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HARBGIS 001LP
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last copies... RSD UK release from 2021 With the release of their debut album at the end of 2020, Girls In Synthesis proved that the hype was very much justified when it came to the bands tag as one of the most exciting in the UK. A concise and rabid blast of harsh post-punk, and released during the COVID crisis, the album eerily managed to capture the mood of the moment, despite being written and recorded in 2019. Rightly so, it was released to stunned reviews and featured in many "Best of 2020" end-of-year lists. Always a band with a militant work ethic, the first fruits of their fevered writing and recording period throughout 2020 are borne here with Shift In State. Featuring five brand new tracks, the mini-album sees the trio return to the experimental edge of their early, and highly sought-after, EP releases. The lead track "Containment", an abstract, bleak and circular slice of obtuse-punk gives way to an explosive and skewed dub remix featuring languorous horns and industrial sounding percussion. Following on, "... But Still You Wanted More" retains the dub minimalism and adds trudging, nihilistic lyrical content alongside churning, saw-sharp organ. "Calm Waters", the groups' first foray into a harsher, electronic landscape, brings to the forefront a crushing, relentless drum machine backbeat and woozy, warped bass hooks. Finishing on "Don't Try", this song sees the band return to their more familiar white-heat blast of post-punk. Shards of harsh, splintered guitar and pounding drums help push the theme of gross governmental incompetence well and truly into the listener's brain. Their incendiary live shows being hugely missed by fans, UK and EU dates are currently being signed off for late 2021 with further key releases also being lined up for release later in the year. Never a band to sit still, Shift In State sees GIS, once again, surmount all obstacles and proves them to be one of the most forward-thinking and tireless acts in the UK. White-in-black vinyl.
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HARB 205LP
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Repressed. Originally released in a very limited edition during 1983. The RJF album has gone onto achieve legendary status amongst both collectors and fans of '80s murky industrial underground music. Crawling out from the dark heart of Gothenburg, Sweden to no fanfare whatsoever, this record now commands a high three figure sum on the very scarce occasions it actually appears for sale. It is now considered to be one of the true corner stones of Swedish dark electronic music and, unlike a lot of obscure records from the same period, with very good reason. The record just oozes ill intent from all seven tracks. It's riddled throughout with a grim lo-fi electronic minimalism that makes the record so effective. The tracks run the gauntlet of sparse programmed beats, sustained heavy distortion that oscillates and weaves its way around monotone depressive and painful vocal outbursts as it crawls off back into its dark corner. There's no love to be found here. This reissue comes courtesy of Harbinger Sound. Original artwork and extensive sleeve notes.
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HARB 206CD
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Following a steady stream of ultra-limited 7" singles, that were collated together in 2019 for the Pre/Post: A Collection 2016-2018 (HARB 204LP, 2018) on Louder Than War, Girls In Synthesis's highly-anticipated debut album arrives. Since forming in late 2016, Girls In Synthesis have quickly forged a fearsome reputation as one of the most exciting and volatile live acts in London. In equal parts frantic, considered, ear-splitting, and melodic, the group take their cues from the early DIY punk and post-punk pioneers to keep everything in-house. Now Here's An Echo From Your Future is their first release for fabled experimental punk label Harbinger Sound and finds the band advancing their sound, making subtle but experimental shifts in texture and tone, helping to break free from the shackled straight-jacket of punk rock that, to be fair, never really held them down in the first place. Across the album's ten songs, Girls In Synthesis explore a wide range of sensations and sounds as the album detonates into life with opening track "Arterial Movements" in a screeching flurry of over-driven guitar and hammering drums. The contrast between the slow, mesmerizing look into aging and dying in "Human Frailty", to the aggressive attack on the rise of the right-wing in "They're Not Listening" shows a wide range of subjects and reactions aggressively tackled. Mental health in a fast-moving, unforgiving world, media control, the divide widening between the have and the have nots, the class divide, the blaming of the poor, NHAEFYF bristles with an unforgiving frustration and temper. The recording of NHAEFYF started at Rockit Studio, Hull in April 2019 during days off on the UK tour to promote the Pre/Post compilation album. The Hull sessions were engineered by studio owner and local musician Sean Tomlinson. The remainder of the album was recorded and engineered by the band throughout summer 2019 in a large rehearsal room at Gun Factory studios, Homerton. Production and finishing touches were completed at GIS bassist John's S.I.C.K Studio in Hither Green. The album was mixed by long-time band collaborator and engineer, Max Walker. In their few years of existence, fans and critics alike have been stunned by the bands pure visceral and punishing wall of sound, as well as applauding the groups way of making a GIS show an all-inclusive experience; playing from within the crowd to create a unique and awe-inspiring spectacle.
