GLENN BRANCA - 'LESSON NO: 1'

Formats

• SV039 - 12"

  850051035229

Details

***Repress on limited edition clear vinyl. Liner notes by Weasel Walter. After cutting his teeth in the late ’70s no wave scene with bands Theoretical Girls and The Static, Glenn Branca made his first solo statement, Lesson No. 1, in 1980. The inaugural release on legendary post-punk / dance label 99 Records, Lesson No. 1 unveiled Branca’s visionary guitar concepts with two monstrous, side-long compositions that helped forge NYC’s downtown art-punk sound and acted as a massive influence on countless young groups, including Sonic Youth and Swans. The title track is easily Branca’s most accessible moment; its driving beat and interlocking patterns resemble German pioneers Neu! playing Phillip Glass. Never before (or since) has minimalism sounded so euphoric. “Dissonance” is the A-side’s polar opposite. Dark, skittish and unhinged, Branca leads his band (guitar, keyboard, bass, drums and sledgehammer) through block after block of industrial terror, leaving listeners drained in the process.

Tracks

1. Lesson No. 1 for Electric Guitar
2. Dissonance

Press

Audio & Video

WHIMM - 'NO PROMOTION'

Formats

• W25-20 - LP

  850051035199

Details

WHIMM formed around the shadowy heart of the Toronto post-punk underground over a decade ago. The partnership between Mounir Al Shami and Andrew Matthews has emitted sporadic musical shards over time, while slowly evolving into something so much bigger than its beginnings. Ideas seep out of every corner of No Promotion, showcasing a burning desire to explore and challenge while delivering very direct sonic offerings. The result is an album that feels as if you took the entire Coil discography and smashed it into pieces, assembling these precious songs from the fragments. Or as if Vangelis beckoned Section 25 to the studio in hopes of recording the score to a seedy film. The resulting LP is in a state of flux—equal parts motion and decay. Patrick Flegel, of Cindy Lee, welcomed Al Shami and Matthews into REALISTIK Studios in Montreal to engineer half of the tracks for the album, including lending guitar to the opening track “Five in Decline.” That influence is evident early on, as the first three songs are taken from those sessions. “Five in Decline” throbs and barks before racing through the hallways closing in around it. “Another Labour” slows to a spidery waltz as anxious melodies call out to one another. “Returnal” pulses, floats through the night sky and haunts you forever. “Rye” carves a percussive pathway toward similar travellers like Terry Riley and Jon Hassell, before the lament of “A Death Remembered” forms the perfect midpoint for the record. A slow build countered by twitching drums and blanketed by organs recorded at Metropolitan United Church in Toronto, it feels like emotion right on the edge of resolve. “Rhymes of December” screeches through on a solitary train under the towering cityscape as the flickering lights blur past, its doors opening to the candlelit altar of “After the Last Sky” (those beautiful organs again) with an operatic swirl. “K’20” throws you into a claustrophobic and chaotic cab ride (Who is talking? Are those sirens?) until you finally find the quiet of the early morning, waiting at the window for the sun to join you once again as the first notes of “No Promotion” are delicately plucked. The final song from the Flegel sessions, it is over eight minutes of contemplative beauty. A restless heart that is ready to rest. Closing with a final apparition in the key of The Caretaker, “After the Last Sky (Reprise)” is a return to melody when words lose all meaning. Al Shami and Matthews weave their lyrics throughout, words describing a search for lucidity, and of reactions and reflections. Al Shami—speaking from the Palestinian diaspora—ruminates on displacement, both personal and collective. His journey from having “been without a land and I can still see clearly” in “Rhymes of December” to a more defiant “we will be back again, no matter how it ends or where we’ve been” in “Returnal” takes a very insular turn on No Promotion. That sense of alienation pulls at the very center of a relationship when land and circumstances separate: “And after our last breath, all that’s left in me is our flesh and fears, your last words would swim for years, you’ll never find a home in me.” Hearts on the outskirts that know the direction.

