Suche:sick

STAR CREATURE drops this 7" featuring special guest E. LIVE on the A-side which is a beach dripping, convertible seat soaker. Sweet & deep. The flip is a big stomp romp instrumental that's left field enough to be sick. Limited picture sleeve edition of just 300 copies.

Christian Lee Hutson starts his new album Quitters with a laugh. In this follow up to his ANTI Records debut, Beginners, Hutson moves away from a focus on growing up to the dread and complications of growing older. Written under lock down, the laugh that announces Quitters is the kind you'll find at the end of John Huston films, one of resignation and release, and somehow a cosmic laugh that says "California," a place where lonely people gather together like birds. The song "Rubberneckers" follows the story a romance from beginning to break?up, with backing vocals by Phoebe Bridges, who returns as producer along with Conor Oberst. Quitters is a departure from the digital recording of his debut. Hutson shares, "With this record, Phoebe and Conor had an idea that it would be fun to make it to tape. Phoebe is my best friend and making Beginners with her was so comfortable and easy. So I wanted to work with her again and Conor is someone who I really respect as a lyricist." If every great record is a world, then this is Christian Lee Hutson's world. It's one filled with the fuzzy haze of a dream, and the half-remembered moments of a for?gotten life. It's a record brave enough to say, In the good old days, when times were bad. But beyond the songs, it is this voice. The voice of someone who was alive in 2021 and recorded a group of songs with his friends for us to hear.

Ferris & Sylvester release their debut album, ‘Superhuman’, a
body of work highlighting the very best of the duo’s timeless
songwriting.
 The British pair have evolved their sound into a distinct
combination of Blues, Americana and Rock ‘n’ Roll, sitting them
somewhere between Alabama Shakes, Jack White and First Aid
Kit.
 Their twelve track album, recorded in Seattle, USA and
Cornwall, is available on white double vinyl, standard black
double vinyl and CD.
 With the artwork shot entirely on film in Iceland, this album is
both an expansive yet deeply personal record to collect and
takes the listener on a journey through the duo’s world where
genres intertwine and emotions are stripped down to the core.

Ferris & Sylvester release their debut album, ‘Superhuman’, a
body of work highlighting the very best of the duo’s timeless
songwriting.
 The British pair have evolved their sound into a distinct
combination of Blues, Americana and Rock ‘n’ Roll, sitting them
somewhere between Alabama Shakes, Jack White and First Aid
Kit.
 Their twelve track album, recorded in Seattle, USA and
Cornwall, is available on white double vinyl, standard black
double vinyl and CD.
 With the artwork shot entirely on film in Iceland, this album is
both an expansive yet deeply personal record to collect and
takes the listener on a journey through the duo’s world where
genres intertwine and emotions are stripped down to the core.

Old school friends and long-time collaborators, Mark Rowland and Paul Webber formed The Volunteered at the tail end of 2019 when they started working on new songs channeling old indie rock heroes such as Built to Spill, Guided By Voices, Neutral Milk Hotel, and Belle and Sebastian. They put out the ‘We Fall Apart’ EP in 2020 as a modest self-release and now, what started as a way to keep busy during lockdown has been expanded into a full-length vinyl and digital album, out on Scratchy Records next February. “We had the vague notion of recording an album at some point in 2020” says Mark “and we definitely intended to play more shows. We were talking to people about joining the band. It was supposed to be a big year for us.” Then the pandemic happened. Mark got COVID and was sick for more than a month, leaving him with breathing issues and a fear that he may not sing again. Stuck indoors with all plans put on ice, Mark and Paul went through their demo recordings to see what they had to work with. They took elements of those recordings, added to them, and started working on some new songs. The process was challenging as Mark was still building up his vocal strength, but they muddled through, working on each song remotely. Along the way, they recruited some friends to guest on the record, including future Volunteered member Elizabeth Sadzik, Detroit-based singer-songwriter Cody Ketchum, René Methner of German indie rock band Para Lia, solo artist Ritch Spence and Simon Bromide. It was Simon, Scratchy Records founder, who persuaded the band to make the new material into a full album having fallen head over heels for the song he guests on, Going to Amsterdam, which is released as a single on January 14th 2022. “I thought Going to Amsterdam would make a great single on Scratchy” he says. "But the more songs I heard, the more I liked, and after talking to Mark it was clear that we could make it into a full album” Mark and Paul recorded three additional songs for the album in 2021. At the same time, the full Volunteered line-up was completed with Sadzik on piano, her husband Jake on bass and Paul Douglas on drums. The sound too was broadening, with more piano being incorporated into its newest songs. The final version of We Fall Apart was completed in Autumn 2021. It’s a varied listen, from the pounding, tuneful fuzz of lead single Going to Amsterdam to the atmospheric heart-string puller The Lights. Everywhere you look there are hooks waiting to pull you in and some great pop songwriting recalling everyone from Buddy Holly and Weezer to The Triffids and Pearl Jam. For fans of: Sparklehorse, Built To Spill, Guided by Voices, Big Star, REM and Neil Young.

