WireGit+

the garden - a struggle (good part slowed + reverb)

Originally aired on Noods Radio. I hope a fitting tribute to my favourite group. https://www.mixcloud.com/NoodsRadio/an-hour-for-cocteau-twins-w-tim-lawson-17th-october-22/

The Ghost Has No Home (The Moon And The Melodies, Album, 1985)
Essence (Four-Calendar Café, Album, 1993)
Serpentskirt (Serpentskirt, Single, 1996)
Dials (Heaven Or Las Vegas, Single, 1990)
The High Monkey-Monk (Gigantic! 2, Compilation, 1990)
Great Spangled Fritillary (Echoes In A Shallow Bay, Single, 1985)
Throughout The Dark Months Of April And May (Victorialand, Album, 1985)
Grail Overfloweth (Garlands, Album, 1982)
My Love Paramour (Head Over Heels, Album, 1983)
Otterley (Treasure, Album, 1984)
Millimillenary (The Pink Opaque, Compilation, 1986)
Strange Fruit (BBC Sessions, Album, 1999)
From The Flagstones (Sunburst And Snowblind, Single, 1983)
Orange Appled (Love's Easy Tears, Single, 1986)
Cherry Coloured Funk (Otherness, Single, 1995)
Ooze Out And Away, Onehow (The Moon And The Melodies, Album, 1985)

An Hour For Cocteau Twins (17th October 2022)

The first track to be taken from Primitive and Deadly.
Due for release on September 2nd 2014 via Southern Lord Recordings.

On tour now:

6/18/2014 Rosemount Hotel - Perth, Australia

6/19/2014 Manning Bar - Sydney, Australia

6/20/2014 Dark Mofo Festival - Hobart, Australia

6/21/2014 Hi-Fi - Melbourne, Australia

7/31/2014 Off Festival - Katowicw, Poland

8/01/2014 UT Connewitz - Leipzig, Germany

8/02/2014 Lido - Berlin, Germany

8/04/2014 Super Uho Festival - Sibenik, Croatia

8/05/2014 Arena - Vienna, Austria

8/07/2014 Schlacthof - Wiesbaden, Germany

8/08/2014 Bogen F - Zurich, Switzerland

8/09/2014 Point Ephemere - Paris, France

8/10/2014 Zuiderpershuis - Antwerp, Belgium

8/11/2014 Tivoli - Utrecht, Netherlands

8/13/2014 Whelans - Dublin, Ireland

8/14/2014 CCA - Glasgow, UK

8/15/2014 Gorilla - Manchester, UK

8/16/2014 Jabberwocky Festival - London, UK


buy Earth merch

Earth - From The Zodiacal Light

Recorded at Nine Volt Leap Studios December 2022 - January 2023

Studio Engineer: Dominic Bailey

Mixing Engineer: Dominic Bailey

Mastered by Jason Mitchel at LOUD

Released via Velvet Echoes Records

Songs written and performed by Dreamwave

Benjamin Harry: Vocals, Guitars, Synth & Bass

Hester Battin: Vocals & Synth

Alex Andrews: Drums & Percussion

Hidden Sun

Midnight Slaughter, taken from the album 'DIE'

Released September 2025 via Riot Season Records

LP pre order begins August 23rd

artist: BRAINBOMBS
title: 'Die’
catalogue # REPOSELP154
format: Vinyl LP
release date: September 26th 2025
barcode# 5051142058720

LIMITED 500 ONLY TRANSPARENT RED VINYL LP, HOUSED IN A RED AND METALLIC SILVER SLEEVE

The Swedish underground noise rock legends return with a brand new album

 Let this reddit user take over …

“Listening to Brainbombs has been one of my weirdest experiences with music.

Brainbombs are most definitely a band. I guess at the core they’re a hardcore punk/noise rock hybrid I guess? But… its so unlike anything I’ve ever heard and I still don’t know if its good or bad. I saw the edgelord Ed Gein album cover, and it intrigued me, so I listened to their biggest song and it was easily THE WORST thing I had EVER FUCKING HEARD. I shut it off as soon as it got to the vocals. I was shocked by the fact that it had almost a half million streams. But, a few hours later, I clicked on it again and didn’t know why. 

Over the past few days, I’ve listened to all of their discography and looped a lot of it. And I don’t even think I like them. The music is abysmal, its the same single riff and verse repeating for 5 minutes. To make it worse, the vocals are just a guy with a swedish accent awkwardly talking about murder and rape. That sounds awful right? It is awful. But at the same time I want to keep listening? It’s so childishly edgy and obnoxiously repetitive but so.. intriguing? Catchy? I’m not even sure. Its one of if not the weirdest experience I’ve ever had with music and I don’t know how to feel about it.”

