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FUZZ CLUB

Spirit Valley

Negatives

    Spirit Valley are psych duo based in Amsterdam and are the latest addition to the ever-growing Fuzz Club family. Their second LP ‘Negatives’ will be released in August and see’s their pulsing dance-floor-ready psychedelia blur the line between the dark fuzz of The Black Angels or Dead Skeletons and the post-punk/new wave croons of Joy Division and The Chameleons

    FORMAT INFORMATION

    Indies Exclusive LP Info: Limited to 300 copies, coloured 180g vinyl and gatefold cover

    Vuelveteloca

    Sonora

      Vuelveteloca are a Chilean psych-rock outfit who formed over a decade ago in Santiago and since then have been busy picking up a notorious reputation amongst the ranks of fellow South American noiseniks Follakzoid and The Holydrug Couple for their incredible live show. In their lengthy career, the project has been comprised of a number of different members but has always revolved around the vastly creative minds of its two core members, Tomas Olivos and Marcos De Iruarrizaga.

      With four LP’s now behind them, Vuelveteloca are teaming up with Fuzz Club Records for the release of their incredible fifth album, Sonora. The record is nine tracks of ferocious (8 tracks on vinyl with 9 downloadable tracks), rhythmic psychedelia that sounds like a relentlessly motorik mix of Black Sabbath’s doomy stoner rock and the kinetic psychedelic rhythms of modern bands like Kikagaku Moyo or King Gizzard & The Lizard Wizard.

      Rev Rev Rev

      Kykeon

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

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

        Minami Deutsch & Damo Suzuki

        Live At Roadburn - Mustard Yellow Vinyl Repress

          At the 2018 edition of Roadburn Festival – a congregation of all things obscure, heavy and experimental in Tilburg, the Netherlands – two generations of Japanese Krautrock genius took to the stage for a live collaboration that was just as hypnotic as it was inevitable. The artists in question were Tokyo’s Minami Deutsch and the legendary ex-Can frontman Damo Suzuki and, almost a year on, Fuzz Club will be releasing the live performance on vinyl and digital on March 1st. With Minami Deutsch’s heady metronomic jams providing the backdrop on which Suzuki was left free to deliver his distinct improvised vocals, the Live At Roadburn LP is challenging raw and, at times, totally alien. Divided into three parts, from start to finish the LP is consumed by an unrelenting motorik rhythm section that never lets loose for a second.

          At the flick of a switch, intricate guitars veer from hypnotic and meditative to skewed psychedelic freak-outs drenched in fuzz. Where Minami Deutsch’s playing is sharp and meticulous, the opposite can be said of Suzuki; whose bizarre, at times inaudible, stream-of-consciousness ramblings steer the music into whatever direction he sees fit. The result is equal parts disorientating, sporadic and totally all-consuming – the only thing keeping you grounded being that distorted and seemingly-endless 4/4 drive. Repetition. Minimalism. Improvisation. Transcendence. That was the ideology of seminal Krautrock pioneers Can, whose 1970-1973 work with Damo Suzuki at the helm unleashed something in music that’d change it forever. Some 45 years since Can’s final record with Suzuki - the inimitable Future Days - and the freewheeling spirit of that era still lives on.

          Not least because ever since then Suzuki has embarked on an endless one-man tour, travelling around the world and taking to the stage backed by countless local bands of all stripes. One place in-particular where Krautrock is embracing a true return to form is Japan, where a new school of bands are reinvigorating 60s and 70s kosmische music for these humdrum times. Of those leading the charge is Minami Deutsch, who take the driving, minimal beats and howling guitars of the Kraut greats and bring them crashing into the 21st Century. Formed back in 2014, the band have been picking up a formidable international reputation for their deeply-mesmerising and powerful live shows. 

          FORMAT INFORMATION

          10" Info: Repress on mustard yellow 10" vinyl.

          The Telescopes

          Taste (30th Anniversary Edition)

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

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

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

            FORMAT INFORMATION

            Coloured LP Info: Indies-only purple vinyl.

