Faitiche is ten years old. October 2008 saw the release of Ursula Bogner - Recordings 1969-1988, for which the label was created. While working as a scientist in the pharmaceuticals sector, Ursula Bogner experimented with electronic music, undiscovered, for over three decades. When Jan Jelinek first heard Bogner’s work in 2008, he was enthusiastic. The resulting album, compiled by Jelinek from Bogner’s extensive oeuvre, is being reissued in a remastered version (LP/digital) to mark the label’s tenth anniversary. The new version also includes four bonus tracks that were previously only available on a vinyl 7" single.
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The musicians: Ulrich Schnauss, born in Kiel in 1977, now residing in London, three solo albums released to date, Engineers keyboard player and an in-demand remixer (Mojave 3, Depeche Mode, Lunz/Roedelius, to name just a few). Mark Peters, born in Liverpool in 1975, bass player, guitarist, vocalist and songwriter in the British band Engineers, also three album releases to their name thus far.
The music: synthesizer, piano, guitar and drum computer, a reduced, yet bacchanal instrumental combination of ambient, electronica and shoegaze sounds. Transporting the sound of shoegazer aesthetics into an electronic context, this is how Ulrich Schnauss once described his artistic goal. Influenced by bands such as My Bloody Valentine, Slowdive, Cocteau Twins and Chapterhouse on the one hand, yet wholly at ease with the electronica of bands like The Orb, Bionaut, Orbital, 808 State and unequivocally appreciative of veterans of the genre, Tangerine Dream or Manuel Gottsching for example. A brother in spirit of Robin Guthrie one might say, an apposite epithet for Schnauss. His collaborative partner Mark Peters might also be considered his soul brother. Through his band, Engineers, he has similarly found success in following the footsteps of his musical paragons. Engineers have released wonderful albums of dream pop, infused with the same spirit as the solo efforts of Schnauss.
The music: synthesizer, piano, guitar and drum computer, a reduced, yet bacchanal instrumental combination of ambient, electronica and shoegaze sounds. Transporting the sound of shoegazer aesthetics into an electronic context, this is how Ulrich Schnauss once described his artistic goal. Influenced by bands such as My Bloody Valentine, Slowdive, Cocteau Twins and Chapterhouse on the one hand, yet wholly at ease with the electronica of bands like The Orb, Bionaut, Orbital, 808 State and unequivocally appreciative of veterans of the genre, Tangerine Dream or Manuel Gottsching for example. A brother in spirit of Robin Guthrie one might say, an apposite epithet for Schnauss. His collaborative partner Mark Peters might also be considered his soul brother. Through his band, Engineers, he has similarly found success in following the footsteps of his musical paragons. Engineers have released wonderful albums of dream pop, infused with the same spirit as the solo efforts of Schnauss.
Electronic duo Ulrich Schnauss (A Long Way to Fall, A Strangely Isolated Place) and Mark Peters (of the band Engineers) return with a second collaborative album titled Tomorrow is Another Day, released by Bureau B. This second project offers a sublime exploration into their signature expressionistic landscapes while exploring the potential of a collaborative model in which Schnauss's keyboards and Peters's guitar work together in juxtaposition.
Ulrich Schnauss, born in the industrial port town of Kiel in northern Germany in 1977, emerged in Berlin's drum 'n bass scene in the mid-1990s. Mark Peters was born in Liverpool in 1975 and embraced a deeply euphonic pop aesthetic that incorporated intricate formal structures. The two musicians met years ago when both were making shoegaze music and formed a close friendship. Schnauss joined Peters's band Engineers as a keyboardist in 2010. After the collapse of the second-wave shoegaze movement in the early 2000s, both musicians drifted away from the genre's dreamy, shimmering aesthetic and returned solidly to their own musical roots. Peters has subsequently explored classic, guitar-based music and Schnauss has returned to his origins as an electronica producer.
Tomorrow is Another Day represents a maturing of the pair's creative process. Following their first collaborative album titled Underrated Silence (2012), which seamlessly blends the two instrumental voices into an integrated sonic landscape that delivers surprisingly intense emotion beneath the surface of its delicate composition, Schnauss and Peters subsequently began to craft a musical exchange in which each musician's contribution was emphasized in contrast to the other's voice. The differences in Schnauss' and Peters's musical backgrounds are highlighted and embraced as their two voices emerge in dialogue. Here, the synths are drier, the guitars more discreet. The shifting tonality of the music's richly layered patterning defines its composition with punctuated gestures as melodic lines emerge in sharper relief. With neither musical style overpowering the other, the effect is that of two equally masterful voices in coherent conversation, celebrating the dynamic nature of instrumental combination and exploring a new method of creative approach - one that allows for concurrence and dissent, in turn.
Ulrich Schnauss, born in the industrial port town of Kiel in northern Germany in 1977, emerged in Berlin's drum 'n bass scene in the mid-1990s. Mark Peters was born in Liverpool in 1975 and embraced a deeply euphonic pop aesthetic that incorporated intricate formal structures. The two musicians met years ago when both were making shoegaze music and formed a close friendship. Schnauss joined Peters's band Engineers as a keyboardist in 2010. After the collapse of the second-wave shoegaze movement in the early 2000s, both musicians drifted away from the genre's dreamy, shimmering aesthetic and returned solidly to their own musical roots. Peters has subsequently explored classic, guitar-based music and Schnauss has returned to his origins as an electronica producer.
Tomorrow is Another Day represents a maturing of the pair's creative process. Following their first collaborative album titled Underrated Silence (2012), which seamlessly blends the two instrumental voices into an integrated sonic landscape that delivers surprisingly intense emotion beneath the surface of its delicate composition, Schnauss and Peters subsequently began to craft a musical exchange in which each musician's contribution was emphasized in contrast to the other's voice. The differences in Schnauss' and Peters's musical backgrounds are highlighted and embraced as their two voices emerge in dialogue. Here, the synths are drier, the guitars more discreet. The shifting tonality of the music's richly layered patterning defines its composition with punctuated gestures as melodic lines emerge in sharper relief. With neither musical style overpowering the other, the effect is that of two equally masterful voices in coherent conversation, celebrating the dynamic nature of instrumental combination and exploring a new method of creative approach - one that allows for concurrence and dissent, in turn.
Highly respected German electronic music composer Ulrich Schnauss releases a career spanning retrospective seven CD boxset. As all the recording rights reverted back to Ulrich he has taken the opportunity to remaster his entire back catalogue to be released on his own Scripted Realities label. The two most recent of the albums, A Long Way To Fall and No Further Ahead Than Today have both been extensively reworked. The set also contains an 18 track compilation of outtakes, demo's & fragments including a cover version of Scott Walker’s ‘It’s Raining Today’ and Ulrich’s version of Bach’s ‘Prelude And Fugue No1 in C Major’. With 14 of the 18 tracks being so far unreleased. Each of the album's artwork have also been refreshed. This release makes Ulrich's music available again after an 18 month period. These seminal electronic albums are sounding contemporary and fresh. Contains the albums “Far Away Trains Passing By” “A Strangely Isolated Place” “Goodbye” “A Long Way To Fall – Rebound” “No Further Ahead Than Tomorrow” & “Now Is A Timeless Present” – (Outtakes ,Demos & Fragments) with a total of 73 tracks on seven CD’s. Similar artists Jon Hopkins, Brian Eno, Tycho.
Australia's U-Bahn came stomping into 2019 with a collage of glam-pop and new wave. Describing their music as 'nostalgia for futures that never came to pass; suburban boredom and sexual dystopias', the Melbourne 5-piece will thrill and baffle audiences alike with their debut LP, teeming with futurist art-punk.
Originating from singer Lachlan Kenny's bedroom recordings, a chance meeting between him and Zoe Monk over the purchase of a vintage drum machine, followed by the recruitment of Leland Buckle, Jordan Oakley and Mitch Campleman, the band quickly honed their live show before taking their ideas to the stages of the Melbourne DIY circuit. Kenny was eager to set down their ideas on vinyl; crafting a suite of self-recorded and mixed songs that's charm lies in their lo-fi production values, as Kenny relates: 'I think that that naive, ill-informed recording process ultimately aided in giving the record its character.'
There's a distinct agenda that the band identify with, something clearly audible in their music. From Beta Boyz' satirical jabs at toxic masculine culture, to the tale of cat-calling told in Scantly Clad, the band lyrics deftly weave between surreal flights of fancy and serious social critique. In their own words, Right Swipe's Tinder tale “pens a tongue in cheek narrative detailing the deceptive exploits of your everyday ‘f**k boy”, while Damp Sheets “encourages sexual exploration - but for god sakes, rubber up and protect yourself from the dreaded ‘southern lice'”, as Kenny characterises the track. Bubblegum centrepiece Right Swipe is draped in reverb, analogue synths and off-beats - while their clear penchant for melody and memorable hooks shines through the bizarro aesthetics. Its addictive chorus shows the band can leave you humming despite their abstract thinking; the synths and bass swirl around Kenny’s ironic/serious lyrics, 'baby you can't resist the manipulation'.
From their heavily aestheticized stage-show, to the joyously unsettling homages to Kubrick evident in the Beta Boyz music video - U-Bahn want you to know. “We take things very seriously, inside music and in the world at large. However, we don’t want surrealism, or Marxism, to get in the way of the audience’s experience. We won’t limit our creative outpourings by labelling ourselves as anything other than neurotic music-nerds. Let the audience come to their own conclusions.”
The band approaches song writing like children at play; open to anything, delighted with results that seem weird or amusing. Kenny explains, 'The intention has always been to make music with no categories or creative barriers, drawing from the concept of 'Organised Sound' rather than any Rock & Roll ethos.' This methodology, along with their clear love for outsider art, Devo and R. Stevie Moore – the aristocratic glamour of Brain Eno combined with the icy robotics of Kraftwerk; the wild ride of genres and ideas that define U-Bahn’s style is steeped in a heritage of music’s strange and unforgettable mavericks.
With the creation of their follow-up album already under way, festival appearances and tours on the horizon, as well as an audience buzzing with anticipation for what will come next from the band, U-Bahn are poised on the brink of taking their tales of the eccentric and the marvellous to the stages of the world.
Originating from singer Lachlan Kenny's bedroom recordings, a chance meeting between him and Zoe Monk over the purchase of a vintage drum machine, followed by the recruitment of Leland Buckle, Jordan Oakley and Mitch Campleman, the band quickly honed their live show before taking their ideas to the stages of the Melbourne DIY circuit. Kenny was eager to set down their ideas on vinyl; crafting a suite of self-recorded and mixed songs that's charm lies in their lo-fi production values, as Kenny relates: 'I think that that naive, ill-informed recording process ultimately aided in giving the record its character.'
There's a distinct agenda that the band identify with, something clearly audible in their music. From Beta Boyz' satirical jabs at toxic masculine culture, to the tale of cat-calling told in Scantly Clad, the band lyrics deftly weave between surreal flights of fancy and serious social critique. In their own words, Right Swipe's Tinder tale “pens a tongue in cheek narrative detailing the deceptive exploits of your everyday ‘f**k boy”, while Damp Sheets “encourages sexual exploration - but for god sakes, rubber up and protect yourself from the dreaded ‘southern lice'”, as Kenny characterises the track. Bubblegum centrepiece Right Swipe is draped in reverb, analogue synths and off-beats - while their clear penchant for melody and memorable hooks shines through the bizarro aesthetics. Its addictive chorus shows the band can leave you humming despite their abstract thinking; the synths and bass swirl around Kenny’s ironic/serious lyrics, 'baby you can't resist the manipulation'.
From their heavily aestheticized stage-show, to the joyously unsettling homages to Kubrick evident in the Beta Boyz music video - U-Bahn want you to know. “We take things very seriously, inside music and in the world at large. However, we don’t want surrealism, or Marxism, to get in the way of the audience’s experience. We won’t limit our creative outpourings by labelling ourselves as anything other than neurotic music-nerds. Let the audience come to their own conclusions.”
The band approaches song writing like children at play; open to anything, delighted with results that seem weird or amusing. Kenny explains, 'The intention has always been to make music with no categories or creative barriers, drawing from the concept of 'Organised Sound' rather than any Rock & Roll ethos.' This methodology, along with their clear love for outsider art, Devo and R. Stevie Moore – the aristocratic glamour of Brain Eno combined with the icy robotics of Kraftwerk; the wild ride of genres and ideas that define U-Bahn’s style is steeped in a heritage of music’s strange and unforgettable mavericks.
With the creation of their follow-up album already under way, festival appearances and tours on the horizon, as well as an audience buzzing with anticipation for what will come next from the band, U-Bahn are poised on the brink of taking their tales of the eccentric and the marvellous to the stages of the world.
Rebel in Styylle is one of the last four U-Roy albums and on this one, The Originator, like people call him, has decided to share each song with one artist, just to name a few: George Nooks, Anthony B, Bushman and Tony Curtis. He used some of the top musicians in Jamaica to record, such as China Smith, Obeah, Axeman and Dean Fraser. So of course, the result sounds like of the best U-Roy album and everyone who loves the king of toasters should have it!
"Duntisbourne Abbots..." is U-Ziq's first new album for four years and first new material released since 2005. It's a more reflective body of work compared to the whirlwind of chaos that was "Bilious Paths"; introspective and rather melancholic, U-Ziq revisits his roots in the early 90s ambient techno scene pioneered by, among others, The Black Dog, Aphex Twin and himself. Amongst these 17 tracks of off-key melodies, nauseous harmonies and woozy beats can be found gems such as the beautiful "Strawberry Fields Hotel" in which a lone bassline strikes out a refrain of unexpected simplicity while bees swarm overhead around a fig tree. And "Drum Light" where a five-part melody gives way to a startling noise assault. "Acid Steak Night", a collaboration with label-mate The Doubtful Guest, is a more straightforward techno number with 303 basslines warring it out with spooky melodic synth lines. A melodic tour de force.
It’s now 20 years since U.S. Maple and ‘Talker’ were sent to the Drag City office. Their third album took the egressions and abrasions of their early music to a new height of quiet horror, their contribution to the summer of 1999 - a hot, trying season, one that won’t soon be forgotten.
‘Talker’ was recorded by Martin Bisi and produced by Michael Gira at Bisi Studios. U.S. Maple made two more records after ‘Talker’ before dissolving in the mid 2000s. ‘Talker’ has been out of print on vinyl since 2008.
‘Talker’ has been newly repressed for vinyl with all original packaging (gatefold sleeve, notebook paper insert, poster, cover sticker) because some experiences, like high school, should keep getting replayed over and over again, forever. “One of the most obliquely beautiful releases... evasive, creepy, engrossing, and lovely... No one sounds quite like U.S. Maple, and that’s the greatest compliment you can pay a band these days.” - AV Club
“Droning, rubbery guitars, happenstance percussion and slow-burning tempos... the sonic equivalent of fresh tar: dark, hot and viscous. For all its surface chaos however, ‘Talker’’s noise has an underlying space and structure that makes it as compelling as it is initially inaccessible; once caught in its sonic tar pits, it’s fascinating to hear what else is stuck in there.” - All Music Guide
‘Talker’ was recorded by Martin Bisi and produced by Michael Gira at Bisi Studios. U.S. Maple made two more records after ‘Talker’ before dissolving in the mid 2000s. ‘Talker’ has been out of print on vinyl since 2008.
‘Talker’ has been newly repressed for vinyl with all original packaging (gatefold sleeve, notebook paper insert, poster, cover sticker) because some experiences, like high school, should keep getting replayed over and over again, forever. “One of the most obliquely beautiful releases... evasive, creepy, engrossing, and lovely... No one sounds quite like U.S. Maple, and that’s the greatest compliment you can pay a band these days.” - AV Club
“Droning, rubbery guitars, happenstance percussion and slow-burning tempos... the sonic equivalent of fresh tar: dark, hot and viscous. For all its surface chaos however, ‘Talker’’s noise has an underlying space and structure that makes it as compelling as it is initially inaccessible; once caught in its sonic tar pits, it’s fascinating to hear what else is stuck in there.” - All Music Guide
U.V. are an electronic duo comprising singer Zandra Klievens and writer / producer Jonjo Feather. They formed in late 2012 and are based in Manchester, U.K. They spent their formative months writing and performing in Berlin and returned to the UK in June 2013. Zandra is the former lead vocalist with NME favourites The ABC Club and Jonjo has previously released two critically acclaimed solo albums under his own name. U.V. released their first single 'Wish' in June 2013. Their new single 'Receiver' is out now on limited edition audio cassette and download.
