Here is something unique and extremely intriguing that will delight both the fans of Cascadian black metal (WITTR, Addaura, Velnias, Agalloch, etc) and of eastern European-styled melodic black metal (Drudkh, Negura Bunget, Walknut etc.).

Hailing from Leipzig in Germany, ANTLERS are a punk and shoegaze-influenced black metal band driven by solemn and vast riffing soundscapes, inconsolable mid-tempo rhythms, and eerie melodies and moods. Their songs unfold slowly, taking the listeners by the hand across vast plains and soaring great distances, guiding them through a desolate and charred landscape where hope and destruction eternally fight in complete solitude a final battle for survival.

Antler’s music is grim and atonal, but overtones of hope and redemption seep through their walls of furious tremolo picking and endless waves of blast beats. There is some kind of celestial and glowing energy in this music, something that makes it luminous and reassuring, even in its stark and torrential aggression. (CVLT NATION) "This is the forest primeval, an ecosystem in a state of primal balance.

There are the hunters and the hunted. Life feeds on life, and the cycle coils forever onward, subject only to the whims of the eldritch gods who carved this alien landscape as a sacred temple wholly separate from the contrivances of modern man.

ANTLERS reign supreme in this pantheon, doling out harsh justice to unwary interlopers in the form of chthonic growls that reek of aeons of rot, electric bolts of blackened riffs, and austere, stately drumming. This is a testament to the wild, dangerous, foreboding, and captivating." (W.)

Mastered by Chris Fielding of Conan.

Release date 18/08/2017

At long last a reissue on vinyl for this long lost and scarce UK Hardcore punk classic. Originally self-released in 1993 in a very small run. Original copies now command £100 upwards on the collectors market.

This reissue collects that original material alongside tracks from that same period released in Japan only. This new edition was put together by the band themselves. It features an extensive collection of unseen photographs and sleeve notes housed in a swanky gatefold sleeve. The same iconic front cover used on the original album graces this edition too.

This version is limited to 500 copies.

Tracklisting:
1. Happy Spastic
2. A Swindle
3. Wall Street Crash
4. Ronnie Was A Rebel Pt 1
5. Ronnie Was A Rebel Pt 2
6. The Alcoholic
7. Secret Men
8. Government Snares
9. Edge Of A Knife
10. Lying On Your Side
11. Making A Shilling
12. Farmyard... Drunk Again !

Release Date: 22/09/2017

“When musicians have this intensity in them, they often get to it sooner and stay put. Ms. Wolfe sounds like she’s using it by choice, not disposition; she can use different kinds of darkness as colour or tincture."
New York Times
 
“The reigning dark priestess of goth-scarred art rock.”
Rolling Stone
 
Chelsea Wolfe has announced the release of Hiss Spun, her sixth album, this morning. Following her acclaimed 2015 album Abyss, Hiss Spun is at once dynamic, heavy, and raw. This morning NPR shared the song “16 Psyche,” saying, “Wolfe has always possessed a talent for dynamic song writing, particularly concerning the theatre of the soul. But the masterful "16 Psyche" is a full-on ride, and one that finds her at her most commanding and climactic yet."

Recorded by Kurt Ballou (Converge), the album was conceived as an emotional purge, a means of coming to terms with the tumult of the outside world by exploring the complexities of one’s inner unrest. “I’m at odds with myself,” she explains. “I got tired of trying to disappear. The record became very personal in that way. I wanted to open up more, but also create my own reality.” Hiss Spun features prominent guitar contributions by Troy Van Leeuwen (Queens of the Stone Age, Failure) throughout the album, and a guest spot from Aaron Turner (Old Man Gloom, SUMAC) on the song “Vex.”
 
