Pop & Rock Новости

Pulling inspiration from the weirdest depths of post punk and krautrock, KLÄMP inject elements of noise rock and horrific low end into the mix, all while kneeling at the altar of the riff. 'Hate You' is KLÄMP's second album, and first to feature Lee Vincent on drums. The recording took place in March 2020 in East London as the world went on lock down with Covid19. Capturing the palpable tension in the air, 'Hate You' would make a fitting soundtrack to the apocalypse. 'Hate You' is released on the 2nd October 2020 KLÄMP is Lee Vincent (Pulled Apart By Horses, Concentration Champ), Jason Stöll (Sex Swing, Twin Sister, Mugstar, God Unknown Records, Bonnacons of Doom) and Greg Wynne (Manatees)

Fugues is the third full length album from Nottingham’s Kogumaza.

Ambitious in both scope and arrangement, Fugues sees Kogumaza stretch the traditional rock album template to breaking point, with a determination to create large ensemble compositions whilst working within the confines of the bands core trio.

The album was meticulously created over a period of four years, at locations ranging from DIY practice spaces and bedrooms through to final mixing and mastering on the Isle of Lewis overlooking the Atlantic Ocean.

Building upon themes of memory loss and dyschronometria, (the inability to keep track of time), the drawn-out period of composition and recording, together with its use of extended playing techniques, multiple guitar overdubs and constant experimentation resulted in the band experiencing their own fugue state.

Akin to the opening scenes of the 1984 film Paris, Texas, Fugues is the soundtrack to being lost in the wilderness under an unrelenting sun, surrendering to the hallucinations which form as mirages upon an infinite horizon. Whilst heavy and often overwhelming, this is mesmerising listening, striking an expert balance between hypnotic repetition and thematic evolution.

Fugues physical release is presented as a double clear-vinyl LP, spread over four continuous suites of music and released in March 2019 to mark the 10th anniversary of the band. The striking front cover image is the work of Scottie Wilson (6 June 1888 – 1972), born Louis Freeman, a Scottish ‘outsider’ artist known for his highly-detailed style. He didn't start his artistic career until the age of 44:

"I’m listening to classical music one day – Mendelssohn – when all of a sudden I dipped the bulldog pen into a bottle of ink and started drawing – doodling I suppose you’d call it – on the cardboard table top. I don’t know why. I just did. In a couple of days – I worked almost ceaselessly – the whole of the table top was covered with little faces and designs. The pen seemed to make me draw, and them images, the faces and designs just flowed out. I couldn’t stop – I’ve never stopped since that day"

10 brand new songs mixed and mastered by Jack Endino (Nirvana, Soundgarden, Mudhoney, L7, Screaming Trees, Zeke...). Having past 28 years since the last long play (Fuzz Godz, 1996, a Kent Steedman production) and after the rebirthing of the band and come-back from the vaults of oblivion, La Secta take the right decision to record ten brand new songs now with the hand of Jack Endino (Nirvana, Soundgarden, Mudhoney, L7, Screaming Trees, Zeke...) behind the mixes and masterization, from his Seattle studio, not able to come to Spain due personal health issues. This fourth Long Play takes intense power, giving the sound another stratospheric dimension after Mr. Endino treatment. Ten songs surfing from psych rock and dark psychedelia through the Aussie Rock and raw folk to ranking psych jungle and the darker Stooges with some groovy garage, grunge and surround psychedelic elements. For fans of psych rock, dark psychedelia, aussie rock, raw folk, groovy garage, grunge...

Tinnitus Tonight is the latest & sneakiest full-measure serving from LARS FINBERG, world-class bon vivant and prolific Panic Rock artiste. Why so sneaky? Here’s the dirt: Finberg developed a nerve rash leading up his 2017 tootle, the TY SEGALL-assisted Moonlight Over Bakersfield. Rather than blindly leap from the comfy zone, he tip-toed in secret to a friendly but far-flung (cough*Sacramento*cough) studio to capture a reserve of slanted tunes with a proven-effective team of buds. Those comrades – the glorious LAUREN MARIE MIKUS on keys, frequent collaborator & forever-gent KAANAN TUPPER on drums and, at the controls and elsewhere, the indestructible CHRIS WOODHOUSE – all fostered a supportive framework that first allowed Finberg to “think” beyond THE INTELLIGENCE, gearing him up for a life in the spotlight (or moonlight, as it were). So yes indeed: what appears to be an adventurous follow-up also doubles as a prequel. Keep accurate score or you’re dusted. The core of Tinnitus Tonight centers on an assemblage of Finberg’s most golden riffs – trash-coustic but driftwood-smooth, naughty and infinite, all of ‘em bangers and/or buggers. Tunes sprout and move matador-like until an inevitable goring. The past-it grunt that kicks off “Burger Queen” prompts a mimed chef’s kiss. “My Prison” and “The Doors” are quintessential, truly distilled Finberg moments, compounding his trademark acerbic, out-for-blood wit with these absurdly cool, whip-crack guitars. The massively impressive “Public Admirer” is unequivocally the loudest, most damaged blurt from this doggie in at least a decade. In total, Tinnitus Tonight is a wonderful and welcome reminder that our guy is a very real rouser and a vital, unique purveyor of artful aggression, playful and powerful. Finberg beams really fuckin’ brightly under his own name, perhaps more so than with any group orchestration he happens to be braising with. Do these higher personal stakes call for a dastardlier delivery? Maybe this permeating 2020 End Times feeling prohibits the normal corralling of the subconscious mind? Whatever the answers are, you will find them here.
"The gift Lars Finberg has to disfigure rock riffs into minor chord marvels should serve as a glowing example for those who feel the need to pick up a guitar and make some noise to share with the world. Using the conventional tools of rock and roll flavored with a mix of garage punk, post punk, synth punk and mutant surf, Mr. Finberg, with seemingly effortless cool, has crafted or contributed to countless albums with bands like The Intelligence, Puberty, Rubber Blanket, A Frames and more, all with a magnetic pull and genius lyrics that stand out from the indie rock heap and reveal an exceptionally creative mind that’s actually done its homework." - Noise For Zeros

John Mitchell (Arena, Kino, Frost*, It Bites) ist im Prog-Rock schon lange keine unbeschriebenes Blatt mehr und sowohl exzellenter Multi-Instrumentalist als auch talentierter Sänger und Produzent, der mit Lonely Robot vor einigen Jahren eine Albumtrilogie startete, die nun mit »Under Stars« einen krönenden Abschluss findet.

