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viewing 1 To 25 of 26 items
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4LP BOX
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ROWF 067LP
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The eighth Desmadrados Soldados De Ventura album, The Grand Celestial Purge, is a three-hour, four LP box set of psychedelic musings on the departed musicians of 2016. Produced by Richard Formby and recorded at a converted church in Leeds, this is DSDV's most melodious and spacious album to date. You can hear clear nods to The Grateful Dead throughout as well as fragments of Can, Carlos Santana and John McLaughlin's Love Devotion Surrender (1973) and even Tim Buckley's Blue Afternoon (1969) band. Drowned in tape echo and with a Wally Heider-style snap to the drum sound, the recording has all the traits of a classic Formby production. Gone is much of the blur of guitars that shrouded the band's previous albums in cacophony; Whilst still present here and there, it's been replaced with a somewhat virtuoso level of interplay that smacks of a bygone, pre-ironic era in rock music where sincerity, dedication to the craft of improvisation, and the desire to transcend the mundane via heightened, sustained hive-mind mentality was all that mattered. Personnel: David Birchall - guitar; Andrew Cheetham - drums; Richard Formby - synths; Dylan Hughes - guitar; Nick Mitchell - guitar, bass; Dom Tanner - guitar; Otto Willberg - bass.
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2LP
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ROWF 049LP
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Tom Settle & Friends present Old Wakes on Golden Lab Records. Tom Settle has played in the wonderful Serfs with Jon Collin on and off for over ten years, as well as Beach Fuzz, Former Bullies, Desmadrados Soldados De Ventura and Dinner Party. He's not only one of Manchester's finest guitar players but, Golden Lab thinks he is one of the most intuitive and evocative in the world today. Old Wakes features guests including Jon Collin, Nick Mitchell (Desmadrados Soldados De Ventura), Edwin Stevens (Irma Vep) and more. The album is a stunning example of his creative prowess, with a host of original compositions and improvisations as well as a handful of lesser known covers and traditionals. It's far and away the most accomplished psychedelic folk record to have been made in Britain in the last 40 years as far as Golden Lab Records is concerned. Sitar, guitar, drums, bells, penny whistles, recorders and more gorgeously rough vocal harmonies than you can shake a stick at. Double LP version comes in a gatefold. 180g vinyl housed in heavyweight casebound, UV coated sleeves. Edition of 200 copies.
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3LP
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ROWF 049LTD-LP
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Triple LP gatefold edition. Includes bonus disc (140g vinyl). Limited to 100 copies. Tom Settle & Friends present Old Wakes on Golden Lab Records. Tom Settle has played in the wonderful Serfs with Jon Collin on and off for over ten years, as well as Beach Fuzz, Former Bullies, Desmadrados Soldados De Ventura and Dinner Party. He's not only one of Manchester's finest guitar players but, Golden Lab thinks he is one of the most intuitive and evocative in the world today. Old Wakes features guests including Jon Collin, Nick Mitchell (Desmadrados Soldados De Ventura), Edwin Stevens (Irma Vep) and more. The album is a stunning example of his creative prowess, with a host of original compositions and improvisations as well as a handful of lesser known covers and traditionals. It's far and away the most accomplished psychedelic folk record to have been made in Britain in the last 40 years as far as Golden Lab Records is concerned. Sitar, guitar, drums, bells, penny whistles, recorders and more gorgeously rough vocal harmonies than you can shake a stick at.
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LP
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ROWF 055LP
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Live At The Low Beat was recorded to digital handheld recorder and mastered in Manchester by Dom Tanner, took place on December 4th 2014, at a local eatery regularly frequented by Burnt Hills. It was the first of what, it has been decided, will be an annual Burnt Hills performance outside the basement. Nine of the ten full-time members of the band were in attendance on this night and it's safe to assume that they were all pretty well smoked, fed and oiled by the time they took to the stage. Close to 50 minutes in total, this is the most savage, raging, oblivion-bound Burnt Hills set yet committed to wax. There's a whole bucket-load of sensitive noodling amidst the chaos - along with the obligatory shred - but it's, of course, the six-guitar pile-up that really takes this crescendo-obsessed troupe of suburban weirdos into the "Lord take me now!" zone. Edition of 250 copies. 140g vinyl in super heavyweight casebound jackets with black paper inners. Cover art by Dylan Hughes (Desmadrados Soldados De Ventura).
