Today we jubilantly release Kaputt's 'Movement Now' / 'Another War Talk' EP. The Scottish six-piece have always dazzled us, zipping up their songs with a dizzy vim, lyrical punch and their own particular fidgety finesse but on this record they sound nigh thunderous. Framed by demands for much-needed change both tracks on this new record topple you headfirst into their serpentine tumult of sound.
'Movement Now' / 'Another War Talk' takes up its rightful place, front and centre of all the best record shops, as of today. It is available to stream through usual channels, whilst the brightly spinning blue 7" can also be sourced from own webshop here!
RELEASING THE POWER OF ROCKS
7 May 2021
Did you know there are eleven differently flavoured songs to choose from the Buffet Lunch? Blow the dust off that large plate and form an orderly queue because the Scots magpie-minded post-punks release their debut album on Upset The Rhythm today! Buffet Lunch line their nests with only the finest skittish riffage, poignant tangents and leaping absurdity. 'The Power of Rocks' is the glorious upshot, a goliath of wonky pop, frolicking in the melodic landslide of our dormant cerebella.
Available now on orange vinyl and digitally, 'The Power of Rocks' brims with nervy energy throughout its peculiar patchwork. These songs are gleefully led by a giddy compass but they also own their fair share of emotional heft at times too. 'The Power of Rocks' can be found looming in all the best record shops now and also in our very own webshop here.
20 April 2020
Buffet Lunch unveil their new video for 'Bladderwrack', swimming and singing among the seaweed lapping the casio coast! Premiered today kindly by the brilliant Beats Per Minute. 'Bladderwrack' appears on Buffet Lunch's imminent debut album 'The Power of Rocks', out May 7th.
Listen to me, listen to me! Buffet Lunch return with another new single from their forthcoming 'The Power of Rocks' album, here's 'Said Bernie' premiered today on the excellent Ears To Feed!
GET YOUR MOVE ON!
24 March 2020
We're releasing a new 7” EP by Glasgow group Kaputt this May! High-tempo, bright, danceable pop hooks and technical, polyphonic rhythms abound. 'Movement Now' is available now on all streaming platforms and captured wondrously in this eye-popping video by Tash Lizak!
22 March 2021
Joy of joys! Happy to declare Upset The Rhythm will be working with the inimitable Bertie Marshall on a compilation later this autumn entitled 'Exhibit'. This will gather together the jewels & gems of his Behaviour Red project over the years. A brand new interview with Bertie just appeared in GQ mentioning the release and his forthcoming memoir too .
I'D PEBBLEDASH THAT!
3 March 2021
Get ready to dance to your favourite derogatory demographics! Here's Buffet Lunch's befuddlingly brilliant video for 'Pebbledash', out now digitally and taken from their scorching debut album 'The Power of Rocks', released May 7th through Upset The Rhythm.
THE POWER OF ROCKS
27 January 2020
Power up! Our first new release of 2021 will be a debut album of odd-pop from Scottish group Buffet Lunch! Punchy, often thoughtful and pleasingly surreal at times 'The Power of Rocks' is an album filled with imagery and humour, packed with zestful tunes and lyrical weight too. Buffet Lunch's songs are vigorous excursions, meandering into clattersome terrain as often as hiking up into the breezy, melodious foothills. The desire to lead the listener along on a curious tale helps tie things together. This is a debut LP of wide-ranging and personal themes, from irritation with out of touch politicians, to love letters to seaside living, to even the frailty and confusion of old age. No stone left unturned, if you pardon the pun. 'Red Apple Happiness' is the first single taken from the album, it's befuddlingly magnificent video (made by Iain McCall) just premiered on For The Rabbits.
'The Power of Rocks' is available to pre-order now through our online shop on limited 180g orange vinyl!
