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Cardinal Fuzz are pleased to bring your way The Band Whose Name Is A Symbol – Ensemble 2016. Eight players made up the iteration of the always mutating ensemble cast, who were as follows for this recording - John Westhaver, Nathaniel Hurlow, Bill Guerrero, Jason Vaughan, Dave Reford, Scott Thompson, Mark McIntyre and Eric Larock.

The session for Ensemble went down at their spiritual home of Birdman Sound in Ottawa in August 2016 where what you hear on record was recorded direct from the floor (and mastered/tweaked by Chris Hardman).The whole session (and note this is an edit to fit the constraints of vinyl) - flies by with a reckless, organic abandon, as at times 8 players fly off in different dynamic directions of abstract playing and improvisation with trumpet player Scott Thompson much to the fore and blowing wild.

At times the feel of this recording is like a collision between a 70s album on the German Sky transported to a San Franciscan Ballroom is ’68 as the audience are peaking on ‘Orange Sunshine’ as Ensemble finishes up like a beautiful trip, well taken.

Many of you will be aware of the band Homegrown Syndrome (we released the single a few years ago). They were also known locally as Homegrown Funk & the band Memphis that put out one extremely rare two sider. A party Side 'Shake and Rock' flipped with a top of the rung ballad 'Inside My Love', it has everything collectors want, Rarity & Quality so sells for 500+ all day long, below Robert Garcia gives us the history....

"Memphis" were members of the Memphis based group "Home Grown Funk." Home Grown Funk was also known as "Homegrown Syndrome," a controversial name bestowed to them. Before heading to LA they gigged all over Memphis. Some of the members were from an earlier 70s group called "Brothers Unlimited" and had earlier ties during the 60s with the "Memphis Invaders" (a peaceful civil rights activist group).

With aspirations of pushing Homegrown further, a few members including Jerry Jones made the move out west. It was LA 1977 when they were introduced to Ike Tuner through a mutual friend "Ricky G". It was a casual meetup. Then one night Ike had his son Ike Jr. go check them out while performing at the Soul Train hangout spot "Maverick Flats". Ike Jr. praised their performance to Ike and he had them come out to his Inglewood studio. The group walked into the studio with a funky track already playing and that's when Jerry Jones improvised this opportunity and started singing. Ike then turned and said… "Who is that singing?" Jerry said, "Thats me." Then Ike replied " YOU BIG MUTHAF***A! You could be my new Tina." From that point the group cut bunch of tracks with Ike over the years up until they're feature on his 1980 album "The Edge."

In 1981 Perry Kibble (Keyboardist for Taste Of Honey) was at "Concerts In The Park" and heard Home Grown Funk performing. He linked up with the group and got them a deal with Arista. During this time they recorded their hit track " Confrontation." Perry suggested that the group change their name because he didn't want another group with the work "Funk" in it and hence "Homegrown Syndrome." They also use the Arista studio to cut an unreleased acetate with tracks "Got the love" and "Party Vibes" soon to be reissued on ATON.

Around the same time they were introduced to a fella named Roger Green. Green asked the group to come over to his home studio to cut the track "Inside My Love." Upon naming the record Roger Green suggested to go by "Memphis" since they were all from there. This record was eventually pressed in 1982 as small run becoming extremely hard to find.

Words by: Robert Garcia

Warm presents a brand new compilation called 'Home'; a soundtrack for when we pause, take a breath, and use our senses to explore the magic of the world on our doorsteps. Morning to evening, dawn to dusk, our lives continue moving but sometimes the need to step back and reset is essential to create a balance in our lives. As we open our eyes and ears to our surroundings, our senses become stimulated by small details. Whether it be the sound of the sea lapping on the sand, the wind blowing through the canopy of trees or a robin heralding a new day; nothing is the same but all are unique.

'Home' has been pieced together over the last year by Warm’s Ali Tillett. With the majority of Warm - booking agents for Colleen ‘Cosmo’ Murphy, Gerd Janson, Horse Meat Disco, Hot Chip DJs, Lou Hayter, Luke Una - on pause, Ali took the chance to immerse himself in bringing together his passion for music, nature and art.

