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Wreckless Eric is a hero to all those of us who love a good kitchen sink drama set to music. He takes the strangeness in the everyday and sets it to song. Like Ray Davies, Kevin Ayers and Ian Dury, he is a truly great British songwriter' - Phil Alexander MOJOVisit product page →
'A sound that Joe Meek would have killed for' - Q
Following on from a Fire Records reissue campaign which casts new light on a decades-long career, Wreckless Eric releases his first solo album in over a decade. It's about Eric, it's about America - a country he has toured since the late 70's, and where he has lived since 2011.
Eric recorded the album in his ramshackle house in upstate New York: amplifiers in the kitchen, in the hallway, bass amp in the guest bedroom, microphones up the staircase, speaker cabinets in doorways, frenetic bursts of guitar feedback exploding out of the kitchen... A way of life transported from England to France, to England, back again to France, and finally to America.
Eric played electric guitars and bass throughout, strummed a scratchy 3/4 size Framus Teenager acoustic (bought from an old blues singer down in Georgia) against simplistic drum loops of his own creation. Here and there he called on friends and neighbours - Brian Dewan - Wurlitzer organ and other dodgy keyboards, bringing in cheap but magnificent synthetic choirs. Jane Scarpantoni - cello, Alexander Turnquist - e-bow guitar.
Eric's wife Amy Rigby assisted on piano, banjo and vocal harmonies. Eric treated and manipulated the sounds the American musicians made as they were being recorded. And so through random scrawls of guitars and loops and drones, meditations emerged on desperation (Property Shows), regret (Days Of My Life); fast food (Sysco Trucks), self-advancement (Up The Fuselage), pop fame lost and resurrected (Boy Band), firearms and civil liberties (White Bread): white bread built this land of milk and money - ¦ Other songs are autobiographical and personal - Several Shades Of Green, Transitory Thing: I carried a case full of dirty clothes halfway around the world, when luggage was smaller and the chances were plenty I drank beer and sang songs for girls.
The album ends with Have A Great Day, an immigrant's open-eyed appreciation of his new home. 'I've been touring the U.S. since 1978 so moving here wasn't a complete culture shock. I've driven from Rhode Island to San Francisco, Minnesota to the Gulf Of Mexico. I keep rolling along and sometimes the sunrises and sunsets are glorious and I get to thinking about things like where have I been, and how the hell did I wind up here? I've been through some tough shit at various times in my life. I survived. I'm lucky, I have a great life.' With 38 years touring behind him Eric is in great shape for a European tour to coincide including a headline show in London's St John's at Hackney Church 3rd Dec.
Tracklisting:
1. Several Shades of Green
2. Sysco Trucks
3. White Bread
4. Transitory Thing
5. Days of My Life
6. Boy Band
7. Property Shows
8. Up the Fuselage
9. Space Age
10. Life Eternal
11. Have a Great Day -
Herva is the artist name of Hervè Atsè Corti. He lives in relative seclusion from the dance music world in the Italian countryside around Florence and is one of the most intriguing producers to work in house and techno for a while. His early musical life as a drummer, plus his extra-musical interests in engineering and electronics has informed a unique, freeform, and very tactile approach to dance music. It's house and techno that doesn't adhere to the usual influences of Detroit, Chicago or Berlin.Visit product page →
The album he's made called Kila'(the Swahili word for 'everything') was put together using software and hardware that he often modifies, with a mixture of beats and samples punched in like old-school hip hop and synths and effects that give his tracks the feeling of dance music that's been teased apart, smudged and smeared.
The music is relaxed and warm but simultaneously abstract and punctuated with ragged detail and gritty disruption. He's been in demand as a producer for a while now and has recently remixed Berghain resident Nick Höppner's latest release. "You hear my music, you get to see how my brain works" he says.
The album moves across tempos, from the floaty upbeat disco of All Good On Your Side'to the full throttle electro of 'Seat Behind Mirrors'which gently gives away to a looping Burundi vocal. Then down to the old-school hip hop and wonky ooze of Mistakes Dealer'. The track Fading Above Smoke', is held in place by a repeating drum pattern while synths and samples scrape and wrap themselves around the rhythm. Dust Cover'approaches the sound of early Pole, as if it had been described to him but never heard, sending digital grit and glitches across a low-slung bassline and opaque dubbed-out chords. The album finishes on the overloaded climax of Fog', which runs awkwardly edited samples over a loose drum tattoo, with enough restraint to keep the track flowing.
