avant . leftfield . post-rock . drone


Genre pick of the week Cover of Soused by Scott Walker & Sunn O))).

Scott Walker & Sunn O)))


When Sunn O))) first approached Scott Walker about appearing on their 2009 album Monoliths & Dimensions, little did they know what it would actually lead to. Four years on, Scott was back with something even more enticing, collaborating on Soused, a body of work he was writing with them in mind.

With a career spanning more than five decades, Scott Walker’s cult status remains as significant as ever before. Experiencing mega-stardom as part of The Walker Brothers before carving out a career as a solo crooner who released a quartet of peerless self-titled LPs that painted rich vignettes of life in the late 60s, Scott went through what felt like a massive U-turn by recording a collection of masterfully challenging albums: Climate Of Hunter (1984), Tilt (1996), The Drift (2006) and Bish Bosch (2013). While there’s some truth to this artistic arc, the actual picture is a lot more complex, with his knack for introducing the disturbingly counter-intuitive and the uncanny into his songwriting dating back to the likes of 'The Plague' (1967) and ‘It’s Raining Today’ (1969).

Centred around the core duo of Stephen O’Malley and Greg Anderson, Sunn O))) have been at the heart of underground and experimental metal since they began in Los Angeles back in 1998, broadening in range to increasingly encompass avant-garde and jazz dynamics to their dark music. Anderson runs Southern Lord (Sunn O)))’s usual label home), whilst O’Malley is involved in a remarkable web of projects as a musician, designer, and label head of Ideologic Organ. They appear alongside extended Sunn O))) member Tos Nieuwenhuizen on this recording.

Recorded in London in early 2014 and produced by Scott Walker and long-time ally Peter Walsh with the assistance of musical director Mark Warman, Soused is a 5-track, 50-minute collaborative record that cements the status of both act’s wide-reaching and otherworldly renown.


2xLP Info: Vinyl edition is double 180 gram black vinyl, with a heavyweight tip-on sleeve and includes download codes.

Alloy Orchestra

The Man With The Movie Camera

    It was only a lucky few iNDie Festival attendees who witnessed Alloy Orchestra's performance of their soundtrack to the 1929 silent film "The Man with the Movie Camera" in our Blue Room last Fall, so we are pleased to bring the recording to you in the form of a double LP. Alloy Orchestra is a 3-man musical ensemble - Roger C. Miller, Ken Winokur, & Terry Donahue - who use "racks of junk," synthesizers, and all sorts of other unusual instruments, found objects, and unlikely noisemakers to aurally accompany silent films.

    Roger Ebert has called them "the best in the world at accompanying silent films," and we can't disagree. "The Man with the Movie Camera," directed by Dziga Vertov and edited by his wife Elizaveta Svilova, is a documentary with no specific cast or narrative. In the film, a man carries out his day in the city as a member of the proud proletariat, capturing invention and the relationship between man and machine in Lenin's Soviet Union.

    The culmination of four years writing and editing, Anjou marks the first collaboration between Labradfordʼs Robert Donne and Mark Nelson since the release of that groupʼs “fixed:context” LP.

    Combining modular synthesis, Max/MSP programming and live instrumentation, Anjou deftly weaves noise with gentle ambience and melody with texture.

    Guitar, bass and Steven Hessʼ (Locrian, Fennesz, Pan American) live percussion give the eight pieces an immediacy and create a framework for the more abstract sounds of digital and analog synth programming.

    The product of twenty plus years of friendship, Anjou is refined and challenging. An extension of the Labradford sound-world but no mere victory lap, Anjou represents Donne and Nelson stepping out and forward, their eyes firmly focusing on the future.

    Mark Nelson formed the legendary Labradford in the early 90ʼs and and started working solo under the “Pan•American” moniker a few years later. Robert Donne played in Breadwinner, joined Labradford shortly after the release of the first album, recorded an album with Adam Wiltzie as “Aix Em Klemm”, and has been active over the last decade in the trio Cristal. Percussionist extraordinaire Steven Hess has collaborated with dozens of artists including Greg Davis and Fennesz, and has worked in the Dropp Ensemble, Cleared, and Haptic to name just a few.