Tracks

Press

RIYL: Lowlife, Section 25 and John Carpenter soundtracks

Audio & Video

THEE HEADCOATEES - 'EV'RYBODY'S GONNA BE HAPPY'

Formats

• DAMGOOD660LP - LP

  5020422066014

• DAMGOOD660CD - CD

  5020422066021

Details

Ahead of their two SOLD-OUT shows at London’s Electric Ballroom next March, we’re very pleased to bring you a new studio album by Thee Headcoatees released in tandem with Thee Headcoats’ Children Of The Sect LP! What – more Headcoats and Headcoatees recorded output?! Do we really have to lower our flaps yet again?! Just when you thought they’d got the 25-year itch out their systems with their last offerings… but, oh no – they just can’t stop themselves, can they? In case you’re wondering if this is just some ‘get-rich-quick’ scheme by those involved, I’m sure one listen to each of these platters will belay that theory. Why, it would be more believable if they came bearing the legend ‘buy one – get one free!' If a punch-up between Bo Diddley, The Ramones and The Sonics down the soggy end of a well is your idea of a good time, then perhaps these discs are right up your alley. If that is indeed the case, then we suggest storing them horizontally by a south-facing window, or better still – a radiator, as any reduction in the sonic qualities of said gramophone records must surely be even more of a boon to your untutored lug’oles. Let us all pray then, that unlike most other long-lived ‘heritage’ acts that insist on banging nails in long after the hammer has lost its wallop, these unfortunate souls don’t think it’s fine and dandy to continue making the same old racket year-in and year-out well into their 90s. We live in hope. Anyway, here’s to the next one! Hasty bananas, Archibald Prong The El Morocco Tearooms about five-&-twenty to four

Tracks

1 Ev'rybody's Gonna be Happy
2 Miss Ludella Black
3 Sex and Flys
4 I Give Myself to You All
5 Louie Louie
6 Cadillac
7 I've Been Shot Down
8 I Wanna be Your Girlfriend
9 The Great Granpappy
10 I'm Good Enough
11 He's Not Billie Eilish
12 Mr. Pharmacist

Press

Audio & Video

ARMITAGE SHANKS - 'CHARGE OF THE SHITE BRIGADE'

Formats

• DAMGOOD665LP - LP

  5020422066519

Details

A NEW ALBUM BY ARMITAGE SHANKS – THE FIRST IN OVER TWO DECADES! Dig this. Dick Scum, (vocals) calls up his old mucker Rod Vomit, (guitar) and explains he’s tricked avant garde collagist, Kurt Von Schitters, AKA Billy Childish, into playing bass and producing an eighth Armitage Shanks LP, the first in twenty-two years. “Really?!” exclaims Rod. “Yeah, he owes me big time for driving Thee Headcoats here and there and bloody everywhere. I know where the bodies are buried and I’ve never snitched.” "But who'll play drums?" asks the Christpher Robin barnetted axe-smith. "Simple - we con Von Schitters into bringing along that mush with the slapped-arse face - St Chalfont, AKA Wolf, if he plays his cards right we might let him bash along on his rotting drum kit.” “One problem - Who's going to pay for another crock of shite from the likes of us?” “Easy I'll sell my Uncle John’s collection of sovereign rings.” “Won't he mind?” “Rod, Uncle John is dead, remember?'” “Oh, yeah, perfect!” "All we need to do now is learn that tricky 3rd chord and we'll be happy as two peas in a pod-ah!” The scene is set. By some miracle the boys meet up at Ranscombe studios on time, Von Schitters tidies up their rubbish tunes, Bludy Jim hits the play button and maximum drums and racket ensues. All is hunky dory till Rod Vomit’s hand cramps up from 'wristing of the punk.' In steps Rod's 14-year-old son Galapagos who saves the day with his expert rock digits. A further added bonus: Miss Spendapenny gets to scream out the closing number on side one, as does Von Shiitter’s kid, Atticus on side two. The result - 14 tracks of ultimate punk that is guaranteed to get even the most constipated listener charging to the crapper. William Loveday Under Chatham bogs, 3rd cubical along Aug 2026

Tracks

1 ? Thoughts of Violence
2 ? Banned From the Shops
3 ? Deny Me
4 ? Sleep All Day
5 ? Shy Bairns Get Nowt
6 ? Uncontrollable Serge
7 ? Television Addict
8 ? God is My Barber
9 ? Brown Brown Booze
10 ? Turkey Teeth
11 ? What About Brian?
12 ? Hard Cheese
13 ? They're Not There
14 ? What Do I Get?

