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Fuzz

III

    One only knows one. Two is balanced therefore stagnant. III both active and reactive. Charles Moothart, Ty Segall and Chad Ubovich are Fuzz. Fuzz is three. And III has returned. Songs for all, and music for one. III was recorded and mixed at United Recording under the sonic lordship of Steve Albini.

    Keeping the focus on the live sounds of the band, the use of overdubs and studio tricks were kept to a minimum. Albini’s mastery in capturing sound gave the trio the ability to focus entirely on the playing while knowing the natural sounds would land. It takes the essential ingredients of “guitar-based music” and “rock and roll power trio” and puts them right out on the chopping block. It was a much more honest approach for the band—three humans getting primitive, staying primitive. The goal was never to reinvent the wheel. Sometimes it’s just about seeing how long one can hold on before getting thrown off. Three points reflected in three mirrors; a pyramid of sonic destruction and psychic creation. Nothing people feed the roots while the freaks fly free in the treetops—blind to vines, eyes closed, stuck in spit, triumphing the returning of beginnings and ends returning while beginning to see the time collapse. Love is the only way to annihilate hate, and sketchy freaks live to bleed. All shades of color, truth and lies, III is the pillar of unity and singularity. All is nothing, and only nothing can generate everything. Log out, drop thought, turn up.

    FORMAT INFORMATION

    Coloured LP Info: Indies exclusive coloured vinyl. Very limited!!

    The Heads

    Reverberations Vol. 2

      Cardinal Fuzz / Rooster are pleased to bring to you the latest volume in the Reverberations series – 'The Heads – Reverberations Volume 2'. This time we dive into The Heads archives for the Reverberations Series to bring you The Heads recorded live at the Thekla (6th December 2001) as part of the ‘The Gnostic Bash: A Tribute to Kenneth Anger'. This was part of a tribute programme (which included a performance of John Zorn and others playing to Anger’s ‘Magick Lantern Cycle at the Anthology Film Archives in New York) to help raise money for Anger’s long- cherished ambition to make a film of Aleister Crowley's Gnostic Mass, and documentary film-maker Jon Ausbrooks' then work in progress documentary about Anger, ‘Inside the Eye of Scorpio Rising’.

      Sean Cook was tasked with putting a bill of artists together in which bands played to a partial recreation of Anger’s ‘Equinox of the Gods’ a live film of The Magick Powerhouse Of Oz band who featured Bobby Beausoleil (later imprisoned for life for the Manson Family-related murder of Gary Hinman). The energy captured within these grooves here is extraordinary; for over 40 minutes (with no breaks to catch your breath and get your head together) you are treated to primo Heads in full flight.

      This two track performance starts with an utterly mind destroying version of k.r.t that lasts for near on 30 minutes. Playing to a back drop of Anger screenings and a barrage of strobes and smoke The Heads create an effect akin to your head been sucked through time and space and turned inside out – and that is before we even get to the grande finale of ‘Spliff Riff’ – a relentless onslaught that has you picking your head off the floor only for it to be sucked straight back down again. Take a deep breath, dive in and grin.

      White Manna

      Arc

        Cardinal Fuzz (in conjunction with Centripetal Force for North America) presents the seventh full length album from veteran psychonauts White Manna. Long recognized as one of the leaders of the modern psychedelic movement, White Manna's ARC builds upon an already impressive discography and further develops the band's always evolving approach to sound and songwriting.

        This nine song journey sees the band exploring new directions that are more meditative in nature, a welcome development in light of the current state of world affairs. The song "Mythic Salon" certainly demonstrates such intent, as well as growth. ARC, the band’s first release since last year's Ape on Sunday, was recorded at guitarist Anthony Taibi's 3D Light Studios in Humboldt County, California. The songwriting this time around took on more of an inward process, both musically and thematically.This shift allowed for more spontaneity and improvisation than their previous efforts.

        This was especially true when it came to translating musical passages that had already become part of the band's live repertoire. ARC is not a concept album per se, but its focus on such an omnipresent icon certainly leaves the listener a variety of avenues for interpretation, making this the most daring and unique album in the White Manna discography.

        The Heads

        Vertigo Swill

          Cardinal Fuzz / Rooster are pleased to bring to you for your listening pleasure – The Heads ‘Vertigo Swill’. Previously available as a CDr release via The Heads own archives and compiled by Paul A. Allen from recordings The Heads made between 1994-2002 (rehearsal room, live and a remix). What we have here are is a maelstrom of Heads music that feels like the bastard child of that mix tape you made of long forgotten freaky Krautrock and 60s garage music, cut up and feed through a Chrome like blender. Over two heavy sides of vinyl be ready for a disorientating blast of these Heady Heads at play as Paul Allen runs his fingers down you spine to access your melting plastic brain as full on wah meltdowns segue into experimental tone generators all intercut with words of wisdom from H.O.Morgan & Simon Price. Not for the faint of heart. 

          FORMAT INFORMATION

          LP Info: 500 Pressing. Heavy Black Vinyl. Gloss Laminated Outer Sleeve.

          The Vacant Lots

          Interzone

            'Interzone' is the third full-length album by New York’s electro post-punk duo The Vacant Lots, to be released via Fuzz Club. A genre-blending synthesis of dance and psych, 'Interzone' is made for secluded listeners and all-night partygoers, meant for headphones and the club. Uninhibited by the limitations of two people and continuing their mission of “minimal means maximum effect,” The Vacant Lots’ Jared Artaud and Brian MacFadyen create an industrial amalgam of icy electronics and cold beats with detached vocals and hard hitting guitars.

            'Interzone's trance-like opener ‘Endless Rain’ and the kinetic Krautrock stomper ‘Into The Depths’ are followed by scintillating dark disco anthems 'Rescue' and 'Exit’. Side 2 kicks off with 80’s synth-pop track ‘Fracture’ and haunting after-hours minimal wave ‘Payoff,’ while ‘Station’ and album closer 'Party's Over' deal with disillusionment and conquering one’s indifference to make real change. The album creates order from chaos and delves into escapism, isolation, relationship conflicts, and decay. With nods to William S. Burroughs and Joy Division’s song of the same name, “Interzone is like existing between two zones,” Jared says. “Interzone doesn't mean one thing. It can mean different things to different people depending on their interpretation. Working on this album was a constant struggle reconciling internal conflicts with all that’s going on externally in the world. Interzone, in one word, is duality."

            On Interzone, the band produced the 8 songs, 30 minutes record and teamed up with long term collaborators Ivan Liechti who designed the album artwork, and Ted Young who engineered the record. Maurizio Baggio mixed the record and contributed additional production and it was mastered by Gianni Peri. The Vacant Lots have released singles with Mexican Summer and Reverberation Appreciation Society, collaborated on their debut album 'Departure' with Spacemen 3’s Sonic Boom, their second album 'Endless Night' with Alan Vega, and most recently on their two EPs, 'Berlin' and 'Exit', with Brian Jonestown Massacre’s Anton Newcombe at his studio in Berlin. The group has toured with Black Rebel Motorcycle Club, Suicide, Brian Jonestown Massacre, The Growlers, Dean Wareham, The Dandy Warhols, and Spectrum. 

            STAFF COMMENTS

            Barry says: Sounding like an amped-up Dandy Warhols, the Vacant Lots have always perfectly toed the line between distorted, power-chord rock and hypnotic psychedelic electronica, and 'Interzone' is the indication that they've hit their creative zenith. Rich, deep and hypnotic without ever being self-indulgent.

            King Gizzard & The Lizard Wizard

            I'm In Your Mind Fuzz (Love Record Stores Edition)

              Love Record Stores Edition available from 9am on Saturday June 20th.
              Limited to one per person.


              Rancid rainwater eco-wax editions. Recycled board and biodegradable packaging. This release has been carbon offset from production to your local record store.


              FORMAT INFORMATION

              Coloured LP Info: Brown Vinyl.

              Radar Men From The Moon

              The Bestial Light

                As with all Fuzz Club titles this is for Indies only. Dutch experimentalists RMFTM are ushering in their tenth year as a band with their sixth full-length ‘The Bestial Light’, due for release ia Fuzz Club and marking yet another evolution in sound and line-up from the shape-shifting Eindhoven-based collective. Across their extensive back-catalogue and many collaborations (including with the likes of Gnod, The Cosmic Dead and 10 000 Russos, as well as the occasional art piece), the band have moved from expansive space-rock to avant-garde drone and industrial techno. Now, however, is the time for something else.

                Bolstered by the addition of a vocalist and second drummer, the incendiary ‘Bestial Light’ LP sees the band move on from the electronic experimentations of the Subversive album trilogy (culminating in their most-recent LP, 2018’s ‘De Spelende Mens’) and last year’s ‘Bliss’ EP. Their new direction, instead, finds them journeying into a dissonant industrial punk sound that’s Einstürzende Neubauten and early Swans by way of Neurosis and Godflesh. Fusing heavy industrial rhythm sections, biting post-punk vocals and crushing “acid metal” riffs, the new incarnation of Radar Men From The Moon aka RMFTM is comprised of core members Glenn Peeters (guitar), Tony Lathouwers (drums), Titus Verkuijlen (bass) and Bram van Zuijlen (guitar/synth), with the addition of Joep Schmitz (drums) and Harm Neidig (vocals / saxophone).

                Not long after recruiting the new members, the now-expanded RMFTM headed back into the studio with their long-term producer Bob de Wit (Gnod, A Place to Bury Strangers, Mudhoney), laying down the new album in 14-hour shifts over 12 days: “We were constantly 100% on it so the process was quite intense but also very rewarding. You can definitely hear that on the record.” On the album’s theme, borne out just as much in their creative approach as it is as the lyrics and instrumentation, they say: “We wanted to write about everything instinctual in mankind, individual desires and true will. Transgression and the seductiveness of unreason.” Unsurprising, then, that ‘The Bestial Light’ is such a primitive, borderline-depraved affair; one that constantly feels like it’s hurtling towards an edge that you’re never quite sure you want to look over. 

                Munehiro Narita

                Live P.S.F.

                  Cardinal Fuzz and Feeding Tube Records bring forth the cranium busting - Munehiro Narita - ‘Live P.S.F (Psychedelic San Francisco)’. Recorded live at the Hemlock Tavern (by PSF worshiper Ethan Miller). For those young pups not quite in the know - Munehiro Narita, the original "psychedelic speed freak," is for many people the undisputed king of the motorcycle fuzz guitar. Active since the late '70s, Narita is a Japanese psychedelic underground legend. After playing in cult bands like Kyoaku no Intention, he founded the brutal heavy-psych power trio High Rise in the '80s and more recently Green Flames with his furious guitar playing, which involves lethal doses of fuzz-wah at ear-splitting volume. Narita was lucky to be in the right place in Tokyo to see many performances by one of the most out of control guitar players ever to handle 6 strings in Takashi Mizutani (Les Rallizes Denudes) as well as taking in wild performances from Keiji Haino, Gaseneta and their take no prisoner maelstrom is a style that Munehiro holds dear too.

                  When Munehiro Narita needed a band for playing 4 west cost dates in 2017 Steve Krakow knew that LA Acid Punk David Jasso (OGOD) would be the perfect musician/foil for Narita (it should be noted that David released Green Flames on his Assommer label). David in turn knew TJ – A drummer who hits hard and was more than capable of handling the cruel punishment it requires to play real Speed Freak music. Six tracks were quickly nailed in rehearsals – a selection of High Rise (4) and Green Flames (2) tunes were then played over the four dates. The shows left audience stunned (listen to the reaction from this show) and by the time of the San Francisco show they were on fire. Luckily Ethan Miller was there to press record and document this feral in the red paint peeler of a gig as Munehiro Narita peels off wah soaked fireballs on top of the primal throb and groove that David Jasso and TJ lay down.

                  Another of the hopefully famed Cardinal Fuzz bootleg style releases that is so beloved of myself – By that I mean recordings that are distorting while warping time and space at the same time with Munehiro Narita guitar playing out front in the mix (which is how I love my music – guitars up front and laying waste to all) – By the time you get to their whirlwind take on closing number “Pop Sicle,” a tune bringing to mind the most frantic of Les Rallizes Denudes (think Fantastique) the energy and wildness of the recording perfectly captures the wild fury of all 3 musicians playing and creating an energy that is impossible to sedate.

                  Ethan Miller somehow managed to capture and record some of the most brutal playing in prime tape saturated / in the red glory for you know to relive.
                  The positivity of these shows eventually lead to all 3 members forming P.S.F. and their debut LP was released on Black Editions in 2019 which was a full-throttle adrenaline shot into the 21st Century (seek it out).

                  Servo

                  Alien

                    French three-piece Servo deal in the kind of dark, psychedelic noise-rock that storms with ease between gloomy, hypnotic moments and bouts of powerful, motorik noise. With a string of singles, EPs and their 2016 debut ‘The Lair of Gods’ behind them, the Rouenbased band are now gearing up to release their second album, ‘Alien’, via Fuzz Club. Servo’s sound finds an unstable home between heavy, droning psych-rock and gothic post-punk; forlorn, jangling guitars and deep, austere vocals breaking down into piercing blasts of feedback and distortion. Comprised of Arthur Pierre (guitar / vocals), Louis Hebert (bass / vocals) and Hugo Magontier (drums / vocals), Servo have spent the last few years bringing their intense live-show – an assault of trance-inducing noise and blinding flashes of light – to growing audiences around mainland Europe and the UK. After a couple of typically riotous and deafening shows in London, at underground haunts like The Shacklewell Arms and The Windmill, the band caught the attention of Fuzz Club, ticking all the label’s boxes: overloading on fuzz, reverb and drone. ‘Alien’, their first release on the label, comprises seven tracks of dark visceral psych.

                    Banshee

                    Livin' In The Jungle

                      Cardinal Fuzz and Feeding Tube Records are proud to present the Napalm Blast that is the forthcoming new Banshee record – ‘Livin’ In The Jungle’.

                      Hailing from Boston and blazing red hot cinders through your eyes Banshee channel widescreen, kick out the jams motherfuckers psyche-rock-a-rama with a singer doing his best to channel both Alice and Iggy. Yes they rock like crazy and play with the fired up fury of The Stooges, MC5 and The Alice Cooper Group as they let their freak flag fly.

                      On ‘Livin In The Jungle’ Banshee detonate over 11 tracks of pure diamond arrangements that will lay you out flat and have your head swirling from the whallop of the sleazy voodoo racket that Banshee have created. Informed in equal parts by the intensity of 60’s Detroit and The Alice Cooper Group and with a rhythmic underbelly the calls on in parts the funk explosion of WAR. From the opening Intro of ‘Genesis’ amid a barrage of bells, chimes jungle sounds and a group feeling the funk they lay straight into ‘The Law’ where without missing a beat and over a blast of guitar riffs, dive bombing bass lines, thunderous drums and a voice that spits out and caterwails with a vengeance you find Banshee freewheelin’ into what will become your favourite rock’n’roll LP for 2020. The engine has started and the whole record is executed at a breakneck pace that is a furious rollercoaster ride to sweet oblivion. On the final epic sprawl that is ‘Caged birds’ which starts out with a garage like Sister Ray bump’n’grind chug before descending into a glorious meltdown of fuzzed up wah wah guitars and glockenspiels before everything finally fades back into the jungle. ‘Livin In The Jungle’ is one rabid rock’n'roll animal of a record. 

                      The GR Record Head

                      The GR Record Head

                        No-bullshit underground free-rock and proto-punk dosage featuring a multi-piece line up of GRs !

