{"title":"Hindsight 2025 - Long List","description":"","products":[{"product_id":"mika-vainio-olento","title":"Mika Vainio - Olento","description":"\u003cp\u003eOlento the second album by Mika Vainio from 1996 together with Metri is one of the seminal works for understanding Mika Vainio's core of work. Here Olento is reissued for the very first time available on vinyl.\u003c\/p\u003e","brand":"kudos","offers":[{"title":"Default Title","offer_id":48489995764026,"sku":"","price":26.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/olento.jpg?v=1715102661"},{"product_id":"jjulius-vol-3","title":"JJULIUS - Vol.3","description":"\u003cp\u003e\u003cstrong\u003eWORLD OF ECHO EXCLUSIVE - EXCLUSIVE POSTER WITH EVERY COPY\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFollowing the release of the second Loopsel last year, DFA extend their relationship with the axis of creativity centred around Julius Pierstorff \u0026amp; Elin Engstrom with a third volume of material under the JJULIUS moniker. The name is suggestive of a solo project, which might have been more the apparent on previous outings, but this time out is far from the case, especially with the addition of the very obviously present Viagra Boys drummer, Tor Sjödén.  It's not the only change. If you've followed the JJULIUS output from day one, Vol. 3 might initially be received as a bit of a surprise. The lo-fi gloom of Vol. 1 in particular is now almost entirely absent, in its place a more kaleidoscopic type of alterna post-punk pop built from dual vocal parts, a Can-styled rhythm section, various synths and horns, and a surprising sense of good-time sunshine melody. This is far less tied to the Gothenburg underground to which Pierstorff was first associated than it is the more indiepop-led activity that pre-dates it, thinking in particular of Engstrom's stint in the Slumberland-affiiliatd act, Lichenstein and Skifthande Enheter. The still mostly Swedish language lyrics might instill an obvious ceiling, but make no mistake, this is avidly ambitious, intentionally accessible music that might with a bit of luck equally switch on the freaks and poptimists in the same way as Cindy Lee, Dean Blunt or Milan W have. However it plays out, huge respect to an underground artist willing to push themselves further towards the brighter lights.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Cargo","offers":[{"title":"Default Title","offer_id":54858493395321,"sku":"","price":24.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/DFA2720PACKSHOT.png?v=1736249698"},{"product_id":"split-apex-s-t","title":"Split Apex - s\/t","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003eCassette\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eSecond batch of Split Apex tapes in following the immediate sell out of that painfully short first ru. If you missed that initial communique, here's that rare second chance - A sharp blast of Raid might have been prematurely taken to Mosquitoes (posthumous CD retrospectives notwithstanding), but the inspiration has not died with it. Following on from Komare and last year's UEVPD LP, Split Apex is the latest project to come from one of the band's members. Outside of that, information remains a little thin on the ground, and it's unclear if there's anyone other than former bassist Peter Blundell involved. It certainly sounds characteristic of his work, the four tracks that comprise this self-titled cassette shaped by the kind of abstracted electronics, processed vocals and primitive bass rumble that cropped up in certain aspects of Mosquitoes music (mostly MOS-2\/WOE002), whilst the relatively minimal arrangement makes some concession to his association with Komare, which probably means the name Split Apex functions as an effective descriptor as much as anything else. Blundell's hard to parse spoken word contributions carry a little of both The Shadow Ring (and Lambkin's Kye in general) and Robert Ashley's Automatic Writing within them, and talk of This Heat's penchant for deconstruction and anti-rock anti-formalism is never too far from anything connected to the Mosquitoes universe. Grand associations one and all, though this is undeniably its own thing, one of those special first dispatches that show little concern for convention whilst retaining a tricky-to-pin alien allure. I've just about forgiven their decision to end Mosquitoes - Split Apex helps resolve that tension somewhat, but I'm going to need more of it.\u003c\/p\u003e","brand":"Mosquitoes","offers":[{"title":"Default Title","offer_id":54895896265081,"sku":null,"price":11.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/FullSizeRender.heic?v=1737556550"},{"product_id":"civilistjavel-foljd","title":"Civilistjävel! - Följd","description":"\u003cp\u003e2025 feels as if it's been evening all year long, and what better way to mark such greyscale murk than with a new Civilistjävel! long player? Well, not quite this time. While Följd, something like the eighth long player Tomas Bodén has released under the moniker, isn't exactly a sunshine affair, i'd contend it's his most Spring like offering to date, and certainly less weighed down in the snowblind minimalist dub doldrums than much of the other LPs. We remain at half-speed, and the arrangements are characteristically sparse, but there's also something gently radiant at work here, too, a subtle sunrise thaw in place of a reckoning with the prospect of the evig midvinternatten. Civilistjävel! output is at its best when it loiters in the in-between spaces, and that's most certainly true of these seven tracks, edging between dub phantasms, ambient drift and the bucolic chirrups of IDM at its most rural - I'm specifically thinking of Pub's Do You Ever Regret Pantomime?. Last year's Brödföda was notable for its number of features, but there's just one this time out. The appearance of Thomas Bush's dolorous vocal and guitar filigrees on closing track, 'XIX', is perhaps the best anyone has sounded on a Bodén production, and it adds another dimension to the Civilistjävel! sound, a broadening of palette and emotion that's as appropriate for the next day as it is after hours.\u003c\/p\u003e","brand":"World Of Echo","offers":[{"title":"Default Title","offer_id":54901035172217,"sku":"","price":21.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/civils.jpg?v=1737739280"},{"product_id":"kroppskannedom-s-t","title":"Kroppskännedom - s\/t","description":"\u003cp\u003eMerciful second press of one of the year's best! If you missed it, here's where Morc dipped its toes into the Swedish Underground for the debut LP by Kroppskännedom, a project led by Malmo's Andreas Malm of Eternal Music Society and one in which he's joined at various points by WOE-regulars, Sofie Herner and David Nein Rodere. Herner and Rodere make some choice contributions, vocal and otherwise, but this is certainly Malm's vision we're contending with here, the collaborations clearly a device for connecting his ideas with those existent elsewhere in the world of fringe music. And it's an effective approach, too, since it's easy to make sense of the associations with the no-wave (a)tonalities of Herner's work in Neutral and Nein Rodere's interest in fractured dissonance. But Kroppskännedom is also more than the sum of its alliances, underpinned with a locked-in doomy krautrock pulse that splits the difference between France and Mars (that's quite the distance I understand) in a manner that becomes near-transcendent when you're on you're third or fourth cycle through. Prior to this, Malm released a tape back in 2023, one that seems to have been missed by almost all outside of Morc - and I'll admit I was surprised this hadn't already emerged via Discreet. It seems the waters run deeper still in Sweden. And we, as you, have more work to do. \u003cbr\u003e \u003cbr\u003eFFO: France, Neutral, Mars, Leda, Eternal Music Society, late period Swans\u003c\/p\u003e","brand":"Morc","offers":[{"title":"Default Title","offer_id":54910921736569,"sku":"","price":22.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/morc92-kroppskannedom-coverlr.jpg?v=1738088179"},{"product_id":"hugo-randulv-drunkna-i-ljus","title":"Hugo Randulv – Drunkna I Ljus","description":"\u003cp\u003eGothenburg scene mainstay Hugo Randulv returns with a second solo album of deep set, heavy-weather ambience composed almost entirely around the electric cello and a subtle smattering of six string feedback. Randulv's form over the last half-decade-plus has been impressive to say the least - the three flawless LPs of avant noise pop by Amateur Hour, his contributions to Enhet För Fri Musik, the sprightly jangle of Skiftende Enheter et al - and, as with the previous record under his own name, Drunkna I Ljus proves a significant addition to an increasingly imperious catalogue. Those familiar with those former records may hear some connections between the ethereal instrumental passages that coloured each of the Amateur Hour collections and the haunted dissonance of 2021's Radio Arktis, though it's something outside of his own work that Randulv appears to be channeling most across these two long-form pieces. With its arcing drones and swirling emotional core, Drunkna I Ljus seems to confirm Jon Collin's status as an adopted Swede, functioning in its way like a companion piece to the still astonishing Bridge Variations. Consider it a dialogue between two complimentary artists, perhaps, or a reflection of the creative hive mind mentality Discreet has propagated these past five years. It remains a gift. And Randulv's consistent output, in its varying forms, shows your best work could be just around the next corner.\u003c\/p\u003e","brand":"Discreet","offers":[{"title":"Default Title","offer_id":54924814778745,"sku":"","price":24.