Megastructure_ proudly presents Unhuman + Surit’s RADIATION SICKNESS, their second collaborative EP, and their first for Megastructure_. Liber Null boss Unhuman and Surit of Spanish techno stalwarts NX1 team up for 4 tracks of grinding and tense industrial techno primed and ready to satiate the appetites of those looking for the heavier side effects of life.

As a young kid I always wanted to be a musician especially with my brothers.
My Dad, Major Williams Sr started it all with my Brother Lil Major Williams and Garland Williams.
They would travel and play music at venues all over Texas and surroundings States.

I myself stared playing the snare drum in Junior High school and eventually started playing with the Majortones Band which was my dad and brothers group.

I remember the first time I ever sat behind a set of drums it was like a dream come true.
We were playing at this club in Houston, called the Green Parrot.
Garland which was the drummer at the time, I think he got sick or something happened, that's when my dad came to me and said this your time Ray.

I was so scared , keep in my I was only 11years old, anyway I played that night if it had not been for the Bass player (Fox was his name) telling me how to work the foot pedal and high hats snare we wouldn't have made he just kept telling me to stay on the one, at that time I was wondering what was the one Lol.

As time went by I started really getting the hang the thing call music.

Little Major was a big James Brown fan, so we played a lot of Brown's music and if I tell you we were tight and right.

Major wrote Girl Don't Leave in 1978 and I can't remember the real reason for the title of song but it did really good lot's of air play.

As time went on Lil Major, Garland and my Dad passed away.

That's when I started managing The Majortones Band and to this Day it's still going strong.

I re-wrote Girl Don't Leave Me and released it a few years ago which was the best thing I could have ever done.

I feel like it's my time in the music industry, I've been playing for over forty years and I'm still in love with it and still having lots of fun.

Maniacal Laughter quickly gives way to a non-stop onslaught of irresistible electronics and a ceaseless, pounding groove. Boom! You are embedded in Maedon’s world. Dark and futuristic, her album “Now I have Become Death” is another worthy addition to the Sonic Groove catalogue. This is music that works the body and captures the mind. It’s her 3rd release for the imprint, following up 2020’s “Escape to Berlin” and 2019’s “Against His Will” EP. Maedon crafts some very melodic jams, with refreshing song structure and storytelling trips achieved through excellent sample work and programming prowress. Make no mistake, this is fghting music. It’s blazing hard, with grueling energy, and a fair for the dramatic. Maedon likes relevant content, as tracks like “Rave-Act Never Forget” expose pathetic pledges from poser politicians who have dared to protest against the dance music scene in their past. You have been exposed Biden. The madness continues with the menacing “Destroyer of Worlds”, a massive rave jam with otherworldly synths based around the words of a certain man’s famously guilty post-atomic quote from the Hindu scripture known as the Bhagavad Gita. It’s a reminder of your sins, Oppenheimer. The selection continues to concoct clever experiments with pressure and feels at times like riding a roller coaster thru outer space “Destroy the Status Quo” with subtly pitch-shifting metallic highs and ravey tone-work captivates the mind as gravity drops jerk the body into uncontrollable motion. “Rudersdorf Trip” is a sick adventure into the darkness, with whispered vocals ‘this is what you want this what you need’ leading the charge of hypnotic, spiraling acid. “Childhood dreams” is an excellent ending to the LP, an innovative melodic charmer with nostalgic future vibes pumped up by a broken techno beat. In truth, all the tracks stand out; a solid efort from start to fnish. It serves as a lesson in production for her peers. She enjoys the process, creating a chance for all to dance away their pain. For Maedon, our ears are like trophies to collect. no one is safe.

After it became known that the Red Light Complex in Amsterdam had to close Gilb’R invited his friends Satoshi Yamamura and Abel Nagengast down for a session up in the ‘… studio’.

The trio dived in head first and with eyes closed. The night was buzzing with impromptu music, singing and poetry and one evening lead to another. The gathered results are a raw homage to its illustrious surroundings and can be listened to on an inspired 6 track 12”. The Babel EP is out on Versatile Records.

New York trio Sunflower Bean announce their second record Twentytwo in Blue. The album will be released on March 23rd when all members of the band - Julia Cumming, Jacob Faber and Nick Kivlen - will be 22 years old. The album comes almost two years and two months after the release of their critically acclaimed 2016 debut album Human Ceremony.

