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FTR 785LP
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Plastic Crimewave Syndicate returns with one collective foot in overdriven space-biker scuzz rock, but the other bigfoot kicking upward into new galaxies of synth punk, no-prog, and freek funk. Yes, the new PCWS LP, Tales From the Golden Skull, GROOVES -- but from the perspective of the Japan n' Kraut/Eurorock undergrounds, coated in some nasty Windy City grime. Aided by the Chicago Cosmonaut Couriers Crew, ala famed renaissance man Mac Blackout (synths/horns/electronics), Przemyslaw Krys Drazek (trumpet) of longtime zone-jammers Drazek Fuscaldo/Mako Sica, Will MacLean on Moog keytar, plus the oldest-school synthlord Bil Vermette, who's been modulating since the '70s. Tales From the Golden Skull is a near-concept LP that looks back at fallen friends and collaborators, and then into the unwritten golden future (as PCW himself hit the golden 50). The sonic journey dips into dark textural valleys, and chugging riffs rising to the fiery heavens, as the thundering-but-subtle rhythm section of Jose "Beast but Best" Bernal and Rob "Dead Feathers" Rodak know when to crash and when to burn (one). Sir PCW lays down his trademark big muff-blastage and echo-cries, to channel the despair and feral bark of the mighty Vega/Hammill/Iggy/Dickie P/Haino/Mojo-Risin/Mizutani, but also knows when to shut up for some layered instrumental Embryo/Harvester/Fausty trance rock and dabbed/dubbed out "not-quite-shoegazin" calmness in the eye of the Ur-storm. This might be the most expansive, detailed yet furious PCWS LP yet, recorded at Rec Room studios with Eric Block. So strap the headphones on and absorb the tales of this spaced ritual-rock opus.
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To Celebrate its 25th anniversary, Cardinal Fuzz and Feeding Tube Records present the lost classic that is Outrageous Cherry's Out There In The Dark, presented for the very first time on vinyl. Originally released via the DF2K (the contemporary sister label of Del-Fi), one of the classic labels of the '50s and '60s (Richie Valens/Bobby Fuller) and in Europe via Poptones. While earlier records shared a love of The Turtles, The Troggs, and Television Personalities (among a host of other stuff), Out There In The Dark feels like Eno and Hawkwind filtered through Petula Clark's hit singles and Spectorized via Matthew Smiths' wonderful analog production. Recorded at Jim Diamond's Ghetto Recorders Studio, this release makes use of a huge ancient reel to reel machine that provides that superb tape echo effect employed across this LP. Like Guided By Voices, Outrageous Cherry's affection for this kind of music never sounds retro, and their experimental touches make Out There In The Dark plays like a jukebox full of forgotten hits, a time machine with its controls set for the past and the future. Across 13 tracks, sweet melodies and harmonies soar over vicious urban Motor City guitar workouts. Motown-fueled bass and drums throb hypnotically as Matthew Smith sings as though Brian Wilson had been an honorary Ramone. Beatle-esque pop numbers like "Tracy", "Corruptable," and the made-for-AM radio "Where Do I Go When You Dream?" balance moodier songs like the album's narcotic centerpiece, "Easy Come, Uneasy Glow." Their trippy side comes to the forefront on the excellent, backwards guitar-driven "Only the Easy Way Down," as Larry Rays solos cut like a jagged knife, and in the title track's drifting guitars and shifting tempos. Smith's ultra-faithful, vintage production style sparkles on "A Bad Movie." The album closer "There's No Escape From the Infinite" ends in a trance-inducing guitar apocalypse that would make Spacemen 3 and The Jesus And Mary Chain proud. Presented in a gloss laminated outer sleeve and with a four-page folded A4 insert and download code.