JAKE XERXES FUSSELL is a singer and guitarist from Durham, North Carolina. Jake's 2015 self-titled debut record, produced by and featuring William Tyler, transmutes ten arcane folk and blues tunes into vibey cosmic laments and crooked riverine rambles. Collaborating with Tyler and engineer Mark Nevers in Nashville was a conscious decision to depart cloistered trad scenes and sonics for broader, more oblique horizons. In 2017 Fussell followed his debut with a moving new album of Natural Questions in the form of transmogrified folk/blues koans. This time these radiant ancient tunes tone several shades darker while amplifying their absurdist humour, illuminating our national, and psychic, predicaments. What in the Natural World features art by iconic painter Roger Brown and contributions from three notable Nathans: Nathan Bowles (Steve Gunn), Nathan Salsburg (Alan Lomax Archive), and Nathan Golub (Mountain Goats). On his most recent album for Paradise Of Bachelors 'Out of Sight', his most finely wrought album yet, Fussell ushers up an utterly transporting selection of traditional narrative folksongs addressing the troubles and delights of love, work, and wine (i.e., the things that matter), collected from a myriad of obscure sources and deftly metamorphosed, Out of Sight contains, among other moving curiosities, a fishmonger’s cry that sounds like an astral lament; a cotton mill tune that humorously explores the unknown terrain of death and memory; and a shanty/gospel song equally concerned with terrestrial boozing and heavenly transcendence. Always compelling and deftly impressive, Jake’s live shows have become must attend events, so its with great honour that we welcome him back this May to London.
TRASH KIT are Rachel Aggs (guitar, vocals), Rachel Horwood (drums, vocals) and Gill Partington (bass). Three deeply creative individuals who play in a multitude of other groups including Bas Jan, Sacred Paws, Shopping and Bamboo, united by a shared decade of spry musicality that surges through their bodies, hearts and heads with Trash Kit. Their songs once succinct, patchwork post-punk numbers of an honest diary-like nature now tussle more with long-form songwriting, expeditious polyphony and cascades of sung-spoke vocals. Recent tracks like 'Disco' have had their very fabric stretched into smart new shapes, allowing the band to run away with refrains and unlock the dancefloor. Although Trash Kit have their forebears in bands like Sleater Kinney, The Ex and The Raincoats, their sound is still very much their own take on facing forwards and relies as much on the naturalism of an internalised folk music as on their sincerity of vision.
Since forming in 2009, Trash Kit have released two albums for Upset The Rhythm and a selection of singles, 2019 however saw them make their most majestic move yet with their resoundingly huge ‘Horizon’ album. For this album, carefully crafted through years of playing out live, the band have chased down the distance between what they wanted the record to sound like and its realisation. They've augmented these songs with choral arrangements, piano, saxophone, harp, viola and cello. Pulling ideas from everywhere between the earth and sky, to push themselves further, to go beyond. Aggs' guitar playing for this album was informed by her love of guitar music from Zimbabwe, her cyclical motifs billow with lean Mbira rhythms. Horwood has similarly approached her drumkit with an untamable freedom, allowing it to breathe as a vivid lead instrument. Trash Kit's music is woven with silence and punctuation, and this is where the resonant, driving bass of Partington fits in. The bass has become now central to shaping the melody of this new collection of songs. Trash Kit's approach to life as with music is one of openness, inclusion and potential and Horizon is an album with that in dutiful abundance. It is an album that forever listens for the next moment and will meet you once more at the vanishing point.