    Astral Social Club

    Fountain Transmitter Medications

      A boggling and super-fun 100+ minutes from Neil Campbell’s Astral Social Club, Fountain Transmitter Medications delivers the head-on collision of classic UK electronic styles, electric grit and the future.

      The LP starts with a set of tight chuggers, the high-end racket of “Infinity Thug” ripping through the speakers before closing the side with the loping “Grisly Terroir.” Side two is comprised of the 20-minute epic “Diamonds in the Dreich,” a mid-tempo journey of Throbbing Gristle-ish lurch-pulse and disembodied voices, giving way after ten minutes to an organ-interlude which accelerates into a full-on rock jam loaded with scathing guitar slashing. It’s unlike anything else in the Astral Social Club catalog.

      The CD (“side three”) offers three lengthy explorations of key facets of the overall Astral Social concept, where Campbell really stretches out and lets the tape run—the rushing sound effects and buried rock of “Sun Still God,” the bristling electric juddering of “Erotic Meditation,” and the blownout space-rock (!) of “Squeegee Anthem #3.”


      Ltd LP Info: LP comes with a bonus CD.

      Full album of insane archive cuts from the inimitable, Beau Wanzer. Known for his past releases on Nation, L.I.E.S, and Cititrax, Chicago's Beau Wanzer delivers a 12 track LP of archival material culled from tapes stored away from years past, the tracks in question being plucked between 2002-2008.
      Wanzer has stuck to his grotesque guns over the years, keeping his music personal, grating, and down right bizarre. Each track takes a narrative of its own, from the languidly vocaled, yet uncannily catchy "Mob Boss" to the possessed murmurs of "Love Tone," Wanzer has created a completely unique collection of music which engages the listener all the way through.

      The Body / Sandworm

      Split LP

        The Body and Sandworm contribute full sides of brand new material for this vinyl-only split LP pressed on virgin vinyl with free download card.

        This is the debut release from Sandworm, a Providence, RI duo playing raw and elemental black metal.

        The Body’s Thrill Jockey debut ‘Christs, Redeemers’ was praised by Pitchfork, The New York Times, Decibel, Noisey / Vice, The Fader and SPIN. The album also landed on Best Of year lists with Pitchfork, The Quietus, All Music Guide and Cvlt Nation.

        The split LP was recorded by Seth Mancehster and Keith Souza at Machines With Magnets (Battles, Lightning Bolt, Javelin).

        Sandworm will tour the US in September and October, playing their first shows outside of New England. The Body will continue their non-stop touring schedule and join Sandworm for many US shows in October.

        Praise for The Body:

        “The duo has captured the sound of the apocalypse... From its morbid and sonically insane noise-wall backdrop, blood-throated, six feet under screams, stadium-sized death-grip riffs, symphonic arrangements and pummeling drums torture, The Body has reached its terror epic apex.” - Noisey / Vice

        “[One] of the most remarkable acts bubbling up from the extreme-metal underground.” - The New Yorker

        L.I.E.S. mainstay Marcos Cabral dons his Chemotex alias for his second black ops mission on Will Bankhead's Trilogy Tapes. The pounding "Snake Inside My Leg" emerges from the stuttering hiss of high frequency distortion as a mutated dancefloor monster, taking the rhythmic thrust, minimalism and echoing keys of dub-techno and pushing them straight through the red. The result is a blast of dancefloor intensity wrapped in a thick cloak of distortion, not for the faint hearted. On the flip "Yang Solution" is even more menacing as the kick and bleep stylings of later Belgian releases get the technoise treatment. If you can find a system that can take it, this shit's gonna change lives!


        12" Info: 500 run, with hand-stamped inner bag.

        Dope Body have built their name in the underground with intense live performances of their also intense studio recordings. On the back of their second album, 2012’s ‘Natural History’, they embarked on a rigorous nineteen months of almost nonstop touring, bringing their individual performance stomp to every bar, basement and backyard that asked for it.

        It’s easy to picture the members of Dope Body emerging from their distant and hidden cave of rock with a new wave of grimey, Sabbath-refracted mayhem in order to torch Earth once again but they’re actually a group of trained players and fine artists with vision.

        On ‘Lifer’, Dope Body redefine the aural yawp they have been venting for some time, honing wild windmills into surgical strikes, their gut-busting repulsion-sound continuing to expand without losing any of the feral energy that made a crazed reputation in the already-insane Baltimore music and arts underground.

