Emanating sonically (and physically) from Thessaloniki, Greece, the band has been crafting its unique blend of '60s-flavored, hypnotic, space-psych trippiness since 2013, releasing their debut LP "Alienation" in 2018 (on the always great Sound Effect Records) - this follow up 'Beat Of The Earth' is a shimmering wash of the most lysergic, cosmic and melodic music to have reached out ears so far in 2020.
Their mutant psych / space hybrid is deeply rooted in sixties garage, and while still paying tribute to their influences,(((Loop))), Spacemen 3, The 13th Floor Elevators and The Stooges, ‘Beat Of The Earth’ has a Teutonic beauty that brings to mind Harmonia.
Opening tracks ‘Sound Of No Future’ and ‘Fairy Meadows’ are both super- kosmische space rock epics where Alien Mustangs create an alluring, thick miasma that practically invites you to lose your bearings in their incandescent, the hallucinogenic cosmic glory.
On the flip over and we get Alien Mustangs in a fuzzed up Stooges pounding strung out guitar grind, where tidal waves of guitar drones detonate in your mind, Hawkwind inspired freak flag wildness flies with an added dose of motoric krautadelia. ‘Beat Of The Earth touches down gently with he lilting ‘Waiting The Dawn’ – a track that shimmers and glides with serene beauty as you melt blissfully into the ether of its serene beauty.
Alison’s debut LP ‘All Is Quiet at the Ancient Theatre’ received wide ranging critical acclaim from placing in the Guardians Writers Album Of The Year to placing in the Quietus Albums of the Year.
Ms. Cotton has a storied past performing with Saloon and The Eighteenth Day of May, and she still may be found doing likewise with The Left Outsides. And don't get me wrong -- those are all great bands, but solo work allows Alison to follow different and often darker paths through the forest of sound. Of which this album is a perfect example.
‘Only Darkness Now’ begins with a sidelong instrumental track, “Behind the Spiderweb Gate,” during which Cotton displays her immense drone chops, organizing rich, thick layers of viola, Omnichord and voice into the soundtrack for a totally immersive trip. The effect is such that Seconds become minutes and as time stretches till eventually, in the peak, time ceases to have any meaning whatsoever - a beautiful state to be transported too as everything slows down. You could spend a whole year listening to this one.
The second side starts with “In Solitude I Will Fade Away,” a collage of Alison's voice, twinned and then some. It's short and sweet with just a little drumming to move things along. “How My Heart Bled in Bleeding Heart Yard” brims with as much longing as it title suggests. It opens with a long instrumental passage, emphasizing the human pace of a harmonium's breath patterns, soon joined by a viola, also offering tones of a very human quality. All of this swells into a chorale of immense and mournful depth before being joined by Nico-like vocals that raise a wordless alarm. ”The Hill Was Hollow” is a short mystery for percussion and violin. Unravel at your own peril. Finally there is “Shirt of Lace.” This is a studio recording of one of Alison's regular live covers. The song is by the late Dorothy Carter (a visionary American musician whose work bridged experimental and medieval musics) and Cotton's version is a sheer blast -- her vocals curling and twisting high above a supple bed of key drones, string plucks and sliding arco passageways.
Wow, what a great record. It's one of the the very few albums I can name that matches the cold fire of Nico's Marble Index and it does so without taking a single step that isn't purely Alison's own.
Prepare your record shelf to deal with a miracle. Only Darkness Now. (Byron Coley)
UK space rockers Mugstar have been hurtling through the sonic multiverse since 2003 and have left an extensive discography in their wake. Early on, the band caught the attention of the late John Peel, taking part in one of the last editions of his famed Peel Sessions. From there, the band has compiled an impressive run of releases and solidified their reputation for powerfully hypnotic live performances (most recently seen on their latest live LP with legendary CAN shamen - Damo Suzuki).
After experimenting with longer form compositions on 2016’s Magnetic Seasons (Rock Action Records), GRAFT’s six song journey sees Mugstar return to a more focused work ethic, a move resulting in a sound that is fraught with tension and caters to one of their biggest strengths, the ability to consistently create, sustain, and, ultimately, diffuse drama. This is an effect well-executed on tracks like “Zeta Potential” and “Star Cage.” And even on an album where a tighter approach was a priority, Mugstar still finds plenty of room to improvise and allow for creative exploration, as illustrated on “Ghost of a Ghost” and “Low, Slow Horizon.”
Looking back at Mugstar’s catalog, it is remarkable to see the path they have travelled and how GRAFT continues their bold advance into the future. We think you'll agree.
Keeping the focus on the live sounds of the band, the use of overdubs and studio tricks were kept to a minimum. Albini’s mastery in capturing sound gave the trio the ability to focus entirely on the playing while knowing the natural sounds would land. It takes the essential ingredients of “guitar-based music” and “rock and roll power trio” and puts them right out on the chopping block. It was a much more honest approach for the band—three humans getting primitive, staying primitive. The goal was never to reinvent the wheel. Sometimes it’s just about seeing how long one can hold on before getting thrown off. Three points reflected in three mirrors; a pyramid of sonic destruction and psychic creation. Nothing people feed the roots while the freaks fly free in the treetops—blind to vines, eyes closed, stuck in spit, triumphing the returning of beginnings and ends returning while beginning to see the time collapse. Love is the only way to annihilate hate, and sketchy freaks live to bleed. All shades of color, truth and lies, III is the pillar of unity and singularity. All is nothing, and only nothing can generate everything. Log out, drop thought, turn up.
FORMAT INFORMATIONColoured LP Info: Indies exclusive coloured vinyl. Very limited!!
FORMAT INFORMATIONColoured LP Info: Transparent white vinyl.
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.
'Northern Songs' is the band's tenth full length record, following up the 'Collide' LP in 2018. Here, the 12-string folk-rock jangle of the mid-60's Byrds is overlaid with the washed-out vocal harmonies of Ride and topped off with psychedelic drones familiar to Spacemen 3. This is a hypnotic hybrid of several different genres filtered through the kaleidoscope of all things psychedelic.
On this new album, they did all writing, playing, recording, mixing and mastering in their own studio. This is the first time they've gone fully DIY since their fourth album 'An Amazing Dream' (2006), where the band finally found their own trademark sound.
"This is a first for us as we've always had at least guest musicians or someone else mix or master. It was an experiment on what we could do ourselves and testing our new studio in San Rafael, CA for the first time. Our sound is primarily rooted in the British indie music from the 80s and 90s. This is the music we grew up on, we still listen to today, and what happens as a natural result of our songwriting," says Scott Vitt.
"Lyrically there's reference to what is happening both socially and politically in the world around us. We wanted to make an album that brought an air of calm or even nostalgia, to remind people that there was a time, not all that long ago, when things seemed way more normal compared to what we're experiencing today."
Considered stalwarts of the modern 'psych' genre, they are known for their prolific discography of reverb-drenched recordings and liquid-projected live performances. With a sound all their own and neo-psychedelic / shoegaze learnings, they are often compared to acts like Spacemen 3 and Paisley Underground kingpins The Rain Parade.
A dynamic live act, The Asteroid No.4 integrate multi-textured guitars and reverb-drenched vocal harmonies over an unwavering rhythm section. Their prolific output has earned them a dedicated fan base within the flourishing underground psychedelic scene, with over a dozen compilation appearances, digital-only rarity releases, and multiple singles and EPs.
