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Das neue Album 'Tarantula Heart' der Melvins ist wie nichts, was die Band je zuvor gemacht hat. Ein Meilenstein, keine Frage. Vielleicht sogar ihre beste Platte. Ganz sicher aber eine ihrer schrägsten. Im Mittelpunkt des fünf Songs umfassenden Albums stehen der 19-minütige Opener 'Pain Equals Funny' und der lärmende Heavy-Hit 'Working the Ditch'.

Neben den drei Kernmitgliedern sind auf dem Album auch Drummer Roy Mayorga (Ministry, Soulfly, Stone Sour und Nausea) und We Are The Asteroid-Gitarrist Gary Chester, mit dem die Melvins kürzlich auf Tournee waren, zu hören.

So zeigen sich auf diesem Album mehr denn je die vielseitigen Einflüsse, die Buzz‘ Schaffensprozess informieren. Seien es nun Judy Garland-Klassiker, The Birthday Party oder aber auch die improvisatorische Herangehensweise eines Miles Davis.

'Tarantula Heart' klingt nicht nur gut, nein, es sieht mit dem brillanten Coverartwork von Mackie Osborne auch noch gut aus.

In 2023, Irène Drésel, an electro artist between Vitalic and Solomun, became the first woman in history to win the César (French Cinéma Award) for " Best Original Score ". Her colourful techno music is as sensual as it is upfront inspired by a rich, magnetic, sonic and visual universe. After two consecutive EPs, "Rita" (2017) and "Icône" (2018), her debut album "Hyper Cristal" was released in Spring 2019. It was followed by a second album, "Kinky Dogma" in 2021, which Libération (French National Newspaper) describes as "an accomplished work of techno, ambitious but not pretentious, since it never loses sight of its author"s objective: to provoke irresistible joy in the listener". And now is the time for "Rose Fluo", her brand new album!

Necrot continue their ascent to the forefront of American aural extremity, pushing the boundaries of style and continuing to recast metal in their image. Founded by bassist, vocalist and principal songwriter Luca Indrio and drummer Chad Gailey in 2011 – guitarist Sonny Reinhardt joined the next year – the Oakland, California, trio offer Lifeless Birth (in continued collaboration with Tankcrimes) as a culmination of their to-date efforts to encapsulate and push forward the deathly stylings of 2020’s Mortal and their 2017 debut, Blood Offerings. It’s not about giving up a ferocity that’s helped make them a household name among the converted. Instead, Necrot use that same, by-now-characteristic intensity as the backdrop for an expanded songwriting palette. They’ve always been a band who stood out. The maturity they show on Lifeless Birth confirms that’s been the plan all along. It is a vision of what metal can be and do in 2024, tearing down old barriers and keeping those traditional elements that make it stronger. Recorded with Grammy-winning producer Greg Wilkinson (who has helmed all three Necrot albums) and mastered by Brad Boatright at Audiosiege, Lifeless Birth pivots fluidly between technical intricacy, progressive poise and all-out brutality. Scouring lead work will have thrash heads nodding knowingly, and an overarching groove reaches out across the metal microgenres with a righteous call to worship. Its songs are memorable and varied, unpretentious but able to rear up with statelier violence. At the same time, “Drill the Skull,” “Cut the Cord,” “The Curse” and others prove that just because a song is beating you into the ground doesn’t mean it can’t also be forward-thinking. Or catchy. After having their Mortal tour plans scuttled owing to the covid pandemic, family health issues that led Luca, who became a US citizen in 2016 and currently lives in Mexico, to return to Italy for a time canceled what would have been their first tour post-plague. Still, despite this and Chad suffering a broken back, requiring multiple surgeries and intense physical therapy to be able to drum again, period, Luca being struck with Bell’s Palsy the night before he was originally due to fly to the studio to record, and Sonny requiring multiple surgeries on his hands in the months since they finished, Necrot charge forward with material distinguished in its real-world point of view and willingness to look beyond extreme metal tropes in lyrics, the melodies of its guitar solos, and unbridled audience engagement. For a collection of songs that feel so much written for the stage, it should be no surprise tours early in 2024 and summer festivals are to be announced. Mortal (2020, Tankcrimes) was #2 on Billboard's Top New Artist chart, #30 on the Top Current Albums chart, #4 on the Current Hard Music, and #10 on the Heatseeker Albums chart for week of release. Necrot have toured in North America, Europe, Australia and Japan, and shared the stage with Cannibal Corpse, Immolation, The Black Dahlia Murder, Suffocation, Morbid Angel, and hundreds of others. Expect no letup as Lifeless Birth brings Necrot all the more to their own place among metal’s superlatively aggressive proliferators. – JJ Koczan

