Pop & Rock News

40th Anniversary reissue of The Slits' debut album, Cut. Originally released on 7 September 1979 on Island Records, produced by Dennis Bovell of Matumbi. A punk / dub crossover LP, Cut is considered a defining album of the post-punk era and features the stand-out cover of the soul classic 'I Heard It Through The Grapevine'. Pressed on heavyweight 180 gram black vinyl complete with download codes.

A glance at the résumés of Hash Redactor's members might seed certain expectations. But with their debut full-length, Drecksound, the bandfronted by guitarist Alec McIntyre of Ex-Cult, featuring NOTS rhythm warriors Meredith Lones on bass and Charlotte Watson on drums, and rounded off by George Williford (stringed instrumentalist of various Memphis acts) on second guitarbanishes any residual side-project status.

Though Drecksound at times evokes certain mini-masterpieces of recent history, like The Country Teasers' Destroy All Human Life, or labelmates Spray Paint's Feel the Clamps, it ventures into musical territory tethered neither to its own lineage, nor to that of the current era...a clattering, distorted oasis in the sleek digital desert of the late twenty-teens.  

Yet perhaps both because and in spite of the isolation that can typify rock music-making at the end of this malfunctioning decade, these twelve songs deliver a timely and cathartic social criticism: one that champions a comic nihilism, acknowledging the abyss while laughing in its face. As McIntyre wryly sneers in the opening lines of Open Invite to the Cave Party, 'I won't settle for anything less than a four-star refugee camp...' McIntyre's writing chortles in puckish amusement at humanity's paradoxical impulse toward self-destruction.  A merry prankster, but one more in the mold of a black-clad Terry Gilliam than a Ken Kesey acid casualty.  This is on no fuller display than in A-side epic In The Tank, written through the eyes of a vindictive custodian who boils alive the wealthy patrons at the isolation tank facility where he works.  HR is out for some weird revenge, tongue planted firmly in cheek.

McIntyre and Williford's guitar interplay draws from a rundown of usual and unusual suspects in the tight corner of avant-punk guitar work, conjuring some free-association that includes: Marquee Moon, an imaginary-electric John Fahey, the playing on Ornette Coleman's mid-70s Body Meta and Dancing In Your Head, prime-era Flesheaters, plus the first two Meat Puppets albums. Without anything resembling traditional leads, guitars snake in and out and around Lones's bass lines, which alternate between slinky, ohrwurm hooks and steel-cable raw power.  All of this is locked together by Watson's visceral swing.  It doesn't feel controversial to claim that the duo of Watson and Lones constitutes one of the best rhythm sections to be heard anywhere in contemporary punk music. Taken as a whole, the songs possess the character of drunken koans—belabored jokes that, peeling away layers of churning riff and gnarled hook, possess some kind of ultimate truth, albeit a cheeky one.    

After playing out heavy in 2018 with a refined live show, a four-song demo, and several Gonerfest appearances under their belt, Drecksound was cut entirely at home on a borrowed 8-track cassette machine. Matt Qualls of Memphis' Young Avenue Sound mixed the resulting deranged mess into its final form which Goner Records and Upset The Rhythm have teamed up to release.

Hash Redactor will be touring the States in Summer 2019 with an eye towards Europe later in the year.

Recorded and mixed by Bunsho Nisikawa
Recorded at Soto, Kyoto JP
Mastered and cut by Rashad Becker at Dubplates & Mastering Berlin

Photographs by Mayumi Hosokura
Graphic design by Shun Ishizuka

Kukangendai:
Junya Noguchi - Guitar, Vocal
Keisuke Koyano - Bass
Hideaki Yamada - Drums


Kukangendai is a kick ass rock trio from Kyoto (Tokyo transplants). When I first hear this band live I was instantly transfixed by their minimalist yet illusory primitive, polyrythmic and structural, memory evoking rock narratives. Their energy is completely and transparently palpable yet handled with restraint of the pleasure of a disciplined form dealing with time and articulation. They are a power trio of bass, drums and guitar but the music they play is as much the limbic system of a forest than it is a geode. They started in 2006. They left Tokyo to Kyoto and started the cult venue Soto ("Outside") "to listen to music they hadn't heard yet" a few years later. They collaborated with Ryuichi Sakamoto last year. They reminded me of James Brown on a heavy binge of Bastro, there's a deep current of both archaic musical tastes and the human desire for articulating that archaism in there, but you shake your ass and get the shouting in... in a punk basement ... 13th century version of Breadwinner, the bare soul version. I'm honoured and proud to work with this tribe, and to count them amongst friends.-Stephen O'Malley, February 2019, Paris

Swazi Gold have created a debut album that shimmers like the coast. There are six songs, two created by each member; through pure collaboration and participation. Swazi Gold are a true democracy.


Formed by the chief songwriters from Melbourne bands Crepes, Dreamin' Wild and Sagamore, this new band brings old friends together. Chris Jennings and Sam Cooper grew up in the Victorian coastal towns of Barwon Heads and Ocean Grove, while TimKarmouche was an inland man, hailing from Ballarat in the state's north-west

"We've been playing together for so long; in different mediums and in different bands. We've played our own key roles, but now we know what each other wants. Swazi Gold shows off our relationship from over the years, which is really cool," says guitarist and bassist Jennings.



Swazi Gold's other guitarist and bass player, Cooper, has a theory about the unifying power of their regional origins:

"It's this kind of small town thing where you strive to be different and creative. Because you're more isolated, you focus on your creativity and align yourself to similar people. I think growing up down the coast has meant I've continued to be drawn to people from other isolated places," he says.



It's this togetherness that's at the heart of Swazi Gold's debut album,Jehovah's Whispers.Recorded in a single weekend in 2017 at the Cooper's family home in Ocean Grove (affectionately termed the "Cooper Ranch")Jehovah's Whisperscaptures a musical intimacy and deep friendship between the three members.



"The bond with all the tracks on the album isn't necessarily lyrical, but it's 100% sonic. The simplicity of the instruments we use and the set-up we have is what's really rad," says Jennings.

"It's a fantasy of what we imagined Jehovah might be whispering in your ear," he adds, grinning.



Drawing from their collective love of African music, American funk, and quirky, melody-driven pop music, the album explores the space between conventional genres and styles of production.

"Using drum machines has made the song-writing process a lot quicker and opened up a whole new avenue stylistically.

The first Redskins re-issue for many years, this is a 4-track celebration of their 1985 Top 40 hit, 'Bring It Down! (This Insane Thing!)'. Featuring their distinctive hybrid of rock and soul complete with their signature brass section and their unmistakeable 'call to arms' socialist sensibility.

