CLAMM - 'SERIOUS ACT'

Formats

• MM12LPX - LP (COLOURED)

  5061041820861

• MM12 - LP

  5061041820854

Details

Hailing from Naarm/Melbourne, punk trio CLAMM—comprising Jack Summers, Miles Harding, and Stella Rennex—delve into the tumultuous experience of youth striving to lead an authentic and principled life in an increasingly chaotic world. Their music confronts the challenges of navigating entrenched systems of power and oppression while striving to preserve mental well-being and a strong sense of self. Through their raw and visceral sound, CLAMM aspires to foster community, ignite creativity, and provide a channel for catharsis. CLAMM’s 2020 debut album, Beseech Me, quickly established their presence in the punk scene, becoming a feature album on Triple R and FBI Radio while its initial cassette pressing sold out almost instantly. Reissued on vinyl in 2021 by UK label Meat Machine—known for championing Canadian art-punk innovators Crack Cloud—the album earned CLAMM a cover feature in Rolling Stone France and airplay on BBC 6 Music, further cementing their rising reputation on the global stage. In August 2022, CLAMM released their second album, Care, through Australian indie stalwart Chapter Music and UK label Meat Machine. Bursting with raw, dystopian punk energy, Care garnered widespread acclaim, earning rotation on Double J and feature album status on 3RRR, PBS, and 4ZZZ. The band was spotlighted as a Featured Artist on BBC 6 Music by Steve Lamacq, while the album climbed to #4 on the AIR Charts and #19 on the ARIA Australian Albums Chart. Praised by outlets such as Chicago Reader, NME, Paste, Music Feeds, DIY Mag, and Dusted, Care solidified CLAMM’s position as a force in contemporary punk. Last year, CLAMM unveiled Disembodiment, a powerful EP featuring four explosive tracks, including standout singles ‘Change Enough’ and ‘Define Me’. The release solidified their status as one of Melbourne’s premier punk bands, selling out their Melbourne EP launch, and propelling them onto a 16-date Europe tour including an appearance at the iconic Binic Folk & Blues Festival. Disembodiment received praise from the likes of triple j, Double J, Triple J Unearthed (Feature Artist), Rolling Stone ANZ, and Music Feeds. Locally, CLAMM has shared stages with iconic acts such as Wolf Alice, Ty Segall, King Gizzard, Amyl & the Sniffers, The Chats, and The Murlocs, and has graced renowned festivals including Meredith Music Festival, Melbourne Music Week, Tentpole, and Do the Pop. Their international presence grew with a UK/Europe tour in August 2022, followed by another in February 2023, supporting A Place To Bury Strangers and Preoccupations. In May 2023, the band returned for a series of summer festival performances, including Wide Awake, Levitation, and Badd Bonn. Late in 2022, bassist Maisie Everett departed, and Stella Rennex (Parsnip, Thibault, The Toads) joined the band, bringing fresh energy to the lineup. In 2025, CLAMM will release their highly anticipated new album, Serious Acts, following the debut of their new single, ‘And I Try’. The track exemplifies the band’s signature, no-nonsense lyricism, while also pushing into new sonic territory with the inclusion of synths and horns. This marks an exciting new chapter for the trio, expanding their musical boundaries while staying true to their raw and powerful core. 

Tracks

1. And I Try 2. No Idea 3. Problem Is 4. Bag I'm In 5. Blinded 6. More Serious Acts 7. Heavy Fines, Loss Of Licenses 8. Bear The Brunt 9. Time 10. Pigs Don't Read

Press

Audio & Video

JOZEF VAN WISSEM & JIM JARMUSCH - 'THE DAY THE ANGELS CRIED'

