This Record Store Day 7″ single celebrates the first French punk band, originally released in 1977. Limited to 1000.
two song single of gothic fuzzy uk death rock/punk. their best, most anthemic and chorus drenched hatred set on rainy london streets. features jesse cannon from natural assembly. short program repeats on both sides. edition of 100.
Limited edition of 100 copies worldwide.
Uniform formed in New York City in late 2013 when old friends Ben Greenberg (Hubble, The Men, Pygmy Shrews) and Michael Berdan (York Factory Com- plaint, Drunkdriver, Believer/Law) realized they lived on the same street. Their impulsive collaboration quickly yielded Our Blood / Of Sound Mind and Body single. The six tracks that comprise the equally abrasive but more refined ‘Perfect World’ have been coming together between tours and work ever since.
The music that Greenberg and Berdan conjure up under the Uniform moniker is immediate, aggressive, and even primal in form, but it plumbs untold depths. Berdan’s venomous voice mines deeply personal themes of resentment, regret, reflection and addiction over the hum of Greenberg’s almost impossibly disciplined guitar, bass synth, and drum machine lines. Greenberg uses the word “templatized” to describe their approach to writing songs for Uniform.
The five members of Cheena – Walker Behl, Margaret Chardiet, Keegan Dakkar, Logan Montana, and Eugene Terry–were all born and raised in New York City and have all cut their teeth in its musical underground. The band formed in 2014 out of their shared affinity for ’77 punk and a mutual respect for Mercer Arts-era NYC early glam and West Coast country punk. They were all friends playing the underground punk circuit, each with the desire to form a band outside of their own genre niches.
Appropriately, then, Cheena finds all five of its members stretching out of their usual comfort zones. Behl’s historically shrieking vocals are replaced with a more harmonious call, Chardiet trades the PE table for a fire engine Gretcsh Special Jet Fender twin combo. Montana taught himself to play slide guitar, Jeffrey Lee style. Dakkar tries out a thundering post-punk bass and Terry, a multi-instrumentalist, settles on drums, forcing himself to play at least two measures slower than any of his previous projects. Spectacularly, the result is a sonically coherent group who sound as though they’ve been playing together for years.
Citing wildly diverse influences– Gary Glitter, Slade, uppers, cartoonish depression, Iggy Pop, 70’s iron on font, Sex Pistols, booze andHawkwind— their unifying theme is defiantly one of late ’70s proto-punk. Eschewing the genre boundaries in which their other projects are so deeply entrenched, the band manages to channel a pre-internet spirit painfully non-existent in this age of Tumblr fashion and Discogs record collectors.
Despite having independently released the first punk rock single on the US west coast, Crime‘s legend has never spread beyond a comparatively small but extremely adamant cult. The fact that they only released three singles during their existence is certainly a factor in the lack of recognition afforded them. Probably more significant is the fact that Crime’s music and image set them apart from what soon became discernable as the typical punk rock scene. The amphetamine blues lead guitar bursts that responded to the vocal lines in nearly every song, as well as the frequently dispassionate vocals, set them apart from the bandwagon-jumping art-schoolers (who were all too often devoid of rock and roll attitude), as did their carefully cultivated look and their anti-social attitude. Crime compiles the complete recorded legacy of the band fans have come to refer to as San Francisco’s first and only rock and roll band. It includes three facsimile reproductions of Crime’s original singles and four more 7″s featuring ten tracks recorded from 1977 through ’79 and unreleased at the time, among them a “Be Bop a Lula/Peggy Sue” medley unavailable elsewhere until now. The records are accompanied by a 20-page booklet with an extensive band interview by Michael Lucas, photos and memorabilia, plus a special text written by film director and Crime fan Jeff Feuerzeig (The Devil and Daniel Johnston). Includes a CD with all 16 tracks.
White Void is the solo project of Frederik Lind Köppen, who is known from many different projects over the last few years, lately as drummer of the 4 piece band Communions that released their debut Ep through Posh Isolation earlier this year. White Void is a different beast, distorted & unique in its compositions, it is difficult to fit under any genre term. While the production leans towards primitiv punk and metal, the tracks carry with them an underlying pop sensibility, that makes it hard to explain, but proves yet again that Frederik Lind Köppen is, even with his young age, already an incredibly talented song writer and a unique musical mind.
Young and unbalanced heart throbbing rock music.
Posh Isolation 130
“The ego, which was previously subjected to law, now seeks stillness in sleep and death. The Death Posture and its alternative reality represent freedom from law, and ascension from quality, in the final cataclysm. The universe may be reduced to ashes, and no one will be sorry, but the ego will escape the judgement in that final freedom there is nothing that is ‘necessary’. Dare I say more?
I would rather commit a sin than compromise myself.
6 new tracks of ferocious Black Metal from members of Iceage.
Limited to 300 Copies
Marching Church is an act that is hard to grasp.
For this recording, Elias (Iceage) delivers 5 tracks of unusual Music.
Lo-Fi bedroom noise folk.
Originally released on Posh Isolation.
Limited to 300 Copies
On Xmas day in 1999, the channels of the noise canon received a new entry into its ranks by the name of Sissy Spacek. 15 years later, the outfit, held together by core members John Wiese & Charlie Mumma, has left a littered trail of damaged recordings and countless performances in its wake. Known for it’s cult output and conceptual performances—each idea folding over the last to create havoc in the way that most would care to avoid, Sissy Spacek takes this all head on. Their newest 7” shows the band exploring song-based material (see also their live shows), employing it’s newest member Sara Taylor to provide vocal accompaniment to their special brand of furious destruction. To those familiar with their previous works on PPM, Chondritic Sound, Gilgongo or Wiese’s own Helicopter imprint, one will instantly welcome their signature hybrid of grindcore blasts and avant-garde sensibility and remain captured by the band’s semblance of leftfield song writing.
“Debut release from London’s Shallow Sanction. A refreshing but authentic take on the lineage referencing bands such as early Christian Death, Amebix, and Conflict. Shallow Sanction rejects the otherwise ‘in the red’ and overly distorted approach of recent years for a more honest, stripped down and raw gothic punk sorely missing from many of their contemporaries. An aggressive, ‘only man left’ feel runs through the EP. An isolated and anthemic voice echoes along cold rainy drums and bloody nose bass, accented by the unusual introduction of effects and smartly placed electronics along the way in an otherwise skeletal and frightfully nuts and bolts morbid punk sound. Shallow Sanction evokes a nihilistic, apocalyptic, youthful, urban mentality set in old London coiling in on itself. Edition of 300.”
Recorded by a band that was in the throes of death, this mini-LP features seven tracks of political punk (although some would describe it as post-punk, an insult of the worst kind), covering the political spectrum from the Italian Red Brigades to the Kanada Kommando of Auschwitz. The LP may have lacked the bite of the earlier singles, but Hymns was innovative and original, and has never been bettered, yet alone equalled. Forget “Killed By Death,” this my friends is the real deal! After CRISIS, DOUGLAS P and TONY WAKEFORD formed DEATH IN JUNE and LUKE RENDALL joined THEATRE OF HATE. Kneel and bow in reverence to Hymns of Faith!