Departing from the hypnotic, loop-based space-rock jams of their earlier work, the self-titled album from Portuguese/German duo Splitterzelle finds Pedro Pestana (10 000 Russos, Tren Go! Sound System) and Sidney Jaffe (Arcane Allies, Burnpilot, Parse, Ornamental) taking a much more produced approach driven primarily by drum machine and synths. Pounding sub-bass and dark electronic textures are at the forefront here, finding a middle ground between club-ready industrial techno heaviness and droning psychedelic noise. Following their solo projects' collaboration on 2021’s Tren Go! Sound System & Ornamental 'Assessment' LP and a few Portuguese and German tours, Sidney and Pedro soon came to realise a new band was bubbling away and officialised their partnership in 2023 with the emergence of Splitterzelle. Starting out as a guitar and drums duo, their time together and also perhaps the geographical circumstances of living in different countries allowed them the freedom to explore radically different creative approaches between 2024's live session album 'The Drumhard Sessions Vol. 1' and the full-throttle electronics of the the incoming 'Splitterzelle' LP:

"Out of several recording sessions came the collaborative Drumhard Sessions Vol. 1 and this self-titled LP. However, both of these couldn't be more further apart in approach. Where DHSV1 was performed and recorded live in the studio with no overdubs, the S/T LP is the exact opposite with overproduced layers of sound, sub bass and ear candy all the time. The modus operandi was pretty much to record and jam whenever a possibility arose when we were together on tour and then work on the material in our separate home studios once we returned."

TRACK LISTING

1. Golem
2. Disciple
3. Periphery
4. Resilience
5. Shield
6. Splitterzelle

Fuzz, the California based trio of Ty Segall (vocals, drums), Charles Moothart (vocals, guitar), and Chad Ubovich (vocals, bass), present their latest release Fuzz’s Fourth Dream on In The Red Records. This is the band’s first release in four years and is a collection of singles, unreleased demos, and rarities.

“I lived in a four-bedroom house in San Francisco that housed anywhere from six to ten people at a time,” Moothart explains. “Friends were always crashing when they were between spots, on tour, or just couldn’t make it home. It was a chaotic space, but a space that was cherished by many. Chad frequently crashed on our couch when on tour—surrounded by ashtrays full of cigarettes and joint roaches; beer cans and spray paint cans.

“I remember jamming on guitar and drums with Ty at like 2 AM in the garage (still feel bad for putting the neighbors through that.) One day, under Ty’s guidance, I dragged a 388 in to the garage. I decided I wanted to write a Sabbath-style riff just to see what happens. I laid down some drums, then came up with what would become “Fuzz’s Fourth Dream.”.I showed Ty the ‘demo’ which was more of a sloppy idea. He basically said ‘Let’s make this band”... and Fuzz was off. “This collection really does give a proper road map to what this band is and was, as well as how the two connect,” Moothart explains. “Fuzz means a lot to me, and I have learned so much through these processes. Thank you to any one who has been listening to these songs since the beginning, and thank you to any one who is here for the first time.”

TRACK LISTING

1. This Time I’ve Got A Reason
2. Fuzz’s Fourth Dream
3. Sleigh Ride
4. You Won’t See Me
5. Rich Man, Poor Man
6. What’s In My Head (demo)
7. Sunderberry Dream
8. 21st Century Schizoid Man
10. ’Til The End Of The Day
11. I Just Want Your Everything
12. Spit (demo)
13. Red Flag (demo)
14. Rat Race (demo)
15. Loose Sutures (demo)
16. Pipe (demo)
17. Time Collapse (demo)
18. The 7th Terror (demo)
19. Jack The Maggot (demo)
20. The Preacher (demo)
21. Let It Live (demo)
22. Bringer Of Light (demo)
23. Say Hello (demo)

Born from the raw, deafening sounds of basement jams and scrappy house shows, Leeds four-piece Fuzz Lightyear are consistently trying to be the loudest and fastest bands around them. Channelling the DIY ethos that birthed them, their focus remains on sustained experimentation, community, and uninhibited rock and roll. Releasing dual singles 'My Body' // 'Visual Effect' with Nice Swan Records, Fuzz Lightyear saw recognition from key tastemakers noting their intensity and live presence

Through relentless live shows, the band have built together a chaotic and impressive blend of shoegaze, industrial noise-rock, and fast-paced punk, somewhere between the sounds of Sonic Youth and Show Me The Body. Having been invited to tour and perform with acts like English Teacher, Adult DVD, Lambrini Girls, and more icons of punk new and old, they’ve earned themselves a cult following across the country.

TRACK LISTING

1. White And Green
2. Sit Awake
3. Aberfan
4. ///
5. Berlin, 1885
6. Christ Alive

'Un’altra Forma' is the third album from French krautrock project Ashinoa. Whilst still driven by the synthesised motorik beats and rhythms and experimental electronica of 2022's 'L'Orée', on its follow up Ashinoa move into new, dreamlike territory – assuming 'another form', as the title translates. Here, Matteo Fabbri, Stefan Chamolt and Mathias Chirpaz enlist a cast of players between Lyon, Venice and Beaujeu and expands the Ashinoa palette with clarinet, saxophone, flute and piano, weaving in hazy shades of psychedelic jazz and echoes of 1960s Brazilian music and lo-fi breakbeats. The result is a record that balances heavier head-down electronics and moments of breezy, downtempo bliss “Un’altra forma refers to that which differs from the known", Fabbri says, "and is a tribute to the reassuring confusion one can feel when discovering that something one thought was defined or finished can take on another form. The distortion of the senses, whether intentional or not, is the common thread running through the album, and variations on this concept can be found in several tracks, such as ‘Nudity and Salt Water’, ‘Keplerstrasse’ and ‘Room of Whispers’. The musical research that followed aimed to orchestrate this idea of alternating between the known (ordinary) and the new (extra-ordinary) in the best possible way." Although 'Un'altra Forma' finds Fabbri helming the songwriting solo following the departure of Jeremy Labarre, with whom he started the band in 2015, it's also Ashinoa's most collaborative record to date. Much of the album was written in Beaujeu, at a friend’s house among the Beaujolais vineyards. There he is joined by the rest of the band, Mathias Chirpaz and Lucien Chatin on drums and Stefan Chamolt on guitar. In two intense weeks, the band records 10 tracks: “We worked day and night to find the textures that best suited the project,” he recalls. The second phase continued in Venice and Lyon, where further layers were added by friends and collaborators. Andrea Vecchiato’s flute, Alberto Collodel’s clarinet, and Teresa Lo Greco’s vocals were recorded in Venice, adding an airy and cinematic dimension.

TRACK LISTING

1. Nudity And Salt Water
2. Un'altra Forma
3. Keplerstraße
4. Monstera
5. Feliz
6. Moon Of Feathers
7. Faart Intro
8. Faart
9. Fish In The Pool
10. Room Of Whispers

Eco-repress of King Gizzard's beast of an album 'I'm In Your Mind Fuzz'. Four clicks and we're off, galloping through realms on a phase-shifted, hydra-headed, many-armed and muscular monster. This Australian beast of a band with a bear of a name and a thick herd of members delivers many things on this warped song-cycle: a skeleton of propulsive kraut-beat fleshed out with a liberal dose of citric sweetness; flutes and harmonicas bleeding through the mix often and welcomingly; an early-'80s heavy metal / fantasy vibe; and many lovely left turns into psychedelic mellowing, both groovily and sometimes with just a dash of DMT dread. The whole thing is just gooey with tape manipulations, saturations and wah pedal, yet many tasty tidbits bubble to the top. The resulting noise is like Foxygen on a week-long mushroom bender with Pond.

TRACK LISTING

1. I’m In Your Mind
2. I’m Not In Your Mind
3. Cellophane
4. I’m In Your Mind Fuzz
5. Empty
6. Hot Water
7. Am I In Heaven
8. Slow Jam 1
9. Satan Speeds Up
10. Her And I (Slow Jam 2)

Since the release of their 2023 debut LP 'Good Time', Austin TX outfit DAIISTAR have spent the last couple of years touring relentlessly and spreading their baggy noise-pop good times across North America and Europe – be that headline runs of their own or tours supporting the likes of Brian Jonestown Massacre, The Black Angels, The Dandy Warhols and LA Witch. When over in the UK in September 2024, they holed up at London's Lightship 95 studio – a floating studio on the Thames – to record this Fuzz Club Session LP, which is set to be released digitally and on limited coloured vinyl on September 26th, alongside a series of videos from the session. DAIISTAR's ten-track Fuzz Club Session LP – number 21 in the series – perfectly captures the band’s road-hardened blend of shoegaze, neo-psychedelia and Madchester-inspired grooves, featuring standout tracks from 'Good Time' such as 'Star Starter', 'Tracemaker', 'Parallel' and 'Repeater'. It also includes their euphoric single 'Clear', a 'Good Time' outtake released on a limited 7" last year, as well as their cover of Primal Scream's 'Burning Wheel' which is now available on vinyl for the very first time.

TRACK LISTING

1. LMB BB LMN - Live
2. Star Starter - Live
3. Say It To Me - Live
4. Clear - Live
5. Parallel - Live
6. Repeater - Live
7. Tracemaker - Live
8. Burning Wheel - Live
9. Heathens Gate - Live
10. Speed Jesus - Live

Water Damage don’t play songs. They invoke states. It’s not rock and roll, it’s ritual repetition therapy, like if Glenn Branca got stuck in a feedback loop with La Monte Young and they both forgot what year it was—Texas 2025 or Berlin 1972 or maybe just eternity’s parking lot. This isn’t music for driving—unless you’re driving into the sun with your eyes rolled back and the gas pedal held down with a cinderblock of intent.

Captured in Utrecht, Netherlands at the almighty Le Guess Who? Festival, where churches tremble and strobes reflect off every holy surface, Live at Le Guess Who? is a document of sustained sonic immolation. Eight members. Two drummers. Multiple stringed instruments. One saxophone. All hammering away at "Reel 25," captured live here shortly after the recorded version which would end up becoming the lead track on their most recent double LP Instruments. A single idea drilling into the molten center of your skull with the grace of a jackhammer ballet. It’s not a show. It’s a slow-motion landslide with amps. And for this particular descent into the drone abyss, Water Damage were joined by two very special fellow travelers & honorary members: Ajay Saggar (Bhajan Bhoy, Chela) adding six-string sorcery and smolder, and Patrick Shiroishi, the free-reed exorcist himself who is a guest on Instruments and just happened to be at Le Guess Who? as well, channeling ghosts through saxophones like he’s trying to crack the sky. As if Water Damage weren’t already enough of a wall, these two brought the ceiling and the floor. Water Damage, the Austin psych-drone monolith with the un-Googleable name and the wall-of-amplifiers ethos, doesn’t just flirt with chaos—they drag it behind the van and mic up the gravel. Their motto? “Maximal Repetition Minimal Deviation.” Which sounds like the world’s most menacing yoga class or a commandment from some amp-fried cult, and maybe it is. This ain’t no avant-noise chin-stroke either. It’s hot and dense and loud like a steel mill hallucination, and if you find yourself dissociating mid-set, that just means it’s working. This is music that doesn’t “build”—it grinds. It gnaws. And then it blooms. If you're lucky, it leaves you somewhere softer. Le Guess Who? handed them the altar. Water Damage, Saggar, and Shiroishi set it on fire.

The 2016 debut album from Geelong, Australia trio ORB gets a long-overdue reissue on Fuzz Club. Originally released on John Dwyer of OSEES' Castle Face label and King Gizz's Flightless Records, 'Birth' is a proggy but in the pocket head-trip where a heaping helping of stoned proto-metal chops meets paranoid sci fi fantastical ravings. Close mic’d to perfection by Mikey Young (Total Control, Eddy Current), these doomy heavy-psych epics swing with demonic swagger and crackle with the static of a menacing future, twisting and churning through loose-limbed riffery.

TRACK LISTING

1. Iron Mountain
2. Reflection
3. Birth Of A New Moon
4. First And Last Moon
5. Electric Blanket

From dimly lit dive bars to desolate desert highways, Adelaide, Australia outfit Los Palms deliver a soundtrack soaked in vintage fuzz. Their self-titled sophomore album leans further into their signature “desert jangle” sound, with ‘60s garage, spaghetti western and modern psych influences. The fuzzed fever dream 'Cryin’ Shame' channels the energy of garage rock, while 'Sorrows' and 'Eleven Thirty Three' move with moody, melodic swagger, soaked in reverb and cinematic twang. The driving rhythms of '65', 'Fooled Me', and 'Way Too Cold' propel the album’s momentum. This record perfectly captures the rawness of Los Palms, elevated by lush, full production that lets every tremolo-drenched guitar and reverb-loaded vocal shine. It’s an immersive journey and a bold step in the band’s evolution, released August 29th 2025 on Fuzz Club. This latest set arrives following their 2022 debut 'Skeleton Ranch' and the standalone 'From The Shadows' (2024) and 'Cruise' (2025) singles and videos, both premiering on ABC Rage. The Palms have shared stages with the likes of The Murlocs, Babe Rainbow, L7 and The Growlers to name a few, and also toured over in Europe for the first time in 2024.

TRACK LISTING

1. 65
2. Step Back
3. Fooled Me
4. Way Too Cold
5. Eleven Thirty Three
6. Sorrows
7. Catatonia Disco
8. Cryin' Shame
9. Holiday For Days
10. The Most Beautful Death

Ukrainian krautrock/experimental group Sherpa The Tiger return with ‘Promigña’, a new five-track EP released June 13 2025 on Fuzz Club that follows their 2022 full-length ‘Ithkuil’ and their 2018 debut ‘Great Vowel Shift’. “This EP is our attempt to reinterpret and reimagine the electronic ambient branch of krautrock of the 1970s,” the band explains. “We’ve drawn partial inspiration from listening to the music from that era of bands such as The Cosmic Jokers, Cluster, Cybotron, and others.” Built as a continuous suite, the EP reflects a conceptual cohesion at its core: “Initially, the material was conceived as a monolithic 20-minute composition, with its sections flowing seamlessly from one to the next. In this release, we experiment for the first time with non-input mixer synthesis, and it also marks our first studio release with the new drummer.” As the five-part piece evolves over its running time, each track finds a certain instrument brought to the fore – respectively, the Synth, Flute, Drums, Mixer and Guitar. Melding deep kosmische ambience with exploratory textures and evolving rhythmic structures, ‘Promigña’ is both a tribute to the krautrock’s early electronic pioneers and a step forward for Sherpa The Tiger’s ever-evolving sound. The EP is due for release on a coloured 12" vinyl, limited to only 250 copies.

TRACK LISTING

1. Synth Part
2. Flute Part
3. Drums Part
4. Mixer Part
5. Guitar Part

At long last we bring to you the next 5 LPs in The Heads - Reverberations Series.

The Reverberations series continues with The Heads in their natural home (the Kings Square (appropriately next to the Centre for the Deaf)) playing at speaker blowing, Synapse-destroying volume.

We could name-check some inspirations and kindred spirits: The Stooges, Spacemen 3, High Rise PSF, 13th Floor Elevators, Hawkwind, Floyd, Loop, Sabbath, NEU, Walking Seeds, Mudhoney, McBain era Magnet among them... But in all honesty, The Heads have always existed in a world of their own, surfacing as and when the mood takes them, before returning to their subterranean rehearsal room where The Heads would transcend themselves (and now you the listener) into a mantra-like, multi-layered, cross-dimensional, wah wah powered nirvana to inhabit that place where the pyramid meets the eye of the storm. The Reverberations series represents the full force of The Heads’ psychedelic pummel at their trippiest and most psyche, a shining example of the band’s ecstatic intensity - brutal yet beautiful. Strap in. Let go.

TRACK LISTING

A1 - KRT (24/10/04)
A2 - KRT (28/01/05)
B1 - KRT (14/02/05)

At long last we bring to you the next 5 LPs in The Heads - Reverberations Series.

The Reverberations series continues with The Heads in their natural home (the Kings Square (appropriately next to the Centre for the Deaf)) playing at speaker blowing, Synapse-destroying volume.

We could name-check some inspirations and kindred spirits: The Stooges, Spacemen 3, High Rise PSF, 13th Floor Elevators, Hawkwind, Floyd, Loop, Sabbath, NEU, Walking Seeds, Mudhoney, McBain era Magnet among them... But in all honesty, The Heads have always existed in a world of their own, surfacing as and when the mood takes them, before returning to their subterranean rehearsal room where The Heads would transcend themselves (and now you the listener) into a mantra-like, multi-layered, cross-dimensional, wah wah powered nirvana to inhabit that place where the pyramid meets the eye of the storm. The Reverberations series represents the full force of The Heads’ psychedelic pummel at their trippiest and most psyche, a shining example of the band’s ecstatic intensity - brutal yet beautiful. Strap in. Let go.

TRACK LISTING

A1 - Shankared
A2 - Velcro Gusset
B1 - Frog Prog Pt 1 (no Gap Into Off My Boats)
B2 - Off My Boats

At long last we bring to you the next 5 LPs in The Heads - Reverberations Series.

The Reverberations series continues with The Heads in their natural home (the Kings Square (appropriately next to the Centre for the Deaf)) playing at speaker blowing, Synapse-destroying volume.

