GUITAR WOLF - 'MORE JET'

Formats

• 213GONE - LP

  769152436319

• 213GONER - LP (COLOURED)

Details

Guitar Wolf returns to Goner Records! Goner's first release was Guitar Wolf's world-shattering noise rockabilly epic WOLF ROCK way back in 1993, the beginning of the Goner label and the legendary Guitar Wolf! Many tours, many records, and many eardrums later, Guitar Wolf has returned for the latest, and greatest Guitar Wolf record yet - MORE JET! More raw, crunching guitar noise, frantic rhythms, and unpredictable screaming! More head-scratchingly-great song topics! The perfect blend of Link Wray / Ramones / Joan Jett / Cramps sound and attitude mixed with industrial-strength noise. Guitar Wolf never went away, yet they are back and better than ever on their original—and forever—home—GONER RECORDS!

Tracks

1. More Jet 2. 100M Girl 3. Bakkyaro The Moon 4. Long Tall Sally 5. Coelacanth Galaxy 6. 9PM Pornmag Planet 7. 3 Million Dollar Noise 8. Kung Fu Bikini 9. Super Sonic Ihatov 10. Jet Aka-Chochin

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PROPHETIC JUSTICE MINISTRY - 'KEY TO WORLD PEACE'

Formats

• LSSN108 - LP

  5061041822056

Details

Key To World Peace is the third release by Prophetic Justice Ministry - aka Australian musician Sam Perry. An atmospheric, cinematic album that belies a striking pop songwriting nous at its core, its conductor Prophetic Justice Ministry is at the centre of a new wave of creative, rule-bending Melbourne artists. Romantic, smudged and hazy, Perry emerges from behind a wall of half-light with a clutch of earworms and affecting emotions. Recorded in home studios in Belgrade (Serbia), Christchurch (New Zealand) and Melbourne (Australia) over the course of three years, Key To World Peace offers a dichotomy in approach. Shifting on a dime between ambient, filmic washes of sound and more traditional song structures, the approach feels natural, casually acid-tipped and emotionally revealing. While Perry’s distinctive keys and production melding with melody is evidenced in Melbourne group Who Cares?, as Prophetic Justice Ministry there’s a heightened sense of mystery and space being used. Swirling in a psychedelic fog with dry iced chords falling down like melting stars, the album pulses with an ominous, distorted intro that sculpts air into blocks of sound before Psyop offers a glimpse through the gloom at the artist navigating through crushed, shoe-gazing chords, singing a consolation into an abandoned building. Side A’s more abstract tone veers from industrial tracks (T-A) to pastoral, impressionistic pieces (Trance) before album highlight Life’s A Party showcases the effortless, classic songwriting lurking in Prophetic Justice Ministry. Built on the tension between the upbeat lyrics and suppressed, rich delivery, the song lopes on an alluring loop with acoustic guitars and Perry’s voice walking a tightrope between irony and sincerity. The song blooms into a bright burst of light, almost inducing synesthesia in the listener and reminding a little of The Beta Band’s most outre and catchy moments. Opening Side B, Naked Shine’s scintillating guitar is punctuated by a sub bass swell that offsets the yearning vocal performance. With palpable sensitivity the song is shepherded into short, atmospheric passages before Love Drum’s direct delivery: Perry’s vocal and guitar, dancing over a hint of distortion feels like Syd Barrett at his most casually brilliant. Carrying on the tradition of a single cover on every Prophetic Justice Ministry release, here Lana Del Rey’s Mariner’s Apartment Complex is given a stripped back but faithful treatment. With a sound that feels like a hushed, Chris Isaak classic it’s testament to Perry’s own compositions that the cover doesn’t outshine the rest of the album. Album closer and single Spirit House Party combines a classic chord progression with Perry’s double-tracked vocal into a murky but brilliantly catchy chorus. While nowhere near as lush in its production, there’s something in the atmosphere of Prophetic Justice Ministry’s vocal sitting in the mix just so that reminds us of The Electric Prunes’ Holy Are You-era work with David Axelrod. Key To World Peace flits between displaying a spectrum of blurred emotional resonance in its instrumental passages and vulnerability in the shape of raw, melodic songwriting. With his first release outside of Australia and vinyl debut, Sam Perry’s Prophetic Justice Ministry is a beguiling dance in and out shadows.

