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Rocket Recordings
Goat 'Commune'
£12.99
Rocket Recordings
Goat 'Commune'
£12.99
Goat return with Commune, the eagerly awaited follow up to their astonishing debut album World Music. Commune continues on with World Music's acidic grooves, hypnotic incantations, and serpentine guitar lines but also introduces a darker, more angry edge to the band, not seen before on previous releases.
Starting with the layered percussive groove, Eastern guitar flourishes, and convoking vocals of Talk To God, it re-establishes the trance-inducing rhythms and exotic blaze of guitar that characterized their debut so well.
That spellbound pulse delves into darker and more propulsive territories on Words and Goatslaves, while Goatchild veers towards the transcendental pop of '60s Bay Area rock. The vintage psychedelic vibe permeates through songs like The Light Within and To Travel The Path Unknown'?tracks that suggest that these rural Swedes operate on the same wavelength as the Turkish psych-folkies recently rediscovered by reissue labels like Finders Keepers. Commune reaches its apex when Goat's hymnal invocations meet a heavy doze of proto-metal fuzz on Hide From The Sun and Gathering of Ancient Tribes.
Tracklisting:
1. Talk To God
2. Words
3. The Light Within
4. Travel The Path Unknown
5. Goatchild
6. Goatslaves
7. Hide From The Sun
8. Bondye
9. Gathering Of Ancient Tribes
Starting with the layered percussive groove, Eastern guitar flourishes, and convoking vocals of Talk To God, it re-establishes the trance-inducing rhythms and exotic blaze of guitar that characterized their debut so well.
That spellbound pulse delves into darker and more propulsive territories on Words and Goatslaves, while Goatchild veers towards the transcendental pop of '60s Bay Area rock. The vintage psychedelic vibe permeates through songs like The Light Within and To Travel The Path Unknown'?tracks that suggest that these rural Swedes operate on the same wavelength as the Turkish psych-folkies recently rediscovered by reissue labels like Finders Keepers. Commune reaches its apex when Goat's hymnal invocations meet a heavy doze of proto-metal fuzz on Hide From The Sun and Gathering of Ancient Tribes.
Tracklisting:
1. Talk To God
2. Words
3. The Light Within
4. Travel The Path Unknown
5. Goatchild
6. Goatslaves
7. Hide From The Sun
8. Bondye
9. Gathering Of Ancient Tribes
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Visit product page →Vinyl version of 'The Killing Jar':
3rd Pressing on Amber / Beer coloured vinyl shipping now.Black Moth are four super talented individuals, Harriet Bevan - vocals, Jim Swainston - guitar, Dave Vachon - bass, and Dom McCready, battering the crap out of his drums. Formed 2 years ago out of the ashes of Leeds garage rockers The Bacchae, the band were seduced by the brutal and hypnotic lure of the riff, to emerge translucent skinned and bleary eyed from their cocoon as the ferocious kick-ass heavy rock outfit that is Black Moth.
Taking a powerful chunk of influence from proto-punk acts such as Iggy and the Stooges, Motorhead and early Alice Cooper as well as a sliver of 90s grunge and stoner rock and a big dose of doom, Black Moth draw out the darker elements and combine them with the heaving riffs of heavy metal giants, Pentagram and Black Sabbath, with "hooks so sharp you could hang a corpse on them". They also look to more current acts such as the Melvins, Sleep and Electric Wizard for inspiration, though singer, Harriet Bevan, still maintains a vocal style that evokes the haunting psychedelia of Grace Slick and psych-Satanist, Jinx Dawson from Coven: the woman responsible for the "sign of the horns" in rock'n'roll.
They're also a big part of the burgeoning Leeds heavy rock scene alongside Pulled Apart By Horses, Kong, Hawk Eyes and Gentlemen's Pistols, it looks like it's about to break. Songs that the band have honed and crafted in the mighty maelstrom that is the Leeds heavy rock scene, have been rippin' 'em up live not only in Yorkshire but everywhere they've played.
Now all they needed was to be brought to vivid screaming life on record. Enter Mr Jim Sclavunos, the multi talented Grinderman and Bad Seed, not to mention the superbaaad connoisseur of the mixing console, fresh from producing the storming second Jim Jones Revue album. One of their shows was all it took.
Black Moth reminds me of my misspent youth he said. And judging by the all out assault that he's crafted with the Moth, he must have been a very bad boy indeed. The Killing Jar is their debut from New Heavy Sounds and it rocks like a bastard.
Tracklisting:
1. The Articulate Dead
2. Blackbirds Fall
3. Banished But Blameless
4. Spit Out Your Teeth
5. The Plague Of Our Age
6. Chicken Shit
7. Blind Faith
8. Plastic Blaze
9. Land Of The Sky
10. Honey Lung -
Visit product page →A continual seller ever since release in April 2006, demand for Burial's roundly praised debut has rocketed following a swathe of superlative appraisals and high rankings in the various year-end review sections.
With the DJ in mind, optimum sonic integrity has been maintained by removing the CD version's beatless opening and closing tracks, and the remaining 11 tunes have been re-sequenced and re-cut to allow those 4 that have until now not appeared on vinyl to be presented in newly-mastered 12-inch-standard audio across the first 2 sides ('Wounder', 'U Hurt Me', 'Spaceape' and 'Prayer').
