[engl] Harsh, grimy tones. Sweet, steamrolling riffs. Vocals exuding pure pain. Over the course of 17 tracks, Mirakler spits out a sound that lands in a dark crack between Unsane, Today Is The Day, and Nirvana. The exuberance of Mirakler's twisted, metallic noise rock is intensified by the volatility of frontman Daniel Gene's voice as it ricochets between wounded pleas and full-bore screams, calling to mind the emotional storms of the great Steve Austin. New Noise Magazine reports: "With a touch of grunge, metal, and sludge, this group’s approach to noise manages to maintain a sense of melody." How I Became the Devil was recorded and mixed by Scot Moriarty at Backroom Studios, and mastered by Brad Boatright at Audiosiege. The band hits the road for a Northeast tour in July, including dates with Cherubs, and will play the venerable No Coast Fest in Texas in October. From Ryan Canavan of HEX Records/Hanging Like A Hex Zine -- "Mirakler take the combined experience of past bands, endless miles in subjectively reliable vehicles to play countless filthy basements and fly-by-night venues and spit it all out in a 45-minute tirade called “How I Became the Devil”. They go for the gusto and ensure every listener gets maximum bang for their buck with 17 tracks of noisey rock/punk abandon in about 45 minutes. Some may say that’s a bold move for a relatively new band. However, Mirakler have a lot to offer. Interspersed between the lumbering grungy noise rock squall are uncomfortable and weird interludes, melancholy melodies, occasional toe-dipping into sassy chaos, and even a bit of experimentation with electronics and post-rock instrumentation. It’s kind of a roller coaster of an album that has an air of mystery around it with it’s thumb print/eye blots on the cover, alluding to some alien in a ski mask coming to thieve your jewels. It’s unsettling and dangerous, and that’s kind of what you get from this Pittsburgh trio with their debut LP."

[engl] Featuring Tim Hodgkinson (Henry Cow, The Work) on Hawaiian laptop noisy guitar and keyboards, Mick Hobbs (Family Fodder, The Work, Officer!) on bass and Andy Wake (Unrest, Work & Play) on drums, The Momes were an unique power trio with an abrasive sound channelling post–punk, psych–prog and avant–rock. "Spiralling" is their sole album, recorded at This Heat’s Cold Storage studio by Charles Bullen (This Heat, Lifetones) and originally released in 1989 on the Woof label (operated by Tim Hodgkinson and Bill Gilonis). First ever vinyl reissue of this lost gem, recommended to fans of THIS HEAT, WIRE, SONIC YOUTH, FAUST, AMON DÜÜL II, CAN, MX–80 SOUND, MISSION OF BURMA... Includes a bonus 7" with two tracks taken from the album sessions (originally released only on CD as bonus tracks). Digital download also includes a previously unreleased bonus track from the same album sessions. "They mix a kind of driving post–punk rock–lurch with beautiful lyrics, lovely Trout Mask guitar moments and plenty of twisted art–rock details" – Byron Coley *Bonus 7" with two bonus tracks recorded in 1989.

