Pop & Rock Novedades

DELUXE VINYL EDITION!!!
"Orcastrated" is a studio album by the English Punk rock band TOY DOLLS, orginally recorded in 1995. The album features several cover versions of classical music. The album was received positively by critics. Writing in 2002, Razorcake said Orcastrated "runs pretty much along the same lines as all the other post-Bare-Faced Cheek releases, meaning the tempos rarely get too frantic, but the songwriting is consistently top-notch. The cover of Small Face's Lazy Sunday Afternoon' is mighty swell," and Ian Glasper also called the album "brilliant" in his 2004 book Burning Britain: The History of UK Punk 1980-1984.

DELUXE VINYL EDITION!!!
"One More Megabyte" is the ninth studio album by the English punk rock legends TOY DOLLS. The album continues the band's humorous approach to punk rock and Oi! music. A key concept to the album were the increasing popularity of computers, with the album cover, album title and several tracks referring to them. The title track itself refers to a young man obsessed with playing computer games who requires "one more megabyte." Other topics on the album include the quarrels of lovers, the subject of at least four songs, "snotty" Shakespearean actors and "lonely
introverts." The album also contains several cover versions, including The Proclaimers' "I'm Gonna Be (500 Miles)". The songs on the album begin and end with brief comedy sketches, or "skits" that relate to the songs, which in the words of one critic "put a wonderful novelty "spin" to the album."

Soul Jazz Records are releasing a collection of lost recordings by French mutant experimental synth group KaS Product, all originally recorded in the period 1980 - 83. KaS Product feature on Soul Jazz Records' recent Punk 45 - Les Punks: The French
Connection. Mainly recorded on early tape, synth and drum machines, KaS Product's mixture of Spatsz' hypnotic, electronic and angular hard-edged beats, matched to the spiky vocals and guitar of Mona Soyoc, have led to comparisons with Suicide, Liliput/Kleenex, Cabaret Voltaire as well as to the group being forerunners of the cold wave/synth wave movement.
The recordings here are taken from their early releases on the local Punk label from Nancy, France, at the start of the 1980s that were first put together on CD by the French Fan Club
label in 1990.
Soul Jazz Records are releasing the album on limited-edition vinyl LP (with download), CD and worldwide digital.

Timely outing from two grand masters of exploratory electronics. Kassel Jaeger is the moniker of French musician François Bonnet who works at the GRM and has released a number of books including the highly regarded The Order of Sounds, A Sonorous Archipelago published by Urbanomic in 2016. Jim O'Rourke is known to most through his explorations of the song and shapes, the high and low, the east and south.

Wakes on Cerulean is a joint adventure where process folds upon process and the operation of procedure remains unknown. Amongst a mysterious cloud of excited high frequencies tiny whistling howls. Frog leaps in technique lay out a thrilling and uplifting journey that runs from the soothing to ecstatic and back to the buoyant again.

Wakes on Cerulean is a staggering feast of the joys found in electronic process. A malleable bubble of hovering excitement, melody and joyous refrain.

Wake in Fright, the second full-length by the New York City duo Uniform, is a harrowing exploration of self-medication, painted in the colors of war. Following the Ghosthouse 12", whose A-side Pitchfork called their most relentless track yet,' vocalist Michael Berdan and guitarist/producer Ben Greenberg return with a new batch of even more punishing songs that incorporate elements of industrial music, thrash metal, harsh noise, and power electronics.

This record is primarily about psychic transition,' Berdan explained. The distress that these songs attempt to illustrate comes from a place of stagnation and monotony. This is what happens when old ways of thinking become exhausted and old ways of coping prove ineffective. Something must change or it will break.'

The characters Berdan brings to life in his lyrics quit using but have ruinous relapses ( Habit') or struggle as their resolve crumbles ( Bootlicker'), they use alcohol to ease their insomnia but and are helpless when they get sober and stop sleeping again ( Night of Fear'), they're existential misanthropes trapped in dead-end lives ( The Lost').

Greenberg sets these stories to menacing guitar and samples of literal sounds of war — the kick drums are bombs going off, the snares are gunshots. He drew the record's immense sample library from action movies, Foley sound packs, field recordings, and more, and the result is devastating. The guitar is also as crucial as ever, and now as indebted Slayeras it is to Big Black. Greenberg conjures up massive riffs and shredding solos, pushing the band deeper into the metal world whose borderlands they've long stalked.

