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In Parallel

    Seoul duo Salamanda arrive on Wisdom Teeth with their latest and most focused LP yet: 'In Parallel' - a vividly textural and immersive record that brings a new level of clarity to their typically psychedelic, expansive approach.

    Since arriving in 2019, the pair - comprised of friends Uman Therma (aka Sala) and Yetsuby (aka Manda) - have been fast at work mapping out their elaborate, dream-state sonic world - prolifically honing their sound across four albums and over a dozen singles to date.

    Across their already-extensive discography the pair have established a few key calling cards. Mallet instruments and tuned drums play out playful music-box melodies. Thick washes of gaseous ambience invoke otherworldly or ancient soundscapes. And buried fragments of found sound and manipulated vocal give their otherwise synthetic compositions a warm sense of first-person narrative. Ambient and Reich-school minimalism are the music’s most obvious sonic touchstones - yet the pulse of contemporary club and pop music have never been totally out of earshot.

    All of these themes come in to play here - but 'In Parallel' signals a step well beyond Salamanda’s work to date. Since 2022’s 'ashbalkum' (released on Wisdom Teeth alumni Tristan Arp’s label, Human Pitch), the duo have toured extensively: at classical institutions like London’s Kings Place as well as DIY club dens like Manchester’s White Hotel, all via a series of globally renowned festivals like Mutek, Nachti and Dekmantel. Their creative set-up has grown steadily alongside to incorporate a whole suite of new machines, processes and perspectives, taking their music in bold new directions in the process.

    The clearest development here is in the duo’s use of vocals - a shift that has been slowly taking place over their last few records, but that comes to a head on In Parallel. The album’s lead single 'Homemade Jam' is the closest the duo have come to writing an all-out pop track: its buoyant beat and autotuned vocals sounding like something SOPHIE and Charli XCX could have written after a particularly potent batch of mushroom tea. It’s a razor-sharp slice of alt-pop that offers a mouthwatering first look at what happens when Salamanda’s sprawling, unbridled creative energy is distilled right down into something concentrated and polished.

    At other points their sonic explorations lead them to embrace a more upfront approach to rhythm, skirting closer than ever before to the dancefloor in the process. The meandering drums and vocal chops on 'Paper Labyrinth' are underpinned by a firm 4x4 pulse, while the dembow groove of 'Tonal, Fluid' would feel right at home in a Nick León or DJ Plead set.

    'In Parallel' is a record about connection, and the warmth and nostalgic simplicity of friendship is felt vividly throughout. Its title refers to the harmony the duo have found between them as friends and collaborators - and sonic parallels are traced throughout the record as testament to this. Motifs come and go before reappearing at later points: take, for example, the melody underpinning ‘Sun Tickles’, which returns in a different key and tempo on album closer ‘Mysterious Wedding’. Parallel lines are traced between each artist and through their music, linking back to their past and pointing ahead to the future. Only Salamanda know where these will take us next.


    1. Nostalgia
    2. Homemade Jam
    3. Sun Tickles
    4. Purple Punch
    5. Paper Labyrinth
    6. Tonal, Fluid
    7. Sending Ritual
    8. Full Of Mushrooms
    9. In Parallel
    10. Mysterious Wedding

    Teeth Of The Sea


      In Frank Herbert’s 1973 novel Hellstrom’s Hive, the Dune writer tells of a sinister narrative surrounding the maverick scientist Nils Hellstrom, who has created a meticulously constructed Hive underneath his Oregon farmhouse. Therein, he oversees a subterranean order of 50,000 insect-human hybrid life-forms. Ultimately his plan being for the inhabitants of the Hive to usurp humanity and take over the world.

      The decade thus far may not have seen anything quite so daunting, but it’s provided more than its fair share of challenges. Yet in such dystopian environments, Teeth Of The Sea flourish. This band has created a kaleidoscopic inner world all its own in Hive, their sixth and most outlandish album.

      Fundamental to Teeth Of The Sea’s mission thus far is that this band can go anywhere and make short work of any obstacles in their path. Unfettered by genre distinctions or expectations, the only limits of this trio - comprising Sam Barton, Mike Bourne and Jimmy Martin - are those of its imagination. It therefore follows that inspiration flowed into Hive from all dimensions, with the band’s sphere of influence - the science fiction, trash culture and cinematic atmospherics by which they’ve fuelled their mission thus far - expanding to take in everything from Italo-disco to minimal techno, from dubbed-out studio madness to their most brazen forays thus far into pop songwriting. Here is a headspace where the psychic charges from records by Labradford, Nurse With Wound, Vangelis, The Knife, Nine Inch Nails and John Barry can happily co-exist.

