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Falling Floors

Falling Floors

    Falling Floors is a psych-rock three piece, formed in the pandemic out of a desire for distraction from dark times and an unending stream of shit news (seriously, what the fuck is going on?) There’s no master plan, no grand ambition, no product-market fit, just a shared love of 60s psych, 70s rock, and the fearless, genre-less experimentation of Krautrock and early prog to get us through.

    Riding the trans-Pennine underground (up the hill and out of the crags, down there, you know?), you can hear magical sounds coming out of the Valley. On a cold and wet Calderdale winter, the band recorded their self-titled first album, DIY, live, in two days in Hebden Bridge. Rawness not perfection and feel over finesse were the aims. This album, a trans-Atlantic joint release by Riot Season (UK) and Echodelick (US), lives by slips, fuck-ups, and simple, joyous expression.

    Falling Floors is Rob Herian (ex-feral stoner rockers Early Mammal) on guitar and vocals, Harry Wheeler (no ravers The Family Elan) on bass and keys, and Colin Greenwood (ex-shoegaze folk rockers No Sorrows) on drums. It’s no one’s project, and no one’s in charge. But there’s enough in common to keep it honest.


    A1. Infinite Switch (8:05)
    A2. Interlude 1 (Making A Scene) (0:58)
    A3. Ridiculous Man (4:41)
    A4. Interlude 2 (Negotiations) (1:16)
    A5. Flawed Theme (4:50)
    A6. Interlude 3 (Going Quietly) (2:00)
    B. Elusive And Unstable Nature Of Truth (18:48)

    Shit And Shine

    Ladybird - 2022 Reissue

      17th anniversary remaster. New sleeve artwork with photos by Steve Gullick and pressed on dirty white vinyl.

      Ladybird ... one perfect heavy as fuck hypnotic riff played over and over and over and over across 2 sides of an LP.

      Back when Shit And Shine formed, the idea was basically to sound like their heroes DRUNKS WITH GUNS and STRANGULATED BEATOFFS, using that same basic formula. A big dumb ass catchy riff played over and over until the joke gets old ... then keep going.

      Recorded live at Southern Studios, London (fun fact: the same room where BAUHAUS recorded 'Bela Lugosi's Dead'!) in 2004 with just two basses, a snare drum, a huge cardboard box and a tiny toy Casio sa-1 keyboard (using the "airplane" sound hitting the same key over and over for 41 minutes)
      Some still say it's the best thing shit and shine has ever done. I'm not arguing.

      Originally released on CD, and super limited vinyl waaay back in 2005. This was Shit And Shine's second release and it sold out REAL quick.

      Remastered and beefed the hell up by Craig Clouse at Shit And Shine Ranch 2022.


      A. Ladybird Part 1 (15:52)
      B. Ladybird Part 2 (25:30)

      Acid Mothers Temple & The Melting Paraiso U.F.O.

      Myth Of The Love Electrique - 2022 Reissue

        Continuing the ‘first time on vinyl’ purge of the AMT archives. Here’s the band's classic 2006 album finally available on double vinyl for the first time. Housed in full colour gatefold sleeve.

        ‘Myth of the Love Electrique’ is another scorcher from these ridiculously prolific psych masters. This album is notable for being the debut of their newest band member: Kitagawa Hao. Kitagawa's presence doesn't dominate the recording by any means, but her contributions nicely complement the swirling chaos the group generates. Acid Mothers Temple always manages to find a breath of fresh air at the most opportune times, and this is no exception. While remaining a tight unit, bringing Kitagawa into the fold adds another dimension to their chaotic sprawl without having to sacrifice any of their strengths on this incendiary album.