Third Man Records is proud to announce the release of "The Blackout," a limited edition U2 12" in conjunction with Island Records. The limited edition U2 12" will be available for Record Store Day Black Friday, November 24th. "The Blackout" marks the first physical release from U2's eagerly awaited new album, SONGS OF EXPERIENCE, due later this year. The 12" includes both the original album version backed by an exclusive remix by the band's longtime collaborator, Jacknife Lee. Hailed by Rolling Stone as "a dynamic new track,"
"The Blackout" was revealed this summer via a surprise live video, filmed during U2's blockbuster Joshua Tree Tour 2017. Third Man co-founder Ben Blackwell said, "The sound quality of this incredibly special record is a perfect example of the caliber of product Third Man Pressing is capable of producing. We couldn't be more proud." TMR's "The Blackout" 12" will be extremely limited, with just one single pressing at Third Man Pressing, the label's state-of-the-art vinyl production facility in Detroit. Black vinyl editions will be available at all participating Record Store Day shops.
"The Blackout" was revealed this summer via a surprise live video, filmed during U2's blockbuster Joshua Tree Tour 2017. Third Man co-founder Ben Blackwell said, "The sound quality of this incredibly special record is a perfect example of the caliber of product Third Man Pressing is capable of producing. We couldn't be more proud." TMR's "The Blackout" 12" will be extremely limited, with just one single pressing at Third Man Pressing, the label's state-of-the-art vinyl production facility in Detroit. Black vinyl editions will be available at all participating Record Store Day shops.
Reduced
"No Line On The Horizon" is U2's twelfth studio album, and follows the massive success of 2004's "How To Dismantle An Atomic Bomb". The first single from the album, "Get On Your Boots", may be an all-out rocker akin to previous successes like "Vertigo", but the remainder of the album sees the band diversifying in ways similar to their "Zooropa" days. It is inescapably a U2 album, though, so Bono's vocals still speak of injustices personal and global, and The Edge's guitar work continues to be both feathery and metallic in equal dose.
FORMAT INFORMATION
Ltd CD Info: Limited edition digipak includes 36 page colour booklet and fold out poster along with access to exclusive downloadable Anton Corbijn film.
13th studio album from the Irish stadium rocking 4piece. The latest collection of songs from Bono, Edge, Larry and Adam is 11tracks including brand new single ‘The Miracle (Of Joey Ramone) as well as potential future singles ‘Song for Someone’, ‘Every Breaking Wave’ and ‘Trouble’ ft Lykke Li. Recorded over the last 4 years, produced by Danger Mouse, Ryan Fedder and Paul Epworth.
U2's "The Joshua Tree" has been meticulously remastered from the original analogue master tapes to mark 20 years since its release. 'There has been continuous demand from U2 fans to have "The Joshua Tree" properly re-mastered', says Paul McGuinness. 'As always, the band had to make sure it was right, and now it is.' In 1987, "The Joshua Tree" reached Number 1 around the world and won a Grammy for 'Album of the Year', while U2 won the Brit Award for Best International Act and Time Magazine put the band on its cover, proclaiming them 'Rock's Hottest Ticket'. Including the singles "I Still Haven't Found What I'm Looking For", "Where The Streets Have No Name" and "With Or Without You", "The Joshua Tree" went on to sell in excess of 20 million.
FORMAT INFORMATION
2xLtd CD Info: Deluxe edition including a second CD of B-sides and demos from the original album sessions.
"Sex, Dreams and Denim Jeans" was put together over three years, recorded in various apartments around Paris whenever Uffie was able to take short-lived breaks from touring. The album has all the hallmarks of the hedonistic club kid who introduced herself with the fearless "Pop The Glock" back in 2006, while the influence of Feadz and the production hand of beat-and-synths wizard Mr Oizo are strongly felt over many of the tracks. But there is also a melodic, pop sensibility being explored for the first time. The result can be heard in the likes of title track, which samples Lou Reed but sees Uffie toying with John Hughes-esque high school heartbreak, and "Illusion Of Love", which features the dulcet tones of Matte Safer (The Rapture). Another important influence over "Sex, Dreams & Denim Jeans" happened when Uffie was introduced to Mirwais while recording the album. Having worked on Madonna albums such as "Music" and "Confessions On A DanceFloor", Mirwais was perfectly poised to helped nurture Uffie's inner pop star. Tracks like "ADD SUV" (featuring Pharrell) poke fun at the rap fraternity's obsession with possessions, but at the core of this idiosyncratic album, in which Uffie flits from rude girl to sweetheart, is fun.
FORMAT INFORMATION
Ltd CD Info: Limited edition CD comes in denim pocket.
Ugly Things
Issue #52 - Winter 2019
"For this issue, legendary rock photographer Chuck Krall (Creem, Rock Scene, Rolling Stone) opened his archive to us including rare and unseen photos from the 1970s (the Ramones, Bo Diddley, Arthur Lee, the Dead Boys, Flamin’ Groovies, Link Wray and more), and also shares his remarkable story.
We also have feature stories on Florida ‘60s garage gods We the People, Aussie proto-punk hard rockers Coloured Balls, mercurial blues guitar master Michael Bloomfield, New England ‘60s teen crazies Rasputin & the Mad Monks, obscure UK new wavers the Kameras, cult private press psych/hard rock band Seiche, and the early Pretty Things remembered by their first manager, Bryan Morrison. And look for our expansive, mind-bending interviews with Cleveland proto-punk legend Craig Bell (Mirrors, Rocket From The Tombs), eccentric pop genius Brute Force, and the late Don Grady (My Three Sons, Yellow Balloon).
All this and more, including our eagerly pored over review sections covering the latest reissues and rock-related books. (152 pages)"
We also have feature stories on Florida ‘60s garage gods We the People, Aussie proto-punk hard rockers Coloured Balls, mercurial blues guitar master Michael Bloomfield, New England ‘60s teen crazies Rasputin & the Mad Monks, obscure UK new wavers the Kameras, cult private press psych/hard rock band Seiche, and the early Pretty Things remembered by their first manager, Bryan Morrison. And look for our expansive, mind-bending interviews with Cleveland proto-punk legend Craig Bell (Mirrors, Rocket From The Tombs), eccentric pop genius Brute Force, and the late Don Grady (My Three Sons, Yellow Balloon).
All this and more, including our eagerly pored over review sections covering the latest reissues and rock-related books. (152 pages)"
Uji spins a hypnotic spell of sounds on his debut solo release; “Alborada”, joining the canon of recent producers re-imaging world sounds within the realms electronic music - think Auntie Flo, Nicola Cruz, Clap! Clap! and Populous. Yet his music has thoughtful nuance and textural depth, exploring a rich organic palette of sounds that will easily appeal to fans of Nicolas Jaar, Pantha Du Prince and John Talabot too.
Having been born in Buenos Aires, Argentina, and raised throughout Latin America - the album reflects his experiences in both the Latin American and Afro-Latin diasporas. On tracks like “La Descarri“ featuring Corina Lawrence and Miss Bolivia, Uji skillfully crafts scenes from the high plains of Bolivia in their yearly carnaval celebrations before transporting us to Colombia’s tropical “pueblos” (villages) - dancing into the sweaty night on his remix of Petrona Martinez’s “Mariangola/Milagros” and then to daybreak in a Berlin warehouse on “Kiok” featuring Barrio Lindo.
Most of the sounds on the album are field recordings done by Uji himself, compiling a vast sound bank over the years on his global travels, including a wide array of instruments from his collection such as; congas, cununo, marimba, balafon, charango, bombo leguero, sonajas, as well as analog drum machines, samplers, synthesizers and vocals. A multi layered assemblage with deep and rich textures from around the world.
Having been born in Buenos Aires, Argentina, and raised throughout Latin America - the album reflects his experiences in both the Latin American and Afro-Latin diasporas. On tracks like “La Descarri“ featuring Corina Lawrence and Miss Bolivia, Uji skillfully crafts scenes from the high plains of Bolivia in their yearly carnaval celebrations before transporting us to Colombia’s tropical “pueblos” (villages) - dancing into the sweaty night on his remix of Petrona Martinez’s “Mariangola/Milagros” and then to daybreak in a Berlin warehouse on “Kiok” featuring Barrio Lindo.
Most of the sounds on the album are field recordings done by Uji himself, compiling a vast sound bank over the years on his global travels, including a wide array of instruments from his collection such as; congas, cununo, marimba, balafon, charango, bombo leguero, sonajas, as well as analog drum machines, samplers, synthesizers and vocals. A multi layered assemblage with deep and rich textures from around the world.
FORMAT INFORMATION
2xLP Info: The LP comes in deluxe reverse-board sleeve with double-printed metallic gold Pantone design.
GAMM have only dropped two of their 'battle weapons' previous to this - tracks so illusive and powerful they have to be released in short supply under strict embargos.
For the third installment, Ukokos and keyboard wizard Jabco lay down some Dilla(ish) hip-hop beats and piano action over that incredible live video clip that went viral with Kanye West's Sunday Service band doing a combined live gospel / soul cover of "Keep Rising To The Top" and "All Night long". 100% guaranteed to get Tarquin and Esme runnin' over to the decks eagerly requesting a track I.D....
Limited quants!
For the third installment, Ukokos and keyboard wizard Jabco lay down some Dilla(ish) hip-hop beats and piano action over that incredible live video clip that went viral with Kanye West's Sunday Service band doing a combined live gospel / soul cover of "Keep Rising To The Top" and "All Night long". 100% guaranteed to get Tarquin and Esme runnin' over to the decks eagerly requesting a track I.D....
Limited quants!
STAFF COMMENTS
Sil says: Gospelian funk drenched in soulful vibes courtesy of G.A.M.M. Perfect heart warming tackle that will fly off the shelves!
The fourth Plafond is here, with fine-crafted contrasting yet complementary pieces courtesy of Ulla Straus and Oceanic.
Along the wide arbitrary landscape of listening or 'ambient' music, it is a delight to have two artists, separated by the vast Atlantic, contributing quite opposite interpretations of such to the series. Perceptual time feels as a recurrent theme which binds them, albeit in a whole different modus operandi. In her iconic tactile productions, Straus excavates levels of advanced musical complexity in the seemingly most simple. Throughout two tracks her crude and beautiful technique riffles, compositions that remain prone to the transient, combining field recordings with morphing saxophone and guitar. This is deeply evocative music that turns its recipient into a mode of contemplation. 'I Forgot to Take a Picture' breathes melancholic romanticism, 'Becoming Warm' feels lorn yet hopeful. Pastoral haze over a rouge-tainted barren, the crackling insides of a wooden forest house. Picturesque and minimalist, Pennsylvania's Straus manages to temporarily stop the sand from gravitating downwards. Oceanic antagonises Straus with the triptych 'Three Sides of a Shell', recalling different emotions adhering to the fourth dimension. As a performing artist Oceanic masters the element of suspense. Here, over the course of nineteen minutes, a three-note sequence is explored within the producers imaginatory, chapterised, providing moments to navigate through his fictitious galaxy. Stuttering melodies across azure waters, synthesised bleeps as flickering stars over a moonlit mountain pass. Oceanic's music feels advanced through actively incorporating contemporary futurism, whilst never losing the glacial glance that is so familiar to its early nineties foregoers. It is as if listening to 'Three Sides...' heightens the senses, towards possibility, innovation even, triggering illusions of time dilation, shattering the hourglass. Comes in hand printed dreamy, pink sleeve, including Obi-strip, by the BAKK Innerspace Ink Station.
Along the wide arbitrary landscape of listening or 'ambient' music, it is a delight to have two artists, separated by the vast Atlantic, contributing quite opposite interpretations of such to the series. Perceptual time feels as a recurrent theme which binds them, albeit in a whole different modus operandi. In her iconic tactile productions, Straus excavates levels of advanced musical complexity in the seemingly most simple. Throughout two tracks her crude and beautiful technique riffles, compositions that remain prone to the transient, combining field recordings with morphing saxophone and guitar. This is deeply evocative music that turns its recipient into a mode of contemplation. 'I Forgot to Take a Picture' breathes melancholic romanticism, 'Becoming Warm' feels lorn yet hopeful. Pastoral haze over a rouge-tainted barren, the crackling insides of a wooden forest house. Picturesque and minimalist, Pennsylvania's Straus manages to temporarily stop the sand from gravitating downwards. Oceanic antagonises Straus with the triptych 'Three Sides of a Shell', recalling different emotions adhering to the fourth dimension. As a performing artist Oceanic masters the element of suspense. Here, over the course of nineteen minutes, a three-note sequence is explored within the producers imaginatory, chapterised, providing moments to navigate through his fictitious galaxy. Stuttering melodies across azure waters, synthesised bleeps as flickering stars over a moonlit mountain pass. Oceanic's music feels advanced through actively incorporating contemporary futurism, whilst never losing the glacial glance that is so familiar to its early nineties foregoers. It is as if listening to 'Three Sides...' heightens the senses, towards possibility, innovation even, triggering illusions of time dilation, shattering the hourglass. Comes in hand printed dreamy, pink sleeve, including Obi-strip, by the BAKK Innerspace Ink Station.
STAFF COMMENTS
Patrick says: BAKK's Plafond series is as good as any other contemporary ambient / esoteric series, and the fourth edition is just as hot as its predecessors. Ulla Strauss serves wrongspeed Reich and misty minimalism on the A-side, while Oceanic explores fourth world hypnotism on the flip.
The relatively short amount of time between their first and second albums is testament to the band’s self-contained creative environment and the productivity it encourages. There’s a tendency to label this degree of self-reliant creativity ‘DIY’ - and the band do certainly feel emboldened by that ethos - yet to consider Modern English Decoration solely in these terms is a disservice. Their craft is considered and purposeful, the means of its production reflecting the band’s overall vision rather than the value system of an often haphazard and accidental DIY culture. “We enjoy listening to music through the album format and want our records to reflect that”, says Rhys Edwards (guitars, vocals, synthesiser).
Ulrika Spacek formed in Berlin in one night, when 14-year-long friends Rhys Edwards and Rhys Williams conceptualised ‘Ulrika Spacek’ and came up with The Album Paranoia as their debut album title. Moving back to London with the intention to record it, they were joined by Joseph Stone (guitars, organ, synths, violin), Ben White (bass) and Callum Brown (drums, percussion), ossifying into the five-piece they are now. The album was released soon after with little forewarning and was accompanied by a year long, near-monthly club night called Oysterland.
Given the lyrics often favour abstraction and the vocals can be more impressionistic than declarative, the album title itself offers perhaps the most telling entry point to the record. In part, it’s a self-effacing play on an interior design cliché that references the meticulous creative processes the band adheres to. There’s also a nod towards the environment in which it was created – a Victorian house turned art gallery turned home studio
Unsurprisingly given the context of its creation, Modern English Decoration might be considered a companion piece of sorts to The Album Paranoia.But there are crucial differences. Most notably, this isn’t the work of the Ulrika Spacek conceptualised by Edwards and Williams in Berlin – Modern English Decoration is the band as five rather than two people, and it shows. Those who have witnessed the intensity of their live show will instantly recognise the merits in this. The bass and drums provide a versatile anchor, at once soft, then aggressive, while the vocals drift woozily in and out, like druggy hindsight or skewed premonition. With three guitarists in the band guitars were always going to be central to the music, but what is less expected is the dynamic interplay between the trio that suggests a three-headed version of the Verlaine-Lloyd axis at the heart of Television. What’s more, the absence of reverb is integral, in part attributable to the ambience of the studio, but also a conscious decision in order to add focus. And focus is the abiding term: this is an album designed to be just so - a 45 minute commitment, a surrender.
Ulrika Spacek formed in Berlin in one night, when 14-year-long friends Rhys Edwards and Rhys Williams conceptualised ‘Ulrika Spacek’ and came up with The Album Paranoia as their debut album title. Moving back to London with the intention to record it, they were joined by Joseph Stone (guitars, organ, synths, violin), Ben White (bass) and Callum Brown (drums, percussion), ossifying into the five-piece they are now. The album was released soon after with little forewarning and was accompanied by a year long, near-monthly club night called Oysterland.
Given the lyrics often favour abstraction and the vocals can be more impressionistic than declarative, the album title itself offers perhaps the most telling entry point to the record. In part, it’s a self-effacing play on an interior design cliché that references the meticulous creative processes the band adheres to. There’s also a nod towards the environment in which it was created – a Victorian house turned art gallery turned home studio
Unsurprisingly given the context of its creation, Modern English Decoration might be considered a companion piece of sorts to The Album Paranoia.But there are crucial differences. Most notably, this isn’t the work of the Ulrika Spacek conceptualised by Edwards and Williams in Berlin – Modern English Decoration is the band as five rather than two people, and it shows. Those who have witnessed the intensity of their live show will instantly recognise the merits in this. The bass and drums provide a versatile anchor, at once soft, then aggressive, while the vocals drift woozily in and out, like druggy hindsight or skewed premonition. With three guitarists in the band guitars were always going to be central to the music, but what is less expected is the dynamic interplay between the trio that suggests a three-headed version of the Verlaine-Lloyd axis at the heart of Television. What’s more, the absence of reverb is integral, in part attributable to the ambience of the studio, but also a conscious decision in order to add focus. And focus is the abiding term: this is an album designed to be just so - a 45 minute commitment, a surrender.
