Volcanic Tongue Catalogue

Big Blood
Unlikely Mothers

Blackest Rainbow Recordings BRR-271

2xLP
£24.99


Stunning/sprawling new double LP from the heart of the New Weird Maine: Big Blood have connections to major VT faves Village Of Spaces and they have a similar circular, occult vibe, with ovum’s influence resulting in amazing minimal endless jams led by bass guitar that moves between Velvets-style two note hypnosis and almost King Crimson Red-era fuzz/dunt, lunar six string and the striking, otherworldly vocals of Colleen Kinsella.
Kinsella’s vocals are dizzying, narcotic, getting into all sorts of liminal Meredith Monk/Key style experimental zones before melting into dream-date Kate Bush fronts Parson Sound nirvana. Indeed, think of a Scandinavian drone group filtered via the Paisely Underground stylings of a David Roback and Kendra Smith for the kind of magickal rural glam that this amazing trio are capable of channelling. Aspects of the Heather Leigh/Scorces cultus are given repeating nod-out rock logic re-thinks, as voice and guitar blur into each other and strikingly original song-writing and phrasing get all the way out on waves of repeating Kraut/trance bliss. Unlikely Mothers is a massive double LP set that is organised in such a way that its end links to its beginning, meaning that its one of the few double LPs in recent memory that you pretty much have to re-spin as soon as you get to the end of the fourth side. Same kind of real deal/communal sub-underground vibe to this as classic Village Of Spaces but with a more trance rock feel and less Manson Family Jams. Easy to see why Michael Gira picked up on this group for Swans’ The Seer set, as they build arcing emotional crescendos from endlessly repeating monolithic drone forms in a way that relates to the contemporary Swans live sound but with a mainline much deeper underground. Totally blown away by this, incredible vibe, totally original in its conception, one of the hands-down records of 2014. Strikingly packaged too. Highest possible recommendation!

Kluster
Zwei/Osterei

Captain Trip CTCD-542

CD
£10.99


Special limited edition reissue in a run of 450 copies with embossed plastic sleeves that mimic the original. Recorded in 1971 this was the original Krautrock trio of Conrad Schnitzler, Hans Joachim Roedelius and Dieter Moebius' second album and is another unimpeachably great set of austere drones, Industrial electro-acoustic ritual and deep, deep space occasionally populated by solitary UFO blips and automatic speech. Comes with a bonus track, "Kluster - Eruption/Cold Winter 1971".

Moral Holiday
s/t

Memoirs of an Aesthete No Cat

CD-R
£6.99


Solo electronic/threat outfit from Phil Todd of Ashtray Navigations on his own label. Aspects of early Whitehouse/Suicide’s minimal/’billy style, even Minimal Man himself, with drum machines ticking out time over hissing electronics and reverb/delay vocals that are straight out of the Total Sex ‘songbook’. Some of the keyboard solos have a great ’72 vintage Sun Ra appeal but this is some of Phil’s darkest/most claustrophobic electro-psych sides. Edition of 100 copies. 

Seijaku
You Should Prepare To Survive Through Even Anything Happens

Doubt Music DMF-137

CD
£19.99


Seijaku is a trio, with Haino on vocals, electric guitar, steel guitar and, on You Should Prepare..., blues harp. He is joined by Mitsuru Nasuno on bass and Yohsimitsu Ichiraku on drums for two live in the studio/no over-dubs recordings. The closest comparison for both discs in terms of atmosphere is Haino’s double acoustic/electric set Black Blues, albeit transposed to a group setting. However, both records have their own particular atmosphere. Mail From Fushitsusha obviously makes the most overt connection to Haino’s past and the interplay between the bass and drums marks a direct extension of where the Takahashi/Ozawa backline were headed, with staggered, overlapping rhythms that fall into odd repetitive/organic cycles that are massively hypnotic. Haino’s guitar is more taught than on latter-day Fushitsusha recordings, sometimes playing with a clean tone and sometimes with a just little growl of fuzz and the aggressive, auraless appeal of his interactions connects to the whole No Wave/Mars aesthetic that he has long championed. But like Black Blues there’s a real focus on the vocals, with some of Haino’s most soul-scraping singing, while “Humiliation To Be Selected To Come Down From Elsewhere” comes closest to the Fushitsusha of old with a beautiful fuzz/reverb guitar solo in elegiac Star Spangled Banner/Peter Green style. You Should Prepare... is based around four longer tracks that really punish the blues rock metaphor with some fantastically aggressive brokedown boogie cut-up with wailing blues harp that harkens back to the 1st Fushitsusha album. Dedicated to “Albert King, The Doors and Steppenwolf”, it takes roots based rock music back to the future with a transcendent vision of the still pregnant possibilities of guitar/bass/drums that sounds like nothing else. They might have changed their name and their personnel but they’re still the greatest rock band on the planet. An easy late entry for albums of the year. Highest possible recommendation!

Brigitte Fontaine
s/t

Superior Viaduct SV-043

LP
£18.99


Necessary reissue of what still stands, in this house at least, as the greatest album by French psychedelic art pop icon Brigitte Fontaine: recorded in 1972, in the wake of her singular collaboration with the Art Ensemble Of Chicago, this self-titled album has a much more gothic-baroque Euro acid folk vibe to it, with gorgeous, subtle arrangements bracketing Fontaine’s beautiful far away vocals and stunning duets with long-time shadow Areski, singing in a spare, automating style that is somewhere this side of Nico and that makes the whole recording feel like it passes in a trance or a strange occult reverie. Think dark, avant Euro folk meets Valerie & Her Week Of Wonders and fall under its timeless spell. Recommended. 

Crime
Murder By Guitar

Superior Viaduct SV-050

LP
£19.99


Necessary compilation of alla the raggedy extant sonics from this amazing post-glam/proto-punk avant scorch unit: Crime came outta SF w/their amazing 1976 single, “Hot Wire My Heart”, playing taut, barbed punk jags with a free-flowing logic that was as crude as it was out, anticipating the kinda rhythmic breakdowns of the Tokyo Minor punk scene while channelling glam swagger and pure amphetamine violence into classic rock/roll forms. Probably best known through Sonic Youth’s great cover of their single on Sister, there’s a whole lot more damage on here, with amazing tracks like “Murder By Guitar” and “San Francisco’s Doomed” and the title track that take the insane Bowie mix of Raw Power and leer all over it with extended moments of six string wail bleeding over every track. Packing all their legendary singles as well as nine unreleased studio tracks recorded 1976-80, this set is the goddamn motherlode. Think The Dolls played by sharp west coast scum dressed as S&M policemen w/snot to spare and a dedication to guitar-as-guitar that staggers into realms of  pure cranking electricity and you’re almost there. Only US punk group to match the insane energy and leery appeal of The Electric Eels? “Piss On Your Dog”, anyone? Even the names are perfect: Hank Rank, Johnny Strike, Frank Fix, Ron The Ripper... what more do you need? Totally classic, comes with a download, highly recommended!