Formats

• INC040 - LP

  637962713312

• INC041CD - CD

  637962713329

Details

Acclaimed director and musician Jim Jarmusch and experimental lute player and composer Jozef van Wissem met nearly 20 years ago, forming a close bond after they ran into each other on the streets of New York City. In 2011, they began performing and producing records together. The follow up to “American Landscapes “ entitled “ The Day The Angels Cried” releases June 6 and coincides with a world tour. The duo weaves an intricate Lute and guitar string tapestry of droning, minimal free-folk compositions destined to captivate listeners with their dark hypnosis. This time vocals and electronics are added as well. Van Wissem’s work comes from a tradition of avant-garde minimalism and lends itself well to the director’s stark cinematic works. Jarmusch has played guitar in bands on and off since the late ‘70s. Van Wissem’s compositional style involves hypnotic circular musical phrases that allow for a lot of contemplative space between the notes. Their first live performance was in Issue Project Room in Brooklyn in October 2011, where they appeared together for a Van Wissem curated concert program called “New Music for Early Instruments.” The idea for their first album, Concerning the Entrance Into Eternity (Important Records) developed from their live performance. Jarmusch has said that he considers these songs as Van Wissem’s compositions, and sees himself as someone filling in the background to Jozef ’s foreground, like the “scenic” on a film shoot, the one who paints the backdrops. “The sound of the lute is as bright as the sun, a beautiful red color and my stuff sounds sort of like the moon, more like blue, like mercury.” .According to Van Wissem: We started with layers of instrumental parts.. Jim recorded a otherworldly Passerelle bridge guitar part to which we added vocals. This became the title track " The Day The Angels Cried" The lyrics for this song came to me during a vision I had in a dream. It was much like a vision Swedenborg writes about. In it he converses with angels. In my vision the angel looked down from the heavens upon the earth engulfed in flames. Recent events in Los Angeles and other parts of the world, have led me to believe that this dream was a premonition. “The Day The Angels Cried” ( Inc 040/41) releases June 6th on Incunabulum Records, right before the duo start their World tour. releases June 6, 2025 Jozef Van Wissem Voice, Baroque And Renaissance Lutes, 12 String Electric Guitar, Slide Guitar, Electronics, Found Recordings Jim Jarmusch Voice, Electric Guitars, Acoustic Guitars, Passerelle Bridge Guitar, Electronics, Found Recordings

Tracks

Side A
1. CONCERNING CELESTIAL HIERARCHY. 3:50
2. THE DAY THE ANGELS CRIED 4:22
3. THE FIRST LANGUAGE 4:22
4. SHE BURNS IN DEVOTION, HER VIRTUE SWEET LIKE HONEY 4:12

Side B
5 THERE IS NO ANSWER 3:52
6. TO THOSE WHO MOURN 8:17
7. CONCERNING THE LAW OF ANGELS 4.19

Press

Audio & Video

GABRIEL BRADY - 'DAY-BLIND'

Formats

• TU013LE - LP (COLOURED)

  4251804182638

Details

Through the interaction of dulcet textures and harmonious melodies, infused with Greek bouzouki string plucks, sporadic piano and violin, enigmatic Alexandria, Virginia born musician Gabriel Brady laments the everyday with daring simplicity on his lustrous ambient / alt-folk debut Day-blind for the Tonal Union imprint. Attracted by the sensibilities of old French film scores, especially those by Michel Legrand and Jean Constantin and the sheer simplistic beauty of forbearing composers Debussy, Satie and Ravel, Brady cites inspiration in a warm earnestness to the melodies; and the complete, unmediated feeling that such scores and orchestrations create. Written and produced in his bedroom dorm at Harvard, in Cambridge Massachusetts, Brady recorded organic instruments (violin, bouzouki) before routing them through a compact modular synth setup acting as a sound chamber for further manipulation (loops, effects, textures). In striving to make sense of the ordinary, on Day-blind, Brady’s works are invariably imbued with a sense of serenity and tension as he explains: “There’s a way in which everyday life can be a source of deep pain and melancholy, intensely disquieting and dull and leaden, and yet it can also be a place of deep peace and conscious attunement to the present moment, and it’s this tension that the album is built around.” The woozy opener ‘Womb’ accesses deep and personal emotional spaces with its textural synth swells alternating between two simple chords, a gentle piano interlude and grainy textures that induce a day-dream state. The intentional unhurried-pace of the track ‘Ordinary’ drifts between two key centers of doleful Wurlitzer chords, hand in hand with the listener who might only register the tonal shifts on a subconscious level. Another distinct feature is the warm enveloping presence of an eight string Greek bouzouki (a longnecked, string instrument) as heard on ‘Land and Sea’, after Brady fell in love with its unique timbre that echoes a filmic quality to that of Jean Constantin’s 400 Blows score to depict a sense of yearning. ‘Attune’ enters with slowed-down synths and bouzouki, looped over itself, delayed, and then resynthesized to create a strange but seamless blend of acoustic and electronic as Brady moves the centre of gravity. This deliberate intervention takes the ordinary instruments and defamiliarizes them, making their source/origin not readily apparent therefore removing any blanket of association. Day-blind too explores themes of memory, nostalgia, and melancholia which emanate from its lo-fi, intimate and sensitive nature. Through a hazy smokescreen of delays, tape loops and decays Brady contemplates a typical post modern-era dilemma of wistful longing and lonesome nostalgia, existing parallel/alongside contentment and staying in the present moment. The bare, reflective ‘Streetlight’ with its pitch-shifted and vari-speed piano, spliced with a weeping violin melody performed by Kalman Strauss, precedes the re-constructive ‘Untitled’ with a heavily filtered looping piano and rhythmic pulse. ‘Ambrosial’, dims the spotlight to a close being the most textural-laden track, combining loose sonic materials similar to Eno’s Ambient 4 collage techniques. By channelling his own acute musical sensibilities by means of evocative voicings, Brady momentarily deconstructs, warps and reshapes reality, posing questions about perception and our states of being as the album's curious title mysteriously suggests. Across its seven vignettes, Day-blind is life animated as Brady makes possible an everyday encounter with the transcendent. For fans of: Merope, Jeremiah Chiu & Marta Sofia Honer, Memotone, The Caretaker Mixed and Mastered by Joe Talia (Oren Ambarchi / Jim O’Rourke, Arnold Dreyblatt)