Press

Audio & Video

MISS LUDELLA BLACK - 'NO ONE MAKES A FOOL OUT OF ME'

Formats

• DAMGOOD656LP - LP

  5020422065611

• DAMGOOD656CD - CD

  5020422065628

Details

She’s back and not taking any nonsense! Brand New Studio album by Miss Ludella Black! “No one makes a fool out of me… This is my 4th solo album. We had a ball recording this, as I think you can tell! I’m backed once again by the fabulous Masonics and the original material is written by Mickey Hampshire. We recorded the album with local legend Jim Riley at Ranscombe Studios, a stone’s throw from my houseboat. The Etta James cover (I know, how dare I!) we have been playing live for a while as well as ‘Why Don’t You Smile Now’ which also appears also on the Delmonas 5! album. The spine-chilling ‘You Waster You’ will make the hairs on your neck stand up, and it’s also a highlight of my live set. My personal favourites are ‘I Bear the Scars’ and ‘I’ll Get Over Losing You’ - both quite different but very Ludella! I’m very chuffed to be releasing this fine LP on Damaged Goods Records again and hope you all love it as much as I do!” Miss Ludella Black, Rochester, Kent (August 2026)

Tracks

1 ? City of Shame
2 ? My Heart's Beating Faster
3 ? She'll Be Gone
4 ? No One Makes a Fool Out of Me
5 ? Every Once in a While
6 ? I Can't Even Cry
7 ? Why Don?t You Smile Now
8 ? It's My Affair
9 ? I Can?t Get Over Losing You
10 ? Matchbox
11 ? I Bear the Scars
12 ? Felix (Keep on Walking)
13 ? The Breaking Point of Love
14 ? Seven Day Fool
15 ? You Waster, You

Press

Audio & Video

THEE HEADCOATS - 'CHILDREN OF THE SECT'

Formats

• DAMGOOD659LP - LP

  5020422065918

• DAMGOOD659CD - CD

  5020422065925

Details

“The undisputed kings of garage rock” are back again! Ahead of their two SOLD-OUT shows at London’s Electric Ballroom next March, we’re very pleased to bring you a new studio album by Thee Headcoats released in tandem with Thee Headcoatees’ Ev’rybody’s Gonna Be Happy LP! What – more Headcoats and Headcoatees recorded output?! Do we really have to lower our flaps yet again?! Just when you thought they’d got the 25-year itch out their systems with their last offerings… but, oh no – they just can’t stop themselves, can they? In case you’re wondering if this is just some ‘get-rich-quick’ scheme by those involved, I’m sure one listen to each of these platters will belay that theory. Why, it would be more believable if they came bearing the legend ‘buy one – get one free!' If a punch-up between Bo Diddley, The Ramones and The Sonics down the soggy end of a well is your idea of a good time, then perhaps these discs are right up your alley. If that is indeed the case, then we suggest storing them horizontally by a south-facing window, or better still – a radiator, as any reduction in the sonic qualities of said gramophone records must surely be even more of a boon to your untutored lug’oles. Let us all pray then, that unlike most other long-lived ‘heritage’ acts that insist on banging nails in long after the hammer has lost its wallop, these unfortunate souls don’t think it’s fine and dandy to continue making the same old racket year-in and year-out well into their 90s. We live in hope. Anyway, here’s to the next one! Hasty bananas, Archibald Prong The El Morocco Tearooms about five-&-twenty to four

Tracks

1 The Medway Queen
2 A Surprise to You (No Surprise to Me)
3 Blind Blonde Hair
4 Hacksaw
5 Bo Diddley's a Serial Killer
6 Bring it to Jerome
7 You think You Know Me
8 Children of the Sect
9 The Reason We Didn't Sound Like The Smiths
10 One Horse Town
11 Wyatt Earp
12 Yellow Nosed Bastards
13 Failure Not Success
14 I Give Myself to You All

Press

Audio & Video

MASAYOSHI FUJITA - 'FOREST OF TRANQUILITY'