RIYL: Mercury Rev, Sonic Youth, My Bloody Valentine, Radiohead, Deerhunter, Atlas Sound.
Ulrika Spacek is a British experimental rock band formed in Berlin by Rhys Edwards and Rhys Williams, relocated to Homerton, London. Work on debut album ‘The Album Paranoia’ began in the summer of 2014 in the band’s shared house KEN, and was finished there last month. In conjunction to the making of ‘The Album Paranoia’, the band has curated a number of nights under the name ‘Oysterland’ combining their first live performances with a series of exhibitions. The band's music has drawn various interpretations, a cross pollination of hypnotic fuzz, Verlain-Malkmus guitar idiosyncrasies and intertwining feelings of both angst and melancholia.
Ulrika Spacek is a British experimental rock band formed in Berlin by Rhys Edwards and Rhys Williams, relocated to Homerton, London. Work on debut album ‘The Album Paranoia’ began in the summer of 2014 in the band’s shared house KEN, and was finished there last month. In conjunction to the making of ‘The Album Paranoia’, the band has curated a number of nights under the name ‘Oysterland’ combining their first live performances with a series of exhibitions. The band's music has drawn various interpretations, a cross pollination of hypnotic fuzz, Verlain-Malkmus guitar idiosyncrasies and intertwining feelings of both angst and melancholia.
STAFF COMMENTS
Mine says: Ulrika Spacek's debut album is an addictive roller coaster of blissful psychedelia, hypnotic melancholy and raucous, repetitive kraut rock. Heavy and droning in some places, dreamy and pensive in others, its atmospheric soundscape makes it an album to get lost in.FORMAT INFORMATION
LP includes MP3 Download Code.Atlanta's favourite trio of power pop vixenettes have done it again, this time delivering a refreshingly gritty sweet pop gem showcasing a musical breadth ranging from straight forward pop crunch and rock heavy
velocity to slightly twisted Psychedelia, blending the guitar attack of Cheap Trick, the vocal gymnastics of Throwing Muses and the pop sensibilities of the Bangles, Breeders, and the Beatles without running
out of breath. Britta Phillips of LUNA plays bass! Woohoo!
Ultraísta have announced their first new album since 2012's self-titled debut with the release of "Tin King." The trio will release Sister on March 13, 2020. It’s a collection that defies easy categorization, and one that proves that Ultraísta — GRAMMY-winning producer/engineer/musician Nigel Godrich, best known for his two decades helming Radiohead’s groundbreaking studio output; celebrated drummer Joey Waronker, who’s toured and recorded with everyone from R.E.M. and Beck to Roger Waters and Elliott Smith; and singer Laura Bettinson, an acclaimed solo artist whose work combines synth-driven electropop and dreamy vocal looping — is far more than just the sum of its remarkable parts.
Ultralyd was formed in 2004 when legendary saxophonist Frode Gjerstad suggested that the trio Gjerstad/Olsen/Hana needed a distinct bass player. The very first rehearsal with Kjetil D Brandsdal (also of Noxagt) was released as the self titled album "Ultralyd" in 2004. After a UK tour the same year the band established the sound captured on the album "Chromosome Gun" which was released in 2005 on the American avant-rock label Load Records. Frode Gjerstad decided to leave later in the year and for a short while the band operated as a trio before recruiting new sax player Kjetil Møster. During two extensive European tours and several studio sessions Ultralyd's direction slowly changed from a rather chaotic free rock approach towards composition and more structured forms of improvisation, experimenting with different layers and altered roles of the instruments, integrating elements from contemporary music, electronic music, funk and doom metal and ending up with something that might be classified as chamber rock. However contradictory that might sound. Ultralyd is part of the N-Collective, an international conglomerate of musicians, composers, improvisors and artists.
Reduced
Behold the debut EP of the hardcore punk band created to spread the gospel of professional wrestling champion UltraMantis Black. Having spent over a decade dominating the Chikara wrestling scene, UltraMantis teamed up with members of the beloved punk band Pissed Jeans to form a blistering political hardcore band that is equal parts The Locust, Deadguy and Melt Banana. Imagine the best parts of 90s straight-edge hardcore filtered through the bodyslamming genius of Vince McMahon and you have UltraMantis Black! Recommended if you like: Pissed Jeans, (early) Dillinger Escape Plan, Lightning Bolt, Daughters, Agoraphobic Nosebleed, Genghis Tron, Spazz.
Reduced
Behold the debut EP of the hardcore punk band created to spread the gospel of professional wrestling champion UltraMantis Black. Having spent over a decade dominating the Chikara wrestling scene, UltraMantis teamed up with members of the beloved punk band Pissed Jeans to form a blistering political hardcore band that is equal parts The Locust, Deadguy and Melt Banana. Imagine the best parts of 90s straight-edge hardcore filtered through the bodyslamming genius of Vince McMahon and you have UltraMantis Black! Recommended if you like: Pissed Jeans, (early) Dillinger Escape Plan, Lightning Bolt, Daughters, Agoraphobic Nosebleed, Genghis Tron, Spazz.
Umberto is an artist whose work is distinctly cinematic. Composer Matt Hill’s performances and delicate compositions taken together have the cumulative ability to surprise. Hill, whose Umberto moniker is an homage to director Umberto Lenzi, is an experienced and active film composer, most recently scoring the film ‘All That We Destroy’. In addition to film and commercial work, Umberto has released a number of lauded solo recordings.
On Umberto’s Thrill Jockey debut ‘Helpless Spectator’, his haunting music is otherworldly and affecting alike, leaving the listener with an unsettling and profound air of mystery. Umberto’s early recordings harken back to classic synth- driven sci-fi and horror soundtracks. ‘Helpless Spectator’ uses synthesizers in an entirely different manner. Cold, looming monolith tones are now warm, softer pads that envelope the listener while guitar, cello, banjo and pedal steel add movement and light. Still, Hill unsettles with his arrangements and melodic phrasing. Unexpected shifts and turns in even the most tender movements of ‘Helpless Spectator’ are inflected with a contemplative melancholy and fragility.
Umberto makes masterful use of varied textures throughout the album, blending supernatural effects and grounded instruments to create distinct atmospheres. ‘Helpless Spectator’ is inquisitive and moving in equal measure, an album of sombre elegance and delicate arrangements whose cumulative effect of unease is entirely unexpected.
On Umberto’s Thrill Jockey debut ‘Helpless Spectator’, his haunting music is otherworldly and affecting alike, leaving the listener with an unsettling and profound air of mystery. Umberto’s early recordings harken back to classic synth- driven sci-fi and horror soundtracks. ‘Helpless Spectator’ uses synthesizers in an entirely different manner. Cold, looming monolith tones are now warm, softer pads that envelope the listener while guitar, cello, banjo and pedal steel add movement and light. Still, Hill unsettles with his arrangements and melodic phrasing. Unexpected shifts and turns in even the most tender movements of ‘Helpless Spectator’ are inflected with a contemplative melancholy and fragility.
Umberto makes masterful use of varied textures throughout the album, blending supernatural effects and grounded instruments to create distinct atmospheres. ‘Helpless Spectator’ is inquisitive and moving in equal measure, an album of sombre elegance and delicate arrangements whose cumulative effect of unease is entirely unexpected.
Umbra Sum is Ed Sánchez-Gómez, a Costa Rican expatriate. Following a love/hate relationship with classical guitar studies at the University of Costa Rica, Umbra Sum emerged in 2003 as a way of reconciling with the instrument. After leaving Costa Rica, Ed wandered around Europe and later Argentina, where he acquired a taste for the South American folk music that permeates his work. He left Argentina to study improvisation in Chicago, where he currently resides.
'Aún no has demostrado nada' is the first official release by Umbra Sum: an eclectic mini-album that has hints of the summertime harmonies of the Beach Boys, the psychedelic folk of Los Jaivas, the doleful spirit of Hood, and the melodious uproar of My Bloody Valentine and Dinosaur Jr.
In this debut album, harmonious noise, snaking rhythms and layered voices all serve as a chorus that creates a lyrical mural, hearkening to the heavens and earth: like a rudimentary yet well-made treehouse made of exotic woods, projecting out from within the dense Indie-Rock forest that surrounds us.
'Aún no has demostrado nada' was recorded by Ed Sánchez-Gómez in Evanston, IL; mixed by Joel Jiménez-Cabezas in Goshen, IN; and mastered by Jeff Lipton (Arcade Fire, Bon Iver, The Magnetic Fields) at Peerless Mastering in Boston, MA.
'Aún no has demostrado nada' is the first official release by Umbra Sum: an eclectic mini-album that has hints of the summertime harmonies of the Beach Boys, the psychedelic folk of Los Jaivas, the doleful spirit of Hood, and the melodious uproar of My Bloody Valentine and Dinosaur Jr.
In this debut album, harmonious noise, snaking rhythms and layered voices all serve as a chorus that creates a lyrical mural, hearkening to the heavens and earth: like a rudimentary yet well-made treehouse made of exotic woods, projecting out from within the dense Indie-Rock forest that surrounds us.
'Aún no has demostrado nada' was recorded by Ed Sánchez-Gómez in Evanston, IL; mixed by Joel Jiménez-Cabezas in Goshen, IN; and mastered by Jeff Lipton (Arcade Fire, Bon Iver, The Magnetic Fields) at Peerless Mastering in Boston, MA.
We're so glad and proud to announce the reissue of a very underrated Piero Umiliani's masterpiece. "SWITCHED ON NAPLES", originally released in 1972 on OmiCron LP 0023, is an outstanding Library with pure touch of genius: Maestro Umiliani revisits Naples popular songs in Electronic way by the use of synthesizer. The record is entirely carried out with Electronic sounds.
Zel Zele launches with a reissue of a holy grail 7” by Umit Aksu Orkestrasi - a band formed by Turkish pianist, composer and arranger Umit Aksu. Originally released in 1975, “Bermuda Seytan Ucgeni” is an outstanding experimentation of forward-thinking jazz-funk played by some of Turkey’s most talented musicians.
“Bermuda Seytan Ucgeni” is the musical adaptation of The Bermuda Triangle, also known as the Devil’s Triangle. A whirlpool leading into a jazz/funk piece with playful horn section, funky bass-line and drum breaks, almost sounding like an adventurous Blaxploitation soundtrack. A daring sax solo comes into play by the second minute that sets the ship on fire. Just when you think that must be it, starts the synthesiser havoc; chaos, alarms, whirlwind all goes off as the mystery of the triangle unfolds.
Bogaziçi Köprüsü “Bogaziçi Köprüsü” meaning Bosphorus Bridge, is the name of the first bridge in Istanbul that connects the Asian and European sides of the city. The track was released 2 years after the bridge was built. It starts with a car engine which is about to take a nostalgic and playful ride through the Bosphorus Bridge. Melodic, synth led tune that reminds us of early Italian library recordings.
“Bermuda Seytan Ucgeni” is the musical adaptation of The Bermuda Triangle, also known as the Devil’s Triangle. A whirlpool leading into a jazz/funk piece with playful horn section, funky bass-line and drum breaks, almost sounding like an adventurous Blaxploitation soundtrack. A daring sax solo comes into play by the second minute that sets the ship on fire. Just when you think that must be it, starts the synthesiser havoc; chaos, alarms, whirlwind all goes off as the mystery of the triangle unfolds.
Bogaziçi Köprüsü “Bogaziçi Köprüsü” meaning Bosphorus Bridge, is the name of the first bridge in Istanbul that connects the Asian and European sides of the city. The track was released 2 years after the bridge was built. It starts with a car engine which is about to take a nostalgic and playful ride through the Bosphorus Bridge. Melodic, synth led tune that reminds us of early Italian library recordings.
Indie pop electronic rock duo Ummagma have announced their new album 'Compass', to be released in June via Manchester-based label Leonard Skully Records. Their third long-play, this is the duo's first album in seven years and also the first time the band is releasing a record on vinyl.
Ahead of this album, they present the 'Caravan' single, along with a special B-side 'Ty i Ya'. The title track is an invigorating pop rock anthem inspired by the musicians' own journeys and infused with Carpathian gammas and percussion.
'Ty i Ya' is a vibe-injected upbeat track, with infectious Daft Punk-esque bassline, that Alexander Kretov composed and performs in his native Ukrainian language. This is the first single Ummagma has ever released in a language other than English, stepping beyond the confines of past songwriting limits.
"Caravan is about a personal journey - one that begins in the mind before any borders have even been crossed," says Ummagma vocalist Shauna McLarnon. "The trip is so much better when you truly want to be part of it. You map your own destiny in many ways and dreaming is a great place to begin."
The 'Compass' LP is beguiling in its post-genre nature. It is an album of grace and change, of familiarity and exploration, of emotion and euphoria, of sky-scraping cinematic highs and intimate and intriguing lows. This is the sound of a band allowing themselves to jump creative divides, to kick down musical barriers, and rip up the rule book or perhaps just ignore the fact that there ever was one in the first place.
Formed in Moscow in 2003, McLarnon hails from northern Canada while Kretov is originally from western Ukraine. Now based in Peterborough, Ontario, the couple completed this album over the course of five years and multiple moves, ultimately hauling their studio with them across the Atlantic and setting up all over again. With such transience in the real world, how could their sonic world reflect anything other than the same fluidity and movement?
This record follows on the trail of their ‘LCD’ EP with Robin Guthrie (Cocteau Twins) and Dean Garcia (Curve), and 'Winter Tale' EP with 4AD dreampop pioneer A.R.Kane. Both of these were released in 2017.
They say you can tell a lot about someone by the company that they keep, and the same holds true for a band. Ummagma's collaborations speak volumes. Apart from these three dreampop-shoegaze icons, they've worked with Orchestral Manoeuvres in the Dark's Malcolm Holmes, Swervedriver's Graham Bonnar, and nudisco kingpin Alexander Robotnick.
Ahead of this album, they present the 'Caravan' single, along with a special B-side 'Ty i Ya'. The title track is an invigorating pop rock anthem inspired by the musicians' own journeys and infused with Carpathian gammas and percussion.
'Ty i Ya' is a vibe-injected upbeat track, with infectious Daft Punk-esque bassline, that Alexander Kretov composed and performs in his native Ukrainian language. This is the first single Ummagma has ever released in a language other than English, stepping beyond the confines of past songwriting limits.
"Caravan is about a personal journey - one that begins in the mind before any borders have even been crossed," says Ummagma vocalist Shauna McLarnon. "The trip is so much better when you truly want to be part of it. You map your own destiny in many ways and dreaming is a great place to begin."
The 'Compass' LP is beguiling in its post-genre nature. It is an album of grace and change, of familiarity and exploration, of emotion and euphoria, of sky-scraping cinematic highs and intimate and intriguing lows. This is the sound of a band allowing themselves to jump creative divides, to kick down musical barriers, and rip up the rule book or perhaps just ignore the fact that there ever was one in the first place.
Formed in Moscow in 2003, McLarnon hails from northern Canada while Kretov is originally from western Ukraine. Now based in Peterborough, Ontario, the couple completed this album over the course of five years and multiple moves, ultimately hauling their studio with them across the Atlantic and setting up all over again. With such transience in the real world, how could their sonic world reflect anything other than the same fluidity and movement?
This record follows on the trail of their ‘LCD’ EP with Robin Guthrie (Cocteau Twins) and Dean Garcia (Curve), and 'Winter Tale' EP with 4AD dreampop pioneer A.R.Kane. Both of these were released in 2017.
They say you can tell a lot about someone by the company that they keep, and the same holds true for a band. Ummagma's collaborations speak volumes. Apart from these three dreampop-shoegaze icons, they've worked with Orchestral Manoeuvres in the Dark's Malcolm Holmes, Swervedriver's Graham Bonnar, and nudisco kingpin Alexander Robotnick.
This is the fourth studio album from the alternative country band, originally released in 1993. The album came after the exit of drummer Mike Heidorn and the addition of three new members: John Stirratt, Ken Coomer and Max Johnston.
FORMAT INFORMATION
Coloured LP Info: 140 gram, clear vinyl - RSD Stores Exclusive.
At long last a superb reissue from this massively influential band that featured Jay Farrar, Jeff Tweedy and Mike Heirdon.
FORMAT INFORMATION
CD Info: Digitally remastered from the original tapes, with a booklet containing many unseen photos, memorablia and new liner notes by Rolling Stone's David Fricke.
At long last a superb reissue from this massively influential band that featured Jay Farrar, Jeff Tweedy and Mike Heirdon.
FORMAT INFORMATION
CD Info: Digitally remastered from the original tapes, with a booklet containing many unseen photos, memorablia and new liner notes by Rolling Stone's David Fricke.
