{"title":"Noise Rock","description":"","products":[{"product_id":"ad-interim-we-saw-a-window-lp","title":"Ad Interim – We Saw a Window LP","description":"Ad Interim has held various forms involving a revolving cast of noise smiths who bring their\nunique input to Guitarist Max Duckers ever changing musical schematic...\nWe Saw a Window is the follow up album to the band's 2011 debut full length. “Ad Interim persists in building a strange noise-rock mechanism that owes a lot to the 90's while adding personal effects, historical genes subtly changing under an articulation possessing its own alchemy.....The vocals always spoken and manipulated, as if passing behind a filthy filter“ - Perte \u0026amp; Fracas","brand":"Ad Interim","offers":[{"title":"Black","offer_id":47087571271925,"sku":"UNDUNN001","price":41.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_1212a1bf-2a70-4180-9c7f-3c31c813eadf.jpg?v=1759458280"},{"product_id":"blarke-bayer-bone-sheriff-s-t-cd","title":"Blarke Bayer \/ Bone Sheriff – S\/T CD","description":"Blarke Bayer is the solo project of Ben Andrews who also plays guitar in Agents Of Abhorrence, My Disco, Kilat and Magnetics. This release finds him exploring a wall of drone, subtle drifts and waves of noise.\nBone Sheriff is the drunken ramblings of Simon Taylor (Whitehorse \/ Malakat \/ Tax \/ Lakes) and Rob Mayson (Grey Daturas \/ EOH \/ It's Is \/ Whitehorse etc). Fueled by a cocktail of ginger wine and sparkling ale, Bone Sheriff shudders to life rattling bones and burning souls. An awesome follow up release to \"Moonee Ponds\" (Sabbatical).","brand":"Blarke Bayer \/ Bone Sheriff","offers":[{"title":"Default Title","offer_id":47087587688693,"sku":"SWEATLUNG008","price":14.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_a4f3531f-1970-4c50-aca7-55b8bded9682.jpg?v=1759458399"},{"product_id":"boris-with-merzbow-klatter-lp","title":"Boris With Merzbow – Klatter LP","description":"Available on LP for the first time outside of Japan, experimental rock pioneers BORIS \u0026amp; noise mastermind MERZBOW present Klatter, the third collaboration between the two groups.\nOriginally released in 2011, this is a recording of a studio session\/collaboration that took place around the time of the release of \"Akuma no Uta\" in 2003. In addition to the songs from \"Akuma no Uta,\" the album features repetitive hammer beats, a cover of Jane from Germany, and many other krautrock aspects. It was originally released in a limited edition of 1,000 vinyl copies, sold out immediately, and has long since been out of print. This album is also being reissued in its original jacket, which was specially printed at the time.","brand":"Boris With Merzbow","offers":[{"title":"Neon Pink","offer_id":47087591522549,"sku":"RR75131","price":49.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_90a6697a-4744-41ea-855c-848dc9ca51e7.jpg?v=1759458423"},{"product_id":"bosse-de-nage-all-fours-lp","title":"Bosse-de-Nage – All Fours LP","description":"\u003cp\u003eAll Fours by Bosse-de-Nage is the mysterious Bay Area act’s fourth full-length. Monstrous and surreal, the album is a strange mix of black metal, noise and dark, post-modern lyrical themes. Comparisons range from ’90s post-rock like Slint to fellow post-black metal brethren Deafheaven (the two bands released a split 12-inch in 2012), but the work stands on its own as a unique creation.\u003cbr\u003e\nRecorded with Jack Shirley (Deafheaven, Botanist, Wreck and Reference), All Fours is the most immediate and accessible album in the band’s discography, as well as the first to feature analog synths.\u003cbr\u003e\nReleased by the Flenser in a deluxe 2LP package with a large twelve-page booklet.\u003cbr\u003e\nFor fans of Deafheaven, Slint, Orchid, Refuse.\u003c\/p\u003e","brand":"Bosse-de-Nage","offers":[{"title":"Black","offer_id":47087592276213,"sku":"FR060","price":49.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_6a05bba1-96e4-47e9-a6b8-95950682dd8d.jpg?v=1759458428"},{"product_id":"bosse-de-nage-s-t-lp","title":"Bosse-de-Nage – S\/T LP","description":"\u003cp\u003eNow available for the first time on vinyl.\u003c\/p\u003e\n\n\u003cp\u003eOver the last decade, the San Francisco Bay Area’s Bosse-de-Nage has operated at the forefront of the post-black metal movement, and with albums like All Fours and Further Still, the band has cemented its place as touchstones of the genre.\u003c\/p\u003e\n\n\u003cp\u003eTheir self-titled debut — an early foray in the blackgaze sound — was recorded in 2007, but not officially released until 2010. The CD version of the album was one of The Flenser’s first releases, and a vinyl edition has always been a critical omission in both the band’s and the label’s catalogues.\u003c\/p\u003e\n\n\u003cp\u003eRemastered for vinyl by Nicholas Wilbur (Have a Nice Life, Midwife) and presented in a 2LP package with a redesigned layout and poster.\u003c\/p\u003e","brand":"Bosse-de-Nage","offers":[{"title":"Black","offer_id":47087592374517,"sku":"FR003","price":54.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_bee4e9bc-5fad-416e-8208-9d67e938de78.jpg?v=1759458429"},{"product_id":"brainbombs-die-lp","title":"Brainbombs – Die LP","description":"\u003cp\u003eThe Swedish underground legends return with a brand new album. Australian pressing via the legendary FAR Company.\u003c\/p\u003e","brand":"Brainbombs","offers":[{"title":"Black","offer_id":47087592931573,"sku":"FA-049","price":39.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_7062e86a-dffc-468d-962b-2526cdd1344c.jpg?v=1759458432"},{"product_id":"brainbombs-singles-collection-2-2lp","title":"Brainbombs – Singles Collection 2 2LP","description":"2LP pressing of the 'Brainbombs' S\/T CD released in Europe by Polly Maggoo Records in 2007. Includes the single that came out on tUMULt, the \"Stinking Memory\" 7\" on Anthem, as well as the Wabana Gun Court single, the Ken Rock single and the Big Brothel single. A collection of totally killer BB tracks, \"Stigma Of The Ripper,” \"The Grinder,\" \"I Need Speed\" and more. All in classic BRAINBOMBS style, One killer riff punctuated by deadpan vocal delivery of their fucked up lyrics, and repeat... Also included are some rare live tracks, including \"Urge To Kill\" among them, recorded live in Norway way back in 1993, They sound raw, and distorted in proper style, Don't miss the hidden last track, a minute-long, post performance Brainbombs sign off. Includes digital download.","brand":"Brainbombs","offers":[{"title":"Coloured","offer_id":47087592997109,"sku":"AS004","price":54.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_665b8495-b40d-44e9-b9a9-074c1f54987c.jpg?v=1759458431"},{"product_id":"chat-pile-cool-world-cd","title":"Chat Pile – Cool World CD","description":"\u003cp\u003eLike the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band moulded by a society defined by its cold and cruel power systems.\u003c\/p\u003e\n\u003cp\u003eBesides being the name of a largely forgotten (and panned) 90s film, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind. “Cool World covers similar themes to our last album, except now exploded from a micro to macro scale, with thoughts specifically about disasters abroad, at home, and how they affect one another,” says vocalist Raygun Busch.\u003c\/p\u003e\n\u003cp\u003eThough very much on-brand with Chat Pile’s signature flavour of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt\/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks. “While we wanted our follow-up to God’s Country to still capture the immediate, uncompromising essence of Chat Pile, we also knew that with Cool World, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record, album #2 felt like the perfect opportunity to challenge those limits.” Besides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg of Uniform (Algiers, Drab Majesty, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge.\u003c\/p\u003e\n\u003cp\u003eThe proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”, or the mental anguish of hopelessness on “The New World”, Cool World is an apocalyptically bleak record. Sure, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality.\u003c\/p\u003e\n\u003cp\u003e“If I had to describe the album in one sentence,” explains Busch, “It’s hard not to borrow from Voltaire, so I won’t resist – Cool World is about the price at which we eat sugar in America.”\u003c\/p\u003e","brand":"Chat Pile","offers":[{"title":"Default Title","offer_id":47087599714549,"sku":"FR164CD","price":26.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_4626b3fa-6c18-4d2f-bef9-fd3a56e3e2bb.jpg?v=1759458468"},{"product_id":"chat-pile-cool-world-lp","title":"Chat Pile – Cool World LP","description":"\u003cp\u003eLike the towering mounds of toxic waste from which it gets its namesake, the music of Oklahoma City noise rock quartet Chat Pile is a suffocating, grotesque embodiment of the existential anguish that has defined the 21st Century. It figures that a band with this abrasive, unrelenting, and outlandish of a sound has struck as strong of a chord as it has. Dread has replaced the American dream, and Chat Pile’s music is a poignant reminder of that shift – a portrait of an American rock band moulded by a society defined by its cold and cruel power systems.\u003c\/p\u003e\n\u003cp\u003eBesides being the name of a largely forgotten (and panned) 90s film, Cool World makes for an apt title of Chat Pile’s sophomore full-length record. In the context of a Chat Pile record, the words are steeped in a grim double entendre that not only evokes imagery of a dying planet but a progression from the band’s previous work, moving the scope of its depiction of modern malaise from just “God’s country” to the entirety of humankind.\u003cbr\u003e“Cool World covers similar themes to our last album, except now exploded from a micro to macro scale, with thoughts specifically about disasters abroad, at home, and how they affect one another,” says vocalist Raygun Busch.\u003c\/p\u003e\n\u003cp\u003eThough very much on-brand with Chat Pile’s signature flavour of cacophonous, sludgy noise rock, the band’s shift to a global thematic focus on Cool World not only compliments the broader experimentations it employs with their songwriting but also how they dissect the album’s core theme of violence. Melded into the band’s twisted foundational sound are traces of other eclectic genre stylings, with examples of gazy, goth-tinged dirges to abrasive yet anthemic alt\/indie-esque hooks and off-kilter metal grooves only scratching the surface of what can be heard in the album’s ten tracks.