The Ugly Australian Underground documents the music, songwriting, aesthetics and struggles of fifty of Australia’s most innovative and significant bands and artists currently at the creative peak of their careers. The book provides a rare insight into the critically heralded cult music scene in Australia.
The author, Jimi Kritzler, is both a journalist and a musician, and is personally connected to the musicians he interviews through his involvement in this music subculture. The interviews are extremely personal and reveal much more than any interview granted to street press or blogs.
They deal with not only the music and songwriting processes of each band, but in some circumstances their struggles with drugs, involvement in crime and the death of band members.
Unprecedented in scope, this book is the definitive story behind the most explosive and influential art form of the last 100 years. The book traces the evolution of the style from its early freight train days to its big-city boom on the streets of New York City and Philadelphia to its modern-day influences, and features profiles and behind-the-scenes stories gleaned from over three-years' worth of interviews with graffiti's most prominent names as well as its lesser-known pioneers. Authors Roger Gastman and Caleb Neelon provide an insider's perspective on the most popular trends and styles that have dominated the scene for the last 50 years, and provide a thorough examination of the regional differences among major American hubs - New York, Los Angeles, the Bay Area, Chicago - and under-the-radar scenes in cities, like Washington, D.C., Boston, Miami, New Orleans, and Albuquerque.
THE HISTORY OF AMERICAN GRAFFITI is packed with over 1000 photographs-the majority of which have never before been seen - from more than 200 photographers, most of whom also created the artwork. The authors have spent the better part of the last five years interviewing key figures in the graffiti world throughout America - from the bedrock cities of New York City, Philadelphia, and Los Angeles to the lesser-known, but equally important hotspots of Cleveland, Baltimore, and Phoenix. Approximately 90 percent of the art in this book has never been published, and was sourced directly from the artists who lived the scene, giving the book a raw street vibe as authentic as the history it documents.
The foreword is by legendary graffiti artist, Taki 183. Considered one of the founding fathers of the graffiti arts movement, Taki 183 has never before contributed writing to any book or newspaper/magazine article on the subject. Next year, 2011, marks the 40 anniversary of the 1971 New York Times article written on Taki 183-"Taki 183 Spawns Pen Pals"-that ignited the movement in New York City and cast Taki 183 as the world's first famous graffiti artist. His official Web site is http://taki183.net.
“I think Volvox is really outside of most things and most categories. That’s what attracted me to them immediately. You know, what are we listening to? What is this? Who are these people? That’s the stuff that I love and they were just outside of everything, outside of the experimental scene for sure. Even though people in the scene were supportive of them and loved them. I just think they were very very different. It was just very strange.” - Oren Ambarchi
Volvox were one of the most extraordinary bands ever to emerge from Melbourne, or in fact anywhere else. Unfortunately for the rest of the world, during their short existence (1991 to 1996) they never played outside of said city. Luckily for you dualpLOVER and SPILL have taken it upon themselves to re-issue their back catalog in an effort to preserve the recorded history of one of Australia’s true outsider outfits and to help its legacy grow outside of the few who saw them play or brought the original cassettes.
Describing the unsettling nature of the Volvox sound is somewhat difficult without pointing out one unmistakable feature, the vocals style of Anthoney Riddell (aka 'Lester Vat'), their all-stumbling neurologically damaged front-man, whose infamous fall at the Redfern squats in the late 80s left him in a coma for months, and then with a significant movement disorder. However unlike other bands that have had physically or mentally-impaired members, his involvement was in no way token. Anthony was actively involved in the Sydney noise scene long before his accident, most notably with his project The Good Chamber who some Sydneysiders may remember through the Cosmic Conspiracy tape label. The bands line up also included Dave Taskas (GRONG GRONG) , Glenn Norman, Christine Thirkell + various guests.
Ex Used condition
Limited coloured vinyl 5LP deluxe foil slipcase
For the first time, The Clouds present all four of their albums in one limited edition collected box set.
RetroActive features all four of The Clouds incredible albums – Penny Century, Octopus, Thunderhead and Futura – most of which are being repressed for the first time since release.
The box set arrives in a deluxe foil box, and each album arrives on limited-edition coloured vinyl.
The 'Phonetic poems" were conceived in 1917, simultaneously and without much knowing with the russian futurists discoveries of Khlebnikov et Iliazd - with the cosmic sorcerer and trans-rational language 'Zaoum' (1913), Hugo Ball at Cabaret Voltaire (Karawane, 1916), then Kurt Schwitters (Ursonate, 1922).
All these artists-poets were inventors (or re-discoverers) of an mediumnic ultralanguage where primordial inter-ethnic and mythological sounds precede meanings, in order to redefine human communication and to connect to the multi-dimensional.