Named after Vesta, the brightest asteroid in our solar system, their moniker is an obvious nod to Spacemen 3, one of the band's main influences. In fact, one of the group’s earliest recordings was a faithful cover of their 'Losing Touch with My Mind'. Released via UK label Rocket Girl’s tribute compilation to the 80’s legends, Pete 'Sonic Boom' Kember himself named the song as a stand-out track in an interview with Magnet Magazine.
FORMAT INFORMATIONColoured LP Info: Marble Colored Vinyl.
LIMITED TO ONE PER PERSON.
Brand new 4 track ep on 140g recycled, speckled, coloured vinyl (each disc unique) and recycled card sleeve.Featuring 'original' and 'acoustic' versions of 'Caught By The Fuzz'.
Sean Cook was tasked with putting a bill of artists together in which bands played to a partial recreation of Anger’s ‘Equinox of the Gods’ a live film of The Magick Powerhouse Of Oz band who featured Bobby Beausoleil (later imprisoned for life for the Manson Family-related murder of Gary Hinman). The energy captured within these grooves here is extraordinary; for over 40 minutes (with no breaks to catch your breath and get your head together) you are treated to primo Heads in full flight.
This two track performance starts with an utterly mind destroying version of k.r.t that lasts for near on 30 minutes. Playing to a back drop of Anger screenings and a barrage of strobes and smoke The Heads create an effect akin to your head been sucked through time and space and turned inside out – and that is before we even get to the grande finale of ‘Spliff Riff’ – a relentless onslaught that has you picking your head off the floor only for it to be sucked straight back down again. Take a deep breath, dive in and grin.
This nine song journey sees the band exploring new directions that are more meditative in nature, a welcome development in light of the current state of world affairs. The song "Mythic Salon" certainly demonstrates such intent, as well as growth. ARC, the band’s first release since last year's Ape on Sunday, was recorded at guitarist Anthony Taibi's 3D Light Studios in Humboldt County, California. The songwriting this time around took on more of an inward process, both musically and thematically.This shift allowed for more spontaneity and improvisation than their previous efforts.
This was especially true when it came to translating musical passages that had already become part of the band's live repertoire. ARC is not a concept album per se, but its focus on such an omnipresent icon certainly leaves the listener a variety of avenues for interpretation, making this the most daring and unique album in the White Manna discography.
STAFF COMMENTSsays: White Manna have spawned a beautifully hypnotic set of recurring riffs and slowly evolving synth soundscapes on 'Arc'.Guitars and woodwind slowly phase in and out of the sound spectrum, making their mark in cavernous echoes and shadowy resonant delays, while more driven pieces have all of the instrumental heft you'd expect, smashing out the stoner grooves and brain-melting percussion.
FORMAT INFORMATIONLP Info: 500 Pressing. Heavy Black Vinyl. Gloss Laminated Outer Sleeve.
'Interzone's trance-like opener ‘Endless Rain’ and the kinetic Krautrock stomper ‘Into The Depths’ are followed by scintillating dark disco anthems 'Rescue' and 'Exit’. Side 2 kicks off with 80’s synth-pop track ‘Fracture’ and haunting after-hours minimal wave ‘Payoff,’ while ‘Station’ and album closer 'Party's Over' deal with disillusionment and conquering one’s indifference to make real change. The album creates order from chaos and delves into escapism, isolation, relationship conflicts, and decay. With nods to William S. Burroughs and Joy Division’s song of the same name, “Interzone is like existing between two zones,” Jared says. “Interzone doesn't mean one thing. It can mean different things to different people depending on their interpretation. Working on this album was a constant struggle reconciling internal conflicts with all that’s going on externally in the world. Interzone, in one word, is duality."
On Interzone, the band produced the 8 songs, 30 minutes record and teamed up with long term collaborators Ivan Liechti who designed the album artwork, and Ted Young who engineered the record. Maurizio Baggio mixed the record and contributed additional production and it was mastered by Gianni Peri. The Vacant Lots have released singles with Mexican Summer and Reverberation Appreciation Society, collaborated on their debut album 'Departure' with Spacemen 3’s Sonic Boom, their second album 'Endless Night' with Alan Vega, and most recently on their two EPs, 'Berlin' and 'Exit', with Brian Jonestown Massacre’s Anton Newcombe at his studio in Berlin. The group has toured with Black Rebel Motorcycle Club, Suicide, Brian Jonestown Massacre, The Growlers, Dean Wareham, The Dandy Warhols, and Spectrum.
STAFF COMMENTSsays: Sounding like an amped-up Dandy Warhols, the Vacant Lots have always perfectly toed the line between distorted, power-chord rock and hypnotic psychedelic electronica, and 'Interzone' is the indication that they've hit their creative zenith. Rich, deep and hypnotic without ever being self-indulgent.
Bolstered by the addition of a vocalist and second drummer, the incendiary ‘Bestial Light’ LP sees the band move on from the electronic experimentations of the Subversive album trilogy (culminating in their most-recent LP, 2018’s ‘De Spelende Mens’) and last year’s ‘Bliss’ EP. Their new direction, instead, finds them journeying into a dissonant industrial punk sound that’s Einstürzende Neubauten and early Swans by way of Neurosis and Godflesh. Fusing heavy industrial rhythm sections, biting post-punk vocals and crushing “acid metal” riffs, the new incarnation of Radar Men From The Moon aka RMFTM is comprised of core members Glenn Peeters (guitar), Tony Lathouwers (drums), Titus Verkuijlen (bass) and Bram van Zuijlen (guitar/synth), with the addition of Joep Schmitz (drums) and Harm Neidig (vocals / saxophone).
Not long after recruiting the new members, the now-expanded RMFTM headed back into the studio with their long-term producer Bob de Wit (Gnod, A Place to Bury Strangers, Mudhoney), laying down the new album in 14-hour shifts over 12 days: “We were constantly 100% on it so the process was quite intense but also very rewarding. You can definitely hear that on the record.” On the album’s theme, borne out just as much in their creative approach as it is as the lyrics and instrumentation, they say: “We wanted to write about everything instinctual in mankind, individual desires and true will. Transgression and the seductiveness of unreason.” Unsurprising, then, that ‘The Bestial Light’ is such a primitive, borderline-depraved affair; one that constantly feels like it’s hurtling towards an edge that you’re never quite sure you want to look over.
When Munehiro Narita needed a band for playing 4 west cost dates in 2017 Steve Krakow knew that LA Acid Punk David Jasso (OGOD) would be the perfect musician/foil for Narita (it should be noted that David released Green Flames on his Assommer label). David in turn knew TJ – A drummer who hits hard and was more than capable of handling the cruel punishment it requires to play real Speed Freak music. Six tracks were quickly nailed in rehearsals – a selection of High Rise (4) and Green Flames (2) tunes were then played over the four dates. The shows left audience stunned (listen to the reaction from this show) and by the time of the San Francisco show they were on fire. Luckily Ethan Miller was there to press record and document this feral in the red paint peeler of a gig as Munehiro Narita peels off wah soaked fireballs on top of the primal throb and groove that David Jasso and TJ lay down.