The Vibrators were one of the original UK first-wave punk-rock groups, playing legendary shows at London's Roxy Club, and the late great BBC DJ John Peel was an early fan, recordings sessions with the group for his radio show as early as 1976. Their 1977 debut album Pure Mania is an all-time punk rock classic and one of the most immediately catchy and tough releases of its era. Featuring two great tracks off this album, the classic 1977 single "Baby Baby" b/w "Into The Future..." is reissued here on a limited edition picture disc this April.

SDH (Semiotics Department of Heteronyms) is the new project of two key figures of the synth-wave/industrial scene of Barcelona. Andrea P. Latorre and Sergi Algiz, founders of the Cønjuntø Vacíø label and also in the post-punk band Wind Atlas, unveil a new act more oriented towards pop music. SDH is change, alteration, distortion, metamorphosis. Their synth-pop songs, sprinkled with EBM and techno, are mysterious, obtuse and suggestive. The project seems to revolve around the idea of fiction. What is the language of feigned personalities What is fiction An individual is one and another, is liquid. It is physical. Incarnating someone is doing it in a corporeal way: making it flesh. Conceive: everything is real: reality does not exist. How is a fiction embodied They have already supported artists such as Marie Davidson and Merchandise and performed at the Swedish festival Kalabalik På Tyrolen, one of the reference festivals of the darkwave scene.

Als in den Neunzigern Punk durch Bands wie Green Day und The Offspring sein großes melodisches Revival
erlebte, bedeutete das auch den endgültigen Durchbruch für NOFX. Das kalifornische Trio hatte sich schon
1983 gegründet, schuf 1994 mit "Punk In Drublic" einen bis heute unvergesslichen Skatepunk-Klassiker und
avancierte spätestens mit seinem siebten Studioalbum, "So Long And Thanks For All The Shoes", zum
Punkrock-Schwergewicht. Im Gegensatz zu vielen anderen Formationen weigerten sich NOFX jedoch
resolut, Kapital aus dem wieder erwachten Interesse an Punk zu schlagen. Angebote von Majorlabels wurden
daher konsequent ausgeschlagen. Bis "Pump Up The Valuum" im Jahr 2000 auf den Markt kam, standen
NOFX bei Epitaph unter Vertrag, dann wechselten die Kalifornier zu Fat Wreck Chords, dem Label von
Bassist und Sänger Fat Mike. Zum Ausstand veröffentlichte Epitaph 2004 die Kompilation "The Greatest
Songs Ever Written (By Us)". Die Zusammenstellung enthielt Evergreens wie "Linoleum", "Reeko", "All Outta
Angst", "Bob", "Leave It Alone", "180 Degrees", "Kill All The White Man" oder "The Longest Line" in neu
gemasterten Fassungen. Epitaph bringt die Sammlung nun erstmals auf Vinyl heraus.

After two private press punk singles, an indie pop LP on Anti Fade Records, we bring you an Italo Disco inspired LP from Suburban Boy Jake 'Alien Nosejob' Robertson.
Jake spent six months bedridden with crippling psoriatic arthritis, watching the Vivien Vee 'Higher' video on YouTube, mimicking the rhythms, the melody and wishing he could mimic the dance moves.
Two songs about love and two songs about hyper-intelligent extra-terrestrial beings.
This record is a trend-punk poison.

Destroy All Monsters Began Life As An Experimental Rock Group In Early '70s Ann Arbor, The Brainchild Of University Of Michigan Art School Weirdos Mike Kelley, Jim Shaw, And Niagara (lynn Rovner), And Filmmaker Cary Loren. Following Many Incarnations, Lineup Changes, And The Breakup Of Niagara And Loren's Romantic Relationship, The Group Solidified In The Late '70s Around Niagara On Vocals, And Detroit Legends Michael Davis Of The Mc5 On Bass, And The Stooges' Ron Asheton On Guitar. Though They Never Released A Proper Album, The Group's Singles Are Certified Punk Classics And The Band Has Since Achieved Massive Cult Status, Counting Sonic Youth Among Their Legion Of Fans. Radiation Reissues Is Pleased To Present Their First Three Singles In Limited Editions Of 500 Copies Each On Colour Vinyl.

Destroy All Monsters Began Life As An Experimental Rock Group In Early '70s Ann Arbor, The Brainchild Of University Of Michigan Art School Weirdos Mike Kelley, Jim Shaw, And Niagara (lynn Rovner), And Filmmaker Cary Loren. Following Many Incarnations, Lineup Changes, And The Breakup Of Niagara And Loren's Romantic Relationship, The Group Solidified In The Late '70s Around Niagara On Vocals, And Detroit Legends Michael Davis Of The Mc5 On Bass, And The Stooges' Ron Asheton On Guitar. Though They Never Released A Proper Album, The Group's Singles Are Certified Punk Classics And The Band Has Since Achieved Massive Cult Status, Counting Sonic Youth Among Their Legion Of Fans. Radiation Reissues Is Pleased To Present Their First Three Singles In Limited Editions Of 500 Copies Each On Colour Vinyl.

Destroy All Monsters began life as an experimental rock group in early '70s Ann Arbor, the brainchild of University Of Michigan art school weirdos Mike Kelley, Jim Shaw, and Niagara (Lynn Rovner), and filmmaker Cary Loren. Following many incarnations, lineup changes, and the breakup of Niagara and Loren's romantic relationship, the group solidified in the late '70s around Niagara on vocals, and Detroit legends Michael Davis of The MC5 on bass, and The Stooges' Ron Asheton on guitar. Though they never released a proper album, the group's singles are certified punk classics and the band has since achieved massive cult status, counting Sonic Youth among their legion of fans. Radiation Reissues is pleased to present their first three singles in limited editions of 500 copies each on colour vinyl.