            The Telescopes

            Strange Waves

              Every so often a band comes along that challenges boundaries alters perceptions and, ultimately, changes the game. The Telescopes are one of those bands and have been doing so for over three decades now. Showing no sign of slowing down yet, the pioneering British noise-rock/shoegaze underdogs are now gearing up to release a new single, titled Strange Waves, on Fuzz Club Records. ‘Strange Waves’ marks a return to the distorted, malevolent garage-rock sound of the band’s earliest releases. Meanwhile over on the flipside, ‘The Speaking Stones’ represents one of Lawrie and The Telescopes’ most audacious pieces to date. Fusing drone and noise segments while clocking in at just under fourteen-and-a-half minutes, it’s the sound of a band still refusing to compromise on any level. It was discovering Suicide and 13th Floor Elevators that would be an integral, formative influence on Stephen’s work many decades ago and, as this new single shows, those macabre rock’n’roll sensibilities are still an omnipresent force in his music today – only, true to the Telescopes way, everything is submerged in an ever-mutating wall of dark, unforgiving noise.

              Centred around the inimitable driving force that is Stephen Lawrie, The Telescopes have constantly evolved since putting out their first release (‘Forever Close Your Eyes’, a split flexi-disc with Loop) back in 1988. With an ever-changing cast of musicians to complement Lawrie’s ideas, The Telescopes have never had time to stand still or rest on their laurels. Instead, Lawrie and his band of cohorts have continuously strived to reinvent themselves with every passing record, making them an impossible band to categorise or compartmentalise into any specific genre. Reflecting on his thirty-year career, Stephen Lawrie offers the following manifesto: “The Telescopes are more a revolution of the psyche than the sidewalk. Question everything.”

              The Myrrors

              Black Sand : Live In London

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

                FORMAT INFORMATION

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

                Singapore Sling

                Killer Classics

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

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

                  Vuelveteloca

                  Sonora Remix

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

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

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

                    FORMAT INFORMATION

                    Coloured LP Info: 180g Gold-coloured vinyl.

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

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

                    STAFF COMMENTS

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

                    Cosmonauts

                    Star 69

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

                      You Said Strange

                      Fuzz Club Session

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

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

                        Diagram

                        Transmission Response

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

                          STAFF COMMENTS

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

                          Juju

                          Maps And Territory

                            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). 

                            FORMAT INFORMATION

                            Coloured LP Info: 180-gram coloured vinyl.

                            Underground Youth

                            Fill The Void

                              The Underground Youth have always been steeped in a romantic nostalgia, their poignant psychedelic post-punk sounding like what might happen if Rowland S. Howard, Leonard Cohen, Bauhaus and The Velvet Underground jammed in a room together, but on this new 45 the band have turned this nostalgia in on themselves. The lyrics are taken from Dyer’s old notebooks dating back nearly a decade and in its minimalistic yet impassioned instrumentation, it also feels like somewhat of a throwback to the older recordings that left them to pick up a cult following (their 2010 LP Mademoiselle 2010 picking up over six million views on Youtube.) 'Fill The Void' and 'Take Me Awry' offer a reflective journey through the band's impassioned psychedelic post-punk, with it's 80s-style percussion, funeral vocals croons and dark jangly instrumentation that occasionally breaks down into a whirlwind of fuzzed-out guitars.

                              This desire to strip things back to their raw fundamentals and reflect on the last decade of the project came after the two tracks were nearly shelved because they didn’t quite fit the new direction they’re set to travel down on their forthcoming album. “We’d been experimenting with a completely different sound whilst in the studio recording our ninth album. What we created with these two tracks wasn't really what I was looking for and so I almost scrapped them,” Craig continues: “I just couldn't shake the rhythm of 'Fill the Void' though, we ran through the track as a band and took it out on the road. It fast became one of the most exciting tracks of our set, with Olya's pounding drum and Leo jumping on the additional snare towards the end. When we got back from the tour we revisited the tracks in the studio and decided to use them for a special release.” As The Underground Youth set to delve into exciting new waters, on this special release they've taken us on a typically-gloomy trip down memory lane - not just in terms of post-punk and psychedelia's darker histories, but also for the band themselves.

                              The Underground Youth

                              Mademoiselle

                                Manchester’s The Underground Youth have built an impressive back catalogue of seven full-length albums showcasing a hazy cocktail of neo-psych, post-punk, shoegaze and chillwave, of which every copy of each album has been long sold out. Now for the first time ever their highly sought-after album Mademoiselle is being given a physical release by Fuzz Club, alongside reissues of their sold out 2013 and 2015 albums The Perfect Enemy For God and Haunted. The story of Mademoiselle is a testament to the power of great music being able to reach an audience, regardless of the fact the artist might be unsigned, underground and almost unheard of. Originally released in 2010 and only available online, Mademoiselle has piled up millions of views on YouTube, and saw The Underground Youth acquire a cult following at a ferocious pace.

