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LP
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UTR 178BS-LP
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$25.00
PREORDER
RELEASE DATE: 10/9/2026
LP version. 180 gram "blue sunshine" vinyl (transparent light blue and transparent yellow vinyl). "The Yummy Fur's first album of new material in over 25 years is seductive and ambiguous; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. The band's original incarnation -- fronted by singer, songwriter and guitarist John McKeown from 1992 to 1999 -- morphed from making quick-hit cartoon-art songs to Eno and Cale-influenced creepers, populated by characters from McKeown's life in Glasgow and the films, books and poetry that he lived a parallel life through. Everybody Talks About The Weather delights in using every past iteration of the band as potent collage material: a melee of sounds and ideas existing at once, revealing themselves then dipping back into hiding. Recorded by the original core trio of McKeown, Brian MacDougall (guitar) and Paul Thomson (drums), Everybody Talks About The Weather comes 17 years after the band reformed for sporadic live shows, and seven years after the release of their sorta-greatest hits compilation Piggy Wings (Rock Action). Ten tracks long with nothing to spare, it is as condensed and vital as their best songs, with a new clarity of sound that allows their ambiguities to come into the light . . . Everybody Talks About The Weather is an unpredictable album from an unpredictable group, but ending on a moment of almost uncomplicated light is maybe its biggest surprise." --Claire Biddles (2026)
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LP
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UTR 178LP
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$23.50
PREORDER
RELEASE DATE: 10/9/2026
LP version. "The Yummy Fur's first album of new material in over 25 years is seductive and ambiguous; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. The band's original incarnation -- fronted by singer, songwriter and guitarist John McKeown from 1992 to 1999 -- morphed from making quick-hit cartoon-art songs to Eno and Cale-influenced creepers, populated by characters from McKeown's life in Glasgow and the films, books and poetry that he lived a parallel life through. Everybody Talks About The Weather delights in using every past iteration of the band as potent collage material: a melee of sounds and ideas existing at once, revealing themselves then dipping back into hiding. Recorded by the original core trio of McKeown, Brian MacDougall (guitar) and Paul Thomson (drums), Everybody Talks About The Weather comes 17 years after the band reformed for sporadic live shows, and seven years after the release of their sorta-greatest hits compilation Piggy Wings (Rock Action). Ten tracks long with nothing to spare, it is as condensed and vital as their best songs, with a new clarity of sound that allows their ambiguities to come into the light . . . Everybody Talks About The Weather is an unpredictable album from an unpredictable group, but ending on a moment of almost uncomplicated light is maybe its biggest surprise." --Claire Biddles (2026)
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CD
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UTR 178CD
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$13.50
PREORDER
RELEASE DATE: 10/9/2026
"The Yummy Fur's first album of new material in over 25 years is seductive and ambiguous; a fast-paced flip through scenes from art, myth, life and fantasy; a witty whole made from glittering scraps. The band's original incarnation -- fronted by singer, songwriter and guitarist John McKeown from 1992 to 1999 -- morphed from making quick-hit cartoon-art songs to Eno and Cale-influenced creepers, populated by characters from McKeown's life in Glasgow and the films, books and poetry that he lived a parallel life through. Everybody Talks About The Weather delights in using every past iteration of the band as potent collage material: a melee of sounds and ideas existing at once, revealing themselves then dipping back into hiding. Recorded by the original core trio of McKeown, Brian MacDougall (guitar) and Paul Thomson (drums), Everybody Talks About The Weather comes 17 years after the band reformed for sporadic live shows, and seven years after the release of their sorta-greatest hits compilation Piggy Wings (Rock Action). Ten tracks long with nothing to spare, it is as condensed and vital as their best songs, with a new clarity of sound that allows their ambiguities to come into the light . . . Everybody Talks About The Weather is an unpredictable album from an unpredictable group, but ending on a moment of almost uncomplicated light is maybe its biggest surprise." --Claire Biddles (2026)
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UTR 181CD
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$13.50
PREORDER
RELEASE DATE: 6/26/2026
EarthBall are an avant/noise/rock wrecking ball of a band from Nanaimo, Canada. Rooted in total improvisation, free expression, and a deeply psychedelic sensibility, EarthBall operate on pure instinct. They hurtle onwards in a combustion of spontaneous composition, shooting from the hip, as they fall out of the sky ablaze. The group encompasses Isabel Ford (vocals, bass), John Brennan (drums, percussion), Jeremy Van Wyke (vocals, guitar, trumpet), Kellan Maclaughlin (guitar, talkbox), and Liam Murphy (saxophone). Each member brings a rich and varied musical history, with past and present projects including Shearing Pinx, Plan Your Future, Kamikaze Nurse, Eschatons, and Psychedelic Dirt. Collectively and individually, they have collaborated with artists such as Deerhoof, Raven Chacon, Chris Corsano, and William Hooker, deepening the band's exploratory reach and collective language. Since forming in 2021, EarthBall have released six cassettes and three fervently received LPs on Upset The Rhythm, including the widely-acclaimed Outside Over There. Their latest release, Actual Earth Music: Volume 3 & 4, follows the first instalment in the series and captures two mind-quaking highlights from their European tour. This is EarthBall plunging to full fathom five, transforming into something rich and strange -- channeling the fleeting moment as it fractures, erupts, and dissolves into the unknown. Side A captures a thumping performance at Cave12 in Geneva. Frazzled from a white-knuckle alpine descent, the group settles into a hypnotic sprawl, stretching time and form across a colossal 53-minute set. The Cave12 recording is a study in tension and release; ruminative, volatile, and barely contained. Drums stumble and surge, saxophone howls cut through the air, and Ford and Van Wyke's voices briefly pull together the circle twice, before the tumult lapses into a spinning maelstrom. Side B meanwhile presents a scorched excerpt from EarthBall's crushing performance at Le Guess Who? Festival. Actual Earth Music: Volume 3 & 4 marks another ascent in EarthBall's ever-expanding, totemic discography, an ecstatic storm of raw immediacy and unfiltered expression.