\u003cbr\u003e“While we wanted our follow-up to God’s Country to still capture the immediate, uncompromising essence of Chat Pile, we also knew that with Cool World, we’d want to stretch the definition of our “sound” to reflect our tastes beyond just noise rock territory,” reflects bassist Stin. “Now that we had some form of creative comfort zones in place after hitting that milestone of putting out a full-length record, album #2 felt like the perfect opportunity to challenge those limits.”\u003c\/p\u003e\n\u003cp\u003eBesides stylistically stretching the boundaries of the Chat Pile sound, Cool World is also the band’s first record to have someone else handle mixing duties, with Ben Greenberg of Uniform (Algiers, Drab Majesty, Metz) capturing and further amplifying the quartet’s unmistakably outsider and folk-art edge. The proverbial thread tying all of the experimentation on Cool World together is the depth to which Chat Pile dissects the album’s theme of violence. Whether it be the cycle of creating and passively consuming literal and figurative violence on sister tracks “Camcorder” and “Tape”, the diminishment of crimes against humanity by way of foreign policy and colonialism on “Shame”, or the mental anguish of hopelessness on “The New World”, Cool World is an apocalyptically bleak record.\u003c\/p\u003e\n\u003cp\u003eSure, Chat Pile’s debut album was plenty disturbing with its B-movie-inspired interpretation of a “real American horror story”; what Chat Pile depicts on Cool World is unsettling not just from its visceral noise rock onslaught, but from depicting how all sorts of atrocities are pretty much standard parts of modern existence. In film terms, think something like a Criterion arthouse film by way of schlocky grindhouse splatterfest: undeniably gratuitous and thrilling in the moment but leaving a looming dread in the back of one’s mind for how close the horrors depicted mirror reality.\u003c\/p\u003e\n\u003cp\u003e“If I had to describe the album in one sentence,” explains Busch, “It’s hard not to borrow from Voltaire, so I won’t resist – Cool World is about the price at which we eat sugar in America.”\u003c\/p\u003e","brand":"Chat Pile","offers":[{"title":"Black","offer_id":47087599747317,"sku":"FR164","price":44.95,"currency_code":"AUD","in_stock":false},{"title":"Neon Green","offer_id":47087599780085,"sku":"FR164X-2","price":49.95,"currency_code":"AUD","in_stock":false},{"title":"Highlighter Yellow","offer_id":47087599812853,"sku":"FR164C-Y","price":49.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_8597ac1e-4486-4099-a129-b173f0e12ab0.jpg?v=1759458468"},{"product_id":"chat-pile-gods-country-cd","title":"Chat Pile – God's Country CD","description":"\u003cp\u003eThere’s a sick irony to how a country that extols rhetoric of individual freedom, in the same gasp, has no problem commodifying human life as if it were meat to feed the insatiable hunger of capitalism. If this is American nihilism taken to its absolute zenith, then God’s Country, the first full length record from Oklahoma City noise rock quartet Chat Pile is the aural embodiment of such a concept.\u003c\/p\u003e\n\u003cp\u003eHaving lived alongside the heaps of toxic refuse that the band derives its name from, the fatalism of daily life in the American Midwest permeates throughout the works of Chat Pile, and especially so on its debut album.\u003cbr\u003eExasperated by the pandemic, the hopelessness of climate change, the cattle shoot of global capitalism, and fueled by “...lots and lots and lots and lots and lots and lots of THC,” God’s Country is as much of an acknowledgement of the Earth’s most assured demise as it is a snarling violent act of defiance against it.\u003c\/p\u003e\n\u003cp\u003eWithin its over forty minute runtime, the album displays both Chat Pile’s most aggressively unhinged and contemplatively nuanced moments to date, drawing from its preceding two EPs and its score for the 2021 film, Tenkiller. In the band’s own words, the album is, at its heart, “Oklahoma’s specific brand of misery.” A misery intent on taking all down with it and its cacophonous chaos on its own terms as opposed to idly accepting its otherwise assured fall. This is what the end of the world sounds like.\u003cbr\u003eFor fans of the Melvins, KEN Mode, Jesus Lizard, Big Black, Shellac.\u003c\/p\u003e","brand":"Chat Pile","offers":[{"title":"Default Title","offer_id":47087599845621,"sku":"FR129CD","price":24.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_d92d1da6-508e-467b-8dd6-da69a437d2c9.jpg?v=1759458469"},{"product_id":"chat-pile-gods-country-lp","title":"Chat Pile – God's Country LP","description":"\u003cp\u003eThere’s a sick irony to how a country that extols rhetoric of individual freedom, in the same gasp, has no problem commodifying human life as if it were meat to feed the insatiable hunger of capitalism. If this is American nihilism taken to its absolute zenith, then God’s Country, the first full length record from Oklahoma City noise rock quartet Chat Pile is the aural embodiment of such a concept.\u003c\/p\u003e\n\u003cp\u003eHaving lived alongside the heaps of toxic refuse that the band derives its name from, the fatalism of daily life in the American Midwest permeates throughout the works of Chat Pile, and especially so on its debut album.\u003c\/p\u003e\n\u003cp\u003eExasperated by the pandemic, the hopelessness of climate change, the cattle shoot of global capitalism, and fueled by “...lots and lots and lots and lots and lots and lots of THC,” God’s Country is as much of an acknowledgement of the Earth’s most assured demise as it is a snarling violent act of defiance against it.\u003c\/p\u003e\n\u003cp\u003eWithin its over forty minute runtime, the album displays both Chat Pile’s most aggressively unhinged and contemplatively nuanced moments to date, drawing from its preceding two EPs and its score for the 2021 film, Tenkiller. In the band’s own words, the album is, at its heart, “Oklahoma’s specific brand of misery.” A misery intent on taking all down with it and its cacophonous chaos on its own terms as opposed to idly accepting its otherwise assured fall. This is what the end of the world sounds like.\u003c\/p\u003e\n\u003cp\u003eFor fans of the Melvins, KEN Mode, Jesus Lizard, Big Black, Shellac.\u003c\/p\u003e","brand":"Chat Pile","offers":[{"title":"Black","offer_id":47087599911157,"sku":"FR129","price":44.95,"currency_code":"AUD","in_stock":false},{"title":"Grimace Purple","offer_id":47087599976693,"sku":"FR129X","price":49.95,"currency_code":"AUD","in_stock":false},{"title":"Cream with orange splatter","offer_id":47087600009461,"sku":"FR129-CO","price":59.95,"currency_code":"AUD","in_stock":false},{"title":"Orange \/ Silver Split","offer_id":47087599943925,"sku":"FR129EX","price":59.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_163258c9-0ea0-4a79-a7c3-4c4624ae319d.jpg?v=1759448922"},{"product_id":"chat-pile-tenkiller-motion-picture-soundtrack-lp","title":"Chat Pile – Tenkiller Motion Picture Soundtrack LP","description":"\u003cp\u003eOn the back of their acclaimed 2022 release, God’s Country, Oklahoma’s Chat Pile followed up with the Tenkiller Motion Picture soundtrack.\u003cbr\u003e\nWhile not a proper full-length album, the Tenkiller score was written and recorded in the winter of 2020, and it waxes and wanes from the signature Chat Pile sound but also ventures into new ones— including arena country music.\u003cbr\u003e\nThe band comments, “The music we made for Tenkiller is quite a bit different than what you may come to expect from us. We were given the freedom to really experiment and explore territories that we’ve never done before.” They continue, “It’s not going to be for everyone, but we hope some of you connect with what we set out to do.”\u003cbr\u003e\n“Oklahoma City’s Chat Pile are the perfect people to expose the dark, seedy underbelly of American life.” — Paste Magazine\u003cbr\u003e\n“Cleansingly punishing.” — Stereogum\u003cbr\u003e\n“Harrowing.” — Pitchfork\u003cbr\u003e\nFor fans of the Melvins, KEN Mode, Jesus Lizard, Big Black, Shellac.\u003c\/p\u003e","brand":"Chat Pile","offers":[{"title":"Colour","offer_id":47087600074997,"sku":"FR141","price":39.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_c26f2f0c-6430-4a98-a055-8799316fff80.jpg?v=1759458470"},{"product_id":"chat-pile-tenkiller-motion-picture-soundtrack-cd","title":"Chat Pile – Tenkiller Motion Picture Soundtrack CD","description":"\u003cp\u003eOn the back of their acclaimed 2022 release, God’s Country, Oklahoma’s Chat Pile followed up with the Tenkiller Motion Picture soundtrack.\u003cbr\u003eWhile not a proper full-length album, the Tenkiller score was written and recorded in the winter of 2020, and it waxes and wanes from the signature Chat Pile sound but also ventures into new ones— including arena country music.\u003cbr\u003eThe band comments, “The music we made for Tenkiller is quite a bit different than what you may come to expect from us. We were given the freedom to really experiment and explore territories that we’ve never done before.” They continue, “It’s not going to be for everyone, but we hope some of you connect with what we set out to do.”\u003c\/p\u003e\n\u003cp\u003e“Oklahoma City’s Chat Pile are the perfect people to expose the dark, seedy underbelly of American life.” — Paste Magazine\u003c\/p\u003e\n\u003cp\u003e“Cleansingly punishing.” — Stereogum\u003c\/p\u003e\n\u003cp\u003e“Harrowing.” — Pitchfork\u003c\/p\u003e\n\u003cp\u003eFor fans of the Melvins, KEN Mode, Jesus Lizard, Big Black, Shellac.\u003c\/p\u003e","brand":"Chat Pile","offers":[{"title":"Default Title","offer_id":47087600304373,"sku":"FR141CD","price":24.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_26be88f9-2283-4f46-856d-78a9a79cf3db.jpg?v=1759458470"},{"product_id":"chat-pile-this-dungeon-earth-remove-your-skin-please-cd","title":"Chat Pile – This Dungeon Earth \/ Remove Your Skin Please CD","description":"Chat Pile's debut EPs, 'This Dungeon Earth' and 'Remove Your Skin Please' now available on one compilation CD via The Flenser. Comes in a standard jewel case.","brand":"Chat Pile","offers":[{"title":"Default Title","offer_id":47087600369909,"sku":"FR151CD","price":24.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_8322de80-da2c-411f-bb29-c41d268da898.jpg?v=1759458471"},{"product_id":"chat-pile-this-dungeon-earth-remove-your-skin-please-lp","title":"Chat Pile – This Dungeon Earth \/ Remove Your Skin Please LP","description":"\u003cp\u003eIn the spring of 2019, a new rock band made up of four otherwise ordinary Okies emerged seemingly out of nowhere, swiftly turning heads with a grotesque new take on noise rock—one fueled by the existential anguish that has defined the 21st century. Taking its name from the towering mounds of toxic waste that stand as monuments to capitalism’s cruel hubris across its home state, Oklahoma City’s \u003c\/p\u003e","brand":"Chat Pile","offers":[{"title":"Black","offer_id":47087600402677,"sku":"FR151","price":44.95,"currency_code":"AUD","in_stock":true},{"title":"Sea Blue","offer_id":47087600435445,"sku":"FR151X","price":49.