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GODUNK 106CD
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Dez Dare ventures further into the void than ever before on his fourth album and the first to be released via God Unknown Records, A Billion Goats. A Billion Sparks. Fin. On past records Dare has fought beasts and beats alike, waging a fuzz war and tackling the biggest topics the world has to face; doom scrolling, capitalist demagogues, a passionate dislike of the beach in summer. On this record he leaves the sardonic frustration behind for sarcastic existentialism, zeroing in on the big philosophical questions, and the pedantic shards of nonsense that make up our existence. Piling up the synths, noise boxes and guitar pedals, Dez set about building a soundscape of noise and ideas around the nature of reality, time, and how people interact with them. From the music you would play in your last moments, to the reverse Darwinism of modern society, to arguing with time itself, and very boring people talking at you, all is covered here for the aspiring existentialist. The self-produced Australian has spent over three decades producing music, releasing and touring bands, and doing live sound for z-grade metal bands. Growing up in the coastal town of Geelong (Djilang) in Australia, he was introduced to the DIY punk and rock scene at 15 and this community and the ideas rooted in the underground music scene have guided his output and ethics throughout his career. Across the drone of noise and washed-out guitars of the final track, "A Billion Voices Screaming, Hello Void!" the chant repeats "We all return to where we begun," which encapsulates the message that Dare delivers.
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GODUNK 106LP
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LP version. Dez Dare ventures further into the void than ever before on his fourth album and the first to be released via God Unknown Records, A Billion Goats. A Billion Sparks. Fin. On past records Dare has fought beasts and beats alike, waging a fuzz war and tackling the biggest topics the world has to face; doom scrolling, capitalist demagogues, a passionate dislike of the beach in summer. On this record he leaves the sardonic frustration behind for sarcastic existentialism, zeroing in on the big philosophical questions, and the pedantic shards of nonsense that make up our existence. Piling up the synths, noise boxes and guitar pedals, Dez set about building a soundscape of noise and ideas around the nature of reality, time, and how people interact with them. From the music you would play in your last moments, to the reverse Darwinism of modern society, to arguing with time itself, and very boring people talking at you, all is covered here for the aspiring existentialist. The self-produced Australian has spent over three decades producing music, releasing and touring bands, and doing live sound for z-grade metal bands. Growing up in the coastal town of Geelong (Djilang) in Australia, he was introduced to the DIY punk and rock scene at 15 and this community and the ideas rooted in the underground music scene have guided his output and ethics throughout his career. Across the drone of noise and washed-out guitars of the final track, "A Billion Voices Screaming, Hello Void!" the chant repeats "We all return to where we begun," which encapsulates the message that Dare delivers.
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GODUNK 110LP
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Açid Blüüs Räägs Vol.2 is the latest evolution of the sound of 2022's Volume 1 (GODUNK 077LP). Volume 2 builds on the skronk blues guitar, sax and electronic drones of its predecessor, to explore cosmic free jazz, concrete exotica and dub, channeling influences of Moondog, Terry Riley, 75 Dollar Bill, and Wolf Eyes. Playing like the imagined film soundtracks to a dystopian, re-wilded, post eco crash world in the style of Tarkovsky's Stalker and Solaris, Jodorowsky's surreal desert western El Topo, or the early novels of JG Ballard. This new collection sees the addition of minimal analogue drum machine loops as well as live instrumental contributions from the new players of the ever-evolving Invocation band, plus some superstar guest contributors. Featuring five brand new tracks, including the forthcoming single, "Cosmic Fanfare." The new album was mixed by Alex McGowan (aka Captain Future) of Space Eko Studios and features Invocation band regulars Rick Jensen of Apocalypse Jazz Unit, Skronk and Oneirologist on sax and bass clarinet, Will Emms aka Tiki Eerie on melodica, horns and claviola, plus special guest appearances from Duke Garwood on clarinet and Mikey 'Moondog' Chestnut of Snapped Ankles on bass synth. Jonny Halifax is a primitivist free blues outsider, sonic shaman of the acid fuzzed lap steel guitar, demented blower of the howling harmonica of doom. His new band project now combines avant swamp blues heaviosity with kosmic free jazz experimentalism in a fluid collective of godless raag brut improvisations -- sonic visions of an hallucinatory apocalyptic near future. Inspired by Henry Flynt's avant bluegrass experiments fusing country blues with eastern acoustic musical stylings and Spacemen 3's contemporary sitar music, The Jonny Halifax Invocation build hypnotic instrumental soundscapes using lap steel and homemade slide guitars, harmonica and alto sax. Underpinned by layers of acoustic and electronic drone instruments and fed through an arsenal of pedalboard electronics that would make Kevin Shields weep, the blues are transmogrified, unhinged, reduced and re-imagined as intoxicating, trance-inducing, feedback-drenched noise paintings. The Jonny Halifax Invocation follows Jonny's junkshop skronk blues one man band Honkeyfinger, and the Julian Cope endorsed gospel fuzz psychedelia of Jonny Halifax & The Howling Truth, whilst not forgetting his ambient drone metal side project; Deathenteredinerror. His musical CV also includes studio contributions to tracks by Andrew Weatherall's Two Lone Swordsmen, UK metal behemoths Orange Goblin, Heck, and Melting Hand.