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LP
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UTR 181LP
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$25.00
PREORDER
RELEASE DATE: 6/26/2026
LP version. EarthBall are an avant/noise/rock wrecking ball of a band from Nanaimo, Canada. Rooted in total improvisation, free expression, and a deeply psychedelic sensibility, EarthBall operate on pure instinct. They hurtle onwards in a combustion of spontaneous composition, shooting from the hip, as they fall out of the sky ablaze. The group encompasses Isabel Ford (vocals, bass), John Brennan (drums, percussion), Jeremy Van Wyke (vocals, guitar, trumpet), Kellan Maclaughlin (guitar, talkbox), and Liam Murphy (saxophone). Each member brings a rich and varied musical history, with past and present projects including Shearing Pinx, Plan Your Future, Kamikaze Nurse, Eschatons, and Psychedelic Dirt. Collectively and individually, they have collaborated with artists such as Deerhoof, Raven Chacon, Chris Corsano, and William Hooker, deepening the band's exploratory reach and collective language. Since forming in 2021, EarthBall have released six cassettes and three fervently received LPs on Upset The Rhythm, including the widely-acclaimed Outside Over There. Their latest release, Actual Earth Music: Volume 3 & 4, follows the first instalment in the series and captures two mind-quaking highlights from their European tour. This is EarthBall plunging to full fathom five, transforming into something rich and strange -- channeling the fleeting moment as it fractures, erupts, and dissolves into the unknown. Side A captures a thumping performance at Cave12 in Geneva. Frazzled from a white-knuckle alpine descent, the group settles into a hypnotic sprawl, stretching time and form across a colossal 53-minute set. The Cave12 recording is a study in tension and release; ruminative, volatile, and barely contained. Drums stumble and surge, saxophone howls cut through the air, and Ford and Van Wyke's voices briefly pull together the circle twice, before the tumult lapses into a spinning maelstrom. Side B meanwhile presents a scorched excerpt from EarthBall's crushing performance at Le Guess Who? Festival. Actual Earth Music: Volume 3 & 4 marks another ascent in EarthBall's ever-expanding, totemic discography, an ecstatic storm of raw immediacy and unfiltered expression.
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CD
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UTR 177CD
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For two decades, Gun Outfit has been a band defined less by genre than by continuity, patience, and a commitment to making music that reflects their lived experience. Formed in Olympia, Washington in 2006 but long since rooted in Los Angeles, the group has evolved from a raw duo into a quietly formidable five-piece, their sound growing from scrappy post-punk beginnings into something spacious yet intimate, and always underpinned by an experimental edge. On Process & Reality, Gun Outfit return with their most ambitious and immersive work to-date, a sprawling 80-minute double album shaped by time, environment, and philosophy. Recorded over the course of a single month in the late summer of 2020, on an 80-acre ranch in Pine Flat, California, while a massive forest fire burned less than ten miles away, the seeds of these songs were stark and strange. Its title, Process & Reality, draws from the central work of philosopher Alfred North Whitehead, whose philosophy places intuition, experience, creativity, and relationality at the center of existence. The band's current lineup reflects both longevity and openness. Sharp and Keith remain the band's primary architects, joined by longtime drummer Daniel Swire, multi-instrumentalist Henry Barnes, and bassist Kayla Cohen. Additional collaborators include Chris Cohen, Warren Lee, and Danny Sasaki all of whom add further depth, leaving subtle fingerprints across the album. Musically, the album expands the band's palette without abandoning its core sensibility. Dulcimer, autoharp, sitar, melodica, keyboards, homemade electronics, and a wide range of acoustic and electric textures appear throughout. The sound is mellow yet expansive, songs move between fragility and hefty atmospheric passages. Influences surface obliquely rather than overtly. Elements of reggae and dub inform the production's spatial sensibility. Echoes of long-form European jam bands coexist with sharp post-punk. British folk traditions, American country, and classic West Coast songwriting drift in and out of focus; the band is never afraid to lead or follow.