Vinyl 2xLP:
Side A
1. All Good On Your Side
2. Trying To Fix Invisible Textures
3. Seat Behind Mirrors
Side B
1. Kila
2. Video Volume
Side C
1. Mistakes Dealer (Solid State)
2. Disk Atk
3. Fading Above Smoke
Side D
1. Dust Cover
2. Fog
CD:
1. All Good On Your Side
2. Trying To Fix Invisible Textures
3. Seat Behind Mirrors
4. Kila
5. Video Volume
6. Mistakes Dealer (Solid State)
7. Disk Atk
8. Fading Above Smoke
9. Dust Cover
10. Fog -
Ata Kak's cassette Obaa Sima fell on deaf ears when it was self-released in Ghana and Canada in 1994.Visit product page →
The music on the recording - an amalgam of highlife, Twi-language rap, funk and disco - is presented with the passion of a Prince record and the DIY-bedroom-recording lo-fi charm of early Chicago house music.
The astute self-taught song craft and visionary blend of sounds and rhythms has made the album a left-field cult favorite among adventurous listeners worldwide.
Awesome Tapes From Africa founder Brian Shimkovitz found the tape in 2002 in Cape Coast, Ghana - one of only a few ever pressed - and later made it the inaugural post on the Awesome Tapes From Africa blog.
Hundreds of thousands of downloads, YouTube views, music video tributes and remixes, as well as years of mystery regarding Ata Kak's whereabouts, culminate in this remastered release featuring rare photos and the full back story of one of the internet age's most enigmatic musicians.
Tracklisting:
1. Obaa Sima
2. Moma Yendodo
3. Adagya
4. Medofo
5. Daa Nyinaa
6. Yemmpa Aba
7. Bome Nnwom -
After last year's well received album 'The Phoenix', King Britt returns under his Fhloston Paradigm moniker for the first in a series of 'Cosmosis' EPs. 'Cosmosis Vol 1' is three spacey perfumed hardware workouts of the kind that Fhloston Paradigm built his name on.Visit product page →
The EP starts with 'Sonic Six', matching bumping drum machine rhythms with gurgling bleeps, and mournful strings building the emotion through the noise.
The second track is the slowly evolving ambience of Faith', which builds up into radiant, shimmering clouds of sound before a bass line drops midway, grounding the track melodically and switching the emotion from ecstatic to bittersweet.
The EP closes with Past', where broken sounds are dragged over a warping piano line, and a flickering static melody engulfs the track as the noise dies out. Cosmosis Vol 2'will follow early in 2016 - ¦
Tracklisting:
Side A:
1. Sonic Six
Side B:
1. Faith
2. Past -
Heavyweight White Vinyl LP.Visit product page →
Daylight Versions is the debut full-length album from London quintet The Leaf Library. The record is full of wonderfully woozy, drone-pop tunes about meteorology, the seasons and the incoming sea; from songs about the ghostly Suffolk coastline to the slowly rising waters of London marshes, these ten tracks channel the warm fuzz of Yo La Tengo, the spacious repetition of Talk Talk and Movietone's seaside melancholy to beautiful effect.
Musically, the album is a shift away from the Stereolab and Electrelane influenced buzz and drone of the band's previous singles. Aside from the propulsivenss of opening track 'Asleep Between Stations', the album has a more contemplative, nocturnal feel, with songs that gradually unfurl, with more horns, strings and pianos brought into the mix. This coupled with waves of synths and drones give the album a drifting, tidal feel throughout. In order to capture an expansive feel, and to make the most of music connections, The Leaf Library brought in a whole load of friends and collaborators.
The record features a plethora of guest talent including Steven James Adams, Rob Smoughton from Hot Chip, Alison Cotton and Mark Nicholas from The Left Outsides, Daniel Fordham and David Stewart from The Drink, as well as Alasdair Maclean from The Clientele and Amor de Dias.