                                The album has continued to endear audiences with its bluesy psychedelic-leaning, based on beautifully crafted lyricism and a sculpted sound. Layers of reverb-drenched, folk-indebted guitars and forlorn vocals bleed over hypnotising, monolithic drums to create a record that is 46 minutes of lethargic, lo-fi psych mastery. To celebrate the release of the album, The Underground Youth will be headlining Fuzz Club’s new monthly London event Under The Arches on 5th March, followed by shows at Manchester’s Cosmosis Festival, Lisbon Psych Fest and the group’s fifth European tour. Since releasing Mademoiselle, The Underground Youth has experimented and evolved into deeper complexity exploring electronica, industrialism and post-punk, but always with an incredible astuteness for beautiful songwriting

                                FORMAT INFORMATION

                                Coloured LP Info: Available on 180g "Milky Clear" coloured vinyl

                                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.

                                A Place To Bury Strangers

                                Fuzz Club Session

                                  For over a decade Brooklyn’s A Place To Bury Strangers have been dealing in pure sonic destruction. Famously lauded as the loudest band in NYC, their thunderous noise-rock has seen them pick up a cult following and shatter many unsuspecting eardrums across the globe. With no release or live show similar to the last, APTBS have continually twisted their malevolent sonic assault into something not of this world. Following 2018s Pinned LP (Dead Oceans) the trio is back once again – this time with a live session LP on London-based imprint Fuzz Club. Whilst in London at the end of a European tour in support of Pinned, the band spent the day at Love Buzz Productions in South London to lay down a Fuzz Club Session, due for release February 15th as a vinyl exclusive alongside a collection of videos which will be released online.

                                  Raw, punishing and unpredictable, the LP – recorded live in one take - perfectly captures the APTBS ethos through-and-through and sees the unwavering intensity of their live show committed to wax like never before. “It’s good to record at the very end of the tour,” reflects Oliver Ackermann, the band’s vocalist/guitarist and founding member: “You’ve been playing these songs all tour and there’s a certain point when you kind of get tired of them so you have to reinvent what they mean and what happens in them. I feel like that always pushes things to the next level. It’s exciting.” Some songs on the session may date back a decade but, true to the APTBS way, they’re totally reconfigured and pushed to their very limits.

                                  Spanning their lengthy back- catalogue, there are two tracks from Pinned (‘Never Coming Back’ and ‘Punch Back’), one from 2015’s Transfixiation (‘We’ve Come So Far’), one from 2012’s Onwards To The Wall (‘Drill It Up’), another from their 2007 S/T album (‘Ocean’) and a previously unreleased track (‘Chrome Shadow’). What makes this LP stand out is the way in which the live setting perfectly captures the band’s ability to work as a collaborative unit; every member feeding off one another, their tight-knit playing hardened by months on the road. Ackermann’s visceral guitars and FX pedal manipulations may be what defines the APTBS sound but just as integral on this LP is Dion Lunadon’s scuzzy, remorseless basslines and the primal percussion and snarling vocals of Lia Simone Braswell, who joined the band just last year. There aren’t many bands who can make deafening chaos sound so tight and meticulous but that’s just how APTBS roll. The Fuzz Club Session LP serves as a perfect indoctrination into the fuzzed-out world of A Place To Bury Strangers - taking you through a no-holds-barred tour of their discography whilst also offering a glimpse into the almost-hypnotic power of their live show. This is an album just as much for fuzz veterans as it is for the uninitiated. 

                                  The Janitors

                                  Fuzz Club Session

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

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

                                    Nonn

                                    XVII

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

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

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

                                      FORMAT INFORMATION

                                      LP Info: Indies only LP.

                                      Steeple Remove

                                      Vonal-Axis

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

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

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

                                        The Gluts

                                        Fuzz Club Session

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

                                          Throw Down Bones

                                          Two

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

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

                                            STAFF COMMENTS

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

                                            Medicine Boy

                                            Lower

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

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

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

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

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

                                              Dead Vibrations

                                              Dead Vibrations

                                                Dead Vibrations burst onto the booming Stockholm music scene in 2015 and have been flying the flag high for Scandinavian shoegaze ever since. Their dark and gloomy noise pop channelling a mix of visceral Mary Chain-esque guitars, droning psychedelia a la Spacemen 3 and even Seattle grunge at times – resulting in a reverb-drenched sound that manages to sound both unapologetically indebted to its influences yet completely modern. Having spent the last couple of years touring Europe, Dead Vibrations have signed to Fuzz Club for the release of their self-titled debut album, due for release January 26th. With crushing fuzzed-out guitars, swirls of feedback, thundering drums and angst-ridden vocals, the record is a masterclass in dark, brooding shoegaze. For such a new band, Dead Vibrations have wasted no time making their mark and their debut album is sure to send them to even further heights. 

