Posts Tagged ‘Fuzz Club Records’

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Australian five-piece Mt. Mountain will release their fourth album, ‘Centre’, on February 26th 2021 via London’s Fuzz Club Records. Hailing from Perth, Australia, Mt. Mountain deal in a sprawling, motorik psychedelic rock sound that journeys between tranquil, drone-like meditations and raucous, full-throttle wig-outs that’ll blow your mind as much as your speakers. Taking cues from Krautrock pioneers like Neu! and Can whilst existing in a similar world to contemporaries like Moon Duo, Kikagaku Moyo and Minami Deutsch, Mt. Mountain are formidable torchbearers of the minimal-is-maximal tradition. 

Musically, the band’s sound is born out of long improvised jams so naturally much of the album was recorded live to capture the band at their most freewheeling. Growing up surrounded by religion but not a follower himself, Stephen Bailey (vocals/organ/flute) describes how, thematically, much of ‘Centre’ is a dissection of faith – both spiritual and secular – and his personal, often complicated relation to it: “The album for me, lyrically, is mostly about my experience of religion. It explores these concepts and the rules that were told to me from childhood to adulthood and my thoughts on my own connection to them. Similar themes arise between the tracks whether it be lyrically or structural, both a play on repetition and simplicity.”

With a number of EPs and singles and three albums behind them – their 2016 debut ‘Cosmos Terros’, 2017’s ‘Dust’ and 2018’s ‘Golden Rise’ – the Perth quintet have picked up a formidable reputation in their homeland and further afield, thanks especially to their wildly all-consuming live shows. Constantly touring across Australia with each release, they’ve also shared the stage with notable down-under comrades like King Gizzard & The Lizard Wizard and ORB, as well as a long list of international heavy-hitters including Sleep, MONO, Thee Oh Sees, Acid Mothers Temple and Moon Duo.

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Fuzz Club members will receive the deluxe vinyl as part of the February 2021 membership package. Deluxe Edition: Limited to 300 copies on 180g ultra-clear vinyl with white and black splatter, hand-numbered tip-on gatefold sleeve and polylined innersleeve, Standard Edition: Limited to 700 copes on 180g grey vinyl

Released February 26th, 2021

 

The new Night Beats single: ‘That’s All You Got’ is a slice of soulful, psychedelic R&B off the new 7″ featuring two tracks with BRMC’s Robert Levon Been!, Night Beats’ Danny Lee says: “Times like these make it seem like the world is trying keep you down. We’ll always have corrupt politicians and two faced crooks trying to control our minds, but there are two things that are also eternal in this world: Rhythm and Blues. “That’s All You Got” is a reminder that at the end of the day, we’ll always have the soul. I was honoured to work with Robert, one of the greatest writers I’ve had the pleasure of calling a friend. Hopefully this song can bring light to the darkness surrounding all of us.”

Looking forward to what’s next from Night Beats! Out December 4th on Fuzz Club Records. North American customers can grab the 7″ in our online store:

The 7″ edition above is limited to 300, of which we only have 100.

‘That’s All You Got’ is the latest release from Texas-born outfit Night Beats and a collaboration between founding member Danny Lee Blackwell and Robert Levon Been of Black Rebel Motorcycle Club. With a bunch of new material in the works, ‘That’s All You Got’ is Night Beats’ first outing since they recently announced their signing to London-based label Fuzz Club.

A slice of soulful, psychedelic R&B, the ‘That’s All You Got’ 7” is due for release December 4th and includes the B-side ‘Never Look Back’. Talking about the single, Night Beats’ Danny Lee says: “Times like these make it seem like the world is tryna keep you down. We’ll always have corrupt politicians and two faced crooks trying to control our minds, but there are two things that are also eternal in this world: Rhythm and Blues. ‘That’s All You Got’ is a reminder that at the end of the day, we’ll always have the Soul.”

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Night Beats and Black Rebel Motorcycle Club have played and toured together on multiple occasions and Levon Been can be heard co-producing and performing on the Night Beats’ 2016 LP ‘Who Sold My Generation’ (Heavenly Recordings). Unlike these previous collaborations, however, ‘That’s All You Got’ was co-written by the pair and the result is a pure, more authentic collaboration between two of the finest purveyors of contemporary rock’n’roll.

Danny Lee reflects: “I was honoured to work with Robert, one of the greatest writers I’ve had the pleasure of calling a friend. Hopefully this song can bring light to the darkness surrounding all of us.

