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FTR 714LP
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$27.50
PREORDER
RELEASE DATE: 3/10/2023
Cardinal Fuzz and Feeding Tube Records make available the debut release by Ambassador Hazy, Glacial Erratics, previously releases as a private press edition in 2020. Ambassador Hazy is a solo recording project by Sterling DeWeese who was previously in a slew of obscure bands including Heavy Hands, Dirty Rainbow, Terrapin Gun, Madison Electric, and Black Fantastic. Glacial Erratics is really a comeback record as Sterling had totally stopped playing for seven or eight years after he got married and started a family and the business of life took over -- but the calling was always there and as his youngest began to grow -- the time became available for Sterling to answer the call. First though he needed to get his ½" reel-to-reel 8-track back in working order and set up a studio space and fit it out with gear. Soon he was playing again with some local musicians and recording some of those performances live to tape but the hassle of getting everyone together at the same time was hard, so in the downtime Sterling began focusing on recording on his own. Thus, the name Glacial Erratics was born, as it was all a bit of a hodge podge (i.e. erratic) and ended up being done over several years (i.e. glacial). Once there was enough material finished, between band tracks and solo tracks Sterling compiled them. The resulting album is a kaleidoscope of contagious hooks and artfully crafted songs, laid to tape and brought to life in brilliant color. "Black Smoke Rising" is a blur of fuzz guitar and stuttering snare hits as Sterling says "I believe in the future -- don't take it away" and over 14 tracks you are treated to artfully crafted acid pop gems that are riddled with potholes and weird left turns, with hooks that seem to bubble out of nowhere before receding into themselves. The lo-fi aesthetic works perfectly, with the songs benefiting from the warm fuzz tones of the instruments and vocals recorded onto that now fully functioning ½" tape machine. Sterling eventually self-released Glacial Erratics after seeking advice from his good friend Josh (Travelling Circle, Lime Eyelid) who had recently self-released his LP -- the record eventually reached John Westhaver (TBWNIS).
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FTR 713LP
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$27.50
PREORDER
RELEASE DATE: 3/10/2023
Cardinal Fuzz and Feeding Tube Records present the new Ambassador Hazy LP, The Door Between. Following 2002's much loved and long sold out The Traveler, Ambassador Hazy is back with The Door Between (the title taken from an old detective novel) which is a perfect metaphor for album's explorations into consciousness and perception, seeing the connectedness between all things while also embracing one's solitude and separation from others. Themes that were amplified as the record was recorded alone in a basement during a pandemic. With some new mics and toys featuring on this recording, Sterling experiments a bit more with recording techniques and different sounds which bring about a more overtly psychedelic sound than on The Traveler and with a few songs being more explicitly drug related (and or induced). The Door Between is about being an outsider, or at least that feeling of being outside of things and the ways one might find connection be that through drugs, music, love. So while "Orange Halos" starts the proceedings the overtly upbeat and infectious melodies we have come to know and love from Ambassador Hazy -- by the time you reach "Going Down" you are dropped into Martin Rev/Suicide synth/drum machine head trip. So, join Ambassador Hazy -- maybe crack open a beer, smoke a joint, take a tab or just sit in your favorite chair -- drop the needle on The Door Between and let it transport you to that other place.
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FTR 707LP
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"A long time in the making but good things always come to astral travelers as transatlantic soul mates Dead Sea Apes and The Band Whose Name Is A Symbol are joined together on black vinyl for the first time. Two artists that for over the last ten years (and longer) have spent their lives creating music that defies easy categorizations -- psych rock/kraut rock/minimal/maximal/avant/free are phrases that only give you fleeting glimpses of what each artist represents. What we do know is that via a sprawling range of sound that is always uncompromising these two artists have pushed each other into a stunning realm of alchemy. The Dead Sea Apes create a hypnotic pulsing sound that weaves an ecstatic line starting from a raw minimal buzz and hum that takes in eastern modes and entrancing minimalism. The music is at once dissonant and hypnotic, rich with unfurling drones that dynamically ebb and flow as a searching interplay between instruments slowly emerges from a sparse open field and builds with the tension of a looming thunder storm. The Band Whose Name Is A Symbol recording is a live recording from the farmland in Richmond 2022 when Mr Cardinal Fuzz journeyed across the Atlantic Ocean to have his brain well and truly fried by these Ottawa Acid Punks. For this show TBWNIS was expanded to a nine-piece with the addition of Saskatoon's Christopher Laramee (Shooting Guns, Wasted Cathedral, The Switching Yard) and Mrs. Carol Lane (Resin Scraper/Beld). TBWNIS emerged to play as the sun set over the never-ending horizon and the Mozzies came out to play -- And proceeded to lay down a barrage of high energy, free flowing ecstatic blues -- like an endorphin spike into your cortex that felt like your head was sandwiched between the amplifiers as wave after wave of unrelenting free flowing orgasmic energy exploded within. Take note I was on some homemade cookies that had me well and truly blasted as I merged with the universe and the vibrations emitting from the stage -- it was a good place."
