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The Heavy Heavy

One Of A Kind

    Having spent two years on stage (Bonnaroo, Boston Calling) and on TV (Jimmy Kimmel, Stephen Colbert), Brighton, UK's The Heavy Heavy now draw listeners even deeper into their dreamworld with their long-awaited debut album, 'One Of A Kind'. Written entirely by co-founders Georgie Fuller and William Turner, the album expands the sunshine psych-pop & folk sound of their debut EP which won massive acclaim from the likes of NME (who named them an essential emerging artist for 2023) and The Guardian.


    1. One Of A Kind
    2. Happiness
    3. Because You're Mine
    4. Miracle Sun
    5. Feel
    6. Wild Emotion
    7. Everything
    8. Cherry
    9. Lemonade
    10. Dirt
    11. Lovestruck
    12. Salina

    The Kid & Cliff / The Jak Vs. Cliff Solomon

    Don't B Alarmed / Heavy Thump (Bang Dat Shyt)

    More from the iconic Dirty Blends crew - taking the original Trax / acid ethos a la Adonis, Steve Poindextor, Lil Louis etc - and adding their own character and twists to the tale. Fierce, uncompromising, raw shit for the warehouse freaks and machine goblins. No quantize was used in the making of these tracks!

    Number nine in the series and its a double header featuring main crew members Cliff Solomon, The Jak and The Kid & Cliff. "Don't Be Alamed" is like a stripped back and instrumental version of "Donnie" or "Love Can't Turn Around" - but with the emphasis firmly placed on the floor toms and wavy pads. "Heavy Thump" contains possibly the nicest kick drum recorded onto wax for some time, assaulted with machine gun snares, wrecking ball toms and this occasional vox ordering us to 'bang that shit'. It's a primitive and aggressive jack track that should encourage slam dance body moves and a general feelings of wild, feral behavior that might have you average young person looking at us older lot with a look of frightened bewilderment. Yes - it was better in our day!!! 


    Dont B Alarmed
    Heavy Thump Bangdatshyt

    DITZ X Heavy Lungs

    DITZ X Heavy Lungs - Live At The BBC (RSD24 EDITION)



      Heavy Sounds introduce the sounds of Fundamentals & Quaad across four tracks of serious ruffage! Flying together on side A, the pair deliver two high octane, hyperactive hybrids, taking in pitched breaks (of many varieties), jazzy keys, sci-fi sweeps, earth shaking bass; basically every DnB trope worth its wattage.

      Onto side B and Quaad goes on a solo tip for two tricksy jungle excursions. "Gonk" utilizing a stripped back palette of cut-up vox, ADHD-riddled breaks and the odd sub bass blast. 


      Matt says: Hi-octane tear out breakage that has me thinking of vintage Bizzy B mixtapes and all night Wipeout sessions.


      A1. Quaad & Fundamentals - BDK
      A2. Quaad & Fundamentals - 2 Steps [VIP Amiga Mix]
      B1. Quaad - Gonk
      B2. Quaad - 9000 Basslines

      The Heavy Heavy

      Life And Life Only

        Led by the freewheeling vision of Will Turner and Georgie Fuller, The Heavy Heavy “write and play music with that lick of madness that makes early Fleetwood Mac and peak Stones so thrilling” (The Guardian), blending Turner's roots as a studio musician with Fuller's operatic, irresistibly raspy vocal range and background in the London theater.

        This expanded edition of their debut EP ‘Life and Life Only’ features runaway hits like the Top 5 AAA radio-charting “Miles and Miles,” current Top 15 breakout “Go Down River,” and rapturous opener “All My Dreams” in addition to hypnotic, harmony-laden takes on Father John Misty’s “Real Love Baby,” Crosby, Stills & Nash’s “Guinnevere” and a previously unheard rendition of Jonathan Wilson’s “Desert Raven,” plus a roaring live recording of “Man of The Hills” and an acoustic arrangement of “Go Down River.”


