Posts Tagged ‘Fuzz Club Records’

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

No photo description available.

Earlier this week, Montreal’s Elephant Stone released a new video for ‘Fox on the Run’, taken from their recent ‘Hollow’ LP, as well as a great remix of the band’s 2013 single ‘A Silent Moment’ by Tom Furse (The Horrors). Elephant Stone ‘Fox on the Run’ is from their sixth full-length, ‘Hollow’, which we put out earlier this year. The song is a sublime piece of ambient psychedelia that submerges you in waves of mesmerising synths, shimmering guitars and Rishi’s effects-heavy vocals –

Talking about ‘Fox on the Run’, bandleader Rishi Dhir explains: “During the writing of this track, I was listening to a lot of Yo La Tengo, specifically ‘And Then Nothing Turned Itself Inside-Out’, I loved the hypnotic element to their tunes. At the same time I kept hearing reports about ICE agents taking people away in the middle of the night—people who have been in America for years and worked hard…only to be now targeted by Trump and his cronies. The song was written from the perspective of someone who just wants to be somewhere safe and with their family.”

Vince Gauthier, the director of the video, describes it a “a visual companion to the song’s playful rhythms juxtaposed against a serene portrayal of the protagonist, untroubled by the chaos tearing at the fabric of his world.” Out today, the single also comes with a B-side remix of the 2013 track ‘A Silent Moment’ courtesy of Tom Furse of The Horrors and MIEN, another of Rishi’s project’s MIEN with Tom, Alex Maas of The Black Angels and John Mark Lapham of The Earlies. You can stream ‘Fox on the Run’ and the remix below, and buy ‘Hollow’ on vinyl now.

Bolstered by the addition of a vocalist and second drummer, the incendiary ‘Bestial Light’ LP sees the band move on from the electronic experimentations of the Subversive album trilogy (culminating in their most-recent LP, 2018’s ‘De Spelende Mens’) and last year’s ‘Bliss’ EP. Their new direction, instead, finds them journeying into a dissonant industrial punk sound that’s Einstürzende Neubauten and early Swans by way of Neurosis and Godflesh. Fusing heavy industrial rhythm sections, biting post-punk vocals and crushing “acid metal” riffs.

“Eden In Reverse” · Radar Men From The Moon  Fuzz Club Records Released on: 2020-03-04

Pre-Order: Elephant Stone - Hollow,Vinyl,Fuzz Club - Fuzz Club

On February 14th 2020 Montreal psych-pop group Elephant Stone will release their sixth full-length, ‘Hollow’, on Fuzz Club Records. It arrives following their 2016 LP, ‘Ship Of Fools’, and a number of recent side-projects and collaborations, such as the Acid House Ragas project and new band MIEN with members of The Horrors and The Black Angels.

The first Elephant Stone record made in frontman and sitarist Rishi Dhir’s own Sacred Sounds studio, ‘Hollow’ is an ambitious, dystopian sci-fi concept album which he says is inspired by The Who’s ‘Tommy’, Pretty Things’ ‘S.F, Sorrow’ and the second side of The Beatles’: “There are a lot of unhappy people out there who are trying to find a way out. They are looking for meaning and something to believe in… or nothing to believe in. We all want the same thing but are trying to achieve it in different ways. With this in mind, I set forth writing a song-suite telling of a world of unhappy souls who have lost connection with each other.

From Side A (‘The Beginning) though to Side B (‘The Ending’), the story told through Elephant Stone’s renowned garage-psych alchemy takes place immediately after mankind’s catastrophic destruction of the Earth and what happens when the same elite responsible for the first world-destroying climate disaster touch down on New Earth, a recently-discover planet sold with the same life of prosperity as the one they’d just destroyed. As soon as the chosen few step off the Harmonia ship built for the journey, it’s clear that all is not what it seems and humanity appears destined to make the same mistakes: “The storyline touches upon the plundering/poisoning of their home, the elite, demagogues, false idols, the truth as seen by children, and, ultimately, the fight for the survival of their species.”

Fuzz Club Records “The Reverb Conspiracy, Volume 6” It’s a double LP on white vinyl.