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LP
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ROWF 072LP
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Connie Acher is the songwriting pseudonym of NYC artist Melodie Provenzano. Known primarily for her hyper-realist paintings, which undermine her love of 20th Century detritus, her debut album for Golden Lab Records, For Giving, gives way to similar thought paths. Titles such as "Treasure", "Rats" and "Precious" (with its repeated pay-off, "Someday we'll all be gone") tells stories of a young woman in early 21st Century New York City, which are at once banal and weighty. Her deadpan voice delivers sublime melodies over sauntering cadences of unadorned instrumentation - acoustic guitar, bass, drums, Casios, Crumars and their ilk - which reinforce a junkshop theme. They're everyday songs of love and loss - drab revenants of 20th Century ideals doomed to haunt us through our memory of promise. Stunning in their understatedness. they take us back to a simpler time. 180g vinyl with super heavyweight casebound tip-on jackets.
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LP
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ROWF 064LP
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140-gram LP in heavyweight UV-coated sleeve. Limited edition of 300. Varispeed Etudes was conceived by revered, quixotic, Glasgow-based avant-garde populist Richard Youngs very much as an analog "record of two halves" in the spirit of David Bowie's Low (1977) and Heaven 17's Penthouse and Pavement (1981). Side A showcases Youngs's bent for electronic experimentation and those inimitable, hauntingly reedy, standard English vocal tones that have placed him squarely alongside a peer group of the UK's vocalizing weirdos that includes Robert Wyatt, Ivor Cutler, and Charles Hayward. Side B strips away the vocals and replaces the electronics with a series of shorter, dissonant, slow-moving, acoustic clatterbang soundscapes. The whole thing is "held together by the joy of varispeed pitch control -- major delight of reel-to-reel recording" and it's as rich, conceptually oblique, throwaway, but important as anything in Youngs's catalog.
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LP
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ROWF 065LP
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Sixth LP -- and part one of a two-part set -- from Manchester, UK-based free rock floatation unit DSDV. The band accepted an invitation by Burnt Hills' guitarist Parashi to hole up in his Clifton Park, NY, basement and make a record in April 2015, and Parashi sat in with his bandmate Rambutan to wail with the guys. Starting out with an uncharacteristically straight-up Nick Mitchell riff, the record soon picks up a cloud and surfs it to 300,000 feet, the wind whipping through the band's hair for almost a solid hour of what turned out to be the most ecstatic jam they ever did have. Mixed and mastered by Bojanic Audio & Mastering, Manchester, UK. Dave Birchall: guitar; Andrew Cheetham: drums; Dylan Hughes: guitar; Nick Mitchell: guitar; Parashi: guitar; Rambutan: guitar; Edwin Stevens: guitar; Otto Willberg: bass. Features unique artwork combinations by John Moloney with every copy -- no two alike. 140-gram vinyl. Edition of 250. "Absolutely essential two volume collection with crazy Heitkotter esque artwork courtesy of Sunburned Hand's John Moloney -- both references work sonically as well -- DSDV are one of the preeminent 'free rock' bands out there, cutting edge, tip of the spear, reconciling out-there free jazz -- maybe think Coltrane's Ascension -- with pummeling heavy psych straddling Bardo Pond and The Stooges -- the drummer and bassist maintain an in-and-out telepathic groove while six freaked out guitarists cut loose like almost nothin you've ever heard, a semi improvised yet well considered exposition of riffs -- my god, it's full of riffs -- prepare yourself for a hundred minute hurricane of mind-blowing finger-blistering bliss." --Psi Lab
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LP
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ROWF 066LP
