Amsterdam-based electronic duo Peaking Lights (Dekmantel, Mexican Summer) remix 'Lady Blue' by Saccades. The track is originally taken from 'Flowing Fades', the new solo album from The KVB's Nicholas Wood out everywhere now. https://fuzzclub.lnk.to/flowingfades

Saccades - Lady Blue (Peaking Lights Remix)

Taken from Bruch´s third album THE LOTTERY.
Out via Cut Surface.
https://cutsurface.bandcamp.com/album/the-lottery

The Lottery

Taken from the debut album, Whoosh, out 1st March 2019. Pre-order here - http://smarturl.it/Whoosh

Whoosh (MP3 - master final)

The Stroppies - Cellophane Car

Melbourne's Constant Mongrel (featuring members of Terry, Woollen Kits, Taco Leg and Nun) return with a new 7” via Upset The Rhythm in conjunction with their 2019 European tour. ‘Experts in Skin’ is the little sister follow-up to 2018’s ‘Living In Excellence’. The A side single holds the familiar post-post punk angst the band is known for, only building ever higher with a triple saxophone flurry and singer Tom Ridgewell’s mutters on the often awkward nature of mainstream consumerism. On the flip side the band turns to its pop sensibilities producing the tough but sweet sounding ‘Schnuki’. Bassist Amy Hill’s bouncing vocals contrast to the anarcho-punk growls below. Subject matter being another complaint about people that are really fake nice. Can I help you darling? Honey? Sweetie? Deary? Pumpkin?...... no thanks. Constant Mongrel have previous releases available on RIP Society, La Vida Es Un Mus and Siltbreeze.

Release date: 7 June 2019

http://www.upsettherhythm.co.uk/

Experts In Skin 7"

Constant Mongrel - 'Shnuki'

Kompromat

It Grows Under

Ghost Rider

Shiny Shiny

Track is taken from the upcoming album 'All' (out November 6, 2020)

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It has been nine years since Urlaub in Polen announced they were disbanding with the release of their fifth album Boldstriker. However, drummer Jan Philipp Janzen and multi-instrumentalist and singer Georg Brenner have always made up one of those rare and highly unlikely bands who, despite market laws to the contrary, have put the context of their own work above fads and opportunity without ever denying that they inhabit a particular historical moment. On All, their unexpected sixth album, it becomes immediately clear that the term »reunion«, at least in the sense we’ve gotten used to, does not do justice to this particular ocurance. All is light years away from offering a lukewarm rehashing of ancient recipes for success - the album is highly ambitious and sounds fresh in its concentrated performance—not unlike a debut. This is because the considerable advantages of a long-term musical relationship are at display throughout the record. Not only with regards to the tightness of performance, which was and is every bit as unbelievable as everyone says, particularly those who have been privy to their ecstatic live performances, but also regarding a level of musical familiarity withone another; a rare feat that has always carried the band’s musical explorations, and which balances the dynamics and structures of All as a whole. This interplay is accentuated by the record’s production, for which Janzen (among others a founding member part of Von Spar, current drummer of Die Sterne and producer of Die Sterne, The Field, PTTRNS, Albrecht Schrader etc.) and Brenner are also responsible.

Urlaub in Polen have also always been a band that defies categorization. All is probably their most formally coherent album so far, but it is nevertheless anything but a work of genre: What the songs on All have in common is an architecture evoking Krautrock, developing sprawling synthesizer and guitar workouts on the foundations of finely woven rhythm arrangements. The echoes of West Coast Pop (the harmonies and the bass!), of Rhineland Tech House and of early Dire Straits (the vocals and the guitar production!) make All a characteristically versatile and international affair. The album shares with their previous efforts the interest and attention for sonic textures and contrasts, but showcases more constraint and focus. In place of noise, details and the enormous joy of playing between Brenner and Janzen come to the fore, equally in the stoic Desert Kraut hits »Impulse Response« and »THDT,« the polyrhythmic »Overall«, or the discoid »Proxy Music.« All as a musical statement thus bears witness to the fact that Urlaub in Polen’s artistic vision is not centred by musical niche or content, but by formal considerations and the ever new presence of playing together: All, in this sense, stands for nothing more and nothing less than the latest expansion of their oeuvre.

