LA LUZ - 'FLOATING FEATURES'

Formats

• HAR105 - LP

  098787310511

• HARCD105 - CD

  098787310528

Details

Los Angeles has often been described as a “dream factory”--both a mecca where dreamers converge to pursue long-held aspirations, and a topography of hallucinogenic contradictions: enchanting tangerine sunsets diffused by smog, crystal-clutching spiritualists mingling with deep-pocketed narcissists, rows of scenic palms competing with garish billboards for commuters’ attention. It was against this backdrop that the four members of La Luz--singer/guitarist Shana Cleveland, drummer Marian Li Pino, keyboardist Alice Sandahl, and bassist Lena Simon—conceived of Floating Features, the band’s third studio album. For this, their most ambitious release yet, La Luz consulted landscapes both physical and psychological. References to dreams abound on Floating Features. “Loose Teeth” catalyzes nightmare fuel into a propulsive, intentionally-disorienting collision of honeyed harmonies and Takeshi Terauchi-esque jet-streams of distorted surf guitar. “Mean Dream” unsurprisingly mines dreamstate imagery, and the lyrics and melody for “Walking Into the Sun” actually came to Cleveland During a particularly-vivid night of deep sleep. Looming over the album’s Coterie of surreal figures (gargantuan cicadas, a monstrous “Creature,” The Sun King, aliens, the titular “Lonely Dozer”) is the magnificent “Greed Machine,” a skulking, insatiable engine of consumption-NathanaelWest’s “business of dreams” fearsomely manifested. Only La Luz could conjure up Floating Features’ Leone-on-LSD vibes, and the album finds the L.A. band at the height of their powers--golden rebels in a golden dream. 

Tracks

01. Floating Features 2:15
02. Cicada 3:13
03. Loose Teeth 2:49
04. Mean Dream 3:36
05. California Finally 3:23
06. The Creature 3:30
07. Golden One 4:16
08. Lonely Dozer 3:17
09. Greed Machine 4:21
10. Walking Into the Sun 2:47
11. Don?t Leave Me On the Earth 2:37

Press

BBC6 A-list playlisted. Reviews: MOJO, UNCUT, The Times, NME, Skinny, Line of Best Fit, Loud & Quiet, London In Stereo, Narc, DIY.

Audio & Video

HERE LIES MAN - 'YOU WILL KNOW NOTHING'

Formats

• EZRDR089CD - CD

  603111729527

• EZRDR089 - LP

  603111729510

• EZRDR089X - LP (COLOURED)

Details

**LTD EDITION VINYL REPRESS 100 FOR UK ONLY.. RED SWIRL!** Here Lies Man took the music world by storm in 2017 with their self-titled debut positing the intriguing hypothesis: What if Black Sabbath played Afrobeat? Rough Trade named Here Lies Man in their prestigious Top 10 Albums of 2017. BBC 6 & Classic Rock Magazine deemed it among the year’s best, as well as countless other press outlets singing its praises. This June, the L.A. band comprised of Antibalas members quickly follow their auspicious debut with the even more thoroughly realized album You Will Know Nothing. Its 11 tracks expand upon the band’s exploration of heavy riff-based rock and psych within the ancient rhythmic formula of the clave. “We’re very conscious of how the rhythms service the riffs,” explains founder and vocalist/guitarist/multi-instrumentalist Marcos Garcia (who also plays guitar in Antibalas) of the band’s sound. “Tony Iommi’s (Black Sabbath) innovation was to make the riff the organizing principle of a song. We are taking that same approach but employing a different organizing principle: For Iommi it was the blues, for us it comes directly from Africa.” Sonically, on You Will Know Nothing the dynamic range is thicker, crisper and more powerful. It glistens as much as it blasts. The songs are even catchier, more anthemic, and the production reflects that of a band truly come into its own. Lyrically, it’s an equally more conceptualized effort that reflects upon states of being and consciousness — a driving force that carries throughout the words and moods of all of the band’s releases, interconnected to their trancelike music. Here Lies Man have honed their sound and their focus, and soon, you will truly know Nothing. “We wanted to go deeper with the sonic experience,” says Garcia. “Even though it sounds more hi-fi than the first record, it was important that it didn’t sound too polished.” While You Will Know Nothing certainly maintains its gritty grooves, there’s an interesting conceptual mathematics to the entire proceedings. “There are interludes between each song that are 2/3 to 3/4 of the tempo of the previous song,” Garcia says. “The reason it breaks down to 2 over 3 or 3 over 4 is that everything in the music rhythmically corresponds to a set of mathematical algorithms known as the clave. The clave is an ancient organizing rhythmic principle developed in Africa.” “We dove deep into the texture of the music, beyond the groove and the riff,” says HLM cofounder and drummer Geoff Mann (former Antibalas drummer and son of jazz musician Herbie Mann.) “Although something might sound like one instrument, there are subtle layers shifting through. It’s definitely a headphone album.” Garcia and Mann recorded the album much like they did the debut, at their own L.A. studio on a Tascam 388 8-track tape machine. Congas were later recorded by percussionists Richard Panta and Reinaldo DeJesus. Then, Garcia went to NY to record interludes with former Antibalas keyboardist Victor Axelrod. Mixing took the most time in order to find the proper sonic space for each layer of musical detail, with first album engineer Jeremy Page mixing the drums and the band tackling the remainder while also juggling a hectic touring schedule. Here Lies Man has already spent much of early 2018 on tour, with dates supporting Antibalas and Fu Manchu as well as a headlining trek through the EU & UK. Many summer festival dates and headline tours await later in the year as Here Lies Man continues its infectious charge onward.