        Zachary Utz’s metalloid guitar fingerprints are as uniquely rough and scabrous as ever but with a few new refinements added to his barrage. Andrew Laumann’s vocal bellow continues to incite a riot of excitement with each additional chorus. David Jacober’s power-and-precision drumming continues to grow in might and scope, driving the songs whether at peaks of volume or the depths of introspection. Plus, bassist John Jones, who joined following the recording of ‘Natural History’, contributes to the weird math of Dope Body’s nu-power trio with lines that perfectly expand the bounds for the band. When Dope Body converge to conceive of the next thing, the storm brews, songs are rocked out and written and we’re propelled into another sweaty go-round. This is a controlled demolition, planned but with room to take down additional structures.

        Simply put, there’s a distinct-but-subtle evolution from one Dope Body record to another and ‘Lifer’ is no different. ‘Repo Man’ progresses the band’s songwriting, creeping on you and crooning with an oscillating bass groove before whipping into a frenzy. ‘Hired Gun’ gives us the pyrotechnics we want with a forward-evolving, 2014-style dynamic range of loud / soft / loud and a big-ass sing-along chorus. Where most Dope Body songs show lead singer Laumann’s rhythmic ability, ‘Rare Air’ exhibits his talent for constructing melody.

        ‘Lifer’ juggles the rough spark of Dope Body’s sound, shuffling slow burners and their previously (and righteously) established propulsive attack, making for a new yet satisfyingly heavy trip into the heart of Dope Body.


        Venice (10th Anniversary Edition)

        "Venice", the fourth studio album by Christain Fennesz, finds electronic music at a crossroads between its early status as digital subculture, and the feeling that there has to be something more, an emotional quality that rises above noise and moves towards melody and rapture. It was voted No. 3 in The Top 50, The Wire, December 2004, was album of the week at BBCi on its release and remains Christian Fennesz's best-selling record to date. prefix (USA) noted: "Although Fennesz's breakout record Endless Summer was followed by a live release and a collaboration with Jim O'Rourke and Peter Rehberg as Fenn O'Berg, Venice is the true heir to that album's ascendant pop. Venice is not as unabashedly poppy as its predecessor (the lack of Beach Boys references can attest to that), but still mines much the same vein. It was marked by critics at the time as a move away from the relatively robotic music spawned by the IDM craze of the late nineties. Instead, its melodic, emotive tracks foresaw an electronic music that could be purely human." Pitchfork Media (USA), in a lengthy review, also noted: "Venice's quality extends beyond its sound. Touch proprietor Jon Wozencroft-- through his breathtaking design and photography - continues to fight the good fight against records-as-pure-data by making the CD a value-added prospect." and The Declaration Online (Web): "Two blue empty row boats left listless on rippling water. Red orange green riverbed foliage reflected in the water's gauzy oil slick surface. An airport enveloped in dull gray stratus and snow. Upon seeing the photography and packaging accompanying Christian Fennesz's latest recording, Venice, it is clear that the record label Touch remains intent on not simply putting out records but creating audiovisual imprints dedicated to inextricably tying sound and vision."


        2xLP Info: First time on vinyl! Includes bonus tracks.

        Keiji Haino / Jim O'Rourke / Oren Ambarchi

        Only Wanting To Melt Beautifully Away...

        This release blows the trio’s instrumental palette wide open for a single continuous piece focused on acoustic strings, synth, flute and percussion in addition to the gorgeous, soaring vocals from Haino.

        Released as a digipak CD and as limited edition LP

        Design by Stephen O'Malley with high quality live shots by Ujin Matsuo and stunning artwork by Norwegian noise legend Lasse Marhaug
        Begun as a one-off collaboration in 2009, the trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi has now become a solid working group, refining its craft through a series of annual concerts at Tokyo’s legendary SuperDeluxe. Much of their recorded work has focused on their intense, ritualistic take on the rock power trio of electric guitar, bass and drums, with last year’s ‘now while it’s still warm let us pour in all the mystery’ (BT09) containing a series of instant compositions of stunning power and concision that demonstrated how familiar and attuned to one another the three have become.