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FTR 706LP
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"Twelve years after this French trio's last LP (the mind-ripping Manifesto Zero), guitarist Gregory (GR) Raimo, bassist Matthieu Canaguier and drummer Antoine Hadjioannou have released an album of material recorded back in 2012 (from the sessions as the Massacre-Rock Deviant Inquisitors EP). And it is another wild brew of destructo rock madness played with a timeless ferocity that lends it the sort of proto-punk MASS that defies its actual date of creation. GR has released other nutsloid records in the interim -- The GR Record Head (Cardinal Fuzz) and the mysterious Electric Rockin' Chair LP by Hôpital De La Conception -- but there's a special, uniquely strange grit to the way the Gunslingers put together their material. Parts of Supreme Asphalt Doser have a tightly wound dynamism that makes me imagine what the Groundhogs might've sounded like if they'd been founded by three speed freaks in Detroit in 1974. It's like the most insane power choogling you've ever heard. One spin of the first side would have sent Lester Bangs straight to hog heaven. The flip is equally messed-up, but with more experimental detailing. The component pieces are still, thick raw slabs of blood-rock, but they're assembled in a way that is pure freakery. 'Be-Bop-A-Lula-Louie-Loua' is like something Rudolph Grey and Von LMO might have come up with if they'd had a sense of humor back in the Red Transistor days. And the collage piece, 'Rebop From Arthur Lipsett's Fluxes,' is a great collision between avant-garde techniques and the band's Brutalist tendencies. I doubt here will ever be another combo quite like the Gunslingers, so everyone should thank their lucky goddamn stars this archival treasure was pulled out of the darkness. It is indeed the Supreme Asphalt Doser. I don't think any other Asphalt Doser even gets close." --Byron Coley, 2022
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FTR 700LP
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The Human Hand live combo comprises Joe Hollick (Wolf People, Jagjaguwar Records, solo), Karl Eden (John Peel favorites tRANSELEMENt), and Jonathan Dickin (MUMS, Honey Spider, Bleak). Joe and Karl met at an Acid Mothers Temple show in 2012 before realizing they both lived minutes away from each other in neighboring sleepy Lancashire Pennine villages. They performed a number of shows together as a wig-out loose improv duo channeling heavy motorik grooves, Anatolian suffused lead lines, a general layer of Northern skuzz tied together with Joe's signature guitar work. Early HH recordings were juxtaposed by being captured at extremely low volume due to necessity as the only available opportunity was to work on material late at night to avoid waking their young children. Human Hand were augmented and given a live makeover by the addition of Jonny on drums, a former student of Karl's and all round music and literary geek. The trio recorded their debut LP Tremor in a hasty eight-hour session. Tremor is the debut album from Human Hand: a core-trio and broader collective based in the shadow of Pendle Hill, Lancashire, UK. Recorded during two days of post-lockdown cathartic noise. Tremor was created using instant composition, 4 track tape manipulation and immediate overdubs. Personnel: Karl Eden - guitars, monosynth, drums; Joe Hollick - guitars, tape effects, percussion; Johnathan Dickin - drums; Andrew Hargreaves - drums.
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FTR 701LP
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Pioneer of the New York no wave with the bands Mars and Don King, Mark Cunningham has been part of the Barcelona music underground for almost 30 years, performing solo, with his own groups Raeo, Convolution, Aleatory Grammar, and Bèstia Ferida, as a member of Pascal Comelade's Bel Canto Orchestra and Superelvis, and in countless local and international collaborations. Blood Quartet was formed in early 2015 in Barcelona from a fortuitous collaboration between Cunningham and Catalan underground rock trio Murnau B. An outstanding musical treat that starts from the instrumental base of the modern jazz quartet and takes it to the territory of experimentation and electronics. Blood Quartet sound more luminous and rhythmic than ever, diving into uncharted terrain. This results in an exceptional range of genres that play with the form between the classic and the contemporary, and that extend the creative spectrum of the band towards new styles, such as krautrock and North African music. The result of this process has given rise to nine themes, each one baptized with the title of a literary work by some reference writers of the members of the quartet, in order to add more roots of meaning, more shadows of influence. Produced by Mark Cunningham. Composed by Blood Quartet. Recorded by Pablo Miranda at Fabra i Coats, Barcelona. Mixed by Pablo Miranda at La Isla Estudio, Barcelona. Mastered by Chris Hardman, UK. Personnel: Mark Cunningham - trumpet, guitar; Lluis Rueda - Guitar; Kike Bela - bass, Korg MS-10; Marc Eugeni - drums.