Lyrically Daylight Versions moves away from cities and buildings of their early work and towards the outdoors, the coast, the weather and the sea, with recurring themes of water and flooding ('Acre', 'Sailing Day', 'Pushing/Swmming'), as well as the seasons ('Tilting', 'Slow Spring', 'Summer Moon').
The Leaf Library started out in Reading after Matt's previous band (John Peel favourites) Saloon split in 2004. He started writing and recording with vocalist Kate Gibson and after moving to London, they were joined by bassist Gareth Jones (from Wintergreen) and guitarist Ben Smith, Matt's housemate at the time. After a couple of temporary drummers, Lewis Young settled in for good, bringing with him an eclectic collection of synths and gadgets.
The Leaf Library have produced an album full of uneasy beauty. Graceful yet grandiose, Daylight Versions captures the feeling of living amongst England's eccentric weather, of being on a small island floating in the North Sea, as it slowly disappears beneath the waves.
Tracklisting:
1. Asleep Between Stations
2. Tilting
3. Slow Spring
4. Acre
5. Sailing Day
6. Rings of Saturn
7. Pushing/Swimming
8. Summer Moon
9. April
10. Evening Gathers -
Digipak CD / LP 140gm black vinyl.Visit product page →
Fortuna POP! are delighted to welcome London-based noise pop quartet Chorusgirl into the fold, with their ST debut album. The brainchild of German songwriter, singer and rhythm guitarist Silvi Wersing, Chorusgirl blend the shimmering dreaminess of 4AD bands like Lush, the noir pop of The Cure and the bittersweet electricity of The Breeders across 10 songs that sparkle with melody and pop nous but are stealthily subverted by something darker.
After several years playing in bands that either split up or fizzled out, fed up with being someone else's bassist and feeling like the eternal chorus girl to other people's dreams, Silvi Wersing decided to strike out on her own. Naming her own band with a heavy dose of irony, she recruited Udo Westhoff (bass), Michael Boyle (drums) and Diogo Oliveira (lead guitar) to flesh out the demos she had made on her laptop, polishing the recordings to a hi-fi sheen in Bear Cave Studios in Cologne. Dig beneath the surface of the perfect pop songs on Chorusgirl and you'll find heavy lyrics about saying goodbye, giving up, grief, alienation and loneliness.
It's all deliberately coded though, shrouded in the metaphysical poetry that Silvi does so well. As she explains, 'Most things in life are complex, so lyrics should be too. I like subversion and the non-obvious. Like the best kind of horror films.' 'Oh, To Be A Defector', the catchy as hell opening track, is about 'not taking part, about not playing everyone's game. Of not belonging, of dropping out and of being ok with that and shouting that back at everyone', and takes its cue from the opening sequence of The Eternal Sunshine of the Spotless Mind; 'No Moon' is about the death of a loved one and the intense loneliness straight afterwards; 'Girls of 1926' is about Silvi's best friend: 'We were like sisters, grew close, grew apart. It's a complex bond with unfinished business.
I found a photograph of my grandmother and her best friend in the 1920s; they looked just like me and my friend. It's as close to a love song as I'll ever get, a love song to my best friend'; and 'Sweetness and Slight', bubbling over with barely suppressed anger, is about intense disappointment and choking someone with sweet words that are not meant in such a sweet way after all.
With their debut album Chorusgirl breathe new life into guitar pop, reinvigorating the genre with fresh hooks and sharp-edged songs full of heartache, anger and grit.
No longer the eternal chorus girl to other people's dreams, Silvi Wersing is creating the soundtrack to her own - and perhaps her nightmares too.
