UPSET THE RHYTHM - Forced Exposure

$23.00 LOW STOCK LEVEL

180 gram, clear vinyl; edition of 300. Trash Kit are Rachel Aggs (guitar, vocals), Rachel Horwood (drums, vocals), and Gill Partington (bass). Three deeply creative individuals who play in a multitude of other groups including Bas Jan, Sacred Paws, Shopping, and Bamboo. Although Trash Kit have their forebears in bands like Sleater-Kinney, The Ex, and The Raincoats, their sound is still very much their own take on facing forwards and relies as much on the naturalism of an internalized folk music as on their sincerity of vision. For Horizon, carefully crafted through years of playing out live, the band have chased down the distance between what they wanted the record to sound like and its realization. They've augmented these songs with choral arrangements, piano, saxophone, harp, viola, and cello. Horizon finds itself full of themes, especially the notion of looking to the future. "Coasting", which opens the album, is concerned with "the end of the world and also the afterlife" and was written after Aggs read The Parable of the Sower (1993) by the Afro futurist sci-fi writer Octavia Butler, a novel set in an apocalyptic California and featuring a protagonist in search of change and renewal. "Sunset" draws on similar themes of ending and salvation, and proves equally ruminative. "Dislocate" on the other hand is an upbeat sprint of spinning guitar and piano riffs showcasing both Rachels's overlapping vocal magnetism. "Horizon" is a sleeping giant of a title track, forever reaching out and intensifying throughout its lively five-minute lesson in reinforcement. "Every Second" was written in the aftershock of Trash Kit's tour with The Ex on their big convoy anniversary tour. "See Through" sounds pointed and surly, urging you to "transcend, break down" outdated categories and patterns of thought that only restrict. Partington's bassline plummets heavily to hammer this home, making it one of the most affecting songs from the album. Meanwhile "Get Out of Bed" deals with "being an overachiever and the struggle to overcome self-doubt, get motivated, never feeling like you've done enough" Aggs admits. A strong undercurrent throughout Horizon concerns itself with the freeing up of power to make your own definitions, in this case how you can decide what truly makes you feel like you've achieved something.

$22.00 IN STOCK

Kaputt are a recently hatched post punk act from Glasgow, Scotland. Numbering six, Kaputt feature Simone Wilson and Cal Donnelly on guitars and vocals, Chrissy Barnacle also sings and plays saxophone. Tobias Carmichael is responsible for bass, whilst Rikki Will and Emma Smith cover drums and percussion respectively. Racing away from the playful torn edge of no-wave song, Kaputt blurt out tracks with twitchy charisma, their catchy riffs circle with relish, allowing timely sax stonks and stop-start rhythms to drive things on. Vocals leap, guitars bluster and always the saxophone snakes, hypnotically drawn through the erratic beat. The songs on Carnage Hall, Kaputt's debut album released by Upset The Rhythm, were all written in Glasgow between 2016-2018. Following on from the independence referendum and the subsequent Brexit vote these songs couldn't help but be influenced by the maelstrom of political hypocrisy and confusion in the air. Other themes prevalent on this energetic corkscrew of an album include the offbeat happenchance of life in 2019, notions of surveillance, identity (personal as well as the biscuit-tin styled persona of the Scottish Highlands), industrialization, and family. Title track "Carnage Hall" is about an alternative dimension in which Judy Garland's famous Carnegie Hall show, (one of the group's favorite albums), was a total bust rather than the roaring success it proved to be. "Rats" is a crumpled twist of song -- explosive, ruminative, and content to bemuse with a loose political allegory drawn out from a dank pet shop. "Accordion" lilts with more breezy tendency. Kaputt excel at fidgety, speedy outpourings of ideas, their songs zap by, multifaceted and bejeweled with detail and color. "Parsonage Square" is a great example of this, it's a song about public access, panopticons, and paranoia hurtled into a motley rip of melody. Meanwhile, "Suspectette" concerns itself with Mary Weiss of The Shangri-Las' FBI file. "Think About Your Face" investigates those certain grimaces made in passionate embrace. "Highlight" is an grade-A anthem doubling up as an eulogy for shipbuilding, "Drinking Problems Continue" parts 1 and 2 are about Ullapool and generational holidays spent watching "sun set on the ferry". Carnage Hall is an empathic album dealing with memory and place, but most importantly with people. Recorded and mixed by Luigi Pasquini in Anchor Lane Studios in Glasgow in spring 2019, before being mastered this summer by John Hannon at No Studios. 180 gram vinyl; edition of 400.

$23.00 IN STOCK

Robert Sotelo is a cosmic pop melodist; a heartfelt multi-instrumentalist whose direct songs are curiously affecting. His debut album Cusp from 2017 (UTR 098LP) was packed with miniature psych overtures and earnest musings, he then followed this up in 2018 with an album called Botanical, more keyboard-minded and playful with its near-absurdist palette of sound and reflective mood. Upset The Rhythm release Sotelo's third album Infinite Sprawling, his first record since relocating from London to Glasgow and partly inspired by his new city's inclusive and collaborative musical world. Sotelo has always excelled at matching up the prosaic with the profound and on Infinite Sprawling he does this with aplomb. A collection of casual revelations, lifted out of the mundane, are explored throughout the album's ten sprightly tracks. "Something Besides" opens the record in blithe reverie, nodding over a country-twang guitar. "Mister" follows in lively attitude, splintering with spidery bursts of fuzz. Through a lyrical list of items in the breezy tumble of a song called "Battery" where Sotelo muses on the anxieties inherent in forging a new social life when you move city. A similar theme carried by "The Set Up" which deals with discovering his new neighbors' tropes, the track strolls into the sun with an echoed refrain. "Roof" and "In The Style Of" also boast this analytic quality, making sense of the world through its small things first, both unabashedly melodic with blushes of tremolo blushes and inventive arrangements. The title track refers to Sotelo's final trip to Buenos Aires as a regular excursion to visit his mother, it's a farewell to the city and makes for an interesting counterpoint to the other songs' new starts. "Piece Of Cake" meanwhile is a more brooding effort, essentially a contemplation on lacking culinary skill. Twisty wah guitar lines tag along with Sotelo's vocal, each tugging at the sleeve of the other, while tambourines and keyboard pulses resound over the clicky drum accents. This keenly robust album of new beginnings and strategies for living is quietly drawn to a close with "Message Of Beauty", a relaxed ballad of drowsy farewells, swoons of violin and swirled clouds of organ drone. Infinite Sprawling is an album born out of new friendships, in a new country and for all its feet-finding sounds confident and emphatically considered. Recorded with Ruari MacLean (of Vital Idles, Golden Grrrls) and Edwin Stevens (Irma Vep, Yerba Mansa) at their home studio Namaste Sound. 180 gram dark-green vinyl; reverse-board sleeve with lyric insert; edition of 300.