Welcome back to Demon’s ‘Disco Discharge’ series, originally issued in a series of 2CD collections between 2009 and
2012. The themed compilations of full-length, extended Disco originals, lovingly curated by the mysterious “MrPinks”
and with detailed sleeve notes by author and Disco aficionado Alan Jones, have remained in-demand among collectors
and the club cognoscenti. This time around, the series kicks off with ‘Classic Disco’ and ‘Disco Fever USA’, both issued
in new-formatted 2CD Deluxe gatefold sleeves and, for the first time, as 2LP coloured 140-gram vinyl editions.
While Disco happened the whole world over, ‘Disco Fever USA’ cherry-picks 12 milestones hailing from its American
birthplace on 140g White vinyl. Alongside lesser-known cuts from the likes of Fern Kinney, Gloria Gaynor and Boys
Town Gang there’s also another wealth of treasures including a rare instrumental version of Earth, Wind & Fire’s
‘Boogie Wonderland’, the sublime ‘Like An Eagle’ by sometime gay porn actor Dennis Parker and Bionic Boogie’s ‘Risky
Changes’, a track you could say predicted Chicago House sound a full ten years before the fact.

"Veneer of Tolerance Remixes" is the nine-headed rebirth of KR3 Records' Chapter 07, signed by JK Flesh, an icon revered within the UK's alternative music realm for a trailblazing three-decade career.
Each track of this double-vinyl project unveils a unique reinterpretation, birthing a bespoke tapestry of techno music, a dark sorrowful ode to the genre's diverse landscape.
Traversing realms of power electronics, noise, breakbeat, industrial, gabber, and ambient drone, the 9 tunes are sculpting an evolution within the techno genre.

The fourth leg on the early emo table of Rites of Spring, Moss Icon, and Cap'n Jazz, Indian Summer's Giving Birth To Thunder compiles their complete discography. Emo's second wave crashed into the Bay Area in the summer of 1994 in a rage-filled capsule of quiet and loud, octave chords, angry sons, Spock haircuts, and screaming. At the eye of this pissed-for-the-hell-of-it storm were Indian Summer. In the quartet's 12-month existence they wrote ten songs, appeared on a dozen singles and comps, and played over 100 gigs across the U.S. and Canada before burning out, passing out, and moving out of their Blue House in Oakland. Their hand-screened aesthetic is replicated in alarming detail in the accompanying by 24- page book with detailed liner notes, flyers, and miscellaneous propaganda.

repress !

The birth of rock steady portrayed in a consummate collection from the vaults of Federal Records

Most of them drawn directly from Ken Khouri's master tapes this miscellany of cool rock steady includes marvellous music from the originator of the genre, the one and only Lynn Taitt, alongside an array of Jamaica's greatest singers and vocal harmony group

American rhythm & blues fervour, boosted by a multitude of sound systems playing 78rpm records on increasingly larger sets, gripped Jamaica from the late forties onwards but, towards the end of the decade, the American audience began to move towards a somewhat softer sound. The driving rhythm & blues discs became increasingly hard to find and the more progressive Jamaican sound system operators, realising that they now needed to make their own music, turned to Kingston's jazz and big band musicians to record one off custom cut discs. These were not initially intended for commercial release but designed solely for sound system play on acetate or 'dub plates' as they would later be termed. These 'specials' soon began to eclipse the popularity of American rhythm & blues and the demand for their locally produced music proved so great that the sound system operators began to release their music commercially on vinyl and became record producers. Clement Coxsone' Dodd, Duke Reid 'The Trojan' and Prince Buster, who operated his Voice Of The People Sound System, were among the first to establish themselves in this new role and the nascent Jamaican recording industry now went into overdrive.