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2LP
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UTR 177LP
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Double LP version. For two decades, Gun Outfit has been a band defined less by genre than by continuity, patience, and a commitment to making music that reflects their lived experience. Formed in Olympia, Washington in 2006 but long since rooted in Los Angeles, the group has evolved from a raw duo into a quietly formidable five-piece, their sound growing from scrappy post-punk beginnings into something spacious yet intimate, and always underpinned by an experimental edge. On Process & Reality, Gun Outfit return with their most ambitious and immersive work to-date, a sprawling 80-minute double album shaped by time, environment, and philosophy. Recorded over the course of a single month in the late summer of 2020, on an 80-acre ranch in Pine Flat, California, while a massive forest fire burned less than ten miles away, the seeds of these songs were stark and strange. Its title, Process & Reality, draws from the central work of philosopher Alfred North Whitehead, whose philosophy places intuition, experience, creativity, and relationality at the center of existence. The band's current lineup reflects both longevity and openness. Sharp and Keith remain the band's primary architects, joined by longtime drummer Daniel Swire, multi-instrumentalist Henry Barnes, and bassist Kayla Cohen. Additional collaborators include Chris Cohen, Warren Lee, and Danny Sasaki all of whom add further depth, leaving subtle fingerprints across the album. Musically, the album expands the band's palette without abandoning its core sensibility. Dulcimer, autoharp, sitar, melodica, keyboards, homemade electronics, and a wide range of acoustic and electric textures appear throughout. The sound is mellow yet expansive, songs move between fragility and hefty atmospheric passages. Influences surface obliquely rather than overtly. Elements of reggae and dub inform the production's spatial sensibility. Echoes of long-form European jam bands coexist with sharp post-punk. British folk traditions, American country, and classic West Coast songwriting drift in and out of focus; the band is never afraid to lead or follow.
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LP
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UTR 175LP
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Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: Outside Over There. Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions. Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen's basement, and mixed by drummer John Brennan, Outside Over There is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written. The opener, "100%," features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). EarthBall's trajectory has been relentless. Their 2024 album It's Yours was praised by The Quietus as "fully aggressive and fully life-affirming." The band's live double set LP Actual Earth Music Vol. 1 & 2 (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch. John Brennan collaborates widely, including with Endlings, Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future, Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of Outside Over There, the band is joined by their comrade Justin Patterson. This cross-pollination fuels EarthBall's sound -- a collective improvisation, psychically overdriven, and grinding into bloom. Outside Over There is more than an album though, it is a ritual, a gathering of sound at the forest's edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity. Also available as blue-in-black color vinyl (UTR 175BB-LP).
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LP
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UTR 175BB-LP
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Blue-in-black color vinyl version. Heavyweight psychedelic improvisers EarthBall are back with their third and most monstrous record to date: Outside Over There. Born from the haunted basements of Nanaimo, Canada, the quintet thrives on spontaneity, shaping improvisation into jagged hallucinations and ecstatic eruptions. Recorded live-off-the-floor in 2024 in Jeremy, Izzy, and Kellen's basement, and mixed by drummer John Brennan, Outside Over There is an album that feels both summoned and inevitable. Each track lands with uncanny purpose, as if uncovered rather than written. The opener, "100%," features a cameo from comedian and English icon Stewart Lee, who lent his blessing for the band to use a fragment of his stand-up. The album was mastered by John Dieterich (Deerhoof), with liner text contributed by longtime comrade John Olson (Wolf Eyes). EarthBall's trajectory has been relentless. Their 2024 album It's Yours was praised by The Quietus as "fully aggressive and fully life-affirming." The band's live double set LP Actual Earth Music Vol. 1 & 2 (2025) captured blistering performances: a performance opening for Wolf Eyes at the Fox Cabaret, and a Café OTO improvised throw-down featuring Chris Corsano and Steve Beresford. Outside of EarthBall, each member carries their own torch. Jeremy Van Wyck, founding member of the legendary Shearing Pinx, has toured extensively, released over 100 records, and has been a vital force in the Vancouver and West Coast underground for the past 25 years. He and Isabel Ford (Izzy) play together not only in EarthBall, but also in Psychedelic Dirt, Shearing Pinx, Behaviours, and Crotch. John Brennan collaborates widely, including with Endlings, Evichen (Victoria Shen), Francesco Fonassi, Plan Your Future, Brennan/Corsano duo and Physics with John Dieterich. Kellen Maclaughlin performs with KVMP and Ora Corgan, while saxophonist Liam Murphy is a west coast staple, playing with the best across Vancouver Island and the mainland. On three of the tracks of Outside Over There, the band is joined by their comrade Justin Patterson. This cross-pollination fuels EarthBall's sound -- a collective improvisation, psychically overdriven, and grinding into bloom. Outside Over There is more than an album though, it is a ritual, a gathering of sound at the forest's edge; where feedback, saxophone screams, and ecstatic vocals dissolve the boundary between chaos and clarity.