Nach den Vorgängern »Please Come Home« (2015) und »The Big Dream« (2017) sowie dem sehr erfolgreichen, 2018 veröffentlichten Kino-Album »Radio Voltaire«, ist Mitchell aktuell so produktiv wie nie zu vor und sein neuestes Werk »Under Stars« das letzte, aber auch beste Lonely-Robot-Opus.

»Das Album wurde in intensiven anderthalb Monaten aufgenommen und ich bin ganz besonders stolz darauf«, gibt Mitchell zu Protokoll. Und er hat allen Grund dazu, denn die Stücke mit einer erfrischend harten Kante (»Ancient Ascendant«, »When Gravity Fails«) und die mit seinem Händchen für große Melodien und süchtigmachenden Refrains ausgestatteten »Authorship Of Our Lives«, das poppige »Icarus« und »How Bright Is The Sun?« übertreffen die Vorgänger einerseits produktionstechnisch als auch in schierer Ausdrucksstärke.

»Ich wollte dieses Mal, meiner Liebe zum 80er-Synthwave etwas mehr Raum eingestehen«, erklärt Mitchell. »Also, seid gewarnt vorm (Roland) 808!« Letzterer ist natürlich nur ein Bruchstück dieser detailreichen, cinematischen Space-Rock-Sause im Mitchell-Stil und ein grandioses Finale seiner »Astronauten-Trilogie«, die in allegorischer Weise eine wichtige Frage stellt: Warum verschwenden wir so viel Zeit mit technischem und digitalem Krempel, wenn es doch so viel Schönes in der Welt gibt? Zum Beispiel dieses Album!

This compilation brings together some of the best recordings by Los Indios from Bolivia, recorded during their brief time as a band, pioneers in blending beat sounds with garage rawness through a repertoire packed with covers of artists such as Deep Purple, Wilson Pickett, Eduardo Araujo (via Los Iracundos)_ The birth of Los Indios took place at a key moment for Bolivian music, in May 1968, during the "Festival de la Canción" held at the Félix Capriles Stadium. This event was a milestone for the so-called Bolivian new wave, featuring various groups from all over the country. A month later, Jorge Filipo Dalence, in association with Freddy Valdivieso, decided to launch their own band, Los Indios, ready to make their mark on the music scene. Their discography includes one LP and a handful of EPs released on the Caracol and Imperio labels. Their album not only showcases their musical talent but also represents an important moment in the evolution of rock in Bolivia. The combination of their unique style helped open new doors for other artists in the country's music scene. By 1969, the group was enjoying overwhelming success and widespread popularity. This is a joint release with the Peruvian label Rey Record and includes an insert with notes on the band's history

HIGHLIGHTS: Los Nivram recorded some of the best '60s Spanish garage nuggets, being this rare EP containing the original 'Sombras' their most sought-after release by collectors worldwide. Reissued on 7" for the first time. DESCRIPTION: Quintessence of the best nuggets-type of music from Europe, the scant discography of the Catalan-band Los Nivram -- just two obscure EPs, eight tremendous tracks, half of them absolutely great -- perhaps represents the most precise example of the excellent level that the Spanish garage sound acquired during the golden years of the genre, basically the second half of the '60s, its glory days, and a few later examples from the early '70s. Los Nivram started their career heavily influenced by The Shadows, in fact they took their name after one of their songs (that also happened to be their leader and bass player's surname spelt backwards). They would soon push their sound forward, evolving from instrumentals to a repertoire sung in their native Spanish language, after being blown away by the UK beat and R'n B bands of the time. 'Sombras' stands out no just as the best song in Los Nivram's repertoire but also as one of the most interesting nuggets recorded at the time and one of the most sought-after garage records by collectors worldwide. Reissued on 7" for the first time.

Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the US and their anthem 'Demolición' is one of the most insane '60s punk songs of all time. Unavailable on a 45 for over a decade, here it is again! The archaeology of rock'n'roll is much like any other form of digging. Significant finds demand the re-addressing of previously considered certainty. You can hear direct links to both The Stooges and The Cramps here and several more equally enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. When Los Saicos' front man Erwin Flores was asked how aware he and his friends were of what was happening in Britain and the US at the time, here's what he had to say: "We knew the Beatles, they were our idols. We heard the Rolling Stones after recording 'Demolición' and also Bob Dylan and others. The primitive nature of our songs is something that came spontaneously out of my head. The band had no problem with assimilating and arranging it. We thought of ourselves as bad boys and that must have been a driving force." "Primitive to the point of primordial, Los Saicos are an important benchmark. Not were. Who ever thought there could be a combo out there in Peru that would make The Sonics sound like Simon and bloody Garfunkel? There is quite possibly some other music out there, someplace, that could well make us re-address this consideration, but until then, cherish this short course of Saicotherapy."

Zum ersten Mal auf Kassette! Mit nur sechs Singleveröffentlichungen zwischen 1965 und 1966 und von einem musikalisch abgelegenen Ort wie Lima erschufen LOS SAICOS einen rohe, wilden Sound, der Einiges mit dem gemeinsam hatte, was zur gleichen Zeit auf der Nordhalbkugel ,Garage Rock" getauft wurde. LOS SAICOS teilten sich Gene mit THE SONICS, ROCKET FROM THE TOMBRS, THE CRAMPS und BLACK LIPS. Diese Veröffentlichung versammelt sämtliche ihrer Aufnahmen und erzählt die grandiose Geschichte von LOS SAICOS. Die Archäologie des Rock'n'Roll hat viel gemeinsam mit anderen Formen des Grabens. Wichtige Fundstücke erfordern eine Neueinschätzung der alten Gewissheiten. Ich hatte niemals zuvor von LOS SAICOS gehört, hatte jedoch die WAU Y LOS ARRGHS!!! Version von ,Demolicion" genossen. Während mir die Wildheit des Tracks gefiel, dachte ich nicht eine Sekunde daran, dass das Original noch verstörter sein könnte. Was noch viel wichtiger is: dieser fauchende Strudel Nihilismus wurde in Lima aufgenommen, während der Rest der Welt die BEATLES abfeierte. Chemie ist ein Faktor, der wichtiger als theoretische Kenntnisse oder Können. Es gibt einen Punkt, an dem die Natur die Führung übernimmt - das Individuum muss gehorchen. Wer hätte gedacht, dass es da draußen in Peru eine Combo geben würde, die THE SONICS nach den verdammten SIMON & GARFUNKEL klingen lässt? Best ever Saicotherapie!