We are surrounded by war and the whole world is burning and it doesn't seem like there are any appropriate reactions or responses left anymore,' Greenberg elaborated. This music is our response to and our reflection of the overwhelming violence, chaos, hate, and destruction that confronts us and everyone else in the world every day of our lives. When we play, I don't feel powerless anymore. I hope this record can help others transcend their anger and frustration.'

Touring North America and Europe beginning in February Members of The Men, Drunkdriver, Pygymy Shrews, York Factory Complaint, and more

Ghosthouse received excellent coverage on Pitchfork, Thump, CLRVYNT, Stereogum, and more

Wake in Fright, the second full-length by the New York City duo Uniform, is a harrowing exploration of self-medication, painted in the colors of war. Following the Ghosthouse 12", whose A-side Pitchfork called their most relentless track yet,' vocalist Michael Berdan and guitarist/producer Ben Greenberg return with a new batch of even more punishing songs that incorporate elements of industrial music, thrash metal, harsh noise, and power electronics.

This record is primarily about psychic transition,' Berdan explained. The distress that these songs attempt to illustrate comes from a place of stagnation and monotony. This is what happens when old ways of thinking become exhausted and old ways of coping prove ineffective. Something must change or it will break.'

The characters Berdan brings to life in his lyrics quit using but have ruinous relapses ( Habit') or struggle as their resolve crumbles ( Bootlicker'), they use alcohol to ease their insomnia but and are helpless when they get sober and stop sleeping again ( Night of Fear'), they're existential misanthropes trapped in dead-end lives ( The Lost').

Greenberg sets these stories to menacing guitar and samples of literal sounds of war — the kick drums are bombs going off, the snares are gunshots. He drew the record's immense sample library from action movies, Foley sound packs, field recordings, and more, and the result is devastating. The guitar is also as crucial as ever, and now as indebted Slayeras it is to Big Black. Greenberg conjures up massive riffs and shredding solos, pushing the band deeper into the metal world whose borderlands they've long stalked.

We are surrounded by war and the whole world is burning and it doesn't seem like there are any appropriate reactions or responses left anymore,' Greenberg elaborated. This music is our response to and our reflection of the overwhelming violence, chaos, hate, and destruction that confronts us and everyone else in the world every day of our lives. When we play, I don't feel powerless anymore. I hope this record can help others transcend their anger and frustration.'

Touring North America and Europe beginning in February Members of The Men, Drunkdriver, Pygymy Shrews, York Factory Complaint, and more

Ghosthouse received excellent coverage on Pitchfork, Thump, CLRVYNT, Stereogum, and more

Wake in Fright, the second full-length by the New York City duo Uniform, is a harrowing exploration of self-medication, painted in the colors of war. Following the Ghosthouse 12", whose A-side Pitchfork called their most relentless track yet,' vocalist Michael Berdan and guitarist/producer Ben Greenberg return with a new batch of even more punishing songs that incorporate elements of industrial music, thrash metal, harsh noise, and power electronics.

This record is primarily about psychic transition,' Berdan explained. The distress that these songs attempt to illustrate comes from a place of stagnation and monotony. This is what happens when old ways of thinking become exhausted and old ways of coping prove ineffective. Something must change or it will break.'

The characters Berdan brings to life in his lyrics quit using but have ruinous relapses ( Habit') or struggle as their resolve crumbles ( Bootlicker'), they use alcohol to ease their insomnia but and are helpless when they get sober and stop sleeping again ( Night of Fear'), they're existential misanthropes trapped in dead-end lives ( The Lost').

Greenberg sets these stories to menacing guitar and samples of literal sounds of war — the kick drums are bombs going off, the snares are gunshots. He drew the record's immense sample library from action movies, Foley sound packs, field recordings, and more, and the result is devastating. The guitar is also as crucial as ever, and now as indebted Slayeras it is to Big Black. Greenberg conjures up massive riffs and shredding solos, pushing the band deeper into the metal world whose borderlands they've long stalked.

We are surrounded by war and the whole world is burning and it doesn't seem like there are any appropriate reactions or responses left anymore,' Greenberg elaborated. This music is our response to and our reflection of the overwhelming violence, chaos, hate, and destruction that confronts us and everyone else in the world every day of our lives. When we play, I don't feel powerless anymore. I hope this record can help others transcend their anger and frustration.'