Another of the hopefully famed Cardinal Fuzz bootleg style releases that is so beloved of myself – By that I mean recordings that are distorting while warping time and space at the same time with Munehiro Narita guitar playing out front in the mix (which is how I love my music – guitars up front and laying waste to all) – By the time you get to their whirlwind take on closing number “Pop Sicle,” a tune bringing to mind the most frantic of Les Rallizes Denudes (think Fantastique) the energy and wildness of the recording perfectly captures the wild fury of all 3 musicians playing and creating an energy that is impossible to sedate.
Ethan Miller somehow managed to capture and record some of the most brutal playing in prime tape saturated / in the red glory for you know to relive.
The positivity of these shows eventually lead to all 3 members forming P.S.F. and their debut LP was released on Black Editions in 2019 which was a full-throttle adrenaline shot into the 21st Century (seek it out).
Hailing from Boston and blazing red hot cinders through your eyes Banshee channel widescreen, kick out the jams motherfuckers psyche-rock-a-rama with a singer doing his best to channel both Alice and Iggy. Yes they rock like crazy and play with the fired up fury of The Stooges, MC5 and The Alice Cooper Group as they let their freak flag fly.
On ‘Livin In The Jungle’ Banshee detonate over 11 tracks of pure diamond arrangements that will lay you out flat and have your head swirling from the whallop of the sleazy voodoo racket that Banshee have created. Informed in equal parts by the intensity of 60’s Detroit and The Alice Cooper Group and with a rhythmic underbelly the calls on in parts the funk explosion of WAR. From the opening Intro of ‘Genesis’ amid a barrage of bells, chimes jungle sounds and a group feeling the funk they lay straight into ‘The Law’ where without missing a beat and over a blast of guitar riffs, dive bombing bass lines, thunderous drums and a voice that spits out and caterwails with a vengeance you find Banshee freewheelin’ into what will become your favourite rock’n’roll LP for 2020. The engine has started and the whole record is executed at a breakneck pace that is a furious rollercoaster ride to sweet oblivion. On the final epic sprawl that is ‘Caged birds’ which starts out with a garage like Sister Ray bump’n’grind chug before descending into a glorious meltdown of fuzzed up wah wah guitars and glockenspiels before everything finally fades back into the jungle. ‘Livin In The Jungle’ is one rabid rock’n'roll animal of a record.
This acetate slab of defiant mixture makes the magic happens like an hallucinatory disenchantment incorporated into some ultra vindictive power… Infectious, scary, brutal, elegiac, freakish and wickedly stylish, GR’s fifth solo album The GR Record Head pushes the boundaries straight up to cook your synapses.
Once again, the album comes out outside of the standards, with no other backing than GR himself on all instruments plugged into overheated tubes, then a few dusty razor-like moving coil transducers, a mixing board built like a Panzer and an analog 4 track reel to reel recorder from another age.
GuitaRazing, frenzied riffing and cranked soloing vagabondage on corroded strings, mesmeric tone, acid rave ups, rhythms like catapults, motorik plus deconstructive free forms, opaque vocals full of venom and fuelled by raw lines & metrics…— Now pair all that with the craft of fixing sounds onto an early 80s’ 1/4 inch reel tape and you got an idea of what The GR Record Head is all about.
The Mother of all fuckers in actual D.I.Y/Low-Fi Rock’n’roll.
FORMAT INFORMATIONColoured LP Info: Limited edition of 300 white-colored vinyl / comes with Lyrics insert sheet / printed on 300 gram uncoated reversed card sleeve.
FORMAT INFORMATIONLP Info: Limited White vinyl repress.
If you ever wondered what’d happen if two best friends who share a collective mission to not take life too seriously spent just as much time soaking up the muddy blues of Mississippi as they did the kosmisch experimentations of West Germany (the pair also play in Krautrock collective Datashock) then Pretty Lightning are your answer. Unsurprising, then, that as often as their sound is indeed full to the brim with crunch, swagger and feedback, they’re also just capable as easing off on that oft-abused accelerator and dealing in something more far hypnotic and drone-like
A couple of years on and the duo comprised of Leandro Rebellato and Sofía Aguerre now release their highly-anticipated sophomore album ‘Selva’ (translating from Spanish to ‘Jungle’.) Released once again on London-based label Fuzz Club. On their debut Las Cobras magnificently fused together a cocktail of proto-punk and murky shoegaze with traces of afrobeat and Tropicalia, but throughout ‘Selva’ the band can be found taking all of those elements and cranking them up to 11.
Nestled in-between the swirling, ethereal noise of the closing tracks (‘Voices’ and ‘The Color Of Dawn’), there are far darker and distorted moments like ‘Down Low’ with it’s mechanical drum-machine and gloomy neo-psych guitars, then the menacing ‘Evil In Your Eyes’ which is driven by a nasty fuzzed-out bassline and the dual vocals of Leandro and Sofia - both gravelly and entrancing, respectively. For all of those more sinister moments, though, that’s not to say the sounds of their native Latin America don’t still course through the record. ‘Lo Hacemos Mal’ and ‘Llamarás Mi Nombre’ are meandering psychedelic jams dripping with the sounds of their homeland. And, charting a similar path to other globally-attuned psych-heads like Khruangbin and Goat, title-track ‘Selva’ – made in collaboration with Gioele Valenti of label-mates JuJu (and previously Lay Llamas) – is a lysergic treat on the senses combining dub-like rhythms, wah-wah guitars and organs that could have plucked off a long-lost Ethio-jazz deep cut. After the release of ‘Temporal’ the pair took some time out of writing and got a live band together and started playing around Uruguay, Chile and Peru. Upon their return they began to work on the album’s much-anticipated follow-up and – partially due to facing a particularly difficult creative block – they decided they were fed up of writing and recording in their room, as was the case the first time around, and would not only find, but build, a new place to create in. “Here in Canelones there are no rehearsal rooms and we really needed a place to make as much noise as possible. Dario, our bassist, works as a builder so he built a place with his own hands.” With this new space to use as they please, and with a live band in tow who also ended up becoming much involved in the songwriting, the result is something far more multifaceted and spontaneous than their previous work: “We tend to become a slave to thing we’re doing. We get lost in it. We just go wherever the process takes us.” And, doing what they do best, it seems that that process can take you on a journey to anywhere from a Latin American jazz bar to a British club venue circa the era of Spacemen 3 and Primal Scream, or even perhaps a night spent listening to some nihilistic noise at New York City’s notorious CBGB.
Compilation album made especially for the Fuzz Club Eindhoven festival and includes lots of previously unreleased tracks, remixes and cover songs from bands that took part in the festival. Including Kikagaku Moyo, The Warlocks, Whispering Sons, The Telescopes, Snapped Ankles, Teeth Of The Sea and more. Triple record with 180g coloured vinyl in a heavy trifold sleeve and printed inner sleeves. This record is almost a kilo! Limited to 500 copies.
FORMAT INFORMATION3xLP Info: Available on 3x180 gram coloured vinyl.
FORMAT INFORMATION7" Info: Limited to only 300 copies.
FORMAT INFORMATIONColoured LP Info: Indies-only, coloured vinyl.