In 1954 Ken Khouri had numbered among the first far sighted entrepreneurs to produce mento records with local musicians (mento is Jamaica's original indigenous music) before progressing to opening Jamaica's first record manufacturing plant. Three years later he moved his operation to Foreshore Road (later renamed Marcus Garvey Drive) where, with the assistance of the inestimable Graeme Goodall, he updated and upgraded his recording studio. The importance of this enterprising move was critical to the development of Jamaican music and its influence both profound and far reaching.

"It was Ken Khouri's Federal Recording Studio, the womb that gave birth to the talented writers, artists and musicians that gave Jamaica its musical identity." Prince Buster

Federal Records was not only the place for the sound system men to record their music but it was also where they had their records manufactured and, consequently, the company enjoyed a near total monopoly on recording and record pressing in Kingston. In 1963 Ken Khouri sold his one track board to Clement 'Coxsone' Dodd, who established Studio One, and Ken imported the first stereo equipment to Jamaica and Federal began making stereo records. The following year WIRL (West Indies Records Limited) opened but the competition served to drive the company on to higher heights. Ken Khouri continued to work on his own productions and, in 1966, the seven inch release of Hopeton Lewis' 'Take It Easy', recorded under the guidance of Trinidadian guitarist Lynn Taitt, ushered in the rock steady era.

These two essential albums showcase a stunning selection of well known hits, and not so well known rarities, from the vast Federal catalogue. All tracks have been transferred direct from the master tapes and assembled with the invaluable assistance of Ken Khouri's son, Paul Khouri, who generously gave Dub Store unlimited access to the Federal tape vaults. The extensive liner notes feature extracts from extensive interviews with Paul Khouri whose knowledgeable recollections of working on Marcus Garvey Drive, not only as a producer but as an engineer and musician, are illuminating and educational. Both sets present an insight into the birth and growth of Federal Records and the Jamaican recording industry and are essential to an understanding of the real roots of reggae music.

Remastered re-issue of this now classic work of Ambient / Dungeon Synth. Conceived in late 2002 as a soundtrack for one of the most sinister, dark, brutal and morbid periods of European history, the Dark Ages. Diving deep into Medieval works on witchcraft, demonology and theology, as well as the works of modern authors exploring all the aspects of that epoch, Roman Saenko (of Drudkh and Hate Forest) wanted to explore all shades of the Middle Ages. Bringing forth images, details and landscapes of that era into the modern world using a minimalistic yet very poignant pallet of sounds. Artwork by Heresie Studio.

A Jazz Dance Favourite that Jazz Room Records Head Honcho Paul Murphy was hepped to by Brownswood and 6Music Jazz Supremo Gilles Peterson at the 20th Birthday Bash of London's most Underground of Clubs: Shiftless Shuffle.

Murphy: "I'd quite forgotten all about it, but when I saw the reaction on the dancefloor it was "Mental Note Time, get on the case for a full investigation and let's see some Vinyl re-issue action!"

The head of the original Danish Label, Pick Up Records, later reminded Paul that he was selling the originals in his original Jazz Record Shop "Fusion Records" when the original was released and that he, Peter Littauer, had actually delivered them personally on a trip to London. Synergy in action!

The music is a mixture of 100mph Latin Jazz (Girl With Three Faces/747 To Rio/From Dusk Towards Dawn) and Funky Rhodes driven workouts (Travelling/Circles In The Air), plus the vocal pyrotechnics of Hawaiian singer Lei Aloha Moe who guested on two of the tracks.

