We’ve gotten a ton of awesome new records in lately. Here’s a few of our favorites:
THE WORLD – Reddish LP
Finally more from THE WORLD. The group that revived Groovy Post Punk a few years back and inspired a few dozen other Rough Trade sounding acts. Rhythm in the front seat, which would make the guitar the giant eyelashes above the headlights. That’s right they’re from Cali not Kingston. If you’re addicted to ESG or Delta 5 maybe you can ween off with The World. “The sound of yesterday, today, and tomorrow”—paraphrasing someone important.
COKIE THE CLOWN – You’re Welcome LP
FAT MIKE, the infamous front-man from the most successful independent punk rock band in the world, has never been one to mince words. NOFX fans have come to expect a certain filter level (or lack there-of) when it comes to what travels through Mike’s brain and out his mouth. But back in 2010, Fat Mike surprised even his most ardent fans with the debut performance of his grimy alter ego COKIE THE CLOWN at SXSW in Austin, TX. The live set involved a series of brutally heartbreaking true stories from Mike’s past mixed in with a stripped-down acoustic set, and a suspect bottle of tequila that landed the singer on TMZ. Now, nine years later we are finally ready to unveil what so many have been eagerly awaiting (or bracing themselves for—the release of Cokie’s debut album. You’re Welcome is a 10-song 38-minute quest into the darkest depths of Fatty’s psyche. From the opening track “Bathtub”—a candid story about Fat Mike waking to find his wife overdosed and drowning in a hotel bathtub, to “Swing and a Miss”—the all-too-real story of the time Mike’s friend and roommate killed himself; and album closer “Punk Rock Saved My Life”—a poignant autobiographical account of how Mike got to where he is today through punk rock. As Fat Mike puts it, “I peeled my fucking skin off for this record.” But he didn’t have to do it alone. You’re Welcome’s liner notes read like a ‘who’s who’ of A-list rock talent. Produced by Danny Lohner (Nine Inch Nails), Drums by Travis Barker (Blink-182), and keyboards by Dizzy Reed (Guns N’ Roses) to name a few. Musically, You’re Welcome is compelling and dynamic, with haunting vocal melodies laid atop string sections and elaborate piano parts. Lyrically, it is designed to make the listener squirm in their seat. Fat Mike is determined to speak his truth on You’re Welcome, no matter how ugly it may get.
GARDSGHASTR – Slit Throat Requiem LP
Gardsghastr, a new black metal entity created by forces comprised of prolific members culled from elite black metal artists Bekëth Nexëhmü and Chaos Moon, have unleashed their debut album Slit Throat Requiem, an epic, bewitching, overwhelming, symphonic black metal maelstrom that harkens back to the glory of the unparalleled Norwegian black metal scene of the ’90s. Manifesting in a grandiloquent yet strident and powerful sound, with a production that mirrors the textures that were once produced from the confines of Greighallen Studios back in the ancient times, this relentless bombardment invokes an overbearing wall-of-sound replete with a dark, ominous, unmerciful atmosphere. Heavily orchestral on all fronts, from the ambient sound-generating guitar assault, the pounding battery, glorious sounding keyboards, and the piercing vocal incantations spewed forth, Slit Throat Requiem emerges as a black metal attestation to the genre’s true spirit and manifesting flame.
GUIDED BY VOICES – Warp and Woof LP
Following Guided By Voice’s sprawling double-album Zeppelin Over China, Robert Pollard has written and recorded another full-length in record-breaking time. It’s Warp And Woof, exuberantly barreling through twenty-four songs in just thirty-seven minutes with a brevity similar to mid-90s GBV albums Alien Lanes and Vampire On Titus. GBV kicked this one out in a flash, recorded in studios, club soundchecks, hotel rooms and even in the tour van. After completing Zeppelin, Pollard felt the itch to record a few EPs. Just as GBV had done back in 1994, he would use them to channel his everflowing ideas to an outlet. But when a magical boombox writing session produced six fully formed songs in under half an hour, Pollard realized he had an album on his hands. What to do? With a band so formidable they’ve been dubbed the Golden Age of GBV, they completed much of the recording on the road. The 2018 Space Gun Tour provided impromptu recording venues. Pollard recorded vocals in hotel rooms, complimentary condominiums, and small studios. Doug Gillard cut guitar tracks for “End It With Light” through his Mesa Boogie rig at the soundcheck at the Ottobar in Baltimore. Bobby Bare Jr. recorded his spacey main rhythm guitars for album closer, “Time Remains in Central Position” at the same show, but in the backstage green room. Kevin March added drum tracks in a studio in his hometown Montclair, New Jersey. Gillard played guitar on “Bury the Mouse” in a van hurtling at 60-plus m.p.h., and Mark Shue laid bass on “Angelic Weirdness” as he balanced on the speeding van’s bench seat….