      These disparate pathways cohere and coalesce to create a vivid experience rich with emotion and intrigue. A commission to create a live soundtrack at London’s Science Museum for a documentary on the Apollo Moon Landings gave flight to the trilogy of tracks - Artemis, Æther and Apollo which are summarily imbued with the dreamlike wonder and existential peril of the mission itself. A collaboration with vocalist Kath Gifford (Snowpony, The Wargs, Sleazy Tiger) set loose Butterfly House, which transmutes synthpop stylings into something uniquely radiant, haunting and melancholic. Get With The Program - sung by Mike Bourne - is meanwhile no less than a noise-fuelled, speaker-shaking electro-industrial banger.

      Megafragma, meanwhile, is the most experimental track this band has yet created, a collaboration with engineer and co-conspirator Giles Barrett that morphs form and structure in search of new epiphanies - ‘Simple Headphone Mind’ and Roxy Music’s ‘The Bogus Man’ may have formed some of the cues for this nine-minute avant-epic but its trajectory was one the band were happy to submit to external forces.

      Hive is more than just a transformative force from subterranean origins. It’s an alchemical headspace where monochrome animates into vivid colour. It may not be a carefully ordered insectoid militia set to overthrow society, but it’s a transmission which transcends anything Teeth Of The Sea have thus far offered in their time on Earth.

      Step inside Hive, if you dare.


      Side A
      1: Artemis
      2: Get With The Program
      3: Butterfly House
      4: Liminal Kin
      5: Æther
      Side B
      1: Megafragma
      2: Powerhorse
      3: Apollo



        Wisdom Teeth co-founder K-LONE returns with his second full length project, ‘Swells’: a kaleidoscopic and expansive record that looks to deep house, synthpop, leftfield R&B and beyond for a spellbinding masterwork of melodic electronica.

        His debut LP ‘Cape Cira’ became the accidental soundtrack of the long strange summer of 2020 - its lush marimbas, hazy atmos and synthesised bird calls providing the ideal soundtrack for some much needed collective escapism. The record was widely deemed one of 2020’s standout electronic LPs, gaining glowing reviews in Pitchfork, DJ Mag, Mixmag and Resident Advisor, and ranking highly in end of year lists by Crack Magazine, and beyond.

        Approaching its follow up, the Brighton-based producer felt a fresh perspective was needed. Originally landing on the name ‘Swells’ as a secret pen-name to write the record under, the intention was to keep the project as separate as possible from ‘Cape Cira’ to avoid settling into familiar territories - but as the record took shape it became clear that it made perfect sense amongst his already diverse discography.

        Like ‘Cape Cira’, there is a distinct and intentionally limited sound palette at play on ‘Swells’. Looping vocal cuts, rich cluster chords and undulating arpeggios sit front and centre here - as does the lo-fi plonk of of the CR78 drum machine. But while the record clearly takes influence from a range of vintage sound sources, its overall aesthetic is unmistakably contemporary. Sounds are not artificially degraded nor obscured under washes of sampled tape hiss. Rather, everything is processed with a gloss, hi-fidelity sheen. The record’s rhythms are bright, dry and snappy, and its melodies are processed with a neon poppy glow.

        The producer’s unabashed love of contemporary pop music is most obviously exemplified by the appearance of British singer-songwriter Eliza Rose. The pair met for a session at a North London studio back in 2021, and the now Brit Award-nominated singer’s warm, emotive vocal takes became an immediate source of inspiration early in the record’s conception. As such, Rose’s voice is heard in various states of manipulation throughout its duration - initially as reduced and looped phrases, and then finally in full form on ‘With U’: a low-lit, dubbed-out slice of leftfield R&B that beckons comparisons with Tirzah, Little Dragon and even Erykah Badu.

        Elsewhere, there are references to G-Funk (‘Oddball’), Autonomic drum and bass (‘Shimmer’), hip-house (‘Love Is’) and even Metronomy-era electro pop (‘Love Me A Little’).

        As always, the true magic of K-LONE’s artistry is to present complex, subtle and original ideas in ways that feel familiar and immediate. Melodies are introduced as effortless earworms, only to be twisted out of shape into strange and unusual formulations. Looping rhythms unspool into washes of hazy, dubbed-out ambience before rebuilding themselves. Refined and endlessly creative, ‘Swells’ marks a captivating next step for a producer and record label that have both reliably positioned themselves at the very forefront of contemporary electronic music.