                        This acetate slab of defiant mixture makes the magic happens like an hallucinatory disenchantment incorporated into some ultra vindictive power… Infectious, scary, brutal, elegiac, freakish and wickedly stylish, GR’s fifth solo album The GR Record Head pushes the boundaries straight up to cook your synapses.

                        Once again, the album comes out outside of the standards, with no other backing than GR himself on all instruments plugged into overheated tubes, then a few dusty razor-like moving coil transducers, a mixing board built like a Panzer and an analog 4 track reel to reel recorder from another age.
                        GuitaRazing, frenzied riffing and cranked soloing vagabondage on corroded strings, mesmeric tone, acid rave ups, rhythms like catapults, motorik plus deconstructive free forms, opaque vocals full of venom and fuelled by raw lines & metrics…— Now pair all that with the craft of fixing sounds onto an early 80s’ 1/4 inch reel tape and you got an idea of what The GR Record Head is all about.

                        The Mother of all fuckers in actual D.I.Y/Low-Fi Rock’n’roll.

                        FORMAT INFORMATION

                        Coloured LP Info: Limited edition of 300 white-colored vinyl / comes with Lyrics insert sheet / printed on 300 gram uncoated reversed card sleeve.

                        Pretty Lightning

                        Jangle Bowl

                          For over a decade, the duo comprising Christian Berghoff and Sebastian Haas have been busy dealing in swampy, fuzzed-out delta blues with a penchant for strung-out psychedelic drones and on their latest effort, picking up where 2017’s ‘The Rhythm of Ooze’ left off, they return sounding better than ever.

                          If you ever wondered what’d happen if two best friends who share a collective mission to not take life too seriously spent just as much time soaking up the muddy blues of Mississippi as they did the kosmisch experimentations of West Germany (the pair also play in Krautrock collective Datashock) then Pretty Lightning are your answer. Unsurprising, then, that as often as their sound is indeed full to the brim with crunch, swagger and feedback, they’re also just capable as easing off on that oft-abused accelerator and dealing in something more far hypnotic and drone-like

                          The Underground Youth

                          Sadovaya - Reissue

                            Coloured Vinyl (White) repress Ltd to 500 on standard weight. "The Underground Youth blend the sounds of shoegaze, post-punk and psychedelic rock with their own hauntingly beautiful twist." The Underground Youth 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, The Underground Youth, with Craig and Olya Dyer as the core of the band, have expanded to a four piece, gaining a solid international fanbase and touring all around the UK and Europe. Gideon Coe has spinned their single “Juliette” on BBC6 and they took part to the “Reverb Conspiracy – Volune One”, curated by Fuzz Club and Austin Psych Fest. In June, they rocked up the Eindhoven Psych Lab and they are set to headline Paris Psych Fest in July. Drown 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”

                            FORMAT INFORMATION

                            LP Info: Limited White vinyl repress.

                            Elephant Stone

                            Hollow

                              On February 14th 2020 Montreal psych-pop group Elephant Stone will release their sixth full-length, ‘Hollow’, on Fuzz Club. It arrives following their 2016 LP, ‘Ship Of Fools’, and a number of recent side-projects and collaborations, such as the Acid House Ragas project and new band MIEN with members of The Horrors and The Black Angels. The first Elephant Stone record made in frontman and sitarist Rishi Dhir’s own Sacred Sounds studio, ‘Hollow’ is an ambitious, dystopian sci-fi concept album which he says is inspired by The Who’s ‘Tommy’, Pretty Things’ ‘S.F, Sorrow’ and the second side of The Beatles’:

                              “There are a lot of unhappy people out there who are trying to find a way out. They are looking for meaning and something to believe in… or nothing to believe in. We all want the same thing but are trying to achieve it in different ways. With this in mind, I set forth writing a song-suite telling of a world of unhappy souls who have lost connection with each other.”

                              From Side A (‘The Beginning) though to Side B (‘The Ending’), the story told through Elephant Stone’s renowned garage-psych alchemy takes place immediately after mankind’s catastrophic destruction of the Earth and what happens when the same elite responsible for the first world-destroying climate disaster touch down on New Earth, a recently-discover planet sold with the same life of prosperity as the one they’d just destroyed. As soon as the chosen few step off the Harmonia ship built for the journey, it’s clear that all is not what it seems and humanity appears destined to make the same mistakes: “The storyline touches upon the plundering/poisoning of their home, the elite, demagogues, false idols, the truth as seen by children, and, ultimately, the fight for the survival of their species.” 

                              STAFF COMMENTS

                              Barry says: A classic fuzz-club outing this, with the latest from Canadian psych-rockers Elephant Stone. Clearly influenced vocally by The Stone Roses (and named after one of their songs no less), and with more than a nod to the more jangly Beatles outings, 'Hollow World' is a mind-manifesting triumph.

                              Las Cobras

                              Selva

                                As with all FC titles this is Indies only. Emerging out of the small Uruguayan city of Canelones, in 2017 a new band named Las Cobras released their debut recordings – a 9-track album called ‘Temporal’ – and instantly became a name on the tongues of those tapped into the trans-Atlantic psychedelic underground.

                                A couple of years on and the duo comprised of Leandro Rebellato and Sofía Aguerre now release their highly-anticipated sophomore album ‘Selva’ (translating from Spanish to ‘Jungle’.) Released once again on London-based label Fuzz Club. On their debut Las Cobras magnificently fused together a cocktail of proto-punk and murky shoegaze with traces of afrobeat and Tropicalia, but throughout ‘Selva’ the band can be found taking all of those elements and cranking them up to 11.

                                Nestled in-between the swirling, ethereal noise of the closing tracks (‘Voices’ and ‘The Color Of Dawn’), there are far darker and distorted moments like ‘Down Low’ with it’s mechanical drum-machine and gloomy neo-psych guitars, then the menacing ‘Evil In Your Eyes’ which is driven by a nasty fuzzed-out bassline and the dual vocals of Leandro and Sofia - both gravelly and entrancing, respectively. For all of those more sinister moments, though, that’s not to say the sounds of their native Latin America don’t still course through the record. ‘Lo Hacemos Mal’ and ‘Llamarás Mi Nombre’ are meandering psychedelic jams dripping with the sounds of their homeland. And, charting a similar path to other globally-attuned psych-heads like Khruangbin and Goat, title-track ‘Selva’ – made in collaboration with Gioele Valenti of label-mates JuJu (and previously Lay Llamas) – is a lysergic treat on the senses combining dub-like rhythms, wah-wah guitars and organs that could have plucked off a long-lost Ethio-jazz deep cut. After the release of ‘Temporal’ the pair took some time out of writing and got a live band together and started playing around Uruguay, Chile and Peru. Upon their return they began to work on the album’s much-anticipated follow-up and – partially due to facing a particularly difficult creative block – they decided they were fed up of writing and recording in their room, as was the case the first time around, and would not only find, but build, a new place to create in. “Here in Canelones there are no rehearsal rooms and we really needed a place to make as much noise as possible. Dario, our bassist, works as a builder so he built a place with his own hands.” With this new space to use as they please, and with a live band in tow who also ended up becoming much involved in the songwriting, the result is something far more multifaceted and spontaneous than their previous work: “We tend to become a slave to thing we’re doing. We get lost in it. We just go wherever the process takes us.” And, doing what they do best, it seems that that process can take you on a journey to anywhere from a Latin American jazz bar to a British club venue circa the era of Spacemen 3 and Primal Scream, or even perhaps a night spent listening to some nihilistic noise at New York City’s notorious CBGB. 

                                Various Artists

                                Festival Compilation (Fuzz Club Eindhoven 2018)

                                  As With all Fuzz Club titles, this is for Indies Only. Fuzz Club Eindhoven 2018 - Festival Compilation. 

                                  Compilation album made especially for the Fuzz Club Eindhoven festival and includes lots of previously unreleased tracks, remixes and cover songs from bands that took part in the festival. Including Kikagaku Moyo, The Warlocks, Whispering Sons, The Telescopes, Snapped Ankles, Teeth Of The Sea and more. Triple record with 180g coloured vinyl in a heavy trifold sleeve and printed inner sleeves. This record is almost a kilo! Limited to 500 copies. 

                                  FORMAT INFORMATION

                                  3xLP Info: Available on 3x180 gram coloured vinyl.

                                  Lumerians

                                  Yellowcake

                                    Throughout their career, Oakland’s Lumerians have consistently been a shape-shifting psychedelic force, traversing krautrock, drone, dub and jazz in their quest to create truly cosmic music. Hot off the heels of their 2018 album Call Of The Void’, the band’s dizzying space-rock opus, Lumerians have stripped things back to their raw fundamentals with the single ‘Yellowcake’. ‘Yellowcake’ sees the band trim away the fat in favour of a highly-focused psychedelic garage rock jam. Winding, contorted guitars meld with motorik drums and a rumbling bassline that stretches out into eternity. Driven by the axe wizardry of Jason Miller and Tyler Green, atop the track’s skeleton they constantly spin webs of claustrophobic Contortions-esque guitar flourishes. The single is, in the words of the band, “about someone waiting on a train platform before sunrise to go to work, staring at the city and fantasizing about what it would be like if a nuclear bomb went off." The lyrics are ambiguous at best, delivered by a careless Damo Suzuki-esque whisper from deep within the track’s dense soundscape, but the chaotic darkness of the song is on the surface for all to hear. The B-side is ‘C Rock’, an angular, krautrock-inflected cover of the 1977 song of the same name by Italian synth-pop/post-punk combo Chrisma

                                    FORMAT INFORMATION

                                    7" Info: Limited to only 300 copies.

                                    Routine Death

                                    2 Weeks To 4 Months

                                      ‘2 Weeks to 4 Months’ is the second album from Gothenburg-via-Texas duo Routine Death, comprised of Lisa and Dustin Zozaya, the album fuses shoegaze-y psych-pop and lo-fi electronics to create something that’s at times mesmerising and atmospheric and at others, distorted and unpredictable. The new album arrives following their 2018 debut album Parallel Universes and a summer of live dates that included a short tour with Wooden Shjips and a show at Fuzz Club Eindhoven 2019. Lisa and Dustin – two musicians from Sweden and the US respectively – met whilst Dustin was on the road with his previous band Holy Wave. Now married but still separated by 7000 odd miles, the pair began working on music together to bide the time and give them something to channel themselves into collectively. After a few years spent recording things in their bedrooms and sending them forwards and backwards via WeTransfer, in 2018 the duo released their first set of songs as Routine Death: a debut album called ‘Parallel Universes’. Just over a year on and they’re back with another collection of songs which, Dustin says, picks up where the last left off: “2 weeks to 4 months is the second part of this whole thing. There are some similarities to the last record, Lisa and I wrote and recorded it separately for the most part. It’s a collection of songs that are pretty reflective and cohesive of a certain period of our lives. When I started to look at all the work we’d done I realized it was one linear piece.” 

                                      FORMAT INFORMATION

                                      Coloured LP Info: Indies-only, coloured vinyl.

                                      Anunnaki

                                      Immanentize The Eschaton

                                        Occult Psychedelia For The Initiated. Doom For The New Age. Hailing from Nanaimo, British Columbia, on the west coast of Canada, Dave Read (Moths & Locusts) on bass/guitar/synth/effects and Arlen Thompson (Wolf Parade) on drums/modular synth have for the last several years teamed up as ANUNNAKI, and over the course of several sold out EPs and one previous full length album (2017’s “Two Treatise On Gnostic Thought”) they have harnessed a maelstrom of hurricane force tones into their unique sound. The new album “Immanentize The Eschaton” (ie, to bring forth the Apocalypse) reflects all the chaos and turbulence going on in the world today, be it politically, environmentally, or socially, as well as reminding us of the beauty, love and compassion that so often appears fleeting in these modern times. Imagine a cross between Motorhead’s Lemmy & Philthy Animal and Kraftwerk’s Ralf & Florian, together channeling the kozmik vision of Alice Coltrane through Sunn O)))’s amplifiers, and with influences varying from Klaus Schulze to Acid Mothers Temple, from New Age to Black Metal, Madame Blavatsky to Thich Nhat Hanh, and you’ll start to get the idea of what Anunnaki is all about.

                                        To put it mildly Anunnaki creates a massive sound for only 2 musicians. Live, the band has shared the stage with artists including Merzbow, Peter Brotzmann, Plastic Crimewave Syndicate, Darsombra, The Band Whose Name Is A Symbol, Comet Control , and Finland’s Siinai, among others. The album itself comprises just 3 epic tracks, ranging in length from 7:01 (album opener ‘Rise Of The Millenarian’), to 21:25 (‘The Demiurge Begins Anew’, which comprises all of Side B). In what is becoming true Anunnaki fashion, all tracks were recorded live off the floor, with no overdubs and minimal edits. The striking cover art is a black & white photographic portrait of the band with bass/guitar doubleneck and modular synth at the ready, beautifully shot in Nanaimo’s iconic White Room venue by local photographer Jason Felker. Produced by the band, and assisted by Andrew Halliwell, with mastering once again handled by Dietrich Schoenemann.

                                        FORMAT INFORMATION

                                        Coloured LP Info: Transparent Gold Coloured Vinyl

                                        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.

                                          Fuzz Club Magazine

                                          Issue 1

                                            Issue 1 clocks in at 96 pages and includes interviews/features with the likes of Holy Wave, The Telescopes, RF Shannon, Nicholas Wood (The KVB/Saccades), The Oscillation, The Third Sound, Routine Death and Sherpa The Tiger, art spotlights on Olya Dyer of The Underground Youth and photographer Lilly Creightmore, João of 10 000 Russos reflecting on the singular legacy of Mark E. Smith and recalling a torturous interview with the man himself, a primer on the Swedish psych scene, Christian Bland, Al Lover and Bob Mustachio on the history of Levitation/Austin Psych Fest and an in-depth retrospective on 1988 as a pivotal moment in the early years of shoegaze.

                                            Fuzz Club Magazine

                                            Issue 2

                                              Issue #2 of the Fuzz Club Magazine is packed with a story about digging cables and brit-pop bullshit by Will Carruthers, interview with Lumerians, The Gluts and Oliver Ackerman, Patrick Clark traces the history of krautrock, an extract from Craig Dyer's first novel, Jared Artaud writes about his time with Alan Vega and lots more. As with Issue 1, this is a beautifully printed, perfect-bound A5 mag with glossy pages and a soft-touch/matte laminated cover.

                                              Rev Rev Rev

                                              Kykeon

                                                Kykeon is the long-awaited third album from Italy’s finest shoegazing noise-rockers Rev Rev Rev, following on from their 2016 LP Des Fleurs Magiques Bourdonnaient. The band say of the new record: “Kykeon is about exploring the obscure. It’s a ritual descent into the underworld, but also a flight through the cold spaces amid the stars. There’s stripped-back song structures, trance-like drumming, fuzzy reverberated guitars, abrasive atonal sounds and tonnes of feedback.” Kicking off the album with a relentless torrent of noise is ‘Waiting For Gödel’ and ‘Clutching The Blade’: two cuts of blistering psychedelic noise-rock that take no prisoners.

