Labels

Ever/Never

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    AL KARPENTER

    If We Can´t Dream, They Won´t Sleep!!

    [engl] Strange connections -- Bilbao meets Japan via Berlin on a record that will put you in a constant state of WTF. ASMR rock? Post-internet punk? A political manifesto in times of generalized madness? After his acclaimed 2017 destructo-punk single on Munster Records, Al Karpenter now delivers his mature, complex debut LP on the world's premier record label for adults, New York City's Ever / Never. Al Karpenter is an elusive figure. On this record, he comes off like "Che" Guevara fronting Suicide in the year 2020: In halting, quivering tones, he warns us not to fall asleep, even as he slips into a dream state; he reminds us that we must not give up hope even in these times of collective self-destruction; then he shakes our very core with an agonizing scream. There is no resignation, no giving-up, and no mourning for a lost future in his work. Instead, Al Karpenter pits the burning energy of the present moment against older underground musical forms, playing things "wrong" as a technique for exposing the fundamental wrongness of consensus reality. His record is a puzzle, a conundrum, at once conflictive and erotic, violent and beautiful. Yellow Green Red's Matt Korvette described Al's debut single as ”Very deconstructed and cuckoo, as if one of Fushitsusha’s psychic jams was condensed into a couple minutes of indigestion" -- a perceptive appraisal, seeing as Al is now joined by time-bending drummer and percussionist Seijiro Murayama, whose early credits include Fushitsusha’s Double Live. Further strange connections include key players from Bilbao's exploratory music scene -- drummer Joxean Rivas of Bilbao's demolition unit Killerkume, experimentalists María Seco and Mattin -- alongside the legendary Chie Mukai, of Japan's Ché- SHIZU and the seminal East Bionic Symphonia school of improvised music. Tying it all together everything are the lucid sexophone and electronics of Lucio Capece. If it is no longer possible to dream of a just and equitable future, Al Karpenter's answer is to shout desperate truths, to disrupt the notion that "weird" music is the province of the connoisseur, the specialist. For Al Karpenter, the ugliest racket and the most sensual textures are instruments for change. He transforms his angst, fragility, and sense of powerlessness into a force for destroying(-)destructive Nonsense. Al Karpenter's love-cry, his healing force, is violent and fragmented and paradoxically smooth. Things are not right, he insists, and we will not make music that pretends they are. -e/n
    Format
    LP
    Release-Datum
    10.04.2020
     
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    BALLROOM

    s/t

    [engl] On their debut 12'' EP for Ever/Never Records, New York City's Ballroom explode out of the gate with a whirlwind fury. Anchored by a tornado of vicious snare drum thwacks and excoriating guitars, "Corridor" is a threat made manifest by singer Eric Cecil's warnings to "not let the sight disturb ya." Ballroom are a powerful ensemble assembled from scattered remnants of other notable bands. Cecil (who also plays guitar) did time in Chicago punk standout Busy Signals, and has featured in numerous NYC bands since his relocation. The other axe-slinger, Kristian Brenchley, is a founding member of long-running scum rockers Woman, and also lays down the bottom end in Ever/Never labelmates Degreaser. Ballroom low-end is provided by Home Blitz' Theresa Smith, while the drums are beaten into submission by Steven Fisher, leader of Wilful Boys and Dozers. On "Dismal Sun," the band locks down on the central riff as guitar leads and frantic snare rolls keep pace with Cecil's thousand-yard stare vocals. "I'll Keep Coming Back" points to a key influence -- the sun-scorched blacktop rumble of prime Scientists, Australia's sultans of swamp. Smith doesn't let up on the gas, pushing Brenchley and Cecil into the realms of the unhinged. Ballroom's debut features no mellow songs, sappy ballads or moments of false sincerity. "Nail's Head" stands out for its approach to rock n' roll as controlled demolition. This song will bite your hand off if you get too close. "Burnin Billy" could be a feedtime cut, but there's also echoes of the Gun Club and past Crypt Records powerhouses like The Beguiled. The epic final track, "Anti-Hole," coalesces all of Ballroom's excess energy into diesel fumes and takes it for a ride out into the open range, traversing peaks and valleys and mountains and digging for something deeper. Ballroom doesn't so much ride off into the sunset as reach up into the sky and pull it down into the dirt.
    Format
    12''
    Release-Datum
    26.05.2015
     
