£9.99Release Date: 30/11/2018Visit product page →
The first track is "Forgotten Graves" (which is exclusive to this release) & the second track is “Tombes Oubliées” with Rike (Friedrike) Bienert providing the vocals which is off the forthcoming self titled BJM album.
With Sara Neidorf on drums, Hakon Adalsteinsson on guitar & Heike Marie Rädeker on bass supporting Anton Newcombe in these sessions that were recorded between December 2017 & January 2018 at Cobra Studios in Berlin .
The band have just completed successful tours of the USA ,Canada, Australia, New Zealand & Europe. "Forgotten Graves" is released in the same month as the world commemorates the hundredth anniversary of the World War 1 (“the war to end all wars”), this war never ended any other war & more forgotten graves are being added every day.
Fuzz Club Records
£20.49Release Date: 23/11/2018Visit product page →
Available on 180-gram vinyl. On the latest Fuzz Club Session we dragged The Gluts from their native Milan to bring them aboard Soup Studio, a boat turned recording studio in East London's Trinity Buoy Wharf.
A formidable live force, the session sees them scorch their way through six tracks of relentless, grimacing noise-punk that captures the band's snarling, fuzzed-out power in all it's glory - translating just as well in the studio as it does when they're on stage.
The LP, due for release November 23rd, contains five tracks from their Fuzz Club released sophomore album, Estasi (2017), and one cut from their debut album Warsaw (2014).
2. Rag Doll
3. Colline Bianche
6. That's Me
£21.99Release Date: 08/02/2018Visit product page →
The Lemonheads’ first record in 10 years!
Covers album – Includes versions of Nick Cave, Yo La Tengo, The Bevis Frond, Eagles and more.
Banana scented scratch & sniff vinyl sleeve!
“The Lemonheads are no strangers to a cover, the grunge-pop heroes perfect the art.” NME
The Lemonheads follow up the critically acclaimed ‘Varshons’ from nearly ten years ago with another eclectic collection of covers. Produced by director Matthew Cullen and mastered by Howie Weinberg (Beastie Boys, Nirvana, The Ramones), their tenth studio album brims with the slowly-matured vocal of Evan Dando as he lures a host of personal faves to his melodic lair. He really has become one of the great expressive singers of our time. What they said about Varshons:
“Gram Parsons, Wire, and GG Allin: You'd be hard pressed to find three more disparate rock acts, yet on ‘Varshons’ they all sound like the Lemonheads - boppy, overcast alt-rock delivered at a fast clip and sung in a whiskey tenor.” Pitchfork
‘Varshons 2’ is a hokey jukebox filled with unique versions of Yo La Tengo, Nick Cave, The Bevis Frond, NRBQ, The Eagles, Paul Westerberg, The Jayhawks, Lucinda Williams and John Prine.
Like Hank Williams slumped in his car between gigs, strumming and hollering, reasoning and weeping, humming it on over, Evan and his Lemonheads make every tune their own.
Including some obscure beauties like
Florida Georgia Line’s ‘Round Here’,
Natural Child’s ‘Now And Then’,
The Eyes’ raucous ‘TAQN’ and
The GiveGoods’ gorgeous ‘Unfamiliar’ – a tune Dando penned with former Smudge man Tom Morgan.
1. Can’t Forget
2. Settled Down Like Rain
3. Old Man Blank
5. Speed of The Sound of Loneliness
7. Now and Then
9. Round Here
12. Straight to You
13. Take it Easy
Fuzz Club Records
£20.49Available on 180g vinyl and CD.Visit product page →
Italy’s Throw Down Bones are something of an enigma in the experimental underground. Since the release of their highly-praised 2015 self-titled album, they’ve picked up a notorious reputation on the European live circuit for their pulverising, constantly-mutating live shows.
In a review of the debut, album listeners were told to “make no mistake, this is dance music” and that may have been true back then but now, back with their second album titled Two, the band have taken that to a whole new extreme.
Ditching the hypnotic coldwave tendencies of their earlier work for an all-out sonic assault of industrial four-to-the-floor rhythms and screeching acid house. Two is due for release via Fuzz Club Records on October 26th and see’s the band deal in floor-shaking industrial techno-post-punk occasionally steeped in a euphoric acid-house sheen.
Where the old Throw Down Bones was better suited for intimate venues and psych fests (of which they were a frequent staple, from Liverpool to Eindhoven and everywhere in between), this new evolution sees them turn their eyes to the most underground techno clubs and the sleaziest warehouse venues.
Imagine Death In Vegas, Factory Floor and Aphex Twin jamming in a room together and you might come close but Throw Down Bones would be reluctant to point to any ‘influences’. For them, their corrosive industrial workouts are simply the product of their environment and attitudes, as opposed to who they’re listening to at any given moment.