        “Comprised of four lengthy tracks, the album explodes with a start: "The Man from Giacobinid Meteor Comet." Kawabata Makoto's guitar quickly becomes a tangle of screams, a frenzied surge that drags the band along with it. The rhythm section is ferocious. Bassist Tsuyama Atsushi frequently ventures out to the stratosphere, but he also knows when to hold back or to provide a vaguely melodic foundation. Likewise, the amount of energy drummer Shimura Koji dedicates to his performance is a lesson in endurance. Divided into three movements, this track eventually cools down and then glides to a drone landing, alighting the listener breathlessly upon calmer ground.

        Kitagawa's voice makes its first appearance on "Five Dimensional Nightmare," floating over a bouzouki arrangement that sounds like singing glass. This one is divided into three sections like the previous track, but starts airy and then goes into a drone as Tsuyama briefly takes over the vocals. From here, strings are tortured like fingernails on a blackboard before a guitar and Higashi Hiroshi’s water drop electronics restore balance.

        As much as I loved the two previous tracks, the band forges ahead into something different on "Love Electrique." Kitagawa's presence is most felt on this track. Her voice streaks across the mix as blistering guitars and freaky electronics blast all over the place. Over the course of 20 minutes, it hits several different moods and textures on a truly transcendent journey.

        Of the four tracks, only the live staple "Pink Lady Lemonade (May I Drink You Once Again?)" may seem a little redundant. Kitagawa, however, breathes new life into this standard by bringing her vocals to the fore over the entire track, as if restoring an element that previously had been missing. It's hard to call it a definitive version because so many other excellent versions already exist, but it is a great one in its own right. For fans who may be weary of this song after all of its appearances over the years, it is easy enough to stop the disc after gorging on the first hour of music, and it is still a welcome dessert if the mood should strike”


        A. The Man From Giacobinid Meteor Comet
        (a) Giacobinid Meteor Shower Attack
        (b) Viva Astro Django
        (c) Sailing On Giacobini's Orbital (20:44)
        B. Five Dimensional Nightmare
        (a) The Golden Apple And 400 Wives
        (b) Magic Fingers Of The Undesired Fiend
        (c) Or A Spell For Sargasso Of Space (13:34)
        C. Love Electrique (19:30)
        D. Pink Lady Lemonade (May I Drink You Once Again?) (20:32)

        Gnod R&D / Whirling Hall Of Knives


          With a bond of sorts formed in 2012 birthing the release of GNOD's '5th Sun' 7" on WHOK's own Trensmat label (not to mention the various subsequent affiliated Dwellings and/or Druss offshoot 12"s on same) it makes some sort of sense that the two outfits should appear together on the same piece of plastic.

          GNOD should need no introduction but if if one was required their double hit on the A side of this split release would be simultaneously a misleading primer and also bang on target. Operating in main men Paddy & Chris's GNOD R&D guise their usual organic thrashing rhythm section is absent, replaced by frenetic and thrillingly crisp drum machine and synth doom.

          'Paint It Blacker' is a creepy dancehall opener with a desolate but defiant vibe in both sound and lyrics ("Is it slipping away?....TAKE IT BACK!"). In addition to the sparse delayed/distorted analogue tones, trebly electro percussion sentries fly off in all angles from their bass base with plenty of space and clarity given to each element. "If I lose my mind...DO I WANT IT BACK!?" is an unanswered open question to which you can draw your own conclusion(s).

          Unquestionable banger 'Let's Get Numb' accelerates the tempo and throws everything at the baddies: horrific droneage, pulsing synth lasers, lacerating staccato guitar licks, howling expense spared. Instead of continuing the introspective soul-searching this is a call-to-arms to get numb in the face of contemporary shared adversities. Failing the suggested old reliables of getting drunk/stoned there is sufficient heft in the propulsion of this track to take you far enough out of reality for its 6 minutes 28 seconds.

          On the B are Ireland's long-ruining rhythmic noise pushers Whirling Hall Of Knives (aka WHOK) with a cautionary tale told in two chapters.