We could name-check some inspirations and kindred spirits: The Stooges, Spacemen 3, High Rise PSF, 13th Floor Elevators, Hawkwind, Floyd, Loop, Sabbath, NEU, Walking Seeds, Mudhoney, McBain era Magnet among them... But in all honesty, The Heads have always existed in a world of their own, surfacing as and when the mood takes them, before returning to their subterranean rehearsal room where The Heads would transcend themselves (and now you the listener) into a mantra-like, multi-layered, cross-dimensional, wah wah powered nirvana to inhabit that place where the pyramid meets the eye of the storm. The Reverberations series represents the full force of The Heads’ psychedelic pummel at their trippiest and most psyche, a shining example of the band’s ecstatic intensity - brutal yet beautiful. Strap in. Let go.

TRACK LISTING

A1 - Space Rock Toast
A2 - Dragster
B1 - Frog Prog Pt.3
B2 - Neu Wah Jam

At long last we bring to you the next 5 LPs in The Heads - Reverberations Series.

The Reverberations series continues with The Heads in their natural home (the Kings Square (appropriately next to the Centre for the Deaf)) playing at speaker blowing, Synapse-destroying volume.

We could name-check some inspirations and kindred spirits: The Stooges, Spacemen 3, High Rise PSF, 13th Floor Elevators, Hawkwind, Floyd, Loop, Sabbath, NEU, Walking Seeds, Mudhoney, McBain era Magnet among them... But in all honesty, The Heads have always existed in a world of their own, surfacing as and when the mood takes them, before returning to their subterranean rehearsal room where The Heads would transcend themselves (and now you the listener) into a mantra-like, multi-layered, cross-dimensional, wah wah powered nirvana to inhabit that place where the pyramid meets the eye of the storm. The Reverberations series represents the full force of The Heads’ psychedelic pummel at their trippiest and most psyche, a shining example of the band’s ecstatic intensity - brutal yet beautiful. Strap in. Let go.

TRACK LISTING

A1 - Bedminster Hayride
A2 - (parts 1+2) An Overpsych
B1 - Frog Prog Pt 4
B2 - Bareback (outro)

New Candys are set to make a powerful return in 2025 with the release of their highly anticipated fifth album, 'The Uncanny Extravaganza', via Fuzz Club. Marking a bold evolution in the band’s sound, the latest from the Venetian outfit blends their psych-rock roots with fresh electronic influences and cutting edge production by Maurizio Baggio (The Soft Moon, Boy Harsher). It’s a genre-defying sonic experience that could be their most compelling work yet – veering between aggressive, gritty sounds, synth-driven rhythms, and dreamy, melancholic minimalism.

TRACK LISTING

1. Regicide
2. Crime Wave
3. Breathe Me In
4. Night Surfer
5. You'll Never Know Yourself
6. Aquawish
7. Cagehead
8. Wild Spaghetti West
9. Gills On My Lungs
10. Final Mission 

Water Damage is ten people from one town and one sound from twelve people. For 'Instruments', the plus two are guitarist David Grubbs and saxophonist Patrick Shiroishi, neither of whom blunt the angle or confound the aim. The tempo? Slow and low. Four tracks, averaging twenty minutes each, the pace never above a comfortable walk. The damage creeps, a forest becomes a mountain, and the faithful move forward. The album is named after Fugazi, in a manner, and 'Reel 25' takes after the Shocklee Brothers, in a cry. Stop asking the lord how many drummers this band has and and ask him how much of your mind, babe. Some people say drone and same people say trance and some people say invocation through patterned unity. Some people just say rock and we let them set their clocks back. Lie down and let these holy treads flatten you. Just because Water Damage know what they are doing doesn't mean you have to. Fix your hearts or die!

TRACK LISTING

1. Reel 28
2. Reel 25
3. Reel 32
4. Reel 27 India (Slight Return)

'Gone Down Meadowland' is the much-anticipated debut album release from Norwich, UK psych outfit Floral Image, via the renowned Fuzz Club. More than ever, the band wanted to produce a brand of East-Coast psychedelia that reflected the natural lusciousness and glorious solitude of the immediate world around them. Over 30 songs were conjured, considered and arranged before being whittled down to a final 10 that epitomise what they do best - ten tracks of vivid hue, harnessed live power, all laced together in fluid lyrical harmonies. Taking inspiration from band favourites Woods, KGLW, Stereolab, among many others, a string of at-home recording sessions commenced over a 6-week period across the summer of 2024.

TRACK LISTING

1. Meadowland
2. The Dream
3. Burning 305
4. Call Up The Doctor
5. The Score
6. Boogietown
7. Tiergarten
8. Howling Dog Song
9. Twist Of A Nerve
10. Sun For Hire

Cardinal Fuzz (UK) and Feeding Tube Records (USA) are proud to announce the release of Nitro Cosmetic’s Self Titled LP. Nitro Cosmetic are Milo Smee and Demian Castellanos - Milo is an electronic music producer for nearly 20 years, he is the main drive behind several electronic dance music projects, and has released music as Kruton and Binary Chaffinch on Dissident, D.C Recordings and I'm a Cliche. He is also one of the founders/brains behind the unique doom disco ensemble Chrome Hoof. Demian Castellanos is best known as the man behind The Oscillation as well as Autotelia and BOOZE (among many others) but it was in BOOZE that both Demian and Milo first wrote and played together.

Across ten tracks Nitro Cosmetic concoct a heady mix of pulverising Beefheart/Devo esk jagged ferocity coupled with the driving heavy electronics that is alternately mammoth and meditative. The Music rushes forth - a punk noir dissonance that conjures up a collision of Siouxsie and the Banshees at their most uncompromising and then cross pollinated with the Acid House scene of the late eighties. The rampaging opening track ‘Negative Inversion’ has a Teutonic, mechanized, nihilistic charge that leads you into a sonic black hole, it is a brutal mix that is uncompromisingly harsh and metallic (think Chrome). Each track feels like a sonic rush layered with a wall of sound approach, combining kinetic and jagged grooves, flashing and chaotic as the psychedelic soundscapes of chaos that has been created lead you sinking into the furthest and darkest reaches of the human psyche. By the time ‘Pulsed Detonation’ lands with its fusion of pulsating, repetitive oppressive beats landing like a jack hammer to the skull your third eye will be ready to pop out. Nitro Cosmetic is avant-garde and experimental - not a single note, sample or headache-inducing drum hit is out of place, the amount of layers that unfold with each listen is incredible - So please tune in and turn onto Nitro Cosmetic. 

In a landscape where the term 'psych' often feels confined and predictable, MIEN stands out as a beacon of true sonic exploration. Comprising members of The Black Angels, Elephant Stone, The Earlies and Golden Dawn Arkestra, their long-awaited sophomore album ‘MIIEN’ marks a bold new chapter for a band whose alchemical approach to music has redefined the boundaries of psychedelia. Building upon the foundations of their critically acclaimed 2018 self-titled debut while venturing into uncharted territories, this new release pushes the group’s collaborative and exploratory ethos to thrilling new heights. Recorded between Montreal, Abilene and Austin, Texas, ‘MIIEN’ captures the band’s unique creative process. Most songs began as simple ideas—a loop, a vocal phrase, or a groove—passed between members and meticulously layered. John Mark Lapham, the band’s “musical alchemist,” transformed these sketches into fully realized compositions, adding bold textures and dynamic shifts. The Black Angels frontman Alex Maas’s hauntingly beautiful vocals bring a dark yet alluring dimension to the sound, elevating each track with his distinctive presence. “It’s an organic process,” notes Rishi Dhir. “A simple idea can become something monumental when we each put our stamp on it.” A tapestry of vivid third-eye visions and nocturnal serenades, ‘MIIEN’ represents the strength of the band’s collective vision. Each member brings their unique perspective to the table, creating music that is both deeply personal and universally resonant. With its richly textured soundscapes and fearless experimentation, the album bridges the golden age of ‘60s psychedelia with the cutting edge of modern music. The album is released April 18th 2025 through their new label home Fuzz Club. MIEN is: Rishi Dhir – bass, guitar, keyboards / Robb Kidd – drums / John Mark Lapham – keyboards, samples, programming / Alex Maas – vocals, bass, guitar

STAFF COMMENTS

Barry says: Off-kilter lysergic psychedelia that's both hypnotic and entrancing on the ever-reliable Fuzz Club. There are hints here of minimal ambient and Industrial, music concrete and classical but the whole lot remains as uncategorisable as it does spellbinding.

TRACK LISTING

1. Evil People
2. Counterbalance
3. Silent Golden
4. Mirror
5. How Could You Run
6. Empty Sun
7. Tungsten
8. Knocking On Your Door
9. Slipping Away
10. Morning Echo

Under the moniker of Night Beats, Texas native Danny Lee Blackwell has spent the last fifteen years exploring a nexus of vintage rhythm & blues, after-midnight soul, and sun-scorched psychedelia. On Night Beats’ latest offering, Blackwell presents two markedly different renditions of his song 'Behind the Green Door'.

Side A delivers a down-tempo, minor key track drenched in the haze of vice, as if an aspiring Motor City outfit had traveled down to Austin and snuck into the studio while The 13th Floor Elevators were on a smoke break—perhaps a meeting between Ray Charles, Skip Pence, and Link Wray, or Joe Tex grappling with Gram Parsons, or even Duane Eddy pairing up with Cedric Bixler-Zavala. Ultimately, it’s the culmination of years of Blackwell distilling and translating the sounds around him into his own concoction, an invitation to enter the kingdom and dwell in the garden while the shadow of doubt looms nearby, a subconscious journey into the delights and pitfalls of unknown territories.

Side B features the Rah John version of 'Behind the Green Door', an interpretation from an enigmatic artist Blackwell discovered on the island of Koh Khram Yai, off the coast of Pattaya in the Gulf of Thailand. Little is known about Rah John beyond his love for '70s Thai disco and dancehall tapes received from local sailors, but hearing a streak of revelry in Night Beats’ tune, he summoned a sunnier, breezier, and more exotic side to the rhythm and blues sway of the original.

TRACK LISTING

1. Behind The Green Door
2. Behind The Green Door (Rah John Version)

Berlin-based post-punk band The Underground Youth, led by Blackpool-born musician and author Craig Dyer, return with their twelfth studio album ‘Décollage’. Self-written, recorded and produced by Dyer, the album is an exercise in artistic deconstruction in both name and form, marking a decisive musical shift. “‘Décollage is the art of creating an image by ripping, tearing away or removing pieces of an original existing work’. My idea was to apply this technique to music”, he explains. “I built walls of static coated hip-hop drum samples, layers of Lee Hazlewood style string arrangements and Serge Gainsbourg inspired mellotron melodies, then I began tearing away at these beautiful, chaotic walls of noise, exposing a new sound for The Underground Youth.” The result, Dyer says, is “a trip-hop infused soundtrack to a collection of lyrics dealing with adoration, ancestry, originality, hallucinations of revolution and a hope that something better can be born from the ashes of the horror that exists in our world.” From moments of ghostly minimalism to sweeping crescendos of noise and melody, there is a shadowy, dreamlike quality to the songs here. If its predecessor ‘Nostalgia’s Glass’ (2023) mined a more introspective nostalgia, ‘Décollage’ feels more hauntological in nature – tearing apart and re-transforming what once was in search of a future left spinning from reel-to-reel on warped and distorted old tape. Alongside Dyer, The Underground Youth is comprised of drummer and visual artist Olya Dyer, guitarist Leonard Kaage (who also assisted with post-production on the record) and bassist Samira Zahidi. Initially formed as a solo project by Dyer in 2008, the band has sinced released 11 – now 12 – studio albums and 4 EPs, evolving a unique sound that has over the years ranged from cinematic lo-fi psychedelia and raw melancholic post-punk to gothic folk-noir. Throughout they have maintained a devoted global following continuously built upon by the band’s extensive touring through Europe, Asia and North America.

TRACK LISTING

1. You (The Feral Human Thunderstorm)
2. One Of The Dreamers
3. I Was There
4. From The Ashes Of Our Age
5. Father
6. Calliope
7. Your Beloved Hollywood
8. Believe In Something

‘The Pattern Speaks’ is the debut album from Austin via Glasgow space-gaze duo SKLOSS, blending heavy psychedelia, post-metal drones, meditative drums, and raw distorted riffs performed with honesty and deliberation. Across these eight equally pulverising and ethereal tracks, the result is a powerful, atmospheric and reverberating wall of sound that indulges SKLOSS’ heaviest and gentlest sonic impulses all at once. SKLOSS first formed in Austin, TX as a husband-and-wife duo between drummer Karen Skloss (Moving Panoramas) and guitarist Sandy Carson (Iglomat) during the COVID lockdown. Surrounded by drums and amps and the need to play loud, the sound of SKLOSS became a response to the crazy world just outside their window. Jams became songs, while the noise level, experimentation and distortion went up to a volume much louder than you’d expect from a duo. “Living next to the woods has something to do with it. We started to use music as an outlet, like most everyone during that time, we were so cooped up,” says Skloss. A self-released debut EP 'Voices Travel Through This' was released in 2022 and after sharing the stage with acts like Divide & Dissolve, Messa, The Well, Glorium, and Oryx, SKLOSS performed a set at the 2022 Levitation Festival. Then, during the rollercoaster Austin winter of 2023 and spring of 2024, the pair holed up at Point West Studios with engineer and co-producer Charles Godfrey (Yeah Yeah Yeahs, Swans) and recorded their debut LP. The formidable ‘The Pattern Speaks’ is now set to arrive March 7th 2025 via London-based record label Fuzz Club. Outside of the new creative frontiers explored with the band, Skloss is also a filmmaker who has been on Barack Obama’s pick list and edited seminal films about artists Syd Barrett and Townes Van Zandt, and Carson is a former professional BMX pro rider turned photographer and cinematographer.

TRACK LISTING

1. The Pattern Speaks
2. Mind Hive
3. Imagine 100 Dads
4. Dead Bone
5. Snorkels Ask
6. Upper Attic
7. Plugged Into Jupiter
8. Ghosts Are Entertaining

‘Buyer Beware’ marks The Men’s fifth collaboration with recording engineer Travis Harrison (Guided by Voices, Built to Spill) who, at this point, is finely attuned to the nuances of the group’s dynamics - Nick Chiericozzi (guitar/vocals), Kevin Faulkner (bass), Mark Perro (guitar/vocals), and Rich Samis (drums). Recording direct to tape, Harrison captures the raw, confrontational fever of their stage shows without sacrificing their introspective undercurrents. The result is undoubtedly their most aggressive album since ‘Leave Home’ (2011), and their most psychedelic since ‘Immaculada’ (2010). But 'Buyer Beware' is no mere return to their roots - The Men have always moved forward while remaining true to themselves. A clarion call for troubled times signaled by its title, ‘Buyer Beware’ finds The Men tackling questions both personal and political, their sound and vision never more primal or apocalyptic.

TRACK LISTING

1. Pony
2. At The Movies
3. Buyer Beware
4. Fire Sermon
5. PO Box 96
6. Charm
7. Black Heart Blue
8. Nothing Wrong
9. Control
10. Dry Cycle
11. The Path
12. Tombstone
13. Get My Soul

‘Night Wobble’ is the sixth long-player from Saarbrücken, Germany duo Pretty Lightning and their second instrumental record following 2022’s ‘Dust Moves’. Due for release February 21st 2025 on Fuzz Club, it’s a set of downtempo, repetitive grooves that course through dusty spaghetti-western psychedelia, Tuareg-derived desert-blues, library music and '70s progressive. It’s always cinematic but shot through with trippy, off-kilter moments that bring a sense of alien to the widescreen panoramas here – this is an “oozy, woozy cowboy groove”, as they put it. If it was David Lynch who directed ‘Paris, Texas’ then Ry Cooder’s soundtrack might have sounded something like this. “With our previous and first fully instrumental album ‘Dust Moves’ we actually thought we’d only be only taking a little detour from our ‘Fuzz/Rock Duo’ path to explore slightly more experimental ideas”, Sebastian Haas (guitars/keys) and Christian Berghoff (drums/percussion) recall: “But as things came together surprisingly easy and the whole process of making the record just felt very fluid and effortless, we somehow came to appreciate making exclusively instrumental music more and more. It was like a door opening up to a new exciting territory, which we happily embraced. These kinds of tunes just hit a special spot and never bore us at all, quite the contrary, it´s rather inspiring.” Though ‘Dust Moves’ was both a musical and thematic excavation of the desert, its follow-up ‘Night Wobble’ wades through less arid surroundings: “Night Wobble can be perceived as the soundtrack accompanying an imaginary story of a journey into the forest after dark, conjuring all the arcane images and strange magic that can happen in the woods at night. The rhythm serves as a proposal for the pace in which one roams through the night, but it’s the moments of idle that invite you to hang out and have a deeper look around.”