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/HugoRandulv_DrunknaILjus.webp?v=1738672529"},{"product_id":"u-e-ulla-hometown-girl","title":"U.e (Ulla) - Hometown Girl","description":"\u003cp\u003eFirst, the necessary disambiguation: U.e. is the latest moniker to be adopted by the ever active American sound artist \u0026amp; composer, Ulla Strauss, and 28912 a new mysteriously labeled imprint, possibly operated by Ulla herself. The changes appear mostly cosmetic in nature, since Hometown Girl bears many of the hallmarks for which her music has become known and loved, existent in a self-generated interzone between disintegrating ambience, dreampop romanticism, glitched electronics and narrative impressionism. This is firmly Ulla territory, and yet it feels like an evolution is in process, too. Perhaps the ambiguity inherent in the name change is a purposeful defence mechanism, since these 12 tracks constitute an undeniably deeply personal collection, not least because of the presence of Ulla's voice, albeit mostly processed, but as on the bracingly intimate 'Drawing of Me', sometimes naked and direct. The title suggests an exploration of identity, which makes it all the more intriguing that Ulla is choosing to obscure aspects of hers somewhat. What do you show when you take away something as biographical as your given name? If Hometown Girl is evidently an Ulla album, then it's also a document of an artist in favour of impermanence and subtle flux, reshaping a voice in pursuit of new expressions and feelings but ultimately, in the end articulating its inherent, essential self. It's a bit of a Wizard of Oz trick, the journey leading back to your own front door. You can't escape yourself I guess, the hometown girl U.e. allows Ulla to return to without having stood still.\u003c\/p\u003e","brand":"boomkat","offers":[{"title":"Default Title","offer_id":54930814927225,"sku":"","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/U.e-HometownGirl.jpg?v=1738846954"},{"product_id":"voice-actor-squu-lust-1","title":"Voice Actor \u0026 Squu - Lust (1)","description":"\u003cp\u003eBACK IN PRINT! And these records don't tend to hang around too long..  What we said a few weeks back when it first came in: As is consistent with the presentation of the Voice Actor project from day one, little in the way of biographical detail has been provided in promotion of this second record, a collaboration with hitherto unknown Welsh producer, Squu - indeed, the press release accompanying Lust forgoes the usual PR spiel in favour of a short essay on the sensuality of, you guessed it, farming. Explication is by no means a requirement, though given such intentional aesthetic subterfuge, I am thankful for the illuminating interview Noa Kurzweil (aka Voice Actor) recently gave to First Floor, not least because there's a slightly surprising shift in focus with this new collection that benefits from a little context. That perceived shift can mostly be explained by the absence of Levi Lanser, the only other writer credited on the first Voice Actor record, and the introduction of the noticeably different sonic approaches of Squu. In short, Kurzweil hasn't made the same record again, which given the sheer volume of tracks (112!) that made up Sent From My Telephone, wasn't necessarily always going to be the case - if you're on to a good thing, why change tact? It's to the artist's credit they've opted against the path of least resistance. Fans of previous output are still going to find plenty to appreciate here, but Kurzweil's style of dreamstate ASMR is now framed a little differently, coloured by slow-mo glassy synths and trance-y arpeggios that play like some early-2010s production blasted on methoxetamine, which doesn't lead you too far from the ghost in the machine wooziness of Exael, Ben Bondy et al. The overall effect is still somewhat disassociative, but Kurzweil is now even more obscured in the mix, her words bordering on glossolalia, a seductive textural element (it's there in the title) as opposed to narrative device. Sent From... was such an unprecedented, monolithic statement it could have proved an albatross. In changing lanes and shaking up the collaborations, Kurzweil has savvily opened up the future possibilities for Voice Actor. 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We've certainly missed the Wino sound and their wonkadonk rhythmic genius. Like no time has passed at all, we get a little Rhythm \u0026amp; Sound flexing alongside the requisite terminator vocal on the A, while on the flip there's a sinewy, rubbery Euro tint that's gonna sound especially enticing under the influence. As it always should. What a comeback. Super limited obviously. \u003c\/p\u003e","brand":"Rush Hour","offers":[{"title":"Default Title","offer_id":54947917627769,"sku":"","price":15.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/wahwahwino.jpg?v=1739376601"},{"product_id":"david-grubbs-whistle-from-above","title":"David Grubbs - Whistle from Above","description":"\u003cp\u003e\u003cstrong\u003eDavid Grubbs will perform live at World of Echo on Saturday March 22nd. Entry will be privileged to those who order the record. \u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eLatest solo outing of typically classy, mostly guitar-based impressions and invocations from ever-inspired polymath, David Grubbs. A new record with Grubbs' name assigned to it has become as common as the change in season, and if the frequency of their occurrence has become reliable, then they've also maintained a consistent sense of intrigue and surprise. There can be no doubt - Whistle From Above is undeniably another David Grubbs record, but it also arrives with a new set of contexts. In the first instance, it follows the release of last year's revelatory Gastr del Sol boxset, an event that provided both band members and their audience alike equal opportunity to re-evaluate the legacy of one of the more beguiling acts of their era. The press release describes that archival deep-dive as an inspiring exercise for Grubbs, precipitating a flurry of creative enterprise that resulted in connections and collaborations with Rhodri Davies, Andrea Belfi, Nikos Veliotis, Nate Wooley, and Cleek Schrey. The results are as inventive and engaging as you'd hope, Grubbs' guitar playing so effortlessly probing you'd be surprised to see the man ever set it down. In classic Chicago fashion, each of the eight pieces are adorned with subtle interjections of woodwind, piano, wheezing electronics and concréte inflections, three decades on still inferring the post in post-rock. And it's to that point Whistle From Above finds new contextual significance - 'post-rock', in the way it was defined around the activity of Grubb and his co-horts in the early 90s is undergoing a reimagining of sorts, be that through the work of Able Noise, Blue Lake or even claire rousay. Great as they all inarguably are, the return of a master should not be overlooked. Grubbs remains both prolific and inspired. Take it as a gift, not for granted.   \u003c\/p\u003e","brand":"PIAS","offers":[{"title":"Default Title","offer_id":54950668697977,"sku":"","price":29.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/DavidGrubbsWhistlefromAbove.webp?v=1739456157"},{"product_id":"marie-de-la-nuit-transportees","title":"Marie De la Nuit - Transportées","description":"\u003cp\u003eHighly disorientating but utterly engaging sound design verite from Marie Guérin under her assumed de la Nuit sobrioquet, which maps her fitful passage through Brittany, Germany and Tunisia. Local voices cut in an out, sometimes in indigenous song, sometimes abstracted beyond comprehension, intersecting with the manipulation of an array of field recordings that are often trance-like in their arrangement. Guérin in part describes her practice as 'documentary', and there is certainly a sense of something of the wider world being recorded here, of its ebbs and flows, of its langauge and expression, and, ultimately, whether observed or otherwise, its persistent fecundity. Might we call this Abstract Ethnography? It does seem to aptly capture Guérin's intentions quite well, to map, reflect and celebrate polyglot oral traditions and the distinct sound worlds they create. Struggling to think of another record this is exactly like, which likely tells us that Transportées works best through telling its own specific story of the worlds it's encountered. \u003c\/p\u003e","brand":"State 51","offers":[{"title":"Default Title","offer_id":54962589106553,"sku":"","price":26.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/MarieDelaNuit-Transportees.webp?v=1739896008"},{"product_id":"various-five-years-of-failure","title":"Various - Five Years Of Failure","description":"\u003cp\u003e\u003cstrong\u003eI\u003c\/strong\u003ef it's been five years of failure for Discreet, who mark their first half-decade with a ten track compilation of new or unreleased music by label alumni Facit, Eftergift, Demeters Döttrar, Sewer Election, Juho Toivonen, Leda, Shadow Pattern, Livskraft, Arv \u0026amp; Miljö and Franciska, then they've certainly been failing upwards. It's not so much a disingenuous title as one that speaks to the we'll-do-what-we-want approach of what has become, in a fairly short space of time, not just a Gothenburg instutution, but a pillar of the international underground. The majority of the artists featured here are local and pan-generational, which is remarkable in itself (and even in the digital age, I believe 'scenes' do remain seductive propositions), but a wider net has also been cast to other parts of Scandinavia and Canada, and they all sound at home in each other's company. This is not commercial music by any stretch of the imagination, and for some, nor will it be particularly accessible. Yet it is uniquely compelling, a collective re-establishing of the intersecting boundaries of post-industrial, (neo)folk, drone, lo-fi, noise and home-made electronic tape music that might still have happened if Discreet weren't there to endorse, but I doubt it. If you've even half an ear for wonk, murk, dissonance or outsiderdom, this is nothing less than essential. 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There's obvious pedigree to be drawn on here, and The Fool delivers on those expectations, four lengthy hits of ambient techno mystery that seeks out some intersecting space between the cerebral minimalism of prime era Raster-Noton, the dreamy lull of Ulla's Tumbling Towards A Wall and the cavernous dub of Porter Ricks. On the money on all counts, and something extra besides that's become typical of all Sa Pa productions - ghostly texture, smoky ambiance, ancient rune of the future. 