We're over the harvest moon to announce that we'll be releasing Lunch Lady's debut album on August 23rd! Lunch Lady are a sparky group from Los Angeles redolent of the desert heat, pining hearts and that chorus-soaked cloak of sound held dear by followers of British early 80s post-punk. Numbering four, Lunch Lady consist of Rachel Birke (vocals), Juan Velasquez (guitar), Victor Herrera (bass) and Robert Wolfe (drums). The band began in 2017 when Velasquez asked Birke if she'd like to start a new music project with him, their respective other groups Abe Vigoda and Heller Keller having co-existed in LA's DIY orbit. Birke explains that they "immediately decided upon making the new band a kind of love letter to Kitsch." Lunch Lady's dreamy punk forays into country ballad territory certainly swoop into sentiment, but its the melancholy of artifice that defines their outlook.
Here's the band's first video, 'Window', a track that whirls by with all the flourish of a card trick! Lunch Lady's debut album 'Angel' is available to pre-order in our webshop now!
WHAT'S GOING ON?
12 July 2019
Last night we held a launch party at Cafe OTO with Normil Hawaiians to celebrate the re-issue of the group's 1984 album 'What's Going On?'. Today sees that release hit the shops on limited LP (with hand-numbered poster), CD and digitally, accompanied by a plethora of bonus tracks and copious liner notes explaining how the malaise that afflicted early 80's Britain resulted in a defiant cry from Normil Hawaiians that became 'What's Going On?'. Available in our web shop now!
HORIZON OUT TODAY!
5 July 2019
Trash Kit's third and absolutely monumental album of post-punk moves and bold self expression, 'Horizon', is released today on LP, CD and digitally. The perfect record for this sun-soaked Friday and a perfect record all round!
CONSTANT MONGREL RELEASED!
28 June 2019
Constant Mongrel's rollicking new 'Experts In Skin' record greets the world today! Here's the riotous aforementioned 7" trying to turn the lights on in broad daylight! Classic!
'Experts in Skin' is the Melbourne bands' little sister follow-up to 2018's 'Living In Excellence' LP. The A side single holds the familiar post-post punk angst Constant Mongrel is known for, only building ever higher with a triple saxophone flurry and singer Tom Ridgewell's mutters on the often awkward nature of mainstream consumerism.
21 June 2019
We're re-issuing Trash Kit's incredible 2014 album 'Confidence' this July on white vinyl! New album 'Horizon' due out July 5th too!
"an album of a million small gestures arranged with jaw-dropping exactitude. It's 11 calamity-skirting post-punk tunes that teeter between control and chaos." PITCHFORK
"Disciplined yet eccentric, refined but raucous, Confidence is a bold and fantastically assured album!" LINE OF BEST FIT
"Each song feels like the sleek silhouette of a few hundred practices, a few hundred happy accidents coaxed right into place - aggressive and brave." TINY MIX TAPES
'DAUGHTERS OF THE SKY' RELEASED
14 June 2019
Daughters Of The Sky by Bamboo is released today on LP (180g, gold vinyl), CD and digitally! Check out this extraordinary album in all its glory, seriously transportive and beautifully rendered in sound!
PRISON RELIGION are a hardcore noise project from Richmond, Virginia, comprised of Poozy and False Prpht. Though the two are solo artists in their own right, they collaborate regularly to make collages together that are indebted yet flippant to hip hop, punk, and techno. Working together since 2016, the duo have dived deep into the space between blown-out trap (2016's Cage With Mirrored Bars) and contemporary destructive club music (2018's O Fucc Im On The Wrong Planet). Since linking up with Texas-based experimental label Halcyon Veil, they've connected a global crewsof likeminded collaborators for a remix album including Rabit, Endgame, Swan Meat, Lee Gamble and Bonaventure. The production destroys any notion of comfort afforded in dance music, with cold industrial and glitchy hip hop textures serving as the stylistic anchor of the record. With close ties to NON Worldwide, Prison Religion are also ushering in a new wave of vocal-based club performance.
HYPERSTITION DUO plunge deep to deliver a maximalist collective immersion into their own lysergic phonosphere. Lurching, polyrhythmic pathways crumble and re-assemble; elastic dynamics snap; propulsion sparks from the nerve-centre of machine and corporeal entanglement. Featuring ex-members of Blood Sport, templexing, mobius loops and cybernetic subjectivities abound in an attempt to conjure escape vectors in a world of ubiquitous sound.