HASH REDACTOR – Drecksound LP
A quick glance at the résumés of Hash Redactor’s members might seed certain expectations. The band is fronted by guitarist Alec McIntyre of Ex-Cult, with NOTS rhythm warriors Meredith Lones on bass and Charlotte Watson on drums, and rounded off by George Williford on second guitar. But their debut full-length dives into territory that feels distinctly untethered from their lineage and era. Drecksound is a clattering, shambolic oasis in the sleek digital desert of the late twenty-teens. Perhaps both because and in spite of the alienation that typifies the glut of rock music at the end of this god-damned decade, these twelve songs deliver a pointed social criticism, more cathartic than suffocating, while championing a nihilism that greets the abyss by laughing mockingly in its face. The chorus to the incendiary “Step 2: Success” is sneered, not sung, “It’s a long con job and you just got it wrong / banned from the world.” McIntyre’s lyrics present a puckish fascination with humankind’s rake-stepping self destruction. He’s a merry prankster, but more in the mold of a jackbooted Monty Python character than a Ken Kesey acid casualty. McIntyre and Williford’s guitar interplay snakes in, out and around Lones’s bass lines, which alternate between slinky earworm hooks and steel cable raw power. All of this is locked in by Watson’s characteristically visceral swing. It doesn’t feel controversial to claim that Watson and Lones constitute one of the best rhythm sections in contemporary punk music. Having played out heavy in 2018 with a refined live show, a four-song demo, and several Gonerfest appearances under their belt, HR cut Drecksound at home on a borrowed 8-track cassette machine. The deranged raw tracks were mixed into final form by Matt Qualls at Young Avenue Sound, and mastered by Jason Ward at Chicago Mastering.
KING GIZZARD – Fishing For Fishes LP
Sit back and strap yourself in as seven-headed Aussie rock beast KING GIZZARD & THE LIZARD WIZARD return with Fishing for Fishies, perhaps their most perfectly-realized album to date. The fourteenth album since their 2012 debut—and their first following the release of five vastly different albums in 2017—Fishing for Fishies is a blues-infused blast of sonic boogie that struts and shimmies through several moods and terrains. King Gizzard are no longer a band, they are a cult, a youth movement, an exploration, a double-drumming trip, a cottage industry centered around their own Flightless Records. Perhaps most importantly they provide transportive fun, a valuable and often-overlooked commodity in an increasingly fraught world. As Pitchfork noted, they have waged war against two tired clichés: “One, that rock is dead; and two, that the album is dead.” More than that, King Gizzard have staked their claim as one of the most innovative, exciting and productive bands of the 21st century. Pressed on U.S. Toxic Landfill Edition Vinyl.
MAZE – Self Titled LP
Japan’s MAZE debut 12″ gives a dewey feeling. It’s Rainy post punk nice for a walk or a drive on a bleak sunned day. It’s real hands in pocket music, like that mellow Big in Japan material. But also sounds like Altered Images. An upper and a downer at the same time. aMAZEing.
MOUNTAIN GOATS – In League With Dragons LP
The MOUNTAIN GOATS are JOHN DARNIELLE, PETER HUGHES, JON WURSTER and MATT DOUGLAS. They have been making music together as a quartet for several years. Three of them live in North Carolina and one has moved back to Rochester. Their songs often seek out dark lairs within which terrible monsters dwell, but their mission is to retrieve the treasure from the dark lair & persuade the terrible monsters inside to seek out the path of redemption. As Axl Rose once memorably asked, in the song “Terrible Monster”: “What’s so terrible about monsters, anyway?” This is the question the Mountain Goats have been doggedly pursuing since 1991. They will never leave off this quest until every option has been exhausted. Thank you.