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Cardinal Fuzz and Feeding Tube Records have the pleasure of unleashing the sizzling contact high sounds of Yerba Mansa's new LP release -- Gravity's Joke. As the heppest of you undoubtedly know, Yerba Mansa are Edwin Stevens (Irma Vep, Klaus Kinski, The Web of Lies) and Andrew Cheetham (Richard Dawson, Jane Weaver, Waterless Hilss). Both have been members of Desmadrados Soldados de Ventura, and are purveyors of raging, mind-bending primitive garage infused Middle-Eastern free-rock psychedelia. Showcased here is Edwin's mesmerizing guitar playing, capable of conjuring sonic specters from thin air and Andrew's limitless drumming, rooted in jazz and totally mesmerizing in fluidity and movement. Within Gravity's Joke, the grooves are some of the fiercest apocalyptic and heady jams you will hear this year. Yerba Mansa whirl up demonic raga meltdowns which showcase their individual chops and duo telepathy; the guitar vernacular is pure Sharrock/Flower/Quine -- indeed the tuning sounds like it could be ostrich, and the drumming is more octopus. Side two is a near 20-minute mystical freak out. The whole shebang could and should implode at any time, but doesn't. It hangs together somehow as melodies appear out of the chaos, and the title track relentlessly builds up to a shamonic climax, akin to stumbling across a Voodoun ritual in the American Plains. Sizzling, stifling and ever so slightly ear-scraping -- this is a must for any lover of untamed music.
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Ever wondered what music would sound like if it was ripped from the space directly preceding sleep? The tracks within this album are your gateway to discovery. These recordings, which were laid down especially for the USA radio stations WFMU and WGXC, will melt your speakers and your mind. Released on the ever-excellent Feeding Tube Records (USA) and Cardinal Fuzz (UK). Bhajan Bhoy (aka Ajay Saggar) symbolizes boundless creative freedom in all the music he has produced to date. This LP is no exception to that rule -- in fact, this album showcases an even wider spectrum of sounds and ideas than could ever be imagined. From heavy lysergic guitar excursions, to dub inflected guitar pedal pop, to nu-age minimalism, to electronic experimentalism -- all the terms and descriptions in the world don't do justice to the originality that lies within. When USA radio station WFMU asked Ajay to contribute tracks to a session for the show 'Feelings' (co-hosted by Michele and Creamo Coyl), he turned in five tracks that received tremendous feedback from around the world on the station's live chatline when broadcast. In addition, a session for WGXC further showcased the songwriting talent of Ajay. The ensuing three-week tour of the USA cemented Bhajan Bhoy's status as one of the most innovative musicians around. This LP marks another giant leap forward in Bhajan Bhoy's musical development. He's brimming with ideas and the imagination runs wild. This music is for the listeners who want to follow a path of discovery and be mesmerized and blown away by what they hear. Be sure to be one of the listening party. Written, recorded, mixed by Ajay Saggar at Soundation Studio in the summer of 2023. Mastered by Helmut Erler. Sleeve design by Jake Blanchard.
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Cardinal Fuzz and Feeding Tube Records present the second LP from Tomoyuki Trio (Tomoyuki Aoki, Mike Vest, and Dave Sneddon) following their debut LP Mars on the esteemed Riot Season Record Label. Tomoyuki Aoki is the founding member and lead guitarist of the legendary Tokyo Psych Monsters Up-Tight. Of all the Japanese psych-rock groups that emerged in the late nineties and early noughties, Up-Tight are the most reverent, the most directly plugged into the source, from their name (Velvet Underground) with knowing referential song titles like "Sweet Sister" to their extended heavy, dark black clad acid fried one chord psych melters -- bands like Fushitsusha, White Heaven, Kousokuya, Shizuka, and the grandaddies of 'em all, the deservedly-legendary, Les Rallizes Denudes. Shitsuren if anything has got an even heavier, dronier edge than the last one. Super fuzzed guitars, sad ballads, grinding distorto epics and numbed, narcotic rhythms. This is one to play at maximum volume so that you can soak up its molten magik, as over two sides of Shitsuren's grueling guitar hypnotics you uncover the darker side of the ensembles personality to find them digging deep to drag the audience with them into the shadows of stoner psyche. If you can picture Okhami No Jikan, Asahito Nanjo, Musica Transonic, and Toho Sara then you're close to the outrageous levels of psychedelic excess captured here, a riotous concoction of ferociously brooding, locked down heavy bearing intensity of fierce/brutal speaker battering in the red levels.
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Volume 1. On September 13th, 2023 a musical collision occurred between The Band Whose Name Is A Symbol and Dead Sea Apes. With a room booked and a full moon glowing, the doors were locked and for the next 120 minutes, the nine members created nirvana/chaos where, with no direction, all possibilities were endlessly explored. Like hearing the lost Amon Düül recording you've waited 50 years for, Glenn Branca's wall of guitars, the shamanic cacophony of The Boredoms, psych melters Comets on Fire, and so much more. It is punk; it is fury; it is noise in its rash extremity, psychedelic in form. It feels as though everyone in that room was connected to a universal mind decoder, as wave after wave of pure sonic free flowing energy built and built to climatic zeniths. Here is the recording of nine friends who gathered on Eine Nacht.