The 14 tracks, the majority exclusive and specially made for the compilation, includes contributions by Âme, Bobby Lee & Mia Doi Todd, Coyote, Crack’d Man (aka Crooked Man who produced Roisin Murphy's last album), Fug (with their first material for over ten years), Kirk Degiorgio presents As One, Turtle, and Ewan Pearson's World of Apples project (with their first material for nearly 20 years!). The tracks align with specific habitats in the local Dorset area, where Ali is situated, such as Harbour/Estuary, Heathland/Moorland, Woodland/Forest, and Beach/Cliffs.

To immerse the listener even further into the soundscape, critically acclaimed sound and field recording artist Gary Moore, of Springwatch/Autumnwatch fame, has been involved to help bring nature even further to the ears. Intertwined between the music are field recordings specific to area and habitat; whether it be the sound of a ship's horn in Poole harbour, avocets on the scrape, the tawny owl in the woodland or Puffins on the ledges of cliffs.

Gareth Fuller, a fabulous artist who previously lived in Dorset, has kindly allowed one of his artworks to become the centrepiece for the compilation. Titled 'Purbeck', it's a truly wonderful piece of art that encapsulates everything about the area and enables an added dimension to the immersive experience for the listener.

German multi-instrumentalist and producer, The Micronaut has made a name for himself through his richly textured and enthusiastic compositions. His 2016 album, "Forms" has been described as a true melting pot of sounds and it caught the attention of the electronic music scene with its very playful and original amalgamation of rhythms and samples. Last year, The Micronaut released Olympia (Summer Games) - an album that continued to draw on his elaborate production style as well as on the values of camaraderie and solidarity of the Olympic Games. Continuing on this Olympic journey, the German producer now releases the second part to the project, Winter Games, containing a fresh twelve tracks that capture the essence of winter sports. Winter Games is an eclectic ride, but far from chaotic; transitions are fluid, the momentum uninterrupted and the direction cohesive. Behind the music's energetic flow are sophisticated arrangements and quasi-scientific constructions which crush stylistic boundaries and give birth to a new collage-based genre of music. The music is all the more impressive considering that every sound contained therein is crafted by The Micronaut himself, who has been called a one-man-orchestra for exactly that reason. In the EDM-influenced track Bobsleigh, which contains samples from a DJ describing the state of his own profession, The Micronaut seems to be drawing a line between what he's doing, a true Olympic feat in some regards, to a lot of the lazy productions around today. 'He thinks it's cool to just play with an iPod or a USB stick,' we hear a voice say over a hyper-synthetic beat. It's The Micronaut's critical statement on the superficialness that much of dance music has come down to, "Of course there are exceptions, but unfortunately there are only a few," he notes. At times, Summer Games veers towards techno and at others it seems to be inspired by electro-pop. Towards the end of the album, 'Curling' is a refreshing vocal piece filled with warm chord progressions. "Bernhardt's vocals are really touching, they give warmth to the minimalistic structure of the song," says the Micronaut. The track offers a comforting counterpoint to the high-energy feelings of competitiveness present in the rest of the album with lush pulsating synths and a laid-back groove. "Every time, when I wanted to continue working on "Curling" I was afraid of destroying its very fragile initial structure, but in the end, I think it worked," adds the producer.

The Senior Service returns with a brand new 10” for 2022. A year or so ago, The Senior Service decided that it wanted to add a little more to its well-honed instrumental sound. On one slightly drunken night out, they approached local songwriter and chanteuse Rachel Lowrie and asked if she’d like to perform guest vocals on some specially written new material. By this time, Rachel had supplied impressive ‘pipework’ on quite a few Medway records so the band was confident that she’d be able to deliver – the band was right.
Following a lengthy hiatus in activity due to lockdown restrictions, The Senior Service was finally able to get together to record the new songs, so they piled into Ranscombe Studios to crack on. It soon became apparent that they’d lost none of the chemistry that had made them such a powerful musical collective and the instrumental backing tracks were laid down with relative ease. It was when Rachel arrived and sprinkled vocal sugar over the tracks that they really began to shine! Intuitively, she understood the approach needed and delivered a made-to-measure performance for each song. this collection includes four original tracks penned by the band plus two rollicking covers of lesser-known instrumentals; John Schroeder’s take on ‘Lovin’ You Girl’ – a slinky slice of lounge grooviness, given a slightly chunkier sound, informed by the band’s musical aesthetic, and ‘Mysterious Land’ – The Chris Lamb Orchestra’s little heard filmic masterpiece; a track seemingly tailor-made for the band to get its musical chops around. So, we invite you to spend ‘A Little More Time with The Senior Service’.