With both the 'South London Boroughs' and 'Distant Lghts' EPs now out of print and likely to remain that way, this limited edition two-wax pack offers the only way to get your Burial fix in club-ready configuration, but it won't be around for ever as the ever-elusive producer is near to completing his next opus, at which point this changes tense from present to past. Advertising to run in Observer Music Monthly from 18/03, and still very much in stock on CD right this very minute.
Tracklisting:
1. Untitled
2. Distant Lights
3. Spaceape
4. Wounder
5. Night Bus
6. Southern Comfort
7. U Hurt Me
8. Gutted
9. Forgive
10. Broken Home
11. Prayer
12. Pirates
13. Untitled -
Sold outVisit product page →Of all the artists past and present who claim to let their music do their talking for them, Burial is one of the elite band of whom this truly is the case. In fact, so reluctant is he to engage with the cult-of-personality hoopla that surrounds almost every modern producer and musician of merit, that he remains a genuine recluse; he has never appeared live, only one obliquely-angled publicity photograph is known to exist, and the number of interviews he has given can be counted on the fingers of one hand.
Yet despite this, his music speaks loud and wide, and the world has been listening ever since his 'South London Boroughs' EP debut on Hyperdub in March 2005. His eponymous album, which began life as a low-key release in May 2006, is now widely regarded as the benchmark release of the ever-widening dubstep genre, picking up unanimous critical acclaim along the way, and ending the year heavily featured in many 'best of' polls. Now Burial returns with 'Untrue', a new record of weird soul music, which lovingly processes spectral female voices into vaporised R&B and smudged 2step garage.
Vocal lines are blurred, smeared, pitched up pitched down and pitch bent until their content is cast adrift from their original context and they whisper their saccharin sweet nothings into the void. The album continues with the debut's crackle-drenched yearning and bustling syncopations, haunted by the ghosts of rave, but also reveals some new Burial treats with a more glowing, upbeat energy.
Kicking off with the skittering 2step syncopations and vocal science of 'Archangel', 'Near Dark' and 'Ghost Hardware', before long it descends into a space of radiant divas and ambience. Where 'Burial' first was humid, suffocating and unrelentingly sad, 'Untrue' is less sunless. Many of the tracks are so sweet, they become toxic, underscored by the almost geological rumbles of growling basslines.
Unlike the overpoweringly melancholic prevailing mood of before, Burial's sound is now better defined as a downcast euphoria typified by the epic, muted optimism of the album's last track 'Raver'. Forget central heating¦ the radioactivity of this album is all that you'll need to keep you warm this winter. 'Untrue' is available as full 13 track digipack CD, including recent underground hit 'Ghost Hardware', and 9 track DJ friendly double vinyl set, from which some of the beatless pieces have been edited.
Tracklisting:
1. Untitled
2. Archangel
3. Near Dark
4. Ghost Hardware
5. Endorphin
6. Etched Headplate
7. In McDonalds
8. Untrue
9. Shell Of Light
10. Dog Shelter
11. Homeless
12. UK
13. Raver -
Sold outVisit product page →Available on limited light Blue Double Vinyl and CD.
'Her darkest, heaviest and most personal album yet . . . a haunting, doomy exercise in loud-quiet dynamics.' Rolling Stone
Sleep paralysis plagues singer/songwriter Chelsea Wolfe, and that strange intersection of the conscious and the unconscious has inadvertently manifested itself within her work.
Across the span of her first four albums, there is an underlying tension, a distorted and nebulous territory where dark shadows hover along the edges of the sublime and the graceful.
But until now, Wolfe's trials and tribulations with the boundaries between dreams and reality have only been a subconscious influence on her work. With her fifth album, Abyss, she deliberately confronts those boundaries and crafts a score to that realm she describes as the 'hazy afterlife - ¦ an inverted thunderstorm - ¦ the dark backward - ¦ the abyss of time.'
Chelsea Wolfe's material has always felt intensely private, from the almost voyeuristic bedroom-production aesthetic of her debut album The Grime and the Glow to the stark themes and atmospheres of 2013's Pain Is Beauty. 'Abyss is meant to have the feeling of when you're dreaming, and you briefly wake up, but then fall back asleep into the same dream, diving quickly into your own subconscious,' says Wolfe.
To conjure this in-between world, Wolfe continued her ongoing collaboration with multi-instrumentalist and co-writer Ben Chisholm and drummer Dylan Fujioka, with Ezra Buchla brought on board to play viola and Mike Sullivan (Russian Circles) enlisted to contribute guitar. The ensemble traveled to Dallas, TX to record with producer John Congleton (Swans, St. Vincent).
In the back of her mind burned the words of designer Yohji Yamamoto: "Perfection is ugly. Somewhere in the things humans make, I want to see scars, failure, disorder, distortion.' The resulting eleven songs reflect that philosophy as they smoulder with human frailty, intimacy, quiet passion, anxiety, and deep longing. 'Sleep and dream issues have followed me my whole life,' remarks Wolfe as she revisits notes from the writing and recording sessions. In a way, these issues have become a part of Chelsea Wolfe's identity, for whom the notion of sleep as an escape has been subverted.
Abyss captures this dichotomy, this battle between the soothing and the upsetting, and demonstrates why Chelsea Wolfe has become one of the most intriguing songwriters of the decade.
Tracklisting:
1. Carrion Flowers
2. Iron Moon
3. Dragged Out
4. Maw
5. Grey Days
6. After the Fall
7. Crazy Love
8. Simple Death
9. Survive
10. Color of Blood
11. The Abyss
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