New planned slot for this rag - FRIDAY AFTERNOON - more focus, less booze etc than the fabled Thursday evening pisstake. Still subjected to the usual delays, the evergreen fuckery of bickering over who is gonna do sound clips, finding things to compare any remotely modern music to that isn’t Japanese steel or a malicious robot and finding a suitable image to header the thing (who's yer pal protecting the last froth?!) +++
Anyway - ONWARDS! 




Just when you thought it was over! Having spent the last six weeks rambling to anyone that would listen aboot the brilliance of London three-piece Triple Negative (and after three beers more or less inducting them into some fantastical hall of fame), along comes this tidy wee cassette split with unknown unit Colour Buk to ensure a continuum of fanatical babble on this band that is thoroughly invigorating the belief that there is SO much left to explore.

While it bears some resemblance to their recent LP for Penultimate Press, it is almost impossible to believe that there is anything formulaic about Triple Negative’s music. It’s frighteningly complex, BUT there’s a radiance around their output that feels more akin to magic than science - having been playing together for near 20 years, it is in those untold hours of writing that they have developed their own dialect, one that we are only now hearing to be spoken so effortlessly. Eloquently unstructured piano and violin interplay duck and dive around No Neck Blues Band-style explosions of acoustic and electric guitar, every component regularly being thrown into a cramped East London rehearsal space with flurries of frenzied drum machines and percussive invocations. Anyway - ENOUGH ALREADY! There’s so much going on - with each listen yer mind will bear witness to the multidimensional, unfathomably ONIONATED layers of intricacy and destruction at play.

Phew! This Colour Buk side, while not getting the same soul-crumbling super-fan levels of attention packs a PUNCH too. Aggy, distorted misshapes that feels like all the best bits of the Heavy Metal LPs - these couple of piss-bomb punk scribbles scattered around a 14 minute monster of sinister synth purring and deftly judged, doom-laden guitar riffs that sounds like it could have been recorded after a weekend spent rattling coffins in der club of gore!!

On repeat!

Edition of 50.

NOT ON LABEL | LP | £12.99 

Re-press in plain paper sleeve. 

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?! 


Stunningly well-presented, potentially Kallax-buckling 2LP incarnation of the legendary (it's the company you keep!) 2000 CD-R compilation A Lowtides Rising. 

Originally released on Antony Milton's PseudoArcana in 2003, it's an epic who's-who of the New Zealand underground at the turn of the century, a loose constellation of inspired/insane DIY musicians and home-recordists whose influence today belies their humble intentions and means of production/dissemination: Pumice, Peter Wright, Kunst/Veet (Witcyst), CJA & Anamarie, Sleep, Donald McPherson, GFrenzy, Kieran Monaghan, Swagger Jack, Birchville Cat Motel, Richard Francis, 1/3 Octave Band, Tim Cornelius, Seht, Antony Milton and James Kirk. Fördämning Arkiv, the reissue outgrowth of I Dischi Del Barone gives these lot the regal, big-boy treatment they deserve (but probably wouldn't dream of giving themselves), spreading the 16 tracks across four sides of vinyl and housing them in a "deluxe deluxe" (seriously, you can SMELL the quality) gloss gatefold sleeve with liner notes by Milton and FA's own Matthias Andersson.

An embarrassment of riches: G Frenzy’s ‘Tonight the Kids Sleep In The Car’ sounds like a demo for a Flying Nun island-hit that never was, Peter Wright and 1/3 Octave Band’s contributions repurpose downhome folk instruments and motifs for expansive, dronal free improvisation in finest Jewelled Antler fashion, James Kirk pushes things into fully crepuscular minimal ambient zone, and CJA instigate what sounds like the greatest sewer-rock-n-roll song of all time before abandoning it abruptly after 25 seconds and quite simply fucking off… too good. 16 tracks in all, hard-cut diamonds all. Yeah it's expensive... but diamonds are forever! Edition of 250. 