ADVANCE BASE is the electronic solo project of Chicago, IL singer/songwriter Owen Ashworth (formerly of Casiotone for the Painfully Alone). Using a two-handed arsenal of electric pianos, autoharps, Omnichords, loops, samples & drum machines, Ashworth builds minimalist, heavy-hearted, & nostalgia-obsessed tunes around his conversational, baritone vocals. The sound of Advance Base has been described as "lo-fi," "depressed" & "weirdly uplifting." Advance Base has supported live dates for The Postal Service, Pedro the Lion, The Mountain Goats, Dean Wareham, Alan Sparhawk, Mark Kozelek & Stephin Merritt. The debut Advance Base album, 'A Shut-In's Prayer' (2012), was released by Caldo Verde Records & Ashworth's own Orindal Records. 'Nephew in the Wild', the second album by Advance Base, was released in 2015 by Orindal Records & Tomlab Records. PopMatters named 'Nephew in the Wild' the number 1 Indie Album of 2015. 'Animal Companionship', the third & most recent album by Advance Base, was released last September. The sound of the album is soft and thick and comforting. And when we're working with songs as sad as the ones that Ashworth writes, that level of comfort really comes in handy. He used to write sad love songs, or sad songs about love. He's still doing that, really, except that he's now middle-aged, with a wife and kids, living in suburban Chicago, and the songs reflect that. The songs on 'Animal Companionship' are full of a whole life's worth of regrets and missed opportunities and moments of acceptance and dead friends. It's not as bleak, either; there are moments of happiness, or at least sustenance, sprinkled all through 'Animal Companionship'. But in its sharp and unrelenting and empathetic specificity, this is some real masterly heart-wrecker music.
ALICE HUBBLE is the new project of Alice Hubley (Mass Datura, Cosines, Arthur and Martha), the product of one lady locked at home with her collection of analogue synthesisers. Inspired by 70's recordings by Tangerine Dream, Delia Derbyshire, Mike and Sally Oldfield, hers is a distinctly feminine take on the sometimes pompous prog sound. Her new album will be available on Happy Robots in Summer 2019.
MOUNT EERIE is still the name of the songs that come from Phil Elverum, a 41 year old artist/writer from rural maritime Washington state, USA. Over the past couple decades these songs have sprawled across sounds and atmospheres, sometimes cacophonies, sometimes gentle questions. In 2019, in the shadow of death and love and always head-on direct, there will be a performance in London.
KEEL HER's musical output can rightfully be called prolific. Originally from Winchester, Rose Keeler Schaefler has been writing and recording her own songs from the age of 14 on instruments found in charity shops and at car boot sales, culminating in a cassette release back in 2011 on Maximum Violence Records. Since then Keel Her has made an album with lo-fi legend R Stevie Moore and has released a single on O Genesis Recordings, alongside multiple releases on Critical Heights. Brand new album 'With Kindness' is a collection of Keel Her's experiences over the past few challenging years. Her introverted, thoughtful nature is obvious within the lyrics of tracks such as 'self-sabotage' and her deep running empathy effects all aspects of her life, be it others' feelings, nature or the planet.
J. McFARLANE'S REALITY GUEST is the new project of Australian artist Julia McFarlane. As a member of the group Twerps, McFarlane has traversed guitar-centric, melodic pop music for some years while honing a highly unique, personal musical language. 'Ta Da' is the first recorded unveiling of McFarlane's affecting, oblique songwriting panache. Originally released in her native Australia on Hobbies Galore, 'Ta Da' will be released worldwide by Night School in June 2019. 'Ta Da' showcases McFarlane's songwriting immersed in psychedelic music and synths. It's a brilliant, deft concoction swimming in Young Marble Giants-type minimalism washed with bare pop and harmony similar to Kevin Ayers making sense of a Melbourne suburb full of faces half-recognised in the blanching sun. McFarlane's vocal is straight forward, lyrically conversational but still not completely in focus, a surreal kitchen sink drama filtered through a dream where everything is in an unusual place. Reality Guest similarly draws on BBC Radiophonic Workshop-style noise synths, flute solos, palm-muted guitar and a sleepy, psychedelic tone that drifts away into the sunset, simple and direct.
THE PHEROMOANS have occupied their own peculiar niche in the UK's DIY music scene for the last 12 years. Initially known for primitive garage-esque repetition on their early releases, two LPs for Upset! The Rhythm saw the group develop a more pastoral sound before being mutated by electronics on 2016's 'I'm On Nights'. New record 'County Lines' (Alter) is their fifth full-length and takes in each aspect of their past sonically, providing a wry tonic for today's heady exhaustion. More of life's banalities and stale daydreams are given a good airing in Russel Walker's lyrics. Delivered with the usual droll lethargy, he's a septic entertainer par excellence who teases out just enough of the very real horror of the UK's current predicament to keep his aggrievements charming.