Debut album from Under A Dying Sun formed in the Bay area from ex-members of Three Summers Gone, Nexus Six and Living Room War. It's a highly anticipated set of high-intensity emocore tracks that have a moody reflective edge but when it gets heavy (as it does-frequently) then brother look out!
Parisian émigrés Underground Railroad return with a brand new album ‘White Night Stand’, a record that finally strikes the keynote of what the band are all about.
Across its 11 songs, produced by the band in London's Stamford Hill, guitars explore and meander, circling the biggest melodies of the band's career so far. It's intense and amped, touching and subtle at points and hugely tuneful, taking in early Radiohead and Liars as well as the beloved American alt rock bands that made the three fall in love with music in the first place.
There are moments of fitting intensity. Most notably 'Seagull Attack', the album's crescendo centrepiece, that clocks in at over nine minutes with its hypnotic repetitive guitar cascade. Then there's the distinctly Radioheadesque 'Ginkgo Biloba', another album highlight.
Further inspiration across the album came from ‘Twin Peaks’ and David Lynch, with Marion naming 'The Black Widow', 'The Orchid's Curse', and 'Traces To Nowhere' after episodes of the show, and 'Yellow Suit' in reference to his 'Blue Velvet' film.
Across its 11 songs, produced by the band in London's Stamford Hill, guitars explore and meander, circling the biggest melodies of the band's career so far. It's intense and amped, touching and subtle at points and hugely tuneful, taking in early Radiohead and Liars as well as the beloved American alt rock bands that made the three fall in love with music in the first place.
There are moments of fitting intensity. Most notably 'Seagull Attack', the album's crescendo centrepiece, that clocks in at over nine minutes with its hypnotic repetitive guitar cascade. Then there's the distinctly Radioheadesque 'Ginkgo Biloba', another album highlight.
Further inspiration across the album came from ‘Twin Peaks’ and David Lynch, with Marion naming 'The Black Widow', 'The Orchid's Curse', and 'Traces To Nowhere' after episodes of the show, and 'Yellow Suit' in reference to his 'Blue Velvet' film.
Underground Resistance
Calavera Shirt
It was Mad Mike himself who produced this amazing 12" from Detroit's most uncompromising label. "Inspiration" is the next level in the jazzy, bleepy techno tradition of "Amazon", "Ambush" and the like. It could only be UR and Mad Mike! The flipside, "Transition", is well in my top three techno records EVER (- Matt) and should be more than familiar with anyone for a penchant for Detroit or techno and is also a staple at Wet Play here in MCR. Exceptionally funky techno with an infectious, mind-altering (and life improving!) vocal part, UR's urgent pace and grit coupled with one of the most cerebral-tickling lead lines ever written. It's sheer gold and had me running around the shop in excitement when I learnt I could replace my worn out, battered copy. Who knows how long this new fresh copy will last, but so long as UR re-issue this classic once every 10 years, that should keep us all happy I reckon. Essential.
STAFF COMMENTS
Matt says: An Underground Resistance record is for life, not just for Christmas. Better make sure it's like, one of the best techno records ever made then eh?
Without doubt, one of the greatest techno records of the last decade, perhaps even one of the greatest tunes of any kind of music, ever. DJ Rolando produced this stunning piece of music in 1999 and its reverberations are still being felt today. Instantly recognised as a Detroit techno classic, it slowburned its way into the brains of clubbers of every persuasion, becoming a Body&Soul anthem along the way. Not since "Strings Of Life" has a crescendo of techno rhythms and strings caused such a dynamic collection of soundwaves. This is a re-issue the original UR 12" pressing (with "Ascesion" on the B-side), albeit re-credited to UR rather than Aztec Mystic.
STAFF COMMENTS
Matt says: Don't fuck about if ANY OF YOU still don't have this amongst your shelves! Simply every home needs this, one of the best tunes ever made. I'll be checking!!
The Underground Youth have always been steeped in a romantic nostalgia, their poignant psychedelic post-punk sounding like what might happen if Rowland S. Howard, Leonard Cohen, Bauhaus and The Velvet Underground jammed in a room together, but on this new 45 the band have turned this nostalgia in on themselves. The lyrics are taken from Dyer’s old notebooks dating back nearly a decade and in its minimalistic yet impassioned instrumentation, it also feels like somewhat of a throwback to the older recordings that left them to pick up a cult following (their 2010 LP Mademoiselle 2010 picking up over six million views on Youtube.) 'Fill The Void' and 'Take Me Awry' offer a reflective journey through the band's impassioned psychedelic post-punk, with it's 80s-style percussion, funeral vocals croons and dark jangly instrumentation that occasionally breaks down into a whirlwind of fuzzed-out guitars.
This desire to strip things back to their raw fundamentals and reflect on the last decade of the project came after the two tracks were nearly shelved because they didn’t quite fit the new direction they’re set to travel down on their forthcoming album. “We’d been experimenting with a completely different sound whilst in the studio recording our ninth album. What we created with these two tracks wasn't really what I was looking for and so I almost scrapped them,” Craig continues: “I just couldn't shake the rhythm of 'Fill the Void' though, we ran through the track as a band and took it out on the road. It fast became one of the most exciting tracks of our set, with Olya's pounding drum and Leo jumping on the additional snare towards the end. When we got back from the tour we revisited the tracks in the studio and decided to use them for a special release.” As The Underground Youth set to delve into exciting new waters, on this special release they've taken us on a typically-gloomy trip down memory lane - not just in terms of post-punk and psychedelia's darker histories, but also for the band themselves.
This desire to strip things back to their raw fundamentals and reflect on the last decade of the project came after the two tracks were nearly shelved because they didn’t quite fit the new direction they’re set to travel down on their forthcoming album. “We’d been experimenting with a completely different sound whilst in the studio recording our ninth album. What we created with these two tracks wasn't really what I was looking for and so I almost scrapped them,” Craig continues: “I just couldn't shake the rhythm of 'Fill the Void' though, we ran through the track as a band and took it out on the road. It fast became one of the most exciting tracks of our set, with Olya's pounding drum and Leo jumping on the additional snare towards the end. When we got back from the tour we revisited the tracks in the studio and decided to use them for a special release.” As The Underground Youth set to delve into exciting new waters, on this special release they've taken us on a typically-gloomy trip down memory lane - not just in terms of post-punk and psychedelia's darker histories, but also for the band themselves.
Manchester's The Underground Youth is here with with yet another hauntingly beautiful record that blends shoegaze, post-punk and psychedelia. TUY is the name under which Manchester’s underground poet, Craig Dyer, has produced his records since 2009. In 2011, Fuzz Club Records started putting out his prolific catalogue, bringing to light a number of LPs and singles that had only circulated virally on the Internet. Since then, TUY, with Craig and Olya Dyer as the core of the band, have expanded to a five piece, gaining a solid international fan-base and touring all around the UK and Europe.
Drowned In Sound said of their Eindhoven set: “combining the mesmeric rhythms of The Velvet Underground - Olya Dyer's driving beats make her the new psych generation's Mo Tucker - with rippling feedback associated with Bad Moon Risingera Sonic Youth and a dash of the Mary Chain thrown in as well, they're a captivating force”.
Drowned In Sound said of their Eindhoven set: “combining the mesmeric rhythms of The Velvet Underground - Olya Dyer's driving beats make her the new psych generation's Mo Tucker - with rippling feedback associated with Bad Moon Risingera Sonic Youth and a dash of the Mary Chain thrown in as well, they're a captivating force”.
STAFF COMMENTS
Barry says: Manchester's Underground Youth return with another slice of post-everything psych-rock-tronica. Combining beautiful guitar melodies and repeated vocal refrains with overwhelming pastoral electronic washes, this is a collection founded on indie pioneers past, but expanded upon to the Nth degree and updated. 'Drown In Me' is a particularly accomplished slice of synth-heavy industrial sadness, interspersed with bursts of cautiously optimistic shoegaze-y guitars. Nothing too sunny about this, but it's nice to wallow in the bleakness of life sometimes, and there really is no better way to do it. A soundtrack to industrial ruins, and rainy evenings. Highly recommended.FORMAT INFORMATION
Ltd LP Info: Limited repress!
Manchester’s The Underground Youth have built an impressive back catalogue of seven full-length albums showcasing a hazy cocktail of neo-psych, post-punk, shoegaze and chillwave, of which every copy of each album has been long sold out. Now for the first time ever their highly sought-after album Mademoiselle is being given a physical release by Fuzz Club, alongside reissues of their sold out 2013 and 2015 albums The Perfect Enemy For God and Haunted. The story of Mademoiselle is a testament to the power of great music being able to reach an audience, regardless of the fact the artist might be unsigned, underground and almost unheard of. Originally released in 2010 and only available online, Mademoiselle has piled up millions of views on YouTube, and saw The Underground Youth acquire a cult following at a ferocious pace.
The album has continued to endear audiences with its bluesy psychedelic-leaning, based on beautifully crafted lyricism and a sculpted sound. Layers of reverb-drenched, folk-indebted guitars and forlorn vocals bleed over hypnotising, monolithic drums to create a record that is 46 minutes of lethargic, lo-fi psych mastery. To celebrate the release of the album, The Underground Youth will be headlining Fuzz Club’s new monthly London event Under The Arches on 5th March, followed by shows at Manchester’s Cosmosis Festival, Lisbon Psych Fest and the group’s fifth European tour. Since releasing Mademoiselle, The Underground Youth has experimented and evolved into deeper complexity exploring electronica, industrialism and post-punk, but always with an incredible astuteness for beautiful songwriting
The album has continued to endear audiences with its bluesy psychedelic-leaning, based on beautifully crafted lyricism and a sculpted sound. Layers of reverb-drenched, folk-indebted guitars and forlorn vocals bleed over hypnotising, monolithic drums to create a record that is 46 minutes of lethargic, lo-fi psych mastery. To celebrate the release of the album, The Underground Youth will be headlining Fuzz Club’s new monthly London event Under The Arches on 5th March, followed by shows at Manchester’s Cosmosis Festival, Lisbon Psych Fest and the group’s fifth European tour. Since releasing Mademoiselle, The Underground Youth has experimented and evolved into deeper complexity exploring electronica, industrialism and post-punk, but always with an incredible astuteness for beautiful songwriting
FORMAT INFORMATION
Coloured LP Info: Available on 180g "Milky Clear" coloured vinyl
As critically acclaimed and as commercially successful as the Undertones debut LP, Hypnotised features both the classic 3 minute pop punk of its predecessor (listen to My Perfect Cousin, There Goes Norman and Whizz Kids) whilst highlighting a new found maturity and sensitivity with tracks like the plaintive 'Wednesday Week' and stately 'The Way Girls Talk'.
2016 digital remaster from the original master tapes.
2016 digital remaster from the original master tapes.
FORMAT INFORMATION
Ltd LP Info: 180 gram heavyweight vinyl, original artwork replicated.
"A few months ago it was decided that OGen004 would be a vinyl and digital release of some poems by Jack Underwood. We had no real idea how much interest would be generated by a 7" single of poetry but everyone who had heard Jack's poetry seemed to like it and the idea was we would treat it like any other release of a song by a band - we thought that if we didn't make out we thought it was a little odd that nobody else would."
"Beaucoup Fish" is the fifth album by Underworld, released in 1999. Following the huge success of the single "Born Slippy" from its use in the film Trainspotting, Beaucoup Fish was Underworld's most anticipated release. It spawned several successful singles, including "Push Upstairs", "Jumbo" and "Moaner", which was previously used in the film Batman & Robin. "Beaucoup Fish" was well-received critically (one review calling it 'electronica's "The Dark Side of the Moon"') and remains Underworld's most successful album, with over one million copies sold. It is the last studio album to feature Darren Emerson who departed in 2001 and third album by the techno / house orientated version of Underworld which became active in about 1991/1992 (tracks were being released around this time under the names Lemon Interupt and Underworld). I personally remember this being a particularly arresting album in 1999, with a rollercoaster of dynamics which took you to the dizzying heights of techno stompers "Push Upstairs" & "King Of Snake" and down to the come-down frazzled lullabies of "Skym" and "Winjer" via the Portishead-esque introspection of "Push Downstairs" and the baggy breakbeats of "Bruce Lee". A classic.
FORMAT INFORMATION
4xDeluxe CD Info: The bespoke remastered super deluxe format features 40 tracks across 4CDs with a 60 page booklet. It includes the original albums classic singles remastered for 2016 as well as unreleased tracks, alternative versions & B-sides.
What is "Drift"?
• It’s precisely one year inside the minds of Underworld.
• It’s a journey that began on 1st November 2018 when Underworld released the track "Another Silent Way" and set off with no map, no fixed destination and a simple mantra ('Drift is the opposite of ‘normal’ or ‘usual’ practice; we’ll do this until we’re dust'). Rick Smith and Karl Hyde’s aim was to create and publish music and film episodically for 52 weeks and see where the journey took them. Within a few weeks, the experiment found its own path, prompting the electronic pioneers to react to previous releases and create new works accordingly. Over time, the duo’s innate curiosity opened up a unique space in which they could experiment, learn and explore new frontiers - together and with others (including Tomato’s Simon Taylor, Australian improv-trance band The Necks, techno producer Ø [Phase], Japanese noise band Melt-Banana, economics writer Aditya Chakrabortty and members of Black Country, New Road). During the 52 weeks, five self-contained episodes were released (respectively in November, January, March, May and August) - collectively, they form "DRIFT Series 1".
2xLP Info: Gatefold Sleeve, 180g heavyweight double vinyl.
• It’s precisely one year inside the minds of Underworld.
• It’s a journey that began on 1st November 2018 when Underworld released the track "Another Silent Way" and set off with no map, no fixed destination and a simple mantra ('Drift is the opposite of ‘normal’ or ‘usual’ practice; we’ll do this until we’re dust'). Rick Smith and Karl Hyde’s aim was to create and publish music and film episodically for 52 weeks and see where the journey took them. Within a few weeks, the experiment found its own path, prompting the electronic pioneers to react to previous releases and create new works accordingly. Over time, the duo’s innate curiosity opened up a unique space in which they could experiment, learn and explore new frontiers - together and with others (including Tomato’s Simon Taylor, Australian improv-trance band The Necks, techno producer Ø [Phase], Japanese noise band Melt-Banana, economics writer Aditya Chakrabortty and members of Black Country, New Road). During the 52 weeks, five self-contained episodes were released (respectively in November, January, March, May and August) - collectively, they form "DRIFT Series 1".
STAFF COMMENTS
Matt says: An impressively on-going, interactive, year-long project from the band culminates in the album's actual release in October. Always keen to push the envelope, the idea behind this is very satisfying.FORMAT INFORMATION
2xColoured LP Info: Gatefold Sleeve, 180g heavyweight limited double opaque yellow coloured vinyl.2xLP Info: Gatefold Sleeve, 180g heavyweight double vinyl.
Two decades on from its release in 1994, this is one of the most influential British electronic records of all time. To celebrate its twentieth anniversary the album has been meticulously remastered at Abbey Road for a deluxe reissue by Underworld’s Rick Smith.
The 2LP Vinyl - pressed on 180gm - contains the original album, remastered by Rick Smith from the original MIDI.
Having seen their synth-rock band Freur grind to a halt in 1989, Karl Hyde and Rick Smith relocated to Romford, hooked up with DJ Darren Emerson and became the art-rock reinvented as techno outfit Underworld. Featuring Smith's stream of consciousness vocals (created by taking a pen an paper with him and “mapping out journeys across cities at night”) and Smith, Emerson and Hyde's immense electronica / techno cuts (equally inspired by early influences like Kraftwerk, Steve Reich, Hawkwind and Tangerine Dream as the early 90s Romford rave scene) 'Dubnobasswithmyheadman' is a landmark 1990s techno album. With Emerson on hand to road test tracks in his DJ sets, the album has key dancefloor winners, but also works a home-listening full length LP.
The 2LP Vinyl - pressed on 180gm - contains the original album, remastered by Rick Smith from the original MIDI.
Having seen their synth-rock band Freur grind to a halt in 1989, Karl Hyde and Rick Smith relocated to Romford, hooked up with DJ Darren Emerson and became the art-rock reinvented as techno outfit Underworld. Featuring Smith's stream of consciousness vocals (created by taking a pen an paper with him and “mapping out journeys across cities at night”) and Smith, Emerson and Hyde's immense electronica / techno cuts (equally inspired by early influences like Kraftwerk, Steve Reich, Hawkwind and Tangerine Dream as the early 90s Romford rave scene) 'Dubnobasswithmyheadman' is a landmark 1990s techno album. With Emerson on hand to road test tracks in his DJ sets, the album has key dancefloor winners, but also works a home-listening full length LP.
