UK-only EP from Psychedelic Horseshit, with five tracks that span primitive dub environs through acerbic post-Fall basement rants, including a track from the Siltbreeze LP. Edition of 300 copies.

"After about a 2 year absence, Psychedelic Horseshit is back with an EP of alleged B-sides from an upcoming full length..."I only listen to OK Computer and Cranes. The Fall sucks, DIY sucks, we suck, you suck." said Matt Horseshit in a recent interview."Why should anyone listen to you then?" replied the reporter."Because we're FUN, duh." And even though you wanna hate 'em, you gotta admit, they kinda are fun. Matt is a dick, of course, and Rich is hilariously clueless mostly, and by all means most of the stuff on this SHITGAZE ANTHEMS EP should'nt work, whether it be the white-boy dub section, the cliche acoustic ballad with backwards guitar, the blatant Dylan rips, or the overall amateur playing, but for some reason these elements that usually reek of pretention and failure actually endear you to the band and their songs. Yes, they're called Psychedelic Horseshit. Yes, they do suck, but I'll be damned if they aren't one of my favorite bands in the world, and they're only getting better, but if I tried to tell you why it'd only make 'em sound worse. So it goes..."- matt horseshit

Full-length LP from this Columbus, Ohio based group with connections to Psychedelic Horseshit. This is a weird pop-rock hybrid, with a distant, dislocated recording style, haunted piano, trading male/female vocals, a pop aesthetic that reflects on the more wayward International cells associated with K Records (Cannanes circa African Man’s Tomato maybe?), primitive post-Velvet Underground garage stagger (that eventually give sway to a full-blown “Sister Ray” styled jam) and an overall weird private press folk/rock atmosphere, heightened by both sides of the cover art. I dunno. This one sits in such a weird area, between a bunch of confusing and confused approaches, that has meant I have been repeatedly going back to it without fully understanding it. Either way, it’s an addictive spin.

Limited self-released LP that mops up all of the band’s earliest CD-R releases in one place: King Tubby’s Badness Dub, The Anticoncept, Blown Speaker Standards, Dancey Pants and Summertime Suicide alongside a couple of bonus tracks. Even cruder than the recent Shitgaze Anthems set, the combination of zero fidelity, almost-hooks and non-conceptual avant smarts is pretty choice. Comes with liner notes from Rob Enbom of Eat Skull.

Limited split 7” with two out-takes from Eat Skull’s Sick To Death sessions paired with the debut recordings from long-term Hospitals/Eat Skull touring buddies Ganglians.

Collaboration LP between Rob Enbom of Eat Skull and Beth Murphy of Times New Viking. Skirting a kinda similar turf to both of the motherships, Hole Class cut up their punk lo-fi attack with fuzz bass, unarmoued male/female vocals and song fragments in a way that makes you think of a slightly tougher take on the K sound, with an almost Calvin Johnson-esque delivery buried in pile-ups of acoustic/electric structural confusion. Some of the tracks are just straightforwardly beautiful, less about destructo aesthetics and more about pie-eyed emotionalism and personal resonance. Guided By Voices is a reference that always seems to orbit the Eat Skull cultus and there’s definitely a bunch of that here two, with the combination of short, classic pop/folk/rock songs and raggedy ass aesthetics proving as potent as anything from Pollard and co.

Excellent debut LP from a guitar/bass/drums trio that features floating Eat Skull member Karianne power-crying her way through some beautifully shrill high-end garage lurk that combines a crude post-Velvets sensibility with DIY chops, cranky riffs and the perfect destructo atmosphere that would reconcile punk and psych in nada fidelity.

Massively ambitious double-LP set from the duo of Barbara Manning and Seymour Glass (Bananafish) that sees them joined by a jaw-dropping line-up of underground figures including Bruce Russell of The Dead C, Alastair Galbraith, Scott Simmons of Eat Skull, Lucian Tielens (Brent Lewis Ensemble), Patricia Rowland (Vomit Launch), Jett Hotcomb and more. The set encompasses some stunning dark/minimal covers of primo material like The Birthday Party’s “Mutiny In Heaven”, Hank Williams’ “I’ll Never Get Out Of This World Alive”, The New Creation’s “Dig! The Origin Of Man” through bastardised movie snippets and manipulated monologues lifted from films like The Holy Mountain, Head, Toy Story, Willie Wonka & The Chocolate Factory and Help! Barbara provides the most song-orientated material while Glass works fucked-up tape magic with the slightest of sonic detritus. Throw in a buncha wild apocalyptic texts lifted from Elizabeth Clare Prophet, L. Ron Hubbard, Flannery O’Connor, Hugo Ball, Hippocrates etc,. Bruce Russell’s take on David Crosby, Galbraith’s higher-minded violin drone, voices of spectral choirs rising above texts about the nature of creation and infinity and you have the ultimate end-of-times report from the furthest margins of the underground. Much of Glands... back catalogue exists in a zone where tongues reside firmly within cheeks but this is the heaviest, darkest and most unaccountably affecting broadcast from these two to date. Packaged with a full-colour fold-out Sgt Peppers-style poster with manipulated images of the entire cast. A singular work, highly recommended.