Discover the groundbreaking sound of Los Texao, a legendary Peruvian rock band that helped shape the music scene in the 1970s. Born in the culturally rich city of Arequipa, Los Texao's journey to stardom was paved with innovation, passion, and an undeniable connection to their roots. Their music fused the energy of psychedelic rock with Latin American influences, captivating audiences across their native Peru, Los Texao's psychedelic phase was marked by experimentation with new sounds and instruments. This release comprises their complete recordings, including all their singles and also covers of some of the most influential rock bands of the era, most of them previously unavailable on vinyl. Formed in 1969, the band took their name from Arequipa's emblematic flower, the nasturtium, and made an immediate impact with their debut at a local band contest. Soon after, they recorded their first 45 RPM single, which included covers of tracks by Chilean group Los Beat 4. But it was in the early 70s when Los Texao truly found their voice. With a dynamic lineup, including the talented Fernando "Feño" Humbser and Juan Núñez on guitar, Víctor Dibán on vocals and bass, and Edgar "Chito" Manrique on drums, their musical evolution began to take shape. The addition of Julio Torres, a keyboardist and guitarist from the iconic bands Los Beatniks and Los Dig It, further elevated their sound. Los Texao's psychedelic phase was marked by experimentation with new sounds and instruments. They embraced the emerging trend of playing rock in English, despite the language barrier, and incorporated cutting-edge gear. With the help of the legendary Peruvian jazz musician Jaime Delgado Aparicio, they created hypnotic tracks like 'Algún día' and 'Nunca cambias,' capturing the essence of 70s rock with swirling textures and atmospheric vibes. But it wasn't just the melodies that set them apart - their electrifying rhythms and powerful arrangements, like those heard in 'Stone' and 'La pelea del gobernador,' showcased their refined musicianship and intense dedication. Los Texao quickly became a sensation in Peru, performing in cities like Puno, Moquegua, and Arica (Chile), and sharing stages with iconic bands like Los Shain's, Traffic Sound, and Telegraph Avenue. Their infamous hit 'La pelea del gobernador' tells a tale of generational conflict and rebellious youth, captured in a live performance that still resonates with audiences today. The band's wild live shows became the stuff of legend, with fans packing into intimate venues to experience the raw energy of their loud, unapologetic rock. In addition to their 45s, Los Texao also recorded covers of some of the most influential rock bands of the era, including Cream, Steppenwolf, and The Guess Who, showcasing their versatility and love for classic rock. Unfortunately, this session remained lost for years and some of these covers have never been available on vinyl before. Despite their growing success, Los Texao eventually disbanded in 1975 due to personal and professional challenges. But their legacy never faded.

Los York's became the epitome of Peruvian garage sound and the kings of the multi-group concerts which teenagers flocked to on Saturday and Sunday mornings in Lima's main movie theaters. It took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. It features a beat-influenced go-go twang guitar garage psych tone throughout, including a bunch of covers like Alan y sus Bates' 'Pronto Un Doctor' or The Box Tops' 'The Letter', and amazing originals like 'No Puedo Amar' with an intense garage beat. First time official reissue. - DESCRIPTION: The group was in tune with the youth from popular districts who were gradually turning morning concerts into dynamic gigs as the fashion for solo rock-ballads waned and garage sounds by bands like Los Shain's, Los Derbys, Los Juniors, Los Flyers and, of course, Los York's took over. Their supportive fans would follow them to every gig. After releasing their three first singles on MAG, featuring covers of popular hits, it took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. The band was backed by Melcohita on vibraphone and Mario Allison on percussion.

Los York's became the epitome of Peruvian garage sound. 'Abrázame' features a beat-influenced go-go twang guitar garage psych tone throughout and the unique voice of the iconic frontman of the band resulting an irresistible Latin garage hipshaker! Set the dance floor on fire with this first time 45 reissue of the Latin garage anthem 'Abrázame'! Los York's became the epitome of Peruvian garage sound, and the kings of the multi-group concerts which teenagers flocked to on Saturday and Sunday mornings in Lima's main movie theaters. The group was in tune with the youth from popular districts who were gradually turning morning concerts into dynamic gigs as the fashion for solo rock-ballads waned and garage sounds by bands like Los Shain's, Los Derbys, Los Juniors, Los Flyers and, of course, Los York's took over. Their supportive fans would follow them to every gig. After releasing their three first singles on MAG, featuring covers of popular hits, it took them a year to turn their ideas into songs for their first LP that was successfully released at Christmas in 1967. The original version of 'Abrázame' was included in this album and also released as a single. Although clearly based on Don Covay & The Goodtimers' r&b classic 'Mercy Mercy', the recording features a beat influenced go-go twang guitar garage psych tone throughout and the unique voice of the iconic frontman of the band, Pablo Luna, resulting an irresistible Latin garage hipshaker! A rawer, fuzzier version of the same song was released one year later and renamed as 'Abrázame baby'. How cool and handy is to have both versions together on one single artifact? Set the dance floor on fire with this first time 45 reissue of the Latin garage anthem 'Abrázame'!

The American garage rock band Louis XIV was formed by singer and guitarist Jason Hill, guitarist Brian Karscig, Drummer Mark Maigaard and bassist James Armbrust. In total, the band released three studio albums, including the third album from 2008, Slick Dogs And Ponies. It was released onAtlantic Records and featured the popular tracks “Guilt By Association”, “Air Traffic Control” and “Stalker”. It was their last album before disbanding in 2009. Jason Hill continued his musical career as a composer for film music and is best known for scoring Gone Girl, Mindhunter and Love, Death And Robots amongst others.

Slick Dogs And Ponies is available as a 15th anniversary edition of 1000 individually numbered copies on translucent green coloured vinyl and includes an insert.