Touring North America and Europe beginning in February Members of The Men, Drunkdriver, Pygymy Shrews, York Factory Complaint, and more

Ghosthouse received excellent coverage on Pitchfork, Thump, CLRVYNT, Stereogum, and more

Band members Claire McCarthy (bass/vocals), Jonathon McCarthy (guitar/vocals) and Christopher Wessing (drums/guitar) interweaving girl-boy harmonies, insistent guitars and steady rhythms create uniquely crisp yet subtle sounds of simplicity and grandeur. Attracting comparisons to old-school greats such as The Pixies, Echo and The Bunnymen and Joy Division; the Tasmanian indie-pop trio's musicianship is of the highest calibre.Heart Beach have shared stages with Harts, Andy Bull, Teeth and Tongue, Dick Diver, Day Ravies and The Ocean Party, Tam Vantage, Kitchen's Floor, Bent, Popolice and Jealous Husband, as well as hometown heroes The Native Cats and Naked and Treehouse. In 2014 the band toured New Zealand for Camp A Low Hum music festival, followed by performances at Falls Festival, A Festival Called Panama and Rose Quartz Festival at Lake Pedder last summer.In May 2016 a repressing of the trio's self-titled debut was released in North America and Canada with Vancouver based label Kingfisher Bluez, and Heart Beach toured Australia nationally. Stay tunes for EU dates in 2017.

This 7 inch is not round... It is Quarrel. Space aera of a meeting point between Batcave ambiances and breakbeat aeras... in a very deep radk way.

After A Caravan reprise in a pure electro psychedelic version... you will get a noisy electro breakbeat guitar hero tune. A side ends with an electro techno weird very Adult style tune. B side opens with a downtempo electro caribean Pop tune in the vein of AIR... Second track goes psychedelic eelctro again ... And EP finishes on a French Pop electro Poem:)

SAMHAIN's 1984 debut originally released on GLENN DANZIG's PLAN 9 imprint, his first after disbanding THE MISFITS in 1983. This reissue comes with a lyric sheet and band photo, 10 tracks including "HORROR BIZ", "ALL MURDER ALL GUYS ALL FUN", "BLACK DREAM", "MACABRE" and many more.

Nue Au Soleil (Completement) is a 2xCD anthology by post-punk pioneers Ludus, featuring vocalist Linder Sterling and guitarist Ian Devine.
Formed in Manchester in 1978, Ludus signed with Buzzcocks' label New Hormones for a string of bold singles (Mother's Hour, My Cherry Is In Sherry) and fearless albums (The Seduction, Danger Came Smiling), before a shift towards subversive pop for Les Disques du Crepuscule in 1982. 'People who know real genius will love this record,' wrote early fan Morrissey. 'Ludus are sound psychology for the modern clientele.'
Disc 1 of this remastered collection includes key singles, EPs and album tracks, as well as I Don't Want To Go, a previously unreleased demo from October 1978 featuring original guitarist Arthur Kadmon. The disc closes with Recognition, a more recent collaboration between Linder and Ian recorded in 2001.
Disc 2 features a unique John Peel session from August 1982, consisting four songs not studio recorded by Ludus elsewhere. The remainder of the disc is a professionally recorded live set taped on 5 November 1982 at the celebrated Hacienda club in Manchester, at which Linder modelled the infamous 'meat dress' later revisited by Lady Gaga.
Cover art by Benoit Hennebert. 6 panel digipack plus 12 page booklet featuring archive images and detailed liner notes.

Killer punkrockdub album from 1983 finally reissued via the consistent Light In The Attic label. HUGE tip!!
Political post-punk trio This Heat dissolved at a turbulent time in the UK. Margaret The Iron Lady' Thatcher was in power, and her budget-cutting, ultra-conservative influence was felt strongly in-among many other places-the cultural melting pot of Brixton, South London, where This Heat had their origins. Dusting himself off after the collapse of the band in 1982, guitarist/vocalist Charles Bullen united with Julius Samuel to form Lifetones and embraced the sounds of the local West Indian community to fuse reggae flavor to the kind of propulsive, rhythmic, and experimental music made by This Heat.

Deceit, This Heat's 1981 album, had seen them work with David Cunningham, who had already helped mesh dub reggae with new wave pop on The Flying Lizards' 1979 single, Money (That's What I Want Want).' Even so, For A Reason was a great leap, one that created a strange, unsettling mood as Bullen's multi-tracked, chant-like vocals met dub beats and Krautrock-informed repetition. Where Deceit dealt with the nuclear threat, For A Reason was less reactionary, even quoting Bob Marley in its lyrics: you love the life you live, you live the life you love.'

Just six tracks and half an hour long, the album was recorded at Cold Storage studio and released on Bullen's own Tone Of Life Records. It has become a sought-after collector's item that changes hands for hundreds of dollars a time. As a solo artist, Bullen was not prolific-it was 15 years until, in 1998, he released Internal Clock under the name Circadian Rhythms-but like the rest of his band, he has enjoyed a long, enriching career in unending pursuit of new sounds.

