TROTH - 'AN UNFINISHED ROSE'

Formats

• LSSN099 - LP

  5061041821349

Details

Slowly yet firmly blooming into focus, An Unfinished Rose is the new album from Australian duo Troth. This is their first since relocating to Hobart, Tasmania and their introduction to Night School Records. With a detailed web of past releases on labels A Colourful Storm, Mammas Mysteriska Jukebox, Knekelhuis and Bowman’s own Altered States Tapes imprint, An Unfinished Rose is the group’s most realised and composed work thus far. While still drawing on the improvisatory and DIY practices that informed Troth’s beginnings, it points to a new incarnation of the duo’s music; an intentional language emerging from the fog of obfuscation and mists of uncertainty. Over these 9 meditations on change, acceptance, renewal and rebirth, An Unfinished Rose finds Amelia Besseny and Cooper Bowman peeling back some of the roughhewn architecture that defined their earlier releases to reveal a masterful - if auto-didactic - use of space and melody. Composition and improvisation compliment and feed each other throughout, with locked-loop earworms providing the springboard for lines of clarinet or synth melody, and the negative space between chord clusters giving ample room for Besseny’s most confident vocal performances to date. Shaving off a little of the defining dissonance and tape compression of old reveals Troth’s music in radiant daylight, humbly accepting of its place in the world while yearning for better, more sympathetic modes of living. Leaning more heavily on acoustic instrumentation and post-production processes than previously, the result is a transcendent body of work infused with an almost zen-like presence. Troth’s music exists in the border between forming and becoming, its goal to project a kind of preternatural beauty, leaving interpretation open to the listener. Field recordings, happenstance and improvisation may provide seeds for the duo’s compositions, particularly on Side A, but there is a deft touch of songcraft on show. Loam Loom Leaf Litter opens An Unfinished Rose, directly referencing natural cycles of life, death and regeneration, before the blissed-out drum machine groove of Gold Plum continues a discussion concerning the totality of nature and one’s place in it. Besseny’s vocal, swelling like an ocean churn in duet with itself is adorned with synthesised harp and a revolving synth pattern, conjuring plumes of medieval smoke. Thistle’s rounded, bass-heavy drums, nodding to the vast echo of dub, is a relatively new terrain for Troth. It’s propulsive and thumping, pulsing with a meaning and symbolism consistent with Troth’s past work, referenced overtly in Bessey’s lyrics - “Say it too much and it loses its meaning...”. Similarly, the sprawling modern-classical suite, Tides Reflected In Her Eyes, is intentional in its lyrical themes while traversing new ground, revelling in layers of bowed cello and vocal intonations. Side B’s 4 tracks feel like Troth’s most thoroughly accessible and affecting music to date. Leaning into their own detoured version of Synth Pop, Cocoonist explores downtempoisms via a crunchy low frequency synth, and dream-like, fuzzy trip-hop modalities, not unlike Besseny and Bowman’s other group, Th Blisks. Following on, Myrtle Mystes is an open and searching DIY pop song, forged out of drum machine, bass guitar and cello. (An) Unfinished Rose’s title-track is a clear stand-out, built upon an evocative rhythm sample that appears to change emotional resonance with each undulating repetition. Its cascading waves of affect, interjected with a subtle breeze of synth, bowed instrumentation and soaring, densely-layered vocals. An Unfinished Rose is enveloping, warm, forgiving. Difficult, yet retaining a unique beauty. Troth’s music aims to celebrate the duo;s shared experiences of being in the world, despite the complexity often surrounding us all. Theirs is a message of hope and perseverance, learning and patience.

Tracks

1. Loam Loom Leaf Litter 2. Gold Plum 3. Thistle 4. Tides Reflected In Her Eyes 5. Cocoonist (prelude) 6. Cocoonist 7. Myrtle Mystes 8. Unfinished Rose 9. Deep Umbel

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Audio & Video

OSEES - 'ABOMINATION REVEALED AT LAST'

Formats

• DG006 - LP

  657628454311

• DG006CD - CD

  657628454328

• DG006B - LP (COLOURED)

  657628455905

Details

*LAST FEW COPIES OF BLUE VINYL VARIANT SHIPPING NOW* The 12 tracks on ABOMINATION... are a hypnotic, maniacal, and propulsive attack on the senses–a fitting reaction to a world suffering from genocide, environmental collapse, state sanctioned violence, progressing technocracy, and more. The album was recorded by Enrique Tena Padilla, Mario Ramirez & John Dwyer, mixed by Padilla and Dwyer, and mastered by JJ Golden. OSEES are John Dwyer (vocals/guitar/synths), Tom Dolas (guitar/samples/keys), Tim Hellman (bass), and Dan Rincon (drums). "It feels like its all lighting off. A lot of fodder in today’s world for an artist. Too easily humans forget their humanity. Forgiveness is a dead science. Empathy is viewed as a weakness by cretins. Easier to hate rather than love. Fear and greed have dug their bloody hands into everything. At least now we know who you are. We see you. We defy you. People are under duress. Recognize this abomination. Oppose the oppressor. FUCK the fascists and their enablers. Fuck the war mongers Good luck out there. ACAB." — OSEES

