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EYE

James Elkington

Ever-Roving Eye

    Chicago songwriter and guitarist James Elkington who has collaborated with everyone from Richard Thompson to Jeff Tweedy to Tortoise recorded his sophomore album at Wilco’s Loft, expanding upon his celebrated 2017 debut Wintres Woma (PoB-034) as well as his recent production and arrangement work for the likes of Steve Gunn, Nap Eyes, and Joan Shelley. Casting glances back to British folk traditions as well as toward avant-garde horizons, these brilliant new songs, as accessible as they are arcane, buttress Elkington’s brisk guitar figures and baritone poesy with strings, woodwinds, and backing vocals by Tamara Lindeman of the Weather Station.

    “An epiphany… a cryptic storyteller and dazzling acoustic guitarist.” Rolling Stone

    “Elkington stands apart among the wave of 21st century guitar soloists. Beautiful, complex, and assured.” Pitchfork

    “A convincing, warmly whirling weather system of his own.” The Guardian

    “James Elkington is a friend of mine, and I have long enjoyed and indeed found satisfaction from witnessing the juicy fruits of his successful labors. Though it sounds like a line culled from a murderous Child ballad, “Ever-Roving Eye” has everything to do instead with the slipperiness of satisfaction, and the equal parts virtue and vice that is being your own mule and driver. Meticulously planned and quickly tracked (the Elkingtonian way), it includes Wintres Woma alumni Nick Macri (James’ longtime bass colleague) and Macie Stewart (violin), plus new recruits Lia Kohl (cello), Spencer Tweedy (drums), The Weather Station’s Tamara Lindeman (vocals), and the prolific Paul Von Mertens (Brian Wilson) on woodwinds. Where the first record was more firmly situated in the sonic tradition of England’s more interesting 1970s folk revivalists, Eye engages in a broader wrassle, roping in echoes of British library musics, horror-film soundtracks, demure psychedelia, and more rocking elements of folk-rock. The result is a record even more elaborate, shrewd, thoughtful and confessional than its predecessor. Ever-Roving Eye is instead a sublime distillation of the humane wisdom of a dude who’ll never be; the dude who sings on the single, “Nowhere Time”: “There’s a master plan somebody understands / And I wish that one was me.” It might well cast a pox on the concept of satisfaction altogether. Though it still satisfies the hell out of me”. Nathan Salsburg, December 2019

    Eye Flys

    Tub Of Lard

      In just over a year since their initial inception, Eye Flys have established themselves as a force beyond reckoning. Their debut full-length ‘Tub of Lard’ is stunningly potency full of piss and vinegar, scientific in its ability to pulverize everything in its path. Due in part to the considerable pedigree of the band’s line- up (including members of Full of Hell, Backslider, Triac), the East Coast-based quartet chew through steel-barbed riffs and off-kilter rhythms with exponential force. Their 2019 debut EP ‘Context’ set an early precedent for just how lean and ruthless they can be. On ‘Tub of Lard’, Eye Flys launch that potential into 10 songs of maximum impact that find both raw power and subtlety in their simplicity.

      For fans of Unsane, Cherubs, The Melvins.

      FORMAT INFORMATION

      Coloured LP Info: Lard coloured vinyl.

      CD includes MP3 Download Code.

      The fourth album from ephemerals, 'the third eye' sees them build and develop the work they started on their Alice Coltrane inspired record – 'egg tooth' as they continue their ever-evolving musical journey.

      Fusing styles including spiritual jazz, psychedelia, and spoken word, to convey an identity that is unmistakably their own. The core of the work is built from the honest and incisive compositions of Hillman Mondegreen combined with the unmistakably emotive vocal delivery of singer Wolfgang Valbrun.

      Experimenting with recording and mixing techniques to illustrate the artistic concepts behind the songs has been key in the overall character of the record. Hard panning is used to group together specific sounds and instruments to the left and right to convey masculine and feminine sides within the track as within the individual.

      For songwriter Hillman Mondegreen, the LP is a deeply personal and conceptual body of work using ambiguous harmony to discuss gender identity, polychords to demonstrate the power of being between the gender binaries, and modal changes to remove the homeliness that you find in traditional major/minor songs, speaking to the alienation of being transgender.

      Although drawn from Hillman's personal experiences the writing is always universal, and singer Wolfgang Valbrun relates the pieces to his own experiences of a young black man leaving the USA to live in a new country where even language had to be re-learned to discover where he fit in in this new world.

      The band has evolved exponentially over the course of four albums, and they continuously push beyond the boundaries of traditional genre ideas and traverse unexplored musical territories.

