Third helping from ‘One-man art-pop prankster’ Alvin Spetz. Alvin Spetz is also the maverick singer-songwiter responsible for two of the most eccentric and original albums of the last 6 or 7 years.
Released under the moniker of Full English Breakfast, his self-titled debut and follow up ‘Candy In Weightlessness’ earned rave reviews from broadsheets to blogs. Now album No.3 ‘The Mixtape of Things’ is ready and Spetz likewise is moving on up through the daily nutritional cycle and this time will be known as ‘That Will Be Lunch’.
Alvin’s new mixtape is full of songs, some only just scraping past 30 seconds, that one moment remind you of children’s TV theme tunes and the next sound like they might be playing in an industrial discotheque from the future. In this unsettling but always playful landscape you’re almost half-expecting the whimsical paen to the snacks marketing division at Waitrose when it arrives in the shape of ‘The Campaign for Plain Nuts’.
Nestled amongst all the strangeness is an inspired cover of Talking Heads classic ‘One in a Lifetime’. Spetz has delved deep into the DNA of this ground-breaking track and extracted what can only be described as ‘previously unseen footage’. Like an inquisitive kid he’s taken the engine apart without a hope in hell of ever putting it back together again in the correct order. But this hasn’t stopped him re-assembling it.
Spetz discovered music while studying at Aberdeen university in the 80s. Inspired by the fledgling indie sounds of Edwyn Collins, The Fall, Josef K and The Pop Group, he embarked on a journey that’s included nascent recordings with members of The Shamen, dabbling with Sufism and the tabloids hounding him as a result, burning everything he’s ever recorded (several times) and playing one gig. Ever. In Belgium.
First pressing is a double vinyl in a gatefold sleeve with 2 colour variants.
Variant 1 in Green/Blue marbled vinyl.
Variant 2 in Amber and red disc vinyl.
Each variant includes is a free download of the entire album.
Main CD package is a 4 panel digipack with booklet.
Titled ‘Yn Ol I Annwn’, Welsh for Return To The Underworld’, it is the third part of the trilogy of albums that began with ‘Noeth Ac Anoeth’ in 2015 and 2017’s ‘Y Proffwyd Dwyll’.
The final phase of the band’s first intergalactic voyage if you will.
The eight songs that comprise thes album, sees the band delve deeper into their collective influences, embracing full on space rock, atmospheric film soundtracks, melancholic acoustic interludes, psychedelia, cosmic moogs and percussion, moments of introspection and light … and of course, large helpings of doom. The fat riffs, big hooks and endless space grooves are all present and correct.
And once again Jessica Ball’s voice glides over it all, both sweet and melancholy, yet this time more assured. A myriad of stacked harmonies and layered vocals weave in and out of the tracks, adding an ‘other-worldly’ melodicism to the songs.
In fact the album as a whole, is very much a sonic journey into some cosmos on the edge of forever. Just turn off the lights, turn up the volume and be transported to dance at the end of time.
The band’s music has developed and been honed over the previous two records, but there is no doubt that they have distilled the essence of MWWB into this one. Previous comparisons to Windhand, Yob, Sleep. or whatever, are rendered completely redundant with ‘Yn Ol I Annwn’.
No one else is pushing the boundaries of heavy like MWWB.
Mammoth Weed Wizard Bastard sound like Mammoth Weed Wizard Bastard, full stop.
MWWB are: Paul Michael Davies, Jessica Ball, Wes Leon, James Carrington, Stuart Sinclair.
Vinyl Tracklisting: Side A: 1. Tralfamadore 2. The Spaceships Of Ezekiel
Side B: 3. Fata Morgana 4. Du Bist Jetzt Nicht In Der Zukunft
Side C: 5. Yn Ol I Annwn 6. Katyusha
Side D: 7. The Majestic Clockwork 8. Five Days In The Abyss
CD Tracklisting: 1. Tralfamadore 2. The Spaceships Of Ezekiel 3. Fata Morgana 4. Du Bist Jetzt Nicht In Der Zukunft 5. Yn Ol I Annwn 6. Katyusha 7. The Majestic Clockwork 8. Five Days In The Abyss
“Limited Purple Vinyl Includes exclusive sticker sheet”
Sleaford Mods are one of the most important, politically charged and thought-provoking duos currently making their mark on the UK music scene and beyond.
They are now poised to release their fifth studio album entitled ‘Eton Alive’ in February 2019.
The new album, which features 12 new tracks from the prolific artists, was recorded in Nottingham. The record will be the first release on Jason and Andrew’s newly formed label ‘Extreme Eating’ and their first album since parting ways with Rough Trade Records.
“Eton Alive speaks for itself really. Here we are once again in the middle of another elitist plan being digested slowly as we wait to be turned into faeces once more. Some already are, some are dead and the rest of us erode in the belly of prehistoric ideology which depending on our abilities and willingness, assigns to each of us varying levels of comfort that range from horrible to reasonably acceptable, based on contribution.
So after the digestive system of the Nobles rejects our inedible bones we exit the Arse of Rule, we fall into the toilet again and at the mercy of whatever policies are holding order in the shit pipe of this tatty civilisation. It is here our flesh regenerates as we rattle into another form, ready, and ripe for order”. – Jason Williamson ‘Eton Alive’
Tracklisting: 1. Into The Payzone 2. Kebab Spider 3. Policy Cream 4. OBCT 5. When You Come Up To Me 6. Top It Up 7. Flipside 8. Subtraction 9. Firewall 10. Big Burt 11. Discourse 12. Negative Script
Signed CDs, produced by Ben Lovett of Mumford & Sons; its Beans On Toast’s 10th, and probably best, album. Sticking firmly to his own tradition of releasing a new album on the same date each year, 2018 was always going to be a big deal for Beans on Toast with this year seeing his 10th release.
Suitably rising to the occasion, Beans went to Ben Lovett of Mumford & Sons (who produced his first album ten years ago) and they hatched a plan. At the time, Mumford were camped out in Paul Epworth's legendary The Church Studios making their upcoming album 'Delta'.
The studio has a rich recording history including Bob Dylan, Radiohead and Adele, and houses some of the finest microphones and recording equipment in the world. During days off, or between Mumford’s own sessions, Beans and Ben snuck into the studio and laid down 'A Bird in the Hand', Beans’ most accomplished album to date.
Over the course of his huge career Beans has become something of a cult national treasure. What seemed like a throwaway festival act has evolved into something much more important, a voice of truth and honesty, cutting through the bullshit.
A consistent and reliable modern-day troubadour, not afraid to speak his mind; always touring, always writing, recording and releasing music. Playing every festival under the sun and always, always, telling it like it is.
'A Bird in the Hand' is a celebration of love, life, family and the world in which we live.
Tracklisting: 1. Good Health & Happiness 2. Magic 3. Here at Homerton Hospital 4. Alexa 5. 1980’s Sagittarius 6. Bamboo Toothbrush 7. Watching The World Go By 8. Please Give Generously 9. Miss You Like Crazy
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.
Tracklisting: 1. First Follower 2. We Are Drugs 3. Slow Violence 4. NO-FI 5. Golovikin 6. Is This Us 7. Known Unknown 8. Zero Day Exploit