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GODUNK 096LP
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DRIFT. is British-Italian producer Nathalia Bruno, releasing music under the guise since 2015. Her "techno-pop" EPs Black Devotion and Genderland released with Avant! records were the first explorations in finding the sound of DRIFT. But as the name suggests, she is in constant flux. In 2020 Symbiosis (TR 463CD), the debut record, was released on Hamburg's Tapete Records, an assemblage of lo-fi futurism reflecting on the breakdown of communication and interaction Nathalia felt was increasing around her. Channeling classic industrial electronica, haunting melodies, using samples, field recordings and curated sound as a "canvas to rewire the vision of the future as colorful and old, ceremonial and rust beaten." 11 Points In Time is DRIFT.'s second album released with God Unknown records, written for and based on disappeared artist Rosi Crucci, compiled of sounds/field recordings recorded onto cassettes found in the attic of the home she last lived at, interpreted into song using some of her poetry and journal entries of what was happening in the world around her, attempting to finally give Rosi a voice.
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GODUNK 103LP
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Liverpool's long lost '90s indie rock noisemakers, compiling three singles and unreleased tracks. Back in the 1990s Playhouse were Liverpool's premiere "honey-souled indie rock band." They had a devoted following around the country after supporting the likes of Sleater Kinney, Unwound, Penthouse, Pavement, Sebadoh, Feeder, and Gary Numan. With three 7" singles under their belt and support from the NME and John Peel, the band were due to record their debut album until disaster struck when the drummer, Simon, broke his leg in a bizarre incident. Simon later went on to play with the rock band, Black Spiders, and now performs under the name of Blobb Ross. Singer and guitarist Pete continues to write songs. He is Liverpool's most prolific and enigmatic figure, writing some of the most beautiful songs around. Bassist Jason went on to perform with Mugstar, Sex Swing, Klamp, Domes, Twin Sister, and JAAW. Dynamo compiles the three singles they released, alongside unreleased tracks, including a cover of Sebadoh's "It's So Hard To Fall in Love."
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GODUNK 099CD
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Brighton based multi-instrumentalist John J. Presley returns with a new album Chaos and Calypso. This album features the first new music from Presley since his debut album As The Night Draws In in 2019 and the vinyl only lockdown release Albany Sessions, which were both released to great acclaim. Presley's music is hard to categorize but that is its strength -- from folk blues noir moments to tasteful post rock walls of sound -- classic songwriting to improvised, experimental moments, Presley is constantly creating a tapestry that will engage, challenge and inspire. Presley plays guitar, bass and pedal steel on the new record and is an in-demand player too -- Nadine Shah, Duke Garwood, Laura-Mary Carter, Juanita Stein, and Smoke Fairies have all had him join their line ups. A diary piece that echoes a period of ill health, of spiraling vertigo and misdiagnoses, Chaos and Calypso shows Presley's trademark guitar tone in full effect with enough space in the mix to weave in a new palette of textures from drum machines and synths throughout. It's an earth-shattering end to an album that successfully takes the listener on a thrilling trip of feelings and sounds on the Chaos and Calypso.
