avant . leftfield . post-rock . drone . experimental


Genre pick of the week Cover of Still Breathing But Already Dead - Inc. The Field Remix by The Suicide Of Western Culture.

The Suicide Of Western Culture

Still Breathing But Already Dead - Inc. The Field Remix

    The Suicide Of Western Culture were formed in 2010 on the outskirts of Barcelona by two guys who bring together their love of lo-fi technology, drones, electronic music, post rock and a radically punk attitude.

    Some of the names that could help you navigate the sound world of the duo are The Field, Holy Fuck, Mogwai, Godspeed You! Black Emperor, Nathan Fake, My Bloody Valentine, Four Tet, Dan Deacon, Seefeel and Michael Rother.

    This band from the Vallés obviously feel really at home on stage, where their fusion of Kraut rhythms, oppressive sounds, ethereal melodies and emotionally charged post-rock blend with the band’s visuals.

    Cerberus Future Technologies

    Frequency Adjustments Vol. 1

      Post apocalyptical, auditory machine-dirge signalling the shift in solar winds and featuring, amongst others Manchester finest hardware mangler, Ste Spandex. Cerberus Future Technologies is a new label featuring cosmic vibrations, interstellar energy and Orgonite-fuelled sonic communications beamed straight outta Levenshulme, MCR. This first compilation is a genuine treasure of a release. The cassette tape features 18 tracks from the galactic creative, mixed via analogue wizardry by starship commander Ste Spandex. Alongside this, purchase of the tape allows digital downloads to all tracks featured on the cassette as individual files - perfect for those DJs wishing to harness Cerberus' alien voodoo in their DJ sets. There's plenty of digital bonuses included too, but let's concentrate on the tape that you'll hopefully have in your hands. The music, as mentioned, conjures up images of a scorched Earth, after a thousand wars and conflicts have obliterated all organic life. Rather than take the sparse, barren aesthetic associated with this music metaphor, Cerberus opt for a fully crazed audio assault, filling the tape with frenetic sonic artefacts as the clattering and splurging of a thousand re-wired machines do battle against just-audible vocals and lashings of acid. Somewhere between Afrikans With Mainframes, Suicide and Ron Hardy all jamming away in a sherm stick-fuelled Muzik Box (Chicago) circa 2040AD. Fuckin' mindblowin'. Hats off to the crew for creating a new sound from our city - there's nothing like this out there at the moment pop pickers, and this surely marks a historical moment in our city's fine DIY heritage. A future classic - handily made collectable and tangible through this beautifully presented cassette tape and made accessible via its connection to the computers that we all live our life through. Essential.

      For soundclips please visit:


      Matt says: Excellent stuff from this burgeoning East-side scene. Beaming truly otherworldly sounds into our collective consciousness, Cerberus Future Technologies could well soundtrack the beginning of a new era for mankind!

      ‘Lease Of Life’ is the follow up to Errors’ critically acclaimed 2012 album ‘Have Some Faith In Magic’. Formulated on the Hebridean Isle Of Jura - the location where George Orwell wrote ‘Nineteen Eighty-Four’ and the place where The KLF are rumoured to have burned a million pounds - the new album is a bold work borne by the confidence and ambition of a band with the desire to combine the exploration of fresh soundworlds combined with their most accessible, immediate songwriting yet.

      Incorporating featured vocalists Cecila Stamp and Bek Oliva, ‘Lease Of Life’ is also the band’s most cohesive album statement to date: a start-to-finish experience that’s bound by recurring constituents and accomplished craft.


      2xLP Info: Heavyweight white vinyl.

      'On A Business Trip To London' is an album of curious electronics and sissy dance conceived under the shadow of Big Ben by Vivid Extreme. Initial research carried out at Ibis City Hotel, London; purple nail polish applied in Berlin and New York City. The result is the perfect and perhaps overdue meeting of emasculated PE, limp-wristed ornamental industrial, sickly minimal synth and cheap suntanned trollop techno. What’s more, its tinny rhythmic ringtone cycles of humiliation and debasement evince an unlikely humanity: there is yearning behind the red ballgag and loud make-up cake; Duck’s piggy eyes betray an implacable melancholy. Indeed, despite the sexually explicit nature of its content, 'On A Business Trip To London' is a highly accessible and often disarmingly pretty work which will appeal to the belissima ballerina in all working men. Required listening for all who admire those qualities most fascinating in a woman: allure, magnetism, power and dominance.

