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FUZZ CLUB

Singapore Sling

Good Sick Fun

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

    FORMAT INFORMATION

    Coloured LP Info: Transparent white vinyl.

    The Vacant Lots

    Interzone

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

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

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

      STAFF COMMENTS

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

      Radar Men From The Moon

      The Bestial Light

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

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

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

        Servo

        Alien

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

          The Underground Youth

          Sadovaya - Reissue

            Coloured Vinyl (White) repress Ltd to 500 on standard weight. "The Underground Youth blend the sounds of shoegaze, post-punk and psychedelic rock with their own hauntingly beautiful twist." The Underground Youth is the name under which Manchester’s underground poet, Craig Dyer, has produced his records since 2009. In 2011, Fuzz Club Records started putting out his prolific catalogue, bringing to light a number of LPs and singles that had only circulated virally on the Internet. Since then, The Underground Youth, with Craig and Olya Dyer as the core of the band, have expanded to a four piece, gaining a solid international fanbase and touring all around the UK and Europe. Gideon Coe has spinned their single “Juliette” on BBC6 and they took part to the “Reverb Conspiracy – Volune One”, curated by Fuzz Club and Austin Psych Fest. In June, they rocked up the Eindhoven Psych Lab and they are set to headline Paris Psych Fest in July. Drown In Sound said of their Eindhoven set: “combining the mesmeric rhythms of The Velvet Underground - Olya Dyer's driving beats make her the new psych generation's Mo Tucker - with rippling feedback associated with Bad Moon Risingera Sonic Youth and a dash of the Mary Chain thrown in as well, they're a captivating force”

            FORMAT INFORMATION

            LP Info: Limited White vinyl repress.

            Pretty Lightning

            Jangle Bowl

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

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

              Las Cobras

              Selva

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

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

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

                Various Artists

                Festival Compilation (Fuzz Club Eindhoven 2018)

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

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

                  FORMAT INFORMATION

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

                  Lumerians

                  Yellowcake

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

                    FORMAT INFORMATION

                    7" Info: Limited to only 300 copies.

                    Routine Death

                    2 Weeks To 4 Months

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

                      FORMAT INFORMATION

                      Coloured LP Info: Indies-only, coloured vinyl.

                      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

                        The Telescopes

                        Taste (30th Anniversary Edition)

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

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

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

                          FORMAT INFORMATION

                          Coloured LP Info: Indies-only purple vinyl.

                          The Myrrors

                          Black Sand : Live In London

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

                            FORMAT INFORMATION

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

                            Singapore Sling

                            Killer Classics

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

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

                              Vuelveteloca

                              Sonora Remix

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

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

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

                                FORMAT INFORMATION

                                Coloured LP Info: 180g Gold-coloured vinyl.

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

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

                                STAFF COMMENTS

                                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

                                      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.

                                      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

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

                                                Medicine Boy

                                                Lower

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

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

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

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

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

                                                  Crimen

                                                  Silent Animals

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

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

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

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

                                                    Routine Death

                                                    Parallel Universes

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

                                                      RF Shannon

                                                      Trickster Blues

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

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

                                                        Sherpa The Tiger

                                                        Great Vowel Shift

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

                                                          Medistation

                                                          Medistation EP

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

                                                            Tales Of Murder And Dust

                                                            Fuzz Club Session

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

                                                              Nest Egg

                                                              Nothingness Is Not A Curse

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

                                                                The Oscillation

                                                                U.E.F

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

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

                                                                  Saccades

                                                                  Saccades

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

                                                                    RMFTM

                                                                    Subversive III: Spelende De Mens

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

                                                                      RMFTM

                                                                      Fuzz Club Session

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

                                                                        Nonn

                                                                        Nonn

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

                                                                          Heaters

                                                                          Fuzz Club Session

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

                                                                            10,000 Russos

                                                                            Distress Distress

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

                                                                            Orange Revival

                                                                            Black Smoke Rising

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

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

                                                                              Oscillation / 10,000 Russos

                                                                              Fuzz Club 10" Split Single No. 9

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

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

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

                                                                                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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