[engl] """Sonically comparable to ""Soundgarden"", ""Nirvana"" and early ""Dinosaur Jr., ""Orange Baboons"" fabricated a wall of nasty volume."" (Concert review 1993) Welcome to the Noise Appeal Records ""History-Series"": Orange Baboons. The Styrians released countless records between 1990 and 1996, among others on Gash Records and Sacro Egoismo, until they landed at Sony, where their major label debut ""100% Homeless"" was released on CD in 1995. 27 years later, they have come full circle. 200 copies, incl. DL, colored vinyl, printed innersleeves, side D incl. 5 unreleased demo-tracks

[engl] The Oscillation’s continuing journey into the centre of the mind and beyond shows absolutely no signs of slowing down. Indeed, new album Untold Futures is less a consolidation of all that we’ve come to love and expect from the cosmic explorers and more a leap forward into an upcoming reality. Redefining the possibilities of altered states through audio stimulation, Untold Futures finds The Oscillation at their most daring and breathtaking. A multi-layered assault on the senses, this is an unexpurgated experience for the seasoned connoisseur and unspoiled novice alike. Its power is felt in the multi-layered dissonance and undying throb of Dilated Mind, the metaphysical possibilities that beat at the heart of metronomic pulses of Forever Knowing and the face-melting attack of The Inner Void. Heart Of Nowhere is a mantra for the profane, while the dissonant beauty of Obscured realises re-birth and resurrection. Revelatory in its brilliance and an intersection between the individual self and the collective unconscious, this is music to fuel the inner technology of the mind. So load up to the brim and give yourself up to Untold Futures. Veering between krautrock edginess, droning medicated tones and noise driven no wave fuzz, The Oscillation recalls the music of Neu! and Tangerine Dream and Loop interpreted with an eye on Pil’s dubbed out punk funk, Miles Davis’ experimentalism and Spacemen 3’s strung out blues rock. Beginning in 2007, when DC Recordings released the debut “Out Of Phase”, The Oscillation have released many albums and e.ps, both self released and with labels (Fuzz Club and Hands In The Dark and Cardinal Fuzz). Recent releases include the mutant kosmiche techno of “U.E.F”, the pounding and otherworldly “Wasted Space” from 2018 and the epic exploration of the inner landscapes with “Droneweapon”. Now The Oscillation return with a new face-biting album questioning our strange relationship with reality as “Untold Futures”.

[engl] PAINTERS AND DOCKERS are a Melbourne institution – one of those extraordinary live acts that never lets up. Following their debut album, the band unleashed this legendary live album which fans are still clamouring to get hold of today. Bucket presents the band in all of intense over-the-top live glory. This reissue of the CD contains a bonus live recording of “Bad”. On vinyl, Bucket has not been available since the original 80’s pressing, and this new edition comes on ultra-rare coloured vinyl.

[engl] Palmiyeler (Izmir born, Istanbul grown surf-pop-indie-dance-rock quartet) invites you for a drink by wavy beaches where you can enjoy their fun-psychsurf-pop sounds with serious lyrics darken by Istanbul’s genuine chaos. Founded as an Istanbul based garage rock trio comprised of lead vocalist/ guitarist Mertcan Mertbilek, bassist Tar?k Töre, and drummer Rana Uluda?. They recorded their debut 'Palmiyeler EP' in 2013 and released it on vinyl and all digital platforms in 2015. After the release guitarist/keyboardist Bar?? Konyal? has joined the band. They spent time touring, making videos, and recording their debut album ‘II (Venus)’ with the singles 'Senden Haber Yok' and 'Karbeyaz'. 'II (Venus)' was released by Tantana Records in 2017 as a limited-edition LP and through all digital formats. Palmiyeler released their 2nd studio album ‘Akdeniz’ including lead singles 'Derine' and 'Kalbim Seni Arar' on May 25, 2018 as a digital file. Green Cookie Record released 'Akdeniz' as a limited-edition vinyl on May 25, 2020. ‘Ben-Hür’ is their 3rd studio album so far. A singles compilation which contains songs from 2019 and 2020, as well as two new songs.

[engl] The fifth studio album of Palmiyeler '?kimiz' which started right after the band's second US tour with PAINT and Jared Mattson of the Californian Jazz duo The Mattson 2, was released on June 21, 2022. There are 9 songs in the album, all recorded and mastered in Istanbul. The iconic cover design of the album was made by Mertcan Mertbilek.