'Chorusgirl take up the female-fronted fuzzbomb art-pop baton that Lush and The Long Blondes help patent - jangling guitars carrying along a bucketful of big hooks, Silvi Wersing's strident, cool-as vocals, joy camouflaging the pain.' Sweeping The Nation
'A shimmering brand of 4AD-inspired noir pop' Drowned in Sound
''60s pop music distilled through a bit of new wave, and perhaps a dash of The Vaselines. If that doesn't sound good to you, you can just fuck right off.' Overblown
'Maybe it's just me, but when I see The Cure, Breeders, Bangles and Echo and the Bunnymen all in one influence list I start to slide off my seat a bit.' Noisey
'An exotic pop delight, Chorusgirl cite standout 90s bands like Lush and The Breeders among their influences, and can happily live alongside them.' Louder Than War
"Through influences ranging from grunge to the artier end of brit-pop, Chorusgirl are a surf-inspired jangling joy, all twanging guitar and dead-eyed vocal delivery.' For The Rabbits
Tracklisting:
1. Oh To Be A Defector
2. No Moon
3. Girls Of 1926
4. This Town Kills
5. Sweetness And Slight
6. We Care About You
7. Shivers
8. Dream On Baby Blue
9. Arrows And Bones
10. Whiteout -
Visit product page →A unique synthesis of time-dilating folk-jazz romanticism, brittle chamber dub and plasmic post-techno electronics, Tarquin Magnet is Australian artist Tarquin Manek's first full solo release on Blackest Ever Black, but by no means his first contribution to the label: he is one half of Tarcar (with Carla dal Forno) and a member of F ingers (with dal Forno and Sam Karmel), while his track Not Missing You'features on the BEB compilation I Can't Give You The Life You Want. Manek has been busy elsewhere, too: he released Th Duo, an LP made under his LST alias, on Another Dark Age earlier this year.
Tracklisting:
The disturbed and enchanted environments of Tarquin Magnet are the result of improvisation, domestic field recording and fastidious editing; for all its rough textures and strange juxtapositions, this is masterfully mixed and arranged music, its deep spatial dynamics and higher dub logic powerfully apparent. 13-minute opener Sassafras Gesundheit'is the sound of a mind unraveling, or winding itself tighter for no good reason at all. Comparisons are pointless, but we won't let that stop us: think Edge of Illusion-era John Surman meets Karel Goeyvaerts' minimalist phase in a Firehouse, delivered with the no-fidelity recklessness of the best Oz/NZ underground traditions.
From here on in, Magnet is denser and harder to navigate: first the spooling noise and strung-out junkyard gamelan of Fortunes Past'and Fortunes Begun', then Side Two: where the atmosphere congeals into one of - ¦not dread exactly, but certainly isolation and estrangement. Perfect Scorn'is a tour de force of crack'd kosmische, pitched somewhere between folk-tale and science fiction: through queer electro-magnetic ambience a distress signal emerges, leading us to the corridors and storm-drains of a city deserted but for its obsolete machinery and a few alcoholics immune to apocalypse. Imagine The Shadow Ring or Small Cruel Party trying to find common ground with Dettinger or Pole, or the sound of a million servers crashing and taking our memories with them. This is what the future will sound like. Manek's deft psycho-acoustic landscaping culminates in 'Blackest Frypan': a puzzle-box of insinuating, paranormal resonances, coaxed from steel guitar strings, stifled screams and subaqueous bleeps. Marrying wracked bedroom psychedelia with gloopy alien concrète and dubwise, third-eye-open sound design, Manek has created an album of singular and persuasive vision.
1. Sassafras Gesundheit
2. Fortunes Past
3. Fortunes Begun
4. Perfect Scorn
5. Blackest Frypan
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Visit product page →Public Service Broadcasting are pleased to reveal plans for a new EP this November which includes a brand new track - Korolev - whilst lead single, Sputnik - the most dancefloor friendly track on The Race For Space - has been remixed by some leading lights in the dance and electronic world.
While Sputnik'gathers tension as it carefully builds to its euphoric finish of wonder, new cut Korolev'carries a familiar progressive energy with a powerful riff at its core, and quick flashes of a grand brass section.
The EP will be released on 12' vinyl, CD & digital along with 4 stellar remixes from Blond:ish, Petar Dundov, Eagles & Butterflies & Plugger.
Korolev, or 'The Chief Designer' as he was referred to at the time, was the talismanic figure spearheading the Russian Space program and the lead designer of Sputnik. His untimely death in 1966 had a huge impact on the outcome of the Soviet battle with the United States to be the first nation to land a man on the Moon.
Sputnik embarks on a new path with Peter Dundov's relentless beat and tightly executed electronic twists whilst echoed words add a dark touch to Eagles & Butterflies' house-inspired electro flourishes. Canadians Blond:ish take us on a 12-minute voyage through an unpredictable range of textures, adding a spark to the soft, dazzling beat and creating a sense of nostalgia in the process. Plugger complete the EP, ramping up the intensity of Sputnik'as it journeys into an exhilarating groove.
