Pop & Rock News

Condemned Compilations, a collection of almost-pop songs and sketched experiments by Sydney's darling duo, Jay (of Rangoons fame) and Yuta (of Orion and Low Life infame). The affection that the two share for UK DIY is immediately apparent in the ramshackle approach and offbeat wryness of humour employed throughout.

Immediately accessible synth-pop track 'Swimming Pool', shouldn't work on paper. It's playful naivety could irk, but instead somehow remains on the right side of endearment. Another highlight, 'Access Card', offers a Jay-driven thought experiment in self-betterment over a quickened, unchanging pulse where insidious undertones loom large. Another clear standout is 'Mysterious Flaws In The House We Built Ourselves', the interplay between vocal melodies and the askew beat as uneven as the titular living-space. Closer, 'Crucial Haze', is Current 93 by way of Oasis. Ordinarily anything blurring these lines would be a clear anomaly, although bookending this eclectic collection it suits.

Pop music, at its best, has always succeeded in simplistic arrangements. Punk is obviously also grounded in the democracy of what little is needed equipment and skill-wise in order to make a song that burns. Much modern music churned out (punk or otherwise) seemingly values ease of reference and with it, a smooth digestion. When bedroom-pop sensibilities have become another branded hashtag, rather than an unintended by-product of necessity, it becomes increasingly difficult to discern what is a genuine trip. What to do with all of history at your fingertips?

A good deal of the early UK DIY and Australian art-rock bands Jay & Yuta can be viewed as a modern continuum of didn't exist past a single or handful of 7"s. They were often young, without any musical education and didn't remain congealed together long enough to better master their instruments. But they also didn't lose their sense of humour or immediacy and, with that, lose the magic that makes those records still spin 40 years later.

Late last year, anarchist punk icons Crass took the step of making the original separate track stems of their seminal debut album ‘The Feeding of the Five Thousand’ available as a free download on One Little Indian Records. With a call to take the original sixteen track recording in its pre-mix state, the intent was for people to create their own remixes and interpretations and breathe fresh life and ideas into this revolutionary music.

First released in 1978, ‘The Feeding of the Five Thousand’ pre-empted rap and grime in its hard-on-the-beat, fast fire, uncompromising lyrics and the iconic sounds and messages are ripe for reinterpretation. Crass encouraged people to rip apart the sound and ideas and create something new, then send the files to Crass Records for future releases and charitable projects. The message is DIY like it never was before. “Yours for the taking, yours for the making,” Crass said. “You do it, we’ll stew it. Mix it backwards, forwards and upside down. Turn up the heat and fix it with a downbeat, bring in the trumpets and let ‘em blow, let the piper call the tune to let us all know, it’s up to you to do what you like with it. The only limitation is your imagination.”

The response was fantastic with close to one hundred submissions from professionals, amateurs, do gooders, do badders, DIYers and give it a tryers twisting and morphing the sounds.

The first results of this creative process are ready to be heard and released in the form of a twelve-inch EP (alongside a limited 1000 red vinyl pressing) of remixes by producer and XL Recordings honcho Richard Russell under the guise rLr, who tackles and further subverts the anti-war anthem ‘They’ve Got A Bomb’, turning it into a stuttering, rhythmic rattle, whilst Boston, Massachusetts experimental synth-pop artist Glasser takes aim at ‘Do They Owe Us A Living?’ and takes the original songs simple, direct messaging into entirely different realms of rhythm and distortion.

“Crass is a great example of futuristic art and lifestyle; anchored in communal ethics and collective spirit, moving beyond mere defiance of authority and into radical ideas of love and creativity,” explains Glasser. “I’m so glad I had the chance to play around with their recordings. It’s basically the best gift a fan could get from the artists they admire. “

Original year of release: 1988. Features the tracks 'Mala Vida', 'Ronde De Nuit', 'Salga La Luna', etc. Mano Negra the legendary first band of French singer Manu Chao ... featuring songs in Spanish, French, English and Arabic.. We are celebrating this year the 30th anniversary of its foundation. The album has been unavailable on vinyl since its first original pressing.