[engl] Palmiyeler stands for soothing melodies, cinematic landscapes and groovy beats! Unlike the majority of neo-psych bands, Palmiyeler are the proprietors of a distinct style, so familiar and at the same time so original, that makes it hard to categorize: blending garage-rock classicism with some Morricone cool, the Turkish quartet explore dark themes under a breezy Mediterranean sunny feel, the end result sounding hauntingly smooth, like Steely Dan writing for The Jesus & Mary Chain!

[engl] Paper Dollhouse is the work of Astrud Steehouder; dark minimal gothic folk which comprises haunting vocals, acoustic guitar, effects pedals, found sounds, slide projector and minimal electronic atmospherics. Her debut album ‘A Box Painted Black’ is set for release this winter on Bird Records, the femme-folk off shoot of the Finders Keepers family. Inspired by early 60s electronic pioneers Delia Derbyshire and Eliane Radique, bleak British television soundtracks, minimal dark electronica, Scott Walker, Arthur Russell, Christine Harwood and France Galle, the music combines simple folk songs with environmental and electronic tex- tural sounds and visuals to create a pared down, beautiful experience. Named after the 1988 cult horror film Paperhouse “I watched the film when I was about 10 and was really drawn in by it. Something about the quality and tone of it, the psychology and aesthetic of that struck a chord and been with me ever since. I'm into actual dollhouses and models of things as well. I used to make these little viewfinder boxes containing lit- tle scenes in them as a child for fun, I found them magical.” Steehouder has created a new kind of (black) magic on her debut release. ‘A Box Painted Black’ was recorded entirely in the kitchen and garden of her London home amongst the incidental sounds of trains passing, children playing, door slams and running water. The songs retain the ambience of the place they were recorded. Often first takes and recorded as soon as the songs had been penned, they combine an immediacy and raw quality which fills the work with a naivety and emotive dark tonality. Dense in simplicity and thick with silence the songs are restrained, intense, lingering and decorated with white noise. Steehouder names “bewildering post nuclear landscapes, bleak fields, forests, thunderstorms and archaic industrial objects in the middle of nowhere” as influences, rather than the listing the much and over cited normal singer-songwriter fare. The songs possess a folk pop sensibility rich in mysterious hooks that creep up on you from around a dark alleyway, following you on the all the way home at night. Steehouder has recently been working with photographer and writer Nina Bosnic in a live capacity using a variety of sonic and visual techniques including an old slide projector, a dictaphone and prismatic imagery, to create a live show which is as haunting as it is bare. There is a raw completeness to the work, the body of which is clearly a deep and evolving spectrum. Hypnotic, meditative and a midnight look through the keyhole of Paper Dollhouse’s secret garden “the album’s like a Pandora's box of messages. It was kind of a dark solace for me, the slight way the album happened. Almost hidden.”

[engl] When the Tree Bears Fruit is the debut album from Melbourne four-piece Parsnip. Following on from two 7-inches in the last two years, Parsnip’s first full-length is playful, poetic, propulsive punk. An album perpetually in motion, When the Tree Bears Fruit is just over half an hour of absurd, understated energy. There’s an immediacy to the sheer joy, velocity and whimsy of Parsnip’s delivery. Bass player and most-of-the-time lyricist Paris Richens is the first to admit that she finds inspiration in children’s verse and the sonics of nursery rhymes – “Sprouts” is an ode to plants in their first form, and “Trip the Light” is about the sheer joy of dancing. That said, Richens’ bandmates – drummer Carolyn Hawkins, guitarist Stella Rennex and keys player Rebecca Liston – are quick to remind her that nursery rhymes are almost always pretty twisted. No one is being baked into a pie in a Parsnip song, but they deal in themes of loneliness, longing, the unknown and the mundane, almost as much as they dream of travel and make a romantic spectacle of the everyday. Across the album, transport and movement recur as an image, mostly alluding to a dreamy sense of possibility: lead single “Lift Off” is a plea for a quick flight away, “Seafarer” is a voyage against nature’s adversity, and “Lighthouse Beacon” sees a hope in the distance. Ultimately, this is an album that invites its listener to join in its celebration: the record’s title, inspired by the ideas of guru and poet Sri Chinmoy, refers to the idea that a tree will grow fruit and it will be offered for anyone and everyone to share in. The band see this principle as it applies to their work – to sharing their joy and nonsense with the world, and hoping people will enjoy it.