Tracks

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Audio & Video

FAUST - 'THE FAUST TAPES'

Formats

• SV118 - LP

  855985006185

Details

Faust stand among the most influential creative forces to have emerged from Germany in the late ’60s and early ’70s. Along with Can, Agitation Free, Neu! and others, Faust rejected the Anglo-American norms of rock ’n’ roll dubbed by the UK press with the semi-derogatory term “krautrock.” Faust would reach near-mythical status through a series of classic albums recorded between 1970 and 1973 at their secluded Wümme studio. As Dave Segalwrites in the liner notes, “There’s no consensus about which Faust album represents their zenith. But a survey of the group’s fans would likely find the collage-heavy messterpiece The Faust Tapes triumphing. Its freewheeling, jump-cut nature and unlikely earworm Moments conspire for more what-the-fuck epiphanies per minute than just about any other record about which Krautrocksampler author Julian Cope has raved.” Comprised of twenty odd tape-manipulation experiments and freak-out jams, The Faust Tapes stashes away some of the band’s best-known songs. “Flashback Caruso,” with its delicate acoustic guitar and Rudolf Sosna’s airy vocals, could easily have appeared on So Far or Faust IV , while on “J’ai Mal Aux Dents,” Jean-Hervé Peron’s playful lyrics and this ecstatic, era-defining riff perfectly represent Faust’s magical mischievousness. This first-time US release of The Faust Tapes on vinyl reproduces the original sleeve design, featuring artwork by Bridget Riley

Tracks

Press

Originally released in 1973 on Virgin
Faust?s classic third album Features original sleeve design
Includes artwork by Bridget Riley Liner notes by Dave Segal
Comes with download card

Audio & Video

JOHN BENDER - 'POP SURGERY'

Formats

• SV103 - LP

  855985006031

Details

Following the release of lo-fi electronic masterpiece I Don’t Remember Now / I Don’t Want To Talk About It and his brilliant follow-up Plaster Falling , Cincinnati-based artist John Bender began assembling his third and last album, Pop Surgery, in late 1982. While all of Bender’s work draws from intimate home recordings—featuring the artist alone with various keyboards, analogue sequencers and tape delays—Pop Surgery remains the one that perhaps best distills his arrant deconstruction of the “pop” concept. These twelve frenetic tracks, meticulously stitched together with dubbed-out vocals and disjointed drum machines, stretch the boundaries of bedroom electronics. Bender would forgo the handmade LP sleeves typical of his Record Sluts imprint. The cover depicts an imposing scrapyard crane, ready to pick up discarded objects with its bright red electromagnet, while the center labels détourn Columbia’s classic ’70s style. “I pressed a single run of 500 copies,” Bender recounts. “The only review I remember railed at the poor production quality. The DIY era had clearly come to an end.” This first-time standalone reissue is recommended for fans of Suicide, TG’s 20 Jazz Funk Greats and early Cabaret Voltaire. Liner notes by John Bender.