The Reverberation Appreciation Society is happy to offer 100 copies on colored vinyl Out December 4th on Fuzz Club Records

On May 7th 2021, Night Beats – the Texas-born brainchild of Danny Lee Blackwell – will release their fifth full-length, ‘Outlaw R&B’, via Fuzz Club Records. The album arrives following the 2019 ‘Myth of A Man’ LP (produced by Dan Auerbach of The Black Keys and released by Heavenly Recordings) as well as last year’s ‘That’s All You Got’ 7” vinyl. Made during the height of the California wildfires (where Blackwell currently resides), rioting in the streets and a nation in lockdown, the raucous technicolour rock’n’roll of ‘Outlaw R&B’ is a call to rejoice in some sorely needed post-apocalyptic hedonism.

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Blackwell says of the album: “Outlaw R&B is music for the borderless, the free, the outcasts and the forgotten. The outlaw is the runner. Those whose minds aren’t sold by perfect pitch and clean fingernails. Through this medium you can escape the confines of mental feudalism and bask in the euphoric glow of psychedelic R&B.” Where the last Night Beats LP was a distinctly polished and soulful affair, ‘Outlaw R&B’ sees the band return to their natural habitat: riotous, acid-fried rock’n’roll to lose your head to.

Releases May 4th, 2021

Lumerians’ “Fuzz Club Session” LP is out today and to mark the release, the Oakland-based band are sharing another video from the session. Up until disbanding last year – announced via a social media post saying they “were off to get some smokes” – Oakland cosmonauts Lumerians were one of the most prolific and genre-bending bands to reside on the outer edges of contemporary psychedelia. Since their formation 2006 they went on to tour around the world and share the stage with everyone from My Bloody Valentine to Killing Joke and Black Moth Super Rainbow. Constantly evolving, their sound has been known to journey from synthesised ambient excursions to far-out space-rock and kosmische post-punk, often dabbling with touches of dub, free jazz and the works.

What might very well be the final Lumerians LP comes in the shape of a new live session recorded for Fuzz Club Records when the band stopped off in London as part of a European tour in 2019.

This one’s for the face-melting ‘Corkscrew Trepanation’ – a song originally taken from their self-titled debut EP released back in 2008 but continually evolving ever since. “This song had mutated into a different animal over the years and we wanted to document that transformation”, the band said.

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Recorded live at Love Buzz Productions and pressed to 180gm vinyl, Lumerians’ Fuzz Club Session LP  due for release January 29th  is comprised of four tracks, new and old. ‘Longwave’ and ‘Corkscrew Trepanation’ are lifted from the band’s 2011 Partisan Records-released ‘Transmalinna’ LP and their 2008 self-titled debut EP, respectively. On this record, though, we hear the songs take on a whole new life: “Both of these songs had mutated into different animals over the years and were frequently played together as a finale during our live shows. We wanted to document their transformation since we really liked what they had become”, the band reflect.

As well as those reimagined Lumerians cuts, the Fuzz Club Session also features two previously unreleased jams. They describe ‘Light The Beacon’ as “a snapshot of a piece of music we had been using to open our shows for tours in 2018 and 2019. It started as a simple oscillator drone that would lead into the first song but eventually became a song in and of itself. The song never really had a name, but since we used it as a way to signal the show was beginning and draw people towards the stage, ‘Light the Beacon’ seemed appropriate for this version.” ‘Transmission Overture’, on the other hand, was a spontaneous composition that they’d never played before and haven’t since: “This is basically the process by which we wrote all of our songs. We’d record our improvisations, listen back and then select the parts that stood out most and learn how to play it again. Some seemed so fully formed out of the gate that we’d call them “transmissions” as documented on our ‘Transmissions from Telos’ EP series.”

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Australian five-piece Mt. Mountain are today announcing their fourth album, ‘Centre’, and sharing the first single ‘Aplomb’. Hailing from Perth, Australia, Mt. Mountain deal in a sprawling, motorik psychedelic rock sound that journeys between tranquil, drone-like meditations and raucous, full-throttle wig-outs that’ll blow your mind as much as your speakers. Now signed to Fuzz Club Records, ‘Centre’ is due out February 26th check out the first cut, ‘Aplomb’, below.

Taking cues from Krautrock pioneers like Neu! and Can whilst existing in a similar world to contemporaries like Moon Duo, Kikagaku Moyo and Minami Deutsch, Mt. Mountain are formidable torchbearers of the minimal-is-maximal tradition. Out today, ‘Aplomb’ was one of the first songs written for the album and marked a conscious shift of focus towards more rhythmic patterns within their music. Stephan Bailey (vocals/organs/flute) reflects on the song: “‘Aplomb’ is essentially the voice that I hear in my head, reminding me to not rush and slow down, and to have the confidence to bring this into practice in everyday life. We wanted there to be this clear contrast here between the tempo of the song and the lyrical content, an approach which appears throughout the album.”