                                                The band say of the latter: “Clutching The Blade’ is a good snapshot of our sonic virulence. Among the new songs, it’s the one that truly conveys the energy of our live show. The song itself is about being trapped in the quicksand of a certain situation and the appalling feeling that the more you struggle, the faster you sink.” This sense of danger and losing control runs throughout the album, manifested perfectly in the claustrophobic noise-rock of ‘Sealand’ and ‘Egocandy’: primal and piercing, both tracks are dominated by screeching feedback and slabs of unforgiving fuzzed-out guitars that are more than capable of blowing both amplifiers and eardrums. Kykeon isn’t always quite such an intense affair though. Tracks like ‘Summer Clouds’ and ‘Adrift In The Chaosmos’ deal in a sublime Loveless-esque shoegaze sound; Laura Iacuzio’s shadowy, ethereal vocals emerging through all-consuming walls-of-noise. Then there’s the murky, ritualistic drone-rock found on ‘Gate Of The Dark Female’ and ‘One Illusion Is Very Much Like Another’ which keep hold of the band’s trademark fuzz onslaughts but gear them more towards explorations into repetition and texture. ‘One Illusion…’, especially, is bolstered by modular synths, DIY guitar pedals built by guitarist Sebastian Lugli and the use of a tanpura, a stringed drone instrument originating from India. Their finest work yet, Kykeon proves that Rev Rev Rev – based in Modena, Italy – are without a doubt one of the finest bands today to be carrying the torch for shoegazers far and wide, old and new – praise that’s already been justly lauded on them countless times since they formed back in 2013

                                                Suzuki Junzo & Snakes Don't Belong In Alaska

                                                The Ascended Master Teachings Of...

                                                  Cardinal Fuzz are pleased to bring to you a meeting of North East and the East via Newcastle Sike Lords - Snakes Don't Belong In Alaska and joining them , the legendary Japanese musician Suzuki Junzo (Miminokoto, 20 Guilders and Overhang Party as well as many solo titles) who unleashes a glorious tsunami of psychedelic honey via guitar. Over four sides of vinyl they create a tumultuous crescendo of psychedelic drone acid jam worship. Recorded and mixed by MP Wood at the Soundrooms, Gateshead as Snakes Don’t Belong In Alaska took the good opportunity to book some studio time as Suzuki Junzo was playing in Newcastle with them while touring Europe.

                                                  The sheer joy of playing together on stage carried over from that show into the recording studio where over a stonking 75 minutes your ears are treated to an eternal freak-out. The Snakes bring a bottom end Sabbath thud while Jude (Guitar) creates a swirling and warped glide over the top of which Suzuki Junzo unleashes crazed 6 string fireworks
                                                  .
                                                  And if that does not set your heart a flutter then as the insert says “If you are looking for psychedelic music, do not buy this record unless you are looking for psychedelic music”



                                                  FORMAT INFORMATION

                                                  2xLtd LP Info: 300 Pressing Worldwide. Presented in a 350gsm Wide Spine Sleeve with a full size insert and download code.

                                                  The Telescopes

                                                  Taste (30th Anniversary Edition)

                                                    Every so often, an album appears from out of nowhere that will create a devastating impact on the future. One of those records was ‘Taste’, the 1989 debut album from The Telescopes now set to be reissued by London-label Fuzz Club to celebrate its thirtieth anniversary. Hailing from Burton-On-Trent, an industrial UK town in the heart of the Midlands, if you were a regular gig-goer from that part of the world around that time you’ll have already seen this five-piece share stages with the likes of Primal Scream and My Bloody Valentine or, if not, touring around the UK with Spacemen 3 and The Jesus & Mary Chain. The Telescopes’ live shows were often a memorably ferocious affair; the primal scream of vocalist and founder Stephen Lawrie cutting through unsuspecting audiences like butter through a knife, aided and abetted by the two-guitar assault and taut rhythm section of his band. Following their fast-rising notorious live reputation and the release of three singles (the first of which being a split flexi-disc with Loop), The Telescopes released their debut album, Taste, in 1989 on the now defunct What Goes On label. It was an unrefined bolt out of the blue.

                                                    A sonic feast capable of transforming from visceral to tranquil in a matter of seconds. Even now, listening to blissful opener ‘And Let Me Drift Away’ as it melts into the brutal ‘I Fall, She Screams’ sends shivers up the spine. There’s little respite for the rest of side one, ‘Oil Seed Rape’ thuds and groans, then ‘Violence’ follows suit. All scratchy guitars that sound as if they were designed primarily to bludgeon senses. ‘Threadbare’ then ‘The Perfect Needle’ – the only single taken off the album – bringing the first half to an uneasy close. The second side kicks off with ‘There Is No Floor’, an ode to Roky Eriksson via My Bloody Valentine’s ‘Feed Me With Your Kiss’ that ultimately merits its mention alongside both.

                                                    ‘Anticipating Nowhere’ is the sound of punk rock had it not jumped on the nostalgia gravy train instead, while the sinister ‘Please, Before You Go’ finds both Lawrie and Doran at their vocally harmonious finest. ‘Suffocation’ captures the ferocious demeanour of their live show while ‘Silent Water’ tells its own desolate tale of being buried at sea as a halo of pedal infused noise engulfs Lawrie’s vocals forthwith. Culminating in ‘Suicide’, the traditional ending to their live set at this juncture, its continuous loop only bringing the song to a conclusion at the listener’s command. Three decades have passed since its release yet ‘Taste’ still sounds like nothing else created before or after. The list of musicians who’ve cited its influence is endless and no doubt will be for years to come. The Fuzz Club reissue is due for release September 13th and comes on coloured vinyl with a booklet of photos from the era and new liner notes reflecting on the album's legacy. 

                                                    FORMAT INFORMATION

                                                    Coloured LP Info: Indies-only purple vinyl.

                                                    The Myrrors

                                                    Black Sand : Live In London

                                                      Back in 2015 Arizona-based desert drone outfit The Myrrors were invited to perform at the Fuzz Club Festivala London festival hosted by Fuzz Club Records and local promoters Bad Vibrations. Taking their otherworldly 'Sonoran trance music' to the stage of London Fields Brewhouse, The Myrrors unleashed a breathtakingly transcendental and all-consuming performance that across its three 'parts' – rarely deviating from the solitary note held throughout the set – spectacularly joined the dots between everything from classical minimalism and drone music, through to psychedelic rock, desert blues, Eastern folk and free jazz; perhaps the sort of music La Monte Young might have made if he tuned his mystical drone meditations towards rockier territory and swapped the artsy NYC avant-garde scene for the Sonoran desert that The Myrrors call home. Some four years on from that now-mythologised show and Fuzz Club, having sat impatiently on the live audio for years, will finally be releasing the performance on vinyl and digital for all to immerse themselves in. 'Black Sand: Live In London' is due for release August 30th and comprises three pieces – "Part I: Arena Negra // International Front", "Part II: El Aleph // Danza Perdida // Warpainting" and "Part III: The Forward Path" – which, not that you'll be able to discern where each begins or ends, loosely comprises songs from their 2008 debut LP Burning Circles In the Sky and 2015s Arena Negra. 

                                                      FORMAT INFORMATION

                                                      2xIndies Exclusive LP Info: Available on 180g double vinyl with etched D-side. Heavy tip-on gatefold sleeve.

                                                      Singapore Sling

                                                      Killer Classics

                                                        Discordant, claustrophobic and unforgiving, Icelandic psych-rock heavyweights Singapore Sling – the project of Reykjavík-based noisenik Henrik Björnsson – have been conjuring their own scuzzy nihilistic anthems for nearly two decades and have picked-up a cult-like following along the way. Two years on from the Kill Kill Kill (Songs About Nothing) LP, the band are now back with their tenth full-length, Killer Classics. An eleven-track collection of macabre rock’n’roll scuzz, Killer Classics sees Singapore Sling return on top form. Throughout its running time, the record pools together the primal gusto of The Stooges paired with a (un)healthy smattering of Mary Chain fuzz-pedal belligerence and Suicide-esque proto-punk.

                                                        More than the sum of their influences, though, each song is delivered with the same trademark charm – or perhaps, lack of – that the band have been cultivating since Henrik founded the project back in 2000. Outlining his mission statement for the record, Henrik says: “The last record [‘Kill Kill Kill’] was about music. This one is about songs. The title of the record is ‘Killer Classics’ because that is what I set out to make: Killer Classics. Just simple, catchy rock’n´roll songs. As rock’n’roll songs should be. Of course.” The album borne out of a particularly challenging period in his life, which he wound up channelling into the new material, he goes on to explain: “Before I recorded this new album I had many frustrating months where I didn’t have the time, space or peace of mind to write and record. When I was finally able to do that again I had to let all that frustration out and I did that by making a lot of noise and saying fuck a lot.” 

                                                        Vuelveteloca

                                                        Sonora Remix

                                                          For over a decade Vuelveteloca, based in Santiago, Chile, have been shaking up the South American underground with their unhinged, doomy psych-rock. With their notorious reputation extending further afield soon enough – especially following a lauded performance at 2015’s Liverpool Psych Fest – in 2017 the band signed to London-label Fuzz Club for their fifth full-length, Sonora. Two years on and Vuelveteloca are now set to release a remix version of the album which features electronic reworkings by A Place To Bury Strangers, The Holydrug Couple, The KVB, The Men, Al Lover and more. Where Sonora originally dealt in a warped motorik assault that pooled together Sabbathian stoner-rock grooves with full-throttle psych wig-outs a la King Gizzard and Oh Sees, the remixes on display here trade their careening guitar noise for mechanical, pulsing electronics.

                                                          Take the oscillating, industrial dub of opening track ‘El Lade Frío’ (remixed by fellow Chileans The Holydrug Couple), the throbbing repetitive synths in The KVB’s reworking of ‘La Niebla’ or A Place To Bury Strangers’ twisted, overblown take on ‘Chepical’. ‘Cientologia & Altiplano’ is given a spaced-out ambient reworking via IIOII, an electronic duo from Santiago who are close friends of the band, and then in the following track, Portugal’s Pedro Pestana turns ‘Ataque Masivo’ into a piece of distorted, motorik drone not too dissimilar from his own work in 10 000 Russos and Tren Go! Sound System. This is followed by a minimalist deconstruction of ‘Carnaval’ courtesy of Brooklyn outfit The Men, who strip the song down to its bare bones. The penultimate cut sees ‘L.A.’ turned into a piece of sprawling, kosmische synthesis by LA-based producer Al Lover, who has remixed every psych band worth their salt today and is a masterful beat-making experimentalist in his own right.

                                                          Then, bringing the album to a menacing close is an eerie, barely-recognisable reworking of ‘Tormento’ via Tierra Del Fuego, a NYC-based project comprising members of Psychic Ills and Argentinian dub band Nairobi: the original songs driving rhythm section submerged under layers of dark, glitched-out electronics and manipulated samples of news broadcasts describing worldwide environmental disasters. 

                                                          FORMAT INFORMATION

                                                          Coloured LP Info: 180g Gold-coloured vinyl.

                                                          The ethos of London-based indie label Fuzz Club is a desire to uncover and celebrate the best in fuzz, reverb and drone from every corner of the globe. As well as via their extensive back-catalogue and their Fuzz Club Eindhoven festival, one such particular medium through which they do this is their annual Reverb Conspiracy compilation albums. Where the first five volumes were hailed as a Nuggets-like documentation of the European psych scene, Reverb Conspiracy Vol 6 sees the compilation go global: bringing together bands from South Africa, Australia, the USA, Germany, Brazil, the UK, Italy and Russia.

                                                          Amongst a number of the label’s own bands – including Medicine Boy’s shadowy noise-pop (DE) and Nest Egg’s motorik “mood music for nihilists” (US), plus Steeple Remove’s dub-inflected post-punk (FR) and Crimen’s heady, repetitive psych-rock (IT) – there is Aussie garage-psych outfit Nice Biscuit, an exclusive cut of Bikini Kill-meets-Oh Sees noise from Julia Robert (SA), as well as lo-fi garage-pop from Super Paradise (UK) and the double-barreled psych-blues wig-outs of Frankie & The Witch Fingers (US). In the compilations darker moments, though, there is the hypnotically face-melting “space-surf” of Japanese Television (UK), goth-tinged post-punk from Float (UK), murky psychedelic stoner-rock from Brazil’s Firefriend, relentlessly driving krautrock courtesy of Verstärker (USA), the heavy space-rock drones of Psychic Lemon (UK) and Moscow’s Selbram, who deal in a jagged alt-rock sound that takes its cues from No Wave, psych and the “pulse and noise” of city life. 

                                                          STAFF COMMENTS

                                                          Barry says: You don't get on to the 6th instalment of your compilation without doing something right, and this outing from Fuzz Club's Reverb Conspiracy is a perfect lesson in how to smash out a great comp. Stuff you've never heard of, varied in both tone and drive, fitted together excellently and at a great price. What more could you want?

                                                          Cosmonauts

                                                          Star 69

                                                            European pressing of Star 69, the fifth album from Los Angeles garage heavyweights Cosmonauts! With the album out now in the US and the band currently on a run of dates with Night Beats and The Dandy Warhols – with European dates in the pipeline which may or may not coincide with a certain festival in Eindhoven – we’re really stoked to be teaming up with fellow fuzz-fiends Burger Records to release the duo’s latest album on this side of the pond. The vinyl is due for release June 28th but in the meantime, you can stream Star 69 in full and check out the video for lead single ‘Seven Sisters’ below. A perfect insight into the new record set against hypnotising visuals of them playing on a rooftop, ‘Seven Sisters’ is a piece of primal, visceral garage-psych that sounds like Spacemen 3, The Stooges and The Jesus & Mary Chain left out to bake in the California sun for a little too long. 

                                                            You Said Strange

                                                            Fuzz Club Session

                                                              French outfit You Said Strange are the latest to join the Fuzz Club Session ranks alongside the likes of A Place To Bury Strangers, The Myrrors, Night Beats, Heaters, The Entrance Band, Holy Wave, Heaters and many more. When last in the UK in support of their debut LP, Salvation Prayer, the four-piece took to London’s Lovebuzz Studios to lay down a live session comprising four tracks of warm, jangly psychedelic bliss taken from their aforementioned debut. The resulting session will be released on vinyl and digital via Fuzz Club. Emerging out of Giverny, Normandy, You Said Strange became a mainstay of the European underground long before they headed over to Portland to record their highly-anticipated debut album with Peter Holmstrom of The Dandy Warhols - whom the band set out on tour with back in 2015, solidifying a friendship that would see Holmstrom take on production duties for another band for the very first time.

                                                              Dining on an influence of The Velvet Underground, The Brian Jonestown Massacre and Ride – though delivered with their own insatiable, forward-looking French charm – You Said Strange carve out an intoxicating, heady sound of shimmering guitars and reverb cloaked vocals that’s just as potent when drifting into full-blown fuzz-overloads as it is when dealing in jubilant, earworm melodies that’ll get stuck in your head for hours. The live recording of the session sees both of those sides shine brighter than ever, making it undeniably clear why the band has spent the last several years bringing their sublime live show to countless venues and psych festivals across Europe and beyond. 

                                                              Diagram

                                                              Transmission Response

                                                                The Berlin-based musician Hákon Aðalsteinsson, originally hailing from Iceland, can be found fronting neo-psych outfit The Third Sound and gloomy alt-country troupe Gunman & The Holy Ghost, as well as being the live guitarist for The Brian Jonestown Massacre and Anton Newcombe’s ongoing collaborations with Tess Parks. Now, Hákon is also turning his attention to another project: an electronics-inflected solo endeavour going by the name of Diagram. His debut album under the new moniker, titled Transmission Response consists of 12 tracks that find a home somewhere between a pared-back, synthy post-punk sound and atmospheric dream-pop hues. Detailing the self-recorded album, a marked departure from his usual rock-oriented work, Hákon explains: “The sound is inspired by the minimalism of Suicide, Chrome and 70s German electronica, as well as the film music of Angelo Badalamenti and John Carpenter,” he continues: “In the beginning I had this one beat-up keyboard and limited knowledge of making electronic music so I was just learning as I went. As this was a process of exploration I ended up with around 40 song ideas before I even thought about making an album. After deciding I wanted to take things further I set upon the task of reworking all those ideas and cutting a lot of them to put together a record that worked as a whole, and this is the result.” Always one to immerse himself in new projects, Hákon Aðalsteinsson’s new material as Diagram witnesses him enter a whole new world, and a sublimely cinematic one at that. With plans for a live show in the works it’s more than likely we’ll be hearing quite a lot from this one too. 

