WHAT TIME DID YOU WAKE UP THIS MORNING?

Strictly business today!

Slight and possibly unnecessary modifications made to the website today, apologies to anyone who’s browsing experience was terrorised.

Ye, not got much time for chat tonight (its barbecue weather! kinda!), loadsa wicked stuff arrived today though, see below.


xx

LC

NOOR
WONT TO WANTON EYEBATH / SYNAPSE FUSION REFUSAL
ULTRA ECZEMA | 7" | £9.99

WILD two-tracker from Lebanese-American artist akimbo Nour Mubarak turned one-woman band for Dennis the mennis Tyfus' Ultra Eczema imprint. It's disorderly, desirous pop in rapid, low fidelity transit. A joyride with the breaks cut listening to some Kas Product / Neon tapes, the impulsive, sorta self-conscious bedroom jangle of Itchy Bugger, the unlikely summer balladry of Brenda Ray. Fark. Yes, THAT good. 

“Synapse Fusion Refusal” offers five minutes of phasing, subway-station recorded guitar riffs chasing their tail around distant, tin rhythm-box presets and wrung-out, violently manipulated vocals - all the elements feeling as chaotic and THRILLING as going downhill in an old, rickety, unmanned streetcar, the friction between them acting as the only component to give any direction.

“Wont to Wanton Eyebath” bears all the stealthy, rhythmic shadow boxing of an early Lena Platoons cut, Mubarak’s FX drenched poetics and deep spoken word moving like dry ice between the sluggish low-end beat patterns, that could be mistaken for one of those oddball NYC electro 45’s from the mid 80s playing at the wrong speed. Perfect 7”!!

SPELEOCOMBO
SPELEOCOMBO SPEELT VU
ULTRA ECZEMA | 7" | £9.99

Boozy, Belgian covers of Velvet Underground from the late 80s. Only 200 copies of this party-starter!
SARAH HUGHES & JON COLLIN
WASHINGTON DC, 11 APRIL 2019
EARLY MUSIC | CD | £7.99

SARAH HUGHES & JON COLLIN

Live 10 April, 2019
EARLY MUSIC | CD | £7.99

CD-R. Cold, refined but utterly transcendental blues minimalism, documenting a duo performance by Jon Collin and Sarah Hughes that took place barely two months ago at Rhizome in Washington, DC. With its small-hours echoes of John Surman’s classic ECM outings and the mighty Vor Der Flut compilation, this disc has knocked us for six - Collin using his treated, tremulous guitar sorcery to create sparse, impressionistic but utterly absorbing environments for his collaborator’s woodwind and reeds to roam in and grapple with. Hughes’ interventions begin as ghostly residue, a droning spirit-world rebuke to the alive and unseeing and ungrateful, but then swell unexpectedly, and ecstatically, to climaxes of weeping, plangent, unaffected jazz lyricism. And back again. If this one does anything for you, make sure you check Collin and Jordan Perry’s Charlottesville, 10 April 2019, which is also newly available courtesy of Early Music. You need both sets, to be honest, but the Hughes/Collin disc is just extraordinary… one of the year’s finest, no doubt.

RAP (THOMAS BUSH & GUY GORMLEY)
EXPORT
JOLLY DISCS | LP | £10.00

**Vinyl edition, housed in full picture sleeve.** Free, fresh, rowdy-cum-wistful rave/blooz mutations from Thomas Bush and Guy Gormley (Special Occasion, Enchante), improbably applying hardstyle tempos to breezy, dub-scuffed pop songs with soca/funky-derived rhythms and eerie, ambient/folk textures (what?). Hashed out over a few sessions at GG’s studio over the road from us back in December, it’s a looser, spacier excursion than the duo’s last RAP outing, the brightly lit and tightly wound ‘Originals’ - and in true Jolly Discs fashion it goes down so easy it takes a few listens before the true extent of its craft and daring and attention to detail becomes apparent. Those of us craving more from Bush after last year’s banging Old & Redought to be first in line - his distinctive young-druid vocals are used sparingly, but very effectively, here, while as co-producers he and Gormley deliver something more than the sum of themselves, folding upful, bashy UK house tropes into a more private, moody, crepuscular sphere - a world where floatation-tank techno chords, steel-drum vamps and LFOish sub-bass plasma-bursts co-exist with eldritch swirls of woodwind and stately, high-lonesome piano nocturnes. It could be music imagined from a point so far in the future, or by a civilisation so far away, that they perceive the temporal and cultural distance between Gareth Williams and Karizma to be effectively zero. Or just people making stuff to suit themselves, and kindly sharing the spoils with you>>>>