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FTR 675LP
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The Air's Chrysalis Chime is the second LP from Old Million Eye, primarily a solo project of Brian Lucas. This beautifully transcendent and deeply explorational album sees Lucas widening his spectral and woozy palette to include musical contributions from Gayle Brogan (Pefkin/Burd Ellen), Steven R. Smith, Sheila Bosco (Dire Wolves), and Jeff Jefferson (3 Moons/The Lodestones). The album's darker more drifting songs, "Ruby River" and "Tales from Copperopolis" feature the vibrational voice of Georgia Carbone, erstwhile vocalist of Dire Wolves. Lucas and Carbone's eerie vocal duet on the lengthy "Ruby River" is stunningly haunting and unexpected. This mysteriously anomalous album utilizes such elements as tape collage, improv jazz type drumming, clarinet, Brogan's melodica, intertwining basses, piano, treated violin, and Lucas's Scenes from the South Island-like plaintive skeletal guitar playing that is sure to tickle the ear into quiet hysterics, if not downright rearranging the ear to accommodate a new form of hearing. The listener should expect the usually oddly crafted and layered sound combinations as evidenced on previous OME releases. These sonic elements are a vehicle for Lucas's softly placid tenor, but with added dimensions his purely solo work only alludes to. This album isn't "psychedelic" in the sense of spacey, wah-wah riffs: it's far more subtle, detailed, and delicate in terms of its transcendent properties, but the invitation is there to climb into the chrysalis and be transformed.
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FTR 674LP
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A founding member of Vancouver Island's MMR Collective, and head of the Canadian experimental electronic label Hotham Sound, artist and musician Jamie Tolagson (Mount Maxwell) currently lives and works in Vancouver, BC. His music is a unique blend of analog synths and acoustic instrumentation, calling to mind such artists as Boards of Canada, Bruce Langhorne, and Tangerine Dream. A preoccupation with childhood perception, utopian thinking, and the landscape of the Pacific Northwest runs throughout his work, which has been featured in Discorder Magazine, Tabs Out, Cassette Gods, Retromania, Free Form Freakout, Last FM, and NTS Radio. Only Children is his fourth album.
"Mount Maxwell continues his run of 1970s themed releases with a full-length meditation on the perceptual experiences of children born in the wake of the 1960s cultural revolution. Highly ambivalent in tone, Only Children marks a departure from earlier MM releases both in its use of acoustic instruments and in a newfound sense of criticality towards its subject matter; the back-to-the-land optimism of tracks like 'Nature ID' in uneasy proximity to the skeptical disquiet of 'Weird Places' and 'Nomad'. A beautiful, emotionally complex examination of the 'Me' generation's dubious decision to treat children like adults, and a haunting continuation of the Mount Maxwell experience." --Hotham Sound
"Mount Maxwell was raised on a commune on Saltspring Island and grew up to illustrate comic books before releasing two cassette tapes that were sonic dedications to the original BC Ferries fleet. And with his new album Only Children, he's created something so soul-crushingly good that if I were given the choice to only have to hear one more thing, I think I would choose this." --C Diab, Resonance Extra
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FTR 673LP
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A founding member of Vancouver Island's MMR Collective, and head of the Canadian experimental electronic label Hotham Sound, artist and musician Jamie Tolagson (Mount Maxwell) currently lives and works in Vancouver, BC. His music is a unique blend of analog synths and acoustic instrumentation, calling to mind such artists as Boards of Canada, Bruce Langhorne, and Tangerine Dream. A preoccupation with childhood perception, utopian thinking, and the landscape of the Pacific Northwest runs throughout his work, which has been featured in Discorder Magazine, Tabs Out, Cassette Gods, Retromania, Free Form Freakout, Last FM, and NTS Radio. The People's Forest is his fifth album.