BISCOTTI is a project lead by multi-instrumentalist and producer Carla Ori, who lives in Melbourne. Through a cinematic lens she adds evocative sounds which create other worldly landscapes and guide the listener through different scenes. Elements of synth pop, disco, hip-hop and funk come together to create her colourful avant pop sound.
TIM PRESLEY'S WHITE FENCE, informed by the extreme polarities of punk rock and psych, brings forth songs like no others. Two years on from his solo missive, the sense that something has cratered and someone has walked away, somehow alive, is heavy in the air. With his new album 'I Have to Feed Larry's Hawk', Tim Presley meets White Fence again, and together, they move on. He started writing songs for this album in a small rural town in the UK called Staveley. Tim was staying with Cate Le Bon there during winter. While she was there going to school learning how to build & design furniture out of wood, he started writing on her piano. Tim came back to San Francisco to record, but first he had a fervent dream that Johnny Thunders asked him to be honest & simple with this album, and also why dolphins were not given arms. He booked studio time with a very talented fellow named Jeremy Harris and they worked together out of a studio in the Dogpatch district of SF (owned and run by Paul from the UK band The Bees. Jeremy was able to learn the songs on piano, keys and finesse the parts, including most drums and also record/engineer the whole album. Also playing on the album, is S.F. Mission district native Dylan Hadley who plays drums on two songs: 'Until You Walk' & 'Forever Chained' and H. Hawkline adding guitar and vocals on 'Phone.'
With this new record Tim re-learned how to walk. The poppy stomp. He'd been tethered to a hawk, that he must feed on the dot. While 'I Have To Feed Larry's Hawk' has tinges of both sides in its '60s guitars and whimsical, pastoral folk, however, what dominates is Tim's ability to pen strange, warm tracks like 'Lorelei' that are totally out of step yet tug on familiar melodic heartstrings. Like Syd Barrett or, more recently, Euros Childs before him, White Fence continues to make the peripheries seem oddly accessible. Things really soar when Presley privileges space and simplicity and with this album he's created a bare-bones, diary like project that bounces between optimism and melancholy. 'I Have To Feed Larry's Hawk' came out on Drag City this January.
ROBERT SOTELO is a cosmic pop melodist; a heartfelt multi-instrumentalist whose direct songs are curiously affecting. His debut album 'Cusp' from 2017 was packed with miniature psych overtures and earnest musings, he then followed this up in 2018 with an album called 'Botanical', more keyboard-minded and playful with its near-absurdist palette of sound and reflective mood. This September Upset The Rhythm will release Sotelo's third album 'Infinite Sprawling', his first record since relocating from London to Glasgow and partly inspired by his new city's inclusive and collaborative musical world. Recorded with Ruari MacLean (of Vital Idles, Golden Grrrls) and Edwin Stevens (Irma Vep, Yerba Mansa) at their home studio Namaste Sound, 'Infinite Sprawling' grew out of Sotelo's sketchbook of skeletal songs, with MacLean and Stevens developing their own drum, guitar and keyboard parts. These songs pulled together like a wakeful stretch on a Sunday morning, flowering with a lightness of touch, sounding both carefree and brisk.
MARY LATTIMORE is a Los Angeles-based musician who uses her Lyon and Healy concert grand harp to conjure up beautifully abstracted forms that evoke a host of memories, landscapes and allusions.
Across a breadth of recordings, collaborations and art commissions her music explores a realm of wordless narratives and indefinite travelogues, where - with the help of effects and occasional vocals - extended harp improvisations morph into spectral songforms. In live performance she reveals the impressionist magic of her chosen instrument, blurring classical technique and ambient electronics to beguiling effect.
In 2018 Mary released Hundreds of Days, her second LP on Ghostly International, as well as a collaborative album with Meg Baird entitled Ghost Forests (Three Lobed). She has moved a long way since her classical studies at Eastman School of Music, via days in Philadelphia with the likes of Espers and Fursaxa and sound-making time with Steve Gunn, Sharon van Etten and Kurt Vile. She has also collaborated with guitarist/synth player Jeff Zeigler on their 2014 album Slant of Light (Thrill Jockey) as well as composing a live score for Philippe Garrels' 1968 experimental silent film Le Revelateur which they subsequently toured together.