$21.00 IN STOCK

LP version. 180 gram vinyl; Edition of 300. Lunch Lady are a sparky group from Los Angeles redolent of the desert heat, pining hearts and that chorus-soaked cloak of sound held dear by followers of British early '80s post-punk. Numbering four, Lunch Lady consist of Rachel Birke (vocals), Juan Velasquez (guitar), Victor Herrera (bass), and Robert Wolfe (drums). The band began in 2017 when Velasquez asked Birke if she'd like to start a new music project with him, their respective other groups Abe Vigoda and Heller Keller having co-existed in LA's DIY orbit. Lunch Lady's dreamy punk forays into country ballad territory certainly swoop into sentiment, but it's the melancholy of artifice that defines their outlook. Lunch Lady recruited friends Herrera and Wolfe into the rhythm section, swiftly recorded a demo and started playing live. The band's music began to grow into sun-warped vignettes, often miniaturist character-studies in outlook. These songs are studded with unquiet recollection, all delivered with a curious objectivity that pulls the listener into the circle. Birke's vocal is unhurried and assured, pressing her characters' motives and words into the sprightly guitar trails and jogged rhythms that characterize the sound of the band. During the summer of 2018, Lunch Lady had assembled the tracks for their debut album, which they took into the studio towards the year's close. Lunch Lady's debut album, Angel was recorded at Gauchos Electronics, a key studio in the history of Los Angeles punk and the place where many of their peers had laid down albums previously, including Gun Outfit, Feels, Ty Segall, and No Age. Angel is an album of resounding yearning, of cold fire and hot, sticky blood. It's an album of troubled tales, buried hearts and wandering homeward. Throughout, Birke's narrative-heavy lyrics keep things themed and theatrical. This is most strongly felt on cinematic swirls of song like "Preacher Man" and clicky, strummer "Sweet One". The stunning track "Dolores" creeps and ranges around under a dark cloud of disclosure. "Window" whirls by with all the flourish of a card trick. Drums tumble whilst the guitar line twists through the taut stretch and sprint of the bass turns. Thematically, Lunch Lady's debut cascades with crumpled wishes and hotly recalled visions. The album swims with a type of anxious nostalgia. Birke's cover art of a flaming Cadillac falling through the sky is a case in point. Produced by Pascal Stevenson. Engineered and mixed by Scott Cornish. Mastered by Mikey Young.

$14.00 IN STOCK

Lunch Lady are a sparky group from Los Angeles redolent of the desert heat, pining hearts and that chorus-soaked cloak of sound held dear by followers of British early '80s post-punk. Numbering four, Lunch Lady consist of Rachel Birke (vocals), Juan Velasquez (guitar), Victor Herrera (bass), and Robert Wolfe (drums). The band began in 2017 when Velasquez asked Birke if she'd like to start a new music project with him, their respective other groups Abe Vigoda and Heller Keller having co-existed in LA's DIY orbit. Lunch Lady's dreamy punk forays into country ballad territory certainly swoop into sentiment, but it's the melancholy of artifice that defines their outlook. Lunch Lady recruited friends Herrera and Wolfe into the rhythm section, swiftly recorded a demo and started playing live. The band's music began to grow into sun-warped vignettes, often miniaturist character-studies in outlook. These songs are studded with unquiet recollection, all delivered with a curious objectivity that pulls the listener into the circle. Birke's vocal is unhurried and assured, pressing her characters' motives and words into the sprightly guitar trails and jogged rhythms that characterize the sound of the band. During the summer of 2018, Lunch Lady had assembled the tracks for their debut album, which they took into the studio towards the year's close. Lunch Lady's debut album, Angel was recorded at Gauchos Electronics, a key studio in the history of Los Angeles punk and the place where many of their peers had laid down albums previously, including Gun Outfit, Feels, Ty Segall, and No Age. Angel is an album of resounding yearning, of cold fire and hot, sticky blood. It's an album of troubled tales, buried hearts and wandering homeward. Throughout, Birke's narrative-heavy lyrics keep things themed and theatrical. This is most strongly felt on cinematic swirls of song like "Preacher Man" and clicky, strummer "Sweet One". The stunning track "Dolores" creeps and ranges around under a dark cloud of disclosure. "Window" whirls by with all the flourish of a card trick. Drums tumble whilst the guitar line twists through the taut stretch and sprint of the bass turns. Thematically, Lunch Lady's debut cascades with crumpled wishes and hotly recalled visions. The album swims with a type of anxious nostalgia. Birke's cover art of a flaming Cadillac falling through the sky is a case in point. Produced by Pascal Stevenson. Engineered and mixed by Scott Cornish. Mastered by Mikey Young. CD version comes in an edition of 500.

