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Due to rising international pressure, Joanna Gruesome’s new album Peanut Butter will finally enter the world via Fortuna POP! (UK/Japan), Slumberland (US) and Turnstile (RoW). Rival groups will be disappointed to learn that the record is a further experiment in combining hyper-melodic pop music with sonic violence. Officials have confirmed that the album contains a record number of hooks, traces of nut and elements of jangle pop, British hardcore punk, atonal music, screaming and drone organs. Yet they have issued warnings of "a marriage of radical politics with peanut butter spread". One authorised statement reads: “Weighing in at a concise 25 minutes, the album hurtles through its ten songs, each one a succinct, powerful gem.”
Like their debut, the new album was recorded by MJ from Hookworms, with the aim of heightening the group's "pop" and "aggressive" elements to excessive and hitherto unrecorded levels.
As songwriter Owen Williams explains: “We tried to make it shorter, more economical and attempted to pack as many hooks and screams in as quickly possible in order to avoid short changing the consumer or wasting her/his/their time. Lyrically it’s more obtuse and surreal but also attempts to mock trad masculine rock themes whenever things do get more lucid. But sometimes musically we embrace them by doing embarrassing guitar solos. I'm not sure how much else I'm at liberty to say but one thing I will disclose is that the record is a response to threats posed by rival groups."
The record has also seen the group explore new and potentially dangerous lyrical territory. Opener Last Year is reportedly about experiencing personal tragedy and the occult in a waterpark and a pizza restaurant. Yet Jamie (Luvver) is a straightforward pop song about having a crush on someone named Jamie, queer literature and Welsh public transport. These tracks are followed by the incredibly catchy Honestly Do Yr Worst, a song about espionage, rival groups and the radical possibilities of peanut butter spread.
Things become surreal on There Is No Function Stacy, a song about “someone called Stacy who wrongly believes a party is happening that she’s been invited to. The narrator has to painfully explain to her that there was never a party and she fabricated it all”, while on Crayon Williams addresses his approach to lyrics directly. “Sometimes you can undermine hetero macho rock shit through nonsense words, obtuse statements, action, melody, sound or aesthetic rather than through traditional lyrics.”
Speaking confidentially, one official confirms that “The sixth track, I Don't Wanna Relax, is yet another hook-filled potential single. This is swiftly followed by Jerome (Liar), a fan favourite based on a subversive folk tale.” On Separate Bedrooms, the group cover a song by Bristol DIY act Black Terror (now performing as “CUP WINNERS' CUP”), a group known for their attention to melody. The penultimate track is the “crushing, sparkling” Psykick Espionage, a song about telepathy and the occult in rock’n’roll, and “the first time I ate an avocado”.
The record is brought to a close by Hey! I Wanna Be Your Best Friend, a heartwarming number about radical friendship and Thin Lizzy appreciation. Under media interrogation, guitarist George Nicholls confesses to the themes of the record: “It’s about radical politics, fancying people and espionage. The first record was more about violence and revenge fantasy, whereas this one is more about peanut butter."
Comprised of Alanna McArdle (vocals), Owen Williams (guitar), Max Warren (bass), George Nicholls (guitar & organ) and David Sandford (drums), the band members originally met on a wine tasting holiday. Their debut album Weird Sister took the world by storm when it was released in September 2013, and went on to win the 2014 Welsh Music Prize. Overwhelming press support saw glowing, hysterical reviews across the board with particular interest from media outlets 'Pitchfork' and 'the NME'.
On the radio their singles have scored a remarkable four out of four on the 'BBC 6 Music playlist' and the band have played sessions for both 'Lauren Laverne' on '6 Music' and for 'Huw Stephens' on 'BBC Radio One'. Since the release of Weird Sister the band have been constantly hounded, surfacing from hiding only to release split singles with Bristol’s Trust Fund and New York’s Perfect Pussy, as well as touring with Los Campesinos!, Speedy Ortiz and Stephen Malkmus.
1. Last Year
2. Jamie (Luvver)
3. Honestly Do Yr Worst
4. There Is No Function Stacy
6. I Don't Wanna Relax
7. Jerome (Liar)
8. Separate Bedrooms
9. Psykick Espionage
10. Hey! I Wanna Be Yr Best Friend
Do Yourself In
Available on amber 180 gram vinyl.
Nottingham duo the Sleaford Mods are due to release their third ‘proper’ album on July 24th via abstract-punk label Harbinger Sound on vinyl, CD and download.
The album will be housed in a gatefold sleeve designed by Steve Lippert and was mastered by Matt Colton at Alchemy. Everything else was done by Sleaford Mods.
“Key Markets” was a large supermarket bang in the centre of Grantham from the early 1970's up until around 1980,” explains Jason Williamson. “My mum would take me there and I'd always have a large coke in a plastic orange cup surrounded by varnished wood trimmings and big lamp shades with flowers on them. Beige bricks with bright yellow points of sale and large black foam letters surrounded you and this is why we called the album 'Key Markets'. It's the continuation of the day to day and how we see it, the un-incredible landscape.”
“The album was recorded in various periods between summer 2014 through to October of that year. We worked fast as we normally do, the method was the same as the other albums and like the other two, the sound has naturally moved itself along. 'Key Markets' is in places quite abstract but it still deals heavily with the disorientation of modern existence. It still touches on character assassination, the delusion of grandeur and the pointlessness of government politics. It's a classic. Fuck em.”
Sleaford Mods are: Jason Williamson – words Andrew Fearn – music
1. Live Tonight
2. No One's Bothered
3. Bronx in a Six
4. Silly Me
5. Cunt Make It Up
6. Face To Faces
8. In Quiet Streets
9. Tarantula Deadly Cargo
10. Rupert Trousers
11. Giddy on the Ciggies
12. The Blob
Tough Love Records
New Heavy Sounds
Deluxe LP package. 180g transparent white and cosmic purple haze vinyl, gatefold sleeve, printed lyric inner and free download. Strictly limited to 500 copies.