                                                                STAFF COMMENTS

                                                                Barry says: Like the electronics and percussion of Nine Inch Nails, mixed with the twinkling, melodic juxtaposition of 80's new-romantic synths and industrial vocal echoes all brought together with a strong rhythmic undercurrent, this is a heady and addictive mix perfect for the dancefloor or LOUD on your home stereo.

                                                                Plastic Crimewave Syndicate

                                                                Massacre Of The Celestials

                                                                  Cardinal Fuzz are proud to present to you - Plastic Crimwave Syndicate - ‘Massacre Of The Celestials’. Steven Krakow (aka Plastic Crimewave) is a dark sonic visionary whose every output is infused of the deepest psychedelic music (or just plain old music) out there. With Plastic Crimewave Syndicate you are treated to a howling, menacing, throbbing freak-out sthat is never for the faint hearted. Aided by skronkin' sax goddess Taralie Peterson (aka Louise Bock/Tar Pet) of avant musical coven Spires that in the Sunset Rise, Plastic Crimewave Syndicate go into uncharted realms on their 4th new epic album, "Massacre of the Celestials." Recorded over the course of a tumultuous year on this small planet, a concept emerged of a story we all know and love--the rise and fall of humanity, and then the post-apocalyptic rebirth of a new furtherly-dystopian mutated world. PCWSyndicate didn't discriminate with the freaky sonic tools needed to craft this molten behemoth of a LP, utilizing: damaged waves of No Waves, free-festival rave-ups that punters will knock down fences to pogo to, monochord Doom ruminations...and could that be groovy post-post-punkin' Funakdelica? These cosmic cats also go to the roots of all: The Blooz--elemental, drugged, n grungey--and like JAZZ, MAN! (free, not expensive, for thee people). Plastic Crimewave (bellows/guiterror), Kosmik Jru (bass rumble), and Jose "The Beast" Bernal (kit smash), keep the freaks a-rollin and a-tumblin on an LP destined to score the end of this feeble Earthen sphere. 

                                                                  FORMAT INFORMATION

                                                                  Ltd LP Info: Presented in a 350gsm Gloss Laminated Sleeve and comes with a download code. 300 Pressing Worldwide. 150 for Europe & 150 for USA.

                                                                  Hawkeyes

                                                                  Last Light Of Future Failure

                                                                    Cardinal Fuzz are proud to present to you Hawkeyes’ second full-length LP, Last Light Of Future Failure.

                                                                    The follow-up to 2015’s Poison Slows You Down, Last Light Of Future Failure is a different Hawkeyes. Though four long years have passed between long-players, those keeping score could have charted the band’s growth over the course of sporadic split-releases with psych-brethren Shooting Guns, Radiation Flowers, and their Morricone-esque contribution to the Return Of The Son Of Gutbucket compilation. No longer are Hawkeyes merely a punishing, claustrophobic, maelstrom of doom. 2019 Hawkeyes have no such limits.

                                                                    Heavy still reigns, but subtlety, texture, and myriad other ancillary instruments colour these four swirling tracks in ways previously unheard. The marching, eastern-tinged “The Lickening” brings listeners back to the classic stoned-nod before the quicksilver freak-out, “Look At ‘Em Scramble”, levels all in its path. “Nude Karate” is legitimately danceable, its fuzzed phasers racing to the finish, battling for air with whirring synths. “Full Of Secrets”, the cinematic full-side closer, reveals itself slowly, like a Kubrick-directed nightmare.

                                                                    Recorded in their northern headquarters, the Order Of The Ape, by guitarist Ryan Allen, Last Light Of Future Failure is Hawkeyes’ finest work. Without fear or pretense, they have finally delivered on the panoramic interstellar overdrive they’ve been not so quietly mastering since their debut.
                                                                    Hawkeyes are Ryan Allen (guitar), Ron Cybulskie (guitar), Patrick Finch (guitar), Chris Gardner (guitar), Rob Keith (bass), and Stacey Schmitt (drums).


                                                                    FORMAT INFORMATION

                                                                    Coloured LP Info: Presented in a 350gsm Gloss Laminated Sleeve with full sized 2 sided colour insert and with a download code.

                                                                    Cardinal Fuzz are proud to present to you ‘Ape On Sunday’ - the 6th Long Player from Artaca, California’s White Manna. Recorded over a period of time that saw front man David Johnson return home to Massachusetts to spend time with his family after a traumatic event. While away Dave and Anthony (back on board fully for this new lp) tackled the recordings they had started while Tavan and Johnny laid down the drum and bass tracks and Mike Dieter also rejoined White Manna to lay down some synth parts (honing a Klaus Schulze vibe) . When Dave returned to Humboldt they at long last got down to finishing the LP. ‘Ape On Sunday’ takes its inspiration and title from a Robert Zimmerman poem in his poetry book/novel – ‘Tarantula’ – a stream of conscious / cut up style prose from ’66.

                                                                    You can feel how the life experiences over the last year have seeped, shaped and informed ‘Ape On Sunday’ which is the bands most intimate release since ‘Come Down Safari’. It’s a heady hypnotic mix that at times plays like psychedelic meditations and at others like music for a post apocalyptic movie. The Redwood canopies of Northern California’s Emerald Triangle still influence White Manna but there sound here is heading out in a more experimental direction where the music is more kosmische in style with sounds wreathed in mist and vapours, droning synths and shimmering guitars. ‘Ape On Sunday’ finds White Manna re-entering the stratosphere and floating back down to the dense redwood forest of their homeland.


                                                                    STAFF COMMENTS

                                                                    Mine says: White Manna return with a dark and brooding record, incorporating growling guitars and kosmische synths. Good stuff!

                                                                    FORMAT INFORMATION

                                                                    Ltd LP Info: Housed in a 350gsm Gloss Laminated Sleeve with a full colour insert and download code.

                                                                    The Janitors

                                                                    15 Years Of Fuzz And Folkol

                                                                      Cardinal Fuzz present - The Janitors and ‘15 Years of Fuzz and Folköl’ - a celebration of Sweden's finest purveyors of Throbbing Fuzz and Feedback.

                                                                      15 years ago a night of heavy drinking resulted in the formation of The Janitors - a creative project that has been the center of founder member Jonas and Henrik’s lives ever since. Over that time 5 drummers, 8 percussionists and 3 bass players have passed through The Janitors grinder. They have released 3 full length albums, 5 e.ps and a bunch of singles, as well as sharing stages with many great bands and have got to travel the world.

                                                                      Gathered on ‘15 Years of Fuzz and Folköl’ are a collection of songs and sounds that reflect the different phases of The Janitors development, ranging from full on Fuzz and Feedback to Gospel Choirs and back to the dark menacing head swirling throb that The Janitors have made their own sound. The Janitors cherry picked 23 songs (all included on the digital download) that have never been released on any of their many LPs/EPs or singles. The Janitors then did battle with Dave (Cardinal Fuzz) and Mike (Little Cloud Records) in nailing down these 9 tracks that ended up on the vinyl edition of ‘15 Years of Fuzz and Folköl’. Afterwards we all dusted ourselves down and wondered how these tracks had ever fallen through the cracks - It may just become your favourite Janitors release so far.

                                                                      15 years of Fuzz and Folköl is pressed on solid yellow vinyl and comes with a digital download link with an extra 80 minutes of music (14 extra tracks).
                                                                      *Footnote Folköl is a very Swedish thing. You can’t buy proper beer in the stores, only low alcohol versions and these are called folköl or “people’s beer”. That beer has fuelled most of the tunes here.*

                                                                      FORMAT INFORMATION

                                                                      Coloured LP Info: Solid yellow coloured vinyl.

                                                                      Dreamtime

                                                                      Tidal Mind

                                                                        Cardinal Fuzz are proud to bring to you the long awaited fourth full length LP from Brisbane Astral Travelers - Dreamtime.

                                                                        The wave has crashed, producing a million waves of sound, each breaking on the shores of your own TIDAL MIND. DREAMTIME have gazed deeply into the infinite depths of our earthly ocean bringing you their new opus: TIDAL MIND.

                                                                        Studying the interactions of liquids, plants and creatures of sea, DREAMTIME have listened carefully to the deep sounds of dark depths. From this sweet salty symphony, they have used their instruments not to play mere chords but to ride within these waves of sound letting our human ears drink deeply from the vast waters.

                                                                        Channelling distant echoes of krautrock masters into not only the sounds created but their approach towards recording spontaneous thoughts, feelings and jams; Kosmic music runs deeply in the veins of these five musicians. TIDAL MIND falls into perfect sequence in the progression of this band that feels no ties to conventional musical impressions cast down upon the masses by the mainstream. The band makes its own channel through the embrace of natural patterns creating unique DREAMscapes permanently altering ones perception of the world that surrounds us.

                                                                        Harnessing the perfection of analogue equipment while utilising modern techniques the band entered the studio and successfully laid down some ritual shit. The album sees DREAMTIME not content to reproduce previous sounds but press ever forward into the deep Kosmic unknown. TIDAL MIND sees the band return to the studio with Darek Mudge setting the controls for the heart of the ocean. Unheard sounds of unfathomable depths have been recorded/mixed and mastered so you can place the needle in the groove and enjoy them in the comforts of your own home.

                                                                        Pressed in an edition of 500 units and housed in a gatefold sleeve with a colour vinyl. Download Code Included.

                                                                        Birth

                                                                        Live In Tucson

                                                                          Cardinal Fuzz are proud to present to you Birth – Live In Tucson. Birth is the project of Grant Beyachau and Nik Rayne from The Myrrors who performed as Birth for this live improvisational performance in Tucson (USA). The performance was captured onto a handheld recorder (you can hear instrument leads buzz and cut out for a second here and there as things start up) as Birth, seated on the floor, journey towards a state of transcendence in front of a small but appreciative audience.

                                                                          Taking cues from Terry Riley, LaMonte Young as well as Spacemen 3 (Dreamweapon) – minimalist artists who offer no concessions to the listener except to surrender yourself to the drone. Grant creates swirling cyclic passages via analogue synthesizer and tape machine loops as Nik conjures subliminal notes via guitar and space echo. Over 25 minutes they create an experience of devotional music influenced by Middle Eastern and Sufism cultures – as notes bleed and swirl together in a lysergic haze. Its fluidity is its greatest strength as the piece offers no navigation points – all they ask is that through a mixture of drone, repetition and simple melodies that you surrender yourself to the trance-like and hallucinatory delirium created. It is captivating.

                                                                          Live in Tucson is a one off 300 pressing – all black vinyl. Housed in a 350gsm sleeve and given a private press like presentation via the sleeve and labels. Download Code Included.



                                                                          FORMAT INFORMATION

                                                                          Ltd LP includes MP3 Download Code.

                                                                          The Myrrors

                                                                          Curved Entrances

                                                                            Cardinal Fuzz are proud to bring ‘Curved Entrances’, a dip into the archives with those shaman from Tucson, The Myrrors. Two tracks totalling over 30 minutes recorded back in the Winter months of 2014 at the first rehearsal with Guitar Wizard Conner Gallaher on board (joining Nik Rayne on 12 String and Grant Beyachau on Drums). Whatever spiritual incantations were placed before this rehearsal no-one can no longer remember but these two recordings stand as a testament that something very special was happening that night. This is psychedelia of the cosmic/koummune vibe as the trio strike up from an earthy hypnotic opening refrain until they hit a shamanistic ecstatic state that is both spellbinding and enrapturing. A band playing in their own space and caught under their own spell of improvisation that takes both band and the listener on a sonic nirvana as The Myrrors open your mind via the power of amplification and elevation. So please open up your mind and let everything come through – The Myrrors may just have found the key to the kingdom of heaven.

                                                                            Tengger

                                                                            Segye

                                                                              There's a symmetry to be had here: duo’s name translates to “Skygod” and “heaven”, duo provides soundtrack for “aural hang-gliding”. What looks to be a simple equation becomes far more immersive and lush as you soar in and out of the grooves of “Segye”. Your guide this time out: Tengger.

                                                                              In ’05, itta (voice, Indian harmonium, toys) and Marqido (analogue synths) began a new, shifting musical life as 10 in Seoul, South Korea. To mark the massive March ’11 earthquake in Japan, 10 took a step in their evolution by becoming (((10))). The ground moved in a much different way when son RAAI arrived in ’12. Not missing a beat, or a good sign, (((10))) expanded to become Tengger. itta and Marqido, now with RAAI, incorporated all the adventures their self-described traveller family might have into their immediate lives and the sounds being being generated as Tengger. Touring the US, Asia and Europe, Tengger assimilate audience reaction and the myriad experiences of exploring and turn those elements into pillars of their sound, raw material for both foundation and take-off. It’s no surprise, and absolutely fitting, that ‘Segye’ (세계)–Korean for world–encompasses the mind, time and space.

                                                                              ‘Segye’ began taking shape in ’16 at Slow Slow Quick Quick (Seoul) during the demonstrations against President Geun-hye Park. Then, during the candle demonstration, artist Beck Jeajung made his voice heard and seen. Tengger, picking up on the synchronization, asked Jeajung to bring his art to the album taking shape. This environment, this bigger picture of family and community—this ‘Segye’—feeds the album as much as Tengger's own inner circle and outbound adventures. Their lush electro/drone psych may be the product of knobs, wires and electricity, but it's made from the experiences that only the real world can provide, both immediate and distant. These inner and outer dynamics, often at odds with each other, fuse to give the pulsing of ‘Segye’ a subtle luxuriance that celebrates the humanity inherent in their music. itta's voice melds and dances with the sonic patterns and processes, to continually layer, move and build on each other to not only lift the listener upwards, but to take them to places to take off again; destination to be determined. 

                                                                              Black Bombaim

                                                                              Zone Of Resident Bodies

                                                                                Cardinal Fuzz and Lovers & Lollipops are proud to bring to you the new magnum opus from Black Bombaim titled 'Zone Of Resident Bodies'. Black Bombaim approached their latest creation with the mindset of pushing the boundaries of their musicianship by working with three different electronic composers in three unique recording settings -an old workers auditorium, a huge empty space on the postal office building and on a reverberation room on the university of engineering. Working with Jonathan Saldanha, Luís Fernandes, Pedro Augusto helped Black Bombaim break free of the constraints of a band in a recording studio as each new recording environment and composer brought new textures and ambiance to the music created. It really is rather special to hear.

                                                                                “this is an amazing album of collaborations that I am sure has taken the participants outside of their respective comfort zones to produce a set that is innovative and explorative. You really will need to hear it all to fully appreciate its strength and breadth because it is outside those zones of familiarity where true expression can flourish… and flourish it certainly does here.” Psych Insight.