TRACK LISTING

1. In Place Of Bees, Glow Worms
2. Spectre Crackle
3. Nightroamer
4. Yonder Holly Oak
5. Dingle Dangle Ditch
6. Glade Runner
7. Shadow Portal
8. Peek-A-Boo
9. Mellow Swirl
10. Owl Hour
11. (How To) Moonbow
12. Furrows
13. Sonic Broom

The aptly titled ‘Dirty Tracks For Clubbing’ is the 2023 debut album from fast-rising Lisbon trio MAQUINA. Across 40 minutes, it features four extended tracks driven by high-octane motorik beats, scuzzy floor-shaking basslines, noise-filled guitar riffs and screamed vocals immersed in delay and reverb. Wrapped in a lo-fi texture, it’s aggressive, danceable and totally hypnotic. This highly-anticipated vinyl release arrives February 7th 2025. MAQUINA.'s vital debut was originally released on CD and download in 2023 via Porto-based label Saliva Diva but it now will receive its first vinyl pressing via their new label home Fuzz Club, just in time for their 2025 touring plans to commence. Since the record's original release the band have toured extensively, building a devout fan-base across Europe and a notorious reputation for their carnal, hedonistic live shows. They released their debut full-length album 'prata' on Fuzz Club earlier in 2024, and now popular demand calls for their debut release to be finally stamped on wax too.

STAFF COMMENTS

Barry says: Motorik filth of the highest order. Gritty, driving, lysergic industrial business. Think Ministry vocals over Eat Lights Become lights synths and you're getting close. Superbly chaotic.

TRACK LISTING

1. .
2. ..
3. :.
4. ::

More Water! More Damage! The second proper LP by this Texan juggernaut is even more biggerer than the first, a head-drowning pair of new “reels” (every Water Damage tracks generally take up a reel of tape, hence the “reel ____” song titles) that makes you feel like you’re swimming in a sun-drenched river of sound. Two drummers, two bassists, and tons of vibrating strings are once again a recipe for massive rocking-drone fires. “Two Songs” has two songs, and they’re kind of the yin/yang of Water Damage: one toned very low, growling and roaring, groaning over a beat, while the other hums high, troubling the treble clef and ringing like a bunch of church bells that don’t want to be in church. They’re more alike than different though, divining momentum from repetition, flying forward by staying in place, climbing a mountain that they’re building as they go. Enough ink has already been spilled about the previous-band pedigrees of the players in this hurtling collective, and by this point, the past seems way less relevant than the present when it comes to Water Damage’s present-pounding sound. These people know what they’re doing, sure. You don’t need a resume in front of you to figure that out. It’s there in every second of this gigantic, eternal music - in all the strings being bowed, the skins being slammed, the rumbles being rumbled. You might notice that this time around, Water Damage haven’t just given their tracks reel numbers. They're also called "Fuck This" and "Fuck That." I take that as instructional. Whatever you’re doing, whatever you’re fretting about, whatever someone’s trying to use to occupy your attention so you’ll buy something or vote for something or ignore something: Fuck This. Fuck That. Listen to Water Damage. - Marc Masters MAXIMAL REPETITION MINIMAL DEVIATION

STAFF COMMENTS

Barry says: A bruising set of drones and thumping free-jazz flavoured noise from Thor Harris and a selection of other noise / avant / art rock heads, encompassing a wide variety of off-piste grooves and acidic jams.

‘Dyp Tid’, the fifth album from Norwegian psych-rock group Electric Eye, is a contemplation of the unknown and the ineffable. Crafted in a landscape where time and space collapse, the record is Electric Eye's most ambitious and experimental project to date. Originally commissioned by Sildajazz – the Haugesund International Jazz Festival – and premiering there in 2022, ‘Dyp Tid’ (Norwegian for ‘Deep Time’) is both a meditative journey and an exploration of what it means to exist in a universe where time stretches far beyond humanity’s grasp. First performed live in Skåre Kirke, an octagonal wooden church in Haugesund, Norway that was built in 1858, these six atmospheric compositions centre church organs, synths and choral vocals over any traditional ‘rock’ instrumentation. Gradually winding through ambient minimalism, kosmische improvisations and experimental psych-jazz, ‘Dyp Tid’ isn’t just an album but a space; a mental landscape where sound and time intersect. Talking about the album, Electric Eye’s Øystein Braut says: “We have always been drawn to the cinematic, to the sense that something feels larger than life, and in Dyp Tid we wove these elements together into something both deeply personal and utterly elusive.” Setting up in Bergen´s Duper Studio, the recording space became a laboratory to further develop these new ideas and transform the ‘Dyp Tid’ piece into a fully-fledged studio album: “We delved into analogue technology, explored vintage machines, and experimented with what lay at the edge of our control. We sought the sound of time’s depths, something that felt infinite and uncontrollable. In an age where everything seems algorithmic and predictable, we aimed to create something that refused to be boxed in – something that lives and breathes by its own rules. The album intricately weaves together live recordings from the wooden church and studio sessions, often oscillating between the two in the course of a single track.”

TRACK LISTING

1. Pendelen Svinger
2. Octagon
3. Den Første Lysstråle
4. Clock Of The Long Now
5. Mycelium
6. Hvit Lotus

The latest in Fuzz Club's King Gizzard & The Lizard Wizard official bootleg series arrives in the shape of 'Nonagon Infinity Live'. It's a live version of the cult Australian psych-rock band's breakthrough 2016 album 'Nonagon Infinity' compiled by Fuzz Club (with the help of the /KGATLW Reddit community) out of live recordings captured at Bonnaroo Festival (2022), Brussels' Ancienne Belgique (2019), the Red Rocks Amphitheatre (2022) and Chicago's The Salt Shed (2023).

All of the tracks have been mixed by King Gizz's own Stu Mackenzie and remastered exclusively for this Fuzz Club bootleg by James Plotkin. Limited to 999 copies, it arrives as a 'gold nugget'-coloured, nonagon-shaped double LP with printed inners and a handnumbered gatefold jacket with gold foil detailing and an exclusively licensed photo by Jamie Wdziekonski / Sub-Lation on the inside that nods to the inside-gatefold photo on the original studio album.

TRACK LISTING

DISC 1
SIDE A
1. Robot Stop (Live At Bonnaroo '22)
2. Big Fig Wasp (Live In Brussels '19)
SIDE B
1. Gamma Knife (Live At Red Rocks '22)
2. People-Vultures (Live At Red Rocks '22)
3. Mr. Beat (Live At Red Rocks '22)

DISC 2
SIDE C
1. Evil Death Roll (Live In Chicago '23)
SIDE D
1. Invisible Face (Live In Chicago '23)
2. Wah Wah (Live In Chicago '23)
3. Road Train (Live In Chicago '23)

Longing. Heartbreak. Levity. Joy. Being filled with love for all things. All of these sensations flow at once through Canadian singer-songwriter Tess Parks’ new album, Pomegranate. Re-establishing Parks as the consummate artist-observer against a swirling nouveau-delic backdrop, her third solo album is released via Fuzz Club and was produced by multi-instrumentalist and close collaborator Ruari Meehan, who shared mixing duties with Grammy-nominated engineer Mikko Gordon (The Smile, Gaz Coombes, Arcade Fire).

Though Tess Parks first became widely known for her string of collaborations with Brian Jonestown Massacre mastermind Anton Newcombe, her 2022 solo offering And Those Who Were Seen Dancing left an unforgettable impression with its signature blend of weight, whimsy, and open-heartedness. The New York Times would praise its “confident, enchanting presence”, whilst Exclaim! proclaimed it as a record that “demands to be heard and felt”. Where Dancing retained a fair measure of bedroom-demo charm, this time the canvas is bigger, with Meehan’s arrangements stretching all the way to the horizon. This is the most ambitious and cinematic Parks’ music has ever sounded. Drawing on psychedelic elements in a way that sounds decidedly fresh, the dreamlike atmospheres feel oddly nostalgic and modern at the same time.

The pair are backed on most tracks by band members Francesco ‘Pearz’ Perini – whose piano and organs shine through gloriously on ‘Koalas’ and ‘California’s Dreaming’ respectively – and Marco Ninni, who provides the solid backbone throughout on drums. From a vocal perspective, it feels like Parks pushes her voice to new heights on this album too. Her lyrics are sharp, ever-present, and imbued with strength, depth, and poetic purpose, which shine particularly bright on tracks like ‘Koalas’ and ‘Charlie Potato’. They weave through her flurries of beautiful melodic hooks, featuring sublime choruses and complex, multi-layered harmonic structures, as showcased on ‘Crown Shy’ and ‘Bagpipe Blues’ especially.

On Pomegranate there are also plenty of new experiments and guests introduced. ‘Koalas’, for example, features the spellbinding whistling of Molly Lewis, lending a bittersweet Morricone-esque charm. ‘Crown Shy’ features soaring strings (arranged by Ninni and played by Joe Butler), and ‘Bagpipe Blues’ and ‘Charlie Potato’ are elevated by Kira Krempova’s ethereal flute playing – the latter also accompanied with Wurlitzer piano played by Oscar ‘SHOLTO’ Robertson. The euphoric ‘Running Home To Sing’ and album-closer ‘Surround’ centre the synthesiser for the first time, whilst the piano features more prominently across many of the tracks.

STAFF COMMENTS

Barry says: Tess Parks' work is the quintessential sound of classic 60's psychedelia that's seamlessly infused with modern indie music and shoegaze, all topped with Parks' unmistakeable vocal drawl. It's a beautifully conceived, perfectly narrated story.

TRACK LISTING

1 Bagpipe Blues
2 California's Dreaming
3 Koalas
4 Lemon Poppy
5 Charlie Potato
6 Crown Shy
7 Running Home To Sing
8 Sunnyside
9 Surround

Vinyl reissue of the debut album from Icelandic art-rock project Dead Skeletons. Originally released on 11/11/11 via Anton Newcombe’s A Recordings label, ‘Dead Magick’ has come to be seen as one of this generation’s definitive neo-psychedelic works and had an almost cult-like reverence attached to it. Tours around the UK, EU and USA, major international festival dates and critical acclaim soon followed the album’s release, and it also helped to catalyse a burgeoning underground psych scene to whom ‘Dead Magick’s occult sonic belligerence became a crucial and highly-lauded touchstone. A twelve-track masterclass in “transportative far-out guitar hymnals” (The Quietus) and "a psychedelic battle cry" (The Guardian), the ‘Dead Magick’ double album was an exercise in spiritual rock’n’roll drones shaped by primitive fuzzed-out guitars, repetitive vocal mantras, distorted organs and crashing percussion.

TRACK LISTING

1. Dead Mantra
2. Om Mani Peme Hung
3. Kingdom Of God
4. Psychodead
5. Get On The Train
6. Dead Magick I
7. Ask Seek Knock
8. Ljósberinn
9. Live!/Lifðu!
10. When The Sun Comes Up
11. Yama

‘Mount Elephant’ is organic psychedelia at its finest. These are drifting, pastoral meditations rooted in the “joy and rhythms” of Eastern music and one of the most precious luxuries of our time: doing things slowly. Italian multi-instrumentalist Alessio Ferarri’s third Upupuyāma record and first on Fuzz Club finds inspiration in traditional Bhutanese music, Thai disco and Anatolian psych, by way of the lysergic acid-folk, ‘70s kosmische and stoner-rock that has always coursed through the project – dream-like instrumentals always threatening to breakdown into blasts of fuzzed-out riffing.

“Mount Elephant was born out of a need to listen, to listen to silence”, Ferrari says: “Listening to the silence while observing flowers, while moving your hands in the wind, listening to your body while you are dancing. If in my first album (Upupayāma) I had travelled the length and breadth of a place, in the second (The Golden Pond) I had reached one and stopped there, in this third album I set out again, crossing a border and entering a long-dreamed place that I could finally ‘see with my own eyes’.”

A six-piece band live, where things take a more ever-evolving improvisation-based approach, on the recordings Ferrari writes, plays and records everything himself – guitars, keys, flute, sitar, erhu and an arsenal of percussion all feature. The recordings were laid down over time in Ferrari's home barn studio in a small mountain village overlooking the city of Parma, before being mixed by Chris Smith at Kluster Sounds (Kikagaku Moyo, Wax Machine).

TRACK LISTING

1. Moon Needs The Wolf
2. Thimpu
3. Fil Dağı
4. Moon Needs The Owl
5. Dabadaba
6. Mount Elephant

'Vomitorium' is the new album from ever-evolving Eindhoven band Radar Men From The Moon. Due out August 16th on Fuzz Club, it's an eight-track collection of abrasive experimental punk that unleashes their latest line-up and musical incarnation in typically confrontational form. Revelling in cathartic excess and a bludgeoning intensity, they power through 90s industrial electronics, discordant noise-rock and the darkest post-punk extremes. "The album features eight mental landscapes, all with an entrance and an exit, just like a vomitorium of a Roman theatre", Radar Men From The Moon write: "Power structures that are constantly aroused and working against each other." On this recording, the band is made up of founding members Glenn Peeters (guitar) and Tony Lathouwers (drums), alongside second drummer Joep Schmitz, Bram Van Zuijlen (guitar/synths), Niek Manders (bass) and new vocalist Niels Koster. 'Vomitorium' is the band's eighth full-length in an extensive, shape-shifting discography that has also seen collaborations with the likes of Gnod (as Temple ov BBV), The Cosmic Dead and 10 000 Russos.

TRACK LISTING

1. Speech Of The Hammer
2. Psychic Warfare Now!
3. Vomitorium
4. Liberation
5. Altered States
6. My Body Is An Event
7. Confusion
8. Open Door To Vices

A twelve-track collection of “cassette-ified” lo-fi psych-pop, ‘Wobble’ is the eleventh studio album from Black Market Karma and their first on Fuzz Club. Hailing from London and now residing on the South Coast, BMK’s prolific output is fuelled by band-leader and multi-instrumentalist Stanley Belton who writes, performs, records, produces and up until now self-released everything from his own live-in ‘Cocoon’ studio. Pooling influences from 60s pop and psychedelia, crunchy hip-hop break-beats and lo-fi electronica, ‘Wobble’ is the first of a two-part album series and is due for release July 26th 2024.

The album’s title is a reference to tape wobble / wow and flutter, subtle fluctuations in pitch characteristic of analogue recording equipment. Where once seen as a limitation by older generations, for others they evoke a welcome sense of nostalgia and that’s what Belton sought to excavate here: “Sonically, I wanted the album to feel like a collection of discarded and worse for wear instruments came to life, refurbished themselves and started to play. The sound is an attempt to give form to the often formless feeling that is nostalgia. With songs attempting to crystallise a feeling known as ‘fernweh’. A kind of longing for a place and time you’ve never experienced, be it in this world or another.”

“As formats evolved these characteristics were slowly phased out but with this album I was aiming to put them back in through different methods of sound degradation”, Belton says, “reaching for a sweet spot where the sound had a lo-fi flavour but with the punch of a higher quality recording.” Drums are recorded live, run back through guitar amps and pedals and sampled. Vintage guitars are totally warped by effects, with lead bass melodies being run through overloaded Vox guitar amps. All topped with heavily saturated vocals, mono synths, electronic flutes, mallet sounds and a bunch of other instruments and the sort of creative experiments that over a decade spent enjoying total freedom in your own ever-growing DIY studio allows for.

TRACK LISTING

1. Mushy Conscience
2. Oozer
3. Lead Laces
4. Waterbaby
5. Sonic Broth Soul Taster
6. Puddle Eyed Sponger
7. Going On Easy
8. Thin Wild Mercury
9. The Din Of An Ending
10. Olive
11. The Death Throes Of Nuance
12. Stepping Loose

It wasn’t meant to be six years between albums for ORB. The Geelong-forged trio last graced us with a studio offering in the form of 2018’s characteristically heady ‘The Space Between’, before touring Europe and America back-to-back supporting King Gizzard & The Lizard Wizard in 2019. But time rarely passes as expected, whether slowed by pandemics, side pursuits or other vagaries of daily life. What’s important is that a fourth album is finally here, with enough byways and trapdoors to keep us well occupied indeed. The long-awaited ‘Tailem Blend’ LP arrives July 12th 2024 on Fuzz Club in Europe and North America.

Saturated in vintage warmth and depth, ‘Tailem Bend’ showcases ORB’s knack for achieving tuneful hypnosis amidst a dank roominess. It snakes through big, brash riffing as often as it does sun-dappled psych pop, with memorable rhythmic runs and funky wah licks along the way. As signalled by the cover artwork from Parsnip’s Paris Richens – which depicts either a swan or a fish, depending on how you look at it – ORB have returned with an album that rewards taking it in from multiple angles. There’s plenty of the band we know and love, but there’s also enough of the new to prompt a healthy succession of double takes.

There are still the inevitable avalanches of fuzz, but also present now are mellower passages and a renewed focus on rhythm and space. It’s not a wholesale departure, but it’s distinctive enough to be reflected in the album title itself. The source? Tailem Bend is a quiet town in South Australia whose name was evocative enough to catch the band’s collective eye on tour. Conjuring images for them of some lost prog act, the name reportedly derives from the Ngarrindjeri word “thelim”, referring to a sharp bend in the nearby Murray River. That made it especially suited to a record that packs many dramatic turns of its own – all without breaking its natural flow.

TRACK LISTING

1. Tailem Bend
2. Karma Comes
3. Can't Do That
4. Golden Arch
5. Skyclock
6. You Do
7. Morph
8. Commandment

Arriving following 2021’s ‘Ungrateful Heart’ LP, ‘Bang!’ is the fifth studio album from the Milan-based band. “Like the sound of a single gunshot, straight to the heart”, the record is balanced between punchy, fast-paced punk songs and noisy experimentalism, perfectly distilling the strength and energy of their notoriously wild, feedback-blasted live shows.