          'Clarotranq' is a shape-shifting mutant that *SPOILER* cruelly switches mid-flow. From the initial guise of a crawling, shuddering electro abomination it then star-wipes to a grim scene, invoking a crude facsimile of Hooky at his lowest ebb. A husk of his once-chirpy plucking creates the solitary soundtrack, as the world's last data centre goes up in flames around him...and all the while the voices in his head repeat a hopeless demotivating mantra ("...psyche-stares, shivers" etc.).

          Closer 'Clarotranq (Afterglow)' could provoke an extreme physical reaction in that you may want to tear your contaminated clothes off immediately - but not in a sexy-time way, as this is the sonic equivalent of pure unchecked radioactivity Wavering meter readings blurp over ominous subterranean robo-dub, leaving you in a state of toxic uncleanness. Something big and bad has just happened and this is the sound of the aftermath, the afterglow. Do NOT inhale or touch ANYTHING!


          A1 - GNOD R&D - Paint It Blacker (5:59)
          A2 - GNOD R&D - Let's Get Numb (6:28)
          B1 - Whirling Hall Of Knives - Clarotranq (4:18)
          B2 - Whirling Hall Of Knives - Clarotranq (Afterglow) (8:13)

          Shit And Shine

          Phase Connected

            Shit And Shine is back on home turf with Riot Season again for another festering collection of filth and ooze.
            Raw . Brutal . Live sludge.

            Recorded in Austin, Texas bedrooms and kitchens during shitty lockdown.

            It’s fucking HEAVY!

            TRACK LISTING

            A1. North Atlantic (4:15)
            A2. Plum Whiskey (5:35)
            A3. Burnet Road (3:18)
            A4. Dividrleedoth (6:43)
            B1. Socktagon (3:34)
            B2. Acrylic BC Rich (5:14)
            B3. Nrun (4:19)
            B4. Kyle Devils (3:15)
            B5. Slough By-Pass (6:21)

            Taras Bulba

            Sometimes The Night

              The third release from Fred Laird was recorded during the period June 2020 and January 2021 on 24trk home studio recording. It is also the first album recorded purely as a solo artist with the occasional guest and draws more from a roots style music (trad it isn’t) than previous more psychedelic releases.

              ‘Inspiration for the album came from listening to the self-recorded primal music of Hasil Adkins and the first solo Link Wray album for Polydor. The idea of these guys just doing what they wanted back of beyond seemed more akin to me sat in a box room during lockdown feeding off a diet of Billy Chong Kung Fu horror flicks, David Lynch, Noir crime movies, Jean Cocteau and the works of Yukio Mishima.

              Musically the sound draws from early Bad Seeds or Crime and the City Solution, Gallon Drunk, Bohren and Der Club of Gore, The Cramps, Hasil Adkins and various other trash inspired twilight creatures. I also wanted to try and create that spooky organ sound that dominates the midnight movie classic ‘Carnival Of Souls’, so there’s quite a lot of organ and piano going on. I also got my hands on a baritone guitar to give the songs more of a deep growly twang!

              Vocals are provided by Daisy Atkinson for the Jean Cocteau dedication ‘Orphee’ which is the nearest thing to a pop song on the album and the echoey almost Sister Lover’s sound of the title track. I got sick of my own shit voice and I just thought a female voice would give it a more fragile ethereal vibe.

              Mike Blatchford provides formidable saxophone to the album’s last three tracks which were recorded on his mobile phone 300 miles away and synched into the music. The big blasted swing blues of ‘The Big Duvall’ is a dedication to Andy Duvall of Carlton Melton – a big guy who needed a big song. Who knows how big the song could have been in a proper studio. I could have dedicated it to John Wayne but Wayne couldn’t chop down trees with his bare hands like Andy can….’