                                                                                Prana Crafter

                                                                                MindStreamBlessing

                                                                                  Cardinal Fuzz and Eiderdown Records are pleased to bring forth Prana Crafter and 'MindStreamBlessing' An electric mantra from the deep heart of the Pacific Northwest woods, "MindStreamBlessing" beckons you to relax and crack open your mind for a little while. Prana Crafter is Will Sol, practitioner of fine guitar spell-casting and audio fortune telling. A heady brew of guitar, drums, and organ that traces its majestic lineage from both the wayward strains of a cosmic Americana blues and the rustling sunshine daydreams of a future primitive past. The tunes contained herein drift and sway through the windmills of your mind, leaving the sweet aftertaste of pine and ocean mist. Accept this MindStreamBlessing as a balm for these troubled times.

                                                                                  The Janitors

                                                                                  Fuzz Club Session

                                                                                    Conjuring heavy drones and sinister garage-psych freak-outs, Stockholm outfit The Janitors have been a formidable presence on the European underground since they formed way back in 2004. Channelling the free-wheeling spirit of Hawkwind with equal smatterings of Sabbath and Spacemen 3, the band are masters of taking hold of a gnarly fuzzed-out groove and beating it within an inch of its life. Probably not for the faint of heart, their druggy wig-outs are totally relentless and unforgiving. For the uninitiated, perhaps we should turn to the late Hunter S. Thompson who famously wrote: “Buy the ticket, take the ride… and if it occasionally gets a little heavier than what you had in mind, well… maybe chalk it up to forced consciousness expansion: Tune in, freak out, get beaten.”

                                                                                    Those words serve as a perfectly apt instruction manual – or warning, perhaps – for entering The Janitors nightmarish world and the ticket, in this instance, happens to be the band’s forthcoming Fuzz Club Session LP. While in the UK for a small run of shows in September 2018 we decided to drag the band down to Love Buzz Productions in South London in order to commit their unholy, eardrum-rattling live show to wax as part of a Fuzz Club Session. Clocking in at four-tracks – two from 2013s Drone Head LP, one from their latest full-length Horn ur Marken and another cut from their 2014 EP Evil Doings Of An Evil Kind – the session sees The Janitors’ malevolent, hedonistic swagger at its best, the live recording showing the band well and truly in their element. 

                                                                                    Nonn

                                                                                    XVII

                                                                                      Back in May last year Christian Eldefors released his debut album as NONN, a stark collection of minimalistic post-punk that marked him as one of the most exciting outputs in the dark Scandinavian scene. After touring the record across Europe and recruiting a full band, the project is back with its second album, XVII. Now more of a collaborative effort, with Hannes Nyling and Christian’s brother Alexander joining the fold, the new record deals in a fuller more refined sound and packs a far heftier punch. Where the self-titled debut was a restrained, minimalist affair, XVII opts for slabs of industrial electronics and hard-hitting percussion.

                                                                                      The gloomy 80s sensibilities are still there – see the occasional Cure-esque guitars and morose gothic vocals - but on XVII, NONN turn their eyes more towards the electronic affliction of EBM and synth-punk than the polished, more-digestible post-punk that came reverberating out of the decade. This shift in the band’s sound all boils down to having to reinvent the songs when taking them on the road following the release of their debut, which saw them tour the UK and mainland Europe and play at a number of festivals; from Liverpool Psych Fest and Fuzz Club Eindhoven to, more recently, Endless Daze in South Africa. “Since the last record we’ve been doing a lot of shows which gave us a lot of inspiration. We reworked the old songs to sound a bit fuller and more fun to play live. Having to reinvent all the sounds and instruments from the first album really inspired the direction on XVII,” Christian remarks. It’s clear that taking the project on the road with a full-band has had a notable effect. Tracks like ‘Clear’, ‘Home’ and ‘Beyond’ see NONN shift their bleak, darkwave-inflected post-punk into something far richer.

                                                                                       It’s still got that minimalistic feel and the ear-worm melodies are still there, but it’s more sinister and fleshed out. Though, what truly sets this album apart from the debut is where the band have delved deeper into their electronic side. The industrial stomp of album-opener ‘Pray’ declares the LP’s merciless intent without a guitar in sight; it’s a destructive cut of throbbing synths and desolate drum machine, underpinned by Christian’s monotonous vocals. Partner that with the sparse, haunting electronics of ‘Believe’ and the mechanical synth-punk of ‘Hide’ and it’s clear that NONN are at their best when truly embracing their deeply-cherished Moog Sub Phatty, using it to exorcise the many demons lurking beneath the noise.

                                                                                      FORMAT INFORMATION

                                                                                      LP Info: Indies only LP.

                                                                                      Old Mexico

                                                                                      Old Mexico

                                                                                        In 2016 Dead Meadow’s Jason Simon ventured north to San Francisco to take part in the Family Folk Explosion: a Last Waltz-style concert series hosted by Trans Van Santos and what the SF Weekly has called "his band of Merry Pranksters." Simon picked a handful of songs to perform with the Trans Van Santos band, leaning heavily on unrecorded material and selections from his last solo album. When he arrived in San Francisco for rehearsals he was immediately taken with the band’s much jazzier interpretations of his songs; a particular revelation coming from the loose and idiosyncratic swing of San Francisco drummer and Spirit Jazz elder Dave Mihaly (known for his work with Jolie Holland and his own group; Dave Mihaly & The Shimmering Leaves Ensemble).

                                                                                        Of all the songs that Jason Simon brought to the table that evening, none were more important to the future NorCal/SoCal collaboration between these two sonic tribes than “Past the Western Wall;" a song Simon felt necessitated a Free Jazz approach that had proven difficult to capture. Not so in San Francisco, where the song became the lengthy and searching centerpiece of the set. Behind Dave Mihaly’s inspired work on the trap kit, Jason Simon’s exploration of Indian motifs on lead guitar, and the Bob Weir-like rhythmic accompaniment of Trans Van Santos, the song found its wings, stretching freely in the open landscape of the songs middle section. Clocking in at nearly fifteen minutes, “Past the Western Wall" was the clear highlight of a show that featured more than a few bright moments. The next morning Jason Simon drove back to Los Angeles with a copy of Dave Mihaly’s most recent album and an invitation to join Trans Van Santos at the TVS2 sessions in Joshua Tree, California the next month.

                                                                                        Jason Simon listened to the Dave Mihaly album on the drive back to Los Angeles and then he listened to it again, and again. The next month in Joshua Tree he presented Trans Van Santos with a proposition to record an album featuring material from the three songwriters. They pow-wowed and smoked the peace pipe and formulated a plan: the album was to be recorded in both San Francisco and Los Angeles, in the northern reaches of Old Mexico, and feature contributions from members of their respective solo projects. Songs would be recorded live over a couple of sessions with very few overdubs. “Western Wall" would be the foundation that the album would be built upon. Jason Simon would produce and steer the ship through the process and toward completion. This album is the fruit of that cross genre and multigenerational collaboration out on the edges of West. Welcome to Old Mexico.

                                                                                        Sunflare

                                                                                        On

                                                                                          Cardinal Fuzz are excited to bring to you at last the long awaited Sunflare LP - “ON”. After three previous releases of brain frying high volume pedal to the metal freak-outs Sunflare are at last back to bring some serious brain buzzing primitive punk scorch to a prevailing M.O.R. psych scene in need of some serious face melting. Hailing from Lisboa, Portugal - Sunflare are a scorchin’ power trio specialising in High Energy Psychedelic Speed Freak wipe outs. ON is here to fry minds and with a driving rhythm section that brings new meaning to the word relentless and a guitar player that is perpetually free form feedback soloing over every second committed to wax via the gnarliest of fuzz and wah-wah pedal abuse. Over two sides of vinyl there is never any let up as Sunflare deliver a blazing eruption of ear piercing sound. With ON also comes a second LP of the long out of print “C-30 Red Tape” release (only ever available as a Cassette back in 2010). As soon as you put this on you will see WHY they were so desperate to include this as part of the ON package and commit it to vinyl at long last. If you like High Rise, Comets On Fire and drinking petrol then this is the band and record for you. 

                                                                                          Mt. Mountain

                                                                                          Golden Rise

                                                                                            Cardinal Fuzz are proud to introduce the outstanding 3rd Long Player for Perth’s Mt. Mountain titled "Golden Rise". Mt Mountain formed in Mid 2012. A Year later they put out their first release, the slow brooding OMED. In 2014 they followed up with their first EP as well as the Chantry/The Villian 7” a few months later.. That same year they played In The Pines and were crowned Breakthrough artist of the year at the WAMi awards. Two More albums followed (and quickly sold out ) Cosmos Terros in 2016 and Dust in 2017. Over that time the Perth quintet have built a formidable reputation - not just for their songcraft, but as one of the most compelling live bands in Australia. A distinction that has seen them share stages with Boris, Sleep and King Glizzard.

                                                                                            Their music is both menacing and meditative as tracks play out in harmony/discord and from minimal to maximal over the course of Golden Rise. There are times when the songs are almost gone and just a slow pulse is left, until the spell Is broken and tracks explode into an apocalyptic haze - Something that Mt. Mountain excel in as they create explosions in slow motion. Over the last few years Mt. Mountains have become laurelled and revered by those in the know. With Golden Rise that reputation is ready to explode. Golden Rise is presented in a 350gsm Card Sleeve with Metallic Pantone Printing, Full Colour Inner Sleeve and download code. Sleeve design by Penabranca and layout by Glenn Palmer. 1000 Pressing Worldwide. 450 for Europe.

                                                                                            Steeple Remove

                                                                                            Vonal-Axis

                                                                                              On ‘Vonal-Axis’, their fifth album in a career spanning two decades, Steeple Remove have signed to Fuzz Club and carved out an album that warps their Moog-devotion into a whole new beast. One that journeys from shoegaze-drones that weigh heavy on your chest (“Oval Strii”, “Monochrome Continuum”), to kosmische psychedelic pop (“Waters”) and dub-inflected post-punk (“Ferris Noir”) that falls somewhere between Metal Box-era PiL and the shimmering, textural guitars of The Durutti Column. Vonal-Axis is the bands finest work yet - their latest in a very lengthy career that’s seen them remain a mysterious presence on the fringes of the experimental French underground since forming the project back in 1997. Emerging out of Rouen, a small city in the Normandy region of France, the four-piece arrived with their now impossible-to-find debut album, The Importance Of Being Steeple Remove (1998) - released on the cult label Sordide Sentimental who put out earlier works from the likes of Joy Division, Throbbing Gristle and Psychic TV.

                                                                                              After that they all but disappeared, not returning until eight years later with Radio Silence (2006) and Electric Suite (2008), both marking a departure from their early experimental electronica into a wider pool of kraut, psychedelic rock and atmospheric pop. Save for the odd single and live show, it took another six years to hear a full record from the band – that being the 2014 LP Position Normal which left them to pick up glowing, long-overdue praise across Europe.

                                                                                              Choosing not to leave it quite so long this time, enter Vonal-Axis: a nine-track LP that sees them attempt to hone in on their near quarter-century of experimentation to produce a collection of tracks that are sometimes poppy, sometimes heavy, but always exploratory. The album was recorded by the band themselves on an old 8-track recorder, taking half-written songs into the studio and then improvising on top of them to maintain the energy the songs had when played live. Lending his production prowess on the mixing duties was Demian Castellanos, the mastermind behind The Oscillation, whom Steeple Remove became good friends with after both bands played together several years ago. Among the long list of other bands Steeple Remove have shared the stage with is krautrock leviathans Faust and Damo Suzuki, London punk-rockers Wire and D.C. stoner rock troupe Dead Meadow - offering a pretty clear insight into the many sonic worlds Steeple Remove have journeyed into and found a home through the years. Steeple Remove is Arno Van Colen (Vocals/Synths), Walter Thomas (Percussion), Mana Audisio (Guitars) and David B (Bass). 

                                                                                              The Sand Pebbles

                                                                                              Ghost Transmissions

                                                                                                *LTD COPIES AVAILABLE*Cardinal Fuzz are proud to introduce Melbourne's The Sand Pebbles and a long awaited vinyl pressing of their psychedelic flower punk classic - “Ghost Transmissions”. Formed on Bastille Day on the set of Neighbours by three of the show's screenwriters Christopher Hollow (bass), Ben Michael (guitar)and Piet Collins (drums) their debut LP Eastern Terrace was a minor classic and the this follow up release - Ghost Transmission was lauded by The New York Times, The Sunday Times, The Wire and Ptolemaic Terracope. Like a classic pop album of old where every track feels like ear candy for the brain, The Sand Pebbles take you on a trip from Summer Blissed out Pop to head nodding wig-outs. Not once does the quality ever dip as Ghost Transmissions explodes from the eye of the universe with sun-kissed explosions of melody.

                                                                                                Ghost Transmissions is presented in a beautiful 320gsm gloss laminated sleeve with 2 inserts and is pressed on Heavy weight Black Vinyl (poly lined inners) and includes a 20 track download which features the original 11 album tracks plus 9 additional tracks (outtakes and live material from the time).

                                                                                                FORMAT INFORMATION

                                                                                                Ltd LP includes MP3 Download Code.

                                                                                                Velvet Elevator

                                                                                                Principum

                                                                                                  Cardinal Fuzz are proud to introduce the debut LP from Wollongong’s Heavy Psychedelia outfit Velvet Elevator. With guitars set to Open C and amps, cabs and fuzz pedals set to 11 Velvet Elevator build a wall of sound so dense that at first it may overload your temporal lobes. Covering themes of Anthropomorphism, Religion and Armageddon and focused roughly on the Revelation chapter of the bible the two closing tracks of Principium tell the story of the Blood Moon which is traditionally a series of apocalyptic beliefs appearing in the bible - ITS HEAVY. Velvet Elevator bring the dirge but they show their garage chops with a sound that shares comparisons to The Heads (the melding of Heavy Bottom Ends and Garage), Sabbath and of course The Wiz as tracks delve into Drone,Psychedelia and Doom. Heavy isn’t about volume, it’s about attitude and these Wollongong boys have it. A 300 Pressing on blood red and black swirl vinyl. Presented in a 320gsm gloss laminated wide spine sleeve with download code. “Flies like The Heads and Hawkwind with a huge dollop of Sabbath and Electric Wizard. Heavy psych dirges that will tear your nugget in half” Optical Sounds

                                                                                                  The Gluts

                                                                                                  Fuzz Club Session

                                                                                                    On the latest Fuzz Club Session we dragged The Gluts from their native Milan to bring them aboard Soup Studio, a boat turned recording studio in East London's Trinity Buoy Wharf. A formidable live force, the session sees them scorch their way through six tracks of relentless, grimacing noise-punk that captures the band's snarling, fuzzed-out power in all it's glory - translating just as well in the studio as it does when they're on stage. The LP, due for release November 23rd, contains five tracks from their Fuzz Club released sophomore album, Estasi (2017), and one cut from their debut album Warsaw (2014). 

                                                                                                    Throw Down Bones

                                                                                                    Two

                                                                                                      Italy’s Throw Down Bones are something of an enigma in the experimental underground. Since the release of their highly-praised 2015 self-titled album, they’ve picked up a notorious reputation on the European live circuit for their pulverising, constantly-mutating live shows. In a review of the debut, album listeners were told to “make no mistake, this is dance music” and that may have been true back then but now, back with their second album titled Two, the band have taken that to a whole new extreme. Ditching the hypnotic coldwave tendencies of their earlier work for an all-out sonic assault of industrial four-to-the-floor rhythms and screeching acid house.