The two key members of Throw Down Bones are Francesco Vanni and Dave Gali but on this effort, their producer James Aparicio also played an integral part in writing the album. Francesco spends his time building bespoke FX pedals and analogue synths under the name Noise Militia and James was formerly the in-house engineer at the Mute Records studio, his credits including Spiritualized, Liars, Nick Cave, Depeche Mode, Mogwai and many, many more.
With Noise Militia prototypes littered around the studio, Francesco and Dave’s knack for instrumental experimentation and James’ studio prowess, it should come as no surprise that the result is a collection of tracks that push Throw Down Bones’ electronica right to the brink. If you like your music intense, punishing and ear-drum-rattling then this is the record for you.
The first three tracks on the album ‘First Follower’, ‘We Are Drugs’ and ‘Slow Violence’ lay out the bands mission from the off, bursting through a pulsing electronic throb are unrelenting motorik basslines that twist and contort as they circles around and around and around, layers of juddering hardware electronics constantly punching through.
Then there’s ‘Golovkin’, a merciless all-out rave track that zaps you right in the cortex and the electro-throb of ‘Zero Day Exploit’ that, like a cyber-attack of the same name, is an unstoppable attack on the senses – it’s less in-your-face than the rest of the album but try and stop that programmed acid-tinged groove from tearing through your bloodstream.
It’s too late, you won’t stand a chance. If their earlier instrumental-oriented works leant into dance territory, then this is the band embracing that with open arms and wide eyes ready to soundtrack the mother of all parties, one punctuated by pure hedonism and a sense that this could very well be the last dance on this wretched rock.
1. First Follower
2. We Are Drugs
3. Slow Violence
6. Is This Us
7. Known Unknown
8. Zero Day Exploit
Tough Love Records
£20.49Release Date: 25/01/2019Visit product page →
TOY have announced details of their new album, Happy In The Hollow, which is released on Friday January 25th 2019. Their fourth album, and their first for new label Tough Lough Records, it’s unquestionably their most direct and propulsive album to date.
Recorded between their own home tape studios and mixed at Dan Carey’s Studio B in South London, the album was entirely produced and mixed by the band.
Having recently released a limited 12” featuring ‘The Willo’ and ‘Energy’, the band have today shared the latest track from the album, ‘Sequence One’.
Talking about the track, Toy say:
‘Sequence One’ is about running through a war zone of post apocalyptic proportions with your significant other. It was one of the first tracks we wrote when we started making Happy In The Hollow. We wrote it on the 5th Of April.
Happy In The Hollow is entirely uncompromising: an atmospheric capturing of a state of mind that touches on Post Punk, electronic dissonance, acid folk and Krautrock. Familiar qualities like metronomic rhythms, warping guitars, undulating synths and Tom’s gentle, reedy vocals are all in there, but so is a greater emphasis on melody, a wider scope, and a combining of the reassuring and the sinister that is as unnerving as it is captivating.'
The sound has without doubt expanded — and grown more confident — in part because this is the first album for which Toy has become a self-sufficient five-person unit doing everything for themselves.
“Each song was a blank canvas,” says Maxim. “Producers inevitably develop their own patterns over time, right down to certain drum sounds. We were starting from scratch and it felt very creative as a result. It’s an album we feel deeply connected to”.
Since 2010, Toy have earned a reputation as a band of integrity, virtuosity and taste, with Tom, Maxim, Dominic, Charlie and (joining in 2015) Max creating a sound that is embedded in the underground tradition, yet distinctly their own.
Since their inception, they have released the acclaimed albums Toy (2012), Join The Dots (2013) and Clear Shot (2016), and toured everywhere from Serbia to China.
TOY are: Tom Dougall (vocals / guitar), Dominic O’Dair (guitars), Maxim Barron (bass / vocals), Max Oscarnold (synths / modulations), Charlie Salvidge (drums / vocals).
1. Sequence One
2. Mistake A Stranger
4. Last Warmth Of The Day
5. The Willo
6. Jolt Awake
8. Strangulation Day
9. You Make Me Forget Myself
10. Charlie’s House
11. Move Through The Dark
New Heavy Sounds
£14.99Visit product page →
Release Date: 23/11/2018
Limited to 300 copies. In 2 colour Transparent Green/Mustard half and half vinyl. Included is a free CD of the album and free download.Main CD package is a 4 panel digipack with booklet.
A heavy rock concept album featuring the dark tale of future street dweller Suzie Pellet. A feisty survivor in a ruined world.Suzie is the brainchild of Ian Miller, fantasy/horror artist and novelist.
Not unlike Michael Moorcock guiding Hawkwind, Transmaniacon bring Miller's vision to sonic life, alongside the outstanding vocal deliveries of punk poetess and avant rocker Lydia Lunch (a hind-sighted Suzie) and Maya Berlin (a future 'present-day' Suzie).
Sci-fi and space rock, hard and heavy riffing guitars, overdriven Hammond Organ and synth are all in there. The twin heavyweights of Blue Oyster Cult and Mountain loom large, but this time with the added groove of an an organ-driven Frumpy or Black Mountain.
