Pop & Rock News

This Berliner post-punk three-piece boasts the kind of live show any band would work years to achieve: noisy, controlled, driven and absolutely rocking, post-punk noise at its best. The album was recorded by Tadklimp, known more for his electro-acoustic wizardry on records by Mother Of The Unicorn, Fenster, Slow Steve, Oum Shatt and Saroos than for recording noise-rock. It was mastered by Ralv Milberg (Die Nerven, Karies, Human Abfall), who had also worked on their previous "Bilder" EP on Coszma Records. Between them both they have fashioned a unique sound on this debut album which we think will be our best release to date.

WOMAN's debut album "Happy Freedom" is finally available via Asmara Records. WOMAN prefer to ask questions."Where you gonna go when the planet erupts" which is the frst line of Dust, the opening song of HAPPY FREEDOM, the frst album of the Cologne trio. For five years there has been rumbling about his band. The band's story began in 2012 in a basement bar in the Belgian quarter of Cologne. The three local musicians did not even have a band name back then, but their first set stood like a rock. It was loud and chaotic, half Einstu¨rzende Neubauten, half Suicide. Those present just could not believe what they saw: conceptually, they were still in their children's shoes, but the intensity of the music and the joy of experimenting took everyone out of their shoes.With a few more gigs, WOMAN continued to develop. The band sounded electronic and cosmic, funky and psychedelic. Yet a frst attempt to record the songs failed. "Our goals were much too high back then", says Manuel Tran, guitarist, singer and keyboarder. "So we just dropped the songs. It was hurtful, but it was a necessary decision" adds Milan Jacobi, the drummer. Carlos Hufschlag, second keyboarder and second singer, became an important new addition to WOMAN.
Zebo Adam (producer of Bilderbuch) is responsible for the amazing sound of the band. With him, WOMAN recorded their first EP Fever, which was released by Asmara Records (Imprint of Jakarta Records, Berlin) in spring of 2016 and dropped like a bomb: music as mysterious, sexy and clever was rarely heard until then. The Fever EP reached 500.000 Streams on Spotify up to date.In summer and autumn of 2016 things went crazy: the band played festivals such as Haldern, MS Dockville, Melt! Festival & Reeperbahn Festival (nominated for an Anchor Award). Roosevelt / Marius Lauber recorded a remix of Touch, which was frst aired by Huw Stepehens in his show on BBC Radio1. Finally, 1Live-music- connaisseur Klaus Fiehe told his audience that no other new band was talked about as often as WOMAN at the music industry festival Eurosonic Noorderslag in Groningen- and the guys from Cologne weren't even present.
For several weeks, the band joined Adam in his very ivory tower in Vienna. This valuable work is expensive of course, and decent recordings can also be made significantly cheaper on a laptop with a software such as Ableton live. "But we were not going for a decent sound. This was simply out of the question for us", says Manu.WOMAN grant us HAPPY FREEDOM but they have the courage to ask us to do something for it as well, as they deliver the soundtrack for a life in HAPPY FREEDOM. Let the age of psychedelic electro'n'disco-pop begin!

WOMAN's debut album "Happy Freedom" is finally available via Asmara Records.


WOMAN prefer to ask questions."Where you gonna go when the planet erupts" which is the frst line of Dust, the opening song of HAPPY FREEDOM, the frst album of the Cologne trio. For five years there has been rumbling about his band. The band's story began in 2012 in a basement bar in the Belgian quarter of Cologne. The three local musicians did not even have a band name back then, but their first set stood like a rock. It was loud and chaotic, half Einstu¨rzende Neubauten, half Suicide. Those present just could not believe what they saw: conceptually, they were still in their children's shoes, but the intensity of the music and the joy of experimenting took everyone out of their shoes.
With a few more gigs, WOMAN continued to develop. The band sounded electronic and cosmic, funky and psychedelic. Yet a frst attempt to record the songs failed. "Our goals were much too high back then", says Manuel Tran, guitarist, singer and keyboarder. "So we just dropped the songs. It was hurtful, but it was a necessary decision" adds Milan Jacobi, the drummer. Carlos Hufschlag, second keyboarder and second singer, became an important new addition to WOMAN.
Zebo Adam (producer of Bilderbuch) is responsible for the amazing sound of the band. With him, WOMAN recorded their first EP Fever, which was released by Asmara Records (Imprint of Jakarta Records, Berlin) in spring of 2016 and dropped like a bomb: music as mysterious, sexy and clever was rarely heard until then. The Fever EP reached 500.000 Streams on Spotify up to date.
In summer and autumn of 2016 things went crazy: the band played festivals such as Haldern, MS Dockville, Melt! Festival & Reeperbahn Festival (nominated for an Anchor Award). Roosevelt / Marius Lauber recorded a remix of Touch, which was frst aired by Huw Stepehens in his show on BBC Radio1. Finally, 1Live-music- connaisseur Klaus Fiehe told his audience that no other new band was talked about as often as WOMAN at the music industry festival Eurosonic Noorderslag in Groningen- and the guys from Cologne weren't even present.
For several weeks, the band joined Adam in his very ivory tower in Vienna. This valuable work is expensive of course, and decent recordings can also be made significantly cheaper on a laptop with a software such as Ableton live. "But we were not going for a decent sound. This was simply out of the question for us", says Manu.
WOMAN grant us HAPPY FREEDOM but they have the courage to ask us to do something for it as well, as they deliver the soundtrack for a life in HAPPY FREEDOM. Let the age of psychedelic electro'n'disco-pop begin!

Bastet is the second album of LCC (Ana Quiroga and Uge Pañeda).

Bastet is a ritual study gliding the path from the rites of the ancient to the realm of the modern.

Bastet is the name of the ancient Egyptian goddess closely linked to music and female power who coerced humans to entertain her in order to keep her untamed animalistic side in check. Whilst absorbing this legend the second LCC release presents itself as a vast canvas of ritual, restraint and spacious sonorities. Stark and unnerving Bastet is not reliant on pure electronics as abstract theatre but rather utilises these tools to conjure a world circling the spheres and planes of symbolic human activity.

Recorded throughout 2016 among residencies at the legendary studios EMS of Stockholm, the Inter Arts Center of Malmö and their own studio in Gijón, Bastet is a rich experience: cryptic, visionary and utterly compelling. 8 tracks laying forth a deep listening journey into the netherworlds of human experience, movement, ritual and space.