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GODUNK 099LP
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LP version. Brighton based multi-instrumentalist John J. Presley returns with a new album Chaos and Calypso. This album features the first new music from Presley since his debut album As The Night Draws In in 2019 and the vinyl only lockdown release Albany Sessions, which were both released to great acclaim. Presley's music is hard to categorize but that is its strength -- from folk blues noir moments to tasteful post rock walls of sound -- classic songwriting to improvised, experimental moments, Presley is constantly creating a tapestry that will engage, challenge and inspire. Presley plays guitar, bass and pedal steel on the new record and is an in-demand player too -- Nadine Shah, Duke Garwood, Laura-Mary Carter, Juanita Stein, and Smoke Fairies have all had him join their line ups. A diary piece that echoes a period of ill health, of spiraling vertigo and misdiagnoses, Chaos and Calypso shows Presley's trademark guitar tone in full effect with enough space in the mix to weave in a new palette of textures from drum machines and synths throughout. It's an earth-shattering end to an album that successfully takes the listener on a thrilling trip of feelings and sounds on the Chaos and Calypso.
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GODUNK 101LP
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Formed by Monster Magnet's John McBain and Soundgarden's Matt Cameron & Ben Shepherd in 1993 during some downtime from their day jobs and side project Hater (who released a self-titled album in 1993), Wellwater Conspiracy set about immersing themselves in the dayglo world of sixties psychedelia, channeling the vibrations of Syd Barrett's Pink Floyd and the 13th Floor Elevators to produce the garage lo-fi-lysergic assault on the senses that is their debut album Declaration of Conformity. Originally issued on Mudhoney's Steve Turners Super Electro label in 1997, the album was met with critical acclaim upon its release, and Rolling Stone magazine said, "Declaration's tinny, fuzzed-out sonics decidedly evoke the Summer of Love." God Unknown Records welcomes the album back into print and on all digital platforms, and it will see the release of a remastered vinyl pressing with extra tracks and new artwork taking influence from Blue Note Records' fabled artwork. From start to finish, Declaration Of Conformity is a loving homage to the true beginnings of psychedelic rock, long before the music got harder and heavier. Songs like "Green Undertow" and "Sleeveless" hark back to the time when The Beatles were spinning the world on its axis with "Tomorrow Never Knows," Syd Barrett was the piper at the gates of dawn and Roky Erickson was introducing the world to his Texan psychedelic sounds. Wellwater Conspiracy's music exists at that moment when pop music started to fracture and go far further out. It was still pop music, but the edges were starting to blur and the sounds were starting to fracture. This is where Declaration of Conformity sits; at the dawn of one of the biggest cultural shifts in musical history. The Bandcamp link also features two bonus download-only tracks, a cover of "Akka Ragga" by Shocking Blue and "Late Night" by Syd Barrett. Both tracks feature Josh Homme on guitar and bass.
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GODUNK 093LP
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Singer-songwriter and composer Laura Loriga was born in Bologna, Italy, and in the past decade she has been developing her work between her own country and the United States. With Mimes of Wine, her main project until recently, she has written and published three full-length records (Apocalypse Sets In (2009), Memories For The Unseen (2012), and La Maison Verte (2016)), receiving high praise from the music press and collaborating closely with her band both in the studio and in live performance. Laura has lived in Los Angeles and then in New York, and both cities, together with Italy, have created a superimposition of influences that have led her writing to develop in a personal direction. From more abstract and classically infused atmospheres, she has gradually moved towards a kind of increased simplicity and rawness, complemented by an ongoing research in her sound palette, currently based on organs as opposed to the acoustic piano she started writing on. Her music is variegated and enriched by an array of acoustic and electric elements (among which drones, nyckelharpa, harmonium), a series of darker ballads sometimes far from song form but invariably led by her rare and striking voice, a compelling force across all the landscapes through which it moves. At present, Laura has just finished producing a fourth album, Vever, written in New York between 2018 and 2020, and featuring the collaboration of a series of musicians among whom Josh Werner (Marc Ribot, Coco Rosie), Otto Hauser (Espers, Vashti Bunyan), Anni Rossi, and Janis Brenner (Meredith Monk & Vocal Ensemble). Over the years, Laura has also collaborated with various other artists, including songwriter Jaye Bartell, producer Adam Moseley, and band Giardini di Mirò. She has also been active in film music, contributing to the soundtracks of a number of films and documentaries. Among these are Shelter, Farewell to Heaven (2019), and Lucus a Lucendo (both by Caucaso Films). Eco vinyl.