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Russell's entire oeuvre is perhaps defined by two characteristics - range and process. There are many different versions of Arthur Russell, and there are many different means of accessing and understanding the transitions that such a myriad creative enterprise requires - with World of Echo we've already had the supplementary texts of Picture of Bunny Rabbit and the tape release of the 1984 performance, Live at EI. Open Vocal Phrases, Where Songs Come In and Out, an instructive title if I've ever heard one, is a kind of addendum to the latter and another foothold in understanding, which is especially useful for an album famously initially evaluated as 'unintelligible'. Russell's eternal appeal is that it's never exactly clear just how he did it - you can hear the process, but the inspiration remains harder to rationalise. Some of the music performed here would later be edited to form part of the recording of World of Echo, and as such scans as somewhat familiar to anyone acquainted with the sister album. It's therefore the live context of Open Vocal Phrases that marks it out as special: imagine those people stood in a room with someone performing these alien sounds right in front of them, Russell seemingly divining something hitherto unknown from the vibrating air of cello and voice. To be taken back to that moment removes none of the inherent mystery attached to these sounds. Still, if the presentation is undeniably sui generis, the message they carry feels a little more universal, suffused with an inescapable romanticism that regardless of how its framed, is highly relatable - love and longing and all its good and bad. So yes, the music of Arthur Russell is characterised by range and process. But the unadorned nature of Open Vocal Phrases shows it's also one of eternal truths. 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How and why these songs were written and recorded is tied to a very specific set of historical circumstances which is of course interesting in itself, though it should also be noted how unusually prescient their sound is. It's unclear how much of what else was happening in Europe was reaching the group, and as such their music exists in its own unique liminal space, bearing some resemblance to the melody-driven, artrock experimentation of both a neighbouring German underground (Can mostly, some Faust) and the related axis of Cale, Reed, Ayers and Nico, as well foreshadowing the kind of hypnagogic pop that's become prevalent in the internet age. This isn't so much dreampop in its accepted form as it is woozy and dream-state aligned, perhaps in part because it's music transmitted from a world that's now mostly gone - dispatches from an alien past, the east's hidden reverse to its western counterpart, if you like. Without sounding much alike, Trabant evoke a similar feeling to that of, say, Cukor Bila Smert' or Velly Joonas, a distant new pop dialect that carries echoes of a wider culture but retains its own independent otherness. 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Beyond the obvious tragedy itself, there's the additional disappointment of seeing the wings clipped of a potentially great new act. As Filterbeds, Whelan formed a trio with Natalie Williams and Mark Courtney (both formerly of Leyden Jars and Oyl), joining to make a series of ghostly improvised electronics that now seem especially eerie given the circumstances of their release. Edited down from hours of recorded material, the sounds the trio make spiral and drone in classic time-dilated fashion, mostly minimalist assemblages that seem to locate themselves in the dystopian hinterland of Wire-adjacnet activity (think Dome at their most abstracted, Cupol, Gilbert\/Lewis) and the 'dirty' (post-industrial) ambience of O Yuki Conjugate's Primitive collection. As Mutualism becomes a little more agitated in its closing section, I'm also partially reminded of both Mosquitoes and that recent great Germ Lattice debut, the sounds of three people falling over together in agreed, intuitive disharmony. Unfairly cut short Filterbeds might be, but the record stands as a compelling testement to its creators. Edition of 200.\u003c\/p\u003e","brand":"central bazaar","offers":[{"title":"Default Title","offer_id":55018297196921,"sku":"","price":23.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/d6sy73RQZ1L6xOfGMlTnD2484sIyuQnnWCm4Rz3B.webp?v=1741715520"},{"product_id":"cuneiform-tabs-age","title":"Cuneiform Tabs - Age","description":"\u003cp\u003e\u003cstrong\u003eWORLD OF ECHO EXCLUSIVE - TRANSLUCENT YELLOW VINYL + POSTER\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eCuneiform Tabs play live in-store at WOE on Friday 25th July.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eShop favourites - both ours and yours judging by the amount of conversations I've had about them in-store - Cuneiform Tabs return with a formidable second record of psych-damaged astral planing. This isn't exactly the same kind of band that first introduced itself with that self-released self-titled debut in early part of 2024, the red-line scuzz thrill mostly replaced with a little more drug-fogged inner-gazing and gentle experimentation. It's the kind of transition you might compare to the one made between first and second Swell Maps albums, not so much in that the two bands sound alike (though they don't sound unalike either) but in the similarly adventurous take on bedroom sonics and song structure. Melodies drift in and out of focus in a dream-like logic fashion as guitars, synths and drum machines hum along deliriously, defined by a similar sense of we'll-do-as-we-want self-determination that charged the Brummie DIY titans. Pieced together remotely between London and San Francisco, it's the influence of the latter that seems to hold most sway this time out, West Coast psychedelia adjoined to new age aesthetics and Public Access TV static drone in a patchwork manner that certainly speaks to how the record was created. Dare I call this hypnagogic pop? The comparison doesn't feel a million miles off, though more accurate might be to understand Age as a kind of addition to the ghostbox continuum, haunted and dissociative in ways we might usually connect with Broadcast, Atlas Sound or even now-label mate Cindy Lee.  Those returning for a retread of that first album might not find exactly what they're looking for in Age, but what is here is ultimately more adventurous and harder to place, the sound of a group pushing out into the lesser charted territories of their influences. They're impulses that prove east to trust. \u003cbr\u003e \u003cbr\u003e\u003cem\u003e\u003cstrong\u003eFFO: Atlas Sound, Ariel Pink, Swell Maps, Dome, Broadcast\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Forte","offers":[{"title":"Default Title","offer_id":55037784916345,"sku":"","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/woy8fHpA.jpg?v=1742301242"},{"product_id":"bobby-would-mumia","title":"Bobby Would – Mumia","description":"\u003cp\u003eLeft-turn return from Robert Pawliczek's Bobby Would project with a slow-moving, mostly instrumental suite of drone based sound that doubles as a tribute of sorts for artist friend Sven Sachsalber, who passed unexpectedly in mysterious circumstances during the early days of the pandemic. The title Mumia directly references a series of paint-based experiments Sachsalber had been working on shortly before his death, whereby he was utilising ancient pigments tied to specific cultures and practices, making mistakes along the way and inadvertently confusing histories - note that the official press release attached to the record describes this practice very well, and is worth referring to for a fuller understanding. Pawliczek's response is understandably elegiac in tone, a sepia-like wash of layered glacial drone that's a long way removed from much of the mordant sense of humour that characterises his other work. Drone is an ideal aesthetic response to painting, overlapping tonal shifts and repeated phrases that reveal different sonic qualities over time, the spectrum of sound in symbiosis with the spectrum of colour. If Mumia is conceptually solid, then it's also emotionally redolent, it's notable difference to its creator's other work expressive in itself of its sincere value. No doubt that this is weighty, sad sounding music, though it contains in it a strange kind of ineffable beauty too, a tribute yes and a mourning also, but a celebration too, a truly human response to an unfortunately very human experience.  \u003cbr\u003e \u003cbr\u003eFFO: Tim Hecker, Andrew Chalk, William Basinski, GAS, Biosphere\u003c\/p\u003e","brand":"Digital Regress","offers":[{"title":"Default Title","offer_id":55038979473785,"sku":"","price":23.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/bobbywould.jpg?v=1742318047"},{"product_id":"seefeel-quique-1","title":"Seefeel - Quique","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003eDouble LP\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eBizarrely out of print for not far off two decades, Seefeel's landmark debut is now back in print as a smartly presented double disc set. 'Landmark' is a term that mostly belongs to the heteroglossia of label generated press releases and record collector wackjobs, so I use it carefully here. How better to understand Quique's uniting of shoegaze introspection, hollowed out dub bass, ambient isolationism, chirruping electronics and smoky trip hop allure? A whole NTS aesthetic folded into a single hour some 25 years before its inception. That's prescience! And not to be discourteous, but listening back to tracks like 'Polyfusion' and 'Charlotte's Mouth' in 2025, there's a clear roadmap being drawn in its sensual dreamworld of after-hours mystery for so much of what is considered cutting edge now. Any number of acts from the West Mineral\/3XL\/sferic++ axis owe a debt to the language being devised here, a language that arrived out of ingenuity and intuitive understanding - indeed, founding member Mark Clifford sees Quique as partly a product of the limitations imposed by restricted access and minimal understandings of new technologies. None of the gear and all of the ideas. There's plenty still to learn from such off-piste thinking. More still to be inspired by. Landmark, yes. Monumental, even more so. 