Tracks

1. Womb 2. Ordinary 3. Land and Sea 4. Attune 5. Streetlight 6. Untitled 7. Ambrosial

Press

RIYL: Merope, Jeremiah Chiu & Marta Sofia Honer, Memotone, The Caretaker

Audio & Video

STEFAN WESOLOWSKI - 'SONG OF THE NIGHT MISTS'

Formats

• UOH17 - LP (COLOURED)

  5061041820830

• UOH17CD - CD

  5061041820847

Details

The writer Max Sebald often pondered over the nature of human memory, specifically, how our thoughts and desires - and their results - overlap and mutate over time. In A Place in the Country, he writes of the significance of what see as “similarities, overlaps and coincidences”. Are they the “delusions” of the self and senses, or manifestations of “an order underlying the chaos of human relationships, [...] which lies beyond our comprehension”? Song of the Night Mists, the new album by post-classical composer Stefan Wesołowski, often feels it draws on Sebald’s premise. On a simpler plane, the one where the market dictates the neatly ordered information we consume, Song of the Night Mists can be described thus: recorded in the main by Stefan Wesołowski in Gdańsk, both in his studio and in Saint Nicholas' Basilica, the album incorporates acoustic instruments - piano, violin, double bass - and classic synthesizers such as the Roland Jupiter-8, the Soviet Polivoks. A Roland Space Echo RE-150 tape delay was also pressed into service as an instrument. We also hear the basillica’s organ and field recordings from the Tatra Mountains. Other musicians were Maja Miro, who played the flute parts on ‘Glacial Troughs’ and brother Piotr Wesołowski, who played the organ on ‘Wilhelm Tombeau’. Sound engineer was Marcin Nenko, who was also on hand to record the basilica organ parts. The album was mixed in New York by Al Carlson (Oneohtrix Point Never, Jessica Pratt, Zola Jesus, Lady Gaga, and Liturgy) and Rafael Anton Irisarri handled the mastering. Ostensibly, Song of the Night Mists is the last in a trilogy, following on from albums Liebestod (2013) and Rite of the End (2017). All three deal with existential matters such as love, death, decay and “an ultimate end”; apocalyptic and Promethean in spirit, and betraying very human conceits. The Sebaldian nature of the new record starts to make itself felt when Wesołowski talks of how he used sampling. One element is unexpected, that of sampling himself: “I go back to dozens of my own unused sketches and recordings, treating them as raw material to cut, slow down, reverse, and transform in every possible way.” Memory as sound, to be reemployed by the listener through their own imaginings. Another set of samples made by Wesołowski plays another role. These are field recordings, originally created for an audio illustration of the formation of the Tatra Mountains, and used in a film by sound designer Michał Fojcik. Wesołowski: “You can hear cracking ice, streams, footsteps in the snow and the wind, and a real avalanche, recorded from the inside.” The “Tatra connection” on the album is also found in samples referencing composer Karol Szymanowski. The album’s title alludes to a poem about the mountains by Polish poet, Kazimierz Przerwa-Tetmajer. Wesołowski’s Tatra recordings are “about a world without humans - about the fact that the world existed, was beautiful, and had meaning long before people arrived, and for the vast majority of its history, it was a place without us.” Wesołowski, using one iteration of the natural world, plays out in sound Sebald’s idea of another order, underlying the chaos of human relationships lying beyond human comprehension. These feelings play themselves out on the five album tracks. Sonorous and rich, they illustrate tectonic shifts we have no control over. Wesołowski hints that the overall sound is a “meditation on the metaphysics of the non-human set against the spirituality that human presence has brought into it.” In that light, the opening number, ‘Core’, with its slow build, and crackling and straining sound effects, create an effect of the earth groaning into life in a creation myth. Once the piano part raps out a simple melody and modulated tonguing trumpet samples add to the overall atmosphere, the listener can certainly find a cue in the “spiritual”, or “human” side of the story. Human versus nature: from the strains and harmonic muscle stretches of the second number, ‘Glacial Troughs’, through to the powerful and filmic ‘Stalagmite’ and heart-on-sleeve romance expressed in closer, ‘Wilhelm Tombeau’, we listeners are cast as Friedrich’s wanderer, looking out over a landscape that will appear only if we engage with it. Formations of melody appear incrementally, almost appearing by chance - like hidden footings in the rock shelves to give us something to grasp onto. Rhythms are used sparsely: the prolonged percussive taps on ‘Glacial Troughs’ are an anomaly and maybe there to give pace to the album to come; essentially to keep the listener strapped in. Elsewhere, percussion is used as an aid to mood, the two thudding, timpani-style passages on ‘Peak’ there to offset the short, beautiful, kosmische passage that splits them. Elements of the borderline religious spirit that drove German electronic music in the late 1960s and 1970s also find a place on Song of the Night Mists. The swells and recessions of the organ find their emotional climax on ‘Wilhelm Tombeau’, a track which summons up echoes of the “mountain magic” vistas created by Popol Vuh or Tangerine Dream, especially with the slightly atonal wobble of the Mellotron that counters it. This is a dramatic album, but it does feel a strangely short, or curtailed listen on ending, evoking the feeling one gets when waking from a dream, and, for all its incipient grandeur, a track like ‘Stalagmite’, for instance, ends on a minor note. Wesołowski admits that Song of the Night Mists is born of the all too human process of temptation, doubt and recalibration - Sebaldian overlaps and coincidences forming something that must live another life, away from its creator. In Wesołowski’s words, the album is “a newborn foal must stand up and walk right after birth.” Now it is yours to ponder.