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FTR 768LP
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Volume 2. On September 13th, 2023 a musical collision occurred between The Band Whose Name Is A Symbol and Dead Sea Apes. With a room booked and a full moon glowing, the doors were locked and for the next 120 minutes, the nine members created nirvana/chaos where, with no direction, all possibilities were endlessly explored. Like hearing the lost Amon Düül recording you've waited 50 years for, Glenn Branca's wall of guitars, the shamanic cacophony of The Boredoms, psych melters Comets on Fire, and so much more. It is punk; it is fury; it is noise in its rash extremity, psychedelic in form. It feels as though everyone in that room was connected to a universal mind decoder, as wave after wave of pure sonic free flowing energy built and built to climatic zeniths. Here is the recording of nine friends who gathered on Eine Nacht.
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FTR 769LP
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Volume 3. On September 13th, 2023 a musical collision occurred between The Band Whose Name Is A Symbol and Dead Sea Apes. With a room booked and a full moon glowing, the doors were locked and for the next 120 minutes, the nine members created nirvana/chaos where, with no direction, all possibilities were endlessly explored. Like hearing the lost Amon Düül recording you've waited 50 years for, Glenn Branca's wall of guitars, the shamanic cacophony of The Boredoms, psych melters Comets on Fire, and so much more. It is punk; it is fury; it is noise in its rash extremity, psychedelic in form. It feels as though everyone in that room was connected to a universal mind decoder, as wave after wave of pure sonic free flowing energy built and built to climatic zeniths. Here is the recording of nine friends who gathered on Eine Nacht.
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FTR 746LP
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E Gone is Daniel Westerlund from Stockholm, Sweden, and Adventures Before the Body is his long-awaited latest excursion into cosmically earthy musical alchemy, rounding out a trilogy of albums begun in 2013 with All the Suns of the Earth, and continuing with Advice to Hill Walkers in 2016 (both also released by Deep Water Acres and Sunrise Ocean Bender). Musically, Adventures builds on its predecessors' eclecticism and love of sonic juxtapositions -- astute psychedelic guitar lines swirled together with exotic instrumentation and modal motifs, rock riffs alongside ethnic percussion and old-school beats, drones and atmospheric effects blending into electronic deep dives. A pair of songs bring back Westerlund's vocals, though the overall compositional logic scales up from the shorter instrumental pieces on Advice into more progressive territory (most notably the 14-minute title track). As that suggests, Adventures also extends the triptych conceptually -- if All the Suns was about waking up and breaking free, and Advice was a metaphorical travel guide of diverse vignettes, Adventures is about expansion or explosion, whether outwards or inwards; evoking, in the man's own words, "a feeling of vertigo in the vastness of the universe." That said, deep philosophical musings are in no way necessary to appreciate the sheer enjoyment within Adventures' grooves. These are songs and sounds of mystery and wonder, as sonically experimental as they are melodically accessible, taking form somewhere outside of conventional genre lines. An album of shifting textures and formidable scope that rewards attentive ears and repeat listening. Adventures Before the Body is brought to you by Cardinal Fuzz/Feeding Tube Records, in collaboration with Deep Water Acres, and in tribute to Sunrise Ocean Bender Records and Kevin McFadin.
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FTR 747LP
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Cardinal Fuzz/Feeding Tube Records in collaboration with Deep Water Acres and in tribute to Sunrise Ocean Bender Records bring to you: Elkhorn -- Other Worlds. Drew Gardner and Jesse Sheppard, the two-guitar duo of Elkhorn, share a musical brotherhood that spans several decades. From their nascent high school socialist-realist post-punk band Mayfirst, to teenage scavenger trips to the Princeton Record Exchange and City Gardens, the two came of age goofing along to the Dead Kennedys, the Butthole Surfers, and Sonic Youth in the dank Jersey/Philly-scene music holes. Elkhorn has long traversed the valleys between fried cosmic psychedelia and American Primitive, particularly the latter style's reverence for a wide range of folk and blues idioms ranging from County Records compilations to the Mississippi Sheiks. While the pair is best known for their acoustic guitar explorations, Other Worlds continues their recent experiments with other instrumental possibilities. For instance, on the previous Elkhorn release On the Whole Universe in All Directions, Drew switched to vibraphone and drums, with Jesse playing 12-string guitar. Other Worlds, on the other hand, finds them in a recognizable "rock trio" format (in improvisational mode) -- Drew is on electric guitar, with Jesse playing bass, and they are again joined by Ian McColm on drums, with the free-flowing groove he brings. On the opening track "Watching the Skies" you can feel the forward propulsion this power trio sets up, a cosmic widescreen which Elkhorn proceed to rock and groove across the whole of Other Worlds. Three flawless musicians in their own right, together they form a telepathic psychic link that taps into the otherworldly flow that is Other Worlds, as the synergy created by Jesse and Ian leaves Drew plenty of space to take off on exhilarating and soaring flights of fuzzy haze fire that results in a musical journey toward transcendence. Elkhorn demonstrate again and again that there is no height they won't scale, no direction they won't travel. Have Elkhorn ever sounded as heavy or as on fire as the recordings laid down here? You be the judge. The trio is multitudes. The trio is one.