Even though This Heat had no commercial success to follow up on, For A Reason was an album created with no intention of hitting the charts. Reissued on Light In The Attic, Lifetones' single album retains a timeless quality and perhaps-on tracks such as Good Side'-a futuristic sound that nobody else ever caught up to.

Cupol was an English post-punk band that formed during Wire's 1980-1984 hiatus. The duo consisted of Bruce Gilbert (guitar, vocals, synthesizer) and Graham Lewis (bass, vocals, synthesizer). Building on Wire's more experimental work, their dark, minimal pieces were devoid of pop structure and filled with atmospheric twists. Having already established the side project Dome, the name Cupol came from "cupola', following an architectural theme. The "Like This For Ages' EP was an homage to the Master Musicians of Joujouka, released in 1980 on 4AD. The A-side, "Like This For Ages", is a concise four and a half minutes of crunchy synth sounds, pained vocals, and eerie atmospheres. The B-side, "Kluba Cupol" is an instrumental percussion-driven companion piece full of trance-inducing rhythms that stretches over 20 minutes. What sounded oddly danceable on the A-side becomes bleak and cold, putting this more in line with Current 93, Sleep Chamber, and other purveyors of ritual industrial and dark ambient. "Kluba Cupol" can even be considered the first example of isolationist music.', Richie Troughton describes. The title 'Kluba Cupol' was inspired by current affairs. "It was an anagram of Kabul,' says Graham Lewis. We've included three bonus tracks to the A-side for the first time on vinyl, Gilbert and Lewis' sole John Peel session from 1980.

Well-documented as one of Frank Zappa's favourite ever groups and instantly recognisable as the BLUEprint of 80's Mancunian electro pop, the inflated alter-egos of Gerry & The Holograms (and their unrivalled brand of conceptual sarcastic synth pop) successfully remodelled, ridiculed and redefined plugged-in punk before hitting the self-destruct button and burying the evidence under a pile of hand-mutilated microgrooves for over 35 wet summers.

Having risen from the electronic embers of Manchester's first genuine psychedelic band, via Vertigo commissioned prog and experimental theatre, then refined through the musical mind behind the most inspired vinyl moments of Martin Hannett, John Cooper Clarke and Jilted John - the onliest discography of the GATH anti-band remains unrivalled as the most idiosyncratic and enigmatic pivotal post-punk artifact from the first electronic entrenchment of pop.

A consistent inclusion on record collector want-lists, transcending both decades and musical genres, the first-and-only listenable 2 track record by this masked art-rock studio duo, entitled Meet The Dissidents' originally appeared in record racks in 1979, selling-out instantly only to be sequelised by a totally unplayable situationist-inspired follow-up which was glued into its own sleeve destroying the grooves in the process (rivalling that of Peter Saville and Durutti Column's Debordist sandpaper re-hash by at least 3 years). With a life-span shorter than the hours on their studio bill, the band would find bedfellows amongst other incognito groups like Naffi Sandwich, The Mothmen and Blah Blah Blah within the Absurd Records stable - a daring Mancunian imprint that sat awkwardly between older and younger half-sister labels Rabid and Relentless. With a 11 release library of mostly non-returning faceless atonal electronic punk/DIY industrial bands Absurd would spearhead and pre-empt the subsequent decades of Mancunian independent record labels that followed in the footsteps of the more commercially successful Factory Records (while also drawing comparisons with Spiral Scratch, Test Pressings, Object Music and Throbbing Gristles' Industrial Records). Despite just one official title to their name however, the true identity behind Gerry And The Holograms would unify those sister-labels and collectively play an important supporting role in Manchester's independent music history with a story which goes back as far as most rain soaked memories can attempt to forget.

Raderkraft is a project by Willem Stinissen , a young producer/musician from Amsterdam, the Netherlands.
His music is best described as electro minimal synthwave. Raderkraft's love for this genre started as an implication of his punkrock background.He's been fascinated by electro and synth music since the electro revivalSimplicity, minimalism, purity and D.I.Y. mentality are the aspects of wave music Raderkraft is a Swedish word for "power lines", in German Raderkraft means "revolving power" Raderkraft loves to use repeating and revolving sounds in his music.

It's a rare occasion to hear a cooperative work between two artists that fits so well together as this creation lets us experience. On this split album Panopticon and Waldgefluster really transcends into a single musical entity. A musical entity that sparks of excellent artistry which offers us a moving atmospheric journey, an adventure where the music itself becomes a soundtrack for true friendship and brotherhood.

