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viewing 1 To 7 of 7 items
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LP
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WSR 058LP
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$31.50
PREORDER
RELEASE DATE: 5/10/2024
The much-anticipated debut album from Leeds post-punk power-trio and 6Music favorites Objections. Optimistic Sizing is comprised of ten kitchen-sink dramas, ten miniature worlds to lose yourself in. The key topics are covered: performative royal mourning, ill-suited sexual relationships, coastal gentrification, motormouth bigots and -- of course -- snogging. These tales of 21st century existence are set to a musical backing that is joyous and wild. The guitar operates as a detonation device, a musical firework display to energize and punctuate the songs. The bass anchors with irresistible melodic and rhythmic hooks. The drums make complex and dizzying patterns seem effortlessly human, natural and always very, very danceable. Objections might follow the Minutemen music-as-socialism blueprint but rather than be constrained by these apparent limitations, they are somehow freed by them. That real estate might be clearly divided but it is vast, limitless, and ready to be explored. Objections formed in the post-lockdown period after drummer Neil and guitarist Joe's former band (and cult favorites) Bilge Pump slowed to an amicable halt. They wanted to continue the musical dialogue they had built up over decades and turned to Claire Adams (Nape Neck, Beards) to start something new and Objections was born. Pink vinyl limited to 200 copies. FFO: The Casual Dots, The Ex, The Slits, Gang Of Four, No Means No, Erase Errata.
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LP
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WSR 056LP
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$28.00
PREORDER
RELEASE DATE: 2/9/2024
Perpetual Eden is the seventh release by Nottingham's Bloody Head and their first on Wrong Speed following LPs, EPs and cassettes for such noted labels as Hominid Sounds, Viral Age, At War With False Noise, and Bitter Dose. Bloody Head occupy an almost-unique place in the over-populated world of what you might call "noise rock." Probably the most unpredictable and chaotic band in a city that is famous for them, live gigs can be genuinely unsettling and messy affairs and occasionally confrontational or even scary as an audience member. However, rather than being a scream into the void or a nihilistic tantrum, it feels like the noise and chaos are there to clear room for revelations and epiphanies (big or small) to subsequently happen in the space that is left behind for both the band and the audience. Imagine them as a giant hand trying to sweep away the shit of existence and reveal everything beautiful that remains. Perpetual Eden feels like the sharpest manifestation of the band's approach yet. Narcotic/gnostic lyrical observations are revealed as truths through the ritual of noise and repetition. It changes and it changes you. This is heavyweight sound used as psychic tool of discovery. Like seeing the wonderful light of heaven, right as you step out of the pub into the road and the bus hits you. RIYL: The Stooges, Neurosis, Lungfish, Kilslug, Les Rallizes Dénudés, Black Sabbath.
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LP
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WSR 040LP
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Thomas House has been making music for a long while now. First as the driving force behind Charlottefield and then as a team player with acts as diverse as Picore, Sloath, Joeyfat and Haress. When Charlottefield disbanded, House changed things up. No more would his personal musical endeavors be dependent on the complex politics of the "band." Like Palace Brothers or Smog, Sweet Williams may have a band name but to all intents and purposes this is solo music, albeit with a stellar supporting cast of musicians when time and serendipity allows (or doesn't). House has always worked with a purposefully limited palette of sounds and stuck to the idea that the human voice and electric guitar is enough to communicate with. But for those paying close attention the change over the years has been revelatory. Sweet Williams is economical and direct. Its languid pace at first appears hard to penetrate. The immediate flavor is one of loneliness and of absence. There are no immediate "bangers," no radio hits. However, as with all of House's work, tiny moments of light welcome the listener in. The sudden warmth and beauty of "Settlement," the wild guitar solo (courtesy of Cristian of Picore) on "Old Smoke," the occasional jarring lyric to recalibrate the listening experience, Sweet Williams proves House's most melodically adventurous record to date, scattered with surprises that delight and reward.
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CD
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WSR 050CD
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In Blood is the 14th album by Hey Colossus and the follow-up to 2020's critically acclaimed Dances/Curses. It was typical of a band so well-known for stellar live performances to release their most successful album at a time when they were unable to back it up on the road. As was the case for many, lockdown changed the band's lives in unexpected ways. Some felt a form of cabin fever at not being able to continue to make music (diverting their energies elsewhere -- founding Wrong Speed Records for starters) whereas others relished the peace and quiet, perhaps questioning whether they wanted to return to the life they had before. Gigs (so long the lifeblood of the band) were booked, postponed, and cancelled. Things began to unravel and perhaps for the first time since the band formed in 2003 it was hard to see how it could continue. A plan was hatched to attempt to re-energize and reassemble the band: they would begin work on a new album. They would approach this as though a Somerset version of The Desert Sessions -- members old and new and guests would contribute as and when time and restrictions allowed. Lyrically, British folk and ghost mythology provided the starting position for the song themes ranging from mutated stories of grief and loss written in the 14th Century ("Perle"), spiritual reawakening by ancient apparitions ("Avalon") to the growth of nature after devastation ("Can't Feel Around Us", "Over Cedar Limb"), a metaphor also for spirit and body renewal and rebirth after trauma. The results sound free of any genre shackles and it suits Hey Colossus. They have taken the expansive anything-goes approach that made Dances/Curses so successful and fine-tuned and shaped it into an eight-song single album that never treads water or fills time. The prominent vocals steer the listener through the music, defining it as opposed to punctuating it (or being buried by it). In Blood positions Hey Colossus somewhere new, outside of perceived contemporaries and in a more rarefied place altogether, alongside "classic" bands like The Cure, Killing Joke, Sonic Youth, Dead Can Dance, or even New Order (or The F-word of course). The band changes but in doing so remains the same. Hey Colossus only sound like Hey Colossus. The album is a calling card for the band in their 20th anniversary year. As odd and challenging as long-term fans would expect or hope for, but somehow more accessible and to the point than ever before.