Mt. Mountain is :
Steven Bailey (organ / vocals)
Thomas Cahill (drums)
Glenn Palmer (guitar/synth)
Brendan Shanley (bass)
Derrick Treatch (guitar).

Releases February 26th, 2021

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 line-up 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. 

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“Same Old Line is a great addition to the blues canon and sits well up against some of the great records of the genre, both by the past masters and their modern acolytes” – Louder Than War

“The latest offering Same Old Line features influences from The Stooges, The Stones and classic era Creedence all distilled through a haze of Crazy Horse smoke and mirrors.” – Shindig Magazine

Nothing like a bluesy thrasher to lift you up and rock your spirits back to life. … The Spyrals are coming in hot with the thrasher blues tunes, their fresh take on a vintage rock ‘n’ roll sound. “ – Backseat Mafia 

released November 14, 2020

Reykjavík maverick Henrik Björnsson is due to release ‘Good Sick Fun’, his eleventh album under the Singapore Sling project, on September 25th via Fuzz Club Records Inspired by goth-rock, dub and big-band jazz on top of the usual fuzzed-out rock’n’roll touchstones that are seared into Henrik’s work, the latest Singapore Sling full-length is as perversely hedonistic as they come – and that’s not without competition by any means.

An invitation to “rejoice in doing wrong”, in Henrik’s own words, ‘Good Sick Fun’ is the latest morbid and characteristically-depraved addition to a back-catalogue spanning nearly two decades from the cult Icelandic band. Arriving off the back of the 2019 ‘Killer Classics’ LP, Henrik says of the new album: “Old rock´n´roll is the main influence on this record, as on most of my records. When I release a record it means rock´n´roll has saved my life, my mind and my soul once again. And it does that quite frequently. Sometimes I start running astray, getting sucked into pointless garbage and thinking it actually matters. Then I realize that it´s absolute garbage and that nothing matters but rock´n´roll so I go and make a record instead.”

Fuzz Club exclusive vinyl limited to 200 numbered copies on clear 180g vinyl (inc. Bandcamp download card).

Fuzz Club members will receive the exclusive vinyl as part of the September membership package. Standard vinyl limited to 300 copies on 180g black vinyl 

Mt Mountain are very excited to announce that we have signed with Fuzz Club Records. Details on the incoming release coming soon!

Fuzzclubrecords: “We’re super excited to announce that we’ve signed the great @mt.mountain for their incoming third album – the details of which will all be revealed soon! Hailing from Perth, Australia and forming in mid-2012, Mt. Mountain deal in just about everything we love here at Fuzz Club: a sprawling, motorik psychedelic rock sound that effortlessly journeys between tranquil, drone-like meditations and raucous, full-throttle wig-outs that’ll blow your mind as much as your speakers.  Both songs are hazy early morning ebbing drifts that don’t so much flower, as they manage to hold you in suspension, teetering on the edge of gliding lysergic flight, nearly existing in the background, though ever-present enough to hold your wayward attention with disembodied emancipated delight, filled with wanderlust and super low-keyed visionary splendour.

To find out more and stream their recent single ‘Tassels’.

Hailing from Perth, Australia and forming in mid-2012, Mt. Mountain deal in just about everything we love here at Fuzz Club: a sprawling, motorik psychedelic rock sound that effortlessly journeys between tranquil, drone-like meditations and raucous, full-throttle wig-outs that’ll blow your mind as much as your speakers. This band puts you under a blissful lysergic spell. I can not wait for a new record.

With a number of EPs and singles and two full-length albums behind them – their 2016 debut ‘Cosmos Terros’ and 2018’s ‘Golden Rise’ – Mt. Mountain have picked up a formidable reputation in their homeland and further afield. As far as live shows go they’ve played shows with such notable Aussie comrades as King Gizzard & The Lizard Wizard and ORB, as well as a long list of international heavy-hitters including Sleep, MONO, Thee Oh Sees, Acid Mothers Temple and Moon Duo. It’s for good reason that this lot have been busy earning their stripes over the last few years and we’re incredibly excited to start showing you what they have in store in the coming weeks and months… watch this space!

The Band:

Steven Bailey (organ / vocals)
Thomas Cahill (drums)
Glenn Palmer (guitar/synth)
Brendan Shanley (bass)
Derrick Treatch (guitar).

“Interzone” is the third full-length album by New York’s electro post-punk duo The Vacant Lots, to be released on Fuzz Club, Friday, June 26th, 2020. A genre-blending synthesis of dance and psych, Interzone is made for secluded listeners and all night partygoers, meant for headphones and the club.