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CD
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UTR 171CD
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Scottish singer Quinie presents her third album Forefowk, Mind Me with Upset The Rhythm. The record is largely sung in Scots language, one of Scotland's three official languages along with Gaelic and English. Quinie sings with a style inspired by Scottish Traveller singers. "I began singing unaccompanied Scots Song in 2015 after hearing Scots Traveller singer Sheila Stewart on the radio. Initially I felt like I shouldn't sing these songs because I'm not a Traveller, and I saw people around me doing that in a way that made me uncomfortable. But on the other hand this music made sense to me and I felt driven to learn. Over the years I have met Traveller friends who taught me that settled people sharing these songs could contribute to raising awareness. Scottish Travellers are marginalized and discriminated against in modern Scotland, despite being custodians of so many of our important traditions. So I started to perform them and tell this story. From there I built on my repertoire and started writing my own songs." To develop this record, Quinie travelled across Argyll with her horse. They went on a pilgrimage of sorts through the ancient landscapes of the West of Scotland to explore the interconnected relationships between people, ancestors, animals, and place. The album's vinyl release is accompanied by a book and film, documenting this unusual research process. Forefowk, Mind Me was recorded in August 2024 at The Big Shed in Highland Perthshire with support from Creative Scotland. Quinie is accompanied by an ensemble of musicians: Ailbhe Nic Oireachtaigh (viola), Oliver Pitt (duduk, bouzouki, percussion), Harry Górski-Brown (small pipes, violin), and Stevie Jones (double bass, recording, and mixing). Each of these artists brings their own distinctive voice, bridging contemporary experimental practice with worlds of traditional and early music.
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7"
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UTR 174EP
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This split 7" EP comprises four new tracks, two from Linda Smith in keyboard-warble anthem mode and two low-fidelity daytrips by The Smashing Times. Linda Smith and The Smashing Times are the best of friends. They are both currently based in Baltimore, USA. This split 7" EP celebrates that friendship with two new tracks by each act; united by DIY spirit, a bedroom-pop sensibility and now a puddle of black vinyl. Songwriter Linda Smith has a gentle but unconventional experimental style that continues to evolve as she adds new entries to her storied catalogue. Smith's pioneering work with four-track production in the '80s found her at the beginning of a home-recording movement that would set the pace for the decades of indie rock that followed. During this most active period, Smith's music was limited mostly to obscure cassette and 7" releases. This trailblazing time was recently revisited on Captured Tracks' compilation Till Another Time: 1988-1996. Shortly after Smith's retrospective, she teamed up with like-mind and collaborator Nancy Andrews to release an album of beguiling pop entitled A Passing Cloud (2023). The duo performed songs from that record at Upset The Rhythm's 20th anniversary party at Café OTO that same year. 2024 saw further reissues of Smith's music including Nothing Else Matters (1995) and I So Liked Spring (1996). The Smashing Times are a premier East Coast pop experimental group. They have also gleefully performed in London for Upset The Rhythm twice in quick succession. Known for their dogtooth style, waggish mod attitude and tumbledown sound, The Smashing Times have holes in their socks and sit idly between The Kinks and Tori Kudo. Their previous albums on K Records, Perennial and Meritorio are a cherished commodity steeped in Paisley psyche and slapdash panache.
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CD
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UTR 173CD
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Follow up to the critically acclaimed 2023 album RPG. Me Lost Me -- the project of Newcastle-based artist Jayne Dent -- delights in experimenting with songwriting, creating a beguiling mix of soaring vocals and atmospheric electronics that playfully push the boundaries of genre. On Me Lost Me's fourth full-length, This Material Moment, she has created an "emotionally raw" album, her most honest and vulnerable yet. Concerned with physicality, interpretations, and, yes, materiality, This Material Moment is an album akin to rummaging through a box of long-forgotten trinkets. With each song, Me Lost Me extracts something from the box and asks listeners to consider it from every angle. With the release of This Material Moment, Me Lost Me puts into practice the automatic writing techniques she developed during a workshop with Julia Holter, and in the process has spun her music in different directions that draws on poetry, psalms and using mesostic poems and phonetic translations to generate words. Whilst Jayne Dent's music as Me Lost Me has previously presented time stretching back and forwards in opposition, on This Material Moment she does away with linearity altogether, evoking rather than narrating, and presenting feelings, happenings and moods with no clear beginning or end point. Instead, each track on This Material Moment exists entirely in media res, adjacent to past and future, and instead sprawling across the endless now. This Material Moment was written and arranged solo, but played with a core band of John Pope on electric/double bass, Faye MacCalman on clarinet, and now with the addition of Ewan Mackenzie (Dextro/Pigs x7) on drums -- bringing in live drums and electric bass for the first time. The album was recorded by Sam Grant at Blank Studios in Newcastle, who also worked on RPG.