Formats

• ERATP187LP - LP

  3700551787098

• ERATP187CD - CD

  3700551787081

Details

**LTD TRANSLUCENT VINYL IN DIE-CUT SLEEVE** When Japanese artist Masayoshi Fujita was invited to create the soundtrack for Expo 2025’s vast living nature installation, Forest of Tranquility, he immediately envisioned a relaxing public space in which visitors could tune out the noise and restore their energies. Inside this green open-air sanctuary – visited by millions of people during the landmark Osaka event, which ran for six months – stood a central pond and 1,500 real trees, all rescued and repurposed from Expo’s former ‘70 site and other parks in Osaka. It’s from this honourable commission that Fujita’s new album for Erased Tapes, Forest of Tranquility, grew. Like the Japanese kankyō ongaku (environmental music) pioneers Hiroshi Yoshimura, Midori Takada and Haruomi Hosono before him, Fujita makes gentle, mind-massaging music intended to blend harmoniously with its environment Fujita set about deepening the listener's connection to the complementary ebbs and flows of the natural world using dynamic shifts and gentle arcs to shift the mood. The result was a living tapestry that mirrored the surrounding forest, with nonlinear patterns and textural twists and turns — creating a portal into the unexpected. For Expo ‘25 visitors, this synchronicity – the forest setting intertwined with its associated sounds – would have bettered their experience of being outdoors; for at-home listeners, this synergy now takes the form of a serene transportive pod, capable of taking you anywhere you wish. On the follow-up to 2024’s Migratory LP, the organic resonance of Fujita’s acoustic instruments – marimba, vibraphone, and percussion, with Armenian duduk from Hayk Karoyi and Japanese shō from Mattias Hållsten – acts as a showcase of nature’s design. Field recordings of birds and frogs make a hidden home among its branches and broad leaves, and bring the album’s biomimicry and ecological quality into even sharper focus. As do the atmospheric drones and burrs of white noise that evoke the wind whipping through the mountains. But, mainly, the objective was to carve out a roomy sound world for reflective thought. “I wanted to have a lot of space in between the sounds,” says Fujita. Having lived in Berlin for 13 years, Fujita moved to rural Japan in 2020, aiming to make music in nature. Now he is as close as one can be, living with his family high up in a mountain village along the coast of Kami-cho, Hyōgo, three hours west of Kyoto – surrounded by water and the occasional bear – and working out of a former kindergarten. For that reason, coursing through the leafy veins of Forest of Tranquility is the distinct feeling that you, too, might wander off into the wilderness someday and never return to the city.

Tracks

1. Portal to the Universe 2. Departure 3. Forest of Tranquility 4. Light, Wind and Water 5. Komorebi Dance 6. All Creatures Bow to Evening 7. Time to Go

Press

RIYL: Japanese kankyō ongaku (environmental music) pioneers Hiroshi Yoshimura, Midori Takada and Haruomi Hosono

Audio & Video

HOWLIN RAIN - 'WATERMELON'

Formats

• SC62X - LP (COLOURED)