Tracklisting:
CD:
1 Sputnik [Radio Edit]
2 Korolev
3 Sputnik [Petar Dundov Remix]
4 Sputnik [Eagles & Butterflies Remix]
5 Sputnik [Blond:Ish Remix]
6 Sputnik [Plugger Remix]
12":
1 Sputnik [Radio Edit]
2 Korolev
3 Sputnik [Petar Dundov Remix]
4 Sputnik [Eagles & Butterflies Remix]
5 Sputnik [Blond:Ish Remix] -
In an era in which psychedelia'can often mean merely a grab-bag of influences from which wah-wah pedals and two-note riffs are dispensed as signifiers and signposts into a realm of easy accessibility as opposed to gateways to another dimension, it can be a rarity to come across a band who are genuinely fixated on creating alternate realities for the listener.Visit product page →
Yet this is exactly how Stockholm's Josefin Ohrn + The Liberation view their incandescent art, and it's this sensibility that's led to the kaleidoscopic spendour of their debut full-length for Rocket Recordings, Horse Dance'. The last twelve months have seem a dramatic rise to prominence for The Liberation (who take their band name from the Tibetan Book Of The Dead) with their EP Diamond Waves'leading to shows in their homeland with Goat and Les Big Byrd, a nomination for a Swedish Grammy as best newcomer, and rapturously received appearances at festivals like Roskilde.
These adventures have set the stage for a spectacular movement into the unknown from their earlier work. Horse Dance'is a razorsharp collection of ditties that marry dreamlike radiance with hypnotic rhythmic drive, set alight by a prismatic experimental glow. It inhabits a realm in which a propulsive 60s-tinged pop song like Sunny Afternoon'can be elevated skyward with krautrock-tinged repetition, dub echo and analogue curlicues alike, and one in which a Broadcast-style mantra like You Have Arrived'can tap into a psychic lineage that stretches all the way from The United States Of America to Portishead's Third'.
Yet whilst ghosts of the like of Laika, Cat's Eyes and The Creatures may lurk in the darker recesses of these songs, this is a band paying no homage to bygone glories. The Liberation cite a myriad influences in both their philosophical stance and their aesthetic, from 12th century iconoclasts like Milarepa to 20th century sonic voyagers like Catherine Ribeiro, and from Kandinsky's abstract expressions of synaesthesia to the avant-jazz of Moondog.
Yet at all times their transcendental extrapolations are married to icy and enticing melodic flourishes, making for a revitalising clash between the chic and the transcendental, and a sound as biting as it is beatific. With Horse Dance', Josefin Ohrn + The Liberation step into a world where all such restrictions and taboos are null and void, and this journey is already proving quite the spectacle to behold.
Tracklisting:
1. Radio Static High
2. March of the Headaches
3. Hop the Railings
4. Numbed Out
5. Memories of Wonder
6. Snapping Undone
7. Another Head
8. The Mourning Gong
9. Hesitation Time
10. Honey -
"My Descent Into Capital" represents the most ambitious recording from this London-based duo to date. Even if they're taking influence from minimal synth, post-punk or early industrial sides, Circuit Breaker are unmistakably contemporary with their delivery.Visit product page →
Forging together metallic drum machines, propulsive synth lines and stark guitar degradation into bold , simple and effective songs about down-trodden themes of isolation, discontentment and the true horror of work. This album transgresses any simple nostalgia for its musical forefathers and showcases a band with their eyes fixed firmly on the future.
Any obvious reference points are contorted and stretched to the point where they are transformed into something new. After ten years of obscurity and a refusal to go away, and after two well-received records on Tombed Visions, this album is their first full-length album, and first for abstract-punk imprint Harbinger Sound.