»Neon City« is the debut release by Erik K Skodvin & Otto A Totland's Deaf Center project, finally re-issued 18 years since its first appearance.

Listening to »Neon City« in 2022 is like taking a melancholy journey down rainy city streets of the early naughts, made by the then two young Norwegians in their mid 20s after spending time together in a basement full of vintage items. Armed with young optimism and a sense of musical experimentation, they started sampling everything around them, be it an old television broadcaster, tape recorders, a game of table tennis or conversations on film and merging it with pianos, plucked guitar, strings and anything in-between. The record turned out as something unique in the fields bordering post classical and ambient music, though without landing on any set genre. The record was filling a place in music that was barely touched upon and made them further experiment with samples and classical music which landed them on the 2005's classic »Pale Ravine«.

Although Erik and Otto both had been making music solo before, »Neon City« was the start of their more focused future paths as purveyors of both light and darkness in music that seeps through your soul to battle the anxieties of the world. We're glad to see this important start again be available to new ears. The record comes with a remix of the opener track “Dial” by Helios aka Keith Keniff, taken from the same original.

Parcels have always been a band of extreme light and shade: they’re from surf hotspot Byron Bay in Australia but they’ve been holed up in grimy nightlife utopia Berlin for years; their sweet-as-honey vocal harmonies rival the Beach Boys but they can also turn their live shows into slamming techno rave-ups. The twentysomethings stand out amid the current musical landscape: a soulful rock band that looks like it’s stepped out of a postcard from 1970s California, all flares, moustaches and shaggy hair. They’re a classic band for atypical times.

Since Crommelin, keyboardist Louie Swain, keyboardist/guitarist Patrick Hetherington, bassist Noah Hill and drummer Anatole ‘Toto’ Serret formed in 2014, fresh out of school, they’ve struck upon a singular sound, weaving together gossamer disco and exotica, soft rock and Sixties pop with a focus on uplifting grooves. Their seductive style has translated into 100,000 album sales worldwide, over 200 million streams, cross-continental tours, shows with French royalty Phoenix and Air, a US TV debut on Conan O’Brien, a Coachella slot and a debut single that was produced by none other than Daft Punk, who saw them live in Paris and ushered them into their studio.

After two EPs, 2015’s Clockscared and 2017’s Hideout (the band’s penchant for smooshing words together is a result of a broken keyboard when they submitted their first demo), Parcels’ acclaimed self-titled debut album came in 2018 and was called “timeless and devilishly fun'' in a five-star NME review. They followed it in 2020 with an impressive live album, Live Vol.1, recorded at Hansa Studios, the legendary studio where Iggy Pop and David Berlin hung out during their Berlin years.

The band returns for summer 2021 with an ambitious third studio album,
Day/Night, a double record that spans impossibly catchy disco-soul, prog, pastoral folk, Laurel Canyon-era classic songwriting and cinematic strings. Made over the course of 2020, when the world was at a standstill, it’s the sound of a band growing up; five guys who’ve known each other since childhood and are finding their way together, in spite of all the major obstacles the last 18 months have thrown at them, when they were unable to return home to Australia and see their loved ones. Day/Night is huge in scope and sound, and its hopeful messages of perseverance through difficult times are a balm for these uncertain times.

2 LP Boxset. 2 vinyls packaged together in a clear PVC wallet (in order to display each vinyl cover). 2 x : 140 G black vinyl ( 33 rpm)+ 3mm spine printed sleeve + printed inner sleeve + cmyk vinyl label.
Cello. Marketing Front sticker 5 cm x 7 cm , back cover sticker (upc + tracklisting) 5 cm x 7 cm

AVA. Records celebrates its 10th anniversary with 52 artists. “10 Yahre” is a 4LP compilation housing 22 tracks, a printed 30 pages magazin and a mixed CD. All wrapped in a custom made silkscreen sleeve, also including a textile keychain and stickers. Sonically spanning from ambient to techno, 10 Yahre carries new and exclusive material, all woven around the label’s decade focus on dance floor culture, started 2011 in Cologne, Germany.

The 4LP vinyl includes music by: Am Kinem, Andy Hart, Axel Boman, Cinthie, Damiano von Erckert, Dman, Dogpatrol, форм, Jürgen Ratan, Jus-Ed, Lauer, Lowtec, Move D, Paingel, Paradise Grey, Retrogott, Robi, Ron Trent, Sinoesin, Tito Wun, U-I, Will Saul and Wolfey.