Creme de Hassan is a collaborative effort and project of Paul LaBrecque (Head of Wantastiquet, Sunburned Hand of the Man) and Ghazi Barakat (Pharoah Chromium. This is the second release for Inversions, and the first full length album. PR is currently underway courtesy of the Berlin-based Dense Promotion. So far the record has been played on the digital radio stations ByteFM, Eldoradio and Ondefurlane. It has been played on the Independent Music Podcast, and reviewed in the online magazine "Rockerilla."

LIMITED 180GM BLACK VINYL W/DOWNLOAD
'Shambly Television Personalities/Swell Maps style earworm indie rock.' Brooklyn Vegan

Terry is a latent man of mystery. Terry is also a band from Melbourne, Australia. Divide him in half and you split the genders, into quarters and you get Amy Hill (also of Constant Mongrel, School Of Radiant Living), Xanthe Waite (Mick Harvey Band, Primo), Zephyr Pavey (Eastlink, Total Control, Russell St Bombings) and Al Montfort (UV Race, Dick Diver, Total Control). Guitars, bass, drums, all four sing. Terry are busy people and Terry is a particularly active project too, having released two EPs and a full length album ('Terry HQ') last year on Upset The Rhythm.

After returning from summer 2016's European tour, Terry set about writing a new album of songs. These are now grouped together as 'Remember Terry', an album full of wish fulfilment, critiqued characters, memorial muscle and historical hustle.'Start The Tape' is a not quite two-minute careen through what Terry are best known for; gang vocals, chased-down melodies and acerbic commentary. 'The Boys in Blue are no nonsense, but no nonsense just won't hold up' they assert throughout the song, amid unbridled drum rolls and keyboard sirens.

Terry draw on their everyday realities to make personal conclusions; 'I can't live here, I can't leave here' they collectively sing through the strummed guitars and skittling synths of 'Heavin Heavies'. Somehow the serious nature of the themes handled in their songs are only further emphasised by the tuneful, arguably 'sing-along' treatment Terry usually employ. 'Give Up The Crown', 'The Colonel' and 'Gun' are other prime examples of this, packed full of assembled vocal harmonies, contagious riffs and rhetoric.

With tracks like 'Glory' and 'Homage', Terry allow us for the first time to see a more laid-back side of his personality. Supplemented with fluorescing synth lines and adopting an unhurried pace, both songs lull you into a false sense of pleasantry, only to pack a greater punch when lyrics like 'Off his bloody head goes' or 'No head, no choice, no land, no time, no crime, no good' surface. 'Take Me To The City' is a similarly evocative stroll through the 'bright night city lights', with Amy and Xanthe listing their nightlife observations over languorous guitar lines and programmed drums. Their 'all they talk about..' refrain drifts off effortlessly into dazed disclosures. Terry prefer to make a profound point in a quiet way, hectoring bypassed for self-revelation. The truth is in there, just skating below the surface of their glammy, country-stepping punk/pop odysseys, we only have to listen carefully.

'Remember Terry' is a fitting follow-up to last year's celebrated debut album. Ideas are pursued and new ground explored. Throughout this expansion of sound and subject-matter though, Terry remain committed to telling it straight, reporting from the frontline of the political made personal. 'Remember Terry ' was recorded by Terry at Grace Lane and Terry HQ through the first few months of 2017. Digitised by Nick Kuceli. Mixed and Mastered by Mikey Young.

Some insights on 'Remember Terry' from official band representative Stephanie Clothing:

Hello. We'd like to welcome you here, and thank you for attending. Welcome Pescatarian Trish, merciful Metcop, persistent baby lesbian, CEO of Beanbag company, stroppy ex, Dean the Death Doulah, two plainclothes Kerry O'Briens, wellness blogger, rageful teen boy, 'grammar nazi', Terry's swing dance club...

Uber Eats guy - 'Who is Terry'
A Free Hugger with bad intentions Rough diamond with a secret Patient or Nurse
Snog Terry. Marry Terry. Avoid Terry.

'Either his first life, or his last life' says Grammar Nazi. 'I'm fed up' says Ersatz Dad.
Knock Knock - Here's Ken - never takes his shoes off before taking his pants off. Often gets stuck. Heart of gold.

White noise playlist, 'Best of Ceiling Fans', 'Tumble Dryer with Few Clothes in it', Robbie Williams' Soviet album. Blue Kentucky Girl. Terry sleeps well.

What's the wifi 'Stop Stealing My Wifi Terry'
password 'oi'

Would you please join hands. We've all danced the Terry tete-a-tete.

What's the word for approaching rain We mean well Terry. Do you drink to forget
Welcome to your intervention Terry. Sit down. Take the talking stick.

We invite you to....REMEMBER

'Shambly Television Personalities/Swell Maps style earworm indie rock.' Brooklyn Vegan

Terry is a latent man of mystery. Terry is also a band from Melbourne, Australia. Divide him in half and you split the genders, into quarters and you get Amy Hill (also of Constant Mongrel, School Of Radiant Living), Xanthe Waite (Mick Harvey Band, Primo), Zephyr Pavey (Eastlink, Total Control, Russell St Bombings) and Al Montfort (UV Race, Dick Diver, Total Control). Guitars, bass, drums, all four sing. Terry are busy people and Terry is a particularly active project too, having released two EPs and a full length album ('Terry HQ') last year on Upset The Rhythm.

After returning from summer 2016's European tour, Terry set about writing a new album of songs. These are now grouped together as 'Remember Terry', an album full of wish fulfilment, critiqued characters, memorial muscle and historical hustle.'Start The Tape' is a not quite two-minute careen through what Terry are best known for; gang vocals, chased-down melodies and acerbic commentary. 'The Boys in Blue are no nonsense, but no nonsense just won't hold up' they assert throughout the song, amid unbridled drum rolls and keyboard sirens.

Terry draw on their everyday realities to make personal conclusions; 'I can't live here, I can't leave here' they collectively sing through the strummed guitars and skittling synths of 'Heavin Heavies'. Somehow the serious nature of the themes handled in their songs are only further emphasised by the tuneful, arguably 'sing-along' treatment Terry usually employ. 'Give Up The Crown', 'The Colonel' and 'Gun' are other prime examples of this, packed full of assembled vocal harmonies, contagious riffs and rhetoric.

With tracks like 'Glory' and 'Homage', Terry allow us for the first time to see a more laid-back side of his personality. Supplemented with fluorescing synth lines and adopting an unhurried pace, both songs lull you into a false sense of pleasantry, only to pack a greater punch when lyrics like 'Off his bloody head goes' or 'No head, no choice, no land, no time, no crime, no good' surface. 'Take Me To The City' is a similarly evocative stroll through the 'bright night city lights', with Amy and Xanthe listing their nightlife observations over languorous guitar lines and programmed drums. Their 'all they talk about..' refrain drifts off effortlessly into dazed disclosures. Terry prefer to make a profound point in a quiet way, hectoring bypassed for self-revelation. The truth is in there, just skating below the surface of their glammy, country-stepping punk/pop odysseys, we only have to listen carefully.