$23.00 NOT IN STOCK

LP version. 180 gram, red vinyl; Edition of 300. Lunch Lady are a sparky group from Los Angeles redolent of the desert heat, pining hearts and that chorus-soaked cloak of sound held dear by followers of British early '80s post-punk. Numbering four, Lunch Lady consist of Rachel Birke (vocals), Juan Velasquez (guitar), Victor Herrera (bass), and Robert Wolfe (drums). The band began in 2017 when Velasquez asked Birke if she'd like to start a new music project with him, their respective other groups Abe Vigoda and Heller Keller having co-existed in LA's DIY orbit. Lunch Lady's dreamy punk forays into country ballad territory certainly swoop into sentiment, but it's the melancholy of artifice that defines their outlook. Lunch Lady recruited friends Herrera and Wolfe into the rhythm section, swiftly recorded a demo and started playing live. The band's music began to grow into sun-warped vignettes, often miniaturist character-studies in outlook. These songs are studded with unquiet recollection, all delivered with a curious objectivity that pulls the listener into the circle. Birke's vocal is unhurried and assured, pressing her characters' motives and words into the sprightly guitar trails and jogged rhythms that characterize the sound of the band. During the summer of 2018, Lunch Lady had assembled the tracks for their debut album, which they took into the studio towards the year's close. Lunch Lady's debut album, Angel was recorded at Gauchos Electronics, a key studio in the history of Los Angeles punk and the place where many of their peers had laid down albums previously, including Gun Outfit, Feels, Ty Segall, and No Age. Angel is an album of resounding yearning, of cold fire and hot, sticky blood. It's an album of troubled tales, buried hearts and wandering homeward. Throughout, Birke's narrative-heavy lyrics keep things themed and theatrical. This is most strongly felt on cinematic swirls of song like "Preacher Man" and clicky, strummer "Sweet One". The stunning track "Dolores" creeps and ranges around under a dark cloud of disclosure. "Window" whirls by with all the flourish of a card trick. Drums tumble whilst the guitar line twists through the taut stretch and sprint of the bass turns. Thematically, Lunch Lady's debut cascades with crumpled wishes and hotly recalled visions. The album swims with a type of anxious nostalgia. Birke's cover art of a flaming Cadillac falling through the sky is a case in point. Produced by Pascal Stevenson. Engineered and mixed by Scott Cornish. Mastered by Mikey Young.

$10.00 IN STOCK

Melbourne post-punk wags Terry return this summer with their new EP Who's Terry?. "Spud" is a class A toe-tapper that sees the band don fatigues and set their sights on the enemy. "Bizzo And Tophat" follows with a stride across the underbelly, a thick slice of bop-heavy observation that gives way to one of Terry's most elegiac refrains. "Eggs" then picks up the pace, a sure-footed romp that skips alongside prods of saxophone to join the parade. "Drawn For Days" pulls the EP to a close, a sedate, melodic ponderance of strummy guitar, jangling bells, and Amy and Xanthe's soft-sung vocals.

$25.50 IN STOCK

LP version. Glossy, printed gatefold sleeve; offset (matte) paper inner sleeve; includes booklet; Edition of 500. Upset The Rhythm present a reissue of Normil Hawaiians' What's Going On?, originally released in 1984. To Normil Hawaiians, getting out of lockstep with Thatcherism seemed imperative. Adding to an overriding sense of anxiety, close friend and band associate Martin Pawson took his life in July 1983. Following More Wealth Than Money, released on Illuminated Records in 1982, there was an impetus to make good on hard won achievements. Rehearsal and writing sessions resumed in the early months of 1983 at Intergalactic Arts Studios. IGA was a ramshackle, semi-residential rehearsal space. Illuminated Records had been sending artists to Foel Studios in Powys, Wales for years, and it had become a kind of refuge for the Hawaiians. Studio owner/manager Dave Anderson (Hawkwind/Amon Düül II) was welcoming, unruffled, and accommodating when around a dozen band members, friends, and family emerged from the "mini-peace convoy" of vehicles into the hazy, pastoral care of the warm, Welsh countryside. Whereas More Wealth Than Money had evolved in the recording studio, What's Going On began to develop as a more pre-meditated, albeit piecemeal work. "Quiet Village" and the unreleased "Outpost" had already been finished at Foel in February 1983. Recording Engineer Brian Snelling recalls how the Hawaiians approach to making the album was unconventional and spontaneous, reveling in chance and openness. Rehearsal tapes from IGA were played along to, and improvisations allowed to develop, with further layers of sound accreting (as can be heard on "Big Lies"). "Free Tibet" was created by the band playing together exploratively with Snelling waiting to hit "Record" until he heard that something interesting was coalescing. He recalls the sessions being initially unorthodox, but eventually settling into a friendly, productive, and very familial affair. Mixed tapes were then taken by Dave Andersen and Guy Smith to Charly Records' editing studio in London. Here they spliced the recordings into an irregular yet coherent, flowing work. Final masters were then EQ'd and cut by Graeme Durham at the newly opened Exchange Mastering Studios in Camden. And then nothing happened. Unbeknownst to the band, Illuminated Records were getting into deep financial problems. The label gave the band 250 copies, but the record shops wouldn't touch them -- the company had been blacklisted. This intricate, challenging and engaging work had been failed by poor circumstance.