Gruppo D'Improvvisazione Nuova Consonanza
s/t

Superior Viaduct SV-067

LP
£19.99


Deluxe reissue of the rare 1973 recording from this pioneering free-playing group that featured Ennio Morricone, Egisto Machi and Franco Evangelisti in the ranks: recorded prior to the better known Musica Su Schemi, this self-titled LP is reissued for the first time here and it’s a revelatory collection. Spanning the void between modern composition, free jazz & improv and radical sound art, the group move from beautiful lyrical brass works that seem to echo the work of the South African free jazz diaspora (Louis Moholo/Brotherhood Of Breath et al) through to extended spectral drone works and long passages of dramatically charged semi-silence. A unique recording, way ahead of the curve. 

Hamish Kilgour
All Of It And Nothing

Ba Da Bing Records BING-102

LP
£15.99


Hard to believe that the world has never been graced with a solo album by Hamish Kilgour of New Zealand underground legends The Clean/The Mad Scene before but here it is: All Of It And Nothing is a very intimate, hushed acid-folk masterpiece, almost in the lineage of a Joshua Burkett, with a series of sparse, low-key songs and settings that combine washes of technicolour motorik ala early Clean with the kind of internally implosive gravity of a Skip Spence’s Oar. Indeed, there’s an uncanny 60s west coast comedown feel, almost as if it’s a solo bedroom studio take on The Notorious Byrd Brothers as re-interpreted by a Bob Desper or even a Bill Comeau. Less ‘pop’ and more dark and delicate than David Kilgour’s classic Here Come The Cars, this is one of the most enigmatic and unexpected pitches into the void ever to come out of the Clean mothership. Recommended. 

Heldon
Allez-Teia

Superior Viaduct SV-028

LP
£23.99


Major reissue of one of the great underground/private press cosmic/psych/punk LPs of the70s: Pinhas had impeccable counter-cultural credentials, taking part in the ’68 uprising in Paris, taught by Jean Baudrillard and Michel Foucault, personal assistant and collaborator with Gilles Deleuze, interviewing Philip K Dick for Actuel… and Heldon was an attempt to bring together all of his various obsessions in a wild basement psych style. 1974’s Allez Teia is the most straight-forwardly beautiful and ambitious of the Heldon albums, with the raw punk edge of the first being replaced by extended heavenly drones, tape loops and walls of soaring mellotron over that classic Fripp-inspired lead guitar. Indeed, Allez Teia features an extended tribute to Fripp, “In The Wake Of King Fripp”, alongside a re-working of the futurist psych sound of Fripp & Eno’s No Pussyfooting. But it’s the second side’s “Fluence” that is the album’s most radical track, an accumulating monolith of zoned ambient sound and reel-to-reel drones that sets patterns dancing on the inside of your head like the most seductive flicker machine. Alongside the 1st Heldon LP, Allez Teia effectively spearheaded the French avant rock revival. Highly recommended!

Jason Kahn
Noema

Editions 003

2xArt Edition LP
£23.99


Stunning 2xLP 180g art edition LP from composer/sound thinker Jason Kahn, with deep connections to the Australian/Breakdance The Dawn underground as well as NZ avant-thought, in a hand-numbered private press edition of only 250 copies, all copies of which are individually hand-painted by Kahn himself: a departure from Kahn’s last celestial big band working and somewhere altogether from his jams with Bruce Russell of The Dead C and Richard Francis, Noema documents a three month stay in Kyoto in Japan in 2012. Across 37 short piece Kahn creates an hallucinatory and very personal sound journal by using field recordings culled from shopping centres, deep haunted pools, subway sirens, conversation, snippets of popular and traditional song, street noise, temple rituals and more, cutting them together in a way that expands on how the sounds of social spaces work their particular magic while riffing on fragments of sound and sight that work as nostalgic jumping-off points for the process of memory. The set comes with extensive liner notes and track-by-track commentary and it works best when read alongside the record, mapping Kahn’s movements and memories of the city via “a rain of nunchuks splintering the hot summer night”, melting in the summer heat, dropping microphones into secret waters and other geomantic workings across his stay. The tracks themselves are deep, laminal constructions that conflate environmental sound and song, the drone of the city asleep at night with minimalist composition and the sound of madmen on the streets with the music of the spheres. A beautiful set, endlessly replayable and a truly magickal transport – very highly recommended!

Our Love Will Destroy The World
Hive Hum Golden Remorse

Don’t Fuck With Magic No Cat

CD-R
£9.99


Massive new ultra-limited self-released album from New Zealand legend Campbell Kneale’s world-beating solo project: Hive Hum Golden Remorse is a stereo melting masterpiece, jump-cutting between alla Kneale’s favourite strategies for extreme body gnosis. It bursts into form with an opening salvo that matches tortured electricity with crunching power chords and malevolent microtonal violence in a way that would somehow reconcile Kousokuya and Skullflower, as post-Sabbath drone damage attempts to turn itself inside out and it morphs into an almost Bobby Beausoleil-scale full-bore horn ascension. Remarkable. From there on in we pass through zones of hysterical, almost-Penderecki-scale electric string assaults, weird low level grunting Charlie Nothing-esque ritual, buckling feedback environs, down-tuned infernal vocals, heavenly choruses of swarming electronics... another massive brain-rearranging side from Campbell, highly recommended!

Peter Jefferies
Electricity

Superior Viaduct SV-055

2xLP
£25.99


Necessary reissue of one of the all-time New Zealand underground classics, this one belongs on the shelf of every serious VT head: released in 1994, perhaps the apex of the original avant underground, this was Jefferies’ follow-up to his great 1990 Xpressway recording, Last Great Challenge In A Dull World. Jefferies was part of the legendary This Kind Of Punishment and his song-writing style combines massively experimental basement psych/prog jams ala Vertical Slit/Jim Shepard with the kind of beautiful, avant garde piano ballad songwriting of a John Cale circa Fear/Paris 1919 et al w/a real sense of drama and mystery that is rare in the world of singer/songwriters. The supporting cast is absolutely stellar too, with Bruce Russell of The Dead C contributing electric guitar alongside Shayne Carter of Straitjacket Fits and Robbie Muir of Plagal Grind and the combination of beautiful, heartbroken piano reveries, ultra-crude drone rock jams, blurry almost Madcap Laughs-style dislocation and experimental tape works makes this a record that is heady with the possibilities of a certain time/space/place. Impossibly beautiful, raw, bled straight to tape, an inspired cover of Barbara Manning’s brilliant “Scissors”... they don’t make em like this anymore. This beautifully presented deluxe reissue comes with a gatefold sleeve featuring great snaps of Peter as well as an entire side of bonus tracks taken from Jefferies and Robbie Muir’s Swerve EP, also originally released by Ajax in 1992, and it gets VT’s highest possible recommendation, naturally. 

Craig Leon
Nommos

Superior Viaduct SV-017

LP
£21.99


ONE OF VOLCANIC TONGUE'S RECORDS OF THE YEAR 2013!