This is an acoustic unplugged EP to follow up the band's 2018 release 'Living Proof'

Retrospective on these UK82-sound prime movers, spanning their early days and containing their 1980 demo tape, their hard to find 1984 'No Hope For A Future' 7" originally out on the German Pogar Records label, tracks from the "We Don't Want Your Fucking War" and "We Don't Need Nuclear Force" compilation, outtakes from their first 'Bloodsuckers' LP's recording session, and four live tracks from an incendiary live set at the Working Man's Club in Besham, July 28th 1986. A plethora of rare tracks covering their 1980-1985 period, presented here on a limited edition vinyl together with unpublished early photos kindly provided by the band and complete with a 60x60 cm poster!

Dreamin' Wild's second album Heaven in Thirty Eleven owes a lot to Footscray. The inner-western suburb of Melbourne features not only in the album title (its postcode is 3011) but goes deeper to form a central part of the record's narrative and reflection.

For all six members - Chris Jennings (Swazi Gold, Sagamore, Sledgehammer), Sam Cooper (Crepes, Swazi Gold, Sagamore, Sledgehammer), Tim Karmouche (Crepes, Swazi Gold, The Murlocs), Sarah Quirk, Monty Hartnett (Sleep Decade, Miris, Sagamore) and James Guida (Laguna, Environments) - Footscray buoyed periods of music exploration and discovery. After more than six year of writing, rehearsing and recording in the suburb, there's no doubt that Footscray is home for the band.

Jennings adds that the album is, "a bit of a recap of the last three years for Dreamin' Wild," drawing attention to the change and growth many of the eight songs have undergone since creation.

"I Don't Disagree" is an album highlight; an almost seven-minute track that struts along calmly, taking life as it is. Quirk's soulful refrain soars atop Jennings' laconic vocals, carrying the song to its end. "Dynon Life" is another album gem, reminiscent of summer in the city, and happy seeking excess.

Heaven in Thirty Eleven is an ode to a Melbourne suburb brimming with culture and stories, made by artists who are proud to call it home.

Don't forget Bobby Sands (1954-1981)
Fighter against British imperialism in Northern Ireland, he led the 1981
hunger strike by men in the H-Blocks of Long Kesh and women in Armagh
Jail who sought political prisoner status.

Asher.Zax directed their machines at the occupation
and the anniversaries of: 69 years of Israeli state occupation of Palestine,
day 21 of the Palestinian prisoners' hunger strike,
the death of Bobby Sands who died on
day 66 of his hunger strike in 1981.

Die erste Neuauflage vom offiziellen "Die Ärzte" Debut seit vielen Jahren in guter Austattung ( LP, black, 180 gram + DLC )

Gitarre, Schlagzeug, Bass. Drei junge Menschen, die eben noch im Besetzereck ihr erstes Konzert gegeben haben. die Ärzte sind aus Berlin (aus Berlin!). Viele, die BelaFarinRod in letzter Zeit im kleinen Club ihres Vertrauens live gesehen haben, schwören darauf, dass wir hier das Nächste Große Ding haben. Quasi die Beste Band der Welt in the making: Spontan, unberechenbar, witzig, aus Versehen tiefsinnig an den richtigen Stellen und auch sonst ganz einfach wahnsinnig. Nur halt in gut. Acht Tage waren sie im Studio, die dreizehn Tracks ihres Debütalbums klingen standesgemäß rau, laut und so unkonventionell frisch als hätten wir gerade 1984. Mit potenziellen Klassikern wie „Mädchen“ oder „Zu spät“, zukünftigen Lieblingsliedern à la „Schlaflied“ und „Roter Minirock“ sowie einem ganzen Haufen weiterer Songperlen, die man sich auch in dreißig oder vierzig Jahren noch ganz unpeinlich berührt wird anhören können. Und mit „Claudia hat ’nen Schäferhund“. „Debil“ erscheint nun als Vinylalbum (mit Downloadcode)!

Re-Issue on Extreme Eating. Housed in a gatefold sleeve designed by Steve Lippert, mastered by Matt Colton at Alchemy. Everything else was done by Sleaford Mods. From Original Press Release 2015 "Key Markets was a large supermarket bang in the centre of Grantham from the early 1970's up until around 1980," explains Jason Williamson. "My mum would take me there and I'd always have a large coke in a plastic orange cup surrounded by varnished wood trimmings and big lamp shades with flowers on them. Beige bricks with bright yellow points of sale and large black foam letters surrounded you and this is why we called the album 'Key Markets'. It's the continuation of the day to day and how we see it, the un-incredible landscape." "The album was recorded in various periods between summer 2014 through to October of that year. We worked fast as we normally do, the method was the same as the other albums and like the other two, the sound has naturally moved itself along. 'Key Markets' is in places quite abstract but it still deals heavily with the disorientation of modern existence. It still touches on character assassination, the delusion of grandeur and the pointlessness of government politics. It's a classic. Fuck em." 1/Live Tonight 2/No One's Bothered 3/Bronx in a Six 4/Silly Me 5/Cunt Make It Up 6/Face To Faces 7/Arabia 8/In Quiet Streets 9/Tarantula Deadly Cargo 10/Rupert Trousers 11/Giddy on the Ciggies 12/The Blob

