Pop & Rock News

Grandios-anarchisch-wildes Debütalbum des Brightoner Noiserock-Quartetts Lower Slaughter mit ex-Divorce-Sängerin Sinead Young on vocals, das die einschlägige Presse bereits abfeiert. "What Big Eyes" erscheint auf Box Records, dem Label eines Pigs Pigs Pigs Pigs Pigs Pigs Pigs-Mitglieds, auf dem auch frühe Aufnahmen von Richard Dawson (Domino) und Gnod (Rocket) erschienen.

YEAH!!!! WE GOT SOME MORE OF THIS STONE COLD MURDER PUNK CLASSIC!!!!

Official reissue of the classic Aussie-Punk smasher , pressed on a 45rpm 12" for maximum volume. For those unfamiliar this is First Wave PUNK from 1978. The tracks have not been remixed so they sound just as killer , if not better as the did on the original 7". 1st Edition of 500 copies. And yes, to say were excited to get hold of some of this, is pretty much an understatement!

Now here is a special event for all lovers of classic Australian rock & roll, a deluxe vinyl reissue of the Coloured Balls' awesome 1974 LP, Heavy Metal Kid' . Released hot on the heels of
1973's killer album Coloured Balls' (yes, soon also to be reissued by Desperate on LP), Heavy Metal Kid is one of Coloured Balls' Lobby Loyde's finest recordings, and has been out of print in this format since its release (40 years!), with originals going for hundreds of dollars.
is a true proto-punk slab of dynamite, right up there with similar recordings by the likes of the MC5 and the Pink Fairies. Featuring a mix of growling punkers (the title track, 'Private Eye'), '50s rockers (a cover of '(You're So Square) Baby I Don't Care', 'Need Your Love'), hi-energy boogie ('Do It', 'Dance To The Music'), cosmic rock ('Back To You', 'Metal Feathers') and even a ballad in there, it's an eclectic mix held together by its outlaw sense of purpose. Along with , is sound of the great Sharpie stomp of 1970s Melbourne. This edition on Desperate is fully licensed from Loyde's estate, expertly remastered by Aztec Records' Gil Matthews from the original tapes (it sounds amazing) and comes housed in an exact replica of the original gatefold sleeve with a heavy-duty tip-on cover,as well as an insert with lyrics and decorative obi strip.
It's pressed on high-quality 180-gram vinyl from Rainbo in the US.
In other words: this limited edition is the one to get.

Minimal Man was founded in 1979, in San Francisco by avant-garde painter and filmmaker Patrick Miller, and the band included a revolving cast of musicians from fellow SF art punks Tuxedomoon and future members of Factrix. Minimal Man have been historically marginalized in a fertile underground music scene that included many other influential artists (including Z'ev, Flipper and Nervous Gender), and they are no doubt unfavorably compared to stylistically similar artists such as Suicide, Chrome or even NON.
In truth, the Minimal Man sound was somewhat derivative, but Patrick Miller's intensity and willfully anti-musical aesthetic provide a fascinating footnote to the history of post-punk and industrial music.
The debut album, The Shroud Of was released on Subterranean
Records in 1981... The Minimal Man sound is relentlessly dark and
aggressive, with cheap synthesizers and drum machines, jagged guitar and occasional shrieks of saxophone all purposely pushed into the red, creating a dissonant blanket of treble-heavy distortion. Patrick Miller's vocals are unmodulated and flat, his lyrics nihilistic, each line echoplexed, doubled or otherwise mutated into a synthetic oblivion.
Chugging sequencers spit out fuzzy non-melodies as Miller cultivates his Kafkaesque persona, full of anxiety, angst and existential dread.
With lyrics that indicate an adolescent fascination with Philip K. Dick, William S. Burroughs and J.G. Ballard, Miller creates a cinematic ambience of high-contrast black and white, like a German expressionist filmmaker let loose in a recording studio. Just listen to the hypnotic, swirling maelstrom of noise and dark, grainy atmospherics on Blue Step.' Perhaps because of its relative obscurity, Minimal Man's debut album has weathered the sands of time gracefully, and with legendary acts Suicide and Tuxedomoon currently attempting to destroy their legacies with mediocre reunion albums, The Shroud Of sounds
positively refreshing in comparison...' Brainwashed
It includes a text from the drummer Lliam Hart telling memories from these years / Remastered

Four voices tousle loudly as they leave the soft realm of the body, venturing out into the world. Reproduction and traditional instruments (guitars, drums, samplers, digital, voices) allow the human generation to play right now. Playing is intersubjective, we appeal to consciousness. Here in the human era we dialog, reference, and reproduce with traditional reference and frustration. Kissing lightly decided harmonies, Gen Pop plays in the human generation and is from the human era. Playing used in its most remedial sense, an occasion to slap together a narrative and generate trust between each other. Gen Pop produced a small run of tapes featuring 3 tracks from their debut 7' on Upset the Rhythm earlier this year.  This 7' brings to totality the sinews and olfactory system of the Gen Pop promo tape. The essence of what they are doing and not the end of it. The first track 'On Screen' whinges lackaday about screen oriented living. 'I'll be chained and beaten, in a motel room its our first time meeting' shoots the moon for the loneliness of access and an end to curiosity (good riddance). Honestly though, a screen can and will be held by all.
The product of exposure can be found in 'Easy', the ballad of confused ability. The lacing of MaryJane Dunphe's noise guitar, brought back to life from her days in Polly Darton, meld with David Strother and Theo Maughan's air tight rhythm section. Ian Corrigan, playing 2nd guitar, and Dunphe vocalise together in frustration, this all should be quicker, easier. Corrigan and Dunphe played together previously in Olympia, WA's maelstrom of punk and passion known as Vexx (also released through Upset The Rhythm).