ES is Maria Cecilia Tedemalm (vocals), Katy Cotterell (bass), Tamsin M. Leach (drums) and Flora Watters (keyboards). Their 2016 debut EP, Object Relations, released on influential London punk label La Vida Es Un Mus, was described as "mutant synth-punk for our dystopian present" (Jess Skolnik, Bandcamp, Pitchfork). The band has since become a vital presence in London's underground DIY music scene, as well as having toured the UK with the Thurston Moore Group in 2017. 'Less of Everything'. The title of Es' first full length LP could be interpreted as a manifesto pledge, an outright demand or a purely literal sonic descriptor of the London quartet's glacial form of punk rock music. This tension between intent and interpretation has been a fundamental element of the group's output from their formation. The dynamic between Cotterell's bass and Watters' keyboard is at the heart of Es’ sound: intertwining sub-zero melodies, gothic anarcho-punk influences and some kind of entirely unlocatable aquatic component. When combined with Leach's precise drumming, the outcome is original and immediately recognisable. This provides the perfect backdrop for Tedemalm's relentless, pointed vocal style. While comparable 'cold' sounding groups might affect an impersonal, safer mode of lyrical or vocal detachment, Tedemalm's strategy is to "push the lyrics as far as I can thematically until they become absurd … overly dramatic ... while still being sincere in the feeling they're trying to invoke. ‘Less of Everything’ was released last year by Upset The Rhythm.
NO HOME is the lo-fi rock solo project of Charlotte Valentine, who fuses the grunge and ambient songs of early 00s new york rock, with an urgent, captivating call to self preservation. Having enthralled audiences at Decolonise Fest and support slots with Downtown Boys, Moor Mother and Big Joanie, No Home's recordings are full of unease and disorientation, modal melodies interwoven with rolling rhythmic noise. Valentine’s powerful voice and experimental song structures dilate and expand time, pushing against the boundaries of genre and resisting enclosure. Surviving under capitalism is a drag—it's the oldest story in rock'n'roll—but No Home captures the weight of its dehumanization in a uniquely visceral way.
GAD WHIP formed in 2014 and blend avant-garde sensibilities with a contemporary take on the place where DIY culture meets post-punk. Hints of deconstructed garage rock and interstellar voyaging through sweat drenched waking dreams. Immediate, powerful, confounding and kept in place by wry, sometimes observational, semi-spoken vocals. This is music primed perfect for any 21st century meltdown in a suburban sprawl. Their music has been released by a range of labels, from NYC’s Ever/Never Records, Germany's X-Mist Records, Canada’s Arachnidiscs Recordings and UK/Poland based Fourth Dimension Records.
FATHERFIGURES released their debut album 'Any Time Now... And High Time Too' in spring 2021. What do they sound like? Post-punk; exhaust fumes seeping from a neighbour's garage after nightfall; the gnawing of unresolved disputes with real and imagined foes; the inner voices arguing amongst themselves until one walks off in disgust. That sort of thing.
NIGHTSHIFT formed in 2019 in the ecosystem of Glasgow's current indie scene. The city's fertile & creative group of musicians have been committed to pushing the boundaries of and blurring the lines between DIY, punk, experimentalism and indie pop for decades now. Nightshift fit right in, featuring members from current indie stalwarts Spinning Coin, 2 Ply and Robert Sotelo. The band was formed by David Campbell (guitar), Andrew Doig (bass), Eothen Stearn (keyboards/vocals) & Chris White (drums) as a "No Wave/No New York/early Sonic Youth/This Heat-esque" group, but their sound quickly evolved once guitarist/vocalist/clarinetist Georgia Harris joined (as the band was writing ‘Zöe’). Nightshift self-released a full-length cassette on CUSP Recordings in early 2020, laying the foundation of their sound; hypnotic, melodic, understated indie post-punk with hooks that stick around long after you've heard them.