'With Ela's music I feel emotional, engaged... I can't help but feel she's always looking for a sense of belonging and it
seems to inform all the music that she makes. Glasgow must have more of that belonging feeling than most
cities because she's spent the most time here, an exotic bird in a rainy city she maybe finds a lttle bit of comfort in. It's
a pleasure to have her here, in this awful time to be living in Britain, her illuminations feel important and hopeful. A
stubborn light; someone making great timeless music out of the humdrum of the everyday.' - Stephen Pastel
Movies For Ears is a retrospective collection of works by Polish-born, Glasgow-based artist Ela Orleans which
navigates almost two decades of songwriting in the heart of the global pop underground. This remastered collection casts
an ear over what Orleans might call the 'pop sensibility' within her back catalogue. Released previously on a number of
small DIY labels, Orleans' music coincided with the explosion of auto-didactic musicians finding their voice in the age of
the blogosphere, artists emboldened by the democratisation of music-making afforded by the internet. From the outset,
Orleans' childhood studying formal music mixed with cut-up techniques, sampling, sound-art and experimentation to
create a distinctive signature cloaked in an innate melancholy and playfulness. Fully remastered by James Plotkin,
featuring extensive sleeve-notes and rare photos from Orleans' archive, Movies For Ears presents an appraisal of the
musician's work, painting a portrait of an artist with an uncanny ability to evoke emotions and ghosts of memories in the
listener.
Each song pulls sunshine from its surroundings, moments of pleasure plucked from eulogies. The Season employs a
hypnotic loop with Orleans's prophetic voice heralding the season we're doomed to repeat. In fact the singer is often cast
as the changing protagonist in her songs: on Walkingman, a hazy ballad heavy with ennui, the narrator is laden with the
world's weight, forever pacing a groundhog day world blank, a pissed-off actor in a Kafka-esque melodrama. On Light At
Dawn we're in a seedy kitsch bar-room go-go scene, a ghostly rock'roll romance with shimmering percussion, poledancing
in a Lynchian half-dream. Movies For Ears' moods straddle memory and fantasy: scratchily invoking halfremembered
exotica, the flickering shadows of europhile cinemas screens, a delicately woven world anchored in Orleans
existential meditations on longing, intimacy, solitude and the search for love. These rich textures in every song don't
overpower some crystalised moments of emotion however: on In Spring Orleans sings simply 'I have been happy two
weeks together,' summarizing that feeling of elation when emerging from a depression, a long winter. It's a moment that
perfectly illustrates the lightness of touch and clarity in the singer's voice.
The power of the loop and Orleans' weaving songwriting that breaks its spell is illustrated perfectly by I Know. Over an
aching chord progression, the vocal takes flight into bittersweet loneliness, Pachelbel's Canon played at a wedding where
only one person shows up. The repeated refrain 'I know, I know' ascends to the heavens as the chords descend to the
dumps and the listener is left in the middle, happy but not knowing why, maybe a little changed, two weeks together. On
Movies For Ears, Ela Orleans lets us into a secret: the rare moments of joy to be found in the joins of the loop, the spaces
between things, the spring after the winter are the moments that last after the day has faded.

Next in UT's reissue and remastered back catalogue series, their first studio album "Conviction", originally released in 1986.
The 2019 remastered reissue of CONVICTION will include song lyrics, photos of the band and an introduction by Stewart Lee. The CD will add Ut's previously unreleased 7' single 'Ampheta Speak / While I Wait', recorded for Charles Ball's Lust/Unlust label in 1980. A CD booklet will feature the poster for the original 7' release and some of the cover artwork.
First 500 LP will come with Stewart Lee introduction as a printed insert.

Radical rock group UT was founded by Nina Canal, Jacqui Ham and Sally Young in 1978. Originated in the downtown NYC No Wave scene and inheritors of the collision between rock, free jazz and the avant-garde, Ut exploded the rigidity of conventional rock, constructing songs through collective improvisation, swapping instruments and rotating the role of singer/director.
Migrating to London in 1981, Ut played with bands like The Fall and The Birthday Party and released music on its own label Out Records, including Live at The Venue in 1982, the Ut EP in 1984, the Confidential 12' in 1985 and the LP Conviction in 1986. Ut became a favourite of BBC's John Peel and recorded sessions for his show in '84, '85 and '87. Joining forces with Blast First in 1987, they released the live compilation album Early Live Life and then the highly critically acclaimed In Gut's House in 1988, which made the year's NME 'Top 50 Albums'. The album Griller followed in 1989, engineered by label mate Steve Albini, who shared Ut's raw aesthetic and captured the band's vibrant intensity.Ut disbanded in 1990, but began performing again in 2010. Ut are now reissuing their entire remastered catalogue on Out Records through Forte Distribution. The reissues have so far included the Ut and Confidential 12' EPs in November 2017, Ut Live at The Venue in April 2018 and Early Live Life in November 2018. Other upcoming reissues will include their studio albums In Gut's House and Griller.

LTM presents a limited edition (x500) clear vinyl edition of Sorry For Laughing, the legendary first album by cult Scottish guitar group Josef K, recorded for Postcard Records but destined to become the great 'lost album' of the post-punk era.
This remastered edition of Sorry For Laughing replicates the original Robert Sharp artwork (a solarised portrait of the band atop Calton Hill, printed in silver pantone), with detailed sleeve notes on the inner bag, and the added bonus of a 12 track CD, The TV Art Demos, featuring all tracks from the band's very first recording sessions in 1979.
Recorded at Castle Sound Studios (Edinburgh) in November 1980, Sorry For Laughing should have been issued as Postcard 81-1, but was shelved after the band and label boss Alan Horne decided the 12-song set sounded too polished. Perhaps two dozen white-label copies in unmade sleeves exist, and have sold for as much as £1,000 amongst collectors. Josef K issued their second stab at a debut album, The Only Fun In Town, in July 1981 - only to split after completing a promotional tour.
This remastered edition of Sorry For Laughing replicates the original Robert Sharp artwork (a solarised portrait of the band atop Calton Hill, printed in silver pantone), with detailed sleeve notes on the inner bag, and the added bonus of a 12 track CD, The TV Art Demos, featuring all tracks from the band's very first recording sessions in 1979.
'They were The Sound of Young Scotland, together with Orange Juice, whose guitars were also radiant and brittle, whose rhythms were also scrubbed and blunt, whose vocals were also proud and serious, but who sounded like another group entirely' (Paul Morley); 'In retrospect, their aborted attempt at a debut album feels much superior to what was finally released. The early versions of the songs sound superbly coiled and keen, the sublime poise of Endless Soul their truly timeless blaze of glory' (Simon Reynolds)

This is THE single. 1979. Detroit, Michigan. A-Moms, a.k.a. Algebra Mothers, were one of the Midwest's early cutting-edge new wave punk groups, who would go on to play shows with like-minded artists Pere Ubu and Destroy All Monsters. And this is their only release ever, that is, up until Third Man released a compilation of unreleased and live material last summer. Now you have the chance to own a reissue of the single that sparked it all.
'Strawberry Cheesecake' is absolutely frantic and infinitely catchy, popping right off of the platter into your ears. Lightning bolt melodic synth punches, desperately human but then briefly robotic vocals and no shortage of freewheeling guitar solos make no secret why this track so beloved. On the flip side, 'Modern Noise" is an alien punk keyboard-cram blaster with a decimating, canonical guitar freakout feedback ending that successfully melts minds.

Peripheral Minimal is proud to present, collated for the first time, all three of Naked Lunch's 7" singles, repackaged into a stunning 12" E.P., with printed inner sleeve.