'Teach Me How To' peaks in winding energy, standing tall as a pinnacle of frustration and excess. 'The poor need lessons, they're far too crude, but what about your life Have you known rot tooth' Dunphe cries in resistance to plutocracy and vapid hegemony. Access will be had by all, but not until the human era is over and the internet is a human right. In 'Dear Jackie' simple harmonies on the guitar lap lightly at the toes of a bulky thick rhythm section that is strolling late night on the beach. Each note that Dunphe and Corrigan hit are planned to harmonise, intention over expression. Strother's voice digs deep into choosing, choosing an ending, his pummelling drums and margin walking sense of genre helps the band approach a more lighter sound.
Finally, closer 'The Wall' can speak for itself. 'I know, we're guilty, these eyes so milky,' the powerless individual's eyes cataract while watching an indigenous land be divided by a white contingency. And if its called white supremacy they might as well ' take my head and turn it clockwise'. Needling guitar parts crescendo into a furious finale, reminding all that Gen Pop as one of the last human bands are trying twice as hard to keep ahead of the future.

Es gibt wenige Gruppen, die ein Genre so nachhaltig geprägt haben, wie das Duo Erk Aicrag und Racso Agroyam, besser bekannt als Hocico. Die beiden haben nicht nur quasi im Alleingang dafür gesorgt, dass plötzlich eine ganze Szene Mexiko auch abseits von Tequila und Sombrero auf dem Schirm hatte, sondern darüber hinaus die dunkle Spielart der elektronischen Musik mit einer einzigartigen Mischung aus harten Beats, unbändiger Wut, aggressiven Shouts und wilden Soundexperimenten komplett umgekrempelt. Wie ein Faustschlag in die Magengrube traf uns dieser frische, neue Sound damals, fand in der ganzen Welt schnell viele Nachahmer und eroberte in kürzester Zeit weltweit Clubs und Bühnen. - The Spell Of The Spider versammelt nun Highlights, Hits, Favoriten und Raritäten aus mehr als 20 Jahren, von der Band selbst zusammengestellt und liebevoll neu gemastert. Für das Front-Artwork zeichnet sich der amerikanische Fotokünstler Thomas G. Anderson (u.a. Asking Alexandria) verantwortlich. Wer sich mit der härteren Seite der Elektronik beschäftigt, kommt an Hocico nicht vorbei. - The Spell Of The Spider feiert diese Ausnahme-Band und ist ein idealer Einstiegspunkt für Neulinge, eine spannende Entdeckungsreise für Fans und Sammler und ein Muss für jeden Electro-Head. Die ultimative Hocico-Best-Of erscheint auch als limitiertes, rotes Doppel-Vinyl im edlen Klappcover, als Deluxe-Doppel-CD im Digipak mit der Bonus Disc - The Dark Side Of The Spider , welche rare und vergriffene Songs, sowie Compilation-Beiträge enthält, sowie als limitiertes 3CD-Fan-Set in einer edlen Digipak-Longbox, welche zusätzlich die exklusive EP - Spider Bites , mit neuen und unveröffentlichten Stücken, beinhaltet.

* Reissue of second album by classic punk / hardcore / metal band, out of print since the '90s.
* Remastered by Bob Weston at Chicago Mastering Service.
* Artwork completely redone to match previous reissues.
* 180GM LP.

I still remember the first time I heard The Word as Law, shortly after it was released in 1990. From the first chords of 'Double-Edged Sword' I was hooked - the sounds seemed to send some sort of powerful electrical current coursing through my body - and by the time the feedback faded out at the end of 'Blisters' I was emotionally spent. I had never heard anything like it: The Word as Law completely changed my understanding of three different musical genres - punk, hardcore, and metal.
The record blends elements of all three. There is the raw moodiness of punk. The ferocity and anger of hardcore. The musicianship and dynamics of metal. But The Word as Law transcends all those labels, in the process creating something utterly unique.
It hit me on so many levels. It spoke to the anger I had as a young punk, my sense that I was trapped in a dog-eat-dog world of relentless capitalist competition, my alienation from the broader society. But it also resonated on a deeper level. My father killed himself when I was a teenager, leaving me mourning, feeling as if I were surrounded by a thick fog of despair. The Word as Law is not happy collection of songs, but it played this incredibly positive and cathartic role in my life. Listening to it over and over, gave me an odd sense of comfort. I realized that I wasn't the only person struggling with deep emotional turmoil and found myself slowly working through the anger and grief that had enveloped me.
More than 25 years later they are still my favorite band. And I still try to attend every Neurosis show I can.
The Word as Law was a massive influence on an entire generation of bands including my own, Econochrist. It's the bridge to what Neurosis would become in later years. So put it back on your turntable. Step to the front the falling is today. - Ben Sizemore

* Reissue of second album by classic punk / hardcore / metal band, out of print since the '90s.
* Remastered by Bob Weston at Chicago Mastering Service.
* Artwork completely redone to match previous reissues.