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The purview tends to widen when a French artist turns up on an Australian label (and a very solid one at that in Efficient Space), but we nonetheless remain on slippery terrain, Bujeau's double-necked guitar playing a thing of unexpected, glacial beauty, an almost komische-like rendering of ambient drift that might well translate as an Manuel Gottsching\/Andrew Chalk collab - cosmic folk-drone with its controls set for the heart of the sun that never seems to set. The repetitive chimes of the hard-to-look-past 22 minute opener, 'L'Ultimo Sacrifacio' also evoke the dulcimer-led work of Dorothy Carter or the homemade steel guitar sound of Michael O'Shea, another two previously 'hard-to-locate' artists who were good at communicating ineffable ideas via subtle gestures and a unique slight-of-hand. If Bujeau's work continues to encourage such associations, the net of interest will undoubtedly be cast a good deal further\u003cbr\u003e \u003cbr\u003e \u003cbr\u003eFFO: Ash-Ra\/Gottsching, Andrew Chalk, Turner Williams Jr., Dorothy Carter, Michael O'Shea\u003c\/p\u003e","brand":"SRD","offers":[{"title":"Default Title","offer_id":55080213512569,"sku":"","price":26.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/MegabasseFlamenca.webp?v=1743504882"},{"product_id":"neutral-lagliv","title":"Neutral - Lågliv","description":"\u003cp\u003eSee also: \u003ca href=\"https:\/\/worldofechomusic.com\/products\/neutral-s-t\" target=\"_blank\" rel=\"noopener\"\u003eNeutral - s\/t\u003c\/a\u003e \u0026amp; \u003ca href=\"https:\/\/worldofechomusic.com\/products\/neutral-nar\" target=\"_blank\" rel=\"noopener\"\u003eNeutral - NÄR\u003c\/a\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eFirst time vinyl showing for Neutral's truly torched Lågliv, an album-length collection of tracks originally released as part of On Corrosion, the ten cassette anthology that LA's Helen Scarsdale Agency issued as their 50th release in 2019. That collection went out of print before most were able to acknowledge its existence, and since Dan Johansson and Sofie Herner increasingly feel like godparents of sorts for the noise-art sensibility that's defined the Gothenburg underground for the past half-decade or so, the upgrade to a wider release not only makes sense, but seems like a duty. The duo are on blistering form here.Turned up, strung out, phasers set to stun in  characteristically anti-formalist fashion, riding the white hot noise void that unites the Dead C, Spacemen 3 and Mars. For a certain kind of noise-sympathetic listener, that's the holy trinity right there, and Neutral again prove themselves deserving of such association. Perhaps it's the Swedish language, or the unique chemistry between Johannson and Herner (or a combination of both), but there's also a thrillingly mysterious type of murk that emerges when these two combine, the lo-fi glaze of the recordings creating the sense of some kind of purgatorial transmission or seance-like ritual, half-decayed communications conjured from the unknown. And the unknown is crucial. Neutral might present as an anti-rock proposition, but their best trick is one central to the best of all rock - true allure lies in unspoken spaces in-between. More new sounds soon, please.   \u003c\/p\u003e","brand":"Morr","offers":[{"title":"Default Title","offer_id":55090225938809,"sku":"","price":26.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/Neutral-Lagliv.jpg?v=1743695197"},{"product_id":"christine-s-cat-like-a-summer-s-day","title":"Christine’s Cat - Like A Summer’s Day","description":"\u003cp\u003e10\"\u003c\/p\u003e\n\u003cp\u003eGenuine scene-in-between grail discovery by the re-activated Windmill label that uncovers three previously unheard tracks by Sarah Records alumni Christine's Cat, and places them alongside the sole song the band released while together, 1989's 'Your Love Is...'. The Sarah connection and date-stamp are as much of a roadmap as you need, pinpointing precisely the late-summer sad-sack sensibility the trio are channeling, right in the sweet spot of post-Mary Chain psychedelic jangle that was just about to shift into shoegaze. The few photos that exist of the band suggest a group enamoured with the Cure, though it's a wholly misleading presentation, the four tracks here instead rotating between Pastels-by-way-of-Beat Happening boy-girl melodicism, The Carousel-style lovelorn confessional, and the amp-ed up psychedelic chug of Magic Roundabout. All the right boxes ticked in all the right ways, just the right amount of it to keep you wondering about what might have been. A quintessential 1989 band in a lot of ways. Certainly all  the ways that matter.\u003c\/p\u003e","brand":"Windmill","offers":[{"title":"Default Title","offer_id":55096587846009,"sku":null,"price":20.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/EF737389-7089-43A3-B121-33265D7A5937.webp?v=1744015784"},{"product_id":"enhet-for-fri-musik-lat-oss-vada-genom-all-angslan-tillsammans","title":"Enhet for Fri Musik - Låt Oss Vada Genom All Ängslan Tillsammans","description":"\u003cp\u003eDid this really first come out ten years ago? The years since, like all years tend to be, have been both kind and unkind, though something that has remained consistent is the creative output of the enclave of artists centred around Enhet För Fri Musik and an attendant experimental underground of similarly-intentioned noisemakers who have increasingly reshaped understandings of avant-leaning DIY culture. Låt Oss Vada Genom All Ängslan Tillsammans serves as a Rosetta Stone of sorts. Initially serving as the maiden release for Förlag För Fri Musik, a progenitor for what Discreet would subsequently ossify into a collective sensibility, Enhet För Fri Musik's debut outing would prove revelatory not just for its expressing of a certain set of aesthetic principles - improvised lo-fi free-folk with a defiantly autodidactic underpinning - but also for the ideas it suggested about community, shared language and de-institutionalised self-determination. Though later releases would see a growth in personnel, here they were the four piece of Dan Johansson, Hugo Randulv, Sofie Herner and Gustaf Dicksson, all of many other related groups, before, since and contemporaneously. Aspects of many of their associated activities are discernible here, though it's perhaps Dicksson's Blod output that bears the closest resemblance to what's being attempted here, fragile folk half-songs floating in the purgatorial amber of no wave dissonance and new age ambiance. There's the sense that these songs might fall apart in the turn of a sudden breeze, like the pages of an ancient book excavated from some lost tomb. The four were not so much inventing a new language as rechanneling the low-lit communiques of acts like Garbage and the Flowers, Charalambides and Tower Recordings into a Faust-ian (pun intended) pact of their own. An extending of a lineage, if you will, and one that has growth numerous branches of its own, across Gothenburg and much further beyond. This is the kind of pure expression music-making that seemingly seeks no audience or approval, and but finds a little of it in that negation. 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If you've been following their regular NTS show, you'll know they frequently use the platform as a means to share various works-in-progress and unreleased material, which often reveals a little extra going on under the hood than the studio albums might suggest. Belly Up arrives in that same spirit, a detour of sorts from the more, shall we say, extroverted aspects of most recent LP You Never End into more supple and subtle confines. It's a move that really makes the most of Valentina Magaletti's MVP drum work, her intricate polyrhythmic patterns looped and manipulated in ways that somehow make them both looser but tighter (\"slower but faster\", as Martin Hannett might have said). There's also another very welcome guest appearance from vocalist\/poet Sophia Al-Maria, alongside a couple of outings from Ben Vince, who provides a notably agitated saxophone part to opener 'See'. Elsewhere we get almost footwork-esque samples and what feel like a few nods back to their previous life forays into experimental club music whilst keeping it math-y. So yes, it's an EP doing what an EP is best served to do. Brave new terrain, re-establish the boundaries, sling a few curveballs. There's a song here titled 'I'm Really Flagging'. Across it's six tracks, Belly Up shows Moin are anything but. An already hot band on a consistently hot streak.\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFFO: Don Cabalerro, Hella, Tortoise (Standards-era), Yally\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Republic","offers":[{"title":"Default Title","offer_id":55105709834617,"sku":"","price":20.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/moin.png?v=1744286489"},{"product_id":"the-dengie-hundred-remnants","title":"The Dengie Hundred - Remnants","description":"\u003cp\u003eCassette\u003c\/p\u003e\n\u003cp\u003eAlways-welcome new inventions from The Dengie Hundred, who have, on their latest outing for Sagome, taken a deep dive into the archives for a 60-minute long reanimation of hours of discarded sound files and sonic ephemera amassed over many years and myriad locations, both at home and away. It's a supremely murky affair, shapeless and foggy but weighted with strange nostalgia, much like the origins of the field recordings from which it was constructed. Likened to the safeguarding of old letters and photographs, you might consider Remnants as a kind of psychogeographic survey of its creators personal history, suffused with the ghosts of once-forgotten memories and experiences, now re-rendered in the grey-scale purgatorial half-light of time-dilated sound. The results land somewhere between the psychoactive murmurings of Time Machines-era Coil, the syrupy mulch of Eyes of Amaryllis, and the backwater hauntings of Maths Balance Volumes, and is as disorientating as that might seem. It's fitting that this could have come from sources otherwise discarded but for some reason preserved, an expression of the forgotten moments that somehow led us to where we are. Memory remains a curious conceptual construct - we expect it to fail but rely on it anyway. 