Naked Lunch are an English band formed in 1979, by Tony Mayo. Later joined by, Mick Clarke. In preparation to play live further members were advertised for and Tim Yorke, Paul Nicholas Davies and Cliff Chapman joined and then, in 1981, by Mark Irving who replaced Tim.

The band was one of the first fully synth based groups, and as such were featured on the Some Bizzare Album alongside, Depeche Mode, Soft Cell, Blancmange and The The.

A brief history of the band includes the fact that as early as 1979 they performed in a show alongside the likes of Deutsch Amerikanische Freundschaft, Cabaret Voltaire, Fad Gadget, B-Movie and Clock DVA, organised by the band and Stevo Pearce (Some Bizzare Records). The band undertook the Naked Lunch's 'Electronic Indoctrination Tour' in 1980 which included a show at Leeds Futurama Festival. Naked Lunch then set about helping Pearce find artists and recordings to make up the Some Bizzare Album to which the band itself contributed "La Femme" (a song originally called "Le Femme" but Phonogram who released the album was licensed to change it to the grammatically correct French, missing the point of the androgyny of the electronic music scene and that the song was about that).

After a parting with Pearce, Naked Lunch became managed by Ramkup with the now 'infamous' single, "Rabies" being released, though it suffered from a ban on daytime radio play due to the title, it received good airplay and support from the likes of John Peel and Nicky Horne on their nighttime shows. Line-up changes continued before the band split in 1981 with Mayo retaining the name Naked Lunch. A second version of the band emerged as a live act until 1985. Naked Lunch were then resurrected in 2010 and continue to this day!

TRACKS A1 + A2 Taken from the 7" 'Rabies / Slipping Again'. Originally released on Ramkup Records 1981 CAC003.

TRACKS A3 + B1 Taken from the 7" 'You Tie Me Down / Laugh Your Mind Away'. Originally released on Pleazure Records Ltd. 1984 PLZS341.

TRACKS B2 + B3 Taken from the 7" 'Make Believe / Breathe'. Originally released on Pleazure Records Ltd. 1984 PLZS843.

Die Punkrocker von TURBOBIER beehren uns mit einem neuen Werk. Das Album wird den Titel "King of simmering" tragen und auch Fans von WIZO, STAATSPUNKROTT oder TERRORGRUPPE begeistern.

Wow here it is..... The eagerly awaited next instalment of this highly collectable and cult series. We pride ourselves as the Pebbles series of the Punk Rock scene... In this latest volume we have done something a little different as we have compiled rare tracks from ENGLAND and SCOTLAND.

So let the battle commence.... Opening up side 1 we have THREE UNRELEASED tracks from London's Small Wonder Punk trio THE ZEROS. This was supposed to be the bands follow up to 'Hungry / Radio Fun' but for reasons unknown it was shelved and stayed unreleased until NOW! When our off-shoot 'Only Fit For The Bin' label released 'Lost Boys' last year, it should of had all the bands recorded output as these tracks were thought to have been lost forever but as fate would have it, the tapes were found AND BELIEVE ME, these THREE tracks are absolute PUNK ROCK killers and blow away their debut single! The next three tracks are by one of St. Albans earliest punk bands, TANYA HYDE & THE TORMENTORS. Forming in 1977 they played all the punk haunts except for the Roxy. Their style was unique and was fronted by Tanya Hyde (she went on to release a solo single in 1979 but this wasn't Punk). These tracks featured here have NEVER been released before and came from the bands original demo tape that they recorded back in '77. Side 2 ends with Luton's underdogs ACME ATTRACTIONS who released one great single back in 1980. Here you have the A-Side from that single and a totally unreleased track by them ... TURN IT UP!

Now for the Scottish side, first up is a totally unknown band from Edinburgh called BAD WEEKS. Formed in 1979, this band delivers some great in-yer-face PUNK ROCK. I bet you a few hours later you'll be still humming these tracks! Moving on we have RED LETTERS, yet another obscure band hailing from Newton Grange in Midlothian. This band released a very rare single back in 1979 that featured three great tracks. On this volume you are treated to the first track from that release and a TOTALLY UNRELEASED track from that same session. Just try tracking down an original copy of that single! The next two tracks are by one of Scotland's longest running Punk outfits, yes, we bring you FIRE EXIT. These tracks featured here have NEVER been heard before as they were the bands very earliest recordings and were NEVER released until now! They even pre date the band's debut single! Gerry hasn't heard these tracks since the day he recorded them as they were on an old reel to reel that he unearthed last year. Side 2 closes with SEDITION 81 who hailed from Glasgow and has gone down in Scottish punk folklore as they released a VERY VERY limited single in 1981 and is one of the hardest singles to find. They rarely come up for sale on the market. So here it is, both sides in all its glory! Teen Punk Rock!

Once again it comes with its usual A5 16 PAGE BOOKLET that is crammed full with all the liner notes from the band's themselves and features rare and unseen photos.

The Malmö, Sweden based quartet Arre! Arre! is back with their first piece of new music since the
acclaimed debut LP A.T.T.A.C.K was released in 2015, become one of the year's most praised rock records in Scandinavia, being nominated for rock album of the year at the Swedish Grammys, and only made available outside of Scandinavia in November last year, to coincide with the band's debut UK shows.
Tell Me All About Them is due for release on March 15 via PNKSLM Recordings (ShitKid, Les Big Byrd, Miss World etc) in connection to the band making their US debut during SXSW. Showcasing the band's unique brand of feminist rock 'n' roll, with influences from surf, garage rock and punk, it's a definite statement of intent from the Swedish band. The album was recorded during the fall of 2018 in their hometown of Malmö with producer Joakim Lindberg (YAST, Hater, Echo Ladies etc).

40 years after disbanding comes 'Fond Reflections', the
debut album that never was from cult 4AD band Rema
Rema.
Rema-Rema featured former members of The Models
and Siouxsie and The Banshees and their much-loved
'Wheel In The Roses' EP (1980) was among the first
records to be released on 4AD. Their only contribution
to the label's storied history, they split-up before its
release, going on to form or join bands as diverse as
Renegade Soundwave, The Wolfgang Press, Mass and
Adam and the Ants.
The debut album that never was, 'Fond Reflections'
comes almost forty years after their debut EP and has
been culled from the band's rich archive of reel-to-reel
and cassette recordings, with member Gary Asquith and
mixing engineer Takatsuna Mukai painstakingly working
on them to make the album as cohesive as possible.
The ten tracks pretty much reflect the band's live set
and is the closest to what their debut album could have
sounded like. Worth noting too that although all their
1980 EP tracks are present on the album, they are all
from different recordings.
The 2CD edition comes with a second disc entitled
'Extended Wheel In The Roses'. As its title suggests, it's
the four EP tracks as they were plus 'Entry' (taken from
the same studio session as the EP's A-side of 'Feedback
Song' and 'Rema- Rema') and 'No Applause' and
'Murdermuzic', two more tracks recorded at the same
1979 Albany Empire, London show as the EP's B-side,
'Instrumental' and 'Fond Affections'.