I still remember the first time I heard The Word as Law, shortly after it was released in 1990. From the first chords of 'Double-Edged Sword' I was hooked - the sounds seemed to send some sort of powerful electrical current coursing through my body - and by the time the feedback faded out at the end of 'Blisters' I was emotionally spent. I had never heard anything like it: The Word as Law completely changed my understanding of three different musical genres - punk, hardcore, and metal.
The record blends elements of all three. There is the raw moodiness of punk. The ferocity and anger of hardcore. The musicianship and dynamics of metal. But The Word as Law transcends all those labels, in the process creating something utterly unique.
It hit me on so many levels. It spoke to the anger I had as a young punk, my sense that I was trapped in a dog-eat-dog world of relentless capitalist competition, my alienation from the broader society. But it also resonated on a deeper level. My father killed himself when I was a teenager, leaving me mourning, feeling as if I were surrounded by a thick fog of despair. The Word as Law is not happy collection of songs, but it played this incredibly positive and cathartic role in my life. Listening to it over and over, gave me an odd sense of comfort. I realized that I wasn't the only person struggling with deep emotional turmoil and found myself slowly working through the anger and grief that had enveloped me.
More than 25 years later they are still my favorite band. And I still try to attend every Neurosis show I can.
The Word as Law was a massive influence on an entire generation of bands including my own, Econochrist. It's the bridge to what Neurosis would become in later years. So put it back on your turntable. Step to the front the falling is today. - Ben Sizemore

Die erste Neuauflage der berüchtigten "Eat Hot Lead" LP von Puke Spit & Guts aus dem San Fernando Valley. Das Album wurde ursprünglich 1980 veröffentlicht. 'Absurdist & raunchy' - das ist ein Punk-Album von einem Haufen von Weirdos, die Punk gehasst haben!

Shit&ShineGODREC18Shit&ShineGODREC18Shit&Shine
is the polymorphous project lead by the Texan-born Craig Close.With more than a decade of activity between the USA and the UK, it has spawned one of the most fascinating and promiscuous saga of the latest years.Within its huge discography, definitely noteworthy is the 2014 "Powder Horn" released on Diagonal Records, which was considered by many to be one of the best electronic albums of that year.Lately Shit&Shine has released the great "Everybody's a Fucking Expert" LP on Editions Mego in 2015 and "Total Shit!", again on Powell's Diagonal on March 2017.
Shit&Shine and Gang of Ducks share an arguable good taste for naming and, most of all, a wide-range approach to the sonic palette, always exploring different sounds.Hamburger Ep brings the work Craig has developed so far to the next level, keeping his unique mix of sluggish EBM beat, drugged funk and futuristic proto-techno.RIYL G.O.D's previous releases like Traag, Sudden Infant, Datashock...
***300 copies, silk screen printed on special chrome bag***

UK ONLY 1000 EDITION COLOURED VINYL (BONE COLOURED)

The newly shorn Oh Sees waste no time in racing headlong into nightmarish battle with the mighty Orc, clawing even farther up the ghastly peak stormed so satisfyingly by last year's A Weird Exits. The band is in tour-greased, anvil-on-a-balance beam, gut-pleasingly heavy form, nimbly braining—with equal dashes of abandon and menace—on this fresh batch of bruisers and brooders, hypnotically stirred into to the cauldron of chaos you've come to expect. Fresh blood Paul Quattrone joins Dan Rincon to form a phalanx of interlocking double drums, alternately propelling and fleet-footing shifting ground to pinion John Dwyer's cliff-face guitars to the boogie. Tim Hellman keeps it swinging like a battle-axe to the eyebrows. The tunes veer toward the violence of their live shows, with a few tasty swerves into other lanes: heavy to lush, groovy to stately. Throughout, it remains sinister in its swaggering skulk, manic in its fuzz-fried fugues. They hit all the sweet spots the heads foggily remember, and there's plenty to sweat over if you just hopped into the sauna. More evil...more complex...more narcotic...more screech... more blare...more whisper...there's even more Brigid. Less Thee,' but more of everything else.

The newly shorn Oh Sees waste no time in racing headlong into nightmarish battle with the mighty Orc, clawing even farther up the ghastly peak stormed so satisfyingly by last year's A Weird Exits. The band is in tour-greased, anvil-on-a-balance beam, gut-pleasingly heavy form, nimbly braining—with equal dashes of abandon and menace—on this fresh batch of bruisers and brooders, hypnotically stirred into to the cauldron of chaos you've come to expect. Fresh blood Paul Quattrone joins Dan Rincon to form a phalanx of interlocking double drums, alternately propelling and fleet-footing shifting ground to pinion John Dwyer's cliff-face guitars to the boogie. Tim Hellman keeps it swinging like a battle-axe to the eyebrows. The tunes veer toward the violence of their live shows, with a few tasty swerves into other lanes: heavy to lush, groovy to stately. Throughout, it remains sinister in its swaggering skulk, manic in its fuzz-fried fugues. They hit all the sweet spots the heads foggily remember, and there's plenty to sweat over if you just hopped into the sauna. More evil...more complex...more narcotic...more screech... more blare...more whisper...there's even more Brigid. Less Thee,' but more of everything else.