        1. All My Dreams
        2. Go Down River
        3. Man Of The Hills
        4. Miles And Miles
        5. Sleeping On Grassy Ground
        6. Why Don’t You Call
        7. Desert Raven
        8. Man Of The Hills (Live)
        9. Real Love Baby
        10. Guinnevere
        11. Go Down River (Acoustic)

        They Watch Us From The Moon

        Chronicle: Act 1, The Ascension

          New Heavy Sounds has had its radar pointing at the stars for quite a while now. MWWB (Mammoth Weed Wizard Bastard) was our first contact with the dream side of the cosmic. Now we prepare to welcome the second. Hailing from Kansas, They Watch Us From The Moon have landed to present their first magnum opus ‘Cosmic Chronicles: Act 1, The Ascension’ A band with riffs as heavy as Osmium and melodic lead guitar lines (think Gilmour meets Buck Dharma) as strong as spider's silk, it’s a wonder they managed to escape the atmosphere. Perhaps it’s because the sublime vocals of TWUFTM's twin 'Space Angels' Luna Nemesis and Nova 10101001 guide you beautifully through the clouds. In fact their vocals are a total highlight throughout and lift this record far above any genre pigeonholing. TWUFTM are also a band that has a concept behind the groove. Sci-fi space opera, a love for Bowie and Queen, brought to the fore visually, in their mashing of comic book narratives and Funkadelic style alter ego’s. TWUFTM are truly an immersive experience on every level. As to the music … the colossal weight of riffs on this first-contact missive are made so gloriously enjoyable by memorable hooks, honed repetition and and an agile rhythm section that can make each one of their (sometimes 10 minute) stargaze rides feel like an epic odyssey. Fellow space travellers Hawkwind and Pink Floyd, and even Spacemen 3, have been in similar orbits before, but never this heavy. Now, alongside a trajectory charted by Monster Magnet and maintained by The Sword, Ufomammut, White Hills and Witch Mountain .... TWUFTM don't just breathe new life into cosmic tones, they take it to a different level. ‘Cosmic Chronicles: Act 1, The Ascension’ is space opera for Heavy Psych Doommers and Shoegazers alike. This is something new within Heavy Psychedelics, in fact it’s something new anywhere. The epic single 'Return to Earth' last December, following their 'Moon Doom' EP, had the scene talking, and the few album snippets that have been secretly disseminated, has created much anticipation. "A phenomenal blending of doom, psych and spacious rock'n'roll that is as heavy as it is accessible” Desert Psychlist. Cosmic Chronicles contains 5 immense tracks chock full of weight and brimming with melody. ‘On The Fields Of The Moon’ is like fresh oxygen in bright sunlight - chiming lead guitars and angelic twin vocals (almost like Fleetwood Mac … imagine that) melodies draw you in like gravity itself. Complete with a space-bound chorus and a ripping guitar only 250 seconds into our flight. It sets the tone perfectly. 'Space Angel' is literally that. The band's angel’s Luna and Nova are simply mesmerising, weaving through the heaviest of space-kraut riff grooves. With 'MOAB', the mood is darkening. 'Days of destruction, days of disease' - a warning for our times - the pace has slowed, it’s black and doom laden, yet our vocal angels still give us reason for optimism. And there, fellow travellers, we suggest that you take a moment to take in what you’ve just heard, and imbibe whatever is your drug of choice before tackling the final two ten minute space flights. 'Creeper AD' is a psychedelic trip to lose yourself in. Shifting chord progressions, cool guitar breaks and again, those vocal harmonies, entwined and bewitching. 'Return To Earth' does just that, and is pretty much the summation of what we have experienced. An epic, gorgeous space symphony.

          TWUFTM are: Luna Nemesis - Lead Vocals / The General Shane Thirteen - Guitar and Vocals / Adryon Prahktaur- Drums / Zakkatron- Bass / R. Benjamin Black- Lead Guitar and Vocals / Nova 10101001- Vocals.