The mixed version of the entire compilation is contributed by Sally C.

The full color magazin and video includes works by: Alina Bader, Andy Kassier, Angel, Anna Beil, Ata Macias, Bailey Keogh, Damiano von Erckert, Dirk Jeans & Lou de Bètoly, Funkycan, Guido, Jana Marei, Jana Maria Dohmann, Joana Pratschke, Johannes Wohnseifer, Juri Bader, Kuchenbaum, Manuel Fischer, Maria Sécio, Martin Fengel & Public Possession, Mathias Schmitt, Maximilian Schweizer, Michael Satter, Naum Hirsl, Nicolas Wenz, Peter Wolff, Rein Vollenga, Rucksack Leer, Stelan Mergenthaler, Suzanne Caroline de Carrasco, Twit One and Yves Taron Harouche.

Compiled by Juri Bader and Damiano von Erckert, mastered by Enyang Urbiks. Design and concept by DVE 1989.

ACCIDENT IN HEAVEN was originally released in 1987 as a hand-made micro-edition of about 40 cassette tapes. It was only the third ever release on the short-lived now near legendary SDV label which had been established that same year by Konrad Kraft, Bernd Sevens and Dino Oon in Düsseldorf.

Finally finding a more substantial and appreciative audience on vinyl over 30 years after its original limited release, ACCIDENT IN HEAVEN is a strong testament to the explorative experiments of Detlef Funder a.k.a. Konrad Kraft, whose homebuilt studio sound attempted to bridge the clinical roughness of Severed Heads and the psychedelia of Coil with the density and force of industrial, post-punk and prototechno. Concurrent with his ever-expanding production skills, KONRAD KRAFT's sound work in the second half of the 80s stayed firmly rooted within a highly stylised underground spirit. Both his music and also the freshly launched SDV label first and foremost served as a medium for communication. The vital urgency of ACCIDENT IN HEAVEN underlines the record's core narrative which arguably sounds even more futuristic today than it did 30 years ago.

Hallmarks of ACCIDENT IN HEAVEN are an 8-track tape recorder, a Yamaha DX7 synth and a Roland 707 drum computer and the late 80s’ internationally ubiquitous shift from analogue to digital music production. Whilst its predecessor ARCTICA (another cassette-only release from 1986/87, previously reissued on TAL in 2018) was significantly more experimental and almost an in-between-states affair, ACCIDENT IN HEAVEN was the point at which Konrad Kraft really began to experiment with beat structures, sequenced synth pads and the framework of 'dance' music. However, the rhythmic elements are submerged so far beneath his expertly crafted drones it's almost impossible to label these sounds as “dancefloor oriented” work at all, as the tracks on the album joyfully disrespect the rules and boundaries of that or indeed any other genre.

ACCIDENT IN HEAVEN also epitomizes the decade's ending energy and sharp momentum with its successful merging of highly individual production and irresistible rhythm tracks.

The rich wealth of references is mirrored within the silhouettes and the graphics of the album’s unique artwork, which was created by Dino Oon. The new mastering has all sounds on ACCIDENT IN HEAVEN emerge in fresh shades and three dimensional plasticity, inviting the listener not to merely revisit the full palette of KONRAD KRAFT’s creation but offering an entirely new sound experience.