The newly shorn Oh Sees waste no time in racing headlong into nightmarish battle with the mighty Orc, clawing even farther up the ghastly peak stormed so satisfyingly by last year's A Weird Exits. The band is in tour-greased, anvil-on-a-balance beam, gut-pleasingly heavy form, nimbly braining—with equal dashes of abandon and menace—on this fresh batch of bruisers and brooders, hypnotically stirred into to the cauldron of chaos you've come to expect. Fresh blood Paul Quattrone joins Dan Rincon to form a phalanx of interlocking double drums, alternately propelling and fleet-footing shifting ground to pinion John Dwyer's cliff-face guitars to the boogie. Tim Hellman keeps it swinging like a battle-axe to the eyebrows. The tunes veer toward the violence of their live shows, with a few tasty swerves into other lanes: heavy to lush, groovy to stately. Throughout, it remains sinister in its swaggering skulk, manic in its fuzz-fried fugues. They hit all the sweet spots the heads foggily remember, and there's plenty to sweat over if you just hopped into the sauna. More evil...more complex...more narcotic...more screech... more blare...more whisper...there's even more Brigid. Less Thee,' but more of everything else.

Drop Out with The Barracudas is the debut studio album by
English rock band The Barracudas, released in 1981.

The Barracudas pushed a Southern California surf-rock image on their debut - there's the cover photo for one, and then there's a good chunk of the songs. Titles like the demi- hit singles Summer Fun,' California Lament,' On the Strip,' and Surfers Are Back' are self-explanatory, while the campy His Last Summer,' detailing one dude's final big wave with Brit-accented asides, has got to win an award for being one of rock's best fake-tragedy stories.

If you like the surf and hot rod tunes of the early 1960s, you'll love the upbeat songs. The darker tunes draw you in and remind you that all is not rosy and about surf and sun. A fantastic contrast that keeps the record from becoming boring.

The United States' myriad inequalities, hatreds and phobias are painfully evident in 2017, offering proof that the age-old dichotomy of political bands' versus apolitical bands' simply doesn't exist. Either you are comfortable and unfazed by the current reigning power structures, or you use your music as a vehicle for the dismantling of oppression and the creation of something better. No matter what your songs are about, you are choosing a side.

The position of Providence, RI's Downtown Boys has been clear since they started storming through basements and DIY spaces with their radically-minded rock music:
they are here to topple the white-cis-het hegemony and draft a new history.
Downtown Boys began by combining revolutionary ideals with boundless energy and contagious, inclusive fun, and their resolve has only strengthened as their sound and audience have grown.

'Cost Of Living' is their third full-length, following a self-released 2012 debut and 2015's 'Full Communism' on Don Giovanni Records. They recorded it with Guy Picciotto (Fugazi, producer of Blonde Redhead, The Gossip), one of indie-rock's most
mythological figures, in the producer's chair. Picciotto fostered the band's improvisational urges while pulling the root of their music to the forefront:
unflinching choruses, fearlessly confrontational vocals, and the sense that each song will incite the room into action, sending bodies into motion that were previously thought to have atrophied.

Downtown Boys are keenly aware of the increased visibility and credibility that comes with signing to a corporate-media conglomerate such as Sub Pop. They're using this platform as a megaphone for their protest music, amplifying and centering
Chicana, queer, and Latino voices in the far-too-whitewashed world of rock. In just one example, album-opener 'A Wall' rides the feel-good power that drove so many tunes by The Clash and Wire as it calls out the idea that a wall could ever succeed in
snuffing the humanity and spirit of those it's designed to crush.

Compared to previous efforts, Downtown Boys have shifted from a once-meaty brass section to the subtler melodic accompaniment of keyboards and a saxophone, coloring their anthems with warm, bright tones while singer/lyricist Victoria Ruiz spits out her frustrations and passions. Some might say it shows a sense of maturity, as Downtown Boys have undoubtedly smoothed down some of their earlier edges, but there is no compromise to their righteous assault and captivating presence. Like the socially conscious groups of years past, from Public Enemy to Rage Against The Machine, Downtown Boys harness powerful sloganeering, repetitive grooves, and earworm hooks to create one of the most necessary musical statements of the day.
We should all do well to take notice!' - Matt Korvette, Pissed Jeans

Vinyl format includes digital download code.

As with their previous release, Ardor was recorded a the Hotel2Tango, this time by Radwan Ghazi Moumneh (of Jerusalem In My Heart). Jessica Moss (Thee Silver Mt Zion Memorial Orchestra), who was a special guest on Au De La, played violin on all of the three new tracks and Thierry Amar (Godspeed You! Black Emperor) played contrabass on two of the tracks.