‘Terminal’ follows hot on the heels of Limb’s self-titled debut of 2014, but takes an enormous leap forward. Perhaps it’s the result of playing across the UK on tour with labelmates Black Moth, and the introduction of new drummer Tom Mowforth (ex Uncle Acid) but Limb are now more explosive than ever before. Where the debut showcased their thick, loping, and stripped-down sound, 'Terminal' cranks up the sonics, mashes the grooves, and ups the filth quotient to truly corrosive levels.
In their quest to take things to the next planet, Limb hooked up with legendary extreme metal producer Russ Russell (Napalm Death, Dimmu Borgir, Evile, etc.). A bold move, but together they’ve created a monolithic statement of intent. 'Terminal' is a down-tuned and dirty barrage of monumental riffs, in fact it sounds like worlds exploding.
Keeping all the mammoth groove that is Limb’s trademark, ‘Terminal’ ups the tempos and infuses it all with a thick, stoner vibe.
The guitars are all roiling fuzz. The bass is low, warm and weighty. The drums pound, and vocalist Rob Hoey’s roar resounds through it all, guttural but articulate. This album is guaranteed to blow your ears, speakers, and minds.
Recognising Limb’s love of both stoner dirge and glam stomp, Russ Russell has described the band’s sound as ‘GoatSlade’, and we can see why. Buried in the dirt is a cosmic boogie, which pays more than a nod to the decade of stacked platform boots without ever feeling retro.
Right from the opening double whammy of 'Three Snake Leaves' and 'Ghost Dance', you're propelled into a maelstrom that never lets up. The riffs come layered, thick, and fast, from the fuzzy throb of ‘Dawn Raiders’ to the off-kilter groove of ‘Spoils of a Portrait King’, marking the halfway point with its monstrous, doomy outro. The second half of the album contains Limb’s take on a traditional murder ballad, ‘Down by the Banks’, as well as the chaotic hardcore of ‘Mortuary Teeth’. The whole thing ends with ‘Cocytus’, the soundtrack to a voyage across the eponymous river of dead souls that encircles Hell, complete with a hypnotic riff ending.
It's an album which can easily hold it's own against Yob's, Conan's The Swords' of this world at the same time as ploughing its own singular furrow.
Thematically the album addresses the prospect of absolute destruction and the possibility of life thereafter, which is echoed in the album’s artwork, a startling retro-futuristic collage by Cur3es (responsible for the art of FuManchu’s ‘Gigantoid’). It conveys the album’s mood perfectly: the familiar juxtaposed with the unknown, a world where nothing is quite as it should be.
Watch the skies. Terminal is set to land on September 11th.
1. Three Snake Leaves
2. Ghost Dance
4. Dawn Raiders
5. Spoils Of A Portrait King
6. Down By The Banks
8. Mortuary Teeth
‘What The World Needs Now…’, released September 4th 2015, is the 10th studio album from legends Public Image Ltd (PiL).
Released on CD, double vinyl and digital download, the 11-track album follows the huge critical success of 2012's 'This is PiL', the band's first album in 17 years. In winter 2014 PiL returned to Steve Winwood's Wincraft studio in the Cotswolds' to record the new album 'What The World Needs Now…’ .
Commenting on the album, John Lydon says, "Buy now while stocks last."
What The World Needs Now…’, is self-funded by PiL and released on their own label 'PiL Official' via Cargo UK Distribution.
The artwork for the album, partly inspired by Native American Hopi characters, was designed and painted by John Lydon.
1. Double Trouble
2. Know Now
3. Bettie Page
4. C’est La Vie
5. Spice of Choice
6. The One
7. Big Blue Sky
8. Whole Life Time
9. I’m Not Satisfied
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.
1. Carrion Flowers
2. Iron Moon
3. Dragged Out
5. Grey Days
6. After the Fall
7. Crazy Love
8. Simple Death
10. Color of Blood
11. The Abyss
Containing all new studio recordings Chris Carter, Cosey Fanni Tutti (Chris & Cosey / Throbbing Gristle) and Nik Colk Void (Factory Floor) expand and explore onward from their critically acclaimed 2012 debut album ‘Transverse'.
Featuring their distinctive metallic guitar sound, distorted vocals, resounding bass lines and electro industrial rhythms this music is not for the fainthearted.
The CD and Digital editions feature six tracks.
The vinyl album has five tracks and comes with a free digital download code.
f (x) will be released worldwide by the legendary Industrial Records label (home of Throbbing Gristle since 1976) on 11th September.
The LP is available on clear vinyl and has different artwork from the CD and double 10".
Mini Album Thingy Wingy are 7 brand new & exclusive tracks recorded by Anton Newcombe in is his studio in Berlin in 2014 & 2015.
Running at over 34 minutes.,the mini album is co produced, engineered & mixed by Fabien Leseure.
This release contains four self written songs by Anton Newcombe ,a co write of the band's first Slovakian song (Prsí Prsí) with Vladimir Nosal , another co write (Pish) with Tess Parks and a cover of the 13th Floor Elevator's track "Dust" which features Alex Maas from the Black Angels on jug Originally, Anton Newcombe was heavily influenced by The Rolling Stones' psychedelic phase, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK Shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.
This album brings the traditional Brian Jonestown Massacre sound mixed with eastern influences & bringing it up to date with the benefit of all the additional weirdness that's been discovered in the past 40 years.
2. Prsi Prsi
3. Get Some
5. Leave it Alone
6. Mandrake Handshake
7. Here Comes The Waiting For The Sun