MUSIC

Sleep off your summer with this comprehensive 36-song/4xLP overview of Kansas City's midwest emo pioneers. From 1993-1997 Boys Life defined this anxious strain of heartworn power pop punk, issuing a pair of standard-bearing albums between endless circling of the U.S. DIY circuit. Collected here are their Departures and Landfalls and self-titled albums, singles, split 7"s and 10", live tracks, and rare demo tape, all annotated and illustrated inside a 24-page book.

Big Black was started by Steve Albini in 1982 while he was attending Northwestern University in Evanston, Illinois. Lungs, the first Big Black release was recorded by Steve on a borrowed 4-track. He played everything on the EP himself - except the sax bleating courtesy of pal John Bohnen and the drums courtesy of Roland. Soon after, Steve recruited Jeff Pezzati (Naked Raygun) on bass, and Santiago Durango (also Naked Raygun) joined them on guitar. In 1983, together with live drummer Pat Byrne, they recorded the Bulldozer EP. By 1984, the band had done some touring and recorded the Racer X EP and the start of the Il Duce 7". After that, Jeff returned to Naked Raygun and was replaced by Dave Riley. In 1985, Big Black recorded their first full-length, Atomizer, as well as finishing the Il Duce 7". Atomizer was released in 1986 along with the release of the Hammer Party compilation CD. In 1987, the Headache EP and Heartbeat 7" were released. That same year, the band recorded and released the 7" of The Model/He's A Whore as well as their second full-length album, Songs About Fucking. They toured extensively (for Big Black). And they broke up.

Modern Lovers' self-titled debut album, released in 1976, is a timeless exploration of proto-punk and alternative rock. Led by Jonathan Richman, the album captures a minimalist and lo-fi charm, with tracks like 'Roadrunner' becoming anthems of the emerging punk scene. Richman's witty lyrics and stripped-down sound make 'Modern Lovers' a seminal work, influencing generations of indie and punk musicians. The album stands as a testament to the band's pioneering role in shaping the landscape of alternative music.

Dark Entries celebrates its 15th anniversary with legendary synth-punk deviants Crash Course in Science. Dale Feliciello, Mallory Yago, and Michael Zodorozny formed CCIS in 1979 after meeting at art school in Philadelphia. As a gesture born of equal parts punk irreverence and brute necessity, the band incorporated toy instruments and kitchen appliances into their aggressive, angular sound. Their anthems “Cardboard Lamb” and “Flying Turns” from 1981’s Signals From Pier Thirteen EP have been staples in adventurous DJ sets for over 40 years - yet some of their finest work is to be found on Near Marineland, a full-length LP recorded in 1981 but remained unreleased in its time. Near Marineland shows the band moving into more diverse and polished territory (although it’s still as abrasive as sandpaper). Tracks like “No More Hollow Doors” and “Jump Over Barrels” highlight CCIS’s singular knack for embedding infectiously monotone hooks in their stiff-yet-funky grooves. Elsewhere we see CCIS going fully unhinged, like on the searing “Someone Reads” or the demented “Pompeii Spared”, where a spray of honks is barely glued together by a frantic synthetic pulse. While this masterwork of malfunctioning analog electronics has surfaced on a few occasions - this first time stand alone remaster includes four never-before-released bonus tracks and includes a lyric sheet. Near Marineland is crucial listening for all devotees of synth-punk and minimal electronics.

Dark Entries picks up Severed Heads yet again for Ear Bitten, a double LP reissue of some of the band’s earliest material. As originary Aussie industrial legends - although founder Tom Ellard would balk at being branded as such - Severed Heads shaped the continental subcultural sound with their kitchen electronics, chaotic tape loops, and quietly infectious nursery-rhyme-esque melodies. In 1979 Ellard, Richard Fielding, and Andrew Wright abandoned the moniker Mr. and Mrs. No Smoking Sign and adopted the edgier name Severed Heads “to pretend to be an industrial band such as Surgical Penis Klinik & Throbbing Gristle.” Noise-rockers Rhythmx Chymx had placed an advertisement in a local shop looking for a band to share the costs of pressing an LP. The Heads set about recording a Dadaist racket on a pair of open reel dictaphones and a cassette deck using a TRS-80 computer, Kawai Synthesizer 100F and Korg Mini Pops drum machine. Ear Bitten was released in 1980; original copies now fetch obscene sums, in part due to most of Severed Heads’ copies perishing in a fire at Richard’s home. The band’s next endeavor was a cassette titled Side 2, a collection of free-form experiments fashioned as Ear Bitten’s second side. For this reissue, Dark Entries has collected both Ear Bitten and Side 2 on the first disc, presenting the album in its full form. Disc two includes the original first version of Ear Bitten, which was only unreleased because it was recorded in a format not suitable for pressing. The album comes in a gatefold sleeve designed by Eloise Leigh and includes photos, liner notes, and reproductions of the original Xerox inserts from the 1980 issue. Ear Bitten delivers 22 tracks of pain you can dance to!