Co-produced by Unknown Mortal Orchestra's Jacob Portrait (who also mixed the record) and HC-producer Matt Molnar of Friends, Twentytwo in Blue shows Sunflower Bean stay true to their guitar band core and classic rock-inspired roots, while exploring new sonic textures with more direct and progressive themes. Unlike their debut, which was essentially a compilation of songs Sunflower Bean wrote while still in their teens, Twentytwo in Blue was made in the year between December 2016 and December 2017 and showcases how far the band has come since playing together in their high school days.

To celebrate the album announce, Sunflower Bean share a new single and follow up to I Was A Fool' entitled Crisis Fest.' 2017—we know/ Reality's one big sick show/ Every day's a crisis fest,' vocalist and bassist Cumming sings. This last year was extremely alarming, traumatic, and politically volatile,' explains the band about the track. While writing this album, we often reflected back on the people we met while on tour. We felt a strong kinship with the audiences that came to see us all over the country, and we wanted to write a song for them - something to capture the anxieties of an uncertain future. 'Crisis Fest' is less about politics and more about the power of us, the young people in this country.'

Sunflower Bean find a sublime maturity and progression to their sound and songwriting on Twentytwo in Blue. If there was a ragged beauty in the gauzy, groovy wall of sound of Human Ceremony, there's a new directness to these songs, a product of the band's growth and the insanity of the times we're in. Sunflower Bean have gained a newly confident voice that they bring to the second album, one that doesn't shy away from addressing the other events of those two years—political changes and cultural shifts that have left America and the world stupefied. This has been such an unbelievable time,' says Kivlen. I can't imagine any artist of our ilk making a record and not have it be seen through the lens of the political climate of 2016 and 2017. So I think there's a few songs on the record that are definitely heavily influenced by this sort of—whatever you want to say what the Trump administration has been.' A shit show,' offers a helpful Faber.

Ultimately, this record is much more than a political statement or piece of commentary on today's political climate. I think one word that always comes to mind when I think about this record is lovable,' says Cumming. We want the songs to be something that someone can get attached to, and have be a part of them. Because that's what I look for in songs myself, and that's the kind of experience we want to give to others.'

Brand new in name but certainly not in heritage: Bass player Fatty is a founder member of Submotion Orchestra and has played with the likes of Newham Generals, Andreya Triana and Outlook Orchestra. Illaman is one of the fizziest, most versatile MCs in the game with a previous that flexes from Goldie’s live band to Flux Pavilion co-labs. Pravvy Prav, meanwhile, has a long career smashing tubs for Foreign Beggars, Jorja Smith, Gentleman’s Dub Club, Maverick Sabre and Jehst.

PENGSHUi is the latest project in this shared line of credentials. And quite possibly the heaviest, too. A raucous fusion of punk, grime, metal, bass and beats, PENGSHUi adds to a slow-cooking piquant gumbo of uncompromised sonic fire that’s been bubbling since 1986 when Run DMC and Aerosmith advised us to walk in a certain direction. Always bubbling but never over-boiled into a flavourless formulaic gloop, the fusion of metal and electronics still feels fresh, unruly and energetic over 30 years later.

Newly remastered audio.
LP pressed on black vinyl & housed in a gatefold jacket.

Willie Nelson’s 1996 album Spirit is an emotional concept album illustrating the forlorn tale of a man abandoned by the great love of his life. We follow him down the path of loss as he confronts grief, gets back on his feet, and eventually finds solace in acceptance. While producing Spirit, Nelson assuredly knew the commercial risks behind releasing an album this melancholic. After all, in 1973 he himself wrote: “sad songs and waltzes ain’t selling this year.” Beloved by those familiar with Nelson’s deep catalog, Spirit largely slipped through the cracks in the mainstream, but remains highly revered amongst critics and fans alike.
Backed by legendary country fiddler Johnny Gimble (of Bob Wills and His Texas Playboys), sister Bobbie Nelson on piano, and his longtime touring guitarist Jody Payne, the song-cycle is anchored by lilting Spanish-inspired instrumentals that absorb a lonesome gravity when placed next to ballads that tug at even the most unwavering heartstrings. Likened to Bob Dylan’s Time Out Of Mind or Waylon Jennings’ Right For the Time, Spirit sees Nelson maturing most gracefully: he trades rousing sing-alongs and saloon tunes for gut-wrenching lyrics and instrumentation of greater precision and skill, proving this release as deep and as challenging as his career-defining albums released twenty years before.
Originally released by Island Records in 1996, Spirit is newly remastered and housed in a gatefold jacket. This is a chance to own this unique album in its most beautifully presented form.