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    CHARLIE TWEDDLE

    Fantastic Greatest Hits

    [engl] Born and raised in Kentucky but calling Northern California home for some time now, Charlie Tweddle is an outsider polymath: musician, artist, taxidermist, designer of cowboy hats. And while that last one (imagine a wearable ten-gallon peyote trip) brought him a degree of notoriety among a certain swath of the showbiz elite beginning in the early seventies (Cher and Reggie Jackson are fans of his hats), it’s his music that has been peaking the curiosity of underground and private press fiends for some years now. A beguiling patchwork of lo-fi country, warped folk, and way-gone found sounds, Tweddle’s 1974 self-released opus Fantastic Greatest Hits is back in print for the first time in decades.The estimable chronicler of all things underground and way out the late Patrick Lundborg dubbed Fantastic “one of the major pieces in the Fringe of Everything genre.” Indeed, the album is clearly the work of a rustic iconoclast following his own hidden path, yet there is something peculiarly inviting at play here as well. The A-side comes off like a lysergic hootenanny that shares as much in common with Mike Rep and first-generation Shrimper tapes on the one hand as it does with Townes Van Zandt and Mickey Newbury on the other; while the B-side is a sort of Americana concrète piece where the gentle beat of the earth takes over, full of crickets and the wind. Cosmic country indeed. Essentially impossible to find since its initial release, Fantastic has been lovingly reissued as a co-production from Mighty Mouth Music (who released Tweddle’s The Midnight Plowboy in 2012, a collection of slightly more straightforward but no less charmingly odd country tracks recorded in the 1990s) and Ever/Never Records. The double-LP gatefold set presents the original 1974 LP and a bonus LP of recently unearthed experiments from the early ‘70s. This is essential stuff for fans of psychedelic roots music, loner singer-songwriters, or just plain strange sounds.
    Format
    DoLP
    Release-Datum
    10.12.2014
     
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    CHINESE RESTAURANTS, THE

    Instant Music

    [engl] It only took 23 years but the first long-playing record by The Chinese Restaurants is finally here. The Chinese Restaurants is the long-term partnership founded in 1996 by artists LF Restaurant (a.k.a. Richard Papiercuts) and Keith Restaurant. The duo follows three core principles: (1) Never rehearse; (2) Never discuss what you do; (3) Never do the same thing twice. Over the years, LF and Keith have performed with a revolving cast of friends and fellow players, including erstwhile members of Broken Talent, Country Teasers, Billy Bao, and Rocket No. 9. Instant Music is a concise monograph of the project’s many facets and contradictions, spanning free improvisation, reductionism, Third Stream, primitive rock, punk aesthetics, non-cochlear sound, plastic soul, and ASMR hypnotics in just under 30 minutes. The six-song LP was conceived, recorded, and mixed over three days in the group's spiritual home of Bridgeport, Connecticut, where they were joined by longtime friend and associate Malcolm Restaurant and jazz reedsman Erik Elligers. The tracks apparently consist of spontaneously composed first takes, overlaid with improvised overdubs and mixed in a single afternoon. The only previously performed song on the record is "LFO," a rudimentary blues that first entered the band's repertoire in 1997 and is here given an expansive treatment in the style of Philip Cohran or the 1970s Arkestra. The record comes packaged is an exquisite gatefold that offers clues to the Restaurants' process and their queasy, unsublimated relationship with visual art. Limited edition, one-time pressing of 200 copies.
    Format
    LP
    Release-Datum
    01.11.2019
     
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    CODE BMUS

    Strike Now

    [engl] Nineteen hundred and seventy-eight was ground zero for the UK post-punk explosion. The previous few years had seen raw rock n' roll claw it's way back into the mass consciousness, but '78 was the year a veritable army of disconnected and discontented art students decided, en masse mind, to pick up cheap guitars, switch on malfunctioning synthesizers and beat upon cobbled-together drumkits. From the art colleges they came, inspired by the throbbing rhythms of PiL, The Pop Group and Pere Ubu, but also by politically-charged reggae and dub such as King Tubby, Prince Far-I and the Coxsone Sound System. Code BMUS was just such a unit. Four too-smart-for-their-own-good lads converged in London with an itch to join the fray. Pitched somewhere between squatterpunk art-scrabble and headier RIO-style instrumental tangle, Code BMUS carved out their own peculiar identity in an unforgiving London music and art scene. For years they plied their trade, hauling their unconventional set-up - "a rhythm kit built from Indian tablas , Irish bodhran, an assortment of metal tubes and plates, snare, marching band bass drum and a miscellaneous collection of objects to hit wired up with transducer mics deconstructed guitar played with bottleneck, bow and sticks on an ironing board" - to all manner of clubs, converted showspaces and improvised venues. In 1981, Code BMUS brought their musical contraptions to Cold Storage, a meat locker that had been transformed into a recording studio by the fiercely independent and experimental post-punk trio This Heat. The resulting 12'' EP, Strike Now, There is No Cover, is a mini-masterpiece of right angles, sharp turns and unclassifiable agitpop. With its driving bass, slashing guitar and inspired junk percussion, Code BMUS echoes contemporaries such as Cabaret Voltaire, Fire Engines, and 23 Skidoo, but Code BMUS operated in the squatter scene, rubbing elbows with Crass and their ilk. Code BMUS' politics don't come off as theory, but as the righteous anger of those who live everyday under the thumb of the powerful and corrupt. The turmoil of their daily lives comes through loud and clear, imbuing Code BMUS' turbulent music with an immediacy that cannot be faked. Kicking off a busy 2014, New York City's Ever/Never Records brings you a faithful reissue of Code BMUS' overlooked post-punk classic, Strike Now, There is No Cover; four songs of collapse and struggle that resonate loudly as ever, sounding better than ever and available as never before.
    Format
    12''
    Release-Datum
    22.01.2014
     