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GODUNK 082LP
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Recorded in the summer of 2020, Rogues Gospel is drenched with a feeling of freedom as Duke Garwood and drummer Paul May sheltered from the world outside. It was, Garwood explains, "a heat-soaked fever dream of our soul nectar in sonic form." Recalling the past, gathering the elements from the present, the two artists -- whose knowledge of one another's playing is apparent throughout -- work together with exquisite tones and percussive detail in this intimate recording. Garwood expands, "We began with the drum, and the things that shake and rattle, the drones of the heat, we sweated and we worked it until the night calmed us. We were free in our spirits when this was created, free from any desires to conquer and fill our pockets with the booty of success."
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GODUNK 089LP
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Born from the Red Bank of New Jersey, the early days of Monster Magnet were a cosmos away from the major-label, alternative rock boom that would suck the band into the shiny MTV world of the early to mid '90s. Originally formed by Dave Wyndorf, John McBain, and Tim Cronin, Monster Magnet lysergic oozed into the world in 1989 with two demo tapes -- Forget About Life, I'm High On Dope and I'm Stoned, What Ya Gonna Do About It? -- making it perfectly clear from the start where they were coming from. This was a band reveling in bad trips and the death of the hippy dream with a Manson Family stare, playing squelchy lo-fi psychedelic music with a rabid punk rock sneer, like The Stooges terrorizing Hawkwind at the most unpleasant free festival imaginable. There were tales of entire audiences at their gigs being spiked with LSD. It didn't matter if this was true or not, it all added to the mystique. This was indeed a satanic drug thing, you wouldn't understand. Those two demos formed the base of what would become their pivotal Spine Of God album from 1991 and the 25... Tab EP, which featured the mesmerizing 32-minute opus itself, "Tab". Long considered to be the true essence of Magnet's early psychedelic voyages, "Tab" is finally returning to Earth's stratosphere with the release of Test Patterns: Vol. 1. Test Patterns: Vol. 1 features a 2021 remix of "Tab" by John McBain, alongside the original demo, recorded in 1988 and then released on the aforementioned Forget About Life, I'm High On Dope in 1989. "When Magnet started, John and I worked in record stores in Red Bank and Dave worked in the comic bookstore and we made a lot of tapes for each other," recalls Tim Cronin. "A lot of 'check this shit out' kind of stuff -- Hawkwind, early UFO, Amon Düül, Can, Skullflower, Morgen, Loop, Crystalized Movements, early Alice Cooper, Walking Seeds, Butthole Surfers, Spacemen 3. When we recorded the first demo and got to 'TAB', we just beat the shit out of it until it became heavy, noisy, weird, mean and either too long or not long enough, depending on your mood. Everything we wanted in a song (at least everything I wanted in a song), punishingly psychedelic. Jersey Shore krautrock." 180 gram vinyl; acid blotter insert.
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GODUNK 085LP
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Modern Rituals have announced their return with the release of upcoming new album, Cracking of the Bulk. For a band who've tended to flesh out songs in the practice room and track live, the writing and recording of Modern Rituals' third album was a disparate and protracted process. In cramped apartments and a secluded annex, sharing files over the internet and working on parts in solitude, the band introduced subtler tones from their last record, This Is The History (2020). Yet still, this new direction is matched by an explosive frustration that gives it a unique balance of darker and lighter shades.
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GODUNK 077LP
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"... Acid blues punk meets freeform drone raag transcendentalism" Jonny Halifax is an untutored aleatoric free blues outsider. His new collection of sound is an instrumental departure into godless raag brut improvisations, layered, manipulated and sculpted into heavily immersive feral sonic collages. Invocations of a hallucinatory apocalyptic near future. Previously the creator of junkshop blues skronk one man band Honkeyfinger, which then mutated into the gospel fuzz psych of Julian Cope endorsed Jonny Halifax & The Howling Truth with their "slitherin' electro -programmed slide guitar driven mung worship", alongside the ambient drone metal noisescapes of Deathenteredinerror, now The Jonny Halifax Invocation channel heavy meditations on the present into an uncompromising free blues transcendentalism that burn raga-shaped holes into your chakra with searing psychedelic intensity. Inspired by Henry Flynt's avant bluegrass experiments fusing country blues with eastern acoustic musical stylings, Spacemen 3's contemporary sitar music, and the monolithic drone doom immersion of Sunn 0))), The Jonny Halifax Invocation build hypnotic instrumental soundscapes using lap steel and homemade slide guitars, harmonica, and alto sax. Underpinned by layers of acoustic and electronic drone instruments and fed through an arsenal of pedalboard electronics that would make Dave Gilmour weep. The blues are transmogrified, unhinged, reduced and re-imagined as intoxicating, trance-inducing, feedback-drenched noise paintings. Açid Blüüs Räägs: Vol. 1 plays like a psychedelic western movie soundtrack, frenzied electric lap steel guitar suites play to melting cowboy minds. Flaming tumbleweeds blow in slow motion across wide open concrete vistas. Jodorowsky's El Topo meets Ballard's High Rise in an apocalyptic knife edge disintegrating urban landscape. Shut your eyes and conjure the best nightmares you've never had. The Jonny Halifax musical CV also includes studio contributions to releases by Andrew Weatherall's Two Lone Swordsmen, UK metal behemoths Orange Goblin, hardcore thrash upstarts Heck (formerly Baby Godzilla), and pan European psych noise titans Melting Hand.