Kendra is excited to release a new 45, featuring a special a bonus track written and recorded during the 'I Am What I'm Waiting For' sessions, as well as a new 45-edit of her instant classic 'Birthday Song.' The A-side 'Fine Right Here,' the bonus cut from Kendra Morris's brand new LP 'I Am What I'm Waiting For' (which has received incredible support from the likes of Rolling Stone France, KCRW, WNYC, Flood Magazine, and countless others), takes a look into the deeply introverted side of Kendra. "This song is about being ok just sitting inside and missing the party," Kendra explains. "It's the antithesis to FOMO." Written to accompany a rainy day, the song feels like you're being enveloped in a hug. Sonically, the track tips its hat to Ethiopian Jazz and soul of the 70s, like Rose Royce and the Delfonics. The warm vibraphone, sturdy bass line, and vocal reverb create a layered tapestry of sound that wraps around your shoulders and drifts into your ears. The new 45-edit of 'Birthday Song' is for the DJs. It's an upbeat and funky jubilant jam that's ready and waiting to take the place of outdated standards. Both tracks were co-written and produced by Torbitt Schwartz (AKA Little Shalimar) of Run the Jewels, 'Fine Right Here' is a welcome departure to the upbeat nature of 'I Am What I'm Waiting For' whereas 'Birthday Song' is set to be a celebratory go-to

Halle Weissensee (or Weißensee if you wish) starts where Sascha Funke’s last Ep for Running Back stopped. Mesmerizing house and techno music that interweaves classic forms with modern means and looks through the lenses of nostalgia with an open mind.
The Halle was a former engine plant in Berlin that got converted into a rave areal for the now legendary Mayday raves and one of the birthplaces and leading spots of the nineties. Coincidentally and unknowingly, 1993’s winter edition was attended by Funke and Gerd Janson and a conversation about it spawned this record. Don’t be mislead: this is not a retro rave fest, but an ode to the esprit of the times, the possibilities if an envisioned future and maybe most of all an afterglow. While Reality (sounding like a Relief record if the label would have been a topic at Bauhaus university) and the warped bleepiness of Halle Weissensee itself come closest to the actual sound aesthetic of that very night, Fantasy invokes the language of contemplative deep house from vintage New York, while Puzzle evokes a notion of what the same thing could be with the prefix progressive instead. Reality often falls short behind fantasy, but once in a while both complement each other very well.

Anna Gréta goes gentle...into her second album on ACT, “Star of Spring”. The Reykjavik-born pianist, singer and a songwriter, who has lived in Stockholm since 2014, has her own way of approaching the art of quiet, artful, deeply personal songs, often drawing inspiration from the beauty and power of Iceland’s natural landscape. Her 2021 ACT debut "Nightjar in the Northern Sky" was named after a bird, and this follow-up album lands gracefully on a flower, the “glory of the snow”, also known as the "star of spring", which symbolises the ending of winter and the arrival of spring.

But look closer, and there are always other levels of meaning. Her "Nightjar”, the rare bird she once saw in front of the northern sky, was a metaphor for the search for the things which are special and essential. In fact, almost all of Anna Gréta's lyrics have more than one significance, and her storytelling has now taken a leap forward on "Star of Spring". She says of the little flower on the title track: "I wasn't just inspired by the way it takes over the meadows in spring and turns them from green to blue, but also by the fact that it blooms because it is compelled to do so. It cannot do anything else."

Anna Gréta's starting point to creating music was and is the piano. She first studied classical music, then switched to jazz. She only started singing later, when she was writing the songs for Nightjar and wanted to express herself in words. Anna Gréta's debut as a singer, pianist and songwriter earned her international acclaim: Downbeat Magazine called it „an album with the metamophoric diversity of a year’s seasons and a voice like the everchanging colours of the Northern lights“, France Musique “a remarkably immersive experience” and Jazzwise “starkly beautiful”.