ike an unsent love letter to a psychedelic London where everyone is trying to find their way to a secret Television Personalities gig, Cuneiform Tabs emerge with an astounding debut of lo-fi pop and DIY experimentation. A hazy collage of joyful heartaches, twisted children's TV themes and sing-song melodies, the album echoes the sounds of '60s AM radio from a dozen narrow alleyways to the North. Over 18 months, the Tabs' Matt Bleyle and Sterling Mackinnon traded 4-track tapes between the Bay Area and the UK. While they previously played together in indie band Violent Change, the duo's physical distance and their songwriting process of building, blurring and distorting across the Atlantic would create something no one saw coming. Grabbing any instruments at their disposal and splitting vocal duties, Bleyle and Mackinnon pushed their Tascam to its limit to make glittering, odd-shaped gems. There is an insular feel to Cuneiform Tabs, suited for late nights after the entire city has stumbled into dreamtime or lazy afternoons when you can't quite recall where you need to be, but you know you won't make it there on time. It's like a pirate radio show where Bob Pollard alternates Swell Maps and Cleaners From Venus records while randomly unplugging various bits of gear and reading passages from a book on R.D. Laing.。

Emerging out of Amsterdam's vibrant squat scene in 1979, The Ex – a name chosen for the ease and speed with which it could be spray-painted onto a wall – have for four decades been an entirely self-sustaining musical entity, charting a course through the global underground with a spirit of freedom and radical exploration. Blueprints For A Blackout, The Ex's fifth album and first double LP, combines caustic studio experimentations and loose songs from their gripping live-set at the time. The band consisted of singer G.W. Sok, guitarist Terrie Ex, two new recruits on bass, Luc and Yoke, and drummer Sabien Witteman, along with a plethora of guests including Mekons' Jon Langford and long-serving sound engineer Dolf Planteijdt, among others. Originally released in 1984 on the band's own Pig Brother Productions, Blueprints veers from jagged punk explosions to sharply focused improvisations featuring field recordings that would become a hallmark of their subsequent forays into free jazz and experimental music. The overall effect is not unlike the menace of a slowly building winter storm. Tracks like "Rabble With A Cause," "U.S. Hole" and "Scrub That Scum" stand out as exemplars of this phase of The Ex. Comparisons can be made to contemporaries Einstürzende Neubauten, NoMeansNo and Svätsox as well as later Crass label bands. This first-time vinyl reissue comes with 24-page booklet.

Bad vibes, habits, and breath collide on this ten-song pile up on the freeway to nowhere. Melting neo-grunge, swamprock, and noise punk in a cauldron of drug-addled psychosis, 1985's You Get What You Deserve continues Australia's prison-as-country tradition of unhinged lunacy in the face of cultural isolation. Nuke nostalgia, femme fatale sharpshooters, demolition derbies, and a vacation at Hell Beach await.