[engl] Dark/Light, the extended play release by New Tongues, is a mesmerizing journey through a blend of complementary music genres that shape a luxurious and reverberant ambiance. While the noise-rock influences are apparent, the EP also draws inspiration from post-punk and post-rock, resulting in a truly incredible musical experience. One of the notable aspects of New Tongues’ sound is their specific approach, which often combines minimal and complex instrumentations. Many of their compositions start with intricate rhythmic patterns and heavy basslines, gradually layering guitars and vocals on top. The guitars play a crucial role, offering raw, abrasive, and heavily distorted themes, leads, melodies, harmonies, chord progressions, riffs, and other virtuosities that shine brightly in the mix. The lead vocalist’s contributions further enhance the orchestrations through a clever combination of shouts and clean vocal harmonies. His delivery perfectly complements the intense and atmospheric nature of the music, adding another layer of depth to the overall sound. One of the most striking elements of Dark/Light is the reverby and rehearsal-like production quality. The EP is drenched in a decent amount of studio reverb, creating a mystique and obscure atmosphere that enhances the listening experience. This particular detail adds an eerie note to the ambiance and further immerses the listener into New Tongues’ world. Dark/Light is an essential listening experience for fans of the genre, as New Tongues masterfully blend noise rock, post-rock, and post-punk into a colossal slab of well-articulated noise. The EP showcases the band’s expertise in crafting intricate compositions that simultaneously captivate and challenge the listener. The attention to detail and the musicianship displayed throughout the record exemplify the band’s experience and talent. The EP opens with the title track, “Stay Woke,” a brooding and atmospheric piece that sets the tone for what’s to come. The drums provide a steady foundation, while the bassline adds a hypnotic groove. As the guitars enter, the song builds in intensity, culminating in a cathartic release that leaves a lasting impression. Another standout track is “Gentle Release,” which showcases New Tongues’ ability to create dynamic and nuanced compositions. The song features intricate guitar work, shifting between atmospheric textures and blistering riffs, all anchored by a tight rhythm section. The vocals intertwine with the instrumentation, adding a layer of complexity to the overall sound. “Beautification Project” serves as a fitting follow-up, combining elements of noise and post-rock to create a captivating sonic landscape. The song builds gradually, with layers of guitars and vocals intertwining to create a sense of tension and release. The track showcases the band’s ability to create an immersive and emotionally charged musical journey. New Tongues also showcase their admiration towards electronic music with “Salt The Fields,” which also closes this exceptional material. Their combination of minimal, cinematic, downtempo ambient with classic electronic music comes as a bit of refreshment and perfect closure to this EP. Dark/Light by New Tongues is an EP that demands immediate attention. The band’s skillful blend of noise rock, post-rock, and post-punk resulted in a colossal slab of well-articulated noise. The intricate compositions, heavy basslines, abrasive guitars, and atmospheric vocals create a mesmerizing ambiance that is both intriguing and immersive. Dark/Light is more than rock-solid proof of their craft, and it will undoubtedly leave a lasting impression on anyone who listens to it.

[engl] Suite is the follow up EP to New Tongues 2013 release We Are The Ones We Have Been Waiting For. Suite was recorded in a single weekend in Columbia, MO at a undisclosed location, using a mobile recording studio. Suite consists of four songs and clocks in at 22 minutes.

[engl] New Tongues debut 8 song LP. 8 songs clocking in at 40 minutes, comes w/ download code. Recorded after playing only 4 shows. For fans of Young Widows, METZ, Wipers, and Hot Snakes.

[engl] Coming at you direct from Cleveland, Ohio, Lamont “Bim” Thomas has transitioned seamlessly from journeyman sticksman in some of the state’s finest bands (This Moment In Black History, Unholy Two, Puffy Areolas, Bassholes, etc.) to the full-on phenomenon known as Obnox. From a foundation of dirt-level garage punk, Thomas sculpts deep cuts out of blown-out beats, redline guitar damage, and soulful singing, as if your local gospel choir had been raised on a steady diet of The Pagans and Back From the Grave comps. Incredibly, 'Know America' -- Obnox’s fifth full-length -- is the second of three albums to come out in 2015. In addition, 'Know America' is the first of two albums this year on NYC label-to-watch Ever/Never Records. Part of an ambitious Ever/Never 2015 release schedule, 'Know America' secures Obnox’s top ranking amongst the creme de la creme of the worldwide underground. 'Know America' is a loose concept album, something like Thomas’ deep soul take on 'Pump Up The Volume' or 'Airheads'. Right at the start, on “Signal Takeover,” Obnox is hijacking the radio waves. A DJ that sounds suspiciously like Thomas, let us know that we are tuned to “Radio 420 WEDE” and that we better prepare for some “trunk punk.” In case you haven’t picked up what he’s laying down, Thomas informs you that the LP you just slapped on your turntable is “reefer on wax.”

[engl] Limited handnumbered edition of 205 copies, heavy 180g-vinyl packed in handmade covers, with insert included! Features two previously unreleased recordings from german Noise-Rock legends PARTY DIKTATOR, recorded in 1992 resp. 1994. On the other side, three exclusive tracks by SNOB CLUB, one of the follow-up bands to PARTY DIKTATOR, and featuring Lee Hollis (of the SPERMBIRDS) on vocals with one of these tracks.