RAKTA – Falha Comum LP
With a slight line up change in the drum department we see RAKTA tighten up their more tense, soundtrack natured developments alongside their more sparse and vulnerable elegance. They consistently manage to create a tripped out creep chamber with room to explore as the aura builds to nightmare crescendos juxtaposed with shaking silences. Simultaneously eerie and serene. With each new release we see more and more of what makes this group so essential in the canon of modern music. Recorded by FERNANDO SANCHES. Mastered by JAMES PLOTKIN. Art by ANDRE PENTEADO, KARLLA GIROTTO and Rakta. Edition of 300 copies on black vinyl housed in a beautiful printed inner sleeve inside a heavy duty reversible cover 24pt. jacket with a vellum insert and downward card included.
REIGNING SOUND – ABDICATION LP
When he was approached by Scion in 2011 to make an album for the music promotion arm of the car company, REIGNING SOUND frontman GREG CARTWRIGHT found himself unable to refuse—despite his band’s tenuous existence at the time. “Several line-up changes had ensued after the original Memphis quartet disbanded, and I found myself considering the possibility of shedding the Reigning Sound moniker,” muses Cartwright. “I had decided to take a break to work on production for other people and write songs for THE PARTING GIFTS, my upcoming collaboration with Coco Hames.” But now, Reigning Sound had an offer on the table, and there was no band. Besides Cartwright, the one constant of Reigning Sound’s previous three years was keyboardist DAVE AMELS, who was moonlighting in THE JAY VONS, the Brooklyn soul combo formed by Long Island natives MICHAEL CATANESE, BENNY TROKAN and MIKEY POST. Sometimes Amels would even pull double duty at gigs where Reigning Sound and The Jay Vons shared a bill. When The Parting Gifts released their outstanding album Strychnine Dandelion in 2010, The Jay Vons opened shows for them on a brief tour. A few months later, Scion came knocking. Around the same time, DAN AUERBACH of the BLACK KEYS, who provided guitar for the Parting Gifts record, had just moved to Nashville and was busy putting the final touches on a private studio. “Dan was eager to do some work in the new studio in preparation for an upcoming session with Dr. John, and he offered us some studio time as well as his production assistance. Tentative arrangements with Nashville players evaporated one after another due to prior engagements or last-minute snafus. “There I was, twiddling my thumbs in a Nashville studio, the clock ticking, with no band. On a long shot, I phoned Brooklyn and made a Hail Mary pass to The Jay Vons—and they said yes. I called Scion and asked for three plane tickets and hotel rooms, and in a matter of hours, the band were on their way to Nashville. In two days, we cut five songs. I paired these five with three outtakes from the previous Reigning Sound LP Love and Curses which featured LANCE WILLE and DAVE GAY on bass,” recounts Cartwright, adding, “The Greg + Jay Vons line-up of Reigning Sound continues to this day.”
VAURA – Sables LP
The ever-evolving quartet Vaura follows up their 2013 album The Missing almost six years later with Sables, their most refined and contemplative release yet. Introspective and somber, this album finds the band shedding most of its post-metal heaviness in favor of experiments with brooding kosmische musik and the more avant-garde elements of new wave. Consisting of Josh Strawn (Azar Swan) on vocals, guitar and synthesizers, Kevin Hufnagel (Gorguts, Dysrhythmia) on guitar, Toby Driver (Kayo Dot) on bass, and Charlie Schmid (Tombs) on drums and electronics, the band engages ever more with their UK and German prog / art rock influences to grandiose and eerie effect. While still retaining the distinctive and specific style carved out on the band’s first two releases (Selenelion in 2010 and the aforementioned The Missing), Sables is the all-vital third release, a concise collection of meditative compositions on endings and extinctions. Brilliantly complemented by the mixing and production work of legendary UK producer Peter Walsh (Scott Walker, Peter Gabriel), Vaura have delivered their best sounding, most intricate and realized album yet.
