Mesa Of The Lost Women
I Remember How Free We Were

The Snakes: future, past, present punk. Outsider rock'n'roll for the greedy listener. De ja vu punk with satisfying sounds, dirty rhythms and shrieking tones. Snakes perform reptile rock with flange and overdrive, shrill budget keys and cowboy swing drumbeats. Cohesive blend of L.A. sleeze, post punk and pop.Providing the new soundtrack for the depraved and twisted - casual bangers include Snakes Bday, Solid Income and Pop Song that fit in with the likes of your Richard Hells, your Gun Clubs and your Electric Eelses. Snakes are Steph Cheeseman, Charlotte Zarb, Jimmy Mcgarrie, James Dadd and Lewis Hodgson.

boomkat: ...Japan's EM Records illuminate the liberated early works of Yokohama's no wave improv unit Inryo-Fuen circa 1980-82. First issued on flexi-disc and vinyl, these four tracks have now been remastered, re-edited and remixed from original tapes to provide a record of a fertile, pre-digital era when experimental music was performed on the very fringes of society to a tightly knit audience who really had to work to seek out anything beyond the pale - perhaps unlike today's instant access all areas culture. It opens with the historically poignant 'Dakyo Sezu (Uncompromising)' from their debut 7"; a stomping drums and bass dedication to Tony Conrad and The Dream Syndicate which provides an impromptu platform for local student agitators who burst onto the mic half way thru, only for the engineer to whip up the effects to chaotic effect. There follows some jagged skronk in 'Hammer Clock' which sounds uncannily like Mars meets Konono No.1, and then the thundering motorik turmoil of 'Sora Yori Orite Kisi Mono (That Which Falls From The Sky)' strangely alleviated by a lone, wistful organ figure that rises and swoops over all over the thing with celestial grace. But, for the full frontal, primal no wave dose, look no further than the 24 minute B-side of 'Ground Rock', summed up by the group's Jun Harada thusly; "This thrilling mode of performance had a mysterious power and sense of potential. By departing from pre-established harmony and pushing ourelves to our limits, we were able to discover a power that surpassed our own abilities. This act was like deciphering our own history from the deepest part of our being - the musical score of life that is DNA." Recommended!

Rory Heane and Jonno Ross-Brewin have been best mates since their first year of primary school in Melbourne's south-east, and have been playing music together since forming two-piece SeeSaw when they were 18 years old (Rory has also kept busy with the likes of The Blinds and The Stroppies). The seeds for Program were sown in the duo's sharehouse in 2016 when they began writing songs together on guitar for the first time, and the band sprouted in earnest the following year when old friends James Kane (The Faculty, Meter Men) and James Tyrell (Meter Men) were roped in on bass and drums respectively. Since then, the group has graduated from jams and house shows to regular gigs around Melbourne, adding keyboardist Jessie Fernandez (DARTS) along the way.October 2018 saw Program record with Anti Fade mogul Billy Gardner in his Geelong studio. The lightning sessions yielded the band's debut LP, Show Me. Also mixed and soon to be released by Gardner through Anti Fade, the LP will be the band's first release of any sort.The nine tracks on Show Me channel the deeply personal and often unfathomable nature of modern being through snarling, tangled riffs and power chords into a fresh brand of unhinged, modern Australiana - just as easy to dance to as is it to cry to. "It's personal heartache, disappointment, broader social panic, everyday confusion and a general acceptance of it all" says Jonno of the record's themes.The lead single "Motorbike", penned by Rory, showcases the band's knack for tight guitar harmonies, effortless noodling and endless charm. It's the electric twang of Neil Young with the cool swagger of Pavement. The Go-Betweens burning the Midnight Oil. Rory describes it as an anthem of frustration and self-doubt: "The protagonist sits static in traffic while a woman on a motorcycle whizzes past. It's a metaphor for your position in society: feeling stuck and watching haplessly as someone else zooms ahead".

boomkat: ...Lyrically taking aim at Arts Council/Trust-funded lightweights, capitalist realism, and the precarious insecurity of working class life, and set to a mix of rugged, lo-fi breaks, visceral electronics and textured field recordings, the record draws listeners perhaps uncomfortably close into Mike’s street-level worldview.Across 11 songs he grasps the pissy nettle of modern life on a low wage, oppressed by massive, unanswerable corporations and forced to work around a Tory logic that’s at Victorian levels of patronisation and disregard for social welfare - made all the more acute by the fact he hails from within hollering distance of the original slums and overcrowded housing that influenced Marx and Engels’ philosophy. He’s the articulate inheritor of generations of proud, necessary social resistance, the latest vessel for a spirit that runs from the Peterloo Massacre to Emeline Pankhurst, Mike Leigh and John Cooper Clarke.Most distinctively, purposefully enunciated in Mike’s vowel-stressing Manc accent, the lyrics observe a perpetually gloomy state of affairs with the same poetically rhyming meter, unflinching honesty and conviction that makes his live performances so transfixing. Opening with the rising rage of ‘Bleak Northern Roads’ where he zooms out from street-dealing scenes and increasing food prices, to the politics of whit hall, his voice steady but seething, Sam Weaver’s knackered breaks and atonal, slimy electronics bitterly underline the sentiment, using samples of archaic Monarchistic announcements to punctuate the fury leading into cranky highlights such as the hardcore ’89 style UK hip hop of ‘Breakneck Pace’ and ‘Cultural Capital’ - think The Criminal Minds before they went fast - while he excels at a form of modern folk reality in the narration and inclement, skeletal sonic scenery of ‘Modern Industry’, and the pranged dancehall noise torque and warning barbs of ‘Citizen 107’.

from the artist's bandcamp: ...7-track debut solo LP by Michael Zodorozny of Crash Course in Science // vinyl 300 copies, download & streamingOther Side is the first solo album of Michael Zodorozny, New York post-punk icon and founding member of Crash Course in Science. The side he shows on the album is a rougher and more personal one.The seven tracks, including a feisty remix by The Hacker, are dark and thrusting with an EBM and industrial feel. Home-made and self-invented instruments complete Michael's specific, extraordinary sound.Other Side was produced by Matia Simovich aka INHALT. Michael himself painted and designed the cover artwork.VIDEOConstant: youtu.be/ef1LJTNI_Ec14th Street Union Square Station: youtu.be/1Ht21vufxjE