LeVent are Maryna Russo (BASS) Heike Rädeker (BASS VI / VOX) Frankie Neumeier (DRUMS) . Berlin based trio LeVent got stoned, forgot to replace their guitarist, and then kept his name anyway. Formed in August 2015, the band has kept their shit together enough to have shared the stage with a bunch of talents including Kadavar, The Underground Youth, and Die Nerven, to name a few.
They also self-released a four track EP on cassette in 2016, this is their debut album coming out on 'A' recordings . Like a drunken driver, LeVent swerves up over the curb, drives straight through the garage and total their ride somewhere out in a goat farm.
Bleating at it’s most danceable, they carry listeners far away to get lost in nice nonsense, stuck in heavy forgetting, and transfixed on what was, leaving you thirsty for more.
Heike from the band says “When someone comes up to you after a concert saying, „I´m going to make you a record“ you are stoked for the moment, but you don´t reckon it will happen... Half a year later Anton Newcombe of Brian Jonestown Massacre called LeVent in to his Cobra Studio in Berlin.
Teaming up with studio engineer Andrea Wright from Parr Street Studios Liverpool the red button got pushed. After what was a super pleasant experience of recording and mixing they are now ready to release the album .
Tracklisting: 1. Wrong Things 2. Lisa 3. Rabbits 4. Fernweh 5. Curious 6. Lighter Thief 7. Empathy 8. Ink 9. Gary 10. Hit Me 11. Mammon
Three boys from the civilized centre of an isolated landmark that is sometimes considered part of Australia – Hobart, Tasmania.
These young men have spent most of their formative years in this regional city; a cold, windswept town built on convict labour and a strong maritime tradition. The band hold their strength in a surprisingly heartfelt and unashamed guitar sound, full of emotional, gut wrenching sing-alongs – then transposing this into a contemporary Australian scene.
Their colleagues range from popular sensations like Gold Class and Royal Headache to the darker sounds of Kitchen’s Floor and The Native Cats, and to this they bring a true honesty and simplicity that is hard to find in today’s world.
They are interested only in their music and the reaction it sparks in their audience. Nothing could make Treehouse smile more than a packed and sweaty basement, swaying to distorted melodies and yelling themselves hoarse with joy.
Whether this honesty is a production of regional isolation, a musical heritage or simply a reminder of good human behaviour, it makes for some seriously catchy and uplifting music.
Tracklisting: Side A: 1. Centre of Their World 2. Slave 3. Stop The Ocean 4. Hammer On The Door
Side B: 1. Between Two Shoulders 2. She’s A Mystic 3. Tidal Wash
1st solo album in 5 years, recorded, produced and written by Richard H. Kirk, founding member of Cabaret Voltaire, the album was constructed at Western Works, Sheffield, over a three-year period. Work began with recording on midi and analogue synthesisers before guitar and vocals (Kirk’s first use of vocals in 10 years) were added.
Kirk explains, “A lot of time was spent on post-production, editing and then living with the material and I think it benefited from stepping back and then revisiting after doing other things.”
Although not an overtly political album, it’s hard not to hear a reaction to recent years’ world events in the overwhelming urgency of ‘Nuclear Cloud’ or ‘20 Block Lockdown’ or in ‘New Lucifer / The Truth Is Bad’. When questioned Kirk admits, “It’s not really a political album, but over recent years – during the recording – all manner of horrorshow events have cropped up and now we seem to be in a rerun of the Cold War with Russia back as the Bogeyman.”
The album’s title, Dasein (a German word meaning “being there” or “presence”, often translated into English as “existence”), is a fundamental concept in existentialism. Kirk explains “culture succumbs to nostalgia in much the same way that an individual looks back wistfully to adolescence or childhood - the nostalgia is partly for a time when he or she wasn’t nostalgic, just lived purely IN THE NOW.”
In 2014, during the recording period, Kirk began work on Cabaret Voltaire live and so the two projects coexisted in tandem. Although Kirk’s varied projects have always existed separate to one another, says Kirk, “in the past some solo works served as a blueprint for what I did later with Cabaret Voltaire”.
Billed as a performance consisting solely of machines, multi-screen projections and Richard H. Kirk, Cabaret Voltaire recently announced the first UK performance in over 20 years at the Devil’s Arse Cave (aka Peak Cavern) in Castleton, Derbyshire on Saturday 29 April. Kirk will perform entirely new material for a performance relevant to the 21st Century with no nostalgia.
RECENT PRAISE FOR RICHARD H. KIRK:
“One of the UK’s pioneering electronic agitators” – Electronic Sound
“In five decades of key-bashing and knob-twisting, Richard H. Kirk has remained at the vanguard of electronic music” – FACT
“…decades of electronic innovation, forged in Sheffield” – Uncut
“Kirk was toying with distorted realities from 1970s onwards” – Record Collector
Tracklisting: 1. Lets Jack 2. Lear Jet 3. Nuclear Cloud 4. Do It Right Now 5. New Lucifer / The Truth Is Bad 6. Radioactive Water 7. Invasion Pretext 8. 20 Block Lockdown 9. Sub / Antartic / H20
Graciously welcoming the second full-length lp from Philadelphia’s Jesse Dewlow, recording under the moniker People Skills. The follow-up to 2014’s Siltbreeze set Tricephalic Head. Ten sunken songs, derisively adorned with rhythm and rudimentary dub effects. Bedroom elegies for the lost and irretrievable, last-ditch spells for transformation and renewal.
Thurston Moore and Byron Coley likened the previous record to “South Island NZ pop played inside of an armored car”, and that description holds here: underneath the hoods of these wracked and weather-beaten recordings are melodies of disarming beauty and optimism, bordering on the (wilfully) mawkish, bubblegum ground underfoot. Each piece as time-stopping and evocative as an old photograph of someone who used to mean something.
Whether speaking through stately keyboard pastorals (‘Mint Julep’), rat-arsed rock ‘n roll slur (‘89¢ Public Render’) or sulphurous aggro-electronics (the two-part title track), Gunshots At Crestridge exposes, then seeks to redeem, all our tiny acts of self-sabotage, all our sins against time. When to stay, when to go…you never got it right, not once.
Tracklisting: Side A: 1. Obstinate Truss 2. Gunshots at Crestridge 3. In the Mulch and Trimming 4. A Chain Undressed 5. Mint Julep
Side B: 1. Town of Diana 2. Gunshots at Crestridge II 3. 89¢ Public Render 4. Dust In The Old House 5. The Clock Player