First ever collaboration between these two international electro-thug psych units. Recorded live and in the studio in New Zealand, it features two long tracks with Campbell Kneale on guitar, electronics and "harsh noise", Pete Swanson on electronics and vocals and GMS on guitar and electronics. First track moves from irresistible swells of tar-thick electronics to classic death/doom iconoclasm with deep bass runs that are as epic as your favourite block-busting Japanese guitarist. Second track is a torrent of pained electricity, tortured circuitry, lung-scraping vocals and power electronics that feel extremely tactile cut-up with Fushitsusha/Haino-esque brain-searing power blues. Sounds great.

Turbulent new split single from Robedoor and Yellow Swans with two sides of disobedient psychedelic ritual scored for orchestras of narcoleptic machines. Robedoor generate a particularly smoky modal trance while Yellow Swans are in full wipe-out white noise style. Edition of 500 copies with printed labels and silkscreened art by Shawn Reed of Raccoo-oo-oon.

“Originally released in 2005 as a limited edition CD-R on Yellow Swans' JYRK label, this three-way collab now gets a proper run on wax. Recorded in Oakland at the Huffin House before the Swans made the retreat back to Portland. Despite the weight of these players when they rock alone, this jam really never gets into full on white out territory. Instead, it's loaded to the brim with wavy neon distortion and soothing low end that occasional drops out into huge washes of emptiness. The opening passage of GMS guitar flecks sympathizing with Karl's string wash is alone worth the price of admission. Red vinyl with lime green splatter.” – RS. Cover art by Liz Harris (Grouper)

Fantastic new solo album from Peter Swanson, ex of Yellow Swans. This CD is an edition of 350 copies and is only 'officially' available as a bonus disc with direct mail order editions of Three Lobed's recent massive Not The Spaces You Know vinyl box set as a “mystery artist” release. If you've picked up on the last few Swanson solo releases you'll know that he is at the top of his game right now and I Don't Rock At All pushes further in the direction of euphoric solo fuzz guitar epics that mirror aspects of Keiji Haino/Fushitsusha while giving the nod to the heavenly distort-pop of MBV and even Bardo Pond. There's something orchestral in the arcs of almost classical melody that Swanson bases his freak form around, with huge Valkyrie choruses smeared by F/X, and he has a way of wrestling single string solos from his guitar that feel as universally potent as anything from the hands of Manuel Gottsching. I Don't Rock At All is classic solo guitar album, highly recommended. 

Massive aces-up outing from Mr Pete Swanson late of Yellow Swans: as part of Emerald Cocoon’s on-going Alone Together series Swanson turns in two damaged, drug-hazed takes on primo New Zealand underground classic, Dadamah’s “High Time” 7” and Michael Morley aka Gate’s “Trees” from their amazing A Republic Of Sadness LP. With nothing but a cranky acoustic guitar, out-of-focus vocals and a bunch of basement noise Swanson conjures the true sound of the edge of the world. A classic, edition of 300 copies, highly recommended. 

Much anticipated hook-up between these three trans-Atlantic monsters. One-side each and then a third monster inter-band jam. Leopards side is a classic haunt, with wraiths of hovering drone peaking in eye-rolling vocal confusion, while the Mouthus track is a fabulous punk trouncing of fuzz-impacted guitar and clattering electrified skin. Sunroof! jams are the real highlight though, especially the doofily-named “Cortez Tha Killa” that features Matthew Bower on repeat-riff nirvana while Mick Flower of Vibracathedral Orchestra lets his wrist fly with some of the most insane and righteously piloted post-Young acid delirium of anyone’s career. Too fucking much. Final big-band side presents a beautiful void of spooked eternity, with shadow forms moving in and out of earshot like so much hallucinatory cumulus. Comes in a full-colour gatefold sleeve, already sold-out at source, so move it.

LP from Mouthus that might be their most devolved circumnavigation of rock from to date. The guitars are impossibly impacted, muffled sandpaper huffs that move in tectonic slugs while the drums shrug between boings of tone-pad squelch, electrified steel-band ceremonials and primitively executed power stomps. This kinda profound retro-futurist refusal lines em up with a buncha modernists like Chrome, TG and even live Mars but there’s something in the distant, hiccupping vocals and the generally manhandled atmosphere that sounds like a more drug-degraded take on the kinda hillbilly scorch that Alpo-era Cheater Slicks occasionally delivered on. If you like yr rock gasoline-damaged to the point of almost-intelligible, stick out your cans. Limited edition of 500 copies in art sleeves released on the group’s own private press imprint.

Major new Mouthus album peaks at a whole new level of barbarous sludge with what sounds like a fleet of electric razors burying steel raptors in six feet of concrete while the Angus MacLise Orkestra play pre-Lapsarian Morse codes on a handbuilt steel drum containers and whole choirs of ghosts sing madrigals somewhere just over the horizon. There's a beautifully lapsed, primitive rock feel to much of the atmosphere - the way guitar lines appear like silvery hallucinations fading in and out of corporeal reality from track to track - that reminds me of the weird non-hierarchical instrumental mix of early NZ bombs like Trash, Dead C or Dadamah. Either way, this is another supremely devolved rock set from these crudest of cousins.

Perfect-bound collection of obsessive psychedelic line art from Nate Nelson of Mouthus, Religious Knives and Afternoon Penis, perfect for deep, late-night visioning under the influence of blots and boo. Nelson's art has graced a bunch of discs on the Our Mouth label but seeing so many of his drawings in one place really highlights the kind of metamorphic powers he's capable of channelling. This book is limited to 100 signed and numbered copies and comes with a CD that features a beautiful melancholic/repetitive tape construct that marries Mouthus destruct with Basinski-esque sad chorales that was recorded during the same period that he was working on the art.