“What I want is to open up. I want to know what's inside me. I want everybody to open up. I'm like an imbecile with a can opener in his hand, wondering where to begin—to open up the earth. I know that underneath the mess everything is marvellous. I'm sure of it.” - Henry Miller

Digging beneath the mess of the world to find the beauty underneath is perhaps the most consistent theme in Chelsea Wolfe’s expansive discography—a theme that ties together her ceaseless explorations in unorthodox textures, haunting melodies, and mining the grandeur embedded within ugliness and pain. With her sixth official album Hiss Spun, Wolfe adopts Miller’s quest to become empowered by embracing the mess of the self, to control the tumult of the soul in hopes of reigning in the chaos of the world around us. “I wanted to write some sort of escapist music; songs that were just about being in your body, and getting free,” Wolfe says of the album before extrapolating on the broader scope of her new collection of songs. “You’re just bombarded with constant bad news, people getting fucked over and killed for shitty reasons or for no reason at all, and it seems like the world has been in tears for months, and then you remember it’s been fucked for a long time, it’s been fucked since the beginning. It’s overwhelming and I have to write about it.”

Hiss Spun was recorded by Kurt Ballou in Salem, Massachusetts at the tail end of winter 2017 against a backdrop of deathly quiet snow-blanketed streets and the hissing radiators of warm interiors. While past albums operated on the intimacy of stripped-down folk music (The Grime and the Glow, Unknown Rooms), or the throbbing pulse of supplemental electronics (Pain Is Beauty, Abyss), Wolfe’s latest offering wrings its exquisiteness out of a palette of groaning bass, pounding drums, and crunching distortion. It’s an album that inadvertently drew part of its aura from the cold white of the New England winter, though the flesh-and-bone of the material was culled from upheavals in Wolfe’s personal life, and coming to terms with years of vulnerability, anger, self-destruction, and dark family history. Aside from adding low-end heft with gratuitous slabs of fuzz bass, long-time collaborator Ben Chisholm contributed harrowing swaths of sound collages from sources surrounding the artist and her band in recent years—the rumble of street construction at a tour stop in Prague, the howl of a coyote outside Wolfe’s rural house in California, the scrape of machinery on the floor of a warehouse at a down-and-out friend’s workplace. Music is rendered out of dissonance—bomb blasts from the Enola Gay, the shriek of primates, the fluttering pages of a Walt Whitman book are manipulated and seamlessly integrated into the feral and forlorn songs of Hiss Spun.

The album opens with the sickening bang of “Spun”, where a lurching bottom-heavy riff provided by Chisholm and Troy Van Leeuwen (Queens of the Stone Age, Failure) serves as a foundation to a sultry mantra of fever-dream longing and desire. The first third of Hiss Spun—whether it’s the ominous twang and cataclysmic dynamics of “16 Psyche”, the icy keyboard lines, restless pulse and harrowing bellows of Aaron Turner (Old Man Gloom, SUMAC) on “Vex”, or the patient repetition and devastating choruses of “The Culling—all carry the weight of desperation, lost love, and withdrawal. Wolfe’s introspection and existential dread turns outwards to the crumbling world around us with “Particle Flux”, an examination of the casualties of war set against an aural sea of static. White noise is a constant thread through Hiss Spun, with Wolfe finding solace in the knowledge that radio static is the sound of the universe expanding outwards from the Big Bang—a reminder that even dissonance has ties to creation. The electronic thump of “Offering” serves as an ode to the Salton Sea and the encroaching calamities stemming from climate change. The obsession with white noise and global destruction carries over into “Static Hum”, where the merciless percussive battery of Wolfe’s former bandmate and current drummer Jess Gowrie helps deliver the dire weight of a sonnet dedicated to a “burning planet.” By the time the album closes with “Scrape”, Wolfe has come full circle and turned her examinations back inward, reflecting over her own mortality with arguably the most commanding vocal performance in her entire oeuvre.