'Remember Terry' is a fitting follow-up to last year's celebrated debut album. Ideas are pursued and new ground explored. Throughout this expansion of sound and subject-matter though, Terry remain committed to telling it straight, reporting from the frontline of the political made personal. 'Remember Terry ' was recorded by Terry at Grace Lane and Terry HQ through the first few months of 2017. Digitised by Nick Kuceli. Mixed and Mastered by Mikey Young.

Some insights on 'Remember Terry' from official band representative Stephanie Clothing:

Hello. We'd like to welcome you here, and thank you for attending. Welcome Pescatarian Trish, merciful Metcop, persistent baby lesbian, CEO of Beanbag company, stroppy ex, Dean the Death Doulah, two plainclothes Kerry O'Briens, wellness blogger, rageful teen boy, 'grammar nazi', Terry's swing dance club...

Uber Eats guy - 'Who is Terry'
A Free Hugger with bad intentions Rough diamond with a secret Patient or Nurse
Snog Terry. Marry Terry. Avoid Terry.

'Either his first life, or his last life' says Grammar Nazi. 'I'm fed up' says Ersatz Dad.
Knock Knock - Here's Ken - never takes his shoes off before taking his pants off. Often gets stuck. Heart of gold.

White noise playlist, 'Best of Ceiling Fans', 'Tumble Dryer with Few Clothes in it', Robbie Williams' Soviet album. Blue Kentucky Girl. Terry sleeps well.

What's the wifi 'Stop Stealing My Wifi Terry'
password 'oi'

Would you please join hands. We've all danced the Terry tete-a-tete.

What's the word for approaching rain We mean well Terry. Do you drink to forget
Welcome to your intervention Terry. Sit down. Take the talking stick.

We invite you to....REMEMBER

Factory Benelux presents an expanded vinyl edition of Domo Arigato, the acclaimed live album by Manchester ensemble The Durutti Column, recorded in Tokyo in April 1985.
Domo Arigato followed on the heels of ambitious 'modern classical' album Without Mercy a year earlier, and saw composer/guitarist Vini Reilly and percussionist Bruce Mitchell augmented by John Metcalfe on viola and Tim Kellet on trumpet. Their show-cum-recital at the Kan'i Hoken Hall on 25 April was recorded digitally and filmed on two 35mm cameras. 'Mixing down was fun,' recalled Durutti manager/mentor Anthony H. Wilson. 'We were on a flight out next morning so Nippon Columbia hired a mobile studio recording truck and we mixed from midnight to 6 a.m.'
In fact the group always considered this rather hurried mix imperfect, and therefore for this expanded 2017 reissue Factory Benelux have returned to the original soundboard tapes and remastered the performance, in the process restoring the original running order. A digital copy of this v2.0 mix is also included.
The deluxe gatefold package also includes a bonus 7' single, Dedications for Japan, originally released in a limited edition in 1984. This features two studio tracks, Love Fading and For Noriko, and reproduces the original picture sleeve.

The band is proud to announce one very last The Neon Judgement release to their fans; a limited shaped picture disc vinyl. No other than Dave Clarke, the baron of techno, asked the band if he could remix TV Treated. The Neon Judgement were a huge inspiration for Dave, just like for many others artists. On the flipside the fans will be able to find a special radio edit of TV Treated, one of the biggest hits in the long and rich history of the band.

Pega Monstro are sisters Julia Reis (drums) and Maria Reis (guitar), both sing. They share the same birthday but are not twins and have always lived in Lisbon, Portugal.
Having played music together in other groups since their mid-teens, Maria and Julia, resolved to become a duo in 2010 focussing on their intuitive sense of harmony and expressionistic dream-punk sound. Pega Monstro released their self-titled debut album on their own Cafetra imprint in 2012, with national critical acclaim meeting the raucous garage-rock inflected record. Whilst, 2015 saw Pega Monstro team up with UK label Upset The Rhythm for their impressive and more sonically developed 'Alfarroba' album that led to international attention. Now Pega Monstro return with their third album entitled 'Casa de Cima', which translates as 'Upper House'. The album shares its name with the Villa in which the album was recorded, nestled amongst the pine-scattered terrain of the Sintra mountains. 'Casa de Cima' was recorded through September 2016 by Leonardo Bindilatti, who also produced their last record.
'Casa de Cima' opens with 'Ó Miguel' its first line translating as I changed the strings on my guitar'. Like the first line of a spell, the words entreat you to hear how much Pega Monstro have grown in confidence and vision, they are trying something new. There is no rush, only effortless intent, they sound compelling and assured and let the song unfold in its own leisure. The stunning 'Partir a Loiça' follows with its stammering rhythms and soaring, swirling vocals. The song's title, literally 'break all the dishes', is a saying in Portugal meaning to shake things up and exceed expectations, a worthy title indeed.

Much like the mysterious water jug on the cover of the album, burnished with unknowable symbols suggesting art-deco hieroglyphs, Pega Monstro constantly reach for something beyond plain comprehension, stretching songs to their limits before collapsing them back into new, more interesting forms. The Portuguese poet and writer Fernando Pessoa had a similar mutable approach to his work, inventing over seventy different pen names, called heteronyms, to act as conduits for the limits of his imaginative writing. Pega Monstro recite one of Pessoa's poems called 'O moinho de café' during the third act of their epic yet romantic track 'Cachupa'. Having their home city of Lisbon in common, Pega Monstro untether Pessoa's words from the city's fixated tourist treatment and let them breathe back their soul. The band's approach to song has always been both refreshing and eloquent and 'Cachupa' is a good example of how natural and spontaneous Pega Monstro can sound.
The second half of the album starts over with the enthusiastic track 'Pouca-Terra', all racing chords and clouds of cymbal, building to a beautiful textural density and ecstatic finale. The studio dynamics have also kept up with Pega Monstro's evolving compositions, pushing songs like this further into the group's own unique atmosphere. Pega Monstro nurture their songs, letting them follow tangents, take risks, fall over even if it means they sound more alive. There's a sense of sisterly oneness and provision apparent in their music allowing Pega Monstro to sound instinctual yet awash with ideas. 'Fado da Estrela D'Ouro' and 'Sensação' are decidedly delicate in manner, drawing on themes of equal restlessness and wistfulness. 'Sensação' even concludes with the sisters singing the traditional Portuguese folk air At the door of the holy souls, God knocks every hour'. Their songs are given the space to grow on their own terms.
Finally, 'Odemira' draws 'Casa de Cima' to a close in triumphant style. Drums and guitar chase each other feverishly, galloping ever faster before breaking into calmer clearings of hushed vocal reverie and serene falsetto. It's in this last song that we find, not only the conclusion - the record's sense of being whole - but also the most emotional side of Pega Monstro. This album was written and recorded with the strong presence felt of the band's family, along with a certain freedom that can only be attained by the unconditional and critical support of all their loved ones. 'Casa de Cima' has its eyes firmly set on the heavens and is courageous enough to climb mountains to get closer to them.