A high-octane tour-de-force widely considered in Japan to be one of the all-time greatest punk records, 1981's Don’t Eat Food! remains shockingly unknown to the rest of the world. Led by literate but unhinged Machida Machizo, a magnetic stage presence who sang in a thick Osaka dialect that sounded like nothing else at the time, INU came from the same scene as Aunt Sally and took Japan by storm in the late '70s with their powerful live show. Their membership changed frequently but INU's final lineup -- the group that recorded Don’t Eat Food! -- was sharp as a knife, and the band's airtight debut still wows forty-plus years later. Excerpted from Syojiro Ishibashi's essay on INU: Unlike Tokyo — Japan’s economic and cultural center, where everything is consumed in a fashionable way, and even the tiniest subculture can turn a profit — Kansai’s cities (Osaka, Kyoto, and Kobe) will forever live in the capital’s shadow. But this underdog dynamic informs the region’s rich, unique culture. Kansai folk are known for resenting Tokyo, but also for plainly and incisively sussing out the true nature of things with their singular aesthetic sensibilities and deeply ironic, humorous dispositions. It was in one of these “secondary” cities, Osaka, that Kou Machida (then known as Machizo Machida) formed INU (Japanese for “dog”) in 1979. INU’s original lineup was Machida (vocals), Naoto Hayashi (guitar), Takeshi Nishimori (drums), and Keisuke “Osho” Tanaka (bass). They were all 17 to 18 years old at the time. In the late ’70s, outdated music styles — blues covers sung in broken English and (mostly) original, acoustic folk tunes sung in Japanese — were all the rage in Kansai. There was a small group of bands in the area who’d been inspired by the global punk/new wave movement, but few could draw audiences larger than 20 to 30 people. They also didn’t have many places to play — few clubs welcomed their sort of music — so they frequently booked their own gigs on university campuses, which tended to be comparatively laid-back spaces. Around the same time, a dozen or so Tokyo bands — Friction, Lizard, Mirrors, Mr. Kite, S-Ken, etc. — began calling themselves Tokyo Rockers. Inspired by international punk/new wave, they got a lot of attention in Japan for championing a new style of music. Young Kansai musicians watched this movement with keen interest, but some saw Tokyo Rockers (with a couple of notable exceptions, like Friction) as simply more of the same old-fashioned rock ’n’ roll, and openly shunned them. These young musicians were determined to create a new type of music unlike anything that had come before. In ’78, bands from the Tokyo Rockers scene shared a bill with a handful of young Kansai groups at Kyoto University's Seibu Koudo Hall (incidentally, home to one of Japan’s few squats at the time). Later writing in his Outsider fanzine, a pre-INU Hayashi strongly criticized the Kansai bands on the lineup (SS, etc.) for being punk “in style only.” But Hayashi also wrote in Outsider that he wanted to “hear local bands channel the sound of the city,” and it was this desire that led him to support Kansai bands. As if in response to Hayashi’s entreaties and criticisms, Osaka’s INU (now including Hayashi) and Alcohol 42%, Kobe’s Aunt Sally (featuring Phew on vocals), and Kyoto’s SS and Ultra Bidé (featuring Hijokaidan’s Jojo Hiroshige on bass) — all creative young Kansai bands who’d been influenced by the worldwide punk/new wave movement — joined forces. Picking up on the sincerity behind Hayashi’s words, these bands welcomed the criticism. At the time, no one else took young bands seriously enough to offer a thoughtful analysis, and his earnest, critical voice was valuable to the scene. Dubbed the “Kansai No Wave” tour by Hayashi, these five bands performed around Tokyo in ’79 (playing five shows at four venues), and music fans throughout the country were soon taking note of the new Kansai scene and the creative groups from the region. INU made a particularly strong impression, not only for its aggressive stage show and witty, literate lyrics, but also for Machida’s intense personality. His provocative behavior toward audiences often got him into trouble, but his skirmishes only elevated the band’s profile. In March ’79, after the Tokyo tour, Hayashi left the band and was replaced by Keita Koma. With Koma in the group, INU pivoted away from the simplistic sound of their early years and became a bit more pop. In May of that same year, Naruko Nishikawa (bass) and Hiroshi Kitagawa (drums) joined the group, and in August, Masahiro Kitada replaced Koma on guitar. Shinichi Higashiura then replaced Kitagawa on drums. These musicians made up the final INU lineup — the same one that would record Don't Eat Food! In ’81, the major label Tokuma Japan released the band’s debut album, Don't Eat Food! Machida’s witty lyrics, delivered in the unique rhythm of the Kansai dialect, were already literate enough to foretell his future receipt of Japan’s top literary award, the Akutagawa Prize, in 2000. The title track actually dated to the Kusareomeko era of the group. Machida was 16 years old when he composed the lyrics to this song. INU rarely played outside of Tokyo or Kansai, so even though they quickly earned a reputation as an incredible live band, very few people had actually heard them. With the release of this album, however, both INU and Machida became quite well known throughout Japan. Three months after the release of Don't Eat Food!, INU disbanded. With its impactful cover art, memorable tunes, tight performances and provocative vocals, INU’s Don't Eat Food! is a legendary work, and one of the country’s most celebrated ‘80s punk albums. Highly influential even today, its presence continues to be felt well beyond the punk sphere. -Syojiro Ishibashi (F.M.N. Sound Factory)

