Volcanic Tongue Catalogue

XNoBBQX
Skewer

Golden Lab Records ROWF-11

10”
£4.99


Massively crude idiot-avant noise rock brut from this Australian duo, with an ultra-murky string/drum/unknown tongue racket that spears established improv forms with sub-Siltbreeze fidelity and a disobedient, caveman/Menstruation Sisters styled attack. In an edition of 300 copies. Five tracks.

Various Artists
Breakdancing The Dawn

Rhizome RHCD-31

CD-R
£1.99


Excellent compilation that covers alla the main action coming out of the great Australian underground imprint Breakdance The Dawn, most associated with XNoBBQX. Compiled by Jon Dale. Features Yr Intestines, Mac Tempel, Mosweintraub Band, XNoBBQX, Stasis Duo, The Minerals, DJ White Pimpernell, James Heighway, Nylstoch, The White Petunias, Impromptulons, Muura, Seventh Sister, Antipan, Tofutron and X Wave.

Muura
Untitled

Alberts Basement No Cat

7”
£6.99


Stunning 7” (plays at 33) from Matt Earle of Breakdance The Dawn/Craft Bandits/xNoBBQx etc....with individually handmade sleeves. As with a lot of Matt’s work, it’s difficult to work out what he is actually doing here, though there are spurts of free percussion, alternately scratchy/ululating eternal drones, factory sounds ala Joe Jones, deformed, endlessly echoed vocals that sound like they’re being recorded from the bottom of a well... the second side is more recognisably based around amp destruction and guitar abuse with waves of crude feedback interrupted by percussive guitar wrangling ala The Dead C at their most extended (think the coda from “Outside”). No one makes rock music that is quite as unrecognisably fucked up and satisfyingly alien as Matt Earle and this is another righteous fist up the wazoo of musical conservatives everywhere. Recommended. 

Club Sound Witches
s/t

Breakdance The Dawn BDTD-185

CD-R
£2.99


New jams from this ‘primitive techno’ unit featuring Matt Earle of Craft Bandits and Nicola Morton of Bad Intentions et al: wild, low-level electro tectonics that combine the spluttering hands-on appeal of the more tape-damaged end of the Blood Stereo/Prick Decay axis combined with homemade experiments in dub using wonky circuitry and soldering irons. Imagine a chopped and screwed series of early Atari game soundtracks manhandled with alla the shortwave violence of a Voice Crack w/occasional FM Ferarro-isms and you are some of the way there. More profoundly out haunted drone/percussion hypnotics from two of the deepest thinking ton scientists on the Australian underground. Recommended.  

Muura
Untitled

Wormwood Grasshopper Records WG-07

LP
£16.99


Private press LP in an edition of only 150 copies from Matt Earle of Breakdance The Dawn/Craft Bandits/xNoBBQx etc....with classy paste-on handmade sleeves. As with a lot of Matt’s work, it’s difficult to work out what he is actually doing here, though there are spurts of deformed F/X, alternately scratchy/ululating eternal drones, factory sounds ala Joe Jones, deformed, endlessly echoed vocals that sound like they’re being recorded from the bottom of a well... the second side is more recognisably based around amp destruction and guitar abuse with waves of crude feedback interrupted by massive dooms of guitar wrangling ala The Dead C at their most extended (think the coda from “Outside”). No one makes rock music that is quite as unrecognisably fucked up and satisfyingly alien as Matt Earle and this is another righteous fist up the wazoo of musical conservatives everywhere. Very highly recommended.

Matthew Nidek & Anthony Guerra
NB

The Seedy R

CD-R
£3.99


Drums/guitar duo splurge recorded live in Sydney, Australia on 2nd January 2005 that works trashed fuzz and fists of percussion into a post-Vampire Belt tribute to Sound Of Confusion-era Spacemen 3. Fuck!

Mark Sadgrove/Anthony Guerra
Iron Sand

Black Petal/A Binary Datum /

CD
£7.99


“Mark Sadgrove and Anthony Guerra are a pair of Australasian transplants currently based in Tokyo, Japan. Iron Sand is a series of electric guitar duets illuminated with harp, electronics, vocals and acoustic strings. Both players work minimal repeating shapes into nagging, emotionally insistent cells of smudged tone that re-visit the same territories again and again, as if to force a gentle confession of significance from the same two or three staggered notes. And it works. There’s something of Loren Connors’ foggy, late night style to the sound of the guitars, with washes of silver strings and solitary single notes left suspended in space. But whereas Connors uses variously amplified techniques in order to access the kind of highly-articulate zone where music and speech blur into one, Sadgrove and Guerra opt for re-statements of the most simplistic musical phonetics in order to access hypnagogic states. This is a magical, delicate recording, where minimal guitar lines interact with roaring analogue silence to create a music that somehow manages to combine stark, auraless playing with a deep, psychedelic atmosphere.” – David Keenan/The Wire.