On "Star Of Spring" Anna Gréta has further developed her individual style. Her vocal lines can resemble piano motifs, often doubling them and resonating with an impressively quiet vibrato, sometimes quirkily reminiscent of Björk, at other times with the brooding ease of Norah Jones. The album also bears a very distinctive production style. For each of the songs, Anna Gréta has created her own little world of choirs, rhythmic textures and various smartly used keyboard instruments. The album ranges from the hymnal and elegiac - in "She Moves" or in the title track - to the playful and cheerful "Space Time" or the extremely pared-down melancholic ballad "Denouement". And even if the general mood of the music exudes above all warmth and comfort, Anna Gréta also deals with serious topics, such as the forced birth control of women in Greenland during the 60s and 70s in the song "The Body Remembers".

There is a directness of expression and emotionality, even sensuousness about the new album, and that is not least because Anna Gréta’s band has developed and become a properly played-in unit with the experience to take this album’s more complex arrangements in its stride. The sheen and brightness of her piano playing is contrasted with a deeper voice, that of her father Sigurður Flosason's bass clarinet, on three tracks. "This album is more playful and experimental," she says. "A lot of things were easier for me than on the first album. And while I was still completely focussed on my own world then, now I was even more conscious and aware of what was going on around me."

The result is music that is rooted in jazz, but at the same time goes far beyond it in a very subtle and deeply touching way.

DRIFT. Is British-Italian producer Nathalia Bruno, releasing music under the guise since 2015. Her 'techno-pop' EPs 'Black Devotion' and 'Genderland' released with Avant! records were the first explorations in finding the sound of DRIFT. but as the name suggests, is in constant flux. In 2020 'Symbiosis' the debut record was released on Hamburg's Tapete Records, an assemblage of lo-fi futurism reflecting on the breakdown of communication and interaction Nathalia felt was increasing around her. Channelling classic industrial electronica, haunting melodies, using samples, field recordings and curated sound as a 'canvas to rewire the vision of the future as colourful and old, ceremonial and rust beaten. A shrine like ornament and clinical machine language plaited together.'. In 2022 DRIFT. Self released 'The nature of things', a 30 minute piece entitled 'CTRL/ Algorhythm of love' written and produced for designer Mona Cordes' 'Cellusion' show for London fashion week. "_a journey into the dark heart of the dancefloor. The glimmering bass-heavy trance of its opening section could be classic Underworld, while its ambient center is genuinely Eno-esque. And then it all kicks off again as a Berlin school style banger. It's terrific" says Electronic Sound Magazine. This year, 2023 will give birth to DRIFT.'s second album released with God Unknown records '11 points In Time' written for and based on disappeared artist Rosi Crucci, compiled of sounds/field recordings recorded onto cassettes found in the attic of the home she last lived at, interpreted into song using some of her poetry and journal entries of what was happening in the world around her, attempting to finally give Rosi a voice. PRESS Louder Than War album review 'Symbiosis' (2020) "...blends passion with precision to create a tapestry of machine-made sounds that are bursting with ideas and filled with emotion. "We live in times where nothing means nothing," she sings on Visualise The Invisible. "And nothing is true." Never more so than now...Over the course of its ten tracks, Symbiosis draws from pretty much every strand of electronic music throughout its 50-year history" Shindig Magazine review 'Symbiosis' 2020 "A brilliant, fascinating album" Post Punk Magazine review 'Symbiosis' 2020 "is an exercise in disjointed meditation, a trip through the doors of the spirit lodge and inner workings of the human psyche." Pop Matters Review 'Symbiosis' 2020 "...One track in particular, "In Orbit", speaks to this new disturbing unknown we are creating. A distorted, three-note death knell drives it as repeated knocking seems to come from a dank tunnel. If it sounds bleak, it's likely also to be therapeutic and finds common ground with the entrancing industrial thud of Throbbing Gristle or Third Eye Foundation..."