  769152435732

• SC62 - LP

  769152435718

• SC62CD - CD

  769152435725

Details

Covers album including songs by Mountain, Judee Sill, Scott Walker, Fairport Convention, Moby Grape and more. Featuring Chris Robinson of The Black Crowes, Ty Segall, David Nance... In celebration of 20 years riding the bus to never-ever land, Howlin Rain delivers Watermelon, a glittering gift of deep-cut cover tunes drawn from a late-night FM transmission that never was, evoking an era when LPs, waterbeds, and bongs sat side-by-side in headshops strewn across the coasts and flyover states. Watermelon sums up band founder Ethan Miller's long, strange trip from the blown-out Blue Cheer nebula of Comets On Fire, to Howlin Rain's ongoing love letter to ’70's rock radio (and their stint with Rick Rubin's American imprint), then a stopover in the acid-folk lily fields of Heron Oblivion before launching into the ecstatic silver currents of interstellar space with The Odyssey Cult and Orcutt Shelley Miller. With Watermelon, Miller has reinvigorated Howlin Rain's ever-changing roster once again, with only drummer Justin Smith from the last couple of lineups, adding Jonny Niemann (keys), Jason Soda (guitar and vocals), Kyre Wilcox (bass and vocals), and notable guests Chris Robinson (The Black Crowes), Ty Segall, and David Nance. The new band doesn't quite return to the manicured hedges of The Russian Wilds, despite its exploration of some of those AOR tropes, but casts the lessons Ethan learned in the major-label wilderness into a mirror of the band's more modest, stripped-down roots, refracted back through the tighter psych moves of its more recent Silver Current releases. Featuring tracks by Mountain, Judee Sill, Sugluk, Moby Grape, Fairport Convention, Todd Rundgren, Scott Walker, Tim Hardin, and Mountain Bus (who supplies Rosali, the album's fitting closer, a great Dead-infused jam leading into the cosmic thicket). Silver Paper, the lead-off single, takes Mountain's earnest, ripped and ragged soul vocal (aptly supplied by the Black Crowes' Chris Robinson) and fretboard pyrotechnics into a (much) higher key. 30th Century Man injects the Scott Walker chestnut with exploding fuzz solos and lost, late-night vox (courtesy of Ty Segall, the perfect foil for Walker's velvet croon). Fall Away, a track from the seminal Native North Americacomp on Light in the Attic, swaps the inimitable First Nations backbeat with Crazy Horse chug and blasting fuzz. For those who've lost Howlin Rain's trail over the years, or hopped off in the years following The Russian Wilds, this LP represents a hard reset, a stunning infusion of psychedelic vigor, a glorious reinvention of a band that's no stranger to new beginnings. Each track of Watermelon opens a new box of surprises, so in fear of killing them with words, I'll keep them undescribed -- all it takes to unlock them is a simple needle drop.

Tracks

1. Silver Paper
2. Jesus Was A Cross Maker
3. Fall Away
4. I Am Not Willing
5. Possibly Parsons Green
6. Black Maria
7. 30 Century Man
8. If I Were A Carpenter
9. Rosali

Press

*200 copies for the UK Translucent Green Vinyl*

Audio & Video

GABRIEL FERRANDINI - 'ROMANCE'

Formats

• W25-22 - LP

  850051035243

Details

Portugal-based percussionist Gabriel Ferrandini spent years honing his skills in various free jazz ensembles, where he demonstrated his absorption of the styles of pioneering rhythm liberators like Sunny Murray and Milford Graves while forging his own energetic and agile sound. During this time, Ferrandini performed with everyone from Evan Parker and Alexander von Schlippenbach to Thurston Moore and Dirty Beaches’ Alex Zhang Hungtai. At some point, the percussionist grew restless and began taking a more compositional approach, using his drums as primary sources from which to produce spectral tones and timbres via electronic manipulation. In Ferrandini’s hands, cymbals become generative instruments with endless reverb tails and choir samples are distilled into vapor. With its subtle evocations of light and color and meticulous editing, Romance suggests an almost cinematic scale. The strings and grainy synthesizer of “Crying Game” lend an air of giallo dread to the deep sub-bass rumbles; “Afters Lisboa” processes cymbal crashes through a Leslie speaker to create a siren-like Doppler effect; “Fallen Angels,” one of the few tracks to feature Ferrandini’s mostly untreated percussion work, stacks layers of reverb effects of varying lengths (an old Autechre trick) to add friction and give the spatialized sounds a dissociative quality. Album highlight “Cova da Vaporwave” utilizes creative sidechaining, warbly VHS like tones and drums amplified through a Fender Twin to gather apocalyptic momentum. Romance is a formidable artistic statement, establishing Ferrandini as one of the most vital composers on the contemporary avant-garde music scene. He is influenced by Renaissance composer Carlo Gesualdo, whose passionate yet dissonant chromatic approach can be detected throughout the album’s seven uncanny tracks. RIYL: James Tenney, Roland Kayn and Andy Stott

Tracks

1. Green Ray 2. Crying Game 3. Itacoatiara 4. Afters Lisboa 5. Fallen Angels 6. Cova da Vaporwave 7. Growing Pains

Press

Audio & Video

FAMOUS MAMMALS - 'IT WAS A PLEASANT MODERN FANTASY'