Searching for new languages beyond the bitter and nihilist dialect of punk, bands like Gaz Nevada, Litfiba, CCCP, Diaframma, Neon, and many others, began spreading their message all along the Italian peninsula during the early eighties and many of the members of these bands are now some of the best musicians/producers in the Italian independent music panorama (Giovanni Lindo Ferretti, Piero Pelù/Litfiba, Bisca, etc.). 16 tracks by 16 Italian underground bands from 1982-1984: bands who faded into oblivion before ever releasing anything of their own on vinyl. It should, however, be stated that if these sixteen bands had been found on an album, EP or single, they certainly would not have lowered the average quality of albums in that genre…not even in terms of sound quality, which has actually been improved upon here (considering that the original tapes had been lying around collecting dust for at least a quarter of a century) by careful restoration.

Coriky is a band from Washington, D.C. Amy Farina plays drums. Joe Lally plays bass. Ian MacKaye plays guitar. All sing.
Formed in 2015, Coriky did not play their first show until 2018. They have recorded one album. They hope to tour.

The third in the releases where label favourites are represented for today and backed with a remix / version by a contemporary producer of repute, presents 80s leftfield pop-rock band In Embrace. Appearing here are two versions of The Living Daylights, the original long version and a re-recorded live take, plus additional versions by Timothy J Fairplay.

Coming out of the midlands Post Punk / fanzine scene Gary Knight and friends formed the original incarnation of In Embrace in 1981. Picked up by Glass Records, the early, edgy live recording were re-proposed as Knight developed his 'non-musicianship' with an interest in the possibilities of the studio.

The original "Uncut" version takes it's anti-war themed vocal and lays it over a Jah Wobble inspired bassline and tense electronic rhythm. As it builds, the pressure mounts a visceral sense of oblivion of 9+ minutes of deep dubbing and repeating refrain.

Next to this the "Live In Studio" version sees the later 3 piece band replay it out in an energetic raw form that makes a worth addition. Handing the versions, plus backing tracks to Timothy J Fairplay offered a radical departure. His brooding Redub and Bonus mixes take the track to a darker place, drawing out the induced, relentless madness Knight always intended.

1997 was the year in which hardcore rediscovered itself. When the US-American legends Better Than A Thousand released their milestone "Just One" back then, it was the sole starting point for the resurgence of the Youth Crew and the Straight Edge movement. Acts like Kid Dynamite, Ten Yard Fight or Bane followed this path, but Better Than A Thousand remain unforgotten as pioneers. More than 20 years later, the band members release reissues of both "Just One" and its successor "Value Driven“ together with End Hits Records, giving fans the chance to experience these immortal records in a completely new splendour.

If you want to understand the creative power behind Better Than A Thousand, you only have to look at the biographies of the individual members. Frontman Ray Cappo, as the singer of Youth Of Today, is a veteran of New York hardcore and invented Krishna Core with his band Shelter. He is also (co-)founder of the still influential hardcore labels Revelation Records and Equal Vision Records. Drummer Ken Olden and guitarist Graham Land are known as the masterminds behind hardcore punk heroes Battery. Furthermore, in the early 90s, Olden did pioneer work with Damnation A.D. for the metalcore genre, which is still flourishing today.

Better Than A Thousand were born in 1997 out of the love for hardcore. After the dissolution of Battery, Olden and Land want to continue to work together on their music. Cappo, who is at the peak of his career with Shelter, is looking for musical fulfilment away from the major label circus. The result is the eerie, intense hardcore explosion "Just One", which Better Than A Thousand recorded in just five days during a one-week tour break from Shelter. You can clearly hear the efforts of his touring life in Ray’s voice. Again and again his massive vocals collapse under the strain - a circumstance that makes the record's rawness and intensity all the more apparent. The spontaneous side project quickly turns into more and Better Than A Thousand play three world tours and gigs at huge festivals within only two years. They never lose their inimitable DIY spirit during this time: Ray is not actually allowed to produce the second album "Value Driven" because of his contract with Roadrunner, but the band still secretly records the record in Ken's bed and bathroom and then self-releases it as a bootleg.