Los Amantes Oscuros" brings together for the first time on vinyl the recordings made between 1968 and 1969 by pioneers of Bolivian garage rock, Loving Darks, originally released on their three EPs. A selection packed with proto-punk covers of hits by the Stones, Cream, Tony Hatch, and more-often surpassing the originals in attitude and power. Their original records are highly sought after and are virtually impossible to find in any condition_ If we had to choose the Latin American country where the rawest and wildest garage and beat records of the '60s were recorded, Bolivia would be one of the clearest contenders. For some strange reason-surely related to the country's extreme conditions, its high altitude, and the influence of huayno-Bolivian recordings are truly unique and fascinating. A multitude of bands sprang up under the influence of groups-mainly British-that dominated the international charts. From the ashes of two of Bolivia's most important seminal bands, Los Black Byrds and The Turtles, two new groups fundamental to the history of Bolivian rock would be born: the mythical Climax and the legendary Loving Darks. "Los Amantes Oscuros" brings together for the first time on vinyl the recordings this band made between 1968 and 1969, originally released across three EPs on the local Lyra label. Their repertoire is packed with covers such as 'El Adivino,' a sped-up reinterpretation of 'Fortune Teller,' or even 'Algo de títere,' a reworking of 'Jumpin' Jack Flash.' They also adapt the classic 'Call Me' by Tony Hatch and 'Toad' by Cream, from whom they borrow the cover of one of their most iconic albums for the artwork of their EP "Complicado." In fact, 'Complicado'-a proto-punk version of the Rolling Stones' 'Complicated' and their signature track-is a perfect example of how a Bolivian band could outdo the British giants in attitude and power. Their importance lies in having paved the way for new sounds, styles, and aesthetics within a still-emerging scene. This compilation is a joint release with the Peruvian label Rey Record and includes an insert with notes on the band's history. First time vinyl reissue.

Crypt continues its delve into the BOSS-TOWN LOW-DOWN with this shit-hot 39 minute BLASTIN’ MUTHA (don’t ya know!) of LYRES at their most ferocious and in top rip-roaring fidelity thanks to a reel to reel tape discov- ered in August 2017 in the vaults at Erik Lindgren’s stu- dio! Erik set one line direct into the board and one mic suspended above the audience and the result is a BEAST of a set! Jeff Conolly (natch!) on organ and vocal and tambourine, DMZ cats Peter Greenberg (guit) and Mike Lewis (bass), plus ex-Real Kid Howie Ferguson on drums. Gatefold sleeve with unseen photos plus liner notes by Peter Greenberg, Mike Lewis and longtime Boss-town fanatic/scribe Bill Tupper.

the MUSIC? ripping, absolutely ripping ROCK and ROLL music.

“Having moved forwards emotionally from the wilds of dystopian stalking and associated hobbies, Madonnatron have instead been found frolicking through the green pastures of gangsta pimps, Hindu God wars, Cyber Men invasion, loveless nightclub hook-ups, modern Italian Nabokov, and revered screen goddess Elizabeth Taylor. Think of them as post-punk lab rats in the Secrets Of Nimh, feasting dubiously on back-dated episodes of Top Of The Pops. With notorious roaring guitars, chanting vocals and rabid drums they audibly glow in the dark, are strong-armed, and will probably bite you.”

Like their debut, which was released to much acclaim in July 2017, Musica Alla Puttanesca was produced by Liam D. May at Trashmouth Studios.

Their atmospheric, raw, and confrontational live shows carry a sonic force that by turns will make you weep, cross yourselves, and weep again. In the last couple of years, Madonnatron delivered a successful UK headline tour; supported The Moonlandingz,

Black Editions is proud to present the first-ever vinyl edition of Homo Sacer, Japanese saxophonist Makoto Kawashima's debut album and the final release by the legendary P.S.F. Records.



Though he has played the saxophone for just over 10 years, Makoto Kawashima has emerged as one of the most original improvisers in a new generation of Japanese players. His releases on his own Homosacer label as well as on this, his debut reveal a haunting and impassioned style of playing.



""Homo Sacer -- Sacred Human. Kawashima's sax is ripe with the spirit of Japanese free jazz, dwelling as it does between the violent and the beautiful. Kaoru Abe, Masayoshi Urabe, Takayuki Hashimoto, Harutaka Mochizuki... all of these altoists live in an area of personal expression rare in the world, one that feels like the body itself is being whittled away at. It feels like we have a new genius to add to that list."" --Hideaki Kondo, from the Japanese liner notes

Who said rock'n'roll is dead?! Maybe Dr Frankenstein's made a rock 'n' roll monster cuz it sure seems alive to me. We introduce to you the debut LP of MARTIN SAVAGE AND THE JIGGERZ! All three gentlemen in this power trio have a solid background in the rock 'n' roll business which we won't bore you with here. The band has already released a slew of solid 7" records which we won't bore you with here either. Get on the internet ya lazy sods! Anyway, back to this here album: recorded by Ed Deegan at the esteemed Gizzard Recording Studio up in Fish Island, East London, on magnetic tape it delivers 12 solid senders of pure heart-on-the-sleeve rock 'n' roll action! From the blastin' drumroll of opener 'Between the Lines', a staple in the band's live set, via punk ballad anthem 'Down the Line' leading up to another live favourite called 'Boomerang'. There are covers of should-have-been-legends with bad-ass names like the Backstabbers or the Stripes. There are songs about shitty jobs, troublesome relationships, life on the high and life on the low. It's got everything you need really. Whether ya dig Boston 1976, Medway 1986 or Memphis 1996 there's something for you here. You can call it punk, pub rock, garage, glam or any other label you like but we just call it good ole rock 'n' roll. Hope ya dig!

The raw energy of the MC5s recorded live between 1969 and 1970. From the unmissable « Kick out the Jams » recorded in 1969 on a German television station to « Shakin’ Street » : a beautiful musical picture of a time where the Detroit scene starts to emerge in the eyes (and ears) of the public.