SPECIAL OCCASION
IBIZA REDUX
JOLLY DISCS | 12" | £8.99

Dunno how it’s going wherever you are in the world, but - UNTIL TODAY AT LEAST - summer in London 2019 has been, to use the official meteorological term, “utter shite”. Thank god then for this factor-30-slathered 6-track 12” from Special Occasion, Guy Gormley and David Gray’s first new material together since 2017’s brilliant The Word tape (so brilliant, you may recall, that we were moved to give it a vinyl release via our shoppe label a year later). They’re back with the Jolly Discs mothership now for Ibiza Redux’s salt-breezed, sun-gilded and all-instrumental paeans to the White Isle – we’re assuming they have in mind its more secluded, er, more More-ish spaces rather than the paved-with-Englishman’s-vomit main drag. Not that this stuff isn’t dance music / wouldn’t sound good if you were mullered – opener ‘Sandstone’ occupies the no man's land between Virgo Four and Double's ‘Captain Of My Heart’ (eek!), while ‘Rampling’’s bruk, soca-ish snares and heat-warped steel-drums evoke more of a London thing, finding magic at the crushed-tinny-and-chicken-bone-strewn outer edge of carnival. 'Jet Ski' and 'Big Wheel', with their triumphantly twee synth lines and trilling coin-op FX, split the difference between peak Metro Area and the soundtrack to Sonic The Hedgehog: Amnesia '87. But generally the SO MO is more sensitive, melancholic, exposed: see especially the bittersweet empyrean jazz of ‘Let Me In’, with its echoes of Antena, Crépuscule, The Sea and Cake’s Oui... before 'Rupies' brings you back to port on a raft of ruff, rolling dub-house. The prevailing mood throughout is WISTFULNESS. Our favourite thing. Azure skies and seas recollected from behind rain-lashed English windows. Ecstasy meets unrequited love. Yeah Ibiza Redux is pretty much my favourite celebration / deconstruction of the Balearic experience since the Pet Shop Boys' 'Domino Dancing' vid. No higher praise than that! 
THISTLE GROUP
THISTLE GROUP
SOFT ABUSE | 7" | £7.99

On first listen this new 7" from Claire Mahoney's "slowly scrambled solo endeavour" Thistle Group seemed a bit slight, bit wispy, but more fool me... it's a wild animal, a blinder, but the kind you have to meet in the middle. 'Hold On' lays down the sleep-deprived, hyper-sensitised, high-lonesome vibe: Mahoney's drowned-folk vocalisations bobbing and weaving amidst industrial flotsam / ice-floe, strangled guitar and funereal one-armed-drumming. Party! 'High' gestures in the direction of pop bliss, with its spacey Fisher Price keyboard tones (think Pickle Factory, Call Back The Giants etc) and gently climbing lullaby melody, and 'Always The First Sleep' combines righteously involuted axe-melt in the tradition of Mahoney's countrymen Brian Crook and the Dead C with cold machinic death-throb, and 'Into The Night' comes over like some unholy hybrid of CDF and early '90s Whitehouse.  

BRUCE RUSSELL & LUKE WOOD
VISCERAL REALISTS
VHF | LP | £21.99

Top drawer garage band abstractions and droning, static-clash hauntology from the Dead C's Bruce Russell and fellow Christchurch racket-maker Luke Wood, previously released as a micro-edition lathe cut on Wood's Illam Press. A small child just walked in the shop as we were playing "Visceral Realists" for the first time and dubbed it "engine music". Not far off, kiddo! 
MOPE GROOVES
THE WAVES
SEE MY FRIENDS RECORDS | LP | £12.99

Twisted,  strangled bedroom pop from Portland. Part synth pop / new wave / garage / post-punk. Sounds like a outta-tune Glaswegian indie troupe (think a slowed down Vital Idles) in a head-on collision with RAP/Special Occassion/Jolly Discs crew.  Skittish and unwieldy in the best possible way - never the same on the next go-‘round. One of last year’s gems that slipped our attention.
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