You will be stuck in a whirlwind of melancholic metal and suddenly thrown into beautiful acoustic passages, reminiscent of an old man sitting in his rocking chair playing his banjo. This is an album with many faces, many memories and it's magic will definitely make you not forget this journey.

Each band presents one new track exclusive to this split as well as covering a song from each other.

Hex Enduction Hour was originally conceptualized as the death knell for The Fall. Beleaguered by career uncertainty and guided by vague premonitions of collapse, Mark E. Smith declared that one full hour was needed to thoroughly and perhaps finally state his case with The Fall. This framework resulted in a true classic of the post-punk era and an album that gave The Fall their first taste of album chart success, thankfully removing surrender from the equation.

Recorded in haste in both Iceland and England in late 1981, the performances on Hex Enduction Hour are among the band's most urgent and distinctive. The album begins with the severe provocation of "The Classical" and the terse punk of "Jawbone And The Air-Rifle," but it's "Hip Priest" that stands out as Smith's calling-card theme, a song that would become inextricable from his character (or perception thereof) in the years that followed. The elongated "And This Day" fittingly positions the band as spell-casters, closing the hour by filling every conceivable bit of space with wild, primitive percussion and whimsical electric piano.

Superior Viaduct's edition is the first time that Hex Enduction Hour has been available on vinyl in the USA since its initial release in 1982. Liner notes by Brian Turner.

On Room To Live, The Fall take the hurried, all-or-nothing approach of their preceding Kamera Records releases to extreme ends. Forged via Mark E. Smith's continual disassembling of players and focus on previously unrehearsed material, the album collects The Fall's most experimental and improvisational recordings. As proclaimed on the album cover, "Undilutable Slang Truth!" would be revealed throughout Room To Live.

With the album's comparatively lo-fi production and always-teetering performances, the title track comes closest to a stab at pop (by The Fall's standards), built on fantastically bent saloon swaying under one of Smith's by-now characteristic dressing-downs of square life. "Detective Instinct" is an unshakeable creeper, as languid and ominous as the band would get during the Marc Riley years. "Marquis Cha Cha" is a post-punk rhumba, beginning with fury and then easing into something only The Fall could conjure.

Superior Viaduct's edition is the first time that Room To Live has been available on vinyl in the USA since its initial release in 1982. Liner notes by Brian Turner.

Recorded live at Alice Tully Hall, NYC, January 27, 1973 - Re- Packaged with completely new design photos and liner notes housed in deluxe card gatefold sleeve - Re mastered audio - CD Contains additional bonus disc of Unreleased U.S broadcast of the very first 'proper' Lou Reed solo show before the global Hit 'Walk On The Wild Side' - Contains classic Velvet Underground tracks' I'm Waiting for the Man', 'Heroin' 'Sister Ray' 'Sweet Jane' 'White Light White heat'

Recorded live at Alice Tully Hall, NYC, January 27, 1973 - Re- Packaged with completely new design photos and liner notes housed in deluxe card gatefold sleeve - Re mastered audio - CD Contains additional bonus disc of Unreleased U.S broadcast of the very first 'proper' Lou Reed solo show before the global Hit 'Walk On The Wild Side' - Contains classic Velvet Underground tracks' I'm Waiting for the Man', 'Heroin' 'Sister Ray' 'Sweet Jane' 'White Light White heat'

London based Sydneysiders Tom Crandles and Tim Jenkins began Au.Ra after meeting at university, then they started recording and writing tracks drowned in sweet, reverb goodness with a mellow voice. Their long-acclaimed single "Morning" dropped on the Art Is Hard Records Postcard Club, making impossible the art of writing about them avoiding the comparisons to the ones like Tame Impala and Beach Fossils.


'Spare The Thought', beginning with a pulsating rhythm and bending guitars which screech like sirens, it expands into a surging bass line with the reverb heavy melodies and feedback carrying Tom Crandles airy vocals. 'Spare The Thought' is the latest glimpse of a duo who fleetingly showcase their hallmark sound before flying off into the distance. And you may recognise 'Sun', a reverb-drenched slice of goodness - all melodic guitar licks and fleeting vocals, as the bands online debut.

New York's DNA have had a massive effect on alternative / indie rock around the world, despite the trio never releasing a full-length studio album during their four year tenure (1978-82). Various groups citing them as an influence have included Sonic Youth, Boredoms, Big Black and Blonde Redhead (the latter taking their name from DNA's most-famous song). While the band's explosive live performances captivated audiences, extant recordings captured DNA's dynamic sound and savage economy in songwriting.

