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The Flenser
Chat Pile 'Cool World' Vinyl LP - Slightly Damaged Sleeve
£30.49 £17.99
The Flenser
Chat Pile 'Cool World' Vinyl LP - Slightly Damaged Sleeve
£30.49 £17.99
Few copies in stock with minor wear on sleeves, pictures can be sent upon request.
Direct follow up to OKC noise rock band’s 2022’s breakthrough album God’s Country. Mixed by Benjamin Green (Uniform, Portrayal of Guilt, Drab Majesty). Mastered by Matt Coloton (The Rolling Stones, Blur, Nick Cave, Sunn O)).
Like the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has stuck as strong of a chord as it has.
Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift—a portrait of an American rock band molded by a society defined by its cold and cruel power systems. Though very much on-brand with Chat Pile’s signature flavor of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting but also how they dissect the album’s core theme of violence.
Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. Besides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg (Uniform) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge.
While Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”, what the band depicts on Cool World is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality.
Tracklisting:
1. I Am Dog Now
2. Shame
3. Frownland
4. Funny Man
5. Camcorder
6. Tape
7. The New World
8. Masc
9. Milk of Human Kindness
10. No Way Out
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Visit product page →Release Date: 28/02/2025
Initial LP pressing on black and white coloured vinyl.
Nothing is ever easy for Black Spiders, never straightforward, there’s always a plethora of circumstances, bad luck and karma. Their last album, released in 2023, was titled ‘Can’t Die, Won’t Die’ and here we are at the dawn of 2025 and they’re still not fucking dead. Back with a brand-new album of high-voltage smashers, the Sheffield righteous rockers are set to release new album ‘Cvrses’ this coming February 28th on Dark Riders via Cargo Distribution.
Featuring twelve new tracks of exactly the kind of soaring rock ‘n roll action we’ve all come to expect, love and demand from Black Spiders, their intentions are the same now as they were from the very the moment they started back in 2008 – be true to yourself, no compromise.
“Stick to that formula and everything will be alright is what we hope and then with a little bit of luck life might surprise you,” says guitarist Pete Spiby. “It’s our fifth album, from the point of view of myself and Irwin. It’s our best. Our statement of intent has not changed from day one.”
Recorded once again at Axis Studios in Doncaster with producer Matt Ellis behind the wheel, ‘Cvrses’ is, and of course all bands say this, very possibly their best album yet. It successfully distils everything that is thrilling and life-affirming about Black Spiders unique brand of thumping heaviness. Massive riffs, massive hooks, massive beats. It’s all massive.
Opening song ‘Never Enough’ is as good a statement of intent as you’re ever going to get, crashing in with three cracks on the snare from drummer Wyatt Wendels, before a strutting garage rock riff pumps the album into immediate action.
“Never Enough is where the initial idea for the album title ‘Cvrses’ came from,” explains Pete. “It‘s the reality of how you can be relentless in the pursuit of something, but once you get over the crest of that hill, there’s another hill in the distance. More obstacles in life. So, everything is always just out of reach, but the positive side of that is you’re still striving, living.”And from that moment on, ‘Cvrses’ steams through a rollercoaster ride of rock emotions, from the hand-clapping ramalama of ‘Cool Reaper’, to the soaring balladry of ‘Dia De Muertos’, it’s all there, fully intact and in your face, right where proper rock should be.
And why is the album called ‘Cvrses’? Well, ‘Cvrses’ has double meanings, on one hand it’s a supernatural punishment, invoked to do harm, and it’s also a very old English swear word. Both of these meanings ring true in every sense of the word in relation to Black Spiders.
“As long as that drive is in the tank, we will keep going, because that’s what we need to do,” summarises Pete and Cvrses to anyone that tries to stop them.Black Spiders will tour the UK in April 2025.