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GODUNK 081LP
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LP version. Tripe. It's what graces the cover of Cassels' third album, A Gut Feeling. It looks gross. And Cassels are a rock band who've often sounded gross. You know the adjectives. "Discordant". "Angular". "Cynical". Shellac quickly mentioned. Listening to A Gut Feeling, though, Cassels sound different. Not too different -- the molten riff of advance single "Mr Henderson Coughs" puts paid to the idea that the London-based duo have taken a hard 180. But instead of writing as quickly as possible, the Covid-19 pandemic gave the brothers Beck (Jim, guitar/vocals, and Loz, drums/BVs) some time to mull things over. Instead of sticking with the stripped-back recording approach of previous LPs, Jim and Loz spent time at Tom Hill's Bookhouse Studios in South London, considering tone, layering tracks, and bringing new instruments into the fold. Lyrically, the approach has changed too. Rather than presented as personal experience, Jim notes that his words this time around "are an intentionally muddy mix of experience, opinion, red herrings and fiction." The result is the most satisfying and unexpected collection of songs in the Cassels catalog. Instruments at turns razor-sharp and bludgeon-blunt provide the backing track to a savage, hilarious, and tender collection of short stories. Jim notes that "writing can be a great way of unearthing hang-ups and becoming acquainted with your own anxieties." Hardly new ground for a rock band, but presented in this third person format -- unbiased and filled to the brim with human warmth -- these songs are more empathetic than anything the band have written before. It's clear that the band still aren't afraid to tackle weighty subjects too, with A Gut Feeling picking up where their previous album, The Perfect Ending (2019), left off. "Charlie Goes Skiing" pulls a similar trick to Future of the Left's "Goals in Slow Motion" -- setting a screed against consumerism to one of the most propulsive, catchy tracks on the record. It's followed by "Dog Drops Bone", a rustling loop overlaid with sad, simple chords reminiscent of a Sparklehorse tune, which uses the internal monologue of a beloved canine companion to question the true depth and sincerity of human relationships. This kicks into the breakneck "Beth's Recurring Dream" -- a track exploring a sexual identity crisis which owes as much to early Los Campesinos! as it does Steve Albini. Of "Your Humble Narrator", the album's punishing, pulsing opener and A Gut Feeling's thematic frame.
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GODUNK 081CD
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Tripe. It's what graces the cover of Cassels' third album, A Gut Feeling. It looks gross. And Cassels are a rock band who've often sounded gross. You know the adjectives. "Discordant". "Angular". "Cynical". Shellac quickly mentioned. Listening to A Gut Feeling, though, Cassels sound different. Not too different -- the molten riff of advance single "Mr Henderson Coughs" puts paid to the idea that the London-based duo have taken a hard 180. But instead of writing as quickly as possible, the Covid-19 pandemic gave the brothers Beck (Jim, guitar/vocals, and Loz, drums/BVs) some time to mull things over. Instead of sticking with the stripped-back recording approach of previous LPs, Jim and Loz spent time at Tom Hill's Bookhouse Studios in South London, considering tone, layering tracks, and bringing new instruments into the fold. Lyrically, the approach has changed too. Rather than presented as personal experience, Jim notes that his words this time around "are an intentionally muddy mix of experience, opinion, red herrings and fiction." The result is the most satisfying and unexpected collection of songs in the Cassels catalog. Instruments at turns razor-sharp and bludgeon-blunt provide the backing track to a savage, hilarious, and tender collection of short stories. Jim notes that "writing can be a great way of unearthing hang-ups and becoming acquainted with your own anxieties." Hardly new ground for a rock band, but presented in this third person format -- unbiased and filled to the brim with human warmth -- these songs are more empathetic than anything the band have written before. It's clear that the band still aren't afraid to tackle weighty subjects too, with A Gut Feeling picking up where their previous album, The Perfect Ending (2019), left off. "Charlie Goes Skiing" pulls a similar trick to Future of the Left's "Goals in Slow Motion" -- setting a screed against consumerism to one of the most propulsive, catchy tracks on the record. It's followed by "Dog Drops Bone", a rustling loop overlaid with sad, simple chords reminiscent of a Sparklehorse tune, which uses the internal monologue of a beloved canine companion to question the true depth and sincerity of human relationships. This kicks into the breakneck "Beth's Recurring Dream" -- a track exploring a sexual identity crisis which owes as much to early Los Campesinos! as it does Steve Albini. Of "Your Humble Narrator", the album's punishing, pulsing opener and A Gut Feeling's thematic frame.