Formats

• SB212 - LP

  655030121210

Details

After all these years, it's safe to say my favorite era of music ran from 1978 to 1985. That period saw prodigious talent flourishing in the Post Punk movement, & to some, (myself included) much of it remains eternal.Contemporaneously, a band that's capable of bottling such lightning is Famous Mammals from the Bay Area. 'It Was A Pleasant Modern Fantasy' is their 3rd long player (2nd time on the mordant Siltbreeze imprint) & it shows a group who know how to crack the curves into orbit. In a sweeping encapsulation,IWAPMF is akin to walking through a tabernacle where the shutters are thrown open & the melange of pastoral scents such as jasmine, honeysuckle & gardenia envelop the ponderous pop & sonic otherness wafting off this lp. Glints of Normil Hawaiians, Blue Orchids, Mekons & Television Personalities flicker like embers from the past, smoldering gloriously in the present. Sure, all construction comes from a blueprint, yet the upholstery is 100% Famous Mammals. And 'It Was A Pleasant Modern Fantasy' is a magnificent achievement, soaring high in the canon of the modern underground. And I should know. I am an expert. Professor Hortense Teagarden Professional Expert

Tracks

Press

Audio & Video

IBEX CLONE - 'GRAVITY'

Formats

• 216GONE - LP

  769152439518

Details

***As human beings, we develop and implement systems. Mechanical, scientific, political, musical. Two assumptions tend to follow. First: these systems set us apart from the natural environment. Second: once implemented, a system should remain in place indefinitely. But these assumptions overlook a deeper truth. As human beings, we create systems, yes. But only as part and parcel of the world around us. We are ourselves systems evolving within larger systems. A third album can be a lot of things. A radical shift in sound or subject, a commercial breakthrough, a limp retread. Always an evolution. With Gravity, Ibex Clone have inevitably, beautifully evolved further into themselves. Recorded in a backyard punk dump by Memphis audio legend Andrew McCalla, Gravity finally sounds like Ibex Clone in the flesh. A powerful live trio unencumbered by allegiance to any genre signifiers, making physical music in the environment that best suits them. Whereas their first two albums projected cautious visions of utopia through a glassy, hard-edged lens, Gravity pulls everything inward into something altogether warmer and stronger, personal and immediate. This is the folk-tinged rock of the Kinks and Fairport Convention, but filtered through a fuzzy SST sensibility, a decidedly progressive album with as much time for pop hooks as post punk’s thousand-yard stare. Undergirded by Alec McIntyre’s sinuous basslines, George Willford stretches out into languid solos and ambient passages of flanging, e-bowed guitar. Drummer Meredith Lones takes a much stronger vocal presence, her voice a silver lining that draws the band’s dense, heady arrangements into call-and-response earworm territory, emphasizing the earnestness and care in Williford’s Pollard-esque vocal calisthenics. Gravity presents a mature band firing on all cylinders, exercising the muscular restraint of late-period Fugazi with the melodic nimbleness of Guided By Voices and Dinosaur Jr. Gravity pulls things together. After a long period of deconstruction, some form of reconstruction must begin. Rather than looking ahead toward utopia, Ibex Clone find themselves flowering amid the detritus of today, finding wonderful new things to build out of all the old parts.

Tracks

Press

Audio & Video

SARAH MARY CHADWICK - 'FLOURISH'

Formats

• GY16-7 - 2xLPs

  600197167106

Details

Grapefruit Records is proud to announce the release of Flourish, Sarah Mary Chadwick’s eleventh studio record. It’s a sprawling, 80-minute double album which does what the best double albums attempt to do—take us on a journey with a cinematic arc in kodachrome honesty. In this case it’s a hero’s journey as Flourish is furious, feminist, funny and occasionally danceable as it documents a near paralysingly difficult year. While spoken word and hiphop is a departure for Chadwick, her literate lyricism invites us to challenge what we think we know about her as a songwriter. It is equal parts Death Grips, Kim Gordon, Earl Sweatshirt and Girls On Fire. In a masterclass of songwriting she uses women’s hairstyles as a metaphor for how talented women are depicted as dangerous or crazy: “Change your hair, ask for the Anne Sexton…..Ask for the Sylvia Plath, you’ll look good with that…Get your hair done fresh, ask for the Anne Heche.” She also name-checks Janet Frame, DMX, and transforms Stephen Crane’s famous line into “because it is glitter, because it is my heart.” Musically, it’s DIY and scrappy as Chadwick recorded, mixed and mastered the album herself at home while figuring out how to get the fried sounds and sonic plunderphonics necessary for her dive into a new musical language. One can hear the pure joy of discovery she finds in looping and sampling and spitting out lyrics in a new way. She is playful, vengeful and confessional twirling the idiom in her freshly manicured hand like a shiny disco ball. The record details and deconstructs Chadwick’s recovery from an abusive relationship, a life event that is dwarfed by the powerful rhetoric around a woman’s experience and violence towards women. À la The Guerilla Girls, her feminist ferocity is palpable and liberating as she takes swipes at pop culture and the patriarchy with humor and withering wit.