[engl] "As the fiftieth birthday approaches, you get the sense that your life is thinning out and will continue to thin out, until it thins out into nothing. And you sometimes say to yourself: that went a bit quick. In certain moods, you may want to put it rather more forcefully. As in: OY!! THAT went a BIT FUCKING QUICK!!!... then fifty comes and goes, and fifty-one, and fifty-two. And life thickens out again. Because there is now an enormous and unsuspected presence within your being, like an undiscovered continent. This is the past." – Martin Amis 2024 marks 40 years of Pete Astor making records, a suitable anniversary point at which to take stock and double back on songs that first appeared on records by Astor-fronted combos such as Creation Records trailblazers The Loft and The Weather Prophets and Matador recording artists The Wisdom of Harry, as well as selections from solo albums that appeared on labels such as Danceteria and Static Caravan. Astor’s motivation for TS&NR, as his extensive notes below make clear, is manifold. Some songs are effectively re-examined in the way one might linger over a resonant picture from a box of old photographs – connecting with the essence of a younger self. Other songs are newly recast in wiser and more reflective hues, while others simply demanded exhumation from wilfully opaque, lo fi non-production. The songs chosen are not the obvious ones - there’s no "Up the Hill and Down the Slope" or “Almost Prayed” here - but have been selected for more interesting, often esoteric, reasons. Astor is accompanied by an estimable band of co-conspirators, evolving out of many hours spent playing music together on records and at shows over the last decade. They are drummer Ian Button, (Death in Vegas, Papernut Cambridge, Go Kart Mozart), bassist Andy Lewis (Paul Weller, Soho Radio and Blow Up DJ), guitarist Wilson Neil Scott (Summerhill, Felt, Everything But the Girl) and keyboardist/ multi-instrumentalist/ producer Sean Read (Dexys, Mark Lanegan, Dave Gahan, Iggy Pop, Manic Street Preachers, Beth Orton, Chrissie Hynde...). Together they’ve revisited these lost gems of songs in a manner that has allowed Astor to balance the way that they still make sense to him now, looking both to the future and to that big and interesting new country, the past.

[engl] "The new and already 5th album has been made with even more care and effort. For five months the band and a team consisting of Alexandr Vatagin (Engineer for Kronos Quartett, Pauls Jets, Dives, Electric Indigo), Gerhard Potuznik (GD Luxxe, Mäuse, co-owner of label Angelika Köhlermann, producer of Chicks On Speed), Alexander Lausch (Engineer for Die Buben Im Pelz, Paul Plut, Mynth, The New Mourning) and Tobias Wöhrer (Leyya) was involved in producing, consulting, recording, mixing and mastering. Remixes were made by Industrial/Dark Ambient icons Brian Williams aka LUSTMORD (Current 93, Nurse With Wound, SPK, Graeme Revell, Terror Against Terror, First Reformed) and JARBOE (The Swans), two musicians who have had a fundamental impact on the band’s work."

[engl] Pastels by candlelight, a spilled bottle, cigarettes burnt to the filter, the outline of a face being tanned by a flickering neon light, the vinyl debut from NYC's Phantasia is hard to get out of your head. A polytropos of black lace tinged beachfront kitsch melted together with the clever gloom of prime-era American indie, all topped by the wavering and haunting vocals of what could be likened to a baritone Siouxie Sioux. Elements of death rock, pure pop, punk, and rock and roll are all here fighting for space amongst lilting synths, reverb-soaked guitars, and muscular drumming. Recorded and mixed by Sasha Stroud, this captures both the spirit of their influences — the Feelies, Alaska y Dinarama, Bruce Springsteen, and Pylon — but holds nothing back in terms of what these songs are capable of sounding like in the 21st century. Each record comes in a jacket adorned with art by Phantasia's own Dylan Cameron.

[engl] Originally out in 2004 as a CD-only album, PILOT TO GUNNER’s Get Saved finally sees the light of day in a proper analog release. This album was pressed in order to support and celebrate their long-awaited 2014 european tour.?  Forget about your crappy indie looking hipsters with synthetizers and clean guitar sounds, for PILOT TO GUNNER is the raw and real deal. They inspired me back in 2000 to grab a guitar and write my own songs when their first album came out. Because they know what a good tune is. It’s all about the melody, the beat and the chorus. It’s all about the riffing conversation. It’s all about the guts and the blood you spill while you play in that sweaty basement in front of 20 people. PILOT TO GUNNER is a band that will stay forever because they’ve got the heart and the spirit.