To put it mildly Anunnaki creates a massive sound for only 2 musicians. Live, the band has shared the stage with artists including Merzbow, Peter Brotzmann, Plastic Crimewave Syndicate, Darsombra, The Band Whose Name Is A Symbol, Comet Control , and Finland’s Siinai, among others. The album itself comprises just 3 epic tracks, ranging in length from 7:01 (album opener ‘Rise Of The Millenarian’), to 21:25 (‘The Demiurge Begins Anew’, which comprises all of Side B). In what is becoming true Anunnaki fashion, all tracks were recorded live off the floor, with no overdubs and minimal edits. The striking cover art is a black & white photographic portrait of the band with bass/guitar doubleneck and modular synth at the ready, beautifully shot in Nanaimo’s iconic White Room venue by local photographer Jason Felker. Produced by the band, and assisted by Andrew Halliwell, with mastering once again handled by Dietrich Schoenemann.
FORMAT INFORMATIONColoured LP Info: Transparent Gold Coloured Vinyl
There are still hooks and visceral, crushingly satisfying payoffs, but there’s a deeper complexity to these arrangements that rewards careful listeners and searchers. And while almost half of the last album was entirely instrumental, you’ll find no purely instrumental tracks on this one. This time Keelin’s voice has come to the forefront–a deep and deadly force that brings to mind Nico, Grace Slick, Jarboe, Malaria’s Bettina Köster, and White Magic’s Mira Billotte. Note the dynamics–from the subdued falsetto on the first half of “Cauldron’s Gold” to the murderous scream at the end of “Half Hail.” Another obvious change if you read the liner notes–three of the six members have switched out since the last album, which would seem like a big deal if it hadn’t happened in such a staggered and organic way.
Rick Pedrosa is deeply part of the crew by this point–he joined the band on pedal steel a month after the first album was recorded (September 2016)–replacing the lap steel player–Andrew Endres, Paul Michael Schaefer replaced Benjamin Blake on guitar just after the album release show (July 2017). Shaun Lyvers is the newest member–replacing the continent roaming Amir Amadi on bass in spring of 2018. Abronia is very much a band. Songs are written together at practice with everybody contributing.
Fuzz Club Magazine
Fuzz Club Magazine
The band say of the latter: “Clutching The Blade’ is a good snapshot of our sonic virulence. Among the new songs, it’s the one that truly conveys the energy of our live show. The song itself is about being trapped in the quicksand of a certain situation and the appalling feeling that the more you struggle, the faster you sink.” This sense of danger and losing control runs throughout the album, manifested perfectly in the claustrophobic noise-rock of ‘Sealand’ and ‘Egocandy’: primal and piercing, both tracks are dominated by screeching feedback and slabs of unforgiving fuzzed-out guitars that are more than capable of blowing both amplifiers and eardrums. Kykeon isn’t always quite such an intense affair though. Tracks like ‘Summer Clouds’ and ‘Adrift In The Chaosmos’ deal in a sublime Loveless-esque shoegaze sound; Laura Iacuzio’s shadowy, ethereal vocals emerging through all-consuming walls-of-noise. Then there’s the murky, ritualistic drone-rock found on ‘Gate Of The Dark Female’ and ‘One Illusion Is Very Much Like Another’ which keep hold of the band’s trademark fuzz onslaughts but gear them more towards explorations into repetition and texture. ‘One Illusion…’, especially, is bolstered by modular synths, DIY guitar pedals built by guitarist Sebastian Lugli and the use of a tanpura, a stringed drone instrument originating from India. Their finest work yet, Kykeon proves that Rev Rev Rev – based in Modena, Italy – are without a doubt one of the finest bands today to be carrying the torch for shoegazers far and wide, old and new – praise that’s already been justly lauded on them countless times since they formed back in 2013
The sheer joy of playing together on stage carried over from that show into the recording studio where over a stonking 75 minutes your ears are treated to an eternal freak-out. The Snakes bring a bottom end Sabbath thud while Jude (Guitar) creates a swirling and warped glide over the top of which Suzuki Junzo unleashes crazed 6 string fireworks
And if that does not set your heart a flutter then as the insert says “If you are looking for psychedelic music, do not buy this record unless you are looking for psychedelic music”
FORMAT INFORMATION2xLtd LP Info: 300 Pressing Worldwide. Presented in a 350gsm Wide Spine Sleeve with a full size insert and download code.
A sonic feast capable of transforming from visceral to tranquil in a matter of seconds. Even now, listening to blissful opener ‘And Let Me Drift Away’ as it melts into the brutal ‘I Fall, She Screams’ sends shivers up the spine. There’s little respite for the rest of side one, ‘Oil Seed Rape’ thuds and groans, then ‘Violence’ follows suit. All scratchy guitars that sound as if they were designed primarily to bludgeon senses. ‘Threadbare’ then ‘The Perfect Needle’ – the only single taken off the album – bringing the first half to an uneasy close. The second side kicks off with ‘There Is No Floor’, an ode to Roky Eriksson via My Bloody Valentine’s ‘Feed Me With Your Kiss’ that ultimately merits its mention alongside both.
‘Anticipating Nowhere’ is the sound of punk rock had it not jumped on the nostalgia gravy train instead, while the sinister ‘Please, Before You Go’ finds both Lawrie and Doran at their vocally harmonious finest. ‘Suffocation’ captures the ferocious demeanour of their live show while ‘Silent Water’ tells its own desolate tale of being buried at sea as a halo of pedal infused noise engulfs Lawrie’s vocals forthwith. Culminating in ‘Suicide’, the traditional ending to their live set at this juncture, its continuous loop only bringing the song to a conclusion at the listener’s command. Three decades have passed since its release yet ‘Taste’ still sounds like nothing else created before or after. The list of musicians who’ve cited its influence is endless and no doubt will be for years to come. The Fuzz Club reissue is due for release September 13th and comes on coloured vinyl with a booklet of photos from the era and new liner notes reflecting on the album's legacy.
FORMAT INFORMATIONColoured LP Info: Indies-only purple vinyl.
FORMAT INFORMATION2xIndies Exclusive LP Info: Available on 180g double vinyl with etched D-side. Heavy tip-on gatefold sleeve.
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.”
Take the oscillating, industrial dub of opening track ‘El Lade Frío’ (remixed by fellow Chileans The Holydrug Couple), the throbbing repetitive synths in The KVB’s reworking of ‘La Niebla’ or A Place To Bury Strangers’ twisted, overblown take on ‘Chepical’. ‘Cientologia & Altiplano’ is given a spaced-out ambient reworking via IIOII, an electronic duo from Santiago who are close friends of the band, and then in the following track, Portugal’s Pedro Pestana turns ‘Ataque Masivo’ into a piece of distorted, motorik drone not too dissimilar from his own work in 10 000 Russos and Tren Go! Sound System. This is followed by a minimalist deconstruction of ‘Carnaval’ courtesy of Brooklyn outfit The Men, who strip the song down to its bare bones. The penultimate cut sees ‘L.A.’ turned into a piece of sprawling, kosmische synthesis by LA-based producer Al Lover, who has remixed every psych band worth their salt today and is a masterful beat-making experimentalist in his own right.
Then, bringing the album to a menacing close is an eerie, barely-recognisable reworking of ‘Tormento’ via Tierra Del Fuego, a NYC-based project comprising members of Psychic Ills and Argentinian dub band Nairobi: the original songs driving rhythm section submerged under layers of dark, glitched-out electronics and manipulated samples of news broadcasts describing worldwide environmental disasters.