Just a few months after releasing their acclaimed second album Still Life, Los Angeles indie-pop band Massage returns with Lane Lines a six-track EP out in early 2022 on Mt. St. Mtn. (Cindy, Flowertown, Blues Lawyer) that finds the quintet expanding on their Sarah-meets-Creation Records sound with new touches of soft psychedelia, Feelies-ish frenzy and Haçienda-era escapism. The band didn’t plan to follow Still Lines so quickly. But after the pandemic further delayed that multi-year project, Alex Naidus (guitar, vocals, former Pains of Being Pure at Heart), Andrew Romano (guitar, vocals), Gabrielle Ferrer (keyboards, percussion, vocals), David Rager (bass) and Natalie de Almeida (drums) leapt at the chance to make music together again in real life and started gathering on random summer evenings in the tiny rehearsal-space studio of producer-composer Andrew Brassell (Susanna Hoffs) with no clear goal in mind. Lane Lines is the surprise product of those informal sessions — a flash of pent-up creative energy that serves as both a companion piece to Still Life and an exploration of textures and influences that didn’t quite fit the full-length but have always been deeply embedded in the band’s DNA, with new echoes of 1980s artists that sought to refract the 1960s through their own skewed prisms: Flying Nun, the Paisley Underground, The Feelies covering The Beatles, “Second Summer of Love” New Order. “The songs on Still Life and Lane Lines seem to straddle the line between indie and pop without exactly being ‘indie pop,’” Romano says. “To me they feel more like descendents of ‘college rock’ a moment that lasted from about 1986 to 1991, right before the underground and the mainstream converged, when it seemed like any scrappy indie band might stumble across a hit.” The EP begins with the new single version of Still Life standout “In Gray & Blue,” which along with previous singles “Half a Feeling” and “Made of Moods” is part of a trio of songs written during the first days of lockdown and later added to the album. But while brief lulls in the pandemic allowed Massage to record the other lockdown tracks in the studio, the LP version of “In Gray & Blue” was entirely DIY a GarageBand demo emailed around for overdubs and ultimately “mixed” by Romano himself.

10” black vinyl with download code. File under: Indie, UK. It’s been four years since we last heard from Tigercats, with the 2018 album Pig City marking the expansion of their sonic palette from indie-pop and alt-rock, to include highlife, afrobeat, and scuzzy West African psych. The New Works EP is another step into the new for Tigercats, the sound of an increasingly political band, unbound by the records they’ve made previously, and enjoying the freedom of exploring and experimenting for these 5 new tracks. “We’ve been a band over 10 years and it felt like all of our previous recordings have been leading up to this one. After Duncan switched from guitar to kalimba a few years back, and we welcomed a horn section into the line-up, the sound has been getting denser and grittier, particularly live. With this recording we’ve finally managed to capture some of that energy on record.” The opening track New Work, a song about the relentless tyranny of labour in the 21st century, grows from the synth bass riffs and riotous brass lines with production inspired by industrial techno like JK Flesh, to display lyrical ferocity not often heard. The Space came together completely improvised in the studio, and reflects on the fight for space to create art - in a world fighting for your attention 24-7, and the depletion of available arts spaces. The intensity subsides for The Picture, a track whose origins date back to the writing of the band’s second record. More reminiscent of Tigercats’ indie credentials, drawing on the textures of Low or Yo Lo Tengo, it is developed here by a band confidently hitting their stride. New Works was written in 2019 and recorded at Lightship 95 on the Thames, and at Big Jelly in Ramsgate. Originally scheduled for a spring 2020 release, we’re excited to finally bring you these 5 tracks and the promise of a return to blistering live shows from Tigercats. Tigercats are a kalimba-led psychedelic pop band from East London. Having honed his songwriting craft in the short-lived but much much-missed Esiotrot, in 2010, Duncan Barrett went about forming a new band and recruited sibling/long-time producer Giles Barrett (bass), talented songstress Laura Kovic (keys), as well as Paul Rains (guitar, of Allo Darlin’). The band have performed throughout the UK and Europe and have supported The Wave Pictures, Allo Darlin and Darren Hayman among others. They have also performed at the End of the Road and Primavera Festivals and have appeared on Spanish TV (RTVE Radio3) and Indietracks. A tour of the USA and Canada included a headline appearance at NYC Popfest. New Works harks a return to Fika Recordings, having released the debut Tigercats album Isle of Dogs back in 2012, bookending albums with Fortuna Pop! (2014’s Mysteries) and El Segell Del Primavera (2018’s Pig City). Tigercats are: Duncan Barrett - Vocals, Kalimba. Giles Barrett - Bass, Production. Laura Kovic - Keys, Vocals. Paul Rains - Guitar, Vocals. Will Connor - Drums, percussion. Seb Silas - Baritone saxophone. Meridyth Dickson - Alto saxophone. Thom Punton – Trumpet.