        1. Saws
        2. Love Me A Little
        3. Oddball
        4. Strings
        5. Shimmer
        6. With U (feat. Eliza Rose)
        7. Gel
        8. Love Is
        9. Volcane
        10. Multiply

        Suki Waterhouse

        Milk Teeth

          The Milk Teeth EP compiles singer-songwriter Suki Waterhouse’s various non-album singles onto a physical release for the first time. It includes the song “Good Looking,” which, in mid-2022, exploded on Tik Tok and hit #1 on the global viral chart.

          Suki Waterhouse catalogs the most intimate, formative, and significant moments of her life through songs. You might recognize her name or her work as an actress and model, but you’ll really get to know the multi-faceted artist through her music. Growing up in London, Suki gravitated towards music’s magnetic pull. She listened to the likes of Alanis Morissette and caught Missy Elliott live as her first concert. Meanwhile, Oasis held a particularly special place in her heart. She initially teased out this facet of her creativity with a series of singles, generating nearly 20 million total streams independently. Nylon hailed her debut “Brutally” as “what a Lana Del Rey deep cut mixed with Joni Mitchell’s ‘Both Sides, Now’ would sound like.” In addition to raves from Garage by Vice and Lemonade Magazine, DUJOR put it best, “Suki Waterhouse’s music has swagger.” Constantly consuming artists of all stripes, she listened to the likes of Sharon Van Etten, Valerie June, Garbage, Frazey Ford, Lou Doillon, and Lucinda Williams. In late 2020, she finally dove into making what would become her full-length debut album, I Can’t Let Go [Sub Pop Records] with producer Brad Cook [Snail Mail, Waxahatchee]. Now, she introduces this chapter with “Moves” and “My Mind.”

          Her first album for Sub Pop, I Can’t Let Go, produced by Brad Cook (Bon Iver, War On Drugs, Snail Mail, Waxahatchee) and released in May of 2022, is a testament to her powers as a singer and songwriter. The Milk Teeth EP rightly shines a spotlight on her pre-album material, giving these six songs their first physical release.


          1. Neon Signs
          2. Valentine
          3. Good Looking
          4. Johanna
          5. Coolest Place In The World
          6. Brutally

          Teeth Of The Sea


            When London’s Teeth Of The Sea set about recording their fifth album, there seemed to be more than just the familiar spectres of the band’s collective and overactive imagination at their disposal - the unruly morass of ‘80s horror and sci-fi movies, industrial ballast, 2000AD terror, ‘70s-damaged experimental brinksmanship and atmospheric grandeur that they’d somehow conspire to sculpt into coherent structures - instead, these ghostly interruptions - or wraiths - were of a distinctly otherworldly nature. In Soup Studios, located in the liminal zone of East India Dock on the Thames under the auspices of Giles Barrett, all such influences contributed to form a collection of tracks that represented a fearsome and transporting marriage of the ferocious and the melancholic.

            Alchemised trash, kitchen-sink surrealism, out-of-order intensity and ritualistic overtones collides and colluded into a monstrous hybrid - this was a world where Tetsuo-The Iron Man would happily share space with Judee Sill, and where the acid guitars of Helios Creed would happily conspire with the Acid Rock of Rhythm Device. Meanwhile, Erol Alkan helped sculpt a mixture of mariachi elegy and electro euphoria at his Phantasy Sound studios, whilst Valentina Magaletti (Tomaga/Raime), Chloe Herington (Knifeworld/Valve) and Katharine Gifford (Snowpony/ Stereolab) also willingly entered the fray to assist this unholy assemblage of inspiration, irreverence and otherworldly infiltration. Who knows where these voices and visions arrived from, yet we can only hope the resulting sounds help them gain safe passage into the beyond. Ladies and gentlemen, pray silence for the Wraith. 

            STAFF COMMENTS

            Barry says: Never ones to shy away from a bit of a change in pace, Teeth Of The Sea take this opportunity to skilfully weave their way towards haunted minimalism, foreboding instrumentation and eastern melodicism all at once. Beautifully sparse in places and as heavy as you could imagine in others while maintaining their impeccable euphoric edge, TOTS have never sounded so relevant. A superb, hypnotic journey.