Originally released in 1981, A Taste Of DNA remains a primary source for No Wave archaeologists. Singer/guitarist Arto Lindsay and drummer Ikue Mori are joined by bassist and Pere Ubu founding-member Tim Wright. Across the EP's six anti-epic tracks, the band charges forward with jagged guitars and dislocated grooves, while Lindsay's guttural screams create a thoroughly personal semantics.

As Marc Masters writes in the liner notes, "A Taste Of DNA has a kind of sum-of-parts insanity, wherein every musical element sounds conventionally off, like puzzle pieces purposefully jammed together at the wrong ends."

This first-time vinyl reissue is recommended for fans of The Contortions' Buy and Red Crayola's The Parable Of Arable Land.

Danse EP' is the first Extended Play of the german band Bleib Modern whom have surprised last year with one the best cold wave albums of the european scene, 'All Is Fair In Love and War'. 4 tracks have been remixed / re recorded specially with a 'Danse' approach for this magical release. The evocative guitar lines among crude but very seductive vocals plus an excellent production transports the listener immediately to an altered state of mind. The sound of the band can be perfectly compared to any of the all time big names of the cold wave and post punk

Graciously welcoming the second full-length lp from Philadelphia's Jesse Dewlow, recording under the moniker People Skills. The follow-up to 2014's Siltbreeze set Tricephalic Head. Ten sunken songs, derisively adorned with rhythm and rudimentary dub effects. Bedroom elegies for the lost and irretrievable, last-ditch spells for transformation and renewal. Thurston Moore and Byron Coley likened the previous record to South Island NZ pop played inside of an armored car', and that description holds here: underneath the hoods of these wracked and weather-beaten recordings are melodies of disarming beauty and optimism, bordering on the (wilfully) mawkish, bubblegum ground underfoot. Each piece as time-stopping and evocative as an old photograph of someone who used to mean something. Whether speaking through stately keyboard pastorals ('Mint Julep'), rat-arsed rock 'n roll slur ('89¢ Public Render') or sulphurous aggro-electronics (the two-part title track),Gunshots At Crestridge exposes, then seeks to redeem, all our tiny acts of self-sabotage, all our sins against time. When to stay, when to go...you never got it right, not once.

At 10 years after the last album "The season change", moved by the desire to communicate, leaving aside the post-adolescent nostalgia, return the Rockets Total, historical combo of Punk Italian in its heyday. The Return of the Trentino combo writes a new chapter of our national punk presenting "The City of nothing", a concept album consisting of 21 pieces divided into 4 parts where the Rockets Total present themselves to the public disillusioned with the eyes of someone who has spent plenty 30 and he has seen and experienced a lot. With "The city of nothing" Rockets Total creating an imaginary populated by different characters, metaphors and mirror of everyday life of each of us. irreproachable analysis of our times made up of 4 punk rockers in love with life and the melody to which they do not want to give up for anything in the world, although today it is no longer as it was yesterday and will be forced to live, to be precise, in the City of anything. Impeccabilemente played, produced as it has to do with a punk rock sound hard, this concept is a slap in the face succession and many ideas to think without taking themselves too seriously.

"Slow Hole To China: Rare and Re-released" is a collection of, at the time, various unreleased recordings by Clutch. Originally released in 2003 on River Road Records, Clutch issued a re-mastered version with three additional tracks in 2009 on their new label Weathermaker Music. Finally available also in Europe!

So. The cat is well and truly out of the bag now.
Asylums album Killer Brain Waves' out Check.
Said album has been BBC 6Music's album of the day Check.
Seven tracks from said album supported by BBC Radio 1 Check.
Critical acclaim, great reviews, high profile gigs Check, check, and check.

Aaaaaaaand...... relax. No Alright then. Because when Asylums aren't playing, recording, or running Cool Thing Records, they're at their day jobs. Rumour has it they sleep occasionally too. And not being the types to rest on their laurels, Asylums are back with a brand new previously unreleased track Alternative Occupations'. Taking brief holidays from the aforementioned dayjobs, Alternative Occupations' was written and recorded in the Summer after the post-album release frenzy, and in the aftermath of Brexit. It ruminates on harsh education and health service cuts, post-Brexit Britain, and the running battle of grafting at creative efforts vs. grafting to keep afloat.