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GODUNK 083LP
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"A devilish and hallucinatory march into the depths of human bleakness, odes to spirituality and guilt. Playing a southern gothic swampland voodoo" --The Wire.
Sneers. is the female-fronted music project formed by Italian singer and guitarist M.Greta Blaankart and drummer Leonardo O. Stefenelli. Started in Berlin and relocated to Rome, Sneers.' music is a devilish and hallucinatory march into the depths of human bleakness, characterized by the emotionally overpowering narrative of Blaankart's lyrics. The band's poetry is blood-filled and their music is luminously melancholic. Sneers.' musical exploration of heaven and hell was best documented on the band's 2018's studio album, Heaven Will Rescue Us, We're The Scum, We're In The Sun (GODUNK 042LP), with the studio collaboration of Kristof Hahn of Swans at the lap-steel guitar and released by God Unknown Records. Since its release, Sneers. have been extensively touring Europe and UK and received praise for their live performances, bringing them to be premiered on BBC Radio 6 and hit stages such as Rough Trade East in London, with Révista Marvin defining Blaankart's voice close to living legend Diamanda Galás. Their new work, Tales For Violent Days, is released on God Unknown Records. The record was produced by Freddie Murphy (Father Murphy) and Sneers. Engineered and recorded by Paul Beauchamp at OFF Studio, in Turin, and mixed by Francesco Donadello at Vox-Ton Studio, Berlin.
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GODUNK 073CD
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James Johnston (Gallon Drunk, Nick Cave, PJ Harvey) and Steve Gullick (renowned music photographer) announce their new album, We Travel Time. It's a dark but beautiful trip. After working together on an art show in late 2019, the idea of making music again immediately resurfaced. Without any firm strategy, Johnston and Gullick began recording, unprompted, drawing upon a shared love of noise, folk, and classical. After the first tracks began to evolve, however, they knew they'd unearthed something compelling and fresh, not to mention unexpectedly mysterious. This became We Travel Time. The result is a deceptively crafted album that slowly reveals -- and, more importantly, embraces -- beauty in its cracks. Piano, voice, violin, and guitar create a drifting haze, with the focus on these acoustic elements forging an imagined soundtrack which offers echoes of Big Star, Nico, Lee Hazlewood, and Palace Brothers, as well as the gentle, haunting influence of contemporary minimal classical. Ambient sounds -- birds, rain, cars, clocks, distant voices -- also drift in and out, melting into the music's fabric via windows left open during the early 2020 heatwave. We Travel Time, nonetheless, resists definition, remaining enigmatically timeless.
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GODUNK 069LP
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Pulling inspiration from the weirdest depths of post punk and krautrock, Klämp inject elements of noise rock and horrific low end into the mix, all while kneeling at the altar of the riff. Hate You is Klämp's second album, and first to feature Lee Vincent on drums. The recording took place in March 2020 in East London as the world went on lock down with Covid-19. Capturing the palpable tension in the air, Hate You would make a fitting soundtrack to the apocalypse. Klämp is: Lee Vincent (Pulled Apart By Horses, Concentration Champ), Jason Stöll (Sex Swing, Twin Sister, Mugstar, God Unknown Records, Bonnacons of Doom), and Greg Wynne (Manatees).