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The last we heard from the pair was 2024's MAY, a sprawling double disc compilation of early recordings that weaved a tapestry of traditional folk song melody, ghostbox magick, droning electronics, and trance-like ambience. If it lacked focus, then it certainly made up for it in ambition. The Tree of the Left Hand doesn't so much abandon that approach as refine it to a sharper edge. We're down to a single disc this time with less the sense of a data dump of ideas as an interconnected song cycle, an unsurprising shift given the conceptual focus on mycelium networks and the life cycles of plants \u0026amp; trees. The pagan folk overtones draw us in a few directions, both back to the Order of O.T.O. horror-of-the-countryside mysticism of the Hidden Reverse sect (Current 93, Coil and the like) as well as towards the more contemporaneous spooky lamentations of Annelies Monsere, Brannten Schnure and Shackleton. 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Information is characteristically thin on the ground (but of course), though the insert lists the involvement of six different players of typically post-punk associated instrumentation (guitar, drums, bass, synth), the sound they make landing very much in that sweet spot of rip it up and start again self-determining new wave experimentation that favours the outsider weirdo. As with so much music of this era and this kind of provenance, the results are often surprisingly addictive and accessible, even as they threaten to tip over in a heap of hot mess. Slightly brattish, sharp tongued vocals are traded, synths and guitars clatter up and down the stairs, and everyone sounds like they're having an awful lot of terrible fun even as they address the horrors of the unrelenting world, very much like, say, Pere Ubu with zero imagined audience. And that's not accounting for the 12 minute long, piano-led Les Disques du Crepuscule-styled closer 'Dolphin Bay', which given its place in the tracklising and all that's come before it, has to be viewed as some kind of reward. There's also a few forays into homemade electronics in the albums second half that had me thinking of Robert Rental, John Bender and Colin Potter in varying measures, which speaks most clearly to ...the Lakers unusual impulses. If you've heard the likes of Gerry \u0026amp; the Holograms, De Fabriek \u0026amp; Dome and wanted to to turn little further left, perhaps Bunny \u0026amp; the Lakers are the one for you? 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Given the attention afforded to music of this kind over the past decade or two, the profile of the German duo feels unusually muted, especially as they were quietly prolific, the subject of numerous split releases since their mid 80s conception and a handful of more contemporary outings. At That Time is an effective survey of their muse, adjacent to the minimal wave constructions of acts like SM Nurse and Pseudo Code, the industrial mechanisms of Portion Control, and the more crepuscular decay of shadowy outliers like Caroline K and Nocturnal Emissions. So familiar are the signifiers now, you'll immediately understand what's at play on first spin, and yet there you'll be coming back for more time and again. What is it with this kind of music that's so enduringly appealing? Perhaps the end of the world aesthetic is an eternally seductive notion? No man left on the shelf in the war against himself and all that. Or maybe the sound of two people from nowheresville (Leer actually, a city in north west Germany otherwise notable for the Bünting Tea Museum and Leeraner Miniaturland) coming together to make such a home-brewed, self-directed racket portentous with doom and longing is a romantic pursuit that speaks to something animal inside us all? Whatever it is, you've now the fun of At That Time to help you work it out.  \u003cbr\u003e \u003cbr\u003e\u003cem\u003e\u003cstrong\u003eFFO: Caroline K, Nocturnal Emissions, SM Nurse, Portion Control, Pseudo Code\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"central bazaar","offers":[{"title":"Default Title","offer_id":55159814783353,"sku":"","price":24.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/NostalgieEternelle-AtThatTime.jpg?v=1745925276"},{"product_id":"zaheer-gulamhusein-all-i-knew","title":"Zaheer Gulamhusein - All I Knew","description":"\u003cp\u003eIt's been a minute since we heard from Thomas Bush's Men Scryfa label, but here it comes gliding back into view with the latest offering from the often-implacable Zaheer Gulamhusein. If that name doesn't ring any bells, then you may otherwise be familiar with Gulamhusein's various output under a series of shifting monikers - XVARR, WASWAAS, Twin Womb and other such confusing configurations. The subterfuge, like with, say, TRjj and Civilistjavel, suits the music well, which makes the use of his given name on All I Knew nothing if not curious, since we're in typically fog-ensconced territory. In short, no veil is being lifted here, hidden under the cloud of psychoactively charged Bulcha experiments which do a sterling job of folding time in on itself. If the murky spools of TRjj's various experiments feel comparable, then equally so does the vaporous cloud-shifting ethereality of O Yuki Conjugate or the time-dilated mutations of John T. Gast's work as Gossiwor. Gulamhusein might be using his own name, but this is music that remains firmly hitched to the darker corners, stuck between the stations of the night and with little desire to extract itself from such outerzone confines. A much needed antidote to this pleasant weather of late.  \u003cbr\u003e \u003cbr\u003e\u003cem\u003e\u003cstrong\u003eFFO: Gossiwor, John T. 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The four LP \u0026amp; DVD Ambiguism boxset from 2010 was such a comprehensive collection the assumption was that all that was worthy of re-assessment had already been excavated. 1983 Unearthed definitively states otherwise, ten tracks that open a different window into the history and process of what I still believe to be one of the great undersung acts of British (or anywhere) post-punk\/industrial history. Just teenagers at the time of their creation, the group were understandably in a period of creative flux and enquiry, and the music included here reflects the bridge they were building between the Cabaret Voltaire\/Throbbing Gristle adjacent electronics of their debut tape and the post-industrial dystopian ambience of debut LP, Scene in Mirage. The reality is that much of this music seems to have been made at the same time - indeed, the recordings that make up that first album date to 1982 - which is revealing of both how purposeful those original releases were in their construction and how many ideas were floating around. The joys of youthful discovery! 1983 Unearthed is sequenced in such a way so as to reflect this aesthetic evolution, the first half more aligned with the Cabs\/TG\/ClockDVA sound, the second half mutating into the tribal, minimalist arrangements we'd see them more fully embrace on 1987's Into Dark Water, and the point they start to link 23 Skidoo with Hassell and Eno. And these are no mere footnotes or afterthoughts. Should this have served as the only document of O Yuki Conjugate's existence, we'd be lamenting a great lost record. Fortunately, it's instead another twist in the tale and, for my money, further evidence of confirmed legendary status. No minor addendum, 1983 Unearthed is essential text.\u003cbr\u003e \u003cbr\u003e\u003cem\u003e\u003cstrong\u003eFFO: Cabaret Voltaire, Throbbing Gristle, ClockDVA, 23 Skidoo, Jon Hassell\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"central bazaar","offers":[{"title":"Default Title","offer_id":55159852761465,"sku":"","price":22.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/OYukiConjugate-1983Unearthed.jpg?v=1745925577"},{"product_id":"rest-symbol-s-t","title":"Rest Symbol - s\/t","description":"\u003cp\u003eFreshly birthed Kranky off-shoot FO reaches out into London's unknown waters for this second offering of spooked n sensual ambi-pop from mysterious trio Rest Symbol. Members Molinaro, Moreiya and Wendy Lavone are all said to have served time in various oufits and manifestations connected to labels like Apron, Touching Bass and 5GATETEMPLE, none of which I can speak to but I really must get around to properly investigating. When they come together here, though, the sound is very much one of Right Now, a ghostly reconfiguration of blue-smoke trip hop, dissociative dream-logic dub ambience, and palimpsestic post-Burial electronic emotionalism. We see many references to such things these days, but Rest Symbol are adept in framing it just right, keeping you guessing while holding the door ajar to allow you a peak in. Much to enjoy throughout, though I'd implore you to stick right in there until the end for the the obvious winner 'Twelfth Hour', a very Kranky-like orchestral drone-pop torch song pitched somewhere between the highwatermark of Belong's Common Era, Tim Hecker and Bristol Sound romance. I'd not take your eye of these. Much more surely to come.   \u003cbr\u003e \u003cbr\u003e\u003cem\u003e\u003cstrong\u003eFFO: Jabu, HTRK, Space Afrika, Ulla, Tim Hecker\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Rubadub","offers":[{"title":"Default Title","offer_id":55182135263609,"sku":"","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/RestSymbol-RestSymbol.jpg?v=1746544004"},{"product_id":"john-t-gast-sister-marion-slay-ep","title":"John T. Gast \/ Sister Marion - Slay EP","description":"\u003cp\u003eJohn T. Gast and 5GATETEMPLE associate Sister Marion unite for this collaborative 12\" for relatively fresh Japanese imprint, Parallel Line. Why this is on Parallel Line and not JTG's own label is a mystery that's probably more exciting left unsolved, though this is very much in the 5GATETEMPLE hotzone of mutilated digidub sonics and post-everything else shadow-world bounce, grind and flex that keeps it as enticing as anything else that comes out of that reliable stable. Respect to all players involved of course, but at this stage, anything with Gast's name on it is worthy of investigation and Slay certainly keeps the streak a hot one. And when the titular Mica Levi-like strings land on 'KM7 (Strings)', there's strong argument for extending the collaboration way beyond these three tracks. As good as ever. Never in doubt.