MEKONS - OUT OF DESPERATION (LUXURY CHICKEN SONG): ,Ein Luxus-Huhn ist was ganz Besonderes und Einzigartiges und hat einen hohen Wert. Es gibt auch ein handbemaltes Mekons-T-Shirt mit einem Huhn drauf, das eine Zigarette raucht. Hagar the Womb sind auch ganz besonders und einzigartig und haben einen hohen Wert, und ich bin froh, dass sie sich an dem Abend im Hawley Arms nicht wirklich getrennt haben, obwohl sie unseren Rider geklaut haben." - JON LANGFORD (Gründungsmitglied von Mekons, Three Johns und Waco Brothers), 2025 // HAGAR THE WOMB - FARE DODGING WITH THE MEKON'S RIDER (3 BEERS & A LEMON): Geschrieben von Ruth Elias & Chris Knowles. Aufgenommen bei Church Road Recording Company, Hove, von Paul Pascoe 2025. Hags: Ruth, Karen, Paul, Lorna, Mitch, Chris. Coverdesign & Illustration von Lorna Tiefholz. Text von Ruth. Der Labelaufdruck zeigt Chris, wie er eines der drei Biere im Zug trinkt. Dieser Song entstand kurz nachdem das dritte Bier getrunken war. ,Fare Dodging with the Mekon's Rider" entstand, nachdem wir vor ein paar Jahren in Brighton unsere Lieblingsband The Mekons supportet hatten. Im Gegensatz zu den Hags hatten sie einen reichhaltigen Rider, darunter eine Obstschale mit einer prächtigen Zitrone. Als wir uns auf den Weg zum Zug zurück nach London machten, steckte Ruth heimlich drei Bier aus dem Rider der Mekons in ihre Tasche und konnte sich dann nicht von der Zitrone trennen! Von Gesetzlosigkeit erfüllt, sind wir aus dem Zug ausgestiegen, nachdem uns gesagt wurde, dass wir nicht einsteigen könnten, weil wir die falschen Fahrkarten hatten. Wir haben die Biere getrunken, bevor der Zug den Bahnhof verließ, aber, liebe Leser, die Zitrone wurde nie verzehrt. Ein trauriges Ende für die Zitrusfrucht, aber in diesem Song, der unsere Errungenschaften des Abends feiert, wird sie nie vergessen werden.

The second of two ace new Polytechnic Youth LPs for late June; this one sees Liverpool based, Harry Sumnall’s Melodien debut on PY after releases on sister label Deep Distance amongst others. Eight kosmische flavoured synth pop nuggets, heavy on nods to the Sky label oeuvre of later Cluster, Wolfgang Reichmann, Harald Grosskopf, Deutsche Wertarbeit and co; yet with a freshness and boldness very much of today.

Each track is underpinned in the most part by driving, sequenced motorik rhythms hugely recommended to all fans of the above…

The LPs’ title “Enanriodromia” is the constancy of change and the emergence of the unconscious diametric in the course of time - everything that exists turns into its opposite (Carl Jung); and Harry himself describes the album as an idyllic backdrop to an imagined world where “Iasos’ Crystal Vista is repeated on loop across all TV channels, where Luboš Fišer composes Olympic gold medal anthems, where Marcel Schwob and Jane de La Vaudère works are free from your local book exchange, where Josef Svoboda designed your local shopping center, where Richard Pinhas plays at your village fete, and the most popular YouTube channels give advice on sequencer ratcheting and psychopharmacology!”

‘You’ is the debut album from Irish band Meltybrains?. It has been years in the making - an exploration of the journey of five young men, trying to get from one end of their 20s to the other. Much like the making of the album, this journey was trickier than any of them thought it would be.

This record is for you, from you and of you. It’s an absolute beginner’s guide to the microcosm, the macrocosm and everything in between. It’s also a bit of fun and a pretty good record, combining influences from footwork, drone and j-pop with krautrock, psychedelia and prog.

Mikabomb wurde 1997 gegründet, nachdem Frontfrau Mika ihren langweiligen Bürojob in Japan gekündigt hatte und nach London abgehauen war, um eine Band zu gründen und sich dem Rock'n`Roll hinzugeben. Nur wenige Wochen nach ihrer Ankunft in England traf Mika auf eine 16-jährige Punk-Göre namens Agi, die aus ähnlichen Gründen wie Mika ihre Heimatstadt Peking verlassen hatte. Es dauerte natürlich nicht lange, bis Mika und Agi anfingen, ihre eigenen trashigen Pop-Punk-Songs zu schreiben. Mit Ergi, Mika Bass und Tomoko, die die Band vervollständigten, fingen sie an, regelmäßig aufzutreten und sich durch ihre immer ausgelassenen Live-Shows einen furchteinflößenden Ruf aufzubauen. Sie begeisterten nicht nur Konzertbesucher im ganzen Land, sondern wurden auch vom NME als ,die neuen Ramones" bezeichnet, vom Melody Maker als ,fantastisch" beschrieben und von Steve Lamacq von Radio One als ,die beste Band, die Japan je hervorgebracht hat" bezeichnet. So wurden auch viele Plattenfirmen auf Mikabomb aufmerksam, darunter Grand Royal, das Label der Beastie Boys, das im Jahr 2000 zwei limitierte Singles mit den Titeln ,Super Sexy Razor Happy Girls" und ,Heart Attack" veröffentlichte. Ihr fantastisches Debütalbum ,The Fake Fake Sound of Mikabomb" mit 15 Titeln kam ursprünglich am 2. Juli 2001 raus. Da es auf Vinyl schon lange vergriffen ist, bringen wir es jetzt wieder raus, weil Mikabomb wieder aktiv ist und in UK gibt.

Miranda Zipse is a force of nature. And were we not in the midst of a paralyzing pandemic touting a flagrant lack of reasons to party, you’d be flocking to the nearest dance floor to watusi your ass off to these brand new tunes. Demonstrably influenced by soul, yé-yé, surf, and the bands they shared bills with in their early West coast days (Tomb Weavers, Mystery Lights, Shoobies) and undeniably groovy, she and her band - Miranda and the Beat - managed to record a new single before shelter-in-place orders were issued this Spring.

