[engl] The first 7" by the Steve Ignorant's latest group. After a well-received album the legendary former Crass vocalist returns with three brand new recordings with his band Slice Of Life. Three slices of kitchen sink realism topped with that distinctive voice. A limited edition complete with inner lyric sleeve.

[engl] "Street Eaters are a truewave/punk band from Berkeley+Oakland, CA that has drawn a range of sonic comparisons to bands from Wipers to Masshysteri, Autoclave to Drive Like Jehu, Huggy Bear to KARP, Sonic Youth’s Bad Moon Rising to Warsaw. After years of relentless international touring on the heels of their well-received album ""Blood::Muscles::Bones"" (released on Nervous Intent in the U.S./Contraszt! in Europe), Megan March and John No returned home to troubled times in their immediate bay area underground punk community/family and the world at large. True to form, the band sought to come to terms with this changed landscape by diving deeply into their own recording studio to create a new record with an expansive new vision. This record, ""The Envoy"", is a concept album based on famed dystopian, gender revolutionary, anti-authoritarian author Ursula K. Le Guin's influential books ""The Dispossessed"" and ""Left Hand of Darkness"". Songs are at the heart of the album and keep its momentum and energy high, atop a shifting musical landscape underpinned by tension, fierce resolve, isolation, and the vastness of mental and physical space. Directly inspired by Le Guin’s radical speculative fiction and analytical lens on the world around us and beyond it, Street Eaters tackle transformative and transgressive lyrical themes of oppression, resistance, and change explored in the books. The songs are interspersed with instrumental interludes layering field recordings, planetary oscillations, comets, glaciers cracking, sea lions using tonal underwater sonar, a modded karaoke box, and more. However, the band’s core maximized-minimalist aesthetic - saturated and overdriven bass, propulsive yet bombastic drumming, and intense dual vocals - remain front and center. "

[engl] Street Stains is undoubtedly one of those that you need to hear as soon as possible. Their 10? self-titled album is a masterpiece that showcases the impressive collective talent of Chris Richards (Q and Not U, TK Echo, Paint Branch) and Sean McGuinness (Pissed Jeans). This material captivates the audience with its abrasive riffs, thought-provoking lyrics, and overall attention to detail. Their debut carries fourteen exceptional compositions that will satisfy even the pickiest punk rockers. However, their version of this particular music genre comes with a twist. Besides all the punk rock fundamentals, you may expect some of the finest properties borrowed from other complementary music genres like garage rock, noise rock, or maybe grunge. Of course, all these additional elements serve more like enhancements, accentuations, decorations, and other details while they remain loyal to the primary sonic direction. Street Stains glide through all the significant eras of these music genres, so you may notice how their music blossoms with the qualities of late sixties to mid-seventies garage rock, late eighties indie and noise rock, and early nineties grunge. Still, the duo combines all these with all the eras that made punk rock sound incredibly catchy, energetic, aggressive, and dynamic. Some listeners might notice the lack of bass guitar from the mix, but the heavily distorted, abrasive, and raw chord progressions and riffs compensate for it. However, these compositions don’t sound stripped down by any means. Quite the contrary, it’s pleasantly surprising how luxurious and detailed they seem, considering there are no basslines to support some of these guitar maneuvers with more clarity and density. Every composition comes with a comprehensive collection of brilliant ideas showcased by the exceptional musicianship provided by these experienced musicians. It’s also interesting how these musicians articulate together throughout the entire album, and you’ll notice they’re enormously organized and precise on each track. It’s also good to mention that the duo thoroughly thought about all the vocal arrangements, and you’ll hear how the perfectly balanced ratio of low, mid, and high notes suit these songs. Chris Richards and Sean McGuinness thought about everything while assembling this material, and their debut 10? is something you need to hear if you’re into raw and catchy punk rock sound. Also, this vinyl is a fine piece of art, thanks to Expert Work Records. The die-cut packaging looks divine, and the combination of colors is so effective. This visual identity follows the dark and light blue split color vinyl, and Street Stains 10? will appeal to all the punk rockers looking for a divine audio-visual experience. In the summer of 2008, Chris took the bus from Brooklyn to Philadelphia every Thursday afternoon to jam with Sean and watch the Olympics. They wrote more than 30 songs.Then they forgot about them until January of 2013. Chris was now living in D.C., and Sean convinced Aaron to cart his Tascam-388 up to Philly for an afternoon of recording. Captured on tape for the ages, these songs were quickly abandoned once more -- until the summer of 2014, when Chris finally recorded the words with Aaron back in D.C. Everybody forgot about the songs one more time before reconvening to mix them in the spring of 2015. And then -- after another two years had vanished into oblivion -- presto! "Street Stains" was released in January 2017 and can finally be forgotten forever.