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Seventh LP -- and part two of a two-part set -- from Manchester, UK-based free rock floatation unit DSDV. The band accepted an invitation by Burnt Hills' guitarist Parashi to hole up in his Clifton Park, NY, basement and make a record in April 2015, and Parashi sat in with his bandmate Rambutan to wail with the guys. The first jam of the night up had turned out so well that back down they went, this time falling quickly into a rhythmic trance that dallied and then collapsed into free rock Helheim. Drones, counter-rhythms, shifts into major pentatonic Allman Brothers-isms, and spitting, all-out Mahavishnic curses and hexes make this the band's most erratic statement of unswerving cacaphonic intent. Mixed and mastered by Bojanic Audio & Mastering, Manchester, UK. Dave Birchall: guitar; Andrew Cheetham: drums; Dylan Hughes: guitar; Nick Mitchell: guitar; Parashi: guitar; Rambutan: guitar; Edwin Stevens: guitar; Otto Willberg: bass. Features unique artwork combinations by John Moloney with every copy -- no two alike. 140-gram vinyl. Edition of 250. "Absolutely essential two volume collection with crazy Heitkotter esque artwork courtesy of Sunburned Hand's John Moloney -- both references work sonically as well -- DSDV are one of the preeminent 'free rock' bands out there, cutting edge, tip of the spear, reconciling out-there free jazz -- maybe think Coltrane's Ascension -- with pummeling heavy psych straddling Bardo Pond and The Stooges -- the drummer and bassist maintain an in-and-out telepathic groove while six freaked out guitarists cut loose like almost nothin you've ever heard, a semi improvised yet well considered exposition of riffs -- my god, it's full of riffs -- prepare yourself for a hundred minute hurricane of mind-blowing finger-blistering bliss." --Psi Lab
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LP
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ROWF 050LP
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Utterly stunning album from the long-running (and just-married) duo of Kelly Jayne Jones and Pascal Nichols, better known to the world as Part Wild Horses Mane on Both Sides. They've moved so far, now, from their Japanese-esque psychedelicised beginnings back in the mid-'00s where celebratory flute and drums cascaded into one another like competing tsunamis. Not that what they were doing back then wasn't already brilliant -- in fact, they heralded what felt, at the time, like it might be a whole new era of British drone (a movement that never really came to pass). It's just that, since then, they've become such masters of their craft that it's hard to feel anything but awe upon listening to Pike/Portent. For starters, they do less. In other words, they seem to be as obsessed nowadays with the space between sounds as they do with the sounds themselves. Resonance too. This record sounds like it was recorded in a cave by the ocean, it's as simple as that. Secondly, while it's still an exploration of the transitory potential of the relationship between the embellished trapezoid drum kit and the naked flute, it's just more interrelated, more dynamic, more alive. Jones, in particular, seems to have found the perfect spaces in which to interject complementary and/or jarring sounds (clanking pebbles, pouring water, electronics, etc.). It's almost impossible to consider the result in terms of improvisational music -- it's just so considered, so accomplished, so communicative. 140-gram vinyl. Limited edition of 250.
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LP
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ROWF 058LP
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Originally released on Gary War's Fixed Identity imprint on cassette in 2011 and then reissued by Beartown in 2013, again on cassette, this is the real highlight of the three Gamecock albums recorded at the beginning of the 2010s. A huge stanky monster of a record. Here's a slightly twerked version of the original write-up: Duo of Stuart Arnot (Smear Campaign, Plum Slate) and Nick Mitchell (Chalaque, Desmadrados Soldados de Ventura). They play a kind of arrhythmic, un-danceable funk of high-end frequencies and low-end drum machines, fed through a wah-wah and rammed forcefully into the listener's cerebral cortex. Pitch-shifted Casio crap and unadorned Roland Juno shimmer are melded to form what is at once both sweet and listenable and yet still, somehow, horribly repellant. Sitting somewhere uncomfortably, painfully and way away from the hypnogogic pop bandwagon, where the drum machines have bronchitis and the synthesizers sneeze, they are brutally loud, joyfully all-consuming and epic in their prolongation of the crescendo. This first vinyl edition is pressed on 140-gram vinyl and features new X-rated artwork by Glasgow-based artist Susan Fitzpatrick, as well as the original Fixed Identity art on the insert (also for adults only). Edition of 250.