              TRACK LISTING

              A1. The Green Eyes Of The Dragon (5:07)
              A2. Orphee (4:30)
              A3. From The Grave (5:11)
              A4. Night Train To Drug Town (6:09)
              A5. One More Lonely Angel (4:20)
              B1. Sometimes The Night (7:29)
              B2. The Sound Of Waves (3:49)
              B3. The Big Duvall (7:39)
              B4. House In The Snow (7:28)

              Taras Bulba

              Soul Weaver

                Taras Bulba featuring ex Earthling Society head Fred Laird return with their second album ‘Soul Weaver’. Soul-Weaver was recorded between February and April of 2020. The album is a sharp contrast to the Taras Bulba debut. Whereas ‘One’ was a laid back psilocybic novelty travelogue; Soul-weaver is more guitar driven dream like psychedelia, mixing 60’s garage rock, shoegaze, bucolic west coast acid folk and ambient feedback.

                The album builds on song structures instead of drifting instrumentals prevalent on our debut and is an indication of the path I want to go musically. Constructing the album in such a short time and under lockdown restrictions changed the way the album took shape. There were no drum sessions between myself and Jon due to the social distance rule and therefore percussion had to be constructed from drum machines or ‘found’ from previous sessions and cannibalised.

                So, in some ways this is more a solo record (Jon has never heard the songs). It is a guitar album whereas ‘One’ was a rhythm/percussion focused recording. Lyrically it draws on (quite accidentally) the writings of Dion Fortune, particularly her novel ‘The Sea Priestess’ which I read 12 months before. It never even came into mind until I started draughting the lyrics and things started popping up that had very strong comparisons to that novel. That’s the subconscious mind I suppose and also living next to the Irish sea which is literally at the top of my street. I can see it and smell the salt on the air everyday. I’m lucky really for that.

                I took it all for granted up until the last year or two. The recording has a bit of a watery, dreamy feel too and it’s also haunted. It’s haunted by a good soul though; with electric blue eyes. Early March I recorded the track ‘Sun and Steel’ and I could hear a female vocal on it. I needed to record a vocal and my sister in law always fancied herself as a bit of a singer. I thought she could weave some magic on it. I text her at 9:26am, it was a Thursday morning. She never replied.

                This is for you Susie (1971–2020) eternally in our hearts.

                TRACK LISTING

                A1. Fishcat Mother
                A2. The Moon On The Tides
                A3. Goatfoot On Owl Hill
                A4. Tethered On The Wheel
                B1. Sun And Steel
                B2. Catch A Falling Star
                B3. The Blistering Of Summer Heat

                Mummise Guns

                Mummise Guns

                  "I don't remember now"

                  It's hard to say how Mummise Guns actually came to be a thing. What is certain is that Tracy Bellaries and Matt Ridout had shared a flat for a while and were often speaking about forming a group to have an outlet for some music that Tracy had written, but above and beyond that initial idea the rest is slightly hazy, or perhaps murky is the better word.

                  Also very much a fact rather than a fiction is that the name was cooked up at Supernormal Festival in 2016 when Pigs Pigs Pigs Pigs Pigs Pigs Pigs bassist Johnny Hedley uttered the phrase 'Look at these guns, Mummise Guns' when everyone was hanging around a tree swing (this sounds like we're making it up now, but honest it happened, we think). Tracy and Matt immediately adopted it despite protestations that it was a completely daft thing to do. Thus, the band Mummise Guns was born.

                  Where, why and how the rest of the group got involved is not 100% clear, but the initial lineup of Tracy, Matt, Adam, Cleaver and Al prepped three of Tracy's songs and three of Matt's into something solid enough to record by early 2017 and the band dropped into Wayne Adam's (Petbrick, Big Lad) Bear Bites Horse Studios in East London to track their debut self-titled LP Mummise Guns (Riot Season REPOSE094LP), with Al and Adam adding further recordings at Pigs Pigs Pigs Pigs Pigs Pigs Pigs guitarist Sam Grant's Blank Studios in Newcastle.

