Taken from the album "Stars Are Our Home."
Out now on Slumberland Records (US) and Sonic Cathedral (UK)

Order the digital download from iTunes: http://smarturl.it/bhb-itunes
Order the LP/CD: http://smarturl.it/bhb-album

more info: http://www.blackheartedbrother.com
Black Hearted Brother Official Facebook: https://www.facebook.com/pages/Black-Hearted-Brother/210615915729479

It was Alfred Bester, if I recall correctly, who called 'the stars my destination', in his brilliant novel of the same name from 1956. Long considered a libertarian science fiction classic, it's also notable for featuring one of the very first accounts of synaesthesia in English-language fiction. This might be drawing a particularly long bow, but the title of Black Hearted Brother's debut, "Stars Are Our Home", immediately brought Bester's book to mind – and there's definitely something of the synaesthesic experience about this album, overflowing with enraptured, glowing textures, flaring white light like magnesium, in consort with brilliant red-blue waves of psychedelia.

Of course, the first thing that might crane your head towards "Stars Are Our Home" is the group's membership: Neil Halstead, the éminence grise behind Slowdive and Mojave 3; Mark Van Hoen, an original member of Seefeel, subsequently working solo and as Locust; and Nick Holton, the main mover behind Holton's Opulent Oog, and member of Coley Park, who have released albums on Halstead's Shady Lane label. They had previously converged on Halstead's 2001 solo album, "Sleeping On Roads," though Van Hoen also co-produced Mojave 3's "Out Of Tune" (1998), "Excuses For Travelers" (2000) and "Spoon & Rafter" (2003), while Holton took up production duties for Halstead's "Palindrome Hunches" (2012). Van Hoen and Halstead go back much further still, to 1992, when they were in Seefeel and Slowdive respectively: 'Mark taught Neil much that was electronic and ambient music.'

You could hear that education bearing fruit with Slowdive's late-period masterpiece, 1995's "Pygmalion." In some ways, "Stars Are Our Home" echoes that album's experimental process, if not the outcome, as Black Hearted Brother are a very different, distinctive beast, often indulging in what Halstead, self-deprecatingly, describes as 'a lot of very long and indulgent space rawk.' And indeed, that space-rock drive is writ loud and clear on the album's opening title track, an instrumental bliss-out that navigates through ocean-tides of FX-drenched guitar. But there's a lot more to it: 'The idea was to just make a record that was in some ways "unedited",' Halstead continues. 'To not worry about a particular sound or style, but to just go with the flow. We all make quite focused records individually so, as Mark says, it's our "guilty pleasures" album.' That seems about right, except with "Stars Are Our Home," the outcome is no guilt, all pleasure.

'Neil and Nick had, I think, started a few months before they asked me to join the party,' Van Hoen recalls. 'I think they had a few songs on the go, and needed an extra hand to add a few funny noises and generally add to the chaos – or maybe bring some order to the chaos.' Van Hoen has picked up on the dialectical nature of "Stars Are Our Home" here, its "order" and its "chaos": it's a rich, compelling album full of unexpected twists and turns, at times overloading the sensorium with so much material you're drenched in noise, but it'll just as quickly flip back on itself and drift through a glazed-eye, agrarian moment of acoustic melancholy (see the start of "Time In The Machine", which, as if to prove my point, takes less than a minute to build into a clangorous, droning monster).

So, there's a whole lot going on in these grooves, and plenty of it's unexpected, or from unexpected sources. The trio plays fast and loose with what listeners might consider their pre-ordained 'roles'. 'Primarily the songs themselves were started either by Nick or Neil individually,' Van Hoen explains, 'but then edited, developed and generally messed around with and rendered almost unlistenable by either myself or the others. The roles were not always clear cut. Sometimes Nick would be playing keyboards and synths, and myself guitars.' Lyrics on the record feel like another texture, another layer: sometimes they're invocatory chants, sometimes Halstead's and Holton's voices are ghosted by electronic manipulation, as on "Oh Crust". Often there's more going on than at first glance, and an index of the album's lyrical concerns runs to 'romance, sci-fi, places to go on holiday, real UFO abduction, the duality in the meaning of words, lament for the loss of psychedelic freedoms by the masses…'

"Stars Are Our Home" is brave and beautiful, mysterious and resonant. Its experimental edges never forget the importance of the pop moment; the best way to bring people around to your way of hearing is to seduce their ears, and there's seduction plenty here, pure pop like "Take Heart", the Other Green World of "I'm Back", the closing driftwork that is "Look Out Here They Come". A real head-wrecker of an album. And what does the future hold? The trio speaks as one: 'Black Hearted Brother will grow and mature into something very sophisticated in the coming years. A kind of comedic-space-rock-dancehall outfit to define a zeitgeist for the 22nd century, if you like.' Ha, yeah – amen, brothers!