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    CRAIG BELL

    aka Darwin Layne

    [engl] To many, CRAIG BELL is well known as bass guitarist / singer with MIRRORS and ROCKET FROM THE TOMBS, two bands that were among the foundation stones upon which the Cleveland, Ohio music scene of the 1970s was built. What many may not know is that Craig was also an integral part of the beginnings of another era of creativity in New Haven, Connecticut in the following decade. With like minded musicians, Craig formed SAUCERS, FUTURE PLAN, THE PLAN, THE BELL SYSTEM and THE RHYTHM METHODISTS in the years he lived on the East Coast (1976—1989). Craig released few recordings during this time, two singles with Saucers, “What We Do/Muckraker” (1979) and “A Certain Kind of Shy/She’s Alright” (1980), songs on the compilation LPs It Happened But Nobody Noticed (1982) featuring cuts by Saucers and The Plan, while The Bell System had their “America Now” released on the radio station only SCREAM promo LP (1985), and a single by The Plan, “I Love New York/I Hate New York/When It’s Too Much” (1983), most of them on his Gustav Label. In 2002, a CD compilation by Grand Theft Audio out of Los Angeles collected the entire studio output of Saucers on an album titled What We Did. This, along with reissues of songs Craig played on with Mirrors and RFTT, was the only recording of his work available. 2016 brings aka Darwin Layne, an LP featuring 11 historic recordings, both live and studio, featuring Craig’s songwriting and his bands Future Plan, The Plan, The Bell System, and The Rhythm Methodists, along with selections by Saucers, Mirrors, and THE BRIDGEPORT BAD BOYS.
    Format
    LP
    Release-Datum
    09.09.2016
     
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    CYANIDE TOOTH

    Midnight Climax Operation

    [engl] Midnight Climax Operation represents Cyanide Tooth’s continued research into paranoid states of existence and chance methods of sound-sculpting. Side one of Midnight Climax Operation is a patchwork of intriguing and unnerving sonic explorations. Cyanide Tooth utilizes tape manipulation and other lo-tech methods that recall a time before ProTools and infinite plug-in options. “Heartburn” throws all the cards on the table, encompassing sarcastic tape abuse, skipping CDs, old-school guitar noise and breakout hip-hop beats. “Headline/Heartline” takes a day trip to the death factory as torrents of noise coalesce around an urgent narration that plays out as if Biting Tongues was jamming with Throbbing Gristle. “American Cherry Burst” is pure, righteous scree intent on revealing false truths, while “Press The Mesh” comes on like early Coil captured in a late-night basement session. The side concludes with the frenetic beats of “Techno Animus” and the creeping dread of “Shadow Enforcers,” which recalls Ike Yard and Cabaret Voltaire. On side two, Cyanide Tooth hijacks the listener’s brainstem for an LSD-fueled investigation into chance operations. Performed live with no edits, “Operation Midnight Climax” is a feat of turntablism and juxtaposition, yielding a sonic narrative that picks up steam as it hurtles towards the outer regions. WWNWWD? Somewhere, Steve Stapleton is nodding approvingly. With Midnight Climax Operation, Cyanide Tooth delivers a dangerous package -- handle with care. -e/n
    Format
    TAPE
    Release-Datum
    30.03.2020
     
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    CYANIDE TOOTH

    The Whole Tooth & Nothing But...

    [engl] Cyanide Tooth is the solo noise project of New York's Erick Bradshaw H, and this debut cassette is recorded half live in Indiana, half done in NYC. The electronics that feature throughout the first side are harsh, but not very aggressive. There's plenty of room for voice manipulation among the sounds of crickets dying in flames and whatnot. Meanwhile the flip uses samples of a woman's voice to rather paranoia inducing ends.
    Format
    TAPE
    Release-Datum
    10.10.2014
     
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    DAN MELCHIOR

    Plays "The Greys"