Unlike the band's previous album, the songs on ‘Zöe’ weren't conceived live in the band's practice space, but rather pieced together and recorded remotely during quarantine lockdown. The isolation actually allowed for an openness and creativity to flow and many of the songs took on radically different forms from when they were originally envisioned. Vocalist & primary lyricist Eothen Stearn says "The process of writing these songs separately during lockdown was a kind of exquisite corpse - I liked this gesticulation of reaching out to one another and responding. Building up the next layer and passing it on."Stearn says "poetic restraints" to writing & Eno & Schmidt’s Oblique Strategies concepts were on their mind when composing the words to the songs, and highlights the influence of author Rosi Bradiotti's book ‘The Posthuman’. ‘Zöe’ kicks off with ‘Piece Together’, a mesmeric song anchored by the band's chanted vocals and serpentine guitar licks. ‘Spraypaint the Bridge’ showcases Harris' clarinet in an unexpected & delightful melodic shift during the song's anti-chorus. Elsewhere tunes like the swooning ‘Infinity Winner’ and ‘Outta Space’s minimalist, slinky rhythm swirl in a late-night vibe, while ‘Make Kin’ ruminates on "Looking to kinship as a way of engaging with entangled environmental and reproductive issues... how a band is a bond" and lurches forward with kinetic guitar strangling & staccato rhythmic percussion from White & Doig. ‘Power Cut’ is the album's centerpiece, luring the listener into involuntary movement with its waves of harmonies, synth drones and metronomic pulse, until they all come crashing down in the song's dissonant midsection.
The band acknowledges the whiffs of nostalgia prevalent in ‘Zöe’s songs, and the nature of writing & recording the album is soaked in the self-work, reflection & reevaluations involved not only personally but creatively in each member's lives. Consequently, ‘Zöe’ has become a collection of sketches of hope, growth, awareness of the power of the world & the power of self and possibility.
BERTIE MARSHALL is a writer/ performer. He is also an acclaimed memoirist, most well known for his book ‘Berlin Bromley’ (2006) about his transformation from Bertie, an anxious, androgynous, depressed teenager, into Berlin, a teenager who would reject suburban values and become a founding member of punk’s “Bromley Contingent”, alongside Siouxsie Sioux, Steven Severin, and Billy Idol. He’s currently working on ‘Looking: Backwards To Go Forwards’, picking up from where ‘Berlin Bromley’ left off. His other books include the debut novel ‘Psychoboys’ (1997), ‘Nowhere Slow’ (2014), ‘From Sleepwalking to Sleepwalking’ (2016), ‘Wild - re write’ (2017), ‘The Peeler’ (2018) and ‘Pete’s Underpants’ (2019). In 2015 the British Library purchased his writing archive.
From 1980-83, Bertie was the frontman for post-punk boundary-pushers Behaviour Red - they released one single (favourably played by John Peel), did a mini-tour and broke up. At various times Behaviour Red featured Noel Blanden of Normil Hawaiians and fine artist Nicola Tyson. Their sound was characterised by looseness and freedom, boasting at times tribal drumming, streams of vocals, dazed guitars and feedback. Bertie continued sketching out atmospheric compositions afterwards too, walking a tightrope between bewildered pop and gothic folk. Central to everything is Bertie’s commanding voice; heartfelt, impassioned and masterfully leading you through the story.
Bertie became interested in spoken word and performance poetry in the 90s, which then led him into writing and performing in his own plays and devised theatre pieces. He did regular readings and performances in NYC and began writing books inspired by the visceral talents of Acker & Burroughs. Having lived in Berlin, San Francisco, and Brittany, Bertie now lives in London. October 29th sees Upset The Rhythm release ‘Exhibit’ by Bertie Marshall, collecting for the first time his songs and spoken word tracks from this fertile period of the 80s-90s. This show will be its timely album launch featuring Bertie reunited with many original musical collaborators.
Tuesday 9 November
This show is rescheduled from April 21st & August 10th 2020 & February 17th 2021 original tickets valid, refunds available too.
PAN AMERICAN began during the summer of 1997, when Mark Nelson, guitar player and singer of the legendary Labradford, wanted to explore the possibilities of sampling and computer technology as well as his interests in dub and techno. Mark started recording a full-length album for Kranky at home and at Sound of Music Studios in Richmond, Virginia. The self-titled, debut Pan American album came out on Kranky in early 1998. Nelson continued to work on Pan American material as he worked with Labradford, learning to play pedal steel guitar, releasing singles on European labels and getting some studio time in with engineer Casey Rice. Rob Mazurek from Chicago Underground Trio and Alan Sparhawk and Mimi Parker of Low contributed cornet and vocals, respectively. The resulting album, 360 Business / 360 Bypass, was released by Kranky in North America (and Blast First in Europe) in early 2000.