      EYE is back. Metamujer marks the third installment on the Knekelhuis label and the latest chapter in Laurène Exposito’s life. Recorded on various locations ranging from the Swiss mountains to the chalky coasts of Brittany, "Metamujer" is an 8-track ode to salty love and closeness to nature, a tribute to a modest lifestyle à la Henry David Thoreau. Far from being praise for self-sufficiency, this new LP is deeply influenced by Laurène’s environment. We can hear Korg MS-10 created synthetic waves (Sanatorium) and birds (Luscinia), but one can also catch her singing in Italian, one of 3 languages spoken in Switzerland. Still minimalist and yet more aesthetically diverse, her new sounds are on the edge of EBM and synth pop, between classic minimal wave tunes and rustic ballads on acid.

      STAFF COMMENTS

      Patrick says: It's been a cracking couple of months for fans of coldwave, minimal wave and superior synth pop, and the latest LP from EYE is another chilly killer. At times she edges into EBM with 4/4 aggression, at others she embraces the bontempi cosmic of Wendy Carlos or late 70s Sheffield.

      Abronia

      The Whole Of Each Eye

        Cardinal Fuzz and Feeding Tube Records are proud to bring to you the latest long player from 'Abronia' (Portland USA) The follow up to their debut, The Whole of Each Eye sees Abronia cementing its very singular place in the canon of the broader psych rock universe. A six piece consisting of two guitars, electric bass, tenor saxophone, pedal steel, and one 32” inch bass drum (no drum set here), Abronia pulls from kraut rock, spaghetti Western soundtracks, doom, 60’s UK folk, spiritual jazz, ritualistic drone, and infuse it all with the arid haze of deserts near and far. Recorded, as the first album was, at Type Foundry in Portland, but mixed this time by Billy Anderson (known for his work with Sleep, OM, Neurosis, and many other heavy legends), the band builds off of the solid foundation of the first album.


        There are still hooks and visceral, crushingly satisfying payoffs, but there’s a deeper complexity to these arrangements that rewards careful listeners and searchers. And while almost half of the last album was entirely instrumental, you’ll find no purely instrumental tracks on this one. This time Keelin’s voice has come to the forefront–a deep and deadly force that brings to mind Nico, Grace Slick, Jarboe, Malaria’s Bettina Köster, and White Magic’s Mira Billotte. Note the dynamics–from the subdued falsetto on the first half of “Cauldron’s Gold” to the murderous scream at the end of “Half Hail.” Another obvious change if you read the liner notes–three of the six members have switched out since the last album, which would seem like a big deal if it hadn’t happened in such a staggered and organic way.


        Rick Pedrosa is deeply part of the crew by this point–he joined the band on pedal steel a month after the first album was recorded (September 2016)–replacing the lap steel player–Andrew Endres, Paul Michael Schaefer replaced Benjamin Blake on guitar just after the album release show (July 2017). Shaun Lyvers is the newest member–replacing the continent roaming Amir Amadi on bass in spring of 2018. Abronia is very much a band. Songs are written together at practice with everybody contributing.

        FSOM / Andy Rantzen

        Track 6 / Harmonic Eye

        Phwwwoar! What a coup! Two Australian, stone cold dance music veterans on one 12" - winner!

        FSOM stands for 'Future sound of Melbourne' and were formed in Sydney (joke!) in 1990. Made of up Davide Carbone, Josh Abrahams & Steve Robbins they've built up a modest but highly collectable catalogue throughout the 90's with some twelves impossible to get hold of.

        Andy Rantzen should be familiar to you all by now but just in case: 'Andy Rantzen is a Sydney, Australia based lo-fi electronic producer. Trained as a psychologist, Rantzen has been a lecturer at the University of Sydney. He is most well-known as part of the duo Itch-E and Scratch-E along with Paul Mac (Boo Boo & Mace is another alias for the same duo). He has produced remixes for Severed Heads, INXS and The Wiggles, and has done soundtrack work for the film Sample People.' (discogs).

        "Track 6" is taken from FSOM's "Shivaratri" record, released on Two Thumbs in 1993. It's a dark n deadly analogue growler, not a million miles away from early Radioactive Man and Andrew Weatherall (but operating under solo aliases rather than Two Lone Swordsman - Ed) and still biting in today's climate.

        Rantzen contributes "Harmonic Eye", from the CD-only release, "The Blue Hour". Much of Rantzen's (and indeed Australia's) dance music veered towards CD production in the late nineties and early noughties, making this a much needed vinyl pressing of this fabulously wobbly jack track. 