"The People's Forest is packed with micro-earworm moments, nourishing synths and playful crunchy percussion. It's got a skyward gaze and nostalgia for futures never realized, packing a kind of childlike optimism inside an arpeggio-laden, hermetically sealed little sound world. When the loose, hip-hop fueled drums kick in over warm synthesizer pads, you'll probably feel the same warm sense of familiarity I picked up. Music for fans of Boards of Canada, sure, but Mount Maxwell has a wide-open pastoral landscape and identity all its own." --Optimistic Underground
"Composed of seemingly small sounds, The People's Forest has an oddly natural quality to it despite being created almost entirely through synthetic means. Subtle synth lines coordinate effectively with bits of sampled audio including vocals and sounds of nature in a way that transports you to another place that feels like a home that you are yet to visit. Subdued percussion carries almost every track through these wandering soundscapes in a manner that gives the listener something to hold onto as they drift along in this other-worldly place that resembles Earth." --Rounding the Fringes
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FTR 636LP
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Take the freaked-out, punked-up soul of The Stooges and MC5 mix that with '60s garage trash, blend in Sabbath, AC/DC and heavy rock n' roll and then hot wire that sound to a handful of freaks located in Fredericton, New Brunswick. Here it is that Angered Wrecks were located -- in an old Victorian style house in downtown Fredericton. It was here they set up a permanent rehearsal space on the main floor taking up the dining room and living room area with a full P.A. system and the long parties would begin as the Angered Wrecks cranked out an unholy primal serving of mind-numbing, eyeball-popping guttural pure rock and roll. Lucky for us, the Angered Wrecks had a primitive DIY recording set up as they recorded live off the floor with one cardioid mic taped to the ceiling to capture the entire room sound and straight into a cheap Alpine cassette deck. The results of these previously unheard recordings capture the essence of trashy rock n' roll at its finest, delivered with pure dereliction, and always a side of extra sleaze. Keeping warm in the winter at another old salt box style house they would later rehearse and play gigs in, a large circle was cut in the floor so that the rising heat from the pottery kiln downstairs would (along with the right mixture of beer and "Purple Jesus", weed and often speed and hot dogs) keep these boys fueled long enough in sub-zero temperatures to keep pumping out the rock n' roll savagery. The last show they played was in the fall of '81 at the Bug Shack after the household was served an eviction noticed with the house to be entirely demolished (just like Stooge Manor aka The Fun House). They got a gig together the weekend before demolition, packed the bottom floor and played a blazing set. At the very end, walls were kicked apart, old cans of paint strewn about, general wanton destruction to furniture, doors, windows etc. The bug shack had come to an end and shortly thereafter, the Angered Wrecks. That these tapes have survived to this day is all thanks to John Westhaver's archival hoarding (even though the loss of a 90-minute session of the Angered Wrecks still haunts John to this day). Includes full-size two-sided history insert and download code with five bonus tracks; edition of 400.
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FTR 635LP
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Cardinal Fuzz and Feeding Tube Records bring your way The Band Whose Name Is A Symbol's Ensemble 8/3/2016. Recorded of the floor in August 2016 in the spiritual setting of Birdman Sound -- eight players made up the iteration of the always mutating ensemble cast, who were as follows -- John Westhaver, Nathaniel Hurlow, Bill Guerrero, Jason Vaughan, Dave Reford, Scott Thompson, Mark McIntyre, and Eric Larock. The session for Ensemble went down at their spiritual home of Birdman Sound in Ottawa in August 2016 where what you hear on record was recorded direct from the floor (and mastered/tweaked by Chris Hardman). The whole session (and note this is an edit to fit the constraints of vinyl) flies by with a reckless, organic abandon, as at times eight players fly off in different dynamic directions of abstract playing and improvisation with trumpet player Scott Thompson much to the fore and blowing wild. At times the feel of this recording is like a collision between some out there '70s German avant rock band who have been transported to a San Franciscan Ballroom is '68 where the whole audience are peaking on "Orange Sunshine" as ensemble finishes up like a beautiful trip, well taken.
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FTR 633LP
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Cardinal Fuzz and Feeding Tube Records announce the new LP from Mienakunaru, Blood Sun. After Mienakunaru's debut brain crusher Lost Bones Of The Holy Butterfly that came via esteemed label Drone Rock Records (and reissued in the USA via Echodelick), Cardinal Fuzz and Feeding Tube Records bring you Blood Sun, a ferocious throb of three people losing themselves in the beauty of fuzz, sizzle and noise. Mienakunaru are a throbbing face melting power trio made up of Mike Vest, Junzo Suzuki and Dave Sneddon and if you were to write up the list of bands these artists have been involved with there would be no room to write more -- the list reads like a who's who of cult underground hardcore and psychedelic bands. For those that may not have been listening to anything associated with these leviathans of heady, psychedelic noise, what you have here is fuzz drenched, waster infused and pounding like jack hammer freak-outs. Over four tracks of which the title track takes up the whole of one side you are treated to forty minutes of heavy cosmic amplifier worship, where the hypnotic nature of the music created within, unfolds and time and space begins to distort. Prepare to have your body shaken as Mienakunaru lay waste. Mienakunaru are: Junzo Suzuki - guitar; Mike Vest - bass, guitar, mix; Dave Sneddon - drums. Solid white vinyl; edition of 500.