          On The Fields Of The Moon
          Space Angel
          Mother Of All Bastards
          Creeper A.d.
          Return To Earth


          The Harvest

            New Heavy Sounds is proud to present the new album by Mammoth Weed Wizard Bastard. now known simply as MWWB. There has been some speculation amongst fan circles that the final part of the trilogy of albums that preceded this, marked the end of Mammoth Weed Wizard Bastard’s five-year mission. Not so. We can categorically confirm that having officially slimmed their name down to the acronym, MWWB are continuing their voyage through the far reaches of the galaxy.

            The first phase of that journey is their new album ‘The Harvest’. ‘The Harvest’ is the band’s fourth album, and of course it is a record shot through with the trademark heavy MWWB sound, and their unique blend of metal and shoegaze. However it also sees the band adding more experimentation, a progressive approach, and going a bit more left field conceptually. To some extent, it shares similarities with Pink Floyd’s ‘Dark Side Of The Moon’. Not only by having the mix of experimentation and melodicism as that seminal record, but also in the way that it has been engineered and constructed as a seamless piece. Nine tracks flowing into one another. Space age riff monsters segueing into shorter musical interludes, where John Carpenter, rubs shoulders with Pink Floyd and a maelstrom of moog and mellotron.

            There are surprises, and of course a bucketload of heavy shit. With ‘The Harvest’ MWWB have refined and honed their sound, it’s a carefully crafted distillation of ideas, written, conceived and sequenced to be listened to in its entirety (preferably in one sitting). MWWB have always loved film scores and this new album is in many ways, the soundtrack to a film. MWWB provides the musical narrative (the song titles also provide a pointer) and the listener's imagination does the rest. ‘Oblok Magellana’ and its spooky atmospherics set the scene. before things really kick in with the riffs of title track ‘The Harvest’.

            A grooving Sabbathian chug intro’s Jessica Ball, who at the top of her game throughout. Her voice simultaneously sweet yet dark; almost neofolk; which when put against those riffs, is always a startling juxtaposition, nevertheless it perfectly crystallises MWWB’s distinctive dynamic. ‘Interstellar Wrecking’ is a succinctly crafted nugget of John Carpenter-esque drama, you can imagine the thundering mothership forging its way through the universe on some nameless quest before encountering ‘Logic Bomb’ and its fat fuzzed-up ride through light and shade guitar/vocal interplay. Ball’s voice soaring and shimmering throughout. ‘Betrayal’ gives a nod to Pink Floyd’s ‘On The Run’ but with its freaky spoken word and four on the floor kick it’s almost a dance track, yet there’s no incongruity here. ‘Altamira’ is epic MWWB, adding large doses of psych into a melodic concoction of dreampop and metal.

            Ball’s vocals here are many layered and textured effortlessly gliding through the weight of the backing. ‘Let’s Send The Bastards Whence They Came’ is another little gem. A plaintive repeating synth figure that builds with bass, drums, mellotrons and synths into ‘Strontium’ which rounds off the album’s ‘heavy’ numbers, a blend of monster grooves, and Ball’s swooning vocals. Finally, and outstandingly, Jessica strips things back to a distorted guitar and voice on ‘Moonrise’. Shorn of the layers of fuzz, it is a simple, beautiful and fitting catharsis to an epic voyage. MWWB are a thrilling proposition. They demonstrate that you can seamlessly mix crushing power, experimentation and delicate vulnerability into something that transcends any genre. MWWB are Jessica Ball, vocals and synths. Paul Michael Davies, guitar and synths. Stuart Sinclair, bass and Dom McCready, drums. 

            TRACK LISTING


            1. Oblok Magellana
            2. The Harvest
            3. Interstellar Wrecking
            4. Logic Bomb
            5. Betrayal…

            Side B

            1. Altamira
            2. Let's Send These Bastards Whence They Came
            3. Strontium
            4. Moon Rise

            Mountain Caller

            Chronicle I: The Truthseeker

              New Heavy Sounds are extremely stoked to announce that our newest signings Mountain Caller are ready to engage hyper-drive and launch their debut album into the riff time continuum. Mountain Caller are El, Claire and Max and hail from London. They describe themselves as a heavy progressive instrumental three-piece, who are driven to tell stories with music and want listeners to conjure up cinematic scenes in their minds. And that they do … in spades. If one needs a sonic ballpark, think the infectious jamming of Elder and the dynamic cinema-scapes of Mogwai, underpinned by the mantric riffs of Sleep.