In “Such A Fool,” Zipse's commanding rasp is timeless, her delivery effortless, and her growls and wails masterfully employed. The song traps its narrator in the throws of regret, taunted and tortured. Woozy organ obligato yields to a lilting guitar solo and a confessional spoken third verse. B-side “Chillantro” is a casserole of cool — put it on repeat and eat those leftovers all week.
**NB: 7”S NON RETURNABLE/TO ORDER ONLY

* Debut LP from NYC Garage Rockers * Produced by Nick Zinner from Yeah Yeah Yeahs! Miranda and The Beat are a Rock and Roll band, with all that the term might entail. Drawing from the traditional rock music, as performed by the likes of The Dirt Bombs, The B-52's, MC5, and Ronnie Spector, Miranda and The Beat operate from a clear eyed appreciation of the greats and a healthy, barn-burning disregard for tropes or traditionalist limitations. Garage, soul, punk, classic rock_ pick your poison; the band has plenty to spare. Arriving in New York City in 2018, the band have, through songwriting and performance, proved themselves to be both an essential spark and spearhead to a scene of new blood rockers bringing a much needed renewal of energy to the New York City (garage, rock, whatever) scene. Originally a duo of 21 year old guitarist/vocalist Miranda Zipse and 21 year old drummer Kim "The Beat" Sollecito, the pair quickly added a full band of Kate Gutwald on bass and Dylan Fernadez on organ and soon became known for their tireless, wheel-on-fire live sets driven by Miranda's captivating stage presence, vocal prowess, and her pyrotechnic (but never indulgent!), melodically slashing guitar work. Their live reputation (and a reputation for being neither pushovers nor scumbags) led to collaborations with such childhood idols as The Mystery Lights and Nick Zinner of the Yeah Yeah Yeahs. Soon there was the release of their 7" single Such A Fool, on Jack White's Third Man Records and an extensive North American tour supporting The King Khan and BBQ show. One pandemic later, between days/nights spent sweating out piss, vinegar, and trackloads of tears in the studio, and a rigorous, borderline ridiculous, rehearsal schedule, Miranda and The Beat are, at this juncture, practically monstrous in both sound and vision, and ready to meet the world.

Módulo 1000 were not messing around when they made 'Não Fale Com Paredes’. It holds its own, not just as a raw, heavy, experimental “Brazilian” psychedelic rock album, but as a raw, heavy, experimental psychedelic rock album, full-stop!

Formed in Rio de Janeiro in 1969, Módulo 1000 honed their craft as the house band in clubs and resorts in São Paulo where they predominantly covered American artists such as Jimmy Hendrix as well as British giants, Led Zeppelin. After acquiring a taste for fame following the performance of one of their tracks at the Rio International Song Festival, the band focussed their attention on composing original material. Their manager, Marinaldo Guimarães, encouraged the band to explore their experimental and creative sides. This, in parallel with the explosion of experimental music in Brazil, resulted in the band performing alongside heavyweights such as O Têrço; there was a happening in the air.

Módulo 1000 recorded just one album. Released on Top Tape records in 1972, it featured Eduardo Leal on bass, Candido Faria on drums, Daniel Cardone on guitar, violin and vocals, and Luiz Paulo Simas on organ, piano, and vocals. 'Não Fale Com Paredes' was produced by the popular DJ, Ademir Lemos, and came housed in a fold-out cover featuring tripped-out artwork and design by Wander Borges. However, due the uncompromising nature of its wild, heavy psychedelic rock sound, the album was destined not to be played on the radio in Brazil. Rumours suggest that the label didn't understand the album, and as a result, it wasn't promoted or marketed. Thus, like many other underground cult classics, it was lost in the ether, only later to be rediscovered by a new audience at a different time.

One thing is certain, you definitely know when you've heard Módulo 1000. The sound is raw, heavy and at points quite aggressive, more Black Sabbath than Os Mutantes. It floats between psychedelic rock, prog rock, early metal, and dare we say, displays elements of proto-math-rock.

The band’s discography includes a 7" single, as well as their music being featured on several compilations for Odeon Records, additionally they released a 7" single under their alias 'Love Machine' for Top Tape Records. These compositions are included as bonus tracks on the CD version of our reissue.

Debut album from Berlin-based band crafting music with a 60's and 70's aesthetic. Jangly, seemingly simple mid-tempo pop structures, building symphonies with magisterial guitars, four-piece drumkits, and lots and lots of reverb. Tunes that share their sonic roots between the British neo-psychedelic harmonic and thundering guitars and a sweetened, yet acid, folk taste of Paisley Underground-meets-the Laurel Canyon scene.

"We all know what teenagers are like. Bratty little gobshites. Moody shits. Forever toeing the line between cocky arrogance and whiny self-doubt, and to hell with anyone who gets caught in the crossfire. And this old fucker should know; he was really good at all of the above (still keeping on top of the ‘gobshite’ part, you’ll notice). For some reason, the entirety of rock’n’roll is predicated on music made for and about these states of mind - well, I guess if you mix ‘em all together, they can make for one helluva sense of reckless abandon. So it shouldn’t come as a surprise that Melbourne quartet Mr Teenage sound exactly like their name suggests: chaotic, raw, emotionally volatile… and of course they bind all this together with their own brand of heroically melodic garage rock. Produced by Billy Gardener (of Ausmuteants, Smarts, Cereal Killer and god knows how many other vital Aus-punx), this debut EP snarls, spits and swaggers with all the glorious self-belief of a drunken 4am stumble to the petrol station to buy a pack of skins. And the songs are fucking great too. Title track ‘Automatic Love’ expertly showcases the combined sounds of their cited influences (Thin Lizzy, Dictators, Martha Reeves, etc), with frontman Nic Imfeld’s voice at times edging close to the sandpaper soul of their countryman Shogun (ex-Royal Headache). Meanwhile ‘Waste Of Time’ sees him blending their garage licks with Joey Ramone bubblegum, just as ‘The Loser’ fashions a delightfully adolescent chorus of ‘the loser says what?’ from an airy melody that either The Shangri-Las or Del Shannon would be proud of. They wrap things up with another slab of pure punk/pub rock genius called ‘Kids’ that’ll get the hairs on the back of your neck standing on end, as you fight the urge to crank-call your former school teachers and blame the kid who used to take your lunch money. Of course, singing about ‘kids these days’ marks Mr Teenage out as being older than their name suggests, and sure enough their name comes from an old wrestler rather than identifying with an age bracket they’ve outgrown. But with tunes like this… honestly, who gives a fuck what they’re called? This record is perfect." Will Fitzpatrick.

