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Danger Dance

    Noseholes debut 12" LP "Danger Dance" takes the listener on a journey in a scruffy taxi unexpectedly cruising through dirty, muddy streets into a neighbourhood where discotheques are sparsely improvised in shabby basements. Whilst the LP soundtracks this journey with its disco-infused variety of Post-Punk and No Wave. The album contains groove heavy hits such as Styling, Danger Dance and Lush Box mixed with more experimental songs sung in alien tongues, a No Wave grumble rap and finally a nerve-wrecking saxophone improvisation.

    All the tracks offer up a unique take on your grasp of dance music."Noseholes are from Hamburg, but do sound straight from New York though" - Trust Mag. "The minimalism and musical approach of Noseholes reminds me of bands such as Bush Tetras, Contortions, Shopping and Nachthexen" - X-Mist Records "Harbinger Sound are going to release the album in the UK. The best indicator of the quality that can be expected and that it will be everything but boring" 

    Ceramic Hobs

    Black Pool Legacy

      "The Ceramic Hobs are the band in the corner of the old man's pub round the back of the venue getting drunk before they either a) slay your senses with a mind boggling set of punk inspired psychedelia or b) fall over screaming and fighting. They make The Fall look as stable as U2 and the Butthole Surfers as mainstream as R.E.M.

      They’re from Blackpool and have been going since 1985. This double LP retrospective of the North of England's most unique, overlooked and long-lasting underground band spans 25 years of recordings, with tracks taken from numerous releases carefully selected and sequenced by Philip Best (Consumer Electronics), ergot trip front cover art from John Godbert (Vibracathedral Orchestra), gatefold bad vibe intricate line drawing from Darren Brian Adcock and a twelve page booklet featuring an extended interview/essay by Chris Sienko and a band family tree. Rock music but with voodoo curse words, twisting spiralling synths and guitars, overloaded samples: the sound of impending mental collapse overpowering the unwary listener.



        Structure are; Christopher Shoulder (Guitar/Vocals) Maureen Bourne (Bass/Vocals) Paul Dudeney (Drums), the members of this Brighton based trio having previously served time in BANDS including DiE, MEN OH PAUSE and SPLINTERED. Drawing inspiration from frenetic “Pink Flag” era Wire, Aussie degenerates X, and the bleak stride of Crisis, Structure deliver jagged lines on a cold steel frame of tense dense discontent to vandalise your dirty mind. Their debut 12” features six Structure originals, including future dance floor filler “Disco" Recorded by : Christopher Shoulder @ small pond studios Mastered by :Daniel Husayn (@ North London Bomb Factory)

        Circuit Breaker

        Hands Return To Shake

          "Circuit Breaker are a band split in half. On the one hand, there is the jagged guitar and maudlin singing of Peter Simpson, which slots into the lineage of expansive and gothic punk ala Killing Joke , Bauhaus , Wire ,etc. Pushing against it is the production approach of his brother Edward. Washes of glassy FM Synth melodies are counterbalanced with bursts of electronic harshness, recalling artists such as Autechre & Pan Sonic. “Hands Return To Shake” is the second full length from the London based group and also their second release for longstanding outlier label Harbinger Sound.

          Moving on from the previous record, “My Descent Into Capital”, “Hands Return…” is a much more personal and emotive work. Simultaneously a re-affirmation and a deconstruction of influences, the orthodoxies of minimal-synth and post-punk are stretched and squeezed to breaking point. Circuit Breaker are a band who relish in holding together contradictions. Both a rock band and an electronic act , they have a blunt and direct production approach which, nether-the-less, is full of technical detail. ‘Hands Return To Shake’ will likely win them fans from a vast array of genres, from Industrial-Rock to IDM and everything in-between, providing it is dark, synthetic and angular. 



            Very limited 10" pressing of the debut recordings from Berlin-based post-punk band Toylettes. If you're into the basement recordings and squeals of artists like Kleenex or Rubella Ballet amongst others, or if the attitudes of anarcho- punk or riot girls strikes a chord then this band is for you. Limited to #300. Lyric insert included. 

            Steve Ignorant's Slice Of Life

            Just Another

              The first 7" by the Steve Ignorant's latest group. After a well-recieved album the legendary former- Crass vocalist returns with three brand new recordings with his band Slice Of Life. Three slices of kitchen sink realism topped with that distinctive voice. A limited edition complete with inner lyric sleeve

              Heavy Metal

              The Nietzschean Supermen Of Dustbin Rock

                " You don't just 'throw this record on' , you put the needle down and watch it happen. Staring at it distrustfully all the while. These Berlin mystics have collected the spare parts from their fleet of wrecked punk vehicles and jammed them together to form this twisted taunting monster. Pop culture references abound. The lyric sheet reading like the musings of a modern day Dan Tracey if he were a speedhead instead of a smackie. When the whole thing's done you're gonna pick it up , pull it towards your face and back a few times as if it were a Magic Eye you were suddenly gonna 'get', then put it down and come back with a friend " - Onton Nordberg / Diat.The Nietzschean Supermen Of Dustbin Rock is the third album from Berlin's almost mythical band Heavy Metal. Don't let that name put you off. This is the most sarcastic snotty take on punk rock the modern age is going to throw at you. 12 tracks that are filled with a blatent disregard for everything. A limited edition on gold vinyl with gold printed sleeve and insert. Golden times.