Lead single 'Cade Giù', out everywhere now, is a two-minute blast of searing psych-punk noise. The Gluts say of the typically hedonistic new single: “Cade Giù (‘Falls Down’) is the first song we've ever written and recorded in Italian and speaks about the blurry reminiscences of the typical after party night during the tour, evoking one wild night spent with our friend and booking agent Gab.”

The Gluts is made up of Marco Campana (guitarist), Nicolò J. Campana (frontman), Claudia Cesana (bassist) and Dario Bruno Bassi (drummer). To this date, they have released four studio albums, one live album and contributed to a handful of compilations. Over the last few years they’ve toured heavily around Europe, performed shows in South Africa and USA and appeared at a number of independent festivals including New Colossus, The Great Escape, Eurosonic and more.

TRACK LISTING

1. Soybeans
2. Bang!
3. Fight
4. Self-Destruction
5. Vampire, A Walk At Midnight
6. Cade Giù
7. Sleep Demon
8. Marble Cats
9. Isabella
10. Born & Die

Liverpool's YOBS release their self-titled debut album on May 3rd 2024 via Fuzz Club, arriving off the back of their debut double single, 'Fortune Teller b/w Cemetery Man', which saw the four-piece burst on the scene n a gloriously scuzzy and hedonistic blaze. "All skull-crushing riffs and hallucinogenic effects", as Clash Magazine wrote, YOBS deal in primitive garage-punk/noise-rock salvos that race by with a bludgeoning intensity. Across the album's ten tracks and rapid 26-minute running time, the band revel in an abrasive, fun-as-hell rock'n'roll that will leave your bones rattling just as much as your speakers. Emerging out of the rubble of the now-defunct Liverpool bands Weird Sex and Ohmns, YOBS was kick-started in 2022 and is made up of Joey Ackland (Vocals), Alex Smith (Bass/Vocals), Michael Quinlan (Guitar/Vocals) and George Gebbie (Drums). Their debut full-length – recorded in four days at Hackney Road Studios with James Aparicio – arrives off the back of a 2023 spent playing rowdy, ear-ringing shows with the likes of A Place To Bury Strangers, Mark Sultan, C.O.F.F.I.N, Alien Nosejob and more.

TRACK LISTING

1. YOBS Theme
2. Cyanide
3. Wasted
4. Shitty Eye
5. Plastercine
6. Fortune Teller
7. Head The Ball
8. Cemetery Man
9. Tito Puente
10. Carpet Burns (On My Tongue)

‘Most Perfect Solitude’ is the sixth studio album from The Third Sound, due out May 17th on Fuzz Club. The follow-up to 2022' 'First Light' LP marks a new chapter, in terms of both sound and personnel, for the Berlin psych/post-punk band led by Icelandic musician and author Hakon Adalsteinsson. “After touring ‘First Light’ heavily and releasing our Fuzz Club Session LP last year – a career-spanning, retrospective document – this album feels like starting with a clean slate”, Haken says. Written and recorded in under two weeks, during a rare gap in his non-stop touring schedule as guitarist in The Brian Jonestown Massacre and new project Golden Hours at that time, ‘Most Perfect Solitude’ introduces a new Third Sound line-up: Hakon and long-time member Robin Hughes (Organ/Guitar) now joined by Frankie Broek (drums) and Wim Janssens (bass). As well as the line-up changes, Hakon reflects, “There is a certain warmth to some of the songs that has not been there before, but they still flicker between light and shadows, kind of like a slow motion audio version of Brion Gysin‘s Dreamachine.” On the one hand, jangly ‘60s 12-strings and breezy melodies shine on tracks like ‘Another Time, Another Place’ and ‘On Returning’, undoubtedly The Third Sound at their most radiant. Yet the record is not without its darker, heavier moments either – see the scuzzy psych-rock drone ‘Veiled’ or soon-to-be live favourite ‘Wasteland’, which sets a nightmarish vision of a city in ruins to the tune of heavy fuzz-guitar repetition and hypnotic drums. The album’s title is a phrase lifted from Mary Shelley’s Frankenstein and found by way of Werner Herzog’s journal writings in ‘Of Walking In Ice’, documenting the film-makers walk from Munich to Paris, which Hakon was reading whilst on the road himself: “Many of the songs touched on the theme of trips or some sort of travel, so I knew immediately that it was going to be the title. When you are travelling or touring you can find yourself in a weird sort of isolation, whilst also often looking for solitude to get away from everything. And, sometimes, it is best to listen to music in that most perfect solitude.”

TRACK LISTING

1. See You On The Other Side
2. On Returning
3. Don't Look Back
4. Catch Fire
5. Veiled
6. Another Time, Another Place
7. Shooting Star
8. Dots
9. Wasteland
10. Departure

As Night Beats, Texas-born, LA-based artist Danny Lee Blackwell creates music like one might assemble a puzzle. The Western psychedelic auteur builds his work from one moment, an initial spark, that must fit a certain criteria: it must give him goosebumps. If that sensation arrives, Blackwell will pursue the idea relentlessly until he has a new song; if not, he moves onto the next moment, constantly looking for the perfect molecule of a song. On his sixth Night Beats album, 'Rajan', the songwriter is at his strongest, creating works that shine with captivating melodies and hypnotic rhythms, but are underscored by subtle choices of craftsmanship that can only be achieved after countless hours in the studio. Blackwell creates a work that lands somewhere between Spaghetti Western film score and psych-pop opus, a career-defining album that reveals much about Danny Lee Blackwell’s artistic philosophy while keeping that ever crucial air of mystery intact.

TRACK LISTING

1. Hot Ghee
2. Blue
3. Nightmare
4. Motion Picture
5. Anxious Mind
6. Thank You
7. Osaka (feat. Ambrose Kenny Smith)
8. Dusty Jungle
9. Cautionary Tale
10. 9 To 5
11. Morocco Blues

THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.

'Field Theory' is the second studio album from Dublin four-piece MELTS, due for release April 12th 2024 on Fuzz Club. Recorded live to tape at Black Mountain Studios in Summer 2023 and produced by Gilla Band's Daniel Fox, it's a collection of turbulent electronic psych-rock shaped by bulldozing motorik synth lines, densely layered guitars, primal percussion and the cavernous vocals of frontman Eoin Kenny. While their highly-praised 2022 debut ‘Maelstrom’ dealt with forces on a larger scale affecting a whole city, ‘Field Theory’ explores connections on a smaller, interpersonal scale.

The title takes the scientific term ‘Field Theory’, which describes how forces interact and influence particles around them, and applies it to the interactions between people, to the space between all of us, how people interact and affect others around them. Expanding on the album’s themes, MELTS write: “Like gravity we are drawn to and miss people and like light waves we love people and are loved. We live in orbits of each other, drawn by unseen forces. The album explores these forces, how we relate to each other, the people we live with and the people we live without. At the heart of Field Theory lies the realisation that we inhabit each other's worlds as much as our own, through a field of wide-ranging forces, as important as the ones keeping the planets in place.”

TRACK LISTING

1. Figment
2. Waves Of Wonder
3. Clouded
4. WLDNG
5. Shelter Of The Shade
6. Main Sequence
7. Altered
8. The Never
9. Softly Breathes

Cardinal Fuzz and Little Cloud Records bring to you the new LP from a band we hold dear, Firefriend – ‘Decreation Facts’ – From São Paulo in Brazil and now close to two decades of creating and honing what has become their trademark, a heavy reverb, minimalistic slow-burn menace which sends chills down your bones. If you don't know Firefriend from somewhere along the last decade, you must cut a safe course through music. ‘Decreation’ is the undoing of creation, something destructive and primal and that Firefriend carry through on all the twelve songs written for this LP. Yury explained that the album "is a commentary on our 21st century, so violent and radical. We live in times of accelerated transformation. We wrote and recorded this album between the pandemic and WW3 – times of ground-breaking changes – and somehow that uneasy feeling got into our songs. Reality is the most crazy trip, isn it? And we are always trying to explore new territories: we want a new album to take you to new places, so we were chasing the sounds, structures and moods to make this a truly new album to match this wild new world’ ‘Decreation Facts’ is all this as they simply inject you with a liquid paranoia for their dark conjuring’s that is hugely dark and foreboding – Julia and Yury’s uber cool stoned and detached delivery creates a seriously dark menace with Julia’s delivery having echoes of Nico – all the while THAT claustrophobic reverb and tremolo encloses and swirls around the inside of your head and vibrates your inner core. This is HEAVY shit. Decreation Facts’ is an unsettling sonic fuck you to those that seek to destroy this planet for their love of money and power and we think it is a stunning achievement. As Terence McKenna might once have said – ‘Firefriend should be consumed alone, in the dark, in silence, with your eyes closed’. Firefriend advises, “Express yourself through any method you want. That is how you become a transmitter, generating waves that will open connections with others vibrating on the same frequencies. That energy field will change the game.” Now that is a truly psychedelic perspective if there ever was one. RCKNRLL, FUZZ, FEED YOUR HEAD

Ajay Saggar is BHAJAN BHOY. Since his debut album was released in June 2020 (“Bless Bless”) he has been receiving critical acclaim for his recorded output and his live shows. His second album “Shanti Shanti Shanti” was initially released on a limited edition cassette in November 2022 on his own Wormer Bros. Records. However, when respected label honchos at Cardinal Fuzz (UK) and Feeding Tube Records (USA) heard it, they insisted that this mighty album deserved a vinyl release. This album is part of a triptych. The other two albums in this series (“To Love Is To Love Vols.1+2”) were released in March 2023 to universal acclaim, with publications such as Mojo and Uncut and the Wire heaping praise on the two albums. "Another fine release by Dutch musician Ajay Saggar. His basic thrust is modern psychedelia, minted from radio snippets, dubby reverb flapping, elegant guitar washing, electronic drones interwoven with flashes of mock jaw harp or sploshy drums, and a generally stoned atmosphere. And the concept is spectrally sound!" (Byron Coley / the Wire magazine...January 2023) The songs on this album are varied stylistically. Combining psych, drones, minimalism, free jazz, electronic music and dub in this work, this is another album's worth of musical joy and wonder for all to enjoy.

TRACK LISTING

Cat On Arkengarthsdale
Red, Green & Gold
Stokely's Rebellion
Kosmos Klub
Won't You Wait?
I Love You So
Van Cleef Dub

‘Interiors’ is the fifth studio album by Brooklyn-based minimalist post-punk/synth-pop duo The Vacant Lots. The 8 songs on ‘Interiors’ synthesise all of the band’s past work while pushing forward into the future. It’s Jared Artaud and Brian MacFadyen’s darkest and most visionary work yet. Ethereal metallic synths and blistering electronics are driven by disco-on-downers dance beats lashed with gutter-rock guitar riffs and icy detached vocals with evocatively concise and lacerating lyrics.

Recorded over many sleepless nights and amphetamine-fueled mornings in the project’s isolated Brooklyn bunker home studios, the album follows the band’s minimal is maximal aesthetic coalescing into dark bedroom anthems for loners and lovers with nods to 70s/80s punk and nightclub music ala Joy Division, Iggy Pop’s The Idiot, Depeche Mode, and New Order. On the lead single “Amnesia,” Jared Artaud says "It’s about dealing with duality and integrating the conflicting feelings within a relationship. It’s about feeling dissociative and getting burned by the fire. Then coping with how this inevitably leads to the dissolution of the relationship. This is a mantra for all the songs on the album."

TRACK LISTING

1. Amnesia
2. Paradise
3. Ashes
4. Evacuation
5. Destruction
6. Scars
7. Endgame
8. Damaged Goods

Joseph of Kirezi were formed in Ikebukuro (Tokyo) in 2012 wherever since they have been roaming the outermost corners of the black clad psychedelic underground. So please get ready to treat your ears to ‘The Only Way Out Is Through’ – a pounding tour de force of amp destroying killer Fuzz Wah Sike Rock. If there was ever music to be played in that killer sixties exploitation movie – in that biker club scene where every one has been spiked with the brown acid and the bad trip is coming on strong – then this is the music that would be playing – a pounding and ferocious white noise psychedelic nightmare. We are not dealing with any subtle intricacies here, just the joy in the classic combination of excess volume and repetition – crushing levels of heaviness all enveloped in a white noise fury.

Taking cues from kindred spirits such as High Rise, The Stooges, Black Sabbath, Hawkwind, Amon Düül II, Spacemen 3, The Heads – music for freaks in the know – Prepare to vibrate as you TURN ON , TUNE IN , FREAK OUT !

TRACK LISTING

A1 - The Only Way Out Is Through - Part 1
B1 - The Only Way Out Is Through - Part 2

Over the years Sharron Kraus’ musical career has pulled her in many directions and seen her collaborate with artists, poets, writers and researchers, creating soundtracks, podcasts, musical accompaniments and responses. She is an intuitive improviser, a compelling performer and a weaver of musical spells. The spine supporting this body of work is songwriting, though, and it is to this most natural combination of words and music that she always returns. If prose writing is a tool for analysis and working out what we think, because of the emotional dimension music introduces, songwriting is a tool for working out how we feel. KIN, her newest album, is a collection of songs written during and partly in response to the pandemic and the relative isolation it plunged us into. Kraus dives into deep explorations of themes of kinship with other humans as well as the natural world, and of what happens when those kinship bonds are severed or abused. Sonically the album is on a continuum with her previous solo album, Joy’s Reflection is Sorrow, with its layered synths and recorders, and sits somewhere in the space between Jane Weaver’s electronica and the psych/folk of bands like The Left Outsides, Modern Studies.

‘Western Mystery Tradition’ is the third studio album from Detroit, MI via Brooklyn, NY outfit Moonwalks and is due for release May 26th via Fuzz Club. A departure from the band’s DIY psych-rock roots to a more mature and polished sound, the album was produced by Mattiel’s Jonah Swilley and recorded in May 2019 at Detroit’s acclaimed (and rumored haunted) Masonic Temple with Bill Skibbe (Jack White, The Kills) in a lodge belonging to the Free Masons’ Detroit chapter. “Western Mystery Tradition was conceived in the winter of 2019 amidst a polar vortex in Detroit, Michigan”, Moonwalks recall of the record’s origins: “At the time and in between touring, we lived together in a house on the west side that lacked a working stove and had no power in half of the building. The band - trapped indoors due to temperatures in the negatives and massive amounts of snow - drew inspiration from our isolated state amidst a bleak Michigan winter.”

Moonwalks consists of Kerrigan Pearce (drums), Jacob Dean (guitar), and Kate Gutwald (bass). Originating in Detroit's DIY scene, the trio started out playing in warehouses and makeshift venues across the city. Since then, they’ve gone on to tour extensively throughout North America and Europe supporting acts like The Murlocs, Metric, Julian Casablancas & The Voidz, Thee Oh Sees, The Liminanas, and The Mystery Lights to name a few. 

TRACK LISTING

1. Intro
2. War On Nothin'
3. Natural Possession
4. Cherry Shade
5. Jodi's Shoes
6. Outer Limits
7. Crown Of Roses
8. Joy Of Geraniums
9. Cream Of The Country
10. Into Time
11. Heavy Tears 

DEAD SEA APES are back with a passion to deliver their most essential and cohesive album to date. Formed in 2009, DEAD SEA APES have become a fixture of the psych scene, sharing stages with the likes of Part Chimp, The Heads, Acid Mother Temple and Mugstar while producing a distinctive body of work, ranging from psychedelic punk to experimental dub, from freeform jams to constructions of loops and drones. Following a slew of collaborations and split releases, REWILDING sees them return to a power trio of Brett Savage (guitar), Jack Toker (bass) and Chris Hardman (drums). From the chaotic blast of opener ‘Denialist’, beaming out like a maniacal emergency broadcast, through to the monolithic pounding of the title track, REWILDING is unrelenting, taking in blown-out guitar wails and jet black psych noise while the irrepressible rhythm section moves from claustrophobic motorik beats to a thunderous rolling juggernaut. These blackened pearls have been recast and refined over the course of the past three years, strung out deeper than the night and now embodying our present uncanny, disorienting times, as we emerge into an altered world to find Mother Nature reasserting herself while the human madness intensifies, locally and globally. Savage and uncompromising, this is DEAD SEA APES at their most direct and visceral. 

Iconoclastic Afghan-American street music project Naujawanan Baidar makes its long anticipated return with "Khedmat Be Khalq," its third album and first new release in three years. Originally planned as a "studio debut" in the classic sense, a veritable avalanche of setbacks tangled and delayed the recording process over a span of several years as compounded tragedies - both international and personal - disrupted the project's intended transition from simply being a ramshackle demo/home-recording outlet for founder N.R. Safi (The Myrrors, et al) into a properly working band. At the end of the day the process of assembling what would eventually become "Khedmat Be Khalq" became a lot like that of the previous two releases: gnarled and sun-baked tracks cut up and collated into a blown out collage of sound. If there is any obvious difference this time around it is perhaps to be found in the increased focus of the material. Whereas the group's previous two projects ran the gamut from sparse acoustic improvisations to tape-loop-inspired noise, "Khedmat Be Khalq" presents a more unified hybrid of Afghan folks styles and electric energy, further exploring Safi's "maximalist minimalism" approach. Tape-saturated and over-amplified Afghan rubab, armonia, and ghichak meet pounding multi-layered rhythms that at times hint at 1970s-1980s industrial music or the heady throb of German krautrock groups like Faust or Amon Düül. Perhaps nowhere is this unique combination more striking than in Naujawanan Baidar's swirling re-arrangement of the Afghan folk classic "Raftim Az Ayn Baagh" that closes the album. The rubab melody that serves as the song's core is warped into something that in all honesty wouldn't sound particularly out of place spun between early Savage Republic and Crash Worship. Lyrically the album moves away from the more abstract and impressionistic style of Safi's earlier material towards a concrete attempt to address the struggle of the Afghan masses from the complicated perspective of the international diaspora. The songs here work to draw out and examine the contradictions and challenges faced by a people once again locked in the talons of a sociopathic religious fundamentalism, connecting the country's position to the current global fight against imperialism, militarism, and resurgent fascism, and attempting to recover obscured historical fragments and lessons surrounding the proud radical history of Afghanistan's diverse population over countless decades of intensive struggle. It is here that Naujawanan Baidar's "street music" aesthetic blossoms into a sort of avant garde agitprop - a militant soundtrack angling at a revolution.