\u003cbr\u003e \u003cbr\u003e\u003cem\u003e\u003cstrong\u003eFFO: Young Druid, Jay Glass Dubs, Jolly Discs, DJ Escrow\/Babyfather\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Rush Hour","offers":[{"title":"Default Title","offer_id":55203056124281,"sku":"","price":23.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/JohnT.Gast_SisterMarionSLAYEP.jpg?v=1747148870"},{"product_id":"c-d-noe-ornamental-hermits","title":"C.D.Noé - Ornamental Hermits","description":"\u003cp\u003eCassette\u003c\/p\u003e\n\u003cp\u003eMega 90 minute long collection of glassy synth experimentation from Berlin-based debutante C.D. Noé, which will pique all kinds of interests for anyone with even half an appreciative ear for the likes of TRjj, early Black Dog Productions or the incredible Brin \u0026amp; Josiah Steinbrick collaboration, Bliss Place. Noé shares a label with both the aforementioned TRjj and Inner Cop Avoidance, and Ornamental Hermits manages to imagine a space between the quixotic electronics of the former and the psychoactive gamelan of the latter, which over an extensive hour and a half ends up quite the psychedelic experience. Jonas Torstensen of Franciska has described the collection as akin to the \"unfold(ing)... of a living system\" and it's as on the money as anything I could otherwise think to say, multiple synth melodies emerging and retreating in a beguiling symbiotic dance, at once both cerebral and joyous. 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Affectionately might have been a long while coming, but it makes the most of its time spent in the background by drawing upon alliances made with the right kind of crew, with esteemed players like Coby Sey, Micachu drummer Mark Pell and Mica Levi herself all showing up at various points, while the fact that the record has been released on 15Love, the ML Buch-releasing label founded by Astrid Sonne's manager, gives you more than a little context. Let's not just name-drop here, though, for Raisa K has a great way of delivering and presenting a pop hook that's highly addicting, as equally in the spirit of early 80s bedroom synth DIY as it is modern, possessed of a morose singsong quality that had me thinking in various stages of Great Area, Dubstar, St Etienne and Marine Girls. If not the sound of pop itself, then undoubtedly the sound of the pop underground right now.\u003cbr\u003e \u003cbr\u003e\u003cem\u003e\u003cstrong\u003eFFO: Astrid Sonne, Coby Sey, Tirzah, Mica Levi, Great Area, Marine Girls\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Rush Hour","offers":[{"title":"Default Title","offer_id":55264943407481,"sku":"","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/AffectionatelybyRaisaK.jpg?v=1748350018"},{"product_id":"living-dream-absolute-devotion-1","title":"Living Dream - Absolute Devotion","description":"\u003cp\u003eIndianapolis five-piece Living Dream make their vinyl debut with a four song collection of the kind of astutely rendered psychedelic jangle we've recently mostly been associating with The Bay Area and its associated constellations of bands \u0026amp; labels. Like with, say, The Smashing Times, being part-way removed from the epicentre of *that particular action* proves useful, tuning into something a little less sunshine and a touch more inner-gazing and strung-out. Indianapolis, of course, has its own self-contained vibrant underground, of which a number of the players in Living Dream appear to have various kinds of involvement (check out the brattish eggpunk blast of MUDSLUT as evidence of their range of interests), and the regional difference does express itself in subtle ways. If, say, April Magazine are dreamy and romantic, and Children Maybe Later whimsical, then Living Dream are slightly more hypnotic and urgent, especially so on the final two tracks here, which play around the same Kraut-y influences as Deerhunter and Brian Jonestown Massacre might have once explored and cast them amongst a gloomily enticing lo-fi glaze and mordant vocal. Brilliantly seductive first impressions, and if you're willing to venture to YouTube you'll find a live clip that suggests there's plenty more in the tank for this crew. Consider my interest piqued.\u003cbr\u003e \u003cbr\u003e\u003cstrong\u003e\u003cem\u003eFFO: The Smashing Times, April Magazine, TV-P, Children Maybe Later, Deerhunter\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e","brand":"inscrutable","offers":[{"title":"Default Title","offer_id":55270620299641,"sku":null,"price":19.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/LivingDream-AbsoluteDevotion.jpg?v=1747314098"},{"product_id":"real-lies-we-will-annihilate-our-enemies","title":"Real Lies - We Will Annihilate Our Enemies","description":"\u003cp\u003eI'd almost given up on ever seeing this, but Real Lies' third album, originally released in digital form back in April, finally makes its way into the physical realm. Given the delay, there's been much time to get familiar with a set of head-rush pop theses that felt laser guided to soundtrack the long hot summer that made the nights feel endless here in London this year. With the sun now seemingly starting to set on those balmy days, these songs now start to reflect a different dimension of their power, less nostalgic and euphoric as they are unabashedly romantic. It gets colder, we get closer... These are ostensibly torch songs, for friends and feelings, times and tunes, earnest and candid in a way that can often feel quite brave - it does, after all (maybe more than ever), take guts to be gentle and kind. Which is a funny thing to say about an album called We Will Annihilate Our Enemies, but read it another way: see that less as an affirmative act of aggression as it is a declaration of collective outsiderdom. Us vs Them, and the Us means the world. The words are key to understanding the appeal of a group like Real Lies, uncovering fantasy in late night loves and drugs, and the epiphanies and releases found hidden in the strange daily debasements that accompany the walk through our Modern Life. I could easily quote any number of lines from across the album, though nothing quite expresses this aspect of the RL MO then what stands at the centre of the gauzy ambi-poetry of 'LOVERWORLD' - \"Love a life that seems to move, these days, eight times the speed\/Which means four loving lifetimes, left, for you and me\". if you're looking for fast love... and past love, and last love, it's in here. This is writing of the same lineage as Pet Shop Boys, Pulp, Arab Strap, a bedsit vista through a smartphone prism. The music, though, comes from somewhere else, an enticing amalgam of Euro dancepop nostalgia, sinewave manipulated IDM and subtle renderings of hyper-pop futurism - think, perhaps, of the Baxendale (Michael Mayer remix), Oxtongue and The Congosound 12s on the short-lived Kompakt Pop sublabel and you'll be somewhere near the right ballpark. And that's the heart of it, really, Pop song just to one side, and written from the gaze of a meaningful personal experience that somehow embodies a universal notion. In that sense, it's a utopian vision. 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Smith is a wonderful melodicist and clearly blessed with the knowledge of the Lost Chord, coining numerous psychedelic ear worms that are one half bent out of shape, the other half bent right into it. Joined here by Hannah Forrester (who I didn't previously know) and Oli Lipton (who I know very well through his connections with Cindy and Violent Change), they make a sound that lands somewhere in the venn diagram that links Cleaners From Venus and Ariel Pink - they get the heartbreak bedroom jangle from the former, and the artful oddness from the latter, and end up filling a hole that few have been near since Ariel went loco and glampop panache in the American underground was displaced by something a bit moodier. Well, Now are anything but moody, buoyed by that eternally well intentioned idea that if a song might not change the world at large, it can at least create its own one. Now Does The Trick - don't it just. \u003cbr\u003e \u003cbr\u003e\u003cem\u003e\u003cstrong\u003eFFO: Cleaners From Venus, Ariel Pink, Part Time, Cuneiform Tabs, Sad Eyed Beatniks\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Cargo","offers":[{"title":"Default Title","offer_id":55293811360121,"sku":"","price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/NowNowDoesTheTrick.webp?v=1748949103"},{"product_id":"the-living-rainbow-friends-s-t","title":"The Living Rainbow \u0026 Friends - s\/t","description":"\u003cp\u003eCassette\u003c\/p\u003e\n\u003cp\u003eThe increasingly fascinating Living Rainbow project evolves one step further with this latest tape of DIY pop experimentation that expresses equal love for Dan Treacy, Dreams Less Sweet-era Psychic TV and the kind of bedroom mysticism that defined the fabled Cordelia label. I've long admired what INFOrmatION! have been putting out, perfectly dressed cassettes seemingly made undercover by the same set of people under a variety of different names, be that Sanctuary of Praise, Holy City or, as here, The Living Rainbow. Nonetheless, this latest collection does really seem like some kind of highpoint is being reached. A less forgiving soul might argue that previous Living Rainbow tapes have been guilty of wearing their Television Personalities adoration a little too clearly on their sleeve. Not so here. This is a much stranger - and better for it - concoction of songs, all backwards guitars, bubbling synths and skittering drum machines, sometimes adorned with vulnerable vocal interjections, sometimes left to just meander to some undefined abstract conclusion. This is the spirit right here. Doing it for the sake of doing it and making it beautiful, too. Really, no further notes required. 10\/10.\u003cbr\u003e \u003cbr\u003e\u003cem\u003e\u003cstrong\u003eFFO: Television Personalities, Amos and Sara, And The Native Hipsters, Psychic TV, Milk From Cheltenham\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"central bazaar","offers":[{"title":"Default Title","offer_id":55303409140089,"sku":"","price":12.