“The album is cyclical, like me and my moods,” Wolfe says of Hiss Spun. “Cycles, obsession, spinning, centrifugal force—all with gut feelings as the centre of the self.” And it’s an album that Wolfe sees as a kind of exorcism. “I’m at odds with myself... I got tired of trying to disappear. The record became very personal in that way.
I wanted to open up more, but also create my own reality.”

Every Chelsea Wolfe album is cathartic, but never before has both the artist and her audience so desperately needed this kind of emotional purging. Sargent House is proud to release Hiss Spun to the world on September 22nd, 2017.
 
Tracklisting:
1. Spun
2. 16 Psyche
3. Vex
4. Strain
5. The Culling
6. Particle Flux
7. Twin Fawn
8. Offering
9. Static Hum
10. Welt
11. Two Spirit
12. Scrape

Release date: 28/07/2017

All records come with a digital DL and with heavy TIP ON sleeves, 850 copies on black & 150 copies on Swamp Green.

Repeater Records and Adagio830 Records are proud to announce that they are jointly releasing City Of Caterpillar’s highly sought after song “Driving Spain Up A Wall” as a 12” EP. This 11 minute epic was never properly recorded during the band’s initial existence and only a few live recordings of the song from 2002 – 2003 have existed up until now.

“Driving Spain Up A Wall” has been a long awaited missing piece of the band’s discography, but was recently recorded in their hometown of Richmond, VA and was mixed and mastered by Jack Shirley at The Atomic Garden Studio. The B-Side of the 12” also includes the track “As The Curtains Dim (little white lie)”, which was originally recorded during the same sessions as City Of Caterpillar’s self titled LP in 2002, but has never been released on vinyl.

Both songs on this 12” brilliantly capture the restrained and explosive intensity that City Of Caterpillar helped to define as a sound in the early 00’s, merging the styles of post-rock and shoegaze with punk and hardcore.

This 12” will be out this summer to coincide with City Of Caterpillar’s first European tour and more U.S. shows in the Fall of 2017. The 12” will be released in the U.S. by Repeater Records and in Europe via Adagio830 Records.

Tracklisting:
1. Driving Spain Up A Wall
2. As The Curtains Dim; (Little White Lie)

Release Date: 14/07/2017

In California by name, in California by nature. You’ll struggle to find 14 songs more drenched in lazy West Coast sunshine than Compton and Batteau’s only album (recorded in 1971 before promptly falling into the abyss of wonderful, overlooked recordings).

Fans of Gene Clark, John Phillips, Fraser & Debolt and the like will be well served here, with many of the tracks leaning towards the cowboy balladry these artists share. Completing the line-up with the likes of Randy Meisner (The Eagles, Poco) and Jim Messina (Loggins and Messina, Buffalo Springfield) ‘In California' understandably has an additional proto-yacht rock feel, evoking ‘Late For The Sky’ era Jackson Browne - though it’s the more up-tempo offerings that really showcase the duo’s ability to write a tune.

Album highlight ‘Homesick Kid’ is the perfect example of the addictive, melody-led songwriting which really should have earned them stardom, while ‘Honeysuckle’ and ‘Essa Vanessa’ bring texture in the form of immaculately orchestrated percussion and additional instrumentation (harpsichord, cowbell).

On these occasions the album veers magnificently towards the psychedelic, bringing to mind The West Coast Pop Art Experimental Band. ‘Compton And Batteau In California’ remains enthused about in quiet corners, by Amazon buyers, on sites like Vinyl History and Small Town Pleasures. It’s a forgotten piece of baroque folk caught in time; 47 years after the fact it somehow sounds timeless. Like Cat Stevens with Nick Drake’s strings.” - Dave Henderson, MOJO Magazine…..