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2LP
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ROWF 051LP
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A massive, expansive work by Matt "MV" Valentine, featuring a host of guest performers, including Erika Elder, J Mascis (Dinosaur Jr), Jeremy Earl (Woods, Woodsist), P.G. Six, and Michael Flower. An 11-track combination of sprawling jams including the incredible Rudy Rucker-inspired "Freeware" and other beautiful songs across two slabs of wax. A truly wondrous, sun-blinded summer stoner record that throws its sandals in the duffel bag, lets the sand slip through its toes, and tramps off in the direction of a mirage of a gigantic effigy of Ganesh. Double LP pressed on 180-gram vinyl and housed in a stunning, super-heavyweight, UV-coated gatefold jacket with enormous poster insert. Absolute must-have and Golden Lab's personal record of the year. Do not miss!
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LP
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ROWF 062LP
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Melanie O'Dubhshlaine is a Leeds-based synthetic noise merchant (formerly performing under the Ocelocelot moniker). An obtuse musical fantasist, M O'D is a purveyor of heavy space-chord amalgamations, drum pad improv, and the human voice synthesized into abstraction and stripped of communicative utilitarianism. Always great live, this supporting pillar of the Ashtray Navigations empire stands independent, peaceful like a heron, as the brown river unremittingly carries pillagers' debris downstream to some godforsaken industrial necropolis, long ago taken hostage by Japanese knotweed.
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LP
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ROWF 061LP
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Stolen Car, recorded in January 2013, performed by saxophonist Steve Baczkowski, drummer Chris Corsano, and guitarist Bill Nace, and featuring Paul Flaherty napkin art on the front and back covers, does something completely different again. The sprawling title jam that covers the entirety of side A scratches and crackles before exploding into a full-on roar of expressionism that stretches the boundaries of non-idiomatic improv. Side B collects three shorter, similarly rabid pieces, which each elevate Baczkowski's playing to mind-boggling levels as he proves his mettle against two of the most outstanding proponents of their respective instruments in the world. Absolutely unmissable and in a run of just 300 copies. 140-gram vinyl.
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LP
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ROWF 053LP
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Amazing, whacked archival recordings from Bob Fay (ex Sebadoh/Deluxx) and a host of Western Massachusetts friends, including Conrad Capistran (TARP), Jason Loewenstein (Sebadoh), Ann Slinn (Somerville Players), and Mark Perretta (Deluxx/Deluxx Folk Implosion), initially slated for release on Thurston Moore and Byron Coley's Ecstatic Yod Actuel Ass Run series. Featuring great, snarky Byron Coley liner notes, the LP collects home cassette recordings from between 1987 and 1995 that offer a fantastic aural bridge between the grunge-offcut, Northeast American, lo-fi sludge-rock scene of the very early '90s and what later became known as "New Weird America." Stylistically all over the place and beyond brilliant, this record represents the nascent weirdo mind of a Golden Lab Records that, at the time, didn't even know it would come to be.