"We all know what teenagers are like. Bratty little gobshites. Moody shits. Forever toeing the line between cocky arrogance and whiny self-doubt, and to hell with anyone who gets caught in the crossfire. And this old fucker should know; he was really good at all of the above (still keeping on top of the ‘gobshite’ part, you’ll notice). For some reason, the entirety of rock’n’roll is predicated on music made for and about these states of mind - well, I guess if you mix ‘em all together, they can make for one helluva sense of reckless abandon. So it shouldn’t come as a surprise that Melbourne quartet Mr Teenage sound exactly like their name suggests: chaotic, raw, emotionally volatile… and of course they bind all this together with their own brand of heroically melodic garage rock. Produced by Billy Gardener (of Ausmuteants, Smarts, Cereal Killer and god knows how many other vital Aus-punx), this debut EP snarls, spits and swaggers with all the glorious self-belief of a drunken 4am stumble to the petrol station to buy a pack of skins. And the songs are fucking great too. Title track ‘Automatic Love’ expertly showcases the combined sounds of their cited influences (Thin Lizzy, Dictators, Martha Reeves, etc), with frontman Nic Imfeld’s voice at times edging close to the sandpaper soul of their countryman Shogun (ex-Royal Headache). Meanwhile ‘Waste Of Time’ sees him blending their garage licks with Joey Ramone bubblegum, just as ‘The Loser’ fashions a delightfully adolescent chorus of ‘the loser says what?’ from an airy melody that either The Shangri-Las or Del Shannon would be proud of. They wrap things up with another slab of pure punk/pub rock genius called ‘Kids’ that’ll get the hairs on the back of your neck standing on end, as you fight the urge to crank-call your former school teachers and blame the kid who used to take your lunch money. Of course, singing about ‘kids these days’ marks Mr Teenage out as being older than their name suggests, and sure enough their name comes from an old wrestler rather than identifying with an age bracket they’ve outgrown. But with tunes like this… honestly, who gives a fuck what they’re called? This record is perfect." Will Fitzpatrick.

Having produced the Emskee – Wall To Wall 12” released early 2021, AE boss Mr Fantastic is back with another slab of essential Hip Hop made without pretence or adhering to modern trends – in others words, how it used to be. Featuring Teekay of Dragon Fli Empire, hailing from Calgary, Canada, ‘Breakdown’ is a stand-alone single with no plans as being part of any album release right now and comes with the Instrumental version on the flip. Pressed on black vinyl and supplied in full colour card sleeve, as is the standard high-quality packaging from AE Productions.

Although only being acquainted via the internet, Mr Fantastic and Teekay have mutual admiration for each other’s work which lead to this collaboration. This funky 45 features crisp drums and disco funk samples that have been chopped into that good old Hip Hop. The beat has a reasonably sparse stabbing feel with subtle wah-wah guitar between the stabs which bounces along not just at a perfect tempo for DJ’s but also sonically perfect for a big sound system, hence this track being picked for a single release and packs that punch that sounds best played loud. No moody introspective thing here, this is crowd rocking Hip Hop.

Teekay’s rhymes flow over the beat like it is 2nd nature to him because, well, it is 2nd nature to him, and is further evidence of why his group Dragon Fli Empire alongside DJ Cosm, have been able to maintain a steady string of superb releases going all the way back to 2002 and have toured Canada, USA and Europe. The chorus features Mr Fantastic’s turntable skills backing up Teekay’s vocal giving a nicely conceived and executed song structure with a little help from 2 of Soul and Funk’s legends.

The artwork for this one was hand painted by Bristol graffiti heavyweight Turroe who favoured a nod to comic book covers for the theme which was then scanned and arranged into the sleeve format with courtesy of AE artwork regular Nick Pointon of Fine Print.

Soul Genius - Vintage Sound is the collection presenting the greatest artists with their best songs in every musical genre. This new volume is dedicated to Soul Genius. Rediscover 16 masterpieces that made the music history of Soul, including James Brown, Marvin Gaye, The Supremes with Diana Ross…

Cardinal Fuzz are pleased to announce the new LP from Mienakunaru – ‘Blood Sun’. After Mienakunaru's debut brain crusher 'Lost Bones Of The Holy Butterfly' that came via esteemed label Drone Rock Records (and reissued in the USA via Echodelick) - Cardinal Fuzz and Feeding Tube Records bring you 'Blood Sun' - A ferocious throb of of 3 people losing themselves in the beauty of fuzz, sizzle and noise.
Mienakunaru are a throbbing face melting power trio made up of Mike Vest, Junzo Suzuki and Dave Sneddon and if we were to write up the list of bands these artists have been involved with there would be no room to write more – Just believe me when I say that the list reads like a who’s who of cult underground hardcore and psychedelic bands. For those that may not have been listening to anything associated with these leviathans of heady, psychedelic noise – What we have here is fuzz drenched, waster infused and pounding like jack hammer freak-outs. Over four tracks of which the title track takes up the whole of one side you are treated to forty minutes of heavy cosmic amplifier worship, where the hypnotic nature of the music created within, unfolds and time and space begins to distort. Prepare to have your body shaken as Mienakunaru lay waste.