        Presenting the entire first set of the trio’s March 2013 concert at SuperDeluxe (the second set will follow on Black Truffle later this year), ‘only wanting to melt beautifully away is it a lack of contentment that stirs affection for those things said to be as of yet unseen’, their fifth release, blows the instrumental palette wide open for a single continuous piece focused on acoustic strings, synth, flute and percussion. Featuring one of Haino’s most delicate and moving recorded vocal performances, the opening section of the record takes the form of a spare duet between O’Rourke’s 12-string acoustic guitar and Haino’s kantele (a Finnish variant of the dulcimer), behind which Ambarchi provides a hovering backdrop of wine glass tones. While on previous releases the listener has often sensed that Haino was firmly in the driver’s seat, here O’Rourke takes centre stage with an acoustic guitar performance that takes the lyricism of John Abercrombie or Ralph Towner and refracts it through the free improvisation tradition of his mentors Derek Bailey and Henry Kaiser. The atmosphere of meditative, abstracted song is reminiscent of some of Haino’s greatest recordings, such as the legendary ‘Live In The First Year Of The Heisei’ volumes recorded with Kan Mikami.

        After this stunningly beautiful opening sequence, the performance moves organically through a number of episodes, including a dramatic central passage in which Haino moves to synth and drum machine, crafting a current of raw electricity that unfurls slowly over the gently pulsing foundations of Ambrachi’s cymbals and builds to heights of manic intensity. When Haino later turns to wooden flute, Ambarchi answers him with nimble hand-drummed percussion in a passage that calls to mind Don Cherry’s liberated combination of free jazz improvisation and non-western musics.

        The trio’s move away from the power trio dynamic bespeaks a risk-taking and questing spirit that refuses to be satisfied with repeating past glories, and yet the organic, immersive flow of this single improvisation attests to the intuitive bond that has formed between them over the last five years. Exuding the signature mystery and emotion of Haino’s greatest works, this release is perhaps the strongest statement yet from this acclaimed trio, and holds out a tantalizing promise for everyone hooked on their continuing exploration of ‘those things said to be as of yet unseen’. - Francis Plagne.

        This is the first time his extraordinary music has been released. CD in jewel case with large 16 page booklet, full colour rare photos, essay by Will Fowler. Compiles tracks from the ' Volume One' and' Volume 2' LPs.

        Bruce Lacey is the quintessential British eccentric. Bruce Lacey is an artist, a musician, a filmmaker, a shaman, a genius and visionary. Since the 1950s he’s made film, music, art and performances, and collaborated with everyone from the Beatles to Throbbing Gristle.

        He was part of the groundbreaking Cybernetic Serendipity exhibition in 1968. He even built a robot that won the Alternative Miss World.

        Made and recorded using household objects as well as a modified synthesizer (made by a schoolboy in the early 1970s), it ranges from abstract tribal concrete to droning electronic trance. The music will be released across two separate LPs and one CD. Included will be a fine essay about the history of this inspiring figure by BFI / Flipside archivist Will Fowler.

        Bruce Lacey has been a busy man. Since the 1950s he’s been making film, making music, making art, sculpture, rituals, performances and more besides. Many of his films have explored the basics of life and sex all with a sprinkle of irony, realism and ritualism. Many of his films have required music, music which Lacey made himself, improvising with bottles, rattles, typewriters and a tape machine.

        By the early 1970s Lacey was exploring stone circles and ancient rights; he’d also bought a home-made synthesiser from a schoolboy who’d advertised it in Exchange & Mart. He’d made it as a home project. A week later Lacey bought a keyboard from another schoolboy in Exchange & Mart. Lacey set about slowly modifying this synth and improvising music influenced by his stone circle visits over the next few years.

        This music is made only when “The Muse” descends. It is impossible for Bruce to perform this improvised music live. The music he made was occasionally available on cassette at his exhibitions in the 1970s. The late Poly Styrene (who had a copy) compared Lacey’s music to Tangerine Dream. Lacey had not heard of Tangerine Dream. This is the first time this raw and extraordinary music, by one of the UKs most extraordinary men, has been made available.

        The Melvins return with Hold It In, their first studio album as a quartet since 2010's The Bride Screams Murder.

        Joining Buzz Osborne and Dale Crover for the 12-song outing are BUTTHOLE SURFERS' guitar player Paul Leary and bass player JD Pinkus.