Guitarist and drummer Ken Olden remastered both albums for the Reissues and even recorded additional guitar tracks. Besides the regular album tracks five rare bonus songs were added. The albums are released in different versions both digitally and on vinyl (with poster and download code) and CD (limited to 500 copies). Some editions are accompanied by a 36-page fanzine that offers never before seen insights into these legendary albums and features unpublished photos and liner notes.

1997 was the year in which hardcore rediscovered itself. When the US-American legends Better Than A Thousand released their milestone "Just One" back then, it was the sole starting point for the resurgence of the Youth Crew and the Straight Edge movement. Acts like Kid Dynamite, Ten Yard Fight or Bane followed this path, but Better Than A Thousand remain unforgotten as pioneers. More than 20 years later, the band members release reissues of both "Just One" and its successor "Value Driven“ together with End Hits Records, giving fans the chance to experience these immortal records in a completely new splendour.

If you want to understand the creative power behind Better Than A Thousand, you only have to look at the biographies of the individual members. Frontman Ray Cappo, as the singer of Youth Of Today, is a veteran of New York hardcore and invented Krishna Core with his band Shelter. He is also (co-)founder of the still influential hardcore labels Revelation Records and Equal Vision Records. Drummer Ken Olden and guitarist Graham Land are known as the masterminds behind hardcore punk heroes Battery. Furthermore, in the early 90s, Olden did pioneer work with Damnation A.D. for the metalcore genre, which is still flourishing today.

Better Than A Thousand were born in 1997 out of the love for hardcore. After the dissolution of Battery, Olden and Land want to continue to work together on their music. Cappo, who is at the peak of his career with Shelter, is looking for musical fulfilment away from the major label circus. The result is the eerie, intense hardcore explosion "Just One", which Better Than A Thousand recorded in just five days during a one-week tour break from Shelter. You can clearly hear the efforts of his touring life in Ray’s voice. Again and again his massive vocals collapse under the strain - a circumstance that makes the record's rawness and intensity all the more apparent. The spontaneous side project quickly turns into more and Better Than A Thousand play three world tours and gigs at huge festivals within only two years. They never lose their inimitable DIY spirit during this time: Ray is not actually allowed to produce the second album "Value Driven" because of his contract with Roadrunner, but the band still secretly records the record in Ken's bed and bathroom and then self-releases it as a bootleg.

Guitarist and drummer Ken Olden remastered both albums for the Reissues and even recorded additional guitar tracks. Besides the regular album tracks five rare bonus songs were added. The albums are released in different versions both digitally and on vinyl (with poster and download code) and CD (limited to 500 copies). Some editions are accompanied by a 36-page fanzine that offers never before seen insights into these legendary albums and features unpublished photos and liner notes.

Second outing from Jaeger and O'Rourke following the release Wakes on Cerulean on Editions Mego in 2017. Covering a vast terrain with delicacy and poise this new release unveils a spectral showcase for all manner of deep abstraction. The first side positions itself somewhere between stoned komische synth and more nuanced electroacoustic tactics, all weighted by a melancholic undertow. The second side builds on the tension of the former as an undulating drone teases all variety of matter to rise and fall amongst the foreign space it inhabits. The effect creates an enormous sense of deep space before subsiding into a smaller more anxious flickering world. All manner of machines fold into play; digital machines, industrial and analogue machines. The seemingly random yet ordered nature of events is reminiscent of the behaviour of the natural world providing this machine driven release a convincing organic feel. Whether invoking mirrors, distant galaxies or a pond of frogs it is a delightful challenge to focus and locate what is nature and what is nurture. To play this loud is to immerse oneself in a fascinating journey which carries the listener through an array of dizzying emotional states.

First album in 8 years from legendary Dearborn duo . Windy and Carl have been crafting inner space electric guitar and bass vistas for nearly three decades now, but their latest feels as vital and vaporous as any peak opus in their vast catalog. Written and recorded across six years, the songs swirl between shoegaze minimalism and stargaze drift, over which Windy Weber whispers veiled poetic narratives of transformation, isolation, and escape. Allegiance and Conviction is their first album since 2012's We Will Always Be. The six compositions are something of outlier in their catalog, shorter in nature than most on their previous releases. All of the tracks are saturated with Hultgren's signature guitar work, intimate constructions of murmurs, drones and his trademark layered filigree, gently amassed into alternately lighter and heavier than air atmospheres. Despite being their first full-length in more than half a decade,the album fully belongs to the bewitching galaxy of sound Windy and Carl innovated and within which they remain the sole occupants: music of thresholds and peripheries and eternities. Allegiance and Conviction is the multifaceted, contemporary take on their sound.