Tracks

1. 54-2 Meat
2. 65-2 Galacial
3. 60-1 Thought
4. 60-2 Mallinder
5. 60-3 Hand
6. 60-4 Day
7. 57-1 Dance
8. 67-4 Glass
9. 53-2 Blue
10. 68-1 Cows
11. 68-2 Amalgamelon
12. 68-3 Unrelated

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Audio & Video

BEANPOLE - 'ALL MY KIN'

Formats

• CHIM42 - LP

  616892544340

• CHIM42CD - CD

  616892544241

Details

"If Fellini, Dali and Captain Kangaroo got together in their teens and ate peyote, this is the album they would have recorded."- Les Claypool All My Kin is the strange and somewhat unbelievable album by an artist called Beanpole. “Starving artist” must have been their mode of recording as stories of farming, eating, and disfigured animal-human hybrids course throughout the record. Very little is known about Beanpole, but it is widely recognized by collectors that most of the music originated from the late 1980s and early 1990s. Some sources maintain Beanpole is still active, although evidence remains unsubstantiated. Primus’ Les Claypool claims he attempted to release a decade’s worth of Beanpole recordings on his Prawn Song label in the ‘90s. We’re told that the tracks were delivered to the mastering studio on worn-out cassette tapes and dusty DATs. As legend has it, when Claypool played the mastered tracks to his distributor, the response from company executives was poor. As a result, Claypool was summarily dismissed from his business relationship with the distribution company, effectively ending his label. For nearly 20 years thereafter, the tracks were to remain forgotten. Fast forward to 2017 when Claypool was touring with Sean Lennon as The Claypool Lennon Delirium. Les played the old, neglected recordings to Sean, who decided that the world was finally ready for Beanpole! “Beanpole’s All My Kin is a concept album for post-modern America. It chronicles the epic tale of Chicken Boy and his dangerously interrelated family. Years of isolation have resulted in the birth of a child who is part man and part poultry. Despite obvious adoration for their uniquely feathered offspring, having fallen upon hard times they consider the unthinkable: will Chicken Boy be sacrificed to feed his hungry family?” — Sean Lennon

Tracks

1. His Name Is Beanpole
2. Chicken Boy
3. Cousins
4. Supper Time!
5. Farmer Loved An Onion
6. Lunch Time!
7. Pumpkin Pickin' Time
8. Grandma
9. Sponge Boy
10. Midnight Snack!
11. Embryo
12. Judge Wapner
13. Monkey Boy
14. Children In Your Garden
15. Dinner Time!

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Audio & Video

MICHAEL PRICE - 'TENDER SYMMETRY'

Formats

• ERATP112LE - LP (COLOURED)

  4050486115084

• ERATP112LP - LP

  4050486115091

• ERATP112CD - CD

  4050486115107

Details

Emmy award-winning composer Michael Price will release Tender Symmetry, his second album with Erased Tapes, on August 31st 2018. The ambitious musical project takes in a series of iconic National Trust locations across England as its inspiration, turning them into unlikely recording spaces. Michael and a host of musicians and collaborators — including soprano Grace Davidson (featured on Max Richter’s Sleep) and Shards (the choir on Nils Frahm’s All Melody) — travelled across the country in pursuit of places far removed from the traditional recording studio to create seven unique and moving pieces, straddling the past and the future. The diversity of Michael Price’s choices ranges from the ruins of Fountains Abbey in Yorkshire to the Fan Bay WWII shelter, cut deep into the chalk cliffs of Dover. All owned by the National Trust save one, each venue became both the inspiration and the recording studio for Michael Price and his accompaniment of renowned musical ensembles, choirs and soloists. "For Tender Symmetry, I stopped admiring and started participating in these buildings. This began as an exploration of writing and recording out in the world beyond the studio. I am interested in where we build our homes in an increasingly virtual world and the spirit of place we feel as we walk our local streets, our schools, temples and public spaces. Taking inspiration from a place, and the stories it told, then going back to that place to record, sometimes in less than ideal conditions, made the two-year adventure much more like shooting a film than making a record.” — Michael Price Acoustics varied wildly as the artists moved from places designed with sound in mind to locations which demanded the use of miners’ helmets for light and battery-powered sound gear. The final recordings carry the genuinely unique sonic blueprints and spirit of each place – from the birdsong in the courtyard at Speke Hall to the steam-driven cotton mill accompaniment at Quarry Bank. “When we recorded the piece at Fan Bay in the World War II shelter deep inside the chalk cliffs of Dover, Peter Gregson’s cello wasn’t at all happy with the clammy, dank conditions; but to be in the tunnels where young soldiers spent months on end, constantly on alert for incoming bombers, gave the recording an extraordinarily intimate, moving quality. At each site, the human mixed with the historical, and the natural environment of each space comes through with each piece. I tried to leave an imprint of each location on the record.” While each piece of music is named after the location in which it was created, William Blake’s Songs of Innocence and Experience courses through them as well. Soprano Grace Davidson sings Blake’s poignant words about nature, religion and the industrial revolution on several of the pieces including the astoundingly beautiful album closer Shade Of Dreams, written after the birth of Michael’s daughter. “The final piece, Shade of Dreams, is part of a group of pieces I wrote for the birth of our daughter, Emilie. It, like all the works on the album, takes its text from William Blake’s Songs of Innocence and Experience, in this case, A Cradle Song. As much as Tender Symmetry is about the past, it is firmly about the future, and all our of shared futures.” Grace Davies, National Trust contemporary arts programme manager said: “We were delighted when Michael approached us with this project as it directly draws on the extraordinary stories and history of these special places. The sheer variety of sites that Michael has chosen has resulted in a collection of new music that is sometimes surprising, sometimes poignant, and – above all – inspirational. I am sure that audiences will be enchanted both by Michael’s music and our places that have inspired him.” Tender Symmetry will be available on LP / CD / DL on August 31st 2018. Performers on the album include soprano Grace Davidson, Shards choir, virtuoso cellist Peter Gregson, as well as new music experimentalists Immix Ensemble and Manchester Collective, among others. Extras: CD/LP Deluxe photo-booklet, plus download code // EXTREMELY LIMITEDEDITION CLEAR VINYL VERSION = INDEPENDENT SHOPS ONLY