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HARB 206LP
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LP version. Following a steady stream of ultra-limited 7" singles, that were collated together in 2019 for the Pre/Post: A Collection 2016-2018 (HARB 204LP, 2018) on Louder Than War, Girls In Synthesis's highly-anticipated debut album arrives. Since forming in late 2016, Girls In Synthesis have quickly forged a fearsome reputation as one of the most exciting and volatile live acts in London. In equal parts frantic, considered, ear-splitting, and melodic, the group take their cues from the early DIY punk and post-punk pioneers to keep everything in-house. Now Here's An Echo From Your Future is their first release for fabled experimental punk label Harbinger Sound and finds the band advancing their sound, making subtle but experimental shifts in texture and tone, helping to break free from the shackled straight-jacket of punk rock that, to be fair, never really held them down in the first place. Across the album's ten songs, Girls In Synthesis explore a wide range of sensations and sounds as the album detonates into life with opening track "Arterial Movements" in a screeching flurry of over-driven guitar and hammering drums. The contrast between the slow, mesmerizing look into aging and dying in "Human Frailty", to the aggressive attack on the rise of the right-wing in "They're Not Listening" shows a wide range of subjects and reactions aggressively tackled. Mental health in a fast-moving, unforgiving world, media control, the divide widening between the have and the have nots, the class divide, the blaming of the poor, NHAEFYF bristles with an unforgiving frustration and temper. The recording of NHAEFYF started at Rockit Studio, Hull in April 2019 during days off on the UK tour to promote the Pre/Post compilation album. The Hull sessions were engineered by studio owner and local musician Sean Tomlinson. The remainder of the album was recorded and engineered by the band throughout summer 2019 in a large rehearsal room at Gun Factory studios, Homerton. Production and finishing touches were completed at GIS bassist John's S.I.C.K Studio in Hither Green. The album was mixed by long-time band collaborator and engineer, Max Walker. In their few years of existence, fans and critics alike have been stunned by the bands pure visceral and punishing wall of sound, as well as applauding the groups way of making a GIS show an all-inclusive experience; playing from within the crowd to create a unique and awe-inspiring spectacle.
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HARB 206S-LP
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2021 restock; LP version. Grey vinyl. Following a steady stream of ultra-limited 7" singles, that were collated together in 2019 for the Pre/Post: A Collection 2016-2018 (HARB 204LP, 2018) on Louder Than War, Girls In Synthesis's highly-anticipated debut album arrives. Since forming in late 2016, Girls In Synthesis have quickly forged a fearsome reputation as one of the most exciting and volatile live acts in London. In equal parts frantic, considered, ear-splitting, and melodic, the group take their cues from the early DIY punk and post-punk pioneers to keep everything in-house. Now Here's An Echo From Your Future is their first release for fabled experimental punk label Harbinger Sound and finds the band advancing their sound, making subtle but experimental shifts in texture and tone, helping to break free from the shackled straight-jacket of punk rock that, to be fair, never really held them down in the first place. Across the album's ten songs, Girls In Synthesis explore a wide range of sensations and sounds as the album detonates into life with opening track "Arterial Movements" in a screeching flurry of over-driven guitar and hammering drums. The contrast between the slow, mesmerizing look into aging and dying in "Human Frailty", to the aggressive attack on the rise of the right-wing in "They're Not Listening" shows a wide range of subjects and reactions aggressively tackled. Mental health in a fast-moving, unforgiving world, media control, the divide widening between the have and the have nots, the class divide, the blaming of the poor, NHAEFYF bristles with an unforgiving frustration and temper. The recording of NHAEFYF started at Rockit Studio, Hull in April 2019 during days off on the UK tour to promote the Pre/Post compilation album. The Hull sessions were engineered by studio owner and local musician Sean Tomlinson. The remainder of the album was recorded and engineered by the band throughout summer 2019 in a large rehearsal room at Gun Factory studios, Homerton. Production and finishing touches were completed at GIS bassist John's S.I.C.K Studio in Hither Green. The album was mixed by long-time band collaborator and engineer, Max Walker. In their few years of existence, fans and critics alike have been stunned by the bands pure visceral and punishing wall of sound, as well as applauding the groups way of making a GIS show an all-inclusive experience; playing from within the crowd to create a unique and awe-inspiring spectacle.