                  After that, it's safe to say things got busy. Pigs Pigs Pigs Pigs Pigs Pigs Pigs took over the airwaves with a series of incredible LP's on Rocket Recordings, Luminous Bodies wrote and recorded an absolute belter of a second album for Box Records, Casual Nun dropped a couple of full-length smashers and a split with Bruxa Maria on Box Records and Hominid Sounds, Ghold released a killer LP on Crypt of the Wizard, and Black Shape and Michael both dropped some classics on Hominid Sounds and Cracked Ankles respectively.

                  Yet, throughout all of this intense activity, the Mummise Guns LP lurked in the shadows like a malevolent beast just waiting for the right moment. That moment was early 2019 when everyone regrouped at Bear Bites Horse, including new addition Gordon Watson, for some final overdubs and mixing. And here it is, 2020, and the proof of all this hard graft is finally available to you.

                  So here are six tracks of noise-fuelled amphetamine that is perfect to drive all the right people from your house and attract all the wrong ones in.

                  Play LOUD.

                  TRACK LISTING

                  A1 Flattened Earth
                  A2 Glitter Balls
                  A3 Forever Triggered Forever
                  B1 Bipolar Brain Transmitter
                  B2 Dog Cocked
                  B3 End Of Days

                  The Cosmic Dead

                  Scottish Space Race

                    Heavy psych experimentalists The Cosmic Dead's eighth album - Scottish Space Race - is set to be released via Riot Season Records and has been mastered by John McBain (Monster Magnet, Wellwater Conspiracy).

                    The album was recorded in their Glasgow HQ with cosmic sound guru Luigi Pasquini, four sprawling chunks of music recorded live amongst a run of momentous late night festival appearances in the summer of 2018. Scottish Space Race is the first Cosmic Dead release to feature the drumming of Tommy Duffin (Headless Kross) and the lap-steel synthesizer yowls of Russell Andrew Gray (Girl Sweat) alongside long-time cosmicians Omar Aborida and James T Mckay.

                    TRACK LISTING

                    1. Portal (20:56)
                    2. Ursa Major (18:24)
                    3. Scottish Space Race (11:56)
                    4. The Grizzard (24:08)

                    Taras Bulba


                      Taras Bulba was formed in the winter of 2019 by Fred Laird and Jon Blacow. Taking a new direction from their last musical outfit EARTHLING SOCIETY, the duo embarked on an inner space mission for new age ideas, rhythmic mantras, ambient landscapes and creative micro dosing.

                      Taras Bulba ‘One’ is a pot-pouri of Eastern/ Asian sounds, Krautrock Rhythms, ambient landscapes, psychedelic blues and Orb inspired dub. Taking influences from Midori Takada, Tony Scott, CAN, Neu!, 6 organs of Admittance, The Orb and the soundtracks of David Lynch and Angelo Badalemnti.

                      Recorded between September 2018 to May 2019 on home recording equipment in different houses and any empty space large enough for a drum kit. A laptop dying with over worked CPU and amps so broken that the only alternative was to record straight into the desk. Working to a true DIY ethic like some paranoid Philip K.Dick character with a tin foil antenna; piecing together tracks created out of the ether like satellite messages from some imaginary planet.

                      TRACK LISTING

                      Side A
                      Hashish (5:13)
                      Moroccan Waves (8:55)
                      On Mt. Kailash (3:57)
                      I Hadit, U Nuit (6:40)

                      Side B
                      Rising Lazarus Blues (9:02)
                      The Neon Midnight (5:25)
                      The YO-YO Man (6:19)
                      Goin' West (3:14)

                      The Cosmic Dead

                      Psych Is Dead

                        Scotland's favourite space-psych-rock-gods return with a new album 'Psych Is Dead' before heading out on a lengthy UK/European tour including appearances at all the key genre festivals such as Safe As Milk, Wrong Fest, DesertFest, Raw Power Festival and Karma Fest.