After many shows with supporting Harbinger Sound mainstays Sleaford Mods, the duo are about to embark on an extensive tour with new label mates Consumer Electronics early next year. The album was mastered by Barry Grint at Alchemy. " -
Sold outPunk/electro/techno-noise trio Consumer Electronics return with an album of all-new studio material, following on from last year's acclaimed "Estuary English" LP and this year's "Repetition Reinforcement" 12" on Diagonal.Visit product page →
Housed in a sleeve featuring stunning cover artwork by Tokyo-based artist Trevor Brown, "Dollhouse Songs" further chronicles frontman Philip Best's trawl through the seedy thoroughfares of crumbling Tory Britain. "Learn Your Fucking Place" sneers Best in trademark-style, aping the austerity mongers of Britain's current right wing junta. Ably assisted on dark cracked electronics by Sarah Froelich and stunningly produced by noise/beat guru Russell Haswell, this latest instalment in CE's state-of-the-nation polemics is sure to be keenly anticipated.
Featuring seven new studio tracks, 'History Of Sleepwalking', 'Knives Cut', 'Condition Of A Hole', 'Nothing Natural', 'The Push', 'Colour Climax' and 'Murder Your Masters' (the last track previously surfacing briefly as an ultra-rare gig only 7"), CE now features a twin vocal attack from the Best/Froelich husband-and-wife team, a furious tide of words spat out over a chaotic spew of mangled beats, bracing synths and state-of-the-art noise generation.
This is their most personal and political album yet. "Dollhouse Songs" was mastered by Matt Colton at Alchemy for maximum effect. The record also comes complete with an inner sleeve featuring all the lyrics.
An edition of #1000 copies -
In the last decade, the iconoclastic four-pronged force of Teeth Of The Sea has traversed from its origins in North London pub gigs and basement rehearsal rooms to far-flung locales that its members could scarcely have considered possible when they first began. Yet this band has never lost sight of its original vision - to reconcile a fearless experimental drive with a primal lust for noise. To exist outside of all or any compromise. Yet never to lose sight of the crucial irreverence of their inception.Visit product page →
Their fourth album Highly Deadly Black Tarantula', in all its malevolent glory, may well be the apex of their mission thus far. Following in the wake of the release of their mind-melting third album MASTER''.
2014 was a bizarre and thrilling year for Teeth Of The Sea, taking them to unexpected territory both physical and metaphysical - a re-imagining of the modern-day midnight movie A Field In England saw performances at both Cork Film Festival and Hackney Picture House, and was released on Rocket Recordings on a limited run for Record Store Day. A new audio-visual piece The Last Man was performed at both Cineglobe Festival in Cern, home of the Large Hadron Particle Collider, and at Transilvania International Film Festival in Cluj-Napoca.
What's more, the band travelled to America for the first time to perform in Austin, Texas for SXSW and to Portugal for Milhoes De Festa, as well as finishing the year off with a comprehensive demolition job of Liverpool Psych Fest.However, as 2015 dawned, the band set about reinventing themselves once again - both returning from the ornate and expansive sounds of MASTER'to their gnarled roots and pushing firmly forward in search of adventure anew.
What resulted was Highly Deadly Black Tarantula', their most focused and aggressive album yet. Machine-driven yet melodically abundant, the widescreen industrial expanses of this album combine the influence of long-time band favourites like Aphex Twin, Angelo Badalamenti and Throbbing Gristle with new inspiration that spans from Chicago footwork to black metal. What's more, it's a collection as rich in scope as it is powerful in intent.
Whilst the pummelling and incisive Animal Manservant'and the kinetic dancefloor attack of Field Punishment'maintain an audial assault both concise and corrosive, the monomaniacal Have You Ever Held A Bird Of Prey'represents a fearless plunge into the experimental deep end. Elsewhere, the bleak cinematic drama of All My Venom'strikes like hammer to anvil, and Love Theme For 1984'may be the most richly emotive work the band have yet created.
This is no less than a vital reinvention, abusing technology and warping convention to arrive at a monochrome psychedelia as stylish as it is savage. Yet even whilst ushering in delight and deliverance for both fans of this band and the uninitiated, HIghly Deadly Black Tarantula'- a fearsomely coherent assault of post-everything dementia - sounds like no-one but Teeth Of The Sea.
Tracklisting:
1. All My Venom
2. Animal Manservant
3. Field Punishment
4. Have You Ever Held A Bird Of Prey
5. Phonogene
6. Love Theme For 1984 -
Nothing' is Kode9's first solo album, and is about nothing.Visit product page →
The album throws horror soundtracks, sampled library and j-pop records into a no man's land between grime, early dubstep and Chicago footwork. Mostly instrumental, it zigzags between hypnotic, downcast loops, growling drones, and jagged cut-ups of androids gone haywire, threaded through twitchy, transatlantic rhythms and sub-bass inaudible through your laptop speakers.