Originally published in the mid-1970s, Womens Work was a magazine that sought to highlight the overlooked work of female artists working at the cusp of the visual arts, music, and performance. The magazine was edited by Alison Knowles and Annea Lockwood and featured text-based and instructional performance scores by the following 25 artists, composers, and choreographers:

Beth Anderon, Ruth Anderson, Jacki Apple, Barbara Benary, Sari Dienes, Nye Ffarrabas (participating as Bici Forbes), Simone Forti, Wendy Greenberg, Heidi Von Gunden, Françoise Janicot, Alison Knowles, Christina Kubisch, Carol Law, Annea Lockwood (also included as Anna Lockwood), Mary Lucier, Lisa Mikulchik, Ann Noël (included as Ann Williams), Pauline Oliveros, Takako Saito, Carolee Schneemann, Mieko Shiomi, Elaine Summers, Carole Weber, Julie Winter, and Marilyn Wood.

GOST INSTRUMENT | 12" | £10.99
Speed trials in spaceville! Moscow’s fugitive techno abstractor, Buttechno, hands over top drawer minimal acid footraces that have a sorta rough, live, GALLOPING feel to them - the first two tracks feeling a bit like a Klettermax record taking a beating from one of those streetcleaner trucks, the second lot feeling more in line with IF’s Beverly Hills alias or some misshapen Unit Moebius album cuts. Belter!



UTR’s reissues of Return Of The Ranters and More Wealth Than Money were vital staging-posts on the way to the peak of Normil (sorry), but with What’s Going On? we have well and truly ARRIVED. There is no real name for what Normal Hawaiians were doing in the first half of the 1980s - “psychedelic post-punk” might give you the gist, but feels too prosaic…The obvious comparison for their Eno/kraut/narcotics-inspired assemblages of spiky lopsided pop songwriting, improvisation and unreality-or-nothing tape-collage is fellow Brixton-orbiters This Heat, but they feel like a different beast - more in thrall to pop, and, on this, their last and effectively lost (label Illuminated folded before it could be properly released) LP, more violently peculiar. UTR describe the content of WGO? as “experiments in British kosmische” - a judgement certainly true of the lovely ‘South Atlantic’ and ‘Going Down’, pastoral ambient aches that summon Harmonia, Deux Filles, Idea Fire Company. Even the initially more conventional-seeming songs that give the album its shape - ‘Martin’ and ‘The Big Lie’ - embrace void-chasing repetitions and teeter on the brink of total abstraction/dissolve. Elsewhere, it’s just berserk: opener ‘Quiet Village’ sets the tone, a kind of industrial folk brut that sounds like an  blind-drunk blacksmith jamming with Ghedalia Tzartes. Recorded a time of anxiety and encroaching malaise - Thatcherism was beginning to bite hard, and close friend and associate Martin Pawson killed himself in July ’83 - there was also some pressure to make a defining statement after 1982’s sprawling, piecemeal epic More Wealth Than Money. Safe to say they succeeded.. What's Going On? has an almost NWW-list-grade madness and mystery to it. 

Following their archival excavations of ‘80s Macedonian electro-pop sensation Bastion and sepulchral post-punk stylists Novostj/DSRone, ACC Records addresses the FEBRILE PRESENT with this LP of “executive information music” from London-based, Bulgarian-born Stan Iordanov aka AJ Pain. Pain is about right - these ultra-angular, cryptic, neurotic-ecstatic rhythm trax fair throttle you into submission. The label’s own description is spot-on: “The pulse is the great protagonist here - across the seven tracks we’re turning, ticking, knocking, scraping, feeling a million modulations on what a beat might be, in a panorama made up of striated and broken waves, lambent textures and metallic arabesques…this is a record that leaves you wondering what’s left of the idea of industrial music in a post-industry world.” Difficult to think of many obvious analogues for this gear, which is a compliment in itself, but fans of recent abstract dancefloor-dramas from Heith, Xyn Cabal, Eartheater and ST/NE should take a very close look.



Pacey, synth wielding, drumbox abusin' split single in the veins of Didaktische Enheit or that photo of Dan's dogs dressed up as Suicide. Well good! Edition of 150.



Thumping four tracker of dislocated, skip-diving punk devolutions that feel like a justifiably cynical update on that 1979 trash/treasure compilation "Weird Noise" on Fuck Off Records. "We are the young professionals!" Edition of 175.

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