Black Spiders are:
Adam Irwin - bass
James Evans - guitar
Nate Digby - guitar
Wyatt Wendels - drums
Pete Spiby - vocals + guitarTracklisting:
Side A
1. Never Enough
2. Cool Reaper
3. Sorry Not Sorry
4. Idol Hands
5. Tom Petty’s Lips
6. Castile De La Roja (skit)
7. Dia De MuertosSide B
1. No Superman
2. Go!
3. Up All Night
4. Curses (skit)
5. Obey
6. The Mofo Sauce
7. Rotten To The Core
Lil Death (hidden track) -
Visit product page →Few copies in stock with minor wear on sleeves, pictures can be sent upon request.
First time available on vinyl. Limited Edition of 1500 Burnt Orange Opaque wax. New artwork by Antonio Jesus Moreno.
Alex Chilton and Big Star fans will welcome this rare recording. 1993's Cliches is an all acoustic affair from Alex Chilton.
The former member of Big Star and the Box Tops channels Chet Baker’s vocal approach while visiting the great American songbook.
Originally released on New Rose Records in France and later picked up by Memphis’ Ardent Records, Clichés is Alex Chilton’s 4th solo record.Tracklisting:
Side One
1. My Baby Just Cares For Me
2. Time After Time
3. All Of You
4. Gavotte First suite for orchestra C major
5. Save Your Love For Me
6. Let's Get LostSide Two
7. Funny (But I Still Love You)
8. Frame for the Blues
9. The Christmas Song
10. There Will Never Be Another You
11. Somewhere Along The Way
12. What Was -
Visit product page →Few copies in stock with minor wear on sleeves, pictures can be sent upon request.
Pull the Rope, the new record by Ibibio Sound Machine, casts the Eno Williams and Max Grunhard–led outfit in a new light. The hope, joy, and sexiness of their music remain, but, further honing the edge of their acclaimed 2022 album Electricity, the connection they aim to foster has shifted venues from the sunny buoyancy of a sunlit festival to a sweat-soaked, all-night dance club.
Williams and Grunhard attribute this shift to a matter of collaborators, recording Pull the Rope with Sheffield-based producer Ross Orton (Arctic Monkeys, M.I.A.) over the course of two weeks. The way the pair wrote songs changed significantly rather than Eno penning lyrics to music generated by Max and company’s jamming, Orton started with Eno and Max writing together before adding the band.
With less time in the studio and a new way of considering how they built songs, the duo found making decisions about Pull the Rope’s sound quicker and more instinctual than before. “Ross is from Sheffield, which has an edgier, more industrial vibe than London,” Grunhard explains. “He hears things differently than us, is more grounded in rave and grungier sounds, and knew when to add drums or push the instrumentation more. It was very different for us, but it lends itself to where Ibibio Sound Machine is going.”
In melding their songwriting process, Grunhard and Williams have, impossibly, pulled the trick of making Ibibio Sound Machine a tighter band than ever before, building out from their core in a way that highlights the electrifying group of musicians they play with. Rather than recording with the full band in the room, Pull the Rope was sculpted, elements added and shaped by Grunhard, Williams, and Orton along the way.
As a result, Pull the Rope is a nimble, sleek machine that’s thrilling from the first note of the opening title track, Eno’s otherworldly voice and PK Ambrose’s throbbing bass driving through a kaleidoscopic array of house, post-punk, funk, Afrobeat and disco, bangers and ballads, making an argument for unity that begins on the dancefloor. “We are the places we grew up, the places we’ve been, and the people we’ve met along the way,” Williams says. “Hopping around the globe, we’ve found that people are fundamentally the same they’re people. Opposing sides push and pull, but there is an alternative to war, violence, and suffering.” Lead single “Got to Be Who U Are” literally globetrots, name checking locales across the world that would feel disparate were it not for how well-traveled they are.
Eno growing up in the musical melting pot of the Ibibio region of Nigeria and Max being a conservatory-trained musician from Australia, one could call their meeting in London and formation of Ibibio Sound Machine predestined. “Mama Say” and “Let My Yes Be Yes” touch themes of female empowerment. They’re indicative of the band’s depth as they push further into the electronic; “Mama Say” hits notes of electropop while “Let My Yes Be Yes” fuses electro to Afrobeat. Ibibio Sound Machine have always imbued their music with political consciousness, and the light that shines through in Williams’ vocals and voice has never felt more necessary.
