paving the way.”
Brock Van Wey, better known as bvdub, remembers a similarly personal recognition. In his anniversary recollection, he describes hearing an unfamiliar producer articulate feelings he was struggling with far away: “it was as if that album was made to comfort me.” Their eventual friendship brought the additional pleasure of finding kindness in a musician he had admired for years. Such accounts give the word “influence” some substance. A record helped someone feel understood; that listener went on to make music of his own.
Irisarri’s stewardship of the anniversary edition gives that history a particularly satisfying continuation. An artist whose possibilities were expanded by In Moll has now undertaken its new analogue remaster. The restoration of “In Moll 4” corrects a long-standing difference between the original formats: the piece was included on CD, while the vinyl edition left it out. Its first appearance on vinyl restores the seven-part sequence to the format, preserving the full span of the work. For an album so dependent on the relationship between duration, density, and release, completeness has an artistic value as well as an archival one.
Guentner has also designed a new visual presentation for the edition, extending his involvement beyond the recordings themselves. The album returns with the care of its maker and of a musician it helped inspire. Richardson, looking back in the accompanying press materials, calls it “one of the finest ambient releases of the 00’s.” The strongest argument for that assessment lies in how readily the record can still enter the present.
Heard in 2026, its patient pacing and emotional economy feel entirely current. Contemporary interest in slow music and environmental listening gives fresh context to choices Guentner was making twenty-five years ago. He understood how a recording could become part of a room while retaining its own complicated emotional life. In that sense, the world has gradually caught up with In Moll: more listeners have found reasons to seek the concentration and depth it has offered all along.
That brings us back to Mayer and Voigt carrying a young producer’s music through Cologne. The circumstances belong to another time; the discovery remains available. Put on In Moll, give it an hour, and notice what happens to the room.
In Moll (25th Anniversary Edition) is due November 6, 2026, through Black Knoll Editions (BKE025), with digital and black or white double-vinyl editions available to pre-order. Bandcamp currently lists December shipping estimates for the vinyl. “In Moll 4,” the first single, is available now.
Listen below and pre-order the anniversary edition here.
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