Huge walls of psych guitar imbalance from a trio who know how to chew an axe: Elisa Ambrogio of Magik Markers, Ben Chasny of Six Organs Of Admittance and Brian Sullivan of Mouthus. Miasmic destructo-rock moves in a derelict post-Dead C style. Pressed on 180 g vinyl and housed in classy wraparound silkscreened sleeve by Alan Sherry of SIWA. The LP also comes with a pressed CD featuring bonus jams from the same session. Edition of 845 copies.

New self-released solo album from Brian of Mouthus featuring some acoustic led thunder ballads that sound as if they are played with the last stumps of his fingers through to hurricane force post-Industrial blues jams that cross the malevolent occult power of mid-period Swans with laminal arrangements of fuzz and drone.

New limited, self-released collaborative album from Brian Sullivan of NY rock behemoths Mouthus and Karl Bauer’s Axolotl project. A series of abstract sound works that run from drugged, slowed down vocals through subterranean vats of water and drone ala HNAS’s early recordings, heavenly shortwave codes carved into rusty Industrial miniatures and perfectly nuanced reconciliations of Axolotl’s high, religious sound and Mouthus’s low-slung urban crank.

Great fuzz-encrusted monolith guitar duel from these two solo basement/psych units, Brian Sullivan of Mouthus’s Eskimo King and Zac Davis of Lambsbread’s Sky Juice persona. This is heavy gravity guitar oblivion the whole way, with what sounds like the first power chord from The Stooges’ “Little Doll” obliterated with a combination of slowly imploding wah-wah gnosis and malformed power-chord epics. Second track sounds like a fleet of motorbikes fitted with tremolo arms. Classic stoned guitar.

Classic Americana underground rock moves from a new Baltimore-based project that features Lexie Mountain on vocals alongside Nate Nelson of Religious Knives/Mouthus, Nick Becker, Jake Freeman and Chiara Giovando. The sound is kinda like Royal Trux at their most FM-radio relevant, with huge blats of melodic moog defining the foreground while Lexie pulls out her best Jennifer Herema/Janis Joplin stylings (with occasional Meredith Monk-styled detours) and the songs work from a raggedy Suicide/Springsteen/Flesheaters/The Band base that would combine classic, iconoclastic melodies with weirdly deformed two-note keyboard drones and a fried hayseed basement style that is supremely beguiling. Can’t think of a recent release that so beautifully walks the line between classic rock and cultic underground confusion.

Limited edition of 500 split LPs complete with unique individually hand-painted/silk-screened sleeves and glossy full-colour insert. Cousins Of Reggae follow-up their killer Our Mouth CD with a side of post Harry Pussy avant garage scorch that's listed as “History And Prehistory Of Hudson's Bay In Five Parts” and reads like a massively updated rundown of variously torched scum/noise strategies as applied to skateboarding-carrying avant gardists with a penchant for the slackest aleatoric metal. Unbelievable. Mouthus side is just phenomenally dozed, two huge sqouching roars of marshmallow-heavy damage that work hiccupping hillbilly rhythms into the kind of ferocious wall-of-mong previously erected by committed actionists like Hijokaidan, Hasil Adkins and Royal Trux. Too much. Highest possible recommendation.

Chaw Mank is Brian Sullivan, guitarist and vocalist with Mouthus in the company of the Sightings duo. Volume 1 presents a muscular spin on established Mouthus stop-motion murk strategies with spools of rusty repeat blown to flesh by some devastating rock damage. Highly recommended.

Limited edition tour collage/mash-up from the duo of Brian Sullivan and Nate Nelson. This one is even more out of focus and malformed than the corpus of their back catalogue, with vague thunder clouds and fucked-up electro percussion floating the ghost of Alan Vega through sheet metal memories of the TG 24 cassette box.

Self-released album from this Mouthus/Double Leopards supergroup featuring botha Mouthus and Mike and Maya from Leopards. Sound is as beautifully Euro-fixated as the recent Religious Knives stuff, with soft oceans of glazed 1970s synth patterns washing across the backs of yr eyelids like the Cosmic Couriers play the brain scores of Terry Riley and Klaus Schulze. A beautifully pink stone and highly recommended for fans of soft dopey muzz.

It’s no secret that we consider Mouthus’ Slow Globes to be one of the greatest albums of the 2000s, a record that devoured and regurgitated five decades of rock/roll with omnivorous industry. Their comparative silence of late is somewhat mitigated by this stunning solo album form one half of Mouthus, vocalist/guitarist Brian Sullivan. The album opens with a totally haunting drug ballad, with Sullivan’s vocals coming across like a spirit transmission from the other side accompanied by simple downer acoustic guitar that makes you think of Bob Desper floating dead in space and from there it goes deeper. At points the ghost of Wayne Rogers hovers over the album, with Sullivan marrying classic Twisted Village-style basement psych to arrangements that dissolve form and fidelity in a series of ghostly hymns, marrying straightforward ‘songs’ to arrangements that would upset them completely, sometimes reducing them to odd minimal electro workouts that could almost be lifted from the Tolerance album and that almost appear like muffled broadcasts heard through a mile of concrete. Mouthus had a way of transmuting and re-birthing rock music as an eerie after-image, an hallucinatory phantom, and Your First Ever River extends that particular formula into one of the most haunted, vaguely singer-songwriter records of the year. Released on Magik Markers’ own imprint. Highly recommended.