Midnight Slaughter

Buy Direct From Label

BRAINBOMBS 'Midnight Slaughter' (2025)

Red Barked Tree

Adapt

Read & Burn 01

Comet

The Black Session - Paris, 10 May 2011

Two People in a Room

WIRE – CHANGE BECOMES US – pinkflag (pf20)

“Well, it seemed like a good idea at the time…,” laughs Colin Newman when asked to explain Wire’s original motivation for Change Becomes Us. While that might sound like the kind of feeble excuse you’d offer in mitigation when a drunken escapade goes horribly wrong, not only was it a good idea, it actually turned into a superlative one. 

In spring 2012, Wire’s plan had been to convene at Rockfield Studios in Wales to review the rudimentary blueprints of songs that had never made it beyond a few live performances in 1979 and 1980 – a time when the band-members were in creative overdrive yet the band was disintegrating. The aim wasn’t simply to resuscitate and record old songs – in fact, many of them hadn’t become proper songs in the first place, existing only as basic ideas or undeveloped parts. Rather, the objective was to approach that unrealised work as an oblique strategy, a potential springboard for Wire’s contemporary, forward-looking processes, a possible point of departure for new compositions.

This took place with Wire firing on all cylinders, as a four-piece studio entity again, the core line-up of Newman, Graham Lewis and Robert Grey now enhanced by guitarist Matthew Simms. Simms had played a key role in helping the band to cultivate and shape its new sonic landscape throughout the preceding year’s live work. Out of the exploratory Rockfield session and subsequent, extensive development and production at Newman’s Swim Studio, the ostensible source material became, in the classic Wire tradition, something quite other than what it may have once been or what it might have become if it had been pursued in 1980. 

“Love Bends” is a case in point. Its roots lie in “Piano Tuner” -- the raucous, octave-hopping number performed in February 1980 at the Electric Ballroom in Camden and preserved on Document and Eyewitness -- but it’s now morphed, improbably, into an irresistible, totally modern pop song. “It had to be turned into something else,” explains Lewis, “because it only really had one bit.” Just as improbably, the gently lilting “Re-invent Your Second Wheel” is tangentially connected to the notorious “Zegk Hoqp,” which was more of a one-time happening than a song at the Camden gig -- mostly shouting and banging, executed by a stage-full of Wire cronies in funny hats. “It was written for performance, around people with newspaper headdresses; not with music in mind,” Lewis emphasizes. Similarly transformed, “& Much Besides” is a six-minute oneiric-melodic interlude that gives no hint of its putative origins in “Eastern Standard” --  a dreary, obtuse three-minute geography lesson delivered with former manager Mick Collins at the Electric Ballroom concert.

Newman’s writing and production reimagines the past in ways that ultimately break any substantive connection with it, making entirely new pieces; and these songs themselves enact Wire’s restless drive to become other, often thriving on a fundamental tension between opposing sonic characteristics. With its stop-start, soft-hard, quiet-loud structure, “Adore Your Island” veers between what Newman describes as “prog and unhinged punk rock,” never quite resolving itself; the drama of “Attractive Space” hinges on a progressive splitting of the song’s personality, between its calm expansive, anthemic orientation and an increasing sense of intensity and claustrophobia. 

Change Becomes Us encapsulates the paradoxical essence of Wire’s creativity. The tendency of these new songs to refuse a single, settled identity is emblematic of the band’s ever-evolving aesthetic -- one that’s always hinged on sustained tensions and oppositions: between the familiar and the unfamiliar, the comfortable and the unsettling, the melodic and the brutal, the cerebral and the visceral, the smart and the moronic, the obvious and the inscrutable, the rational and the absurd. This intrinsic, core ambivalence generates the essential otherness that has characterized Wire’s most memorable, distinctive work -- from the epochal innovations of Chairs Missing and 154 to the electronic-pop deconstructions of A Bell Is A Cup to Send’s postmodern-punk expressionism and the widescreen lyricism of Red Barked Tree.

Change Becomes Us is an undeniable part of that illustrious lineage. Definitely more than just a good idea at the time.

Wilson Neate


Change Becomes Us

Keep Exhaling

Time Lock Fog

Red Barked Tree is the new album by Wire
It is released in the UK on January 10th

Please Take

Since their formation in London in 1976, the members of Wire have maintained and advanced a musical project which treats the creative potential of a rock band as a fluid, amorphous medium. As removed from self-conscious intellectualism as they are from the inherent conservatism of much rock music, Wire employ their unique, endlessly restless and risk-taking creativity to question every aspect of songwriting, recording and performance. They delight and disturb in equal measure, troubleshooting the circuitry of perfect pop, or patrolling the limits of focused experimentalism. In terms of working together as Wire, the group's members disbanded in 1980, reformed in 1985, disbanded in 1992 and reformed for the second time in 2000. Such sabbaticals from their career as Wire have served to sharpen the group's edge and focus, updating the tactics with which they pursue this shared project.

see more - www.pinkflag.com

Two People in a Room

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