First ever official, fully re-mastered edition of an LP that ranks up there with The Psychedelic Saxophone Of Charlie Nothing as the weirdest release on John Fahey’s Takoma imprint. Craig Leon is, of course, best known as a producer of some of the central punk rock sides to come out of New York: the first Suicide album, the first Ramones, Richard Hell, Blondie etc. But he also cut a series of albums in his own right that combined primal ‘African’ rhythms (more on that anon) cut through with beams of massively potent cyber/synth destruction, brain-bombing automated steel-tone pulses and euphoric post-Kosmische hypnotic beauty. 1981’s Nommos was the first and still the best. It consists of five massive tracks that start off like Suicide on salvia, with automating rhythms dissolving into pure white light and looping through cycle after cycle of Terry Riley-style heavens before dropping into a psychedelic Italo-disco eternity with what sounds like Klaus Schulze playing angel-tone harmonies over the top. The whole thing takes over where ever it is played, drenching you in man-machine rhythms that feel as steely and proto-Industrial as they do oddly organic. And to tackle the African rhythms question – where exactly are they? Despite the Milford Graves style cover art this is pure electro overload, though I guess it isn’t hard to imagine William Bennett dropping one of these tracks into an Italo/Cut Hands DJ set. But it’s not all relentless psychedelic repetition: there are pools of endlessly elongated feedback tones that sound like clouds of candyfloss evaporating in coloured water, great foghorn drones that could almost be the ghost of Popol Vuh rising up from beyond the horizon as piloted by Martin Rev, even aspects of Simon-Wickham Smith and Richard Youngs play Oneohtrix Point Never.... seriously, this is one of the major secret underground LPs and hopefully this cool reissue will restore its reputation as one of the most mind-blowing psychedelic electro-minimalist LPs ever talked about in the same breath as John Fahey. Seriously can’t recommend this enough: a mind-blower. Comes with a free download. 

Factrix/Cazazza
California Babylon

Superior Viaduct SV-004

LP
£13.99


Reissue of this amazing live avant rock/Industrial/experimental meeting, with SF underground legends Factrix (w/members of Minimal Man and Airway) hooking-up with original Industrial Records recording artist Monte Cazazza: Factrix stared out as Minimal Man in 1978, with the duo of Cole Palme (one-time member of LAFMS free rock gods Airway) and Bong Bergland (later of Saqqara Dogs) joined by Patrick Miller, who would go on to adopt the Minimal Man moniker as cover for his own equally amazing solo work. Eventually re-grouping with the addition of bassist Joseph T. Jacobs, they recorded Scheintot, their studio debut, in 1980, before releasing this wild collaboration on Subterranean Records in 1982. Here Cazazza is on vocals, tapes, amputated bass and monochord while Bergland handles guitar, tapes and treatments, Jacobs is on bass, flute and monochord, Palme on ‘glaxobass’, tape and treatments and guest musicians Tana Emmolo-Smith on electric violin and guitar and Z’ev on found percussion. The sound is spare Industrial rock with slow bass torrents and automatic vocals that reflect on contemporary Stare Case cut up with endless mangled fuzz guitar, Teenage Jesus-esque monochord rock refusal, crude drum machine pugilism and wild bouts of sound poetry, with a version of the Brion Gysin permutation poem “Kick That Habit Man” that comes over like The Velvet Underground play Henri Chopin. Truly one of the most blistering electro-rock sides to come out of the SF Industrial underground, just fantastic. Comes with archival inserts. Highly recommended.

Angus MacLise
New York Electronic 1965

Sub Rosa SRV-355

LP
£16.99


Stunning first time on vinyl that collects alla the major ‘electronic’ works previously released on Sub Rosa’s mandatory The Cloud Doctrine CD. This collects of all MacLise’s (legendary Velvet Underground drummer/key member of LaMonte Young’s Theatre Of Eternal Music/Bardo Matrix publisher alongside Ira Cohen/contemporary mage) ‘Tunnel Music’ workings that use electronics, tapes, collage and loops to generate massively psychedelic temporal wormholes that continue to invade the future via Dreamweapon technologies. Also on here we get a run of multi-speed ‘Trance’ works that feature John Cale and Tony Conrad power-sawing to oblivion beneath MacLise’s expanded treatments and alchemical use of body-gnostic F/X. This is a music that the underground still hasn’t fully caught up with and this vinyl release represents a key stage in the unfolding of one of the most potent corpuses of reverse working sonic ritual/magick of the 20th century and beyond. A lotta talk about ‘magickal’ music and its uses but New York Electronic 1965 represents the apex of one of the last great magickal adventures in a dull, dull world. A necessary purchase for any serious VT head, on silver wax, very highly recommended!

Borbetomagus
Vole Lotta Love

Tyyfus #11

LP
£16.99


Thunderous new limited to 300 copies live LP from the killingest trio of horn/guitar thinkers this side of judgement day: recorded live in Helsinki in 2005 this is one of the most scorching and satisfyingly tactile renderings of the Borbetomagus sound. The horns combine the kind of hoarse, desperate melodicism of a Church No.9 or an Adieu Little Man with the kind of overloaded electric appeal of goddamn Fushitsusha circa Pathetique. Donald Miller’s guitar playing here is the bomb, detonating huge bass explosions that re-direct the mass of sound somewhere downwind of Hades while the Dietrich/Sauter tag team move from moments of almost naked/rude free jazz blat through what sounds like gargling with slowly expiring circuitry. But it’s such a joyous noise, such an all-out celebration of the appeal of explosive high energy rama-lama, that the effect is almost euphoric, a dense, grid-locked singularity that seems to be devouring five decades of free music excess. Comes on thick vinyl with screened sleeves and insert with liners. Very highly recommended!

Mark Alexander McIntyre
Grapes

One Kind Favor OKT-009

LP
£18.99


Staggering new limited private press LP from out of nowhere by a no-name Canadian loner with the kind of power-crying/void staring vision of a Simon Finn, a Nicodemus or a Roky Erickson: Grapes was apparently an unsolicited demo sent to the label a few years back and it feels like a genuine postcard from the void. McIntyre previously snuck out a tiny private press LP in 2010 in an edition of only 100 copies but this is his first fully available recording. The songs are incredible, with a high cracked vocal style that could be the ghost of Bobb Trimble and the lyrics are so bleak and spirit-crushing they could almost be from Bob Desper, touching on the humility of pain, factory work, stomach problems, cancer, dying suns, darkness and light. Grapes starts out all-solo guitar/vocal, with wavering/echoing tape work capturing McIntyre power-beaming visions of all-alone before kicking in with the kind of fuzz-encrusted ballads that would somehow reconcile goddamn Randy Alvey with Neil Haggerty and Jakob Olausson. The songs are unforgettable, desperate man hooks delivered with an edge of the bed feel for personal oblivion and as the record progresses it builds to full band soundings that touch on the apocalyptic biker gang feel of Sweet Kelley and Nicodemus. Seriously, this is one of the premier outsider all-alone folk/psych burnout albums of the goddamn decade. Hard to believe this is in any way contemporary, with a feel that could just as well have been beamed from the nightmare of 1969 or 74 as from a small, lonely satellite somewhere out there in space. Seriously, every one that has heard us blast this in the shop has immediately gripped a copy so make your move. Beautifully presented in classy full-colour ‘Folkways’ paste-on sleeves this is a mind-blower and gets VT’s highest possible recommendation!