        Hold It In was recorded in both Los Angeles and Austin earlier this year.

        "Hold It In is a refreshing piece of fiction in a boring world of fact and bullsh*t," said Osborne. "Paul is one of the best guitar players I have ever heard and Pinkus has an outside the box type of approach to both guitar and bass that you just have to let it ride. I can't believe this actually happened. I'm thrilled."

        "It's very rare you get a chance to work with three folks from the 'Break A Wish' foundation, all at the same time," said Pinkus. "I believe they'll remember their experience with me forever (or until they finally all lose their fight with S.I.D.S)."

        Oozing Wound

        Earth Suck

          Oozing Wound is a thrash trio featuring veterans of Chicago’s underground scene. ‘Earth Suck’ is the explosive follow up to the band’s breakout debut ‘Retrash’, which earned them praise from the New York Times, Pitchfork, Decibel and more

          Oozing Wound were selected by Adult Swim to be a part of their exclusive ‘Singles’ series alongside Sleep, Mastodon, Deafheaven and Diarrhea Planet.

          Oozing Wound have played with High On Fire, The Body, Ash Borer, Wolf Eyes, Nazoranai and Black Pus.

          “Some of the filthiest crossover thrash you’ve ever heard” - Decibel

          “They’re really good at delivering songs with power, but remember, this is also a band with a sense of humor.” - Pitchfork

          “A bulldozing piece of sleazy throat-bawling metal terror that would make those softies in Metallica and Slayer blush” - MTV Hive


          Ltd LP Info: LP packaged with a printed inner sleeve and free download card. Initial copies pressed on special pink vinyl.

          Ora Iso


            Ora Iso’s pieces begin in abstraction, encounter semblances of melody, then disintegrate into fragments. It all comes together as a glorious noise, and Bathcat, the duo’s first album, captures the essence of their nature. The group formed with a shared affinity for challenging pieces. Kathleen Malay, born in Indonesia and a recent transplant to New York via Australia, is a classically trained pianist who found her calling once she met Jason Kudo, a guitarist best known for his work in Modra. Bathcat was recorded with the deft influence of Lary Seven, a fixture on the New York experimental scene since 1970, who has worked with Tony Conrad, Foetus and Jarboe.

            Four days before New York noise musician Margaret Chardiet was supposed leave for her first European tour as Pharmakon, she had a medical emergency which resulted in a major surgery. Suddenly, instead of getting on a plane, she was bedridden for three weeks, missing an organ.

            “After seeing internal photographs taken during the surgery, I became hyperaware of the complex network of systems just beneath the skin, any of which were liable to fail or falter at any time,” Chardiet said. “It all happened so fast and unexpectedly that my mind took a while to catch up to the reality of my recovery. I felt a widening divide between my physical and mental self. It was as though my body had betrayed me, acting as a separate entity from my consciousness.”

            Consumed by these ideas, and unable to leave her bed, Chardiet occupied herself by writing the lyrics and music that would become Bestial Burden, the second Pharmakon LP for Sacred Bones Records. The record is a harrowing collection of deeply personal industrial noise tracks, each one brimming with struggle and weighted with the intensity of Chardiet’s internal conflict.

            Bestial Burden was recorded at Heaven Street Records in Brooklyn, N.Y. with Sean Ragon (Cult of Youth, Venerence), who also recorded 2013’s critically acclaimed Abandon. Ragon allowed Chardiet to experiment with a mix of live recording and tracking, and some of the vocals were recorded live with a small group of people packed into the studio so she could feed off their energy. The result of those sessions is the bar-raising follow-up to Abandon, and an invitation to go even deeper into the sometimes terrifying, always fascinating labyrinth that is Margaret Chardiet’s mind.

            'Cabinet Of Curiosities' is a brand new, nine-track Pop Group compilation which kicks off with the fractured future-funk single 'Where There's A Will', described by Gareth Sager as "The group's best attempt to mix a message with a groove plus some real free playing. If you are really unhinged you may be able to dance to this."

            Next up is the unheard, original previously unreleased version of 'She Is Beyond Good And Evil', probably the band's most infamous song and more recently covered by St Vincent on the Jimmy Fallon show and throughout her 'Strange Mercy' tour. 'Cabinet Of Curiosities' continues with BBC John Peel session tracks 'We Are Time' and 'Words Disobey Me', and rounds up previously unreleased songs 'Abstract Heart' and 'Karen's Car', plus other alternative versions.