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_56547b1f-c421-46b8-987f-f01b3ccd95d1.jpg?v=1759458471"},{"product_id":"clan-dos-mortos-cicatriz-d-e-bil-lp","title":"Clan Dos Mortos Cicatriz – Débil LP","description":"Débil, a glorious and sprawling remastered discography vinyl compilation covering the entire release history of one of Brazil's most definitive dark punk bands, conceived and envisioned side-to-side by Sentient Ruin with the band as an omen of more, and greater, things to come from our partnership. \nWith Débil Clan Dos Mortos Cicatriz condense a fifteen-year career influenced by the darkest sides of punk and hardcore as well as by crust, Oi!, goth, deathrock, post-punk, and black metal, into twenty eight-song triumph of crepuscular and cemeterial death-punk majesty. \nRiddled with a tangible sense of loathing and malaise, these twenty eight tracks encapsulate the history of a band influenced by acts Black Flag, Misfits, G.I.S.M., Void, Christian Death, Rudimentary Peni, and Hellhammer as they revel in the most remitted and destitute declinations of punk, digging deep into the most skeptical underworld of the genre devoid of idealism and dominated instead by pessimism and negativity. Despite being an experimental act with some digital releases exploring side-genres like noise, ambient and avantgarde, this staggering forty-six minute anthology remastered by Will Killingsworth contains all the strictly-punk tracks published by the band so far, covering the band's short 2017 self-titled debut album (which was re-recorded by the band in 2022), the subsequent Febril and Febres Intermitentes mini-albums from 2018 and 2019 respectively, as well as the recent 2022 Senil EP.\nAll the tracks display Clan Dos Mortos Cicatriz's superb death-punk craftsmanship and their strict adherence to the golden eras of all the main styles which influenced them, with simple, short, necrotic and demented-sounding songs seething with grimness and filth and characterised by vocalist Felipe Soares' enigmatic lamented vocals and thought provoking lyrics in Portuguese telling disheartening tales of endless personal decay, struggle, disease, loss, misery and failure. ","brand":"Clan Dos Mortos Cicatriz","offers":[{"title":"Black","offer_id":47087602729205,"sku":"SRUIN225","price":44.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_0d73b931-75ef-43da-949f-1d00a574f352.jpg?v=1759458484"},{"product_id":"converge-chelsea-wolfe-bloodmoon-i-2lp","title":"Converge \u0026 Chelsea Wolfe – Bloodmoon I 2LP","description":"\u003cp\u003e“We wanted to do something grander than the typical four-piece Converge music.”\u003cbr\u003e\nThat’s Converge vocalist Jacob Bannon talking about the seed of inspiration that eventually bloomed into Bloodmoon: I, the new collaborative album created by the legendary hardcore band alongside dark songstress Chelsea Wolfe, her bandmate\/writing partner Ben Chisholm and Cave In vocalist\/guitarist Steve Brodsky.\u003cbr\u003e\n“I’ve been a fan of Chelsea and Ben’s work for some time,” Bannon says. “I bought the Apokalypsis record from Aquarius Records in San Francisco, and Ben and I started communicating here and there. He had roots in this world of music, so it started to make sense that we could all work together in some way.”\u003cbr\u003e\n“Ben introduced me to Converge when we started playing music together in 2009,” Wolfe says. “A couple of years later, we saw that Converge had put Apokalypsis on a year-end list, so we were totally fanning out about that. When they reached out to Ben about performing some Converge songs with new arrangements, I said, ‘I want in on that…’ And it seems like they were happy to have me along.”\u003cbr\u003e\nFast forward to a 2016 European tour and a rapturously received appearance at Roadburn that saw all seven musicians performing revamped Converge material. Overnight, what had started as a mutual admiration society had become one of the most formidable musical constellations in recent memory. “We felt like there was enough energy in the live collaboration to actually create new music together,” Converge guitarist and Bloodmoon: I producer Kurt Ballou explains. “It just took a few years to free up the time to get together.”\u003cbr\u003e\nThe musicians descended upon Ballou’s God City Studios in Salem, Massachusetts, to work on material in late 2019. Future sessions were planned for 2020, but then the pandemic hit. The rest of Bloodmoon: I was recorded remotely, though you’d never know it. “I wanted a record that breathed like a band playing together in a room, even if it wasn’t possible during this time period,” Ballou says. “It feels like we achieved that.”\u003cbr\u003e\nHarrowing and atmospheric, triumphant and melodious, Bloodmoon: I is Converge as you’ve never heard them before. It’s Chelsea Wolfe and Ben Chisholm as you’ve never heard them before. It’s Steve Brodsky as you’ve almost never heard him before—after all, he was a member of Converge in the late ’90s and played bass on 1998’s When Forever Comes Crashing.\u003cbr\u003e\n“It’s been a real treat to see one of my favorite bands continue to do cool stuff and break the molds of what’s considered hardcore and punk,” Brodsky says of Bloodmoon: I. “It’s a very rare thing in this kind of music to go an experimental route and challenge the quote-unquote ‘rules’ of what’s been laid out beforehand—and do it successfully.”\u003c\/p\u003e","brand":"Converge \u0026 Chelsea Wolfe","offers":[{"title":"Black, Navy, Neon Purple Mix","offer_id":47087605580021,"sku":"723314783970","price":59.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_6b88a0fa-bda7-4c95-83d9-9ac20aa03c9b.jpg?v=1759458503"},{"product_id":"couch-slut-my-life-as-a-woman-lp","title":"Couch Slut – My Life As A Woman LP","description":"\u003cp\u003eOff the heels of their acclaimed new full-length You Could Do It Tonight, COUCH SLUT, reemerge with a remastered, 10-year anniversary reissue of their debut album My Life As A Woman.\u003c\/p\u003e\n\u003cp\u003eThe self-produced album, originally released on Oct 13th, 2014, made an immediate splash in the underground due in large part to the band name and it’s controversial, confrontational artwork, but it was the music that took people by storm as written in the Hank Shteamer penned essay “Why Couch Slut Is Heavier Than Metal”.\u003c\/p\u003e\n\u003cp\u003eOut-of-print for years now, the 10-year anniversary reissue has been remastered by Matt Colton (Aphex Twin, Sunn O))), George Michael) and features the “shocking” original artwork tucked away safely under a censored paper bag slipcover. Along with expanded album art, the reissue is packaged with a nearly 40-page zine, written and compiled by guitarist Amy Mills with additional liner notes from the band and renowned music writer Hank Shteamer, chronicling their early years of cacophony.\u003c\/p\u003e","brand":"Couch Slut","offers":[{"title":"Black","offer_id":47087607841013,"sku":"BPR102","price":64.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_3067e7f5-fcf5-4187-8c63-b05ca34f5398.jpg?v=1759458514"},{"product_id":"current-93-aleph-at-hallucinatory-mountain-2lp","title":"Current 93 – Aleph At Hallucinatory Mountain 2LP","description":"\"The long-awaited Aleph at Hallucinatory Mountain is Current 93's first album in three years, following their double-platinum-selling Black Ships Ate the Sky. Spinning around epic series of verses written by Current 93 founder David Tibet, the new album sees Tibet back with a new 1972-style supergroup comprised of himself on vocals and July and Gorgon guitars; guitar hero James Blackshaw on 12-string guitar and piano; counter-culture guru William Breeze on electric viola and viola-controlled sampler; Cyclobe and Coil's Ossian Brown on synthesizers, treated organ, and electronics; heavenly musician John Contreras on cello and synthesizers; haunting chanteuse and composer Baby Dee on piano, Hammond organ, and throat song; Pantalemon's enchanted Andria Degens on vocals; world famous porn star Sasha Grey on vocals; Andrew Liles (Nurse With Wound) on electronics and guitars; extraordinary percussionist supreme Alex Neilson (Red Krayola, Trembling Bells, Bonnie 'Prince' Billy) on drums and percussion; Grammy award-winning genius Rickie Lee Jones on vocals; Alice and Henry Rousham on vocals; Steven Stapleton on electronics and glands; NYC legend Matt Sweeney (Zwan, Neil Diamond, Superwolf, ZZ Top) on electric guitar and vocals; rock god phenomenon Andrew WK on bass, piano, finger-bells, and vocals; and the beautiful Hush Arbor's Keith Wood on electric guitar, acoustic guitar, slide guitar, and bass. Aleph at Hallucinatory Mountain is the most unique, unpredictable, and powerful release yet from Current 93. Tibet has brought together an amazing and bizarre array of talents and created an album unlike any other. Gatefold sleeve, liner notes insert and poster included.\"","brand":"Current 93","offers":[{"title":"Black","offer_id":47087610331381,"sku":"NIFE004LP","price":54.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_8fac6cc5-e032-42a7-9cf5-f6814288cc40.jpg?v=1759458531"},{"product_id":"dead-and-gone-the-beautician-lp","title":"Dead and Gone – The Beautician LP","description":"\u003cp\u003eFormed in the East Bay back in 1993, Dead And Gone released 3 albums over a decade or so. “The Beautician” is their final (and best!) album and it finds the band at peak darkness; anti-commercial, rough-edged, perfectly controlled and terrifyingly intense. If the brooding slow burn of 80’s goth and the hyper-crawl of 90’s Neurosis gets you howling, then this nasty is tailor-made just for you. The ghosts of East Bay hardcore are re-frenzied. Get doomed, punk.\u003cbr\u003e\n250 copies on emerald green and 250 copies on hand poured silver 150gr vinyl housed in a 24pt reverse board jacket with insert included. Recorded by Roger Tschann. Remastered by John Golden. Art by Sonny Kay.\u003c\/p\u003e","brand":"Dead and Gone","offers":[{"title":"Hand poured metallic silver","offer_id":47087612657909,"sku":"LUNGS-271","price":39.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_818be708-93bb-4cf6-81f9-db6bca5e8b5d.jpg?v=1759458547"},{"product_id":"diploid-black-to-comm-mc","title":"Diploid – Black to Comm MC","description":"Recorded \"live in studio\" Saturday afternoon 1 June 2019 at 96 Tears, Marrickville\nEngineered by Dean Patrick Crowe\nMixed by Joshua Dowton.\nBroadcast on 2 September 2019 on Dead Air, FBi Radio 94.5FM\nOriginally digitally released by Black Wire Records on 20 March 2020\nBLACK to COMM sessions are a non-profit, non-government funded initiative aiming to directly support artists and community radio.\nRecorded on Eora \/ Gadigal land.","brand":"Diploid","offers":[{"title":"Default Title","offer_id":47087624028405,"sku":"BLACKTOCOMM","price":14.