              A rich amalgam of Progressive Rock, Post Metal and Doom. Nevertheless, Mountain Caller do succeed in weaving their own unique spell. The band are already buzzing, pricking up the ears of those in the know, and now after two years honing their chops with a clutch of immersive live performances under their belts (including a slot at Desertfest) Mountain Caller are ready to bring you their debut album. Chronicle I: The Truthseeker. Recorded in January of 2020 at No Studio in Manchester by producer Joe Clayton of Pijn, and mastered by Magnus Lindberg of ‘Cult Of Luna’. For the band, it’s a labour of love; the fruit of three years of jamming, crafting, and conceptualising; a collaborative piece, where each instrument takes centre stage, within a heady mix of chasmic riffs and panoramic, reflective soundscapes.

              Chronicle I: The Truthseeker is a feminist allegory created in tandem with the music. As the band describe it … In The Truthseeker, we join The Protagonist at the edge of the Twilight Desert, compelled by an indefinable but urgent need to set forth on an Odyssean journey to rediscover her memory and her voice. Over the course of 42 minutes, we travel from barren wastelands to mysterious cities, encountering trials of both body and spirit. It is indeed a 6 track instrumental journey. Full of winding roads, brooding valleys and strange encounters, all vividly evoked by a canny grasp of dynamics, melody and heavy, but hooky riffs, executed with peerless playing. 'Journey Through The Twilight Desert' opens the album in soundtrack mode, and develops in weight and riff (as if Goblin have taken up the baton) and closes in a full wide screen Mogwai trip .... and that's just the opening track. Elsewhere Mountain Caller pushes to noisier, heavier groovier places. Whether it’s the chiming guitars on the Krautrock/post-rock groove of 'I remember Everything' or 'Trial by Combat' and its doom meets Deftones vibe. To album closer 'Dreamspirals' with its melodic hooks and huge earworm riffs, it’s an album that more than stands up to listening on repeat as there plenty to discover. 

              TRACK LISTING

              Side A
              1. Journey Through The Twilight Desert
              2. Feast At Half Light City
              3. I Remember Everything

              Side B
              1. Trial By Combat
              2. A Clamour Of Limbs
              3. Dreamspirals

              Minor Pieces

              The Heavy Steps Of Dreaming

                ‘The Heavy Steps Of Dreaming’ is the brilliant debut album from Vancouver-based Minor Pieces, a new songwriting partnership comprising acclaimed singer/composer Ian William Craig and newcomer Missy Donaldson, a singer and multi-instrumentalist. Retaining some of the textural play and experimentation of Ian’s solo material whilst channeling it squarely within the domain of tangible songwriting, the pair utilise guitar, modified tape decks, bass and synths to fashion deeply-felt songs with their beautifully matched male/ female vocals standing resolutely centre-stage. Taking influence and inspiration from the likes of Low, Grouper, Mazzy Star, Portishead, My Bloody Valentine, Talk Talk and Cat Power, ‘The Heavy Steps Of Dreaming’ sounds at once familiar whilst forging something new, unique and beyond the sum of its influences.

                Over the course of its 8 tracks - from the opening bars of ‘Rothko’ to the resonant closing lines of ‘Shipbreaking’ - the duo move fluidly between voices, shift from moments of overwhelming power to perfect points of stillness; from acoustic balladry pared down to the sparsest of means to thick, tumbling swells of tape and electronics or billowing synth trails. At both album and song level, it’s a work of contrasts and combinations; of broad, bold dynamics. Masterfully crafted, the lyrics are rendered with an almost painterly approach and reveal a palpable joy in the richness of language and its capacity to conjure resonances, to hold moments close and to patch together meaning from life’s scattered detritus. What’s forged is a kind of Alt. Americana filtered through a progressive modern lens and the tactile, heavily processed tactics of Ian’s solo practice – an approach that links to the corrosive asethetics of electronic artists like Fennesz, William Basinski or The Caretaker.

