Classic ultra-fucked electrified noise barrage that seems to reflect more on the early-90s pornographic Merzbow sound et al than anything currently beating its head against a rock. Just chaos blurts of white noise catharsis cut up with quizzical gloops down the plughole where you feel like a cartoon roadrunner, still peddling in mid-air while rainbows explode into shards of glass and crystal. A fantastic blast of old school noise from these old school boize: John Wiese and Kohei Gomi aka Pain Jerk. Recorded by mail October 2005.

Limited edition of 100 copies split LP only ‘officially’ available direct from the label and the artists themselves. This one presents some earlier material from both groups, recorded live at the 13th Note in Glasgow in November 2006 and features Minoise in classic actionist-assault mode and Insecten in his early punk-primitive one cymbal, one microphone and a ticket to oblivion phase.

Edition of 200 copies with ink-stamped sleeves that reissues the rarest release on the Broken Flag label. Violence was released as a cassette in 1982. It’s a solo recording by Gary Mundy that predates the beginnings of Ramleh, Mundy’s solo Kleistwahr recordings etc. Using the same equipment as on the early Ramleh recordings, Violence is a claustrophobic slice of grainy electronic excess with a murk of psychedelic electronics and tortured vocals in the style of the early BR power electronics sides. Mastered direct from cassette for maximum skin burn.

Fantastic and very limited LP that documents another side of Neil Campbell’s legendary early-80s post-Industrial DIY punk/synth outfit ESP Kinetic. ESP were the duo of Campbell (better known these days for his work with Astral Social Club/Vibracathedral Orchestra/Richard Youngs et al) and Andrew Watson and although they looked closer to the Virgin Prunes they sound more like, well, if you can imagine an ultra-low grade rehearsal cassette from the Velvet Underground circa “Ocean” with Cale on organ playing duo takes on Pop Group, Public Image Limited and Throbbing Gristle material then you’re somewhere in the conceptual vicinity. The A side is made up of home recordings from 1982/83 and these are more minimal keyboard-led drone-outs cut-with caveman rhythms and enough vertical spectra to launch Vibracathedral proper. The second side, with live excerpts from various gigs across the space of 1984/85, has a little bit more ‘aggro’ with walls of scummy electronics, the hallucinatory use of tapes, obsessive hectoring vocals and incessant skullcracking rhythms coming over like an evil basement take on Silver Apples – does that make em a UK Suicide? Either way this is fantastic and yet another step towards a full understanding of the convoluted evolution of the contemporary UK underground.