            TRACK LISTING

            1. I’d Rather, Jack
            2. Hiraeth
            3. Our Love Can Destroy This Whole Fucking World
            4. Burn Of The Shieling
            5. Fortean Steed  
            6. VISITOR
            7. Her Wraith
            8. Gladiators Ready

            Teeth Agency

            You Don’t Have To Live In Pain

            Teeth Agency is the audio/visual project of London based multi-instrumentalist and producer Jesse Hackett and Chicago visual artist and gallerist Mariano Chavez. Their first full length LP You Don’t Have to Live In Pain will come out on Stones Throw in 2021.

            The duo is united by their interest in experimental visuals and a varied range of unconventional musical styles including lizard lounge jazz, stoner doom pysch and absurdist soul horrorrama. The fourteen songs on their debut album curated by Peanut Butter Wolf, take the listener through a diverse range of moods and settings.

            STAFF COMMENTS

            Matt says: DIY & lo-fi jazz, funk and lounge stuff here, which loosely sounds like a mix between Jeff Phelps, Cody Chestnutt, James Ferraro and Timmy Thomas (!!!). Absolutely uncategorizable genius only Stones Throw could release.

            TRACK LISTING

            1. Anon
            2. Wolfs Jam
            3. Many People (Remake)
            4. Jesse / Eska Games
            5. The Dummy Run
            6. Fazer Folk (Teeth Version)
            7. Abbana Kange
            8. Queen Of The Night
            9. One For Tusk
            10. Harpoon Land (Remake)
            11. Fly Porridge
            12. Do You Like Bunnies
            13. Chucky Had A Bad Day
            14. Clean New Old Me

            Gemma Cullingford (Sink Ya Teeth)

            Wide Boys

              Raised on a diet of Throbbing Gristle, Depeche Mode, New Order, Fad Gadget and A Certain Ratio, Gemma Cullingford's own trajectory has been equally impressive – from playing bass with Blast First/Mute signings Kaito, and more recently as one half of post-punk electronic dance duo Sink Ya Teeth. This solo offering further adds to her fine body of work.

              2020 saw Sink Ya Teeth having to abandon many live gigs and promotion for their second album, so during the band's downtime Gemma worked purposefully in her home studio on solo works of a more personal nature, the first fruits being this double A sided single. An album entitled "Let Me Speak" will follow in the summer of 2021.

              "Wide Boys" is a menacing disco call to action; "It's a message to the average man and woman on the street, many of whom seems to have been brainwashed by both those in power and by the far right. It's saying that every single one of us are being controlled as part of a big, sinister game. This is a response to my own awakening to that" she explains.

              "104" is an instrumental electronic jam for feet, limbs and loose minds. "The idea behind 104 came from wanting to start off with real sounding drums that subtly evolve into pure electro over 3 or 4 minutes".

              Kicked In The Teeth

              Kicked In The Teeth

                Hailing from Northwich in the North West of England, ‘Kicked In the Teeth’ are a four piece punk rock band. Formed in 2019 the band are made up of Jay (vocals), Joe (Guitar), Mike (Bass), Chris (Drums). Having known each other for over 20 years the guys have all been involved in other bands prior to this. Chris was the drummer for The Business for the final ten years of the band, Jay was in Incisions on drums, Joe was the lead singer and guitarist for Helsinki Seven and Mike played in pretty much every metal band in Cheshire, along with playing bass for infamous Chester hardcore band Face Of Christ.
                The album was recorded at Foxhound Studios in Byley by Mike Bennett. To try and keep things as live sounding as possible, the band recorded the music live and used room mics to try and capture an honest depiction of the band, only some guitars and vocals were overdubbed separately. Total
                recording time clocked in at under 24 hours and the 10 track album clocks in at just over 22 minutes. 

                With "Two" Sink Ya Teeth want to beckon in another Summer of Love. Where their self-titled debut album, released in June 2018, channelled the carefree vibes of New York’s Danceteria and Paradise Garage circa 1983, the follow-up continues in this vein but delves deeper into their world. A world where melancholia and deep house make perfect bedfellows. Of late 70s post-punk and euphoric disco. Of rubbery staccato bass-lines and vocals that swing between sweet menace and deadpan indifference.

                TRACK LISTING

                A1. Sweetness
                A2. Somewhere Else
                A3. The Hot House
                A4. Stella
                A5. Breathe
                B1. The Rapture
                B2. Shutdown
                B3. The Vaccine
                B4. On The One
                B5. Blue Room

                Sink Ya Teeth

                Sink Ya Teeth

                  "Sink Ya Teeth’s sound arrives fully formed—a melding of post-punks like ESG and The Raincoats with the early machine patters of Chicago house.” - Pitchfork.