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LP
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UTR 173LP
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LP version. Follow up to the critically acclaimed 2023 album RPG. Me Lost Me -- the project of Newcastle-based artist Jayne Dent -- delights in experimenting with songwriting, creating a beguiling mix of soaring vocals and atmospheric electronics that playfully push the boundaries of genre. On Me Lost Me's fourth full-length, This Material Moment, she has created an "emotionally raw" album, her most honest and vulnerable yet. Concerned with physicality, interpretations, and, yes, materiality, This Material Moment is an album akin to rummaging through a box of long-forgotten trinkets. With each song, Me Lost Me extracts something from the box and asks listeners to consider it from every angle. With the release of This Material Moment, Me Lost Me puts into practice the automatic writing techniques she developed during a workshop with Julia Holter, and in the process has spun her music in different directions that draws on poetry, psalms and using mesostic poems and phonetic translations to generate words. Whilst Jayne Dent's music as Me Lost Me has previously presented time stretching back and forwards in opposition, on This Material Moment she does away with linearity altogether, evoking rather than narrating, and presenting feelings, happenings and moods with no clear beginning or end point. Instead, each track on This Material Moment exists entirely in media res, adjacent to past and future, and instead sprawling across the endless now. This Material Moment was written and arranged solo, but played with a core band of John Pope on electric/double bass, Faye MacCalman on clarinet, and now with the addition of Ewan Mackenzie (Dextro/Pigs x7) on drums -- bringing in live drums and electric bass for the first time. The album was recorded by Sam Grant at Blank Studios in Newcastle, who also worked on RPG.
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LP
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UTR 171X-LP
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Black LP version with limited art print. Scottish singer Quinie releases her third album Forefowk, Mind Me with Upset The Rhythm. The record is largely sung in Scots language, one of Scotland's three official languages along with Gaelic and English. Quinie sings with a style inspired by Scottish Traveller singers. "I began singing unaccompanied Scots Song in 2015 after hearing Scots Traveller singer Sheila Stewart on the radio. Initially I felt like I shouldn't sing these songs because I'm not a Traveller, and I saw people around me doing that in a way that made me uncomfortable. But on the other hand this music made sense to me and I felt driven to learn. Over the years I have met Traveller friends who taught me that settled people sharing these songs could contribute to raising awareness. Scottish Travellers are marginalized and discriminated against in modern Scotland, despite being custodians of so many of our important traditions. So I started to perform them and tell this story. From there I built on my repertoire and started writing my own songs." To develop this record, Quinie travelled across Argyll with her horse. They went on a pilgrimage of sorts through the ancient landscapes of the West of Scotland to explore the interconnected relationships between people, ancestors, animals, and place. The album's vinyl release is accompanied by a book and film, documenting this unusual research process. Forefowk, Mind Me was recorded in August 2024 at The Big Shed in Highland Perthshire with support from Creative Scotland. Quinie is accompanied by an ensemble of musicians: Ailbhe Nic Oireachtaigh (viola), Oliver Pitt (duduk, bouzouki, percussion), Harry Górski-Brown (small pipes, violin), and Stevie Jones (double bass, recording, and mixing). Each of these artists brings their own distinctive voice, bridging contemporary experimental practice with worlds of traditional and early music.
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LP
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UTR 171LP
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Limited 180g black vinyl. Scottish singer Quinie releases her third album Forefowk, Mind Me with Upset The Rhythm. The record is largely sung in Scots language, one of Scotland's three official languages along with Gaelic and English. Quinie sings with a style inspired by Scottish Traveller singers. "I began singing unaccompanied Scots Song in 2015 after hearing Scots Traveller singer Sheila Stewart on the radio. Initially I felt like I shouldn't sing these songs because I'm not a Traveller, and I saw people around me doing that in a way that made me uncomfortable. But on the other hand this music made sense to me and I felt driven to learn. Over the years I have met Traveller friends who taught me that settled people sharing these songs could contribute to raising awareness. Scottish Travellers are marginalized and discriminated against in modern Scotland, despite being custodians of so many of our important traditions. So I started to perform them and tell this story. From there I built on my repertoire and started writing my own songs." To develop this record, Quinie travelled across Argyll with her horse. They went on a pilgrimage of sorts through the ancient landscapes of the West of Scotland to explore the interconnected relationships between people, ancestors, animals, and place. The album's vinyl release is accompanied by a book and film, documenting this unusual research process. Forefowk, Mind Me was recorded in August 2024 at The Big Shed in Highland Perthshire with support from Creative Scotland. Quinie is accompanied by an ensemble of musicians: Ailbhe Nic Oireachtaigh (viola), Oliver Pitt (duduk, bouzouki, percussion), Harry Górski-Brown (small pipes, violin), and Stevie Jones (double bass, recording, and mixing). Each of these artists brings their own distinctive voice, bridging contemporary experimental practice with worlds of traditional and early music.