NUMMO TWIN plays ethereal, dream-like folk songs and noise soundscapes with an instrument she carved herself from an old christmas tree, an array of delay and reverb pedals, and feedback. She sings a lament to a forgotten place.
DEERHOOF, is four people. Satomi Matsuzaki plays bass and sings, Greg Saunier plays drums, John Dieterich and Ed Rodriguez play guitars. But what is Deerhoof really? Hell if we know. Pitchfork went so far as to label Deerhoof as "the best band in the world." From their humble beginnings as an obscure San Francisco noise act, they've become one of indie music's most influential bands with their ecstatic and unruly take on pop.
"Deerhoof are amazing. They're nuts, they'll freak you out." (Dave Grohl, Foo Fighters)
"Deerhoof deserve far more recognition." (Jonny Greenwood, Radiohead)
DANIEL O'SULLIVAN is a composer, songwriter, multi-instrumentalist and producer living and working in South West London and has been contributing a vibrant, chameleonic brew to the music landscape since the late 1990's. He has achieved acclaim writing, recording and performing with a myriad of groups including Grumbling Fur (with longtime friend and collaborator Alexander Tucker), Ulver, Mothlite, Sunn O))), Guapo, Miasma & the Carousel of Headless Horses, Miracle, AEthenor and This Is Not This Heat. He has composed several sound works for film and installation.
Whether solo or in his varied collaborative projects, O'Sullivan's work is remarkable in the way it infuses familiar everyday experience with traces of the uncanny, the secret and the magickal. His 2017 solo album VELD distilled these tangled realities into a rich and complex soundworld, strikingly dense and allusive. Released in April by O Genesis, Folly is O'Sullivan's second album under his own name and embodies a confident, evolution from VELD. This cycle of twelve songs deftly illustrates O'Sullivan's ascent as a unique and multidimensional songwriter. Moving from the familiar pantheon of experimental music and arriving upon a universal narrative probing the human condition from the inside out. Both lyrically and within the intricate lattice of arrangements, traditional forms are reshaped into transcendent pop symphonies. Both intimate and alien, archetypal and atypical, joyous and melancholic, the aperture of Folly is wide open and light streams in. For this special performance O'Sullivan will perform his new songs as an ensemble of eight, featuring Thighpaulsandra (Coil, Julian Cope Band, Spiritualized) who also recorded and mixed Folly at his Aeriel studio premises in Wales.
BRIGID MAE POWER is an Irish singer-songwriter and multi-instrumentalist who, like Judee Sill, Micky Newburyor Linda Perhacs before her, paints her songs in dreamily expansive strokes, transporting earthly compositions into universal and exultant realms. Her self-titled debut on Tompkins Square was a majestic suite of reverb-swathed laments for voice, guitar, piano, accordion, and harmonium, recorded at the Portland studio of key musical foil Peter Broderick. Themes include transformation, change, motherhood, acceptance, strength, courage and trust. In the words of Power, the album was about "trusting if you lose yourself or your way - you can come back". New album 'The Two Worlds' is another masterful collection of effortless, hypnotic folk, and an album that furthers the songwriter and multi-instrumentalist's already stellar reputation. Live, Brigid can encapsulate the timeless magic of her songs either solo or as a duo with Peter. Thus far she has toured throughout Ireland, UK and the US together with artists including Lee Ranaldo, Richard Dawson, Alasdair Roberts, Peter Broderick and Ryley Walker, with performances at Le Guess Who? and TUSK festivals along the way.
KURWS (from Wroclaw, Poland) formed in May 2008 as an unexpected result of a ping pong session. Since then together they pursue their own search, not as much in areas of defined genres, but within the very foundations of rock "base", expression and sound. It is a workshop, where improvisations penetrate through composed material, which seems to be a congealed form of the creation process. Armed with repetitions, recombinations, variations and contrasts, they frolic with memory and expectations. Post punk, krautrock, rock in opposition, funk, no wave - modes of playing, motives, riffs we heard time and time again, are being here presented in a totally different context - they are dissected from their original environment, placed side by side, used in a brand new manner, deconstructed and distilled.