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HARB 203LP
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Finally, Massicot's second album is here! As ever the groove is the key to Massicot's sound. Simple, seductive, and human. The band choreograph their way around the spaces between traditional spiritual story telling mysticism of Northern European pagan folklore and Latin and Middle-Eastern inspired polyrythms topped off with a little post-punk. As ever the arrangements are full and juicy whilst formed from the simplest elements. The bouncing percussive tapestries are coupled with thick pulsating basslines which form the meandering but tightly-wound rolling beats. Over which goes the accenting citric guitar hooks and the soothing Latvian chant-like choral vocal melodies. Massicot create a carnival dance that locks in the mind whilst luring the body. In true collaborative spirt this record is released in conjunction with our sister-label Spurge Recordings and also the good folks at Bongo Joe (Geneva) and Red Wig (Hamburg). No borders, ever.
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HARB 202LP
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After two well-received self-released records, Mentira have hooked up with Harbinger Sound for the release of this mini-album which features six brand new tracks recorded over 2019. This Sao Paulo duo -- although they now reside in Barcelona -- produce more infectious tunes than those previous records hinted at. These fragmented minimalist tracks captured with just cheap keyboards, a bass, and the occasional drum topped with some engaging vocals from Laura Lanca will please anyone one with an ear attuned to contemporary post-punk coming from further afield than London.
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HARB 199LP
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2022 restock, last copies... Pin The Needles is the first official live Urinals LP, released a mere 40 years after being recorded in 1979. The band was invited to play in Santa Barbara, a bucolic college beach community a couple hours north of Los Angeles. As you'll hear, the few people in the audience were treated to a set of Urinals classics and a few songs that would populate their debut LP released in 1983 -- just after the band broke up (and had changed their name to 100 Flowers to break out of the cookie cutter hardcore scene they felt trapped in). 22 tracks that transport you back to the late '70s; highlights include a slow workout of "Sensible Virgin", a hyper-manic "Surfin' With The Shah", and an early reveal of the now-classic "California's Falling Into The Ocean". This record is the Urinal's first ever release outside of the USA. Housed in an information-packed gatefold sleeve.
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HARB 204LP
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This collection of scarce and sought-after recordings was originally released by Louder Than War and sold out pretty much straight away. Girls In Synthesis have quickly forged a fearsome reputation as one of the most exciting and volatile live acts in London. In equal parts frantic, considered, ear-splitting and melodic. Pre/Post sees Girls In Synthesis compile their three previous EP releases and also sees inclusion of their debut single The Mound/Disappear, never released before on vinyl. Experimentation has seen them transgress the punk bracket into something more original and unique while stage shows present a complete and controlled spectacle, with the group moving from playing on stage to dragging equipment into the audience, desperately trying to remove the group/audience barrier. Their explosive shows have seen them hand-picked for support slots with bands as disparate as Bad Breeding, Slaves, Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Wolf Alice, Warmduscher, and Damo Suzuki. The lopsided, fuzz groove of "Disappear" rubs shoulders with the bass-driven, future crowd favorite "The Mound" to add up to a frantic and stripped-back, stunning calling card. Follow up EP Suburban Hell saw the group develop the sonic aspects of their music, with the harshness ramped up and subtle but powerful production aspects pushing songs like "Suburban Hell" and "Phases" into harsh, noise-punk territory. Second EP, We Might Not Make Tomorrow, added a slight melodic edge to the previous aural bludgeon, whilst the lyrics to songs like the title track, "Sentient" and "Tainted" explore deeper issues such as the threat of nuclear war, animal cruelty and the outcome of the USA presidential election. The third EP, Fan The Flames, further presses into deeper lyrical territory, with songs focusing on government neglect, anxiety, and mental health issues. The production receives even further toughening up and also features the group's first foray into spoken word in "Howling", albeit with a glitchy, unmusical, harsh noise backdrop.