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/living.jpg?v=1749116091"},{"product_id":"nocturnal-emissions-invocation-of-the-beast-gods","title":"Nocturnal Emissions - Invocation of the Beast Gods","description":"\u003cp\u003eFirst time vinyl pressing of a brilliantly realised field recording-based, ethno-industrial ambient excursion from the ever-inspiring Nocturnal Emissions. This reissue seems to have been in the works for some time, so it's hugely coincidental is should pass through the door the same week as new records from Brannten Schnüre, Militia Aurora and Jota Solo, all artists who seem to owe some kind of debt to the haunted-collage approach of Nigel Ayers. Invocation of the Beast God is build around various location recordings of 'night creatures' - bats, owls, insects, foxes et al - and layers and loops them into unrecognisable, drone-like patterns that invariably glide, swirl and chirrup in strangely satisfying ways, a true palimpsest of sound. As we've seen with other releases this week, the influence of this kind of approach is now fairly marked (without it, we might have no other way of describing a group like Brannten Schnüre), and the 'noon-at-two-o'clock' shadow zone of Invocation... feels strangely prescient. 'Time-dilated', 'crepuscular', 'dreamstate' are terms we hear regularly now, and could just as easily be used to describe a record made over 35 years ago. No doubt Ayers was on to something here. Along with their peers O Yuki Conjugate, Nocturnal Emissions remain one of the defining innovators of British post-industrial ambient sound. 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Can't overstate just how appealing this sound is to me right now, ice-cold controlled techno minimalism with a deeply felt sense of dystopian-futurism in the Raster-Noton mould. It always feels like the end of the world to someone somewhere, which in its own way makes Asuma a timeless proposition of sorts, though it's hard not to feel like it's come back into view at precisely the right time. A lean terminator of clicks, cuts, drones and buzzes that could either be the computers breaking down or taking over - I'm not sure what to fear most. More so, what makes Asuma most appealing is just how implaccable it is, operating in that characteristically Pan Sonic fashion of somehow being focused towards the body and the head in equal measure. 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Comprised of Rainer Rabowski and Axel Grübe, a pair of producers with a long running association with the German underground via their previous band Roter Stern Belgrad and the early 80s cassette imprint Klar!80, their uniting as Mentocome coincided with that of the country as a whole and the very noticeably left turn into experimental sound design that was guiding electronic music at the time. Whether they were directly connected or not, Mentocome accords very well with the concomitant work of Werkbund, PFN, C-Schulz and Frank Dommert (particularly the latter two's Kontakta collaboration), presenting a deconstructed buzz of fractured electronics that expresses an as much of an affinity with avant garde composition (Stockhausen, Cage et al) as it does the more prickly approaches of Coil and Vanity Records. What's most remarkable is how fresh it sounds now, which is perhaps a product of the mindset of its creators Rabowski and Grübe - there seems to be little implied audience in the free-wheeling, wide-focus quality to their approach, less concern still for conventional form. Art for art's sake, with the bar set high, and a surrounding cultural mindset, whether conscious or remote, pushing it onwards and outwards. In hindsight, quite the time to be alive. Respect to Amok Age for helping to reanimate the feeling.   \u003c\/p\u003e\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003eFFO: Werkbund, Kontakta, Vanity Records, PFN, Blockwart, O Yuki Conjugate\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"ravi.binning@gmail.com","offers":[{"title":"Default Title","offer_id":55321876693369,"sku":"","price":28.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/Mentocome.jpg?v=1749575979"},{"product_id":"jean-marie-mercimek-dans-le-camion-de-marguerite-duras","title":"Jean-Marie Mercimek - Dans Le Camion De Marguerite Duras","description":"\u003cp\u003e\u003cstrong\u003eLP or Cassette\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eAguirre's second showing this week marks the return of French duo Jean-Marie Mercimek with a third album of warped minimal wave chanson that's both intimate in its arrangement and extrovert in its sensibility. Had the term not been co-opted to the point of meaningless by the TikTok elite, I'd have been tempted to describe Dans Le Camion De Marguerite Duras as its own kind of defiant bedroom pop, the intrepid music made when you're alone in your little room without the world breathing down your neck - the sort of room where, as Brian Wilson said, you can do your \"dreaming and scheming\". A better term, then, might be private universe sound, and Jean-Marie Mercimek are most certainly building their own world of understanding across these ten tracks, collectively recorded across two locations and six years. That prolonged period of gestation speaks to the purposeful but wide-vista nature of the songwriting, which lands somewhere between Flaming Tunes, the alien oddness of compatriots Nina Harker and Kou, and the artful elan of Stroom-associated homemade electronics of Hessell Veldman, Cybe, Enno Velthuys et al. There's another version of this world out there in the infinite expanse that positions this kind of sound as the pop apogee. Until we get there, we can but dream. 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The cross-continent communal approach doesn't end there, either, as we're treated to a string of guest appearances from Troth's other half, Amelia Besseny, Neutral's Sofie Herner, Jon Collin, Yuta Matsumura, and the always delightful Sarah Pickles (remember her show-stealing cameo on Thorn Valley? Golden). For the right set of ears, that's a veritable who's who of what's what right now, and Rules For Living certainly delivers on the reputation of the names involved, a phantasmagoric unspooling of smoke plume dub sonics, post post-punk austerity, and dreampop drone. With this number of different voices involved, there's always the risk of slipping into incoherence, but Bowman and Rodere are adept enough at steering the ship to know that you can make a virtue of these things also. Which isn't so much to say that Rules For Living lacks focus as it is purposefully freewheeling, simultaneously expressing the dissociative aesthetic that's been central to their respective work for some time now as well as showing off the range of talent and ideas existent in their shared collective underground. And don't take such things for granted - even like-minded people aren't always aware they're facing the same direction: it takes another agent to help direct the light (no surprise, then, that Bowman is involved given his ceaseless work running the Altered States Tapes imprint). In that sense, CD3's uniting of the geographically disparate but emotionally linked provides a truly effective scene-surveying snapshot of what's lurking in the worldwide undergrowth - may it forever grow fecund. With endeavours such as this, it's given every chance.\u003cbr\u003e \u003cbr\u003e\u003cem\u003e\u003cstrong\u003eFFO: Loopsel, Troth, Monokultur, Schatterau, Windows, Voice of America-era Cabaret Voltaire\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Honest Jon's","offers":[{"title":"Default Title","offer_id":55340573720953,"sku":"","price":24.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/RulesForLivingbyCD3.jpg?v=1750159820"},{"product_id":"the-shadow-ring-hold-on-onto-i-d","title":"The Shadow Ring - Hold On Onto I.D.","description":"\u003cp\u003eBlank Forms progress their Shadow Ring reissue series with first time vinyl editions of albums three and four by Folkestone's most abstruse. What to make of these records? What, indeed, to make of The Shadow Ring in general, that most unusual confluence of devolved song craft and evolved thought that time hasn't really made much more sense of and mostly evades any prevailing context. First released in 1996 following a US tour and taking its name from the opening line of their second album, Wax-Work Echoes does at least have some wider ties to a diffuse underground of partially adjacent noisemakers - they'd just toured with Idea Fire Company, Richard Youngs and Vitamin B12 make appearances (as well as Tim Goss joining the band for the first time), and Bruce Russell released it on his Corpus Hermeticum imprint. Yet it still sounds caked in the group's distinct absurdity, featuring quite a lot of songs about mice (literally, figuratively, as metaphor - it's all up for grabs), and the kind of mythology-extending approach to anti-music, convention-baiting sound and overtly amateur playing that's funny (and knowing), alien, and undoubtedly addicting. Why is the confusing cacophony so appealing to me? The answer might just be contained within the words to 'Camel or Carthorse' - \"I've got more of this music out back [...] A hit's a hit if it's music or not\". Speaking of hits, Hold On To I.D. might well be the Shadow Ring's most well known collection, likely because it was for a long time one of the easier titles to access online, though perhaps also because it marks their relocation to a new H.Q. (ie not the homes of their parents), which was also depicted on the album's front cover. More astute myth-making I'd venture, particularly so when allied with its given title and lyrics about the triviality of low-level bureaucracy, and the everyday filters and measures of identity (i.e. 'Basic Everyday Life', the title track). There's also a lot of references to prawns - I won't try to explain that. Nothing is being played with a straight bat here (though a bat is as likely an instrument as anything else), but there are still songs of sort, what you might argue are roughly conceived in a similar spirit to certain manifestations of The Fall ('C 'n' C-S Mithering' comes to mind for a start) and the NZ underground (which likely explains how Siltbreeze became involved), and they'd not really ever sound exactly like this again. In truth, you've either a taste for this kind of thing or you haven't. I'll not judge either way, though I personally find it impossible to tire of such fuckery. 