Welcome to the debut album by Richard Olson & The Familiars, A LP full of dreamy harmony laden melancholy and, dare we say it, Singer Songwriter Pop Music – though Pop Music in the sense that each track is a gorgeous ear worm that you can wrap yourself in and within. Richard was a member of the now-legendary Eighteenth Day Of May, before forming The See See who would then evolve into the much loved and revered The Hanging Stars.

On Richard’s debut LP we are treated to a record full of lush harmonies, acoustic guitars and strings as well as Richards most personal and reflective writing, Songs that are full of a hazy warmth and yearning that superbly capture the feel and sound that lies somewhere between The Byrds (think Easy Rider) and The Clientele. The plaintive gorgeousness of opening track ‘I Can’t Help Myself’ reflects the heart-rending, deep feeling that flows throughout the whole of Richard Olsen and The Familiars debut LP.

Richard has a great, expressive voice, capable of switching from harmonious and melodic to world-weary within a single song. Air is especially affecting and effective - gorgeously near-ambient kaleidoscope vibe of whispered vocals with pedal steel and slide guitar. ‘I’m A Butterfly’ blends a sumptuous bouncy riff with harmonica and tambourines into hazy dream of pop perfection. Inside Sunshine is the perfect song to close the LP, lilting into the sunset as Richard creates an wonderous retro hued filter - a filmic paean to love with Luke Barlow’s flute playing adding to the trance created.

Porto-based trio 10 000 Russos will release their new ‘Live In Berlin’ double LP on March 24th 2023 via Rubber Duck, a new live album imprint by Fuzz Club Records. The record captures the band storming through their subterranean motorik psych-drone live at Berlin’s Astra Kulturhaus on October 16th 2021. Recorded whilst out on a European tour, ‘Live In Berlin’ finds 10 000 Russos performing their 2021 ‘Superinertia’ LP in full the album’s five songs expanded and taken to even more transfixing and hedonistic heights in a live setting. These shows were 10 000 Russos’ first with the new, more-electronic line-up and sound, with newly-recruited synth player Nils Meisel making his debut on the ‘Superinertia’ LP and completing the line-up alongside founding members João Pimenta (drums/vocals) and Pedro Pestana (guitar). Across the hour-long set, Pimenta’s deadpan sprechgesang vocal and machine-like percussion, Pestana cascading psych guitar-loops and Meisel’s repetitive synth basslines all combine on a performance that will pull you into a trance at times and get you on your feet at others. 

TRACK LISTING

1. Station Europa (Live)
2. Saw The Damp (Live)
3. A House Full Of Garbage (Live)
4. Super Inertia (Live)
5. Mexicali/Calexico (Live)

Bhajan Bhoy releases two separate albums on the same day, his third and fourth albums, and a joint release on highly respected independent labels Cardinal Fuzz (UK) and Feeding Tube Records (USA). Drawing from the deep triple bad acid well of psychedelia, Bhajan Bhoy further shifts the parameters surrounding the perceptions aligned to this genre with a beautiful and meditative set of tracks. A kaleidoscopic sonic universe within which you will find raga-esque musical excursions, meditative Dream House drone, beautiful folk inflected jams on a Laurel Canyon tip, electronic dreamscapes and heavy guitar riffola where sometimes two chords are enough. Listening to the two albums and you could imagine Pandit Pran Nath, Spacemen 3, Pauline Oliveros, and Don Cherry drinking the same Psilocybin tea beforehand, and then embarking to the studio to lay down the jams. This is the sound of freedom! Byron Coley / The Wire (January 2023) said of the previous release “Shanti Shanti Shanti” : “another fine release by Dutch musician Ajay Saggar. His basic thrust is modern psychedelia, minted from radio snippets, dub reverb flapping, elegant guitar washing, electronic drones interwoven with splashes of mock jaw harp or splashy drums, and a generally stoned atmosphere. And the concept is spectrally good!” The songs for “To Love Is To Love (Vols. 1+2)” were recorded and mixed between January 2021 and June 2022 at Soundation Studio….Ajay’s sonic laboratory. As he states : “it was a highly focused and intensive period of work for me. The pandemic allowed me to go and work in the studio all day and into the night pretty much everyday. I’d never felt more focused in my pursuit of making a set of songs. It yielded a body of work that I am incredibly proud of, and think is some of the best stuff I’ve done. I was fortunate enough to have some incredibly talented players join me on some songs (Ab Baars, Gayle Brogan, Sheila Bosco, Holly Habstritt Gaal, Mees Siderius, Arvind Ganga, Aaron Lumley, Elsa v/d Linden, Ditmer Weertman). The songs evolved in a very organic manner. The influences are there for sure…but I don’t know any musician who is not directly or indirectly influenced by their peers / record collections. Ultimately though they are BHAJAN BHOY songs…..and if you listen to them, they are definitely from within ME!. The songs are part of a journey, and that is the reason that there are two separate albums. It made total sense for these songs to appear on two separate albums (“Shanti Shanti Shanti” was the album before these ones and was the first part of this triptych).”

Ajay Saggar is BHAJAN BHOY. Since his debut album was released in June 2020 (“Bless Bless”) he has been receiving critical acclaim for his recorded output and his live shows. On Friday 10 March 2023, BHAJAN BHOY will release TWO separate albums on the same day. These will be Bhajan Bhoy’s third and fourth albums , and a joint release on highly respected independent labels Cardinal Fuzz (UK) and Feeding Tube Records (USA). Drawing from the deep triple bad acid well of psychedelia, Bhajan Bhoy further shifts the parameters surrounding the perceptions aligned to this genre with a beautiful and meditative set of tracks. A kaleidoscopic sonic universe within which you will find raga-esque musical excursions, meditative Dream House drone, beautiful folk inflected jams on a Laurel Canyon tip, electronic dreamscapes and heavy guitar riffola where sometimes two chords are enough. Listening to the two albums and you could imagine Pandit Pran Nath, Spacemen 3, Pauline Oliveros, and Don Cherry drinking the same Psilocybin tea beforehand, and then embarking to the studio to lay down the jams. This is the sound of freedom! Byron Coley / The Wire (January 2023) said of the previous release “Shanti Shanti Shanti” : “another fine release by Dutch musician Ajay Saggar. His basic thrust is modern psychedelia, minted from radio snippets, dub reverb flapping, elegant guitar washing, electronic drones interwoven with splashes of mock jaw harp or splashy drums, and a generally stoned atmosphere. And the concept is spectrally good!” The songs for “To Love Is To Love (Vols. 1+2)” were recorded and mixed between January 2021 and June 2022 at Soundation Studio….Ajay’s sonic laboratory. As he states : “it was a highly focused and intensive period of work for me. The pandemic allowed me to go and work in the studio all day and into the night pretty much everyday. I’d never felt more focused in my pursuit of making a set of songs. It yielded a body of work that I am incredibly proud of, and think is some of the best stuff I’ve done. I was fortunate enough to have some incredibly talented players join me on some songs (Ab Baars, Gayle Brogan, Sheila Bosco, Holly Habstritt Gaal, Mees Siderius, Arvind Ganga, Aaron Lumley, Elsa v/d Linden, Ditmer Weertman). The songs evolved in a very organic manner. The influences are there for sure…but I don’t know any musician who is not directly or indirectly influenced by their peers / record collections. Ultimately though they are BHAJAN BHOY songs…..and if you listen to them, they are definitely from within ME!. The songs are part of a journey, and that is the reason that there are two separate albums. It made total sense for these songs to appear on two separate albums (“Shanti Shanti Shanti” was the album before these ones and was the first part of this triptych).”

Cardinal Fuzz and Feeding Tube Records are delighted to make available for you the debut release by Ambassador Hazy – Glacial Erratics – previously pressed as a private press edition of 100 records back in 2020. Ambassador Hazy is a solo recording project by Sterling DeWeese who was previously in a slew of obscure bands including Heavy Hands, Dirty Rainbow, Terrapin Gun, Madison Electric and Black Fantastic. Glacial Erratics is really a comeback record as Sterling had totally stopped playing for 7 or 8 years after he got married and started a family and the business of life took over – but the calling was always there and as his youngest began to grow – the time became available for Sterling to answer the call. First though he needed to get his ½”reel to reel 8 track back in working order and set up a studio space and fit it out with gear. It required the small matter of converting part of the basement into a studio, building the walls, and adding enough soundproofing to hopefully keep the neighbors and his wife happy – but such a thing was not going to stop Sterling. Soon he was playing again with some local musicians and recording some of those performances live to tape but the hassle of getting everyone together at the same time was hard so in the downtime Sterling began focusing on recording on his own. Thus the name Glacial Erratics was born, as it was all a bit of a hodge podge (i.e. erratic) and ended up being done over several years (i.e. glacial). Once there was enough material finished, between band tracks and solo tracks Sterling compiled them. The resulting album is a kaleidoscope of contagious hooks and artfully crafted songs, laid to tape and brought to life in brilliant colour. "Black Smoke Rising" is a blur of fuzz guitar and stuttering snare hits as Sterling tells us ‘I believe in the future – don’t take it away’ and over 14 tracks you are treated to artfully crafted acid pop gems that are riddled with potholes and weird left turns, with hooks that seem to bubble out of nowhere before receding into themselves. The lo-fi aesthetic works perfectly, with the songs benefiting from the warm fuzz tones of the instruments and vocals recorded onto that now fully functioning ½” tape machine. Sterling eventually self released ‘Glacial Erratics’ after seeking advice from his good friend Josh (Travelling Circle, Lime Eyelid) who had recently self released his LP – the record eventually reached John Westhaver (TBWNIS) who buzzed me immediately to tell me to wrap my ears around the genius wiggy pop perfection that is ‘Glacial Erratics’.

Cardinal Fuzz and Feeding Tube Records are delighted to present to you the new Ambassador Hazy LP ‘The Door Between’ Following last year's much loved and long sold out ‘The Traveler’ Ambassador Hazy is back with ‘The Door Between’ (the title taken from an old detective novel) which is a perfect metaphor for album's explorations into consciousness and perception, seeing the connectedness between all things while also embracing one's solitude and separation from others. Themes that were amplified as the record was recorded alone in a basement during a pandemic. With some new mics and toys featuring on this recording, Sterling experiments a bit more with recording techniques and different sounds which bring about a more overtly psychedelic sound than on ‘The Traveler’ and with a few songs being more explicitly drug related (and or induced). The Door Between is about being an outsider, or at least that feeling of being outside of things and the ways one might find connection be that through drugs, music, love. So while Orange Halos starts the proceedings the overtly upbeat and infectious melodies we have come to know and love from Ambassador Hazy – by the time you reach ‘Going Down’ you are dropped into Martin Rev/Suicide synth/drum machine head trip. So join Ambassador Hazy – maybe crack open a beer, smoke a joint, take a tab or just sit in your favourite chair – Drop the needle on ‘The Door Between’ and let it transport you to that other place.

Pioneer of the New York No Wave with the bands Mars and Don King, Mark Cunningham has been part of the Barcelona music underground for almost 30 years, performing solo, with his own groups Raeo, Convolution, Aleatory Grammar and Bèstia Ferida, as a member of Pascal Comelade´s Bel Canto Orchestra and Superelvis, and in countless local and international collaborations. Blood Quartet was formed in early 2015 in Barcelona from a fortuitous collaboration between Cunningham and Catalan underground rock trio Murnau B An outstanding musical treat that starts from the instrumental base of the modern jazz quartet and takes it to the territory of experimentation and electronics. Blood Quartet sound more luminous and rhythmic than ever, diving into uncharted terrain. This results in an exceptional range of genres that play with the form between the classic and the contemporary, and that extend the creative spectrum of the band towards new styles, such as krautrock and North African music. The result of this process has given rise to nine themes, each one baptized with the title of a literary work by some reference writers of the members of the quartet, in order to add more roots of meaning, more shadows of influence.

Long time in the making but good things always come to astral travellers as transatlantic soul mates Dead Sea Apes and The Band Whose Name Is A Symbol are joined together on black vinyl for the first time. Two artists that for over the last ten years (& longer) have spent their lives creating music that defies easy categorizations – psych rock / kraut rock /minimal / maximal /avant /free are phrases that only give you fleeting glimpses of what each artist represents. What we do know is that via a sprawling range of sound that is always uncompromising these two artists have pushed each other into a stunning realm of alchemy. The Dead Sea Apes create a hypnotic pulsing sound that weaves an ecstatic line starting from a raw minimal buzz and hum that takes in eastern modes and entrancing minimalism. The music is at once dissonant and hypnotic, rich with unfurling drones that dynamically ebb and flow as a searching interplay between instruments slowly emerges from a sparse open field and builds with the tension of a looming thunder storm. The Band Whose Name Is A Symbol recording is a live recording from the farmland in Richmond this year when Mr Cardinal Fuzz journeyed across the Atlantic Ocean to have his brain well and truly fried by these Ottawa Acid Punks. For this show TBWNIS was expanded to a 9 piece with the addition of Saskatoons Christopher Laramee (Shooting Guns, Wasted Cathedral, The Switching Yard..) and Mrs.Carol Lane (Resin Scraper / Beld). TBWNIS emerged to play as the Sun set over the never-ending Horizon and the Mozzies came out to play – And proceeded to lay down a barrage of high energy, free flowing ecstatic blues – like an endorphin spike into your cortex that felt like your head was sandwiched between the amplifiers as wave after wave of unrelenting free flowing orgasmic energy exploded within. Take note I was on some home made cookies that had me well and truly blasted as I merged with the universe and the vibrations emitting from the stage – it was a good place. 500 pressing – Black Vinyl with a Brett Savage Sleeve design based on the famous and much loved Bootleg label - TAKRL Love and thanks to Mike Coulis for all the efforts in putting on the live show and recordings

Have no fear, you amphetamine lovers, speed freaks and sonic maniacs, have no fear not to find among these 7 uncompromising tunes the illuminated fever of what constitutes the band’s DNA in its wildest incarnation, the alchemy of a unique style beyond the genres, the irreverent dreams calcined by a sound blowtorch, by the electro shocks overheated in the traumatized adrenalin ; have no fear, you counter-cultural worshippers and hygiene opponents, you zealots of the subtle oversaturation, of the plastic from beyond the grave monstrously remodeled in deformed oddness… Have no fear, you proto-punks, Gunslingers knows no homeland, Gunslingers is everywhere for no one and nowhere for everyone. _ Opaque Dynamo ” Once again Gregory Raimo drops a hydrogen bomb of an album on us leaving alla you pampered pooches in such shock that you can’t even run home to the comfort of your mother’s boobies. Hard overdrive rocknroll is once again in store, and it’s played to such a fever pitch that those usually daft comparisons to the velvet Underground and Stooges that I have made these past fortysome years sound even more banal than they usually have.. So out-there powerful that alla those eighties hopes of ours (Halo of Flies, the Australian bands) sound pattycakes in comparison. Maybe High Rise with a tad of LSD March added? Hey Raimo, if you read this tell us how we can get a copy for ourselves. ” _ Chris Stigliano, Blog To Comm.

The Human Hand live combo comprises Joe Hollick (Wolf People - Jagjaguwar Records, solo), Karl Eden (John Peel favourites tRANSELEMENt) and Jonathan Dickin (MUMS, Honey Spider, Bleak) Joe and Karl met at an Acid Mothers Temple show in 2012 before realising they both lived minutes away from each other in neighbouring sleepy Lancashire Pennine villages. They performed a number of shows together as a wig-out loose improv duo channelling heavy motorik grooves, Anatolian suffused lead lines, a general layer of Northern skuzz tied together with Joe’s signature guitar work. Early HH recordings were juxtaposed by being captured at extremely low volume due to necessity as the only available opportunity was to work on material late at night to avoid waking their young children. Human Hand were augmented and given a live makeover by the addition of Jonny (MUMS, Honey Spider, Bleak) on drums, a former student of Karl’s and all round music and literary geek. The trio recorded their debut LP “Tremor” in a hasty 8 hour session, with a vinyl release on Cardinal Fuzz recordings in the UK, and Feeding Tube in the US, due September 2022. About “Tremor”: Tremor is the debut album from Human Hand: a core-trio and broader collective based in the shadow of Pendle Hill, Lancashire, UK. Recorded during two days of post-lockdown cathartic noise. Tremor was created using instant composition, 4 track tape manipulation and immediate overdubs. 500 copy vinyl release due September 2022 via Cardinal Fuzz (UK) and Feeding Tube (US).