As the 21st century was born, so Kreator underwent what was nothing less than a seismic creative rebirth. By this time, the iconic German band had released nine studio albums in the 1980s and '90s, which had established them as one of the most important metal names of these decades.In the first period, they had helped to shape and pioneer the thrash scene through such releases as 'Pleasure To Kill' (1986), 'Terrible Certainty' ('87) and 'Extreme Aggression' ('89). During the following decade, the band had opened up exciting horizons of experimentation on albums like 'Coma Of Souls' (1990), 'Renewal' ('92) and 'Endorama' ('99).
Now, though, it was time to move into a fresh era, as vocalist/guitarist Mille Petrozza explains.
“During the 1990s, we were definitely experimenting with what the band were doing. But (drummer) Ventor and I decided that for this album – our first of the new millennium – we wanted to go back to the sort of sound that we had at the start of Kreator. In other words, to get back to the reason why we began the band in the first place.”

There was also new guitarist introduced, as Sami Yli-Sirniö (who had made his reputation with Finnish band Waltari) took over from Tommy Vetterli. The latter (also known as Tommy T. Baron) had joined in 1996 and played on the 'Oucast' (1997) and 'Endorama' albums.

The producer for this album was Andy Sneap, who was now making a name for himself as one of the pre-eminent masters of this art in the modern metal world.“I had known and liked Andy since the days he had been the guitarist in Sabbat, as they were signed to Noise Records as Kreator were on that label. He was our first choice to work on this new project. I liked what he'd done for Testament on their album 'The Gathering' (released in 1999). He had given them a sound they'd never had before, and that really was what we were after. It was natural and organic, and also very modern. I remember phoning him at his Backstage Studios in England (Ripley in Derbyshire). And Warrel Dane, the vocalist in Nevermore, answered. Andy was producing their new album at the time ('Dead Heart In A Dead World', 2000). And when I heard this, again I was very impressed. So, I was delighted when he agreed to produce the new Kreator album.”

The album title came from something Petrozza had read. “In a book I came across a comment that John F. Kennedy said (in 1962). This was: "Those who make peaceful revolution impossible will make violent revolution inevitable”. I thought 'Violent Revolution' would make a good title for an album. So, I kept it in my mind for this record. I think 'Violent Revolution' is a title that makes a real impact.”

One interesting aspect of the track listing was that the 52 second instrumental 'The Patriarch' actually came after the opening song 'Reconquering The Throne'. Fans might have been expected that it would have opened the album. But for Petrozza, there was a logical reason for this not to happen. “We really wanted to lead off with a thrashing track, to show everyone what we were now doing musically. After 'Endorama', it was important that everyone should recognise this was a new era for Kreator.”

'Violent Revolution' is without question an excellent album. While in some ways it does hark back to the glories of the band's earlier days, nonetheless it does not sound at all nostalgic. The performances and production values are very much part of the contemporary era, and the strength of the compositions themselves are of the highest values. Rising to the challenge offered by a new generation of ambitious metal bands, Kreator proved they were far from being a spent force. Unlike so many of their peers, here was a band who still had so much creativity to offer, and were also clearly excited themselves by what they were doing. And when you hear the band themselves enjoying the entire process, then you know this is a bona fide revitalisation.