      Exploring Jezebel has been active since 2008’s Locking Up The Husband’s Penis Is Not Slavery, But Rather The Greatest Act Of Kindness Given To A Man and Attending UCLA Lecture On Forced Feminization, and notable releases since include the 12-hour, 8-cassette set Penis Torture Chamber (2010) and 2014’s Performs For Her And Her Bulls (all Hospital Productions). On A Business Trip To London is Exploring Jezebel’s first vinyl offering, and is presented in a full colour gatefold sleeve with two printed inserts; the album will also be issued on CD and digital formats. This release is for ADULTS ONLY. It contains uncensored sexually explicit material unsuitable for minors. You must be at least 18 to purchase this item. Access and/or ownership may be prohibited in certain states/countries.

      Father Murphy, one of the most mysterious and enigmatic musical entities to emerge from Italy in recent years, presents their fifth full-length via The Flenser. This dark psychedelic / industrial cabaret is a religion-themed concept album titled Croce (“Cross” in Italian), one side representing suffering and sacrifice and the flip reflecting what comes after—the end of suffering, resurrection, or perhaps oblivion. The work was recorded by John Dieterich in Albuquerque, NM, and mixed by Greg Saunier.

      From the shadowy atmospheres of Croce spring forth unexpected blurts of impossibly catchy noise pop, at times operatic like some twisted musical detailing the trials and tribulation of the crucifixion. Male and female vocals by Freddie Murphy and Chiara Lee intertwine over distorted blasts of guitar crunch, anchored by stuttering, homebuilt percussion. This sound is textural and nuanced yet noisy and chaotic, carefully sculpted into jagged shards of fragmented pop.

      A-side closer “In Solitude” is an appropriately dour slab of murky miserablism that sounds like a slow sonic death, a haunting dirge that dissolves into that ineffable space between the record’s two sides; the netherworld, the afterlife, Purgatory. But Father Murphy erupts from this stygian blackness with the second half of Croce—the light to the A-side’s dark. “Long May We Continue” retains a doom-like approach at first, stringing a field of metallic shimmer and junkyard percussion together into a spare framework over which dramatic male vocals soar. The female counterpart responds like some demonic Greek chorus, delivering a sense of warmth. Finale “They Won’t Hurt You” is all majestic pipe organ, a stirring and stately court music, lush and lovely and epic, the sound of rebirth: redemptive and restorative, a return from the beyond, arisen from the grave, ascended into the heavens, the sounds drifting upwards, beyond the galaxy, the universe, into the unknowable infinity.

      “… a fascinating listen… an unapologetic venture into head music and contains some powerful compositions. It’s steeped in a sense of reverence, but one that looks below, rather than expecting anything from above.” —Drowned In Sound.

      “The oddball psychedelic chamber pop the Italian duo exhales will creep you out with drones, lullabies, and anguished vocals all competing for frontrunner spot in your next nightmare. Perfect.” —Terrorizer.


      Good Grief

        Good Grief is the wonderful wonderful debut album by Grawl!x, the solo project of ex-My Psychoanalyst singer and guitarist James Machin.

        The music he makes as Grawl!x (pronounced Graw-lix) is gentle and spacious, but with a deep well of feeling that often rises up out of nowhere to take over. This can be joyous, riveting, sometimes even terrifying.

        It’s a varied record that starts out with simple piano and a string quartet arrangement, a gentle opening that acts as a sort of ‘reset’ button on your world, readying you for the 9 tracks that follow.

        Cover Girls is a women only recording and has the following wonderful, unique, charming and beautiful women contributing their voices: Elisabeth Oswell, Katie Oswell, Gena Netherwood, Baby Dee, Jess Roberts, Cosey Fanni Tutti, Melon Liles, Lavinia Blackwall, Alex Jako, Miranda Kinkelaar and Bobbie Watson. The album includes cover versions of songs originally by David Essex, Scraping Foetus off the Wheel, The Buggles, UFO, Einstürzende Neubauten and many more. It is packaged in a beautiful gloss laminated digipack. 