[engl] I’m going to say “I” because I think I can’t write about my music other than in the first person. I’ve been playing drums since I was fifteen years old and I’ve always had bands since. Even if I always contribute artistically, to different degrees, my latitude of action, from a creative point of view, has always been limited by the fact that I am a drummer. Like many people, I learned to play very approximately the guitar and keyboard, and I spent years going over obsessions and recurring patterns, in my room and in my head, without doing any of that, and knowing that even though I was and still am extremely involved in my past and present bands (Skategang, La Secte du Futur, Marietta to a lesser extent, and ), the music we were making was only partially representative of me. I’ve always listened to a lot of reggae, dancehall, music from Ghana, Nigeria, Congo, and overall music that is based more on repetition and intention than composition, and that’s something I could never really develop in there. In 2015 my brother and friend Benjamin Dupont, the human behind Bryan’s Magic Tears, moved into my flat share / Noah’s Ark at 35 rue Clignancourt, in the 18th arrondissement, and it was him who unlocked everything by showing me how to record music by myself ; and one September morning, lying on my back, I saw the light. It’s really a new world that’s opened up to me, I started recording at a pretty intensive pace, just letting myself be carried away by what I’ve had in my head and fingers for years; I’ve accumulated a lot of material, including a lot of unfinished pieces, and I’ve tried – I’m still trying – to understand for myself what my point really is and to learn how to systematize and channel my obsessions to make it something personal. Recording a lot, without any constraints of format, group or expectations, by letting myself be totally carried away by what was coming out in the moment, it allowed me to give myself a certain insight into myself; I am not one of the people who compose music by having an idea of where they want to go, but by repeating the exercise, something coherent ends up taking shape. I would say that it oscillates, for the music, between synthetic krautrock, dancehall lo-fi, Manchester sound recorded with toys, rock à la Velvet and Memphis rap for children; and between Les Négresses Vertes and Julien Gracq for the texts. I still write the basis of my lyrics without music, and I attach a lot of importance to it; French has become obvious because I want to say something true and I would not be able to do it otherwise – even if the text of “The Fur” is in English, but it was to seduce a girl (it didn’t work), and it won’t happen again. This is my friend Paula from J.C. Satan and Succhiamo, who sings on “Mariposa” and “Venera 16”, because I had no idea what to do about it; I sent her the songs and she sang on her phone, it was great so we recorded it. This first album is a kind of best-of from 2015 to 2018, the songs that held up best, the ones I had lyrics on, the best finished drafts, basically. I owe its existence to my friends at the Megattera micro-label who, after hearing my songs at home at night, decided to release them confidentially on tape first; without them, they would still be on my hard drive. Under the spell, Born Bad Records then entrusted Olivier Demeaux de Cheveu/ Heimat with the mission of mixing the “best” tracks to give them the lustre they deserve and make these few crazy and scattered tracks a full-fledged album. I asked Adam Karakos, from Villejuif Underground, Guillaume Rottier, from Rendez-Vous, Nikolaj Boursniev, from Quetzal Snakes, and Milia Colombani, who plays in half the bands in Paris, to play live with me. Pleasure Principle is located somewhere within a triangle formed by Francis Bebey, Add (n) To X and Ludwig Von 88; it is a solitary race to the outside, an ode to the forward flight, a way to escape in the peaceful expectation of the great liberating flash. I often find myself dancing like a monkey who forgets the world when I record at night in my room, and I hope to provoke the same reaction in people. Paul Speedy Ramon