                Disco Creep

                  Sheffield's Nachthexen have a few brilliant releases under their belt now, including their demo cassette The Other (2015), self-titled 7" (2016), and 10" EP (2017). This latest slab of blood red vinyl builds on the great signature synth punk sound they've already established, but also offers an exciting range of new ideas and nods to different styles. The opening track 'Disco Creep' explodes with the fun, catchy, and danceable flavour of disco filtered through 1980s post-punk, while still bringing something raw and new. This is bolstered, no doubt, by the shouty punk vocals and excellent lyrics which will instantly strike a chord with anybody whose ever had their night out unceremoniously shat on by belligerent, sleazy norm straight men with no concept of personal space ('disco creep / don't dance near me').

                  FORMAT INFORMATION

                  7" Info: Edition of 750 copies with a lyric sheet insert. Dark red vinyl. Spot varnish cover.

                  Housewives / Massicot

                  Exc.281016 / Kokteilis

                    New material from Geneva quartet Massicot and London's Housewives on Harbinger sound. 

                    John Wall & Mark Durgan


                      John Wall and Mark Durgan return after a lengthy absence [ there first release together was in 2011] Theirs is a fractured sound world woven together from improvisations that took place in the Utterpsalm Studio in London between 2012-15. The resultant seven tracks are an attempt at imposing order,structure and "expression" without meaning or intentionality onto a huge amount of heavily edited sonic material



                        Nachthexen are a band - possibly a coven - from Sheffield making fresh, fiery and eminently danceable synth punk. This record follows on and includes re-released songs from their excellent sold out cassette The Other (2015) and self-titled 7" (2016). Touching on themes of social anxiety and isolation, feminist protest, and sanctuary in sisterhood, the witch is a fitting figure for this sound. Striking, minimalist artwork based on lunar cycle imagery in the band's signature yellow and black adds to an aesthetic of outsider occultism that complements the lyric sheet perfectly. Filter that eeriness through the ferocity of classic punk, and the catchiness of 80s post-punk and new wave - and you start to arrive at somewhere near their sound. Tight and taut drums and bass anchor the songs with sustained rhythms, while the synth soars above and the great, in-your-face vocals push at the forefront.

                         At times the interplay between rumbling bass and gothic synth takes things to a dark magical place where Goblin's Suspiria, Gary Numan, and post-punks Siekiera might also converge, which I think is pretty remarkable. On the other hand, something of the punchy attitude and ear-worm hooks recalls the spirit of women pushing punk forward in the late 70s and 80s - Kleenex springs to mind, or the rowdy vocals of Suicide Squad. However, I have the feeling that no attempt to settle on an accurate historical comparison for this band could be successful. There is something very new and inimitable about this record's sorcery - and after the 'fuck you' sentiment of the final track 'Cheer Up Luv' builds to a fevered climax, it will stay with you for days. (KY Ellie - Good Throb / Snob) An edition of 750 copies complete with lyric insert. Nachthexen are touring the UK throughout Autumn supporting the Sleaford Mods. A new 7" is due out soon. 



                          Stuttgart's Karies produce four new tracks of that brooding, but driving post-punk sound they're known for throughout Germany.

                          Even though the material may reference the likes of Die Haut and the Abwarts , and even touching on The Wipers at points. Karies constantly reframe that sound and keep it very much retro free.

                          These are the last group recordings to feature Kevin Kuhn who had to go fulltime with his other band - Die Nerven.

                          This UK edition of the EP is housed in a gorgeous gatefold.

                          FORMAT INFORMATION

                          Ltd 12" Info: Limited to 200 copies.

                          Circuit Breaker

                          My Descent Into Capital

                          ) "My Descent Into Capital" represents the most ambitious recording from this London-based duo to date. Even if they're taking influence from minimal synth, post-punk or early industrial sides, Circuit Breaker are unmistakably contemporary with their delivery. Forging together metallic drum machines, propulsive synth lines and stark guitar degradation into bold , simple and effective songs about down-trodden themes of isolation, discontentment and the true horror of work. This album transgresses any simple nostalgia for its musical forefathers and showcases a band with their eyes fixed firmly on the future. Any obvious reference points are contorted and stretched to the point where they are transformed into something new. After ten years of obscurity and a refusal to go away, and after two well-received records on Tombed Visions, this album is their first full-length album, and first for abstract-punk imprint Harbinger Sound. After many shows with supporting Harbinger Sound mainstays Sleaford Mods, the duo are about to embark on an extensive tour with new label mates Consumer Electronics early next year.
                          The album was mastered by Barry Grint at Alchemy.