WOLFMANHATTAN PROJECT – Blue Jean Stew LP
Merriam-Webster definition of supergroup: a rock group made up of prominent former members of other rock groups, also: an extremely successful rock group. While the definition of “extremely successful” may differ, there can be no arguing that Wolfmanhattan Project are a supergroup. This three piece features Bob Bert (Sonic Youth, Pussy Galore, Lydia Lunch’s Retrovirus), Mick Collins (Gories, Dirtbombs) and Kid Congo Powers (Gun Club, The Cramps, Nick Cave & the Bad Seeds, Pink Monkey Birds) and their collective track record beats Blind Faith, West, Bruce & Laing and The Power Station’s resumes combined! All three members write, sing and play in this band and, for anyone familiar with the member’s other bands, this stuff is as twisted and great as one can hope for. Everyone involved brings flavors from their past efforts and it’s all mixed together into one unholy rock ’n’ roll gumbo. It’s sleazy, swampy, trashy, no-wavey, weird and rocking! Lydia Lunch even makes an appearance, which makes this album that much more super!
DEAD ENDING – It’s Not What…7″
In the wake of their incredible 2019 album Shoot The Messenger, hardcore all-stars Dead Ending return with a blistering 7-inch single “(It’s Not) What You Believe b/w Painkiller”! This outstanding single contains not one, but two huge songs, forged through the combined efforts of Vic Bondi (Articles Of Faith), Jeff Dean (All Eyes West), Derek Grant (Alkaline Trio), and Nate Gluck (Ensign). Unrelenting, uncompromising, and unwilling to turn a blind eye, they push forward with their spirit of chaotic hardcore in an effort to educate the masses to stand up and be heard.
ATTACK SS – Welcome to Deathdust LP
18 previously released tracks and 1 unreleased track compiled from various past releases between 2006 – 2013! No Boss 7″, No Nukes 7″, Frenzy split 7″, V/A What A Hell Fukushima Cd, V/A Terro-Rhythm #7 Cd, V/A Noise Of Mind!! Vol. 2 Cd, V/A Hakai Idenshi Cd. Intense Noise Punk from Okazaki, Japan! (Distort Reality Records #44)
ISOTOPE – Self Titled LP
Debut self-titled full-length from Oakland, California’s most notorious ruffians, Isotope! Clocking in at just under twenty-four minutes, “Isotope” spews forth eight tracks of blistering Hardcore Punk in the vein of Bastard, Broken Bones, and Poison Idea. Features former members of Stormcrow, Sanctum, Acts of Sedition, and Femacoffin. Recorded and Mixed by Brad Lincoln at The Space in Oakland, California. Mastered by Kenko at Communichaos Media in Gnesta, Sweden. Cover Art by Adam Kindred. Single jacket LP with double-sided insert. Download Card Included. (Carbonized Records #4)
KOOL KEITH – Blast 7″
Under many, many monikers over the years including Dr. Octagon, Dr. Dooom, and Black Elvis, legendary Bronx, NY-based Jupiter-born rapper Kool Keith is still spitting his eccentric thoughts decades into his career with as much flow as ever. Well-known for his lyrics focused on absurd metaphors and surreal similes, Keith’s oddness certainly aligns with continued collaborators Junkadelic Music as well as hip hop-punk amalgam Planet B, comprised of punk vocalist Justin Pearson (The Locust, Retox, Dead Cross) and double MPC-wielding Luke Henshaw (Sonido De La Frontera). After Keith’s initial guest vocals on Planet B track “Crustfund,” the duo has once again collaborated with the notorious rapper to create a blistering remix of his new track “Blast.” 7” includes digital download. (31G Records #99)
BEACH SLANG – Mpls 7″
Philadelphia, PA’s Beach Slang returns with a two-song covers single produced by Robby Takac of the Goo Goo Dolls entitled “MPLS.” Since 2014, Beach Slang’s brand of punk-tinged rock ‘n’ roll has catapulted them into being one of the most recognizable and exciting names in underground music today. With a string of albums on beloved indie institution Polyvinyl, and even more EPs under their belt, Beach Slang is ready to unleash “MPLS” via Bridge Nine’s new imprint label dubbed Quiet Panic, founded by Ryan Hoffman of Chain Of Strength. 7″ includes digital download. (Quiet Panic Records #1)
WARTHOG – 2nd 7″