FORMAT INFORMATIONColoured LP Info: 180g Gold-coloured vinyl.
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 COMMENTSsays: 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?
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.
STAFF COMMENTSsays: 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.
FORMAT INFORMATIONLtd LP Info: Presented in a 350gsm Gloss Laminated Sleeve and comes with a download code. 300 Pressing Worldwide. 150 for Europe & 150 for USA.
The follow-up to 2015’s Poison Slows You Down, Last Light Of Future Failure is a different Hawkeyes. Though four long years have passed between long-players, those keeping score could have charted the band’s growth over the course of sporadic split-releases with psych-brethren Shooting Guns, Radiation Flowers, and their Morricone-esque contribution to the Return Of The Son Of Gutbucket compilation. No longer are Hawkeyes merely a punishing, claustrophobic, maelstrom of doom. 2019 Hawkeyes have no such limits.
Heavy still reigns, but subtlety, texture, and myriad other ancillary instruments colour these four swirling tracks in ways previously unheard. The marching, eastern-tinged “The Lickening” brings listeners back to the classic stoned-nod before the quicksilver freak-out, “Look At ‘Em Scramble”, levels all in its path. “Nude Karate” is legitimately danceable, its fuzzed phasers racing to the finish, battling for air with whirring synths. “Full Of Secrets”, the cinematic full-side closer, reveals itself slowly, like a Kubrick-directed nightmare.
Recorded in their northern headquarters, the Order Of The Ape, by guitarist Ryan Allen, Last Light Of Future Failure is Hawkeyes’ finest work. Without fear or pretense, they have finally delivered on the panoramic interstellar overdrive they’ve been not so quietly mastering since their debut.
Hawkeyes are Ryan Allen (guitar), Ron Cybulskie (guitar), Patrick Finch (guitar), Chris Gardner (guitar), Rob Keith (bass), and Stacey Schmitt (drums).
FORMAT INFORMATIONColoured LP Info: Presented in a 350gsm Gloss Laminated Sleeve with full sized 2 sided colour insert and with a download code.
You can feel how the life experiences over the last year have seeped, shaped and informed ‘Ape On Sunday’ which is the bands most intimate release since ‘Come Down Safari’. It’s a heady hypnotic mix that at times plays like psychedelic meditations and at others like music for a post apocalyptic movie. The Redwood canopies of Northern California’s Emerald Triangle still influence White Manna but there sound here is heading out in a more experimental direction where the music is more kosmische in style with sounds wreathed in mist and vapours, droning synths and shimmering guitars. ‘Ape On Sunday’ finds White Manna re-entering the stratosphere and floating back down to the dense redwood forest of their homeland.
STAFF COMMENTSsays: White Manna return with a dark and brooding record, incorporating growling guitars and kosmische synths. Good stuff!
FORMAT INFORMATIONLtd LP Info: Housed in a 350gsm Gloss Laminated Sleeve with a full colour insert and download code.
15 years ago a night of heavy drinking resulted in the formation of The Janitors - a creative project that has been the center of founder member Jonas and Henrik’s lives ever since. Over that time 5 drummers, 8 percussionists and 3 bass players have passed through The Janitors grinder. They have released 3 full length albums, 5 e.ps and a bunch of singles, as well as sharing stages with many great bands and have got to travel the world.
Gathered on ‘15 Years of Fuzz and Folköl’ are a collection of songs and sounds that reflect the different phases of The Janitors development, ranging from full on Fuzz and Feedback to Gospel Choirs and back to the dark menacing head swirling throb that The Janitors have made their own sound. The Janitors cherry picked 23 songs (all included on the digital download) that have never been released on any of their many LPs/EPs or singles. The Janitors then did battle with Dave (Cardinal Fuzz) and Mike (Little Cloud Records) in nailing down these 9 tracks that ended up on the vinyl edition of ‘15 Years of Fuzz and Folköl’. Afterwards we all dusted ourselves down and wondered how these tracks had ever fallen through the cracks - It may just become your favourite Janitors release so far.
15 years of Fuzz and Folköl is pressed on solid yellow vinyl and comes with a digital download link with an extra 80 minutes of music (14 extra tracks).
*Footnote Folköl is a very Swedish thing. You can’t buy proper beer in the stores, only low alcohol versions and these are called folköl or “people’s beer”. That beer has fuelled most of the tunes here.*
FORMAT INFORMATIONColoured LP Info: Solid yellow coloured vinyl.
The wave has crashed, producing a million waves of sound, each breaking on the shores of your own TIDAL MIND. DREAMTIME have gazed deeply into the infinite depths of our earthly ocean bringing you their new opus: TIDAL MIND.
Studying the interactions of liquids, plants and creatures of sea, DREAMTIME have listened carefully to the deep sounds of dark depths. From this sweet salty symphony, they have used their instruments not to play mere chords but to ride within these waves of sound letting our human ears drink deeply from the vast waters.
Channelling distant echoes of krautrock masters into not only the sounds created but their approach towards recording spontaneous thoughts, feelings and jams; Kosmic music runs deeply in the veins of these five musicians. TIDAL MIND falls into perfect sequence in the progression of this band that feels no ties to conventional musical impressions cast down upon the masses by the mainstream. The band makes its own channel through the embrace of natural patterns creating unique DREAMscapes permanently altering ones perception of the world that surrounds us.
Harnessing the perfection of analogue equipment while utilising modern techniques the band entered the studio and successfully laid down some ritual shit. The album sees DREAMTIME not content to reproduce previous sounds but press ever forward into the deep Kosmic unknown. TIDAL MIND sees the band return to the studio with Darek Mudge setting the controls for the heart of the ocean. Unheard sounds of unfathomable depths have been recorded/mixed and mastered so you can place the needle in the groove and enjoy them in the comforts of your own home.
Pressed in an edition of 500 units and housed in a gatefold sleeve with a colour vinyl. Download Code Included.
Taking cues from Terry Riley, LaMonte Young as well as Spacemen 3 (Dreamweapon) – minimalist artists who offer no concessions to the listener except to surrender yourself to the drone. Grant creates swirling cyclic passages via analogue synthesizer and tape machine loops as Nik conjures subliminal notes via guitar and space echo. Over 25 minutes they create an experience of devotional music influenced by Middle Eastern and Sufism cultures – as notes bleed and swirl together in a lysergic haze. Its fluidity is its greatest strength as the piece offers no navigation points – all they ask is that through a mixture of drone, repetition and simple melodies that you surrender yourself to the trance-like and hallucinatory delirium created. It is captivating.
Live in Tucson is a one off 300 pressing – all black vinyl. Housed in a 350gsm sleeve and given a private press like presentation via the sleeve and labels. Download Code Included.
FORMAT INFORMATIONLtd LP includes MP3 Download Code.
In ’05, itta (voice, Indian harmonium, toys) and Marqido (analogue synths) began a new, shifting musical life as 10 in Seoul, South Korea. To mark the massive March ’11 earthquake in Japan, 10 took a step in their evolution by becoming (((10))). The ground moved in a much different way when son RAAI arrived in ’12. Not missing a beat, or a good sign, (((10))) expanded to become Tengger. itta and Marqido, now with RAAI, incorporated all the adventures their self-described traveller family might have into their immediate lives and the sounds being being generated as Tengger. Touring the US, Asia and Europe, Tengger assimilate audience reaction and the myriad experiences of exploring and turn those elements into pillars of their sound, raw material for both foundation and take-off. It’s no surprise, and absolutely fitting, that ‘Segye’ (세계)–Korean for world–encompasses the mind, time and space.