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_aa6b3a09-0961-4979-9280-eadce3a1521a.jpg?v=1759458603"},{"product_id":"diploid-i-am-yours-and-i-am-here-again-lp","title":"Diploid – I Am Yours. And I Am Here Again. LP","description":"\u003cp\u003eHeavy Machinery Records is proud to present 'I am Yours. And I am Here Again.', the astoundingly heavy new album from Melbourne punk metal legends Diploid. Since 2010, Diploid have been a primal force searing underneath the pyre of Australian heavy music.\u003c\/p\u003e\n\u003cp\u003eCrushing, urgent, depressing and fierce, few can stand toe to toe with the blistering vocals, thematic despair and rapid-fire instrumentals that strike straight at a listener’s pressure points. Diploid are antithetic to peace. Diploid's 2020 album 'Glorify' recently earned the band an award for Best Heavy Album from Music Victoria. International heavyweights such as Full of Hell, Cancer Bats and Integrity have all slotted Diploid on support for their shows. Heavy Experimental pioneers The Body have performed a collaborative improvised set with Diploid in 2019, and the band have blasted eardrums on tour in Japan, Indonesia, Singapore, Malaysia, South Korea, New Zealand and Australia.\u003c\/p\u003e\n\u003cp\u003eDiploid’s fourth album, 'I Am Yours. And I Am Here Again.' is a masterclass in musical intensity where elements of grindcore, noise, black metal, hardcore punk, screamo and avant experimentalism are whipped into a cacophonous fury, while staggeringly extreme vocals explore lyrical themes of genocide and radicalisation. Written on Wurundjeri land during a 100-day lockdown, the record picks at the feeling that nothing you do changes anything – the feeling that you can’t stop the pain in the world. The next chapter for Australia’s fiercest heavy act is about to begin. Prepare yourself. \u003c\/p\u003e","brand":"Diploid","offers":[{"title":"Clear","offer_id":47087624225013,"sku":"HEVMAC039","price":39.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_3b1f407b-f5d6-4a27-a6ad-eb14868104e9.jpg?v=1759458603"},{"product_id":"diploid-mantra-mc","title":"Diploid – Mantra MC","description":"\u003cp\u003eWhat is the exact so-called marker for ‘evolution’ or ‘progress’? Is it the constant dosing of additive solutions to a mountain of compounding complex problems? The seemingly ever omnipresent and incessant human need to ‘keep building’ something? Perhaps it’s the maniacal and neurotic rearranging of preconceived structures and nearly passive systems often unnoticed within one’s impossibly limited scope and time-frame of existence.\u003cbr\u003e\nWhatever one struggles to define evolution as, it’s as clear as Upper Peninsular waters that Australia’s Diploid strives for and achieves such a feat by example. In just the 10 minutes of material presented here, they accomplish sounding both similar to, yet also nothing like a gorgeous amalgamation of heinously violent influences. There are shades of Assuck, NIN, Orchid, Weakling, The Body, Magrudergrind, Converge among just a few potentials, yet the sheer explosive emotional ferocity mixed with an incredible knack for left turn on a dime songwriting leads the band deeply and firmly into it’s own unique voice and vision. \u003cbr\u003e\nA triple threat vocal attack spews themes seemingly spanning starvation, body image, paranoia, perseverance, dwindling resources (both personal and global), coping mechanisms, isolation, and mental gymnastics to name a few. \u003cbr\u003e\nAn almost eerie, near electronic \/ post-industrial and depressive yet urgent purple atmospheric hue cover everything, with stitches of classic speed, thrash and death metal riffage holding together an immense framework, jettisoning itself at 120 MPH (or perhaps 193 KPH..) straight into the abyss, tearing itself apart under its own torrential weight of emotional release and fervour. \u003cbr\u003e\nWhile human evolution or whatever one wants to pathetically attempt to define our often disgusting, self righteous examples of ‘progress’ as may be nearly impossible to accurately conjure, one thing is certain: Melbourne, Australia’s Diploid exists as pertinent example of moving a sonic signature and personal artistic message forward with unstoppable force. \u003cbr\u003e\n– Brandon Hill (Cloud Rat \/ Fantastique \/ Starved Relations) \u003c\/p\u003e","brand":"Diploid","offers":[{"title":"Default Title","offer_id":47087624454389,"sku":"LLR0114","price":14.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_4399cc23-969c-4bbc-b8fc-a84b36a696fb.jpg?v=1759458604"},{"product_id":"driver-toby-in-the-li-li-library-loft-cd","title":"Driver, Toby – In The Li…Li…Library Loft CD","description":"\"A beautiful collection of modern compositions by the brilliant young mastermind of Maudlin of the Well\/Kayo Dot, a cutting edge band combining a classical ear for structure and orchestration with the power and immediacy of heavy and black metal. Featuring several of his band mates in key roles, and a number of special guests, this is music of great detail and searing passion... Four moody masterpieces of magic and horror.\"","brand":"Driver, Toby","offers":[{"title":"Default Title","offer_id":47087633170677,"sku":"TZ8019","price":29.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_1989af79-b8c0-4917-aa75-0ab63d55134c.jpg?v=1759458628"},{"product_id":"full-of-hell-aurora-leaking-from-an-open-wound-7","title":"Full Of Hell – Aurora Leaking From An Open Wound 7\"","description":"Recorded with Kevin Bernstein at Developing Nations. Mixed by Taylor Young at The Pit Recording Studio. Mastered by Will Killingsworth at Dead Air. Artwork by Zachary Hobbs.\n\nPressing Info:\n377 - Clear with Cyan Splatter\n553 - Clear with Hot Pink Splatter\n561 - Bone \u0026amp; Black Split\n\nTrack Listing:\n1. Aurora Leaking\n2. Swarming Hornets\n3. Blinding Erasure","brand":"Full Of Hell","offers":[{"title":"Bone and Black Split","offer_id":47087649423605,"sku":"CCA006","price":29.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_45af1a31-a79c-4d35-956a-0415741cde41.jpg?v=1759458729"},{"product_id":"full-of-hell-coagulated-bliss-lp","title":"Full Of Hell – Coagulated Bliss LP","description":"\u003cp\u003eFull of Hell burst forth with incredible force from the small, dagger-shaped city of Ocean City, Maryland, 15 years ago. Over five full-lengths, five collaborative full-lengths, and countless splits, EPs, singles, and noise compilations, they’ve evolved at extraordinary speed, their music becoming more complicated and technical without ever slowing down or losing its soul. Everything on a Full of Hell album feels like a blur: smears of guitar, harsh noise shaken like gravel in a bag, singer Dylan Walker’s snarl and bite carrying him into outer space or into the core of the earth. They’re coiled, interlocking, impossible to penetrate, and they move with alarming speed.\u003cbr\u003e\nThey have now reached terminal velocity. Having created their own context, they’re now able to walk around within it, to survey its terrain, to visit far corners and see who’s nearby. Coagulated Bliss sounds like Full of Hell, but it’s nothing like any Full of Hell record that’s come before it. These songs are trimmer, less freighted with anxiety, more interested in opening up than speeding away. Its bile is sometimes funneled into traditional song structures. It never shies away from the extreme harsh noise, unrelenting spirit, and pitch-black sadness of previous Full of Hell records; if anything, the leanness of these songs makes them feel even heavier. \u003cbr\u003e\nThese songs feel huge, totemic, groundshaking. In “Gelding of Men,” the entire band hammers away at one chord, stomping it into the ground at mid-tempo, blasts of horns helping to push.The numbskull stomp of “Doors to Mental Agony” sets up a circle pit, blasts it apart with a grindcore chorus, then slides away on a slanted riff. In the title track, they bounce back and forth on a thick groove, punctuated with occasional cowbells and scratched up by Walker’s scream, barrel into a pummelling chorus, then jump back out onto the dance floor.\u003cbr\u003e\nWhile the focus on songwriting already makes Coagulated Bliss the most grounded album in Full of Hell’s catalog, it’s also the first Full of Hell record that tries in earnest to reflect the world around it—not in some broad, monotony-of-evil way, but the everyday horrors of life in small town America. Three of the four members of the band were raised in Ocean City. Hazard and Bland still live there, while Walker is located in central Pennsylvania and bassist Samuel DiGristine relocated to Philadelphia. “The American dream is small towns,” Hazard says. “But anyone that’s grown up in a small town realizes it’s just as fucked up in a small town as it is in a big city—if not more, because it’s more condensed.”\u003cbr\u003e\nWalker’s lyrics have always framed their suffering with what he calls “fantastical, metaphorical shit,” but on Coagulated Bliss his writing is clear and direct. The album’s title is meant partly to reflect the idea of the over-pursuit of happiness leading to misery—whether in addiction, greed, or anything else. “Your happiness is just out of reach and you don’t know why,” he says. “Too much of this bliss, you think you’ve found your endpoint, but it’s really just this small, tiny, little thing that’s going to ruin your fucking life. And that could be anything.” Much of the album is rooted in the band’s own experiences. “A hundred dead ends, a thousand dead friends,” Walker screams on “Doors to Mental Agony.” “I hear their howling, I hear them weeping.” There are corpses slicked with morning dew, “false balms for deep wounds,” numb failures, thieves in the night and killers in the dark. There are many trackmarks; there are many dirty needles.\u003cbr\u003e\nThe album’s viciousness and Walker’s clear reading of the world around him might scan as misanthropy—“humanity to blame,” he concludes after running through the ways the earth is “riddled with sores” in “Gasping Dust”—but it comes from a place of disappointment that’s driven by a deep love for people and life and the world. “There’s not a lot of anger, to be honest,” he says. “I’ve never felt anger when we’re playing, ever. It feels like electricity that’s built up in my body that has to get out. But I feel more profoundly sorrowful than I ever do anger.”\u003cbr\u003e\nThe world may be in a constant state of bitter flux, but Full of Hell have never sounded more at home in it.