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FTR 759LP
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Cardinal Fuzz and Feeding Tube Records are present the latest hazy fried sounds of New York State's Ambassador Hazy (aka Sterling Deweese) and Leaving Here. Leaving Here is hallucinatory lightning in a bottle -- it is the sound of sunny summer days passing by and old friends coming and going, and psychedelics slipping in and out of your mind in vast quantities. Each song is an acid-soaked rabbit hole which sucks you in and leaves you immersed in an unusual sonic world projected before you in brilliant technicolor. Musically each song veers between bright sunshine fuzzy soaked pop and dark warping druggy-tinged nightmares that is the USA in 2024. It quickly becomes clear that Ambassador Hazy is an artist driven by an expansive musical vision; one which feels as sumptuous as it is otherworldly. Immaculately bright and infectiously catchy psych pop gems packed full of odd detours and abrupt freakish left turns. The songs here are far too densely packed with way too many ideas for them to ever sound uninteresting or bland, each passage is a triumph of an expansive musical vision; one which feels as sumptuous as it is otherworldly. Leaving Here expands upon what Ambassador Hazy has experimented upon their previous releases, that sense of wonder and outlandish that leaves you immersed in a wonderful landscape of hypnotic, transcendental sounds and surrealistic lyrics. On the surface, Leaving Here is a psych pop album, but when you peel back the outer layers, you're left with something that feels far beyond this world. Think all your favorite fuzzy bands on a nice, big, psychedelic drug cocktail. Leaving Here is presented in a 350gsm laminated outer sleeve with insert and adorned with the eye-catching artwork by Greg Gangemi. Pressed on clear vinyl.
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FTR 774LP
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Sun Reflector is the debut LP collaboration by Heffernan (Ivan The Tolerable, All Structures Align, King Champion Sounds, University Challenged) and Pärk (Black Tempel Pyramid, Teeth Of Glass, Kosmonaut). Sun Reflector is steeped in a haze of primitive drum machines, fanned phase and sustained scuzz-rippled guitar chimes, an ambient electronic creation with emphasis on repetitive trance-inducing rhythmic pulsations of electronic sound and subtle counterpoints that slowly unfold as the rhythmic drive marches forth utilizing the Motorik 4/4 beat with the lysergic kosmische sonic textures of Cluster. With Heffernan (bass, guitars and drones) based in the Northeast of England and Pärk (synths, drones and loops) based in Colorado USA on the border with New Mexico -- the portal they opened up between these environments creates a travelogue that unites physical and inner space, a series of trance induced states rendered in vivid color, a delirious portal into the ether. "Harmonic Coast" opens and is a heady downtempo affair, an earthly vibration that slips effortlessly between peyote peaking trekking trips and Balearic sunset vibes. The somnambulistic drift of "The Sun" sets the stage with a series of shimmering, circular synth pulses where hidden details slowly emerge over multiple listens. Album closer "Fever Mirage" creates a clear-eyed appreciation of the pastoral beauty that surrounds us, it's a journey that summons up an occult-like dream of glacial arpeggios and whispering synths that pull your attention in to this hypnotizing listening experience. Sun Reflector is a collective sound in which a lot is allowed, and a lot is done. That combined with the compositional ingenuity where the heterogeneous timbres create a time travelled cosmic mysticism that summons up the spirits and visions of Harmonia, Cluster, Eno, and Phillip Glass. Shimmering and transcendent we present to you for your listening experience Sun Reflector.