Those in glass houses shouldn’t throw stones, but The Cool Greenhouse are about to shatter glass ceilings with their self-titled debut LP.
Having caused a stir on the underground DIY label circuit with their inimitable, infectious brand of lo-fi post-punk in 2019, The Cool Greenhouse’s debut album shows off a newly developed, fuller sound, taking their signature style to previously unexplored heights while doubling down on their tried and tested formula of angular motoric riffs and no holds barred biting social commen-tary. The muffled 16-bit drum loops have been replaced with a full kit, the nonchalant vocal delivery has found a new edge and the sparse instrumentation has been augmented by the band’s finally agreeing to leave their bedrooms and enter the studio, yielding a fully-realised vision with fresh clarity and depth that makes their earlier recordings seem like mere blueprints.
A large part of what makes this a winning formula is frontman Tom Greenhouse’s way with words. Frequently topical and clearly political in some sense, Greenhouse’s lyrics side-step the on-the-nose delivery of traditional yawn-inducing political rock in fa-vour of a strange idiosyncratic blend of pop culture snippets, patchwork narratives and oblique literary references. Bursting with humour and irony, the album deftly meanders from Rotary Club jumble sales to Margaret Thatcher’s living room to futuristic voy-ages into musical VR, taking aim at the gammon classes, rural conservatism and a host of other late-capitalist absurdities with razor-sharp wit along the way.
Discovering The Cool Greenhouse’s first 7” (which coincidentally mentioned his own surname) ace producer, sound engineer and mixer Phil Booth (Sleaford Mods) invited the group to his JT Soar studio in Nottingham. The old potato-packing warehouse of-fered an idiosyncratic working method for the band, who recorded the album over 7 days as live between kipping on its couch-es, 4am whiskey-soaked sessions and Mario Kart ’64 on demand. “Phil’s got all the kit and know-how, but the studio is rough around the edges with great character,” Tom tells. “There were weird little synchronistic miracles… discussing a song then seeing its title on a shop window, finding things in pubs straight out of our songs… these zapped me onto some sort of Jungian plane where I didn’t need sleep and knew just what to do.”
Blissfully instinctive, Tom’s lexicon flies across the album with the agitation of an internal monologue that won’t quit. From pop culture to cautionary tales, anything deemed too musically extravagant was swiftly removed before being mastered by Mikey Young (Bodega, Amyl and the Sniffers); “we added a tympani and clarinet but ended up taking it all off again” At times the Tru-man Show-trappings of ‘Trojan Horse’ or ‘Gum’s unsettling cowbell hint at the motoric. For now, whatever it is that gets you go-ing, let’s just call it The Cool Greenhouse effect.

Hailing from Antwerp, Belgium, The Kids formed in 1976 to prove to the world that punk was more than just a London vs New York fashion contest. Originally released on the Philips label in 1978, and highly acclaimed as one of the best punk records EVER, The Kids' debut album is now reissued on vinyl, with two bonus tracks recorded in 1977. This is pure and quintessential punk rock. The second release on Radiation Deluxe Series, this classic punk LP is reissued on 180-gram vinyl in a deluxe 350-gram cardboard sleeve.

Originally released a mere eight months after their groundbreaking 1978 self-titled debut LP (RAD 8002LP), The Kids' second album is a pure masterpiece of straightforward punk rock. A little less raw than their previous material, but still far from the new wave sounds the band started experimenting with on their following records, Naughty Kids remains one of the best examples of non-UK '70s punk and definitely a mandatory addition to the collection of any Killed by Death fanatic! This reissue also includes five bonus tracks recorded live in 1978

Following last July’s release of the deluxe 40th Anniversary version of the Radiator’s “Ghostown”, we are pleased to announce a special limited edition vinyl version. Pressed on two 180g clear vinyl discs, the double LP comes with a thick card sleeve and two printed inner bags. A limited edition of 1000 copies. Disc One contains the original album, released in 1979 and produced by Tony Visconti. The second disc contains 10 bonus tracks.