Blaue Vinyl-Pressung in limitierter Auflage des Debütalbums von 1985
der politisch aufgeladenen Punk-Rocker Social Unrest. SU-2000 - Ein
wegweisendes Album der Bay Area Hardcore-Punkszene! Das Vinyl wird
mit einer bedruckten Hülle geliefert, die alle Liedtexte enthält.

ADULT. '20 years ODD.'
Over the course of the last two decades, Detroit-based duo ADULT. (Nicola Kuperus and Adam Lee Miller) have released six albums and nineteen EPs and singles across some of our favorite labels: Mute, Ghostly International, Thrill Jockey, Clone Records, Third Man Records, and their own label, the revered Ersatz Audio. November 1998 marked their first release: the five-song 12" 'Dispassionate Furniture'. This September, twenty years later, Dais Records is proud to announce ADULT.'s seventh full length album: THIS BEHAVIOR.
The album began as 23 demos written and recorded in a remote cabin in the woods of Northern Michigan during the dead of winter. In total isolation, and with a reduced amount of gear (a modified version of their live setup) on the cabin's kitchen table, the duo were completely immersed in an incessant inescapable studio of their own making - looping, repetitive analogue sequences grinding away day and night. At the end of the intense demo session, a handful of peers were enlisted by the band for the difficult task of paring down the demos into the final album.

The result is 10 tracks of uncompromising dark electronics, showcasing ADULT.'s return to aggressive and energetic dancefloor mastery. Album opener 'This Behavior' alongside the follow-up 'Violent Shakes' (which ascends into synths wailing like warning sirens over Kuperus's commanding vocals) set the stage for an on-edge listen, while the heartbreaking 'Silent Exchange' unfolds as a beautiful sad synth dirge.  'Perversions of Humankind' breaks the mood - driving the listener into a slow and low groove before the frantic album midpoint of 'Irregular Pleasure'. 'Does The Body Know' is the album's post-punk anthem, with irresistible singalong 'we're out of order - we're undefined!' The latter half of the album drives forward with 'On The Edge (You Put Me...)' and 'Lick Out The Content', refusing rest and demanding movement and response. 'Everything & Nothing' emerges slowly from sparkling synth textures, snowballing with nervous energy into an acid techno stomper before the album comes to a close on the icy landscape of 'In All The Debris', a goose-bump inducing slow electronic mantra that closes the curtain on a massive album.

Artist statement on the album's writing process:
'It's confounding how often we negate the importance of disconnecting, getting weird, getting lost. Discomfort and joy intertwined. Day to day, theatrical self-presentation set to rest in our frantic social world. Public becomes private, almost too private. Looking out into frozen woods as you deliver your vocals. For who For what Taking walks along icy shorelines as you try to overcome writer's block, as you try to overcome yourself. Not seeing anyone for days and weeks on end. Overwhelming thoughts and feelings come rushing in; anxiety, fear, purpose, banality, futility of task, power structures, power struggles, pointlessness, collapse.You're faced to face yourself. Your awareness is heightened. You are neither here nor there. You are in a liminal state As you work in this isolated cabin your windows become mirrors.'

"Are we distortions. Are we distortions, perversions of humankind.Are we distortions. Are we distortions, twisted somewhere in time."

Recorded on
10th March 1980 (Tracks 1, 3, 8, 9, 10)
16th March 1980 (Tracks 1, 2)
1st April 1980 (Tracks 2, 4, 5, 7, 9)

Produced: B.C. Gilbert : G. Lewis

Engineer: Eric Radcliffe.
Asst. Engineer: John Fryer
Recorded at Blackwing Studio

B.C. Gilbert: Voices, Guitars, Bass, Percussion, Tapes, Drums
G. Lewis: Voices, Guitars, Bass, Percussion, Tapes, Synthesiser
A.M.C.: Voice: Cruel When Complete

Floating-point re-master by Russell Haswell, August 2011
Cut at Dubplates & Mastering by Rashad Becker, August 2011

New artwork and layout: Dave Coppenhall

With the demise of the group Wire in 1980, founder members Bruce Gilbert and Graham Lewis joined forces to create Dome. With the assistance of engineer Eric Radcliffe and his Blackwing Studio Dome took the ethic of "using the studio as a compositional tool" and recorded and released three Dome albums on their own label in the space of 12 months: DOME (July 1980), DOME 2 (October 1980) and DOME 3 (October 1981). A final fourth album, WILL YOU SPEAK THIS WORD: DOME IV was released on the Norwegian Uniton label in May 1983.

These albums represent some of the most beautifuly stark and above all timeless exercises in studio experimentation from early 1980s alternative music scene.

Previously issued in the out of print DOME 1-4+5 box set in 2011. Now available as standalone LP with download card.

Japanese producer The Future Eve - known for his minimalist, synthesised pieces under the moniker Tomo Akikawabaya such as The Castle (1984), reissued alongside other works on New York's Minimal Wave Records as The Invitation of The Dead in 2015 - has announced a landmark collaboration spanning continents and planes of existence. Going under the new name of The Future Eve, he has worked together with the legendary Robert Wyatt to create an electronic journey of sound.

'02.03' is a prototype of 'Tom Hay's Fox' on Robert Wyatt's 2003 album Cuckooland.
the album mastered by Taylor Dupree (12K).
the limited double vinyl edition has printed artwork on insert and innersleeve,
outer sleeve with gloss UV varnish include download code.
also including '02.02' for vinyl only track.

As a young person I frequently heard tales that high-end stereo shops used Pink Floyd's 'Dark Side Of The Moon' as a demonstration disc, in order to fully document the prowess of their impossibly-expensive wares.

I rarely frequented any of these establishments but always took these stories on faith. I'm no audio guru, but it seems to me that someone attempting to do the same thing in 2019 could do a whole lot worse than adopting USA/Mexico's long-awaited 2nd album, 'Matamoros' for similar purposes. The trio's first album 2017's 'Laredo' might've been a worthy candidate for a test-spin in the Bang & Olufsen showroom, but the successor is the sort of record that really makes if you're the sort of person who can appreciate the BACKES MÜLLER BM 100 loudspeaker (list price $500,000.00 USD)

Once you're comfortably settled in, you'll find that the all-star team of guitarist Craig Clouse (Shit & Shine) drummer King Coffey (Butthole Surfers) and Nate Cross (Marriage, When Dinosaurs Ruled The Earth) have done everything possible to help you expand your sonic palette — some might say they've even done too much! Either way, these guys are as unselfish as they are loud. Or perhaps they're as selfish as they're quiet — i do hope you'll agree their motives are less important than the results, and in this instance, those results are nothing less than a staggering sensory overload.