Tracks

1. Flourish 2. New Toy 3. Lavender 4. Just Met Jordan 5. AMA 6. Wave Then Wave 7. Player One 8. JT Leroy 9. Am I Lonely? 10. Almost Maybe 11. Fuck This I?m So Over It 12. Vomit Aisle Nine 13. 101 Salvations 14. Counter Licked 15. Better Luck Next Time 16. Atypical

Press

Audio & Video

OBSERVERS - 'THE EMERALD'

Formats

Details

**Very Ltd (100 copies w/w) Green on Green Splatter Vinyl w/ bonus CD Voices Within: The Emerald (Ambient Sessions)** The Emerald is the second album from Martin Kennedy's instrumental metal project, Observers. The Emerald's instrumental post-metal was inspired by the primeval forests and hidden portals of the cover art by visionary art pioneer Gilbert Williams, one of Kennedy's favourite artists. Once again mixed by Joe Haley of Australia's Psycroptic, the album is equal parts crushing guitars and atmospheric soundscapes, reminiscent of Kennedy's ambient rock project All India Radio. Observers' debut earned widespread acclaim, including selection on NPR's New Music Friday, a Wild One pick on ABC TV's Rage, and praise from critics around the world. Prog magazine hailed it as a "glorious instrumental reimagining of 2001: A Space Odyssey," while Distorted Sound called it "a sprawling space-metal epic." Steve Kilbey of The Church simply declared it "sounds brilliant," and Sea of Tranquility "Spacey and doomy" 3 stars. Bringing a piece of The Emerald to life is the stop motion music video for “Eye Tree”. Made by US stop motion animator Brett Foxwell (WoodSwimmer - Vimeo Staff Pick) from tens of thousands of photos of leaves and wood as it is sawcut, creating beautiful and strange alien 'woodscapes'.

Tracks

: 1. The Emerald 2. The Eye Tree 3. Forest of Doom 4. Asterophora 5. The Word for Forest is World 6. Predestination 7. Boreal World 8. Voices Within 9. After Us 10. The Door (Outtake)

Press

Audio & Video

OBSERVERS - 'THE EMERALD'

Formats

• OBSERVERS003LP - LP (COL) + CD

  0659359608070

• OBSERVERS003CD - CD

  0783026151306

Details

The Emerald is the second album from Martin Kennedy's instrumental metal project, Observers. The Emerald's instrumental post-metal was inspired by the primeval forests and hidden portals of the cover art by visionary art pioneer Gilbert Williams, one of Kennedy's favourite artists. Once again mixed by Joe Haley of Australia's Psycroptic, the album is equal parts crushing guitars and atmospheric soundscapes, reminiscent of Kennedy's ambient rock project All India Radio. Observers' debut earned widespread acclaim, including selection on NPR's New Music Friday, a Wild One pick on ABC TV's Rage, and praise from critics around the world. Prog magazine hailed it as a "glorious instrumental reimagining of 2001: A Space Odyssey," while Distorted Sound called it "a sprawling space-metal epic." Steve Kilbey of The Church simply declared it "sounds brilliant," and Sea of Tranquility "Spacey and doomy" 3 stars. Bringing a piece of The Emerald to life is the stop motion music video for “Eye Tree”. Made by US stop motion animator Brett Foxwell (WoodSwimmer - Vimeo Staff Pick) from tens of thousands of photos of leaves and wood as it is sawcut, creating beautiful and strange alien 'woodscapes'.

Tracks

1. The Emerald 2. The Eye Tree 3. Forest of Doom 4. Asterophora 5. The Word for Forest is World 6. Predestination 7. Boreal World 8. Voices Within 9. After Us 10. The Door (Outtake)

Press

Audio & Video