    [engl] Dan Melchior is artist as perpetual motion machine. We could say “shark,” but Dan doesn’t sniff for blood in the water. Instead, he is inviting you to his private lake; his solace relies on his relentless creativity. Whether painting, writing, collaging or recording, Dan offers nothing less than words, images and sounds transmitted directly from his subconscious, but filtered through the rigorous process of a true artist. Dan’s latest offering is a superb collection of songs and sonic vignettes that dips down deep into life’s trenches. Here, where light has to fight to be noticed, misery, monotony and melancholy mingle and bleed into one another. Accordingly, Dan doesn’t play the blues, he plays the greys. Plays The Greys is a patchwork album, but don’t let that imply carelessness. Each odd juxtaposition serves a purpose and illuminates its surroundings like a torch in the night. Part one and part two of the title track are perfect examples of Dan’s decidedly non-academic approach to musique concrete’s a-musical gestures. Field recordings bump up against back-porch guitar plucking that morphs into radio declarations by the good Christians among us. Praise be. In more ways than one, “Death Has No Mercy” is the center of the album. Midway through its hazy meanderings, “Death…” jumps into an uptempo backwoods jaunt. It’s good to know that the guitar is always there, providing a means for expression and catharsis. Suffering in recent years through immense personal tragedy, Dan channels all that pain and helplessness into an extended rumination on grief and the challenge of living with permanent ache. So forget what I wrote earlier -- Dan Melchior has indeed made a blues album, one fit for 2016, and beyond. - e/n
    Format
    LP
    Release-Datum
    25.03.2016
     
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    DAN MELCHIOR

    Road Not Driving

    [engl] Last time we checked in with Dan Melchior, he was Playing The Greys (see Ever/Never # 21). What has he been up to lately? Melchior is as aesthetically restless as he is endlessly creative, so in between recording an album with Austin TX art-punk trio Spray Paint and a myriad of tape and vinyl releases, Dan found the time to gift Ever/Never with another classic slice of Melchiorcore (please, shoot the messenger for that one). Road Not Driving is a 12” EP that covers a fair amount of ground during its runtime. “I Got A Feeling” starts out as a feel-bad ode to, well, feeling bad, and then finds itself truly sinking into the muck as the track distorts beyond all reason, until coming around full circle at the conclusion. Climate change has got us all down, but at least you can commiserate with the guitar slicks and (gulf jet)stream-of-consciousness lyrics of “Another Oil Spill.” In the icily observant “Cold Town,” Dan’s previous locale , Ohio -- and the lake-effect of the Midwest pokes its head through the (grey) clouds. The storm clouds hover over side two’s “Relics,” which finds Dan casting about for some kind of connection. Those bleak months -- half a year really -- can weigh a man down but they leave plenty of time to come up with creative ways of dealing with the isolation. Yet, when connection comes in the form of “Bus Stop Ghouls,” perhaps it’s preferable to be alone after all. Melchior closes out this potent dip into his stewing brain with the title track and all we can say is Godspeed, sir. -e/n
    Format
    12''
    Release-Datum
    01.12.2017
     
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    DEGREASER

    Rougher Squalor

    [engl] Crawling out of the deep, dark hole they dug for themselves on Bottom Feeder (2011) and Sweaty Hands (2012), New York City?s premier psychedelic swamp rock unit DeGreaser are set to take an unsuspecting and tepid rock scene by storm. Courtesy of NYC?s Ever/Never Records, Rougher Squalor is DeGreaser 2.0. The band has evolved from their previous caveman dirges into a true power trio, heavy on the muscle and out for blood. Drawing inspiration from classic bands like Blue Cheer, The Groundhogs and Coloured Balls, to outer-limits rock deconstruction reminiscent of the finest Japanese ensembles such as Mainliner and High Rise, DeGreaser are able to satisfy the need to bang your head, and also the desire to immerse said head in glorious waves of wah-wah pedal abuse. The ?squalor? part of the title is no joke, as main ?Greaser Tim Evans ? formerly of noted Aussie band Bird Blobs ? drenches the proceedings in a sheen of speaker-shredding noise that would make the likes of James Williamson sit up and take notice. Anchored by the granite-solid rhythm section of drummer John Coates and bassist Kristian Brenchley (Woman/Ballroom), Evans is free to blast his surroundings with all manner of ear-piercing and ?tickling tones. But let?s not make the mistake of filing Rougher Squalor under the section labeled ?Headcleaners.? There are great songs waiting here for you. Opener ?Words in Your Mouth? establishes the band?s ability to harness melody and write memorable tunes. Straightforward rocker ?Follow Me Down? is a hook-y request to join Evans in the downtown shadows. Tracks like ?Got No Need? and ?Do Me In? come off like Screaming Trees after an acid bath, while fleet-footed rockers like ?You Said? and ?Doorway? get in n? out before you know what hit you. With Rougher Squalor, DeGreaser has staked out their territory and are defending it with the considerable rock power that they can muster.
    Format
    LP
    Release-Datum
    17.06.2014
     