Emerging out of Amsterdam's vibrant squat scene in 1979, The Ex – a name chosen for the ease and speed with which it could be spray-painted onto a wall – have for four decades been an entirely self-sustaining musical entity, charting a course through the global underground with a spirit of freedom and radical exploration. On 1985's Pokkeherrie (Dutch for "terrible noise"), The Ex return to the more stripped-down instrumentation on their early LPs. A key lineup change would also see the arrival of drummer Kat Bornefeld (whose supple rhythms propel the group to this day). Recorded at the new location of Koeienverhuur Studio in the basement of storied squat/venue Emma, Pokkeherrie is a testament to the angular momentum of a group in full creative flux. Right from the opening track, bassist Luc Klaasen generates a relentless pulse. Terrie Ex's sparse/acidic guitar and G.W. Sok's impassioned vocals combine in a vein similar to The Minutemen, Flipper or Rudimentary Peni, except The Ex have the patience and wherewithal to sustain their approach beyond just brief explosions. Perhaps only The Fall from this period can match The Ex's ability to hold a melody together while utilizing otherwise harsh sonic elements over an extended piece, most effectively on "Soviet Threat," "1,000,000 Ashtrays" and "White Liberals." This first-time vinyl reissue comes with 17" x 24" poster and 20-page booklet.

Loitering on the same Berkeley streets that birthed Green Day, Operation Ivy, and Crimpshrine, Pot Valiant (AKA Vagrants) developed their own style of Gilmangaze in the early-’90s. Compiled here are the band’s Lookout and Sunny Sindicut 7"s, Transaudio LP, comp tracks, and three previously unissued songs. Remastered from the original tapes, this 2xLP package is housed in a tip-on gatefold sleeve and includes a 20 page booklet crammed with notes, flyers, and photos of this staple of outsider emo.

Sometimes you have to move backwards to move forwards. Just ask punk cultural commentators BODEGA, whose new album sees them carve a new future from fuzz-soaked, consumerism-skewering shards of their past.Our Brand Could Be YR Life is BODEGA's first album release through Chrysalis Records. "It's something we've been wanting to do for years," guitarist and vocalist Ben Hozie explains of Our Brand Could Be Yr Life – a collection of catchy indie-rock ruminations on the slow-creep of corporate-think into youth culture, first written eight years ago.Our Brand Could Be YR Life's 15 tracks explore indie-rock subgenres, self-critique and everything in between. "I think it's our best- sounding record to date," says Hozie, "It's got dance-punk. There's some shoegaze on there. There's slacker rock on there. There's psychedelic rock on there. R.E.M, too. We wanted to be another band in a long stream of missionaries, proselytising a certain type of rock subculture."

Geneva-based duo Bound By Endogamy delivers a heavy blend of rave, synth-punk, and industrial music. Shlomo Balexert and Kleio Thomaïdes are both prominent figures in the local squat and punk scene, having been involved in numerous projects over the past decade. Following several cassette releases and a remarkable debut 7'' on Lux Records, the band presents a self-titled album that combines raw, growling basslines, crisp analog rhythms, and passionate vocals ranging from breathy to fiercely cutting. On stage, the project consists of drums, a sampler, and vocals. Shlomo handles the drums alongside sharp synthesizers, while Kleio delivers powerful vocals reminiscent of a professional boxer. Expect a fusion of DAF and Kleenex with a hardcore edge.

Geneva-based duo Bound By Endogamy delivers a heavy blend of rave, synth-punk, and industrial music. Shlomo Balexert and Kleio Thomaïdes are both prominent figures in the local squat and punk scene, having been involved in numerous projects over the past decade. Following several cassette releases and a remarkable debut 7'' on Lux Records, the band presents a self-titled album that combines raw, growling basslines, crisp analog rhythms, and passionate vocals ranging from breathy to fiercely cutting. On stage, the project consists of drums, a sampler, and vocals. Shlomo handles the drums alongside sharp synthesizers, while Kleio delivers powerful vocals reminiscent of a professional boxer. Expect a fusion of DAF and Kleenex with a hardcore edge.

Bristol’s four-piece outfit Quade announce their debut album, ‘Nacre’, out 17th November via AD93. ‘Nacre’ is the culmination of three years of work from the band, the blueprints of their songwriting and sound firmly established in the sprawling, haunting and yet hopeful record. Traipsing between gothic expansiveness and cosmic psychedelia, the record cannot be pinned down into one recognisable place. By the album’s close, the listener may be left wondering whether it was all a memory or a dream. The recording and production of the record was collaborative, with the band drawing upon the services of Jack Ogbourne and Larry ‘Bruce’ McCarthy - two divergent pillars of Bristol’s music community - for engineering and mixing respectively.