            Mark Stewart describes 'Cabinet Of Curiosities' as being of similar status to a lost Pop Group album. The release will also be available as part of a limited CD box set (The Pop Group 'Curiosities') accompanied by memorabilia and an extensive 36 page booklet.

            The Pop Group was born in Bristol in 1977 out of a disenchantment with punk failing to bust out of its rock origins. With mystical fire, enraged by global injustices, the group delivered scathing political and society-indicting messages aboard a post-apocalypse rollercoaster, ferociously straddling their beloved free jazz, conscious funk, heavyweight dub and audacious experimentalism.

            The LP version is on 180g heavyweight vinyl version and includes a download card of rarities by The Pop Group.


            LP Info: Limited grey vinyl pressing.

            After spending over a year collating original singles, albums and previously unreleased studio and live recordings, the Pop Group have created a limited box set containing albums 'We Are Time' and the brand new compilation 'Cabinet Of Curiosities' + 36 page perfect bound book + bookmark + badge.

            'We Are Time', named after one of their most infamous onslaughts was originally released on vinyl in 1980 a nd has been remastered from original tapes becoming available on CD for the first time and also reissued as limited vinyl. Of the early live and studio recordings that comprise 'We Are Time', frontman Mark Stewart says "We Are Time is really 'the' teenage Pop Group album. It's full of defiance and the material demonstrates the band's staunch independence and our really early DIY ethic before the studio became another instrument."

            'Cabinet Of Curiosities', the nine-track compilation includes the fractured future-funk single "Where There's A Will," described by Sager [guitar] as "The group's best attempt to mix a message with a groove plus some real free playing. If you are really unhinged you may be able to dance to this."
            Also included is the original previously unreleased version of "She Is Beyond Good And Evil," probably the band's most infamous song. The set continues with BBC John Peel session tracks "We Are Time" and "Words Disobey Me," and rounds up previously unreleased songs, "Abstract Heart" and "Karen's Car," and other alternative versions.

            The Pop Group was born in Bristol in 1977 out of a disenchantment with punk failing to bust out of its rock origins. With mystical fire, enraged by global injustices, the group delivered scathing political and society-indicting messages aboard a post-apocalypse rollercoaster, ferociously straddling their beloved free jazz, conscious funk, heavyweight dub and audacious experimentalism.

            "It's one of those moments when the cogs of your mind shift and your life is going to irreversibly change forever" - Nick Cave on hearing The Pop Group for the first time.

            The Pop Group

            We Are Time

            'We Are Time' was named after one of the Pop Group's most infamous onslaughts and originally released on vinyl in 1980, has been remastered from original tape s and available on CD for the first time and limited vinyl.

            Of the early studio and live recordings that comprise We Are Time, frontman Mark Stewart says "We Are Time is really 'the' teenage Pop Group album. It's full of defiance and the material demonstrates the band's staunch independence and our really early DIY ethic before the studio became another instrument."

            Guitarist Gareth Sager explains that the band was "trying in an inexplicably naive manner to combine Patti Smith's Rimbaud ramblings, James Brown, the Stooges, Roxy Music, T.Rex and classical aleatoric music. You can hear the results of this on tracks 'Genius Or Lunatic', 'Colour Blind', 'Trap', 'Sense Of Purpose', 'Kiss The Book' and 'We Are Time." He goes on to say "soon after this the band were bringing in other influences, Ornette Coleman, King Tubby, Funkadelic, Debussy, Jacques Brel, Fela Kuti, Steve Reich and then you get 'Thief Of Fire'."

            The Pop Group was born in Bristol in 1977 out of a disenchantment with punk failing to bust out of its rock origins. With mystical fire, enraged by global injustices, the group delivered scathing political and society - indicting messages aboard a post-apocalypse rollercoaster, ferociously straddling their beloved free jazz, conscious funk, heavyweight dub and audacious experimentalism.

            "It's one of those moments when the cogs of your mind shift and your life is going to irreversibly change forever" – Nick Cave on hearing The Pop Group for the first time.


            LP Info: Limited red and white marbled vinyl pressing.