Technocracy is an EP by Corrosion of Conformity. It was released in 1987 on Metal Blade Records, and re-released in 1992 on Relativity Records with four additional songs, including three demo versions of songs from the EP with bassist Mike Dean singing.

Technocracy is an EP by Corrosion of Conformity. It was released in 1987 on Metal Blade Records, and re-released in 1992 on Relativity Records with four additional songs, including three demo versions of songs from the EP with bassist Mike Dean singing.

Superb Acid Music, energyfull !!

The Enko & Maddike tune is a masterpiece !

Composer, electronic music innovator, and Pere Ubu's original synthesist Allen Ravenstine returns to Waveshaper Media with the diptych LP (comprised of 1 EP per side) Nautilus / Rue De Poisson Noir, the final two parts in Raventine’s Tyranny of Fiction series. Waveshaper Media first came into contact with Ravenstine when we interviewed him in 2012 for our modular synthesizer documentary I Dream Of Wires.

Nautilus / Rue De Poisson Noir brings together 21 of the prodigious composer’s recent lyrical and abstract compositions collectively comprised of the sounds of analogue and digital synthesizers, alongside traditional acoustic instruments. The first 10 recordings, subtitled Nautilus, are found on Side A of this LP while the second 11, Rue Du Poisson Noir, comprise Side B.

Using a singular blend of acoustic and electronic instrumentation, each track on Nautilus, weaves its own wayward travelogue amidst stray bits of audio verité and wafting musical fragrances—by turns tropical and foreboding. Rue De Poisson Noir takes cues from its fragmentary companion both in palette and approach, slithering between cinematic intrigue, off-brand jazz, avant-garde mischief, and fried electro without ever batting an eye. Together they form a beguiling collection of hyperrealist miniatures that remains strange, restless, inquisitive and — most of all — evocative throughout.

For those in the know, Allen Ravenstine has been one of the most creative synthesizer players of the past forty-plus years. Ravenstine started out in the mid-1970s experimenting in his Cleveland apartment with an analogue EML 200 synthesizer, eventually creating a piece in 1975 that became known as Terminal Drive. While he had no intention of releasing his compositions, word got out about the kind of sounds he was experimenting with, which led to an invitation to join pioneering “avant garage” group Pere Ubu for the recording of the group’s first 45, “Thirty Seconds Over Tokyo.” He soon joined Pere Ubu full-time, bringing to the band’s sound unpredictable textures, effects, bleeps, squalls, pulsating washes of sound—whatever he felt could enhance the soundscape of the band’s performances and recordings.

By the early 1990s, Ravenstine had grown sick of the road, band infighting and the music industry in general. Deciding a change was needed, he opted to forego music altogether, making his living as an airplane pilot. His music career remained in limbo until 2012, when an interview for the I Dream Of Wires documentary, alongside Robert Wheeler who had succeeded him as Pere Ubu’s synthesist, turned into a recording session for the duo, leading to a series of collaborative releases. As well as having his 1975 Terminal Drive recordings released to great acclaim in 2017, Ravenstine has been prolific in recent years, with Nautilus / Rue De Poisson Noir now marking his 4th solo full-length.

Emilie Levienaise-Farrouch’s dark, throbbing score to
Prano Bailey-Bond’s horror debut ‘Censor’ is out now on
vinyl, after previously being released on digital platforms.
 The vinyl is pressed on clear vinyl with black smoke effect
and comes housed in a deluxe spined sleeve with double
sided printed insert featuring beautiful imagery from the
film.
 Emilie Levienaise-Farrouch manages to inhabit a space
between Ennio Morricone, Goblin and John Carpenter in
her stunning score to ‘Censor’.
 “I wanted the original score to focus on two different
elements of the film’s storytelling which slowly intertwine
as the movie progresses,” Emilie told Booklyn Vegan.
 “One sound palette represents the trauma of our lead
character Enid, with a use of manipulated vocals and
synthesisers, slow moving, almost suspended, and at
times disorientating cues, with short melodic motives, little
lullabies Enid might softly sing to herself to sooth her
anxiety and guilt of having lost her sister. The other palette
is much more anchored in the time period (1980s) and
genre the film explores.” She calls that second sound
palette a “love letter to classic Carpenter and Goblin
soundtracks, using vintage synths, rare Japanese
instruments and choirs to bring us deep into the fun,
surreal, and meta elements of the film.”
 ‘Censor’ received critical acclaim upon its release,
including a 5-star review in The Guardian, and is available
to watch now.

