Posts Tagged ‘Fuzz Club Records’

Cult of Dom Keller have today announced their fifth album “They Carried The Dead In A U.F.O.” and shared the first single, ‘Last King of Hell’.

Cult of Dom Keller will release their fifth album, “They Carried The Dead In A U.F.O”, on May 21st via Fuzz Club Records. Since 2007 the British band have been leaving a trail of sonic fever dreams, dark psychedelia and experimentalism that beats with a heavy industrial heart and the forthcoming LP sees them conjuring their heaviest and most adventurous work to date.

Since 2007 the UK group have been leaving a trail of sonic fever dreams, dark psychedelia and experimentalism that beats with a heavy industrial heart. Talking about the track, they said “The Last King of Hell is a big, big track. What begins with almost a Western sci-fi vibe builds over 7 minutes into a monster of sound. Lyrically it’s about a protagonist who – no matter how hard he tries, and how in harmony he thinks he is with the world – fails to see that he is actually part of the problem. As the track builds and spirals out of control so does our protagonist. Singles shouldn’t be 7-minutes long but who gives a sh*t when it ain’t gonna be played on the radio anyway.”

They’re probably not wrong in that line of thinking, but that makes the track no less enchanting, with a motorik beat driving from the core with organised chaos reigning elsewhere.

We’re thrilled to announce that Cult of Dom Keller are back with their fourth album, ‘They Carried The Dead In A UFO’ – due for release May 21st on Fuzz Club  

“We managed to create our most experimental and exciting album to date without being in the same room together. U.F.O. was recorded, mixed and produced by ourselves, meaning we had total control over every noise on the record. This was the exact record we wanted to make: Experimental and playful; moments of light and pure dark… we wanted to f*ck with the listener and pull them in with moments of beauty and chaos. We hope you enjoy the trip!”

The new album ‘They Carried The Dead In A U.F.O’, is released May 21st via Fuzz Club Records. Promo video created by Jason Holt

Releases May 21st, 2021

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Since 2007 these DIY sonic alchemists have been creating whacked out soundscapes and songs that appear to have been born from another universe, all from the confines of their sonic bunker

The Cult Of Dom Keller make the kind of experimental goth-tinged psych that, has thus far, eluded 2016. Fans of Swans and The Icarus Line will find plenty to entertain them here – this is a band unafraid to take risks.

The band have pushed themselves sonically on this album, it’s by far their most experimental release to date. It’s also an album rooted in darkness. “The new album deals with the theme of uncertainty, and put more simply – the end.” That theme resonates throughout the entire album.


Goodbye To The Light released April 1st, 2021 on FUZZ CLUB Records.

Since 2007 these DIY sonic alchemists from Nottingham have been creating whacked out soundscapes and songs that appear to have been born from another universe, all from the confines of their sonic bunker.

Captured live as they toured their latest LP “Goodbye To The Light” (on Fuzz Club Records) at the at Het Bos, Antwerp 17/11/16 and Paradiso, Amsterdam 19/11/16. Capturing the raw blown out power and the tangible energy of the group’s infamous live shows as you listen in to the band laying waste to tracks from all three of their long-player albums, where tracks are stretched out and played to within an inch of their lives. So please sit back and enjoy – over four sides of vinyl – The Cult of Dom Keller, live from the confines of your stereo.”


Released March 28th, 2021

We’re super excited to announce our exclusive Fuzz Club Edition of the second entry to the ‘Live at Levitation’ series with festival founders, The Black Angels. Our version comes on transparent black ice vinyl with heavy tangerine splatter. From deep in the heart of Texas, armed with the home-grown mantra “Turn On, Tune In, Drone Out,” The Black Angels ring real and rugged like a crimson full moon-lit night. Formed in May of 2004, the band’s sanctified holy racket was breech-born out of life-long friendships drawn up in blood and sealed with a kiss.  


The artists and sets showcased on Live at Levitation have been chosen from over a decade of recordings at the world-renowned event, and documents key artists in the scene performing for a crowd of their peers and fans who gather at Levitation annually from all over the world. The LP captures a slice of the early days of the festival, with tracks from The Black Angels’ first two LPs – with 6 tracks recorded in 2010, 2011 and 2012.

The Black Angels – Live at Levitation has been given deluxe treatment on mind melting vinyl.

various artists

Fuzz Club Records are back with the seventh volume of their annual Reverb Conspiracy Compilation.