'Montreal's genre-defying post-rock combo BIG|BRAVE could very well be the most noteworthy recent heavy curiosity to come out of the city in recent years.' - NOISEY

'... combines elements of Björk, Neurosis, The White Stripes, and Sunn O))) into a cohesive whole; but this whole is an ever evolving and challenging sonic mass. - THE QUIETUS
Montreal three-piece BIG|BRAVE have been simmering since their 2015 release 'Au De La,' but their relentlessly experimental sound and kinetic creative energy has finally—and thankfully—boiled over.

While the teaser barely tips one minute, it speaks volumes regarding what's to come in BIG|BRAVE's next endeavor; swirling static, booming guitars, powerful drums—all the hallmarks that have made them one of experimental rock's most exciting acts today.  With just three songs that clock in for a 40-minute-long LP, BIG|BRAVE have adopted a nearly unbearable level of urgency and intensity that weaves throughout Ardor.

Since their inception in 2012, BIG|BRAVE demonstrate the fluidity of experimental rock when elaborated into vast, abstract, and often hypnotic sounds, saturated in soulbaring emotion. The trio put everything into their music, until there's nothing left to give. Their particular art in musical refinement expands ever gradually, unfurling into a very heavy, strong, and elevating force. As comfortable as they are with tidal waves of sound, BIG|BRAVE is unafraid to experiment with silence, oscillating between sparse, gentle arrangements and deep swells of noise

As with their previous release, Ardor was recorded a the Hotel2Tango, this time by Radwan Ghazi Moumneh (of Jerusalem In My Heart). Jessica Moss (Thee Silver Mt Zion Memorial Orchestra), who was a special guest on Au De La, played violin on all of the three new tracks and Thierry Amar (Godspeed You! Black Emperor) played contrabass on two of the tracks.

'Montreal's genre-defying post-rock combo BIG|BRAVE could very well be the most noteworthy recent heavy curiosity to come out of the city in recent years.' - NOISEY

'...combines elements of Björk, Neurosis, The White Stripes, and Sunn O))) into a cohesive whole; but this whole is an ever evolving and challenging sonic mass. - THE QUIETUS
Montreal three-piece BIG|BRAVE have been simmering since their 2015 release 'Au De La,' but their relentlessly experimental sound and kinetic creative energy has finally—and thankfully—boiled over.

While the teaser barely tips one minute, it speaks volumes regarding what's to come in BIG|BRAVE's next endeavor; swirling static, booming guitars, powerful drums—all the hallmarks that have made them one of experimental rock's most exciting acts today.  With just three songs that clock in for a 40-minute-long LP, BIG|BRAVE have adopted a nearly unbearable level of urgency and intensity that weaves throughout Ardor.

Since their inception in 2012, BIG|BRAVE demonstrate the fluidity of experimental rock when elaborated into vast, abstract, and often hypnotic sounds, saturated in soulbaring emotion. The trio put everything into their music, until there's nothing left to give. Their particular art in musical refinement expands ever gradually, unfurling into a very heavy, strong, and elevating force. As comfortable as they are with tidal waves of sound, BIG|BRAVE is unafraid to experiment with silence, oscillating between sparse, gentle arrangements and deep swells of noise

**13 VINYL BOX SET**

* Midnight Oil
* Head Injuries
* Bird Noises (EP)
* Place Without A Postcard
* 10,9,8,7,6,5,4,3,2,1
* Red Sails In The Sunset
* Species Deceases (EP)
* Diesel And Dust
* Blue Sky Mining
* Earth And Sun And Moon
* Breathe
* Redneck Wonderland
* Capricornia

Scissorgun are a two-piece soundscape project from Manchester comprising Alan Hempsall (of Crispy Ambulance) on treated guitars, vocals, prose and trumpet, and David Clarkson (formerly of Triclops and Illuminati) on synths, keyboards, drum programming, rhythms and percussion.

The duo came together in the summer of 2016 with a view to creating spontaneous music, and by November had laid the foundations of Assault Two, their debut release, so named because it is the second release on Aural Assault Records, whose first outing was the debut single by Crispy Ambulance way back in April 1980.

This special 10' and CD package is released in a limited edition of 500 copies. The extended CD features longer versions of the five tracks on the vinyl disc as well as two bonus cuts. The artwork is by Pascal Blua.

Phantom Forth were the brother sister team of Paul Luker (Guitar, Bass, Vocals), Debbie Luker (Drums, Guitar, Vocals) and Lorraine Steele (Keyboards, Percussion, Vocals). They formed in 1981 in Auckland, New Zealand. Paul began recording his own music after purchasing a 2-track from Oceania Sound. He formed a band with his flatmate and eventually met Lorraine through Debbie. With a shared love of Young Marble Giants and Cabaret Voltaire they started to rehearse at LAB Studio.