        STAFF COMMENTS

        Matt says: Two dark n dirty techno tracks from early and late 90s Australia that find these supremo producers at the top of their game.

        Eye Flys

        Context

          Eye Flys brings together the minds of four musicians known for their work in some of the most extreme, blistering bands today. The quartet was initially started by Full Of Hell guitarist Spencer Hazard and former Backslider drummer Patrick Forrest as an outlet to play aggressive music with equal intensity that would contrast the breakneck speeds of their other projects. After asking Backslider bassist Jake Smith to join on guitar and vocals and Triac’s Kevin Bernsten on bass, Eye Flys’ potential for crafting impossibly heavy songs was solidified.

          Eye Flys’ debut ‘Context’ was written and recorded just a few short months from the band’s inception, drawing on each members’ considerable experience and driven by the excitement of playing in uncharted territory. This is an album of commanding, lean noise rock absolutely brimming with vitriol.

          The direct, raw energy of Eye Flys’ music is simultaneously menacing and intoxicating. Drawing immediate comparisons to bands like Unsane, Cherubs and The Melvins (where they take their name), the quartet’s bludgeoning sound is underpinned by a razor sharp edge. Smith’s vicious lyrics are paralleled by his unrelenting barks with passages like the opening of ‘Weaponize’ literally spat through grinding teeth. Their taut, muscular riffing and pummelling drums lay atop a foundation of deceptively intricate arrangements.

          Eye Flys’ ‘Context’ stands as a testament to its members’ abilities to produce music that is as ferocious as it is addictive. In just six songs Eye Flys not only prove their place among their peers but stand out as a force of sheer, immovable power.

          FORMAT INFORMATION

          Coloured LP Info: Limited edition smoky black coloured vinyl.

          Mermaidens

          Look Me In The Eye

            Dancing in the lively afterglow of Perfect Body, Mermaiden's internationally acclaimed Flying Nun debut, a new flame burns. The Wellington-based trio now approach 2019 with an eagerly awaited follow up. Enter the depths of their new album, Look Me In The Eye.

            Earmarked by the trio's April split single release ?You Maintain The Stain / Cut It Open, the group (made up of friends Lily West, Gussie Larkin and Abe Hollingsworth) are in new terrain. Exploring power and control in a confronting new lens, the trio are focused on the gatekeepers and dominators of the world; dissecting their power, one song at a time.

            Recorded with long-time Mermaidens collaborator, audio engineer James Goldsmith, Look Me In The Eye sees the band pushing new sonic boundaries in a body of work that is as severe and progressive as it is vibrant and exhilarating.

            At the heart of the record lies the thematic exploration of female voices, as co-lead vocalists Larkin (guitar) and West (bass), with dynamic support from Hollingsworth (drums) expose embedded motifs of exterior masks, human relationships and power dynamics with unflinching fervour. The voices and perspectives of both frontwomen give shape to the record with equal footing, creating a dialogue around female collaboration and friendship in an ode to the complexities of the human experience. 

            The Black Keys’ long-awaited ninth studio album, “Let’s Rock”, their first in five years, is a return to the straightforward rock of the singer/guitarist Dan Auerbach and drummer Patrick Carney’s early days as a band. Auerbach says, “When we’re together we are The Black Keys, that’s where that real magic is, and always has been since we were sixteen.” 

            “Let’s Rock” was written, tracked live, and produced by Auerbach and Carney at Easy Eye Sound studio in Nashville and features backing vocals from Leisa Hans and Ashley Wilcoxson. “The record is like a homage to electric guitar,” says Carney. “We took a simple approach and trimmed all the fat like we used to.”

            Rolling Stone named ‘Lo/Hi’ a “Song You Need to Know” and said, ‘the Keys have officially returned, louder than ever’ and the New York Times calls the song ‘the kind of garage-boogie stomp that the band never left behind.’ In the words of the NME, ‘It’s the soundtrack to the type of party that doesn’t exist anymore, but one you still wish you were cool enough to get the invite to.’

            Formed in Akron, Ohio in 2001, The Black Keys have released eight studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), and, most recently, Turn Blue (2014). The band has won six Grammy Awards and headlined festivals including Coachella, Lollapalooza, and Governors Ball.

            Since their last album together, both Auerbach and Carney have been creative forces behind a number of wide-ranging artists:
            Dan Auerbach formed the Easy Eye Sound record label, named after his Nashville studio, in 2017, with the release of his second solo album, Waiting on a Song. Since its launch, Easy Eye Sound has become home to a wide range of artists including Yola, Shannon & The Clams, Dee White, Shannon Shaw, Sonny Smith, Robert Finley, and The Gibson Brothers; it also has released the posthumous album by Leo Bud Welch as well as previously unreleased material by Link Wray.