Mike Rep And Friends
Darby Creek Drifter

540 Records

LP
£16.99


Brand new LP from legendary Midwest underground hero Mike Rep: Rep, alongside buddies like Jim Shepard, Tommy Jay, Ron House, Don Howland and Nudge Squidfish, pretty much invented American basement rock/roll DIY via his work with The Quotas and True Believers and his New Age and Old Age/No Age imprints and he was one of the first to fully take rock/roll at its word, coming out of fandom to release some of the most purely focussed avant garage of any age. Darby Creek Drifter presents a series of beautiful new recordings from Rep that range across Velvet Underground covers (a tear-choking version of “Pale Blue Eyes”) through the kinda blasted folk/country of Tommy Jay’s classic Tall Tales Of Trauma. With a cast of many, many friends Rep transmutes Lou Reed-style drug ballads, stoned Michael Hurley-esque slow-mo folk, beautiful paeans to last stands before oblivion and the kinda intuitive grasp of rock/roll form that could easily be a Peter Laughner or Perrett. Another great one from Rep and a necessary addition to the Columbus, Ohio shelf. Very highly recommended. 

Thurston Moore/Jean-Marc Montera/Lee Ranaldo
Les Anges Du Peche

Dysmusie DYSLP-1

LP
£17.99


Beautiful three-way guitar album that sees Thurston and Lee of Sonic Youth in complete communion with the great French avant guitarist and improviser Jean-Marc Montera: two sides, two duos, with the first set featuring Ranaldo and Montera and the second Moore and Montera. The Ranaldo side is an absolute stunner, re-formulating decades of string think into a sound so beautiful it feels exactly like that Lester Bangs line about how the intro to “All Tomorrow’s Parties” sounds the sunlight climbing red brick tenement walls in New York in the early morning. The duo flit between almost Evol levels of abstract string drone and roaring aformal excess to the kind of heartbroken slow-motion lyricism of a Loren Connors. The Thurston side gets a little more barefoot in the head, with Montera ripping through the kind of bastardised blues licks of contemporary Fushitsusha while Moore uses the guitar as an electric lightning rod, w/levels of string dunt that are pure Red Transistor. Totally fantastic, one of the best ‘free’ Sonic Youth off-shoots and a great showcase of Montera’s advanced string-thought. Comes in gorgeous gatefold sleeves with great extensive sleevenotes and detective work by Philippe Robert. Highly recommended!

Thought Broadcast
s/t

Hierodule Editions 2012

Art Edition LP
£19.99


Edition of only 50 copies exclusive to VT private press ‘artist edition’ of this amazing Thought Broadcast LP, also released in a standard edition by Olde English Spelling Bee: this much-anticipated full-length from Ravi Binning’s amazing Industrial/avant rock/crude techno project comes with hand-stamped labels and sleeves, with paste-on art and an enigmatic b&w insert. Binning takes off on the kind of minimal post-TG electronics associated with imprints like Japan’s Vanity label and acts like Tolerance, Vita Noctis et al. Cold wave keyboards are hi-jacked by watery beats and deformed automatic vocal transmissions, with keyboard solos that come straight out of the Conrad Schnitzler school of a-formal/a-musical rock twonk. The recording fidelity adds to the atmosphere of threatening late-night urban psychosis, with a hazy, drugged appeal that is Berlin via NZ. Imagine the second Suicide album as received by a fucked-up shortwave transmitter somewhere in the Middle East, then tone-dialling through a buncha non-corporeal pirates that are broadcasting number stations, fourth world instrumental drones, test signals and coded Cold War propaganda. There are tracks that consist of little more than a distant beats over skittering low-wave fuzz that re-write Basic Channel’s sounding of the grid as a sounding of the airwaves, the kind of lightning rod to elsewhere as practiced by Coil during the ELpH workings but with a more brutal Industrial edge. Throw in aspects of early Reverse workings by Pure, Total, Fistfuck, Come/Whitehouse, Club Moral et al and you have one of the most radical and blunt re-thinkings of the potential for minimal electronics and degraded circuitry to re-arrange the goddamn atoms of the air. A stunning full-length that demands to be heard and a singular new voice in crude post-Industrial garage band hypnotics. Forthcoming LP on Editions Mego. Highly recommended!

Aritomo
La Flor De Mi Tulpa

Hakanairo Records No Cat

LP
£21.99


Brand-new private press LP from underground Japanese folk spirit Aritomo with every sleeve completely handmade: Aritomo’s recent releases as part of Mamitori Ulithi Empress Yonaguni San revealed him as the potential heir to the more cracked folk-zoned Tokyo Flashback entries or the whole Tori Kudo/Org ethos and La Flor De Mi Tulpa does little to contradict that, with a series of amazing avant pop/folk miniatures that come over like an orchestra of Reiko Kudos in floppy wizard hats staging a mass theatrical production of Mayo Thompson’s Corky’s Debt To His Father. Or imagine early Royal Trux circa 1st album taking acoustic stumble punk way beyond the long blank with nothing but a copy of Mark Fry’s Dreaming With Alice under their arm. Flutes, acoustic guitars, aspects of Ghost/Go Hirano/even of the sainted Kaminumada Yohji LP... the jams are so far out at points that it is tempting to see La Flor De Mi Tulpa as the dream-date record that John Fahey and Red Krayola made and lost, though really, you know, it could never have been quite this good. Another peerlessly outside of cracked free folk psych, beautifully presented, very limited supply and very highly recommended!

Bent Wind
Sussex

Ugly Pop UP-045

LP
£21.99


Major authorised reissue of one of the heaviest Canadian psych records of all time, Bent Wind’s 1970 heavy psych holy grail, Sussex: I remember scoring a copy of this LP in a shop in some tiny mountain town in Austria in the early 90s and I think maybe because it was also reissued on CD by Kissing Spell – not to say that it was called Sussex – that I somehow in my mind, and still do, associate it more with UK basement psych axemen like Dark, Crystalline, Wicked Lady et al. It makes sense. Cranking this massive guitar side again there’s something in the low slung thug-punk feel, not to say the monochromatic basement recording vibe, that is pure UK proto-doom. Of course there’s also a heady Abe ‘Voco’ Kesh feel to the production and the way the guitars squeal, combining Blue Cheer and Savage Resurrection style scorch with daffy vocal harmonies, pure teenage shit-kicker lyrics and tracks that are basically excuses to get all the way out on waves of slashing fuzz solo bliss. So, yeah, Dark produced by Abe Kesh, ahem, excuse me while I go melt my speakers all over again. Highly recommended!

Bridget Hayden
Just Ideas/The Night’s Veins

Singing Knives No Cat

Cassette
£6.99


New cassette that reissues two limited CD-Rs, from 2002 and 2007 respectively, by Bridget Hayden of UK underground stalwarts Vibracathedral Orchestra: Just Ideas features four beautiful tracks in just over 10 minutes, from European Son-styled scree re-scored for horsehair, ultra-fugged takes on railroad blues, see-sawing accordion drone pomes and some affectingly unarmoured singing. At points the fidelity on this reminds of those early Daniel Johnson cassettes and there’s a comparable emotional nakedness to much of Just Ideas but there’s so much explosive overtonal activity that it functions just as well as a mainline to the centre of yr skull as it does as a soft fist in yr heart. The Night’s Veins pushes deeper into your brain with a set of wired electric guitar mutations. 