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2LP
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FTR 642LP
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Cardinal Fuzz and Feeding Tube Records bring to you for your listening pleasure Nudity Is God's Creation. A retrospective release of recordings dating from 2005 to 2010 of orgasmic interstellar mayhem. Reissued and for the first time available domestically in the USA In 2004, a commune named Nudity, formed by four travelers from the astral plane, appeared in Olympia, Washington. The founding members were Dave Harvey (guitar) and Jon Quitty Quittner (bass, though Josh Haynes of the mighty guitar fuzz scorchers Feral Ohms plays bass on the majority of the tracks featured here), both of whom were former guitarists of Tight Bros From Way Back When and Eryn Ross (drums) from Growling. A couple of self-distributed CDrs and a 12" on Discourage were a visual akin to colored liquid sloshing around on a transparency machine and were a pure drip feed for psych/kraut and Jap rock fiends around the world as Julian Cope and Terrascope raved about them. Alas for whatever reason no full-length LP arrived from the original line-up -- something that at last has been rectified as now all these tracks have been brought together (along with some unreleased gems and a couple of live bonus download tracks). The sonic ear candy contained within the four sides of vinyl presented here go from Detroit fuzz blazing face melters to acid trippin' head swirling raga's via The Flower Travelin' Band and Hawkwind. Nudity were the masters and for those that missed out the first time this double album was released -- don't make the same mistake a second time. Terrascope gushed about Nudity: "This is seriously fucking good; one of those quite literally extra-ordinary LPs that come along every once in a while which you just know instinctively are going to be dug out and played, sniffed and caressed for years."
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FTR 614LP
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"Great second LP (there was also a cassette) by this Portland, OR trio. I became aware of Mouth Painter by following the pedal steel work of Barry Walker Jr., who is akin to the new BJ Cole in terms of being thee underground eminence on his instrument. The rest of the trio features flautist/vocalist Valerie Osterberg (who also contributes songs) and bassist Jason Willmon. Together they comprise a band whose sound is exceedingly hard to pin down. There are rootsy elements to the vocals, but these are offset by floating guitar clouds straight out of Mike Cooper's recent work. Valerie's flute inventions add a slight French prog flavor as well, while Jason's bass highlights the sheer rockiness of the music's brunt. There also many, small but flipped-out instrumental details. The album moves through genres with elegant grace, touching bases with country rock, psychedelia, new age cloud surfing, and even the kind of exotica the late Patrick Lundberg always claimed as one of the real roots of 'higher key' music. Tropicale Moon is all that! The lyrics mix geology, poetry, gambling and much else into a suite that gently sprawls across the sonic map like a previously undiscovered continent. The overall blend generates a vague psychedelic haze everywhere you look, but apart from a few spots, the psych is not overt. It lingers in dark corners more than at the forefront. A shadow peeking out from a lot of places you wouldn't expect. This subtlety is probably Tropicale Moon's secret weapon. Slipping in the needle when we don't expect it, then letting the hallucinations flow like easy water across the parched earth. Nice stuff!" --Byron Coley, 2021
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FTR 585LP
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Cardinal Fuzz and Feeding Tube Records announce The Myrrors' Invocaciones: Singles and Strays (2014-2016) -- a dip into the archives with these shaman from Tucson, Arizona. Invocaciones is a compilation of tracks previously available via the mediums of splits/lathes/cassettes and digital download, now all gathered together on this release with the added bonus of an extra three minutes added to a now extended "Eyes Of Copper" and "Semillas Sembrades" no longer split over two sides of a 7". Over five tracks presented on Invocaciones, The Myrrors lose themselves in transcendental improvisation, from the opening track "Eyes Of Copper" to "Invocación Por Un Verdadero Plan De Lucha Organizado Desde Abajo" where The Myrrors are in free flowing circular raga mode. It's a state of playing that takes take the listener into a deeply shamanistic ecstatic state that is both spellbinding and enrapturing, were you are treated to the music that rivals the free flowing communal progg freakdom of late '60s/early '70s Germany/Scandinavia but transported to the Arabian desert. Here a cacophony of flute and whistles, viola, tape loops, alto saxophone, bulbul tarang and guitars churn and cavort through ebbing cosmic shimmer and ecstatic pulsing ritualistic Eastern drones. Try imagining The Velvet Underground, The Taj Mahal Travellers and Parson Sound transported to the Arabian desert. It is ecstatic and otherworldly as you open up your mind and let everything come through -- The Myrrors have found the keys to the kingdom of heaven. Presented in a laminated silver mirri board outer sleeve that best reflects the artwork of Claira Safi.