                                                                                                      Two is due for release via Fuzz Club Records on October 26th and see’s the band deal in floor-shaking industrial techno-post-punk occasionally steeped in a euphoric acid-house sheen. Where the old Throw Down Bones was better suited for intimate venues and psych fests (of which they were a frequent staple, from Liverpool to Eindhoven and everywhere in between), this new evolution sees them turn their eyes to the most underground techno clubs and the sleaziest warehouse venues. Imagine Death In Vegas, Factory Floor and Aphex Twin jamming in a room together and you might come close but Throw Down Bones would be reluctant to point to any ‘influences’. For them, their corrosive industrial workouts are simply the product of their environment and attitudes, as opposed to who they’re listening to at any given moment.

                                                                                                      STAFF COMMENTS

                                                                                                      Barry says: Another killer outing from the venerable Fuzz Club, with throbbing post-industrial Italians Throw Down Bones releasing their second slab of gloomy thuds and machinated electronics. It's a dark affair, without a doubt, but one that would feel at home on the dancefloor or... at home.

                                                                                                      Medicine Boy

                                                                                                      Lower

                                                                                                        For Berlin duo Medicine Boy, their melancholic noise pop is less about all-out-noise than it is about exploring the spaces in-between. Grinding organs and soft desolate piano sink beneath waves of guitar that are at times gentle and drifting, at others feral and unforgiving. All the while, Lucy and Andre’s voices remain entwined and intimate – sometimes discordant, yet always heavenly. The result is a truly remarkable sound that sits somewhere between PJ Harvey, Mazzy Star and TJ&MC, yet exists in a sombre world of its own. Laying out their mantra, the band explain: “The joy of working with noise is that you can take something that appears to be quite sweet and simple and expose the sordid parts of it. Or celebrate the sublime in it. Ideally a bit of both.” 

                                                                                                        Originally hailing from Cape Town, South Africa, André Leo and Lucy Kruger founded the project back in 2014, self-releasing their debut EP to international appraise. By the time their debut full-length, Kinda Like Electricity, was released into the world their ever-growing fanbase had extended far beyond the confines of Africa, solidified further with two tours around Europe and the UK in 2015 and 2016.

                                                                                                        Now residing in Berlin, Medicine Boy are gearing up for the release of their incredible second album Lower, due for release via London-based label Fuzz Club. Uncertainty, fragility and the unknown all sit at the heart of this record. Even when Medicine Boy are at their most delicate and beautiful, things constantly feel like they’re teetering on the edge, ready to collapse at any given moment. And, like the calm before the storm, often it does - veering unexpectedly into a whirlwind of buzzsaw guitars, primal percussion and snarling vocals. That same gloomy ethereality constantly floating close to the surface.

                                                                                                        The band explain that this antagonistic relationship more than likely explains the aquatic theme through the album – ‘Bottom Of The Blue’ and ‘Water Girl’ being two stand-out tracks: “I don’t quite know why but the theme of water is all over this record. Something about the tranquillity and uncertainty, perhaps. The violence just beneath the surface. The potential for a sudden shift in tide.” With the relocation to Berlin and Fuzz Club signing, Lower marks an exciting new chapter in Medicine Boy’s story. From the beginning, this attempt to deconstruct our relationship with noise has been at the heart of the band but on this new effort, we see the band sounding better than ever, exploring that relationship even further and proving beyond any reasonable doubt why the band have been picking up such a buzz.

                                                                                                        As the band themselves put it: “Lower is a myriad of introspection and interpretation. There are wider themes, stranger worlds and deeper wells than before. It is some kind of attempt to draw comfort (however twisted) and companionship (however tainted) from chaos and confusion. It's our attempt to find beauty in the underworld.” 

                                                                                                        Crimen

                                                                                                        Silent Animals

                                                                                                          https://soundcloud.com/fuzz-club/sets/crimen-silent-animal/s-qMhVA As with all Fuzz Club titles this is for Indie stores only. Available on 180g coloured vinyl and gatefold cover. Ltd to 300 copies. Silent Animals may be the debut album from Italian trio Crimen, but it arrives over a decade into their career. Simone Greco (bass, voice, sound engineering) and Patrizio Strippoli (guitars, voice) formed the band in the Centocelle district of Rome in 2007, before recruiting Giuseppe Trezza (drums and electronics) six years later. After a string of successful EPs and two years hibernating to record the opus, the band feel now is the time to release a full length.

                                                                                                          A heady cocktail of krautrock, psychedelia, noise rock and post-punk, Silent Animals takes us on a whistle-stop tour of Europe’s musical history with a newfound stomp and malignancy. Conceived in their own DIY studio in Rome, the Flamingo Recording Studio, the band has self-produced and engineered their debut in a state of total creative independence. The group says of their long-awaited debut: "Silent Animals talks about emotive fragility and wasted loves. It sounds nocturnal and psychotic, though essentially it's a work about love and the exorcism of fear and anxiety". An exorcism it certainly is, full of gnostic grooves and cathartic releases. The most forthright example of this is the first single from the album, ‘Six Weeks'. It’s hard rocker cloaked in reverb, feedback and throbbing electronics - sounding downright satanic as Simone bellows “six-six-six” as the song constantly veers on the verge of sub-atomic explosion. 

                                                                                                          Available on 180g vinyl. You Said Strange come from the north-western region of Normandy in France, although if it was up to them they’d come from the States, somewhere between Texas and Cali. They’ve been growing their own Norman-spiced-up definition of psychedelia for a few years now, making their way on a historically busy road. Having just signed to Fuzz Club, You Said Strange are gearing up for the release of their debut full length, Salvation Prayer.

                                                                                                          The album was recorded in Portland, USA with Peter Holmström of The Dandy Warhols after both bands toured together back in 2015. Salvation Prayer is a condensation of heady riffs, haunting melodies and bright rhythms, half-way between 90s shoegaze and 60s psychedelia. The album touches on the theme of belief, the kind that affects even the most Cartesian spirit; may it be superficial, spiritual, superstitious, religious or moral. This very-human interpretation of reality is meant to help those who seek to free themselves, dream or flee, and that’s what the band is all about. 

                                                                                                          Routine Death

                                                                                                          Parallel Universes

                                                                                                            Separated by 7000 miles, Routine Death is the husband and wife duo of Lisa (Gothenburg) and Dustin Zozaya (Austin), the latter also playing in Fuzz Club favourites Holy Wave. The duo will be releasing their debut album, Parallel Universes in June, offering the perfect introduction to the dark, lo-fi pop world - channelling an ethereal darkwave sound with bewitching lo-fi vocals and the glitchy electronics of Broadcast, or even Stereolab. Born out of this distance is a certain kind of intimacy, the use of cheap equipment and a creative process that involves constantly sending tracks forwards and backwards over the internet results in a minimalist noise-pop sound that shuns the overbearing sonic-excess that most new shoegaze bands fall victim to, instead stripping things down to the absolute fundamentals. Lisa’s sublimely entrancing vocals float over repetitive midi drumbeats (made using an app on Dustin’s phone), glitched-out loops, droning organs and fuzzy lo-fi guitars. 

                                                                                                            RF Shannon

                                                                                                            Trickster Blues

                                                                                                              RF Shannon takes a drastic shift from the long form, pensive desert meditations of their previous record. “The process was a drastic shift from the one we took with ‘Jaguar Palace’ and I was hooked. It was a blast all of the time. We kept a quick pace due to external circumstances via random or otherwise inevitable interruptions, so we learned to take what we could get. If a take was good, it was a keeper, we didn’t second guess it. In just four days we had demoed the majority of my new material and it just felt so right.’’ explains Shane Renfro, the mind behind RF Shannon.

                                                                                                              The final product of the seize the moment approach behind the writing and recording process echoes the themes Trickster Blues attempts to dissect. “The lyrics are about acknowledging consequences and saying "so what", the reward is worth the risk, etc. It's about feeling a pull, a calling, and dedicating to it hell or high water, whatever that may be. Its the heart of it all.’’ Renfro continues. To be able to listen and say “That’s it, that's the song. It is what it is, and we like what it is” Sounds a little underwhelming in that sense, but that's what I wanted. I just wanted the songs to speak for themselves. Our old material is challenging and dense, and I love it. I love the spaces we have created. But I wanted to record songs that could just stand alone and be what they are.''

                                                                                                              Sherpa The Tiger

                                                                                                              Great Vowel Shift

                                                                                                                Sherpa The Tiger are a brand-new band hailing from Lviv, Ukraine. With an arsenal of cheap, decrepit Soviet synthesisers, the four-piece combine a love of minimalist ambient music and the kosmische grooves that came pumping out of Eastern Europe in the 60s/70s. There are two sides to Sherpa The Tiger, there are the danceable groove-ridden cuts that channel the funkier repetitions of CAN's Future Days LP, held together and propelled by a jagged drumbeat that Jaki Liebezeit would surely be proud of. And then there are the more stripped-back moments, which see cosmic, ambient deconstructions that could easily have found themselves on the score of some kind of 80s crime-thriller set against the neon-lit backdrop of Miami. 

                                                                                                                Medistation

                                                                                                                Medistation EP

                                                                                                                  Medistation is a brand new alt-rock/noise pop project from The Orange Revival’s Eric Strand. Rumbling out of Stockholm on a cloud of feedback and reverb, the debut recordings from the project - a self-titled five-track 12" EP. On the EP, Medistation sound like the best band that Creation never signed – channelling the sluggish razor-sharp guitars and commanding vocals of the Mary Chain with glimmers of ethereal noise-pop that falls somewhere between the gospel-psychedelia of Spiritualized and Primal Scream before Gillespie discovered acid-house and amphetamines at the turn of the nineties. Guest appearances by Jake Garcia ( The Black Angels / The Ripe) and Cobian Modeste (The Buttertones). 

                                                                                                                  Tales Of Murder And Dust

                                                                                                                  Fuzz Club Session

                                                                                                                    As with all Fuzz Cub albums these are Indies only. Available on 180gm vinyl. Back in 2016, London label Fuzz Club launched its Fuzz Club Sessions series, the aim being to bring some of the best in underground music to various London studios to lay down a live session recorded straight to 2” tape in one take and released on vinyl. A couple of years on and the sessions have dealt in raw, surfy garage (see Night Beaters, Heaters and Holy Wave), improvised psych-blues jams (see The Entrance Band), solemn post-punk (see The Underground Youth) and industrial post-punk/kraut (see 10 000 Russos and RMFTM). Now it’s the turn of Danish mavericks, and long-time label alumni, Tales Of Murder And Dust. Comprised of two cuts from 2016s The Flow In Between LP, one from their debut album Hallucination Of Beauty and a brand new track, on the session TOMAD offer a world of gloomy, cinematic post-rock – taking cues from everything from opiate blues and drone-rock through to goth and New York No Wave. Bleak, atmospheric and utterly bewitching, there’s not many bands who would be able to sound quite as mesmerisng and grandiose when captured live - making this one of the finest Fuzz Club Sessions to date and an absolute must for fans of the dark and experimental. 

                                                                                                                    Nest Egg

                                                                                                                    Nothingness Is Not A Curse

                                                                                                                      As with all Fuzz Cub albums these are Indies only. Available on 180gm vinyl. Nest Egg are a three-piece from North Carolina who describe their heady and motorik psych-rock wig-outs as ‘mood music for nihilists’. Formed back in 2011, the band have built up a formidable reputation in the US live circuit, playing with everyone who’s anyone - from garage juggernauts Thee Oh Sees to space-rock innovators Loop. Following a handful of tapes and singles, in 2015 the band released their debut album ‘Respectable’. Three years later and they’ve joined forces with London-label Fuzz Club Records for the release of their sophomore album ‘Nothingness Is Not A Curse’, a record that’s been in the works since the summer 2016. In a similar ballpark to the likes of Moon Duo or Follakzoid, the new record see’s Nest Egg free-fall, arms flailing, down an all-consuming rabbit-hole of cosmic repetition, tripped-out drones, swirling analogue synths and cacophonous guitars; the driving krautrock gusto never letting loose for a second. 

                                                                                                                      The Oscillation

                                                                                                                      U.E.F

                                                                                                                        The Oscillation is one of the many aliases of Demian Castellanos, an almost-mythical force in the London underground. Since 2006, under the guise of The Oscillation, Demian has released four LPs, countless EPs/singles and played with everyone from Silver Apples and Beak to Wooden Shjips and Deerhunter, all the while being emulated by the likes of The Guardian, Mojo, The Quietus, Vice, Q, Pitchfork and 6 Music. Following on from the disillusioned, cosmic psych-punk of 2016's 'Monographic' LP and the 2017 single ‘Evil In the Tree’, The Oscillation is gearing up for the release of his fifth album, U.E.F, on March 2nd via Fuzz Club Records.

                                                                                                                        The new album sees Demian completely subvert his sound once-again, adding a new evolution to his ever-evolving musical canon. Ditching any inkling of his ‘rock’ beginnings for a lysergic (but equally sinister) journey into post-apocalyptic electronics and sprawling drones – resulting in something that’s more likely to be bouncing around the walls of club nights than the back-room venue of grotty bars. U.E.F is comprised of two 20-minute slabs of unforgiving, dystopian electronica - complete with ambient electronics, droning analogue synths, monolithic percussion and a hypnotic kraut gusto. This is kosmische musik for the new age; a fitting soundtrack to the forthcoming techno-apocalypse, when artificial intelligence takes over and we're all subjected to the way of the machine. 

                                                                                                                        Dreamweapon

                                                                                                                        SOL

                                                                                                                          Portugal’s dreamweapon take their name from the 1990 Spacemen 3 live album ‘Dreamweapon: An Evening of Contemporary Sitar Music’, who themselves took inspiration from the work of minimalist drone - or ‘Dream Music’ - visionary La Monte Young and a 1965 multimedia piece titled ‘Rites of The Dreamweapon’ by original The Velvet Underground drummer Angus MacLise. Fast-forward to 2018 and dreamweapon, the band, are continuing to keep the torch burning. Made up of 10,000 Russos bassist Andre Couto, João Campos Costa and Edgar Moreira, dreamweapon emerged in 2009 and have since gone on to release one EP, their debut S/T album and a handful of singles, whilst taking their immersive and unremitting live show around Europe.

                                                                                                                          Made up of four improvised compositions recorded in one take at their Porto practice space, on February 16th dreamweapon will be releasing their sophomore LP ‘SOL’. On the album, whirrs of feedback and noise coalesce around droning, oscillating synths, samples and subtle cascading guitars, the only thing keeping the sparse soundscapes together being the incessant Krautrock rhythm with a seemingly endless motorik bassline that forces it’s way right to the back of your unconscious and the almost proto-punk minimalism of those programmed drum machines. 

                                                                                                                          Saccades

                                                                                                                          Saccades

                                                                                                                            "This is music that should be performed at the Roundhouse in Twin Peaks" - Post-Punk.com. Available on 180gm white vinyl. Nicholas Wood is a Berlin-based musician who’s best known for making up one-half of well-known synth/post-punk duoThe KVB. Following a break in The KVB’s busy touring schedule, Nick spent the last summer working on a solo album under the moniker ‘Saccades’ and Fuzz Club are delighted to have signed the project for its self-titled debut, officially released. These new tracks mark a distinct difference from Nick’s other musical endeavours, ditching the dark post-punk synths for a dive into wholesome and totally immersive psychedelic pop. 