                                                Crimen

                                                Silent Animals

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

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

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

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

                                                  Routine Death

                                                  Parallel Universes

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

                                                    RF Shannon

                                                    Trickster Blues

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

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

                                                      Sherpa The Tiger

                                                      Great Vowel Shift

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

                                                        Medistation

                                                        Medistation EP

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

                                                          Tales Of Murder And Dust

                                                          Fuzz Club Session

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

                                                            The Oscillation

                                                            U.E.F

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

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

                                                              Dreamweapon

                                                              SOL

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

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

                                                                Pretty Lightning

                                                                The Rhythm Of Ooze

                                                                  Christian Berghoff and Sebastian Haas are two lifelong friends from Saarbrucken, Germany who back in 2007 formed the band Pretty Lightning. The duo tick off a long list of influences – from 60s psych and delta blues through to krautrock and drone – and the end-product is a heady dose of raw, twisted psychedelic blues recalling an utterly visceral mix of Oh Sees, Wooden Shjips and early Black Keys. Fast forward ten years and the German two-piece have two highly-praised LPs behind them and are now gearing up for their third effort, 'The Rhythm Of Ooze' – due for release November 10th on Fuzz Club Records. Their latest long-player sees them dive even further down the rabbit-hole of stomping garage-rock blues and dizzying motoric drones. This is Pretty Lightning at their best - a head-heavy trip through their lysergic, rock'n'roll prowess. 

                                                                  Saccades

                                                                  Saccades

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

                                                                    RMFTM

                                                                    Subversive III: Spelende De Mens

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

                                                                      Helicon

                                                                      Helicon

                                                                        Including download card. Glasgow’s Helicon have been staples of the UK’s underground scene since they formed back in 2009 and from then they’ve gone on to release eight EPs and share the stage with everyone from the likes of Wooden Shjips, The Warlocks, Dead Skeletons and The Holydrug Couple. Picking up an ever-growing reputation along the way the band are now finally set to release their long-overdue self-titled debut LP on Fuzz Club – produced by Tony Doogan at Mogwai’s Castle Of Doom Studio. Exploring themes of love and loss, drugs and drink, religion and politics, and life and death, Helicon’s new album is a collection of sprawling and expansive Eastern-tained psych-rock. Psychedelia has always transcended geographical limits and with this in mind, the band explain how the new record aims to explore all psychedelic ley-lines across the globe - from their home-country Scotland to the sitar-led sounds of India whilst nodding equally to both vintage and modern psychedelic motifs. 

                                                                        RMFTM

                                                                        Fuzz Club Session

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

                                                                          New Candys

                                                                          Bleeding Magenta

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

                                                                            Las Cobras

                                                                            Temporal

                                                                              Las Cobras are a duo hailing from Canelones, Uruguay. Despite being a totally new band, forming in the summer of 2016, this album is certain to pin the duo firmly on the radars for psych-heads across the globe. The album itself is influenced as much by psych/krautrock greats a la BJM and Suicide as it is wildly immersed in the lysergic sounds of South America – at times delving into lush and textured afro-beat and tropicalia influences. Fully immersed in their Latin roots, their groove-ridden and mystical psychedelia is utterly enthralling - it's a hypnotic journey through warped synths, tropic percussion, lysergic bass-lines, smoky vocals and chiming, fuzzed-out guitars.

                                                                              Nonn

                                                                              Nonn

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

                                                                                Heaters

                                                                                Fuzz Club Session

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

                                                                                  10,000 Russos

                                                                                  Distress Distress

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

                                                                                  Orange Revival

                                                                                  Black Smoke Rising

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

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

                                                                                    Underground Youth

                                                                                    A Lo-Fi Cinematic Landscape

                                                                                      Lo-fi Cinematic Landscape is a collection of primarily instrumental recordings that would form the soundtrack to an unfinished short film by Craig Dyer began work on back in 2013. Although the script was never fully conceived and no footage was filmed, these recordings accompany the story as he imagined it would be told. Originally released by Fnord Tapes on tape back in 2015. 

                                                                                      Oscillation / 10,000 Russos

                                                                                      Fuzz Club 10" Split Single No. 9

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

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

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

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

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

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


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