            Patrick Carney has produced and recorded new music with artists such as Calvin Johnson, Michelle Branch, Damns of the West, Tobias Jesso, Jr., Jessy Wilson, Tennis, *repeat repeat, Wild Belle, Sad Planets, Turbo Fruits, and more. He also created the theme music for the Netflix TV show BoJack Horseman with his late uncle, Ralph Carney.

            STAFF COMMENTS

            Barry says: Having always epitomised the fuzzy groove-led party vibe, it's no surprise that their latest is the most danceable and head-nodding instalment yet, but here it is. Bluesy, sleazy and heavy but crisp and beautifully presented. Black Keys do it again!

            FORMAT INFORMATION

            Ltd LP Info: Heavyweight 140 gram high-performance vinyl.

            Following the releases of the vinyl compilation "Spring Break" and the maxi 12” compilation "Bardo for Pablo", Stroom conclude their Pablo's Eye trilogy with the typically diverse and utterly devastating "Dark Matter". "More than anything, Pablo’s Eye is a temporary atmosphere, like a taste or a dream…", well so say the sales notes, and if that's true, opener "Worship & Passion" is a Michelin starred appetizer, served at a restaraunt in purgatory. Celestial pads and poetic vocals seduce you with their heavenly charm, but that still doesn't shift the stainless steel anxiety that this could go the other way. "More Hestiant Than Before" seizes on this moment of uncertainty, applying the classic ambient combo of tremulous drone and stately strings but with an intensity far removed from your typical day spa. I'm a sucker for rhythm, and the rolling toms, propulsive bassline and ruthless breakbeat of "Different Observers" more than tickles my pickle, upping the energy before the moody and mystical ambience of "She Would Stand Alone" provides the party fear. Help arrives via the dramatic "He Closed His Eyes", an uplifting and esoteric composition adorned in hang drums and metallic textures, which strolls effortlessly into the paradisiac "When You Were Asleep", a triumphant combination of healing frequencies.
            On the flipside, "L.A. Desert" takes a diversion into the ethno-ambient terrain of Laurie Anderson's "Mister Hearbreak", before the rainsoaked "She Told Him The News" harnesses the noir of Blade Runner. "Tamil Nadu" is trip hop in henna, while "A Pagan Use" exploits your inherent vertigo to pull you into its tower of song. Sparse studio dubbing and cinematic tones show us out on "Out Of The Corner Of Her Eye" and "Loisada Dub", bringing this most excellent and esoteric trilogy to an end.

            STAFF COMMENTS

            Patrick says: Stroom bring their Pablo's Eye trilogy to a triumphant close this week with the deep musica of "Dark Matter". Whether exploring straight up ambience, cinematic interlude or propulsive trip hop, Axel Libeert's outfit always maintain their signature sound. Pro-Tip - save a fortune on therapy and listen to "When You Were Asleep" once a day.

            Written and produced by Maurice Fulton. 'An Original Dr. Scratch Mix'. Published by Buttrubb Music.

            Maurice Fulton re-instates his much lauded Syclops project for album number three. Joined by Hanna Sarkari on guitars, who was part of the original lineup, and with Zanzibar cum Sheffield songstress Mim Suleiman on drums and Karo Brandi doing... some other stuff? Maurice has always kept us been aloof with exact details of his (makebelive?) band.

            Anyway, as we've come to expect - a mix of Fulton's idiosyncratic, sativa-blend hyper-electronix, big bolshie drum breaks and a heady, cerebrum tickling musical style that covers new jazz, space funk and synth wig-outs in equal measure. There's no-one in the world that sounds like this 'band' and it's great to hear them sounding as assured and as creative as ever on their third outing!

            If anything Maurice has ramped up the intensity, with shuddering, monolithic drum crashes opening the record. "The Skipper" soon introduces us to a shimmering, dancefloor friendly cut with gurgling bass and suspended arps. Jason finds his K but Sarah loses her E, resulting in a pitch black, technoid thud that'll disorientate even the most ardent dancer. Elsewhere, there's moments of skeletal drum machine techno ("Kelly Is With Her"), bouncy house discord ("Five Left") and mind melting, cranium busting future jazz rampages such as "Karo B Is Not On Love & Hip Hop" and the eponymous album closer "Pink Eye", that'll leave you nothing short of breathless after its six minute onslaught of intensity.

