Outré blasts of free, noisy fuckery by Mopcut’s crack trio of improvisors Audrey Chen, Julien Desperez, and Lukas König, flecked with guest vox by Moor Mother and dälek, plus contributions from Evicshen & Mariam Rezaei.

‘RYOK’ plays to Heat Crimes’ wildest tastes in a barbed bouquet of seven original doses of madness plus reworked versions that tap into a global rhizome of border-trampling feral junkyard art music. It’s a staunch reminder not to presume where this amazing label may go next, brandishing crooked and unhinged sounds crudely related to noise rock, free jazz, avant-art - and still not beholden to any paradigm.

On each count the trio rely on wits developed via deep, decades-long roots in European DIY / experimental / improv scenes to move as one from hacked up no-wave rock angularities fizzing with refusenik funk, to glowering industrial rap with New Jersey’s dälek and panel beaten drums that form a dented shield over Moor Mother’s poetry, unusually pitched Quasimoto-style, as you’ve never heard her before.

It sounds like Chen is going thru some heavy shit on ’Seven Eleven’, where her extended vocal tekkerz command attention in spasmodic and visceral style, straightjacketed by her spars spiky drums and oozing bass reminding to The Body, but pushing even farther into the oblique in the bestial, possessed decimation of ‘Ceasefire’, and ultimately expending all their manic energies in the bombast of ‘RYOK’, and then channeling Diamanda Galas in ‘Angelica’.

Leading avant-turntablists Mariam Rezaei & Victoria Shen prove ideal remix foils at the back, with the former tattering Mopcut’s textures to a blistering noise dervish on ‘Needle Weave’, while the latter agitates samples of voice and buckling noise motifs to a pent, thistly nastiness.