$10.00 LOW STOCK LEVEL

Experts In Skin is the little sister follow-up to 2018's Living In Excellence (MUS 180LP). The A side holds the familiar post-post punk angst the band is known for, only building ever higher with a triple saxophone flurry and singer Tom Ridgewell mutters about mainstream consumerism. On the flip side the band turns to its pop sensibilities producing the tough but sweet sounding "Schnuki". Bassist Amy Hill's bouncing vocals contrast to the anarcho-punk growls below. Constant Mongrel have previous releases available on RIP Society, La Vida Es Un Mus, and Siltbreeze. 180 gram, transparent vinyl; Edition of 400.

$14.00 NOT IN STOCK

Trash Kit are Rachel Aggs (guitar, vocals), Rachel Horwood (drums, vocals), and Gill Partington (bass). Three deeply creative individuals who play in a multitude of other groups including Bas Jan, Sacred Paws, Shopping, and Bamboo. Although Trash Kit have their forebears in bands like Sleater-Kinney, The Ex, and The Raincoats, their sound is still very much their own take on facing forwards and relies as much on the naturalism of an internalized folk music as on their sincerity of vision. For Horizon, carefully crafted through years of playing out live, the band have chased down the distance between what they wanted the record to sound like and its realization. They've augmented these songs with choral arrangements, piano, saxophone, harp, viola, and cello. Horizon finds itself full of themes, especially the notion of looking to the future. "Coasting", which opens the album, is concerned with "the end of the world and also the afterlife" and was written after Aggs read The Parable of the Sower (1993) by the Afro futurist sci-fi writer Octavia Butler, a novel set in an apocalyptic California and featuring a protagonist in search of change and renewal. "Sunset" draws on similar themes of ending and salvation, and proves equally ruminative. "Dislocate" on the other hand is an upbeat sprint of spinning guitar and piano riffs showcasing both Rachels's overlapping vocal magnetism. "Horizon" is a sleeping giant of a title track, forever reaching out and intensifying throughout its lively five-minute lesson in reinforcement. "Every Second" was written in the aftershock of Trash Kit's tour with The Ex on their big convoy anniversary tour. "See Through" sounds pointed and surly, urging you to "transcend, break down" outdated categories and patterns of thought that only restrict. Partington's bassline plummets heavily to hammer this home, making it one of the most affecting songs from the album. Meanwhile "Get Out of Bed" deals with "being an overachiever and the struggle to overcome self-doubt, get motivated, never feeling like you've done enough" Aggs admits. A strong undercurrent throughout Horizon concerns itself with the freeing up of power to make your own definitions, in this case how you can decide what truly makes you feel like you've achieved something.

$21.00 NOT IN STOCK

LP version. 180 gram vinyl; Edition of 400. Trash Kit are Rachel Aggs (guitar, vocals), Rachel Horwood (drums, vocals), and Gill Partington (bass). Three deeply creative individuals who play in a multitude of other groups including Bas Jan, Sacred Paws, Shopping, and Bamboo. Although Trash Kit have their forebears in bands like Sleater-Kinney, The Ex, and The Raincoats, their sound is still very much their own take on facing forwards and relies as much on the naturalism of an internalized folk music as on their sincerity of vision. For Horizon, carefully crafted through years of playing out live, the band have chased down the distance between what they wanted the record to sound like and its realization. They've augmented these songs with choral arrangements, piano, saxophone, harp, viola, and cello. Horizon finds itself full of themes, especially the notion of looking to the future. "Coasting", which opens the album, is concerned with "the end of the world and also the afterlife" and was written after Aggs read The Parable of the Sower (1993) by the Afro futurist sci-fi writer Octavia Butler, a novel set in an apocalyptic California and featuring a protagonist in search of change and renewal. "Sunset" draws on similar themes of ending and salvation, and proves equally ruminative. "Dislocate" on the other hand is an upbeat sprint of spinning guitar and piano riffs showcasing both Rachels's overlapping vocal magnetism. "Horizon" is a sleeping giant of a title track, forever reaching out and intensifying throughout its lively five-minute lesson in reinforcement. "Every Second" was written in the aftershock of Trash Kit's tour with The Ex on their big convoy anniversary tour. "See Through" sounds pointed and surly, urging you to "transcend, break down" outdated categories and patterns of thought that only restrict. Partington's bassline plummets heavily to hammer this home, making it one of the most affecting songs from the album. Meanwhile "Get Out of Bed" deals with "being an overachiever and the struggle to overcome self-doubt, get motivated, never feeling like you've done enough" Aggs admits. A strong undercurrent throughout Horizon concerns itself with the freeing up of power to make your own definitions, in this case how you can decide what truly makes you feel like you've achieved something.

$23.00 NOT IN STOCK

LP version. 180 gram yellow vinyl; Edition of 300. Trash Kit are Rachel Aggs (guitar, vocals), Rachel Horwood (drums, vocals), and Gill Partington (bass). Three deeply creative individuals who play in a multitude of other groups including Bas Jan, Sacred Paws, Shopping, and Bamboo. Although Trash Kit have their forebears in bands like Sleater-Kinney, The Ex, and The Raincoats, their sound is still very much their own take on facing forwards and relies as much on the naturalism of an internalized folk music as on their sincerity of vision. For Horizon, carefully crafted through years of playing out live, the band have chased down the distance between what they wanted the record to sound like and its realization. They've augmented these songs with choral arrangements, piano, saxophone, harp, viola, and cello. Horizon finds itself full of themes, especially the notion of looking to the future. "Coasting", which opens the album, is concerned with "the end of the world and also the afterlife" and was written after Aggs read The Parable of the Sower (1993) by the Afro futurist sci-fi writer Octavia Butler, a novel set in an apocalyptic California and featuring a protagonist in search of change and renewal. "Sunset" draws on similar themes of ending and salvation, and proves equally ruminative. "Dislocate" on the other hand is an upbeat sprint of spinning guitar and piano riffs showcasing both Rachels's overlapping vocal magnetism. "Horizon" is a sleeping giant of a title track, forever reaching out and intensifying throughout its lively five-minute lesson in reinforcement. "Every Second" was written in the aftershock of Trash Kit's tour with The Ex on their big convoy anniversary tour. "See Through" sounds pointed and surly, urging you to "transcend, break down" outdated categories and patterns of thought that only restrict. Partington's bassline plummets heavily to hammer this home, making it one of the most affecting songs from the album. Meanwhile "Get Out of Bed" deals with "being an overachiever and the struggle to overcome self-doubt, get motivated, never feeling like you've done enough" Aggs admits. A strong undercurrent throughout Horizon concerns itself with the freeing up of power to make your own definitions, in this case how you can decide what truly makes you feel like you've achieved something.