'The EEPP' was recorded in 1983 within a few weeks at Progressive Music Studios. Slated for release in February 1984, the mini-album finally appeared in November on Flying Nun Records. It contained seven moody sketches of Auckland. Their sound blends cold wave guitars, drum-machine propelled post-punk with female vocals. The core recording set up was a Casio-Tone VL, Boss DR-55 Dr. Rhythm, Roland TR-606 and an acoustic Yamaha bass. All original vinyl copies contained many clicks and pops and due to paper bits from previous jobs that pressing plant melted down. Included with this reissue are two early demos recorded at LAB in 1982, made prior to Lorraine joining the band, plus a recording from the Flying Nun live compilation 'The Last Rumba'.

All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in sleeve with original artwork collage designed by Paul Lurker. Each LP includes a two-sided 8.5x11 poster with notes and photos.

Dark Entries is proud to present Household Shocks', a 16-track compilation of UK DIY/Synth/New Wave/Post-Punk originally released in 1980. The album showcases 9 bands from the thriving post-punk scene in Scunthorpe and the North of England. Operating on a shoestring budget, co-producers Chris Leaning and Paul Singleton (both of One Gang Logic), released "Household Shocks" on Stark Products, a label they founded in 1979. At almost 50 minutes of music, the album took four weeks to produce at the Studio Playground in Lincoln. It was supported heavily by the late Radio 1 DJ John Peel. In July 1980 Paul Singleton and Chris Leaning opened a record shop in Lincolnshire, England. It opened under the name All Tomorrow's Parties', but later moved to the city center and was renamed Parade.' Through their growing local music scene and the separation of economic classes, their shop became the hangout for the local punk movement. It was there that the idea for Household Shocks', a compilation of their friend's bands, was born. THUNDERBOYS offer three punky pop blazers and feature Carmel McCourt who who subsequently achieved chart success with her band Carmel. PRODUCT OF REASON contribute three haunting synthesizer heavy numbers. SINKING SHIPS supply two tracks of off-kilter dubbed out angst ('Weight Loss' is the best Gang of Four song not by the Gang of Four). JUVENILES provide two power pop jams. MYSTERY GIRLS supply one track of quirky post-punk that recalls The Prats. DEFECTORS, a female fronted quartet featuring COUM Transmissions affiliate Tony Menzies, grant us one superb track of somber gothic new wave. FAULT 151 serve a slice of wistful Flying Nun-esque indie pop featuring a 14-year old bassist. URBANTECH, a short-lived synth-punk outfit, deliver one delirious track. ONE GANG LOGIC contribute two metallic synthesizer drenched pieces and close the album with a somber atmosphere.

Reissue of "In Silence" the gloomy 1981 debut lp from this Norwegian post-punk band. Released in an edition of 500.

Fra Lippo Lippi was a gothic post-punk band founded in Nesodden, Norway in 1978. Band members were Rune Kristoffersen (guitar, bass, keyboards, piano) Per Oystein Sorensen (vocals, synthesizer, keyboards), and Morten Sjoberg (drums, keyboards). Their sound was heavily influenced by bands such as Joy Division and The Cure.

In 1981 the band recorded and released "In Silence', a hard to grasp, dark album with ominous bass lines, death-march percussion, pensive keyboards, and sinister, indecipherable vocals. The band had installed a semi-professional 4-track recording studio in a small basement. The recording of the album started in June 1981 and was not completed until 4 months later. Rune Kristoffersen: "It took a long time. Our compositions were based on the drums and the bass, which we coloured with guitars, voices and keyboards. The sound was completely natural, both concrete and abstract."

On the record it was difficult to hear the vocals, as it was mixed far behind the instruments. So it was made impossible to understand the lyrics. Not unlike producer Martin Hannett did for Factory Records in the UK. Rune Kristoffersen: "It is made quite conscious: put the voices far back to create a mood music. I also look at 'In Silence' in a certain connection to what Brian Eno did with his ambient music."

In 1998, Rune started releasing experimental music on his very own label called Rune Grammofon, where he has highlighted many experimental Norwegian acts such as Arne Nordheim, Supersilent, and Motorpsycho.

Tiny Mix Tapes:
..In Silence has a more unrefined sound and should have any fan of Joy Division wishing they'd heard of this band sooner. If I were to review Closer or Unknown Pleasures today, they'd obviously receive 5/5. Therefore, since Fra Lippo Lippi is so strangely similar, and "In Silence" is almost like having a new Joy Division/New Order album, I'd be hard pressed to give it a anything less than a near perfect score. Find out for yourself what you've missed out on for the past twenty years. Wow!

The Severed Limb are a young six-piece skiffle band from London who write songs influenced by a variety of roots styles. The band released their debut EP in Oct 2010 to much acclaim and released an album for Damaged Goods in 2014.It led to a filmed BBC Session with Steve Lamacq who said of them "Rampant and joyful ... an infectious mix of old rock & roll styles playfully twisted for (today)".


From busking with washboards to recording raucous rock in pub basements, Severed Limb are the epitome of DIY. Born and bred in Brixton, the Londoners' new album is the point at which punk and skiffle meet with one clear aim; to take their sound from the streets and make people dance to a pub-punk rock that's defiantly outspoken.