[engl] Swiss Industrial-Dada-Noise-Rock band based in Berlin. Their 2014 album "Wölfli's Nightmare" on Voodoo Rhythm Records was produced by Roli Mosimann (Swans, The Young Gods, Wiseblood) and was very well received by critics and audiences. "Buddhist Nihilism" will consolidate the bands ability for bizarre and intense compositions full of left field humour, powerful rhythms and twisted structures. Brilliantly mixed and mastered by Martin Siewert (Radian) in his Vienna studio. "Buddhist Nihilism is a real fistful of sturm und drang, a real departure for the band. The new record leaves some of the noise and industrial elements behind and sees the band streamlining its approach. "Sudden Infant go all the way. Nothing is held back." - Keith Moline / The Wire "One of Europe's finest Noise provocateurs!" - Matthew Kosloff / Skyscraper Magazine

[engl] Fellow Glaswegians Sumshapes have an LP ?Cabin Biscuits ? (in consort with: Mon cul c’est du Tofu? and the band ?s own Gruff Wit) coming out 30th of June. Record release will be held in Glasgow that day, Followed by a week of giggles in France and Benelux.. finding some kinda shape as we type… Sumshapes are a pythagorean-skronk-pop trio that ?s not to be confused with one of our alltime favorite bands; DAWSON who were around in the late 80ies / early nineties.. who started out with exactly the same 3 members… new band, new music.. oh my godly and matured cremecheese.

[engl] Straight from the depths of an unused Boston-area concrete laboratory comes the debut of Sweeping Promises. Written and recorded with a patented ""single mic technique"" just before quarantine, ""Hunger for a Way Out"", is a post-punk leaning gem of unpolished DIY sound. The title track kicks things off in absolutely classic fashion, full of spirited hooks that echo the early Rough Trade sound. Angular guitars and sharp synth notes float atop a raw rhythm section, while Lira Mondal's effervescent vocals truly define Sweeping Promises' sound. There's something simple yet otherworldly about these tracks - you have the DIY prowess of Kleenex/LiLiPUT and Girls at Our Best!, a brooding new wave-y minimal synth sound woven in, and an undeniable pop-leaning appeal captured in vibrant monaural glory. It's hard to mistake these ten tracks of naturally urgent and driving post-punk for anything other than sheer brilliance. Sweeping Promises deliver in spades on ""Hunger for a Way Out"".

[engl] There’s a new best band in San Francisco. And this band plays a beautiful cacophony of raw, frenetic guitars, fiercely pounded drums, and jerky yet oddly melodic vocals. Perfect timing and guitar damage reminiscent of the Proletariat underscores a vocal delievery not dissimilar to the Observers but less operatic and more desperate. Synthetic ID sound like Greg Sage, D. Boone, and Colin Newman fabricating the house band for the International Space Station. Or better yet, spending three days in close quarters on an uncharted trek to the Sea of Tranquility. Anxious paranoia dripping from the walls. It's jerky, derailed, and draws heavily from early post-punk, but chugs along at a classic punk tempo, blasting out totally agitated lyrics the whole time. Space madness? Or just a need to escape the surface of this planet, even if it just be through the act of playing two minute punk jams? Either way, it's exciting and different. This record is a tight, fuzzy underground treasure in the waiting.

[engl] Amid the scattered forests and jagged cliffs of Scotland's east coast stirs TEETHGRYNDER, collaborative solo project from visual artist and multi-instrumentalist Jay Thurley. Walking out into the daylight for his fourth album, currently set to release on October 29th via Isolation Records, Jay continues to peel away his outer layers and reveal the new, while stepping forward into new territories. Hostages is climbing the cold mountain, getting hit by the sweltering sun, and the journey beyond. Written and recorded at the end of 2019, TEETHGRYNDER delivers his most sophisticated record yet, featuring Jaye Jayle's Evan Patterson and Daughters' Alexis Marshall, both of whom have worked with Jay previously. Other contributing musicians include Bossk guitarist Robert Vaughan, Visual artist and long-term collaborator Richey Beckett, Filth Is Eternal vocalist Lisa Mungo, Fall of Efrafa's Neil Kingsbury and among others, maybe even David Yow of The Jesus Lizard. Lyrically, the album deals with themes of deterioration, Thurley's journey continuing to dredge us into parts of ourselves we try to suppress, staggering through a world falling into turmoil in pursuit of a religious enlightenment, conflicted with the songwriter's sickly black sense of humour, stoic as it is unyielding. Sonically, a foundation of blues, Young Widows-style noise rock, cinematic movements, spoken word poetry, chaotic swathes of saxophone and electronics. Brought forward here are jangling guitars, pounding drums, amative strings and Leonard Cohen-like vocals both venomous and drunkenly rambling at a seedy bar in a Blade Runner dystopia - TEETHGRYNDER once again using juxtaposition to deliver a journey both hellbound and enlightened, challenging and contemplative.