After Billy Talent’s successful self-titled debut album and their excellent follow-up they went back to the studio to record their third piece. They added swampy blues-rock to their energetic punk-pop sound. The album reached the first spot in the Canadian Albums Chart and peaked at #107 on the Billboard 200. In April 2010, the album won a Juno Award for best rock album of the year. The record saw five hit singles, with “Turn Your Back” being the first to hit radio. It features guest appearances by members of Anti-Flag.

Billy Talent III is available as a limited edition of 2000 individually numbered copies on green marbled vinyl. The package includes a 4-page booklet.

Slovenska Televiza Are A Two-piece Act Based In Valladolid And Barcelona. They Produce Music That Is Hard To Define With Simple Comparisons Or Oblique Generalisations, But Perhaps An Amalgam Of Minimal Synth And Coldwave Would Best Express Their 'sound'. With That In Mind, There Is Also A Melancholy Underpinning This Release, Perhaps It's The Haunting Vocals Of Lunademayo, Or The Heavily Reverb Laden Soundscapes Of Wladyslaw Trejo's Analogue Synths. You'll Have To Wait Patiently To Find Out....

Slovenska Televiza

Slovenska Televiza Is A Minimal Electronics Duo Based In Valladolid And Barcelona. Wladyslaw Trejo And Lunademayo Stays Close To Coldwave Then Expands To Avant-garde And Experimental Approaches, Reaching A Proposal As Strange As It Is Fascinating.

It Must Be Said That Slovenska Televiza Is Not Only Limited To The Musical Arena, Its Commitment Extends To Other Artistic Facets As Already Shown With Their Very Special Debut, A Performative Action Implemented In Latvia, Where They Traveled To Leave Behind The Entire Output In Several Locations.

Exclusively on vinyl, come 17 hugely influential artists and tracks that exploded from the punk phenomenon of the late 1970’s.

Essential punk classics from Siouxsie & The Banshees, Iggy Pop, The Ruts and The Members (whose anthem gives this compilation its title) are here alongside legendary new-wave tracks from The Buzzcocks, Blondie, The Skids and The Only Ones as well as the #1 ‘Rat Trap’ from The Boomtown Rats.

This period produced many amazing songwriters and interpreters which are included, namely Elvis Costello, Joe Jackson, Squeeze and Patti Smith’s performance of the Bruce Springsteen penned ‘Because The Night’.

As the ‘70s ended, The Jam and The Clash produced some of their most seminal work and the next wave of new wave artists emerged with both Adam & The Ants and The Cure completing this journey through a selection of bone-fide essential tracks that every vinyl collection should contain.

Parisian cinema composer Jean-Gabriel Becker is best known for idiosyncratic soundscapes, has worked alongside Massive Attack on acclaimed film soundtracks and recorded with John Foxx. Susumu Mukai, originally from Osaka, Japan, is one of London’s most sought after musicians, whose list of collaborators includes Floating Points, Vanishing Twin, Alexis Taylor and Fimber Bravo.

Together they’ve created fresh new music that floats effortlessly above traditional genre delineation, with a dubbed-out and experimental melange of modern acid house, post punk, global grooves and clattering beats. Still not complying to genres,’TimeVery Near’ is their tentacular new album, which gathers sounds and inspiration from an ever-expanding palette of influences, assembled into something amorphously intangible that’s simultaneously refreshing and sharp, meandering and cosmic, futuristic but timelessly vintage.

BLÓM is cute, experimental, noise, punk. Often compared to Lightning Bolt and Melt Banana in style, the music is hybridising genres; often shifting pace, to feel frantic, agitated and unsettled. Live performances are high energy and intense, provoking a visceral experience for the audience, submerging them in Blóm. Self described as three qt punks playing pure radge shit; with female, trans and non binary members, Blóm exist within a scene that is typically cis male dominated, but are reimagining the alt-music landscape to be more inclusive, diverse and balanced. Through lyrical content, cuteness and physical representation, Blóm are encouraging conversations and supporting safe environments for people to coalesce. Comparative styles: punk, hardcore, noise, alt-rock, psyche, queercore, experimental, metal, doom.