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"This album is part of a triptych. I spent between January 2021 and June 2022 recording, shaping, crafting and moulding a whole set of songs which ebbed and flowed and took different directions over time. Unlike the first album, I collaborated with friends on some of these new songs, which brought them to life in a beautiful manner, that I definitely couldn't have achieved if I had done them alone. The concept of collaboration is a beautiful thing where you get to share your art with others and the process brings you closer to the players and also to the song. The songs on this album are varied stylistically, but there is a common thread running through it all, namely that of love. Combining psych, drones, minimalism, free jazz, electronic music and dub in this work, this is another album's worth of musical joy and wonder for all to enjoy. When the label honchos at Cardinal Fuzz (UK) and Feeding Tube Records (USA) heard the cassette, they loved it so much that they requested to release it on vinyl. I duly agreed, and as well as vinyl, there also a limited edition run of CDs in a gatefold sleeve, designed by Sam Giles." --Ajay Saggar
All songs conceived, written, played, sung and recorded by Ajay Saggar at Soundation Studio between January 2021 and June 2022. Featuring Holly Habstritt Gaal (vocals on "Won't You Wait?") and Ab Baars (shakuhachi on "I Love You So"). Mastered by Chris Hardman. Sleeve design by Oli Heffernan. Inside photo by Rob Verweij.
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Cardinal Fuzz (UK) and Feeding Tube Records (USA) once again join forces to release this behemoth of an album. Attack Of Sound is an unapologetic swooning love letter to pop music. It's the perfect album, where dissonant and harsh guitars are juxtaposed with almost bubblegum pop. Sheets of feedback over inept tribalism and sugared by amazingly sweet vocals. This album works brilliantly as Ajay & Holly show their innate love of classic '60s pop and psychedelia as much as the Stooges. The ghosts of Love and Phil Spector haunt the wasted grooves of "What The Girl Does" and "Damned And Drowned," while the lurching punk noise mayhem of "How We Made It Seem" resurrects the in-yer-face Detroit icons like the MC5. Attack Of Sound remains a touchstone for all the people who ever believed that rock was for waking you up. Equal parts Beach Boys' melody and Velvets' minimalism. It still provides that visceral thrill -- an attack of sound! Recorded and mixed at Soundation Studio by Ajay. Mastered by Chris Hardman. Sleeve design by Oli Heffernan. Band photo by Rob Verweij. Limited-edition of 300 copies.
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Joseph of Kirezi were formed in Ikebukuro (Tokyo) in 2012, and since then they have been roaming the outermost corners of the black clad psychedelic underground. So please get ready to treat your ears to The Only Way Out Is Through -- a pounding tour de force of amp destroying killer fuzz wah sike rock. If there was ever music to be played in that killer sixties exploitation movie -- in that biker club scene where everyone has been spiked with the brown acid and the bad trip is coming on strong -- then this would be it, a pounding and ferocious white noise psychedelic nightmare. There are no subtle intricacies here, just the joy in the classic combination of excess volume and repetition -- crushing levels of heaviness all enveloped in a white noise fury. Taking cues from kindred spirits such as High Rise, The Stooges, Black Sabbath, Hawkwind, Amon Düül II, Spacemen 3, The Heads -- music for freaks in the know. Prepare to vibrate as you turn on, tune in, and freak out!
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Originally released February 12, 2022. MANAS -- otherwise known as the duo of iconoclastic guitarist Tashi Dorji and drummer extraordinaire Thom Nguyen -- have made tsunami-sized waves in the free jazz and improv scene with their numerous tape and LP releases (drawing praise and support from such luminaries and fellow-travelers as Bill Nace and Ben Chasny) and their face-melting live shows, including high profile touring with Godspeed! You Black Emperor. Back in the summer of 2019 they invited Naujawanan Baidar's N.R. Safi to sit in with them at a show organized at Fleetwoods, a self-proclaimed "rock and roll wedding chapel" in Dorji and Nguyen's current home of Asheville, North Carolina. Captured on tape was roughly thirty minutes of raw and pummeling improvisation, guitar-become-drum-become-guitar, building and collapsing over and over again like a collective howl from the depths of a necrotic capitalist empire in decay. Personnel: Tashi Dorji - electric guitar; N.R. Safi - electric guitar; Thom Nguyen - drums, percussion. Recorded live at Fleetwoods in 2019 by Thom Nguyen. Dedicated to the memory of the great Palestinian poet Mahmoud Darwish from whom we borrowed the title for this piece.