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    EN KERNAGHAN BAND

    Divine Body Care

    [engl] En Kernaghan is a spiritual seeker who yearns for salvation through the world’s least hypocritical religion: rock n' roll. After his previous 12" EP on Ever/Never last year, Kernaghan received quite a bit of praise for his idiosyncratic take on classic garage-punk via covers of The Cramps and Pussy Galore, and originals which fit perfectly within such esteemed company. Kernaghan reinterprets the bump n' grind of rock n' roll through his devotional prism. On his new 7", Kernaghan ups the recording fidelity while expanding his range to incorporate psychedelic touches that have been lurking in the wings all along. "Divine Body Care" could be vintage Donovan chanting a mantra as sitar-like guitars and ringing bells conjure the atmosphere of an ashram invaded by flower-punks hellbent on transcendence. Even George Harrison would welcome such a trespass. "Things Are Constantly Changing" dives even deeper into psych rock. With it's strange stop/starts and outwardly-expanding chorus, "...Constantly Changing" is not so far from The Pretty Things and other denizens of Abbey Road Studios. It's safe to say that En Kernaghan is still walking his singular path, moving along to his own peculiar drumbeats.
    Format
    7''
    Release-Datum
    10.07.2017
     
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    EN KERNAGHAN BAND

    s/t

    [engl] Way down there at the bottom of the world, there is a young man named En Kernaghan who is devoting his life to a higher power. Make that two higher powers; and from our perspective, there ain’t none higher than Rock n’ Roll. For this his Ever/Never EP (200copies), En spins classics by The Cramps, Pussy Galore and more, into his own personal mantras. With the close-mic’d confidence of a young Jon Spencer and the zeal of a newly-tonsured Monk, Kernaghan will make you a believer. -e/n En Ethan Kernaghan projekt experience banned band 1997 started in a bedroom in an australian suburb, slowly turning from that of a recording project into a performance band until being banned, then on to recording self titled LP. Kel ANG
    Format
    12''
    Release-Datum
    14.02.2016
     
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    HAND OF FOOD

    Swimming Mindlessly

    [engl] Following up their initial cassette release ‘Tropical Income Tax’, Providence/NYC based holiday hypnotherapists Hand Of Food have returned and invite you to luxuriate in a perverted idea of paradise with their debut LP, ‘Swimming Mindlessly’. Despite coming from noise rock and damaged electronic backgrounds, the band sits in an odd nether region somewhere between a brutalized ambience or conceptual exotica, while at times dipping a toe into the self-help section. The record plays like the warped audio brochure for a struggling resort town, luring you in with motivational rhetoric and a transparent facade of tranquility. Although your instincts tell you something is off and the regional jokes are all lost on you, an all-inclusive vacation deal this good hasn’t landed in your inbox in a while so you go ahead and book the trip anyways. The opening track Sign Of The Lemon would have you believe everything is fine — lush pads, chimes, and 100% real flutes commingle harmoniously — you made the right choice. As your stay progresses similar instrumentation takes a more anxious turn. A professional voice-over artist or possibly the cruise captain interjects to insist that everything is ok, but hazy ambient atmospheres lead to reflection on the flight over, to all the decisions that led you here, and ultimately, regret. Doing your best to keep those spirits high, Chelo’s By The Sea whisks you away to the on-site cocktail lounge for some of the resort's complimentary entertainment, an evening with ‘legendary’ resident crooner Publicity Dave. But by the time the album's title track new-age dirge rolls around it’s clear things have taken a turn for the worse. A catastrophe of some sort has occurred and a strained voice pleads for mercy through a cacophony of eyewitness accounts. Against all odds relaxation is finally achieved when renowned audio book narrator Rebecca Mitchell’s soothing meditation picks you up, dusts you off, and guides you to a seemingly permanent place of peace. Swimming Mindlessly dislocates the typical island narrative cliches to articulately illustrate tropical disarray and tell the story of a retreat gone awry. A transportive listening experience taking you directly to the heart of beach-bum dystopia. Judging by this record the Google reviews comment section for the Hand Of Food travel agency would be a treasure chest of pure gold.
    Format
    LP
    Release-Datum
    06.11.2020
     