More words about Blóm: ''Leave your human suit at the door and volunteer your ego to be carefully stabbed up by Blóm before letting them lovingly drown you in their home baked, three pronged sound calamity. Stick two fingers up to the melting intellect of the world outside, let these three cute punx remedy your ills and smash your shopping all over the street. Alternatively, just stay home and keep telling yourself that there are no good bands these days. Bass, drums & vocals. Hardcore, punk, noise, radge. Absolutely essential for healthy teeth.'' Faxmachine

Modern Artillery is the third album by the Australian punk rock band The Living End. This is a sunnier pop influenced punk rock album compared to its predecessor. The album peaked at number 3 in the Australian charts and “Who’s Gonna Save Us?” was released as the album’s single. The band have been nominated 27 times for the Australian Music Awards and have won five of them.

• 180 GRAM AUDIOPHILE VINYL
• LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON RED COLOURED VINYL

UPSIDE DOWN SMILE WAS RECORDED AND PRODUCED BY EWA JUSTKA AND BY SELF-DESIGNED, SELF-MADE, SELFSELFSELF, ODD LOOKING SLIGHTLY DYSFUNCTIONAL SYNTHESISERS AND BY A TRANCE PURPLE KILLER ROLAND JP8080 AND BY HIS BROTHER VIRUS AND SOME OTHER ROLAND BROTHERS NO SISTERS INCLUDED DURING THE TIME WHEN EWA JUSTKA WHO CURRENTLY LIVES IN GLASGOW, GOVANHILL, ALLISON STREET, WHERE RECENTLY HER PASSPORT WAS STOLEN DUE TO THE BURGLARY, WHERE SHE LIVES IN JOY, ALTHOUGH SOMETIMES THE FLOOR GETS WET DUE TO THE LEAKING WINDOWS AND SOMETIMES ONE CAN FIND DEAD PIGEONS LAYING ON THE STAIRCASE BUT IT'S NICE AND COSY AND EWA JUSTKA HIGHLY INFLUENTIAL PERSON IN THE DEEP DARK TRANSISTOR LADDER CIRCUITS LIVES SINCE SHE IS STUDYING PHD AT EDINBURGH COLLEGE OF ART WHERE SHE THINKS A LOT ABOUT IMITATION IN SYNTHESISER DESIGN AND FILTERS AND VCOS AND FORMANTS AND ACID AND HARDCORE MUSIC AND TWIN T FILTERS AND OPERATIONAL AMPLIFIERS AND SHE TURNS KNOBS AND THINKS AND THE UPSIDE DOWN SMILE ALBUM WAS MADE IN THE DEPTH OF THOSE THOUGHTS QUITE OFTEN SAD THOUGHTS UPSIDE DOWN SMILE IS A BIT OF A CYNICAL SMILE BUT AN HONEST SMILE CYNICAL BUT HONEST UPSIDE DOWN SMILE IS A SMILE THROUGH TEARS BUT TEARS OF JOY SCOTTISH JOY UPSIDE DOWN SMILE IS UPSIDE DOWN ACID ONE COULD SAY UPSIDE DOWN SMILE COULD BE INTERPRETED AS A SAD SMILE BUT IT IS A SMILE IN THE END OF THE DAY

Ten years on from its digital-only release, Utter presents the legendary third Mu album on vinyl for the first time! What can we say? This is possibly the most bonkers and 'out there' Maurice Fulton has gone production-wise, from sub-heavy Hip-Hop to Country (!) to Thrash-Metal (?!) alongside a sprinkling of his signature genius House/Disco magic thrown in for good measure... all with Mutsumi's infamous vocals over the top. Limited pressing with fluorescent pink sleeve & insert. Remastered & cut by Rashad Becker at D&M.

A mixtape for Bedouin Records by Yousuke Yokimatsu disguised ¥ØU$UK€ ¥UK1MAT$U.

Recorded at Le Bal, Paris 4 May 2018. Mix & mastered by Stephan Mathieu, Schwebung November 2019. Vinyl cut at Schnittstelle, Berlin December 2019. Cover photo by Elodie Lesourd, Charleroi 2017.
Dedicated to Iancu Dumitrescu. Thank you to the audience & staff at Le Bal, Gisèle Vienne, Emilie Lauriola, Stephan Mathieu, Elodie Lesourd, Lia Pradal & Camille Tallent.

Produced within the context of 'The Guidebook of Church Burners' publication release, this performance was recorded at visual arts institution LE BAL in Paris, May 4th 2018. Published by Païen in a limited edition, the book explores and transforms into an abstract narration the multiple facets of black metal iconography and history. Emerging from a dialogue between sound and image, the otherworldly piece created for that evening by Stephen O'Malley is a result of this collaboration. – Emilie Lauriola.