Building slowly, but more upbeat than previous albums, many of these tracks have more in common with Kode9's recent singles from the last few years than they do with his two previous albums with collaborator The Spaceape, 'Memories of the Future' (2006) and 'Black Sun' (2012).
Yet 'Nothing' is haunted both by The Spaceape's presence (he died in 2014 after a prolonged battle with cancer), on Third Ear Transmission', a communiqué from a zone of digital immortality, and his absence, on 'Void', whose spaces were originally intended for the vocalist, and Nothing Lasts Forever', which closes the album with a 9 minute silence.
Tracklisting:
1. Zero Point Energy
2. Notel
3. Void
4. Holo
5. Third Ear Transmission ft The Spaceape
6. Zero Work
7. Vacuum Packed
8. Wu Wei
9. Casimir Effect
10. Respirator
11. Mirage
12. 9 Drones
13. Nothing Lasts Forever -
Visit product page →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 (PrsàPrsÃÂ) 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.
Tracklisting:
1. Pish
2. Prsi Prsi
3. Get Some
4. Dust
5. Leave it Alone
6. Mandrake Handshake
7. Here Comes The Waiting For The Sun -
The Russian city of Perm takes its name from the Finno-Ugric word para ma'meaning Faraway land'. Indeed, despite being a centre of both culture and industry for the Ural region, at seven hundred miles from Moscow it was far enough away from the heart of the Russian empire to be used as a place of exile in the nineteenth century for those who fell out of favour with Alexander I. Even whilst dwelling in an era two centuries on in which such exile is now more metaphysical, and in which electronic connections have effectively made the world a smaller place, it can nonetheless be easy for an artist to feel the burden of geographical isolation, The three musicians who form Gnoomes hail from Perm - and have a deep connection with their home - indeed their drummer Pacha is descended from the Komis, the indigenous pagan people of the area before Russian culture and orthodox religion overtook it in the the late 15th century.Visit product page →
Yet rather than being confined or frustrated by their surroundings, the three-piece outfit have used their origins as a springboard to the unknown, via the skysurfing radiance of their debut album for Rocket Recordings, Ngan!''We think about isolation as a dream trigger, and sometimes a dream becomes a motivation to do something cool' Gnoomes relate. 'Being in a band is the one thing that keeps us from Russian madness.'
Ngan!'is an album suffused with a potent sense of wonder - it's bookended by the enormous twin psychic monoliths of Roadhouse'and My Boy', which form dreamlike aural travelogues clocking in at around a quarter-hour each, and take influences as diverse as the fiery avant-six-string scree of Atlas Sound, the classic motorik of Neu! and Kompakt label techno, and sculpt them into a wide-eyed, kaleidoscopic sweep of sound that the band themselves, keen to break free of generic convention, dub stargaze'. It's a style which nods to the melodic sweetness of The Flaming Lips or Tame Impala as much as the synapse-shifting dynamics of Animal Collective or My Bloody Valentine. Myriads'is nothing less than a sweet and somewhat slightly dazed pop song - distantly related to the muse of Syd Barrett, yet filtered through the band's ambitiously hallucinogenic soundworld and propulsive rhythmic drive.
Elsewhere,on Moognes'the collision of melancholy vocal harmonies, luminous guitar melody and in-the-red intensity makes for a sound as bracing as it is beatific.
Ngan!' is the sound of a band looking above and beyond modern archetypes of guitar-fuelled noise in search of a strange and beguiling personal vision, and dissolving barriers of distance, cultural context and geographical inconvenience with a confident and warm-hearted flourish. 'For us this is the main mechanism of psychedelic music' the band explain. 'to connect things, to join this particular experience into a global one.' On the evidence of Ngan!'Gnoomes would appear to be on the verge of doing just that.