Dark Matter
s/t

Siltbreeze SB-170

LP
£17.99


New album from a group led by Stephen Cogle, best known for his time in legendary New Zealand underground groups like Vacuum, The Victor Dimisich Band and The Terminals: a great, dreamy full-band sound here, with a sound that feels directly linked to the Victor Dimisich recordings, incorporating the always dramatic, romantic feel of Cogle’s vocals with great xpressways of melodic guitar droning and a romantic, apocalyptic atmosphere that is impossible to resist. In a way, Cogle has the personality of a frontman from a different age, a Tom Verlaine, a John Cale or even a more gothic Lawrence circa The Splendour Of Fear as he sings about history coming to an end and the guitars trail off into the chiming motorik eternities of a Velvets or a Clean, those twin poles of NZ garage euphorics. But really, this feels more like a continuation of the trajectory Cogle first locked into with the Dimisich recordings than any kind of new comeback project and it’s a goddamn privilege to pick up the trail. Highly recommended. 

Hayvanlar Alemi
Twisted Souvenir

Unrock LP-003

LP
£19.99


Edition of 500 copies LP from this blazing ethno/surf/psych Turkish group: Hayvanlar Alemi’s international debut came out via Hisham Mayet and Alan Bishop of Sun City Girls’ Sublime Frequencies imprint in 2009 and it’s not hard to see why Bishop was so impressed. Hayvanlar Alemi take instrumental rock into new zones of nod-out droning strings in a way that somehow connects Torch Of The Mystics to the kinda eternal ballroom feel of a Baby Grandmothers or even a Scandinavian Savage Resurrection while connecting with Eastern and Middle Eastern modes via reverb heavy and fuzz damaged post-surf licks. But mostly they know how to thud and if the combination of metal muscle, zagging raga forms, scorched desert guitar and weird haunting melodies that sound like Edip Akbayram’s backing band soundtracking a Trips Festival does it for you then nod the fuck out to this. 140g vinyl, recommended. 

Keiji Haino/Masataka Fujikake Duo
Hard

Full Design Records FDR-1026

CD
£18.99


Stunning second Japan-only album from the duo of Keiji Haino on electric guitar and vocals and Masataka Fujikake on drums: Fujikake comes out of the whole Null/Tabata/Zeni Geva end of gravity defying Japanese metal and it suits Haino just fine, pushing him into some of his most purely euphoric Fushitsusha-scale six string bulldozing. Not much vocals on here, as the feel is more akin to The Caution Appears-era Fushitsusha, but Haino’s playing is really lyrical while still being pulverising. He generates these amazing repeat-looping patterns that zag between Beefheart, Royal Trux and motorik avant garage before just laying waste to the whole deal with endlessly peaking solos or cranking, time-staggered riffs. Fujikake keeps pushing Haino the whole way, playing weird tonal tattoos one minute and just all-out rocking the bandstand the next. But really, this goes beyond their first meeting considerably and makes for the perfect blueprint of what a duo guitar/drums post-Ozawa Fushitsusha might sound like. In other words, staggering. We’re pretty much blown away by this at VT, easily one of the top ten Haino releases and a mandatory purchase if you really wanna understand just what alla the fuss is over Haino’s total reinvention of rock dynamics. Highest possible recommendation!!

Soft Power
If You Come Around

All Day Breakfast Enterprises No Cat

LP
£14.99


New Australian underground jams from a group that features Joel Stern, Andrew McLellan and Josh Watson of Sky Needle, Greg Boring et al alongside Sophia Brous on vocals: primarily assembled from organic electronics and primitive home-burned dub environs, this is a beautifully puzzling release. Brous’s vocals give it the feel of hallucinatory operatic exotica, with visions of irradiated Yma Sumac transmissions over what sounds like a screwed and chopped Cluster w/a 3am Aphex vibe. Some of the music has the fractured, out-of-time avant pop vibe of Greg Boring but fed through the kinda monoliths of non-musicality of a Conrad Schnitzler while Brous holds impenetrable dialogues with herself and worries over body sounds. File alongside weirdo liminal sides by AC Marias, Dome et al and you might find some kind of succour. On coloured vinyl in lurid 12” disco bag sleeves, a real late night slow burner from members of the Breakdance The Dawn cabal. Recommended. 

The Flesh Eaters
A Minute To Pray A Second To Die

Superior Viaduct No Cat

LP
£21.99


First time vinyl reissue w/liners by Byron Coley of this classic side cut by a line-up to die for: released in 1981, A Minute To Pray... brings together Chris D on vocals, Dave Alvin of The Blasters on guitar, John Doe from X on bass, Steve Berlin of Los Lobos on sax as well as Bill Bateman of The Blasters and DJ Bonebreak of X on percussion. The sound is phenomenal, with Chris D’s wordy, gymnastic, epiglottal assaults supported by walls of almost Partch-ian percussion, staggered Beefheart-style rock, narcotic ballads straight out of the Johnny Thunders school of wasted rock elegance, even full bore brass/guitar assaults ala The Stooges’ Funhouse. Byron Coley calls it “the best rock record ever recorded.” You might too. 

The Gun Club
Fire Of Love

Superior Viaduct No Cat

CD
£16.99


Beautiful re-mastered by Chris D reissue of this seminal LP blues/garage/wasted classic: cut by Jeffery Lee Pierce alongside a young pre-Cramps Kid Congo Powers in LA in 1981 and released on the Slash label, Fire Of Love remains one of the most strung out takes on raw blues, gospel and garage modes. Mainlining a similar cultural reverse to The Cramps, The Gun Club re-staged rockabilly and blues forms as desperate man psychodramas, and with a droning skeletal post-Velvets drawl, with classic songs like “Sex Beat”, “Ghost On The Highway”, “For The Love Of Ivy” (dedicated to The Cramps’ Poison Ivy) and “She’s Like Heroin To Me”. Back in the mid-80s we used to play this one back-to-back with Spacemen 3’s Sound Of Confusion and somehow they still make sense together. Also comes with new liners from Chris D of The Flesh Eaters et al. Recommended. 

Thor’s Hammer
If You Knew: Icelandic Punk And Beat ’65-‘67

Ugly Pop UP-046

LP
£21.99


Amazing round-up of proto-punk genius from this legendary and under-documented Icelandic psych-punk group, best known for the track “My Life” from the second Nuggets box: “My Life” packs the kinda ’66 lip curling fuzz feel of a “Blackout Of Gretely” cut with classy beautiful/naive lover boy harmonies and the combination makes for some unique time/space zoning. If You Knew... turns up a staggering 14 tracks by the group, including alla the tracks from their legendary EP and it’s pretty cool that a taste for fuzz got so far north. I remember Lester Bangs describing the sound of Otis Rush’s still-amazing Flyright LP as being like the sound of icebergs crashing together. Well, here’s a teenage take on fuzz as arctic tectonics. Recommended. 

Yahowha 13 & Sky Saxon
Fire Water Air Presents Golden Sunrise

Swordfish SW3GS1

LP
£19.99


Edition of 500 copies coloured vinyl reissue of this all-time classic drug/cult masterpiece featuring Sky Saxon of The Seeds with the Yahowha13 family: Saxon, then known as Arelich Sunlight Aquarian, became involved with The Source and cut this amazing side as Fire Water Air in the mid-70s alongside Family/Yahowha 13 members Djin, Octavius and Sunflower. Originally released as an 8-track cassette its best known for the classy Psycho LP reissue as well as appearing in the monolithic God & Hair set put together by Captain Trip in Japan. The sounds is beautiful, dosed, electric folk punk jams, with a feel that’s somewhere between the amazing Savage Sons Of Yahowha post-Crazy Horse LP, classic west coast wipe-out hippy jams ala The Dead/Airplane/If I Could Only Remember My Name and the Omming Doors/biker feel of the classic sides cut with Father Yod at the helm. This record has always had a shady, super-underground totemic appeal and anyone into the sound of hippy survivalists chanting down the sky with love, dope and electricity pretty much needs to plug in. Comes with a spot-varnished cover and an insert with full liners from Djin Aquarian. Highly recommended!