For fans of: Adolescents, Fear, Idles, Agent Orange, Christian Death, Rocky Horror, Magazine. LP on Blue, White, Red blended vinyl. True Sounds of Liberty date back to 1978 and the birth of punk rock/hardcore in Los Angeles. Playing with the fury of their hardcore contemporaries but with a goth/death rock image and poppier melodies, T.S.O.L. quickly set themselves apart from the pack and made it a mission to continually explore new sounds and styles. On this, their 12th long-player, the band has combined a handful of recent singles alongside all-new recordings helmed by Paul Roessler at Kitten Robot Studio. Fronted by singer Jack Grisham alongside guitarist Ron Emory and bassist Mike Roche (all from the band’s first line-up), they are joined by longtime keyboardist Greg Kuehn and Antonio Hernandez on drums. New punk anthems such as “Low-Low-Low,” “Never Go Home” and “The Way You Groove” are paired with covers of “The Rhythm of Cruelty” (Magazine), “1 Thing” (Amerie), “Sweet Transvestite” (yes, that one, featuring Circle Jerk Keith Morris as Brad) and a reasonably straight-forward reading of “What a Wonderful World.” Punk Rock means giving the high sign to the rules, and this is most definitely punk rock.

■ Limited Edition Classic LPs
• High-Definition Premium Vinyl Pressing - For Super Fidelity!
• The Way This Music Was Meant To Be Heard!
• 180 Gram Vinyl –Audiophile Pressing
• The Complete Album + 2 Bonus-Tracks

■ Commemorating 100 years of her birth: RITA REYS (1924-2013) CENTENARY LIMITED EDITION.
Once billed as "Europe's First Lady of Jazz," Rita Reys was a legend overseas during the second half of the 20th century, and certainly one of the top European jazz singers. Born in Rotterdam, The Netherlands, in 1945 she married drummer Wessel Ilcken, who introduced her to the post-war jazz scene.
After a successful visit to U.S.A., they recorded the present LP “The Cool Voice of Rita Reys No.2”.

LKEMY is a legendary Italo house producer from the Adriatic Riviera. Active since 1991 when his first 12″ was released, in the 1990s composed and produced several dozen tracks that are now cult favorites among young DJs and collectors of the genre. Now he returns to produce in the same style of the time two tracks that impressed two well-known Italian DJs, one of the old school and one of the new, who wanted to make their own versions. Dj Ralf, one of the most historical, notorious and active DJs in Italy, has remixed “Cloud” for his warm and intense Dj sets around Italy. In “Cloud Detox”, GNMR (Gianmaria Coccoluto) doesn’t approach as just a remixer; rather, he doesn’t distort or eliminate/replace the important parts of the track but transports and renews them in a new musical realm of his own. Where ethnic elements, live-played drums, and intentionally unquantized rhythms give birth to a unique body under the moon of Goa in India. Mysticisms, transcendental worlds, lengthy dances free from others’ judgment, and closer to supernatural contact make Detox a journey towards purification.

This project unites artists from two labels, Chinese based bie Records
and Latin America based Shika Shika, separated by very contrasting
cultures and thousands of kilometers but united by shared values and a
shared musical vision
Driven by values of creativity, borderless music and fairness for artists, both
labels showcase artists that unite electronica with ambient and folk music,
purposefully existing outside of the globalized, copy- paste of the mainstream
music industry.
A mix of intrigue and mutual respect led to the birth of this compilation, with the
two labels teaming up to match together a group of their artists to remix each
other. The result is a widely imaginative, fresh and diverse selection of tracks
featuring some of the prominent producers such as DaYe, Lim Giong; Hualun, Sun
Dawei and Rainsoft from bie records and DJ Raff, Terror:Cactus, Numa Gama,
Barrio Lindo and El Buho from Shika Shika.
The compilation is a testament to music's power to transcend language and
cultural background as artists from hugely different contexts unite to explore and
build on each other's creative visions.