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    HOUSEWIVES

    s/t

    [engl] Punk in the age of infinite duplication. Endless algorithms -- strands of digital DNA wrapping like loose cords around the arteries of daily life. We find ourselves mannequin-ed -- gazing longingly at the constant churn of street life; a simulacrum of stimulation. All the dense paranoias of the 20th century have shadow-walked their way right up to our 21st century doorstep and they are quietly picking the lock while we fritter away the hours in the room with the screens. What to do about this concealed drudgery? Where to turn in these bleak hours? How can we break the chains of routine, the labor of labour? Perhaps at this late date, it would be naive to state: “We can listen to Housewives.” What decade is this? How can music still inspire concentrated thought while satisfying its inherent physical demands? Rock music is intended to be functional. Postpunk music is music for doing. Housewives are a band that does; and the content is not mere window-dressing. Housewives are: Industrious music for industrious people. A few years ago, London, England’s Housewives, in the finest of postpunk traditions, began making an intensely focused racket. Their debut took the form of a five-song limited-edition cassette put out by Faux Discx. This self-titled EP had a startling power and hypnotic force that is all too rare in this era of practiced disaffection. Instead of pretending to be bored by this evershifting world, Housewives' approach revealed a microscopic attention to detail. Despite their using the traditional instruments of rock n’ roll, Housewives invert these powerful totems to their own ends. This is music that earns its praise from such high priests of refusal as Charles Hayward (This Heat, Camberwell Now). Like an Adam Curtis documentary, Housewives is music that takes on social constructs, looking for a way to disassemble these ridiculous structures. With it biting lyrics lampooning a lad who is “racist when it’s funny,” bracing opener “Poppy” seems to anticipate Brexit. As the bass throb surges through your system like a blood rush, perhaps you need to rethink your stance on what is and what is not important in the current supercut of media and politics. “In Camera” traffics in impossible clockwork rhythms -- they grind against each other, gathering momentum until the band sounds like an overworked machine on the verge of exploding. “Medicine Bottle” is the closest thing Housewives will serve you to a hit. The no wave guitar spasms -- like a coil snapped by sudden pressure -- collide with the rhythm section in the middle of a congested city. The claustrophobia summoned by the track is hardly offset by the snaking interjections of a saxophone. If anything, this presence of breath reinforces the sensation of necessary and cathartic exertion. Courtesy of New York City’s Ever/Never Records, the unjustly-ignored debut by one of the top operating postpunk bands worldwide, has found a home on wax. Finally, this previously extremely-limited cassette is given the format it deserves. Delivered at a volume-enhancing 45 rpms, Housewives’ 12” EP is a diamond-hard gem of postpunk. “Almost Anything” shows just how locked-in to factory mode this band can get. Few modern bands are playing with such sounds and intentions. “62426” is a series of mutating nodes -- like the communications in THX-1138 made manifest in song-form. At times, Housewives recall the best of the UK’s postpunk gloom n’ doom glory days. The rub is -- we are in the future that those bands warned us about. Housewives are the last band standing, forcing our eyes open and demanding that we address the monolithic edifice of modern life.
    Format
    12''
    Release-Datum
    08.03.2017
     
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    MAXIMUM ERNST

    Bring Your Own Pencap

    [engl] None or all of the following is true about Maximum Ernst: Maximum Ernst is an art band. Maximum Ernst is a rock group. Maximum Ernst is a jazz combo. Maximum Ernst is fusion. Maximum Ernst is a duo. Maximum Ernst has performed naked. Maximum Ernst is magick. Maximum Ernst is a joke. Bring Your Own Pencap is the eventual beginning, the final phase, the plastic molding wrapped in paper towel.
    Format
    TAPE
    Release-Datum
    18.08.2017
     
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    MAXIMUM ERNST

    Hallmark Of A Crisis Period

    [engl] Five years into their long strange drip, the duo of Maximum Ernst continues to confound, perplex, confuse and refract. Foetal returns yielded guitar/drum scramble in service of improvisational incongruity and radical reimaginings of alt-world smash hits by Faust, Snatch and Easy Cure. A link with Old Master horn maestro and official NYC gem Daniel Carter emerged and soon thereafter a CD and live cassette popped a few eardrums just right, so tight. Further uncharted territories were conquered and liberated as Maximum Ernst furiously and fitfully would-shedded. Woodn’t you? Quit playing. That was the advice of one medical doctor and also a licensed quantum mathematician; but still the daft, disappearing duo of Maximum Ernst gestured, rudely, NAY and thus, this newest release finds itself in your hands, begging for a vigorous clean. Please, indulge. “Un Menace Natural” welds together extra-dimensional birdsong, soothing bursts of noise, the timbre of waves on a nonexistent beach and uncanny, unnerving shrieks smeared into beguiling patterns. It builds, it ebbs, it flows, it knows. It knows everything. It’s like if Jon fucking Hassell and Black fucking Dice had a fucking Baby. “Hallmark Of A Crisis Period” is a cut-up tour de force that shivers with unhinged delirium and barely-concealed malice. Imagine William S. Burroughs interpreting a Whitehouse “banger” as being live-mixed by Nurse With Wound. Imagine it, you fool! Despair not, heathen, as Maximum Ernst has imagined it for you. And it is as glorious as a sunset must be to a hanged man. Rejoice, for you have entered the Crisis Period, and nothing will ever be the same.
    Format
    12''
    Release-Datum
    04.09.2020
     
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    MAXIMUM ERNST

    Live at Legion Hall

    [engl] Following a successful collaboration released on CD and cassette by New York City’s Ever/Never Records, legendary reeds-master Daniel Carter and the duo known as Maximum Ernst converge once again. Retaining a sense of continuity within the narrative jolt, Carter is unflappable and steadfast amidst the storm-drone conjured by Maximum Ernst. On each untitled cut, Daniel Carter switches horns effortlessly as Ernst churns, hums and slums via guitar, tapes and drums.
    Format
    TAPE
    Release-Datum
    22.07.2019
     