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FTR 595LP
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"While they have released a decent number of cassettes & CDs, Jurad is only the fourth vinyl album released by this long-running DC-to-Philly-based space-juggernaut. Recorded by a quartet iteration of the always mutating ensemble, the music on this one veers between the kind of psych-prog wallow for which Kohoutek is most often celebrated, and the less formally rockoid improvisational proclivities they sometimes display. The session for Jurad went down at Philadelphia's Sex Dungeon studio in 2012 and resulted in three long tracks. The shortest one, 'Cosmic Grease,' opens the B side in classic Kohoutek style. John Stanton's guitar balances on the cusp of scum and space, spewing fat raw gobs of string-urk across a thick steady surge of circular bass/drum/synth hunch. A pretty nice way to fire it up. 'Double Star' follows with electro-squigglage sluiced amidst much more delicate guitar filigree, a lighter rhythm section pulse and drones of presumed synthetic origin. It has a bit of Germanic feel, along the lines of UA-era Popol Vuh or something. Like taking a deep breath of night air during an electrical storm. The first side is comprised of 'Tidal Disruption,' a rather different kettle of sonic chub. From the first notes of synth buck and string buzz, this one slides sideways with reckless abandon, before diving into a pool of tranquil long tone improvisation, with what sounds like small tractors demolishing a farm house in the distance. As the piece progresses, this far-off destruction resolves itself into a slow drum pulse, fluid bass lines and a wash of synth abstraction. The pace slowly increases and then slows again as 'Tidal Disruption' slowly fades into dream time, wrapping up like a beautiful trip, well taken. Very sweet smoke, we're sure you'll agree." --Byron Coley, 2021
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FTR 591LP
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The singer and songwriter Greg Ashley has made a name for himself both as a member of notable underground bands The Gris Gris, The Mirrors, and Strate Coats, as well as a solo artist. As a fixture in the underground music scene, his musical abilities span a range of genres including garage punk, psychedelia, and folk. In addition to his own music, he works as a producer and sound engineer, previously running his own Oakland-based studio, Creamery Studio and now rebuilding his home studio in Texas. After high school, Greg Ashley took to perusing the work of the original '60s artists, immersing himself in the Rolling Stones' bluesy early material, the Beatles' midperiod psychedelia, the crazed noise of the 13th Floor Elevators, and the fuzzy surf of the Ventures. Assimilating these influences, Ashley formed a quintet called the Mirrors and released two scruffy, all-over-the-map albums. The Mirrors were Greg Ashley's post-Strate Coats (7" also available on Hook or Crook) and pre Gris-Gris outfit. In 2001 they self-released the A Green Dream LP in an edition of 500. Though hard to imagine in retrospect, in 2001 it was unlike anything else being created at the time, fusing well played, well written freaky psychedelia with groovy ballads, tinny xylophone, feng shui recitations and occasionally a confusion that approaches the Sun City Girls. Pervading it all is an acid-drenched folky psychedelia that would make fellow Texan Roky Erickson proud. This Lost 3rd Album is the missing bridge between The Mirrors and what was to come in The Gris Gris. Includes full size double-sided insert; edition of 300. "There have been hundreds of bands since 2001 that have attempted to sound this good at being high. None have." "You know that old 'This is your brain on drugs' egg-frying commercial? Well, these discs are 10-egg omelets."
"Nobody gave a sh*t about my garage band in Houston, People liked my music out here. I got to meet one of heroes, Russell Quan of the Mummies, and he was a fan of my band." --Greg Ashley
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FTR 528LP
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"Hot on the heels of last year's drone masterpiece, The Free Territory, comes this hot bowl of noodles from Manchester's most elegantly wasted quintet. And while there might be apt comparisons to be made to some of the best current psych purveyors, the central thrill provided by these sounds makes me think of naught but prime Bay Area ballroom scene acid spew. The guitar lines unspool like electrical cables filled with acid punch, and remain crackling in the air for moments longer than you imagine they can remain afloat. The keys have a bit of a German overtone, but it's the same sort of one that led to the flash of Popol Vuh's United Artist albums (which are themselves, at heart, paeans to the Bay.) The sound here is the sort of thing true believers recall as the highest moments of Man in live concert flight. Raging, raving guitars to soak your soul once and for all. Don't fear the downpour. Revel in it." --Byron Coley, 2020
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FTR 587LP
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Cardinal Fuzz and Feeding Tube Records present a long-awaited reissue of Dead Sea Apes & Black Tempest's The Sun Behind The Sun. This reissue is presented in a reflective Mirri Board reflective outer sleeve. Manchester's Dead Sea Apes and Godalming's Black Tempest engage in a mind meld of galactic proportions on this; both band's first outing on vinyl. Both entities weave together seamlessly as "Grey Alphabets" recalls Goblin's giallo soundtracks, whilst "Wilder Penfield" pulses with post-punk metal-loid Harmonia kraut vibes. Side two is given over to the 25+minute "Heliopause" -- a dubby astral meditation, where Oneida meet Tangerine Dream in an elongated komische drift. For fans of: Harmonia, Oneida, Goblin, Mogwai, Tangerine Dream.