                                                                                                                            RMFTM

                                                                                                                            Subversive III: Spelende De Mens

                                                                                                                              Following their recent collab LP with Gnod, under the Temple ov BBV pseudonym, Eindhoven art-punk collective RMFTM (fka Radar Men From The Moon) have announced the third and final instalment in their ‘Subversive’ album trilogy - 'Subversive III: De Spelende Mens', due for release December 1st on Fuzz Club Records. Influenced by the ground-breaking sonic industrialism of Throbbing Gristle, Cabaret Voltaire and Coil, as well the transcendent kinetic rhythms of Neu!, Faust and Amon Duul II, 'Subversive III: De Spelende Mens' see’s their industrial art-punk take on it’s most incessant, angular and free-flowing form in a frenzy of metallic drones, thunderous feedback stabs of synths and throbbing, repetitive krautrock rhythms that at times border on techno territory. With the Subversive series, RMFTM have sought to deconstruct and rebuild their creative process, pushing themselves to the limit with each and every release and ‘Spelende De Mens’, translated as ‘the playing man’, is the perfect way to conclude the series. 

                                                                                                                              RMFTM

                                                                                                                              Fuzz Club Session

                                                                                                                                RMFTM are a Dutch music collective who’s motorik, industrial art-punk blurs the line between Can or Amon Duul II and the harsh, metronomic sounds of Detroit techno visionaries Jeff Mills or Carl Craig. Having just released a colab LP with Salford noiseniks Gnod and now two parts into their ‘Subversive’ album trilogy on Fuzz Club, the London label is excited to reveal the band’s mind-blowing ‘Fuzz Club Session’ LP. Made up of four near-on ten-minute tracks, RMFTM’s live session see’s their angular, incendiary noise sound more raw and merciless than ever before. It’s a head-on collision of programmed frequency, looped samples, metallic clanging and stabs of feedback held together and propelled by pummeling, motorik basslines, pounding percussion and a formidable krautrock gusto that seems to transcend space and time

                                                                                                                                New Candys

                                                                                                                                Bleeding Magenta

                                                                                                                                  New Candys hails from Venice, Italy and formed back in 2008. After recently reissuing their highly-praised first two LPs ‘As Medicine’ and ‘Stars Reach The Abyss’, the four-piece are again teaming up with Fuzz Club for the release of their third album, ‘Bleeding Magentas’. Their latest effort is a seriously impressive collection of dark, swirling psych-rock – atmospheric yet overdriven, pacing but ethereal, brooding at times but always wallowing in a dazed pop sensibility, ‘Bleeding Magenta’ see’s New Candys’ songwriting at its best. After spending the last few years getting widespread praise across the board and sharing the stage with the likes of Slowdive, The Vaccines, Savages, Dead Skeletons anymore, it’s clear this new album is set to propel the band to dizzying new heights. 

                                                                                                                                  Nonn

                                                                                                                                  Nonn

                                                                                                                                    Available on 180gm black vinyl. Sweden’s long been seen as a leading output in European pop music but if you look a little deeper then you'll find it’s equally rooted in the dark and obscure. It’s the latest offering comes in the shape of NONN - a brand new post-punk/coldwave project who’s debut S/T album will be released on Fuzz Club. Born out of a cold, desolate winter in a corner of Stockholm, NONN’s icy surroundings inevitably became a huge influence on these recordings - blurring the line between sharp, glacial post-punk and the industrial electronic sounds of the 80s. The tracks are influenced as much by Kraftwerk, Movement-era New Order and Suicide as they are akin to modern outfits such as label-mates The Underground Youth and Throw Down Bones. 

                                                                                                                                    Heaters

                                                                                                                                    Fuzz Club Session

                                                                                                                                      Available on 180gm black vinyl. During a riotous UK tour early last year, Grand Rapids four-piece Heaters spent a day off in a South London studio to lay down a live album – the result is the bands incredible and totally debauched addition the ‘Fuzz Club Session’ series. The LP serves up a total of 5 tracks and each - partnered with the raw, analog recording - is a no-holds-barred slab of hedonistic, tripped-out psych that charges through with a frantic garage-rock gusto and a surfy, reverb-coated swoon. 

                                                                                                                                      10,000 Russos

                                                                                                                                      Distress Distress

                                                                                                                                      10,000 Russos are a formidable force; their industrial psych/post-punk has been charming fuzz-heads across the globe with its stomping, shamanic mantras and otherworldly krautrock slant. Their second LP ‘Distress Distress’ will be released April 7th via Fuzz Club Records. 10,000 Russos have once again transcended the boundaries of psychedelia as we know it today; their dark, droning noise is twisted, distorted and pushed to its limit. ‘Distress Distress’ is so ritualistic and industrial it see’s their usual post-punk sound – a primal and celestial mix of The Fall, NEU! and Spacemen 3 – pushed within an inch of techno territory with its abrasive, metronomic rhythms. 

                                                                                                                                      Orange Revival

                                                                                                                                      Black Smoke Rising

                                                                                                                                        Black Smoke Rising is the debut album from Swedish psych wanderers The Orange Revival. Originally self-released by the band back in 2011, Fuzz Club Records are reissuing the LP for the first time since it immediately sold out first time around. With its hypnotic 60s guitars, droning vintage organs and swaggering vocals it’s a tripped out, desert-rock ode to the Stones, Brian Jonestown Massacre and Spacemen 3. Since its release in 2011 the band have toured extensively, playing a run of dates with Spectrum and wooing crowds at Austin Psych Fest along the way, and have ceaselessly confirmed themselves as one of Europe’s leading psychedelic outputs – Fuzz Club are delighted to be bringing their majestic debut to light once more. 

                                                                                                                                        Iceland’s Singapore Sling formed in 2000 and are highly lauded as one of the innovators of experimental psychedelia and rock and roll as we currently know it. Their ninth full-length ‘Kill Kill Kill (Songs About Nothing)’ is set for release February 24th via Fuzz Club Records. The LP is a haunting and claustrophobic affair, drifting from the sleazy rock’n’roll splendour of previous releases for a more discordant and experimental pastiche. Unremitting, scuzzy bass-lines roil deep into your conscious, snarling beneath the echoing, atonal vocals of Henrik and the chugging, vapour-trail guitars - this is Singapore Sling at their most sinister, immersive and unforgiving. 

                                                                                                                                        Oscillation / 10,000 Russos

                                                                                                                                        Fuzz Club 10" Split Single No. 9

                                                                                                                                          The latest bands to join the Fuzz Club Split Single alumni are London-based The Oscillation and the Portuguese 10,000 Russos. Both bands have been Fuzz Club favourites for a long time so the label is extremely excited to share this behemoth of a split single, offering 14 minutes of brooding, fuzzed-out psychedelia. One side belongs to The Oscillation and their industrial and menacing cut ‘Almost See’. The track is propelled by an unremitting gothic bass-line that roils through a sinister wash of celestial noise, stabs of fuzzed-out guitars, inaudible murmurs and discordant synths - making for a truly immersive, yet eerily foreboding, piece of psychedelia. The Oscillation formed in 2006 out of the ashes of the critically acclaimed The Orichalc Phase and have an extremely fruitful back-catalogue behind them, boasting 15 different releases. 10,000 Russos’ ‘Ashkenasi’ is near-on seven minutes of droning, mystical psych. Both atmospheric and primal, and propelled with a stomping mantra, the Portuguese trio conjure up dark motorik rhythms with their use of incessant, minimalistic percussion, screeching electronic dissonance, white noise and otherworldly guitars submerged in fuzz. Take this and add the enchanting, ritualistic vocals of João Pimenta and it’s not hard to see why 10,000 Russos have been making their mark in European psych since the release of their self-titled on Fuzz Club in 2015. 

                                                                                                                                          It was after being lead on a pilgrimage through “Wirikuta”, the sacred desert of the Wixarika, native to the land the land of north-west Mexico that Dublin-born Berlin resident Nunutzi was inspired to form Tau. A shifting and fluid collaborative project with Nunutzi at the helm along with partner-in-sound, Venezuelan-born Gerald Pasqualin, the result is Tau’s debut album. The recordings began in Berlin, by happenstance on the day Bowie died, the album was completed in a nine-day live session. Featuring collaborations with Knox Chandler of Siouxsie and the Banshees, Earl Harvin of Tindersticks, Nina Hynes and Miss Kenichi, TAU TAU TAU includes numerous additional vocalists and musicians, all of whom make their own unique contribution to the celebratory psychedelic folk of Tau

                                                                                                                                          Everything Is a Lie follows on from their debut and yet again reaffirms the band as one of the most exciting and refreshing outfits in the wave of current shoegaze bands. It’s the mesmerising concoction of shoegaze, neo-psych and post-punk, delivered with a lethargic but hopeful restraint that is pinning the band at the top of the UKs fruitful ‘psych-gaze’ scene and Everything Is a Lie is certain to keep them sitting there comfortable for a while. ‘Everything Is a Lie’ could be plucked straight out of 1989, deeply indebted to Spacemen 3, Loop and My Bloody Valentine, it feels languorous and apathetic at times but frontman Thomas’s fragile yet hopeful croons drive it with an insatiable vigour from start to finish. Washed-out fuzz-encrusted guitars are underpinned by whirling bass-lines that Peter Hook would be proud of, if not envious. Hazy synths crash over you whilst thundering percussion locks the album into a deep psychedelic groove, hitting you square in the face like an immersive wall of noise. The band described this LP as a statement, condemning the current state of the world and addressing the bleak hidden agendas of life, both in a political and personal sense. When asked to describe Everything Is a Lie the band pinned it as “the only honest thing you’ll hear in a world full of lies and hate. Imagine The Jesus and Mary Chain sharing a Lou Reed cake with The Brian Jonestown Massacre whilst Spacemen 3 stand and watch

                                                                                                                                          TCODK - a four-piece from the Midlands - make the kind of experimental goth- tinged psych that, has thus far, eluded 2016. Fans of Swans and The Icarus Line will find plenty to entertain them here – this is a band unafraid to take risks. The thing that first impresses on hearing TCODK is the sheer scale of their intentions. Speaking of first single ‘Broken Arm Of God,’ the band said “we wanted it to sound like a volcano giving birth to an atomic bomb. It has bass and baritone guitar that killed 3 guitar amps in one afternoon, then a studio preamp. It's probably costing us a fortune in damages and repairs. The result was exactly what we wanted though” This band can make a lot of noise. To focus on that however would be to negate what makes this band truly beguiling: nuance. Take ‘Deepest Pit Of Emptiness’ for example – its prog leanings combined with a decidedly English vocal delivery are as distinctive and profound as anything released this year. TCODK have pushed themselves sonically on this album, it’s by far their most experimental release to date. It’s also an album rooted in darkness. “The new album deals with the theme of uncertainty, and put more simply – the end.” That theme resonates throughout the entire album. Fans of Black Rebel Motorcycle Club will be enamoured, but play to it a Sisters Of Mercy fan and watch their reaction: there is a new contender for the throne. 

                                                                                                                                          STAFF COMMENTS

                                                                                                                                          Barry says: Full-force Fuzzed out basses and driving rhythm section. Sludgy drums and psych-rock guitar squeals. Anthemic and understated choruses with Curtis-esque poised vocals driving the melody. Elsewhere, heavy panned synth sweeps and resonant filters lighten the atmospheric tension and dense fog of sound, but (thankfully) do little to lessen the emotional impact. A stunning work of depth and variety.

                                                                                                                                          FORMAT INFORMATION

                                                                                                                                          Coloured LP Info: 12" coloured vinyl.

                                                                                                                                          RMFTM (Radar Men from The Moon) is a Dutch art collective who approach music as avant-garde exploration. The second LP in the Subversive trilogy is upon us. Throughout the series the group is looking to explore, deconstruct and subvert their creative process and themselves as a band. In doing so the immense head-on collision between psych and acid house stretches the definitions of noise, space and time.

                                                                                                                                          STAFF COMMENTS

                                                                                                                                          Barry says: Ambient washes of spacey pads mix head-on with repeated psychedelic guitar refrains, galloping kicks and thumping snares. Snappy synth sequences whirl and whistle over a rhythmic barrage forming a foggy haze of instrumental bliss. Subversive II is a confident and collected drone-rock record with groove and attitude, a brilliant glimpse of what these radar men get up to on the moon, or in Holland. Most likely the latter.

                                                                                                                                          FORMAT INFORMATION

                                                                                                                                          Coloured LP includes MP3 Download Code.

                                                                                                                                          Shortly after getting together in 2012, the Italian band released their first self-titled 10" EP and almost immediately sold-out, followed by their mind-blowing London live debut at The Shacklewell Arms. Since then, they have taken part in the Reverb Conspiracy compilation (curated by Fuzz Club and Austin Psych Fest) twice and toured intensively around Europe. They have been remixed by Sonic Boom aka Peter Kember, shared stage with Damo Suzuki and collaborated with iconic Icelandic artist Jón Sæmundur aka Nonni Dead of Dead Skeletons, who did the cover art for the EP and joined them on stage at Eindhoven Psych Lab 2014. The repress is remastered and comes on 12" vinyl. “like you're embarking on an epic descent into some collective psychic and spiritual underworld, from which you may never emerge" The Quietus.

                                                                                                                                          STAFF COMMENTS

                                                                                                                                          Barry says: Droning psychedelic bliss. Full-force distorted guitars and cavernous drums fuse together to form a weighty cacophonic meltdown. The addition of shakers and brass sections on the flipside give way to hellish distorted vocals, almost Iggy-Pop-esque in their enunciation. Chaotic and heavy, but with an unmistakable groove. A head-nodder for sure.

                                                                                                                                          FORMAT INFORMATION

                                                                                                                                          Coloured LP Info: Coloured vinyl.

                                                                                                                                          The Third Sound's new album Gospels of Degeneration shows a shift in style for the group, having toned down the shimmery psychedelia in favour of something a little cleaner. That’s not to say this is a barren sounding album at all, it’s still hypnotically layered with country-kissed reverb, and retains those itching guitar riffs that will keep whispering through your mind for hours after listening.

                                                                                                                                          Founded by Icelandic frontman, Hakon Aðalsteinsson - an ex-member of Singapore Sling who are often hailed as founding members of the new psych sound - The Third Sound came into being in Rome in 2010 and have since relocated to Berlin. Since forming, The Third Sound have enjoyed the support of Anton Newcombe, who released their self-titled first album, on his label A Recordings, and chose the group to support his band The Brian Jonestown Massacre on tour in Europe. He also provided the studio for recording their second album The Third Sound of Destruction and Creation which was released on Fuzz Club in 2013. Most recently they’ve shared members with Anton Newcombe and Tess Parks’ band, which led to Parks’ appearance on the single “You Are Not Here” from this new album. What began as somewhat of a solo project by Aðalsteinsson, the new album sees The Third Sound stretching its definition with deeper levels of collaboration between band members and the influence of a new character in its story, the city of Berlin.

                                                                                                                                          The group’s sound has been described as “ebbing between light and dark, dream and reality, pop and experimentalism” and “ranging from hypnotic soundscapes to tweaked out and fuzzed up numbers.” In a recent premiere on Clash Music they were described as "lynchpins of the psychedelic underground."

                                                                                                                                          White Hills / Radar Men Of The Moon

                                                                                                                                          Split Single No 8

                                                                                                                                            White Hills and RMFTM are the latest additions to Fuzz Club Split Single alumni, one which already boasts rock n roll leviathans The Black Angels, A Place to Bury Stranger, Alan Vega and The Telescopes.