»Infuso Giallo aka Philipp Carbotta originally hails from rural Western Germany, first cut his teeth in the music scene of nearby Cologne and conducts a host of activities in Berlin for a couple of years now – co-running the label Kame House, designing graphics and producing and playing leftfield electronic music. His debut LP Ocular Soda presents an intersection of these activities – self-released, self-designed and of course self-produced. Even before the first synth chords and reverse atmospheres of the two-part opener 'Every Waking Hour' tickle the ear, it is the eye that is drawn to the bright, cut-out style cover art – itself made up of two eyes on the front and what seem to be their rough shapes or discarded counterparts on the back.
To stay within that metaphor, Infuso Giallo's music is indeed of a reflective and calm nature, taking cues from Berlin School, library and New Age musics from roughly the 1970s to the 1990s – steadily repeating and slowly evolving ostinatos, lush digital pads, quirky filtered toplines and electronic percussion that mostly eschews four-four monotony in favor of much more subtle syncopations. Balearic bomb 'The Big Rip' with its big drums and acid bass turns the energy level up a notch while retaining the somnambulistic, lingering quality that makes Ocular Soda such a coherent listening experience – music on the sheath of waking and dreaming, both worlds and their inherent logics freely bleeding into each other. There are moments of great expanse, such as in 'Mole Gaze' – I couldn't help but see myself hovering somewhere in mid-air while the music unfolds as if on a great deserted plane below me. Maybe this is what it sounds like once the mole leaves his tunnels and takes in the sound of the world overground. 'Hello World', indeed, in its multitude of information to eye and ear, in its gently overwhelming quality. The title track 'Ocular Soda' closes the proceedings with a whimsical nod to 1970s botany-centered library music, its brooding chord sequence and sweet lead lines gradually fading in the distance. A fitting ending to an impressive LP of highly evocative, at times sombre and at times blissfully naive pieces that leave me yearning for more.«

Written, recorded & produced by Infuso Giallo in 2020 & 2021 in Berlin. Mixed by Philipp Janzen & Sebastian Blume at Dumbo Studios, Cologne. Mastered by Sam Irl in Vienna. Design by Infuso Giallo.

A little info about the guys. All three of them as you'll hear are music fiends/collectors/diggers and lovers. They met whilst attending a pagan mushroom festival on the Wrekin hills and have been firm friends ever since they decided that night/morning to go on a quest to find some musical magic in the far-off lands (ye old music shoppes). They only made it as far as the cave around the corner (which happened to have a stack of records and a computer) and thus have remained there ever since much to the joy of their respective wives, cooking up some late-night cosmic melters for the enlightened to enjoy whilst at the dance.

Thus the label was born and this is their first offering to the world. With this release the Wrekin Havoc lads have pulled out all the stops with some tasteful and respectful edits of some little-known Balearic bombs, extending and editing them just enough to allow the originals to shine a little longer – the occasional flourish has been added but that's about it. No multiple plug-ins on this one.

Three Bonafide euro chuggers on A1/A2/B1 for early doors / early morning, actually anytime is a good time to play them!! The fourth and last track B2 is aimed squarely for the end of the night/sunrise/morning music if you will. The only criteria for this release, would we buy this 12” - it was a resounding yes. We hope you enjoy it also.

If anything is made from the first or future releases all proceeds will be donated to charity via Prime Direct Distribution. Stay Gold WH.

7th vinyl release from Davit Error's label. Acid techno made in Valencia.

Ambassador's Reception head-honcho Stevie Kotey has started sorting out his archives. Relaunching the label and assuming the pseudonym Steamy Windows he's been dusting off and souping up crowd-pleasing cuts by the score. The first fruits of this labour to be made public will be One Of Those Nights – a collaboration with cool Californian dude, Woolfy – King Of The Sun-Baked Balearic Boogie. The two of them turning in a breathless bedroom berserka of balmy, heat-stroked, blue-eyed electro street soul – suitable for fans of Apiento, Harriett Brown and Lexx' Cosmic Shift long-player. Its bass bumping bionically, keys and guitar blown in like a breeze.

Percussion-like seashells gently washed and made to shine by the tide. While Woolfy's whispers are the male equivalent of Brenda Ray's intimate coo. I've been privy to six mixes that range from a beatless ambient calm – showing off the electric axe work and celestial synthetic flute – to bottom-end bolstered dub. L.U.C.A's Quirky Version puts the beat right up front – big snares behind treated vocal fragments. Gating everything for a trippy, serenely stoned glide. Taken altogether this sextet forms a kind of suite, finally refocusing on the love song at its root.

Dr.Rob (Ban Ban Ton Ton)


b 02: One of Those Nights (Beach Hotdog) feat. Woolfy
c 03: One of Those Nights (No Vox) feat. Woolfy
d 04: One of Those Nights (L.u.c.a Quirky Version) [feat. Woolfy & L.u.c.a]
[e] 05: One of Those Nights (Green Mix) [feat. Woolfy]
[feat. Woolfy]