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HARB 185LP
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There Is Nothing Left But The Enjoyment Of Senseless Destruction is the first deadly plastic bullet from Dead Normal, a Barcelona-based trio fusing harsh electronics with a confrontational punk aesthetic to devastating effect. Think early SPK meets 1990s Whitehouse, distorted Scorn/JFK-type skull-crushing beats, a sprinkling of deconstructed Mark Stewart/Tackhead-esque mutant groove, and a ferocious dual male/female vocal attack reminiscent of Mark E. Smith at his most irascible combined with Crass' Eve Libertine at her most acerbic. Push the levels into the red and you're still only half way close to the unique and original hybrid of Dead Normal's punishing sonic assault. Founded in 2016 by Mario (electronics) with Oriol Rosell and Zoë V sharing vocal duties, the members of Dead Normal have a pedigree spanning two decades in the experimental/avant-garde scene, including collaborations with artists such as The New Blockaders and 2nd Gen. Dead Normal have played in Spain, London, and Berlin alongside a diversity of acts from hardcore punk to power electronics and synthpop with further live performances to be announced shortly.
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HARB 179LP
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It's often said that the best don't need to advertise -- Here's the proof. After many years of working away in Stockholm's dark underside, long-standing but low-profile, Tommy Carlsson produces his most complete work to date. A solid slab of noise recorded in mono for maximum hostility. This record is an avalanche of tightly-constructed, raw caustic crunch. Let yourself wallow in the depths of these dark electronic wails. This record is without doubt the strongest statement of intent yet from the uncrowned Noise overlord of Sweden. May the Lord bless you. Edition of 300.
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2LP
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HARB 200LP
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Double LP version. Consumer Electronics return with Airless Space, a double album of all new studio recordings produced by Russell Haswell. Some wondered how the songwriting team of Philip Best and Sarah Froelich would fare after the leaving their London home to take up residency in the United States. Well, here's the answer. Recorded in San Francisco, CE deliver Airless Space, a state-of-the-union address that does for an American audience what the band's earlier Estuary English (DPROM 108LP, 2014) album did for a British audience poised upon the coming madness of Brexit. Unusually for CE, Airless Space clocks in at 60 minutes, a hexed induction for a country laboring under a presidency, that like Brexit itself, few saw coming or contemplated having to endure. Sound-wise, CE have maybe mellowed the tone a touch, allowing their electronics to stretch out and breathe, whereas the frenzied and anxious vocals of Best and Froelich remain as snatched and breathless as ever. Stunningly produced by Russell Haswell and gorgeously mastered by award-winning cutting engineer Matt Colton, Airless Space by Consumer Electronics is their most complete and rounded statement yet.
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HARB 200CD
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Consumer Electronics return with Airless Space, a double album of all new studio recordings produced by Russell Haswell. Some wondered how the songwriting team of Philip Best and Sarah Froelich would fare after the leaving their London home to take up residency in the United States. Well, here's the answer. Recorded in San Francisco, CE deliver Airless Space, a state-of-the-union address that does for an American audience what the band's earlier Estuary English (DPROM 108LP, 2014) album did for a British audience poised upon the coming madness of Brexit. Unusually for CE, Airless Space clocks in at 60 minutes, a hexed induction for a country laboring under a presidency, that like Brexit itself, few saw coming or contemplated having to endure. Sound-wise, CE have maybe mellowed the tone a touch, allowing their electronics to stretch out and breathe, whereas the frenzied and anxious vocals of Best and Froelich remain as snatched and breathless as ever. Stunningly produced by Russell Haswell and gorgeously mastered by award-winning cutting engineer Matt Colton, Airless Space by Consumer Electronics is their most complete and rounded statement yet.