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Why is the confusing cacophony so appealing to me? The answer might just be contained within the words to 'Camel or Carthorse' - \"I've got more of this music out back [...] A hit's a hit if it's music or not\". Speaking of hits, Hold On To I.D. might well be the Shadow Ring's most well known collection, likely because it was for a long time one of the easier titles to access online, though perhaps also because it marks their relocation to a new H.Q. (ie not the homes of their parents), which was also depicted on the album's front cover. More astute myth-making I'd venture, particularly so when allied with its given title and lyrics about the triviality of low-level bureaucracy, and the everyday filters and measures of identity (i.e. 'Basic Everyday Life', the title track). There's also a lot of references to prawns - I won't try to explain that. 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When you're bored of everything else, there's always the Shadow Ring and their uncanny alliance of the sacred and the profane. \u003cbr\u003e \u003cbr\u003e\u003cem\u003e\u003cstrong\u003eFFO: The Fall, The Dead C, Idea Fire Company, Ceramic Hobs, Vitamin B12\u003c\/strong\u003e\u003c\/em\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Cargo","offers":[{"title":"Default Title","offer_id":55365511086457,"sku":"","price":28.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/TheShadowRingWax-WorkEchoes.webp?v=1750692351"},{"product_id":"world-of-pooh-tight-and-loose","title":"World Of Pooh - Tight And Loose","description":"\u003cp\u003eUtterly essential compilation of 45s, loose strays and hitherto lost\/unheard recordings by supremely underrated San Fran three-piece, World of Pooh. An early outlet for Barbara Manning and one in which she was joined by Nuf Sed head honcho Brandon Kearney and Glorious Din's Jay Paget, the group were in operation for a total of seven years but only really managed to commit to a few official releases. Of those records, only the Land of Thirst LP really moves for any serious money now, suggesting that there's not really a huge audience out there waiting for this to land. Strange given who's involved. Stranger still, the otherwise great scene-surveying Strum and Thrum comp that documented the US indie underground of that same period didn't seem to be able to find a place for them on a double disc set which felt perfectly designed as a platform for the kind of sharp-eyed rockin' jangle World of Pooh excelled at (note that Manning's concurrent act 28th Day do appear, and was probably seem as a sufficient scratching of that itch. Nonetheless...). So if Tight \u0026amp; Loose isn't exactly widely anticipated, it is at least a bit of a revelation, hyper-melodic, whipsmart, taut n tense, and possessed of a unique intensity that walks a similar line to the wound-up drive of early R.E.M, Pylon and The Feelies. Perhaps because of Paget's time served in Glorious Din, it's also possible to hear elements of The Gun Club in some of the more post-punk adjacent moments, not so much bluesy, but possessed of a similar fire (of love?) as Jeffrey Lee Pierce et al. If World of Pooh turned up brand new today, there'd no doubt be a red carpet rolled out for them. As it is, they feel a touch lost to time. Tight \u0026amp; Loose might not end up turning the world to face anymore than these songs did first time around, but it is sure nice to hear them all lined up in a row like this, its own lockbox of secrets. \u003cbr\u003e \u003cbr\u003e\u003cem\u003e\u003cstrong\u003eFFO: The Feelies, Pylon, 28th Day, The Gun Club\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Cargo","offers":[{"title":"Default Title","offer_id":55370523279737,"sku":"","price":27.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/WorldOfPoohTightAndLoose.webp?v=1750763408"},{"product_id":"primitive-motion-lost-frequencies","title":"Primitive Motion - Lost Frequencies","description":"\u003cp\u003e2 CD - 6-panel digipack with 12-page booklet\u003c\/p\u003e\n\u003cp\u003eHefty double CD collection of previously unheard material recorded by Brisbane duo Sandra Selig and Leighton Craig as Primitive Motion, an outfit that have been floating in and and out of these doors since they first opened back in 2018. Their history pre-dates ours (there's a discography that stretches right the way back to the turn of the previous decade), though the music contained here is roughly contemporaneous with WOE's early years, culled from December '17 to November '21. It's not an incidental point, since the sounds they make feel very well attuned in both sensibility and aesthetic to much of what we consider to be the best music of the past seven or so years. Present across these 24 tracks is the sense of home-recorded freeness that feels equally private and determined, a mix of kraut, drone, spacerock and electronic experimentation that at any given point recalls Idea Fire Company, Ashtray Navigations, Windy \u0026amp; Carl or Astral Social Club, the kind of outsider artists that rarely find a way in because they're never actually looking for it. If Lost Frequencies is outré by nature, it's equally inspiring because of it. The thinking is unmoored, the application at times loose, others simply free, which makes for quite the trip when taken as one mammoth whole - take, for example, the run of tracks from five to eight, which starts with the simply overwhelming 18 minute hypnotic beast 'Owl' and ends with the succinct, Galaxie 500-like sweet ecstasy of 'Higher'. Most likely wouldn't tie one with the other, but with Primitive Motion it feels both natural and a logical extension of their taken name (to move onwards, haphazardly but inevitably). The connection to the Discreet universe makes perfect sense, though it's also a similar spirit to that which drives, for example, Berlin's Kashual Plastik or fellow Aussies Altered State Tapes. 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If allegiances weren't already made clear by that distinctive surname (a gift from his Factory co-founding father, Alan), then Hard Sell makes it certain: 15 elastic, lissom re-configurations that impressively extend the rich lineage of the kind of  post-punk experimentation that we routinely associate with these (un)fair Isles. The influence of Factory is inevitable and understandable (and why should it not be), though it's not the only one, with equal parts Rough Trade, Y Records, Fast Product and all manner of obscure one-and-done DIY oddities mashed into its DNA. More to the point, Hard Sell doesn't sound especially like any other one thing, but does share the sensibility of an era, displaying a loose, agnostic approach to genre and form, building clattering drums and wonky electronics around a liquid bass that never quits and Erasmus' alien vocal gesticulations and abstract proclamations. What is being got at here isn't entirely clear, the song titles abstruse, the song structures loose and unpredictable, the ghosts of Martin Hannett solo experiments certainly at work within the machine. And it's such opaque workings that make the whole thing so enticing and addictive - I've come back to this one numerous times trying to find some obvious answers, but leave every time with more mysteries to unravel. It's an increasingly rare experience. And so, if you've found the anodyne appropriation of 'post-punk' into something approaching mainstream formula a little predictable, then the enigma code of Hard Sell might be the antidote you're looking for.\u003cbr\u003e \u003cbr\u003e\u003cem\u003e\u003cstrong\u003eFFO: early Cabaret Voltaire, Windows, ESG, A Certain Ratio, The Names, Second Layer, Artery\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e","brand":"Rubadub","offers":[{"title":"Default Title","offer_id":55396775985529,"sku":null,"price":25.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0051\/1380\/6921\/files\/LPSPI004.jpg?v=1751361795"},{"product_id":"blue-lake-the-animal","title":"Blue Lake - The Animal","description":"\u003cp\u003e\u003cstrong\u003eEXCLUSIVE DINKED EDITION - Transparent blue vinyl - unique LP insert with illustrated \u0026amp; signed artwork by Jason Dungan plus bonus track download, hand-numbered edition, limited pressing of 300 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eBLUE LAKE PLAYS LIVE IN-STORE AT WOE ON RELEASE DATE - 3RD OCTOBER. The first 30 pre-orders of \u003cem\u003eThe Animal\u003c\/em\u003e secures your space at the in-store. One ticket per copy. Space is limited! \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe gentle evolution of Blue Lake has been a joy to witness. Over the course of six albums written and recorded in a relatively short period of time, Jason Dungan's increasingly ambitious project has moved from off-kilter improv through ECM-styled pastoral jazz into a kind of post-rock-informed bucolic Reichian ambi-pop. On Blue Animal, an all acoustic multi-instrument affair featuring six different players and the project's first use of the human voice, Dungan and his group are arguably at their most rich and realised yet. This is a consciously collaborative effort, easily apparent in ten slowly unfolding, joyfully performed compositions that harness a springtime zeal in their cascading confluence of strings and woodwind. The previous two albums have, I believe, stated a spiritual connection to 90s Chicago - Sam Prekop\/Gastr Del Sol\/The Sea and Cake et al - and it's an influence that continues here but feels one step advanced, the arrangements increasingly complex and layered, but most distinctly, emotionally driven, analogous to some mystic communion between Laaraji, Robbie Basho and Jim O'Rourke. Dungan describes the approach as born from a spirit of togetherness, and there really is a sense of mutual understanding at play, too skilled to be called effortless, but certainly felt as much as it is thought. As such, it's an astonishingly cohesive work, though particular praise should be given to mid-album highpoint 'Strand', a piece that builds from repeated guitar figures and arcing strings into a dramatic, unfurling finale that suggests that it's probably only a matter of time before Dungan scores his first film (I'm loathe to use the word 'cinematic', but you take my point) and the choral harmonising that directly follows it on the title track. 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