Tracks

1. Prelude To World Peace 2. Psyop 3. T-A 4. Trance 102 5. Life?s A Party 6. Naked Shine 7. Aurora Drone Cam 8. Lake Of Ice 9. Love Drum 10. Mariner's Apartment Complex 11. Spirit House Party

Press

Prophetic Justice Ministry?s debut vinyl recording. A gorgeous, mysterious mini album swirling in psychedelic fog and understated, affecting, melodic songwriting.

Audio & Video

OLAF RUPP - 'FUZZY LOGIC'

Formats

• PAL097 - 2xLPs

  840526506309

Details

German guitarist Olaf Rupp combines elements of traditional flamenco (rasgueados, arpeggios, picados) with the fractured cadences of Derek Bailey, fusing them together with a blast-furnace tone recalling John Lee Hooker's most blown-out extremes. And yet, despite decades of concerts and releases on FMP and Emanem, often with marquee-grabbing collaborators like John Zorn, Peter Brötzmann, Butch Morris, Paul Lovens and Lol Coxhill, Rupp's music is largely unknown outside of European free improvisational circles, and (until now) has never been presented on vinyl. Over its four double LP sides, Fuzzy Logic sounds like a Guitar Solos-era Fred Frith musing on Jandek or Carlos Montoya essaying the music of Cecil Taylor, veering from unadorned yet forceful exclamations into torrents of austere, alien gestures packed with modal angst (a rarity in the capital-I Improvisation world), rewarding careful listening with previously unexplored microlandscapes of impossibly interlocked waveforms. Regarding the album's unique sound, Rupp writes, "Echtzeitmusik-people" -- referring to the most strident non-idiomists of the Berlin improv scene -- "will once again nag at all those minor chords and the indie rock fans will shake their heads in vain looking for the beat. But unrootedness is also a power, a gift, a way." Indeed, Fuzzy Logic is powerfully unrooted. But most strikingly, it tracks Rupp's autodidactic turn into the fraught world of effects pedals. These days, soldering-iron jockeys produce an absurd array of signal processing tools, from bit crushers to tone benders, lo-fi loopers to 24-bit digital arpeggiators, all designed ostensibly as creative tools but more often marketed towards lazy players plying YouTube gear demos rather than pushing their boxes past the limits. Fuzzy Logic, rather, beelines to the tone-smearing outer limits of overdrive, eschewing the well-trodden paths of wail, feedback and sustain to produce a rainbow spray of strange overtones, self-oscillation, and whispered notes beyond the reach of human touch. Tracks like Hundsrück Forest throw the electronics into sharp relief, subtly blending frozen hisses into a larger grid of crackling overtones before bursting into insistent atonal repetition. Powered by a small amp driven by an attenuator which allows maximum blow-out tone at low volumes (combined with a subtly-coaxed sound-stretcher and loop pedal), Rupp amplifies mercurial sonic details into liminal territories typically unexplored by players chained strictly to skin-on-strings. In tandem with the tech, Rupp's singular finger-charge remains. For Rupp, a cluster of fast-moving notes should be considered "one agglomerated sound in motion… using spectralistic fields of tones." Accordingly, every track is packed with motion and color. In a way, Fuzzy Logic echoes Palilalia's previous forays into the exquisitely fried spectrum of electric guitar exemplified by some of Bill Orcutt's records, but more pointedly by Cyrus Pireh's jaw-dropping explorations of speed-runs skittering through grainy distortion. But unlike Pireh, and unlike anyone else you'll likely conjure up, Rupp's work (despite its virtuosity) taps a primal throb dripping with eldritch and unspeakable menace, that punches through the buttery intellect to throttle the brain stem -- particularly at top volume, which is exactly how you should bathe in Fuzzy Logic to fully experience its torrential majesty. — TOM CARTER

Tracks

1. Insolent Coagulation 2. Hundsr?ck Forest 3. Drizzly Muddy Trail 4. Old Fiend Monsters 5. Fuzzy Logic 6. Nagging Blue Skies 7. Unweaveringly So

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Audio & Video

YUKI NAKAGAWA - 'STILLS AND REMAINS'

Formats

• UOH020 - LP

  5061041821516

Details

Nakagawa’s musical roots lie in the improvisation and noise scenes of the Kansai region in Japan. After performing with electric bass and effects, he transitioned to the cello as a self-taught musician, developing a unique sonic language over more than 15 years. His practice spans composition, performance, and direction, as well as collaborations with dance, theater, and contemporary visual art. As one half of the duo project KAKUHAN (with Koshiro Hino), he has performed at festivals in Japan and internationally. He is also a member of Saraudon, a collaboration with CS + Kreme, releasing work via the UK label Modern Love. This album brings together these diverse practices into a single, focused form: one cello.