            It's like Maurice and the Syclops have channeled all the aggression and energy of a thousand dinosaurs and let it loose across the myriad studio outboard resulting in a very busy, adventurous and dynamic album - easily set to be regarded as the best out of the three from this project. Why's it named after conjunctivitis though...?!?!?




            STAFF COMMENTS

            Matt says: Stone cold L E G Maurice returns with the Sycops in toe for perhaps their loudest, most crazed expedition to date. Your head'll be left in a spin by the end of the LP.

            Third Eye Foundation

            Wake The Dead

              There was a time when The Third Eye Foundation was the mirror of the world from which the group drew its substance. But the reflection faded and dirt accumulated so it only provided deformed images and gradually became the world's shadow. This willingness to look at and express images and words about humans and their environment has since been embodied in the completely open face of its founder, Matt Elliott. Thus, The Third Eye Foundation is a discrete entity, the opposite of what Matt Elliott may otherwise represent.

              The Third Eye Foundation is not a project based on openness. The Third Eye Foundation builds walls topped with barbed wire. The Third Eye Foundation captures you, locks you into its universe and keeps you there. It is no longer a question of finding a balance between dark shadows and light. Eight years ago already, The Dark already portrayed this state of affairs. Today, Wake The Dead is banging the last nails into the boards that make up the barricades. If you want to wake the dead, you have to get into the right shape and frame of mind. You need to accept that black is the only valid colour and that it is futile to rely on your imagination to create a way out. Death is a prison for the living. To enter and abandon yourself is a way of temporarily waking those whose absence haunts your memories.

              Wake The Dead is like a key which attempts to open the doors of memory. Waking the dead is not a question of meaning but rather of sensations. Free will and free thought have no place here - in the universe of The Third Eye Foundation, humans are no more than a simple product of their environment. This may seem extremely violent and dehumanizing but it is not the case at all. We just need to get rid of our certainties, empty ourselves and put ourselves on the same level as those we consider to be "the other". And that's probably the greatest quality of an album like Wake The Dead. 

              Patience

              White Of An Eye

                Patience – aka songwriter Roxanne Clifford – may have begun as a solo refuge from the Manchester-born, LA-Resident’s band duties but White Of An Eye, her 3rd single, is a fully formed, dancing-with-a tear-in-your-eye, confident Pop Moment. The attempt at shedding memories to embrace the present, an ode to the moment. Like her previous two singles The Church and The Pressure, Lewis Cook of Happy Meals engineers Clifford’s vision to Jacno-esque synth pop perfection. Blooming with a tentative synth cadence and nonchalant spoken word introduction, White Of An Eye soon erupts into perfect disco melancholy, with Clifford’s imagery perfectly nailing that nagging regret that haunts every new adventure. With the first appearance of a guitar hook in a Patience song, it’s a classic pop moment enunciated perfectly by Clifford’s instantly recognizable vocal.

                “Melted skies, horizon lines are floating overhead” Blue Sparks Is a nocturne peppered with impressionistic imagery, romantic and doomed. Minimalist and affecting, here Patience is simply two synth lines and Clifford’s vocal. It’s Patience’s version of a Berntholer-style sadness, even evoking a Yazoo ballad. Like a Johnny Jewel production injected with passion, Patience captures the spark between two human hearts, the elusive, indefinable chemistry of sleepless, endless nights.

                July saw Patience’s live debut, touring Japan with a full live band. The Fader will premiere the video for White Of An Eye, filmed by the Mulholland Fountain in Los Angeles and directed by Lawrence Klein.


                FORMAT INFORMATION

                Ltd 7" Info: Just found a couple of copies of this!

                Cross out the all seeing eye and ears will open onto questions tracing the lithic grooves of an anachronic industrial. Why the Eye's paleo-futurism suggests a mode of Rock in Opposition displaced into alternative timelines. It is as if the Leg End of Henry Cow has escaped its retro-avant 'chamber music' fetters, toward the hypnotic patterns of dance floor exuberance. These rituals exhume unidentified audio relics from a future yet to be within a deep past that will have been. Each track on Why the Eye's debut leads into an exploration of an entranced dreamscape that would be mislabeled as an 'interlude'. Instead, Why the Eye weave numerological significance into their myth: the energetic, odd-numbered tracks are counterbalanced by the mesmeric reveries of the even-numbered tracks. Using ? for their titles, these unpronounceable names express the unconscious catacombs of their invisible sonic worlds. Why the Eye uses an array of handmade instruments, each featured on the album's insert: hurgy, papillon, radiocaphone, castabignettes, drumkit, and the various sizes of lamellos. These hybrid tools give an elemental presence to their lithic grooves and a uniqueness to their spectral techno. The album's opener, 'Dombo', could equally be heard as the audio parallel to the 'pataphysical Museum of Jurassic Technology as much as the reopening of the Bay-area's Sleepytime Gorilla Museum. The heavy hypnosis of 'Plastique' sets the machine churning, with its ?? breakbeat skit closing side A. The nouveau post-rock of 'Free Gluten' continues the meditation to side B, as 'Papillon' Afro-punk invites us back to dance. 'Bragitto' lightens up the energetic weight and its ????? dream closes the album with murmurs suitable for any ambience. If music will have been made to announce the retrieval of lost futures, the initiation of Why the Eye might be said to have incepted some of its timbres. 