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HARB 177LP
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LP version. "No Filter is the rightful extension of the Sleaford Mods idea in my opinion, but don't let that drive you into thinking this is some rehash. John Paul has, with the help of Rat and Steve Underwood, created a horrible account of modern forgotten England from the edge of his stool in the corner of the pub away from all the hard men he once ran with. It's the re-awakening of a mind trying to tune into truth and it's brutal. His wordplay and observations are near exceptional and at some points, and like all good music, it nearly devours itself as it tells musical convention to get fucked. The music too, is so fucking crap it's beautiful, like the mundane back ground music sent out from head office to all its pubs. No Filter has for me in some ways pushed the envelope of the Workers' Tale, the arrival into mid-life with its disgust for the old shit you did and the attitudes that came with all that. It's solid." --Jason Williamson (Sleaford Mods).
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HARB 177CD
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"No Filter is the rightful extension of the Sleaford Mods idea in my opinion, but don't let that drive you into thinking this is some rehash. John Paul has, with the help of Rat and Steve Underwood, created a horrible account of modern forgotten England from the edge of his stool in the corner of the pub away from all the hard men he once ran with. It's the re-awakening of a mind trying to tune into truth and it's brutal. His wordplay and observations are near exceptional and at some points, and like all good music, it nearly devours itself as it tells musical convention to get fucked. The music too, is so fucking crap it's beautiful, like the mundane back ground music sent out from head office to all its pubs. No Filter has for me in some ways pushed the envelope of the Workers' Tale, the arrival into mid-life with its disgust for the old shit you did and the attitudes that came with all that. It's solid." --Jason Williamson (Sleaford Mods).
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HARB 189CD
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Sudden Infant are a Swiss industrial-dada-noise-rock band based in Berlin. Their 2014 album Wölfli's Nightmare on Voodoo Rhythm Records was produced by Roli Mosimann (Swans, The Young Gods, Wiseblood) and was very well-received by critics and audiences. Buddhist Nihilism will consolidate the band's ability for bizarre and intense compositions full of left field humor, powerful rhythms and twisted structures. Brilliantly mixed and mastered by Martin Siewert (Radian) in his Vienna studio. Buddhist Nihilism is a real fistful of sturm und drang, a real departure for the band. The new record leaves some of the noise and industrial elements behind and sees the band streamlining its approach.
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HARB 189LP
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LP version. Sudden Infant are a Swiss industrial-dada-noise-rock band based in Berlin. Their 2014 album Wölfli's Nightmare on Voodoo Rhythm Records was produced by Roli Mosimann (Swans, The Young Gods, Wiseblood) and was very well-received by critics and audiences. Buddhist Nihilism will consolidate the band's ability for bizarre and intense compositions full of left field humor, powerful rhythms and twisted structures. Brilliantly mixed and mastered by Martin Siewert (Radian) in his Vienna studio. Buddhist Nihilism is a real fistful of sturm und drang, a real departure for the band. The new record leaves some of the noise and industrial elements behind and sees the band streamlining its approach.
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7"
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HARB 180EP
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Two all-new studio tracks by the experimental electronic trio of Philip Best, Sarah Froelich and producer Russell Haswell. Limited edition 'album-style' picture sleeve with printed card inner sleeve containing full lyrics to both tracks.
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HARB 184LP
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"Vicious, thumping, rough and readsy UK82 snot punk. Angry, inspired and catchy as hell." -- Sig Vishnu (Heavy Metal). Berlin punk band's debut album. Rumor says featuring folks from Heavy Metal amongst other gutter celebs from Berlin's less cool quarters. Very limited. Very ugly.
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HARB 183LP
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Noseholes' debut LP Danger Dance takes the listener on a journey in a scruffy taxi unexpectedly cruising through dirty, muddy streets into a neighborhood where discotheques are sparsely improvised in shabby basements, sound tracking the journey with a disco-infused variety of post-punk and no wave. The album contains groove heavy hits such as "Styling", "Danger Dance", and "Lush Box" mixed with more experimental songs sung in alien tongues, a no wave grumble rap, and finally, a nerve-wrecking saxophone improvisation. All the tracks offer up a unique take on your grasp of dance music. "Noseholes are from Hamburg, but do sound straight from New York though" --Trust Mag. "The minimalism and musical approach of Noseholes reminds me of bands such as Bush Tetras, Contortions, Shopping and Nachthexen" --X-Mist Records.