Tracks

1. ABOMINATION 2. SNEAKER 3. GOD'S GUTS 4. INFECTED CHROME 5. GLUE 6. ASHES 2 7. COFFIN WAX 8. ASHES 1 9. FLIGHT SIMULATOR 10. PROTECTION 11. GLASS WINDOW 12. GLITTER

Press

Audio & Video

LEATHERFACE - 'THE PEEL SESSIONS'

Formats

• LRR060 - LP

  5060462852659

• LRR060CD - CD

  5061041821431

Details

Little Rocket Records are very proud to have worked on these historical recordings, which are licensed from the BBC and long overdue an official release. Leatherface hailing from Sunderland, UK, formed in 1988 and many would say the best band Sunderland has ever produced, have left their mark in the Punk Rock halls of fame. Their catalogue is of the highest quality, from Cherry Knowle in 89 to Mush in 91 to Stormy Petrel in 2010. Singer/Guitarist Frankie Stubbs inimitable and distinctive gravelly vocals over songs like “I Want The Moon”, or “:Little White God” proving their pedigree. They have a perfect blend of hardcore and post-hardcore sounds, sometimes described as a mix between Hüsker Dü and Motörhead. They inspired many bands across the world, including the likes of Hot Water Music: Chuck Ragan, in particular, has frequently mentioned Leatherface as a key influence, even citing their album Mush as one of his favorites. Hot Water Music has also covered Leatherface songs, further solidifying the connection. Dillinger Four /The Gaslight Anthem and many more besides.. This album captures Leatherface recording three sessions in the 90’s for none other than the great John Peel which, spans parts of their early career, hurtling you through the heady days of Radio and the privileged few who have ever walked the BBC Maida Vale recording studios, at the request of Mr. Peel himself. Those fortunate enough to be Invited to record their music by John, would have it chiseled in musical stone, for the great man himself, leaving a timeless raw sound that only the BBC Maida Vale Studios could produce. The front cover of the album itself defines one of their greatest periods, with a photograph taken by the famed Photographer and Musician Steve Gullick, without doubt Steve’s Photographic genius sets the tone for what has been captured and now Little Rocket Records brings these sessions to you. Sleeve notes by Sean Forbes (Rugger Bugger Records / Wat Tyler / Hard Skin etc.) round it off perfectly.

Tracks

1. SESSION LISTINGS (1991)
I Want the Moon / Springtime / Dreaming / Peasant in Paradise

2. SESSION LISTINGS (1992)
Games / Books / Not A Day Goes By/ additional song / Cabbage

3. SESSION LISTINGS (1993)
Heaven Sent / In My Life / Do the Right Thing / Little White God

Press

Long overdue official release of historical recordings from Sunderland's finest punk rockers

Audio & Video

CHEATER SLICKS - 'DON'T LIKE YOU (REISSUE)'

Formats

• ITR375 - 2xLPs

  657628454519

Details

"In 1995 In The Red released the Cheater Slicks fourth full length album, Don’t Like You. The band, based in Boston at the time, travelled to New York to record at Jerry Teel’s Funhouse studio with Jon Spencer acting as producer. The result was a completely over the top noisefest that remains one of my favorite ITR releases to this day. Admittedly, Jon’s production was heavy-handed and extreme but, I thought it suited the band and this material well. "Prior to the recording the band demoed their material at a couple of different eight track studios in Boston. The demos showed that the band had enough material for an album that would be (in my opinion) their strongest to date. When the album was released it was very well received but there was a small number of people close to the band and myself who were critical of Jon’s production and preferred the straight forward recording of the demos. "With vinyl for Don’t Like You being out of print for decades I figured the album’s 30th anniversary was a good time for a re-release and to finally release the demos as well. I think both stand the test of time." – Larry Hardy

Tracks

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Audio & Video

PAUL SCHUTZE - 'THE ANNIHILATING ANGEL OR THE SURFACE OF THE WORLD'

Formats

• AKT22 - LP

  710473185875

Details

Originally released in 1990 on the legendary Australian label Extreme, The Annihilating Angel stands as one of Paul Schütze’s most visionary and cinematic works — a dark ambient masterpiece rooted in mystery, decay, and metaphysical beauty. Blending slow-burning soundscapes, processed field recordings, and abstract industrial textures, this album explores the sonic equivalent of sacred ruins and distant, imagined geographies. Now officially reissued by Everland Music, this long out-of-print classic returns on vinyl with restored audio and updated packaging. The new brilliant remaster was handled by Miroslav Piškulić, a radio sound maestro renowned for his subtle approach to psychedelic electronic music. The result received praise from Paul Schütze himself — who called it the most faithful reproduction of his original vision to date.

Tracks

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