FORMAT INFORMATION
2xLP includes MP3 Download Code.
Originally released in March 1996, 'Second Toughest In The Infants' is Underworld’s masterpiece. Following 1994’s groundbreaking predecessor 'Dubnobasswithmyheadman' (the record that cemented the band’s reputation as one of the UK’s most important dance acts), 'Second Toughest…' was the point they forged out alone, in turn creating some of the most forward thinking electronic music this country has ever produced. This reissue sees the album remastered for the first time for a series of special editions that collects together for the first time rare singles, remixes and unreleased studio and live tracks.
'Second Toughest…' is the perfect hybrid of man and machine. It’s a record that crackles with the frantic energy of pirate stations half tuned on FM dials; one that strolls through grimy cities at night and ducks between dog tracks and neon-lit all-night stores. Lyrically, it’s voyeurism from the molten core of the dancefloor - a place where fragments of overheard conversations are hand spliced to fizzling, sparking rhythm tracks to create a strange, dizzying, inimitable form of music.
Although informed by the nascent drum’n’bass scene, minimalist composition and the European techno underground, Second Toughest… only ends up sounding like Underworld. It’s a truly unique album – the sound of Rick Smith, Karl Hyde and Darren Emerson working at the height of their powers, utterly unaffected by the prevailing trends of the time and creating properly peerless music.
As with 'dubnobasswithmyheadman', the reissue of 'Second Toughest In The Infants' sees the original album remastered for the first time (at Abbey Road). The extra discs feature non-album singles, B-sides and remixes from the time as well as a selection of previously unreleased tracks that provide a fascinating insight into the creative process around the record. The fourth disc on the super-deluxe version features the seven unreleased recordings that map out the genesis of 'Born Slippy (Nuxx)'. They take the iconic track from earliest embryonic studio version through to a final extended mix via several previously unheard live versions from 1994
'Second Toughest…' is the perfect hybrid of man and machine. It’s a record that crackles with the frantic energy of pirate stations half tuned on FM dials; one that strolls through grimy cities at night and ducks between dog tracks and neon-lit all-night stores. Lyrically, it’s voyeurism from the molten core of the dancefloor - a place where fragments of overheard conversations are hand spliced to fizzling, sparking rhythm tracks to create a strange, dizzying, inimitable form of music.
Although informed by the nascent drum’n’bass scene, minimalist composition and the European techno underground, Second Toughest… only ends up sounding like Underworld. It’s a truly unique album – the sound of Rick Smith, Karl Hyde and Darren Emerson working at the height of their powers, utterly unaffected by the prevailing trends of the time and creating properly peerless music.
As with 'dubnobasswithmyheadman', the reissue of 'Second Toughest In The Infants' sees the original album remastered for the first time (at Abbey Road). The extra discs feature non-album singles, B-sides and remixes from the time as well as a selection of previously unreleased tracks that provide a fascinating insight into the creative process around the record. The fourth disc on the super-deluxe version features the seven unreleased recordings that map out the genesis of 'Born Slippy (Nuxx)'. They take the iconic track from earliest embryonic studio version through to a final extended mix via several previously unheard live versions from 1994
Born at Scotland's postpunk crossroads in 1979, Boots For Dancing kicked down the boundary walls of a played-out scene and introduced the UK to a more funky way of doing Punk. Hugely popular as a live act, often wiping the floor with the bands they were supporting, Boots was something genuinely ahead of the epoch's curve and played an important part in the vanguard of the burgeoning Post Punk and Punk-Funk movements. Sadly, Boots For Dancing's light shone brightly but briefly, though the band had connections with, and cross-pollinations between, better-known acts such as The Rezillos, The Human League and Josef K. Their boundless energy and undeniable talent never proved quite enough for great success. Great songs, even bolstered with good looks, are no guarantee of success in the fickle music business. Ultimately, business got in their way and the group disbanded in 1982 with just a few single releases in its canon, though a wealth of potential hits had been put to tape. Athens of the North is proud to present the band's 1982 album-that-never-was - an album that surely would have made them. It still sounds as fresh as it was when recorded.
- The holy grail lost scottlish post punk LP - Extensive Sleeve Notes by Music and Theature writer Neil Cooper'
- Additional Sleeve notes by Jo Callis (Human League /Rezillos) and Mark Hagen (BBC Radio)
- The holy grail lost scottlish post punk LP - Extensive Sleeve Notes by Music and Theature writer Neil Cooper'
- Additional Sleeve notes by Jo Callis (Human League /Rezillos) and Mark Hagen (BBC Radio)
"The Oncoming Storm", Unearth's third album and Metal Blade debut is probably their best to date, some achievement following on as it does from the critically acclaimed "Stings Of Conscience" and "Endless" LPs. This release should definitely cement their position as nu-metal/hardcore innovators, a reputation that has earned them tour slots with In Flames, Hatebreed, Lamb Of God, Killswitch Engage, Soilwork and Chimera. Vocalist Trevor Phipps gives his most powerful performance, alternating hardcore razored throat rage with a cleaner vocal style; all beautifully set against a burning double seven string guitar assault and bruising double bass, fuelling crushing breakdowns. Gorgeous, apocalyptic and articulate.
Cologne's techno powerhouse Baroc arrive at release number four with a little help from Cairo producer/producers (no info on that one!) Unfinished Portraits, who drop three deep and dope untitled cuts! Stretching over the whole of the A-side, the EP opener is a sophisticated techno cut driven into the heart of the dancefloor by a low-rolling bassline and hissing hats. The subdued pads and subtle tape hiss give the track texture, while the slinky keys and skitterish vocal samples add an air of mystery that'll keep you coming back for more. On the flipside, Unfinished Portraits take us to church with a gospel-techno bomb whose father, son and holy spirit are KDJ, Levon and Legowelt. Hard hitting percussion, impish leadlines and smoked out church samples combine perfectly into an uplifting club cut that'll make a saint out of the staunchest sinner. The B2 closes the EP out in mindboggling fashion as Egypt's finest mix a dislocated drum track with intangible pads and serve chilled with murmered vocals. Far out!
FORMAT INFORMATION
12" Info: Hand-stamped with postcard inserts
Seven track EP of beats and breaks from The Unheard, whose previous release was on Switchflicker. On the A-side we get five cuts that range from trad jazz chop ups, via sofa-loafing downbeat and sultry hip hop-soul to uptempo b-boy throw downs. Flip over for a seriously mellow dubwise track and the epic 13 minute "Attack of the Vibrarian" cut'n'paste extravaganza.
On the heels of their monolithic collaborative LP Mental Wounds Not Healing,the collaboration between industrial-noise post-everything bands Uniform & The Body returns with a second entry, Everything That Dies Someday Comes Back. Comprised of an amalgam of abrasive influence that spans Swans-y dirge and purge, Whitehouse’s clenched-jaw noise, middle-period Ministry’s penchant for metallic post-industrial everything, New Order’s nose for melodic emotionality, and Juicy J-inspired beats, Uniform & The Body’s approach delves deeper down the rabbit hole than before, igniting a sonic world of terror and bliss poised to grip the throats of fans yet again. Prepare for a record that the band self-describes as “the middle ground between Robyn and Corrupted, but weirder.”
Much like the collective’s bombastic debut, Everything was built over a series of collaborative sessions with Seth Manchester at Machines with Magnets in Rhode Island, mixing industrial-influenced synths, squalls of harsh noise, manipulated guitar, oodles of samples along with hard rock-inspired riffs, saccharine pop, and the alternately antagonistic and harrowing vocals of Michael Berdan and Chip King. The result is nine tracks of ear-bleeding and confrontational fury with defined moments of beauty that bring to mind equal parts No Trend, Merzbow, and Information Society while forging a path that is distinctly their own.
Everything That Dies Someday Comes Back is specifically culled from the immortal Bruce Springsteen effort Nebraska, joining a long line of literary and cinematic references that pepper the album. And while the title is specific to that lyric, the sentiment also ties into author James Elroy and his notion that closure is an illusion, a conclusion found in his 1996 effort My Dark Places. Dealing with tragic loss is never a closed book, and the details, circumstances, and inherent emotions that surround coping never end, they just morph into something else, only to rear their ugly head again later in life.
Much like the collective’s bombastic debut, Everything was built over a series of collaborative sessions with Seth Manchester at Machines with Magnets in Rhode Island, mixing industrial-influenced synths, squalls of harsh noise, manipulated guitar, oodles of samples along with hard rock-inspired riffs, saccharine pop, and the alternately antagonistic and harrowing vocals of Michael Berdan and Chip King. The result is nine tracks of ear-bleeding and confrontational fury with defined moments of beauty that bring to mind equal parts No Trend, Merzbow, and Information Society while forging a path that is distinctly their own.
Everything That Dies Someday Comes Back is specifically culled from the immortal Bruce Springsteen effort Nebraska, joining a long line of literary and cinematic references that pepper the album. And while the title is specific to that lyric, the sentiment also ties into author James Elroy and his notion that closure is an illusion, a conclusion found in his 1996 effort My Dark Places. Dealing with tragic loss is never a closed book, and the details, circumstances, and inherent emotions that surround coping never end, they just morph into something else, only to rear their ugly head again later in life.
FORMAT INFORMATION
Coloured LP Info: Limited purple vinyl.
In Spring 2017, Uniform was asked to support fellow noisy, boundary-pushing duo The Body for a European tour. Having been longtime fans of the band, Uniform vocalist Michael Berdan and guitarist Ben Greenberg jumped at the opportunity. During the planning phase of the tour, Berdan and Lee Buford from The Body started corresponding regularly. Ultimately, Berdan asked Buford if he and The Body cofounder Chip King would be interested in making a collaborative record with Uniform. Buford enthusiastically assented, and the seed of Mental Wounds Not Healing was sown.
On the heels of their monolithic collaborative LP Mental Wounds Not Healing, the collaboration between industrial-noise post-everything bands Uniform & The Body returns with a second entry, Everything That Dies Someday Comes Back. Comprised of an amalgam of abrasive influence that spans Swans-y dirge and purge, Whitehouse’s clenched-jaw noise, middle-period Ministry’s penchant for metallic post-industrial everything, New Order’s nose for melodic emotionality, and Juicy J-inspired beats, Uniform & The Body’s approach delves deeper down the rabbit hole than before, igniting a sonic world of terror and bliss poised to grip the throats of fans yet again. Prepare for a record that the band self-describes as "the middle ground between Robyn and Corrupted, but weirder."
On the heels of their monolithic collaborative LP Mental Wounds Not Healing, the collaboration between industrial-noise post-everything bands Uniform & The Body returns with a second entry, Everything That Dies Someday Comes Back. Comprised of an amalgam of abrasive influence that spans Swans-y dirge and purge, Whitehouse’s clenched-jaw noise, middle-period Ministry’s penchant for metallic post-industrial everything, New Order’s nose for melodic emotionality, and Juicy J-inspired beats, Uniform & The Body’s approach delves deeper down the rabbit hole than before, igniting a sonic world of terror and bliss poised to grip the throats of fans yet again. Prepare for a record that the band self-describes as "the middle ground between Robyn and Corrupted, but weirder."
Uniform formed in New York City in 2013 when old friends Ben Greenberg (ex-The Men, Hubble, and the producer/engineer responsible for much of the Sacred Bones catalog) and Michael Berdan (ex-Drunkdriver, York Factory Complaint) reconnected and realized that they had evolved to a similar place musically. Wanting as intimate an experience as possible, they decided to keep the project a two-man show, eschewing a live rhythm section for programmed drums and low-end synths, augmented with Greenberg playing guitar and Berdan handling vocals. The collaboration quickly yielded a raw 12", followed by a full-length, Perfect World. The Ghosthouse12", is the first Uniform release on Sacred Bones Records, and it will be followed by a full-length in early 2017.
Ghosthouse shares a basic configuration with the previous Uniform releases, but the tools have evolved far beyond their initial drum machine and bass synth setup. These songs have grown from a broader palette of sounds — shots, explosions, implosions, impacts, ricochets, collapse; the sounds of conflict, war, and destruction that we witness every day. The result is the most sonically confrontational Uniform material to date, and Berdan’s lyrics, largely inspired by his lifelong battle with insomnia and depression, match them for relentlessness.
The three songs on Ghosthouseshow the incisiveness that Greenberg and Berdan now have at their command. The title track addresses the feeling of lying awake at night and wondering if it’s still possible to make peace with an estranged friend after their death. “Waiting Period,” a riff on the Hubert Selby Jr. novel of the same name, is the internal dialogue of a man waiting for his handgun application to clear so he can kill himself. The “Symptom of the Universe” cover pays mostly faithful homage to Black Sabbath, but trades the original’s “summer skies of love” for something far bleaker. These tracks reveal the incredible range that’s possible within the Uniform musical template, and they provide a fascinating glimpse of what’s to come.
Ghosthouse shares a basic configuration with the previous Uniform releases, but the tools have evolved far beyond their initial drum machine and bass synth setup. These songs have grown from a broader palette of sounds — shots, explosions, implosions, impacts, ricochets, collapse; the sounds of conflict, war, and destruction that we witness every day. The result is the most sonically confrontational Uniform material to date, and Berdan’s lyrics, largely inspired by his lifelong battle with insomnia and depression, match them for relentlessness.
The three songs on Ghosthouseshow the incisiveness that Greenberg and Berdan now have at their command. The title track addresses the feeling of lying awake at night and wondering if it’s still possible to make peace with an estranged friend after their death. “Waiting Period,” a riff on the Hubert Selby Jr. novel of the same name, is the internal dialogue of a man waiting for his handgun application to clear so he can kill himself. The “Symptom of the Universe” cover pays mostly faithful homage to Black Sabbath, but trades the original’s “summer skies of love” for something far bleaker. These tracks reveal the incredible range that’s possible within the Uniform musical template, and they provide a fascinating glimpse of what’s to come.
Following the release of critically acclaimed LP Wake in Fright, which had two songs featured in the new season of David Lynch’s Twin Peaks, it was time for Uniform vocalist Michael Berdan and instrumentalist Ben Greenberg to return to the studio. The duo decided to up the ante and add a third member to help perfect their vicious post-industrial dystopian cyber-punk. After some deliberation, Greenberg called upon drummer Greg Fox (Liturgy, Zs) to help round out the sound they were looking for. Using a mix of triggered samples and real drums along with layered synths and good old electric guitar, the trio arrived at what would become The Long Walk after only a few short days in the studio.
From the opening whirr of the title track, it’s clear that the band is onto something special. Recorded in Strange Weather studios in the first part of 2018, The Long Walk is eight new tracks by the duo of Greenberg and Berdan, incorporating Fox’s skills behind the drum kit to add an entirely new dimension to the signature Uniform sound. Ditching sequenced tracks, Greenberg opted for single takes to highlight the Frankenstein-like guitar-bass-synth hybrid that oozes throughout the recording. Meanwhile, crushing guitar thunder is punched up by Fox’s masterful drumming while Berdan’s cries from the nether feel more desperate and morose than ever. This is Uniform at its most bleak, emotional, and powerful.
Lyrically, The Long Walk deals with paradoxes in spirituality and organized religion. Berdan went to Catholic school for most of his primary education. Fear of Biblical hell and damnation felt tangible. As Berdan grew and matured emotionally, he began to reject Catholicism bit by bit. In the recent past, Berdan found himself slowly reconnecting with his background, observing how the faith that he found so repressive served as a great source of comfort and strength for so many. Yet therein lay the contradiction that drove him from religion in the first place — many of the human traditions of the church also dealt in repression, intolerance, and bigotry. Could one observe the rituals and practice of a faith while acknowledging and rejecting its ugliest elements?
From the opening whirr of the title track, it’s clear that the band is onto something special. Recorded in Strange Weather studios in the first part of 2018, The Long Walk is eight new tracks by the duo of Greenberg and Berdan, incorporating Fox’s skills behind the drum kit to add an entirely new dimension to the signature Uniform sound. Ditching sequenced tracks, Greenberg opted for single takes to highlight the Frankenstein-like guitar-bass-synth hybrid that oozes throughout the recording. Meanwhile, crushing guitar thunder is punched up by Fox’s masterful drumming while Berdan’s cries from the nether feel more desperate and morose than ever. This is Uniform at its most bleak, emotional, and powerful.
Lyrically, The Long Walk deals with paradoxes in spirituality and organized religion. Berdan went to Catholic school for most of his primary education. Fear of Biblical hell and damnation felt tangible. As Berdan grew and matured emotionally, he began to reject Catholicism bit by bit. In the recent past, Berdan found himself slowly reconnecting with his background, observing how the faith that he found so repressive served as a great source of comfort and strength for so many. Yet therein lay the contradiction that drove him from religion in the first place — many of the human traditions of the church also dealt in repression, intolerance, and bigotry. Could one observe the rituals and practice of a faith while acknowledging and rejecting its ugliest elements?