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    MAXIMUM ERNST

    Perfect Mixer / Matchless Pair

    [engl] The worm never stops turning at MaxE HQ, so as we make another trip thru the solar system on Spacefish Mirth, Ever/Never presents Perfect Mixer/Matchless Pair. Before you ask—Yes, it’s good. Yes, you will enjoy this ravishing ear-tickle of a release. Past meets future. Beats in space. Time falls fast and twists into a funnel cloud of distortion. Perfect Mixer/Matchless Pair is a funhouse reflection in an abandoned amusement park. Perfect Mixer/Matchless Pair is a suicide ride into the vanity mirror universe.
    Format
    TAPE
    Release-Datum
    02.04.2021
     
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    MAXIMUM ERNST

    s/t

    [engl] On one side, we have upstart NYC free-rock duo Maximum Ernst and on the other, masterful journeyman horn specialist Daniel Carter. Daniel has been blowing through his array of horns for over fifty years now. The list of people and ensembles that he has played in over the decades is staggering. Carter was part of the legendary lower Manhattan free jazz scene as epitomized by the classic Wildflowers compilations. An essential component of a group of musicians that includes such luminaries such as David S. Ware and William Parker, Carter has maintained his connection to the foundation of revolutionary “fire music.” But this is only a fraction of what Carter does day in and day out. Daniel Carter plays; anywhere and everywhere, any time and all the time. As part of ‘90s free jazz fire-breathers Test, Carter and compatriots made a name for themselves playing in subway stations around the city. And Carter can still be found playing in stations to this day. His is true underground music. But Carter never limited himself to just “jazz,” even of the outre’ variety. In the 1980s, Carter could be found on stage with bands such as hardcore demi-gods Bad Brains and primal industrial insurrectionists Missing Foundation. In the present, you can find Carter throughout the city, playing with young masters such as Chris Corsano and old sages such as Loren Mazzacane Connors. Which brings us to this wild n’ woolly CD/cassette release on New York City’s Ever/Never Records. Joining forces with the guitar and drum-based Maximum Ernst, Carter gets to let his freak-flag fly high. Here we have five distinct pieces chronicling their collaboration. “Iceflower Shawl and Gulf Stream” opens things up with a deceptively jazz-like intro before eventually melting down like a three mile island. “Whip Lashes or Lava Threads” begins in the eye of the hurricane but pretty soon, the gale winds are whipping your face and the trio have stumbled upon a sound beyond rock and jazz. “Scarcecrows” is a brief respite featuring sharply plucked guitar, lyrical sax work by Carter and a spectral radio signal from another dimension. “Fields Of Honor Flood Seismic Plants” is both the longest title and the longest track on the album. It begins with each musician patiently probing the boundaries until building to its natural conclusion. “The Habits of Leaves”ends the proceedings with a perfect mix of improv clatter and old-fashioned rock power. Maximum Ernst with Daniel Carter is a testament to the rush of creative friction between colliding talents. Open your ears wide. -e/n
    Format
    TAPE
    Release-Datum
    11.09.2017
     
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    MAXIMUM ERNST

    Time Delay Safe

    [engl] In advance of a scintillating 12” EP, Ever/Never perplexes the masses with another Maximum Ernst curveball that is a harbinger of things to come. Like some form of residue from the past, “Signal Thru Flames” blends beats/speech/noise into a morass of ever-shifting shapes. Phases and phrases swan-dive off the 13th floor while cascades of right/wrong sounds slap you silly. Sir Steven Stapleton remixed the Vanity Records catalog? Iykyk. On the flip, the Maximum Ernst duo make like Indiana Jones and Lara Croft unearthing a long-lost Jon Hassell deep cut on “Orb-Like” and then bringing the secrets they learned all the way back home via the classical strain of “Glass Enclosure.” For Time Delay Safe, Maximum Ernst went stark raving mad in the Fourth World so that you could leave your body safe on the couch.
    Format
    TAPE
    Release-Datum
    03.07.2021
     