Buskers by day, noise-makers by night, 'Severed Limb Strikes Again' sums up the band's tormented, vastly defiant look at the world and all its ills; from drink and drugs, even to love. Ever since Bobby, and fellow rebels-with-a-cause Charlie, his half-brother Leo, Sam, Alex and Simon, came together to record their first tracks on cassette in the basement of a pub where Charlie was landlord after bonding over their favourite jukebox sounds, they've been on a mission to make a noise - sonically and politically - and to get the world bopping in the process.

Written, right there, on the concrete of London's Borough Market during one of the bands regular busking sessions, the album's spontaneity, from the immediate Undertones stomp of opener 'Oh My My!', will make anyone take notice - including singer Imelda May who invited the band to open her show at The Royal Albert Hall. 'It's the first track we recorded and we only did one take. We wanted it to sound like a slap in the face. It's about staying engaged with life and not giving in. It's also about South London - the vilification of poor young people and the rampant gentrification. I'm a socialist so I feel I can stick my oar in,' tells Bobby.

Swelling with their own authentic take on the sounds they love, each track is infused with sounds from the 50s to the 70s; from the Tom Waits style percussion of 'Poison' to 'Freezing Point' which revives Berlin-era Iggy & The Stooges as it reveals details of a recent visit to China. 'I played in a heavy metal bar that was owned by a policeman - something that was completely illegal for him to do! I also visited a school where children sang the communist anthem 'March of the Volunteers' every morning,' tells Bobby.

Laid down on two-inch tape in an all-analogue New Forest studio, the band were given chance to express their appreciation for a vintage sound in their own frank way - even if things did take a mysterious turn. 'We'd drive down to Dorset and it was great to be totally isolated,' they say. 'The studio was a wooden hut near a village called Burley which is famous for witchcraft. It was an apt place to record the b-movie horror film-inspired tracks like 'Bela Lugosi'. Hopping from punchy skiffle to the murkier depths of visceral punk rock, Severed Limb imperfectly embody the uncompromised spirit of true rock'n'roll.

The Severed Limb are a young six-piece skiffle band from London who write songs influenced by a variety of roots styles. The band released their debut EP in Oct 2010 to much acclaim and released an album for Damaged Goods in 2014.It led to a filmed BBC Session with Steve Lamacq who said of them "Rampant and joyful ... an infectious mix of old rock & roll styles playfully twisted for (today)".


From busking with washboards to recording raucous rock in pub basements, Severed Limb are the epitome of DIY. Born and bred in Brixton, the Londoners' new album is the point at which punk and skiffle meet with one clear aim; to take their sound from the streets and make people dance to a pub-punk rock that's defiantly outspoken.


Buskers by day, noise-makers by night, 'Severed Limb Strikes Again' sums up the band's tormented, vastly defiant look at the world and all its ills; from drink and drugs, even to love. Ever since Bobby, and fellow rebels-with-a-cause Charlie, his half-brother Leo, Sam, Alex and Simon, came together to record their first tracks on cassette in the basement of a pub where Charlie was landlord after bonding over their favourite jukebox sounds, they've been on a mission to make a noise - sonically and politically - and to get the world bopping in the process.

Written, right there, on the concrete of London's Borough Market during one of the bands regular busking sessions, the album's spontaneity, from the immediate Undertones stomp of opener 'Oh My My!', will make anyone take notice - including singer Imelda May who invited the band to open her show at The Royal Albert Hall. 'It's the first track we recorded and we only did one take. We wanted it to sound like a slap in the face. It's about staying engaged with life and not giving in. It's also about South London - the vilification of poor young people and the rampant gentrification. I'm a socialist so I feel I can stick my oar in,' tells Bobby.

Swelling with their own authentic take on the sounds they love, each track is infused with sounds from the 50s to the 70s; from the Tom Waits style percussion of 'Poison' to 'Freezing Point' which revives Berlin-era Iggy & The Stooges as it reveals details of a recent visit to China. 'I played in a heavy metal bar that was owned by a policeman - something that was completely illegal for him to do! I also visited a school where children sang the communist anthem 'March of the Volunteers' every morning,' tells Bobby.

Laid down on two-inch tape in an all-analogue New Forest studio, the band were given chance to express their appreciation for a vintage sound in their own frank way - even if things did take a mysterious turn. 'We'd drive down to Dorset and it was great to be totally isolated,' they say. 'The studio was a wooden hut near a village called Burley which is famous for witchcraft. It was an apt place to record the b-movie horror film-inspired tracks like 'Bela Lugosi'. Hopping from punchy skiffle to the murkier depths of visceral punk rock, Severed Limb imperfectly embody the uncompromised spirit of true rock'n'roll.

In 1977 Ian Dury & The Blockheads recorded their seminal album New Boots & Panties'. A quarter of a century later, east central one re-recorded the album with all manner of incredible guest artists, backed by The Blockheads, in celebration of and as a tribute to a classic piece of work.

The album, featuring performances by Paul McCartney, Robbie Williams, Sinead O'Connor and others, is now available again through Active Media.