                TRACK LISTING

                1 Rothko
                2 This House
                3 Brávallagata
                4 Grace
                5 Burden
                6 The Way We Are In Song
                7 Tender Fire
                8 Shipbreaking

                David Kilgour And The Heavy Eights

                Bobbie's A Girl

                  "It's moody - as in low, subdued," says David Kilgour of his new album, Bobbie's a girl. David Kilgour’s 11th solo album, Bobbie’s a girl is a quieter affair than fans may associate with the pioneer of New Zealand indie rock. “I tended to shy away from too much guitar playing for a point of difference and to mix things up for myself a little,” Kilgour continues. The style set in at the beginning of sessions, as he and the Heavy Eights (i.e., longtime collaborators Thomas Bell, Tony de Raad, and Taane Tokona) headed to Port Chalmers Recording Services with producer Tex Houston. “We have worked on these songs for a number of years now, so that’s different because I usually can’t wait to get them out,” Kilgour says. Why the delay? Like with the themes of the album, Kilgour doesn’t want to elaborate too much.

                  “Everything’s related to the music and mood,” he says, “but I’d rather not say how. I like a little mystery.” Largely missing the jangly distortion of Kilgour’s other work, the album’s ten songs exude a hazy warmth, with a light psychedelia that recalls the ’60s outfits like The Byrds and The Velvet Underground. Opener “Entrance” floats wordlessly on acoustic guitar, whose ringing chords slightly mask the deft fingerpicking beneath it. “Smoke you right out of here” picks up the pace, but “Crawler” rolls in like a storm, its organ and fingerpicked guitars creating an ominous sound until a chorus of “aaaahs” lightens the mood. Only four songs have lyrics. “I kind of wanted a rest from verbalizing everything, like listening to yourself going, ‘Blah blah blah blah…,” Kilgour says. The guitar quietly shimmering between channels, the music seems to speak more than the words. “Ngapara,” the closing track of Bobbie’s a girl, is his favorite song on the album. It’s a loping instrumental carried by thickly distorted guitars and heavy reverb. Like the rest of Bobbie’s a girl, it feels both a part of Kilgour’s previous work, and just outside of it

                  TRACK LISTING

                  1. Entrance
                  2. Smoke You Right Out Of Here
                  3. Crawler
                  4. Threads
                  5. Coming In From Nowhere Now
                  6. Spotlight
                  7. Swan Loop 
                  8. If You Were Here And I Was There
                  9. Looks Like I’m Running Out
                  10. Ngapara.

                  Transmaniacon Feat Lydia Lunch And Maya Berlin

                  The Strange World Of Suzie Pellet

                    The Strange World of Suzie Pellet' is a hard rocking concept album featuring a dark, unsettling and mysterious tale of future street dweller Suzie Pellet. A feisty survivor in a ruined world, Suzie is the brainchild of Ian Miller, fantasy/horror artist and novelist. His surreal. nightmarish creations have graced book covers, graphic novels and films, and have given form to the works of HP Lovecraft, Tolkien and many more. Now, one of his own dark gothic characters comes to life. Not unlike Michael Moorcock guiding Hawkwind or Sandy Pearlman, The Blue Oyster Cult, or even a cranked up Moody Blues or Who, Transmaniacon bring Miller'svision to sonic life, aided and abetted by the outstanding vocal deliveries of punk poetess and avant rocker Lydia Lunch (a hind-sighted Suzie) and Maya Berlin (a future 'present-day' Suzie).