Tracks

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Audio & Video

WARBY - 'STRUGGLES & RESOLUTIONS / BULLIES'

Formats

• ESCO025 - 7"

Details

The debut single from singer & songwriter WARBY. Two reflective yet punchy tracks to introduce listeners to the songs of WARBY, as featured on the record Mystic Powers, set for release in August. On 29th of May art rock and soul inspired singer & songwriter WARBY is to release the first single from his much anticipated 28th of August debut album ‘Mystic Powers’. Titled 'Struggles & Resolutions’, the single will be released digitally via AWAL and as a special limited edition 7” (ESCO025) which also features album track ‘Bullies’ via Esco Romanesco. "In diplomatic relations as well as life, resolutions can be frustratingly slow to realise as the struggles continue, also be very hard to uphold. Perhaps the answer may lie at a deeper level”, says WARBY of 'Struggles & Resolutions’, while ‘Bullies’ was inspired by a friend describing those that hold positions of power as Etonian bullies, "but it can equally describe any bully you encounter, even the one that lives in your head." Having spent a lifetime encouraging others to tour and record, WARBY is steeped in music and live touring, has run indie labels, recorded with the group R.O.C, occasionally performing live; but has never released or performed any of his own songs before now. "I was always going to sing, be a musician” adds WARBY “like my Dad, but in my early twenties I was pulled further and further into the business of live music by a succession of phenomenal artists. I continued writing on and off for years, but as the thrills and spills of working with other musicians and my concert booking role expanded I could never truly find enough time to develop my ideas fully.” In 2020 as the world shut down and touring ground to a halt, a seemingly permanently busy WARBY suddenly found that he had the luxury of time on his hands. He began to work on writing songs, recording home demos of himself singing, playing guitar, bass and keyboards over programmed drums, and it soon became clear that a substantial amount of ideas and music now existed. "When it came to the writing and recording of these songs…well, what started as a relatively gentle sensation, become more insistent until it was hammering at my very being. I had no choice other than to get them down." ‘Mystic Powers’ was produced by James Knight, who gave WARBY space to work up the arrangements in his studio located in a roomy basement in Stoke Newington. WARBY called upon his friends Mal Troon (Jim Jones, Sea Power) on lead guitar and Patrick Nicholson (R.O.C, Mark Eitzel) on piano and and the tight rhythm section of Adam Betts (Pulp, Dave Gilmour) on drums and Dan Drury (Jarvis Cocker, James Taylor Quartet) on bass.

Tracks

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Audio & Video

SCIENTISTS, THE - 'THE DEFINITE ARTICLE'

Formats

• ITR425 - 2xLPs

  769152436432

Details

The Definite Article captures the Scientists "Weird Love" lineup (Kim Salmon, Boris Sujdovic, Tony Thewlis, Leanne Cowie) performing live at the peak of their powers at The Triffid in Brisbane on November 4, 2017. The Australian rock legends run through twenty of their best loved songs and captures them at their raucous, swampy, noisy best. The band were so happy with the performance and the recording that they decided to release it on cassette on Emmett Kelly’s Ha Ha label and sell it on tour. With the tape long sold out, In The Red is happy to bring this incredible performance to vinyl for the first time. “I love their records. They wrote fantastic singles and looked like they just crawled out of the ooze. What more could you ask for?” – Warren Ellis “The Scientists turned my head around and made a man out of me! They grew hair on my palms and made my socks stink.” – Jon Spencer “The Scientists proved to me that rock 'n' roll could be played by gentlemen in fine silk shirts half-unbuttoned and still dirty, cool and real.” – Thurston Moore

Tracks

Side A:
Rev Head
Atom Bomb Baby
Fire Escape
Solid Gold Hell
When Fate Deals Its Mortal Blow

Side B:
Nitro
Set It On Fire
Perpetual Motion
Happy Hour
Burnout
Blood Red River

Side C:
Mini Mini Mini
Braindead
When Worlds Collide
You Only Live Twice
We Had Love

Side D:
Swampland
Murderess In A Purple Dress
Travis
Shine

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