Plastic Crimewave Syndicate has finally returned with a wide-ranging/raging new album — recorded two years ago in an expansive, benevolent alleyway in the midst of a dark, diseased, claustrophobic time of global chaos. The new PCWS album, entitled "Space Alley," boldly travels into the relatively unexplored malevolent terrain of free doom, space/noise punk, and darkly dubbed-out library/soundtrack grooves (call it 70's crooked-cop show/freak-funk, if you must). This is all capped off with a sidelong, (beat of the) earth-harvesting modal exploration of synthed-out kraut-throb. With new bassist Rob Rodak (Dead Feathers) aboard, and guests like sax-skronk legend Taralie Peterson (Spires That in the Sunset Rise), flautist Sara Gossett (Spiral Galaxy), and synthlord Will MacLean (Protovulcan), new influences have seeped into PCWS's dystopian vision. The Syndicate have opened for revered deities like Nik Turner, Loop, Simply Saucer, Chrome, and Josefus; but now a more diverse and groovy array of past underground sounds like Skin Alley, Sound of Imker, Here and Now, Mann/Sharrock, Black Sun Ensemble, Parson Sound, and Schizo have influenced PCWS's journey. Recorded by Eric Block (Rhys Chatham, Sick Gazelle) of Rec Rooms studios, and mastered by Monster Magnet/Desert Sessions guitar god JP McBain, the mind-fry level is set to 11 ½ on Space Alley!

Standout favorites of Riding Easy Records’ Brown Acid compilation series, White Lightning’s stellar discography of rare and under-appreciated heavy psych, proto-metal rock gets a vital revival for new generations to learn how swinging, swaggering and often blazingly fast rock’n’roll is done.White Lightning was formed in Minneapolis, MN in 1968 by guitarist Tom “Zippy” Caplan and bassist Woody Woodrich after leaving garage psych band The Litter (themselves popular standouts from the Nuggets and Pebbles series of garage rock rarities.) Originally a power trio, the band later expanded to a 5-piece in 1969 while shortening its name to Lightning. The quintet’s brilliant and rare 1970 self-titled album on Pickwick International’s P.I.P. imprint provides 6 of the 10 tracks on Thunderbolts of Fuzz.The original White Lightning trio only released one 45-rpm single “Of Paupers and Poets” during their existence (on local Hexagon label in 1968, later reissued by major label ATCO Records in 1969.) A long out-of-print posthumous album released in 1995 gathered unreleased recordings, 3 of which are found here. This rounds out this collection of recorded highlights from the band’s rocky history.
Taking their name from a particularly potent type of LSD, White Lightning laid out from the start that it was not cute and cuddly 70s rock. In fact, the band’s aggressive tempos are like punk rock way before punk. However, their dirty blues groove and musical prowess shows the band was more than unrefined ne’er-do-wells, they had true versatility.

Drummer/lead vocalist Mick Stanhope later relinquished his drum throne to take center stage as lead singer of the expanded lineup. Throughout its initial 1968-1974 run, the band had 10 different lineups, with Caplan, Woodrich and Stanhope the most consistent members — though the band points out that no one member has played in all 11 incarnations of the group. 

Album opener “Prelude to Opus IV” is a wailing rocker with blazing double-kick drum, sizzling melodic riffs and Jim Dandy howls jam packed into an epic 4 minutes that serves enough testament to the band’s greatness, nothing more need be heard or said. However, the would-be hits keep coming as the Led Zeppelin meets Black Oak Arkansas thwack of “Hideaway” and “Born Too Rich” come screaming out of the speakers. “When A Man Could Be Free” shows the band could also reign in the fury, at least a little bit, for a warm Southern rock style ballad. “Borrowed and Blue” echoes the stately poetry of Electric Ladyland-era Hendrix with a dash of The Who’s rollicking psychedelia. “1930” is, quite simply, insane. Searing twin guitars with incredible fuzz-drenched tone, a warm and buzzing bass line bounce atop drummer Bernie Pershey’s unrelenting bass drum triplets while Stanhope ravages his lungs with soulful abandon. The album closes with the aptly titled “Before My Time” a barnstorming boogie rock instrumental the proves the band vanished long before receiving their due.

TRACK LISTING

Side A
01. Prelude To Opus IV
02. Hideaway
03. Born Too Rich
04. When A Man Could Be Free
05. 1930
Side B
06. Borrowed And Blue
07. They?ve Got The Time
08. Riders In The Sky
09. Fantasy Days
10. Before My Time

The Minnesota-born, Florida-raised, NYC-based artist Breanna Barbara’s 2nd album - ‘Nothin’ But Time - is a raw and immersive trip through the sounds of psychedelic rock and blues, anchored by her forceful vocals and unforgettable songwriting. Sporting a sound that feels classic and of-the-moment at the same time, Nothin’ But Time is the next chapter in Barbara’s exciting career, cementing her as an artist who’s committed to plumbing new emotional depths as she bursts through every sonic barrier put in her way.

Nothin But Time arrives following Breanna’s 2016 debut Mirage Dreams, a trio of critically acclaimed singles (most recently ‘New Moon’) and a number of collaborations with legendary trip-hop vanguard Tricky. As well as joining his US touring band as lead female vocalist, Breanna also did an official rework of his 'When We Die' track and featured on the 2021 Lonely Guest album, False Idols.

For the recording of Nothin’ But Time Barbara and her band returned to Nashville’s Bomb Shelter studio with Andrija Tokic (Alabama Shakes, Hurray For The Riff Raff) – with whom she recorded Mirage Dreams. With musical contributions from Jack Lawrence (The Dead Weather), Tall Juan, Derry DeBorja (Jason Isbell), and Champagne Superchillin’s Ben Trimble and Charles Garmendia, the album was put to tape in the months prior to the COVID-19 pandemic: “I’d learned so much since the last time we were in the studio that I knew I could have a stronger voice getting back into the studio again.”

Nothin’ But Time reflects Barbara’s headlong journey into the world of psychedelic rock and pop, mixing these heady styles with her already established hard-driving blues-rock approach with warped theremin tones as well as celestial vibes courtesy of DeBorja’s own synth wizardry, as Barbara and her band sought out to create mind-expanding music that’s also firmly rooted in the real.

There’s the organ-rich ecstasy of “You Got Me High” and the hair-raising, Cat Power-recalling intimacy of “Devil”; “Me Too” is a searing rumination on the patriarchy’s oppressiveness over punchy strings, while opener “Diamond Light” features rolling drums and miles-long guitar lines, as Barbara’s voice cuts through the atmosphere while ruminating on nostalgia and the perils of looking back. “We can look at things so beautifully, but in hindsight they have another facet to them,” she explains regarding the lyrical perspective.

Over the driving beat of “Landslide,” Barbara zooms in on the ways that fate affects our daily living, and the complications that come from taking the wheel yourself. “I’ve been trying to trust my intuition more as I get older,” she explains. “I’m very impressionable, so I find it best for me to focus when there’s nothing else around to influence my decision.” Then there’s the howling title track, which takes on the heavy subject matter of facing down death itself.

“Death has always been something that’s hung over my head,” Barbara ruminates while discussing the song. “The idea that we have nothing but time makes me want to throw everything in the air, but I also want to hold on to everything so tightly that I don’t want to move forward.” And ‘Nothin’ But Time’ is defined by such honest self-expressions—a fearlessness that’s at the core of her artistic outlook and overall way of being. “I’m all about not being afraid of your own voice,” Barbara states. “The way out of the hardest times is deep within you. You are enough.”

TRACK LISTING

Side A
1) Diamond Light
2) Landslide
3) Nothin’ But Time
4) Rise
5) Me Too
6) Weight Of The World
Side B
7) You Got Me High
8) Exist
9) Old Soul
10) Devil
11) Weaning

Created under isolation, ‘Closure’ is the fourth album from Brooklyn duo The Vacant Lots and is Jared Artaud and Brian MacFadyen’s most fully realised work to date. Out September 30th on Fuzz Club Records, the record packs 8 minimal is maximal salvos into 23 minutes that coalesce into a stun-blast soundtrack for today’s shattered society. New York City’s artistic skyline may have changed immeasurably since the last century, yet the minimalist post-punk/synth-pop duo vividly gouge into the city’s immortal outsider spirit and underground cultural tropes, set against a pulsating backdrop of modern apocalypse.

Laced with evocatively concise and lacerating lyrics delivered detached and deadpan, ‘Closure’s spine-chilling onslaught of towering guitar shrapnel, ethereal metallic synth melodies and cold electronic turbulence comes infused with shades of New Order and Jesus And Mary Chain; the kind of modern disco and post-punk grooves that pillaged New York clubs in the 80s. Inevitably, the penetrating spirit of New York electronic trailblazers Suicide haunts the new record with its subterranean gravitational pull, having previously manifested physically when the two-piece befriended the late Alan Vega – leading to collaborations, support spots and Artaud now co-curating the ‘Vega Vault’ of unreleased material and co-producing and mixing the 2021 lost ‘Mutator’ LP.

TRACK LISTING

1 Thank You
2 Consolation Prize
3 Eyes Closed
4 Disintegration
5 Obsession
6 Chase
7 Red Desert
8 Burning Bridges

Leipzig, Germany-based experimental group Flying Moon In Space will release their second album, ‘ZWEI’, on June 24th. Due out via Fuzz Club Records and preceded by UK and EU tour dates through Spring/Summer, the latest album from the six-piece will arrive off the back of their highly-praised and sold-out self-titled debut album and a recent remix 12" that featured reworkings of tracks from the S/T album courtesy of kindred spirits Xiu Xiu, Suuns, A Place To Bury Strangers, Minami Deutsch, Camera and Warm Graves.

Where Flying Moon In Space's debut album was an extension of their live shows, long improv performances that would last hours at a time, the arrival of the Covid-19 pandemic and lockdown restrictions meant they were forced to reinvent their creative approach on its follow-up. Adopting the childhood game 'Stille Post' (or 'Telephone'), the six members would each send the demos around in a circle, recording a single line or changing up the tempo, until the songs took on a life of their own.

These demos were then taken into a studio deep in the forests of the Czech Republic and 'ZWEI' was born. "Musically it turned out to be somehow something completely new to us. As a result ZWEI has a more structured, poppy side compared to our debut, even though soundwise we opened up to more experimental layers - using synthesisers for the first time, as well as loops and field recordings of the church and surrounding forest. I guess generally you can say that the process behind this LP was manifold - testing out personal and aesthetic borders, and carrying on our idea of what Flying Moon In Space can be sonically.”

TRACK LISTING

1) Traum Für Alle
2) Optimist
3) This Exists
4) Power
5) The Day The Sun Was Made
6) Illl Ill Ill
7) Dissoziation
8) Prophet 

In dark, troubling times, maybe the most instantly gratifying solace one can seek is a wittily barbed diagnosis of the situation. “The fox has his den. The bee has his hive. The stoat … his stoat-hole,” Stewart Lee once remarked: “But only man chooses to make his nest in an investment opportunity.” Caustic retorts like this are what fuel the debut EP by dance-punk outfit Regressive Left, ‘On The Wrong Side of History’. For pervading through their dynamic and glitching music is a duty to report unflinchingly society’s ills. They are a staunchly political group, but far from your average po-faced by-numbers punk band. There is a gristly social commentary at the band’s core, but the songs themselves are characterised by a need to have fun, to find some kind of solace and escapism from the inevitable rapture.

Recorded over an intense 5-day spell with in-demand producer Ross Orton (Arctic Monkeys, MIA, Amyl and The Sniffers) in Sheffield, Regressive Left’s debut EP ‘On The Wrong Side of History’ was immortalised over a handful of 11am-1am sessions in his studio. In many ways it is a time capsule of the maelstrom of ideas that got the group to this point in the first place – the infuriating, bleak political climate, and the urge to find escapism from it – consigned to vinyl in one herculean effort. Taking influence from the booming post-punk, funk and disco scenes of New York, Regressive Left’s sound is stark and danceable. Angular guitar scratches meet dirty synth basslines, whilst Simon Tyrie’s Edwyn Collins croon is chased around by effervescent drums. The banal horror of life in Tory Britain expressed with sharp and dry wit, and then set to truly barnstorming and infectious dance music

Due out July 15th on Bad Vibrations Records, the new EP arrives following a trio of acclaimed singles (‘Eternal Returns’, ‘Take the Hit’, ‘Cream Militia’), tours with the likes of Bodega and Folly Group, festival appearances at End of the Road, Latitude, Great Escape and Wide Awake, and a sold out headline at The Windmill.

TRACK LISTING

1) The Wrong Side Of History
2) World On Fire
3) Bad Faith (ft. Mandy, Indiana)
4) No More Fun

A staple of the global psychedelic scene, Lover has spent nearly a decade fine-tuning a broken, abstracted form of electronica that pools together a tapestry of trip-hop, synthesised krautrock, dub and dark ambient. Utilising an arsenal of samples, drum machine, analogue synths and live instrumentation, Lover’s is a kaleidoscopic sound that’s J-Dilla, DJ Shadow and Lee Scratch Perry by way of Brian Eno, Kraftwerk and Kluster. Central to Lover’s music is a desire to explore the fringes of psychedelic music and the common threads that run through its far-reaching styles, drawing elements from the past and connecting them to the future.

Through the years he has released a number of studio albums and beat tapes, remixed the likes of Osees and Night Beats, been resident DJ for the Levitation and Desert Daze festivals and collaborated with the likes of Goat, Anton Newcombe, Cairo Liberation Front and White Fence. Now, Lover returns with his latest studio album, ‘Cosmic Joke’ – a series of synthesised philosophical meditations on modern life, in all its tragicomic absurdity. "'Cosmic Joke' came from observing the rising, compounded absurdity in recent years and seeing structures of normalcy dissolving. It’s my attempt to view these things as part of a higher-order process, through a metaphysical lens rather than an ideological one. It’s been an exercise in holding the paradoxical relationship of comedy and tragedy, joy and pain, growth and decay, scale and decline as part of an interlocked system that, at a deep level, is essential to how we interface with the world.”

TRACK LISTING

Side 1
1. Stereoscopic View (5:39)
2. Parallel Pathways (2:46)
3. Cosmic Joke (4:12)
4. Ultimate Reality (Question) (1:50)
5. Infinite Impermanence (2:33)
6. Order From Chaos (4:26)
Side 2
1. Integrated Paradox (2:41)
2. Deep Time/Complex System (4:03)
3. A Very Mechanized Dance (3:07)
4. Experiential Feedback Loop (1:50)
5. Corresponding Contradiction (3:51)
6. Reverberative Relationship (2:56)
7. Linear Return Cycle (3:32)

Slow Dawn is from Ottawa, Canada and have spent the past few years honing their craft with a series of self released titles, including 2020’s Experimental Farm, a rather angst-ridden and raw display of sonic power. They are led by guitarist Dan Druff, formerly of Holy Cobras, and are rounded out by Chris DiLauro on drums and Jesse Winchester (Masss) on bass and synthesizer. The band draws influence from the darker edges of the musical spectrum and places a majority of their energy on filling empty voids with as much sound as possible. Slow Dawn is a cacophony of reverberating distortion, swirls of echoing vocals, droning horns, and a steady din of plodding drums. Whether it’s Ottawa’s grim and cold winters or simply a sign of the times, the band’s sound is quite dystopian and is marked by a sense of solemn minimalism. It would be safe to say that with Slow Dawn, the glass is rarely half full.

With six songs clocking in at about 22 minutes, Into the Machine Haus moves quickly and efficiently through a range of territories that include post-punk, psych, krautrock, noise, and even a little bit of goth. It’s a unique amalgamation of sound that demands attention. The band’s influences are easily read but integrated in a way that they escape the dreaded “sounds like” tag. And, to their credit, there are no wasted moments or frivolous meanderings. Their approach is straightforward, primal, and succinct. In the case of this album, less is definitely more. (Mike Mannix).

In March 2020 The Janitors from Stockholm had their new album written and studio time booked in the north of Sweden - ready to unleash their latest shamanic fuzz meltdowns and follow up to the Horn Ur Marken album from 2017. Then corona hit and everything changed. The band figured they would go down into their own studio to work on those tunes some more until things passed over but instead they ended up recording other songs that turned into Noisolation Sessions Vol. 1 released in 2020 including some of the best songs The Janitors ever produced.

At times percussive and dancey, at others hypnotic and cinematic, the largely synthesiser-driven soundscapes of 'L’Orée' feel both of the past and the future. It’s the sound of two different worlds – a record capable of being as primal and ritualistic as it is synthesised and digitally manipulated. Where the band’s prior minimal Krautrock (see their 2019 ‘Sinie Sinie’ LP) might have brought to mind cold, dark post-industrial cities, ‘L’Orée’s kosmische experimentalism takes you instead on an instrumental journey through the natural wilderness via the medium of shape-shifting psychedelic electronics.

That ‘L’Orée’ explores a more natural and organic sound than heard on their previous releases owes largely to the environment it was made in. Recorded in a tucked-away house in the French countryside that bordered on a surrounding forest, Ashinoa recall sessions spent soaking up their surroundings with a number of collaborators coming in and out to perform on the record: “The house we recorded the album in was kind of in the middle of nowhere, surrounded by douglas pine trees.