                    Sci-fi and space rock has always been present in Transmaniacon, a previous incarnation was XM3a who released the first New Heavy Sounds single, 'Bad Robot Man', an epic 9 min acid rock riff-fest. This was followed up (as Transmaniacon) by 'The Darkening Plain' their first concept piece containing the 25 min classic 'Quintessence of Dust' - bleak, dense, forboding, and heavy. - a sort of Killing Joke/Hawkwind/Pentagram hybrid which featured the first collaboration with Lydia Lunch. But with 'Suzie Pellet' Transmaniacon becomes more a musical collective. The core of the band remains, hard and heavy riffing guitars, overdriven Hammond Organ (and this time synth) but with the addition of Tom (Uncle Acid/Limb) Mowforth on drums they are a groovier, more athletic 70's rock beast. The twin heavyweights of Blue Oyster Cult and Mountain loom large, but this time with the added groove of an an organ-driven Black Mountain. Suzie Pellet is Transmaniacon's first true collaboration with Ian Miller. Miller resurrected his post apocalyptic tale of street survivor Suzie Pellet in a rotten and derelict London-esque urban-scape called Duht. Transmaniacon have taken and expanded Miller's vision into a story in which Pellet herself, describes the dark, underworld, its characters and situations, friends and foes, all in grisly-spoken and sung diary-like, excerpts.

                    Lydia Lunch was an obvious choice for the mature Pellet. A survivor of numerous underground scenes herself from punk and no-wave through noise, avant-rock and, appropriately enough here, spoken word. In 1975 Patti Smith perhaps could have been a young Susie Pellet, in 93 Polly Harvey, but now the role falls to Maya Berlin. With her band, Cold in Berlin delivering equal parts Punk, Doom and Goth over their three highly acclaimed albums (including 'The Comfort of Loss and Dust on Candlelight Records), she was perfect. And Suzie gives her the opportunity to expand her vocal (and theatrical) talents in Grace Slick or Julie Driscoll or even Chelsea Wolfe directions. Step into the nightmare world of Suzie Pellet. 

                    STAFF COMMENTS

                    Barry says: It's a pretty out-there idea, and more than fitting for the King Crimson / Blue Oyster it so readily references, but this particular concept is flawlessly accomplished and brilliantly overblown. Brilliantly heavy but nuanced psych rock with a host of talented musicians behind it makes it a must have for you LL fans out there.

                    TRACK LISTING

                    1. Inca Sunshine
                    2. Painted On Skin
                    3. The River, The Birds
                    4. Sexton Breen
                    5. Dogs Of War
                    6. Outrun The Pack
                    7. Tooled Up
                    8. Aerosol Death Rattle

                    Luke Haines

                    Is Alive And Well And Living In Buenos Aires: Heavy Frenz The Solo Anthology 2001-2017

                      Having played with The Servants in the late 1980s, Luke Haines carved a unique niche for himself in the 1990s with witty lyrics, wry humour and some stellar tunes with The Auteurs and other acts (Black Box Recorder, Baader Meinhof).

                      By 1999, feeling aghast at the state of the Brit Rock scene in the UK, Luke decided to “start a righteous solo trip”, having been commissioned to write the soundtrack for the film Christie Malry's Own Double Entry (2001). Sticking with Virgin Records, Luke then unveiled his first solo album proper, The Oliver Twist Manifesto, before fronting a new-look Auteurs for Das Capital.

                      In due course, Luke switched labels to indie Fantastic Plastic for Off My Rocker At The Art School Bop (2006), followed in 2009 by 21st Century Man. Since then, he’s curated a string of imaginative, amusing and always worthwhile albums for Cherry Red Records.

                      Alive And Well… is the first-ever anthology of Luke’s solo work, cherry-picking musical highlights from each of his long players as well as a smattering of B-sides, radio sessions, rarities and – on Disc 4 – a raft of previously unissued material.

                      With sleeve-notes by Luke himself, Alive And Well… is a very personal statement spanning the last two decades of the musical life of Luke Haines.

                      The Golden Grass / Killer Boogie / Wild Eyes / Banquet

                      4 Way Split

                        After spacing out on the first volume of the HEAVY PSYCH SOUNDS 4-WAY SPLIT, it’s time to hit the ground running! The HPS 4-WAY SPLIT VOL. 2 brings funked-out ‘70s boogie down the highway with heavy hitters WILD EYES SF, recent HPS-signees BANQUET, Brooklyn sunshine rockers THE GOLDEN GRASS and fuzz traditionalists KILLER BOOGIE. All four bands bring a fresh sound to classic heavy rock, and after uniting Naam, White Hills, Black Rainbows and The Flying Eyes to highlight trippy psychedelic groove, HPS 4-WAY SPLIT VOL. 2 gives an earthier take while continuing to feature some of the underground’s best up and coming acts! 