George Dishner (Spray Paint) and Kevin Whitley (Cherubs — on a rendition of his band's 'Shoofly', as previously heard on 1992's 'Icing') make cameos. The entire affair was engineered by budding genius Ian Runndell (he of every other great record recorded in Austin) and is available via the 12XU and Riot Season record labels in North American and UK/Europe respectively.


Expert commentary on USA/Mexico's now sold out debut album 'Laredo' (2017)

'One is bludgeoned into the proverbial submission via the Coffey-Cross doomsday rhythm machine; imagine an early Hawkwind album, stripped of its high-end sonics and the low end ones being slowed to 16rpm, plus Clouse's Cookie Monster vocals with all the cookies' sweeteners removed and replaced by arsenic prior to baking.' Fred Mills, Blurt

'A colossal masterpiece...oscillates between a deliberately mesmerizing headbang and a noise drenched mind-fuck.' Maximum Rock N Roll

'Gloriously molten sludge-punk; it's heavy as hell, just the right amount of dumb, and injects its own personality in each tune...have faith in our youth to surpass the sonic brutality of my musical generation, but I'm wondering if anyone alive today can surpass the elder statesmen of USA/Mexico.' Matt Korvette, Yellow Green Red

'A heavy swamp of growling voices, lumbering beats, and ear-rupturing guitars. If you dig deep enough into sonic muck, you can hear echoes of their previous projects, but it's better to just let yourself drown.' Marc Masters, Pitchfork

Mit - They`ve Given Me Schrott! - Die Outtakes' erscheint nun zusätzlich eine Edition als 3er CD und
5er LP mit den bisher nur in der Seitenhirsch-Box veröffentlichten Outtakes. Vom allerersten
Cassettenrecorder-Demo - Der lustige Astronaut' (1978), über bislang nur auf Vinyl erhältliche Songs
aus der Frühphase der Band, mit - Helgoland' die Demo Ur-Fassung von - Westerland', sowie zig
weitere seltene und kuriose Demos, Radiotracks und Gimmicks, und das oft erwähnte und nie
veröffentliche englische Album.
Anmerkung: Bitte erwarten Sie hier keine durchgängig hochwertige Audioqualität: Diese Raritäten sind
zum Teil Kellerfunde auf Basis von alten Audiocassetten oder Vinylplatten, die aufwendig restauriert
und neu gemastert wurden. Allerdings kann man aus einem Toaster kein Rennrad machen.





















































[ZZA] I5 | Smash the System, fuck the Police
[ZZB] I6 | Nie wieder Krieg, nie mehr Las Vegas! 
[ZZC] I7 | Eine Botschaft von Die Ärzte 
[ZZD] J1 | I laugh if you die 
[ZZE] J2 | Herrliche Jahre (Das Leben ist `ne Party) 
[ZZF] J3 | Yoko Ono 
[ZZG] J4 | Techno ist die Hölle, mein Sohn 
[ZZH] J5 | Worum es geht

The Exploited were one of the most popular bands in UK Punk's immediate second-generation. A winning and indestructible formula of raw electric fury and speed and anarchist-oriented lyrics, all under the iconic mohawk and through the raucous voice of singer and band leader Wattie. First released in 1984, Totally Exploited is an amazing singles collection including all great material from the band's golden period. An incredible amount of raw and classic tunes such as "Punk's not Dead", "Barmy Army", and "Dogs of War". An essential piece of vinyl for any Punk aficionado on the planet!

One of the undisputed European Punk classics, Hubble Bubble's 1977 debut LP is back on vinyl again for the joy of all true KBD punk rock conosseurs. A true legend for the few, featuring a very young Plastic Bertrand on drums Hubble Bubble formed in 1973 and released their first album on Barclay. This long awaited 'Belgian Waffles' label reissue also comes with repros of two promotional posters from those days. Punk rock!

Reissue for a legendary Belgian punk release, originally from 1981 on the Color label. Featured on the Bloodstains Across Belgium vol 2 compilation and widely acclaimed by all 'killed by death' punk rock maniacs around the world, the Pinchers sole release gets the reissue treatment from the Belgian Waffles label. 2 tracks of snotty and primitive rock and roll. Originals go way above 500 bucks on line (and they don't show up much). Limited to 500! Hurry Up.

Strut Present An Exclusive New Compilation Curated By Optimo's Jd Twitch, 'kreaturen Der Nacht', Bringing Together Classics, Rarities And Oddities From Germany's Original Post-punk And Diy Scene. 1979 To 1984 Was An Era Of Particular Artistic Upheaval In Germany As Strong Subculture Scenes Formed In Many German Cities. Emphasis Was Placed On Expression Rather Than Technical Perfection, Artistic Impact Rather Than Skill. Diy Self-organisation Prevailed With The Establishment Of Small Record Labels And Independently Produced Records And Cassettes. Bands Experimented Across Genres And Consciously Abandoned The English-speaking Mainstream With German Band Names And Lyrics. 'although We Had A Small Underground
Scene, It Was Very Vibrant,' Explains Gudrun Gut Of Malaria! 'bands Like Die Haut, My Frst Band Mania D., Malaria!... We Organised Gigs Ourselves Or Friends Would Open A Gallery And
Have Bands Playing. We Hung Around Together In A Handful Of Clubs Like Risiko Or Dschungel And Went To Gigs At So36. West Germany Had Other Regional Scenes Too: Düsseldorf And
Köln Around Der Plan And The Ata Tak Label And There Was The Hamburg Side With Abwärts. Germany Didn't Have A Real Music Industry Like The Us Or England Back Then.'
This New Collection Is A Personal Selection From Jd Twitch, Built Over Years Of Playing The Tracks In Club Sets. 'it Is Not Designed To Tell A Defnitive Story Of What Was Going On In
Germany In This Era,' He Explains. 'rather, It Is Simply An Arbitrary Collection Of Records I Adore From A Specifc Era With A Specifc Attitude That Hopefully Together Sum Up Some
Of The Musical Undercurrents In Germany At That Time.'
The Package Features A Host Of Rare And Unseen Photos From The Period Along With Extensive Interviews With Artists Including Beate Bartel (mania D.), Christoph Dreher (die Haut),
Michael Hirsch (p1/e) And Thomas Voburka (weltklang). All Tracks Are Remastered By The Carvery With Artwork By Optimo's In-house Design Man Andrew Beltran.