75 Dollar Bill
Olives In The Ears

No Label No Cat

Cassette
£8.99


Killer new limited cassette from the winning duo of Che Chen on electric guitar and Rick Brown on percussion: here the duo are joined at points by Karen Waltuch on viola, Andrew Lafkas on bass and Sue Garner on vocal and maracas. 75 Dollar Bill play extended ostrich guitar minimalism, taking the repeat-o hillbilly raunch of a Henry Flynt or even a Bill Orcutt and hypnotising it to the point of what sounds like barbed wire boogie versions of “Black Angels’ Death Song”.  Or think a headier, more raga/modal focussed Dead blat where the group have retreated into the kinda caveman minimalism of a Parson Sound. Still some of the best radical guitar minimalism on the planet right now. Limited cassette, comes with a download, very highly recommended!

Chalaque
Helderberg Howl

Golden Lab Records ROWF-35

7"
£5.99


Great set of barbarous solo guitar/vocal invocation from Nick Mitchell, recorded live at the Helderberg House in Albany, NY in March 2013: Chalaque's last release saw a trio formation that featured Pascal Nichols of Part Wild Horses Mane On Both Sides on drums and Eric Hardiman of Rambutan on bass but this solo set lets you get deep inside Mitchell's furious six-string conception, with a dunting, almost autistic approach to barbed wire modalities and breakout freak that comes over like an automating No Wave re-think of the early Guitar Roberts takes on moanin' after midnight. Sterling work. 

 

Chalaque
Switching Center

Golden Lab Records ROWF-44

LP
£16.99


Blazing edition of only 100 copies ultra-crude basement scuzz summit from Nick Mitchell’s amazing UK power trio w/silkscreened sleeves: joined by Dylan Hughes on bass and Pascal Nichols (Part Wild Horses Mane On Both Sides) on drums, Mitchell leads the group through the kind of dissolving steel string heavens that would render a Siltbreeze-scale destructo re-think on the kind of primal ecstasies of Sonny Sharrock circa Black Women or even an unholy Groundhogs take on the opening moments of “All Tomorrow’s Parties” modelled on Harry Pussy’s demolition of Kraftwerk’s “Showroom Dummies”. Two sidelong tracks – “I’ve Got The Control Room At The Teatro Della Pergola” and “I’ve Got The Father Of The Modern Synthesizer” – both recorded direct to Mitchell’s phone (!) make it sound like they have the father of the modern synthesizer kidnapped and secreted in a windowless room while they set out to single-handedly destroy the concept of the non-guitar-based future of rock and roll. Some great smears of wah wah here and Mitchell’s tone has an even bluesier feel – even a touch of country honk - thanks to the no-count fidelity, at points spilling over into the drooling sheets of sound feel of a John Coltrane>John McLaughlin while Nichols gains a little of Denis Charles’s loose, pugilistic style. Hughes derails and redirects the music at will with sudden bass nudges and key changes that reflect on Motorhead as much as Fushitsusha, which almost makes this the insane Motorhead/Peter Brotzmann free music face-off that Bill Laswell attempted but failed to orchestrate back in the day. No one is doing more for the future of the guitar as sonic reducer in the UK than Nick Mitchell and this is another thrilling finger in the eye to tabletop ‘performance’. Make your move – very highly recommended!

Michael Flower and Neil Campbell
Wharf Cat

Golden Lab Records RWOF-40

CD + 7” + Art Book
£16.99


Massive new album/single/art book from the heavy-meta UK underground duo of Michael Flower and Neil Campbell of drone legends Vibracathedral Orchestra in a hand-numbered edition of only 250 copies: the set is housed in a beautiful heavyweight 20 page screen printed book of ‘live drawings’ to the music by Manchester illustrator Lucy Jones. The music is amazing, dropping from torrential storms of barbed wire post-Velvets drone violence into amorphous ascensions and triumphal slow-motion synth blats as Campbell welds the Astral Social Club-approach to automating ecstasies to Flower’s metal ragas. This is the apex of the VU bootlegs sound advanced to an actual working strategy, taking off on the gridlocked levitating style of “Sweet Sister Ray” before re-formatting  fourth world ritual music as a conduit for Northern white boy punk via blistered fingers and the kind of technicolour string osmosis of a phantom Michio Kurihara/Manuel Gottsching duo. Indeed, the title would seem to imply the kinda DIY bedroom-isms brought to the point of almost Dead-scale revelation that the sonics propose, with the feel of the warp and woof of rock form slowly, teasingly, being rendered apart. A timely blat of post-MacLise amplifier worship from two of the hardest omming psychonauts to come out of the UK DIY psych/noise underground. A true labour of love, very highly recommended!

Bill Orcutt
VDSQ Solo Acoustic Volume Ten

Vin Du Select Qualitite #10

LP
£16.99


Stunning limited edition set of new solo acoustic guitar work, Orcutt’s first set of all-new compositions in years, part of the on-going VDSQ series of all acoustic albums: Orcutt is of course best known as a string-mangler par excellence for Harry Pussy but since then he has diverted the ferocious form-gobbling amphetamine style of his group work towards new vectors of epileptic American Primitive visioning and I can’t think of a side that better represents the metamorphosis than this. His melodic invention – as it was in Harry Pussy – is true speed of thought, unloading all sorts of gloriously tactile string detail over extended, epic compositions that run from rolling, obsessively repeated folk fanfare ala Albert Ayler through the kind of rhythmic ticks and moments of wildly diverted temporal brutality that would re-wire acoustic blues as radically and definitively as Fushitsusha reconstructed psychedelic rock. Orcutt’s great automatic vocal accompaniment is on full display here too, power moaning and singing/crying into knots of barbed overtone w/the kind of lowdown rapture that feels fully sanctified. Imagine Orcutt’s power/punk instants fully dilated and vibrating like a ghost in the corner of a barren room then throw in a hallelujah choir and a commitment to dissonance that goes way beyond the long blank and you’re at least orbiting this wild free/folk music satellite. Peerless, genre-gobbling six string excess, highly recommended!

Bill Orcutt & Chris Corsano
Square Cunts/Live At Various

Palilalia Records PAL-030

Cassette
£10.99


Last copies of this killer ‘tour only’ self released cassette from Bill Orcutt of Harry Pussy: Square Cunts makes for one of the most hands-down thrilling documents of Orcutt’s recent return to form, with Corsano playing in a wild, non-flowing temporally disruptive style, nudging, undermining and caveman-ing Orcutt’s grunting electric blues, as Orcutt makes lightning darts on rabid Beefheart-isms, blats of electric Sharrock, Kousokuya-style Crazy Horse assaults and some of his most devolved hardcore punk since the heyday of goddamn Harry Pussy. Like this even more than the fantastic duo LP, very highly recommended but very limited supply!