$14.00 IN STOCK

Upset The Rhythm present a reissue of Normil Hawaiians' What's Going On?, originally released in 1984. To Normil Hawaiians, getting out of lockstep with Thatcherism seemed imperative. Adding to an overriding sense of anxiety, close friend and band associate Martin Pawson took his life in July 1983. Following More Wealth Than Money, released on Illuminated Records in 1982, there was an impetus to make good on hard won achievements. Rehearsal and writing sessions resumed in the early months of 1983 at Intergalactic Arts Studios. IGA was a ramshackle, semi-residential rehearsal space. Illuminated Records had been sending artists to Foel Studios in Powys, Wales for years, and it had become a kind of refuge for the Hawaiians. Studio owner/manager Dave Anderson (Hawkwind/Amon Düül II) was welcoming, unruffled, and accommodating when around a dozen band members, friends, and family emerged from the "mini-peace convoy" of vehicles into the hazy, pastoral care of the warm, Welsh countryside. Whereas More Wealth Than Money had evolved in the recording studio, What's Going On began to develop as a more pre-meditated, albeit piecemeal work. "Quiet Village" and the unreleased "Outpost" had already been finished at Foel in February 1983. Recording Engineer Brian Snelling recalls how the Hawaiians approach to making the album was unconventional and spontaneous, reveling in chance and openness. Rehearsal tapes from IGA were played along to, and improvisations allowed to develop, with further layers of sound accreting (as can be heard on "Big Lies"). "Free Tibet" was created by the band playing together exploratively with Snelling waiting to hit "Record" until he heard that something interesting was coalescing. He recalls the sessions being initially unorthodox, but eventually settling into a friendly, productive, and very familial affair. Mixed tapes were then taken by Dave Andersen and Guy Smith to Charly Records' editing studio in London. Here they spliced the recordings into an irregular yet coherent, flowing work. Final masters were then EQ'd and cut by Graeme Durham at the newly opened Exchange Mastering Studios in Camden. And then nothing happened. Unbeknownst to the band, Illuminated Records were getting into deep financial problems. The label gave the band 250 copies, but the record shops wouldn't touch them -- the company had been blacklisted. This intricate, challenging and engaging work had been failed by poor circumstance. CD version includes seven bonus tracks; comes in gatefold wallet with booklet; edition of 500.

$14.00 IN STOCK

Bamboo, Nick Carlisle and Rachel Horwood, present their third studio album, Daughters Of The Sky. The album was written and recorded over a two-year period where ideas and arrangements were allowed to slow-cook and develop over time, in contrast with the last album The Dragon Flies Away (UTR 088CD/LP, 2017) which came together relatively quickly for the duo. The music comprises the usual (for Bamboo) mix of Horwood's flawlessly resonant folk cadence and Carlisle's pristine synth production, whilst TR808 drum machines and samples lock together with acoustic drums, themselves often given the Tony Visconti, Eventide Harmoniser treatment of Berlin-era Bowie albums. Ancient ARP synthesizers and Mellotron flutes and horns sit next to contemporary digital sounds and samples in a hauntological tapestry over which Horwood can intone her sometimes mournful, often uplifting vocals. Although Daughters Of The Sky breaks away from the storybook concept format of The Dragon Flies Away, in that sense being more similar to Bamboo's debut album Prince Pansori Priestess" (UTR 075CD/LP, 2016), there are still recurrent themes that run through the album such as motherhood, the cyclical nature of life, emancipation and liberation. What might be the centerpiece of the album, "East Of The Sun / West Of The Moon", an 11-minute epic, begins with a serene, desolate ambient intro which eventually transports us over the waves to some unknown land. Bar the brief instrumental coda "Tenebrae", the album ends on an optimistic note with "A World Is Born", an upbeat song of renewal. Horwood sings of the creation of a new world for a new generation, out of the ashes of a society stagnating under the collapsing weight of late capitalism. Saxophones provided by Emma Gatrill answer each vocal line in call and response style over more harmonized drums reminiscent of Bowie's Low (1977). Carlisle originally wrote the music following the death of Bowie, and Horwood added some Prince-like backing vocals. Although her lyric makes no reference to the loss of these giants, their influence hang over the song in a way which can only add to the sense of hope and rebirth, a sense which is indeed felt throughout the album. Cosmic pop, like Kate Bush in Yellow Magic Orchestra. CD version comes in gatefold sleeve.