Black Hearted Brother - (I Don't Mean To) Wonder

remix by Night Sequels (Nick from Freescha) of the Black Moth Super Rainbow song "Psychic Love Damage" off of the album "Cobra Juicy"

Black Moth Super Rainbow - Psychic Love Damage (Night Sequels Remix)

from the "S/T" CD/LP/CS (NNF278) 
Not Not Fun / 2013

LIVE THE LIGHT:
https://midheaven.com/item/st-by-white-poppy-lp

White Poppy "Darkness Turns To Light"

SABRE is our first single from our upcoming album 'REFORM' coming out soon.

Bass, guitars and vocals recorded by Hannes Plattmeier at Ashfield Street Studios, London
Produced by Jared Artaud (The Vacant Lots)
Mixed by Jared Artaud & Ted Young
Mastered by Ted Young


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LYRICS
Today I felt so strange
Today I felt I had to change
Something horrible heading my way

Some things will never last
Some things were made to break like glass
Now I'm going down too fast

-

Today I act so strange
Today I felt I had to change
Something's burning deep in my chest

Some things will never last
Some things were made to break like glass
Now I'm going back too fast

Soaked in deep water
and exchange
-

And at times we'll be ok
And at times we'll have to fail
And at times we'll prevail

And at times it will hurt
And at times it wont be long
And at times the pain is all gone

And at times I'll be in my shell
And at times I'll feel like hell
And at times I'll get lost

And at times you'll use the wrong words
And at times you'll have to pause
And at times you'll have to move on
to move on

SABRE

Split Single No. 4 in the Fuzz Club 10" split single series including Alan Vega and The Vacant Lots. 
Edition of 400. 300 on white vinyl / 100 on clear vinyl (exclusive to Fuzz Club Records)

FUZZ CLUB
Fuzz Club is an independent record label, online store and production company that focuses on experimental rock and roll, influenced by shoegaze, electronica, noise, garage, blues, folk and psychedelia.
Based in East London, Fuzz Club has gained a reputation for surfacing the best emerging talent from Europe and beyond, and releasing them on high end, limited edition vinyl pressings, alongside a roster of the best known names in the underground scene including Anton Newcombe, Goat, Alan Vega, The Black Angels, Dead Skeletons, A Place to Bury Strangers, The Telescopes, Sonic Jesus and The Underground Youth.
Established in rural Norway during the 24 hour darkness of the Arctic winter, Fuzz Club entered the scene in 2012 with their compilation The Reverb Conspiracy – made in collaboration with Austin Psych Fest – a now annual release capturing the essence of the underground scene as it is today.
Today Fuzz Club has around 20 artists and over 40 releases.

The Vacant Lots - Mad Mary Jones (Alternative Mix)

Taken from Primitive Parts' 'TV Wheels / The Bench' single, released on November 24 by Faux Discx on 7" (limited to 300 copies) and digital download.

Pre-order here:
fauxdiscx.bandcamp.com/album/tv-wheels-the-bench

------------------------------------------------------------

Primitive Parts are three friends, Lindsay Corstorphine (Sauna Youth / Monotony / Cold Pumas), and Male Bonding's Kevin Hendrick and Robin Christian. They have previously released a single 'Open Heads / Signal' on the SEXBEAT label and contributed a cover of The Yummy Fur's ‘Chinese Bookie’ to last year’s 'Collective Hiss' compilation (Faux Discx).

'TV Wheels / The Bench', the band's second engagement with the Faux Discx label (Soft Walls / Omi Palone / Sex Hands / Hookworms) was written in a narrow room in Homerton, between two churches on a Thursday evening in the summer of 2014. It was recorded to tape by Mark 'Knuckles' Jasper at Soundsavers.

Primitive Parts have recently played with The Homosexuals, Ultimate Painting and Juan Wauters and are touring the UK early next year.

PRIMITIVE PARTS – The Bench

Dog Collar Guillotine

The Pink Elephants 2019 In Death We Ascend And Carry The Light

Peter McNestry: bass, drums 
Gabriella Cos: vocals, effects

Better Days

Dreams of Better Days EP

Mindstate

Produced by Dave Mountain and Jack Merrett
Recorded and Mixed by Dave Mountain
Mastered by Loud Mastering
Artwork by Nice Swan

© Ⓟ 2020 Untitled Recs Limited

Nice While It Lasted

Night Beats - Real  Change

Rob Riggs 
Luciel Brown 
Mike Ainsley 

Since Nov. 2015

Dog Collar Guillotine

Drahla

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