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GODUNK 070CD
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Splintered Metal Sky, the long-awaited new installment in the ever-vast musical cannon of White Hills. The album takes the listener on a post-punk, psychedelic ride fueled by industrial-strength fuzz and propelled by powerful beats where songs weave in and out of each other to imitate the rhythm of the city the band calls home. Splintered Metal Sky is about oscillation and evolution. It's metamodern music looking at human existence in relation to technology and the hyper-driven architectural reshaping of a city. The music was largely inspired by the drone and roar of machinery pulsing through New York City, which is in a never-ending state of demolition and reconstruction. Dave and Ego took to the streets, gathering field recordings of sounds from the subway, drills, jackhammers, people in parks, traffic, mayhem, and the occasional silence. These recordings were then manipulated and constructed into rhythmic lines that were used as the basis for songs. The music, mixing noise with disciplined beat, embodies the paradoxical nature of the city: the grimy littered dead end alley just steps away from the sleek luxury skyscraper; the half-eaten chicken bone being devoured by a rat on the subway tracks just beneath the glittering facade of the Chrysler building; the endless milling about of the eight million people who call this slab of land home on their way to and from everywhere and nowhere. Informed by industrial innovators Einstürzende Neubauten and SPK, the avant-garde post-punk of Tuxedomoon and the dub-electro of Cabaret Voltaire, the album vibrates with the energy of a sensually feral, raw beast. "CoNSTRUCT" features synth and samples by Jim Coleman and ambient guitar by Jim Jarmusch.
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GODUNK 064LP
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God Unknown Records announce a campaign of releasing the lost albums of '90s post-rockers Bushpilot in 2020. 23 has been lovingly re-edited and post-produced by studio legend Richard Formby (Ghostpoet, Wild Beasts, Darkstar, and a later member of Bushpilot), together with vocalist Ross Holloway. Bushpilot arrived at the avant-garde of the Leeds's punk and indie scene in 1993 with Holloway, Karl Berlin (bass) and Daren Pickles (guitar), formerly of epic noise architects Purple Eternal, playing alongside the more melodic Adrian Gans (guitar) and bolstered by the power of Phil Leigh on drums (previously of Spectral Alice, now founder and owner of Norman Records). 23 is Bushpilot's magnum opus beautifully crafted and totally way ahead of its time. Influenced by Can, Slint, and Talk Talk, Bushpilot signed to Cherry Red in the mid-nineties and recorded two albums before disbanding and heading off in different directions. The album was recorded back in 1994 but left in the archives without seeing the light of day until now. "... these raw and distinctly krautrock and Fall-inspired sounds of Bushpilot feel like a hidden history of what could have been for the era and the direct influence of Malcolm Mooney-era Can is instantly recognisable." --The Quietus
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LP
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GODUNK 068LP
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Continuing the relationship between God Unknown Records and Charles Hayward, the label announces this magical new collaboration between Charles and London based audio-visual duo, Harmergeddon. Driving drumming with electronics weaving through beautiful soundscapes. Charles Hayward is an English drummer and was a founding member of the experimental rock groups This Heat and Camberwell Now. He also played with Mal Dean's Amazing Band, Dolphin Logic, and gigged and recorded with Phil Manzanera in the group Quiet Sun project as well as a short stint with Gong. He was a session musician on The Raincoats' second album, Odyshape (1981), and on one occasion played drums for the anarchist punk band Crass. Since the late 1980s he has concentrated on solo projects and collaborations, including Massacre with Bill Laswell and Fred Frith. His first solo record, Survive the Gesture, was released in 1987. Since then, he has released ten more long players, and has been touring with the reformed This is not This Heat. Harmergeddon is Nathan Greywater and Polyphoniefae, Dungeness based a/v performance art duo formed in South London in the autumn of 2010. Their live show blends sound and light in a feedback loop using photophonics (sound carried on light beams), electro-magnetic fields, and consumer electronic junk, taking industrial from its scrap metal past to the electronic fallout of late capitalism with a basis in improvisation and psychedelia. The result verges on sensory overload. Since their inception they have played internationally in venues as diverse as a cave (Grobbia Artist Residency 2017, Italy), a forest (Ambiosonic 2016, France), a moving train (Resting Place, Platform-7 & Dawn Cole) and the legendary MS Stubnitz. They played Splice Festival 2018, streamed live to Montreal for Sight & Sound 2016 and Winnipeg for the Winnipeg Underground Film Festival 2017 (in collaboration with Guillaume Vallée). Hayward Versus Harmergeddon is collaborative encounter, a cooperative sonic wrestling match and the only winner is the listener, a right earful of sound and plenty more for the other one, too. 1, 2, check, 1, 2, testing, 1, 2, are you listening?