The whole 'five band years = a lifetime' biz trope is justified by the second album from Sydney's Low Life. Arriving with an aura of anticipation, 'Downer Edn' (read: Edition) feels like a collective document of the band's timeline since their unforgettable debut 'Dogging'; an album which made enough of a mark on the punk landscape in 2014 to justify a reissue on London's Alter in 2017.
Recorded over two years and mixed in 2018 by Mikey Young (Total Control / Eddy Current Suppression Ring), 'Downer Edn' sees the core trio of Mitch Tolman, Cristian O'Sullivan and Greg Alfaro expand their ranks to a five piece. Dizzy Daldal and Yuta Matsumura of Oily Boys & Orion were brought in to reinforce the thick wall of guitars, freeing Tolman up as a dedicated front man for live duties. The hours of studio work have resulted in the band sounding more confident and fully realised, reaching and finding a sound that was perhaps unattainable 5 years prior. However, lurking behind the bigger vision and polished production, 'Downer Edn' is a complex proposition and remains a dark blast of an album. Expansive and cohesive, yet shimmering and rough; something they can be proud to call a definitive statement.

As far as Australian punk is concerned, Downer Edition not only shatters the boundaries applied by that descriptor, it does so with the lushest attack conceivable. Like their (admitted) influence, the enigmatic Ohio legends of obscurity, V3, seldom has the f*** word been sung (repeatedly) in such a believable and poetic manner. The visceral pounding of melodies throughout the album transforms their inspirations; desperation, neuroses, trauma, survival, hooliganism, violence, hope, rejuvenation, and their hometown of Sydney's full architectural and social scope - from a realm of intangibility to the very, very tangible. In the words of Mitch, "We're influenced by Sydney as a whole, whether it be the hot and muggy concrete streets of the West and South West, the "glorious beaches" of South Sydney, the racial tensions left over from the putrid Cronulla riots of 2006, the pompous and superficial fake tan/ bleached teeth combo suburbs of Bondi, as well as Sydney's iconography: The Harbour, the Bridge, the Opera House, Kings Cross. All the desperation embedded in and around these areas, including the eternal influx of troubled people looking to get into trouble, is our experience and main influence."

Unified on 'RBB,' ruminating on '92', chasing the escape on 'Rave Slave,' and unwillingly defiant on 'Warrior,' Downer Edition reaches past the wild ride of Dogging - this truly is the album that Low Life have been threatening to make for nearly a decade.

Released in conjunction with Goner Records in the USA and Cool Death in Australia.

DEAFKIDS is one of the most exciting bands I have heard in a very long time. They are a unique psychoactive journey of Brazilian polyrhythmic percussion, hypnotic chanting, and aggressive repetitive raw punk all echoing out from another dimension.  Having had the blessed opportunity to play several shows with them in Europe and Brazil I can say that without a doubt, they are something new and mind blowing created from something old and primal.  Their youthful energy is contagious and their wisdom and deep knowledge of sound is beyond their years. Although raging and distorted, these sounds are medicinal, like some sort of sonic Ayahuasca. You have to surrender to it to find out where it is leading you.  We are so lucky and proud to be able to work together with them and release their insane sounds in our corner of the universe. They are beautiful people making beautiful noise. - Steve Von Till, September 2018

DEAFKIDS is back with a new album born of experience - 'Metaprogramação' is their third full length, but first full length to be released with Neurot Recordings. 

Vinyl Packaging: 24' x 36' LP poster jacket, all art B&W, multi colored vinyl (black inside milky white), marketing sticker on poly bag and download card

While their previous release, 'Configuração do Lamento', captured the group as they delved deep into their own musical world of diverse and discordant characteristics 'Metaprogramação' takes this blend to entirely new extremes. In a narrative where songs melt and dissolve into one another, electronic pulses blend into the power of rhythmic and percussive fabrics frantically woven to imprint this 'future-primitive psychic scenario' into the songs. Difficult to describe or pigeonhole - yet, all the elements which characterize the band's punk and aggressive aesthetic are present (even if in unpredictable and surprising ways) - barrages of delay and noise, wailing guitars, dancing frenzied rhythms - all culminating in a wild psychedelic journey that's bound to reach one's mind through the body while inebriating both.
"Deceived by perceiving our so-called individuality as a form of freedom, we are programmed to live and continue living as a fragmented and binary model of nature. Experimental numbers in a worldwide political power-game where human lives and it's complexities, connections, necessities and environments are lowered in terms manipulated by algorithms, mind control and brutal force upon our conditions, our rights and our true will. Shaping, overwhelming and fragmenting our tunnels of perception to the point where the excess of information becomes diffuse and the whole contained within each being is more and more dispersed, confused and disconnected, reflecting an insane image of one's identification with an artificial reality - where in some bizarre way, all these schizofrenic, corrupted and truculent theaters of domination and submission that appears all over human relations seems to make some sense - and of non-identification with what would be our inner reality, the telepathic level behind the veils where boundaries and divisions between us and the plane of consciousness, between you and the other don't really exist. A level of reality where we might have the power to start learning how to reprogram ourselves by our own tools, being able to visit our internal hall of mirrors beyond space and time and deal with the negative roots of our condensed emotions and traumas trough a new perspective of relation and control with our thoughts, paths and everything we're connected with. We must unite as one and resist against the violent symbols of opression, including what's imprinted on our own self, that must be daily sacrificed. Do not allow yourself to be programmed."

Metaprogramação offers a vertiginous, sensory insight on these inner conflicts and aspects of the animal being.

Lost 80s presents 30 tracks compiled by Gary Crowley across three 'themed' LPs, from 'Jingly
Jangly' indie-pop 7's to the edge of the New Romantic, and Dance grooves. Many of these tracks
are rare and very hard to find having not appeared on CDs or LPs since the original 80s releases.
The better known artists that do appear here are represented by some of their lesser-known
('lost') tracks.
'The 80s (and especially the first part) was an amazing time for music. It was a mad, fast,
kaleidoscopic rollercoaster ride where the chancers taking your money not only walked the walk;
they backed it up with innovative, amazing tunes that changed the way music was made forever.
That's certainly how I remember it...' Gary Crowley
Presented across 3 x Heavyweight 180g pieces of coloured vinyl, and including an introduction
and track by track notes by Gary Crowley, plus memories of the era from Nick Heyward (Haircut
100), Sarah Dallin (Bananarama), Gary Kemp (Spandau Ballet) Annabella Lwin (Bow Wow Wow),
Clare Grogan (Altered Images) and more.
'So here, spread over these three LPs, I've collected together the best (in my personal opinion)
of the guitar bands, the dance acts and the synth groups that made up the soundtrack of that
gloriously thrilling decade for me and my friends. Let me just state for the record, you'll find no
Michael Jackson, Madonna, Prince, Duran Duran, Dire Straits or the like appearing on these
discs...'


