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FTR 590LP
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Dataland is a collaboration with Black Tempest and Adam Stone, achieved mainly through internet data transfer during the Covid lockdown of 2020. Insistent, evolving electronic sounds encounter a variety of guitars and percussion, from the clockwork kosmische of "Lost Hours" to the stumbling noise dub of "Shop Soiled", while Adam Stone's words meditate on life in the post-industrial west, our increasingly atomized and data-driven society and its logical conclusion in a corporatized dystopia. Dataland is a meditation upon the average existence of a "developed-world" human in the early 21st century. Whilst not struggling with the harsh physical demands of industrial labor as we did in the recent past, our plight continues to embody the melancholia and confusion of alienation. Under the bewildering complexity of rationalized social and economic systems, we may indeed have become unwitting prisoners within, what the sociologist Max Weber termed, "the iron cage of bureaucracy" -- tripping the minutes away in a daily pantomime of data-driven surrealism. This six-song collection is a fusion of electronica, monologue, "real drums", and guitar, and was recorded at various locations in sad old England over the last two years or so. An almost psychedelic sense of puzzlement, nausea, and fatigue accompanies being lost in the omnipresent number-generating machines and anti-human modelling systems that now run our world. This is the realization that defines the essence of the album -- that your life is now only as real as what is displayed on the screen of your constant technological companion.
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FTR 576LP
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All you need to know is Anthroprophh release records on Rocket Recordings and every so often they release one and with German Oak, you are getting a release that is both unique and very special. Side one is a 17-minute freak out/meltdown/brain buzz of a mother fucker -- Imagine a star collapsing in upon itself and you'd have the sound of "German Oak". Side two is four tracks all melded together -- two tracks of hypnotic minimal electronic bliss melded into a Tacoma-like finger picking hoedown before the final two track brings in the spirit of Skip/Syd/Roky for a hauntingly mesmeric end.
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FTR 567LP
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"At last, a new studio LP from superb London duo, The Left Outsides, to follow up on 2018's amazing All That Remains. The basic building blocks remain the same -- half of the sound is Alison Cotton and her viola and keys, the other half is Mark Nicholas with a stunning array of guitars -- but the structures they create this time are darker and more forbidding than their antecedents. This album feels very much a piece of the season in which it is being released, as the leaves strip themselves from trees and the sky grows colder, greyer by the hour. More than once while Are You Sure I Was There spun I was put in mind of the classic Rainy Day LP, masterminded by Kendra Smith back in 1984. The Left Outsides possess the same sure grasp of that place where sorrow, ecstasy and psychedelics meet in a shower of dying stars. The tunes here are wonderful. Most are new, although a few have been heard before in different forms (if you knew where to listen.) 'The Wind No Longer Stirs the Trees' (with its glorious blend of backwards and forward motion) was on a 7" lathe, backed with 'As Night Falls' (a beautiful ode to the promise of winter.) The track 'Séance' was first recorded as part of a celebration of Help the Witch, the debut novel by former music critic Tom Cox. And 'My Reflection Once Was Me' (which recalls The Trees' epic tunes by combining massive blocks of raging guitar with Alison's steady vocals) was featured on the live A Place to Hide LP (FTR 552LP). The other compositions are all-new and utterly great. The tunes that Mark sings tend to evoke a certain '60s whisp. Whether it's the Floydian lilt of 'Only Time Will Tell,' the freakbeat pop of 'November on My Mind,' or 'Pictures of You,' which stacks a dreamy '60s overlay upon contempo pop structuring. Alison's vocals often display a more folky essence. 'The Stone Barn' has a vibe very similar to some of Sandy Denny's later solo work, grounded by stately piano chords. 'Things Can Never Be the Same' centers on a gorgeous mid-paced vocal performance, encased in spinning webs of very elegant guitar. And the conjoined vocals on 'A Face in the Crowd,' sit atop a huge fuzz riff, sounding like the perfect anthem for the new Slow Music Movement. They won't back down! And you shouldn't either..." --Byron Coley, 2020
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2LP
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FTR 559LP
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Limited 2021 repress . Just what you need in these end times -- Cardinal Fuzz (Europe) and Feeding Tube Records (N. America) -- a vinyl issue of the killer CD comp that SS Records released way back in 2004 with a couple of added treats. Brace yourself for some stellar hair-singeing, full-throttle wipe outs across four slabs of heavy black vinyl. Monoshock was one of the best bands of the '90s and if they were from Seattle and not Illa Vista and Oakland, California you would already know that. During their six years they released a handful of 7"s, served as a backing band for Von Lmo, and created one of the classic psych albums of all time, Walk to the Fire (1996). In the last few years, they received praise from around the globe, raved up by Julian Cope as one of the great unknown bands of the '90s and cited as an influence by current heavy favs, Comets on Fire, as well as a whole slew of Japanese psych bands. Monoshock is fuzz-fuel, wah-wah damaged, riff-crazed punk rock which draws in Hawkwind, the Stooges, Simply Saucer, and other psych-punk gods. This double-LP collects all their 7"s and comp tracks together with seven previously unreleased tunes and two songs from their ultra-rare 1989 demo tape and two added digi bonus live tracks from their reunion shows. Fans will be overjoyed. Virgins will become fans. The band's stellar Walk to the Fire has been acknowledged as one of the classic psych albums of all time. Comes with a folded A3 double sided insert.