Patti Smith emerged in the 70’s and became a key figure of the New York City punk rock movement. Her androgynous image, vocals style and song subjects spoke to a wide audience. She explores many genres from rocks most primal sound to jazz and reggae melodies. Always pushing boundaries Patti Smith is still a well-loved performer today that doesn’t shy away from making a statement. This intimate yet powerful recording features not just her solo music, but also her hits with Patti Smith Group, as well as covers of songs by The Doors and Prince.

Kentish town siblings Kitty, Daisy and Lewis have rightfully earned themselves a reputation for being a group of highly talented and original masters of transcendent rock n’ roll. They have cast their distinct musical spell over listeners and critics alike with a sound that whilst deeply rooted in the past hurtles towards an interminable and effervescent future.

While she was still a member of Nasmak, one of the leading bands of the Dutch ultra-movement, Truus de Groot started Plus Instruments in 1978 with herself as the sole member. When the project evolved, she found a wide range of rotating collaborators like Michel Waisvisz, Lee Ranaldo and James Sclavunos. Plus Instruments was about freedom and the live performances were largely improvised. The sound minimal but captivating. The music always came from within, but De Groot was also triggered by bands like Red Crayola, Suicide, DAF, Wire, Per Ubu, Devo and the No Wave scene in NY. She was always experimenting with primitive multi-track recording and whatever crappy gadgets she could find. Always looking for a gritty, dirty sound and bizarre overtones. At a young age she travelled to New York and began to immerse herself in the nightlife of the city that never sleeps. Here she found true creativity, passion and expression. The club scene was alive but highly competitive, so this fearless Dutch girl would just knock on promoter’s doors to get gigs booked at places like CBGB’s, Peppermint Lounge, Underground and the Pyramid. De Groot eventually settled in the United States and never stopped experimenting with sound. In recent years she reinvented Plus Instruments and led the group into new territory. The recordings for this LP were made by De Groot at home and the music is experimental, minimal, industrial but also playful, sounding nothing like most of the later material. 14 tracks in total of which 8 are taken from the elusive and impossible to find self-released debut cassette as ‘Truss Plus Instruments’ which was sparingly distributed by Nigel Jacklin and his legendary Alien Brains fanzine in 1980. The remaining 6 tracks are from the same period (1979-1980) and were carefully selected from the vast archive of De Groot. We are glad to present this anthology that serves as a long overdue testimony to the formative phase of a unique female pioneer of electronic music. The recordings for this LP were made by De Groot at home and the music is experimental, minimal, industrial but also playful, sounding nothing like most of the later material. 14 tracks in total of which 8 are taken from the elusive and impossible to find self-released debut cassette as ‘Truss Plus Instruments’ which was sparingly distributed by Nigel Jacklin and his legendary Alien Brains fanzine in 1980. The remaining 6 tracks are from the same period (1979-1980) and were carefully selected from the vast archive of De Groot. We are glad to present this anthology that serves as a long overdue testimony to the formative phase of a unique female pioneer of electronic music.

ALBUM "Anochi" under the name of GEZAN With Million Wish Collective made a spectacular debut at FUJI ROCK FESTIVAL 2021. A cutting-edge form of tribal punk, produced on the theme of the immutable human voice in an era of data and selection. A sound picture scroll that goes back and forth between fantasy and documentary, weaving multiple layers such as round singing and voice, and making a single life form "Anochi" emerge in the form of an album with a unique seamlessness. Sixth FULL ALBUM for the first time in three years.

Izumi Kato on the cover illustration that blinks between the indigenous and the universe. Following the previous work, the recording & mixing engineer is Naoyuki Uchida, a master of the dub world who is also currently operating GEZAN's live performances.