Likened to the ‘Nuggets’ compilations that document the kaleidoscopic sounds of the 60s, the Reverb Conspiracy series provides a snapshot of the contemporary international psych scene in all its multifaceted glory. concerned with all things fuzz, reverb and drone, you’ll find underground artists and familiar names. vice once described the reverb conspiracy as “a catalyst for the european psych nouveau movement… sparking more creative chemistry than a night of speed dating at Andy Warhol’s” but, as of Volume Six, Fuzz Club have now gone fully international. like its predecessor, Volume 7 is a worldwide affair and all the better for it. from Australia, there’s the hypnotic psych-surf of Chesta Hadron and driving krautrock jams courtesy of Mt. Mountain. elsewhere, Mexico brings us a ten-minute motorik work-out from Sei Still and murky, reverb-soaked shoegaze from Lorelle Meets the Obsolete. turning back to Europe, there is a whole heap of far-out sounds. France offers us electronic post-punk drones (Veik), gothic psych (Servo) and experimental electronica/krautrock (Ashinoa). representing Italy, there’s Kill Your Boyfriend’s psychedelic noise-rock and bludgeoning walls-of-sound from Rev Rev Rev. there’s a piece of primal industrial psych via Germany’s Flying Moon in space and Austria’s Hypnotic Floor deliver a thrashing fuzz freak-out. championing the UK, where Fuzz Club themselves are based, you’ll find Autotelia’s sprawling, minimalist soundscapes and dark, noisy post-punk from Mirna Way (who are based in London but originally hail from Poland

TRC7 is released as a double LP in a gatefold sleeve with amazing artwork, as always, by Jón Sæmundur Auðarson/Nonni Dead. There are 500 copies on bone vinyl and 100 surprise, randomly-allocated gold vinyl copies.


  1. chesta hedron – pulse,
  2. mt mountain – tassels
  3. sei still – tacticas de guerrilla urbana
  4. flying moon in space – ardor
  5. kill your boyfriend – agave
  6. veik – difficult machinery
  7. lorelle meets the obsolete – la maga
  8. ashinoa – koalibi
  9. autotelia – floating island of the gods
  10. hypnotic floor – beinwärts
  11. mirna ray – poziome tornado
  12. servo – yajña
  13. rev rev rev – clutching the blade

limited indies only 500 “bone colour” lp w/ 100 randomly allocated gold 2lp

expected release: 9th apr 2021

The Underground Youth’s “The Falling” is the band’s first album since 2019’s Montage Images of Lust & Fear. Frontman Craig Dyer’s deep, moody, monotonous vocalizations a la Orville Peck are at the forefront of the The Falling’s sound, backed by an ever-present acoustic guitar. The album’s opening title track is suspenseful and biblical, hypnotically inviting the listener in with a dark charm. Other standout tracks include the poetic, harmonica-infused “Vergiss Mich Nicht” and “Cabinet of Curiosities,” a love song vaguely evocative of a Spaghetti Western.

The Underground Youth is a Manchester-born, Berlin-based group led by Craig Dyer their tenth album, ‘The Falling’, via Fuzz Club Records. The new full-length sees Craig and band trade their acerbic post-punk melancholy for a more refined and stripped-back sound that, instead, enters the world of romantic, shadowy folk-noir. A marked departure from the primal intensity often heard on the band’s previous work, ‘The Falling’ showcases a softer, more cinematic musical landscape shaped by acoustic guitars, piano, accordion and a heavy presence of violin and string arrangements. It’s not just the instrumentation and atmospherics that have undergone a transformation on this record, it is also Craig’s most sincere and introspective work to date.
Lyrically this album finds me at my most honest and autobiographical. I still shroud the reality of what I have written within something of a fictional setting, but the honesty and the romance that shines throughout the record is more sincere than it has been in my previous work. The idea was to strip back the band to allow for lyrical breathing space”, Craig reflects on the album.
With the original plans of heading into the studio upon their return from their 2020 USA tour grinding to a halt – the tour cancelled midway through due to the Covid-19 outbreak and followed by months of isolation in their Berlin apartments – the album is also very much a product of the distressing and unfamiliar world we now find ourselves in.  As a result of the pandemic, ‘The Falling’ was recorded between Craig and guitarist/producer Leo Kaage’s apartments-turned-home-studios (also in the band is Craig’s wife, the artist Olya Dyer, and Max James, who formerly played in Johnny Marr’s live band): “The album sees me going back to my writing approach from our earliest records, writing the demos as stripped back acoustic tracks at home. What started out as a set of romantic and deeply personal songs also took on the surrounding frustrations and feelings towards the situation we found ourselves in. Born from the heartbreak of how the worldwide pandemic has changed the industry we were thriving within, this album also functions as a love letter to the past.” 

Taken from the album ‘The Falling’ – Released by Fuzz Club on 12th March 2021

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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.


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.”


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.

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.

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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.


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.”