Tracks

1. Sandham
2. Speke
3. Willow Road
4. Quarry Bank
5. Fan Bay
6. Fountains
7. Shade of Dreams

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Audio & Video

GILBERTO RODRIGUEZ Y LOS INTOCABLES - 'SABOR MARACUYA DESNUDA'

Formats

• EMP044 - LP

  647603401911

• EMP044CD - CD

  647603401928

Details

San Francisco, CA—drop the needle and start navigating the heat of a backyard rumba with Los Intocables, led by Gilberto Rodriguez. This is modern Chicano Soul creased down the middle of Bay Area Guanguanco street rhythms, accompanied by overdriven bass and expressionist trumpet lines in full color . Groove-laden racks bring the cruise to life and steal a kiss on the tropics of an eternal brown-eyed summer. Los Intocables are Ahkeel Mestayer on all percussion, Ruben Sandoval on keys, brothers Carlos and Jorge Rodriguez on trumpets and Gilberto Rodriguez on guitars and vocals, featuring guest vocals from Ilia Correa Sepulveda on “Bahiá Caliente.”Taking cues from the Chicano Rock canon and specifically that of the San Francisco Bay Area historic musical scene, this is a wholly raw sound awash in sonic dissonance and tropical beat-poetic swagger that could only have been conceived in the streets of San Francisco. It’s an evolution of the American experimental and psych scene that doesn’t take precedence over any specific genre. As fluid as the shifting demographics of the US is the reflection of the Los Intocables sound coming from the turntable.

Tracks

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Audio & Video

WARM DRAG - 'S/T'

Formats

• ITR322 - LP

  759718532210

• ITR322CD - CD

  759718532227

Details

Warm Drag are a musical two piece, a two-sided conversation, two devils on your shoulders, one of them telling you to take that drug, sleep with that person and steal that car, the other devil whispering to hit the reverb pedal and turn the volume all the way up. The band listens to both devils, and they are bringing their samplers-and-switchblade post-noir noise disco to audiences this summer, with their self-titled debut on In The Red. The two people in the band do specific things: Vashti Windish sings, the way Siouxsie sang power, the way Nico sang allure, the way Patti sang sex, while Paul Quattrone makes the noise with two Akai MPC 1000 samplers. These beats pummel or seduce, usually simultaneously, with synths that soar like Morricone or pump like DAF, and with gloriously twangy guitars that clang and echo like Duane Eddy spiraling down a k-hole. Windish and Quattrone have history. They’ve lived and they’ve been in bands. Quattrone is a drummer in the current powerhouse Oh Sees lineup, which should be enough of a recommendation for anyone, but he’s also been in !!! and Modey Lemon too. Windish cut her teeth in bands including the K-Holes and Golden Triangle, back in her native New York. A chance reunion in Los Angeles led Quattrone and Windish to attempt the outlandish ambition of marrying her love for the genre-defying genius of Blondie’s Parallel Lines (the first cassette she ever owned) to Quattrone’s love of The Bomb Squad’s production styles. They’ve been winning over notoriously-inert Los Angeles audiences for a year now. An early show caught the eye of Ian Svenonius. “Their cut-up collage of electronic stompmusic embodied everything people were searching for that summer,” he remembers. “There were just two of them but the sound was magnificent.”