‘Segye’ began taking shape in ’16 at Slow Slow Quick Quick (Seoul) during the demonstrations against President Geun-hye Park. Then, during the candle demonstration, artist Beck Jeajung made his voice heard and seen. Tengger, picking up on the synchronization, asked Jeajung to bring his art to the album taking shape. This environment, this bigger picture of family and community—this ‘Segye’—feeds the album as much as Tengger's own inner circle and outbound adventures. Their lush electro/drone psych may be the product of knobs, wires and electricity, but it's made from the experiences that only the real world can provide, both immediate and distant. These inner and outer dynamics, often at odds with each other, fuse to give the pulsing of ‘Segye’ a subtle luxuriance that celebrates the humanity inherent in their music. itta's voice melds and dances with the sonic patterns and processes, to continually layer, move and build on each other to not only lift the listener upwards, but to take them to places to take off again; destination to be determined.
“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.
Those words serve as a perfectly apt instruction manual – or warning, perhaps – for entering The Janitors nightmarish world and the ticket, in this instance, happens to be the band’s forthcoming Fuzz Club Session LP. While in the UK for a small run of shows in September 2018 we decided to drag the band down to Love Buzz Productions in South London in order to commit their unholy, eardrum-rattling live show to wax as part of a Fuzz Club Session. Clocking in at four-tracks – two from 2013s Drone Head LP, one from their latest full-length Horn ur Marken and another cut from their 2014 EP Evil Doings Of An Evil Kind – the session sees The Janitors’ malevolent, hedonistic swagger at its best, the live recording showing the band well and truly in their element.
The gloomy 80s sensibilities are still there – see the occasional Cure-esque guitars and morose gothic vocals - but on XVII, NONN turn their eyes more towards the electronic affliction of EBM and synth-punk than the polished, more-digestible post-punk that came reverberating out of the decade. This shift in the band’s sound all boils down to having to reinvent the songs when taking them on the road following the release of their debut, which saw them tour the UK and mainland Europe and play at a number of festivals; from Liverpool Psych Fest and Fuzz Club Eindhoven to, more recently, Endless Daze in South Africa. “Since the last record we’ve been doing a lot of shows which gave us a lot of inspiration. We reworked the old songs to sound a bit fuller and more fun to play live. Having to reinvent all the sounds and instruments from the first album really inspired the direction on XVII,” Christian remarks. It’s clear that taking the project on the road with a full-band has had a notable effect. Tracks like ‘Clear’, ‘Home’ and ‘Beyond’ see NONN shift their bleak, darkwave-inflected post-punk into something far richer.
It’s still got that minimalistic feel and the ear-worm melodies are still there, but it’s more sinister and fleshed out. Though, what truly sets this album apart from the debut is where the band have delved deeper into their electronic side. The industrial stomp of album-opener ‘Pray’ declares the LP’s merciless intent without a guitar in sight; it’s a destructive cut of throbbing synths and desolate drum machine, underpinned by Christian’s monotonous vocals. Partner that with the sparse, haunting electronics of ‘Believe’ and the mechanical synth-punk of ‘Hide’ and it’s clear that NONN are at their best when truly embracing their deeply-cherished Moog Sub Phatty, using it to exorcise the many demons lurking beneath the noise.
FORMAT INFORMATIONLP Info: Indies only LP.
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.
Their music is both menacing and meditative as tracks play out in harmony/discord and from minimal to maximal over the course of Golden Rise. There are times when the songs are almost gone and just a slow pulse is left, until the spell Is broken and tracks explode into an apocalyptic haze - Something that Mt. Mountain excel in as they create explosions in slow motion. Over the last few years Mt. Mountains have become laurelled and revered by those in the know. With Golden Rise that reputation is ready to explode. Golden Rise is presented in a 350gsm Card Sleeve with Metallic Pantone Printing, Full Colour Inner Sleeve and download code. Sleeve design by Penabranca and layout by Glenn Palmer. 1000 Pressing Worldwide. 450 for Europe.
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).
Ghost Transmissions is presented in a beautiful 320gsm gloss laminated sleeve with 2 inserts and is pressed on Heavy weight Black Vinyl (poly lined inners) and includes a 20 track download which features the original 11 album tracks plus 9 additional tracks (outtakes and live material from the time).
FORMAT INFORMATIONLtd LP includes MP3 Download Code.
Two is due for release via Fuzz Club Records on October 26th and see’s the band deal in floor-shaking industrial techno-post-punk occasionally steeped in a euphoric acid-house sheen. Where the old Throw Down Bones was better suited for intimate venues and psych fests (of which they were a frequent staple, from Liverpool to Eindhoven and everywhere in between), this new evolution sees them turn their eyes to the most underground techno clubs and the sleaziest warehouse venues. Imagine Death In Vegas, Factory Floor and Aphex Twin jamming in a room together and you might come close but Throw Down Bones would be reluctant to point to any ‘influences’. For them, their corrosive industrial workouts are simply the product of their environment and attitudes, as opposed to who they’re listening to at any given moment.
STAFF COMMENTSsays: Another killer outing from the venerable Fuzz Club, with throbbing post-industrial Italians Throw Down Bones releasing their second slab of gloomy thuds and machinated electronics. It's a dark affair, without a doubt, but one that would feel at home on the dancefloor or... at home.
Originally hailing from Cape Town, South Africa, André Leo and Lucy Kruger founded the project back in 2014, self-releasing their debut EP to international appraise. By the time their debut full-length, Kinda Like Electricity, was released into the world their ever-growing fanbase had extended far beyond the confines of Africa, solidified further with two tours around Europe and the UK in 2015 and 2016.
Now residing in Berlin, Medicine Boy are gearing up for the release of their incredible second album Lower, due for release via London-based label Fuzz Club. Uncertainty, fragility and the unknown all sit at the heart of this record. Even when Medicine Boy are at their most delicate and beautiful, things constantly feel like they’re teetering on the edge, ready to collapse at any given moment. And, like the calm before the storm, often it does - veering unexpectedly into a whirlwind of buzzsaw guitars, primal percussion and snarling vocals. That same gloomy ethereality constantly floating close to the surface.
The band explain that this antagonistic relationship more than likely explains the aquatic theme through the album – ‘Bottom Of The Blue’ and ‘Water Girl’ being two stand-out tracks: “I don’t quite know why but the theme of water is all over this record. Something about the tranquillity and uncertainty, perhaps. The violence just beneath the surface. The potential for a sudden shift in tide.” With the relocation to Berlin and Fuzz Club signing, Lower marks an exciting new chapter in Medicine Boy’s story. From the beginning, this attempt to deconstruct our relationship with noise has been at the heart of the band but on this new effort, we see the band sounding better than ever, exploring that relationship even further and proving beyond any reasonable doubt why the band have been picking up such a buzz.