Tracklisting:
1 Laughter Turns to Blue
2. Silk On Steel
3. Honeysuckle
4. Narration
5. Elevator
6. Narration
7. Homesick Kid
8. Proposition
9. Narration
10. Grotto Farm
11. Essa Vanessa
12. Zephyr
13. Narration
14. California

Release Date: 25/08/2017

"Guitar-flecked electro at its most hypnotic and sublime" Sunday Times

”Unfettered adrenalin rush” MOJO (4/5)

“Fun with a capital ‘F’, but there are moments of gravitas too. Not easy to do that” NME (8/10)

Light in Your Mind is the first new material from CYMBALS in 2 years, and their first album since 2014. If the wait seems long for the listener, for those involved in its creation the time in between pulls in a lifetime of unexpected experiences. That Light In Your Mind even exists is a testament to not giving in.

Since their inception, CYMBALS line up has been subject to a great deal of change. Amidst that change there has always existed the songwriting duo of Jack Cleverly and Dan Simons, who formed the band in 2011 with the sole intention of “having fun”.

A noble aspiration, but one that became increasingly hard to realize when the realities of a 9-5 existence started to corrosively rub against the expectations of being in a band that wanted to tour the world. At various points over the last 6 years and across 3 albums, a rotating cast of at least 10 other people have formed some version of CYMBALS.

More still have contributed to Light In Your Mind - Justin Goings and Josh Hefferman both provide drums, while Alabaster DePlume plays saxophone on ‘Fully Automated Luxury’. Producer Kristian Robinson (Capitol K) is a major presence across the album and played a key role in guiding the transition from the band’s sound on their previous record to this one.

The music itself possesses a sedimentary quality, a residue of each contributing member compressed into what it is that band have become. Consistent throughout has been the relationship between Cleverly and Simons. Failing relationships, betrayal, addiction, illness: the emotional challenges were huge.

Thankfully, they were not insurmountable. Second track ‘Car Crash’ addresses that period head-on, a typically effervescent synth line from Simons disguising lyrical content that traverses that fine line between blind arrogance and tortured self-loathing. Like all the best CYMBALS songs, it deals in unexpected contrasts.

Much the same can be said of the structure of the album as a whole, eclectically comprised of melodically memorable pop songs ('Car Crash', 'Talk To Me'), bucolic instrumentals ('My Body', 'Numbers') and longer, pensive songs that explore the space in between ('ASMR', 'I Thought I Knew You'). As final track ‘Lifetime Achievement Award’ concludes, a synth loop first heard on the opening track is subtly re-introduced, completing a circle of sorts.

Tracklisting:
1. Decay
2. Car Crash
3. Talk To Me
4. I Thought I Knew You
5. My Body (Winter Mix)
6. Where Nothing Can Be Defined
7. Splitting
8. Euphoric Recall
9. ASMR
10. Fully Automated Luxury
11. Lifetime Achievement Award

Release Date: 25/08/2017

Music must be free. Freedom in music is often suppressed by lack of, or by obstacles for creativity, which stops forward progression. The development that Fontän’s songs have gone through, reaching this EP is unexpected and surprising but still, the bodies and characters of the original songs are intact and recrafted with fingerspitzengefühle. From the core of Fontän’s psychedelic and dreamy music, the artists involved on this release have hit cuts and chips off like Cro-Magnon people creating specific tools.

Tools with the power to blow holes open in the listeners mind. Fontän’s music has fascinated and captured a choosy audience for over a decade now, and many are those who have, or have wanted to remix their material. This time, in the shape of an ambitious 12” EP, various artists’ love for the band’s music shines brightly: The Covenanza Remixes is released on Höga Nord Rekords and is strictly limited to 300 physical copies.

The record comes out by reason of Fontän’s gig on Andrew Weatherall’s prestigious festival “Covenanza” in September this year (2017). Fontän have had the honour to be remixed by some of the most interesting names in electronic music: Red Axes, Timothy J. Fairplay, Khidja, Mythologen and Pardon Moi give their take on tracks from the duo’s latest release Fontän (Höga Nord Rekords, 2017).

The music moves in the landscapes of Leftfield, Techno, House and New Wave. The evolution of Fontän continues from the cold and barren landscapes of the Swedish west coast, through some of the deepest cave like studios in Europe, out on to the continental club scene.