W. H. Lung is a recording project founded in Manchester in mid-2016. Its first release, recorded at The Nave in Leeds and produced by Matt Peel, is double A-side single 'Inspiration!' / 'Nothing Is'.

The tracks locate ideas of eternity and belonging in a peregrination through the absurdity of meaninglessness. W. H. Lung write like the conscious citizen: locate yourself, reflect.

'Inspiration!' / 'Nothing Is' will be released on limited edition 10" vinyl via Melodic on May 12th 2017. W. H. Lung continue to write and record.

3 x 12' black heavyweight vinyl with triple gatefold sleeve

Pega Monstro are sisters Julia Reis (drums) and Maria Reis (guitar), both sing. They share the same birthday but are not twins and have always lived in Lisbon, Portugal.

Having played music together in other groups since their mid-teens, Maria and Julia, resolved to become a duo in 2010 focussing on their intuitive sense of harmony and expressionistic dream-punk sound. Pega Monstro released their self-titled debut album on their own Cafetra imprint in 2012, with national critical acclaim meeting the raucous garage-rock inflected record. Whilst, 2015 saw Pega Monstro team up with UK label Upset The Rhythm for their impressive and more sonically developed 'Alfarroba' album that led to international attention. Now Pega Monstro return with their third album entitled 'Casa de Cima', which translates as 'Upper House'. The album shares its name with the Villa in which the album was recorded, nestled amongst the pine-scattered terrain of the Sintra mountains. 'Casa de Cima' was recorded through September 2016 by Leonardo Bindilatti, who also produced their last record.

'Casa de Cima' opens with 'Ó Miguel' its first line translating as 'I changed the strings on my guitar'. Like the first line of a spell, the words entreat you to hear how much Pega Monstro have grown in confidence and vision, they are trying something new. There is no rush, only effortless intent, they sound compelling and assured and let the song unfold in its own leisure. The stunning 'Partir a Loiça' follows with its stammering rhythms and soaring, swirling vocals. The song's title, literally 'break all the dishes', is a saying in Portugal meaning to shake things up and exceed expectations, a worthy title indeed.

Much like the mysterious water jug on the cover of the album, burnished with unknowable symbols suggesting art-deco hieroglyphs, Pega Monstro constantly reach for something beyond plain comprehension, stretching songs to their limits before collapsing them back into new, more interesting forms. The Portuguese poet and writer Fernando Pessoa had a similar mutable approach to his work, inventing over seventy different pen names, called heteronyms, to act as conduits for the limits of his imaginative writing. Pega Monstro recite one of Pessoa's poems called 'O moinho de café' during the third act of their epic yet romantic track 'Cachupa'. Having their home city of Lisbon in common, Pega Monstro untether Pessoa's words from the city's fixated tourist treatment and let them breathe back their soul. The band's approach to song has always been both refreshing and eloquent and 'Cachupa' is a good example of how natural and spontaneous Pega Monstro can sound.

The second half of the album starts over with the enthusiastic track 'Pouca-Terra', all racing chords and clouds of cymbal, building to a beautiful textural density and ecstatic finale. The studio dynamics have also kept up with Pega Monstro's evolving compositions, pushing songs like this further into the group's own unique atmosphere. Pega Monstro nurture their songs, letting them follow tangents, take risks, fall over even if it means they sound more alive. There's a sense of sisterly oneness and provision apparent in their music allowing Pega Monstro to sound instinctual yet awash with ideas. 'Fado da Estrela D'Ouro' and 'Sensação' are decidedly delicate in manner, drawing on themes of equal restlessness and wistfulness. 'Sensação' even concludes with the sisters singing the traditional Portuguese folk air 'At the door of the holy souls, God knocks every hour'. Their songs are given the space to grow on their own terms.

Finally, 'Odemira' draws 'Casa de Cima' to a close in triumphant style. Drums and guitar chase each other feverishly, galloping ever faster before breaking into calmer clearings of hushed vocal reverie and serene falsetto. It's in this last song that we find, not only the conclusion - the record's sense of being whole - but also the most emotional side of Pega Monstro. This album was written and recorded with the strong presence felt of the band's family, along with a certain freedom that can only be attained by the unconditional and critical support of all their loved ones. 'Casa de Cima' has its eyes firmly set on the heavens and is courageous enough to climb mountains to get closer to them.

Formed in Derbyshire, in early 1978 by vocalist Martin Roper and guitarist Dugi Bell, Anti-Pasti were one of the big names of the 1980-1982 wave of UK punk, lagging only slightly behind The Exploited, GBH, and Discharge in terms of sales and leather-jacketed endorsements. Their debut album, which reached #31 on the UK charts, was originally released on the Rondelet label in 1981. That classic LP is faithfully reproduced here on vinyl with the addition of 4 bonus tracks from their first single, 1980's 'Four Sore Points'. A milestone in UK political punk!

Originally released on venerable Posh Boy Records in 1981, and reissued on the legendary UK label No Future to support their ever-growing European fan base, the "CH3" EP started the long and twisted career of one of the longest running bands among the prime movers of California Punk Rock. Hailing from the thriving community of Cerritos, whose frantic rhythms provided a natural soundtrack for boredom and outrageous alcohol abuse, Channel 3 were was formed by friends-since-third-grade Mike Magrann and Kim Gardener in 1980. Even though after their 'CH3' 12" and the seminal "Fear Of Life" LP the band kept moving towards a more technical approach, experimenting with other forms of music, their early production remains an archetype of young, angry, desperate suburban California punk rock. This enhanced reissue on Radiation also features their "I'll Take My Chances" 7", tracks from compilations, as well as the group's 'lost' anthem: "Indian Summer". File next to: Adolescents, Black Flag, TSOL and Social Distortion.