And there's more... Asylums aren't alone. They've now been able to make good on their promise of using Cool Thing Records as a platform for underground regional talent. Appearing alongside Alternative Occupations' on a lovely limited 12' slab of white vinyl are three bands, who like Asylums, all graft at the day jobs and work in their own creative communities.

The short, sharp, shock of Petty Phase picks up where X Ray Spex and The Slits left off, riot girls antidote to the millennial ennui, all buzzsaw guitars and screeching group vocals. Thrasher skate culture collides with the edge and tenacity of early Dischord records, in the shape of Steve Lamacq favourites The Horse Heads, emerging from the same fresh and exciting Chelmo uprising scene as Freak, and Ratboy. And last but never least, BAIT leave you with a bloody nose but you'll see the funny side, as the static hum of an itching brain broods and snarls over visceral post-punk riffs and battering hypnotic rhythms.

Another Cool Thing.

London trio Slowcoaches are getting set to bring their debut album into the world. The fast, furious, clatteringly majestic and downright fun 'Nothing Gives' will be released via Leisure & District on 2nd December. With 'Norms and Values', the latest cut to be revealed, Slowcoaches purvey a sassy, tongue in cheek observation of aspects of the 'punk' community and the rules that exist within it. The accompanying video is buzzing with lo fi fun, complete with the flagrant wearing of leather jackets, white jeans and DMs as a thinly veiled piss take of the DIY punk scene.

Recorded in two frenetic days at London DIY scene hotbed Sound Savers in Homerton - the cheapest place in London!' beams guitarist Matt Dixon - 'Nothing Gives' was then shipped out to Ben Hirschfield in LA to mix. What we wanted was something that was a progression from that quite lofi sound,' explains Heather. We wanted it poppy and also massive, and I think he's done that really well.'

In spite of its fun sound, 'Nothing Gives' itself details all the bad stuff that happens in life: break-ups, breakdowns, a pre-mid life crisis, a drug induced mental illness, falling out with friends, getting way too wrecked, losing your job then desperately trying to find a job... the list goes on. When I looked at the lyrics for this album all together I thought, 'oh man, this is so bleak!' says frontwoman Heather, who is handily currently studying to become a therapist. However, for the listener who doesn't quite fancy ending up in a dark pit of despair after listening, the record makes for a surprisingly upbeat collection. It's bittersweet, isn't it' shrugs Matt. See, Slowcoaches don't wallow in their misery, they dress it up with huge riffs and full-throttle power pop panache.

HMLTD have been playing around London this summer, galvanising packs of glitter-clad followers and bewildered randoms with visceral and outlandish performances that inject London's DIY venues with the fey air of David Lynch's Club Silencio.

Debut double A side Stained / Is This What You Wanted proves that this thrilling sense of danger and unpredictability doesn't have to be seen to be felt. Moving with possessed purpose between the savage, hypnotic, learned and Avant garde - there is no sitting on the fence on this most confounding of new acts.

Written and recorded by Cindytalk between 2013-2015 at Roi Vert, Okamoto, Japan and Thirteenth Floor, London, UK

Film clips on Sea Of Lost Hopes, Lost Unfound and Filthy Sun: Ghost Dance (UK 1983), directed by Ken McMullen

Design/images: David Coppenhall

In praise of The Invisible College

'The Labyrinth of the Straight Line' is a compilation of chimerical poetry. Ambiguous haikus of agony, melancholy, obscurity and dissensus are unfolding over time. Walking on the shapeshifting paths of transgression, on the search for new realities since the early 1980's, Cindytalk's latest release pays hommage to their industrial roots, comprising brutalist outbursts in abstract sceneries of beauty and abysmality.

As surreal and introspective as a film by Jean Cocteau, as labyrinthic and enigmatic as a story of Borges, Cindytalk succeeds in spatializing subjectivity. These introverted detournements follow the logic of dreams and form the unsettling soundtrack of an unresting mind. The outcome can be abrasive and balearic at times, but also delicate and melancholic. 'The Labyrinth Of The Straight Line' forms an alphabet of dark and obscure detachment. Acid shivers of a body without organs and convulsive pumps of arteries alternate with poignant murmurs of the past that dissolve in tender shades of hushed despair and graceful debris.

We find ourselves in spaces with walls crumbling down or concaved by glazed mirrors terrorizing the claustrophobic body. From time to time we can hear a disembodied voice, speaking soft and clear like a narrator from a different reality.

Sonic psychogeography between somnambul dark ambient, claustrophobic post-industrial and nightmarish techno. Delightful sketches of escatology.