[Z] E4. Whodini - Magic's Wand [Special Extended Mix]



[ZD] F4. The Staple Singers - Slippery People [Club Version]

Xiu Xiu's new album called "Girl with Basket of Fruit" is coming out via Altin Village & Mine in Europe. "Girl with Basket of Fruit" is imbued with the agitation, tension, sorrow and anger that has permeated the daily lives of so many over the last few years. It was produced by Xiu Xiu's Angela Seo and Greg Saunier of Deerhoof. Xiu Xiu is Thor Harris, Jordan Geiger, Angela Seo, and Jamie »Butch Jenny« Stewart.

It could be handfuls of reds It could be turning Caravaggio's Boy with Basket of Fruit to face the wall It could be a commission by the Guggenheim entitled Deforms the Unborn It could be the demon Vetis, whose friends call Him The Life Promiser It could be that in 1918 a pregnant Mary Turner was hung upside down from a tree by a lynch mob while they cut out her fetus & that this could happen today, as it did then, without consequences for whitey It could be handfuls of natural pearls It could be collaborations with master Haitian drummers It could be doing the wrong thing together forever It could be long lists of how The Devil's acts towards children before, during & after their possession It could be short lists of produce, insects & imagined blues musicians It could be handfuls of an insane 9 year old's feces smushed on the lunch table It could be a psychedelic Chicago house song about a pig & about your parents It could be your dad's new husband gave you his boyhood viola It could be a collaboration with master Yoruba drummers It could be handfuls of cactus spines & a poison dart It could be your sister has cancer & they keep chopping parts of her body off It could be a conscripted arco bass piece that was a dedication to Turkish feminists It could be Jack Smith has a film called Normal Love It could be scisssssssors, air conditioner tubes, glasses of ice & seashells It could be handfuls of hot pink Make Noise 1/8th inch audio cables It could be that Nature is making it clear to us that we deserve it and that we are making it clear to Her that we are ready, ready to go It could be a short novel called The Rhythm Section Talked about Drugs, The Horn Players Talked about Ass & The Strings Talked about Money It could be improvised vocals by Elliot Reed & orchestrated vocals by Eugene Robinson It could be that European religious paintings of male martyrs depict them surrounded by chubby, adoring angels, everyone's tearful mothers & converted sex workers dutifully sponging out their holy & shallow wounds It could be that European religious paintings of female martyrs depict them with their nipples being torn off, throats branded & their naked torsos flayed while they are totally alone aside from the men torturing them It could be handfuls of Diamanda Galás & Roy Orbison action figures It could be that despite the confusion of this life, people who can still truthfully call themselves human try to push through 2019's collecting horror It could be slowed down & fuzzed out field recordings of disappearing frogs It could be flat purple & black or glossy black & purple It could be mescal in a bottle & baby on a boob, hair dyed blonde for nobody, nobody move It could be handfuls of that you just have to stop being a wuss & deal with it It could be...

Recorded by Butch Jenny Stewart at Nurse Additional recording by Tara Jane O'Neil Mixed by John Congleton at Elmwood West Mastered by Lawrence English at Negative Space Produced by Angela Seo and Greg Saunier

As with most DE we will have stock early and will ship as soon as it arrives. SECOND LAYER was a side project of ADRIAN BORLAND and GRAHAM BAILEY, members of post punk band THE SOUND. The project was born from early punk band THE OUTSIDERS, which had both Graham and Adrian as members. Second Layer featured the voice and guitars of Adrian mixed with the bass and pioneering electronics of Graham. The music was bleak, detached, and desolate, but very beautiful. Honest songwriting and a harsh sonic backdrop set them apart from their peers. The band's first two singles were released by Tortch label. The first was Flesh As Property EP in 1979 and the second State Of Emergency EP in 1980. By 1981 Second Layer had found a home on London-based label Cherry Red and released their debut album World of Rubber in November of that year. Full of hard mechanical sounds produced by Adrian's guitars and Graham's homemade drum machines, the album actively engages the listener. Songs are manic and twisted, pervaded with haunting subterranean atmospheres. Adrian's anguished voice tackles lyrics that are politically charged and morbidly fixated. Metallic guitar riffs, moody basslines, and Wasp synthesizer beeps are set to the band's cache of processed tape loops. They are a homegrown electronic garage band that sit alongside their contemporaries Joy Division, Cabaret Voltaire and Public Image Limited. This deluxe 2xLP edition features the complete recorded output of Second Layer plus 5 unreleased demos from 1978-80. All songs have been remastered for vinyl by George Horn at Fantasy Studios. Each LP comes in an exact replica of the original metallic sliver and black jacket from the 1981 issue with a never seen before fold out poster made by the band in 1980 with liner notes, photos and press clippings. Though Adrian passed away in 1999, his genius lives on in these recordings. 'Clap the headphones on, squeeze the volume up.' Tracks : Definition of Honour, In Bits, Fixation, Save Our Souls, Distortion, Underneath The Gloss, Zero, Japanese Headset, Black Flowers, Courts Or Wars, Metal Sheet, Germany, State Of Emergency, I Need Noise, The Cutting Motion, 1. Intro, Split Screen, Death Process, The Telephone Call, Deadly Norwegian Attack.

The debut album by Copenhagen-based noise rockers The Entrepreneurs is a potent exploration of modern rock.

Noise & Romance is a lavish experience from start to finish. It ranges from the 90's inspired grunge- and post rock-inspired song 'Session 1', through the epic noise-guitar filled 'Be Mine' to the finger picking singer-songwriter gem 'Morning Son'. All in all Noise & Romance is equally hard-hitting, experimental and emotional. Jonas Wetterslev, Anders Hvass and Mathias Bertelsen have grown into an intriguing alternative rock-band with huge potential. The trio enjoy a reputation as one of the fiercest live bands in Denmark, and with their debut album they're ready to take on the world.

'Heroine' single and live-session released on October 23 - 3rd single is out in December
Eurosonic Festival, DK tour announced and more European shows are TBA
International media support from Everything is Noise, Tinitist, Hype Machine, Flux.FM, Visions among others

Singles Going Steady is THE definitive compilation album by Buzzcocks, first released in 1979.

Side One features their eight UK single releases from 1977 up to 1979 in chronological order, while

Side Two features their corresponding B-sides, also in chronological order.