Over the last five years, New York’s Warthog have perfected their near-perennial EPs by (like the Ramones) diligently tweaking their natural, highly potent formula without straying too far away from it. Instantly classic hardcore punk with solid roots in their domestic progenitors—the sweaty, nasty energy of Poison Idea and Inmates lend an unmistakable influence—but with nuances and flourishes that indicate cues extending far beyond our borders. Only truly great hardcore can achieve such a towering, monumentally huge sound that is still covered in straight, undeniable sewer — absolutely their heaviest, best EP yet. (Toxic State Records #35)
D7Y – Self Titled LP
D7Y is a new and absolutely scorching and ever-so-slightly metallic D-Beat unit featuring members of DAUÐYFLIN and ROHT offering up a 12 track debut that will incinerate all preconceived notions of Icelandic music. Reminiscent of S.D.S., Glorious? or Physique. Reykjavík punks have the fucking fire right now so stand close and feel the heat. Greenland must be fully melted away by now because D7Y is way too blazing to ignore. Edition if 300 on black vinyl housed in a 24pt, reverse board jacket with download card included.
DREADNOUGHT – Emergence LP
For their fourth full-length album Emergence, Denver, Colorado doom-prog band Dreadnought follow-up their 2017 A Wake In Sacred Waves acclamation with an album that takes their singular multiplex and pictorial sound to new sonic realms even more heavily textile, complex, and vastly designed. This latest sees the four-piece—vocalist / guitarist / flute player Kelly Schilling, drummer / sax player Jordan Clancy, keyboardist / vocalist Lauren Vieria, and bassist / mandolin player Kevin Handlonl—delving into heavier and darker sonic territory, an aspect that was evident with their last one but has become even more fully realized. There are a multitude of layers that establish Dreadnought’s sound, making them one of the more unique sounding bands in today’s doom / dark / progressive metal circles. Seamlessly sewing together elements from prog, doom, folk, jazz, classical /chamber, avant-garde, and even a little bit of black metal, this is the culmination of the band’s continued development and evolution, one that began in 2013 with their debut, Lifewoven. Thematically, this album resonates with the elements of flame, tying together the ancient connection of nature’s most destructive yet purifying force with the human condition. Through these five searing tracks, the realities of this age-old cycle of rebirth are personified, beginning with the chaotic annihilation of what is and leaving behind nourishing ash to enrich what is to come. From this a new being arises, forged by these fires of self-destruction and the trials of all the lives before.
GET UP KIDS – Problems LP
After releasing their highly anticipated Kicker EP in the summer of 2018 (which Pitchfork described as the band’s “most satisfying release in nearly 20 years”), THE GET UP KIDS have returned with an invigorating new full-length album, Problems. Produced by PETER KATIS (The National, Interpol, Sharon Van Etten), Problems sees the band expanding on the unmatched energy and emotion found on Kicker and channeling it into a fresh collection of songs that showcases the highly developed songwriting characteristics and impeccable use of melody we’ve come to expect from the Kansas 5-piece. Standouts like “Satellite” and “The Problem Is Me” make it clear the band has come full circle while continuing to evolve. LP pressed on 180-gram light blue vinyl.
POW! – Shift LP
Just when one thought one knew what to expect from POW! they surprise everyone with a vigorous and rabid album’s worth of moody cybernetic punk that’s frankly their best yet. Their fourth album is oil-dipped in a rainbowed slick of dread, yet the songs are buoyed by tight tunes that seem to have a lot of fun among the ruins of the future, perhaps with an eye to a less gloomy horizon? Melissa Blue’s sharp elbowed synths jostle with Byron Blum’s zap gun guitar in an ominous fog of oscillations, and yet somehow it gets the toe a-tapping. The band got darker and more catchy at the same time, for which some credit is due to the excellent drumming of Cameron Allen and the fantastically future savvy production by Byron Blum and Tomas Dolas. Lots of sticky punk heart resin-layered in a futuristic-scanning bionic bop.