[engl] The Astronauts second album It’s All Done By Mirrors was originally released by All the Madmen in 1983 and finally gets reissued on vinyl for the first time. Original copies are now really sought after and on a lot of people's wants lists due to both its scarcity and its status among outsider art, free music and weirdly enough peace punk fans. It’s All Done by Mirrors is a stunning collection of explosive pop songs and traditional folk ballads and considered to be the pinnacle of the Astronauts recorded output. It’s easy to hear and see why. Musically it’s tighter and more focused than on the debut album Peter Pan Hits the Suburbs and lyrically it’s on another level. From Mark Astronaut's lyrical pen comes a woman dreaming of the Dorset coast whilst writing to her former lover (Seagull Mania); or the man on the street and his wife living out the final day before nuclear destruction (Typically English Day). Mark Astronaut really should been seen in the same light as Ray Davies from the Kinks with his observations of a time long gone. Three of the tracks feature legendary sax player Lol Coxhill. As with all Astronauts releases - totally under rated yet totally essential.

[engl] Compilation with all singles, sampler contributions & rarities of the Limburg post-punk/neue welle/electro/left- field pioneers The Wirtschaftswunder. Including the songs from the first EP ‘Allein’ released in 1980 on War- ning/Ata Tak and the songs from the uber-single "Television/Kommissar" (ZickZack, 1980). Essential compila- tion of one of the most important German bands of the 80s.

[engl] First official LP reissue of this milestone in European post-punk history. Formed in Limburg in 1980, multinational band The Wirtschaftswunder consisted of Czech-born guitarist Tom Dokoupil, Canadian keyboardist Mark Pfurtscheller, German drummer Jürgen Beuth (also in Die Radierer) and Italian singer Angelo Galizia. Salmobray was recorded by Dokoupil in his basement studio on a 4-track recorder and sounds absolutely state of the art. Punk in the very best sense, who needs the Hansa Studios in Berlin when you can do great things in the basement of Limburg? Even 40 years after the first release Salmobray is a monolith. The Wirtschaftswunder sounded and still sound like no other band: danceable yet disturbing pop that 40 years on is still modern. The Wirtschaftswunder would be a household name today, even internationally, like Einstürzende Neubauten or Palais Schaumburg, if a touring accident hadn't temporarily interrupted their career at the worst possible time. A great album at long last available again.

[engl] "Drop" was recorded in a banana ripening warehouse (no joke) with hair-farming studio warlock Chris Woodhouse playing drums and graced with the presence of talented gurus Mikal Cronin, Greer McGettrick, and Casafis adding horns and vocals. The result pushes the familiar polarities of the group farther outward than ever before…opener "Penetrating Eye" might be the heaviest Oh Sees song yet, "Transparent World" and "Put Some Reverb On My Brother" foam with seasick fuzz, and yet the ballads, like the harpsichorded "King's Nose" and the lush and stately closer "The Lens", extend their oeuvre into mellotronic, far-out pop with delicacy and grace. This schizophrenia heralds the man and the band into an unseen future in classic Dwyer fashion - with restless energy harnessed into exquisitely crafted jams, with an emphasis on the pensive and the paranoid in turns. Featuring artwork by Jonny Negron. All vinyl includes a handsome gatefold lyric sheet insert.

[engl] A pinnacle in Thee Oh Sees' catalog, featuring the louder, grungier, synth-melty sound they've bludgeoned audiences around the world with. Featuring terrifying artwork from Matt Brinkman and John Dwyer. Vinyl LP comes with a download card.

[engl] Here we have nine muscular tunes primed to pummel to. Last year’s Drop was more schizophrenic, ranging from heavy to whimsical and back - Mutilator Defeated At Last has more in common with the monolithic hugeness of Floating Coffin - with only two slight reprieves in heaviness this is a record made to be played loudly and that demands bodily sacrifice inherently. Despite the plutonium heavy feel, Thee Oh Sees continue to be omnivorous - synths and acoustic guitars expertly wind their way throughout like veins of gold through granite - any and all that stands in its way will be devoured and assimilated.

[engl] One-offs, covers, and rarities from 2011-2013 by Thee Oh Sees collected in one place for your fancies. The brightest most metallic chrome printing available to man, with three color original artwork by Shalo P.

[engl] Thee Oh Sees – Sucks Blood: 6th full length from “the” Oh Sees, mellow vibes, lots of musical saw...cover art by John Dwyer