[engl] Beefheartian rock trio tinged with afro-electronic influences. Listening to them, we witness the variation of the same twisted spirit coupled with an explosive and funny sound. A freedom inherited from the best garage and psychedelic rock, whose clichés they sometimes divert. In two words, it’s ugly and invigorating music! “One of us once came in with a guitar riff he’d made alone at home and asked the band to play it the way he composed it. The result was a disaster!” Portron Portron Lopez don’t do concepts. There are no great discussions about where they should pull their influences from, or pre-planning about how to structure studio work. The Parisian-formed trio exist in spontaneity, a creative co-habitancy that relies on feel and groove – as evidenced on their three studio albums to-date. Exploratory odysseys that bely the potential pitfalls an improvisational-minded group might fall into during the recording process, they’ve moved between shades of psychedelia and Middle Eastern-inflected drones as well as more electronic and club-based touchstones, doing so in a way that feels effortlessly free. That sense of adventure is furthered still on forthcoming album Ice Cream Soufi. “We need exploding ideas that allow us to build tracks that we can emotionally convey onstage” they say. “It’s not about being a concept band, but about striking ideas that make sense. It’s not ‘our music’ we’re making – it’s transposing who we are into music.” Portron Portron Lopez were formed in 2011 in Paris by guitarists and brothers Marceau and Valentin Portron. High school friend and drummer Lucas Lopez joined after a two-day long improvisation session in a Parisian wine bar. He left after two records – 2012’s beguilingly Beefheart-meets- Afrobeat set of tracks on Uh!, and 2015’s similarly acid-fried Moi Aussi J’ai Des Amis Qui Font Du Bruit – but his position was taken by Olivier Kelchtermans. The Belgian artist had contributed to PPL’s previous studio recordings as a saxophonist but switched to behind the kit in time for the 2016 tour dates and then the 2018 release De Colère et d’Envie’s mix of lo-fi hypnagogia and proto-punk recalling mayhem. Ice Cream Soufi certainly doesn’t eschew all the chaos of that record, but the seven tracks that make up the group’s fourth LP lean further into their penchant for cross-pollination across globally inspired styles. Opener Comment Vas-Tu Rossignol’s roots are in western Iran and a recording Valentin made there of local musicians playing in the ethnographic museum of Sanandaj city. The material served as inspiration for the resulting track, which leans on Kurdish folk style and structure while the trio whip themselves into a sense of frenzy around it. Elsewhere, third track A Stranger I May Be came out of several improvisations based around the group’s goal of “getting to a country-techno song” – an on-paper incongruous mix that makes a hell of a lot of sense when listened to. It’s unwavering kick drum drives through the group’s duelling guitars and unburdened vocal shrieks, supplemented by musician and comedian Charly Fournier who adds a touch of knowing absurdity to proceedings. Those two tracks bookend Pensée Sans Tête, which was improvised and demoed in April 2019 during a rehearsal, before being taken to an old barn in Normandie the following year to flesh out. The track’s repeato-riffs gradually spin quicker and quicker as the group underpin it vocally and with rolling percussion. Arguably the centre piece of the record, though, is Aubes – an 11-minute-long opus of cacophonic drones that gather and bustle for space amidst each other, a line of tension pulled tight through them. It’s a stirring midpoint that encourages the listener’s mind to pick its own sonic adventure within the different shades of sound. “At first, the original concept of the album was to put three straight rock songs in and a 23-minute drone” the band comment. “But the result was not satisfying”. Instead, they cut half the drone and added a few overdubs. Valentin added some recordings he’d made during a trip to Iranian Kurdistan where he’d seen Farzad Memar – the uncle of ambient composer Porya Hatami – playing duduk. He also mixed in some Târ playing by his beloved Persian friend Mostafa Heydarian. “The initial idea of three songs and one drone was boring because it was a rational concept” they say. “All of a sudden, a new album started to take shape in front of us, as a rosebud growing under our very touched eyes. It was a beautiful surprise.” Aubes’s peak allows the two following tracks to giddily scramble down the other side of the record, with Fin De Partie perhaps the most garage rock-inspired track on the album, its rawness the result of a direct live from the outro of a live set that took place in a small basement in Bordeaux. Tayau rounds things out, a short two-minute finale recorded at home on Marceau’s phone in his bedroom. Recorded across six different locations over a period of 20 months, sessions saw the trio set up everywhere, from various rehearsal studios to band members respective homes, a large church in Sète and an old barn in Normandie. The three group members are now spread out across Paris, Corrèze in the central west of France and Sète on its south coast. All that meant, though, was that the sessions for the album took on even more of an improvisatory vibe as they sought to make the most of their increasingly limited time together. “One of the greatest achievements of these sessions was being able to put up an album that is like a house with lots of different rooms” they say. “You never want to stick in the main hall when you’re visiting someone, and that’s the feeling you may have when listening to a record fully recorded and mixed in the same place and time. For us, the live nature of the tracks and the different moods they take on make it feel more like a journey through us.” And beyond the feeling of it, nothing else matters.

[engl] What are these Precious Jules That all the ladies truly covert They'll lead you to your certain ruin And then think nothing of it. Dangling surreptitiously Yet somehow in your faces Deflating your economy To inflate your airs and graces What are these Precious Jules That shine so dark before us Dazzling darkness all around Only to ignore us What are these Precious Jules So idly hanging round Your Precious necks or In your ear Wishing only to be found Acceptable for come what may With 'come what maybe' clowns Precious Jules are Kim Salmon and Mike Stranges residing in Melbourne, operating as a slick pop partnership, masquerading as a 'glam/punk' combo, masquerading as a 'garage' duo. Precious Jules are 'Pearls Before Swine' backed with 'Chinese Rocks' on 7 inches of the best use of poly vinyl chloride you are likely to encounter!