More singles and album followed, along with the occasional live performance. Nelson's placement behind a synthesizer and mixing desk belied the improvisational nature of the live mix. Between sternum-rattling bass rhythms and Nelson's willingness to challenge an audience of with outbursts of static, Pan American shows were more than the usual knob-twiddling and smooth noodle maps, traded dub undertow for percussive points, field recordings and an ominous drone.
Nelson's latest offering as Pan American, 'A Son' (Kranky 2019), is a return his musical and spiritual beginnings. Spare, subdued, and largely acoustic, A Son unfurls like late summer dusk on the edge of town, expansive but intimate. Motivated by notions of "moving backward" and tracing roots - as well as a couple years of hammered dulcimer lessons - the album's nine songs were written and recorded in his home in Evanston, Illinois, and honed during a solo tour in Europe in 2018. The emphasis on uncluttered arrangements and the centrality of the guitar and vocals reveal these songs as the most direct and emotional statement of his career. Nelson cites everything from June Tabor, The Carter Family, Suicide, and Jimmy Reed as oblique inspirations, though his truest muse was creative self-inquiry: "What does music do, Where does music start? How simple can it be? How honest can it be?"
OLD TIME RELIJUN are the rarest breed of band. Insatiable, living raw, always on the margins and consistent as hell. You know what to expect and yet never have any clue what's going to come next. Old Time Relijun give sweaty, compulsively danceable performances that never fail to inflame their audience. Their loose swagger belies years of practice, fastidious arrangements and gut-level understanding of how music hits you. Old Time Relijun was born on January 1st, 1995 in a dark and moldy basement in Olympia, Washington. The band stole some popcorn bags, talked a friend out of his inheritance and self-released “Songbook Vol. I” in 1997. They then began their long association with Calvin Johnson’s K Records. Between 1999 and 2007, Old Time Relijun toured like monsters, averaging 150 shows a year in the U.S. and Europe, releasing ‘Uterus and Fire’, ‘La Sirena De Pecera’, ‘Witchcraft Rebellion’, ‘Lost Light’, ‘2012’ and ‘Catharsis in Crisis’. The last three albums are known collectively as “The Lost Light Trilogy;” a conceptual triptych integrating poetry, painting, and myth through multiple lyrical and musical threads. The band toured through 2008 and then quietly parted ways. 2021 reunites Old Time Relijun with newfound level of passionate indignation and a deeper musical vocabulary. The classic lineup featuring bandleader Arrington de Dionyso and Aaron Hartman (upright bass), joined by drummer Amanda Spring are primed to return to Europe. Old Time Relijun continue to make music for the revolution from a restless energy that has never settled down.
BRIGID MAE POWER (full band show)
Tuesday 23 November
This show is rescheduled from June 10th & Sept 15th 2020 & April 22nd 2021, original tickets valid, refunds available too.
BRIGID MAE POWER paints expansive songs that are effortless, hypnotic and folk-oriented like Judee Sill, Bill Callahan and Sharon Van Etten. The third album from the celebrated singer/songwriter, 'Head Above The Water' is a coming of age opus featuring a ground-breaking amalgamation of traditional folk and country - an engaging blend of strings, bouzouki, piano and Power’s distinctive vocal make this an achingly beautiful body of work. Recorded in analogue studio The Green Door in Glasgow with Alasdair Roberts co-producing alongside Brigid and Peter Broderick. It's a continuing tale of everyday survival; more diverse, different, a bigger canvas, with broader brushstrokes. Country and traditional folk rub shoulders, making for a juxtaposition of threads, with added instrumentation from five musicians lured into the studio to provide larger dynamics. After two lauded albums for Tompkins Square, Brigid Mae Power releases her new album on 5th June via Fire Records.