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Finally out -- Sweet Sister -- this mighty masterpiece of dark and wild psychedelia from the Japanese three-piece legends! Fuzz and reverb drenched jamming sounds from the basements of Hamamatsu evoking the always welcomed ghosts of Amon Düül and Les Rallizes Denudes. "Tokyo psych monsters Up-Tight come out of the classically wasted/drug-damaged school of excessive fuzz and reverb, giving the nod to the endless jam style of Les Rallizes Denudes while spiking their sound with dark downer ballads that owe as much to The Jacks as they do to The Velvet Underground. If you can picture Spacemen 3 circa 'The Perfect Prescription' produced by Ghost circa 'Temple Stone' then you're close to the outrageous levels of psychedelic excess captured here. Tomoyuki's guitar tone has to be heard to be believed, with tactile garage punk crunch put to the service of endlessly euphoric orbits of three droning chords. Up-Tight have been responsible for a buncha the most memorable releases to come out of the post-PSF underground but this has to be their recorded pinnacle, the perfect balance of two chord Velvet downers and strung-out post-Rallizes string violence. One of our records of the year so far -- You need to hear this, Highly recommended!" --Volcanic Tongue
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Originally released via Steve Krakow's Galactic Zoo Dosier Label on CDr. Volcanic Tongue (UK): "Flattening new release from one of the greatest live psych groups in the world. Anyone who witnessed their monolithically powerful set at Instal 2005 needs this incredible disc, one of the most epic and dynamically damaged post-Velvets acid rock re-thinks in recent memory. The addition of Acid Mothers Temple guitarist Makoto Kawabata brings an even darker/more elegantly fucked sensibility, with the result that every track feels like it could explode into narcotic chaos at any moment. Aoki's vocals strike the perfect post-Reed/Verlaine/Hell level of decadent damage and the songs are just beautifully rendered, with the group stretching mantric rock forms into whole new zones of affirmative electric beauty. Fuck. Highest recommendation..." Apex On Line: "... incredible garage-psych from Japan with the addition of Makoto Kawabata -- at their most structured Up-tight sound like the Velvet Underground unanchored from Lou Reed's pop sensibilities, at their wildest they rip the dark heart of garage rock to shreds."
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Cardinal Fuzz and Feeding Tube Records make available the debut release by Ambassador Hazy, Glacial Erratics, previously releases as a private press edition in 2020. Ambassador Hazy is a solo recording project by Sterling DeWeese who was previously in a slew of obscure bands including Heavy Hands, Dirty Rainbow, Terrapin Gun, Madison Electric, and Black Fantastic. Glacial Erratics is really a comeback record as Sterling had totally stopped playing for seven or eight years after he got married and started a family and the business of life took over -- but the calling was always there and as his youngest began to grow -- the time became available for Sterling to answer the call. First though he needed to get his ½" reel-to-reel 8-track back in working order and set up a studio space and fit it out with gear. Soon he was playing again with some local musicians and recording some of those performances live to tape but the hassle of getting everyone together at the same time was hard, so in the downtime Sterling began focusing on recording on his own. Thus, the name Glacial Erratics was born, as it was all a bit of a hodge podge (i.e. erratic) and ended up being done over several years (i.e. glacial). Once there was enough material finished, between band tracks and solo tracks Sterling compiled them. The resulting album is a kaleidoscope of contagious hooks and artfully crafted songs, laid to tape and brought to life in brilliant color. "Black Smoke Rising" is a blur of fuzz guitar and stuttering snare hits as Sterling says "I believe in the future -- don't take it away" and over 14 tracks you are treated to artfully crafted acid pop gems that are riddled with potholes and weird left turns, with hooks that seem to bubble out of nowhere before receding into themselves. The lo-fi aesthetic works perfectly, with the songs benefiting from the warm fuzz tones of the instruments and vocals recorded onto that now fully functioning ½" tape machine. Sterling eventually self-released Glacial Erratics after seeking advice from his good friend Josh (Travelling Circle, Lime Eyelid) who had recently self-released his LP -- the record eventually reached John Westhaver (TBWNIS).