SHIT COFFINS – Termination LP
When you suddenly shine a light in total darkness you can’t see right away but your body still tries. It’s a reflex. It’s unavoidable. And in that moment, the struggle to maintain what little grip you had becomes so urgent and overpowering that you will do whatever you can just to see anything at all. Wether it means peace or annihilation at least that thing is familiar and you reach for it, right? SHIT COFFINS have that same urgency, contempt and anxiousness. With broken mirror hardcore like this it’s no surprise it’s coming from members of TALK IS POISON, NO STATIK and MASS ARREST. Smash yourself to this one. A hard record. Edition of 300 copies on black vinyl housed in a 24pt. reverse board blackout sleeves with download card included.
SPIRT ADRIFT – Divided By Darkness LP
Flashback to 2017: Spirit Adrift drop their second album Curse Of Conception via 20 Buck Spin, a huge step forward following the debut, and it lands at #2 in Decibel Magazine’s best albums of the year, carving out a sound now patently its own. Lazily labelled “doom” by some, the band is in fact the true representation of what modern heavy metal should be, a direct descendent of the widely-appealing arena-filling superstars of the ’80s and ’90s without a whiff of anachronistic cosplay fantasies. Spirit Adrift’s third album Divided By Darkness delivers on the promise first revealed on that aforementioned second and then advances far beyond it in every way, achieving a timeless piece for the ages. First single “Hear Her” pummels with the concise urgency and unforgettable chorus of a vital radio hit, while “Angel & Abyss” has the classic progression that leads from reflective ballad to rapturous anthemic triumph. The continued evolution of Nathan Garrett as a top vocal talent in modern heavy metal shines through amidst the masterful musicianship and huge production value engineered by Sanford Parker. Among the many stylistic divergences within rock and metal, this album understands that there is no substitute for huge ambition, soul-bearing lyricism, and most importantly the ability of a pristinely penned riff and impassioned chorus to alter hearts and minds. Astonishingly, this is the band’s heaviest and most accessible album to date and will stand as the apex of heavy metal songcraft in 2019.
DOA – 1978 LP
Sudden Death is excited to announce the release of the D.O.A. album 1978. It’s a 21-track collection of never released demos, rare tracks and early singles from Canada’s punk pioneers. Joey Shithead went deep into the vault and came up with some super exciting and raw punk rock. The album title and art concept is a spike-haired nod of the head to that early, dynamic era ofthe band and to the seven great former members who have since passed on. Their spirit and talent played a huge role into launching the band into worldwide prominence. The two constants on the album are Joey and Chuck Biscuits, who play on every track. From the start of 1978 begins their wild, “I don’t give a shit” approach to punk rock. Now some forty years later one can hear it all, starting with the never-seen-the-light-of-day demo version of “The Enemy”. This demo has a different set of lyrics that speaks to fighting Nazis—strange, what is old is new and vital again. There’s a ton of exciting tracks that range from the never heard before, such as “Bored And Suicidal”, “The Mutant”, “No God No War”, “Rip Dis Joint”, “No Way Out” and “Rent-A-Riot”, to classic early singles like “Fucked Up Ronnie”, “Disco Sucks”, “World War 3”, “The Prisoner” and “13”. Also included are demo versions of “America The Beautiful” and “Liar For Hire” with Biscuits drumming, which are wildly different than the classic versions you hear on War On 45. On this collection are the origins of hardcore and a full blast of D.O.A’s politics and raucous humour.
GENERACION SUICIDA – Reflejos LP
The fourth LP from Los Angeles-based GENERACION SUICIDA. Not often does a bands fourth album yield as much power or importance as this album does, especially in punk music. It’s hard to make a second record as viable as your first but Reflejos defies all odds. This is easily the band’s best record yet. No new tricks, no artsy weirdo tracks, it’s all Generacion Suicida. Love them or hate them, this is a band at the top of their game. Eleven tracks, heavy printed inner sleeve, matte cover, pura potencia.