        Al Lover

        Cave Ritual

          Al Lover is a producer from San Francisco, but there’s more layers to his wall of sound than meets the ear. Over the last few years he has gained much notoriety for his melding of contemporary and past garage and psychedelic rock into spaced out abrasive beats. Often compared to producers like Edan, J-dilla and Gaslamp Killer, Al gravitates towards a sound composed of crunchy drums, shaky percussion, chopped samples and layers of textured effects building on the psychedelic music of the past and present.

          His first release through Stolen Body Records will come out on January 26th and is called Cave Ritual.


          Ltd LP Info: REISSUE ON BLACK VINYL!

          Pan is the first solo effort from Jonas Munk released in his own name. Jonas Munk is a musician and producer from Odense, Denmark who has been active in a wide range of musical styles for the past decade. In the European psych-rock community he is mostly known as the guitarplayer in the respected stoner/jazz/krautrock-outfit Causa Sui as well as related projects such as Chicago Odense Ensemble, a joint session project featuring members of Causa Sui, Chicago Underground Collective and Tortoise, which resulted in a 2LP released in 2011.

          Outside of these circles Munk is best known as a producer of electronic music, most recently with a full-length collaboration with German synthmeister Ulrich Schnauss. Munk also holds a masters degree in philosophy with a thesis on music and consciousness. Pan simultaneously betrays his connections to the European stoner-rock community and the world of electronic ambient music – this album combines ideas from both worlds, while the result really doesn't belong in neither of them. With Pan's motoric analog synthesizer patterns and its warm, fuzzy drones the influence from 1970's German synthesizer- and new age music, such as early Kraftwerk, Ashra and Popol Vuh, is apparent from the first note. But there's also definite traits of American styles running through this album – from the flowing optimism of Alice Coltrane and Terry Riley to the modern-day psychedelia of Comets on Fire and Bardo Pond. While large parts of Pan has been programmed on electronic equipment there's a jam-like quality emanating from album's seven tracks.

          The album reflects the idea of giving up rationality and control with the purpose of letting the music flow towards it own ends. The compositional ideas are incredibly simple while still carrying a certain depth. Soundwise Pan is all about analog machines, 30+ year old synthesizers, detuned guitars and heavily cranked vacuum tube amplifiers weaving together in fuzzy, pulsating glory. The title Pan refers to the ancient Greek word meaning all or everything.


          LP Info: Repress.


          Live At Clouds Hill

          "Nisennenmondai - Live at Clouds Hill" is the new live record from the Tokyo-based all-female intrumental trio Nisennenmondai. Recorded Live in Hamburg by Johann Scherer (producer i.e. for Gallon Drunk, Bosnian Rainbows) the longplayer is supported by a European tour! Nisennenmondai formed in the late '90s and took their name from the Japanese translation of the then-current phrase 'Y2K bug'.

          "Nisennenmondai - Live at Clouds Hill" will be released as a part of the 'Live at Clouds Hill' series. The included tracks are live versions of Nisennenmondai's LP "N" (Bijin Records, Sept. 2014). The idea of "... live at Clouds Hill" - releases is extremely simple. Johann Scheerer (owner of Clouds Hill Recordings Studio, in Hamburg, Rothenburgsort) invites a band/artists to his recording studio. The band / artist performs in front of a small live audience a maximum 64-minute long set which is exactly the length of 2 x analog tapes. The performance will be recorded live and mixed simultaneously, and straight away sent off for mastering and vinyl manufacturing. Band / artist, as well as Johann Scheerer as the producer, sound engineer and the live audience are forced to focus on the uniqueness of the moment, because the final outcome is irreversible.

          Charlemagne Palestine & Rhys Chatham

          Youuu + Mee = Weee

          This is the first recorded collaboration between Charlemagne Palestine and Rhys Chatham. And it's precious. After the musical meeting with Tony Conrad (SR204), and with Z'ev (SR340), this new Sub Rosa session creates a trilogy. 166 minutes with Charlemagne Palestine: piano Bösendorfer, orgue Yamaha and voice and Rhys Chatham: trumpet, loop pedal, electric guitar.