Foreshadows of sound poetry and performative action poetry, these 'Phonetic Poems' are still there, miraculously preserved thanks to some recordings made in 1955 by the house of Philips, then 1959 by Bureau and in 1966 by Henri Chopin, in Limoges where Hausmann had settled in 1944.
" A previously unknown shellac recording of the dadaist recording his immortal sound poem, Ursonate, from the 1930s, was apparently recently discovered. And to much amazement has been released here for the first time. Historically, sonically mindblowing." (forcedexposure.com)
"This is a remarkable artifact and a revealing, even moving rendition." (Option, July/August 1995)
Note: According to Ernst Schwitters's testimony, this is the original recording of his father Kurt's performance. We do not wish to conceal the fact that this claim has since been doubted by a third party. WERGO is investigating the matter.
CD - New
Proper and overdue re-issue of a limited edition 12 cassette on Annihilvs released back in 2012. Hubrizine was two years in the making and features source material by Finland's mighty STROM.ec, undoubtedly heralded as masters of the PE oeuvre, as reinterpreted and re-engineered by Theologian, in celebration of a shared appreciation for the works of Philip K. Dick. From the opening moments, what immediately strikes you is that this probably isn't what you thought it was going to be, given the history of both acts. Sure, there are a good deal of passages of volatility and focused intensity as you might expect, but they are complimented by an equal amount of passages of hallucinatory ambience and cold, serene atmospherics. It's this very dichotomy that makes this such a masterful recording, and listening to it one sitting becomes almost mandatory just to wrap your head around the mind fuckery that unravels over its 7 tracks, as celestial drift and horizon filling textures collide with sudden eruptions of militantly hostile vocals, machine clatter, blistering frequency pulsations and writhing distortion. The title track is clearly the centerpiece here...an epic and sprawling 18 minute track of climatic and shimmering drones that disintegrates into corrosive generator hum and contorted loops with an insane vocal outburst that rivals any STROM.ec output ever created. Hubrizine clearly takes heavy electronics in a direction where few have dared go, and few will ever match. In fold out presentation folder with artwork by Andre Coelho
Limited / Numbered CD - Comes in luxurious 5 panel folder with metallic/black print, 19 x 14 cm, packaged in transparent bag
One year after the highly acclaimed "Dream Landscape" CD ANEMONE TUBE returns with the new concept album "Death over China".
No country in history has emerged as a major industrial power without creating a legacy of environmental damage that can take, if at all possible, decades to undo. China`s rise as an economic power has no clear parallel in history; thus, its pollution problem has shattered all precedent developments.
"Death over China" is a retaliation of nature against humankind. In the same moment it is a dedication to our untamed curiosity for the essence of death and our (inherent in our collective action) secret death wish. In China`s uncompromising economical and social development we see demonstrated, how we - even with the immolation of our health, environment and tradition - are the servants to material progress. Though we are aware of the approaching ecological disaster, we hazard the consequences. Sustainability is sacrificed on the altar of egoist quest for happiness. We consume, we destroy, we thrive, we conjure: "Deathly kingdom of desire, you sustain the life in me, Black death rise!"
Using field recordings, collected in Nanjing and Shanghai in 2007, ANEMONE TUBE creates an unsettling yet intriguing, apocalyptic soundtrack with a sinister atmosphere and a depressive undertone - a unique blend of dark ambient, post industrial and power electronics in the tradition of European industrial music.
"Death over China" is the second part of "The Suicide Series", for which field recordings provide a conceptional basis. In a poetic way ANEMONE TUBE combines analytical realism of the phenomenal world with buddhist psychology and nihilist rhetoric influenced by the works of Michael Haneke, Hayao Miyazaki, H.P. Lovecraft and Yukio Mishima.
All music recorded between July 2007 and December 2009. Mastered by JAMES PLOTKIN 2010.
Definitely ANEMONE TUBE`s best and most mature album yet.
Recorded within the bleak transitional period immediately prior to the sessions that would now become known as Bermuda Drain, Dominick Fernow sketched out four compositions which can only be framed as “ambient power electronics”.
For the past couple decades, Prurient (along with his revered Hospital Productions imprint) has tackled some of the most challenging aptitudes of experimental music and navigated the baggage that comes along with growth and maturity within the confines of noise.
Ex Used Condition
Some of Fernow’s most destitute works to date, this release captures Prurient at its most vulnerable and sedate, reflective and rapt. Compositions that throw away that past decade of experience, only to start at the foundation of his art.
Original exclusive cover art collage by artist Genesis Breyer P-Orridge.
Neil Hamburger's 2024 Australian Tour 7" - Limited to 200 copies on 'Black Hole Records' with sticker.
A. Sounds of laughter
B. Im so lonesomeI could cry - Featuring Phil Franklin, Danny Heifitz, Bar McKinnon and Daniel Tucceri
New