Tracks

1. The Wanderer
2. Cave Crawl
3. Cruisin The Night
4. End Times
5. No Body
6. Sleepover
7. Lost Time
8. Hurricane Eyes
9. Someplace I Shouldn?t Be
10. Parasite Wreckage Dub

Press

Los Angeles samplers-and-switchblade
post-noir disco two piece are members of
Oh Sees, !!!, Modey Lemon, K-Holes, and
Golden Triangle
Imagine Blondies Parallel Lines meets
The Bomb Squads production style

Audio & Video

BRAD WENZEL - 'SWEET NOTHINGS'

Formats

• TMR555 - LP

  813547026224

Details

Michigan’s own Brad Wenzel is best known for his offbeat, one-liners. His unassuming presence and dry delivery set him apart from other comedians. Now residing in Los Angeles, he has recently made 2 stand-up appearances on CONAN to wide acclaim. After winning first place at the Great American Comedy Festival, Brad was a finalist in Funny or Die’s “Road 2 Oddball”, performed at RIOT LA, and was selected to be one of the “New Faces” at the prestigious Just For Laughs Festival in Montreal, among many other festival appearances. Brad headlines around the country and has worked with comedians like Brian Posehn, Kathleen Madigan, Pete Holmes, Jerrod Carmichael, Gilbert Gottfried, and Patton Oswalt. He co-hosts Pod Seger, a Bob Seger podcast along with fellow comic, Trevor Smith. This hilarious recording, titled “Sweet Nothings”, is from his live set in October 2017 at the Comedy Club in Madison, WI. It will join the robust ranks of Third Man’s comedy record repertoire, including Reggie Watts, Rory Scovel, Scharpling & Wurster, Conan O’Brien, Billy Wayne Davis, Neil Hamburger and more. Brad Wenzel’s “Sweet Nothings” LP comes with a download code for the audio of this set, plus 11 minutes of bonus material.

Tracks

Side A
1. EASIN? IN
2. A SECRET PURPOSE
3. SOMETHING INSPIRATIONAL
4. THIS IS, THE CENTAUR
5. CALLING BOB
6. LESS INTERESTING FACTS
7. SINISTER LOOKING PEANUT
8. BAFFLED TOMBSTONE
Side B
1. TACKLING THE ISSUES
2. RAZOR SHARP CROWD WORK
3. I?M FROM MICHIGAN
4. NITPICKING
5. REALLY LAYING INTO RUDE PEOPLE
6. WINDING IT DOWN

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Audio & Video

VARIOUS ERASED TAPES ARTISTS - '1 + 1 = X'