Tracklisting:
1. Sen Sen No Sen (Red Axex Remix)
2. Mangsebung (Timothy J. Fairplay Remix)
3. Gangri (Khidja Remix)
4. Bardo (Mythologen Remix)
5. Shadows (Pardon Moi Remix)

Release date: 18/07/2017

Despite almost all bands being prone to painting themselves as frontier-hurdling mavericks who provoke extreme reactions in their audience, the fact is that the vast majority of them of them wont produce little more than bland indifference or benign acceptance in whichever audience they come into contact with, Not so Housewives, the London-based outfit whose psychic charge- equal parts brittle rhythmic drive, angular contortions and monochrome minimalism - is as punishing in approach as the band are enigmatic in aspect.

‘FF061116’, which follows in the wake of their debut ‘Work’ (released on Hands in The Dark) and previous tapes and 7” releases (on Faux Discs and Blank Editions), the band shows no sign of compromise whatsoever, being as stark, harsh and stubbornly inhospitable as the strobe-haunted, feverishly kinetic live shows that have earned them a fearsome reputation beyond the rumoured West country of their origins or the urban environs of their adopted home.

Split into seven excerpts and built on powerful repetition, it’s a mind-melding travail into abstraction and abjection which draws on post-punk, jazz, drone, electronic and avant-garde tropes to create an unclassifiable assault that feels oddly timeless - innovative, invigorating and bare-boned yet tapping into a uniquely English lineage that extends back to the 1970s and forward, into the unknown.

Nonetheless, whilst some may be able to detect influences like This Heat (whose Charles Hayward approvingly described their sound as redolent of “a barely controlled anger, hypnotic and building from the simplest elements”) or Einsturzende Neubauten, Housewives are carving out their own unique place in the darker quarters of the underground, motivated by a fearsome intensity of conviction and a fearlessly experimental approach.

‘FF061116’ is the latest in a series of transmissions from a collective mindset whose manifestations are as richly rewarding as they are relentlessly intense. Wherever they go from this aural outpost, all intrepid avant adventurers would do well to buckle in for the ride.

Tracklisting:
1. Excerpt 1
2. Excerpt 2
3. Excerpt 3
4. Excerpt 4
5. Excerpt 5
6. Excerpt 6
7. Excerpt 7

Release Date: 04/08/2017

Red Vinyl - Limited to 500 copies worldwide .

First time on vinyl for the Florida based outfits debut album (originally on Risk Records) The LP features the bonus track ‘Angels Fuck’. Although Jack Off Jill may never have topped the charts or headlined Madison Square Garden, their contribution to gothic-alt rock as well as the Grrl Band Revolution isn't any less important.

Tracklisting:
Side 1:
1. American Made
2. Horrible
3. My Cat
4. Super Sadist
5. Devil with the Black Dress On
6. Girlscout
7. Swollen

Side 2:
8. Poor Impulse Control
9. Lollirot
10. Covet
11. Working with Meat
12. Cumdumpster
13. Everything's Brown
14. Angels Fuck

JAD FAIR has been one of the premiere artists of the American Indie Music scene since the late 1970’s. He has recorded with many of the best musicians and bands in the history of the world, including Half Japanese, Yo La Tengo, Daniel Johnston, R. Stevie Moore, Teenage Fanclub, Moe Tucker, The Pastels, Danielson, and KRAMER.

He's released over 50 albums. Not content with being a pretty boy rock & roll legend, Jad is also an accomplished artist, and has had 16 books of his art published in Europe, Japan and America. He and Kramer have worked together since Kramer produced two seminal LP’s from Half Japanese in the 1980’s; MUSIC TO STRIP BY, and THE BAND WHO WOULD BE KING. They first collaborated as a duo in 1988 when they released ROLL OUT THE BARREL, and then again ten years later with THE SOUND OF MUSIC. KRAMER is a world unto himself.