                          Nottingham duo Sleaford Mods release their third ‘proper’ album via abstract-punk label Harbinger Sound on vinyl and CD. The album will be housed in a gatefold sleeve designed by Steve Lippert and was mastered by Matt Colton at Alchemy. Everything else was done by Sleaford Mods. “Key Markets was a large supermarket bang in the centre of Grantham from the early 1970's up until around 1980,” explains Jason Williamson. “My mum would take me there and I'd always have a large coke in a plastic orange cup surrounded by varnished wood trimmings and big lamp shades with flowers on them. Beige bricks with bright yellow points of sale and large black foam letters surrounded you and this is why we called the album 'Key Markets'. It's the continuation of the day to day and how we see it, the un-incredible landscape.”

                          “The album was recorded in various periods between summer 2014 through to October of that year. We worked fast as we normally do, the method was the same as the other albums and like the other two, the sound has naturally moved itself along. 'Key Markets' is in places quite abstract but it still deals heavily with the disorientation of modern existence. It still touches on character assassination, the delusion of grandeur and the pointlessness of government politics. It's a classic. Fuck em.”

                          Sleaford Mods are: Jason Williamson – words Andrew Fearn – music.

                          FORMAT INFORMATION

                          Ltd LP Info: Green vinyl exclusive to independent stores.

                          ‘Divide And Exit’ sees Sleaford Mods once again released on the elusive Nottingham-based low-profile Harbinger Sound label. Once dismissed around their native Nottingham as "two skip rats with a laptop" the last 12 months has seen the Sleaford Mods simply knock all their distractors clear out of the way. The mounting hysteria surrounding their 2013 album 'Austerity Dogs' has spread like chlamydia at a teenage house party and saw them topping many 'End of Year' lists worldwide. Along with a handful of limited 7" releases on labels as diverse as Matador and X-Mist, plus an extensive european touring programme have all helped to solidify their growing reputation as the 'ones to watch '. The Sleaford Mods duo of Jason Williamson and Andrew Fearn have also been busy throughout the year working on the follow up album which finally sees a release at the start of May.

                          "Divide and Exit " contains 14 new tracks all written over the last 12 months and the result is as immediately in your face as its vicious predecessor. Whilst Fearn's beats and loops will pull you up into the urgency of Sleaford Mods they also allow you to run the gauntlet from delibrate clumsy dance-floor swaggers to full-on punk throwabouts with them. Williamson is let free to spit out his unempathic litany of bile and anger towards the bloated and tedious. His verbal salvos and side-swipes are often savage and brutal , yet at turns, hilarious, but always spot on as Sleaford Mods rage and despair as the country sinks deeper into a cesspool of its own idiocy. It's an album that doesn't have the privilege of luxury, indulgence or extravaganza and it will strike a resonant chord with many because it simply refuses to compromise. Many critics have attempted to tag and align the Sleaford Mods with other artists and have done little other than to advertise their own shortcomings and lack of knowledge. If you need a pointer try and imagine an East Midlands take on Suicide that survived rave culture and looked to the Wu-Tang Clan for the escape hatch. The down to earth observations and story-telling of Ian Dury or Patrik Fitzgerald are maybe closer than any other names flung about in desperation. If you wish to tag and place Sleaford Mods you're only limiting yourself.

                          Sleaford Mods started out sometime during 2006 whilst Jason Williamson was living in Nottingham. Born out of part frustration and part accident, it quickly found its feet as an aggressive verbal onslaught on all that is contrived and connected to the day-to-day hammer of low paid employment and domestic situations arising from that trap. After a year of working ideas out in both the studio and in live performance around Nottingham, Williamson moved south and took the cause to London for a couple of years, before returning to Nottingham in 2009. Soon after that he that he met Andrew Fearn and the Sleaford Mods became a duo. Fearn’s first work was on the production of “Wank” – the Mods’ fifth CDr album. Soon after he started stalking the studio and stage with Williamson. Just after the release of “Wank” the duo were invited to play a three day festival curated by Nottingham’s Rammel Club. During that weekend they were introduced to the Harbinger Sound label. A meeting which – a year later – resulted in the release of “Austerity Dogs”. Numerous shows around the UK and Europe followed, including further festival appearances. Rave reviews of the album have appeared in magazines as diverse as The Wire and Uncut, along with interviews being published both on paper and on the internet, both here and abroad. With more international dates on the horizon including excursions to Poland and Sweden the interest in the Mods continues to spread.

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