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LP
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ROWF 052LP
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"The totality of Edwin Stevens's vast appeal as a musician isn't usually something you can get to grips with by listening to one record alone. As the alpha member of the Manchester underground music nerd set he's played regularly in at least five completely stylistically unconnected formations at any one time and probably more like 50 in total. Disappointment is exactly the kind of record I always dreamed about putting out by an Ed-led project and only knowingly incongruously titled in the sense that it might be a response to the arrogance fundamental to Manchester's depressingly irrepressible musical heritage. It's a unification of everything he's been brilliant at within various contexts. I love to see him ecstatically ripping it up ostrich freestyle in Desmadrados Soldados de Ventura, Zweiters, and Yerba Mansa. But that doesn't mean I don't want him to sing me beautiful sincere Irma songs of apology and regret or slaughter his guitar like it's an opponent in a Wrestlemania contest, like he does in Klaus Kinski. All those normally disparate elements coalesce on this wondrously weird, hypnotic, earnest, outer limits rock record, which is why I was so bloody keen to put it out when he first played it to me in his kitchen last autumn. Not that he'd have struggled to get anyone else to do it. Listen to the thing -- it's ruddy sublime, which makes his one word sign-off on the sleeve notes all the more annoying: 'Sorry,' he says. Pfft!" --Nick Mitchell, founder, Golden Lab Records, December 24, 2014
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LP
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ROWF 047LP
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Marcia Bassett (Double Leopards, Zaïmph) and Samara Lubelski return with 110 Livingston. This is the second album from this weighty pairing of two of America's most audacious psychedelic drone proponents, following the stunning Sunday Night, Sunday Afternoon, released in 2012 on Graham Lambkin's label Kye. Bassett's guitar processing squashes otherwise raging howls into densely packed tones of feedback wail, and blends with Lubelski's long violin voyages into the drone zone to form a combination that's wondrous to behold. One side-long trip and three shorter but nevertheless expansive explorations of black magic meditation. 140-gram vinyl presented in a matte sleeve and limited to 250 copies.
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LP
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ROWF 048LP
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After an intense one-on-one dialogue with Heather Leigh regarding Golden Lab Records' mission to present beautiful records that showcase styles of guitar in all their extremities, Golden Lab is delighted to deliver what is, without question, an absolutely blinding example of just such a record. Leigh recorded Nightingale direct to cassette, delivering one of those performances in which the pedal steel rages so hard that the vocals never have the opportunity to even make an appearance. Recorded in glorious mono and mastered to really bring out the harshness of those insane tones, Nightingale captures an almost tape-like quality in the pedal steel itself, and its transfer to vinyl only warms it up further into a new zone of somehow cozy metallicism. This is an absolute joy -- a real tear-yr-face-off record that sort of acts as a companion piece to Leigh's 2014 performances with Stefan Jaworzyn as Annihilating Light. 140-gram vinyl presented in a black and silver matte sleeve and limited to 250 copies.
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LP
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ROWF 045LP
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Fourth studio LP and seventh full-length release from Manchester, UK guitar army Desmadrados Soldados De Ventura. This brand-new set of jams is a very different doggy than the band's previous records. The A-side captures their most ecstatic, cohesive, sun-scorched, celebratory stylings to date, while the B-side demonstrates a disjointed, no-distortion approach to bastardized technicality and deep weirdness.
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LP
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ROWF 023LP
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"Consistency. Repetition. Hypnotism. Dance-trance. Spacemen 3 as heard through a very narrow filter, indeed. They just get straight down to it, 10 seconds in and you could be 10 hours in. I'd like to hear that, actually: Float Riverer playing the same riff for 10 hours straight, the vocals sometimes dropping out. Only formed in Manchester end of 2011, and every song sounds roughly, brutally, gloriously the same. Fucking great stuff." --Everett True, Collapse Board
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LP
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ROWF 039LP
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There's something about the drummerless version of Mad Nanna that just gives them all this scope to stretch out into their own strangeness. The much-lauded Australian duo was captured live, here, at their seminal Volcanic Tongue in-store performance in Glasgow, Scotland, and it's one of those recordings to make you depressed that you weren't there. The guitar playing -- slow and sparse and slimily sliding and chugging -- just has all this amazing drag to it, propelled by the wavering internal body clock of singer Michael Zulicki, whose voice has all the deadpan charm of The Dead C's Michael Morley, but whose songs are reminiscent of Supreme Dicks' most out-there shuffles. Splurged over the top of that like hot oil on a skillet are the ultra-slo-mo, totally untutored and blindingly great "solos" (in the loosest sense) of guitarist Pat O'Brien.