The sound of Pull the Rope, then, is hope in darkness, bliss in spite of bleakness. Once again, Ibibio Sound Machine are here to provide the soundtrack to the best night of your life, and the better world to come.Tracklisting:
Side A
1. Pull the Rope
2. Got to Be Who U Are
3. Fire
4. Them Say
5. Political IncorrectSide B
6. Mama Say
7. Let My Yes Be Yes
8. Touch the Ceiling
9. Far Away
10. Dance in the Rain -
Visit product page →
Pull the Rope, the new record by Ibibio Sound Machine, casts the Eno Williams and Max Grunhard–led outfit in a new light. The hope, joy, and sexiness of their music remain, but, further honing the edge of their acclaimed 2022 album Electricity, the connection they aim to foster has shifted venues from the sunny buoyancy of a sunlit festival to a sweat-soaked, all-night dance club.
Williams and Grunhard attribute this shift to a matter of collaborators, recording Pull the Rope with Sheffield-based producer Ross Orton (Arctic Monkeys, M.I.A.) over the course of two weeks. The way the pair wrote songs changed significantly rather than Eno penning lyrics to music generated by Max and company’s jamming, Orton started with Eno and Max writing together before adding the band.
With less time in the studio and a new way of considering how they built songs, the duo found making decisions about Pull the Rope’s sound quicker and more instinctual than before. “Ross is from Sheffield, which has an edgier, more industrial vibe than London,” Grunhard explains. “He hears things differently than us, is more grounded in rave and grungier sounds, and knew when to add drums or push the instrumentation more. It was very different for us, but it lends itself to where Ibibio Sound Machine is going.”
In melding their songwriting process, Grunhard and Williams have, impossibly, pulled the trick of making Ibibio Sound Machine a tighter band than ever before, building out from their core in a way that highlights the electrifying group of musicians they play with. Rather than recording with the full band in the room, Pull the Rope was sculpted, elements added and shaped by Grunhard, Williams, and Orton along the way.
As a result, Pull the Rope is a nimble, sleek machine that’s thrilling from the first note of the opening title track, Eno’s otherworldly voice and PK Ambrose’s throbbing bass driving through a kaleidoscopic array of house, post-punk, funk, Afrobeat and disco, bangers and ballads, making an argument for unity that begins on the dancefloor. “We are the places we grew up, the places we’ve been, and the people we’ve met along the way,” Williams says. “Hopping around the globe, we’ve found that people are fundamentally the same they’re people. Opposing sides push and pull, but there is an alternative to war, violence, and suffering.” Lead single “Got to Be Who U Are” literally globetrots, name checking locales across the world that would feel disparate were it not for how well-traveled they are.
Eno growing up in the musical melting pot of the Ibibio region of Nigeria and Max being a conservatory-trained musician from Australia, one could call their meeting in London and formation of Ibibio Sound Machine predestined. “Mama Say” and “Let My Yes Be Yes” touch themes of female empowerment. They’re indicative of the band’s depth as they push further into the electronic; “Mama Say” hits notes of electropop while “Let My Yes Be Yes” fuses electro to Afrobeat. Ibibio Sound Machine have always imbued their music with political consciousness, and the light that shines through in Williams’ vocals and voice has never felt more necessary.
The sound of Pull the Rope, then, is hope in darkness, bliss in spite of bleakness. Once again, Ibibio Sound Machine are here to provide the soundtrack to the best night of your life, and the better world to come.Tracklisting:
Side A
1. Pull the Rope
2. Got to Be Who U Are
3. Fire
4. Them Say
5. Political IncorrectSide B
6. Mama Say
7. Let My Yes Be Yes
8. Touch the Ceiling
9. Far Away
10. Dance in the Rain
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