|
|
|
|
viewing 1 To 7 of 7 items
|
|
|
|
|
|
|
|
|
|
|
|
7"
|
|
DIST 023EP
|
Includes download code. Eschewing the routine trappings of "tunes" and "melodies" in favor of drone and a strong cinematic sensibility, Jazzfinger bring their own unique brand of visual and aural exorcism. They start noisily. They incessantly build layers of white noise onto of layers of unwieldy dissonance. They recreate an auditory Armageddon with amps. They end noisily. They also unleashed 600 live crickets onto the audience at a gig once. They have dozens and dozens of LPs, tapes, CDRs and lathe cuts out on a multitude of DIY labels. This 7" features a remix by D. Harwood.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DIST 032EP
|
Necro Deathmort live up to their clever moniker, laying down six tracks of trademark seismic doomstep and utterly bleak noisedronemetal with EP3, a regression to their earliest days when the style pundits at Vice wrote, "one minute it's Squarepusher, the next it's Sunn O)))." This is some dark occult shit, a fact reflected in the artwork, which shows an almost naked girl holding a goat's skull, her face dripping with blood. There may be runes behind her, but one can't quite make them out, what with all the darkness. The record opens with "Sedan," a face-melting mixture of a-ha intensity and ferocious Kraftwerk-esque vocals. How can a robot sound so pissed off and utterly misanthropic? Only NDM know. "Holy Prism" follows; it's like the soundtrack to some sci-fi horror shit. Then "Quandary" kicks in and the listener is left fighting for breath as the pummeling beats offer no respite, repeatedly landing blows to the face with their tiny drumfists. "The Regency" does little to soothe the listener's shattered nerves, sounding like a bulldozer pushing a planet into the biggest three-bar electric fire you've ever seen. "Sparks" follows and pushes the darkness to 11, sounding like "Rockit" by Herbie Hancock played by a church mouse in a Cylon helmet. The album concludes with "Tundra," which is, without hyperbole, the most bleak and harrowing music ever put on vinyl by any human. Some people may say the band has run out of ideas, which is utterly preposterous -- to make this record they used totally different keyboard presets and used extensive Lovecraft references, something never done before by a band anywhere, ever. This release forgoes the usual two-color splatter vinyl, instead taking the form of BLACK vinyl. For fans of: cool electronic shit, random occult imagery, tight jeans, trends, fashion.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DIST 030EP
|
Necro Deathmort follow up from 2013's EP1 12" with EP2 on Distraction Records. EP2 features (but isn't limited to) a sluggish dark groove, HUGE crashing drums drenched in echo, windswept, creepy as hell, eerie synth, degenerating into yer classic riffing, abstract, pummeling DOOM, glitchy stuttering loops and fuzzed-out electrodoom poundage, epic, imposing, startling and all-round just raw and heavy as fuck 16rpm black metal, desolate sirens, fucked layers of electronic drone, and a sorrowful, John Carpenter-style drum pounder that climaxes into a bleak nothingness. For optimal enjoyment, this vinyl should be played at high volume on a sound system capable of reproducing extremely low frequencies.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD+DVD
|
|
DIST 028CD
|
Interchange is Warm Digits' experimental film and album of music inspired by photography and illustrations drawn from the Tyne and Wear Archives, of the 1970s' biggest civil engineering project on Tyneside -- the construction of the Metro. Invited to investigate the archives to find inspiration to make some new music, Warm Digits found a selection of photographs documenting the transitions between the crumbling, decommissioned British Rail stations of Tyneside and the new, futuristic Metro stations. The songs on Interchange, and the accompanying films which use the images as source material, take and hold onto some of the spirits conjured by these pictures: of hopefulness for a publicly-funded civic future, of the use of new technology for change, of the excitement and propulsion of travel. Warm Digits -- Steve Jefferis and Andy Hodson -- are the duo that emerged from Newcastle upon Tyne's underground scene with a sound as if Neu! and Cluster formed a supergroup with Giorgio Moroder, Emeralds, Kevin Shields, '70s Eno and Keith Levene. Live, Warm Digits are a motorik epiphany of drums, guitar and pulsing hardware, complete with mesmeric kosmische visuals; all that on-stage multi-tasking making their live sets a dynamic Kraut-disco experience. The last few years have seen Warm Digits support the legendary Goblin, play the Supersonic and The Netherlands' Tilburg festivals, as well as Berlin's Kraut/prog fest Polyhymnia. DVD format is PAL, region free.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DIST 027LP
|
Newcastle upon Tyne's Deathrowradio is Chris Tate and Paul Christian Patterson. The pair have worked together as d_rradio for the past 10 years, wooing hearts and minds with emotive adventures in sonic strangeness and melodic melancholy. The band's largely instrumental output has varied greatly in style, from stuttering folktronics to orchestral drone, via euphoric electro synth dub, all the while maintaining their uniquely distinctive feel. Bringing together elements of different styles and adding their own key ingredient is the Deathrowradio approach, as their new album Yummy shows. Having now dropped the underscore from their name, the duo are also leaving behind the laptops and synthesizers to dive headlong into a more confrontational live concoction of trippy guitar riffs and pounding punk drums; raucous and wild, yet underpinned by hypnotic repetition. Chugging and pounding along through just under 40 minutes, Yummy takes its cues as much from '60s garage rock as it does '70s glam, '80s skate punk and '90s techno. The result is yet another unique way for Deathrowradio to present their immersive and emotive sound. Less polished, more raucous and not a laptop in sight, Yummy marks the band's 10 year birthday with a bang, bang, bang, bang, bang, bang, bang, bang, bang, bang.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DIST 020LP
|
From their beginnings in 1994 to their final show in March 2011, The Big Oaks certainly divided opinion. They were described as "the sort of cripplingly unfunny comedy music which could only be appreciated by the friends of the cretins involved, or Red Dwarf t-shirt wearing bell-ends who live with their mams," but for those of us who were around in the northeast underground music scene that loved them, it was a whole different story. In fifteen years they only played twenty shows, but nonetheless much deserved cult status in the northeast. At once troubled and bitter yet soul-reflecting, their sharply-observed, biting lyrics and fuzzed up instrumentation recalled many of the great British indie bands that used to pepper the Peel Festive '50s in the '80s. Their music encapsulates alienation, confusion, anger, loneliness, and (especially) belligerent humor. This music is an incredibly British deconstruction of punk-pop in a post-corporate, globalised, mass-media saturated world, mired in the tea-time and early evening TV of yesteryear, presumably as reference either to chief singer/songwriter Simon "John the Rat" Windsor's feelings of the past trauma or past fondness of his younger days. It's also fucking hilariously funny. Think The Shaggs, Ween, and Truman's Water. Simon passed away on 26 May 2011. Besides a bunch of cassettes that were made in the 90s, this album represents his life's work. The lion's share of Monster Turd was recorded in 2008, with the intention of a CD release on Distraction Records. We never did have the funds to release it, and with his family's blessing, and help from a very generous bunch of folk who have crowd-funded this release, we are so, so pleased to go all out on this one with a gatefold vinyl release and give the man, and the music, the respect that it deserves. He's John the Rat. His legacy lives on, an' that. Comes on brown colored vinyl in a double gatefold sleeve.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
10"
|
|
DIST 026EP
|
"Krauttronic blizzardwave" duo Warm Digits collaborated with multi-instrumentalists Field Music for a one-off recording session in which they composed and recorded four completely new pieces of music together. Opening track "Elements of the Sun" is based around an arpeggiated Moog bass line, with the four jamming over the top; it's reminiscent of Cluster remixing Fleetwood Mac.
|
|
|
|