From this proximity to the forest, we wanted to take our soundscapes to a place we’ve never been before. Before we were surrounded by concrete, and then far from it. We were looking for a new listening place, to discover new intriguing sounds. We had laid down the basis of the album and then musician friends that would visit us at the time were invited to participate in the making of the album, each one of them bringing a touch of their own.” Since forming in 2015, the French five-piece comprised of Chris Poincelot, Matteo Fabbri, Jérémy Labarre, Paul Renard and Ghazi Frini have been at the forefront of the alternative scene in their home city of Lyon.

Initially associated with the city’s Misère Records movement and collective, the band have now signed to London-based label Fuzz Club Records (Night Beats, Tess Parks, The Underground Youth) for their latest. It follows the band's debut 'Sinie Sinie' LP and a vinyl-only release of the 'Koalibi' single as part of Fuzz Club's Reverb Conspiracy compilation series. Having toured around France on a number of occasions Ashinoa have also through the years shared stages with the likes of Metz, Flamingods, Tomaga, Warmduscher, Bo Ningen, Kikagaku Moyo, Minami Deutsch, The Holydrug Couple and many more.

TRACK LISTING

1) Vermillion
2) Koalibi
3) Feu De Joie
4) Space Cow
5) Falling Forever
6) Fuel Of Sweet
7) Unknown To Myself
8) Selvatica
9) BAde BaidebSz
10) Disguised In Orbit
11) Yzmenet
12) Outro

RIYL: The Heads, Loop, Popul Vuh, Parson Sound, Amon Duul, Neu!, Spacemen 3, Harmonia, Moon Duo, Carlton Melton, Fripp and Eno.

kandodo was invited to play at the 2015 Roadburn Festival as part of The Heads residency. Robert Hampson from Loop/MAIN was also going to be at the festival and so it seemed a good opportunity for him to join kandodo for this gig along with Wayne and Hugo from The Heads (who are also the Loop rhythm section as well as part of kandodo). Rehearsals were set up in Bristol and the gig in Roadburn was a couple of nights later and that is the recordings gathered here for "Burning The (Kandl)" with running order changed to help fit over these 2 hefty slabs of vinyl. So get ready for a total immersive trip through a psychedelic vortex . A glorious head nodding voyage into inner space where the vast churning of fuzzy guitars / keys / bass and drums phase in and out of focus with your inner core.

Released in an edition of 500 and pressed on heavy black vinyl - Burning The (Kandl) is presented in a special lenticular effect outer sleeve.

Arriving seven years on from their 2014 debut album ‘Ships Will Come’, Warm Graves (the moniker of Leipzig-based composer Jonas Wehner) return with their second studio album, ‘Ease’, on Fuzz Club Records. This seven-year gestation between the two albums brings with it a transformation in the creative process of Warm Graves, much like the human body exchanges its cells every seven years – our human bodies being both the same and wholly other. “For me, ‘Ease’ always comes back to the idea of transformation”, Wehner says: “In this case, from struggle to ease, choirs to whispers, rush to patience, light to dark. Those 7 years didn’t pass lightly. Life took a lot of turns and I had a lot to learn. It’s all in there compressed in 9 tracks.”

Where 2014’s ‘Ships Will Come’ dealt in ethereal, dream-like atmospherics guided by an operatic choir, ‘Ease’ offers a collection of harsher, more experimental electronic works touching on dark ambient drone, austere coldwave and synthesised kosmische musik. The transitions in this new album are more violent than before, expressing the difficult personal and social upheavals of its composition period. The choir is now absent and Wehner’s own voice assumes a more central, hypnotic stance. The soundscapes of the first album make way for something darker and a concentration of melody into a single voice – a voice no longer collective, but embodying both isolation and intimacy. "I've lit my own fate", Wehner sings in ‘Sun Escape’. A fate which he firmly places under the microscope across this album.

Warm Graves was brought to life by Jonas Marc Anton Wehner in 2012. In the years following the release of their epic 2014 debut ‘Ships Will Come’, Warm Graves soon found themselves touring with the likes of Exploded View and Moon Duo and sharing stages with The Soft Moon, Crystal Stilts, Efterklang and Moonface, among many others. As well as headline tours around Europe of their own, they’ve also appeared at such international festivals as The Great Escape, ATP, Iceland Airwaves, Roskilde and Eindhoven Psych Lab. Having spent the last few years quietly working on ‘Ease’ in the shadows, Warm Graves is now emerging once again as both a live and recording force – and doing so with a new live band, new album and reissue of ‘Ships Will Come’ (also released via their new label Fuzz Club Records) in tow.

TRACK LISTING

1) Atoria
2) Black Wine
3) Neon
4) Sun Escape
5) Cara
6) Deliria
7) Nightfall/Daylight
8) Ease
9) Sound Sleeper

Following the release of their self-titled debut album in December 2020, Flying Moon In Space – a Leipzig-based group that deal in an experimental melting pot of psychedelic pop, krautrock, techno and math-rock – are now releasing a new EP made up of remixes of tracks from the debut album by the likes of Xiu Xiu, Suuns, A Place To Bury Strangers, Minami Deutsch, Camera and Warm Graves.

On the new EP, which is released digitally and on 12" vinyl by London-based label Fuzz Club, Jamie Stewart of prolific American experimental group Xiu Xiu pushes the industrial 4/4 psych of 'Faces' to IDM extremes, Brooklyn noise-rock heavyweights A Place To Bury Strangers give 'The Observer' a feedback-blasted redux and Montreal art-rockers Suuns turn 'Steam Water Solid' into an 81-second assault on the senses. Elsewhere, German group Camera transform 'Where Lovers Meet' into a piece of hedonistic synthesised krautrock and Japanese band Minami Deutsch inject the sinister 'Ardor' with a motorik dark disco groove. Closing the EP is a beautifully slow-burning and atmospheric reworking of 'Baustelle' courtesy of fellow Leipzig experimentalists and Fuzz Club label-mates Warm Graves.

TRACK LISTING

1) Flying Moon In Space - Where Lovers Meet (Camera Remix)
2) Flying Moon In Space - Faces (Xiu Xiu Remix)
3) Flying Moon In Space - The Observer (A Place To Bury Strangers Remix)
4) Flying Moon In Space - Ardor (Minami Deutsch Remix)
5) Flying Moon In Space - Steam Water Solid (Suuns Remix)
6) Flying Moon In Space - Baustelle (Warm Graves Remix)

Arriving right off the back of their second album 'El Refugio' which was released in November 2021 via Fuzz Club Records, Mexican post-punk/krautrock group Sei Still are back with a 'Fuzz Club Session' LP that's due out January 21st 2022. Having upped sticks from Mexico City to Berlin, Sei Still's Fuzz Club Session was recorded live at Berlin's Monoton Studio back in October 2020 and is comprised of five tracks from the newly-released 'El Refugio' LP: 'Esperando' (later titled 'Saldados Caidos' on 'El Refugio'), 'Hombre Animal', 'Las Puertas De La Noche', 'Me Persigue' and 'Se Asoma el Sol' (later 'Solsticio'). 'El Refugio' and the session LP set to be released in support capture a new era for Sei Still. The expansive Krautrock jams heard on their 2020 self-titled debut have evolved into a dark, motorik post-punk sound that owes far more to 70s punk, goth-rock and Spanish New Wave than any kosmische travellers. The session is released on 180g black or white vinyl with a printed inner sleeve and is accompanied by a series of videos recorded during the session.

TRACK LISTING

1) Esperando (Saldados Caidos)
2) Hombre Animal
3) Las Puertas De La Noche
4) Me Persigue
5) Se Asoma El Sol (Solsticio)

'Ships Will Come' is the highly acclaimed debut album from Leipzig, Germany-based outfit Warm Graves. On the LP, Warm Graves deliver surreal, dream-like atmospherics that are underpinned by repetitive, organic rhythms and echoing vocals, performed by a self-taught choir composed of a collective of friends. Across the seven perfectly structured and interwoven tracks, Warm Graves create a sci-fi soundtrack that manages to be as gorgeously mesmerising and ethereal as it is anthemic and empowering. Originally released in 2014, the album is now being reissued by their new label home, the London-based Fuzz Club Records. Having spent the last few years out of sight and quietly working on new music, Jonas Wehner’s Warm Graves have now completed their long-awaited second album which is set to be released via Fuzz Club in 2022. Until then, their fantastic debut, ‘Ships Will Come’, is now available to stream/download on all digital platforms once again and will have a vinyl reissue arriving on December 3rd. Warm Graves have previously toured with Exploded View and Moon Duo and also supported The Soft Moon, Crystal Stilts, Efterklang and Moonface.

TRACK LISTING

1) Ravachol
2) Penumbra
3) Cold Women
4) Ships Will Come
5) Best Ezra
6) Headlines
7) Rouleaux 

Heavy psych power trio Charles Moothart, Ty Segall and Chad Ubovich hit the stage for the first time together in five years bringing a full set spanning their entire discography, and new album, III! Recorded at Zebulon in Los Angeles, CA.

In Oct 2020 the band released their first album in 5 years, III, scorching the earth with pure primitive rock and roll mastery captured by the sonic guru Steve Albini. It’s a record that is meant to be heard and experienced live, and their Levitation Sessions set is the smoldering slab of heavy psych we’ve all been waiting for, recorded at Zebulon in Los Angeles, CA. Director Joshua Erkman alongside sound engineers Matthew Littlejohn and Mike Kriebel, capture FUZZ’s intense energy backdropped by electric artwork from artist Tatiana Kartomten.

“We wanted to create something that felt like more than just a replacement for seeing us live. This is the first time we had played songs from III in the context of a set, and we found new footing on some of the old songs. This led us down avenues we hadn’t seen in rehearsal. To find ourselves in the space right in between ‘lost’ and ‘found’ (aka live) was both alarming and electrifying after having been away from it for so long.” - FUZZ.

TRACK LISTING

SIDE A
1. Earthen Gate
2. Sleighride
3. Returning
4. Time Collapse
5. The 7th Terror

SIDE B
1. Rat Race
2. Jack The Maggot
3. Pipe
4. Spit
5. Raise
6. Hazemaze

A retrospective release of recordings dating from 2005 to 2010 of orgasmic interstellar mayhem . Reissued and for the first time available domestically in the USA

In 2004, a commune named NUDITY, formed by four travellers from the astral plane, appeared in Olympia, Washington. The founding members were Dave HARVEY (guitar) and Jon Quitty QUITTNER (bass - though Josh Haynes of the mighty guitar fuzz scorchers Feral Ohms plays bass on the majority of the tracks featured here), both of whom were former guitarists of Tight Bros From Way Back When and Eryn ROSS (drums) from Growling, A couple of self-distributed Cdrs and a 12” on Discourage were a visual akin to coloured liquid sloshing around on a transparency machine and were a pure drip feed for psych /kraut and Jap Rock fiends around the world as Julian Cope and Terrascope raved about them. Alas for whatever reason no full length LP arrived from the original line up - something that at last has been rectified as now all these tracks have been brought together (along with some unreleased gems and a couple of live bonus download tracks). The sonic ear candy contained within the 4 sides of vinyl presented here go From Detroit fuzz blazing face melters to acid trippin' head swirling raga’s via The Flower Travelin’ Band and Hawkwind. Nudity were the masters and for those that missed out the first time this double album was released - Don't make the same mistake a second time.

Terrascope gushed about Nudity - "This is seriously fucking good; one of those quite literally extra-ordinary LPs that come along every once in a while which you just know instinctively are going to be dug out and played, sniffed and caressed for years"

Fuzz Club Records are reissuing the ‘Beautiful & Damned’ EP from The Underground Youth, the Blackpool-born and now Berlin-based band led by musician, poet and author Craig Dyer. A homage to the F. Scott Fitzgerald book of the same name, the 4 track EP confirmed Dyer’s obsession for the darker side of literature and poetry of the last two centuries, as well as his early DIY approach. Rigorously recorded in the band’s home studio with the help of producer James Shillito in early 2014, ‘Beautiful & Damned’ acted as a preview to their 2015 ‘Haunted’ LP. It was the first TUY material featuring synth and electronic equipment and also represented a significant shift to a much darker sound and lyrical content, as anticipated by their first single/video ‘Naked’ – a fan-favourite to this day that exhibits a perfect encounter between the atmospheres of the Cocteau Twins and the early Creation Records sound. The 2021 reissue of the EP comes on a coloured 10” with remastered audio.

TRACK LISTING

1) Behind
2) Damned
3) Naked
4) Shadow

To celebrate its ten-year anniversary, Fuzz Club Records are reissuing The Underground Youth’s 2011 ‘Low Slow Needle’ EP on 10” vinyl with remastered audio. ‘Low Slow Needle’s hauntingly minimal, neo-psychedelic melancholy provides a more lo-fi snapshot of the now-Berlin-based band’s earlier days – when The Underground Youth was more of a DIY solo endeavour for Blackpool-born musician Craig Dyer, as opposed to the much-adored, full-band, international touring force that it is now. Looking back on ‘Low Slow Needle’, Dyer said: “The EP was recorded in September 2011, I had just returned to the UK from St. Petersburg where Olya [now drummer in The Underground Youth] and I had just got married.

Olya had to stay in Russia to finalise her paperwork before we would move into our first home together in Manchester. It was a difficult time, being apart after just getting married, and so I distracted myself by working on these songs that would become the Low Slow Needle EP. It was sort of my love letter to that period, looking back and also looking to the future. I worked closely with mine and Olya's friend in St. Petersburg, Daria Xenofontova, who gave her beautiful voice to my words and featured on three of the most popular songs on the EP, 'Midnight Lust', 'Addiction' and 'Blue'. These three songs still remain popular with our fans, who still request we play them live to this day.” When compared with the cinematic folk-noir heard on the band’s tenth album, the newly-released ‘The Falling’ (2021), what we find here captures a more stark and stripped-back The Underground Youth as the project was about to come out of its embryonic phase: “All five tracks were recorded in my bedroom and I really wanted to strip back the sound, to give a romantic feel of that period for me. To consider it 10 years on, it feels like the beginning to the next step of the journey, my life in Manchester with Olya, making contact with Casper at Fuzz Club and signing up with the label (this came just after the release of Low Slow Needle) and us putting together the first incarnation of TUY's live band (again this followed the release of the EP). So, in a way, this record marked the end of the first era of The Underground Youth, and in doing so, paved the way for the next.”

TRACK LISTING

1) Midnight Lust
2) On Your Screen
3) Addiction
4) Blue
5) Witchcraft

‘Ungrateful Heart’ is the fourth album from Milan-based group The Gluts. Whilst their previous releases traded in an explosive psychedelic noise-rock, ‘Ungrateful Heart’ sees the Italian four-piece hone in a more post-punk-indebted sound. Although no less abrasive and confrontational in its utlising of ear-piercing feedback and hard-hitting riffs, the band say that the songs here primarily take cues from the likes of Fugazi, Gang of Four, the PiL-Pistols canon and the Campana brothers’ long adoration of Italian and American hardcore punk. The album arrives off the back of 2019’s ‘Dengue Fever Hypnotic Trip’ LP and tours and festival dates around the UK, Europe and South Africa.

Laid down over a tireless week living side by side and working in the studio around the clock, The Gluts – comprised of Claudia Cesana (bass/vocals), Dario Bassi (drums) and Nicolò and Marco Campana (vocals/synths and guitar, respectively) – recorded ‘Ungrateful Heart’ with Dutch producer and close collaborator Bob de Wit (A Place To Bury Strangers, Gnod, The Sonics). On the sessions, the intensity of which is mirrored in the fierce uncompromising attitude of the music itself, the band said: “Bob’s contribution to this album was essential. He pushed us beyond our limits. It was difficult, we can’t hide it, but it really was worth it.” Although the album is still shot through with moments of lacerating noise-rock ('Mashilla' and 'Eat Acid See God'), songs like 'Love Me Do Again' and 'Bye Bye Boy' deal in a timeless hedonistic punk sound. Elsewhere, the politically charged 'Breath' and 'FYBBD' see The Gluts turn their sonic belligerence towards fascists and systemic racial violence to rallying effect.

TRACK LISTING

1) Mashilla
2) Love Me Do Again
3) Black Widow
4) Breath
5) Leyla, Lazy Girl From The Moon
6) Something Surreal
7) Ciotola Di Satana
8) Bye Bye Boy
9) FYBBD
10) Eat Acid See God

Both box sets include 62x62cm poster. Artwork and remaster exclusive to Fuzz Club Bootlegs. The live album was recorded when the prolific Australian psych-rock group descended on Thebarton Theatre in Adelaide, Australia on July 12th 2019. This career-spanning live album sees the band storm through tracks from ‘Chunky Shrapnel’, ‘Infest The Rats Nest’, ‘Fishing for Fishies’, ‘I’m In Your Mind Fuzz’, ‘Flying Microtonal Banana’, ‘Polygondwanaland’, and ‘Float Along - Fill Your Lungs’. This ‘Live In Adelaide 19’ bootleg is remastered by Brett Orrison (Jack White, The Black Angels, Roky Erickson) exclusively for Fuzz Club and arrives as a hand-numbered triple LP box-set with exclusive artwork.