Aimed at shocking and insulting everyone, playing the rawest, most obnoxious and out of tune punk rock ever heard until then, and using the world 'fuck' more than any other band before, Chaotic Dischord formed in Bristol in 1981 with a mission to spoof and parody the pointlessness of all the generic second-wave mohawk-punk acts that had recently signed to Riot City. Ironically, they became one of the label's best-selling acts. This "enhanced" version of their groundbreaking first LP comes complete with their whole second studio effort, the hyper rare "Don't Throw It All Away" 12", originally on Riot City from 1984, adding up to a total of 24 pure "UK82" bullets!

Disorder are a hardcore punk band formed in 1980 in Bristol, and still going strong today.The Singles Collection compiles their first and fieriest recordings in one place, comprised of 3 7' EPs and the 8 track 12' EP Perdition - recordings which John Peel allegedly referred to as sounding like shit' (possibly a compliment) - this LP of long out of print recordings would be a welcome addition to any punk collector's shelves. Another essential piece of the UK punk puzzle reissued by Radiation.

Coming out of the Detroit suburb of Lincoln Park, the MC5 are arguably the most influential garage and proto-punk band of all-time. Already firmly established on the local Detroit scene by 1967, the group released their first single that year - a ripping original called "One Of The Guys" backed with a great cover of Them's "I Can Only Give You Everything" - on the tiny AMG Records label. You can wait years for the opportunity to blow $500 on an original copy, or you can grab this killer hand numbered picture disc reissue of 500 only. The choice is obvious.

Formed in 1978 in the smalltown of Peacehaven by Del Strangefish and Pete Bywaters, Peter & The Test Tube Babies have been one of the most representative and longest running UK OI! bands ever. Unlike most bands of this ilk, their line-up remained pretty stable through the years, mostly thanks to Peter and Del never giving up the ghost. This unique collection gathers together the A and B sides from the Test Tubes early, most successful years starting with their 1982 debut single on the legendary No Future label, up to their later hits on Jungle and Trapper Records ending 1985. This essential collection provides a close look at the band's peak, and includes the UK Indie Chart hits Banned From The Pubs' (#10), Run Like Hell' (#2), Zombie Creeping Flesh' (#2), Blown Out Again' (#40), Wimpeez' (#8) and Keys Of The City' (#14).

Rubella Ballet are a gothic anarcho-punk band formed in autumn 1979 by former Fatal Microbes Pete Fender (guitar) and Gem Stone (bass) with vocalist Zillah Minx, and Flux of Pink Indians drummer Sid Ation. In 1980 Rubella Ballet released their first batch of material on a cassette album titled "Ballet Bag' for Poison Girls' XNTRIX Records. Their sound went from fast punk to full on Goth,

Formed in 1978 by David Corboy, senior citizen in Northwest punk rock, (who had been playing in bands since 1963!), Portland's KBD punk legends SADO-NATION released their groundbreaking debut EP in 1980, and switched right after to a faster and tighter hardcore punk mostly thanks to the addition of the singer Mish Bondage to the band. Voted best female voclaist by Flipside in 1984, Mish's frightening stage presence and meaningful lyrics, gave Corboy's compositions a new twist, which resulted in one of the most hidden treasures of American 80's Hardcore Punk history. SADO-NATION first lp, originally released on the Brainstem label in 1982, is now legitimately reissued on vinyl for the first time in 30 years, thanks to Radiation Records and the original band members. After years of struggle and despair, hundreds of punk record collections can now be easily completed.

Recorded throughout Europe.
Assembled in Stockholm at EMS studios and in Copenhagen 2014-2016

Mixing assistance by Malthe Fischer, Copenhagen
Mastering by Bonati, New York
Cut at Dubplates & Mastering, Berlin
Additional instrumentation by Anton Rothstein, Mikkel Reher Langberg, Alex Zhang Hungtai, Kristian Emdal & Elias Bender Rønnenfelt

Artwork by Rahbek, Emdal & Højlund


Editions Mego is pleased to welcome Danish Loke Rahbek (Damien Dubrovnik,Croatian Amorand Posh Isolation) to the fold. Known for countless creative and commercial endeavours Loke presents his first solo full length under his own name. As with all of Loke's output City of Woman harnesses the radical with the aesthetic in a manner of extreme pleasure for all who encounter.

Harnessing his thorough knowledge and experience in extreme electronics, melodic encounters and sultry showmanship Loke ties together disparate threads of various underground movements to create a singular and deeply personal journey through industrial temptation, noise refraction and melodic seduction.

This is 21st Century pop music. One which dismantles previous held borders of sound to present a wide palate of sound, song, abstraction and intense emotion.

The career path of Redd Kross has been a long and winding one. Starting out as part of the burgeoning Los Angeles South Bay punk scene in the late 1970's. Kids hanging out at the legendary Church in Hermosa Beach that served as the head quarters of Black Flag, along with the living quarters of some of it's members.

There they picked up instruments and begun. Brothers Steven & Jeff McDonald joined by future Circle Jerks guitarist, Greg Hetson & future Black Flag vocalist, Ron Reyes.

Members came and went, the nucleus of the band, the McDonald brothers always at the helm though guiding the band from it's early roots as a thrashy punk rock band through to the metamorphosis of power pop titans.

Third Eye was their debut major label release on Atlantic Records, their third long player over all.

Featuring the hit singles that should have been, Annie's Gone' and 1976'. Third Eye was jam packed with catchy hooks, slick production and memorable tunes. Sadly, it was the only album on Atlantic Records.

Released originally in 1990 in the golden period of the major label's deciding vinyl was dead', and compact discs were the future (remember them) Third Eye' was only briefly available on vinyl in the U.S and saw extremely limited released on vinyl in Europe.

Subsequently Third Eye' has become increasingly hard to find on vinyl. That's now been corrected.

Stockholm-based Wolfbrigade announce the news of their ninth full-length album, titled Run With The Hunted, set for release on April 28th through Southern Lord.

Formed in 1995, initially as Wolfpack, after five years they ventured into the new millennium as Wolfbrigade. The band have released an impressive volume of LPs and smaller releases, and have toured widely over the years, becoming one of the premier acts of their genre. Their damning music surges with outcries against human socio-political injustices, yearning for transformation and freedom.

Wolfbrigade's Run With The Hunted strikes with ten brutal new tracks of their trademark d-beat, hardcore-crust-punk fury, elevating both the harsh intensity and the melodic attributes of their music to new extremes of savageness. There's a concentrated sense of urgency across the record, and a sense of dystopia fuelling the scathing vocal wrath. Run With The Hunted was recorded in both Studio Fredman in Gothenburg (At the Gates, In Flames, Martyrdöd), by Fredrik Nordström and Henrik Udd, and in Sunlight Studio (Dismember, Entombed, Grave) in Stockholm, by Tomas Skogsberg.
 