Ludo Mich/Syed Kamran Ali/Pascal Nichols
The Wet Black Poodle Transforms

Singing Knives No Cat

CD
£6.99


Aces-up three way live blat that sees Belgian film-maker/artist/sound poet/madman Ludo Mich accompanied by Pascal Nichols of Part Wild Horses Mane On Both Sides and Syed Kamran Ali of Harappian Night Recordings/The Hunter Gracchus et al: this documents two live shows, one from Sheffield on 18th  November and the other from Manchester the next night. Mich is on mind-bending form here, forsaking established ‘sound poetry’ modes for spontaneous body strategies, snores, bursts of song and screams, at points getting into an amazing Patty Waters-esque riff on “black”, at others channelling the ferocious osmotic tongue of Blixa Bargeld circa “Negative Nein”. Ali and Nichols bolster the feel of Industrial ritual with metal tones, tonal skin sounds, weird moments of gamelan drone and sudden explosions of full bore improvisation that give the nod to the kinda volcanic interplay of the Music Improvisation Company or the large scale percussive constructs of Tony Oxley. A fantastic set, packaged in an oversize fold-out concertina style art paper sleeve. Recommended. 

Chris Corsano & Bill Orcutt
The Raw And The Cooked

Palilalia PAL-011

LP
£14.99


ONE OF VOLCANIC TONGUE'S RECORDS OF THE YEAR 2013!

Much-anticipated private press duo set from guitarist Bill Orcutt and drummer Chris Corsano: Corsano has made no secret of his total fucking awe at the kinda jaw-dropping breakthroughs in the logistics of time and space made by drummer Adris Hoyos in the few short years that she ruled the planet in Harry Pussy so it was pretty much a given that when Orcutt got back to string wrestling that Corsano was gonna be shooting for the drum stool. And what a hook-up. This is the closest to the full-bore Harry Pussy sound that Orcutt has come since reactivating, with that wild hiccupping style where it feels like the pair are just riding waves of buckling electricity. Corsano’s playing isn’t quite as, uh, blunt as Hoyos and there’s a fluidity to his pugilism that allows Orcutt to get a little slippy, exchanging well-oiled power chord blats with fast zig-zagging runs. And it’s not all breakneck speed-of-thought exchange either, there are long sections of tactile low level tension and some blues moaning from Orcutt that would spook Guitar Roberts. Edition of 500 copies in a cool gatefold sleeve with a snap of our heroes in full flight, immediately sold out at source, very highly recommended!

Mark Feehan
MF

Siltbreeze SB-147

LP
£10.99


Debut solo album from original Harry Pussy second guitarist Mark Feehan in a run of only 350 copies: Feehan pre-dated Dan Hosker’s torrential reign as Bill Orcutt’s foil in one of the greatest rock groups of the modern age. Here his modus is a little more diffuse, factoring in aspects of raggedy Americana as well as psychedelic Japanese minimalism ala Magical Power Mako. Tom Lax makes the Mako comparison in his blurb and it instantly makes a lot of sense, with that same feel of worrying day-glo fourth world fragments into endlessly repeating shapes that are impossible to dislodge from your brain. Feehan’s attack is less tactile than Orcutt’s but he shares Orcutt’s obsessive focus on endless restatement, whether he’s orbiting the kind of aggressively cranky avant gardisms more associated with the FMP label or rolling out the kinda endless vistas of tumbling strings that would’ve sat somewhere downwind of Blind Joe Death and Peter Lang on the Takoma label. Welcome back!

Trash Monkeys
Pass Out

Smitten Recordings Smite-1

CD
£9.99


Warehouse find of this completely off-the-radar anthology from 2000 that compiled a buncha scorch laid down by this pre-Harry Pussy group formed by guitarists Bill Orcutt and Mark Feehan. Trash Monkeys’ sound comes out of hardcore but takes in a buncha disparate influences. It’s not hard to imagine them sharing a bill with Sun City Girls back in the day, with the kind of scabrous fourth-world punk of the early SCG sound combined with goofy vocal stylings ala Alan Bishop but the combination of wise-ass songwriterly smarts, amphetamine rock breakdowns and occasional acoustic mindbenders lines em alongside a buncha weirdos that range from the kinda zonked Portland punk that came under the influence of Smegma, Cleveland doofs like Pagans, even the kinda under-the-counter-culture post-Meltzer/Teenage Wasteland Angry Samoans. It’s particularly fascinating to hear Orcutt and Feehan power-wrestling their guitars into the kind of protean forms that would eventually give birth to the ultra-complex white heat sound of primo Harry Pussy. A fascinating document of the earliest experiments of two of the greatest six string thinkers of the modern age. Recommended. 

Akira Sakata/Johan Berthling/Paal Nilssen-Love
Arashi

Trost TR-130

LP
£16.99


Excellent new trio set that unites long-term Japanese free saxophonist/vocalist Akira Sakata with the rhythm section of bassist Johan Berthling and drummer Paal Nilssen-Love: this is a truly wild and unexpected set, especially for the 6 minute “Rower’s Song Of Ondo” where Sakata doesn’t even play saxophone at all but instead sings in a furious, possessed style ala Kan Mikami over a thundering rhythm section. When he does pick up the horn he is on equally devastating form, playing in a fast speed-of-thought style that barely pauses for breath while crossing fat, almost David S Ware-esque tattoos and peaks of testifying soul power with all out balls-to-the-wall joy. Best Sakata side of recent years? Recommended. 

Hollywood Autopsy
s/t

Little Big Chief Records LBCR-012

LP
£16.99


Officially licensed edition of 500 copies reissue of this lost art punk gem from Wisconsin: coming out of an early 80s hardcore obsessed scene Hollywood Autopsy come over like “Hurricane Fighter Plane”-era Red Krayola play King Uszniewicz’s “Surfin’ School” after having their garage re-tooled by Pere Ubu. Imagine if the 70s void that birthed the whole post-Velvets Simply Saucer school and the goofball American hobbyist LAFMS cabal had somehow infected suburban hardcore with a freeform freakout agenda then cross-breed that with ultra-keen UK DIY optimism and glee-in-creation and you’re close to the kind of spiked suburbia these guys were coming out of. They also get into the kind of slow-spinning euphoric jangle pop minimalism of their Kiwi kin, marrying implied motorik rhythms and endless chorus/reverb guitars to downer mumbled vocals in a way that will have you scratching your head and thinking, what, Kiwi Animal? Josef K eviscerated by The Spies? The Clean play Department Store Santas? Public Image Ltd w/The Cowboy Song as the central touchstone? Right there, you get a feel for the range of this wild, profoundly out-of-time side that exists somewhere upwind of 70s wasteland sounds of classic no-counts like Victoria Vein, Debris et al while sounding approximately *something* like them. A great, puzzling, triumphantly out side of fully infected art punk excess, beautifully rendered, highly recommended!

Matthew Shaw
Silences Of The Night

Sonic Oyster Records SOV-004

7” EP
£7.99


Edition of only 250 copies four track EP that bundles songs by Matthew Shaw for the first time under his own name: this is a striking set that combines acoustic guitar, deep, deep listening fields and Shaw’s poetic vocal reveries that take in the kind of microdot visions of sacred map-points and daffy floral Albion-isms of a Mark Fry while connecting with the psychedelic English folk sounds of a Current 93 or Michael Cashmore as well as the loner guitar of a Six Organs Of Admittance. Lush, drone-infused acoustic psych, angelically scored. 