Monday 14 February 2022
This show is rescheduled from May 5th & Sep 2nd 2020 & May 5th 2021, original tickets valid.
SHOPPING are propulsive bass lines, primitive disco-not-disco drums and guitar lines sharp as broken glass. The band was formed in 2012 by members Rachel Aggs (guitar), Billy Easter (bass) and Andrew Milk (drums), who've all done time in a plethora of notable UK DIY bands including Trash Kit, Sacred Paws, Current Affairs and Wet Dog. They pull from a well of 70's post-punk with a voraciousness seldom seen these days, bringing to mind the jagged aggression of Gang of Four, the voracious yelp of The Slits and the dance inducing thrust of Delta 5 . Their debut LP 'Consumer Complaints' was released November 2013 in the UK via MILK records and quickly sold out its first pressing. A US re-issue of 'Consumer Complaints' came out in 2015 via Fat Cat records, followed up by their excellent second album 'Why Choose?'. 'The Official Body' followed in 2017, produced by Edwyn Collins and meeting with reviews proclaiming it as exhilarating as it was mesmerising! Now Shopping return on Feb 7th with their new record 'All Or Nothing'.
Written across an intense 10-day period back in February, with sessions spent in London and Glasgow. The songs that emerged are some of Shopping's boldest yet: confident, elastic, streamlined grooves that crackle with energy and intention. Uniting these ten new songs is an expression of tenacity: commitment, leaps of faith and tests of courage. Four albums in, Shopping are as committed and focused as ever, regardless of any distance. As critics have noted, the trio's vision - groove-centered; deeply queer; political by default - place them in a radical lineage of dance, a continuum connecting disco and post-punk to Chicago house and EDM. That spirit of liberation through rhythm is very much present on 'All Or Nothing', says Aggs. "We found ourselves singing about being true to yourself, in an often binary and belligerent digital age, and reclaiming agency when it feels like our personal freedom and privacy is constantly eroding." In an era dominated by spin and surveillance, 'All Or Nothing' invites us to remember what really moves us, in dance and in life.
(Charles Moothart, Ty Segall, Chad Ubovich)
Friday 18 March 2022
This show is rescheduled from July 22nd 2020 & March 31st 2021, original tickets valid, refunds available too
FUZZ are back! Ty Segall, Charles Moothart and Chad Ubovich's electrifying trio return to London next spring! Fuzz have released three studio albums to date on In The Red, their self-titled release debuting back in 2013, and the more heavy metal influenced II & III dropping in 2015 & 2020 respectively. Moothart and Segall originally formed the group, as Moothart was a touring member and guitarist for the Ty Segall backing band, and later became the drummer of Segall's current touring group. The aim with FUZZ was to take the essential ingredients of the "rock and roll power trio" and put them right out on the chopping block. New album 'III' is a much more honest approach for FUZZ: just three humans getting primitive, staying primitive. The goal was never to reinvent the wheel. Sometimes it's just about seeing how long you can hold on before you're thrown off. It's heavy, chaotically controlled, softly serpentine, and blindingly barbaric. To translate the auditory from ethereal to saliva soaked semantics is to shatter a promise as it's made. In the meantime, Ty, Charles, and Chad walk on. It is what it is.
FUTURE ISLANDS are a band whose brilliance was always hiding in plain sight. One viral moment might have catapulted them to worldwide recognition, but they were just doing what they always did – pouring their heart and soul into every moment, and channelling art's great power to spread love and hope. It was, quite simply, who they are. Long, hard years on the road, and the sense of constantly traveling away from something, have shaped the band many ways, both spiritually and physically. Always leaving, never arriving, the horizon an impossible destination to be chased but never caught. Future Islands' new album As Long As You Are is out now on 4AD. This show is the long-awaited return of the band back to London since their run of sold out shows at Brixton Academy back in 2017. This is a 14+ show, under 16's to be accompanied by an adult over the age of 21.