These days, punk is like classic rock. It’s “oldies”. People who liked punk when it was actually happening are in old age homes now. They have great-grandchildren. They remember the time before there was electricity.
Nomeansno are like that. They started their band in 1979, which apart from being 33 1/3 years ago (which is coincidentally the number of rounds per minute on a long-playing vinyl record), is also before the invention of the motor car. Go on, look it up.
Nomeansno put out a record called Old, because that’s what they are. It’s been out of print for a while so we just pressed some more up in black & white splatter vinyl. Check this out.
Cool. right? Well we thought so.
Nomeansno are also touring. They do that a lot. Old people get stuck in their habits and they don’t like change. They’re coming to the UK for the first time in about five years, and to be honest, in the live environment, they kick the shit out of any band formed since about 1999. Which is pretty impressive for old people.
We are (finally!) be able to announce the first of our Rudimentary Peni reissues. We’re starting with Pope Adrian the 37th Psychristiatric. Yes, we know it’s taken forever. We have worked really hard on these – remastering the audio from the original analogue tapes, presenting the original artwork in a spectacular new fashion. In fact, we think these new versions look and sound better than the original releases. Pope Adrian, original released in 1995, was never issued on vinyl. Now you can own it on 180gm black vinyl, in a gatefold sleeve, with a full-size 16 page book of Nick Blinko artwork, plus a bonus poster. The CD is almost as good, except it’s CD-sized, and it doesn’t have the poster, and it’s not vinyl. Shipping on 6th May, you can pre-order from the shop now.
On 25th March (26th in the US) we will be releasing Tartufi’s third release for Southern, These Factory Days.
Shortly after recording and touring The Goodwill Of The Scar, the duo of Lynne Angel and Brian Gorman became a trio with the addition of Benjamin Thorne on bass. The extra set of hands added a whole new realm of sonic possibilities, and little time was wasted before going into the studio to begin work on what would become These Factory Days. The band took a year and a half to track and mix These Factory Days, once again with the aid of Tim Green (Melvins, Howlin Rain, Joanna Newsom, Fresh & Onlys) at Louder Studios and The Hangar, and also with Scott McDowell at Hyde Street. The result is a band fully settled within their sound, secure amongst an ocean of interlocking counterweights, where you are at once upon the bright surface and walking the cavernous depths. Tartufi further push the boundaries of sonic sameness and classic structure to evoke an overall sense of movement and progression. Pop songs be damned – Tartufi is a country of sound.
You can pre-order These Factory Days from today:
Southern web store – Vinyl and CD. Special limited offer for a free shirt with vinyl orders.
This week the world can welcome the Boduf Songs album. Burnt Up On Re-Entry is an adventurous, unpredictable and exceptional piece of music, which marks the evolution of Mat Sweet’s sound from the minimalist acoustic approach he has previously taken on his four albums for the Kranky label, to a more adventurous and experimental treatment of his songs.
Burnt Up On Re-Entry is a place – an infinite space – where dark psychedelics are crafted using a combination of raw electronics, manipulated samples and heavy rock guitar. Where once other instruments were rare interludes betwixt brooding vocals and carefully plucked guitar, now they have a much bigger part to play, shaping entire songs into an animated whole. The song craft remains centred around a heavy melodic and melancholic core, which has been prevalent across the entire Boduf Songs canon.
“Fiery The Angels Fell”, the album opener, is a fine example of this bold exploration into an even more dynamic form of composition. It begins with Mat Sweet’s hushed, mournful vocals and gentle string picks but quickly picks up the tempo, pushes the electric guitar to escape velocity and lurches out of its gravitational field. “Vermin Rend Thy Garments” and “Drexelious Sick Man Quarles Emblemes Closed Heaven” shift the planet on its axis yet again, the latter morphing into pulsing electronic tones with unearthly vocals and haunting synthesised dark matter. “Everyone Will Let You Down In The End” appears to provide a warm familiarity Continue reading →