Wake in Fright, the second full-length by the New York City duo Uniform, is a harrowing exploration of self-medication, painted in the colors of war. Following the Ghosthouse 12", whose A-side Pitchfork called “their most relentless track yet,” vocalist Michael Berdan and guitarist/producer Ben Greenberg return with a new batch of even more punishing songs that incorporate elements of industrial music, thrash metal, harsh noise, and power electronics.
“This record is primarily about psychic transition,” Berdan explained. “The distress that these songs attempt to illustrate comes from a place of stagnation and monotony. This is what happens when old ways of thinking become exhausted and old ways of coping prove ineffective. Something must change or it will break.”
The characters Berdan brings to life in his lyrics quit using but have ruinous relapses (“Habit”) or struggle as their resolve crumbles (“Bootlicker”); they use alcohol to ease their insomnia but and are helpless when they get sober and stop sleeping again (“Night of Fear”); they’re existential misanthropes trapped in dead-end lives (“The Lost”).
Greenberg sets these stories to menacing guitar and samples of literal sounds of war — the kick drums are bombs going off, the snares are gunshots. He drew the record’s immense sample library from action movies, Foley sound packs, field recordings, and more, and the result is devastating. The guitar is also as crucial as ever, and now as indebted Slayeras it is to Big Black. Greenberg conjures up massive riffs and shredding solos, pushing the band deeper into the metal world whose borderlands they’ve long stalked.
“We are surrounded by war and the whole world is burning and it doesn’t seem like there are any appropriate reactions or responses left anymore,” Greenberg elaborated. “This music is our response to and our reflection of the overwhelming violence, chaos, hate, and destruction that confronts us and everyone else in the world every day of our lives. When we play, I don’t feel powerless anymore. I hope this record can help others transcend their anger and frustration.”
“This record is primarily about psychic transition,” Berdan explained. “The distress that these songs attempt to illustrate comes from a place of stagnation and monotony. This is what happens when old ways of thinking become exhausted and old ways of coping prove ineffective. Something must change or it will break.”
The characters Berdan brings to life in his lyrics quit using but have ruinous relapses (“Habit”) or struggle as their resolve crumbles (“Bootlicker”); they use alcohol to ease their insomnia but and are helpless when they get sober and stop sleeping again (“Night of Fear”); they’re existential misanthropes trapped in dead-end lives (“The Lost”).
Greenberg sets these stories to menacing guitar and samples of literal sounds of war — the kick drums are bombs going off, the snares are gunshots. He drew the record’s immense sample library from action movies, Foley sound packs, field recordings, and more, and the result is devastating. The guitar is also as crucial as ever, and now as indebted Slayeras it is to Big Black. Greenberg conjures up massive riffs and shredding solos, pushing the band deeper into the metal world whose borderlands they’ve long stalked.
“We are surrounded by war and the whole world is burning and it doesn’t seem like there are any appropriate reactions or responses left anymore,” Greenberg elaborated. “This music is our response to and our reflection of the overwhelming violence, chaos, hate, and destruction that confronts us and everyone else in the world every day of our lives. When we play, I don’t feel powerless anymore. I hope this record can help others transcend their anger and frustration.”
STAFF COMMENTS
Barry says: A visceral and brutal assault of double kick drums, pummelling grindcore guitars and low-fi gritty production aesthetic make this a force to be reckoned with. Electronic backboned brutalist sound sculptures for the enraged.
Union Of Knives – made in Glasgow: Get a map out and draw a line that joins Canada's Arcade Fire, Iceland's Sigur Ros, Norway's Royksopp and come to rest at Scotland's Union Of Knives. What do all these places have in common? Short days and long nights. Music and sound born out of extreme environments and cultural diversity. Glasgow and Union Of Knives, two rough diamonds of the north, inextricably linked. You're going to like this album very much indeed. "Violence and Birdsong" is the culmination of two years of hard graft. The balance of youth and experience, tough and melancholic, vibrant and nostalgic – there's lots going on here. On stage Craig Grant (vox/keys/guitar) and Chris Gordon (vox/guitar) play dual frontman roles, supported, like a see-saw on an axis, by Dave McClean (sounds and beats). In the studio each member is autonomous, lyrics, beats, melodies and ideas come from everywhere. Clearly standing out from the crowd, Union Of Knives make music that is an amalgamation of steely hard electronics, soaring melodies and an unexpected tenderness.
The "Overdub EP" was first conceived by DJ's Mark Summers & Ben Howard in Sudbury, Suffolk, in 1993. Hardcore and jungle were huge in the UK at that time, with Summers & Howard playing the genres out at their 'Paranoia' and 'The Ark' nights, at venues in Sudbury and Southend.
Over the course of 2 weeks they met at Mark's home basement studio, digging through their vinyl crates to find all kinds of inspirational material for their tracks. Both DJ's had eclectic tastes in music, and so the basis for "The Overdub EP" was born; with some interesting touches added along the way. Mark had sampled an entire Korg M1 Piano inside a Chelmsford music store onto DAT, and later used that same piano to create the huge hook he played on "Takes 1". While Ben had sourced an obscure reggae break used as the basis for 'Skunk Massive'. Later when DJing at 'The Ark',with Ben Howard, the final master mixes of "The Overdub EP" were heard by DJ Rush Puppy - a nephew of one of the owners of Contagious Records, based in Upminster, Essex. The label had become prominent in 1992 for releasing some of the finest hardcore & jungle, and within a few days of hearing "The Overdub EP" they were all set to make it their 11th release.
However, shortly after the first vinyl run had been pressed, Contagious Records went bankrupt; meaning the vinyl pressing plant could not be paid - which lead to the plant destroying the complete run, minus a very limited amount of copies that were sneaked out prior to the destruction of all the remaining pressings. This extremely rare EP has since become one of the most highly treasured vinyl items of the rave scene, currently fetching up to £350 per copy on discogs.
Back on fresh vinyl, and alongside "Barmy (Acid Sex Mix)", as originally release - do not miss this historic record!
Over the course of 2 weeks they met at Mark's home basement studio, digging through their vinyl crates to find all kinds of inspirational material for their tracks. Both DJ's had eclectic tastes in music, and so the basis for "The Overdub EP" was born; with some interesting touches added along the way. Mark had sampled an entire Korg M1 Piano inside a Chelmsford music store onto DAT, and later used that same piano to create the huge hook he played on "Takes 1". While Ben had sourced an obscure reggae break used as the basis for 'Skunk Massive'. Later when DJing at 'The Ark',with Ben Howard, the final master mixes of "The Overdub EP" were heard by DJ Rush Puppy - a nephew of one of the owners of Contagious Records, based in Upminster, Essex. The label had become prominent in 1992 for releasing some of the finest hardcore & jungle, and within a few days of hearing "The Overdub EP" they were all set to make it their 11th release.
However, shortly after the first vinyl run had been pressed, Contagious Records went bankrupt; meaning the vinyl pressing plant could not be paid - which lead to the plant destroying the complete run, minus a very limited amount of copies that were sneaked out prior to the destruction of all the remaining pressings. This extremely rare EP has since become one of the most highly treasured vinyl items of the rave scene, currently fetching up to £350 per copy on discogs.
Back on fresh vinyl, and alongside "Barmy (Acid Sex Mix)", as originally release - do not miss this historic record!
Debut album "Fault Lines" from the Glasgow four piece marks a step forward in their songwriting skills while maintaining a raw energy reminiscent of early ...And You Will Know Us By The Trail Of Dead and McClusky, balancing melody with mayhem and delivering a payload of pop sensibility within a sonic assault. Said onslaught will be unleashed across the UK in May and France in September.
United Fruit formed in Glasgow in 2008 when the founding members quickly gelled through a mutual love of discordant yet catchy noise and the band have been taking the traditional format of guitars, bass and drums in a thunderous direction ever since. Influences and comparisons range from the edgy rawness of Shellac and Mudhoney to lesser known pioneers of heavier sounds such as Oxes, Daughters, These Arms Are Snakes, That Fucking Tank and Ligament.
To date, United Fruit have also supported numerous contemporary greats on tour including Maps & Atlases, Die! Die! Die!, Future Of The Left, Monotonix and Desalvo.
United Fruit formed in Glasgow in 2008 when the founding members quickly gelled through a mutual love of discordant yet catchy noise and the band have been taking the traditional format of guitars, bass and drums in a thunderous direction ever since. Influences and comparisons range from the edgy rawness of Shellac and Mudhoney to lesser known pioneers of heavier sounds such as Oxes, Daughters, These Arms Are Snakes, That Fucking Tank and Ligament.
To date, United Fruit have also supported numerous contemporary greats on tour including Maps & Atlases, Die! Die! Die!, Future Of The Left, Monotonix and Desalvo.
United Sounds Of Joy are a new collaboration between Michael J Sheehy and former Dream City Film Club bandmate Alex Vald. Their self-titled debut album is released on Bronze Rat Records on CD / LP / digital download.
“Don’t call it a reunion,” spits Michael J Sheehy, “we’re not even a band in the traditional fashion.” Dream City Film Club were signed to Beggars Banquet within a year of forming in 1995, releasing an album and recording two Peel sessions before Vald was unceremoniously kicked out. “Alex was dismissed because he was the only decent human being in the band,” says Sheehy. “We were intent on dismantling the band from the off. Everyone was pulling in different directions, each with his own very particular variety of personality disorder, drug abuse or mental illness. And if all that stuff hadn’t got us then I’m sure we would have buckled beneath the weight of our own very lofty pretensions.”
Almost two decades removed from each other’s musical energies, Vald and Sheehy have reunited to craft some heartrending, mind-bending music. Coming on like Joe Meek and Goldfrapp entangled in some ancient machinery, the first-listen track ‘The Sun That Hides A Darker Star’ is a magnificent, shimmering sound. Amongst others, Lauren Laverne picked up on the track, with regular spins, describing it thusly; “if David Cronenberg directed a spaghetti western, we reckon it would feel a little like this.”
Featuring contributions from Fiona Brice and Gemma Ray, the album is full of alluring, devious pop noir, the songs immersed in an eerie, crepuscular pool of fuzzy, warmly welcoming psychedelics. United Sounds Of Joy traverse a road to a new and rewarding gothic chanson.
The beautiful cover is by Russian artist Aleksandra Laika.
“Don’t call it a reunion,” spits Michael J Sheehy, “we’re not even a band in the traditional fashion.” Dream City Film Club were signed to Beggars Banquet within a year of forming in 1995, releasing an album and recording two Peel sessions before Vald was unceremoniously kicked out. “Alex was dismissed because he was the only decent human being in the band,” says Sheehy. “We were intent on dismantling the band from the off. Everyone was pulling in different directions, each with his own very particular variety of personality disorder, drug abuse or mental illness. And if all that stuff hadn’t got us then I’m sure we would have buckled beneath the weight of our own very lofty pretensions.”
Almost two decades removed from each other’s musical energies, Vald and Sheehy have reunited to craft some heartrending, mind-bending music. Coming on like Joe Meek and Goldfrapp entangled in some ancient machinery, the first-listen track ‘The Sun That Hides A Darker Star’ is a magnificent, shimmering sound. Amongst others, Lauren Laverne picked up on the track, with regular spins, describing it thusly; “if David Cronenberg directed a spaghetti western, we reckon it would feel a little like this.”
Featuring contributions from Fiona Brice and Gemma Ray, the album is full of alluring, devious pop noir, the songs immersed in an eerie, crepuscular pool of fuzzy, warmly welcoming psychedelics. United Sounds Of Joy traverse a road to a new and rewarding gothic chanson.
The beautiful cover is by Russian artist Aleksandra Laika.
The United States of America, led by respected modern classical avant garde musician Joseph Byrd, cut a wide swath through the 1968 world of rock, just then comfortably settling into its backwoods dreams of country-rock to find the debut U.S.A. album howling like an infant terrible on its front doorstep. At the center of the U.S.A.'s fiercely experimental universe were the icy-cool vocals of the beautiful Dorothy Moskowitz, keeping this tumultuous sound from spinning out-of-control in every direction. One of the most avant-garde pop records of the late 60s, the U.S.A.'s only album spans psyche-fuzz, ambient easy-pop, big band, experimental electronics and tape cut-ups - but as ever, the sum is greater than its parts. Taken as a whole, it's one of those classic 'trip' albums whose strangeness really takes you aback! NUTS (bit in a great way!!) Almost predictably, the U.S.A. disbanded before it could record a second album, but its brilliant, self-titled effort was certainly one for the ages.
One of the most avant-garde pop records of the late 60s, the United States' only album spans psyche-fuzz, ambient easy-pop, big band, experimental electronics and tape cut-ups - but as ever, the sum is greater than its parts. Taken as a whole, it's one of those classic 'trip' albums whose strangeness really takes you aback! NUTS.
FORMAT INFORMATION
Coloured LP Info: Pressed at R.T.I. on limited edition coloured vinyl.
United States Of America
United States Of America: The Columbia Recordings Remastered And Expanded
Esoteric
Perhaps one of the finest and most original of bands to emerge in the USA during the Psychedelic era, the United States of America was formed in 1967 by the avant-garde musician Joseph Byrd (an associate of Yoko Ono who had studied with composer John Cage). After studying at UCLA in California, Byrd decided to form a band that would combine performance art, radical politics and experimental rock music. Recruiting former partner Dorothy Moskowitz (Vocals), Gordon Marron (Violin, Ring Modulator, Vocals), Rand Forbes (Bass) and Craig Woodson (Electric Drums), the band signed to Columbia records and recorded their self-titled album in December 1967. The sessions produced some of the most extraordinary music of the time, with pieces such as “The American Metaphysical Circus” combining tape looped effects, electronic sounds and rock to create a stunning opening to a fine album. Such a radical approach led to the album being hailed by critics upon release but receiving a poor commercial reception. Internal friction soon took hold and the United States of America had disbanded by the end of 1968.
This Esoteric Recordings edition is newly remastered and includes ten bonus tracks recorded during the sessions for the band’s sole album and in May and July 1968. The reissue also features an illustrated booklet with new essay.
This Esoteric Recordings edition is newly remastered and includes ten bonus tracks recorded during the sessions for the band’s sole album and in May and July 1968. The reissue also features an illustrated booklet with new essay.
Futurismo have the privilege to be the first label ever to re-release one of the most sought-after post-punk electronic albums of the early 1980s - 'Digital Stimulation' by Units.
Inspired by punk in ideology, though not necessarily in sound, San Francisco’s Units were a young breed of dystopic visionaries, art space prodigies and trash culture futurists set on reshaping sound for a new age. Leading the charge, along with only a couple of others such as Screamers and Chrome, they lit the touch-paper for a new sound, a new scene. Equally as influenced by experimental cinema, performance art and Brechtian street theatre as they were the music of Suicide and Devo, Units offered a glorious glimpse into how and what pop music could be.
Originally released in 1980, 'Digital Stimulation' was Units true calling card. Containing the now famous opener ‘High Pressure Days’, this is a time capsule from the minimal wave era - part of a lineage that includes Neu!, Tubeway Army, ‘Being Boiled’-era Human League and Cabaret Voltaire, making this a vital recording for anyone interested in electronic music at all - past or present. With original copies selling at extortionate prices this is a rerelease that’s long overdue.
Futurismo present a remastered redux version of this long out of print LP on 180g limited edition coloured vinyl, as well as a never before released CD. Both versions come with new stylized artwork, metallic ink sleeves, rare imagery, hidden tracks and a huge fold-out double sided poster containing brand new liner notes by Scott Ryser.
Inspired by punk in ideology, though not necessarily in sound, San Francisco’s Units were a young breed of dystopic visionaries, art space prodigies and trash culture futurists set on reshaping sound for a new age. Leading the charge, along with only a couple of others such as Screamers and Chrome, they lit the touch-paper for a new sound, a new scene. Equally as influenced by experimental cinema, performance art and Brechtian street theatre as they were the music of Suicide and Devo, Units offered a glorious glimpse into how and what pop music could be.
Originally released in 1980, 'Digital Stimulation' was Units true calling card. Containing the now famous opener ‘High Pressure Days’, this is a time capsule from the minimal wave era - part of a lineage that includes Neu!, Tubeway Army, ‘Being Boiled’-era Human League and Cabaret Voltaire, making this a vital recording for anyone interested in electronic music at all - past or present. With original copies selling at extortionate prices this is a rerelease that’s long overdue.
Futurismo present a remastered redux version of this long out of print LP on 180g limited edition coloured vinyl, as well as a never before released CD. Both versions come with new stylized artwork, metallic ink sleeves, rare imagery, hidden tracks and a huge fold-out double sided poster containing brand new liner notes by Scott Ryser.
FORMAT INFORMATION
2xLP Info: 'Modular Shock' deluxe vinyl edition - red & white on yellow marbled vinyl.