                                                                                                                                            Psych-rock favourites RMFTM contribution to the series the colossal soundscape ‘Decadence’. The Dutch instrumentalists have released three sold-out albums since their inception and ‘Decadence’ is typical of their explorative style. Coming in at just under ten minutes long the track opens on harsh industrial noise pounding through a constant wash of eerie reverb, guitar riffs chime in as tooth-rattling percussion submerges you further into this huge, ethereal wall of noise. ‘Decadence’ is truly testament to the bands limitless avant-garde capabilities. The track continues in the hypnotic, abstract sound RMFTM have built with their previous record Subversive 1 (whose follow up Subversive 2 is currently in the works) and invites fans to follow them deeper down the musical rabbit-hole.

                                                                                                                                            Joining RMFTM is one of New York’s most prolific bands, stoner / psych / space outfit White Hills. The duo - whose fruitful existence has spanned over a decade and seen forty releases - contribute their space-rock epic ‘You Pass By’. Having already built a dedicated cult following, the band recently gained further notoriety after an appearance in the Jim Jarmusch film Only Lovers Left Alive. ‘As You Pass By’ is a climactic otherworldly mix of swirling electronics building up as deep bass roils beneath singer Dave W’s gravelly vocals until the song erupts into a whirlwind of bluesy distorted guitars and screeching feedback, underpinned by a chilling spoken word sample. Both acts share a love of the surreal and approach music as experimental art. Their avant-garde soundscapes are the perfect foil for one another, proving that in the case of Fuzz Club Split Singles, the whole is truly more than the sum of its parts. 

                                                                                                                                            FORMAT INFORMATION

                                                                                                                                            Ltd 10" Info: 10" coloured vinyl (white), limited to 700.

                                                                                                                                            One Unique Signal

                                                                                                                                            Hoopsnake

                                                                                                                                              The latest offering from experimental noise masters One Unique Signal is a collaboration between the three core band members and 20 of their contemporaries, who each designed a piece of music inspired by a single riff. Much like the process of continuous recreation that its namesake symbolises, the West London groups third LP, Hoopsnake, devours the seemingly eternal riff and constantly reinvents it to form a series of parallel iterations to the original composition. The riff was born from a repetitious loop originating from the sessions for their previous LP, the Sonic Boom mastered Aether. The band then recorded two versions of it (one a loud, guitar-driven take, the second a softer synth passage) and shared it with friends and collaborators, inviting each artist to create a corresponding sonic interpretation, which have all been mixed into four separate 10 minute long tracks.

                                                                                                                                              The result is a seamless meshing of ideas from some of the best minds in the underground music scene - including The Oscillations Demian Castellanos and Steven Lawrie of The Telescopes - whose recordings span the weird and wonderful, ranging from home made noise box to Godin Artisan ST II recorded on solar power in a caravan, to simply lime green guitar. The roster of musicians and their various tools and instruments has been documented on the vinyl editions printed inner sleeve, and reads like a cross between a tech catalogue and a fantasy novel. The album was originally intended to serve as a second disc for Aether, however an extended, separate version was eventually called for to allow the project to fully realize it's 46 minute cycle, which was inspired by the long, warm summer evenings England experienced in 2013. Despite the new process undertaken for Hoopsnake, the methodically exploritive approach is typical to One Unique Signal, as is the feeling of continuity. The groups Nick Keech explains. From the very beginning, the Signal mythos has been repetition. Fellow band member Byron Jackson continues. The LP destroys itself, reflects upon the destruction, and is finally recreated, ready to repeat the process again. Along with fellow member Daniel Davis, the trio also perform as a part of space rock legends The Telescopes. 

                                                                                                                                              Repress of Dead Rabbits’ stunning debut album ‘The Ticket That Exploded’, originally released in 2013. Through phaser-heavy production, storming drums and warped keys, ‘The Ticket That Exploded’ captures the bleak reality of growing up in modern Britain. It’s a record that captures a time and a place, portraying brute honesty and melancholy through a talent for songwriting that many artists chase.

                                                                                                                                              Fuzzed-up chords ring out seemingly at their own leisure and organs drone on beneath them as frontman Tom Hayes’ frustration and despair pierces through. The album’s centrepiece, ‘It’s All in Her Head’, has never lost its place in the band’s live set, and with good reason. It stretches its way across uncontained six minutes with a hypnotically repetitious organ melody crafted by keyboardist Paul Seymour, and Link Wray-influenced raw guitars, which create a surreal backdrop to Hayes’ despairing vocals. 

                                                                                                                                              FORMAT INFORMATION

                                                                                                                                              Ltd LP Info: LP is Limited to 500 copies.

                                                                                                                                              Fuzz has abandonment issues. Abandoning expectation. Abandoning reservation, consummation, resignation and trite dictation. Instinct is all there is when it comes to the divination of harsh salvation. Segall, Moothart and Ubovich are exploring all the blank-ations of what will be, or has always been, 'Fuzz II'.

                                                                                                                                              Tried and true methods mixed with tongue-twisting, teeth-shattering, seizure-inducing stabs at the norm. Who knows… maybe that’s wrong. Maybe it’s all done. Played out. Maybe it’s not for want of new but for lack of old. But probably not. Bathe in the heat wave that is Fuzz, and regret nothing in the time freeze. Necessity is the mother of creation; and devolution stakes its claim in the past as it continues to bind itself to the future. San Francisco, Los Angeles, heaven, hell, lunar fields, subterranean hallucinations, traffic jams, sleepless days, hazy nights, recollection or blind reflection. It is all there and so should be you. 2015 and 2016 will bring a new surge of slime, fuzz and otherwise bittersweet concoctions of earthly lettering. It will be heavy, chaotically controlled, softly serpentine and blindingly barbaric. To translate the auditory from ethereal to saliva- soaked semantics is to shatter a promise as it’s made. In the meantime, Ty, Charles and Chad walk on. It is what it is. Just like everything else. And if you don’t know, now you know. This message brought to you by In The Red Educational Services… as it was before and is it will be again.

                                                                                                                                              Various Artists

                                                                                                                                              Sonic Attack At Liverpool Psych Fest - Stay Holy

                                                                                                                                                To celebrate Cardinal Fuzz hosting the Cardinal Fuzz Sonic Attack stage at this year’s Liverpool International Festival of Psychedelia, the good Cardinal is releasing STAY HOLY to showcase some of the finest acts to have graced the LPF stage.

                                                                                                                                                On this opus, we have the titanic Black Bombaim’s Alexandria, the mighty White Manna’s Slow Dust, the incredible Carlton Melton’s Bloody Mary Jane, the incandescent Dead Sea Apes’ Coronal and tumultuous Kandodo3’s (captured by The Cardinal himself in vintage lofi Kornyfone fidelity) Laud The Hyena. 

                                                                                                                                                FORMAT INFORMATION

                                                                                                                                                Ltd LP Info: Housed in a screen-printed gold on black sleeve with a reassuringly familiar design and pressed on a matching gold and black swirl vinyl.

                                                                                                                                                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”. 

                                                                                                                                                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!

                                                                                                                                                King Gizzard & The Lizard Wizard

                                                                                                                                                I'm In Your Mind Fuzz

                                                                                                                                                Australia’s King Gizzard & The Lizard Wizard announce details of new album ‘I’m In Your Mind Fuzz’ on Heavenly Recordings.

                                                                                                                                                This Australian beast of a band, with a bear of a name and a thick herd of band members, deliver many things on ‘I’m In Your Mind Fuzz’, namely a skeleton of propulsive Krautbeat fleshed out with a liberal dose of citric sweetness, flutes and harmonicas, a ton of wah, many lovely left turns of delicate psych and a dash of DMT dread.

                                                                                                                                                Singapore Sling

                                                                                                                                                The Tower Of Foronicity

                                                                                                                                                  'Sometimes you need to burrow through the darkness of your soul to find the light in your life. This album is definitely dark at times, but through it all, it comes with a sense of release and freedom' - Levitation Magazine.

                                                                                                                                                  The return of Icelandic Singapore Sling is upon us with their seventh studio album, recorded in the winter of 2011-2012 titled ‘The Towers of Foronocity’ and you will be anticipating this one for good reason. Twelve tracks of that dark, moody and broody sound that we all have come to know so well. It’s like a surrealistic dream sequence out of a David Lynch movie. Walls and walls of sound, layered between darkness and light. The album contains some of the bands best songs to date, including the opening track “You Drive Me Insane” with it’s thump coming at you, it’ll have you tasting the blood (of Singapore Sling) immediately. The band was born in 2000 as a result of nobody making the music that Singapore Slings Henrik Bjornsson wanted to hear. So he simply decided to make it himself, instead of complaining and doing nothing. It was born out of love and hate. Love of the various music from the past, mainly rock 'n' roll, and hatred of the majority of the music around him. He named the band Singapore Sling (after the film by Nikolai Nikolaidis) shortly before the first show in he fall of 2000. The first proper record, The Course of Singapore Sling, was released in 2002 and named "The Course Of" because of bad luck and freaky incidents that surrounded the recording of the record. The course went on and so did they.

                                                                                                                                                  You're Smiling Now But We'll All Turn Into Demons

                                                                                                                                                  Contact High

                                                                                                                                                    Cardinal Fuzz are proud to present You're Smiling Now But We'll All Turn Into Demons - Contact High Double LP.

                                                                                                                                                    "For so long we at Cardinal Fuzz have wanted to bring you this release on good old vinyl (2 of them were needed). Originally released via Function Records in 2009 on CD we at Cardinal Fuzz waited and waited for this to come out on vinyl. Eventually we had to start a record label with the sole intention of doing justice to this gloriously fuzzy heavy psych/garage monster.

                                                                                                                                                    Over 4 sides of vinyl The Demons bring forth big grooves and dreamy vocals with wah wah, tremolo and fuzz all over the place -sounding something like Blue Cheer, Black Sabbath and Mudhoney stuck in a revolving door. Sides C and D are given over to one track on each side both of which are psychedelic dirges that channel Hawkwind at their most strung out collapsing into a blizzard of wah wah and fuzz choas. In 2009 nobody really cared - we hope five years later you do. 350 Pressing Double LP The name comes from a late night TV programme about Japanese women wrestlers".

                                                                                                                                                    BEHOLD - when we introduced this live series we spoke of lightning in a jar - this here's a thunderstorm. Ty Segall's new stoner thrashers FUZZ not only totally murdered this set at San Francisco leather-daddy hangout The SF Eagle, but it was Ty's birthday and he blew out his birthday cake candles mid song, didn't miss a beat, and that moment is forever etched into this record (we took a photo too). The place was insanely packed and they sound like the agile wolf-men they are up close and personal - Ty, mic wailing through a guitar amp and dominating drums like it's the easiest thing in the world, Charlie - guitar set to Hendrix-meets-Hawkwind melter-mode, and Roland keeping his bass firmly lodged in the groove - the jams are thick and wooly, we got some great photos of the night - man, this was one to remember and we're super excited we captured such a freakishly good performance. As always, captured hot to tape and mixed and massaged by our crack team of speaker-freakers (Chris Woodhouse, Eric Bauer, Bob Marshall, and John Dwyer) and shot to nicely grainy (real) film by Brian Pritchard.

                                                                                                                                                    Fuzz is Ty Segall (drums / vocals), Charlie Moothart (guitar) and Roland Cosio (bass). They’re heavy rock lifers—three California-bred dudes who have been refining their riffs and getting weird together since high school (which wasn’t that long ago, actually).

                                                                                                                                                    If you are not already aware of Segall, well, what’s up? He’s one of garage rock’s most prolific sons. He said he was going to take it easy this year, but by the time you finish reading this, the onesheet for his next record will have already arrived in your inbox. Moothart plays guitar in The Ty Segall Band and was also a member of The Moonhearts, which included Cosio on guitar. Way back in the early ’00s, all three played in the Epsilons.

                                                                                                                                                    Fuzz was formed a couple years ago as a collaboration between Segall and Moothart, but only recently did the pair have sufficient time to guide the band out of side-project limbo and into a recording studio. Since then, they have released two singles, “This Time I Got a Reason” (Trouble In Mind) and “Sleigh Ride” (In The Red). Around the time of the latter, Cosio joined on bass.

                                                                                                                                                    They are not dabblers or dilettantes. Fuzz flipped through used bins, hard drives and record collections of the world, seeking out the finest weirdo cuts. The band’s self-titled debut LP, which was recorded by Chris Woodhouse (Thee Oh Sees, The Intelligence), dives deep, drawing inspiration from the more esoteric reaches of heavy metal pre-history. There are Sabbath and Hendrix nods, obviously, but on “Sleigh Bells” you might also catch a whiff of UK progressive blues business like The Groundhogs, particularly when the song quits its 10/4-time intro and reboots into full-bore choogle. Maybe you’ll even glimpse the ghost of Australian guitar legend / sharpie guru Lobby Lloyde sniffing around “Raise.”

                                                                                                                                                    The mood is not light. The songs project a state of perpetual paranoia and eroding mental health. And as it should be, you know? It’s a record for the burners.



                                                                                                                                                    Fuzz Appearance

                                                                                                                                                    Stickleback

                                                                                                                                                    Fuzz Appearance are a young Brighton/Worthing based band who've been together for just under a year. They are heavily influenced by old indie bands such as The Smiths and The Cure, plus new bands such as Larrikin Love and fellow Brighton locals The Maccabees. This, their debut release is a limited run of 300 copies on Brighton's hip hop beats label Summerisle Township. They are the label's token indie band. As they are all under 18, 20 out of their last 24 gigs have been cancelled due to them being underage and not allowed to play. Despite hampering their progress somewhat, the band have picked up many local plaudits from local promoters due their short raucous live sets.

                                                                                                                                                    Sharkey

                                                                                                                                                    Fuzz Feat. Cannibal Ox / Snobird Feat. The Pharcyde

                                                                                                                                                    New school hip hop producer / DJ / musician Sharkey delivers the music behind Cannibal Ox and the Pharcyde's lyrical accomplishments. The fierceness of Cannibal Ox's track is matched by the bizzare chilled out latin that soundtracks the mighty 'Cyde, as played by GP!

                                                                                                                                                    Junior Blanks

                                                                                                                                                    Tramps, Fuzz And Publishers

                                                                                                                                                    Having given up the quest to find the link between hip-hop, soft drinks & football (yes, Junior Blanks is ex- "Eat My Goal" Collapsed Lung) Junior Blanks holed up in North London to record the first of four limited 7" only releases. "Tramps, Fuzz and Publishers" is a punk-funk fable of crack and knitting. The flip, "Cheated" is a country-hip-hop-folk song of bitterness.

                                                                                                                                                    Various Artists

                                                                                                                                                    Fuzz, Flakes & Shakes 4: Experiment In Colour

                                                                                                                                                    The latest helping of American garage rarities from the 1960's, a wide ranging selection of tracks from tough R&B stompers to melodic janglers oozing maudlin self-pity. Overdose on the bathos with groups like Her Majesty's Coachmen, the Rock Shop and the Soultans as well as the equally well known Sonny Villagas and the Trojans of Evol. Nuff said... £13.99 The latest helping of American garage rarities from the 1960's, a wide ranging selection of tracks from tough R&B stompers to melodic janglers oozing maudlin self-pity. Overdose on the bathos with groups like Her Majesty's Concern, the Topsy Turbys and the Soultans as well as the equally well known Sonny Villagas and the Trojans of Evol. Nuff said...

                                                                                                                                                    Various Artists

                                                                                                                                                    Fuzz, Flaykes & Shakes 5: Keep Right On Living

                                                                                                                                                    The series continues with big name acts like The Bram Rigg Set, The Burlington Express, The Topsy Turbsys and the Seven Dwarfs. The same mix of acid and acerbity--about as underground as it gets.


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