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7"
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GODUNK 063EP
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God Unknown Records announce a campaign of releasing the lost recordings of '90s post-rockers Bushpilot in 2020. "these raw and distinctly krautrock and Fall-inspired sounds of Bushpilot feel like a hidden history of what could have been for the era and the direct influence of Malcolm Mooney-era Can is instantly recognisable." --The Quietus. "21st Century Breakdown" is journey through a krautrock inspired, taut and rhythmic landscape influenced and shaped by Can, Talk Talk, Neu!, Slint, and Talking Heads. The tracks have been lovingly re-edited and post-produced by studio legend Richard Formby (Ghostpoet, Wild Beasts, Darkstar, and a later member of Bushpilot), together with vocalist Ross Holloway. Bushpilot arrived at the avant-garde of the Leeds' punk and indie scene in 1993 with Holloway, Karl Berlin (bass), and Daren Pickles (guitar), formerly of epic noise architects Purple Eternal, playing alongside the more melodic Adrian Gans (guitar) and bolstered by the power of Phil Leigh on drums (previously of Spectral Alice, now founder and owner of Norman Records).
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GODUNK 060LP
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Whistling Arrow is the debut collaboration between critically acclaimed composer and performer Laura Cannell, This Heat/Camberwell Now founder and seasoned composer/improviser Charles Hayward, multi-disciplinary musician Andre Bosman, and prepared guitar minimalists Ex-Easter Island Head. Brought together by a shared bill on Cannell's Arts Council-funded Modern Ritual tour, the six musicians convened for a single session in Liverpool's Parr Street Studios in 2017. Recording live in the room with few preconceptions and an appreciation of each other's work, the sextet improvised on violins, recorders, drums, piano, electronics, prepared guitars, percussion, and voice. The music of Whistling Arrow represents a deeply empathic meeting of unique musical voices: evoking a musical territory of the ancient and the modern, earthen, and concrete. Laura Cannell's over bow violins wring melodic fragments and modes into groaning chordal shapes, gut-strung, and rapturous; scraping the ground and circling treetops, birdcall double-recorders chirruping in concert. The mallet-struck guitars of Ex-Easter Island Head surge and drift against clouds of overtone-rich amplified strings, excited with motors, Allen keys, and bows, emerging like sun rays through the foliage. Andre Bosman's marshland electronics permeate with humid unease -- glinting metal half-buried, clandestine cabling in wild country. Charles Hayward's expressive command of rhythm and intricate percussive color moves the music forward in swung leaps and nimble left turns, rolling resonances pushing and pulling the formal anchor of Jonathan Hering's piano into tumultuous terrain and gleaming chord shapes. With sleeve notes by writer and comedian Stewart Lee name-checking Faust, Arvo Pärt, the Velvet Underground, and Hildegard Von Bingen as sonic touchstones, the music of Whistling Arrow draws upon the decades-worth of compositional/improvisational practice of the sextet.
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7"
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GODUNK 026EP
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Wellwater Conspiracy were a mid-1990s supergroup featuring Monster Magnet and Soundgarden members who wanted to live out their psychedelic rock needs that their other bands didn't provide. From their 1997 classic Declaration of Conformity, this 7" is a cover of the Syd Barrett penned early Pink Floyd track, "Lucy Leave". It's awesome, it's limited. Edition of 300.
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LP
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GODUNK 059LP
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LP version. Featuring Nicholas Bullen (founder member of Napalm Death and Scorn) and John Pickering (founder member of Doom and Sore Throat), Birmingham-based Rainbow Grave channel the blank despair of negative punk through layers of distorted psychedelic damage: dirty guitars, freeform pedal abuse, and effected vocals coagulate around cyclic bass and drum rhythms in repetitive and minimal structures. After a performance at Fat Out Fest in Salford in April 2017, God Unknown Records approached the group to record a split 7" single (GODUNK 043EP). Released in July 2018 as part of volume three of the God Unknown Singles Series, Rainbow Grave's Death Pyramid is a crawling mantric blend of heavy bass, psychedelic guitars, robotic vocals, and hard drums described as "deeply hewn heaviness" (Shindig) and "congruent with the great scum rock purveyors of the late '80s" (The Wire). Following the reception of the single, God Unknown invited Rainbow Grave to continue the relationship with the release of the "Sex Threat/You Are Nowhere" 7" single in November 2018. This was given Single of the Week by John Doran at The Quietus.
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