MAPA is a project of Paul Wirkus and Marcin Dymiter.
Nineteen years after the release of their legendary album "Fudo", MAPA strikes back with some fresh stuff combining punk, jazz, electro-acoustic music and elements of instrumental hip hop.
In 2017 MAPA reduces the avant-garde jazz and punk to pure energy. The new material is characterised by simplicity and a mixture of slightly perceptible sense of humour and musical eloquence.
This minimalistic set-up consisting of a few selected synthesizers allows for a complete portrayal of both musicians' personalities. They perform vital, full of unexpected twists pieces based on simple riffs, always open to interpretation. Economical use of sounds in punk rock, raw minimalism of the street sounds and flexible riffs constitute the formula of the material of Mapa's album "No Automatu".

MAPA is a project of Paul Wirkus and Marcin Dymiter.
Nineteen years after the release of their legendary album "Fudo", MAPA strikes back with some fresh stuff combining punk, jazz, electro-acoustic music and elements of instrumental hip hop.
In 2017 MAPA reduces the avant-garde jazz and punk to pure energy. The new material is characterised by simplicity and a mixture of slightly perceptible sense of humour and musical eloquence.
This minimalistic set-up consisting of a few selected synthesizers allows for a complete portrayal of both musicians' personalities. They perform vital, full of unexpected twists pieces based on simple riffs, always open to interpretation. Economical use of sounds in punk rock, raw minimalism of the street sounds and flexible riffs constitute the formula of the material of Mapa's album "No Automatu".

Mystery Side By Side release that comes in a plain black cover that doesn't reveal the artists and song on the release sleeve.

Optimo Music präsentiert eine neues Sublabel, das auf den Namen So Low hört. Das erste Release kommt vom Glasgow's Happy Meal, ein Duo bestehend aus Suzanne Rodden und Lewis Cook, die auf So Low ihr zweites Album vorlegen. Full Ashram Devotional Ceremony Volumes IV - VI ist mit seinen Kraut-Electronic-Noise-Ambient-Wave Einflüßen gleichermaßen verstörend und einnehmend und garantiert ein spannendes Hörerlebnis.

From the ashes of VOM rose the Angry Samoans! In 1978 they recorded their first demos in a cheap two track studio. Some of these tracks have appeared as bonus tracks on long deleted album re-issues, others were released on a long deleted 7´´, one sees the light of day for the first time ever! In true Samoans style the album is sharp and short and finally the complete demos are now released on one piece of vinyl that plays at 45 rpm.

Ant6-en back to the Synth-wave roots , with a full album of electr-indus featuring The Horrorist remix... a banging insane tune !! Its good to hear a label coming from these dark ages of this electronik music producing this style again... no nostalgy ! Just history !!

LIMITED YELLOW WITH BLUE-GREEN SPLATTER VINYL

Real Gone Music is proud to present Germfree Adolescents, one of the signature albums of the early (1978) British punk movement, in the format (vinyl!) it belongs and in a color mix (yellow with blue-green splatter!) it demands.

The one and only LP release from X Ray Spex and its irrepressible frontwoman Poly Styrene has been deemed by everybody from Greil Marcus to Robert Christgau to Spin to Mojo as one of the greatest punk albums ever made, and

for this reissue, we've done it right, besides the colored vinyl, we've reproduced the inner lyric sheet, where you can read Poly's brilliant observations about the plastic, corporate nature of modern society. All of which she sings in a passionate yowl all her own (with Lora Logic among others backing on saxophone), this is not only one of the most penetratingly observant punk records, it's also one of the most passionate, and, surprisingly enough, catchy. Check out The Day the World Turned Day-Glo' and Germ Free Adolescents' if it's hooks you're after, if it's righteous anger and a noisy racket you're seeking, every track will do ya. Limited edition of 1200!

The Fall returned to Rough Trade in 1983 to release a pair of singles ("The Man Whose Head Expanded" and "Kicker Conspiracy") and Perverted By Language, their sixth proper studio album. Perverted By Language hints at the band's shift towards a distinctly pop approach, one that they would perfect via their Beggars Banquet output that immediately followed. Yet again, the force and panic of their initial Rough Trade recordings remains the foundation for much of the album. A transitional recording in the absolute best sense, Perverted By Language is The Fall both as they were and as they would become.

The emergence of Brix Smith is often cited as the impetus for The Fall's move toward outward pop, and she first makes her first appearance with the band on Perverted By Language. Nowhere is her presence felt more than on "Hotel Blöedel," where she handles lead vocal duties alongside Mark E. Smith whose mangled violin accompaniment roots the song's cold romanticism in his unmistakable brand of strange. "Garden" provides a new take on The Fall's stretched-out tendencies - using ringing, clean guitars to build a nearly 10-minute epic more subtly than ever before. The opener, "Eat Y'self Fitter," is wholly classic Fall: a playfully circular bass line drives the album's strongest vocal spout, complete with emphatic breaks where Mark E. Smith issues the song's spiteful decree with equal parts glee and scorn.

DELUXE VINYL EDITION!!!
Superb 26 track round up of Chelsea recordings spread over four studio sessions recorded at the Maida Vale studios in 1977 - 1979. Listening to these recordings, one hears the unique nature of Chelsea's sound in the English punk scene. They eschewed a biting, buzz-saw guitar attack for a less-distinct, almost plodding sound that ends up being the perfect backdrop to the vocal attack of the charismatic front man Gene October.



























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