LP is limited to 1000 copies, black vinyl. Swansea Sound started in the middle of lockdown. They realised that fast, loud, joyous, angry indie-pop punk was the answer to being stuck indoors. Who needs introspection? Hue Williams is reunited with Pooh Sticks partner Amelia Fletcher (ex- Talulah Gosh, Heavenly). Rob Pursey (also ex-Heavenly) and Ian Button (Wreckless Eric’s live collaborator) provide the noise. Swansea Sound are the fast, acerbic and joyous past, present and future of indie. Four of the tracks were released as singles, all of them now impossible to obtain. ‘Corporate Indie Band’ was a limited edition cassette, ‘I Sold My Soul on eBay’ was a one-off lathe cut that got auctioned on eBay (with a £400 winning bid), ‘Indies of the World’ was a 7” inch single that briefly hit the UK physical charts, but immediately sold out and plummeted back out again. And then there was ‘Swansea Sound’: a requiem for a lost radio station; an anti-corporate lament - another limited edition cassette single. First track Rock N Roll Void gives a three minute revision session, just in case you’ve forgotten about The Ramones, The Kinks, The Buzzcocks and the brief explosion of indie noise pollution of 1986. Some of the songs are reflexive – ‘Swansea Sound’ and ‘The Pooh Sticks’. (Who else was going to write a tribute to The Pooh Sticks?) Others are searching for hope in the digital desert – ‘Let It Happen’, ‘I’m OK When You’re Around’, ‘Pasadena’, ‘Angry Girl’. ‘Je Ne Sais Quoi’ is pure pop throwaway fun. The others songs are dead catchy too, they just happen to express a sickness and a contempt for the state of things. ‘Corporate Indie Band’ is about a group who have mortgaged their creativity to a major label and sold their identities to an online marketing team of public schoolboys. Freedom of Speech takes a look at three contemporary ‘alternative’ music stars and considers how they’ve responded to BLM, the pandemic and the rise of right-wing populism. ‘Like self-serving arseholes’, is the unfortunate answer. (You won’t struggle to work out who the three ‘alternative’ stars are.) Swansea Sound took their name from a well-loved local radio station when it was given a corporate makeover in 2020. They even used the radio station’s abandoned logo. Like the indiepunk pop songs, something modern acidic and angry has taken up residence in a familiar, borrowed frame. You can throw yourself around to Swansea Sound like it’s 1986, but if you catch the lyrics you’ll remember you’re in 2021. (Sorry about that.) The Rum Puncheon, a notorious pub in Swansea, closed down decades ago.

By way of some cosmic miracle, only one Total Hell pops up
when the band moniker is searched on Discogs. And that would
be the band responsible for the five-song blast of heavy metal
sounds at hand. Now active for about two years plus change
and exported from the very metal and punk fertile New Orleans,
Total Hell is DD Deth (aka Drew Owen—Sick Thoughts
wheelman, Trampoline Team etc) on drums / vocals, Henry
Hell (John Henry of Static Static, Heavy Lids) on bass / vocals,
and guitarists Jason “Panzer” Craft (Persuaders, Tirefire) and
Michael Maniac (Michael He-man of Trampoline Team).
If self-deprecation is beyond the listener’s processing skills,
then please know that as self-described purveyors of the “New
Wave of Shitty Heavy Metal”, Total Hell’s big-boy debut is
not “shitty” in any manner whatsoever. These four recordings
(“Desecrate”, “Clones From Hell”, “Violator”, and “Disfigured”)
are melodic monstrosities that hit with a wall-to-wall, floorto-
ceiling hugeness, while doing so in an economical manner.
There will be no mistaking this for Broken Bones screeching out
of an iPhone inside the vegan squat. On the flip, this is no Bob
Rock joint. DD Deth elaborates: “Recorded on a Tascam 8-track
cassette live at home (aka “The Parkway”) by Michael He-Man
and the process was a nightmare. Original tape crapped out on us
back in early 2020 so we had to redo the whole thing. Intros and
interludes were done last minute by me with the cheapest midi
keyboard on the net.” Well, color Goner Records impressed.
One might get momentarily lost in the cavernous drums that
introduce opener “Desecrate”, but soon the buzzsaw-riff-wall
will crush one into a smudge on the bathroom floor. Without
rocking some safety goggles and diving headfirst down a
terminology rabbithole, this is punk jumping into the sack
with metal and leaving black boots on the bedroom floor rather
than white hightops. Xmas came early for fans of Anti-Cimex,
Celtic Frost, pre-shit Discharge, Motörhead, Blitz, Midnight,
Venom, Broken Bones and...one gets the picture.