            Detroit three piece Ritual Howls new album tells stories fit for Poe or Lovecraft. On their debut full length for felte, titled Turkish Leather, they incorporate a variety of styles into an ominously self-assured statement of intent, Ben Saginaw and Chris Samuels' sounds providing an imposing form for Paul Bancell's darkly alive lyrics to inhabit. Their influences range from English post-punk to Nick Cave to the industrial sounds of Skinny Puppy, and the band melds them expertly. Combining field recordings with electronics, this music is sound design turned pop. Many tracks here feel cinematic – whether it's the industrial clanging of “A Taste of You,” which brings to mind a Lynchian bar scene, or the gothy synths of “Take Me Up,” a slow burning track that escalates into full on melodrama. It's easy to imagine these twangy guitar lines gracing a scene in a Jarmusch film: their aesthetic owes as much to Tom Waits as it does Ennio Moriccone.

            Ritual Howls manages to take all these influences and come out sounding uniquely morbid, raw and unyielding – never derivative. It's a record that holds nothing back: the band announcing themselves to the world with all of the confidence of long time professionals. Their future audience will greet them with enthusiasm.

            Craig Clouse, aka Shit & Shine, follows up his stunning "Powder Horn" and "Find Out What Happens When People Start Being Polite For A Fucking Change" with this brand new set of pure heat for Gangsigns. Clocking in at just over 31 minutes, this brand new release pushes on from the last just that little bit further, chopping and screwing it’s way from the dancefloor to the slow jam in six easy steps. From the all drums blazing assault of "Be Careful" to the Drexciyan groove of "Can't Be Trusted" via the biggie click of "Catapilllar" this is red hot from the get go. Then do the flip for the KDJ bounce of "Geenskul", the smoothed out "Welly Too Far Away" and the looped funk that is "What’s Wrong With Me" and you got end to end burners. Once again Craig Continues to be one of the most important and original producers out there.

            STAFF COMMENTS

            Matt says: More cough-syrup swiggin', chopped'n'screwed southern disco and Texan house jive. Essential tackl for the fReAkz!!!


            Ltd 12" Info: 180g vinyl

            The Wire

            Issue 369 - November 14

              Richard Dawson
              The Newcastle singer and guitarist weaves his songs from the landscapes and social histories of North East England. By Abi Bliss

              Alfred 23 Harth
              Born in Germany and based in Korea, the multi-instrumentalist and artist reflects on a life spent crossing borders. By Julian Cowley

              Invisible Jukebox - Cooly G
              The London producer and vocalist goes in hard against The Wire’s mystery record selection. Tested by Chal Ravens The Primer Autechre remixes
              From Merzbow and Earth to LFO and Surgeon, a user’s guide to the Sheffield duo’s radical reworkings

              Cross Platform - Moniek Darge
              Nick Cain enters the playful workshop of the Belgian performer, composer and recordist

              Kenny Wheeler
              Philip Clark pays tribute to the Toronto born trumpeter who came to define British jazz

              Katie Gately
              The Los Angeles musician makes sound design for imaginary worlds. By Sam Davies Ascetic House
              US label combines visceral performance with polemical publishing. By Louis Pattison

              Keeping up with the prolific Copenhagen improv collective. By Nathan Budzinski

              Beatrice Dillon
              Human and robot rhythms inspire the London composer. By Maya Kalev

              Global Ear Chennai
              Carnatic music thrives at an annual festival. By Andy Hamilton The Inner Sleeve
              Oreet Ashery on Valeska Gert’s Baby

              Joe Maneri teaches Ashley Paul to hear and play in a different key

              Print Run
              Topless Cellist: The Improbable Life Of Charlotte Moorman by Joan Rothfuss Different Every Time: The Authorised Biography Of Robert Wyatt by Marcus O’Dair
              Check The Technique Volume 2: More Liner Notes For Hip Hop Junkies by Brian Coleman
              The Big Midweek: My Life Inside The Fall by Steve Hanley & Olivia Piekarski

              On Screen
              New films and DVDs: Louis Sarno in Song From The Forest plus Nas: Time Is Illmatic

              On Site
              Recent exhibitions: Skan II in Riga, Latvia

              On Location
              Live: Fort Process, The Scratch Orchestra, PC Music, Guelph Jazz Festival and more