Uninhibited by the limitations of two people and continuing their mission of “minimal means maximum effect,” The Vacant Lots’ Jared Artaud and Brian MacFadyen create an industrial amalgam of icy electronics and cold beats with detached vocals and hard hitting guitars. Interzone’s trance-like opener ‘Endless Rain’ and the kinetic krautrock stomper ‘Into The Depths’ are followed by scintillating dark disco anthems ‘Rescue’ and ‘Exit’. Side 2 kicks off with 80’s synth-pop track ‘Fracture’ and haunting after-hours minimal wave ‘Payoff,’ while ‘Station’ and album closer ‘Party’s Over’ deal with disillusionment and conquering one’s indifference to make real change.

The album creates order from chaos and delves into escapism, isolation, relationship conflicts, and decay. With nods to William S. Burroughs and Joy Division’s song of the same name, “Interzone is like existing between two zones,” Jared says. “Interzone doesn’t mean one thing. It can mean different things to different people depending on their interpretation. Working on this album was a constant struggle reconciling internal conflicts with all that’s going on externally in the world. Interzone in one word is duality.”

Jared and I bounced ideas back and forth while working in seclusion on opposite coasts. We would just send files to each other until the songs were arranged. Then we met up at the studio in Brooklyn where we were fortunate enough to borrow Alan Vega’s Arp synth and finished recording with engineer Ted Young. We then worked with Maurizio Baggio to mix it,” recalls Brian. After the band finished producing Interzone, long term visual collaborator Ivan Liechti designed the album artwork.

The Vacant Lots have released singles with Mexican Summer and Reverberation Appreciation Society, collaborated on their debut album Departure with Spacemen 3’s Sonic Boom, their second album Endless Night with Alan Vega, and most recently on their two EPs, Berlin and Exit, with Brian Jonestown Massacre’s Anton Newcombe at his studio in Berlin. The group has toured with Black Rebel Motorcycle Club, Suicide, Brian Jonestown Massacre, The Growlers, Dean Wareham, The Dandy Warhols, and Spectrum.

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Reflecting on the new album, Jared says, “We don’t want to waste people’s time and we want people to play it over and over. Our mantra is ‘is it bulletproof? 8 songs. 30 minutes. It’s about intention and vision.”

Released June 26th, 2020

All Songs & Music Produced by
the Vacant Lots,  Are Jared Artaud & Brian Macfayden

Having recently put out their third album, ‘Interzone’, Brooklyn duo The Vacant Lots are today sharing a new video for ‘Fracture’. The song’s hazy 80s synth-pop paired with visuals recorded by the band in isolation and directed/edited by Sam Quinn.

Interzone is the third full-length album by New York’s electro post-punk duo The Vacant Lots, to be released on Fuzz Club Records, Friday, June 26th, 2020. A genre-blending synthesis of dance and psych, Interzone is made for secluded listeners and all night partygoers, meant for headphones and the club.

Uninhibited by the limitations of two people and continuing their mission of “minimal means maximum effect,” The Vacant Lots’ Jared Artaud and Brian MacFadyen create an industrial amalgam of icy electronics and cold beats with detached vocals and hard hitting guitars. Interzone’s trance-like opener ‘Endless Rain’ and the kinetic krautrock stomper ‘Into The Depths’ are followed by scintillating dark disco anthems ‘Rescue’ and ‘Exit’. Side 2 kicks off with 80’s synth-pop track ‘Fracture’ and haunting after-hours minimal wave ‘Payoff,’ while ‘Station’ and album closer ‘Party’s Over’ deal with disillusionment and conquering one’s indifference to make real change.

The album creates order from chaos and delves into escapism, isolation, relationship conflicts, and decay. With nods to William S. Burroughs and Joy Division’s song of the same name, “Interzone is like existing between two zones,” Jared says. “Interzone doesn’t mean one thing. It can mean different things to different people.

“Jared and I bounced ideas back and forth while working in seclusion on opposite coasts. We would just send files to each other until the songs were arranged. Then we met up at the studio in Brooklyn where we were fortunate enough to borrow Alan Vega’s Arp synth and finished recording with engineer Ted Young. We then worked with Maurizio Baggio to mix it,” recalls Brian. After the band finished producing Interzone, long term visual collaborator Ivan Liechti designed the album artwork.

The Vacant Lots have released singles with Mexican Summer and Reverberation Appreciation Society, collaborated on their debut album Departure with Spacemen 3’s Sonic Boom, their second album Endless Night with Alan Vega, and most recently on their two EPs, Berlin and Exit, with Brian Jonestown Massacre’s Anton Newcombe at his studio;s in Berlin.

released June 26th, 2020