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UTR 170LP
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Buffet Lunch have been a band since 2017. They are a pop group formed of musicians based in Glasgow, Edinburgh and (sometimes) Newcastle. Described previously as a band that creates "a hodgepodge of noises" who are "lyrically ridiculous." Both claims are strongly denied by the group. Buffet Lunch have released three EPs and two LPs since 2019, and six months after self-releasing For Display Purposes Only, they are back on Upset the Rhythm with their third album Perfect Hit! Perfect Hit! was recorded in the West Highlands, in the shadow of the UK's Biggest Ben, during Leap Year week 2024. George Horler (Holy Loaf) joined the band as recording engineer along with new members Matthew Lord and Jack Shearer plus founding members Perry O'Bray and Luke Moran, to spend a week writing and creating the record. The majority of the record was completed in the studio, with as much recorded "live" as possible. Most of the songs are new and only been played a few times live. Lyrically, the album contains more deliberately personal lyrics than previous records, with several songs addressing ancestry and becoming a parent. Elsewhere, the songs deal with thorny issues such as; identity and full face tattoos, hands, legs and a swordfish sighting, the importance of kindness, disgraced Presbyterian John Knox, a potentially disgraced sportsman featuring star turn from Beef Jerk front man Jack Randall Lee and historical consciousness via Wikipedia. Musically, the aim (as ever) was to make an album which is as fun to listen to as it was to make. These are mostly playful pop songs with a focus on melody and hooks. There are approximately 40% more guitar chords featured on Perfect Hit! than on previous records.
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LP
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UTR 172LP
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Two euphoric and crushing live sets from Vancouver Island's experimental rock demolition unit Earthball, featuring improv legends Steve Beresford and Chris Corsano. Pressing of 500 copies worldwide on 180gm black vinyl. Actual Earth Music: Volume 1 & 2 presents two caustic, yet alluringly unreal live sets from Canadian noise-rock entropy hunters Earthball. Following on from the group's critically appraised It's Yours LP (UTR 164LP, 2024), this release captures the band at the peak of their powers, playing live, composing spontaneously. Side A features Earthball live at The Fox Cabaret in Vancouver, supporting Wolf Eyes on August 4, 2023. Jeremy Van Wyck from the band considers this "the gig that sent us into orbit, really. Causing Olson & Young to wax poetic about our interstellar jams to a fine bloke across the big sea. Upsetting our casual rhythm and forcing our hand. All that talk led to an LP, It's Yours, and a full UK tour the following spring." Now, with the birth of this live series Actual Earth Music, it seems only fitting that Volume 1 should be this gig. It's a doozy. Listening back is a pure revelation. Earthball whip up a vortex of thrashing wild energy, the ecstatic release is off the charts. "You don't always catch every nuance of the jams as they come down. I mean, this one felt good, but upon listening back to the tapes, it sounded very good" confides Jeremy. "It reminded me of Von Trier's Melancholia: the sound of a large sphere coming toward you to bring doom. However, this one reverses course, heading away to some other shore, bathing you in reflective bliss before saying goodbye -- instead of ending humanity as we know it." Volume 2 occupies Side B of this LP, showcasing a collaborative summit from the second night of their recent Café OTO residency on May 21, 2024. This event featured Earthball laying down three separate sets -- all collaborations. This second recording presents their opening performance and features pivotal UK improv luminary Steve Beresford on piano and free-jazz phenomenon Chris Corsano on drums.
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CD
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UTR 169CD
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Nottingham duo Rattle's third album Encircle sees the duo expand their unique experiments in rhythm, meter and tension. Rattle are Katharine Eira Brown and Theresa Wrigley, formed in 2011 after meeting on the live circuit whilst both playing in other bands. Katharine was a guitarist who had recently started playing drums in the band Kogumaza, whilst Theresa was the drummer in Nottingham band Fists. Rattle have honed the four songs that make up Encircle by playing them live over the last few years, adapting and stretching them into endlessly inventive new shapes, playing with the concept of time and expectation. Encircle was recorded at Foel Studios, Wales, produced and mixed by Mark Jasper, and mastered at Liminal Audio by Shaun Crook. The stunningly colorful artwork was created by Martha Glazzard, who was also responsible for Rattle's other mesmeric covers. With Encircle Rattle have grown again, the songs alive with elemental power. They build-up and disintegrate, existing in two places at once, embracing the nuance, tracing the circle's edge. These are modes of song as pure gesture and eternal imagination, refined in mirrors after midnight. Rattle has performed at The Barbican, London and toured the UK with Animal Collective and Thurston Moore Group and Europe with The Julie Ruin and Protomartyr, and performed with Hot Snakes, Bill Orcutt Quartet, and Codeine. Also available on black (UTR 169LP) and pink color vinyl (UTR 169X-LP).