TRACK LISTING

1) Evil Star
2) Planet B
3) Mars For The Rich
4) Venusian 1
5) Cyboogie
6) Real’s Not Real
7) Hot Water
8) Open Water
9) Sleep Drifter
10) Billabong Valley
11) The Bird Song
12) Inner Cell
13) Loyalty
14) Horology
15) Plastic Boogie
16) Organ Farmer
17) Self-Immolate
18) Head On/Pill

Cult of Dom Keller will release their fifth album, ‘They Carried The Dead In A U.F.O’, on May 21st via Fuzz Club Records. Since 2007 the British band have been leaving a trail of sonic fever dreams, dark psychedelia and experimentalism that beats with a heavy industrial heart and the forthcoming LP sees them conjuring their heaviest and most adventurous work to date. Channelling recent limitations and turning them to their advantage, Cult of Dom Keller found themselves radically altering their creative approach and morphing their sound into a whole new beast. On this LP the band hone in on an industrial noise-rock sound that is pushed to the brink. On 'They Carried The Dead In A UFO', the band said: “We managed to create our most experimental and exciting album to date without being in the same room together. U.F.O. was recorded, mixed and produced by ourselves, meaning we had total control over every noise on the record.

This was the exact record we wanted to make: Experimental and playful; moments of light and pure dark... we wanted to f*ck with the listener and pull them in with moments of beauty and chaos. We hope you enjoy the trip!” Cult of Dom Keller have long been at the forefront of the contemporary British psych scene but their notorious reputation also extends much further afield too. They’ve done several tours around the UK, Europe and US and shared the stage with greats like Roky Erickson, Spectrum, Silver Apples and The Sisters of Mercy, as well as contemporaries like The Black Angels, Fat White Family, Sleaford Mods and Temples.

TRACK LISTING

1) Run From The Gullskinna
2) Lyssa
3) Cage The Masters
4) She Turned Into A Serpent
5) Infernal Heads
6) Psychic Surgery
7) Amazing Enemy
8) Last King Of Hell

Cardinal Fuzz and Feeding Tube Records are proud to present a long awaited reissue of Dead Sea Apes & Black Tempest – The Sun Behind The Sun. This re-issue is presented in a reflective Mirri Board reflective outer sleeve. Manchester’s Dead Sea Apes and Godalming’s Black Tempest engage in a mind meld of galactic proportions on this; both band’s first outing on vinyl.

Both entities weave together seamlessly as Grey Alphabets recalls Goblin’s giallo soundtracks, whilst Wilder Penfield pulses with post-punk metal-loid Harmonia kraut vibes. Side 2 is given over to the 25+minute Heliopause - a dubby astral meditation, where Oneida meet Tangerine Dream in an elongated Komische drift. For fans of: Harmonia, Oneida,Goblin, Mogwai, Tangerine Dream.

Up until disbanding last year announced via a social media post saying they “were off to get some smokes” Oakland cosmonauts Lumerians were one of the most prolific and genre-bending bands to reside on the outer edges of contemporary psychedelia. Since their formation 2006 they went on to tour around the world and share the stage with everyone from My Bloody Valentine to Killing Joke and Black Moth Super Rainbow. Constantly evolving, their sound has been known to journey from synthesised ambient excursions to far-out space-rock and kosmische post-punk, often dabbling with touches of dub, free jazz and the works. What might very well be the final Lumerians LP comes in the shape of a new live session recorded for Fuzz Club Records when the band stopped off in London as part of a European tour in 2019. Recorded live at Love Buzz Productions and pressed to 180gm vinyl, Lumerians’ Fuzz Club Session LP is comprised of four tracks, new and old. 'Longwave' and 'Corkscrew Trepanation' are lifted from the band's 2011 Partisan Records-released 'Transmalinna' LP and their 2008 self-titled debut EP, respectively.

On this record, though, we hear the songs take on a whole new life: "Both of these songs had mutated into different animals over the years and were frequently played together as a finale during our live shows. We wanted to document their transformation since we really liked what they had become", the band reflect. As well as those reimagined Lumerians cuts, the Fuzz Club Session also features two previously unreleased jams. They describe 'Light The Beacon' as "a snapshot of a piece of music we had been using to open our shows for tours in 2018 and 2019. It started as a simple oscillator drone that would lead into the first song but eventually became a song in and of itself.

The song never really had a name, but since we used it as a way to signal the show was beginning and draw people towards the stage, 'Light the Beacon' seemed appropriate for this version." 'Transmission Overture', on the other hand, was a spontaneous composition that they'd never played before and haven't since: "This is basically the process by which we wrote all of our songs. We'd record our improvisations, listen back and then select the parts that stood out most and learn how to play it again. Some seemed so fully formed out of the gate that we'd call them "transmissions" as documented on our 'Transmissions from Telos' EP series.

TRACK LISTING

1) Light The Beacon
2) Transmission Overture
3) Corkscrew Trepanation
4) Longwave

The Underground Youth is a Manchester-born, Berlin-based group led by Craig Dyer that, on March 12th 2021, will release their tenth album, ‘The Falling’, via Fuzz Club Records. The new full-length sees Craig and band trade their acerbic post-punk melancholy for a more refined and stripped-back sound that, instead, enters the world of romantic, shadowy folk-noir. A marked departure from the primal intensity often heard on the band’s previous work, ‘The Falling’ showcases a softer, more cinematic musical landscape shaped by acoustic guitars, piano, accordion and a heavy presence of violin and string arrangements. It’s not just the instrumentation and atmospherics that have undergone a transformation on this record, it is also Craig’s most sincere and introspective work to date. “Lyrically this album finds me at my most honest and autobiographical. I still shroud the reality of what I have written within something of a fictional setting, but the honesty and the romance that shines throughout the record is more sincere than it has been in my previous work. The idea was to strip back the band to allow for lyrical breathing space”, Craig reflects on the album.

With the original plans of heading into the studio upon their return from their 2020 USA tour grinding to a halt – the tour cancelled midway through due to the Covid-19 outbreak and followed by months of isolation in their Berlin apartments – the album is also very much a product of the distressing and unfamiliar world we now find ourselves in. As a result of the pandemic, ‘The Falling’ was recorded between Craig and guitarist/producer Leo Kaage’s apartments-turned-home-studios (also in the band is Craig’s wife, the artist Olya Dyer, and Max James, who formerly played in Johnny Marr’s live band): “The album sees me going back to my writing approach from our earliest records, writing the demos as stripped back acoustic tracks at home. What started out as a set of romantic and deeply personal songs also took on the surrounding frustrations and feelings towards the situation we found ourselves in. Born from the heartbreak of how the worldwide pandemic has changed the industry we were thriving within, this album also functions as a love letter to the past.”

STAFF COMMENTS

Barry says: The gloomy, post-punk atmospherics of Undergound Youth past is eschewed for a more subdued, Dylanny guitar and harmonica vibe. It's a testament to an act when they can shift direction quite so capably and 'The Falling' shows every bit of the skill of previous releases, but wrapped in a new skin.

TRACK LISTING

1) The Falling
2) Vergiss Mich Night
3) Egyptian Queen
4) And I…
5) A Sorrowful Race
6) For You Are The One
7) Cabinet Of Curiosities
8) Letter From A Young Lover 

Prana Crafter is William Sol, a musical mystic who blends the raw energies of nature with guitars, synthesizers, singing bowls, and a dose of flow-consciousness. The resulting sonic nectar flows out from the amplifier, cascading in the mind of the listener, splashing mantras against the listener’s third ear. Some music is meant to entertain, to be consumed like flashing patterns on a TV screen. Not so with the music of Prana Crafter. This music is a sonic-tapestry of energies that are meant to envelop the listener and deliver a message that, as Sol puts it, cannot be known through symbol or through sign.

Likened to artists across the psychedelic and folk spectrums—Popul Vuh, Agitation Free, Six Organs/Ben Chasny, —Sol’s self-professed mentors-in-spirit Jerry Garcia, Jimi Hendrix, and Manuel Göttsching are present as well in familiar and surprising ways. In review it has been said that Prana Crafter’s music is “an example of psych-folk at its finest” (Raven Sings the Blues), “like a long lost pressing from the early 70s, it’s a mist shrouded mysterious meditation” (Shindig Magazine), and even that, “few other musicians are making music as ambitious and genuine as Prana Crafter” (The Active Listener).

Will has said he thinks of himself as a conduit when recording and with ‘MorphoMystic’ Prana Crafter are creating truly Cosmic Music, a synthesized mediation – think if you will of Terry Reilly and Sandy Bull blending their hypnotic energy flow together. ‘MorphoMystic’ is a 35 minute kosmische inspired acid opus that lets your mind venture in the slipstream, between the viaducts of your dream before gently flaoting you back down to earth.

Presented in a lush Gloss Laminated Outer Sleeve with exquisite artwork design by John Nicol.

Arriving off the back of their recent 'Interzone' LP, Brooklyn electro post-punk duo The Vacant Lots are putting out a new remixed song, titled 'Departure', which has been produced by Black Rebel Motorcycle Club's Robert Levon Been. A long-standing crowd-favourite, the track is now set for release for the very first time and is bolstered by the remixing duties of the BRMC guitarist and vocalist, whom The Vacant Lots became close friends with after both bands toured together on several occasions. Blending proto-punk and psych as effortlessly as you’d expect from a Vacant Lots release, the ‘Departure’ remix – due for release October 16th on Fuzz Club – sees throbbing 'Nightclubbing'-esque electronics interlaced with distorted, hard-hitting guitars and vocals that are just as snarling as they are detached. First conceived when The Vacant Lots were writing their 2014 ‘Departure’ LP but left unreleased and having now evolved over the years since, the song became a staple of the band’s visceral live performances and is now set for a long-overdue vinyl release in the form of a 7” with an etched B-side that’s limited to 500 copies. The remix is mastered by Maurizio Baggio (Boy Harsher, The Soft Moon, Merchandise) and housed in stark, minimalistic artwork by longtime visual collaborator Ivan Liechti

Cardinal Fuzz and Little Cloud Records are proud to bring to you for your listening pleasure the 5th album by your favorite Swedish purveyors of heavy drones, fuzzed nightmares and stökpsych – The Janitors – ‘Noisolation Sessions Vol.1’.

‘Noisolation Sessions Vol.1’ is a testament of three months in disturbing times. In March 2020 The Janitors had their new Album written and studio time booked -ready to unleash their latest shamanic fuzz meltdowns, then corona hit and everything changed. They figured they would go down into their own studio to work on those tunes some more until things passed over. While working there they recorded what they felt was a most apt tune for that moment back in Spring 2020 – A cover of Joy Divisions – ‘Isolation’ – It was epic and the reaction they got confirmed it. It re-energised The Janitors and in doing so the creative juices flowed and a though kicked in - that the next week they just start writing new songs, but with the same dogmatic rules, one night of recording, one week of mixing and then it's done - A challenge of just letting the creativity flow but then leaving the song as a testament to that moment.

These six songs are the product, All of it The Janitors came up with on the spot, all ideas were welcome as improvisations leads to new and far-out places, but also the occasional wrong note, lyrics reflecting the strange days we were witnessing and how they affected us, the people we love and the world. The Janitors say this is by far their least worked through art, but it turned out to be some of the best songs The Janitors have ever produced.
The next album will be recorded as soon as corona is gone, until then we'll see if there will be a volume 2 of the Noisolation series. Always and forever, fuck all right wing and capitalist oppressors. To create is to resist. To resist is to create.

Fuzz love from The Janitors

Reykjavík maverick Henrik Björnsson is due to release ‘Good Sick Fun’, his eleventh album under the Singapore Sling project. Inspired by goth-rock, dub and big-band jazz on top of the usual fuzzed-out rock’n’roll touchstones that are seared into Henrik’s work, the latest Singapore Sling full-length is as perversely hedonistic as they come – and that’s not without competition by any means. An invitation to “rejoice in doing wrong”, in Henrik’s own words, ‘Good Sick Fun’ is the latest morbid and characteristically-depraved addition to a back-catalogue spanning nearly two decades from the cult Icelandic band. Arriving off the back of the 2019 ‘Killer Classics’ LP, Henrik says of the new album: “Old rock´n´roll is the main influence on this record, as on most of my records. When I release a record it means rock´n´roll has saved my life, my mind and my soul once again. And it does that quite frequently. Sometimes I start running astray, getting sucked into pointless garbage and thinking it actually matters. Then I realize that it´s absolute garbage and that nothing matters but rock´n´roll so I go and make a record instead.” 

TRACK LISTING

1. Touch The Filth
2. Soul Kicks
3. Good Sick Fun
4. Summertime Blues
5. Love Sick Love Fuck
6. Vindication
7. Sick Fuck
8. Sickin Street
9. Like The Breeze
10. No Fire
11. Girl Inside Your Hand
12. Friday Bye Bye

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.” 

TRACK LISTING

1.  All The Way In
2.  Sugar And Shite
3.  Highway Reject
4.  Lynchbilly
5. It's A Hit
6.  Switchblade
7.  Nothing Matters But Rock N Roll
8.  Underground Man
9.  Dub Swirl
10.  Confusion Then Death

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?

TRACK LISTING

1. Julia Robert - Mud Girl
2. Nice Biscuit - Out Of Sight
3. Frankie And The Witch Fingers - Underneath You
4. Medicine Boy - Water Girl
5. Firefriend - Surface To Air
6. Nest Egg – DMTIV
7. Steeple Remove - Ferris Noir
8. Float – Watch
9. Crimen – Flahzz
10. Japanese Television - Tick Tock
11. Selbram - This City You Know
12. Super Paradise - 6:30
13. Verstärker - Mit Glück
14. Psychic Lemon - Interstellar Fuzz Star 

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. 

TRACK LISTING

1 Crystal
2 Seven Sisters
3 Medio Litro
4 Cold Nature
5 Wicked City (Outer Space)
6 Heart Of Texas
7 Faces For Radio
8 Molly On Grass
9 Humming
10 The Gold Line
11 Suburban Hearts

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. 

TRACK LISTING

1) Brain
2) Cold Crusader
3) Extend
4) Leave The Lord

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.

TRACK LISTING

1) Electroconclusive
2) In My Heart, In My Soul
3) Dark Omen
4) All Night
5) Radione
6) Remove The Veil
7) Our Fate
8) Gateway
9) Go To Pub (MES Tribute)
10) Panic Evoked
11) Eisern Union
12) Sleepwalking

Juju's third album Maps And Territory reaffirms and at the same time transcends Juju's unique formula. A blend of Neo-psychedelia and Mediterranean Folk, New Wave and African tribalism, the sound of Juju is now deconstructed, reassembled and expanded, even bordering Jazz territories with the contribution avant-garde composer and improviser Amy Denio. The album also featuring guest appearance by Goatman from Goat. The album is beautifully wrapped in the artwork of Marco Baldassari (one half of Sonic Jesus), where the liquidity and movement of the Mediterranean blue (the territory) is counterpoised to the soily colour of the ground (the map). 

TRACK LISTING

1) Master And Servants
2) I'm In Trance
3) Motherfucker Core
4) If You Will Fall
5) God Is A Rover
6) Archontes Take Control

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.

Berlin via Manchester outfit The Underground Youth present their ninth album, Montage Images of Lust & Fear, on Fuzz Club Records. In support of the new album, and keeping to their prodigious work ethic, the band have also announced details of a mammoth tour across the UK, Europe, Asia and Australia that’ll see them visit 25 different countries. In its rawest moments (‘The Death of the Author’, ‘Blind II’), The Underground Youth’s haunting post-punk melancholia recalls the abrasive banshee-like noise of The Birthday Party and Suicide; jagged, shrieking guitars twist and turn as Craig Dyer’s dour vocals jerk from morose and impassioned to macabre screams.

Though this is an album of two sides; the more intense and challenging songs punctuated by heartfelt and solemn ballads (‘Too Innocent To Be True’, ‘This Anaesthetised World’) that are aided by the additional lap steel guitar of Kristof Hahn (Swans) who plays on six of the album’s nine songs. This is The Underground Youth’s most intense and honest record yet - in the ambitious songwriting and live recording (a first for the band), as well as the lyrical subject matter. Talking about the album, Craig explains “Montage Images of Lust & Fear is inspired by the succession of experiences we are increasingly dealt by the media. Sex, violence, love, suspicion, desire, distress, etc.

The album acts as a montage itself, the subject of each song dealing with an aspect of either lust or fear. Like flicking through the channels on a television. Until the end you are overcome by white noise. Static.” Since the release of their aptly-titled eighth full-length, What Kind Of Dystopian Hellhole Is This?, in February 2017, the band have set out on four UK/European tours clocking in at over 100 shows (not including stand-alone gigs). If all that time touring has taught the band anything, it’s how to work together as a collective and Montage Images Of Lust & Fear is all the better for it - the first The Underground Youth record with all the band members involved in the writing. “Unlike previous albums in which I’ve written the tracks and taken them into the studio to record with or without the band, this record is the product of us all working on the music and arranging the songs together,” Craig explains: “We recorded the album live with the four of us playing in the same small room and with our guitarist Leo as producer, running back and forth from the mixing desk to the live room. As a result, the recording perfectly captures the raw intensity of our live performance, something we’ve never done before.

TRACK LISTING

1. Sins
2. Last Exit To Nowhere
3. The Death Of The Author
4. This Is But A Dream
5. Too Innocent To Be True
6. Blind
7. Blind II
8. I Can't Resist
9. This Anaesthetised 

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.

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.

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.

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. 

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). 

TRACK LISTING

1) Oval-Strii
2) Blood Veins
3) Ferris Noir
4) Set It
5) In Dreams
6) Monochrome Continuum
7) In The Waves
8) Waters
9) Pink Ferris