                        TRACK LISTING

                        The Golden Grass:
                        1. Livin’ Ain’t Easy
                        2. Flashing Out Of Sight
                        3. Hot Smoke & Sasafrass

                        Killer Boogie:
                        4. You Will Be Mine
                        5. Make Another Ride
                        6. The Thunder

                        Wild Eyes:
                        7. Long Time No See
                        8. Gator Shaker
                        9. Hot Sand

                        10. Seven Sisters
                        11. Starmaker
                        12. Runnin By The Baby Huey

                        ‘Hurt & The Merciless’ marks a musical culmination for The Heavy, a mesmeric blend of their trademark rock & roll classicism and funk and soul grooves with added sonic experimentation.

                        The 12 track album - featuring the lead track ‘Since You Been Gone’ with its lolloping groove, plus the spiky garage rock anthem ‘What Happened To The Love?’ - is a batch of their strongest songs yet.

                        TRACK LISTING

                        Since You Been Gone
                        What Happened To The Love?
                        Not The One
                        The Apology
                        Nobody’s Hero
                        Miss California
                        Turn Up
                        A Ghost You Can’t Forget
                        Last Confession
                        Mean Ol’ Man
                        Slave To Your Love
                        Goodbye Baby

                        A short while removed from his acclaimed Brothers Fowl album, released in late 2012, Dam Mantle returns as part of the Free Association collective with a new three-track 12” on NOTOWN Recordings.

                        A loose collective of musicians from his Glasgow home, this EP showcases, according to Tom Marshallsay AKA Dam Mantle, ‘a small glimpse of what's been getting made in the studio recently. There's quite a few other folks who feature on some of these tracks, so it's a demonstration of the collective attitude behind all this’.

                        The EP is a glimpse of the moods being explored in his live sets, where his diverse productions converge in a fervent sonic assemblage. The A side gives two heads-down hip shakers which explore a diverse sound palette, while the flip-side adds urgency and steady syncopation with a streak of dark intent and an anticipatory glimmer.

                        Since the release of his Brothers Fowl album, Dam Mantle has been busy ‘mainly playing records and putting on parties, living life, working’. In addition, he’s spent a bit of time working on collaborative projects, mainly as General Ludd, releasing via the Mister Saturday Night banner, the NYC promoter and label.

                        TRACK LISTING

                        A1. The Free Association - Heavy Velvet Affair
                        A2. Dam Mantle Feat. Baker - Simultaneous Fall
                        B1. Dam Mantle - The Underlying Issue

                        The Heavy

                        The House That Dirt Built

                          "The House That Dirt Built" is a huge step forward from The Heavy's fantastic debut "Great Vengeance & Furious Fire". Now produced by Jim Abbiss (Arctic Monkeys etc), the band have a sound that's even tighter and more raw than their previous offerings - and that's saying something. "The House That Dirt Built" features a series of stripped-to-the-bone bluesy rock stormers with 60s / 70s soul / funk blended into the mix (check recent single "How You Like Me Now" with its Dyke & The Blazers homage), all given that amps-up-to-11 distorted edge. Powerful stuff.

                          Hapshash & The Coloured Coat

                          Featuring The Human Host And The Heavy Metal Kids

                            Hapshash & The Coloured Coat released this debut in 1968 and it's something of an electric mayhem and freeform psychedelic freakout. Art designers Michael English and Nigel Weymouth, whose striking graphics were seen on many bright and trippy posters for psychedelic clubs like the UFO and Middle Earth in London, were the creative talent behind this band along with DJ and manager Guy Stevens. They incorporated flower power, love, peace and acid into a psychedelic rock lifestyle. Could only have been recorded and released in the late 60s.

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