"Quietly dramatic and loudly intimate." --The Quietus
"Two drum sets. Two voices. One great idea." --MOJO
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UTR 169X-LP
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LP version. Pink color vinyl. Nottingham duo Rattle's third album Encircle sees the duo expand their unique experiments in rhythm, meter and tension. Rattle are Katharine Eira Brown and Theresa Wrigley, formed in 2011 after meeting on the live circuit whilst both playing in other bands. Katharine was a guitarist who had recently started playing drums in the band Kogumaza, whilst Theresa was the drummer in Nottingham band Fists. Rattle have honed the four songs that make up Encircle by playing them live over the last few years, adapting and stretching them into endlessly inventive new shapes, playing with the concept of time and expectation. Encircle was recorded at Foel Studios, Wales, produced and mixed by Mark Jasper, and mastered at Liminal Audio by Shaun Crook. The stunningly colorful artwork was created by Martha Glazzard, who was also responsible for Rattle's other mesmeric covers. With Encircle Rattle have grown again, the songs alive with elemental power. They build-up and disintegrate, existing in two places at once, embracing the nuance, tracing the circle's edge. These are modes of song as pure gesture and eternal imagination, refined in mirrors after midnight. Rattle has performed at The Barbican, London and toured the UK with Animal Collective and Thurston Moore Group and Europe with The Julie Ruin and Protomartyr, and performed with Hot Snakes, Bill Orcutt Quartet, and Codeine. Also available on CD (UTR 169CD) and black vinyl (UTR 169LP).
"Quietly dramatic and loudly intimate." --The Quietus
"Two drum sets. Two voices. One great idea." --MOJO
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UTR 169LP
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LP version. Nottingham duo Rattle's third album Encircle sees the duo expand their unique experiments in rhythm, meter and tension. Rattle are Katharine Eira Brown and Theresa Wrigley, formed in 2011 after meeting on the live circuit whilst both playing in other bands. Katharine was a guitarist who had recently started playing drums in the band Kogumaza, whilst Theresa was the drummer in Nottingham band Fists. Rattle have honed the four songs that make up Encircle by playing them live over the last few years, adapting and stretching them into endlessly inventive new shapes, playing with the concept of time and expectation. Encircle was recorded at Foel Studios, Wales, produced and mixed by Mark Jasper, and mastered at Liminal Audio by Shaun Crook. The stunningly colorful artwork was created by Martha Glazzard, who was also responsible for Rattle's other mesmeric covers. With Encircle Rattle have grown again, the songs alive with elemental power. They build-up and disintegrate, existing in two places at once, embracing the nuance, tracing the circle's edge. These are modes of song as pure gesture and eternal imagination, refined in mirrors after midnight. Rattle has performed at The Barbican, London and toured the UK with Animal Collective and Thurston Moore Group and Europe with The Julie Ruin and Protomartyr, and performed with Hot Snakes, Bill Orcutt Quartet, and Codeine. Also available on CD (UTR 169CD) and pink color vinyl (UTR 169X-LP).
"Quietly dramatic and loudly intimate." --The Quietus
"Two drum sets. Two voices. One great idea." --MOJO
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UTR 167LP
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Limited black bio-vinyl. 600 copies worldwide. Includes obi-strip and download card. The Green Child has grown into four people. Originally the recording project of Raven Mahon (furniture maker and member of Grass Widow, Rocky) and Mikey Young (recording engineer and band member of Total Control, Eddy Current Suppression Ring, Shutdown 66), The Green Child now boasts Shaun Gionis (of Boomgates) on drums and Alex Macfarlane (who runs the excellent label Hobbies Galore) on guitar and synths. This invigorated quartet from Naarm/Melbourne began writing the group's third album Look Familiar in 2023, working up demos in rehearsals, animated by having live drums present in their chameleonic sound. The Green Child still draws heavily on a refined psychedelic pop, with Raven's scenically measured vocal often shadowing the ebb and flow, but the energy of having four people in the room resulted in making the songs more upbeat.
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UTR 165CD
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Aesthetically, Ed Schrader's Music Beat hates to tread water. At the same time, the Baltimore-based two-piece of vocalist Ed Schrader and bassist Devlin Rice won't force their songs to fit a preconceived style. For Orchestra Hits, the band's latest, that alteration was welcoming longtime musical comrade Dylan Going into the fold as a co-writer and co-producer. A songwriter in his own right, a guitar sideman for ESMB on their last two tours, and a collaborator with Rice in the noise riffage band Mandate, Going had both a unique vision and an intimate familiarity with the ESMB vibe. The lack of external pressure in the process gives Orchestra Hits an almost paradoxical vibe. For all of the album's layers, that mix live and sequenced instruments, it never loses the raw energy of a small handful of friends in the same room plugging in, cranking up, and playing until they pass out. Lyrically, the album finds Schrader, now 45, meditating on experiences in their youth to make sense of the present moment. With percolating synthesizer arpeggios, and climbing bass grooves, "IDKS" is the album's dance-floor slapper. Lyrically, "IDKS" is a letter from the true self to public-facing self. "It's an angry song," Schrader said. "Because the public-facing self is always looking for an easy escape, but it forces the true self into a cage. I honestly thought my lyrics were corny and was about to change them, but Dylan was digging it just the way it was. So that's what you hear." With the soaring "Daylight Commander," the band went against all of their musty-basement-bred instincts. "I went full High School Musical with the vocals," Schrader said. "At first it felt almost embarrassing, but I remember reading somewhere that Bowie recommended always floating a little bit above your comfort zone, and that's what we did here." The song is part exercise in absurdity and part pop Trojan horse. "If ever we had a 'Shiny Happy People' moment, I guess this is it," Schrader said.