[engl] Porto Geese is an alternative rock band with elements from noise rock, alternative indie, death- and industrial rock and you can also hear the occasional glimpse of post-punk and shoegaze driven by catchy twangy synth melodies clad in walls of noise guitar.

[engl] 300 copies pressed.

[engl] In the cacophony of contemporary noise rock, Power-take-Off emerges like a primal force, drowning you in waves of distorted drone infused with subterranean sub-sonics and seismic thuds, punctuated by moments of nuanced psychosis. This isn't just music; it's a confrontation spewing out paranoid diatribes that crawl under your skin. While soaking in this album's menacing aura you will be assaulted with ominous original pieces as well as a few possibly familiar covers, where PtO burrows deep below the surface of songs that were already relentless and twisted to mine even more frightening audio sludge. A tip of the hat to a few sinister influences. So who's behind this parade of the horribles anyway? Power-take-Off is the work of Gus Engstrom of the defunct Grids (a killing spree of a band in their own right) and a revolving cast of musical miscreants. Together they mount a visceral auditory barrage on your ears, a claustrophobic labyrinth of paranoia for you to frolic in. If you have any Rusted Shut, Clockcleaner, Head Of David, King Snake Roost, Swans, Harvey Milk, SUNN, Melvins, or Flipper in your record collection, then I believe you've found a winner here.

[engl] Prayer Group has brought forth into this hellish world their new record “Michael Dose” for all to take heed of, worship, and then experience the disappointment that is life through the music of these Richmond, VA noisemongers. Having proven themselves several times over through various EPs and tours, the band has focused their ill-will with this new LP, their first for the Reptilian, and their finest effort to date. Of course, comparisons are inevitable to torch-bearers such as Pissed Jeans and Jesus Lizard with regard to the shouted drawl of the vocals, the bombastic approach to their off-kilter rock, and furious combination of the strange, creepy, and exciting. However, Prayer Group also share sonic DNA with contemporaries like the experimental wailing thud of later Breather Resist, the unhinged depravity of Blacklisters, or the all-out thunderous rock assault of Buildings. “Michael Dose” (an in-joke mispronunciation of "microdose") is an album with 11 tracks showing the band taking these varied influences and sounds, and turning them into a sonic steamroller. These sounds may be varied, but they come together to make a heck of a record and Prayer Group make a fine addition to the luminaries carrying the noise rock torch high.

[engl] Ultra- rare recordings by 70s UK avant- rockers Red Square, the missing link between original free- noise practitioners like AMM, Nihilist Spasm Band and Peter Brotzmann and post- No Wavers ala the Blue Humans, Borbetomagus, Fushitsusha, and the Dead C. Named after the early Soviets Constructivists, Red Square is a pioneering free- improvising, avant- rock band. They bridged the worlds of psychedelic rock, noise and avant- jazz, and many of the techniques and approaches to music that they helped to pioneer have become common practice today. Pre- dating Sonic Youth by seven years, Last Exit by a decade and Matt Gustafsson?s The Thing by twenty five, their railing aural assaults were once considered too extreme for commercial release. Formed in Southend- On- Sea in 1974 by guitar player Ian Staples (fresh from gigging at the Middle Earth club with Ginger Johnson?s African Drummers, sharing stage with Pink Floyd and Marc Bolan among others), bass clarinet / sax player Jon Seagroatt and free- jazz drummer Roger Telford, their unusual sound was an amalgam of jazz, improv and avant- rock, fuelled by the loud electric guitar of Ian Staples, whose style has been described as a ?revolutionary blend of Hendrix and Beefheart, with the sonic palettes of Derek Bailey and Stockhausen?. Ian?s atonal guitar riffs referenced metal without ever becoming metal. Red Square shared stages with Henry Cow, Lox Coxhill, David Toop and National Health and they were also involved with Music For Socialism. But their extreme sound and attitude were too much for both audience and record companies. The band imploded in 1978 with only two ultra- rare private cassettes releases as their only legacy. In 2008, they reformed again and they?re still playing and recording to this date. ?Rare and Lost 70s Recordings? includes a complete never- before- heard heavy studio session from 1978 plus a thunderous live set opening for fellow "rock in opposition" mavens Henry Cow, recorded with perfect sound quality in 1976.