The aim and a desire with the Reverb Conspiracy compilations are to uncover and celebrate the best in fuzz, reverb and drone from every corner of the globe. Where the first five volumes were hailed as a Nuggets-like documentation of the European psych scene, Reverb Conspiracy Vol 6 sees the compilation go global: bringing together bands from South Africa, Australia, the USA, Germany, Brazil, the UK, Italy and Russia.

Also including the label’s own Medicine Boy’s shadowy noise-pop (DE) and Nest Egg’s motorik “mood music for nihilists” (US), plus Steeple Remove’s dub-inflected post- punk (FR) and Crimen’s heady, repetitive psych-rock (IT) – there is Aussie garage-psych outfit Nice Biscuit, a new cut of Bikini Kill-meets-Oh Sees noise from Julia Robert (SA), as well as lo-fi garage-pop from Super Paradise (UK) and the double-barreled psych-blues wig-outs of Frankie & The Witch Fingers (US).

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In the compilations darker moments, though, there is the hypnotically face-melting “space-surf” of Japanese Television (UK), goth-tinged post-punk from Float (UK), murky psychedelic stoner-rock from Brazil’s Firefriend, relentlessly driving krautrock courtesy of Verstärker (USA), the heavy space-rock drones of Psychic Lemon (UK) and Moscow’s Selbram, who deal in a jagged alt-rocksound that takes its cues from No Wave, psych and the “pulse and noise” of city life.

Tracklist:
1. Julia Robert – Mud Girl
2. Nice Biscuit – Out Of Sight
3. Frankie And The Witch Fingers – Underneath You
4. Medicine Boy – Water Girl
5. Firefriend – Surface To Air
6. Nest Egg – DMTIV
7. Steeple Remove – Ferris Noir
8. Float – Watch
9. Crimen – Flahzz
10. Japanese Television – Tick Tock
11. Selbram – This City You Know
12. Super Paradise – 6:30
13. Verstärker – Mit Glück
14. Psychic Lemon – Interstellar Fuzz Star

Fuzz Club Eindhoven 2019: Kikagaku Moyo + The Soft Moon + Iceage e.a.

Fuzz Club, organised by the label of the same name in partnership with Eindhoven Psych Lab, in that city’s imperious Effenaar venue, is ostensibly a ‘psych fest’. It’s a little steelier than most, perhaps – there is more psychedelia of the skull-crushing, motoric and guitar-based variety than there are whacked-out interdimensional synth voyages – but psychedelia it remains.

In the wider world, psych is somewhat on the wane in 2018, having hit a soaring high four or five years ago. In Liverpool, the annual International Festival of Psychedelia – one of Europe’s largest – was the undisputed daddy of the Scouse music calendar, a cosmic celebration imbued with a sense of starry-eyed optimism, a friendliness and community spirit.

After last year’s Fuzz Club Eindhoven, and before our ears had even stopped ringing, The Fuzz Club promoters began working on round two. Today we’re unbelievably excited to share the first seventeen bands who are set to play at FCE19 – taking place once again at the Effenaar over August 23rd-24th. You can find the line-up as it stands as well as a link to early-bird tickets below.

So, topping the bill will be everyone’s favourite Japanese mavericks Kikagaku Moyo, who will be bringing their transcendental blend of minimalist psychedelia, Eastern folk and krautrock. Also joining them will be Iceage and their twisted post-punk drawl and The Soft Moon, whose pounding cocktail of industrial, EBM and darkwave will be shaking floors in the early hours.

On top that there will be The KVB’s icy synth-pop, the shadowy drone-rock of Tess Parks and shoegazing legends The Warlocks and The Telescopes. Plus further Japanese hypnosis courtesy of Minami Deutsch, synth-punk workouts from Rendez-Vous and droning garage-psych from Alan Vega proteges The Vacant Lots. Oakland cosmonauts Lumerians, Chilean heavyweights Vuelveteloca and South African noise-pop duo Medicine Boy. We’ll also be bringing back Berlin post-punk outfit The Underground Youth and Porto krautrockers 10 000 Russos.

Bands for 2019 + more to be announced
Kikagaku Moyo, The Soft Moon, Iceage, The KVB, Tess Parks, The Underground Youth, The Warlocks, The Telescopes, The Vacant Lots, Lumerians , Whispering Sons, Rendez-Vous, Iguana Death Cult, Minami Deutsch, 10 000 Russos, Medicine Boy en Vuelveteloca.