  About the new album, Wolfbrigade declares, We looked to explore our rawness, writing straight-up, in-your-face, primitive songs. On this record, we decided to push the melodic strains even further, but without losing either intensity or brutality. Lyrically we have been inspired by both classic and obscure dystopian literature, finding suitably horrible metaphors for the decline of western society. The search for freedom continues, but this time the path is pointed inwards, into ourselves.'
Run With The Hunted











 

Stockholm-based Wolfbrigade announce the news of their ninth full-length album, titled Run With The Hunted, set for release on April 28th through Southern Lord.

Formed in 1995, initially as Wolfpack, after five years they ventured into the new millennium as Wolfbrigade. The band have released an impressive volume of LPs and smaller releases, and have toured widely over the years, becoming one of the premier acts of their genre. Their damning music surges with outcries against human socio-political injustices, yearning for transformation and freedom.

Wolfbrigade's Run With The Hunted strikes with ten brutal new tracks of their trademark d-beat, hardcore-crust-punk fury, elevating both the harsh intensity and the melodic attributes of their music to new extremes of savageness. There's a concentrated sense of urgency across the record, and a sense of dystopia fuelling the scathing vocal wrath. Run With The Hunted was recorded in both Studio Fredman in Gothenburg (At the Gates, In Flames, Martyrdöd), by Fredrik Nordström and Henrik Udd, and in Sunlight Studio (Dismember, Entombed, Grave) in Stockholm, by Tomas Skogsberg.
 
  About the new album, Wolfbrigade declares, We looked to explore our rawness, writing straight-up, in-your-face, primitive songs. On this record, we decided to push the melodic strains even further, but without losing either intensity or brutality. Lyrically we have been inspired by both classic and obscure dystopian literature, finding suitably horrible metaphors for the decline of western society. The search for freedom continues, but this time the path is pointed inwards, into ourselves.'
Run With The Hunted











 

Stockholm-based Wolfbrigade announce the news of their ninth full-length album, titled Run With The Hunted, set for release on April 28th through Southern Lord.

Formed in 1995, initially as Wolfpack, after five years they ventured into the new millennium as Wolfbrigade. The band have released an impressive volume of LPs and smaller releases, and have toured widely over the years, becoming one of the premier acts of their genre. Their damning music surges with outcries against human socio-political injustices, yearning for transformation and freedom.

Wolfbrigade's Run With The Hunted strikes with ten brutal new tracks of their trademark d-beat, hardcore-crust-punk fury, elevating both the harsh intensity and the melodic attributes of their music to new extremes of savageness. There's a concentrated sense of urgency across the record, and a sense of dystopia fuelling the scathing vocal wrath. Run With The Hunted was recorded in both Studio Fredman in Gothenburg (At the Gates, In Flames, Martyrdöd), by Fredrik Nordström and Henrik Udd, and in Sunlight Studio (Dismember, Entombed, Grave) in Stockholm, by Tomas Skogsberg.
 
  About the new album, Wolfbrigade declares, We looked to explore our rawness, writing straight-up, in-your-face, primitive songs. On this record, we decided to push the melodic strains even further, but without losing either intensity or brutality. Lyrically we have been inspired by both classic and obscure dystopian literature, finding suitably horrible metaphors for the decline of western society. The search for freedom continues, but this time the path is pointed inwards, into ourselves.'
Run With The Hunted











 

Formed in the Manchester suburb of Middleton in 1981 The Chameleons were one of the more influential post-punk groups of the early to mid 80s. Recorded in early 1983, several months before the release of their acclaimed debut, Script of the Bridge, this live recording, from Manchester's Hacienda club, features early, raw versions of a handful of tracks from their debut album as well as the timeless debut single, "In Shreds", and two tracks only available here ("Men Of Steel" and "Years Ago"). The Chameleons are a hugely influential group that bridged the gap between early 80s UK post-punk, and the swirling brit-pop of early 90s Creation Records. Catch them here at their earliest and rawest. Live At The Hacienda is pressed in a numbered limited edition splatter vinyl version.

Nocturnal soundscapes, brooding electronics, ambient layers and occasional hooks: "" compiles rare and early recordings of Seoul's Byul.org, an influential creative collective known for its multidisciplinary/one-stop shop approach & post-punk-inspired DIY aesthetics. Carefully compiled by the collective's director TaeSang Cho and The Notwist's Markus Acher, the album is out via Alien Transistor.What started out in 2000 as a group of friends who'd meet for drinks (and for sharing the occasional poem), has long established itself as a shape-shifting key player of Seoul's thriving scene: With a huge amount of both commercial and non-commercial projects under their collective belt, Byul.org's members -TaeSang Cho, Yu Hur, Jowall, YunYi Yi, and SuhnJoo YI - went from publishing to recording, from releasing tunes to doing art shows, offering everything from branding to consulting and art direction, from naming and design to software development along the way. Although their list of clients includes Atelier Hermès and the Venice Biennale (they did the Korean Pavilion twice), the group still remains a drinking circle of close friends at its core: Buddies who love to create music and document their daily lives via recordings and performances... indeed: Sometimes all it takes is the right crew.Accordingly, for Byul.org's members, music has always been one outlet among many, one mode of expression to accompany and soundtrack others: Most of the songs on "" were originally released on CDs that came with the collective's own Monthly Vampire, A Magazine, while others were self-published via the group's own label Club Bidanbaem. Featuring sonic diary entries recorded between 2000 and 2007, the album is a nod to personal favorites such as Eno and Aphex Twin, Joy Division and Kraftwerk, personal hero Robert Smith, as well as Korean stalwarts such as Jae Ha Yoo, and Min Ki Kim - and yet there's hardly any daylight around, to be precise - hence the title: "Traditionally in Korea a 'BamDokkebi' is a kind of ghost or monster of the night, but it has also come to mean people who spend their nights out instead of sleeping. We've always been a group of 'BamDokkebi' - drinking, DJing, doing stupid things. These recordings document our night life in different ways, and we wanted to share them with other 'BamDokkebis' (Nacht Dämonen) like us."Far from polished and often sparse, the 13 tracks all share a rather dark and haunting vibe that's partly inspired by "drug culture, dance floor scenes, the LGBT scene, and the hippie culture in Korea". Ranging from fairly straightforward synth/electro tracks (e.g. "Friday Night") to hazy hymns/understated pop tunes (e.g. "20th Century Of Me And You"), from more experimental textures (e.g. album opener "Job") to minimalist bangers ("A Customer") and haunting vocal tracks ("City Made Of Lights"), it's difficult to escape the soothing, cinematic pull of this nocturnal "Secret Show".The Korean music scene has always been somewhat elusive on the global stage - even world-class acts such as Sanulim and Shin Jung Hyeon remain a bit of a mystery abroad - but this shouldn't be confused with mere insularity. These 13 tracks offer a peak into a hidden but vibrant scene, a glimpse of what takes place while the rest of us are sleeping.