Peter Brotzmann & Sonny Sharrock
Whatthefuckdoyouwant?

Trost TR-124

CD
£14.99


Stunning previously-unreleased live Luxemburg 1987 duo set from these two titanic free music figures, uncovered in Peter Brotzmann’s personal archive:  with Brotz on reeds and Sharrock on electric Les Paul, the set barrels between teeth-rattling blues dirges, massively free breath/muscle exchanges and that classic, revenant gospel sound that spans continents, cultures and personal histories in a blur of spontaneous, simultaneous form. Anyone who digs The Blue Humans, the Kaoru Abe/Masayuki Takayanagi duos or the blurry sound of speed-of-thought metal on metal oughta dig it but there are also some gorgeous, sparse passages here where Brotzmann orbits Sharrock's F/X guitar forms with genuine melodic grace. So great to hear more from this inexhaustibly creative duo – very highly recommended!

Ragtime Frank
I’m A Rocketship For My Lord

Little Big Chief Records LBCR-013

LP
£16.99


Stunning new avant blues rip up from the Oz underground duo of Ragtime Frank on vocals and guitar and Leighton Craig (Primitive Motion et al) on drums: was hearing comparisons to the Ascension duo of Stefan Jaworzyn and Tony Irving’s classic Five Titles recording and it’s true that the combination of convulsive/collapsing hypno guitar, fully in the red deadtone feedback production overload and scything drums comes over like a blunt post-Bailey boogie session cut by UK thugs but imagine that cut with a one-chord Sister Ray style hillbilly hump that was mainlining the ghost of Reverend B way the fuck past even the reducto distorto hunch of a Tetuzi Akiyama. Ragtime Frank lurches and hee-haws all the way over the top like he’s doing the goddamn crusher over post-Billy Childish no-chord ugh. Craig keeps the whole thing lurching drunk from start to finish, coming over like Abner Jay’s dysfunctional sons jonesing for a reformed Red Transistor. Fuck what The Cramps taught us, it’s time to re-learn the goddamn songbook. Insane and very highly recommended!

Sweet Kelly
Fed Through The Garbage Disposal By Spaceman And Jake

Zedikiah Records #1978FN

LP
£39.99


Original copies of this impossible-to-locate private press LP out of Detroit 1997 issued in a hand-numbered run of 500 copies, all VT copies straight from the Nicodemus archive (!): this was produced by legendary scuzz/biker outlaw Nicodemus and issued on his own label and has a similar avant-drug-rock/mysto- mind-blotting style to much of his own work. Imagine an LAFMS project cut by drug-damaged back street survivalists with access to workshops of cracked tape reels, rudimentary rock instrumentation, PCP and gasoline and then imagine a vocalist who is committed to bearing his soul all over the top of alla this at the kind of hysterical vocal peak that often erases the backing track completely before jump-cutting into what sounds like a New Blockaders re-mix of the engine sounds from Mark Tucker's Batstew album. Or think of a bunch of greasers coming off the whole Up/Stooges/Amboy Dukes/SRC Detroit sweat trip and suddenly transposing alla that energy into all-night basement flights into cultic, almost-Monoshock/Rayne/Vertical Slit-esque basement prog action recorded with less fidelity and a more fucked up mix than even The Dead C. Story goes that Nicodemus bumped into these guys – Radar, Derek Springer and Robert Lize - at a Kinkos when they were still a high school garage band with a heady Floyd/Sabbath feel and he was so blown away by their raw sound that he took it upon himself to produce them and get them out there. This self-titled LP, although these days better known as Fed Through The Garbage Disposal By Spaceman And Jake, remains one of the most beautifully damaged and peerless out rock releases from the deepest strata of the 90s underground. Front sticker reads "Absolutely the closest you can get to being at the rehearsals of the 1st tri-mester in the birth of DETROITS champions of white noise philosophy Sweet Kelly". A unique opportunity to pick up Mint Unplayed warehouse copies straight outta the Nicodemus archive. Highest possible recommendation! 

Talweg
Nos Doubles Errent Dans La Nuit Duelle

Up Against The Wall Motherfuckers!/Up Against The Wall Motherfucker! UATWM-004/UATWM-004

LP
£16.99


Last copies: More new moves from the contemporary French underground: Talweg is a duo that features one third of big VT faves La Morte Young and they describe themselves as a “free metal duo” influenced by “black metal, free jazz as atomised/energized by Tight Meat Duo and Borbetomagus, the crude sound of Le Rock Non as played by a lot of New Zealand sociopaths... and Bruce Russell’s writings”. It’s true: Talweg take the black slow-motion electricity and garbled vocal incantations of Euro death/doom and bisect it with swathes of thrifty free jazz percussion and nod-out flat-lined drones, conjuring the kind of hallucinatory end-of-the-world drone of Sandoz Lab Technicians in corpse paint and with a fleet of Rashied Alis on percussion. Indeed, the tortured, throat-shredding vocals and the moments of simply gorgeous tonally complex distant melodies surging straight out of the void ala classic 20th century minimalism make this sound most like a cosmic dub/doom visioning of massed battlefields as broadcast via celestial shortwave and received in a small cave near Qumran. A stunning set that blends radical avant stylings with pure Cro-magnon grunt and communal/cultic energies to birth something deep in the heart of the wood. Beautifully packaged too in gold sleeves and pressed on heavy vinyl. Recommended. 

Graham Lambkin
Abersayne/Attersaye

Kye #706

7”
£8.99


ONE OF VOLCANIC TONGUE'S RECORDS OF THE YEAR 2013!


First ever solo 7” from Graham Lambkin of The Shadow Ring: the warped application of guitar, tapes and vocals make for an amazing psych/folk bomb that somehow channels the same kind of hermetic backwoods appeal of the more cryptic Joshua Burkett sides while matching the kind of intimate diaristic appeal of those weird Jack Kerouac straight to tape songs from Reads On The Road before the whole deal phases out into waves of endlessly lapping Ethiopiques-style hypnotism and minimalist tape/textural confusion.  Flip is even weirder, pushing out into the kind of homemade Death Blues of a Jandek or Pip Proud as refracted through an old victrola talking machine and broadcast backwards via a heavily encrypted numbers station. Totally amazing, could go a full LP of this style, and very highly recommended! Already sold out at source. 

Christina Carter
Character Study

Drawing Room Records No Cat

LP + Chapbook
£14.99


Stunning new conceptual work, long time in the making, from spectral songwriter/guitarist Christina Carter of Charalambides: accompanied by a chapbook that crosses poetic musings with interrogative enquiry, Character Study puts the soul of the 21st century artist on trial across two side long meditations for electric slide guitar, tambourine, bells and dark, miles deep F/X. Hypnotically subdued, with an uncanny feel of being directed, Carter power moans and shivers her way through two ghostly blues madrigals that pin your heart to the floor, transposing the ‘weight’ of Patty Waters College Tour to the kind of parched soul terrain of a Jandek or even a Skip Spence. Stunning, late night soul poetry, highly recommended.