AMYL AND THE SNIFFERS – Self Titled LP
Australia’s AMYL AND THE SNIFFERS unleash their hotly anticipated self-titled debut album. A&TS’ reputation for raucous garage-punk mayhem has garnered huge buzz around the world and most recently coming out of SXSW with Pitchfork exclaiming “Singer AMY TAYLOR has cemented her rock star status”. Amyl and The Sniffers was produced by ROSS ORTON (Arctic Monkeys, M.I.A) and features 11 blistering tracks boasting ’70s throwback anthemic guitars and breakneck drumming with human firecracker Amy Taylor leading the 29-minute auditory assault.
CATE LE BON – Reward LP
It was on a mountainside in Cumbria that the first whispers of CATE LE BON’s fifth studio album poked their buds above the earth. “There’s a strange romanticism to going a little bit crazy and playing the piano to yourself and singing into the night,” she says, recounting the year living solitarily in the Lake District which gave way to Reward. By day, ever the polymath, Le Bon painstakingly learnt to make solid wood tables, stools and chairs from scratch; by night she looked to a second-hand Meers—the first piano she had ever owned—for company, “windows closed to absolutely everyone”, and accidentally poured her heart out. The result is an album every bit as stylistically varied, surrealistically-inclined and tactile as those in the enduring outsider’s back catalogue, but one that is also intensely introspective and profound; her most personal to date. Over this extended period a cast of trusted and loved musicians joined Le Bon, KHOULA and fellow co-producer JOSIAH STEINBRICK—STELLA MOZGAWA (WARPAINT) on drums and percussion; STEPHEN BLACK (aka SWEET BABOO) on bass and saxophone and longtime collaborators HUW EVANS (aka H HAWKLINE) and JOSH KLINGHOFFER on guitars—and were added to the album, “one by one, one on one”. Be it on her more minimalist, acoustic-leaning 2009 debut album Me Oh My or critically acclaimed, liquid-riffed 2013 LP Mug Museum as well as 2016s Crab Day, Cate LeBon’s solo work—and indeed also her production work, such as that carried out on recent Deerhunter album Why Hasn’t Everything Already Disappeared?—has always resisted pigeonholing, walking the tightrope between krautrock aloofness and heartbreaking tenderness; deadpan served with a twinkle in the eye, a flick of the fringe and a lick of the Telecaster.
BRANDY – Clown Pain 7″
BRANDY are New York’s newest hitmakers featuring members of PAMPERS and RUNNING and released a killer 12″ on Monofonus Press last year. This is their second release and it’s just as much a brain bludgeon as their first. Following in the knuckle dragging, pavement scraping, blood trails as such acts as Lamps and Mayyors, Brandy lays down a scuzz heavy sonic pummeling over this two track single. Loud, brutal, and 100% TOTAL PUNK!
JUDY AND THE JERKS – Music for Donuts 7″
Over the past half-decade Hattiesburg, MS has become a perhaps unlikely center of the international punk scene, a highlight on any band’s journey through the American South. JUDY and her JERKS are one of the groups at the hub of it all and it’s easy to see why—their modern take on a lean, tight, and tuff USHC sound is catchy (Circle Jerks are kin in not just name alone) and their enthusiasm for this music and each other is contagious. After a series of self-released tapes and comp appearances, this is their vinyl debut, as well as the overdue first record to be released from the modern-day Hattiesburg punk scene. Limited to 400 copies on black vinyl.
KNOWSO – Like a Buzz 7″
Cleveland’s KNOWSO is another project from the PERVERTS AGAIN/ CRUELSTER camp and it’s every bit as sardonic and demented as you’ve come to expect from these lads. Dark lumbering repetitive punk incantations driven along by tom heavy neanderthalic drums, chant heavy vocals, and shoulder shaking bass grooves. These boys have a penchant for off balance hardcore rumblings and KNOWSO is their newest platform in which to do so. 100% TOTAL PUNK!