Double-LP gatefold in Limited Edition Red & White vinyl for Black friday. Non-returnable.
Iggy & The Stooges re-united after 30 years, captured live in Tokyo in 2004.
The follow-up to the notorious 1976 'Metallic KO' album from Skydog.
Coincides with Jim Jarmusch's Iggy & the Stooges documentary 'Gimme Danger'

Iggy & The Stooges practically invented punk rock. They split up in 1974. 30 years later, The Stooges reformed, and first released a live album documenting the reunion performing in Japan - appropriately on Skydog Records who released their infamous final gig album 'Metallic K.O.' in 1976.

Recorded in Tokyo in 2004, the album features 17 tracks over 70+ minutes, including the old Stooges classics plus new songs. A documentary film on The Stooges, Gimme Danger directed by Jim Jarmusch, is being promoted by Amazon Studios and following film festival showings is released in USA on 28th October and in the UK 18th November.

Biting Tongues were formed in 1978 to improvise a soundtrack to the screening of a 16mm experimental film of the same name at Tony Wilson's original Factory Club in Manchester. A core membership was soon established that was to last until 1984: Howard Walmsley (sax) Ken Hollings (texts), Eddie Sherwood (drums,) Colin Seddon (bass) and Graham Massey (guitar & noise). Their performances, an unpredictable 'post-punk avant-funk' mix of spoken word, percussion, random tapes, films and freeform soloing, were mostly confined at this time to clubs in Manchester and London. The release of their first three albums 'Don't Heal', 'Live It' and 'Libreville' between 1981 and 1983 widened their audience, and Biting Tongues found themselves performing more and more in theatres, arts venues and galleries.

'Still On Hawaiian Time' captures two Biting Tongues performances from this later period. The Library Theatre in the centre of Manchester was a large seated venue with an even larger stage, meaning that the group members could spread out more and incorporate additional percussion, tapes and electronic devices. It also shows Biting Tongues cutting up and rearranging themes from different recordings, allowing for the free play of existing material - the performance also anticipates their work on 'Feverhouse': their full-length experimental feature film released in 1984 by Factory Records' video offshoot IKON, together with a soundtrack album as FAC 105.

'Feverhouse' had its first London screening at the Riverside Studios in Hammersmith as part of Factory's residency there in the summer of 1984. Biting Tongues had played the same venue three years previously at a time when they were beginning to expand and broaden their sound. The improved facilities available in a theatre venue, including greater space, better acoustics and more time for a sound check, meant that Biting Tongues could concentrate on the performance, producing some of their most aggressive and demanding work.

During the early 1980s Biting Tongues excelled as a live band, always seeking to challenge both themselves and their audiences. These two recordings are fascinating documents that conveysome of the immediacy and commitment of their performances - something that can still be felt in these old tapes some thirty years after they were first recorded.

Bursting into the 1980s on a new label (the then-upstart, now-legendary Rough Trade) and with an augmented, audibly panicked lineup, The Fall's Grotesque is the true pure-bred Fall release from the Marc Riley era. Released in the immediate wake of The Fall's most beloved single (Totally Wired), the album carries over that righteously famed teeth-chattering, bolstered in no small part by the drumming of new addition Paul Hanley, brother of bassist Steve Hanley and aged only 15 at the time of recording

OUR DAUGHTERS WEDDING were one of the most underated American synth bands of the early 1980's and Moving Windows is the proof! For the first time since it's original release, FUTURISMO give you an incredible redux reissue of this long lost electronic gem on LP...and for the first time ever, on CD! Also included within this newly designed release alongside OUR DAUGHTERS WEDDING's milestone 1982 album tracks are the five songs featured on their unmissable Digital Cowboy ep, which includes their underground dancefloor hit Lawnchairs. To top off this first time reissue we have included the original uncensored cover photo by Anders Nordström (deemed too risqué at the time) as well as his unseen photos of ODW housed in a fold-out inner sleeve that also contains liner notes by original member Scott Simon.

OUR DAUGHTERS WEDDING have posthumously been described as synthpunk, along with other innovators such as Units and Screamers, yet despite this, they knew how to write a pop song. ODW were also distinct in that they employed a punchy, energised and even slightly aloof take on electropop that simultaneously stayed true to their punk and rock 'n roll upbringing, an authenticity that drove them to play all electronic instruments live without the aid of any sequencers. Their signature track Lawnchairs instated ODW in the clubland etha by becoming a instant dance floor hit and remains a high point in the history of the synthesized pop. Produced by the mega-talents of both David Spradley (Funkadelic) and Colin Thurston (Duran Duran, Iggy Pop) this version of Moving Windows takes their sound that one step further.