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    MOSQUITO EGO

    Glomb

    [engl] Like so many great bands over the years, noise rock aggregate Mosquito Ego was founded under accidental circumstances. According to main Mosquito Moritz (also in the punk-as-fuck Cluster Bomb Unit and the psych-as-hell Metabolismus): “Back in summer 2013, I ran a club out of a train car in Stuttgart (Germany). Reinhold asked me to put on a show for a band from Erfurt. A week before the show, he told that me they have no backline and play for only 20 minutes. Annoyed that I would have to bring all of my gear and also that I had to find an opening act to make the evening worthwhile, I cynically said: I may as well play on my own. Reinhold didn’t think I was joking and said: Yeah, let’s do this. Let’s start a band. So we wrote eight songs in one week.” A classic punk maneuver and an auspicious start for what has flowered into one of Europe’s most notable, and loud, bands. Having previously released a few 7”s, the five-piece Mosquito Ego is set to unleash their first full-length upon an unsuspecting planet. A key component of Ever/Never Records’ ambitious 2016 release schedule, Glomb is a 12-track declaration of intent. A quintet consisting of Nataly, Tim, Tobi and the aforementioned Moritz and Reinhold, Mosquito Ego play like a highlight reel of postpunk and noise rock’s finest moments, movements and gestures. Underneath a foundation of churning guitar/bass/drums, electronics sizzle and squiggle, while the entire band gets loose and weird. Along with each member’s voice, samples and loops get thrown into the maelstrom; chopped, screwed, pitch-shifted and hard-panned. “Poke” establishes these parameters from the outset. All funhouse mirrors and grinding gears, “Local Zero” sounds like an unearthed Brainiac deep cut. Other parts of Glomb recall the outre’ avant-rock of Terminal Cheesecake and Slug. (These are the parts of the ‘90s we need to come back, people!) But it’s not all sturm und drang; Mosquito Ego is sensitive to your needs. The series of four short electronic “Glomb” pieces act as interludes. But really, they’re just set-ups. Side two opener “Onion Face” is the monster jam on this all-killer slab. The song moves gracefully from OOIOO-like psychedelia into a cathartic scream-along back into a raga that leads to more catharsis, and then ending as sublimely as it began. “Seizure” is the click-pick hit -- try to resist imagining you’re at the coolest party as Mosquito Ego plays “dressed up in cheap costumes as comic-like characters such as the electric poodle, ladyboy moustache, the human cannonball, medication heroine and the sleepover cop.” This gonzo aesthetic is reflected by Mark Bohle’s eye-popping, synapse-frying cover art. Fans of genre-bending freak rock like Guerilla Toss will find a lot to love on Glomb. You will never find a band on Ever/Never halfassing it. The label is based in New York, the city that invented the hustle. Mosquito Ego is a singular force both within their local scenes, and the whole wide world at large.
    Format
    LP
    Release-Datum
    01.07.2016
     
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    OBNOX

    Know America

    [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.”
    Format
    LP
    Release-Datum
    06.04.2015
     
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    OBNOX

    Murder Radio

    [engl] After a mind-boggling seven LPs and nine EPs in six years, you’d be forgiven for thinking that you could safely ignore OBNOX’s newest full-length opus Murder Radio. You’d be wrong. Dead wrong. Coming hot on the heels of 2017’s other ‘Nox platter (Niggative Approach courtesy of 12XU), Murder Radio is another deep dive into the humid underground lair that Obnox (aka Lamont ‘Bim’ Thomas) calls home. Along with the usual stacked roster of utility players, Thomas is joined on Murder Radio by steady new drummer Steve Mehlman (of Pere Ubu) and the divebombing, corkscrewing guitar of Chuck Cieslik. Murder Radio finds Obnox pressing their foot down on the metaphorical gas pedal for another trip around the turntable. While kaleidoscopic cuts like “Movimiento” and “The Movement” are an attempt to combine curb-level justice with radical politics, “Woe Is Me” finds Thomas gifting doubters and naysayers a kiss-off to hum to themselves as he leaves them in the dust. Now that’s some devious shit. “I Hate Everything” is yet another stellar example of Thomas’ by-now patented soaring psych-rock gems while “Enter The Hater” focuses the fuzz into a punk attack. Side-closer “Bangaar” comes riding in on a classic hip-hop clip and sounds like a perfect combo of Eric B & Rakim, The Beastie Boys and Stereolab. You read that last name right. It wouldn’t be an Obnox record without an ode to the Great Green God in the Ground and Murder Radio doesn’t disappoint -- Side Two opener “Sun Doobie” will stone you until you become a believer. “Deep” is exactly that, so strap on your miner’s helmet and your finest spelunking gear -- we’re drilling straight thru to the heart of the sun. We recommend saving your shatter purchase for this section of the album. “Boy, you’re in deep…” Thomas drawls thru the smoke. Is that the bong or is the gas leaking? Whatever -- you can get high off the kind of ‘noxious fumes belched forth from sizzling stacks of Murder Radio wax. “Mogul Chokehold” comes correct with another strangely addicting brew of pummeling rhythms and endlessly phased and stacked guitar licks. If this is the new psychedelia, then maybe the streets finally have a chance. Final cut “Cheers” isn’t an ode to that place where everyone knows your name, but it is a syrup-thick groove bomb full of weapons-grade guitar-squall perfect for smashing glasses together. Fans of Puffy Areolas (a group Thomas thumped tubs for) will rejoice. The rest of you will be happy as a pig in shit. Obnox is inclusive like that.
    Format
    LP
    Release-Datum
    13.10.2017