Marilyn Monroe (born June 1, 1926, Los Angeles, California, U.S.—died August 5, 1962, Los Angeles). Known for playing comic "blonde bombshell" characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era's sexual revolution. She had a good voice that matched her seductive visual appeal, and her limited catalog includes effective interpretations of the work of such songwriters as Harold Adamson and Hoagy Carmichael, Harold Arlen and Johnny Mercer; Irving Berlin, Sammy Cahn and Cole Porter. Marilyn Monroe's singing constitutes a significant part of her overall appeal as a performer. On this album “Diamonds Are A Girl's Best Friend”," I Wanna Be Loved By You", “Happy Birthday (For President Kennedy) ”, “The River of No Return ”, “Two Little Girls From Little Rock (ft. Jane Russell)”. a.o. Limited Edition on Blue Transparent coloured vinyl.

The early-mid "80s had their share of insane combos -- The Birthday Party, Black Flag and Minor Threat had the raw power to melt your mind in seconds. SWANS, Einsturzende Neubauten and Big Black created enough overwhelming sonic pressure their sounds might actually flatten you. And Sonic Youth displayed such a dizzyingly unpredictable mix of art, pop culture and violence you"d sometimes leave their shows drooling. The Buttholes shared elements with all of these groups, but added an insane psychedelic edge and a propensity for bizarre spectacle. This evolution continued on "Rembrandt Pussyhorse," which featured a set of tunes for which the Buttholes" rock-based form destruction was mixed with experimental, tape-mangling passages of many flavors. Haynes was handling all audible vocals by this point, and his mastery of post-tongue dynamism was finally in full flight. Meanwhile, their live shows became legendary examples of excess and derangement, and their music just kept getting louder and stranger and more savage. It was the diametric opposite of the hardcore scene from which it had emerged, which was heading in ever more codified and stylistically conservative directions.

This is The Wreckery album that never was but always should have been!

At the crest of the Australian post punk era, The Wreckery played atmospheric rock with film-noir swagger and renegade attitude, carving a loyal following. Critics quickly positioned them as successors to a darkly exciting avant-garde Melbourne tradition previously marked out by The Birthday Party.

Early recordings for Rampant Records (1985-87) showcased The Wreckery's fusion of swamp blues and noir-jazz, delivered with a deadpan, reckless, and romantic cut (check out the 'Ruling Energy' video!). Creative tensions saw the band implode as they were reaching their peak with the Laying Down Law album (Citadel Records, 1988). Yet another great and dangerous rock 'n' roll band who became a danger to themselves.

35 years later, the new album Fake is Forever delivers on unfulfilled promises, revealing The Wreckery on fire like never before. The DNA is still there – the signature sound of Charles Todd's baritone sax; the scathing lyrics and vocals of Hugo Race; the distorted angular guitars of Clayton-Jones; the eclecticism of multi-instrumentalist Robin Casinader; Nick Barker and former Plays With Marionettes drummer Frank Trobbiani fuse as the solid engine room of this iconic group. All the original edge with a new maturity and control.

The songs still emanate from the deep, dark end of the musical gene pool. The sarcastic, provocative lyrics of 'Smack Me Down', 'Get A Name' and 'Young People'; the musical fury of 'Stole it from Alpha Ray' and 'Evil Eye', the romantic melodrama of 'The Devil in You' and 'Whistle Clean', the deranged rock of 'Dragonfly' and 'Garbage Juice' – The Wreckery's range is as vast as it is ferocious. Whereas the band in the 80's were brash and angry this record finds the band conjuring quiet menace, sensual, intoxicating.

Hugo Race – vocals, guitars, keys

Ed Clayton-Jones - guitar, piano, synth, Mellotron, slide guitar , Solina string synth

Nick Barker – bass guitar and backing vocals

Charles Todd - the saxophones

Robin Casinader - Hammond organ, mellotron, mandolin and violin
Frank Trobbiani - the drums and percussion

Recorded by Andrew 'Idge' Hehir at Soundpark Studios, Melbourne
Mixed by Hugo Race at Helixed
Mastered by Toto Strapporava at 3Faders Studio, Buenos Aires
Published by Peermusic