                        Formed in 2010, The Cosmic Dead are a quartet from Glasgow, Scotland who share their music through good vibes and better vibrations. Known for their improv, chaos strewn, Buckfast smashed against the wall take on space music, they have roamed from Roadburn to Las Vegas, Dundee to Bangalore with each album offering a meditative window into a certain time and space.

                        'Psych Is Dead' is the sixth full length album from the band, the glowing embers of a a few days spent recording in a sweaty Sardinian kitchen overlooking the Mediterranean Sea. Soon to be available on LP and CD via Riot Season Records, 'Psych Is Dead' is an aural exploration of their tumultuous universe.

                        STAFF COMMENTS

                        Barry says: Cosmic Dead have once again opened our minds with an expansive and hazy vision of reality. Chugging guitars and swirling synths mix with thunderous drums and all-round heavy vibes. It's a wonder their hearing is still ok with riffs like this going down.

                        TRACK LISTING

                        A. Nuraghe (21:54)
                        B1. Psych Is Dead (8:23)
                        B2. #FW (15: 28)

                        Early Mammal

                        Take A Lover

                          Early Mammal are a 3-piece based in the home of South London Sludge, Dropout Studios. Formed in 2012

                          Early Mammal are: Rob Herian - guitar, drone box & vocals, Ben Davis - drums & Ben Tat - bass & baritone guitars

                          The band released two albums in 2013 and received strong reviews. Debut album 'Horror at Pleasure' was released in April of that year on Devouter. Denis Belindir provided cosmos expanding synth on this brooding dark invitation through the woods of the mind. The album, as with all to date was recorded live at Drop out over the course of 3 days. The LP streams continuously combining raw power and claustrophobic psyche blues, coaxing and sometimes dragging the listener through its journey. Influences of Captain Beefheart, Aphrodite's Child, White Hills, Hawkwind and Uncle Acid and The Deadbeats can be heard:

                          Less than half a year later the band released 'My Fire' on Convoy records. This album found Dan Davies (Wolf people) joining to record a more experimental late night driving experience through psych-rock, Denis Belindir's distinctive Turkish tinged synth really taking the trip to different levels.

                          ‘I have been blown away by this promo twice today! Think Pink Floyd soundtrack work circa 1970 and Irmin Schmidt's incredible 3 album run of 'filmmusik' + 'Toy Planet' 1980-81. Yes THAT good! Eurorock pulses; a bit of SanFranjam; driving around mainland Europe in the early 70's in a lorry left over from the war, worried about the last generation's involvement...easily the best recording I've yet heard from them but, once again, nothing like their tremendous live show, Valve amps wall of cabs- everyone dies overdrive...but the grooves are still tight’ TOBY MEARING RADIO SHOW

                          Two well received albums on Devouter and Convoy lead to the band supporting Bong, and Baba Yaga’s Hut gigs around London, including the Raw Power Festival 2014

                          Third album, 'Take a Lover' is proudly released September 2015 through Riot Season records. After the sudden departure of Denis Belindir on synth, the band regrouped with a reinvigorated sound. Taking the experimentation of My Fire, the narcotic muscularity of Horror at Pleasure, this album represents a new chapter out of the woods and showing greater depth. With the arrival of Ben Tat on bass and baritone guitars, the band shares two common ancestors now: Elks and 85bears. The upcoming release reflects the sound of a lineup finding order through the entropy of extended jams and developing their sound. Recorded at Dropout studios by the band. Take a Lover is live and captures a stream of single takes from two days of winter, December 2014. It has become the catalyst to yet again prolific recording and sets the tone for where Early Mammal are going next.

                          TRACK LISTING

                          A1. The Great German (7:34)
                          A2. Inside (4:44)
                          A3. Morning (5:59)
                          A4. Sigh On (4:12)
                          B1. Glad Is Night (8:43)
                          B2. Sak Bacle (2;26)
                          B3. Magic, Art & Bells (0:48)
                          B4. The Good / GG Return & Out (6:14)

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