“We’ve shed any kind of ‘do we belong in this space, what do people expect of us,’” Walker says. “The joy is in the pursuit.” The loosening of their grip on the direction of their music has made it feel paradoxically closer to the bone. “People tend to burrow themselves so deeply into things they love,” Walker says. “It’s too much of a good thing, and it almost cheapens it.” By paring back their sound, Full of Hell aren’t just finding a new way forward: They’re proving that a little bit less of a good thing can add up to so much more.\u003c\/p\u003e","brand":"Full Of Hell","offers":[{"title":"Pink, white and brown merge","offer_id":47087649456373,"sku":"CCA130","price":74.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_91c0ce90-f30f-40bf-8b24-46728736be21.jpg?v=1759458730"},{"product_id":"glenn-branca-the-third-ascension-cd","title":"Glenn Branca – The Third Ascension CD","description":"SYSTEMS NEUTRALIZERS would like to announce The Third Ascension, the first release from avant guard composer Glenn Branca since his death in 2018. The Glenn Branca Ensemble will commemorate the release with the first posthumous live NYC performance of his guitar music at Saint Vitus in Brooklyn on what would have been his 71st birthday on October 6th, 2019.\nThis is a return to the 4-guitar, bass and drums format of his legendary 1981 release The Ascension as well as 2010's The Ascension: The Sequel. The recording is a live performance by The Glenn Branca Ensemble at NYC's The Kitchen in 2016.\nEmerging from the late 70's No Wave scene and moving into composition, Branca’s 45 years of work as a composer included music for experimental rock bands, large ensemble instrumentals for electric guitars, symphonies for both electric instrumentation and acoustic orchestras, chamber ensembles, an opera, a ballet, choral works, and music for film, dance, theater, and installation art. Membership in his Ensemble jump started the careers of Sonic Youth, Swans and Helmet and his influence on the worlds of Rock, Contemporary Classical, Experimental, and New Music is incalculable.","brand":"Glenn Branca","offers":[{"title":"Default Title","offer_id":47087653585141,"sku":"SN007CD","price":29.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_5548a9c8-e2eb-4b78-88b0-28434d6f44a0.jpg?v=1759458760"},{"product_id":"gouts-big-horse-i-love-you-lp","title":"Gouts – Big Horse I Love You LP","description":"Debut EP from local Melbourne instrumental heavy noise rock band from Melbourne! \nRecorded by Max Ducker, mixed by Frank Rotthier, mastered by Jens Larsson.\nArtwork by Julio Garcia\nGouts are Toby Wrecker \u0026amp; Julio Garcia","brand":"Gouts","offers":[{"title":"Black","offer_id":47087655682293,"sku":"CR-04-LP","price":34.99,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_8505ff1e-2672-4ceb-848d-ba38add666da.jpg?v=1759458777"},{"product_id":"harry-pussy-youll-never-play-this-town-again-2lp","title":"Harry Pussy – You'll Never Play This Town Again 2LP","description":"Compilation of later trio recordings with Dan Hosker on 2nd guitar from 1997.\n\nDylan Nyoukis from a blindfold test in The Wire:\n'Harry Pussy “Mandolin” From You’ll Never Play This Town Again (Load) 2008 Beefheart? No, it’s Harry Pussy, man. I should’ve known it straight away. This, to me, is what punk music should have been. I discovered punk music ten years after the fact and I think I was doubly disappointed. I imagine, if my life had been a different throw of the dice, I might have been a kid in 1980 or 1979 discovering punk and being so disappointed with how it sounded: so boring, so absolutely fucking objectionable pub rock. Terrible. I just leapfrogged that shit to Metal, which is in itself just goofball shit, and then into weirdo shit. And then I heard Harry Pussy. This is what I thought punk should sound like. It’s wild shit. It’s visceral. It’s about where you are at the moment. It’s about where your fucking stomach is, on the moment. Where is your belly positioned? Chocolate Monk released Harry Pussy quite early on. We released Vigilance, on a C120: two hours of jams, but I guess the recording mechanism was a bit goofed up so a gap keeps appearing.'","brand":"Harry Pussy","offers":[{"title":"Black","offer_id":47087661383925,"sku":"PAL069LP","price":79.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_24d3424c-ca53-4db3-8fd4-4d9bc21a3384.jpg?v=1759458812"},{"product_id":"hyrrokkin-merzbow-faltered-pursuit-lp","title":"Hyrrokkin \/ Merzbow – Faltered Pursuit LP","description":"Sleeping Giant Glossolalia is happy to announce the long-in-the-works collaborative LP from the master of Japanese noise Masami Akita and American avant-rock outfit Hyrrokkin. Faltered Pursuit is the result of a highly unorthodox writing and recording process that also features contributions from Andrea Parkins, Rob Mazurek, and players known for their work with Fugazi, All-Scars, William Hooker, Rhys Chatham, Gastr del Sol, Monotrope, and more.\nAn exercise in controlled chaos, Hyrrokkin \u0026amp; Merzbow's joint effort raises the bar once again, pushing the concepts of \"collaboration\" and \"remixing\" out into the stratosphere.\nThe project stems from Hyrrokkin's 2013 Inspire Rioting album, for which the band enlisted artists like KK Null (Zeni Geva) and James Plotkin (Khanate) to remix tracks from its Pristine Origin LP. When they contacted Masami Akita, a.k.a. Merzbow, to contribute, he instead sent over a pair of his own new recordings and invited Hyrrokkin to use them as the basis for new compositions – flipping the script on the typical remix, Merzbow put Hyrrokkin in the cockpit and gave the band the power to build something new from a Merzbow foundation. Here now, years later, is the final result: Faltered Pursuit.\n\nThe sound of Faltered Pursuit is a glorious, raging onslaught which often overwhelms like seven free-jazz bands playing simultaneously. Yet, there is deep, hypnotic satisfaction lurking here. Hyrrokkin guitarist Ed Ricart explains how the album took shape, and reveals the hidden order behind it:\n\"Once we had Merzbow's tracks, the process started with a bunch of listening. I wrote\ndown the time code wherever I saw a good opportunity for us to respond to what he was\ndoing. I found some key pitches that worked within these various sections I mapped out.\nI assigned a numerical value to each of the pitches. I used a random number generator\nto output sequences, and we used those sequences to determine the order of the pitches\nI'd selected, and made a bunch of different tone rows that way. I made a giant matrix of\nthese various sequences. I wanted to pay homage to Merzbow's process, giving some\ncontrol over to the computer, to allow it to influence my own compositional choices. It\nwas fun to approach the composition process as sort of a nod to the genesis of electronic\nmusic, serialism, Stockhausen, etc.\"\nIn the summer of 2013, the band recorded the basic tracks for Faltered Pursuit in one afternoon with engineer Bill Skibbe (Protomartyr, Fucked Up, Shellac) at Key Club Recording in Benton Harbor, MI. Pushing the collaborative spirit of the project further, the band invited friends from around the country to contribute new layers to the recording: Jerry Busher (Fugazi, All Scars) tracked additional drums and percussion; Chuck Bettis (Meta-Matics, All Scars, Mossenek, Snake Union) recorded vocals and additional electronics; Andrea Parkins, an integral fixture within NYC's improvised music community and beyond, delivered amplified accordion and electronics.\nWith this part of the project in place, the group then reached out to prolific composer and cornet player Rob Mazurek to completely reimagine their creation for the B-side of the record. Working out of his home in Marfa, TX, Mazurek had free rein to rework the sum total of everything recorded, however he wanted, bringing the entire project full circle to one final layer of long distance reinterpretation.\n\"It just seemed outrageous and perfect and somewhat hilarious to put yet another remix\non the B-side of this record,\" says Ricart.\nThe final album – which, to recap, consists of Merzbow's recordings, topped by Hyrrokkin's accompaniments (performed live, but composed in part by computer), laced with additional contributions from various guest musicians, then put in the hands of Rob Mazurek for a total \"remix\" – was mixed by Jason LaFarge (Swans, Nastie Band) at Seizures Palace in Brooklyn and mastered by James Plotkin (Sunn O))), Gnaw). The artwork was created by Ian Anderson\/The Designers Republic (Aphex Twin, Stern, Nine Inch Nails, Autechre).\nFaltered Pursuit is an exhilarating example of the possibilities of collaboration, and the interplay of structure and chaos. It is also Hyrrokkin's swan song. Having shared stages with Black Flag, Body\/Head, Deerhoof, Bill Orcutt, Mick Barr, and many more, the Yellow Springs, OH band officially ended its run in 2014; the band's spirit lives on in Ed Ricart's current band, Monotrope, an instrumental, avant-rock quartet which Burning Ambulance has described with these words: \"Don Caballero quickly jumps to mind... Rodan, Slint, and perhaps even a bit of the Dazzling Killmen... They continually skirt the boundaries between math rock and those much heavier sonic landscapes.\"","brand":"Hyrrokkin \/ Merzbow","offers":[{"title":"Black","offer_id":47087670165749,"sku":"LPHYRROFALT","price":44.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_4e8414ff-7a22-4a5f-af92-5417faf2455b.jpg?v=1759458874"},{"product_id":"ken-mode-loved-lp","title":"KEN mode – Loved LP","description":"'Loved' may be KEN mode's quintessential statement of violence and despair made sonic. Drawing from not only the desperate noise and industrial sonics of the '80s and '90s, the Canadian trio mixes in the decidedly more extreme tone and presence of death and black metal, expertly captured by Andrew Schneider's (UNSANE, CAVE IN, DAUGHTERS) sick vision of noise and girth. 'Loved' represents yet another pivot point in the KEN mode's sound, a departure from the indie\/noise punk focused 'Success' album. The group delves deeper and darker than ever before.","brand":"KEN mode","offers":[{"title":"Black","offer_id":47087681863925,"sku":"SOM486LP","price":64.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_881eb9fa-56c4-43cb-b132-0e76c814f4c1.jpg?v=1759458944"},{"product_id":"ken-mode-null-lp","title":"KEN mode – Null LP","description":"NULL, the band’s brand-new aural abrasion, may be the group’s quintessential statement of mental collapse and despair made sonic, a direct psychological reaction to the collective experience of the last two and a half years. Drawing from not only the desperate noise and industrial sonics of the 80’s and 90’s ala Swans, Einsturzende Neubauten, or even a Nine Inch Nails, the band has mixed in a decidedly more desperate tone to their already pointed metal\/hardcore influenced “extreme noise rock” (see Melvins, Today Is The Day meets Converge and Botch), that has become their signature.