Naphta was born in 1978 but differently from the most of other bands from Bologna at that time, they came up with a very peculiar Jazz-Rock formula mixed up with elements from the almost "out of time" Progressive genre.The result was unsettling! Their music was mostly improvised with no apparent distinctions between rhythm section and soloists, in fact everybody in the group could have taken a solo at any time but in close relation with the others. All members in the group were classically trained musicians who were in full control of their actions, all except the singer Marco “Cigaro” Cigarini whose vocal work and his nonsense lyrics were the most far out aspect and possibly the most fascinating element in the mix. Such music was probably too demanding for the general audience's attitude of the time and the band disappeared not so long after the release of their excellent tape. If compared to the original cassette, the present LP reissue includes two extra tracks, “La femme Fatale” and “Tac”, a couple of unearthed pieces which complete the picture of one of the most unconventional creatures in the history of Italian underground music.

Another insane and fuzzy Italian Library release from 1971 - Nello Ciangherotti aka Nenty & Silvano Chimenti "SONORITA' NEL LAVORO", originally out of the vaults of Globe Records. A top-notch set of sleazy Psych, dope Progressive riffs and Experimental Rock themed music produced to score some obscure documentaries about world of work. Mad section of evil Psychedelic guitars and fuzzy Wah Wah by the great guitarist Silvano Chimenti (the man behind 'Droga' and further Library grails) and studio arrangements by maestro and orchestra director Nello Ciangherotti. Stunning edgy vibes with loads of hand-made sonorities that recall sounds of industry, mechanical instruments and smoking chimneys for a dope Psychedelic winner.

Stalwarts of the underground music scene Nervous Twitch have joined the Reckless Yes roster ahead of the release of their self-titled fourth LP on vinyl, CD and digital on 12TH February 2021. A band adept at catchy surf-rock and synth-punk melodies Louder Than War describes the Leeds-based three-piece as, “paying homage to the Ramones and their favourite 60s girl-groups via the medium of punky pop songs”. The self-titled album follows on from 2015’s debut Get Back In Line, 2016’s Don’t Take My TV, and 2017’s I Won’t Hide, all of which are sold out on physical formats. Press and radio coverage for Nervous Twitch “paying homage to the Ramones and their favourite 60s girl-groups via the medium of punky pop songs” - Louder Than War "They have this knack for offering sugary punk ditties that are undeniably fun" - Austin Town Hall “Oozing vibrant ’50s-inspired melodies alongside wacky, whirring synth-pop hooks and a fuzz-filled colourful energy, it’s an instantly catchy offering, propelled by a frenzied joyous spirit" - Get In Her Ears
“With synth-stabs the track blends retrofuturism rock ‘n’ roll with ’60s Girl Group vocals underpinned with New Wave punk fuzz" – Popoptica Radio play from 6Music, Radio X, Amazing Radio and independent radio shows including Postcards from the Underground, and Basement Scene. Single release campaign A full campaign across print, online, and radio is set to be delivered through Reckless Yes. It builds on the release of two singles from the album (Keeping Faith In Something – October 2020, Tongue Tied - November 2020) and includes on further digital single release (Alright Lads, January 2021).

Dieser junge Herr kommt aus Alicante/Barcelona im Süden Spaniens und ist wohl die schrägste, tollste und wildeste Flamenco-Trash-One-Man-Band seit Menschengedenken. Geboren 1993 in eine musizierende Fernfahrerfamilie, kam er schon früh mit englischen und holländischen Touristen in Kontakt und brachte deren Musik mit nach Hause. Dort kreierte er diese kuriose Mischung aus Flamenco und Trash und erschuf sein eigenes Ein-Mann-Orchester.Er tourte fleißig durch ganz Spanien und Europa, unter anderem als Gastmusiker von Suicide Generation. Er steckt tief im Sumpf des wilden Trash-Rock'n'Roll und ist definitiv die spanische Wiederauferstehung von Hasil Adkins, dem Gott aller One-Man-Bands. Seine Liebe zur Flamenco-Musik erbte er von seinen Eltern, sein Zwillingssohn hingegen musste einen ,richtigen" Beruf erlernen. Doch Nestter blieb das schwarze Schaf der Familie.Auf der Bühne ist er am Ende des Konzerts meistens nackt und ausgeschwitzt, spielt mit seinen Genitalien die Maracas und quält seine Flamenco-Trash-Gitarre wie kein anderer. Er ist ein primitiver Wilder, der auf ein jungfräuliches Prinzessinnenpublikum trifft, und der einzige Donut, der sich Nestter nennen darf.Bitte heißen Sie ihn willkommen - Spaniens nuttiest one around - und lassen Sie sich von Nestter Donuts in die Welt des wilden, wilden Rock'n'Roll-Flamenco-Trash verführen.

OH TELEPHONE haben ihren Ursprung in den tiefen Tälern des Glarnerlands, wo sie dank dem Veka Club bestens sozialisiert und resistent gemacht wurden gegen jegliche Mainstreameinflüsse. Bookingagenturen schiessen nur so um sich mit Bands mit Psych in der Bezeichnung welche gerne die nächsten Oh-Sees wären und dabei ihren Sound grausig radiotauglich modellieren. OH TELEPHONE hingegen sind "the real shit", Garage-Psych wie er momentan von keiner Band besser gespielt wird. Ihre Schreie wirken nie berechnet sondern wie ein spontaner Ausbruch der Leidenschaft, ihre Gitarren durchlöchern jedes Trommelfell und wenn am Boden so einige Effektgeräte rumstehen wird nicht Shoegaze sondern Steptanz betrieben. Nun haben die beiden Masterminds hinter ihren früheren Bands SHOUTIN' MOE und THE OUTTA MIND ihren Wohnwagen nach Bern gebracht und dort die perfekte Mischung ihrer beiden früheren Bands gezüchtet, zusammen mit Gael am druckvollen Post-Punk Bass und dem kalifornischen Import Timothy U. am effizienten Schlagzeug. Für diese Aufnahmen auf dem Album sind sie ins Tiefe Süd Frankreich gefahren um mitLo Spider in sein Swamp lands Studio (the Monsters, the Spits, Scanners, the Lullies etc) dieses album einzuspielen den schluss fix hatt dann noch Jim Diamond dazu gegeben (The Dirtbombs, Electric Six, The White Stripes, The Sonics, The Devils) Aufgepasst! Abfeiern! (wicked wiggler)

The third full-length from Olivia Jean, Raving Ghost, is an album populated by mysterious characters in various states of danger: cursed lovers, doomed souls, women deliriously haunted by unseen forces. Over the course of its 12 spellbinding tracks, the Detroit-born singer/songwriter/multi-instrumentalist amplifies that drama with her wildly melodic take on garage-rock, handling each riff with the power and precision she’s previously shown as a member of the Black Belles (and as an in-demand session/touring musician who’s played with legends like Wanda Jackson). A stunning evolution of the retro-surf sound of her past solo work, Raving Ghost ultimately makes for the most magnificently heavy and mesmerizing output yet from an endlessly fascinating artist.