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FTR 564LP
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"Here is the second solo LP by the wonderful London-based singer/multi-instrumentalist Alison Cotton. Originally issued on cassette by the mighty Bloxham Tapes, just about everyone who heard Only Darkness Now suggested it might make for an excellent LP. And hey -- they were right. Alison's debut LP All Is Quiet at the Ancient Theatre (FTR 424LP) received wide ranging critical acclaim from placing in the Guardians Writers 'Album Of The Year' to placing in the Quietus 'Albums of the Year'. Ms. Cotton has a storied past performing with Saloon and The Eighteenth Day of May, and she still may be found doing likewise with The Left Outsides . . . Only Darkness Now begins with a sidelong instrumental track, 'Behind the Spiderweb Gate,' during which Cotton displays her immense drone chops, organizing rich, thick layers of viola, Omnichord, and voice into the soundtrack for a totally immersive trip. The effect is such that seconds become minutes and as time stretches till eventually, in the peak, time ceases to have any meaning whatsoever -- a beautiful state to be transported too as everything slows down. You could spend a whole year listening to this one. The second side starts with 'In Solitude I Will Fade Away,' a collage of Alison's voice, twinned and then some. It's short and sweet with just a little drumming to move things along. 'How My Heart Bled in Bleeding Heart Yard' brims with as much longing as it title suggests. It opens with a long instrumental passage, emphasizing the human pace of a harmonium's breath patterns, soon joined by a viola, also offering tones of a very human quality. All of this swells into a chorale of immense and mournful depth before being joined by Nico-like vocals that raise a wordless alarm. 'The Hill Was Hollow' is a short mystery for percussion and violin. Unravel at your own peril. Finally there is 'Shirt of Lace.' This is a studio recording of one of Alison's regular live covers. The song is by the late Dorothy Carter (a visionary American musician whose work bridged experimental and medieval musics) and Cotton's version is a sheer blast -- her vocals curling and twisting high above a supple bed of key drones, string plucks and sliding arco passageways . . . one of the very few albums I can name that matches the cold fire of Nico's Marble Index and it does so without taking a single step that isn't purely Alison's own..." --Byron Coley, 2020 Edition of 300.
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FTR 575LP
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Dateline unknown -- emanations from a planet in meltdown. The universal cosmic event tracker estimates between 22 to 52 points of possible physical contact with The Band Whose Name Is A Symbol but it has lost count. This Canadian improv unit have over the last few years started to get the gushing love and attention they have always deserved. Like all the best artists, they do not fit snugly into any genre -- as from one moment to the next their ability to create cosmically juiced up and fucked up music which in many cases when played and recorded was the first time and last time said tracks will ever be played. This has proven to be the case time after time across too many releases to mention (no wonder Damo Suzuki always calls on TBWNIS to back him up). If you said Berserkir Volume II could be the pinnacle, you would yet again be getting caught up in the moment of magic they spin on you. Berserkir II contains four long tracks of hypnotic and freaked out cosmic haze (all recorded in the same four-hour session that yielded Berserkir Volume I). There are zero overdubs whatsoever and no studio gimmickry. The pieces are framed by supercharged, blistering, psychedelic dual guitars, pummeling rhythm, mutated; Miles-inspired flights of free form trumpet and flowing synth drones touching side excursions into the depths of alien prog. One may well be compelled to crank this up loud and leave speakers and mind, shattered and melded together in a smoldering heap on the floor! End of transmission...
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