\nFeaturing 8 new tracks recorded and produced throughout the fall and winter of 2021 by Andrew Schneider, mastered by Carl Saff, with artwork and layouts by the band's longtime collaborator Randy Ortiz.\nRecorded October 2021 @ Private Ear Recording in Winnipeg, MB, Canada by Andrew Schneider, cello on 'Unresponsive' by Natanielle Felicitas.","brand":"KEN mode","offers":[{"title":"Black","offer_id":47087681962229,"sku":"AOF407","price":44.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_e26634b3-8de6-446c-82b3-23cf88d81379.jpg?v=1759458944"},{"product_id":"lebenden-toten-synaptic-noise-dissociation-lp","title":"Lebenden Toten – Synaptic Noise Dissociation LP","description":"\u003cp\u003eWhen Iron Lung Records hosted a weekend of shows to celebrate our 10 years of being a label we secretly recorded a bunch of the sets hoping to catch some magic. We knew LT would be a highlight (they always are) but we had no idea they would kill it this hard. Pure green lighting, swirling sirens and strobes set the room into a tense, disorienting spin. With the click of the stick a blanket of pure noise and pummeling beat came at us like a canon blast pushing the whole experience into a perfect frenzy. Seriously, there is not a single discernible mistake during the entire 25 minutes except one tiny moment where we could tell the guitar was out of tune - yeah we listened to it THAT closely, because their music deserves that kind of attention.\u003cbr\u003e\n750 copies on black, 200 on splatter and 50 on Re-Animator Green 150gr vinyl housed in a 24pt jacket with a custom die cut Halloween decoration and lyric insert included. Recorded live at The Vera Project in Seattle WA. Mixed and mastered (very hot) by Will Killingsworth. Artwork by Lebenden Toten with layout assistance by A.K. Wilson.\u003c\/p\u003e","brand":"Lebenden Toten","offers":[{"title":"Clear with red, green and yellow splatter","offer_id":47087689695477,"sku":"LUNGS-169","price":39.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_23326083-35dd-44db-917d-900f71d00fac.jpg?v=1759458981"},{"product_id":"melt-banana-3-5-lp","title":"Melt Banana – 3+5 LP","description":"\u003cp\u003ePresenting 3+5, the long-awaited eighth album from Tokyo-based noise-rockers Melt-Banana on their own A-Zap label!\u003c\/p\u003e\n\u003cp\u003eThe album showcases the duo’s visionary musical approach and extraordinary abilities as performers: Yasuko Onuki’s giddy, hyperactive vocalizing and Ichiro Agata’s glitchy, cyberpunk guitar, delivered at dizzying speed, bathed in aggressive electronic sounds. Their aesthetic approach is exultantly experimental, fusing diverse genres imbued with chaotic energy. As on their previous works, the music on 3+5 is unpredictable, always filled with surprises and excitement.\u003c\/p\u003e\n\u003cp\u003e3+5 synthesizes elements of a variety of extreme musics, hyper-pop, classic punk, vintage metal, and noise. It partakes of Japanese culture overall, especially the subcultures of gaming, anime and underground music.\u003c\/p\u003e\n\u003cp\u003eMelt-Banana seek to offer possibilities to musicians who won’t start a band if they can’t find a drummer, young women afraid to express themselves in their own unfiltered and unique voices, bedroom musicians and egg punks seeking to blend electronic noise with live instrumentation. 3+5 provides a fresh experience and perhaps inspiration for all.\u003cbr\u003eWhile Melt-Banana hasn’t explicitly explained the meaning behind the album’s title, 3+5, prime numbers symbolize mathematical integrity and independence, which could represent the band’s uniqueness and freedom. Why “3+5” and not “1 + 7”? One is left to ponder.\u003c\/p\u003e\n\u003cp\u003e“A band who have justifiably been championed across the world, Tokyo’s Melt-Banana have been responsible for some of the most complex punk rock ever made...” — Olli Siebelt, BBC\u003c\/p\u003e","brand":"Melt Banana","offers":[{"title":"Black","offer_id":47087697363189,"sku":"AZ11LP","price":44.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_5db9b560-0be7-45d9-b49d-3109b3ec972b.jpg?v=1759459034"},{"product_id":"melt-banana-fetch-lp","title":"Melt Banana – Fetch LP","description":"\u003cp\u003eFrom the whip-like crack of Yako’s signature staccato vocals and impossible-to-memorise lyrics, to the relentless overdrive tempo of their one-of-a-kind prog-core, Melt-Banana have long resided in a cybertopia of their own devising where the limits of technology and human capability are old-world concerns as quaint and cumbersome as bartering with a blacksmith.\u003c\/p\u003e\n\u003cp\u003eThe demos for Fetch, their first studio album since the severely fried pop-punk of 2007’s Bambi’s Dilemma, were completed in March 2011, but the Fukushima earthquake changed everything, including their ability to concentrate on recording. Which stopped completely.\u003c\/p\u003e\n\u003cp\u003eOnce they felt ready to return to their music, they decided to approach the songs on a sound-by-sound basis, choosing each tone with meticulous attention to detail, affirming their personal connections, being themselves naturally and openly.\u003c\/p\u003e\n\u003cp\u003eFetch scrapes glam shimmers off punk’s outermost fringes and forges them into a rather intensely technical Deanscape packed with fantastical hybrids. Agata’s guitar riffs, seemingly composed in tandem with skipping CD players, are more bad-ass than ever, bright and fractured like the soundtrack for a CC-Hennix-scored biker flick.\u003c\/p\u003e\n\u003cp\u003eThe album is juiced with electronics and post-rock production, tempering what could easily be a tiresome and predictable frenzy, yielding unexpected associations: Kate Bush climaxing on Walter White’s blue meth; demos of late-period Wire playing metal run through Wasp synthesizers and Autotune; unripe wild lychees keeping time on an Ankgor Wat tin roof during a monsoon.\u003c\/p\u003e\n\u003cp\u003eThey’ve been performing live as a duo since summer 2012, and will do the same for their “2 do what 2 fetch” tour in support of the album. After nearly 20 years of playing with a live rhythm section, their use of a PC, while opening possibilities for a variety of drum and synth voicings, does not signal a move away from the traditional live band sound, as heard, for example, via the future transmissions from downtown Noiseapolis on 2009’s Lite Live: Ver. 0.0.\u003c\/p\u003e\n\u003cp\u003eYako and Agata say they need to feel real band sounds onstage as much as someone in the audience. This is a group that routinely excels at several kinds of impossible simultaneously, so of course any new challenge they come up with for themselves is sure to blow the doors off your Mini Cooper.\u003c\/p\u003e","brand":"Melt Banana","offers":[{"title":"Jade Blue","offer_id":47087697395957,"sku":"AZ09LP","price":44.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_07317b10-499b-49e8-8f74-eaccad01774e.jpg?v=1759459034"},{"product_id":"melt-banana-cell-scape-lp","title":"Melt-Banana – Cell-scape LP","description":"\"A band who have justifiably been championed across the world, Tokyo’s Melt-Banana have been responsible for some of the most complex punk rock ever made… that far outshines ninety-nine percent of most other bands out there. The band once described their live show as 'Shooting machine gun and laser beam, chaos in order.' And I think that pretty much sums them up.\" — Olli Siebelt, BBC\n\"No wave without the self-conscious pretension, avant garde composition compressed into one-minute-or-less bursts, urgency, intricate destruction, pure glorious abandon. Melt-Banana play the same way that Repulsion, Naked City, The Ruins, or The Boredoms all make you want to scream and dance and kill your neighbors. This is not music that we are conditioned to accept. This is you delirious with joy scraping your five senses off the floor.\" — Matthew Moyer, Ink19\n\"Melt-Banana are in a league of their own. There are other extreme hardcore bands out there who are experimental and unique but Melt-Banana are more than that. They area giants amongst infants. Masters amongst pupils. Kings amongst serfs. Nobody can do what they do and nobody can adequately use words to describe them.\" — Jeb, Crass Menagerie","brand":"Melt-Banana","offers":[{"title":"Metallic Red","offer_id":47087697494261,"sku":"AZ05LP","price":44.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_717fd3bc-9c82-430f-a911-19b03a4ac220.jpg?v=1759459035"},{"product_id":"no-hoper-s-t-lp","title":"No Hoper – S\/T LP","description":"\u003cp\u003eFormed in Melbourne in 2023 No hoper is a band composed of the former members of Lost Talk, Bluetile Lounge, The Stained Daisies and Skerzo.\u003cbr\u003e\nThe band features Max Ducker on Bass VI, Daniel Erickson on Guitar, Aidan Bateman on Drums, Daniel Tuite on Vocals and Jackson Craig on Saxophone.\u003cbr\u003e\nA continuation of a musical conversation started back in around 1992. No hoper find counsel with the alt rock pioneers of the past. This debut record is woven with a textual majesty that speaks to fans of Unwound, Polvo and Sonic Youth.\u003cbr\u003e\nRecorded in mid 2024 by bassist Max Ducker at Cellar Sessions in Melbourne.\u003c\/p\u003e","brand":"No Hoper","offers":[{"title":"Black","offer_id":47087710535925,"sku":"UNDUNN003","price":46.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_4f55bba9-715f-45a0-806a-8391a6d3ac57.jpg?v=1759459130"},{"product_id":"sonic-youth-bad-moon-rising-lp","title":"Sonic Youth – Bad Moon Rising LP","description":"\"Bad Moon Rising\" was Sonic Youth's third album, preceded by the \"Death Valley '69\" 7\" single in 1984 which featured demo versions of both \"Death Valley\" and \"Brave Men Run\" from Bad Moon Rising. The original 12\" release contained 8 songs, from the majestic opening notes of \"Intro\" to Lydia Lunch's furious howl that ends \"Death Valley '69\" -- all songs segue together except for the side break between \"I Love Her All The Time\" and \"Ghost Bitch\" (which is barely noticeable on the CD releases). Bad Moon Rising also marks SY's first music video (for \"Death Valley\", of course).\nSonic Youth = Lee Ranaldo, Kim Gordon, Bob Bert, Thurston Moore","brand":"Sonic Youth","offers":[{"title":"Black","offer_id":47087751856373,"sku":"GOO018LP","price":49.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_07a48bd8-82bf-42ef-8462-c232e3782c49.jpg?v=1759459321"},{"product_id":"sonic-youth-evol-lp","title":"Sonic Youth – Evol LP","description":"\u003cp\u003eReleased in May 1986 on SST Records and Blast First! in the UK, EVOL was the third studio album by Sonic Youth and showed the first signs of the band transforming their No Wave past into a greater alt-rock sensibility.\u003c\/p\u003e","brand":"Sonic Youth","offers":[{"title":"Black","offer_id":47087751921909,"sku":"GOO019LP","price":49.