                STAFF COMMENTS

                Patrick says: A-grade weirdshit for the backwards dancers and eyeball lickers of the world. Paleo-futurism? Anachro-techno? Alternate industrial? It sounds like bio-mechanical ants eating their way through high rises and discotheques in the year 3000.

                FORMAT INFORMATION

                LP Info: LP + insert + download voucher.

                LP includes MP3 Download Code.

                The Membranes

                Into The Eye!

                  Fresh from The Membranes biggest gig yet, a hometown sell out at The Ritz in Manchester, accompanied by a 25 piece choir; this DVD release sees various interviews from back in the day right up the present interspersed with live footage spanning nearly 35 years. The Membranes like to talk and get the facts right.

                  Tom Armstrong

                  The Sky Is An Empty Eye

                  Tompkins Square's recent double-LP, Imaginational Anthem vol 8 : The Private Press shed light on forgotten, impossibly rare guitar recordings spanning several decades. Tom Armstrong's The Sky Is An Empty Eye is the first of several reissues planned by Tompkins Square of full albums by artists featured on IA8. Armstrong's self-released LP from 1987 sports blissed out acoustic numbers like the one featured on IA8, along with some electric workouts and even a deep pysch vocal tune. Tom's main mode of distribution for the album was handing the LP to drunken patrons at a bar in Pinos Altos, NM. Now Tompkins Square makes it a bit easier to acquire.

                  In his own words, today : I was born in Elmhurst IL, lived there 29 years. Had a brief career playing open mikes and bars for tips, drinks and nominal cash payments, even gave some guitar lessons. In 1984 I was offered a half partnership in an engineering firm in Dallas, so I moved to Texas. Made a big pile of money. My wife bought me a Tascam 4 track recorder for my birthday, I went crazy with it. Recorded a bunch of melodies that had been rattling around my brain since I was 8 years old. Liked what I heard, decided to make an LP. It wasn't too hard to track down a studio to master my 4 tracks. By this time I was an old hand at graphic design for promotional material, so I designed the cover myself. Handed the albums out to business associates, as promotional material for other business interests, at a drunken open mike at a bar in Pinos Altos, NM. I continued to record for about another 10 years, blues rock, pop. Really refined my recording skills. Still play once in while, but I'm an old fart now, with all the baggage that entails.


                  Regis compiles a killer Downwards label survey for 2017 featuring excluisve new material from DVA Damas, Autumns, Grebenstein, Sefried and Layne, veering from dank EBM to collapsing industrial structures.

                  Downwards send their new vanguard on road with The Immortal Eye; the mood is intensely depressive and pessimistic throughout, but, in the classic sense of gothic industrial music, the impeccably maintained atmosphere conversely acts as comfort or redemption to those need it.

                  Berlin’s Jan Grebenstein remerges with Seefried on the tunnelling Wufferfraction only months after their excellent Strong Proud Stupid and Superior 12”. Imagine an anxious HTRK or ToC have just run out of downers and the technoid tension becomes palpable… before, the uncomfortably stark, empty-stomach concrète churn of Layne’s Love will put you back face down again.

                  Autumns have flirted with Clan Destine and CF Records since their Downwards debut of eviscerated shoegaze in 2014, but they enter the B-side with a markedly different silhouette, framing spectral electronics and unheimlich voices in acres of negative, miasmic space before slipping into a pulsing techno trajectory, whilst LA’s DVA Damas clear up with the erotic asphyxiation of Shortcut To X, which is effectively a crushing reduction of by now familiar sound...

                  STAFF COMMENTS

                  Barry says: A hugely multi-faceted and impressive overview of one of the most interesting electronic labels out there today. Churning ambience, Function-esque pummeling warehouse tackle, dusty organic synth workouts and skittering saturated house, all on one 12"! Superb.