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UTR 165LP
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LP version. Aesthetically, Ed Schrader's Music Beat hates to tread water. At the same time, the Baltimore-based two-piece of vocalist Ed Schrader and bassist Devlin Rice won't force their songs to fit a preconceived style. For Orchestra Hits, the band's latest, that alteration was welcoming longtime musical comrade Dylan Going into the fold as a co-writer and co-producer. A songwriter in his own right, a guitar sideman for ESMB on their last two tours, and a collaborator with Rice in the noise riffage band Mandate, Going had both a unique vision and an intimate familiarity with the ESMB vibe. The lack of external pressure in the process gives Orchestra Hits an almost paradoxical vibe. For all of the album's layers, that mix live and sequenced instruments, it never loses the raw energy of a small handful of friends in the same room plugging in, cranking up, and playing until they pass out. Lyrically, the album finds Schrader, now 45, meditating on experiences in their youth to make sense of the present moment. With percolating synthesizer arpeggios, and climbing bass grooves, "IDKS" is the album's dance-floor slapper. Lyrically, "IDKS" is a letter from the true self to public-facing self. "It's an angry song," Schrader said. "Because the public-facing self is always looking for an easy escape, but it forces the true self into a cage. I honestly thought my lyrics were corny and was about to change them, but Dylan was digging it just the way it was. So that's what you hear." With the soaring "Daylight Commander," the band went against all of their musty-basement-bred instincts. "I went full High School Musical with the vocals," Schrader said. "At first it felt almost embarrassing, but I remember reading somewhere that Bowie recommended always floating a little bit above your comfort zone, and that's what we did here." The song is part exercise in absurdity and part pop Trojan horse. "If ever we had a 'Shiny Happy People' moment, I guess this is it," Schrader said.
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UTR 166EP
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Collaboration between DIY-pop grafter Robert Sotelo and Mary Currie (half of Flaming Tunes with Gareth Williams. Robert Sotelo is a bedroom pop songsmith who lives in Glasgow. Sotelo has released six albums since 2017, three of which came out on Upset The Rhythm. He also performs in Order of the Toad, Dancer, and Nightshift. Mary Currie is best known as half of touchstone DIY experimentalists Flaming Tunes, alongside Gareth Williams. Currie also performed in Officer! with Mick Hobbs amongst others. The Dream Songs 7" EP title captures the hazy, reflective nature of the music it also expounds on the origin of tracks. These four tracks flutter with a minimalist bass, drum machine and keys dynamic, allowing Sotelo and Currie's vocals to speak deeply into the back of your mind. "Expectations" is a pensive triumph of whirled moments and momentum with Currie's final words lending much gravity "the outcome of my days is always the same, a void that must be filled, a battle against time that drags us along; mutating, spinning, ebbing, flowing. Begin again, we work to give value to time." "Telegraph Hill" boasts a glossy fluidity, as it plays with images of motorways, ancient citadels, crows, paralysis and emanations. "Lady Fortune" meanwhile is a tranquil treatise on fate, imbued with finessed electronic embellishments and clarinet flourishes. You can't quite trust where these songs will take you, they feel particularly mercurial. Dreams indeed.
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UTR 163LP
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LP version. Empires into Sand is the first album of new material from Normil Hawaiians in 40 years. The group first refined their sound during the early '80s, hitting on a pastoral experimentalism that drew on ambient drone, motorik impulse and post-punk pep. Empires into Sand came together in the familiar manner of their original three albums, with improvisation and nuance informing the blueprint of the tracks. It was with the official release of this last record Return of the Ranters (originally recorded in 1984/85, but then unconsciously shelved) in 2015 by Upset The Rhythm that led to the group reconnecting with the intention of playing music together again. The quaint weirdness of folk song, the humanity of communal practice and the group's ecological mindedness have all found a place in Normil Hawaiians' current sound world. Normil Hawaiians took their time to develop these threads at their own pace, allowing songs to mutate and settle over months. Simon Marchant deftly produced and recorded the album whilst also performing in the band, this marked the first time the band had total control of their own sound. Empires into Sand incorporates samples from old rehearsals and live music into the new finished pieces, this is in continuum with their previous records. Snippets of sound from the static of short-wave radio and satellite transmissions also embellish the work. In fact, the whole album is stitched together with interludes, creating an acutely immersive 45 minutes. The album's title is derived from a poem by band member Mark Tyler, who sadly passed away during the recording process and the transience of life is felt heavily throughout. Noel best coins the group's wish for the album: "We wanted to create an album that acknowledges our history and also reflects who we are today. We remained true to ourselves and we wanted to make something beautiful without removing the edges." Empires into Sand certainly does that, it's an echo from the past, an echo from the future. Featuring Rodney Relax.
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