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LP
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ROWF 043LP
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Live In Manchester. Recorded by Phil Todd. Limited to 100 copies only. Includes beautiful silk screened artwork by Alex Humphreys. "Of course, guitars have long been middle-brow targets for commentators as somehow signifying everything that was cock-bound and self-aggrandizing and technically impudent about rock music. But when it's played like this, with a blurring of technique that allows a bunch of northern punks access to the combined freak potential of more than a half century of electric six-string excess, it's a reminder of the electric guitar's uncanny ability to respond not just to where it's been, but to where it's at." --David Keenan, The Wire; "I can't remember the last time I felt myself overcome by so many conflicting emotions -- awe, excitement, envy, exasperation -- and yet it all coalesced into a contented, feverish fervor. I cannot tell you how great a feeling that is -- a near robotic state, the only movements being to get up and change the record... So if you are into your overtly intricate, caterwauling, explosive, experimental improvisational psych rock jams, this album is your ticket to Valhalla." --Sonic Masala
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CD/7"/BOOK
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ROWF 040CD
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Full-length CD-R + 7" single + silk screened art book by illustrator Lucy Jones. Limited to 250 copies. Second outing on Golden Lab for the pairing of Michael Flower & Neil Campbell (following a limited, instant sell-out double cassette in 2011). Best known for helping to establish the entire British underground psychedelic noise/drone scene as members of legendary unit Vibracathedral Orchestra, they are today, quite rightly, two of its most lauded proponents. This release -- a beautifully packaged CD-R/7"/book set with stunning silk screened print work by Manchester artist Lucy Jones -- pays reverence to that fact. The music was recorded spontaneously at live shows at Leeds' Wharf Chambers and Hebden Bridge's Trades Club, as well as at Michael Flower's home, and it demonstrates a more mellow, major-scale bliss-out version of the "Sister Ray"-inspired endless web of intricate psychedelia that appeared on their previous release. It is, needless to say, utterly without peer.
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LP
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ROWF 041LP
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"The most obvious influence on [Collin's] playing seems to be Loren Connors. He manifests the same strange bluesy attack on strings at many moments here -- letting notes breathe for a while, then strangling them until they squeak shut. One also notes some of Fahey's long open slide chords, but clearly his melodic resolutions are closer to Fahey's late period work, even if his technique is more reminiscent of Fare Forward Voyagers or something. There is also a scent of Jim O'Rourke's brilliant acoustic responses to questions posed by Derek Bailey. Indeed, while this might seem to be heady company for a guy recording his debut LP, I feel as though the comparisons fit." --Byron Coley; Following the release of his incredible debut LP on Winebox Press, Jon Collin took to the road in the U.S. alongside fellow soul travelers Yek Koo, Chalaque and Zaimph. The highpoint (in myriad senses) came on a Monday night in Albany, NY, where Collin performed to a seated and incredibly blazed audience in the basement of The Helderberg House, where he ended a night of heavy reverie with a blasted, drawn-out, super-sparse set of creaking drum stool and glorious string tone flashes. All in attendance were mesmerized and utterly rapturous as each piece concluded -- staggered by the weight of what they were witnessing and for which they had not been prepared by the endless craft ale, pizza and bongloads. There's something of the magical about this record. Limited to 250 copies on 140 gram vinyl.
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2LP
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ROWF 038LP
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Third vinyl outing for Manchester, UK free-rock guitar army Desmadrados Soldados de Ventura. This one is a monster double LP comprising four heads-down slabs of perpetual crescendo veering between raging, pseudo-biker rock psychedelics, unhinged Japanese style freakout and fractured funkadelicisms. Recorded at the band's unofficial HQ at Sunshine Studios by local legend Patrick Crane, this is a molten third eye opener shooting ecstatic vibrations straight to the pranic centers. Limited to 300 copies.
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LP
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ROWF 037LP
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Chalaque is the solo project of UK guitar player Nick Mitchell, but he regularly incorporates various supporting players. The power trio formation is in effect here on Sounds from the Other Ideology with Burnt Hills' bass player Eric Hardiman (see also Rambutan, Century Plants and the Tape Drift label) and Part Wild Horses Mane On Both Sides' drummer Pascal Nichols providing punk-as-fuck Motörhead-isms behind relentless psychedelic shredding and fretboard tapping.
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