                  Steve Moore

                  The Mind's Eye - Original Motion Picture Soundtrack

                  STEVE MOORE (of Zombi fame) returns with a mesmerizing new score for the action/horror film 'The Mind's Eye'. More vivid and dynamic than ever, 'The Mind's Eye' demonstrates STEVE MOORE's mastery of the vignette alongside his ability to weave together cohesive, consistent themes. Over the course of eighty-five minutes, STEVE MOORE crafts a riveting portrait of tension and terror through a variety of textures ranging from probing dark ambient and slick arpeggiations to anxious sound collage and epic, gothic bombast. The latest testament to STEVE MOORE's legacy of synth supremacy

                  RIYL: Zombi, Goblin, S U R V I V E , Trans Am, John Carpenter, Mogwai, Tangerine Dream, Explosions In The Sky. 

                  Heavyball are a hard rocking new tone band now based in London but originally from Nottingham. Formed in late 2011 when brothers Bigface and Habs Salisbury and school friend Johnny Iball, began to play together. 2014 saw them joined by Tom 'Stone Cold' Frost on lead guitar. The band’s sound is a modern interpretation of two tone and ska, with driving percussion and distinctive melodies. Influences include Viz, Shane Meadows and the story writing traditions of country and western.

                  Black Eye Diaries represents Heavyball's musical journey from their early recordings of 2011 to their latest releases of 2015; their complete body of work over three hectic years together in one album.

                  Their recordings have been championed by DJs BBC6 Music DJs Chris Hawkins and Tom Robinson, BBC London’s Gary Crowley, BBC Ulster’s late Gerry Anderson, Absolute Radio’s Frank Skinner, BBC Introducing’s Dean Jackson and a personal endorsement from Jimmy Somerville for their unique interpretation the classic 80s hit Smalltown Boy. 

                  Peluché

                  The Guy With The Gammy Eye

                    Renowned for its studio-to-pressing-plant fleetness, three-piece Peluché have achieved something of a feat by becoming arguably the ‘quickest’ ever Speedy Wunderground release.

                    In less than a week the label had received the track, caught the band’s eccentric live show, recorded the single at Dan Carey’s south-London HQ (all recording done in a day according to the time-honoured Speedy Wunderground ‘regulations’) and despatched the results to the pressing plant.

                    Coming after their well-received recent single ‘Sin’, Peluché showcase reverb-laden, Felt inspired guitars to open ‘The Guy With The Gammy Eye’ – before a frenetic twisting and uprooting of their natural melody up heaves the track in all manner of mesmeric directions.

                    Speaking on the Speedy Wunderground collaboration, Peluché offer:

                    “Dan is a producer we've wanted to work with for ages - we all love his style of production. We were really excited when he came down to see us play and invited us to record at his studio. 
The song was recorded live, and on tape, which meant we didn't have many chances to get it right! Dan really captured the energy of the song and played an unusual instrument called the Swarmatron, which is featured on all the Speedy Wunderground sessions and sounds like a swarm of musical bees flying over the track.”

                    Third Eye Blind

                    Third Eye Blind - Yellow Vinyl Edition

                      Third Eye Blind is the eponymous debut for the American alternative rock band Third Eye Blind, originally released in 1997. It spawned several singles, including top 10 charting “Semi-Charmed Life”, “Jumper”, and “How’s It Going to Be”. While Third Eye Blind peaked at #25 on the Billboard 200, it spent 104 weeks on the charts. It is the group’s bestselling album, having been certified 6x Platinum.

                      Third Eye Blind is catchier than the average post-grunge album, and that fact alone reveals a lot about the band. Instead of relying on standard, plodding grunge influences, Third Eye Blind draw heavily from the simple hook-laden traditions of classic Arena Rock, which makes the album more immediate. Third Eye Blind is easy on the ears, and its straight-ahead professionalism makes it a pleasurable listen for post-grungers.

                      AM444 is a Shanghai based project of Chinese singer ChaCha (Kode9, Clive Chin, Jimi Tenor, Desto etc) and Dutch producer/dj Jay.Soul (Mr. Windmill & Jay.Soul, Sole Profit, Cecilia Stalin, etc). After years of thoughts, discussions and drunken promises, the pair have finally been in the studio for the past few months and the result is their 8 song debut release Eye Wonder.

                      It's a jazzy, funked up, dubbed out, Chinese language sonic assault and some of the most exciting music to come out of Shanghai in a while, already receiving radio play in London, LA, Europe and around Asia. Although hard to say what genre AM444 fits into, with elements of hip-hop, electronica, funk, dub, pop and soul, it's just sounding super dope. From the deep dreamy grooves of ‘Shen Jing Mo Shao’ to the full on digital bomb ‘Ni Wen Wo Ba’, Eye Wonder is a landmark release for Chinese underground music.