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Cardinal Fuzz and Feeding Tube Records present the new Ambassador Hazy LP, The Door Between. Following 2002's much loved and long sold out The Traveler, Ambassador Hazy is back with The Door Between (the title taken from an old detective novel) which is a perfect metaphor for album's explorations into consciousness and perception, seeing the connectedness between all things while also embracing one's solitude and separation from others. Themes that were amplified as the record was recorded alone in a basement during a pandemic. With some new mics and toys featuring on this recording, Sterling experiments a bit more with recording techniques and different sounds which bring about a more overtly psychedelic sound than on The Traveler and with a few songs being more explicitly drug related (and or induced). The Door Between is about being an outsider, or at least that feeling of being outside of things and the ways one might find connection be that through drugs, music, love. So while "Orange Halos" starts the proceedings the overtly upbeat and infectious melodies we have come to know and love from Ambassador Hazy -- by the time you reach "Going Down" you are dropped into Martin Rev/Suicide synth/drum machine head trip. So, join Ambassador Hazy -- maybe crack open a beer, smoke a joint, take a tab or just sit in your favorite chair -- drop the needle on The Door Between and let it transport you to that other place.
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FTR 707LP
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"A long time in the making but good things always come to astral travelers as transatlantic soul mates Dead Sea Apes and The Band Whose Name Is A Symbol are joined together on black vinyl for the first time. Two artists that for over the last ten years (and longer) have spent their lives creating music that defies easy categorizations -- psych rock/kraut rock/minimal/maximal/avant/free are phrases that only give you fleeting glimpses of what each artist represents. What we do know is that via a sprawling range of sound that is always uncompromising these two artists have pushed each other into a stunning realm of alchemy. The Dead Sea Apes create a hypnotic pulsing sound that weaves an ecstatic line starting from a raw minimal buzz and hum that takes in eastern modes and entrancing minimalism. The music is at once dissonant and hypnotic, rich with unfurling drones that dynamically ebb and flow as a searching interplay between instruments slowly emerges from a sparse open field and builds with the tension of a looming thunder storm. The Band Whose Name Is A Symbol recording is a live recording from the farmland in Richmond 2022 when Mr Cardinal Fuzz journeyed across the Atlantic Ocean to have his brain well and truly fried by these Ottawa Acid Punks. For this show TBWNIS was expanded to a nine-piece with the addition of Saskatoon's Christopher Laramee (Shooting Guns, Wasted Cathedral, The Switching Yard) and Mrs. Carol Lane (Resin Scraper/Beld). TBWNIS emerged to play as the sun set over the never-ending horizon and the Mozzies came out to play -- And proceeded to lay down a barrage of high energy, free flowing ecstatic blues -- like an endorphin spike into your cortex that felt like your head was sandwiched between the amplifiers as wave after wave of unrelenting free flowing orgasmic energy exploded within. Take note I was on some homemade cookies that had me well and truly blasted as I merged with the universe and the vibrations emitting from the stage -- it was a good place."
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FTR 706LP
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"Twelve years after this French trio's last LP (the mind-ripping Manifesto Zero), guitarist Gregory (GR) Raimo, bassist Matthieu Canaguier and drummer Antoine Hadjioannou have released an album of material recorded back in 2012 (from the sessions as the Massacre-Rock Deviant Inquisitors EP). And it is another wild brew of destructo rock madness played with a timeless ferocity that lends it the sort of proto-punk MASS that defies its actual date of creation. GR has released other nutsloid records in the interim -- The GR Record Head (Cardinal Fuzz) and the mysterious Electric Rockin' Chair LP by Hôpital De La Conception -- but there's a special, uniquely strange grit to the way the Gunslingers put together their material. Parts of Supreme Asphalt Doser have a tightly wound dynamism that makes me imagine what the Groundhogs might've sounded like if they'd been founded by three speed freaks in Detroit in 1974. It's like the most insane power choogling you've ever heard. One spin of the first side would have sent Lester Bangs straight to hog heaven. The flip is equally messed-up, but with more experimental detailing. The component pieces are still, thick raw slabs of blood-rock, but they're assembled in a way that is pure freakery. 'Be-Bop-A-Lula-Louie-Loua' is like something Rudolph Grey and Von LMO might have come up with if they'd had a sense of humor back in the Red Transistor days. And the collage piece, 'Rebop From Arthur Lipsett's Fluxes,' is a great collision between avant-garde techniques and the band's Brutalist tendencies. I doubt here will ever be another combo quite like the Gunslingers, so everyone should thank their lucky goddamn stars this archival treasure was pulled out of the darkness. It is indeed the Supreme Asphalt Doser. I don't think any other Asphalt Doser even gets close." --Byron Coley, 2022