HANDLE are a recently formed trio featuring a few familiar faces from Manchester's creative underground scene. On bass guitar and drums, there's Giulio Erasmus and Nirvana Heire, former members of the much-loved punk band DUDS; while upfront on vocals and keyboards is Leo Hermitt, a genderqueer multidisciplinary artist renowned for their challenging, thought-provoking work on the city's arts and literary scenes. The end result, in Handle, is a wonderful amalgam of each member's respective CVs - a band which absorbs punk, poetry, politics and the avant-garde, while wearing its Manc DIY credentials proudly on its sleeve. Powered by looping, hypnotic synth lines, tribal percussion and urgent, agitated vocals, their songs - all of which clock in around the two minute mark - owe as much to performance poetry as they do to post-punk and new wave. In these times of anxiety and confusion, Handle provide a much-needed dose of musical catharsis.
EXEK thrive amidst noirish, dub-dilated post-punk, with lyrics skirting the sardonic, mired in disdain. Situated in a reservoir of space echo and assisted by the heavyweight bass-and-drum brunt of Henry Wilson and Sam Dixon, vocalist Albert Wolski conveys an oblique, literate nihilism that resembles both a sneer and a smirk. Wicked turns of phrase are spiked with black humour and surrealism as the rest of the band summon sparse, reverb-drenched runs of percussion and a thickset low end prone to detour and dysfunction. Exek recently followed up their 'Ahead Of Two Thoughts' LP released last year on W.25TH (Superior Viaduct) with their astonishing 'A Casual Assembly' EP. This new record from Melbourne's audio-wranglers coalesces around a stirring theme for synthesizer, trumpet and bass, bringing together reference points to Laurie Spiegel, Jah Wobble and The Velvet Underground's 'The Gift.' Frontman Albert Wolski's disembodied narration - at times reminiscent of Samuel Beckett or Robert Ashley - unfolds over a series of dark vignettes set in a dystopian near-future. Autotune has been banned, secret police patrol the redoubts of the wealthy, and world beaches have been cleared of their sand for the construction of enormous urban prisons. As these events turn more fraught and absurd, Wolski reveals just how much is gained through EXEK's stripped-down arrangements and dreamlike tones.
THE REBEL is prolific London outsider Ben Wallers; a charismatic lone wolf in a cowboy hat or trilby and a tie whose electrified howls are too idiosyncratic to be broken down into market-oriented terms. It is difficult to sketch a thumbnail summary of a musician who has amassed a vast and unwieldy discography under a variety of names and genres: the most widely acclaimed is probably the Country Teasers, but he also moonlights as, or in, the Rebel, the Company, the Male Nurse, the Beale, the Stallion, the Black Poodle and Skills on Ampex, across folk, country, garage, post-punk, no wave and electronic pop. In the main part The Rebel is centred around twisted Casio drones, clanging guitar and some defiantly deadpan vocals, all thrown in the pan and pressure-cooked in Wallers' mind. Wallers has amassed a near-unquantifiable discography over the past 20 years, from scores of more or less "official" LPs, EPs and 7"s to seemingly endless self-released cassettes.
LANKUM have an alchemical ability to combine traditional folk roots with contemporary undercurrents to forge music that is dark, mysterious and transcendental. Comprising brothers Ian Lynch (uillean pipes, tin whistle, vocals), Daragh Lynch (vocals, guitar) alongside Cormac Mac Diarmada (fiddle) and Radie Peat (harmonium, accordion, vocals), Lankum channel a diverse set of influences and histories to create a beautifully rare thing: a songbook from and for the people. Born of years criss-crossing Dublin's folk and experimental scenes, their two albums Cold Old Fire (2013, recorded under former name Lynched) and Rough Trade debut Between The Earth and Sky (2017) breath new life into ancient/modern rituals with urban punk fervour, rural psycho-geography and, underpinning it all, the eternal drone of the uilleann pipes.The Dublin based four-piece present a new live show ahead of their much-anticipated 3rd album which will be released on Rough Trade late Autumn.
THE GOTOBEDS are a modern rock and roll sensation that has always sounded like they have to play. The group's angular tunes and buzzy guitar-fuelled attack took the sound and vision of post-punk and indie rock and put the nervy snarl of punk back into the formula. Never maligned by having the world's weight on their backs, The Gotobeds - Cary, TFP, Eli and Gavin - returned this May with their third full lengther, 'Debt Begins at 30' (Sub Pop). The esprit de corps and anxiety-free joy that permeates their other LPs and EPs remains intact. The octane is high-test, the engine still has knocks and pings and the battery is overcharged. The Gotobeds - as Pittsburgh as it gets, the folk music of the Steel City - have more tar for us to swallow. The Gotobeds jump between exuberant jangle, brooding romps with tribal beats and slash-and-burn guitar and wrecking ball anthems much like their partners-in-rock-crime Protomartyr.