Hello and welcome to Cult Value, the new album from Manchester-based band Oort Clod, released by Safe Suburban Home in the UK and Repeating Cloud in the US this April. We are very excited to introduce this mercurial and unique collection of songs. The album includes garage stompers such as “#7”, off-kilter indie whining like the title track “Cult Value”, perfect indie pop songs like ‘Car Talk’ and much more. Featuring members of Unpaid Intern, the Hipshakes, Jeuce and the Early Mornings, Oort Clod was originally conceived by songwriter Patrick Glen as a fluid project with shifting members. Over the course of pandemic-era practices above the empty Peer Hat pub (the epicentre of DIY music making in Manchester) the current line-up solidified. In 2021 Oort Clod released a split E.P. with fellow Manchester band Priceless Bodies, pursuing a darker and more experimental sound. The EP received international airplay including BBC6 Music and KSFX. After playing gigs with bands like Porridge Radio, Jeffrey Lewis, and Garden Centre and even more practices above the Peer Hat, Oort Clod have mounted up once more to make Cult Value. The album’s sound is hard to pin down but it is Oort Clod’s most accessible and complete work so far. The band finds common ground in the alternative rock bands of the 1980s and 1990s, the post-punk and indie bands on Flying Nun Records and trashy compilations of post-British Invasion 60s garage gems like Nuggets. All of which come through, warped by Oort Clod’s particular sensibility, on this record made at Delicious Clam studios in Sheffield under the watchful eye of Ed Crisp. You’ll even get their cover of ? &the Mysterians “96 Tears”—rated the best ever cover of the song by the Blanketing Covers podcast, beating Jonathan Richman, Aretha Franklin, the Stranglers and Suicide (this actually exists, honestly). So there you have it the short and sweet lowdown on the new album Cult Value by Oort Clod. We hope you enjoy listening to it as much as they did making it and spread the good word as you see fit. Good luck in your endeavours and take care.

Ltd (300 ww) clear w/ blue & green splatter exclusive version. It seems that every time you turn around, there's another Oh Sees slab. Long ago we lost all capacity to be surprised that this sturdy unit keeps putting out records and that they're really good. You can now add the Metamorphosed 12" to your ever deeper shelf sagging row of John Dwyer & Co.'s seemingly no sleep release schedule. The five tracks were taken from the sessions that formed 2019's Face Stabber album, a 17 track/80+ minute jammified four-sider. Metamorphosed would have been the perfect third LP to fit in with the other two. The very existence of Metamorphosed asks any number of questions. Speculation is for pundits and amateurs. Let's go to John Dwyer and see if he'll kick loose some information. As to the Metamorphosed coming out so long after Face Stabber: This is just how the release landed. We are trying to stagger the releases a bit this year and we have a salvo coming down the pipe, so that's how the cookie crumbled. Metamorphosed would've been out sooner but with the virus restrictions, shipping of LPs has obviously slowed down and so has manufacturing, so here we are. It's worthwhile to note the Face Stabber sessions also resulted in The 12" Synth, a two track deal released in November of 2019. So, what was happening in the studio that rendered almost three hours of finished music? Just the usual run with ideas. Usually this takes place at the end of the planned recording. We have extra time and tape to lay down some deep cuts and long jams, etc., the fun part, really. It's a test to keep up with Dwyer and his extraordinarily able bandmates. It seems like there's always something on the way to the pressing plant. When and how did Metamorphosed come together? Basically, I found myself with a 12"'s worth of material in the new year and things were starting to grind to a halt, so it was the perfect time to sew it all up. People need some tunes right now and I think the artist's community is making a good run of it. So much great shit is seeing light right now. John and Matt Jones run the Castle Face label with full autonomy, so it would make sense that Metamorphosed, like The 12" Synth, would have been a CF release. Yet, it's on the very cool Rock Is Hell Records label, which has put out some great Dwyer related jams in the past. The OCS Live In San Francisco album was not only great musically but all the vinyl and sleeve variants made the collectors break out in a fan sweat they're probably still recovering from. Being able to do all this yourself, it's obviously cool to still work with Jochen and Rock Is Hell. Yes. I've worked with Jochen a few times over the past decade or more (so he is grandfathered in. :) It's pretty rare these days that I work outside my own label but his stuff is so well done and usually its own work of art. Last question. The fan cannot resist! At any time, were you thinking of making Face Stabber a 3LP set? Hell no. But now maybe I am. Metamorphosed isn't just some barrel scrape for those who can't get enough. All of the five tracks stand up to anything on Face Stabber. The record's 23+ minute I Got A Lot is one of the coolest songs the band has ever done. As it is with a full on Rock Is Hell roll out, there's a lot of details. Metamorphosed is no exception. This is what the release schedule looks like: In October, there will be a silkscreened cover limited to 300 copies with four sleeve variants. A larger press run will follow in January with four or five color variants. Whew! Something to look forward to! Henry Rollins

Originally planned as a single, the psychedelic Techno track “Pyramidion” was recorded instead as the sister release to the studio album ‘The Hidden Step’ and was such a success that it remained in the band’s live set.

The song was released as an EP with four live tracks recorded impromptu with high-quality equipment at Sheffield’s The Boardwalk, which was something fans had been requesting for almost a decade; the last live release being the

Ozrics’ 1992 ‘Live Underslunky’. This first-ever LP edition of ‘Pyramidion’ is presented in a single sleeve. For over 30 years, the Ozrics have experienced the vicissitudes of the rock and

roll life. The band has flourished through several line-up changes, spawned several side projects, created their own record label, scored a hit record and sold over a million albums worldwide. And yet, the basic motivation behind the

band’s existence has never wavered. Their signature blend of hippy aesthetics and raver electronics with spiralling guitars, textured waves of keyboard and midi samplers, and super-groovy bass

and drum rhythms continues to delight fans across the world to this day.