Formats

• ERATP100LP - 3xLP

  4050486114971

Details

 “I suppose finding words and meaning to describe this release would be next to impossible. This recording was a real joy, to go back to our humble beginnings. To have the freedom to create art only for ourselves was truly sublime” — Adam Bryanbaum Wiltzie of A Winged Victory For The Sullen Erased Tapes rounds off a jubilant year of tenth anniversary celebrations with a very special release, 1+1=X, a set of exclusive music from every artist on the label. Featuring never before heard tracks from Nils Frahm, Kiasmos and A Winged Victory For The Sullen, 1+1=X sees Erased Tapes artists come together to make an album as a collective. Sharing the same space, instruments and each others’ capabilities during a residency at Vox-Ton studio in Berlin, they recorded 20 songs to mark the label's 10-year history. Previously only available as a limited vinyl box set for Record Store Day, 1+1=X — produced by label curator Robert Raths — will be now be available as a 3-LP set on August 17th to accompany the 2CD box set and digital download to be released on 29th June 2018. “It was important to create something communal and reflective of our time, to capture something of value using traditional recording techniques, experimenting and reacting to each other in real time, sharing the same space,” says Raths. Between August 2016 and 2017, each artist arrived with a new composition or an improvisation to record at Vox-Ton. Run with much love and care by Italian engineer Francesco Donadello – who has worked on many Erased Tapes recordings before including A Winged Victory For The Sullen, Michael Price and Lubomyr Melnyk – it is one of the few studios left where it’s still possible to record fully analogue, isolated from the city noise and in a room that can fit a large ensemble. Reflective of the communal spirit, 1+1=X is the result of an ambitious undertaking; to create a singular record as a collective, not just a compilation of songs, that celebrates the benefits of community over individuality and improvisation over rigorous planning. “As much as Erased Tapes probably wouldn’t exist if it wasn’t for the digital age, we should also remind ourselves of what we are capable of without it,” adds Raths. “1+1=X is a testament of what can be achieved when we work together as a collective, which is more than the sum of what we can achieve as individuals.” The majority of songs on this album feature contributions from multiple performers, whether it’s Nils Frahm duetting on the keys with Arthur Jeffes of Penguin Cafe, Kiasmos being joined by Högni and a string ensemble, Douglas Dare’s one-take ‘Darling’ featuring Rival Consoles on synths, Masayoshi Fujita on vibes and Raths himself controlling the tremolo on his voice. Peter Broderick’s ‘The Perpetual Glow’ meanwhile, brings in a full big band and choir where everyone present, including the studio staff, was invited to grab any instrument and join in. Every song has a unique story and approach – in-themoment decisions and little accidents that could only come out of these kinds of circumstances where people work together in the same space, sparking off each other and their environment. Even Rival Consoles’ remix of Daniel Brandt’s ‘Blackpool Sands Forever’ was conceived of in the studio kitchen during recording breaks. Japanese vocal performer Hatis Noit decided to bring a field recording of the ocean with her, which she had taken near the Fukushima power plant after participating in a memorial ceremony for the opening of the evacuation area. It is also no coincidence that the album opens with ‘Brutal Moderna’ by Qasim Naqvi (Dawn of Midi) and A Winged Victory For The Sullen’s ‘Long May It Sustain’, which were both recorded on the day the U.S. election results came in. “Qasim asked me to read the news headlines with a stutter over the top of his piece. It was an oddly beautiful experience which brought all of us together on a day when spirits were otherwise a bit low,” says Peter Broderick. “I thought this residency was a wonderful idea. In fact I would have loved to be there for more of it. I made some amazing new friends, some stronger bonds with old friends and some wonderful pieces of music that I’m honoured to be a part of. Robert has often described Erased Tapes as a family, and perhaps above all else this was just his earnest effort to bring the family together. I hope we’ll have some reunions in years to come!” Designed in collaboration with Torsten Posselt at FELD, album is accompanied by a book of photographs documenting the recording process. It is housed in a bespoke, hand-assembled white box.

Tracks

A1. Qasim Naqvi - Brutal Moderna
A2. A Winged Victory For The Sullen - Long May
It Sustain
A3. Rival Consoles - Ritual Song
A4. Nils Frahm - Frau Dehlholm
B1. Daniel Thorne - Iroise
B2. Daniel Brandt - Blackpool Sands Forever
B3. Douglas Dare - Darling
C1. Michael Price - Eyn Hallow
C2. Kiasmos & H?gni - Zebra
C3. Ben Lukas Boysen - Pending
C4. David Allred ? Ahoy
D1. Anne Müller - Bel Tono
D2. Lubomyr Melnyk - Palisade 1
E1. Hatis Noit ? Inori
E2. Masayoshi Fujita - Spaceship Magical
E3. H?gni - M?ni
E4. Peter Broderick - The Perpetual Glow
F1. Arthur Jeffes & Nils Frahm - Up Is Good
F2. Daniel Brandt - Blackpool Sands Forever
(Rival Consoles Remix)
F3. Penguin Cafe - Wheels Within Wheels (Greg
Gives Peter Space Remix)

Press

Audio & Video

SCIENTISTS, THE - 'BRAINDEAD (RESUSCITATED) / SURVIVALSKILLS'

Formats

• ITR330 - 7"

Details

In the summer of 2017 Australia's premiere swamp/grunge/punk/noise band The Scientists unexpectedly sprang back to life and started playing shows and making new music again. Kim Salmon is back with his Scientists – Boris Sujdovic, Tony Thewlis, and Leanne Cowie (the mid-80s line-up) -- and are delivering their first recording in 30 years. For this occasion Scientists have recorded Braindead, a reworking of song from their 1987 Human Jukebox album, and a brand new track called Survivalskills. If you love the band's original fuzz-filled swamprock you will not be disappointed. The band will be touring the US for the first time ever and plan to release a follow up to this single on In The Red later this year.

Tracks

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