After paying his dues for 5 years with Eugene Chadbourne in both The Cadbourne’s and Shockabilly, Kramer joined the BUTTHOLE SURFERS in 1985 but only remained with the band through their first European tour before departing and establishing NOISE NEW YORK, his own 16-track recording studio in NYC. It was there that he founded his notorious SHIMMY-DISC record label, producing and releasing music by artists as diverse as DANIEL JOHNSTON, KING MISSILE, GWAR, GALAXIE 500, PUSSY GALORE, and his own bands, B.A.L.L. and BONGWATER.

He then moved to a state-of-the-art 24track recording studio, Noise New Jersey, where he produced some of the greatest recordings by WILL OLDHAM, URGE OVERKILL (“Girl, You’ll Be A Woman Soon” - for the Pulp Fiction Soundtrack), DANIELSON, and the first two LP’s by LOW.

THE HISTORY OF CRYING is JAD FAIR & KRAMER’s third collaboration, and their first in almost 20 years; 12 brand new songs produced by Kramer at his Florida studio, Noise Miami. Longtime fans of Jad Fair will be stunned by how he SINGS on this LP.

No other LP in Jad’s storied career features him singing complex melodies in the manner he does here. From a life in music spanning over 40 years, It is unlike anything he has ever done before, and it is a wondrous thing to behold. Jad SINGS!

This LP also features guitar solos by PAUL LEARY (BUTTHOLE SURFERS), whose contributions to this LP cannot be overestimated. BS fans will go hog wild.

Tracklisting:
1. Red Red Sun
2. I Wanna Make A Movie
3. The History Of Crying
4. I Won’t Eat Til You Come Back To Me
5. I’ll Give You The Moon
6. Pickpockets Of Love
7. Do You Really Need A Map To My Heart
8. Do You Really Need A Map To My Heart
9. All I Need Is A Kiss
10. Analog Warmth
11. You Cripple Me
12. Tearjerker

Release Date: 25/08/2017

The Water We Drink' is the debut album from Khalil, a close confidante of Posh Isolation, and naturally a project close to the heart. With an iridescent shower of auto-tuned vocals and encrypted synthetic forms, Khalil presents a luminous route into a future of cadences pitched to a crushing intensity.

As the new project of Nikolaj Vonsild, best known for his pop endeavours in the synth quartet When Saints Go Machine, as well as his acoustic duo Cancer, Khalil is his strongest vision to date. The collaborative platform for Vonsild's searing angelic/alien vocals is produced with Simon Formann, better know as Yen Towers and formerly of Lower (RIP), along with Villas Klint.

With water we feel differently. Indifferently of course, it approaches our sense of touch quite unlike any other matter or form. It slips and caresses, appealing to a sensuality so intuitive it barely registers beyond its immediacy. It's an urgency that always arrives. The ocean tells us so on the shore; a perennial pleasure, a forgivable obsession. That the coast, its container, the edge of where we safely stand and where water waits, is a form just as much as it is a dissolving place, then considering a design such as that of an Evian natural spring water bottle amounts to staring at the stars.

Thematically, Khalil draws constellations and cites emotive signals with this kind of deep union between form and touch. Finding perhaps a place undiscovered.Across the album the impulses of the romantic lyricism are diverted through artificial mechanisms and unnatural vocal terrains.

Set against a melodic chorus of fractured pop, there is a certain sense in which the aching wane of Khalil feels like an ensemble of identities grasping for a form as water may grasp for land.If there's reason to feel that bottled water is a portable piece of something greater than ourselves, then Khalil distributes high definition pop tropes with the same logic. The radio is an ocean, and Khalil's longing a hydrating force.