Transmaniacon have taken and expanded Miller's vision into a story in which Pellet herself, describes the dark, underworld, its characters and situations, friends and foes, all in grisly-spoken and sung diary-like, excerpts.
Lydia Lunch’s world weary rasping syllables bring a frightening authenticity and drama to the older Suzie's memories and give an almost cinematic intensity to the imagery.
The young Suzie is sung by Maya Berlin, vocalist with Cold in Berlin. Delivering equal parts Punk, Doom and Goth, Suzie gives her the opportunity to expand her vocal (and theatrical) talents in Grace Slick or Julie Driscoll or even Chelsea Wolfe directions.
Ian Miller has once again provided his macabre vision for the sleeve art. But here his style has mutated into a vivid and creepy marriage of photo montage and the inky etched characters for for which he is known.
A new vision of Suzie, perhaps a Hogarth or Durer painting for the 21st century.
Step into the nightmare world of Suzie Pellet.
1. Inca Sunshine
2. Painted On Skin
3. The River, The Birds
4. Sexton Breen
1. Dogs Of War
2. Outrun The Pack
3. Tooled Up
4. Aerosol Death Rattle
1. Inca Sunshine
2. Painted On Skin
3. The River, The Birds
4. Sexton Breen
5. Dogs Of War
6. Outrun The Pack
7. Tooled Up
8. Aerosol Death Rattlef
Höga Nord Rekords
£6.99Release Date: 27/07/2018Visit product page →
On Ultra Satans second 7” release on Höga Nord Rekords, the band is developing a new genre and concept: ”Freedom Rock”, which is also the title on one of the tracks.
”Freedom Rock” is a step beyond ”World Music” which would be the wrong label when Ultra Satan sounds too spaced out and out of this world.
On the second track ”Anti Clock”, Ultra Satan hit strikes against the hysterical Swedish mortgage market, how safety destroys creativity and also against the worthless tokens of appreciation you receive from our corrupt and ultra capitalistic society.
Ultra Satan is like a space being, living alone in an enormously big and empty space station, orbiting our planet. With mathematical precision this genius creates music that effects us earthlings on a transcendental plane and shakes the foundation we lead or lives upon.
£32.49'Ambient and Experimental Artists From Australia And New Zealand 1980 - 1995'Visit product page →
Release Date: 02/11/2018
Midday Moon is a survey of ambient and experimental music that emerged from Australia and New Zealand between 1980 and 1995. These recordings are sourced from a rich variety of micro-labels, private pressings, theatre soundtracks and artists’ personal archives.
Curated by Melbourne based DJ and archivalist, Sanpo Disco (a.k.a Rowan Mason), the collection delves deep into the world of outsider music that emerged in Australia and New Zealand in the latter half of the twentieth century, as synthesisers and early workstations began to enter the consumer marketplace.
The record is an odyssey in itself, a journey that takes listeners into the unsung world of Australian new age composers. There are stories abound within this volume, from the mysterious disappearance of Helen-Ripley Marshall after the release of her 1988 album ‘Green Chaos’, to the journey of American-born, Perth based blues/rock guitarist John Heussenstamm, who unexpectedly turned his finger to ‘ambient’ music in the late 80’s; and again from Melbourne based Ros Bandt, who made a series of recordings exploring the resonance of a hollow concrete cylinder 5 stories beneath busy Collins Street in Melbourne’s CBD. Compiled by Sanpo Disco / Mastered by Mikey Young.
“(Ambient music is) a surrounding influence that induces calm and a space to think… it can accommodate many levels of listening attention without enforcing one in particular.” - Brian Eno
“A richer and more diverse ambient genre began to form. Music that crafts a unique cultural geography of landscapes and atmospheres: real and imagined, natural and man-made. Some artists turned their attention to the singular acoustic ecologies of overlooked spaces around the country. Others fostered interests in non-Western music cultures and instruments. The common thread is their use of new technologies to conjure interior and exterior regions, through acoustic and synthesised sounds.” - Sanpo Disco
1. Not Drowning, Waving - Frogs
2. Mark Pollard - Quinque II
3. Blair Greenberg - Beach
4. John Heussenstamm - Sawan
5. Beyond the Fringe - Guitar Fantasia
6. Meera , Atkinson - White
7. Free Radicals - My Lips are Moving
8. John Elder - Again
9. Helen Ripley-Marshall - Under the Sun
10. Blair Greenberg - Rainforest
11. Sam Mallet - Westgate Bridge at Dawn
12. Gary Havrillay - Temple
13. Ros Bandt - Starzones
14. John Elder - Wayayisma Petra
15. Sam Mallet - Stream Daimons’ Speak
16. Blair Greenberg - Gleaming
17. Robert Bleeker - Glowing Trombones
18. Tom Kazas - Blankets of Ice
19. Errol H. Tout - As Darkness Falls
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