              Fierce new release from Happa's (Bleep / Boomkat Editions) freshly minted label PT5. Newcomers Witch step up with two tough workouts of abrasive techno in the same vein as Kareen, Sheworks, Blawan etc. Brash, acidic movements on "Vent", a claustrophobic vacuum with little room for air which attacks the mind and body through a barrage of spitting acid, rampant snares and industrial clanging. Truss supplies the first remix, coming out with a bleeping, rumbling and slightly tamed version of "Vent", it's the rhythmic interplay between the bleeps and drums that set this track alight. Witch gets back on the controls for a gnarled half-stepper on the flip with "S2007 S2". Around a rotating stepping beat Witch charges the mix with distortion and electricity, slowly morphing it into one biting and frenzied beast. Shifted moves in ever clandestine and emotive directions with his masterful remix of "S2007 S2". Reducing the OG to just sonar bleeps, low oceanic subs and sweeping solar winds. Epic stuff.

              ‘Then It All Came Down’ features JR Robinson joined by Wrest (Leviathan), Ryley Walker and members of Indian, Corrections House, Twilight, Yakuza, Anatomy Of Habit, Come, Mind Over Mirrors and Bloodiest. · The CD edition of ‘Then It All Came Down’ also includes 2013’s ‘You’ve Always Meant So Much To Me’ (on CD for the first time), bringing the total running time to over 73 minutes.

              Wrekmeister Harmonies’ pastoral doom has earned praise from Pitchfork, SPIN, Decibel and Invisible Oranges as a new form of metal composition and performance involving a wide variety of instrumentation.

              Recorded by Sanford Parker (Corrections House) at Steve Albini’s Electrical Audio in Chicago and by Howard Bilerman (Arcade Fire) at Hotel2Tango in Montreal.

              Album artwork by Simon Fowler (Sunn O))), Boris, Earth, The Bug, Wolves In The Throne Room, Lustmord).

              “Nothing short of a vast sonic landscape from the bleakest stretches of ambiance to the highest peaks of gorgeously challenging heavy music” - Steel For Brains

              “A roiling blend of drone, funeral doom, and black metal that grows to Olympian heights” - Stereogum


              LP Info: LP packaged with artworked inner sleeve and free
              download card.

              CD Info: The CD is packaged in a gatefold jacket with a
              printed inner sleeve.

              George Xylouris is a legendary Cretan folk musician, Jim White is an icon of underground music; produced by Guy Picciotto of Fugazi, Goats brings together these varied and inspired personalities to create something undeniably fresh and new.

              George Xylouris was born into a Greek musical family of incomparable stature; his uncle, Nikos Xylouris, is arguably one of the most iconic Greek performers of all time. His father, Antonis Xylouris, better known as Psarandonis, is a worldrenowned singer and lyra player who has long pushed against the boundaries of traditional folk and is famous around the world. George grew up playing the lute and spent much of his youth accompanying Psarandonis on many of his most important recordings and performances, going on to lead several ensembles of his own and playing on more than 70 albums.

              Jim White emerged from the Australian post-punk scene to become one of the most beloved and instantly recognizable drummers of today. Best known for his long-running role in Dirty Three, he is a powerful and original player who has flourished in many settings, White has collaborated, toured and recorded with a wide array of brilliant artists over the years, including Cat Power, Will Oldham, PJ Harvey, Nick Cave, Bill Callahan and many more.

              The addition of Guy Picciotto producing was the final piece of the puzzle and this is the beginning of what looks to be an ongoing collaboration and one of the most expressive and personal of either musician’s long career. For fans of international folk and world sounds, guitar music, improv and avant garde.

              RT @kernowking123: #vinyl choice of the week #1 is ‘Caribou Our Love' a very welcome return @caribouband @PiccadillyRecs
              Sat 25th - 4:30
              RT @ThePinkTeens: Just picked up a pretty nice re of Ned Doheny's 'Hard Candy' from @PiccadillyRecs so good
              Sat 25th - 4:29
              JUST IN: Various Artists - Roadside Edits Volume 1 / Eastbound |
              Sat 25th - 2:19
              NEW TO PRE-ORDER: Glenn Branca - The Ascension / Superior Viaduct |
              Sat 25th - 2:01
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