$23.00 IN STOCK

LP version; 180 gram gold vinyl; Edition of 500. Bamboo, Nick Carlisle and Rachel Horwood, present their third studio album, Daughters Of The Sky. The album was written and recorded over a two-year period where ideas and arrangements were allowed to slow-cook and develop over time, in contrast with the last album The Dragon Flies Away (UTR 088CD/LP, 2017) which came together relatively quickly for the duo. The music comprises the usual (for Bamboo) mix of Horwood's flawlessly resonant folk cadence and Carlisle's pristine synth production, whilst TR808 drum machines and samples lock together with acoustic drums, themselves often given the Tony Visconti, Eventide Harmoniser treatment of Berlin-era Bowie albums. Ancient ARP synthesizers and Mellotron flutes and horns sit next to contemporary digital sounds and samples in a hauntological tapestry over which Horwood can intone her sometimes mournful, often uplifting vocals. Although Daughters Of The Sky breaks away from the storybook concept format of The Dragon Flies Away, in that sense being more similar to Bamboo's debut album Prince Pansori Priestess" (UTR 075CD/LP, 2016), there are still recurrent themes that run through the album such as motherhood, the cyclical nature of life, emancipation and liberation. What might be the centerpiece of the album, "East Of The Sun / West Of The Moon", an 11-minute epic, begins with a serene, desolate ambient intro which eventually transports us over the waves to some unknown land. Bar the brief instrumental coda "Tenebrae", the album ends on an optimistic note with "A World Is Born", an upbeat song of renewal. Horwood sings of the creation of a new world for a new generation, out of the ashes of a society stagnating under the collapsing weight of late capitalism. Saxophones provided by Emma Gatrill answer each vocal line in call and response style over more harmonized drums reminiscent of Bowie's Low (1977). Carlisle originally wrote the music following the death of Bowie, and Horwood added some Prince-like backing vocals. Although her lyric makes no reference to the loss of these giants, their influence hang over the song in a way which can only add to the sense of hope and rebirth, a sense which is indeed felt throughout the album. Cosmic pop, like Kate Bush in Yellow Magic Orchestra.

$21.00 IN STOCK

Having released a slew of singles and an LP on various DIY labels in the US and the UK at the turn of this decade, London post-punk stalwarts Hygiene return from hiatus with their sophomore effort, Private Sector. Where their debut LP Public Sector (2011) reflected a nostalgic longing for an unrealized socialist modernist utopia, Private Sector finds them confronting the grim realities of the present, Hygiene rail against the neoliberal madness of utility cartels, tax havens, and privatized railways, seizing the moment as the current period of interregnum sees the old ideological certainties come into question. Proving nostalgia to be an inescapable trap, the band continue to hearken back to the kind of post-punk that existed before anybody knew to affix the "post" prefix. Private Sector has the signature Hygiene sound, mixing brooding melodies with a choppy, aggressive approach, and a restricted pop sensibility. However, this ever-so-slightly-more mature record finds the band taking advantage of the musicianship of their friends, mixing in the odd viola, glockenspiel, piano and keyboard. Recommended for fans of Real Ale, British Rail Class 55 Deltics, Euston station, and Jeremy Corbyn. Edition of 500.

$9.00 LOW STOCK LEVEL

After a busy year, Red Channel chose a number of their most resonant songs to record for this debut 7" EP on Upset The Rhythm entitled Crazy Diamonds EP. The title track launches the listener through a stratosphere of cascading notes, swoon-some lyrical turns and tack-sharp pivots in rhythmic practice. "Giver" is a similarly sprightly yet pointedly track. "Demons" swirls with minimalist pop moves, a trailing backing vocal and a tumbling bass motif, whilst a dream-like quality pervades the guitar and keyboard lines. "Slowness" is another triumph of illusory lyrical association and punchy gesture.

$9.00 IN STOCK

Brand new 7" EP from Glasgow's Vital Idles, following on from the band's well-received debut album, Left Hand (UTR 106CD/LP, 2018). The EP reveals itself as a steady, hypo-tenusal rise of intensity and momentum, starting with the hallucinogenic restrain of opener "Break A", building tension throughout the gothic-noise flourishes of "Seconds" and "Rustle Rustle" and culminating in "Careful Extracts", a two-minute burst of carefree introspection that might as well be the unintentional answer to early career highlight "My Sentiments".

$21.00 IN STOCK

LP version; 180 gram vinyl; edition of 500. Rattle's Sequence is released by Upset The Rhythm. Rattle is an ongoing musical project concerned with experiments in rhythm, meter and tension. Katharine Eira Brown and Theresa Wrigley make up the duo from Nottingham, who with just drums and occasional vocals weave an expanse of percussive vortices. Their songs swirl and envelop with all the physicality and drama of another world pulling together around its own shifting center of gravity. The drum beats phase and sidestep, they trade accents and overlap, providing a suitably alive terrain for the vocals to explore similar tendencies of pattern. Rattle's debut album (UTR 082CD/LP) was released in 2016 through Upset The Rhythm / I Own You and was greeted with much critical praise, this often singled out their hypnotic minimalism and ecstatic regard for the dance floor. Sequence was written in much the same way as their debut, with the duo facing each other over their shared palette of drums, allowing songs to develop naturally and suggest their own direction. However, Brown and Wrigley were more confident of what they wanted to achieve with this follow up, having already proven the concept watertight through their debut and subsequent concerts. They knew they could wrestle songs out of the silence with such a setup, so afforded themselves greater time to explore extended, long-form composition. Sequence is composed of four tracks, each clocking in around 10 minutes or over and focused squarely on a deeper resonance with the creative act, illustrative of how ideas build from scratch, of how music can grow out of repetition. Recorded at JT Soar in Nottingham with Phil Booth and Mark Spivey (Rattle's live sound engineer), the album developed out of these points, with Rattle honing their sound. Everything was stripped back to just the drums and Brown's voice. Percussion flourishes were deemed unnecessary, overdubbed layers of vocals were kept to a minimum. As a result, this quartet of songs are more meditative and aware than previous efforts, with the duo's attentions spent tapping into each track's potential, mapping out expeditions in tempo and making much of the journey over destination this is complemented further through the production of Mark Spivey, capturing Rattle's huge live sound on tape for this album with its incurred dub-delay trippiness, taming and melding. Sequence is a liminal album, thoughtfully crafted with themes of transition and realization at its heart.