                  From the off, the self-titled debut album from Sink Ya Teeth drips with a cool menace. Weaving threads from post-punk, Chicago house and 80s/90s electronic music, the duo have produced an album of slick home-made pop that makes you wish it was the weekend again.

                  Maria Uzor and Gemma Cullingford partnered up two years ago in their hometown of Norwich to form Sink ya Teeth.The pair’s “…drifting, danceable music that runs a gratifying line between groove and gloom” (The Quietus) has seen them tour with dance-punk band !!!, and perform with Moon Duo, Confidence Man and Goat Girl. They are about to join A Certain Ratio on their UK dates this Spring /Summer.

                  The album was written, recorded and produced in their living rooms and is a synth-pop distillation of their world; often minimal, frequently playful, but always with bass and groove.

                  TRACK LISTING

                  1. Freak 4 The Kick
                  2. If You See Me
                  3. Substitutes
                  4. Petrol Blue
                  5. Friends
                  6. Complicated
                  7. Glass
                  8. Pushin'
                  9. Control
                  10. The Law

                  Joel Silbersher

                  No Teeth

                    A long time in the making, this “solo” offering from Melbourne underground /outsider rock legend or indeed mainstream collaborator and sideman, Joel Silbersher cranks up the hiss and crackle with three absolute classics, an original and two cover versions…all displaying Joel’s idiosyncratic take on the blues, or folk.. or indeed soul music. For it is that which burst forth on this essential 45.. almost a Beefheartian guttural (from the gutter, and indeed the gut…) growling from Silbersher makes these songs his, and ultimately..yours....

                    Featuring assorted members of the Drones (Liddiard / Noga) on various instrumentation, the a-side – “No Teeth” is a Silbersher original, it sparks and spits with huge wit and snarl..making a mess / meal out of the blues..a true visceral outburst! … on the b-side, there’s two covers… a take on Bill Withers’ “ I Don’t Want You On My Mind” which emboldens the smooth soul with a vitriolic preaching of good, common sense… and then The Holy Modal Rounders’…”Half a Mind”…an urgent and exuberant take to put it mildly!! Theres 500 of these being made, don’t be a dope and miss out!

                    Brief Bio from Joel Silbersher:
                    'Rock n Roll Turtle' Joel Silbersher ( Hoss/God/Headland/Dark Horses/Tendrils/Greasy Lens main man)…presumably done nothing for ages, presumed useless...Swelling slowly back to tumescence with half constructed slugblues hit of the century soon to be covered by the ghost of the Winter brothers.... Ancient turtle wisdoms shared now for betters or worst. Couple Drones present and past playing with Abbadon, I mean abandon. Bill Withers tune which preaches good sense...Exuberant approximation of Rounders song.

                    TRACK LISTING

                    A1: No Teeth
                    B1: I Dont Want You On My Mind
                    B2: Half A Mind

                    Milk Teeth

                    Vile Child

                      After the release of two critically acclaimed EPs Milk Teeth have once again stepped up their game on their debut full length, ‘Vile Child’.

                      The band effortlessly combine female and male vocal leads and melodies to blend their unique style.

                      For fans of Wolf Alice, Title Fight, Nirvana, Silversun Pickups.


                      Brush Your Teeth

                        Slow-motion-piano-punk with open stitches from Munich-based female duo akin to CocoRosie / Scout Niblett / Moldy Peaches

                        One third piano, one third converted drums, one third singing sewing machines, talking skirts, buzzing laser guns und clacking typewriters. The Munich-based Duo beißpony reveal what it sounds like when a singer-songwriter and textile artist with roots in the riot-grrrl and feminist d.i.y-movement join forces. Laura hails from the singer-songwriter and antifolk-scene.

                        They used the facilities to record the first couple of songs for their debut album “Brush Your Teeth" in a one- week kamikaze-recording session with a lot of ice cream. The final part of the album was recorded with the Zork Free Arts Lab in an abandoned police training building. Over the years, beißpony have played live shows in Italy , Austria and Germany, at festivals and in art galleries. They combine their shows with imaginative fashion und art performances and surprise their audience time and again.

                        Fabian Zweck and Stefan Dorner produced the album; Florian Andreas Betz and Klaus Erich Dietl are also part of the bustling collective, doing artwork and occasionally joining in with the performances.

                        Features cover of 'Diane' by Husker Du.