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https://www.tapeterecords.de/artists/urlaub-in-polen/

Buy CD/LP/DL

Urlaub in Polen - Impulse Response

Los Angeles-based group The Spyrals are gearing up to release their new album ‘Same Old Line’ on October 30th. Taking cues from The Velvet Underground, 13th Floor Elevators and The Stooges by way of Neil Young, Bob Dylan and Muddy Waters, the record sees the band carve out eight songs of raw, back-to-basics rock’n’roll that marries white-knuckle garage-blues, psychedelic repetition and sun-baked alt-country to create “something new with an old soul”. The record is their fourth full-length to date and their first since signing to London-based label Fuzz Club.  

Armed with a guitar, harmonica and fuzz pedal, band-leader Jeff Lewis formed The Spyrals when he was living in San Francisco in the early 2010s. Now, though, he’s based in Los Angeles and finds himself backed by a new line-up of musicians. ‘Same Old Line’ was cooked up in new drummer Dash’s garage and recorded over the course of a few days and nights straight to a Tascam tape machine. Jeff recalls: “This is the first album recorded with a new lineup after I moved from San Francisco to Los Angeles. At the time of recording we werenʼt sure if this would be a Spyrals album or something under a different name. At some point during the mixing process I decided to keep moving on under the Spyrals name, so to me this album is a real turning point in the band’s history.”

The result is a record that’s just as rooted in the sounds of Nashville and the Mississippi Delta as it is the band’s West Coast garage-rock forebears. “I was heavy into listening to a lot of Neil Young and Crazy Horse during this period too which I can hear in some of the song structures. We actually all took a road trip to Bakersfield, CA to see Neil with Crazy Horse in concert around the time of working on the album.” Lyrically, Jeff says, “it feels like the most raw record so far and the most open and down to earth. Less psychedelic sounds and more real life emotions and situations.” The opening title-track ‘Same Old Line’, for example, is a song about “life’s ups and downs and how some people seem to have it easier than others. We’re all tied together whether we know it or not and in the end we all have our different struggles to get by and keep living.”

Elsewhere, ‘Don’t Turn Me Down’ is a defiant, overdriven ode to “trying to stay positive when obstacles seem to keep coming in the way” and ‘In Your Room’ is a piece of psychedelic alt-country about a “new romance, maybe a short fling, and wanting something to work out that you know won’t be possible”. Charting similar themes, ‘There’s A Feeling’ is about love and travelling (“two things that can be hard to do at the same time”) and ’Goodbye’ is an observation that “life is short and even the stars fade away eventually”, both delivered through the medium of stomping, blues-inflected garage-rock. ‘Just Won’t Break’, on the other hand, is a song about the American Dream and it's hopeless shortcomings, Jeff offering the following advice for his fellow country-men and -women: “Don’t let it get you down. Most of us are still waiting for it to come true.”

Arriving off the back of their 2012 self-titled debut, 2013’s ‘Out of Sight’ and last year’s ‘The Curse’, ‘Same Old Line’ marks a new chapter for the band who have spent the last decade picking up a growing international reputation for their fuzzed-out, driving rock’n’roll. They’ve played with the likes of Spectrum/Sonic Boom, Moon Duo, Fuzz, The Warlocks and Spindrift and performed at such festivals as SXSW, Desert Stars Festival, LA Psych Fest and in 2015 they even headlined a festival in Southern Russia (‘Spring Beat Festival’), one of the first US bands to play in the area. Right before the Covid-19 lockdown set in this year they’d also wrapped up a headline European tour just in the knick of time.

It Grows Under

Fuzz Club Records