$14.00 IN STOCK

Rattle's Sequence is released by Upset The Rhythm. Rattle is an ongoing musical project concerned with experiments in rhythm, meter and tension. Katharine Eira Brown and Theresa Wrigley make up the duo from Nottingham, who with just drums and occasional vocals weave an expanse of percussive vortices. Their songs swirl and envelop with all the physicality and drama of another world pulling together around its own shifting center of gravity. The drum beats phase and sidestep, they trade accents and overlap, providing a suitably alive terrain for the vocals to explore similar tendencies of pattern. Rattle's debut album (UTR 082CD/LP) was released in 2016 through Upset The Rhythm / I Own You and was greeted with much critical praise, this often singled out their hypnotic minimalism and ecstatic regard for the dance floor. Sequence was written in much the same way as their debut, with the duo facing each other over their shared palette of drums, allowing songs to develop naturally and suggest their own direction. However, Brown and Wrigley were more confident of what they wanted to achieve with this follow up, having already proven the concept watertight through their debut and subsequent concerts. They knew they could wrestle songs out of the silence with such a setup, so afforded themselves greater time to explore extended, long-form composition. Sequence is composed of four tracks, each clocking in around 10 minutes or over and focused squarely on a deeper resonance with the creative act, illustrative of how ideas build from scratch, of how music can grow out of repetition. Recorded at JT Soar in Nottingham with Phil Booth and Mark Spivey (Rattle's live sound engineer), the album developed out of these points, with Rattle honing their sound. Everything was stripped back to just the drums and Brown's voice. Percussion flourishes were deemed unnecessary, overdubbed layers of vocals were kept to a minimum. As a result, this quartet of songs are more meditative and aware than previous efforts, with the duo's attentions spent tapping into each track's potential, mapping out expeditions in tempo and making much of the journey over destination this is complemented further through the production of Mark Spivey, capturing Rattle's huge live sound on tape for this album with its incurred dub-delay trippiness, taming and melding. 'Sequence' is a liminal album, thoughtfully crafted with themes of transition and realization at its heart. CD edition of 500.

$21.00 IN STOCK

"My Mother The Vent is the eagerly-awaited debut from Guttersnipe, the UK's most out-there band. They say the PR era, circa the late 1980s, killed the golden age of music journalism, they say Guttersnipe have continuously melted all the forms that they come up against; they are right. Because Guttersnipe is not part of a tradition we know well, but one will identify the departure from that tradition immediately upon hearing My Mother The Vent. The innovation here is a firm commitment to the flow-motive polyrhythm undergirding the seared, nay fried, tonal rainbow and de-reasoned vocals. Not Nate Nelson, nor John the masseuse dude from Sightings but Tipula Confusa. Uroceras Gigas has bridged so many gaps, finally unlocked the axe-wielding code and is really playing the thing, bringing forth a world-view that is utterly unique. There is some real disjunction in the music, clear and intended. In an age when most computer music composers use stochastic systems and still manage to drop some linear path/ground shit, the brawler drums and slanky guitar constructions on My Mother The Vent are a genuine treat. I've spent too much of my adult life so far hearing too much of this shit to not recognize real game; here it crawls out of the grey shadows of ol' Blighty. I'm not waxing confusingly in a rarefied tone here, nor running the boring sci-fi script. We left the human-music-on-a-human-scale behind, much to our detriment. Here we sit in our crumbling reality, but Guttersnipe come paleo, like the rhapsodes with long-ass memories rattling off Homeric verse well into the age of manuscript culture, but here, with future tones, luckily. Otherwise, me and the record label here wouldn't be wasting our time and yours with a one-sheet for My Mother The Vent. A proper first time on wax for these amazing creatures is a welcome addition to the world of things. These drums and these guitar lines are so cranké, as they say here in my odd neighborhood. These voices are so utterly expressive without even the damn language at hand, like the great horns. We'll rinse this record out, I'll put on my old Blighty nighty and go dance in the street." --Alex Moskos, Montreal, August 2018. Guttersnipe is: Uroceras Gigas - Guitar, Analog Synth, Vox Tipula Confusa - Drums, Drum Synth, Vox. 180 gram vinyl, edition of 500.

$23.00 IN STOCK

Repressed on yellow vinyl. "I'm going to set 'Carpe Diem', the first track on Terry's new album I'm Terry as my alarm for the next week and see how that makes me feel. It will be replacing an alternation of 'Werewolves of London' and 'Baby, It's You'. After a week the familiarity might feel kind of insane but kind of nice. Terry is into repetition. Terry often feels like the daily grind set inside a Looney Tune. They can be nasty and violent, but funny at the same time. I laugh at Terry riffs a lot. The lyrics are droll, but have you heard the riffs? It's like they're tickling you. But this is all part of a plan; I would almost say that Terry is highly conceptual, possibly the most conceptual band I've been around. What's really going on here? Why am I listening to jingles and feeling so moved? My favorite songs on I'm Terry -- the band's third record in three years, following on from Terry HQ (UTR 084CD/LP, 2016) and Remember Terry (UTR097CD/LP, 2017) -- are 'Under Reign', sandwiched between other new favorites 'The Whip' and 'Crimes'. There's a theme of dominance and submission here, but unremarkable and ignorable, like knowing you're enslaved by your streaming service but putting that out of your mind for another week. Terry is domesticity; Terry romances the mundane. This is how romance triumphs. That's what Billy Bragg's 'A New England' and Squeeze's 'Up The Junction' do. Terry's suburban escapism moment is 'Ciao Goodbye'; Listen to it on an arterial road under the yellow streetlights of a weeknight. Terry has never been this beautiful, and Terry may never be beautiful again, definitely not on this record. That's what I like about Terry, there are few rules. They seem to make a song out of whatever sounds good to them; they aren't a genre study. Have you noticed the reggae undercurrent in Terry? There is one; Terry are like Steely Dan or 10cc. Both bands make me queasy after a certain point. Terry probably also make me a bit queasy, singing about police beatings and nationalism and all that, but they're not out to hurt you. They're like the kindly bearer of bad news. I'm pretty certain Terry isn't perverse; they're just the harbinger of the encroaching perverse world." --Lee Parker, 2018.