                        The Hold Steady will release their new album Teeth Dreams, their sixth album and first on its own Positive Jams imprint, via new label Washington Square, itself a newly established imprint formed by Razor & Tie.

                        The album was produced by Nick Raskulinecz (Foo Fighters, Alice in Chains, Rush, Evanescence) at Rock Falcon Studios in Franklin, TN, making it the first time the band recorded outside of New York. This is The Hold Steady’s first new music since last year’s Record Store Day 7” featuring “The Bear and the Maiden Fair” from HBO’s Game of Thrones.

                        Now in their second decade, The Hold Steady formed in 2003 in Brooklyn, NY, and, with their vibrant mixture of punk ethos and classic rock pedigree punctuated by lyrically dense storytelling and guitar riffs, quickly became a critically acclaimed rock band with a rabid fan base to match. Previously signed to Frenchkiss and Vagrant, The Hold Steady have released five studio albums, with their last release Heaven is Whenever in 2010.

                        The Hold Steady is: The Hold Steady is: Bobby Drake (Drums), Craig Finn (Vocals), Tad Kubler (Guitar, vocals), Galen Polivka (Bass) and Steve Selvidge (Guitar, vocals).

                        TRACK LISTING

                        1. I Hope This Whole Thing Didn't Frighten You
                        2. Spinners
                        3. The Only Thing
                        4. The Ambassador
                        5. On With The Business
                        6. Big Cig
                        7. Wait A While
                        8. Runner's High
                        9. Almost Everything
                        10. Oaks

                        Jon Windle releases his eagerly awaited follow up to 2010’s 'Step Out The Man', with 10 infectious new tracks packed full of the classic wit, humour, twists and turns that have become synonymous with a Windle tune. Recorded once more with Alan Smyth at 2Fly studios, this album charts the journey of several imagined characters through a life changing weekend of drunken debauchery, romance, regret and libatious pleasures. With frank and deliberately ironic humour and subtle poetry, Sober Minds has a definite sixties psyche influence, whilst maintaining a contemporary edge in its lyrical content. Windle’s growing maturity as a solo recording artist is evident in the style and subject matter of the tracks offered on this second release. His ability to recall his youth, with joy and just enough cynicism to keep us interested alongside his talent for writing solid, danceable pop music ensures this album will find a place in the hearts of fans old and new, local and international.

                        TRACK LISTING

                        1. Saturday Night (Seems So Far Away)
                        2. Commitment
                        3. The Legend Of The Boy With The Ginger Hair
                        4. How Can She Dance?
                        5. Sober Minds (2012 Version)
                        6. Don’t Own My Heart (Feat. See Emily Play)
                        7. We Can’t Work It Out
                        8. Just Love Me
                        9. Suzie’s World
                        10. One Last Sad Song

                        The London based electronic punk trio, rose to infamy at breakneck speed since forming in 2008. Consisting of composer Ximon Tayki, vocalist Veronica So, and drummer Simon Whybray, TEETH enraptured a global audience with jubilant, no-rave jams and hacker dance anthems.

                        The ten-track debut album is a veritable slice of lo-fi electro noise-pop with riot-grrrl vocals emulating the hi-NRG of their raucous stage tearing live shows, featuring current single Care Bear and soon to be released Flowers.

                        Bent on demolishing stages at night clubs, festivals, and warehouse parties with as much distorted noise as smooth synth melodies, TEETH deliver with an unapologetic edge. Their lo-fi, noise-pop assault is coupled with So’s equally dynamic vocal performance that suggests a cross between a euro-pop princess and a riot-grrrl. The stroboscopic live shows and relentless online persona make TEETH incomparable amongst their contemporaries, although media outlets like Dazed and Confused state TEETH are “…more epic than Battles, [and] cheerier than Throbbing Gristle.”

                        Hailed as “a nastier Yeah Yeah Yeahs and a subtler Melt Banana” by the 405 and boggling the minds of critics who attempt to pin down their multitude of styles as “...acid rave, dance-hall, pop, punk, grunge, acid house, tropical and all out weird shyt,” (MTV UK).

                        ‘Raucous joyous skronky dancey whatever-wave with more ideas than time and more pep in its step than a five year old on a Pixie Stick high’ - Pitchfork

                        ‘Outright Strange’ - NME

                        TRACK LISTING

                        1. Confusion
                        2. U R 1
                        3. Care Bear
                        4. Dead Boys
                        5. Time Changes
                        6. This Time
                        7. Pill Program
                        8. See Spaces
                        9. Flowers
                        10. Street Jams

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