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LP
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WSR 050LP
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LP version. In Blood is the 14th album by Hey Colossus and the follow-up to 2020's critically acclaimed Dances/Curses. It was typical of a band so well-known for stellar live performances to release their most successful album at a time when they were unable to back it up on the road. As was the case for many, lockdown changed the band's lives in unexpected ways. Some felt a form of cabin fever at not being able to continue to make music (diverting their energies elsewhere -- founding Wrong Speed Records for starters) whereas others relished the peace and quiet, perhaps questioning whether they wanted to return to the life they had before. Gigs (so long the lifeblood of the band) were booked, postponed, and cancelled. Things began to unravel and perhaps for the first time since the band formed in 2003 it was hard to see how it could continue. A plan was hatched to attempt to re-energize and reassemble the band: they would begin work on a new album. They would approach this as though a Somerset version of The Desert Sessions -- members old and new and guests would contribute as and when time and restrictions allowed. Lyrically, British folk and ghost mythology provided the starting position for the song themes ranging from mutated stories of grief and loss written in the 14th Century ("Perle"), spiritual reawakening by ancient apparitions ("Avalon") to the growth of nature after devastation ("Can't Feel Around Us", "Over Cedar Limb"), a metaphor also for spirit and body renewal and rebirth after trauma. The results sound free of any genre shackles and it suits Hey Colossus. They have taken the expansive anything-goes approach that made Dances/Curses so successful and fine-tuned and shaped it into an eight-song single album that never treads water or fills time. The prominent vocals steer the listener through the music, defining it as opposed to punctuating it (or being buried by it). In Blood positions Hey Colossus somewhere new, outside of perceived contemporaries and in a more rarefied place altogether, alongside "classic" bands like The Cure, Killing Joke, Sonic Youth, Dead Can Dance, or even New Order (or The F-word of course). The band changes but in doing so remains the same. Hey Colossus only sound like Hey Colossus. The album is a calling card for the band in their 20th anniversary year. As odd and challenging as long-term fans would expect or hope for, but somehow more accessible and to the point than ever before.
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LP
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WSR 038LP
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"Enablers (no the) first made music together in San Francisco in 2002. Their individual histories join the dots through the major musical events in America of the '80s and '90s: the fertile Texas underground, Homestead Records, New York noise, Bay Area metal, the post-Nevermind goldrush and everything that got left in its wake. As with all the best bands, they formed by accident. Author and poet Pete Simonelli convinced guitarists (and fellow bar-dwellers) Joe Goldring (Swans) and Kevin Thomson (Nice Strong Arm) to provide musical backing for a few poems. The addition of drummer Yuma Joe Byrnes (of 4AD's Tarnation) sparked Enablers into life, away from the cerebral idea of a "book project" and into the infinite possibilities of a living, breathing band. We agreed that (Enablers) were not going to sound like much of what had already come before in the vein of "spoken word" recordings: a voice in front of a droning, basically static piece of music. We wanted solid musical compositions with dynamic and tense arrangements." --Pete
They've been doing that very thing, collectively, from day one. Simonelli punctuates the thrilling out-rock of the musicians as if directing the chaos with each jabbed finger or kick of a boot, rhythms explode on a single syllable or are seemingly sucked back into their shell by a breath in the text. Goldring and Thomson constantly reinvent the wheel, using the limitations of guitar to their advantage, always surprising listeners with new possibilities. It is primal, powerful, and absolutely hardcore. In the tradition of the punk and underground era they grew up in, Enablers have always treated each new recording as a bookmark in time used to generate resources to tour. Some Gift is their seventh LP and the first on Wrong Speed Records. It represents a summation of the history of the band. It recalls the incendiary power of the early records whilst being delivered with a loose, human feel that can only have been cultivated through the time and experiences they share together. These seemingly gradual changes in sound from album to album reveal themselves as revelations once fully experienced and understood as a whole. It sounds like this music comes effortlessly to the players, yet it leaves the listener punch drunk, exhausted and elated.
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LP
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WSR 018LP
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New band from Leeds/Glasgow. Here are some words from T House (Sweet Williams, Charlottefield): "Ostrich tuned and chronically distressed, The Web Of Lies is Neil Robinson (Buffet Lunch) and Edwin Stevens (Irma Vep, Yerba Mansa). Having played together years back in Robert Sotelo's band and forged a singular connection, the pair have been biding their time, waiting for the perfect moment Nude With Demon, their first LP, lurches from the incendiary to the world-weary, like a drunk alternately haranguing and commiserating on the rush hour tube. Drafted quickly in a handful of hungover early morning sessions, fleshed out with a few carefully chosen collaborators -- Kathryn Gray (Mia La Metta, Nape Neck), Dylan Hughes (The Birth Marks), Ruari Maclean and Jess Higgins (Vital Idles), Neil Campbell (Astral Social Club) and Dan Bridgewood Hill (dbh) -- it's one long dribbling lunge at the grab strap, regret seeping from the pores, mitigated by wry humor and, when the rage momentarily subsides, the suggestion of humanity." For fans of: Comets on Fire, The Velvet Underground, '60s garage, early Flaming Lips.
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