          Rhys Chatham studied under electronic music pioneer Morton Subotnick and minimalist icon La Monte Young and was a member of Young's group, The Theater of Eternal Music, during the early seventies. Chatham also played with Tony Conrad in an early version of Conrad's group, The Dream Syndicate. By 1977, Chatham's music was heavily influenced by punk rock, having seen an early Ramones concert. He was particularly intrigued by and influential upon the group of artists music critics would label No Wave in 1978. Members of the New York City noise rock band Band of Susans began their careers in Chatham's ensembles; they later performed a cover of Chatham's "Guitar Trio" on their 1991 album, The Word And The Flesh. This parallels the way that members of fellow NYC noise rockers Sonic Youth began their careers in Branca's ensembles.

          Piccadilly Records

          Mono Colour Print - Black Tote Bag

            One colour 'mono' print (white) of the Piccadilly Records logo on a black tote bag.

            Sula Bassana


              A monster of a new album form German psych / kraut orbiters Sula Bassana.

              A departure from the epic (fully sold out) back catalogue of previous releases, this treads an alternate path to the stars, consisting of 4 sides of wax comprising 8 killer cuts of pulsing, trancelike electronics. A kosmische blend of motorik grooves and ambient trance…

              The “band” is pretty much a solo project for Electric Moon / Zone Six’s Dave Schmidt- who wrote, recorded and produced everything himself on synths, sequencers and drum machines; with track titles decided upon as tip of the hat to some of Dave’s Sci-Fi, B-movie heroes.

              The double LP set here extends upon the long sold Sulatron CD, by including 3 additional cuts unique to this vinyl pressing and comes dressed in the most beautiful ‘Lulu Artwork’ sleeve, across 2 colours of vinyl. An absolute must for all fans of Schulze, T.Dream, areas of the Cluster canon and latter day heroes like Panabrite, JD Emmanuel, Expo 70 etc….

              A very limited pressing of 500 with most already pre-sold in mainland Europe so do move quickly. A Zone Six full length also appears later in the year on Deep Distance.

              Wilderness Hymnal


              "Wilderness Hymnal is an experimental project led by Manchester-based multi-instrumentalist G.H.R. Leeming. Drawing on themes of nature, psychology and mythology, his work emerges at the intersection between Ulver and Dead Can Dance, Chelsea Wolfe and Scott Walker. Immersive and evolving, here he carves out a unique sonic landscape of seething psychedelic drone, shape-shifting post-rock and eerie, apocalyptic piano music."

              “An aura-soaked one-man vision…ethereal and expansive.” – The Sleeping Shaman. 

              The fourth release from Roland P. Young on EM Records sees him moving ever deeper, earthbound and rooted, yet simultaneously flying further out, expanding his exploration of untethered celestial realms. Recorded in 2014 following a move to Tel Aviv, the title 'Confluences' hints at the blend of cultures and histories in his new homeland, and is reflected in the music, which shows a range of cultural influences, filtered through Young's unique sensibility and vision. This is a calm, spiritual set, evidencing an inner comfort that was less prevalent on his Brooklyn recordings. This is not to imply that RPY is no longer searching; this release brings to fruition the promise of earlier recordings such as 'Isophonic Boogie Woogie' (EM 1045CD/HJ-LP) and 'Istet Serenade' (EM 1087CD/LP), made complete via Young's multi-instrumental chops on sax, bass clarinet, kalimba, and keyboards working in tandem with his rhythm and bass programming skills, his multi-track studio mastery, and an ever-evolving sense of musical form and drama. The confluences of cultures are of course swirling throughout this release, but also the confluences, as noted above, of the earthy and the celestial, as well as the temporal confluences of the past, present, and future. Perhaps more than any of his previous releases, 'Confluences' realises Young's description of his own work as "Afro spiritual minimal electronic space music." Available on CD and LP, this release is the next stage of Roland P. Young's never-ending voyage. Get on board!

              RT @OfficialHotBurr: chastity belt's new album is just the feminist garage punk i needed in my day.
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