オランダ・アムステルダムにて、1979年に結成された伝説的アナーコ・パンク・バンド、The Exが1982年に録音した7インチ4枚組のサード・アルバム『Dignity Of Labour』が、〈Superior Viaduct〉より、史上初のLP仕様で待望のヴァイナル・リイシュー。フロントマンであるG.W.Sokは、「我々の考える即興のインダストリアル・パンク・ノイズ」とも述べた、The Exの40年以上の歴史の中で最も衝撃的かつ不朽の名作です！24" x 18"サイズのポスターと24ページに及ぶブックレットが付属。

In 1981, encouraged by Jac Berrocal, Axolotl (Etienne Brunet and Jacques Oger on saxophones and clarinet, Marc Dufourd on electric guitar) recorded an album of French-style free music as iconoclastic as it was unsettling: free improvisation, jazz, no wave, contemporary, punk… a dance of labels which leaves plenty of place for the direct expression of a monstrous trio of regenerated agitators! The axolotl is a species of salamander native to Mexico, living in a state of larva and having the capacity to regenerate damaged organs. This brief introduction doesn’t tell us if the axolotl sings. But, for the one that concerns us here: yes indeed. In Paris, at the end of the 1970s, Etienne Brunet and Marc Dufourd would improvise regularly, inspired by some other saxophone-guitar duos: Claude Bernard-Raymond Boni firstly, then Evan Parker-Derek Bailey. When Jacques Oger (a saxophonist whom Brunet had met at a workshop given by Steve Lacy at the Châteauvallon festival in 1977) joined the duo Brunet-Dufourd, Axolotl was born. Iconoclastic, the trio was bound to please Jac Berrocal, and he proposed to record their first album on the label ‘D’avantage’. In spring 1981 three days were just enough for Oger (tenor and barytone saxophones), Brunet (alto saxophone, bass clarinet and ‘things’) and Dufourd (electric guitar) to complete Axolotl, the first album by a group which would record … two. If there was a collective of iconoclasts, the trio would be there with some relatives: Alterations, Fred Frith, John Zorn, the ROVA Saxophone Quartet… and then because we mention a collective, Axolotl steps (considerably) beyond the domain of free improvisation to lean towards jazz (“Illusion”, “Paris, froissé”), No Wave (“Ombre pilée”, “Trottoirs défunts”), contemporary (“Oreiller”, “D’autres seuls”), and even what we could call … acid fun (“Dehors”). Above all, Axolotl wanted to really get to grips with sound via an expression as direct as it was liberating, as can be heard on “Ozone, flocon, torsion”, producing a noise that, even today pierces the brain. All we can hope is that now, thanks to this wonderful reissue, listeners will be able, like the axolotl, of regeneration.

Since 2010, Adam Keith's solo project Cube has been supplying a steady run of records and cassettes that capture songwriterly fixations and frustrations in a dextrous style of wounded electronics. Though Cube has been the centrepiece of his activity for some years, he's all the while remained active in collaborations, playing in bands such as SPF and Mansion to name just a few. Rounding off a decade of dialogues and agitations, Alter now presents Keith's third LP under the moniker of Cube, 'Drug of Choice' Based in New York, though managing a functional transience that takes in California too, Keith's latest iteration as Cube launches a panoramic set of sonic touchstones into a gristly and hypnotic orbit. Seismic drum machine parts partition an album that layers industrial-tipped takes on digi-dub with roaming guitar lines, piano vignettes, and breakbeat theatrics. For all the abrasiveness and rhythmic allusions that Keith employs, his use of voices alongside lush manipulations of errant samples and atmospheres tempers the commotion, delivering something that feels as much focused on artful constructions of private experiences as it does the cathartic qualities of noise.

Yes this album is about being trans Rat Jesu - Vocals, Guitar, Produciton (All tracks) Murrumur - Vocals (Poison.jpg, Frogs) 2004 - Produciton (Manic Goth Hoe... I Wish I Was) Yung Dieu - Produciton (Manic Goth Hoe... I Wish I Was) Maknaeslayer - Produciton (Poison.jpg) Mokshadripp - Co-Produciton (Euphoria//Nothing Left To Give) Schizoscriptures - Co-Produciton (Frogs)

Ectopic Ents is proud to announce the long-awaited vinyl reissue of the second Foetus album, ACHE, to coincide with it’s 40th anniversary. Released under the moniker You’ve Got Foetus On Your Breath, the ACHE album was originally released in 1982 on JG Thirlwell’s Self Immolation label, whilst he was resident in London. It was recorded at Lavender Sound Studio in South London and engineered by Harlan Cockburn. On its release it was acclaimed by the music press, John Peel and even cited by Leonard Cohen on more than one occasion. Over the years the album has become a highly sought-after collectors item. The 2022 reissue was remastered by Josh Bonati and is in a limited run on white vinyl. The album is packaged with a reproduction of the original promo poster from the album, and a download code.