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Ingnodwetrust (White Vinyl Repress)

Brothers and sisters, to prepare ourselves to celebrate the sacred mysteries of Gnod, let us call to mind our sins. We believe in one Gnod, Gnod Almighty makers of heavy black slab on Earth. We believe in one Chord, seamless, sublime, the one and only sound of Gnod, eternally begotten of the marcher. Gnod from Gnod, light from light, true Gnod from true Gnod, begotten, not made, of one Being with the maker; through Them all riffs were played. For us and for our salvation They came down from Manchester; by the power of Tony’s (un)limit, They came to reincarnate and made the last disco’d beat.

'Tony’s First Communion', if you choose to be blessed by this record, is the first reception of the Sacrament on vinyl; this long-standing favourite has been celebrated over centuries of incarnations and Rocket are proud to release its rite of passage. The ceremony of this Communion lasts 20 minutes and 2 seconds.

On the second side Gnod rose again in accordance with the Scriptures; They ascended into noise upon this Earth and were seated at the right hand of the 'Vatican'. This 13 minute holy doctrine sees Gnod take away the sins of the world; it cleanses the incense (the in-sense-out-sense) from the all seeing (third) eye, like a Faustian Butthole Surfers sharing bread with Shit & Shine and John Carpenter turning water into wine. Some ceremonies owe their institution to purely physical reason; for Gnod it’s the mystical reason that They represent. 'Ingnodwetrust' is founded on honour and soul, They for one are finally washing their hands with downcast eyes.


Fear On The Corner

    Mamuthones may have originally taken their name from the death-masks used in rituals in their native Sardinia, and initially emerged from the Italian occult psychedelic movement alongside the likes of Father Murphy, Mai Mai Mai and their labelmates Lay Llamas. Yet now, in the wake of their Rocket Recordings debut album ‘Fear On The Corner’, the band find themselves undergoing a metamorphosis from mystical and ceremonial realms into a direct connection with the everyday, the personal and the political.

    This vibrant reinvention also sees Mamuthones transcending their roots in Italian prog and soundtrack work and shifting their modus operandi firmly in the direction of a distinctly New York-based headspace - a realm of mirrorballs and black-clad basements both As the band’s Alessio Gastaldello tells it, this is a groove-based. eclectic style that finds its metier in the realm of two albums which are paid direct homage in the record’s very title - the bleak and kinetic ‘Fear Of Music’ by Talking Heads and the iconoclastic, heat-haze repetition of Miles Davis’ ‘On The Corner’. “The songs deal with fear.” he clarifies. “Fear of the present, of human situations, fear of the new political situation, but also fear of relationship breakdown, fear of not finding “a place in the world”, fear of fear itself”

    Yet this is principally an aural landscape whereby the eclectic mischief of ZE Records, the sonic brinksmanship of ‘Tago Mago’ era Can and the post-punk songwriting flair of LCD Soundystem can happily form communion in a post-2AM reverie. “it is a big dance party for very sad events” clarifies Alessio, on the disparity between the serious nature of this record’s subject matter and its distinctly hedonistic atmosphere. “We are a kind of Titanic orchestra playing and dancing while the ship goes down. The party must go on


    Barry says: Sitting comfortably between the art-rock angularity of Devo and the spoken word aesthetic and visceral drive of Sleaford Mods (as well as the already mentioned Talking Heads and Miles Davis influences). Mamuthones manage to take us through a tour of a wide variety of impeccably absorbed influences without sounding like any of them. Fascinating and ultimately brilliant weirdo rock.

    Kuro take their name from the Japanese word for ‘black’, and their debut release for Rocket Recordings marks an experimental union between two diversely storied yet inherently like-minded musicians. Agathe Max, who hails originally from Lyon, is a classically-trained violinist with a varied back catalogue of studio and live work - running the gamut from spectral ambience to stately soundscapes and adept at summoning dreamstates and drama alike, her emotive and engaging work has found admirers at a number of UK festivals such as Supersonic and Raw Power.

    The Bristol-based Gareth Turner, meanwhile, maintains a busy schedule performing and recording with Rocket Recordings trio Anthroprophh (alongside The Heads guitarist Paul Allen) bass/drums duo Big Naturals, and his solo double-bass project Salope, as well as working as a touring tech for Melvins on their trips to Europe. Yet despite both of these artists’ multi-faceted artistic lives, their partnership was both a natural progression and reflective of an intuitive chemistry. The result of their initial spark is perhaps both artists’ most coherent and captivating work to date. “At times her work approaches the supersonic escape velocity of Tony Conrad; elsewhere, she introduces delicate repeating threads, then slowly weaves them into a fabric of vast, billowing sound more reminiscent of Steve Reich” Boomkat 

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