As the band themselves put it: “Lower is a myriad of introspection and interpretation. There are wider themes, stranger worlds and deeper wells than before. It is some kind of attempt to draw comfort (however twisted) and companionship (however tainted) from chaos and confusion. It's our attempt to find beauty in the underworld.”
A heady cocktail of krautrock, psychedelia, noise rock and post-punk, Silent Animals takes us on a whistle-stop tour of Europe’s musical history with a newfound stomp and malignancy. Conceived in their own DIY studio in Rome, the Flamingo Recording Studio, the band has self-produced and engineered their debut in a state of total creative independence. The group says of their long-awaited debut: "Silent Animals talks about emotive fragility and wasted loves. It sounds nocturnal and psychotic, though essentially it's a work about love and the exorcism of fear and anxiety". An exorcism it certainly is, full of gnostic grooves and cathartic releases. The most forthright example of this is the first single from the album, ‘Six Weeks'. It’s hard rocker cloaked in reverb, feedback and throbbing electronics - sounding downright satanic as Simone bellows “six-six-six” as the song constantly veers on the verge of sub-atomic explosion.
The album was recorded in Portland, USA with Peter Holmström of The Dandy Warhols after both bands toured together back in 2015. Salvation Prayer is a condensation of heady riffs, haunting melodies and bright rhythms, half-way between 90s shoegaze and 60s psychedelia. The album touches on the theme of belief, the kind that affects even the most Cartesian spirit; may it be superficial, spiritual, superstitious, religious or moral. This very-human interpretation of reality is meant to help those who seek to free themselves, dream or flee, and that’s what the band is all about.
The final product of the seize the moment approach behind the writing and recording process echoes the themes Trickster Blues attempts to dissect. “The lyrics are about acknowledging consequences and saying "so what", the reward is worth the risk, etc. It's about feeling a pull, a calling, and dedicating to it hell or high water, whatever that may be. Its the heart of it all.’’ Renfro continues. To be able to listen and say “That’s it, that's the song. It is what it is, and we like what it is” Sounds a little underwhelming in that sense, but that's what I wanted. I just wanted the songs to speak for themselves. Our old material is challenging and dense, and I love it. I love the spaces we have created. But I wanted to record songs that could just stand alone and be what they are.''
The new album sees Demian completely subvert his sound once-again, adding a new evolution to his ever-evolving musical canon. Ditching any inkling of his ‘rock’ beginnings for a lysergic (but equally sinister) journey into post-apocalyptic electronics and sprawling drones – resulting in something that’s more likely to be bouncing around the walls of club nights than the back-room venue of grotty bars. U.E.F is comprised of two 20-minute slabs of unforgiving, dystopian electronica - complete with ambient electronics, droning analogue synths, monolithic percussion and a hypnotic kraut gusto. This is kosmische musik for the new age; a fitting soundtrack to the forthcoming techno-apocalypse, when artificial intelligence takes over and we're all subjected to the way of the machine.
STAFF COMMENTSsays: Ambient washes of spacey pads mix head-on with repeated psychedelic guitar refrains, galloping kicks and thumping snares. Snappy synth sequences whirl and whistle over a rhythmic barrage forming a foggy haze of instrumental bliss. Subversive II is a confident and collected drone-rock record with groove and attitude, a brilliant glimpse of what these radar men get up to on the moon, or in Holland. Most likely the latter.
FORMAT INFORMATIONColoured LP includes MP3 Download Code.
STAFF COMMENTSsays: Droning psychedelic bliss. Full-force distorted guitars and cavernous drums fuse together to form a weighty cacophonic meltdown. The addition of shakers and brass sections on the flipside give way to hellish distorted vocals, almost Iggy-Pop-esque in their enunciation. Chaotic and heavy, but with an unmistakable groove. A head-nodder for sure.
FORMAT INFORMATIONColoured LP Info: Coloured vinyl.
Founded by Icelandic frontman, Hakon Aðalsteinsson - an ex-member of Singapore Sling who are often hailed as founding members of the new psych sound - The Third Sound came into being in Rome in 2010 and have since relocated to Berlin. Since forming, The Third Sound have enjoyed the support of Anton Newcombe, who released their self-titled first album, on his label A Recordings, and chose the group to support his band The Brian Jonestown Massacre on tour in Europe. He also provided the studio for recording their second album The Third Sound of Destruction and Creation which was released on Fuzz Club in 2013. Most recently they’ve shared members with Anton Newcombe and Tess Parks’ band, which led to Parks’ appearance on the single “You Are Not Here” from this new album. What began as somewhat of a solo project by Aðalsteinsson, the new album sees The Third Sound stretching its definition with deeper levels of collaboration between band members and the influence of a new character in its story, the city of Berlin.
The group’s sound has been described as “ebbing between light and dark, dream and reality, pop and experimentalism” and “ranging from hypnotic soundscapes to tweaked out and fuzzed up numbers.” In a recent premiere on Clash Music they were described as "lynchpins of the psychedelic underground."
Psych-rock favourites RMFTM contribution to the series the colossal soundscape ‘Decadence’. The Dutch instrumentalists have released three sold-out albums since their inception and ‘Decadence’ is typical of their explorative style. Coming in at just under ten minutes long the track opens on harsh industrial noise pounding through a constant wash of eerie reverb, guitar riffs chime in as tooth-rattling percussion submerges you further into this huge, ethereal wall of noise. ‘Decadence’ is truly testament to the bands limitless avant-garde capabilities. The track continues in the hypnotic, abstract sound RMFTM have built with their previous record Subversive 1 (whose follow up Subversive 2 is currently in the works) and invites fans to follow them deeper down the musical rabbit-hole.
Joining RMFTM is one of New York’s most prolific bands, stoner / psych / space outfit White Hills. The duo - whose fruitful existence has spanned over a decade and seen forty releases - contribute their space-rock epic ‘You Pass By’. Having already built a dedicated cult following, the band recently gained further notoriety after an appearance in the Jim Jarmusch film Only Lovers Left Alive. ‘As You Pass By’ is a climactic otherworldly mix of swirling electronics building up as deep bass roils beneath singer Dave W’s gravelly vocals until the song erupts into a whirlwind of bluesy distorted guitars and screeching feedback, underpinned by a chilling spoken word sample. Both acts share a love of the surreal and approach music as experimental art. Their avant-garde soundscapes are the perfect foil for one another, proving that in the case of Fuzz Club Split Singles, the whole is truly more than the sum of its parts.
FORMAT INFORMATIONLtd 10" Info: 10" coloured vinyl (white), limited to 700.
The result is a seamless meshing of ideas from some of the best minds in the underground music scene - including The Oscillations Demian Castellanos and Steven Lawrie of The Telescopes - whose recordings span the weird and wonderful, ranging from home made noise box to Godin Artisan ST II recorded on solar power in a caravan, to simply lime green guitar. The roster of musicians and their various tools and instruments has been documented on the vinyl editions printed inner sleeve, and reads like a cross between a tech catalogue and a fantasy novel. The album was originally intended to serve as a second disc for Aether, however an extended, separate version was eventually called for to allow the project to fully realize it's 46 minute cycle, which was inspired by the long, warm summer evenings England experienced in 2013. Despite the new process undertaken for Hoopsnake, the methodically exploritive approach is typical to One Unique Signal, as is the feeling of continuity. The groups Nick Keech explains. From the very beginning, the Signal mythos has been repetition. Fellow band member Byron Jackson continues. The LP destroys itself, reflects upon the destruction, and is finally recreated, ready to repeat the process again. Along with fellow member Daniel Davis, the trio also perform as a part of space rock legends The Telescopes.
