HOW D'YA SPELL THE SPIES?

Hullo der,

Set times announced (kinda) for our birthday bruise-cruise next weekend - ANOTHER fucking Bank Holiday Sunday - get organised folks

RUNNING ORDER:

Live Room: open from 16:30 - CIVILISTJÄVEL!, BRIDGET HAYDEN, O YUKI CONJUGATE, THOMAS BUSH, DENNIS TYFUS + HELM (!), BOBBY WOULD, LOLINA // Ends around 10 probably.

PUB QUIZ 1500-1600, if you want involved - don’t be late. V nice prizes (tbd) - cheaters shall be expelled - d’ya hear?!

DJ action in the bar 14:00-midnight with unhinged shambolics from the full Wah Wah Wino crew in amongst a host of friends, enemies and staff members - can’t wait!

Tickets available from the site, limited capacity!

LC xx
CIVILISTJÄVEL!
2
NOT ON LABEL | LP | £17.99

Ships Monday! Edition of 199 numbered copies with hand-pasted sleeves, one per customer please. The second volume of previously unreleased material from cloak-and-dagger Swedish electronics project Civilistjävel!. Until last year's 1 LP their work - created mostly in the 1990s, using Juno60 and Korg MS20 - had never been officially documented or disseminated. The tracks assembled on 2 pivot away from the lonesome, levitating kosmische themes of 1, and into a dronal, dubwise, heavily psychoactive minimal techno realm. We've never heard anything quite like the steamrolling, monolithic, kickdrum-centered epic that spans all twelve icy minutes of Side 1 - never, that is, outside of a recurring dream we've had since childhood about a recommissioned Northern Rail train smuggling munitions behind enemy lines in a future rural Yorkshire as part of humanity's guerilla war effort against shadowy, possibly entirely imaginary Mysteron-like oppressors. Erm...The other two pieces that constitute this LP are paranoid, broken, sub-heavy constructions that have echoes in Jan Jelinek's Gramm or latterday stuff from Hidden Hawaii, but always with that reserve and austere, out-of-time feel peculiar to the true European mutant/drone underworld. Seriously, how had this stuff not come to light before now?! Civilistjävel! plays live as part of Low Company's 2nd Birthday all-dayer on Sunday 26th May at London's New River Studios.   

REDNESS
KILLER BEES

NOT ON LABEL | LP | £15.99

Welcome exhumation of unheard, sizzlin' 1980 6-track'er from Cleveland. Uncompromising art-punk spew and righteous clatter, a depressive and WRITHING tour de farce recorded in some dank basement at a time when there was still a chance for such humble, OUTRAGEOUS projects to cross over into the “real world”. No such luck for this swarming post-punk obscuro though, forever destined to buzz away in the shadows with a sting that KILLS. 150 copies - FFO The Residents, Captain Beefheart, Electric Eels +++

DIDAKTISCHE EINHEIT
DOSIS 6
ZZK TAPES | CS | £6.99

 

Replica version of the pulsing, minimal synth and Suicide styled, glass smashing live action featured on one of the seven self-released tapes by Didaktische Einheit in 1982. Manic, dilapidated rhythms and hopeless, zoned-out chants from the German underground - one please! Edition of 150.

DIÄT
POSITIVE DISINTEGRATION
BLACKEST EVER BLACK | LP | £12.99

Long-time-coming (four years!) second album from Diat, and, we're told, the penultimate ever release from BEB. The demand for this puppy (Iron Lung, who did the US release, are already onto their second pressing) speaks for itself eh: the German/Aussie band’s debut, Positive Energy, a belter for the ages, channelled no small amount of rage and disaffection into songs of pure disarming chest-bursting JOY, speaking to punks first and foremost but with enough going on to trickle down to a much wider audience. 

Fairly sure they were taking the piss when they once described their music as "tough new wave" - but it's stuck, cos it's spot-on. They deliver the bleak outlook and angular hooks of post-punk, but ditch the implied space and minimalism in favour of a huge, head-crushing wall of sound, and some of the belligerent, bonehead swagger of, I dunno, Coitus Inc. Positive Disintegration is a more fractious, bruised, MOROSE record than its predecessor (clue's in the title!) - youthful brio replaced with uncertainty and ennui and a mounting wariness towards the no-sleep-til-Dienstag Berlin vampires who once seemed so enviably free and glamorous, dahlink. Lyrically, they make a subject, and for the most part a virtue, of that uncertainty - most vividly on ‘Missed The Bus’, an all too relatable elegy for the whole terrible aggregate of wasted/thwarted opportunities we call LIFE (it's also the gentlest song they've ever recorded, its schweet soft ache enhanced no end by backing vocals from Fran of the motherf***king CANNANES - returning the favour for Diat’s banging cover of the Oz legends’ ‘Blue Skies Over The Ocean’ on Positive Energy). Some experiments don't come off as well, but when they find their feet they’re a force of nature: see full-throttle rippers ‘Foreign Policy’ and ‘Only My Own’, both showcases  for Tobi Lill and Josh 'Itchy Bugger' Neutron’s scream-to-a-sigh, Killing Joke-meets-Chameleons twin-guitar fireworks. 

THE FLYING LIZARDS
THE SECRET DUB LIFE OF THE FLYING LIZARDS
STAUBGOLD | LP | £19.99

Finally back in print: Staubgold's vinyl edish of David Cunningham's peerless The Secret Dub Life of The Flying Lizards. The source tapes for this LP were recorded in Jamaica by Jah Lloyd circa '73-'74 as a part of a series he was making for Virgin's Front Line imprint, but were never used for their intended purpose. Instead, Front Line's Jumbo Vanrennen (we should all have a friend called Jumbo) passed them to Cunningham and invited him to remix them as he saw fit. 

Cunningham continues: "I accepted the project, expecting lots of time in one of Virgin's studios to play with the music and the equipment, only to be presented with a mono master tape. So I began to invent (or perhaps re-invent) techniques of editing, looping, filtering and subtraction to deal with unremixable mono material (these were the days before samplers).

"The subsequent work took a long time: as I thought it might be something of an indulgence I worked on it at weekends and evenings rather than let it interfere with other projects. The techniques used here expanded my vocabulary of musical electronic (as opposed to electronic music) treatments and appear in a very different form on records made at that time. Notably 'Fourth Wall', my collaboration with Patti Palladin, and my production work on Michael Nyman's records."

The result - which lay unreleased until a CD on Cunningham's Piano label in 1995 - is one of the most strikingly inventive and immersive dub sets of all time, radical yet rootical, properly tuff rhythm-wise but at the same taking reggae into a truly meditative, ethereal space, exploring the limits of form and technique while staying true to the spirit of Lloyd's tunes and his (unidentified) musicians' playing (truer than the brace of '95-produced tracks Cunningham added for the CD issue - both brilliant, but occupying more of a date-stamped ambient-techno zone). The original cache of '74 versions remain uniquely sumptuous, aqueous, ineffable, awe-inspiring. 

No home etc etc! 

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