Tracklisting:
1. roadhouse
2. myriads
3. moognes
4. my son -
Limited Edition 7" on red vinyl.Visit product page →
Taken from his debut solo album 'It Seemed Like A Good Idea at The Time', jubilant lead single "The New Adam and Eve" is a chamber pop extravaganza featuring lush strings, swirling organs and an atmospheric 60s sound. The only proper love song on the record it still has loads of swearing on it, with Simon threatening to 'punch a man in the face, with fists made out of jellyfish' before going on to 'deny him any of my piss'. The B-side is a cover of the Oasis classic 'Married With Children'.
Described recently by the Guardian as being 'more early Kinks than the early Kinks', Simon formed The Loves in Cardiff in 2000.
After releasing their debut single on Radio One DJ Huw Stephens'Boobytrap Singles Club and playing live dates supporting the Yeah Yeah Yeahs their second album Technicolor was made Album Of The Week in The Sunday Times. The band went on to play four Peel Sessions and as many for Marc Riley on BBC 6 Music before calling it a day in 2011.
It Seemed like A Good Idea At The Time is a sweary and irreverent tour de force, full of catchy hooks and offbeat lunacy. Taking its inspiration from maverick Seventies singer-songwriter Harry Nilsson, Robyn Hitchcock and The Lovin'Spoonful, the album features guest appearances by comedian Stewart Lee and 60s pirate radio DJ Emperor Rosko, while indiepop ensemble for hire A Little Orchestra contribute lush strings and Rob Jones of The Voluntary Butler Scheme provides brass.
Praise for 'It Seemed Like A Good Idea at The Time':
'A potty-mouthed UK version of Father John Misty - ¦ A fantastic solo debut' - Shindig! (4/5)
"Simon Love launches his solo career with an album combining his fondness for top tunes and garage guitar with a new-found bittersweetness. Very Good Indeed" - Q (4/5)
'This cocksure debut solo album from Simon Love is packed with ideas and flirts with quirk, but has just about enough wit - and good songs - to get away with it. Everything is bathed in a '70s post-glam grubby glitter glow, as pioneered by Luke Haines." - UNCUT (7/10)
Tracklisting:
A. The New Adam & Eve
B. Married With Children -
LP with pop out mask sleeve. On LP for the first time, Boo!'includes a unique sleeve with pop out mask, no strings attached.Visit product page →
They set a blueprint for subsequent indie rock, the kind that valued DIY yet didn't shy away from melody, and addressed matters of the heart without arch distance.' Pitchfork
'Half Japanese are no dictatorship - more an underground political movement, united in their love for Jad Fair's weird dismantling vision' The Wire
Fire Records will be reissuing Half Japanese's "Boo!", capturing their 1992 European barnstorming tour, just in time for Halloween.
The record features a removable mask (no strings attached!) designed by the one and only Jad Fair. Issued for the first time on vinyl, Boo!'was recorded at a pivotal time for the influential act, as they were gaining international recognition from the likes of Sonic Youth, Nirvana and Teenage Fanclub.
These recordings capture the fierce and lively performances from their shows in Switzerland, Holland and Germany, highlighting all the things that are so amazing about the band. Europe was never quite the same after these shows.
Tracklisting:
1.Open Your Eyes/Close Your Eyes (Live)
2.Big Mistake (Live)
3.One Million Kisses (Live)
4.Fire To Burn (Live)
5.Mule In The Corn (Live)
6.If He Says He Did (Live)
7.King Kong (Live)
8.Postcard From Far Away (Live)
9.I'll Change My Style (Live)
10.Cherry Pie (Live) 11.Rrrrrrrssssssssttttttttt (Live)
12.Sex At Your Parent's House (Live)
13.Secret (Live)
14.Said And Done (Live)
15.Charmed Life (Live)
16.Casper (Live)
17.Around And Around (Live)
18.Rocking Chair (Live)
19.Turn Your Life Around (Live)
20.Firecracker (Live)
21.Silver and Katherine (Live)
22.Frankenstein Must Die! (Live)
23.By And By (Live)
24.Fire In The Sky (Live) -
Visit product page →Bromide’s debut with electric 3-piece line up
‘Romping indie pop blast that recalls the heyday of The Only Ones: “If you were dead I could let go, Not while you’re still breathing though”’ The Times
‘More hooks than the DIY department at Homebase’ Melody Maker
Tracklisting:
1. Fool In My Brain
2. Not Expecting You