P22 are a Los Angeles band formed in 2015 by
Sofia Arreguin, Nicole-Antonia Spagnola, Justin
Tenney and Taylor Thompson.
 P22 are a prudent exercise in the collective rearing
of offbeat protest tunes in punk’s tomb.
 P22 have released three tapes - two self-released -
and one released as part of Mike Kriebel’s Beat
Sessions.
 ‘Human Snake’ is a compilation of sanguine
materials written between 2017 and 2019. ‘Human
Snake’ was recorded and mastered during the
summer of 2019 by Mike Kriebel, after the group’s
brief hiatus.
 The intellect and political prowess of Crass, played
by West Coast punkers with early SST vibes.
Tracklisting

Following 2018's acclaimed collaboration with Simon Fisher Turner, "Care", Swedish sound artist Klara Lewis returns with "Ingrid", her third solo release for Editions Mego.

"Ingrid" is a departure from Lewis's previous solo outings, drifting from the eerie rhythmic variations of "Too" and "Ett" and moving assuredly into long-form experimentation. The piece retains those records' pulsing core and builds on a single cello loop that is steadily enveloped by a surge of distortion. It's almost like a voice or chant, shifting pointedly from a whisper into a scream before singing peacefully into the light.

At times, "Ingrid" reminds of William Basinski's looping melancholy or Steve Reich's controlled and innovative phase experiments, while at others, it recalls the chaotic Scandinavian physicality of black metal. Yet the entire composition is anchored in Klara Lewis's distinct emotional world. By dissolving familiar and beautiful strings in baths of noise, Lewis allows something violent but tender to grow in its place. In a society struck through by cynicism, "Ingrid" is a cathartic listening experience and a beacon of hope.

The Chats are a pub-punk shed-rock band from Queensland, Australia. They began playing together in high school, releasing their debut self titled EP a month away from graduating in 2016. Triple J described the EP as "seven joyous sky-punching tracks that combined 60s garage punk and 70s new wave punk" About nine months out of high school, The Chats went back into the studio to record their follow up EP, "Get This In Ya".

The second EP sat online for half a year until the band had a viral hit with the music video for their song "Smoko", which racked in millions of views on Youtube in a couple of days, quickly becoming a viral hit and drawing attention from popular rock musicians Josh Homme, Iggy Pop, and Dave Grohl. Since then, The Chats have become notorious for their loud and chaotic live shows and their zero fucks attitude. The Chats have sold out shows in Australia, New Zealand, the UK and Europe.

They've toured with Australian punk legends Cosmic Psychos, US rock heavyweights Queens of the Stone Age, and fellow pisswrecks Pist Idiots. With a debut album in the works, as well as national and international tours, The Chats aren't showing any signs of slowing down soon. The Chats have coined the term "shed rock" to describe their sound.

Their self-contained approach has been likened to that of King Gizzard & the Lizard Wizard. They have cited Australian bands
Cosmic Psychos, Dune Rats and Eddy Current Suppression Ring as major influences The band takes its name from the phrase "that's chat" - (Australian slang to describe something terrible) and Sydney suburb of Chatswood. Project ID:

The Chats have coined the term "shed rock" to describe their sound. Their self-contained approach has been likened to that of King Gizzard & the Lizard Wizard. They have cited Australian bands Cosmic Psychos, Dune Rats and Eddy Current Suppression Ring as major
influences. the music video for their song "Smoko", which racked in millions of views on Youtube in a couple of days, quickly becoming a viral hit and drawing attention from popular rock musicians Josh Homme, Iggy Pop, and Dave Grohl.

Subconscious Self Sabotage is a collaborative release between 1000 Petal Lotus and Angus Tarnawsky. These two artists met and became friends while both living in Vancouver BC between 2016-17. Originally, 1000 Petal Lotus asked Tarnawsky to remix some of his recordings for a video project. The collaboration eventually morphed into a live performance built around samples made from the composition used in the video. This next evolution—1-10—is not really a track; it represents fragments of a process and exists in the tradition of records as "tools." The spontaneous and unpredictable nature of this whole approach is most apparent on the physical version of this release; a 7" lathe cut record (edition of 25) featuring 10 locked grooves that are slightly different between editions. The digital version captures these same grooves (from one record) but is an inherently fixed entity. The records themselves are living objects; each locked groove will loop differently from one record to the next.