At times like this we need heroes. Praise be then for Joe Colossus, who has decided to invest the vast fortune he’s amassed from Hey Colossus, Henry Blacker and being a logistics industry kingpin, by setting up an indie record label. Old school style – 100-run vinyl releases, personal taste curation, all that good good stuff.
First up is a new album from Reigns, the crazy sound of young Wessex. And judging by the full tilt folk horror eeriness of the lead track it’s going to be great.
After that, new releases from SweetWilliams and Acidliner (aka Rhys from Hey Colossus).
This is all very inspiring stuff. Pre-orders already flying out so don’t sit on this.
Here’s a spur of the moment, seat of the pants, hot off the press mix of mostly new but sometimes not sounds. Harshed buzzes, unplugged electronics, nauseating bass lurch, deep space exploration, Baba Yaga throbs, stethoscope excursions and demented skank. Tyneside represent!
I was honoured to be asked to knock up a mix by the mighty Opal Tapes, and since I’ve been all melancholy country and soul and whatnot lately, I got deeply into making something deep and dirty and bassy and abrasive. And here’s the result. There’s a lot of looking back fondly to the glory days of breakcore and Brixton and 414 and Ambush Records in here too.
And thanks toJohn Convery for the brilliant photo he let me use for the artwork
The mighty Blóm are dangerously close to releasing their debut album Flower Violence (on Box Records) which is coming out just after their tour supporting Pigs x7, a double whammy that proves once and for all that Newcastle roolz and Birmingham droolz.
And here’s a video for the single, Be Kind. So much pink, so much RAAAARRRGGGHHH!
Rumours that the B-side is a version of Sea Coal backed by The Wilson Family could not be confirmed as we went to press.
Hey friends, it’s mardi gras day. What better way to wash down them first couple of margaritas than with some laid back sounds from the keyboard king of New Orleans’ 9th Ward? Erotomania came out late last year and sees Quintron take a step back from his usual hyper charged garage dance party mania. Instead what we’ve got here is an entirely instrumental set of cocktail lounge exotica albeit with a hefty double shot of Quintron wonk and weirdness shaken into it.
Details are slim but the subtitle Quintron at the Chamberlin, suggests what we’ve got here is Q let loose on the real thing. A pretty rare and unusual instrument, the Chamberlin was a 50’s tape-based keyboard, the protoype of the Mellotron. Tom Waits likes to use one, but you don’t hear them around all that much. As an autodidact musical inventor himself I can see why he’d be fascinated and wouldn’t put it past Quintron getting access to one to make this record.
Named for it’s inventor Harry Chamberlin it’s a keyboard with an unusual history. Building a home studio Chamberlin managed to get members of the Lawrence Welk orchestra to record the sounds for the machine’s tapes. ‘Dixie Disaster’ in particular shows Quintron having fun with some of these more fully formed sections. Welk was so impressed with it he offered financial support in return for naming it after himself. Chamberlin declined. He was not keen on distribution deals either, employing his window cleaner as a salesman instead who eventually absconded with a couple, bringing them by boat to England. He tracked down a company that might help replicate the design under his own name and so the Mellotron came to be made in Birmingham. That was when we could still make you anything you wanted here.
Anyway, enough history more cocktails. For those of you not in the cocktail mood, here’s a version of Roky Erickson’s ‘Creature with The Atom Brain’ accompanied by a splendid Miss Pussycat puppet video
Those of you who’ve met either of us, have most likely run into us at the gym – it’s where we hang out most days. Gots to keep in shape. As such it’s come to seem to us a more everyday location than a romantic one. Still, in matters of the heart the gentlemen of noise churn combo Sex Swing are naturally to be heeded. Dan Chandler is nothing if not the Barry White of the UK grunt rock underground. So if they want to entertain their finer feelings while gazing at an orderly weight rack or swoon amongst the ungainly chaos of the cross training machines who am I to judge? Or perhaps they’re just down at the gym to forget, working manfully through the pains of the heart. The love dashed ones, not the disturbing burning/shooting sort we tend to get from doing any exercise at all, leaving us breathless and red faced in quite the wrong way. Honestly I’ve not untangled it yet. Much like the mysteries of the human heart, if you will.
Also, here are some cute cats. Because it’s the internets and we love you. Happy valentine’s my darlings x
Hey! We’re just popping our head out of the burrow Punxsutawney Phil styles to point you all over towards this other hairy, weighty beast emerging from hibernation. Luminous Bodies’ second album has been a long time coming but it’s worth the wait. It’s a freewheelin’ psych-punk monster. Yeah sure, early spring. I can’t yet say for sure this is the first great album of the 2020’s but it’s the first great album of February and no mistake. Their label reckon “It’s going to make the world a better place.” That’s a pretty big ask for an eight piece box of greasy dysfuntional clatter but it’s certainly making my world better right now. This is some Godzilla stompin’, skyscraper chewin’ spiritual uplift right here brothers and sisters. Hardcore motivational sounds for all your weekends bad choices. Crank it up, get involved.
There was a period – a glorious, acid-dappled period – in the late eighties (and into the very early nineties) where shit got weird. It started earlier, in New York and in Texas )(Butthole Surfers were probably the motherlode of whatever it was), but that deep lysergic, ugly / beautiful weirdness seeped into industrial music, metal, indie, dub and hiphop and so much else around that time. (Adrian Sherwood remixing an Einsturzende Neubaten song that Pussy Galore also covered felt like the apotheosis somehow).
I think Simon Reynolds came up with ‘arsequake’, meaning bands like the Surfers, Sonic Youth, Big Black and the rest, but I always liked ‘pigfuck’ better. You can all argue among yourselves about who was(n’t) part of this world, but the bands on this mix summon up that period for me, when everyone seemed to be off their tits and Nirvana hadn’t yet come along and ruined everything.
Pigfuck Ting is dedicated to Simon, who never really moved on…
World Domination Enterprises – Asbestos Lead Asbestos
Killdozer – Pig Foot and Beer
Dinosaur Jr. – Don’t
Terminal Cheesecake – Blow Hound
Stretchheads – Three Pottery Owls [with innuendo]
Silverfish – Dolly Parton
Mudhoney – In ‘n’ Out of Grace
Sonic Youth – Eric’s Trip
Scratch Acid – Mess
The Jesus Lizard – Blockbuster
1000 Homo DJs – Supernaut
The Young Gods – Longue Route
Butthole Surfers – Perry
There was so much I nearly included here that got dropped (partly for length but also for being slightly too late or not fucked up enough) – Meat Beat Manifesto, Revolting Cocks, Consolidated, Ween, Stickmen With Rayguns, Beatnigs, Swans etc etc. And there might be a follow-up since there’s a lot of stuff around at the moment which fits the drooling, mud-covered bill.