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_7ec326f8-0eed-4e1a-9bbd-44f8dc9c22d9.jpg?v=1759459323"},{"product_id":"sonic-youth-hold-that-tiger-2lp","title":"Sonic Youth – Hold That Tiger 2LP","description":"\u003cp\u003eIn October 1987, four months after the release of their critically acclaimed Sister LP, Sonic Youth showcased their latest work in a blistering set at Cabaret Metro, Chicago. The concert was introduced by Big Black's Steve Albini (who at the time was banned from the venue) and subsequently released as a semi-official bootleg under the title Hold That Tiger on writer\/provocateur Byron Coley's impishly Geffen-baiting label Goofin' (years later the band would use this nom de guerre for their own imprint).\u003c\/p\u003e\n\u003cp\u003eHold That Tiger's sterling reputation among the Sonic Youth faithful is well deserved. In fact, it isn't a stretch to suggest that the album is to the first handful of SY releases what It's Alive is to the first three Ramones LPs – a feral and liberatory public snapshot of a band's blossoming imperial phase. Indeed, HTT is the sound of a group at the peak of their powers, presenting new songs alongside a handful of older ones with the kind of wild, cathartic enthusiasm common to rock 'n' roll's most revered live albums.\u003c\/p\u003e\n\u003cp\u003eTaking nothing away from Sister – inarguably one of indie rock's first true masterpieces – it is reasonable that many fans prefer the live versions heard on Hold That Tiger to their studio counterparts. On HTT, Sonic Youth is a spiky, pummeling and confident force, alternately mammoth and meditative. Sister and its predecessor EVOL notably added an airy, dreamlike reverie to the band's turbulent doom-lurch, a stylistic evolution that seems to crystallize on HTT. Throughout, Kim Gordon's sinewy, sumptuous bass and Steve Shelley's propulsive, tom-heavy percussion provide the bedrock groove for Thurston Moore and Lee Ranaldo's ferocious barrages of noise-guitar crunch.\u003c\/p\u003e\n\u003cp\u003eBy 1987, the band was confidently articulating their dual lexicon of punk-noir dissonance and supernal, psychedelic sonic calligraphy – bending their jagged, streetwise gnarl into balloon animals of dazzling and beautiful songs. This collision of splendor and chaos would become a hallmark of the group's singular alchemy as well as provide a blueprint for the post-SST American underground they would help invent and ultimately nurture.\u003c\/p\u003e\n\u003cp\u003eHold That Tiger's encore – four songs by the band's beloved Ramones, which Thurston would later astutely compare to \"the perfect pudding after a hearty meal\" – serves as a reminder that, like any true punks, Sonic Youth never could resist a good, rousing anthem to send the kids home with their ears ringing, their hearts hot-wired.\u003c\/p\u003e\n\u003cp\u003eThis first-time reissue comes with gatefold jacket. Mastered by Bob Weston from the orginal tapes. Recorded by Aadam Jacobs. Audio repair\/editing by Aaron Mullan. \u003c\/p\u003e","brand":"Sonic Youth","offers":[{"title":"Black","offer_id":47087752052981,"sku":"SV212","price":64.95,"currency_code":"AUD","in_stock":false},{"title":"Blue","offer_id":47087752085749,"sku":"SV212X","price":59.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_452554cc-20b8-4b95-bb9b-86aabfc50d21.jpg?v=1759459323"},{"product_id":"sonic-youth-sister-lp","title":"Sonic Youth – Sister LP","description":"\"Sister\" was Sonic Youth's fifth album, and their second consecutive album with the same drummer performing on all tracks. Obviously, SY had found their groove w\/ Steve behind the beats, and it's with those beats that \"Sister\" begins, kicking off with a little tune called \"Schizophrenia\" that's been a sonic staple since its composition. It's on this track that Thurston and Kim first trade verses, and that's just one of several sonic firsts on this LP (also including use of acoustic guitar for melodic purposes, use of a Moog synthesizer, and the return of Thurston on bass for the first time since \"Confusion Is Sex\"). This is also the only Sonic Youth album (well, until NYC Ghosts \u0026amp; Flowers, but that's another story) that didn't have a proper single release, though a video clip for \"Beauty Lies In The Eye\" was filmed.","brand":"Sonic Youth","offers":[{"title":"Black","offer_id":47087752118517,"sku":"GOO020LP","price":49.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_a2447dfc-ee52-4e5a-be00-c82c88154fb7.jpg?v=1759459324"},{"product_id":"sprain-as-lost-through-collision-lp","title":"Sprain – As Lost Through Collision LP","description":"\u003cp\u003eFormed in L.A. in early 2018 by Alex Kent and April Gerloff, Sprain‘s initial home-recorded forays into minimalistic slowcore resulted in their self-titled EP (2018) that distinguished them from the lo-fi pack through visceral expressions of depressed life.\u003cbr\u003e\nSoon, guitarist Alex Simmons and drummer Max Pretzer joined, folding tumultuous noise rock, drone, and flirtations with the avant-garde into the band’s arsenal. Touring converged these explorations into Sprain’s current sound: pure 21st century panic strained through a wall of piercing, feedbacking guitar amps.\u003cbr\u003e\nAs Lost Through Collision, unfurls threads of spidery ’90s rock (think Unwound, Duster, Slint, etc.) and is a complex and cathartic exercise in tension and restraint.\u003cbr\u003e\nEngineered by Josiah Mazzaschi at The Cave (Built to Spill, The Jesus and Mary Chain) and mixed by Tim Green at Louder Studios (The Melvins, Lungfish, Jawbreaker), As Lost Through Collision captures the band in its truest state.\u003cbr\u003e\nWhile the noticeable persuasion from ’90s post hardcore and noise rock is palpable, this release takes cues from 20th century avant-classical artists such as Xenakis and Penderecki. The end result is freewheeling and urgent, dynamic and destructive, and Sprain is marked by an aggressive versatility that has been sorely lacking in recent guitar music.\u003cbr\u003e\nFor fans of Unwound, Duster, Slint, Lowercase.\u003c\/p\u003e","brand":"Sprain","offers":[{"title":"Black","offer_id":47087754412277,"sku":"FR107","price":39.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_529f4f9b-2540-41eb-838d-b3da615a76fe.jpg?v=1759459339"},{"product_id":"sprain-the-lamb-as-effigy-2lp","title":"Sprain – The Lamb As Effigy 2LP","description":"Since its formation in 2018 by like-minded Calarts students Alex Kent (guitar, vocals), April Gerloff (bass), and Sylvie Simmons (guitar), as well as the recent addition of Clint Dodson (percussionist), Los Angeles-based quartet Sprain has honed its signature flavor of experimentalism to a razor-fine point. Gradually moving from twisting conventions in its early works of minimalist slowcore to now transcending the confines of genre altogether, Sprain’s evolution over the past several years has encouraged the band to embrace a sound true to its muse. With its latest record, The Lamb As Effigy or Three Hundred And Fifty XOXOXOS For A Spark Union With My Darling Divine, the band has translated this intent into an ambitious work that pairs its resplendent scale with uncompromising honesty towards the band’s artistic and conceptual essences.\nThe most extraordinary of art isn't created without its fair share of trials, of which Sprain faced numerous during the recording process of The Lamb As Effigy, with the sum and circumstances of them nearly sealing the album’s fate in limbo. With obstacles including session reschedulings as a result of a line-up change and a major studio electrical failure at the last possible moment, a mixing process that demanded the organization of several years of material across four separate studios, and the recording of the actual songs pushing the members of Sprain to their own physical limits, there were several times where the band considered scrapping the whole thing altogether. But Sprain persevered, applying the knowledge and willpower derived from those struggles to get The Lamb As Effigy across the finish line.\nClocking in at nearly two hours, The Lamb As Effigy resembles an aural parallel to the human experience itself, with all the glorious beauty, crushing brutality, and unexplainable chaos that comes with it intact. Explosions of earth-sundering guitars, angelic keys, swirling strings, and bursts of improvised electronic noise coalesce to weave a visceral yet unique sonic tapestry bearing hints of no-wave, sound collage, 20th-century avant-garde, and free jazz. Tying everything together is an evocative approach to lyricism that, while rooted in the boundaries of the lived experiences of Sprain’s members, deconstructs these concepts through poignant absurdity. Spanning bellowing howls, emphatic spoken word, and nuanced croons, Alex Kent’s dynamic vocal delivery adds texture to these eight meditations on otherwise immaterial topics and the meaning or the lack thereof they embody. Between the progressing tension and tempo reminiscent of accumulating guilt on “Man Proposes, God Disposes,” lush strings and the gloomy dirge complimenting the duality of sex’s association with ecstasy and guilt explored in “The Commercial Nude” and “The Reclining Nude,” respectively, and the incomprehensible nature of faith in the monolithic walls of noise heard in closer “God, or Whatever You Call It”, The Lamb As Effigy manages to illustrate the intangible.","brand":"Sprain","offers":[{"title":"Black","offer_id":47087754445045,"sku":"FR144","price":64.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_bb570867-fcef-4961-9e7f-d1cb3059c1a2.jpg?v=1759459340"},{"product_id":"strangler-fig-hunting-ground-competition-mc","title":"Strangler Fig – Hunting Ground Competition MC","description":"Rolling logs, frogs, turtles, micro plastics, bugs, lice, words, wire, wood, wool, rhythms, divert\/clog up water systems.\nFiltration valves glitter, full, muddy with foreign waste materials, cicada chime, kookaburra laugh.\nDamned, the hinterland sighs, dust bowl, blight, the wind caresses carcasses.\nFought off famine and marauders with sheep rib bones, an amorphous enemy, dung, other, fantasy, battle with the self, cirrhosis, rolling uphill.\nDry strung out, locust encrusted, by way of flooding, crass metaphors of dead gods.\nMud laid over a globe of festering sewage, erupting, becoming all molasses, treacle, effluent.\nRainbows in oily penguin's mane, rotten expander foam rafts, oars, boars bloated float by.\nSnagged, slung, speared, debris collected, constructed and made whole.\nInto ideas or structures for living, encased and strangled by memories overdubbed onto our surrounds.\n~~ Words by Christopher LG Hill ~~\nEdition of 50 cassette tapes, dubbed and assembled by hand.","brand":"Strangler Fig","offers":[{"title":"Default Title","offer_id":47087756181749,"sku":"TCR025","price":9.