At long last: Here come the demons of night, Seoul's original Nacht Dämonen.

Written and produced by Mark Clifford and Scott Gordon. Cut and mastered at Dubplates & Mastering, Berlin by Rashad Becker

Artworks by Joseph Haesche

Editions Mego is proud to present the first full length self titled release from Oto Hiax. Comprised of Mark Clifford (Seefeel) and Scott Gordon (Loops Haunt) it follows on from last years acclaimed EP 'One'. Embracing a series of sonic opposites 'title' employs electronic and concrete sound to construct a labyrinth of moods sliding from basic repetition to complex audio suites. The mood is such that the listener is advised to embrace the unexpected as unusual elements gently drift across the audio plane. Exquisitely executed, this is no foray into generic sound design but a rich and complex ruse whereby seemingly jarring sonic elements play out a subtle and harmonious bridge between a variety of musical styles and genres. Insh carries the kind of hallowed kraut comfort that only seasoned professionals can harness whereas Eses Mitre disorientates in the most enticing fashion. Oto Hiax have produced an album of exquisite detail and beauty. Now is their time.

The last few copies of a 500 run. The definitive double LP of Kleenex / Liliput's pre-1982 material. All three Kleenex singles - originally released by Sunrise and Rough Trade, the first two Liliput 7", and all the originally unreleased material prior to Liliput's debut LP.
You can't dispute Liliput's status as pioneers of feminist art-punk. Along with fellow travelers like the Slits and the Raincoats, this (mostly) female Swiss group took advantage of punk's anything-goes attitude and created jittery, spirited pop that was both in step with the times and completely singular. The early material is a riot of exuberant energy, taking stylistic cues from peers like Gang of Four and Wire--propulsive bass, skittering pop rhythms, slashing guitars--and adding distinctive overlapping vocal patterns, which are sung, shrieked, and hiccupped in three languages and made-up dadaistic slang. More than 20 years on, it still sounds fresh.' - Lisa Gidley

Chelsea were an integral part of the punk fabric in London in 1976/77. With Tony James, John Towe and Billy idol leaving to form Generation X, charismatic skipper Gene October eventually put together the classic line-up that would produce punk anthems such as Right To Work, Urban Kids and Evacuate. Missing out on the major label backing of their more famous counterparts, Chelsea continued to bring an explosive live set to iconic venues such as Blackpool's notorious Bier Keller where their undiminished, raw power was dished out with little regard for anyone standing in the way. Interference proudly presents a prime chunk of British punk with the complete live performance from London's original punk stalwarts Chelsea, live from the Bier Keller in Blackpool on 8th December 1983. Professionally re-mastered original sound recording with expansive liners, interviews and rare archival photos.

Slaughter & the Dogs were one of the first punk rock bands on the English scene in 1976, hailing from the notoriously tough Manchester suburb of Wythenshawe (once the skinhead capital of the North). Although never fully embraced by the punk fashionistas down in London, The Dogs embodied the British sound more than anyone knew it. Hauled around London by Malcolm McLaren, they personified the true urban instincts of rock 'n' roll with a homage to Mick Ronson, The Sweet, New York Dolls and Lou Reed in venues such as The Roxy, Nashville and The Vortex. Interference proudly presents the cutting edge of British punk with what is arguably, the first ever punk rock recordings made in England in 1976. Coupled with outtakes, demos, live tracks and their rare 1977 debut

40 Jahre nach ihrer Gründung im jahr 1976 veröffentlichen wir jetzt den Reissue eines Bootlegs der englischen Punk-Rocker, das im selben Jahr eingespielt wurde. "Time's Up" ist eine Sammlung von Demos, die an einem Tag live in den Revolutions Studios in Stockport aufgenommen wurden. Die Original-Sleeve Notes geben folgenden Einblick in den Aufnahmeprozess: "No-remix demos, all recorded live, no overdubs ... October 1976, 4 track, costs about £45." Authentisch und ungeschliffen, so geht Punk! Vier dieser Tracks erschienen 1977 auf ihrer Debüt-EP "Spiral Scratch", die sie in wahrer DIY-Manier im Alleingang ohne Hilfe einer Plattenfirma veröffentlichten. Die 1.000 hergestellten 7"es waren im Handumdrehen ausverkauft, der Rest ist Geschichte.

For those that have ever ruminated on the possibilities of using wasps as weapons, biological immortality, or Janet Street Porter's teeth - you are not alone. And here is your soundtrack.
BAIT.

BAIT is the sound of industrial machines playing ping-pong in the back of a stolen XR3i tearing down the Autobahn. BAIT is the sound of surfing into a concrete wall, to the soundtrack of the monotonous bip of the U Boat radar. BAIT is no mere band. BAIT is no simple record. BAIT is an art project consisting of ex-members of BADDIES, current members of ASYLUMS, and producer of esoteric electronica M R E.

BAIT's album will be released on Southend's emerging Cool Thing Records, responsible for spawning BBC 6 Music and Radio X favourites Asylums, The Horse Heads, and Becky Margaret. Michael and Luke have reversed their Asylums duties, with Luke in charge of the bass guitar and Michael forming the mouthpiece of BAIT.
Like an unholy science experiment that has spliced the genes of Killing Joke and Sleaford Mods, BAIT's self-titled album is a 21st century post-punk classic in waiting. Excavating deep into Michael's psyche and blasting it out through a wall of speakers, BAIT is a complex tapestry of humour, anger, determination, fear, selfies, identical twins, and disobedient elephants.