                      FORMAT INFORMATION

                      CD Info: Full-colour digipak CD with beautiful hand painted artwork by Shanghai artist Nini Sum (Idlebeats studio).

                      Beady Eye

                      Different Gear, Still Speeding (Limited CD/DVD Edition)

                      The band are Liam Gallagher, Gem Archer, Andy Bell and Chris Sharrock.

                      Beady Eye release their eagerly anticipated debut album "Different Gear, Still Speeding" on 28th Feb 2011 on Beady Eye Records. The album features 13 brand new songs written by the band, and was recorded at RAK Studios in Summer 2010 with producer Steve Lillywhite.

                      The album is preceded by "The Roller" which is the first single to be taken from the album and the third track Beady Eye have made available for fans after giving away a free download of "Bring the Light" via their website in November, and premiering a video for "Four Letter Word" on NME.com and the band’s own site on Boxing Day.


                      FORMAT INFORMATION

                      2xLtd CD/DVD Info: Limited edition CD/DVD edition.

                      Hard Mix / Star Slinger

                      Eye Contact / Remedy

                      Double Denim deliver another split release, and one that's got a lot of our customers in a bit of a lather.

                      On side A there's "Eye Contact" by Hard Mix, aka Noah Smith from Greenville, South Carolina considered to be the birthplace of the chillwave sound, which this track slots neatly into. Hard Mix produces blissed-out soundscapes from tiny slices of old Motown records. "Eye Contact" throws those snippets together in a downbeat style - very dreamy.

                      Flip it for "Remedy" by the Nottinghamshire-born and Manchester-based Darren Williams, aka Star Slinger who’s previously collaborated with Teams on a 12″ EP release on Mexican Summer. Slinger samples and splices micro-snippets from old R&B records and regenerates them into electroid pop gems. "Remedy" is a gloriously upbeat and summery jaunt that will chase the winter blues away. One for fans of Phoenix, Teengirl Fantasy, Delorean etc.


                      Lofty Heights

                      Eye Contact / Skeleton Apples

                      Lofty Heights were originally one man, Gregory Griffin, who lives in a giant warehouse in the Manor House area of London. Over time the band have grown into a five piece who play rather good indie pop songs in a lo-fi, acoustic kinda style.

                      FORMAT INFORMATION

                      Ltd 7" Info: Comes with a free download code, which you can then plant and watch it grow - strange but true!!!

                      Singer-songwriter seems too common a term to apply to Sarah June, however accurate it may be. Singer-songwriter she is, but the songs she writes and sings are both more beautiful and more haunting than the average fare. There is an uncommon ghostly aire to her album. Like the smell of flowers in a empty and abandoned house where sunlight comes shining through dusty window panes. Perfectly sparse and lonesome, these songs come from the edges of dreamland. 10 original compositions accompanied by two well-chosen covers (Prince's "When Doves Cry" and a stunning version of Elvis "I Cant Help Falling In Love With You"). For fans of: PJ Harvey, Kristin Hersh, Mazzy Star.

                      The Residents

                      The King And Eye: Rmx

                      In 1989 The Residents recorded an album of Elvis hits called "The King & Eye". Anyone familiar with the group's work would not be surprised to hear no attempt at recreating the original arrangements - re-interpreting the songs and digging into their Freudian undertones, usually overlooked in the lyrics. For The Residents, Elvis's life became a cautionary tale: a story of lost innocence, and how, in death, Elvis became the ultimate Americana icon. Ironically, The Residents chose to make their statements on "The King & Eye" through the voice of an aging Elvis imitator. Fifteen years later, in 2003, The Residents asked German remix whiz, Paralyzer, to listen to the original 24 track master recording and see what he would do to re-interpret their album - Paralyzer accepted the challenge but asked the group to give him free rein in reconstructing the pieces.

                      Otherwise

                      Dark Adapted Eye

                      Otherwise released one of the original three CDs on Firefly back in Jan 2001 and since then they've been busy taking their distinctive brand of emo around the UK and Europe impressing audiences all the way. It's honest uncomplicated and typical of the high standard people expect from the Firefly label.

                      Mick Karn

                      Each Eye A Path

                      As bass player in Japan and Rain Tree Crow, Karn was instantly reconisable with his bubbling fretless bass lines. His solo compositions reflect his sense of rhythm and harmony and this set of ambient pieces and songs is, in turns, atmospheric and dynamic.


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