The precocious London-based Unitz started DJing from the age of eight and producing from the age of 13! Now a little older he brings us this double header for the Dub Police label. "The Drop" is totally off the hinges! A bit of a teasing atmospheric bell tinkling intro makes way for the mother of all electroid dubstep drops that's had crowds up and down the land shouting for the rewind. Having received massive amounts of airplay both on Rinse FM and Kiss FM as well as the live circuit this is sure to fly off the shelves. "Mornin Blues" offers something a bit more deep and a bit more subtle to mess with your head. Rinsed by Caspa, Rusko, DJ Orien, The Others, Mary Anne Hobbes, Subscape, Oris Jay and N-Type.
"Invisible Starlight" is a ripping tune by an unknown midwestern funk outfit with a driving backbeat and soaring horns. It sounds like Ohio to us, but we can't be sure. What is certain however, is that these gents rocked the local bowling alleys, social clubs and loungespots wherever they went. Label bosses Universal Cave touch down on the A-side with their primo 45 edit, hitting us with a relentless groove of fat bass, bright horns and irrepressible rhythm guitar - so damned phonky y'all. Meanwhile on the flip, The Beat Broker rounds out the original with his signature style and an impeccable ear. The Kind Dub's sun drenched delay and reinforced drums ensure that Invisible Starlight will shine over any dancefloor!
STAFF COMMENTS
Patrick says: Here we have a hot 7" of the rawest, roughest disco funk, expertly retweeked for modern jocks. There's looped licks on the A-side from the UC crew, while Beat Broker gets dubby-in-the-disco over on the flip...
Universal Colours Of House
T-Shirt
Featuring 25 classic house music records & their associated colours on one music themed paint chart including:-
Laurent Garnier – Man With The Red Face / Moby – Go / Orbital – Chime / Raze – Break 4 Love / Urban Blues Project – Love Don’t Live
Frankie Knuckles – Tears / 808 State – Pacific State / Kings of Tomorrow – Finally / River Ocean – Love & Happiness / New Order – Blue Monday
Sterling Void – It’s Alright / Afro Medusa – Pasilda / Night Writers – Let The Music Use You / Daft Punk – Burnin’ / Hanna Hais – Rosa Nova
Fish Go Deep – The Cure And The Cause / Crystal Waters – Gypsy Woman / Jungle Brothers – I’ll House You / Lil Louis – French Kiss
Stardust – Music Sounds Better With You / Inner City – Pennies From Heaven / DJ Sneak – You Can’t Hide From Your Bud
Funky Green Dogs From Outer Space – Reach For Me / Orange Lemon – Dreams Of Santa Anna / The Fog – Been A Long Time
Stylish t-shirt is made of 100 percent premium cotton for complete comfort and softness.
Regular fit, machine wash 30c, wash with similar colours. do not iron printed area.
Laurent Garnier – Man With The Red Face / Moby – Go / Orbital – Chime / Raze – Break 4 Love / Urban Blues Project – Love Don’t Live
Frankie Knuckles – Tears / 808 State – Pacific State / Kings of Tomorrow – Finally / River Ocean – Love & Happiness / New Order – Blue Monday
Sterling Void – It’s Alright / Afro Medusa – Pasilda / Night Writers – Let The Music Use You / Daft Punk – Burnin’ / Hanna Hais – Rosa Nova
Fish Go Deep – The Cure And The Cause / Crystal Waters – Gypsy Woman / Jungle Brothers – I’ll House You / Lil Louis – French Kiss
Stardust – Music Sounds Better With You / Inner City – Pennies From Heaven / DJ Sneak – You Can’t Hide From Your Bud
Funky Green Dogs From Outer Space – Reach For Me / Orange Lemon – Dreams Of Santa Anna / The Fog – Been A Long Time
Stylish t-shirt is made of 100 percent premium cotton for complete comfort and softness.
Regular fit, machine wash 30c, wash with similar colours. do not iron printed area.
Two brilliant, previously unissued modern soul discoveries from the archive of U.T.B. mastermind Andre Gibson. “My Lucky Stars” rides the 120 BPM crest, with sharp horns, handclaps, triangle, and a wild guitar solo filling out the four and a half minute ride. “Dreamality” cops a Steve Miller vibe and goes on a spaced-out future funk adventure.
While in pursuit of a Radio and TV Broadcasting degree from Chicago State University, Cynthia C. Gibson directed the music video for the Universal Togetherness Band’s “More Than Enough.” Backed with the unreleased party anthem “Saturday Night,” “More Than Enough” is available for the first time in an attractive picture-sleeve 45 and sounds super funky and sublime. The raw drums collide with nicely picked guitar lines while the male-female chorus is like golden syrup on fresh pancakes! Soul collectors you need this!
STAFF COMMENTS
Matt says: High grade jazz-funk that'd you catch plenty of jocks utilizing to devastating effect on the more sophisticated 'floors. Both sides strut and canter like a prized show horse, but it's the smoochy b-side love-in, "More Than Enough" that does it for me...
Debut 1998 album from UNKLE, back then a production duo of Mo' Wax head honcho James Lavelle and beat builder extraordinaire DJ Shadow. The soundscape of sampled breaks and ominous soundscapes is pretty similar to "Endtroducing", but with one big difference; "Psyence Fiction" has a line-up of guest vocalists. These included Badly Drawn Boy, Richard Ashcroft and Thom Yorke for the indie kids and Kool G Rap, Latyrx and Beastie's Mike D for the hip hop heads, all adding their own unique edge to the tracks they appear on. Dark, moody and brooding, the album is a 90s essential. After the recent Man From Mo'Wax generated a pre-Bros buzz, this one's been on everyone's wantlist.
FORMAT INFORMATION
2xLtd LP includes MP3 Download Code.
Following on from the critically acclaimed The Road: Part I, James Lavelle's UNKLE returns with the follow up The Road: Part II / Lost Highway, split across two parts with 22 tracks, James described this journey as having "more of a mixtape aesthetic being the ultimate road trip"
FORMAT INFORMATION
3xDeluxe CD Info: Triple CD package containing the full album and a bonus disc of instrumentals, housed in a deluxe multi-panel package with 16 page booklet.
Konsysttenzia caused a microcosmic cataclysm for our techno customers t'other week when the anonymous first volume, "Artists Series" dropped. Cloaked, stealth techno, it was a million miles away from the stadiums of Awakenings or the aircraft hangers of Sonar, but more an intimate, intricate and trickski style of production that keep people hooked without bathing in superfluity.
Well, it's back with another four tracks and they're just as hot as on that initial outing. Flecked with acid, propelled by split atomic particles and emanting a radioactive hum that should see it quaranteed for only the most bravest dancefloor digestion. Ready to twist craniums inside out at the after party, or just keep the backroom bubbling and covered in electronic voodoo; you'll get some much milage out of this EP you'll probably want to buy two copies...
Mega, mega label! Do not sleep!
Well, it's back with another four tracks and they're just as hot as on that initial outing. Flecked with acid, propelled by split atomic particles and emanting a radioactive hum that should see it quaranteed for only the most bravest dancefloor digestion. Ready to twist craniums inside out at the after party, or just keep the backroom bubbling and covered in electronic voodoo; you'll get some much milage out of this EP you'll probably want to buy two copies...
Mega, mega label! Do not sleep!
STAFF COMMENTS
Matt says: 2nd instalment of this vital, mysterious techno series and there's no sign of the tension loosening as the anonymous artist delivers four more tracks of clocked, stealth techno for the deep heads. Highly recommended!
It's fair to say their debut caused a right stir in these parts, and now the Delicate Wash massive are back with a second instalment of soothing and grooving cuts. "#2" will take you on a 80's electronic funk adventure filled with analog drum machines and sharp synth leads, filling your ears with four tracks that are fresh, perky, futuristic, and thrilling. "Exotica" opens proceedings with dexterous coastside guitar licks, aquatic marimba patterns and lush DX7 riffs, coming across like an Amiga-era floppy disc flip on seminal 80s cut "Don't Look Any Further". After a slightly abrasive industrial intro, A2 offering "Syndrome 28" soon transforms into a technotronic take on tribal electro complete with mellow jazz funk keys and warm bass riffs - essential for Hardcastle fans everywhere. Over on the B1, "The Undertaker" romps through fist pumping 80s percussion, squelching synth riffs and 8bit sequences before arriving at the discotheque in a blaze of brass and thunder. Finally, "Stand By Me" serves up sax licks, laser fire and so much pitch bend, flipping the floor out in full synth fusion fashion. Another hit!
STAFF COMMENTS
Patrick says: Electro-funk manoeuvres on the second load of laundry from Delicate Wash. The first release brought grown men to tears, and this follow up comes Kleenex approved. Grab it before it goes...FORMAT INFORMATION
12" Info: One copy in stock
Delicate Wash spurn the spin cycle once again, returning for Round 4 of their edits series, delivering a fresh load of spaced-out street synths and exquisite disco toe-tappers. Four cuts of a familiar 1980's metropolitan milieu, WASH#4 provides the b-movie soundtrack to a cinematic underworld of swanky penthouse soirees and back alley brawls.
Opener "San Francisco" pairs impossibly reverbed conga with squelching bass and stretched synth leads, sounding like a lo-fi Pet Shop Boys soundtracking a 80s bluey. It follows then that "Girls!" is a wild ride through amateur boogie, vocals veering super high in the mix, synths crackling in electroid perfection and nipple height bass virtuosity keeping the pulse racing. Skip to the flip for the squirming disco-funk of "Jungle Robots", a moogy slice of swamp boogie with cinematic fx, ribbiting vocoder and Idjuts-style delay and the frazzled jazz-rock of "Brown Bunny", which comes complete with elbow patches, high waisters and weed smoke.
Whether in a mix or live set, this evocative quartet is an eloquent addition to any audiophile's storytelling toolkit.
Opener "San Francisco" pairs impossibly reverbed conga with squelching bass and stretched synth leads, sounding like a lo-fi Pet Shop Boys soundtracking a 80s bluey. It follows then that "Girls!" is a wild ride through amateur boogie, vocals veering super high in the mix, synths crackling in electroid perfection and nipple height bass virtuosity keeping the pulse racing. Skip to the flip for the squirming disco-funk of "Jungle Robots", a moogy slice of swamp boogie with cinematic fx, ribbiting vocoder and Idjuts-style delay and the frazzled jazz-rock of "Brown Bunny", which comes complete with elbow patches, high waisters and weed smoke.
Whether in a mix or live set, this evocative quartet is an eloquent addition to any audiophile's storytelling toolkit.
STAFF COMMENTS
Patrick says: Delicate Wash turn the Hotpoint dial to 4, hitting us with a quartet of 80s dancers, all reworked to perfection for modern floors. Sleazy disco, backstreet funk and stoned jazz-rock should provide plenty of options for turning heads and moving feet.
The infamous series returns! Les Edits Du Golem return with a special 7" release featuring two spaced out francophone oddities. On the A-side we have a wonderfully crooned, kinda Balearic and undoubtedly cosmic slow disco burner lamenting an evening getting lost while disco dancing. Think Brel or Gainsbourg attempting some seventies seduction after at least two tabs of acid. On the flip, things simmer down even further with a doped out dad rock track complete with proggy space whistle, nebulous pads and the slowest of drumbeats.
Celebrating over a decade in the edits game, Les Edits Du Golem can always be relied upon to bring forth the obscure! Recommended.
Celebrating over a decade in the edits game, Les Edits Du Golem can always be relied upon to bring forth the obscure! Recommended.
STAFF COMMENTS
Patrick says: It's always a good day when a new Edits Du Golem drops, and this 7" edition is a space age smash. Both sides are slow, syrupy and swaying cosmic bombs with a touch of Gallic humour. It's the kind of tackle you'd expect to hear on a Harvey Sarcastic Disco mix.
The 4th release from jungalist / hardcore revival label Bring Back Records and the cult label doesn't disappoint with three tracks of high end rude boi business.
"Night Selector" is pure '93-era badness, with a stretched Amen powering through atmospheres and bells - big vibe in the place when this one drops massive.
"Light In The Ghetto" switches tact straight into break-hardcore territory, endorphine-rushing, sped-up female vox, deep pads and a Prodigy-styled rave line. One for the original Bowlers / Dreamscape cru....
Finally, "Lobster P" is a frenzied, Jeep-friendly jungle roller with rumbling subs, assault rifle beats and wild leads. When the drums fully launch their attack there's nowhere to hide!
"Night Selector" is pure '93-era badness, with a stretched Amen powering through atmospheres and bells - big vibe in the place when this one drops massive.
"Light In The Ghetto" switches tact straight into break-hardcore territory, endorphine-rushing, sped-up female vox, deep pads and a Prodigy-styled rave line. One for the original Bowlers / Dreamscape cru....
Finally, "Lobster P" is a frenzied, Jeep-friendly jungle roller with rumbling subs, assault rifle beats and wild leads. When the drums fully launch their attack there's nowhere to hide!
STAFF COMMENTS
Matt says: Trunk rumblin' jeep business straight outta mid 90s UK here as the excellent Bring Back label revisit another classic bit of heritage and replicate in authentic style. All the massive!
Insanely limited, stealthy & deep, experimental-leaning techno. Carrying on in the same vein as the mysterious EP released on Konsysttenzia a couple of weeks ago, another unknown artist drops two tracks of meticulously produced, understated techno for the people who like it deep, hazy and smothered in electronic voodoo. Tidy.
Seriously limited copies on this one so cop now or cry later.
Seriously limited copies on this one so cop now or cry later.
STAFF COMMENTS
Matt says: Proper feelin' the current slew of shadow-dwelling, stealth-techno that seems to be raining down on us. If you liked the Konsysttenzia 12" from a couple of weeks ago you need this in your basket now!!
This limited edition 12" brings two artists from two crews, presumably Power Station and Bahnsteig 23, and so possibly Kris Baha and Jonny Rock...? Either way, we're taken on an 11 minute industrial journey on the A-side, detouring through mechanical percussion and scuzzy synths like a Throbbing Gristle outtake. The B-side spikes the tempo to 110ish and incorporates proggy leadlines and hydraulic percussion for a modern trance thumper.
STAFF COMMENTS
Matt says: Nice, slow, sludge cosmic-dirg here from two rapscallions of the scene. It doesn't get much muckier than this folks. Like smearing yourself in the various bodily fluids left in Berghain's infamous Dark Room.
Montreal-based outdoor enthusiast Unknown Mobile offers up his debut on Normals Welcome with this 12" full of gentle hand drums and wavy melodies. Percussion guides the way through levels of airy pads and catchy synth lines on three solo cuts. His dancefloor sensibilities then interlock with Vancouver's amiable Big Zen for a spaced-out but dancefloor focused, collaborative track on the B side. If you've a penchant for the sublime and cerebral side of house music then this release is for you! Recommended.
STAFF COMMENTS
Matt says: Really strong collection of new house grooves. Rich with esoteric leanings and a rainforest friendly palette; for the dancers and dreamers alike!
While recording Unknown Mortal Orchestra’s latest release, Sex & Food, Ruban Nielson, his longtime collaborator Jacob Portrait and his brother Kody Nielson, found themselves in the Vietnamese city of Hanoi playing and recording with local musicians at Phu Sa Studios. The studio, normally used for traditional Vietnamese music, found the band jamming on sessions dubbed IC-01 Hanoi: exploring the outer edges of the band’s influences in Jazz, Fusion and the avant-garde. The musicians, along with Ruban and Kody’s father, a Jazz musician in his own right, helped lay down the unique textures heard throughout Hanoi. At its core Hanoi is a record of exploration, finding its closest antecedent in Miles Davis’ experimental On The Corner – itself a record full of nods toward avant-garde composers and Jazz outsiders alike. Hanoi finds Ruban amplifying and stretching out on lead guitar, with a blown-out and wandering fuzz tone that slinks throughout the sessions. Kody and Jacob match Ruban’s melodic diversions with aplomb, mining their talents to finding as easy a role in the fusion of funk as they do in the more ambient and abstract tangents on Hanoi.
STAFF COMMENTS
Barry says: Definitely not typical UMO this, but absolutely brimming with feeling and focused on an entirely different aspect of their sound. Though they are by no means avant-garde, the more meandering ruminations of their melodic forays are exacerbated on this release, breaking into the realms of jazzy ambience, eastern flow and hypnotic woodwind. A completely surprising but thoroughly enjoyable change. Lovely stuff.
Emerging from rampant hedonism and isolation is ‘II’, the new album from Unknown Mortal Orchestra. The musical vision of Portlander-via-New Zealand Ruban Nielson started as an anonymous home-recording project that fused psychedelia, soul, choppy percussion and funk.