Silver/Lead is the 15th studio album from musical pioneers Wire. It arrives on the 40th anniversary of their debut performance. Yet it's about as far from nostalgia as you could get. This is the sound of a uniquely addictive 21st century psychedelic post-punk. Colin Newman and Matt Simms' guitar work is alternately jagged and luminous, while bassist Graham Lewis's ear-catching lyrics are vivid yet oblique. Meanwhile, drummer Robert Grey provides a virtual masterclass in percussive minimalism. But it's how the various instruments mesh together that really counts. And Newman's production cre-ates a sonic space in which even the smallest gesture is accorded some recognition.
Highlights include the optimistic dazzle of 'Diamonds In Cups', with its almost T. Rex-style buzz and chug, and the moody swing of 'This Time'. Elsewhere on the musical spectrum, there's the menacing widescreen grandeur of 'Playing Harp for the Fishes' and breakneck-paced guitar pop of 'Short Ele-vated Period'.
Wire are one of the world's most ground-breaking bands, their influence acknowledged by bands as diverse as Blur, Sonic Youth, R.E.M. and Savages. But they have never been interested in exploiting past glories. For Wire, there is only ever one possible direction: forwards. So it's perhaps not surpris-ing that over recent years, they've played strings of sold-out shows, achieved career-best record sales, and been cited as a strong influence by yet another generation of bands.
Wire's last three albums garnered nothing but rave reviews. From 2013's strangely beautiful Change Becomes Us ( It's fantastic.' - Pitchfork) to the crackling motorik of 2015's Wire ( It's all really well turned, potent and crisp.' - The Guardian), and last year's punchy mini-album Nocturnal Koreans ( It's a cracker and sounds defiantly modern.' - The Quietus). Consequently, although it may be being released on the band's 40th anniversary, Silver/Lead is an album which has nothing to do with the past and everything to do with the future.

Silver/Lead is the 15th studio album from musical pioneers Wire. It arrives on the 40th anniversary of their debut performance. Yet it's about as far from nostalgia as you could get. This is the sound of a uniquely addictive 21st century psychedelic post-punk. Colin Newman and Matt Simms' guitar work is alternately jagged and luminous, while bassist Graham Lewis's ear-catching lyrics are vivid yet oblique. Meanwhile, drummer Robert Grey provides a virtual masterclass in percussive minimalism. But it's how the various instruments mesh together that really counts. And Newman's production cre-ates a sonic space in which even the smallest gesture is accorded some recognition.
Highlights include the optimistic dazzle of 'Diamonds In Cups', with its almost T. Rex-style buzz and chug, and the moody swing of 'This Time'. Elsewhere on the musical spectrum, there's the menacing widescreen grandeur of 'Playing Harp for the Fishes' and breakneck-paced guitar pop of 'Short Ele-vated Period'.
Wire are one of the world's most ground-breaking bands, their influence acknowledged by bands as diverse as Blur, Sonic Youth, R.E.M. and Savages. But they have never been interested in exploiting past glories. For Wire, there is only ever one possible direction: forwards. So it's perhaps not surpris-ing that over recent years, they've played strings of sold-out shows, achieved career-best record sales, and been cited as a strong influence by yet another generation of bands.
Wire's last three albums garnered nothing but rave reviews. From 2013's strangely beautiful Change Becomes Us ( It's fantastic.' - Pitchfork) to the crackling motorik of 2015's Wire ( It's all really well turned, potent and crisp.' - The Guardian), and last year's punchy mini-album Nocturnal Koreans ( It's a cracker and sounds defiantly modern.' - The Quietus). Consequently, although it may be being released on the band's 40th anniversary, Silver/Lead is an album which has nothing to do with the past and everything to do with the future.

Peripheral Minimal is proud to present: 'Synthetique: A French Synthwave Compilation 1982-2016'.
Almost a year in the making, with tracks having been mislaid or buried underneath piles of original demos, then reconstructed and remastered! This compilation aims to highlight the core elements of French Synth-Pop from it's earliest incarnation to newer acts influenced by the earlier protagonists distinctive sounds and retro imagery. There will be many a familiar name here, and perhaps a few unknowns. It is not an exhaustive list of the acts associated with this particular 'scene', but a tribute to the idiosyncrasy and diversity of French analogue music.
Many of the tracks are completely unreleased or are early demos. For the aficionado we hope this fulfils a rediscovery of old classics or to the late-comer a decent collection of tracks that serve as an introduction to the uniqueness of French Synth music and the burgeoning new scene.
Conceived and curated by Jason B Bernard. The album comes in a luxurious digipak and is limited to 500 copies. Artwork by Oleg Galay and remastered by Martin Bowes @ The Cage

Liv Willars (guitar) and Jen Calleja (drums) met while living in Brighton via Richard Phoenix of Sauna Youth - a band Jen would join soon after - and pretty much immediately promised to start a band with each other when they had both fulfilled plans to move to London. They played their first show at Power Lunches in the summer of 2012 and performed as a duo for nearly two years before Heather Perkins (of Slowcoaches) joined on bass after she moved from Nottingham to London in 2014. Their most recent release was a split 7' with Slowcoaches, released by South London DIY label Unwork Records, and both bands toured together in the summer of 2014.Initially inspired by the addictive quality of the motoric Cold Pumas and jagged doom of Vision Fortune alongside the otherworldly radio pop of Ariel Pink, Feature's first release was a 4-track demo recorded by Richard Phoenix and released on Lindsay Corstorphine's (also of Sauna Youth) tape label Cazenove Tapes. This was followed by 'The Culture of the Copy' EP released by Sheffield label Tye Die Tapes and was also recorded in the back room of the recently closed Tye Die DIY space.
Self-described as melodic-punk and drone-pop, on debut album 'Banishing Ritual' they strike from bare, menacing punk to harmonious post-punk to blisteringly fast garage-pop to ponderous instrumental, showing not only their overlapping music tastes, but also how the band has gained broad influences over the years representative of the diversity of the UK DIY scene from Joey Fourr to Good Throb. Calleja's lyrics are sparse narratives: a love song for a twin consumed in the womb, the stalking of a doppelganger, a rallying cry against the lack of belief in women's ability to be artists, a tongue-in-cheek look at jealousy and bitter competitiveness. Though Calleja provides a leading vocal throughout, all three members sing on most songs to create unmatchable and unexpected vocal harmonies, plus friend and fellow London DIY musician Joey Fourr provides his immense vocal range on two tracks.The band has always been vocal and present on issues regarding women in the DIY scene and wrote/co-wrote a number of essays on themes including sexism in music journalism, musical influence, non-musician roles bodied by women in the music industry, and the representation of women on mainstream versus DIY bills, which was published by Pitchfork.
 
Feature gigged all over the UK and played their final shows at Tramlines/Alternative Tramlines and Indietracks Festival in and around Sheffield and Nottingham at the end of last year. They supported bands including The Julie Ruin, Chain and the Gang, Verity Susman and Protomartyr, played Supernormal Festival, were in session with Marc Riley on BBC 6 Music and their only non-UK show was also one of their final, a joint headline show with Diät in Berlin.
 
Liv has now relocated to Sheffield and has started a new band, Jen plays in Sauna Youth and their alter-ego Monotony along with new band Gold Foil, and Heather is currently on tour with Slowcoaches, with the band having just released their debut album also.