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2LP
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HARB 171LP
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The Ceramic Hobs are the band in the corner of the old man's pub round the back of the venue getting drunk before they either: a.) slay your senses with a mind boggling set of punk inspired psychedelia or, b.) fall over screaming and fighting. They make The Fall look as stable as U2 and the Butthole Surfers as mainstream as R.E.M. The band is from Blackpool and they've been going since 1985. This double-LP retrospective of the North of England's most unique, overlooked, and long-lasting underground band spans 25 years of recordings, with tracks taken from numerous releases carefully selected and sequenced by Philip Best (Consumer Electronics), ergot trip front cover art from John Godbert (Vibracathedral Orchestra), gatefold bad-vibe intricate line drawing from Darren Brian Adcock and a twelve-page booklet featuring an extended interview/essay by Chris Sienko and a band family tree.
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HARB 178LP
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Circuit Breaker is a band split in half. On the one hand, there is the jagged guitar and maudlin singing of Peter Simpson, which slots into the lineage of expansive and gothic punk ala Killing Joke, Bauhaus, Wire, etc. Pushing against it is the production approach of his brother Edward. Washes of glassy FM synth melodies are counterbalanced with bursts of electronic harshness, recalling artists such as Autechre or Pan Sonic. Hands Return To Shake is their second full-length. Moving on from the previous record, My Descent into Capital (HARB 151CD/LP, 2015), Hands Return is a much more personal and emotive work. Simultaneously a reaffirmation and a deconstruction of influences, the orthodoxies of minimal-synth and post-punk are stretched and squeezed to breaking point. Circuit Breaker is a band who relish in holding together contradictions. Both a rock band and an electronic act, they have a blunt and direct production approach which is full of technical detail.
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HARB 181EP
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The members of this Brighton-based trio having previously served time in bands including DiE, Men Oh Pause, and Splintered. Drawing inspiration from frenetic Pink Flag-era Wire (1977), Aussie degenerates X, and the bleak stride of Crisis, Structure deliver jagged lines on a cold steel frame of tense dense discontent to vandalize your dirty mind. Their debut features six Structure originals, including future dancefloor filler "Disco". Structure is: Christopher Shoulder (guitar, vocals), Maureen Bourne (bass, vocals), Paul Dudeney (drums).
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HARB 174LP
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The Nietzschean Supermen Of Dustbin Rock is the third album from Berlin's almost mythical band Heavy Metal. Don't let that name put you off. This is the most sarcastic snotty take on punk rock the modern age is going to throw at you. 12 tracks that are filled with a blatant disregard for everything. A limited edition on gold vinyl with gold printed sleeve and insert. Golden times.
"These Berlin mystics have collected the spare parts from their fleet of wrecked punk vehicles and jammed them together to form this twisted taunting monster. Pop culture references abound. The lyric sheet reading like the musings of a modern day Dan Tracey if he were a speedhead instead of a smackie. When the whole thing's done you're gonna pick it up , pull it towards your face and back a few times as if it were a Magic Eye you were suddenly gonna 'get', then put it down and come back with a friend" --Onton Nordberg.
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HARB 176LP
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Compiling both released and previously unreleased material from the eighties, Kanker Kommando's Low Tech 1982-1988 is a revelatory retrospective, shining a light on one of Belgium's best kept secrets. Forming in 1980 as a punk group, influenced by English post-punkers Swell Maps, Kanker Kommando quickly evolved and by 1982 they were fully invested in making experimental music on primitive electronics. Their music was free of traditional boundaries and reflected the grimness of their times, which resulted in a deteriorating, roughly-hewn sound. For fans of: Pan Sonic, Mego, Throbbing Gristle, SPK, John Cage, BBC Radiophonic Workshop, Vinyl On Demand, Broken Flag.
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