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_358e4045-1df8-4b00-bb1c-e600e2d6a8aa.jpg?v=1759459350"},{"product_id":"supression-with-bastard-noise-infernal-legions-lp","title":"Supression with Bastard Noise – Infernal Legions LP","description":"\"Suppression and Bastard Noise are two acts whose names, and reputations precede them. Lazy, overused phrases like “powerviolence,” and “noise” have been rendered meaningless with time, and completely fall short of capturing the caustic, experimental nature of this intense and violent collaboration. That said - you should know what to expect here. And those expectations will be exceeded. These two thirty-plus year veterans have pushed each other beyond convention or routine and produced a unique and remarkable album that doesn’t just stand up next to it’s creators’ venerable catalogs, but also lays to waste countless modern cookie-cutter acts who might claim to be inspired by Hodges, Parrish, or Wood.\" - Anthems Of The Undesirable","brand":"Supression with Bastard Noise","offers":[{"title":"Black","offer_id":47087769616629,"sku":"UNDESIRABLE027","price":44.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_29e2c931-0758-4550-b0fc-7c64d2a4c1d1.jpg?v=1759459377"},{"product_id":"swans-public-castration-is-a-good-idea-2lp","title":"Swans – Public Castration Is A Good Idea 2LP","description":"Swans’ live album Public Castration Is a Good Idea, originally released as a limited edition “official” bootleg in 1986, is now available on vinyl for the first time since that original collectible release. Public Castration… includes live recordings from UK shows at the ICA, London, The Garage, Nottingham and the University of London Union in support of the release of Holy Money in 1986, featuring tracks from that album along with Greed. Swans for these recordings were Michael Gira, Jarboe, Norman Westberg, Algis Kizys, Ronaldo Gonzalez and Ted Parsons.\n “... there's no denying the intrinsic entertainment value of having a copy of Public Castration is a Good Idea around the house. The title alone is enough to freak out your parents and roommates; imagine what'll happen if you actually play it for them.” - Pitchfork","brand":"Swans","offers":[{"title":"Black","offer_id":47087772860661,"sku":"YG66","price":64.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_95f4f049-d6ca-4fba-957e-3a93ea740ae6.jpg?v=1759459381"},{"product_id":"the-misanthropes-headlands-lp","title":"The Misanthropes – Headlands LP","description":"Formed in Melbourne in 2021, Misanthropes is a post-punk band comprised of former members of Love of Diagrams, Sea Scouts, and Sewers. The band features Monika Fikerle on drums, Tim Evans on guitar and vocals, and Josh Watson on bass. Their sound draws from post-punk, noise rock, and lo-fi shoegaze but these dour outings have hooks. From lock-ins in Smog’s Bathysphere to blanket raging of late 80’s Wipers, The Misanthropes lean on a unique unrelenting density. Rolling thunder drums, driving bass lines and waves of guitars. Headlands is the band's second full lenth LP following up from their 2023 self-titled debut.","brand":"The Misanthropes","offers":[{"title":"Black","offer_id":47087790227701,"sku":"UNDUNN002","price":41.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_34f7481a-57b4-41c9-98e4-9644c2c82ddf.jpg?v=1759459412"},{"product_id":"true-radical-miracle-taste-the-rainbow-head-gap-sessions-cd","title":"True Radical Miracle – Taste the Rainbow + Head Gap Sessions CD","description":"Melbourne based noise-rock outfit from the 00's, True Radical Miracle, channel Australian classics like Venom P. Stinger and Feedtime with a bit of an AmRep edge. This CD collects the material from their debut cassette release \"Taste The Rainbow\" and a handful of tracks recorded live at Head Gap Studios. This now defunct unit features people who did time in numerous killer outfits including Dead Boomers, Whitehorse, George W.Bush, Voice Imitator, Collapsed Toilet Vietnam, Red Wine \u0026amp; Sugar, Lindsay Low Hand, Von Einem and Pikelet.","brand":"True Radical Miracle","offers":[{"title":"Default Title","offer_id":47087813460213,"sku":"SWEATLUNG015","price":14.95,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_5d8aa3a4-153f-43e2-bfd0-5cbee329eab4.jpg?v=1759459451"},{"product_id":"uniform-the-body-everything-that-dies-someday-comes-back-lp","title":"Uniform \u0026 The Body – Everything That Dies Someday Comes Back LP","description":"On the heels of their monolithic collaborative LP Mental Wounds Not Healing, the collaboration between industrial-noise post-everything bands Uniform \u0026amp; The Body returns with a second entry, Everything That Dies Someday Comes Back. Comprised of an amalgam of abrasive influence that spans Swans-y dirge and purge, Whitehouse’s clenched-jaw noise, middle-period Ministry’s penchant for metallic post-industrial everything, New Order’s nose for melodic emotionality, and Juicy J-inspired beats, Uniform \u0026amp; The Body’s approach delves deeper down the rabbit hole than before, igniting a sonic world of terror and bliss poised to grip the throats of fans yet again. Prepare for a record that the band self-describes as \"the middle ground between Robyn and Corrupted, but weirder.”\n \nThe collaboration between the two bands was built upon mutual admiration for each other’s work, which led to bonds of friendship. After the release of the debut collaborative effort, Uniform released the critically praised The Long Walk and embarked on a smash tour with Deafheaven and Drab Majesty, while The Body released the widely acclaimed I Have Fought Against It, But I Can’t Any Longer and took to the road for their own successful and extensive North American tour. The demand for the collaboration eventually necessitated a U.S. jaunt, pairing the collective for rare dates with Author \u0026amp; Punisher and Street Sects on both coasts. It was on those dates that the bands started to plant the seeds for what would become Everything That Dies Someday Comes Back.\nMuch like the collective’s bombastic debut, Everything was built over a series of collaborative sessions with Seth Manchester at Machines with Magnets in Rhode Island, mixing industrial-influenced synths, squalls of harsh noise, manipulated guitar, oodles of samples along with hard rock-inspired riffs, saccharine pop, and the alternately antagonistic and harrowing vocals of Michael Berdan and Chip King. The result is nine tracks of ear-bleeding and confrontational fury with defined moments of beauty that bring to mind equal parts No Trend, Merzbow, and Information Society while forging a path that is distinctly their own. \nEverything That Dies Someday Comes Back is specifically culled from the immortal Bruce Springsteen effort Nebraska, joining a long line of literary and cinematic references that pepper the album. And while the title is specific to that lyric, the sentiment also ties into author James Elroy and his notion that closure is an illusion, a conclusion found in his 1996 effort My Dark Places. Dealing with tragic loss is never a closed book, and the details, circumstances, and inherent emotions that surround coping never end, they just morph into something else, only to rear their ugly head again later in life.  ","brand":"Uniform \u0026 The Body","offers":[{"title":"Black","offer_id":47087830925557,"sku":"SBA003LP-C2","price":59.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_85b8291e-a47b-4231-bbac-2b49f400a0e0.jpg?v=1759459479"},{"product_id":"uniform-the-body-metal-wounds-not-healing-everything-that-dies-someday-comes-back-cd","title":"Uniform \u0026 The Body – Metal Wounds Not Healing \/ Everything That Dies Someday Comes Back CD","description":"On the heels of their monolithic collaborative LP Mental Wounds Not Healing, the collaboration between industrial-noise post-everything bands Uniform \u0026amp; The Body returns with a second entry, Everything That Dies Someday Comes Back. Comprised of an amalgam of abrasive influence that spans Swans-y dirge and purge, Whitehouse’s clenched-jaw noise, middle-period Ministry’s penchant for metallic post-industrial everything, New Order’s nose for melodic emotionality, and Juicy J-inspired beats, Uniform \u0026amp; The Body’s approach delves deeper down the rabbit hole than before, igniting a sonic world of terror and bliss poised to grip the throats of fans yet again. Prepare for a record that the band self-describes as \"the middle ground between Robyn and Corrupted, but weirder.”\n \nThe collaboration between the two bands was built upon mutual admiration for each other’s work, which led to bonds of friendship. After the release of the debut collaborative effort, Uniform released the critically praised The Long Walk and embarked on a smash tour with Deafheaven and Drab Majesty, while The Body released the widely acclaimed I Have Fought Against It, But I Can’t Any Longer and took to the road for their own successful and extensive North American tour. The demand for the collaboration eventually necessitated a U.S. jaunt, pairing the collective for rare dates with Author \u0026amp; Punisher and Street Sects on both coasts. It was on those dates that the bands started to plant the seeds for what would become Everything That Dies Someday Comes Back.\nMuch like the collective’s bombastic debut, Everything was built over a series of collaborative sessions with Seth Manchester at Machines with Magnets in Rhode Island, mixing industrial-influenced synths, squalls of harsh noise, manipulated guitar, oodles of samples along with hard rock-inspired riffs, saccharine pop, and the alternately antagonistic and harrowing vocals of Michael Berdan and Chip King. The result is nine tracks of ear-bleeding and confrontational fury with defined moments of beauty that bring to mind equal parts No Trend, Merzbow, and Information Society while forging a path that is distinctly their own. \nEverything That Dies Someday Comes Back is specifically culled from the immortal Bruce Springsteen effort Nebraska, joining a long line of literary and cinematic references that pepper the album. And while the title is specific to that lyric, the sentiment also ties into author James Elroy and his notion that closure is an illusion, a conclusion found in his 1996 effort My Dark Places. Dealing with tragic loss is never a closed book, and the details, circumstances, and inherent emotions that surround coping never end, they just morph into something else, only to rear their ugly head again later in life.  ","brand":"Uniform \u0026 The Body","offers":[{"title":"Black","offer_id":47087830991093,"sku":"SBA003CD","price":26.95,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0756\/1986\/0725\/files\/original_f12de998-3239-48e1-bfec-0c8ea3a9e888.jpg?v=1759459480"}],"url":"https:\/\/blacksound.com.au\/collections\/noise-rock.oembed?page=3","provider":"Blacksound Records","version":"1.0","type":"link"}