Tracklisting:
1. Trapper
2. Rest My Head Against A Wall Of Water
3. Gigds
4. Submit So Deep
5. Estate Straight Line
6. Herat
7. Always Wanted To Ride In A Place Like This
8. Natures Envy
9. Sculpture No Solid
10. The White Hoodie I Wear Because I Love You

Release Date: 11/08/2017

Collection of unreleased songs and instrumentals, Black Vinyl Edition + secret 4th side, limited to 1000 copies worldwide!

"Part beat tapes, part odd-and-ends compilations, all dope, these collections covered all the ingredients in Ugly’s supersonic cauldron, from noise-based experimentation to flat-out brilliant feats of lyricism (recorded through computer microphone) to found cassette samples, from cocaine-cowboy-era funk-driven fruity loops beats to one-man black metal band practice. (...) It’s a joyous wonder that more rappers haven’t yet lifted beats from these tapes for their own purposes" Samuel Diamond, Tiny Mix Tapes.

Tracklisting:
Side A:
1. Nasty Awful Rappers
2. Hello
3. Steelspittin (Mp3codec Errorincluded)
4. Bath Time
5. Cap Peel
6. Forever I B Stangin (*polo Right First Version)
7. Can Sex Me (Tru Freek Bmore Edition)
8. Iron Door
9. Syko 4 Dat Ass

Side B:
1. Radio
2. Downwiththisclick
3. Radiation (Second Version)
4. ___________
5. Bed Time
6. Jesus Piece
7. Ethics
8. Found Tape
9. Hennesy And Seagrams Gin
10. Smokeclears Ft Ilwad Awale
11. Brion Gysin With A Cool Hat On
12. Deer Gas
13. Vudmurk

Side C:
1. Cut
2. Down
3. Citynitesfoxblues
4. Spagetti Strap Gun Holster
5. Maniaaac
6. Rip
7. Dream
8. Longrange
9. Old Person Controller
10. Slack In My Mack (First Version)

Side D: Secret Side

 

 

Release Date: 04/08/2017

Fresh from the twisted machinations and fertile imagination of Cumbrian-born, London- dwelling artist and seer Natalie Sharp, ‘Trifle’ is a gallery of grotesquery not recommended for either the nervous of disposition or lactose intolerant.

Arriving from a nocturnal world of sex and skullduggery, urban alienation and costumed ritual, these irreverent and outlandish ditties exist on a unique psychic realm in which profane and profound happily step out together on the lash.

Whether chronicling the drama and drudgery of the night bus, inhabiting a magical fantasy landscape or delving deep and dark into her own psyche for inspiration, Sharp’s tales and travelogues arrive at a unique environ equally rich in the caustic and the cosmic.

Lurking somewhere between the eldritch diva manifestations of Diamanda Galas and the wry reflections of Victoria Wood, yet equally driven by a magpie spirit and conceptual chutzpah redolent of Leigh Bowery and an acidic wit damaged by John Cooper Clarke, Natalie Sharp’s brainchild here engineers a collision between the high-maintenance and the kitchen sink that’s a feverish spectacle to behold.

Along with her co-conspirators Philip Winter (Wrangler/Tuung) and Will Kwerk, Sharp decamped to the splendid isolation of the otherworldly Bodmin Moor studio of Benge (John Foxx & The Maths/Wrangler) to sculpt these serenades, surrounded by vintage analogue equipment and sci-fi paperbacks.

There, a unique and deliriously disconcerting confection took shape, equally informed by post-punk angularities and electronic experimentation - as on the opening clarion call ‘Home’ or the salacious ‘Knicker Elastic’ - not to mention torch song visions and choral reverie, as on the ethereal ‘Dribble Wizard’ and the poignant closing lament ‘Nowhere’, yet with dramatic panache, abundant absurdity and emotional impact to offer at every turn.

Tracklisting:
1. Home
2. Knicker Elastic
3. Bijoux Boy
4. When The Water's Cold
5. Nowhere
6. Dribble Wizard
7. Mr Coral
8. Shame
9. Cornflakes
10. Hammered In Homebase