Tracks

1. CORE 2. GLACIAL TROUGHS 3. PEAK 4. STALAGMITE 5. WILHELM TOMBEAU

Press

Audio & Video

MAANTA RAAY - 'MAANTA RAAY'

Formats

• NS019 - LP

  5061041821295

Details

MAANTA RAAY is a riff-casting, power trio from Nashville, Tennessee. Their self-titled debut will be out summer 2025 on No Sabes, distributed by Forte, and comes from the heavier side of psychedelia. While the influences are apparent — Leigh Stephens (Blue Cheer), Jaki Liebezeit (CAN), Daphne Oram, Randy Rhoads, James Jamerson, Ron Asheton — the record’s interstellar overdrive vs droned-out tempos, musi-quinox arrangements, sometimes garage rawness (members include ex-Quadrajets, Immortal Lee County Killers, and Modern Convenience) and unleashed layers of sonica, all testify that the band’s mission is to make it new. The emerging band, featuring Mason Hadley (b), Carlos Ortiz (d), and Chet Weise (g/v), has already shared bills with the likes of Earthless, Boris, Minami Deutsch, Melvins, and Napalm Death. Experience the RAAY live or try them out on headphones to hear a band in search of the next sound, just like Weise sings, “Golden teachers teach a lesson/ the universe can be a VHS left unwound / but sunlight reaches Earth in just eight minutes.

Tracks

1. The Night Rider 2. Lost Satellite 3. Maanta Ray Theme 4. Om Revver 5. Peace Cruiser 6. Ancient Future 7. Uforchid 8. Cosmic Mircowave Background

Press

Audio & Video

COMING UP ROSES - 'HOW DID WE FALL SO FAR?'

Formats

• INH003LP - LP (COLOURED)

  5056828967235

• INH003CD - CD

  5056828967280

Details

Hailing from the island nation of Singapore, London-based indie/alt rock band Coming Up Roses forge a sound that is distinctively familiar - yet you can’t quite put your finger on. Led by singer-bassist Emily Sera, the group has emerged as one of the most promising acts out of Southeast Asia owing to their dynamic live shows and heartfelt lyrical themes. Their unique blend of alt-rock and indie pop drenched with shoegaze-y textures has earned them accolades the world over, being featured as a Spotify RADAR artist in 2023 and making appearances at festivals such as Ampthill (UK), Canadian Music Week and LUCFest (Taiwan). In addition, their firebrand performances has seen them open for UK band FUR as well as slot in alongside esteemed international acts such as Soccer Mommy and Ichiko Aoba as part of The Alex Blake Charlie Sessions in 2023. The band had their first pressing of their debut EP ‘Waters’ on vinyl sell out within 24 hours, and since their relocation to the UK have earned the praises of radio DJs including John Kennedy (Radio X) who described their music as a “classic sound”. Their third, self-titled EP arrived in April 2024, preceded by the release of singles ‘Don’t Let It Break Your Heart’ and ‘Back The Way We Came’. The release was followed by a summer of touring in the UK as the band also played their first European shows including a gig at the iconic Supersonic in Paris. The Autumn of 2024 saw the band return for a tour in Asia with dates in Taiwan, Japan, Thailand as well as their home-city of Singapore.

Tracks

1 Hello Miss Anxiety 2 I'm In Bed 3 Over Your Head 4 Little Guy 5 Billy and Allie 6 Tired 7 Gotta Lose It All 8 I Miss You 9 Awake 10 How Did We Fall So Far?

Press

'Pummelling guitar-driven crescendo' - NME
'I like this, it?s got a classic sound' - John Kennedy

Audio & Video