$23.00 LOW STOCK LEVEL

180 gram, limited color vinyl; Includes poster; Edition of 500. Upset The Rhythm present Deaths, the final part in a trilogy of albums by Sauna Youth that started with Dreamlands (WAAT 048LP/049CD) in 2012. Dreamlands was followed by Distractions (UTR 071CD/LP, 2014) and consequently the songs that comprise Deaths are collectively about the act of finishing, an ode to "the ending". Creating this album was a working research project embodying what is sometimes the hardest part of musical endeavor: completing a record. Making a new album is always daunting, but when all band members also have full-time jobs and other commitments it can also seem logistically impossible. Then there is the nagging, unattainable perfectionism that can draw out a record for months or even years. The twelve tracks on Deaths touch on political rhetoric, artistic legacy, action and passivity, work and leisure, and, of course, distraction, referencing many musical genres in the process while never leaving punk's orbit. The album was recorded by John Hannon of No Recording Studios in June 2017 over three days, mixed by Jonah Falco and mastered by Kris Lapke. The cover was shot in a garden in Brixton by Owen Richards, who also photographed the covers for the previous albums. Additional artwork was provided by R.M. Phoenix. Sauna Youth is Boon, Mince, Ecke, and Pines. They played together in the band Monotony, and between them have played or do play in other bands and music projects including Primitive Parts, Feature, Child's Pose, Lilac, Cold Pumas, Oblate, Teufelskreis, Mind Jail, Gold Foil, and Tense Men as well as being involved with the organizations Good Night Out, The Positive Press, Constant Flux, and Heart n Soul.

$14.00 IN STOCK

"I'm going to set 'Carpe Diem', the first track on Terry's new album I'm Terry as my alarm for the next week and see how that makes me feel. It will be replacing an alternation of 'Werewolves of London' and 'Baby, It's You'. After a week the familiarity might feel kind of insane but kind of nice. Terry is into repetition. Terry often feels like the daily grind set inside a Looney Tune. They can be nasty and violent, but funny at the same time. I laugh at Terry riffs a lot. The lyrics are droll, but have you heard the riffs? It's like they're tickling you. But this is all part of a plan; I would almost say that Terry is highly conceptual, possibly the most conceptual band I've been around. What's really going on here? Why am I listening to jingles and feeling so moved? My favorite songs on I'm Terry -- the band's third record in three years, following on from Terry HQ (UTR 084CD/LP, 2016) and Remember Terry (UTR097CD/LP, 2017) -- are 'Under Reign', sandwiched between other new favorites 'The Whip' and 'Crimes'. There's a theme of dominance and submission here, but unremarkable and ignorable, like knowing you're enslaved by your streaming service but putting that out of your mind for another week. Terry is domesticity; Terry romances the mundane. This is how romance triumphs. That's what Billy Bragg's 'A New England' and Squeeze's 'Up The Junction' do. Terry's suburban escapism moment is 'Ciao Goodbye'; Listen to it on an arterial road under the yellow streetlights of a weeknight. Terry has never been this beautiful, and Terry may never be beautiful again, definitely not on this record. That's what I like about Terry, there are few rules. They seem to make a song out of whatever sounds good to them; they aren't a genre study. Have you noticed the reggae undercurrent in Terry? There is one; Terry are like Steely Dan or 10cc. Both bands make me queasy after a certain point. Terry probably also make me a bit queasy, singing about police beatings and nationalism and all that, but they're not out to hurt you. They're like the kindly bearer of bad news. I'm pretty certain Terry isn't perverse; they're just the harbinger of the encroaching perverse world." --Lee Parker, 2018

$21.00 IN STOCK

LP version. 180 gram vinyl; Edition of 500. Upset The Rhythm present Deaths, the final part in a trilogy of albums by Sauna Youth that started with Dreamlands (WAAT 048LP/049CD) in 2012. Dreamlands was followed by Distractions (UTR 071CD/LP, 2014) and consequently the songs that comprise Deaths are collectively about the act of finishing, an ode to "the ending". Creating this album was a working research project embodying what is sometimes the hardest part of musical endeavor: completing a record. Making a new album is always daunting, but when all band members also have full-time jobs and other commitments it can also seem logistically impossible. Then there is the nagging, unattainable perfectionism that can draw out a record for months or even years. The twelve tracks on Deaths touch on political rhetoric, artistic legacy, action and passivity, work and leisure, and, of course, distraction, referencing many musical genres in the process while never leaving punk's orbit. The album was recorded by John Hannon of No Recording Studios in June 2017 over three days, mixed by Jonah Falco and mastered by Kris Lapke. The cover was shot in a garden in Brixton by Owen Richards, who also photographed the covers for the previous albums. Additional artwork was provided by R.M. Phoenix. Sauna Youth is Boon, Mince, Ecke, and Pines. They played together in the band Monotony, and between them have played or do play in other bands and music projects including Primitive Parts, Feature, Child's Pose, Lilac, Cold Pumas, Oblate, Teufelskreis, Mind Jail, Gold Foil, and Tense Men as well as being involved with the organizations Good Night Out, The Positive Press, Constant Flux, and Heart n Soul.