Unknown Mortal Orchestra came to life in basements and bedrooms after Nielson moved from his native New Zealand to Portland, Oregon with his family. Following the recruitment of bassist Jacob Portrait, new drummer Greg Rogove and a deal with Jagjaguwar, UMO toured the US with Grizzly Bear and Liars.
‘II’ builds on the breakbeat, junk shop charm the 32-year-old multi-instrumentalist and songwriter came to be renowned for following his self-titled 2011 debut, and signals the solidification of Unknown Mortal Orchestra’s position as an endlessly intriguing, brave psychedelic band. Unknown Mortal Orchestra is unafraid to dig deeper than the rest, to lock into their intoxicating, opiate groove and bring rock ‘n’ roll’s exaggerated myths to life.
Written during a punishing, debauched touring schedule during which Nielson feared for his sanity and health, ‘II’ illustrates the emotional turmoil of life on the road, painting surrealist, cartoonish portraits of loneliness, love and despair.
These conflicting themes are evident immediately; on the album’s sleeve is an unnerving image of Janet Farrar, the famous British witch Wiccan, author and teacher of witchcraft. The chilling refrain of opener ‘Into The Sun’ sees Nielson deliver the line “Isolation can put a gun in your hand,” softly, his words starkly intelligible above a warm, slow-burning melody that quickly brands itself onto your brain. His playful imagery (“I’m so lonely I’ve gotta eat my popcorn all alone”) mirrors the melody, before a solo that borders on psychotropic ends ‘II’s introduction.
As it unfolds, ‘II’ does find Nielson reenergized. ‘One At A Time’ and ‘Faded In The Morning’ boast dizzying choruses and instrumentals - these crusty hunks could have been excavated from a lost 1960s treasure trove. ‘Monki’ unravels over seven minutes like the yarn from a stoner’s cardigan with an eye-frying pattern. ‘Dawn’ is a minute of disconcerting noise that stands out between the nooks and crannies of the choruses, guitar solos, groove-heavy bass and drums that were recorded live by newly-recruited drummer Greg Rogove and Kody Nielson in a move away from the electronic percussion employed on album one. ‘II’ closes with ‘Secret Xtians’, a tender observational puzzle that fizzes to a satisfied end.
Pulling Pink Floyd, The Family Stone, The Beatles and the Soft Machine through his warped rock ‘n’ roll filter, Nielson has created a collection of expressive psychedelia. Unknown Mortal Orchestra was once Nielson’s closeted concern. With an album that uses his singular musical imagination and extraordinary talent to parade his emotions with unyielding honesty, it is now a fully realized band operating at the peak of its powers.
‘II’ is the follow up and refinement to 2011’s self-titled, critically adored debut (released by Fat Possum and True Panther Sounds).
Unknown Mortal Orchestra came to life in basements and bedrooms after Nielson moved from his native New Zealand to Portland, Oregon with his family. Following the recruitment of bassist Jacob Portrait, new drummer Greg Rogove and a deal with Jagjaguwar, UMO toured the US with Grizzly Bear and Liars.
‘II’ builds on the breakbeat, junk shop charm the 32-year-old multi-instrumentalist and songwriter came to be renowned for following his self-titled 2011 debut, and signals the solidification of Unknown Mortal Orchestra’s position as an endlessly intriguing, brave psychedelic band. Unknown Mortal Orchestra is unafraid to dig deeper than the rest, to lock into their intoxicating, opiate groove and bring rock ‘n’ roll’s exaggerated myths to life.
Written during a punishing, debauched touring schedule during which Nielson feared for his sanity and health, ‘II’ illustrates the emotional turmoil of life on the road, painting surrealist, cartoonish portraits of loneliness, love and despair.
These conflicting themes are evident immediately; on the album’s sleeve is an unnerving image of Janet Farrar, the famous British witch Wiccan, author and teacher of witchcraft. The chilling refrain of opener ‘Into The Sun’ sees Nielson deliver the line “Isolation can put a gun in your hand,” softly, his words starkly intelligible above a warm, slow-burning melody that quickly brands itself onto your brain. His playful imagery (“I’m so lonely I’ve gotta eat my popcorn all alone”) mirrors the melody, before a solo that borders on psychotropic ends ‘II’s introduction.
As it unfolds, ‘II’ does find Nielson reenergized. ‘One At A Time’ and ‘Faded In The Morning’ boast dizzying choruses and instrumentals - these crusty hunks could have been excavated from a lost 1960s treasure trove. ‘Monki’ unravels over seven minutes like the yarn from a stoner’s cardigan with an eye-frying pattern. ‘Dawn’ is a minute of disconcerting noise that stands out between the nooks and crannies of the choruses, guitar solos, groove-heavy bass and drums that were recorded live by newly-recruited drummer Greg Rogove and Kody Nielson in a move away from the electronic percussion employed on album one. ‘II’ closes with ‘Secret Xtians’, a tender observational puzzle that fizzes to a satisfied end.
Pulling Pink Floyd, The Family Stone, The Beatles and the Soft Machine through his warped rock ‘n’ roll filter, Nielson has created a collection of expressive psychedelia. Unknown Mortal Orchestra was once Nielson’s closeted concern. With an album that uses his singular musical imagination and extraordinary talent to parade his emotions with unyielding honesty, it is now a fully realized band operating at the peak of its powers.
‘II’ is the follow up and refinement to 2011’s self-titled, critically adored debut (released by Fat Possum and True Panther Sounds).
STAFF COMMENTS
Andy says: UMO's 2011 debut LP was a one-man, bedroom curio layering sun-kissed psych-pop over chunky break beats. Expanded to a three piece, the live drummer brings an untutored looseness to the band’s sound which perfectly suits the laid-back, mellow vibe of these tunes. Ruban Neilson has made a beautiful night time record; hazy, blurred and luminous. And it still has that home-studio charm: lo-fi, fuzzy and whimsical, but the psych is now the Beatles, the blues a freaked-out Marc Bolan and there's a soulfulness that recalls early ‘70s Curtis Mayfield; a gorgeous blend. Curtis comparisons extend to Ruban's guitar playing too; seemingly meandering, carefree explorations reveal themselves to be intricately worked out, melodic lines that spill into each other, sometimes with a whiff of prog, sometimes even jazz. Mixed with the white-soul and garage, plus (inter)stellar melodies, you have one funky little nugget, a dazed and dreamy gem of an album.FORMAT INFORMATION
LP includes MP3 Download Code.
On Multi-Love, Unknown Mortal Orchestra frontman and multi-instrumentalist Ruban Nielson reflects on relationships: airy, humid longing, loss, the geometry of desire that occurs when three people align. Where Nielson addressed the pain of being alone on II, Multi-Love takes on the complications of being together.
Multi-Love adds dimensions to the band’s already kaleidoscopic approach, with Nielson exploring a newfound appreciation for synthesizers. The new songs channel with the spirit of psych innovators without ignoring the last 40 years of music, forming a flowing, cohesive whole that reflects restless creativity. Cosmic escapes and disco rhythms speak to developing new vocabulary, while Nielson’s vocals reach powerful new heights.
“It felt good to be rebelling against the typical view of what an artists is today, a curator,” he says. “It’s more about being someone who makes things happen in concrete ways. Building old synthesizers and bringing them back to life, creating sounds that aren’t quite like anyone else’s. I think that’s much more subversive.”
Multi-Love adds dimensions to the band’s already kaleidoscopic approach, with Nielson exploring a newfound appreciation for synthesizers. The new songs channel with the spirit of psych innovators without ignoring the last 40 years of music, forming a flowing, cohesive whole that reflects restless creativity. Cosmic escapes and disco rhythms speak to developing new vocabulary, while Nielson’s vocals reach powerful new heights.
“It felt good to be rebelling against the typical view of what an artists is today, a curator,” he says. “It’s more about being someone who makes things happen in concrete ways. Building old synthesizers and bringing them back to life, creating sounds that aren’t quite like anyone else’s. I think that’s much more subversive.”
STAFF COMMENTS
Andy says: Better bottom-end for the funky psych-groovers. Their last album was well loved here, looks like this is gonna top it!
On Multi-Love, Unknown Mortal Orchestra frontman and multi-instrumentalist Ruban Nielson reflects on relationships: airy, humid longing, loss, the geometry of desire that occurs when three people align. Where Nielson addressed the pain of being alone on II, Multi-Love takes on the complications of being together.
Multi-Love adds dimensions to the band’s already kaleidoscopic approach, with Nielson exploring a newfound appreciation for synthesizers. The new songs channel with the spirit of psych innovators without ignoring the last 40 years of music, forming a flowing, cohesive whole that reflects restless creativity. Cosmic escapes and disco rhythms speak to developing new vocabulary, while Nielson’s vocals reach powerful new heights.
“It felt good to be rebelling against the typical view of what an artists is today, a curator,” he says. “It’s more about being someone who makes things happen in concrete ways. Building old synthesizers and bringing them back to life, creating sounds that aren’t quite like anyone else’s. I think that’s much more subversive.”
Multi-Love adds dimensions to the band’s already kaleidoscopic approach, with Nielson exploring a newfound appreciation for synthesizers. The new songs channel with the spirit of psych innovators without ignoring the last 40 years of music, forming a flowing, cohesive whole that reflects restless creativity. Cosmic escapes and disco rhythms speak to developing new vocabulary, while Nielson’s vocals reach powerful new heights.
“It felt good to be rebelling against the typical view of what an artists is today, a curator,” he says. “It’s more about being someone who makes things happen in concrete ways. Building old synthesizers and bringing them back to life, creating sounds that aren’t quite like anyone else’s. I think that’s much more subversive.”
FORMAT INFORMATION
2xLtd LP Info: This is the pink vinyl LP plus a 2 track exclusive 12” tracks, limited to 400 copies. 1 copy found!
Where are we headed? What are we consuming, how is it affecting us, and why does everything feel so bad and weird sometimes? These are some of the questions posed on Ruban Nielson's fourth album as Unknown Mortal Orchestra, Sex & Food-a delightfully shapeshifting album that filters these real-deal serious themes through a vibrant sonic lens that spans battered drum-machine funk, doomy and thrashing rock, and pink-hued psychedelic disco. Recorded in a variety of locales from Seoul and Hanoi to Reykjavik, Mexico City, and Auckland, Sex & Food is a practical musical travelogue, with local musicians from the countries that Nielson and his band visited pitching in throughout.
FORMAT INFORMATION
LP Info: Standard black vinyl edition.
Unknown Mortal Orchestra (U.M.O.) was conceived as a home recording project by Ruban Nielson after spending years playing and touring in an award-winning New Zealand punk band (on the legendary Flying Nun label). The band broke up after re-locating to Portland, OR and Ruban was ready to move away from his nomadic past. His recordings as U.M.O., mainly created for his personal amusement, have now taken on a life of their own.
Ruban’s vision of creating “junkshop record collector pop” culminated in the creation of sprawling Beatles-esque guitar melodies over hammered out break-beats, spliced with an individual touch of gentle weirdness. The results deliver a surprisingly unified fusion of several influential elements - classic psychedelic rock, Krautrock rhythms and proto-hip hop beats – all interacting to create a cohesive album.
Though the songs were never intended to be performed live, the last six months has seen the project gather pace behind a wave of critical acclaim. A sold-out limited edition EP lead Ruban to construct a live band consisting of skilled producer Jake Portrait on bass and a brilliant teenage drummer named Julien Ehrlich.
Ruban’s vision of creating “junkshop record collector pop” culminated in the creation of sprawling Beatles-esque guitar melodies over hammered out break-beats, spliced with an individual touch of gentle weirdness. The results deliver a surprisingly unified fusion of several influential elements - classic psychedelic rock, Krautrock rhythms and proto-hip hop beats – all interacting to create a cohesive album.
Though the songs were never intended to be performed live, the last six months has seen the project gather pace behind a wave of critical acclaim. A sold-out limited edition EP lead Ruban to construct a live band consisting of skilled producer Jake Portrait on bass and a brilliant teenage drummer named Julien Ehrlich.
Causing shock waves across Trafalgar Square at the recent People’s Vote March this ludicrously large, galactic gem finally sees the light of day on 12”, backed with a rapturous disco roof raiser. The crescendo to a protest and a track that many have been scouring the internet for ever since, "Baby Baby Please" couples a huge ‘70s vocal with a perfectly accompanied stomping ‘80s arp-laden beat to create a record that will light the fire of revolution in even the most indifferent of souls.
Flip it over for a cosmic-tinged, disco powerhouse in the form of "True Destiny". Think glitz, glam and downright unadulterated ecstasy, channelled from disco’s glory days to the modern dancefloor at the drop of a needle.
Like the track, support the movement - donations will be made to the cause.
Buy now... be the 3rd person to play it...
Flip it over for a cosmic-tinged, disco powerhouse in the form of "True Destiny". Think glitz, glam and downright unadulterated ecstasy, channelled from disco’s glory days to the modern dancefloor at the drop of a needle.
Like the track, support the movement - donations will be made to the cause.
Buy now... be the 3rd person to play it...
Treasure Series come correct once again. An illustrious bassline and much chanted vocal known the world over, driven by a shuffling, thumper of a tech house beat. A marriage you’d have never thought of, but seems so right once you hear it and one which will stay in your head for weeks to come.
Play it big, play it loud and it will not disappoint.
Play it big, play it loud and it will not disappoint.
STAFF COMMENTS
Matt says: Put your hands up for Detroit! White Stripes' stadium punk smasher gets the tech house treatment and I'm loving it!
Another white label tech-house BOMB to fuel the masses. Decidedly 'un-instagramable', this vicious roller should smash thru all false-ego-fluffing on the dancefloor and instead result in melee of swinging elbows and pogo-ing bodies.
Deep rumbling kick-bass-tom patterns, killer rap acapela, speaker-tweaking lead... it's all there to send hordes of drugged-up under 25s into ecstatic oblivion.
Limited quants, move quick!
Deep rumbling kick-bass-tom patterns, killer rap acapela, speaker-tweaking lead... it's all there to send hordes of drugged-up under 25s into ecstatic oblivion.
Limited quants, move quick!
STAFF COMMENTS
Matt says: Unlikely to make any sense unless you're 2 pills in at your next all nite dance party; but in the right environment I'm sure it'll gonna go off....As peaktime rollers go this little limited edition hand stamped number is about to take the crown as the flushest of them all.
A thumping beat, a heavyweight bassline and a vocal that’s got more sass than you can shake a stack of dollar bills at.
It’s big, bad and about to storm every club with a sound system heavy enough to handle it.
Very limited Handstamped, one sided vinyl biz that’s bang on the money.
A thumping beat, a heavyweight bassline and a vocal that’s got more sass than you can shake a stack of dollar bills at.
It’s big, bad and about to storm every club with a sound system heavy enough to handle it.
Very limited Handstamped, one sided vinyl biz that’s bang on the money.
STAFF COMMENTS
Matt says: Big funky / tech house refix here as Cardi B chart smasher "Money" finds the club with a pinging, pounding mainroom groover. Wiggle!
The same week a New York Underground pops out the undergrowth, we get an Unlimited Love... coincidence?! I think not fellow aural adventurer - we're onto them, and they know it; hence trying to distract us with more dizzyingly good edits from the glitter-soaked world of disco and boogie.
Now up to volume 22 in their illicit operation, Unlimited Love continue to be an essential outlet to cash-strapped vinyl enthusiasts, burgeoning bar DJs or people who just don't give a fuck!
Yes, the originals sound better, and maybe, just maybe, you'll get more trainspotter points on the circuit; but for most people that don't mean shit... Just slap these late 70s / early 80s heaters on the platter and groove to the timeless vibrations on the dancefloor's most enduring genre.
Now up to volume 22 in their illicit operation, Unlimited Love continue to be an essential outlet to cash-strapped vinyl enthusiasts, burgeoning bar DJs or people who just don't give a fuck!
Yes, the originals sound better, and maybe, just maybe, you'll get more trainspotter points on the circuit; but for most people that don't mean shit... Just slap these late 70s / early 80s heaters on the platter and groove to the timeless vibrations on the dancefloor's most enduring genre.
The Unlimited Love edits mob continue to chop up the finest smatterings of disco, boogie and soul for their infamous series.
Number 24 and it's four more nicely excavated cuts that evade the ears of our intrepid IDers and deliver nothing but positive energy for the floor. From the driving, slick, late 70s disco; to horn-guided funk-disco and back through gospel-calipsp-disco-boogie (!!) and finally, a scuzzy, punky, barrell roller of disco-funk.
Top drawer throughout!
Number 24 and it's four more nicely excavated cuts that evade the ears of our intrepid IDers and deliver nothing but positive energy for the floor. From the driving, slick, late 70s disco; to horn-guided funk-disco and back through gospel-calipsp-disco-boogie (!!) and finally, a scuzzy, punky, barrell roller of disco-funk.
Top drawer throughout!
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