Fuzzed-up chords ring out seemingly at their own leisure and organs drone on beneath them as frontman Tom Hayes’ frustration and despair pierces through. The album’s centrepiece, ‘It’s All in Her Head’, has never lost its place in the band’s live set, and with good reason. It stretches its way across uncontained six minutes with a hypnotically repetitious organ melody crafted by keyboardist Paul Seymour, and Link Wray-influenced raw guitars, which create a surreal backdrop to Hayes’ despairing vocals.
FORMAT INFORMATIONLtd LP Info: LP is Limited to 500 copies.
Tried and true methods mixed with tongue-twisting, teeth-shattering, seizure-inducing stabs at the norm. Who knows… maybe that’s wrong. Maybe it’s all done. Played out. Maybe it’s not for want of new but for lack of old. But probably not. Bathe in the heat wave that is Fuzz, and regret nothing in the time freeze. Necessity is the mother of creation; and devolution stakes its claim in the past as it continues to bind itself to the future. San Francisco, Los Angeles, heaven, hell, lunar fields, subterranean hallucinations, traffic jams, sleepless days, hazy nights, recollection or blind reflection. It is all there and so should be you. 2015 and 2016 will bring a new surge of slime, fuzz and otherwise bittersweet concoctions of earthly lettering. It will be heavy, chaotically controlled, softly serpentine and blindingly barbaric. To translate the auditory from ethereal to saliva- soaked semantics is to shatter a promise as it’s made. In the meantime, Ty, Charles and Chad walk on. It is what it is. Just like everything else. And if you don’t know, now you know. This message brought to you by In The Red Educational Services… as it was before and is it will be again.
On this opus, we have the titanic Black Bombaim’s Alexandria, the mighty White Manna’s Slow Dust, the incredible Carlton Melton’s Bloody Mary Jane, the incandescent Dead Sea Apes’ Coronal and tumultuous Kandodo3’s (captured by The Cardinal himself in vintage lofi Kornyfone fidelity) Laud The Hyena.
FORMAT INFORMATIONLtd LP Info: Housed in a screen-printed gold on black sleeve with a reassuringly familiar design and pressed on a matching gold and black swirl vinyl.
Drowned In Sound said of their Eindhoven set: “combining the mesmeric rhythms of The Velvet Underground - Olya Dyer's driving beats make her the new psych generation's Mo Tucker - with rippling feedback associated with Bad Moon Risingera Sonic Youth and a dash of the Mary Chain thrown in as well, they're a captivating force”.
STAFF COMMENTSsays: Manchester's Underground Youth return with another slice of post-everything psych-rock-tronica. Combining beautiful guitar melodies and repeated vocal refrains with overwhelming pastoral electronic washes, this is a collection founded on indie pioneers past, but expanded upon to the Nth degree and updated. 'Drown In Me' is a particularly accomplished slice of synth-heavy industrial sadness, interspersed with bursts of cautiously optimistic shoegaze-y guitars. Nothing too sunny about this, but it's nice to wallow in the bleakness of life sometimes, and there really is no better way to do it. A soundtrack to industrial ruins, and rainy evenings. Highly recommended.
FORMAT INFORMATIONLtd LP Info: Limited repress!
This Australian beast of a band, with a bear of a name and a thick herd of band members, deliver many things on ‘I’m In Your Mind Fuzz’, namely a skeleton of propulsive Krautbeat fleshed out with a liberal dose of citric sweetness, flutes and harmonicas, a ton of wah, many lovely left turns of delicate psych and a dash of DMT dread.
The return of Icelandic Singapore Sling is upon us with their seventh studio album, recorded in the winter of 2011-2012 titled ‘The Towers of Foronocity’ and you will be anticipating this one for good reason. Twelve tracks of that dark, moody and broody sound that we all have come to know so well. It’s like a surrealistic dream sequence out of a David Lynch movie. Walls and walls of sound, layered between darkness and light. The album contains some of the bands best songs to date, including the opening track “You Drive Me Insane” with it’s thump coming at you, it’ll have you tasting the blood (of Singapore Sling) immediately. The band was born in 2000 as a result of nobody making the music that Singapore Slings Henrik Bjornsson wanted to hear. So he simply decided to make it himself, instead of complaining and doing nothing. It was born out of love and hate. Love of the various music from the past, mainly rock 'n' roll, and hatred of the majority of the music around him. He named the band Singapore Sling (after the film by Nikolai Nikolaidis) shortly before the first show in he fall of 2000. The first proper record, The Course of Singapore Sling, was released in 2002 and named "The Course Of" because of bad luck and freaky incidents that surrounded the recording of the record. The course went on and so did they.
"For so long we at Cardinal Fuzz have wanted to bring you this release on good old vinyl (2 of them were needed). Originally released via Function Records in 2009 on CD we at Cardinal Fuzz waited and waited for this to come out on vinyl. Eventually we had to start a record label with the sole intention of doing justice to this gloriously fuzzy heavy psych/garage monster.
Over 4 sides of vinyl The Demons bring forth big grooves and dreamy vocals with wah wah, tremolo and fuzz all over the place -sounding something like Blue Cheer, Black Sabbath and Mudhoney stuck in a revolving door. Sides C and D are given over to one track on each side both of which are psychedelic dirges that channel Hawkwind at their most strung out collapsing into a blizzard of wah wah and fuzz choas. In 2009 nobody really cared - we hope five years later you do. 350 Pressing Double LP The name comes from a late night TV programme about Japanese women wrestlers".
If you are not already aware of Segall, well, what’s up? He’s one of garage rock’s most prolific sons. He said he was going to take it easy this year, but by the time you finish reading this, the onesheet for his next record will have already arrived in your inbox. Moothart plays guitar in The Ty Segall Band and was also a member of The Moonhearts, which included Cosio on guitar. Way back in the early ’00s, all three played in the Epsilons.
Fuzz was formed a couple years ago as a collaboration between Segall and Moothart, but only recently did the pair have sufficient time to guide the band out of side-project limbo and into a recording studio. Since then, they have released two singles, “This Time I Got a Reason” (Trouble In Mind) and “Sleigh Ride” (In The Red). Around the time of the latter, Cosio joined on bass.
They are not dabblers or dilettantes. Fuzz flipped through used bins, hard drives and record collections of the world, seeking out the finest weirdo cuts. The band’s self-titled debut LP, which was recorded by Chris Woodhouse (Thee Oh Sees, The Intelligence), dives deep, drawing inspiration from the more esoteric reaches of heavy metal pre-history. There are Sabbath and Hendrix nods, obviously, but on “Sleigh Bells” you might also catch a whiff of UK progressive blues business like The Groundhogs, particularly when the song quits its 10/4-time intro and reboots into full-bore choogle. Maybe you’ll even glimpse the ghost of Australian guitar legend / sharpie guru Lobby Lloyde sniffing around “Raise.”
The mood is not light. The songs project a state of perpetual paranoia and eroding mental health. And as it should be, you know? It’s a record for the burners.
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