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FTR 700LP
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The Human Hand live combo comprises Joe Hollick (Wolf People, Jagjaguwar Records, solo), Karl Eden (John Peel favorites tRANSELEMENt), and Jonathan Dickin (MUMS, Honey Spider, Bleak). Joe and Karl met at an Acid Mothers Temple show in 2012 before realizing they both lived minutes away from each other in neighboring sleepy Lancashire Pennine villages. They performed a number of shows together as a wig-out loose improv duo channeling heavy motorik grooves, Anatolian suffused lead lines, a general layer of Northern skuzz tied together with Joe's signature guitar work. Early HH recordings were juxtaposed by being captured at extremely low volume due to necessity as the only available opportunity was to work on material late at night to avoid waking their young children. Human Hand were augmented and given a live makeover by the addition of Jonny on drums, a former student of Karl's and all round music and literary geek. The trio recorded their debut LP Tremor in a hasty eight-hour session. Tremor is the debut album from Human Hand: a core-trio and broader collective based in the shadow of Pendle Hill, Lancashire, UK. Recorded during two days of post-lockdown cathartic noise. Tremor was created using instant composition, 4 track tape manipulation and immediate overdubs. Personnel: Karl Eden - guitars, monosynth, drums; Joe Hollick - guitars, tape effects, percussion; Johnathan Dickin - drums; Andrew Hargreaves - drums.
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FTR 701LP
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Pioneer of the New York no wave with the bands Mars and Don King, Mark Cunningham has been part of the Barcelona music underground for almost 30 years, performing solo, with his own groups Raeo, Convolution, Aleatory Grammar, and Bèstia Ferida, as a member of Pascal Comelade's Bel Canto Orchestra and Superelvis, and in countless local and international collaborations. Blood Quartet was formed in early 2015 in Barcelona from a fortuitous collaboration between Cunningham and Catalan underground rock trio Murnau B. An outstanding musical treat that starts from the instrumental base of the modern jazz quartet and takes it to the territory of experimentation and electronics. Blood Quartet sound more luminous and rhythmic than ever, diving into uncharted terrain. This results in an exceptional range of genres that play with the form between the classic and the contemporary, and that extend the creative spectrum of the band towards new styles, such as krautrock and North African music. The result of this process has given rise to nine themes, each one baptized with the title of a literary work by some reference writers of the members of the quartet, in order to add more roots of meaning, more shadows of influence. Produced by Mark Cunningham. Composed by Blood Quartet. Recorded by Pablo Miranda at Fabra i Coats, Barcelona. Mixed by Pablo Miranda at La Isla Estudio, Barcelona. Mastered by Chris Hardman, UK. Personnel: Mark Cunningham - trumpet, guitar; Lluis Rueda - Guitar; Kike Bela - bass, Korg MS-10; Marc Eugeni - drums.
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FTR 675LP
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The Air's Chrysalis Chime is the second LP from Old Million Eye, primarily a solo project of Brian Lucas. This beautifully transcendent and deeply explorational album sees Lucas widening his spectral and woozy palette to include musical contributions from Gayle Brogan (Pefkin/Burd Ellen), Steven R. Smith, Sheila Bosco (Dire Wolves), and Jeff Jefferson (3 Moons/The Lodestones). The album's darker more drifting songs, "Ruby River" and "Tales from Copperopolis" feature the vibrational voice of Georgia Carbone, erstwhile vocalist of Dire Wolves. Lucas and Carbone's eerie vocal duet on the lengthy "Ruby River" is stunningly haunting and unexpected. This mysteriously anomalous album utilizes such elements as tape collage, improv jazz type drumming, clarinet, Brogan's melodica, intertwining basses, piano, treated violin, and Lucas's Scenes from the South Island-like plaintive skeletal guitar playing that is sure to tickle the ear into quiet hysterics, if not downright rearranging the ear to accommodate a new form of hearing. The listener should expect the usually oddly crafted and layered sound combinations as evidenced on previous OME releases. These sonic elements are a vehicle for Lucas's softly placid tenor, but with added dimensions his purely solo work only alludes to. This album isn't "psychedelic" in the sense of spacey, wah-wah riffs: it's far more subtle, detailed, and delicate in terms of its transcendent properties, but the invitation is there to climb into the chrysalis and be transformed.
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