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Artist: BALLROOM
Title: s/t
Format: LP
Label: Ever/Never
Country: USA
Price: $15.00
"On their debut 12 EP for Ever/Never Records, New York Citys Ballroom explode out of the gate with a whirlwind fury. Anchored by a tornado of vicious snare drum thwacks and excoriating guitars, "Corridor" is a threat made manifest by singer Eric Cecils warnings to "not let the sight disturb ya."
Ballroom are a powerful ensemble assembled from scattered remnants of other notable bands. Cecil (who also plays guitar) did time in Chicago punk standout Busy Signals, and has featured in numerous NYC bands since his relocation. The other axe-slinger, Kristian Brenchley, is a founding member of long-running scum rockers Woman, and also lays down the bottom end in Ever/Never labelmates Degreaser. Ballroom low-end is provided by Home Blitz Theresa Smith, while the drums are beaten into submission by Steven Fisher, leader of Wilful Boys and Dozers.
On "Dismal Sun," the band locks down on the central riff as guitar leads and frantic snare rolls keep pace with Cecils thousand-yard stare vocals. "Ill Keep Coming Back" points to a key influence -- the sun-scorched blacktop rumble of prime Scientists, Australias sultans of swamp. Smith doesnt let up on the gas, pushing Brenchley and Cecil into the realms of the unhinged.
Ballrooms debut features no mellow songs, sappy ballads or moments of false sincerity. "Nails Head" stands out for its approach to rock n roll as controlled demolition. This song will bite your hand off if you get too close. "Burnin Billy" could be a feedtime cut, but theres also echoes of the Gun Club and past Crypt Records powerhouses like The Beguiled. The epic final track, "Anti-Hole," coalesces all of Ballrooms excess energy into diesel fumes and takes it for a ride out into the open range, traversing peaks and valleys and mountains and digging for something deeper. Ballroom doesnt so much ride off into the sunset as reach up into the sky and pull it down into the dirt." - Ever/Never.

Artist: BELL, CRAIG
Title: aka Darwin Layne
Format: LP
Label: Ever/Never
Country: USA
Price: $15.00
"To many, CRAIG BELL is well known as bass guitarist / singer with MIRRORS and ROCKET FROM THE TOMBS, two bands that were among the foundation stones upon which the Cleveland, Ohio music scene of the 1970s was built. What many may not know is that Craig was also an integral part of the beginnings of another era of creativity in New Haven, Connecticut in the following decade. With like minded musicians, Craig formed SAUCERS, FUTURE PLAN, THE PLAN, THE BELL SYSTEM and THE RHYTHM METHODISTS in the years he lived on the East Coast (1976—1989). Craig released few recordings during this time, two singles with Saucers, “What We Do/Muckraker” (1979) and “A Certain Kind of Shy/Shes Alright” (1980), songs on the compilation LPs It Happened But Nobody Noticed (1982) featuring cuts by Saucers and The Plan, while The Bell System had their “America Now” released on the radio station only SCREAM promo LP (1985), and a single by The Plan, “I Love New York/I Hate New York/When Its Too Much” (1983), most of them on his Gustav Label. In 2002, a CD compilation by Grand Theft Audio out of Los Angeles collected the entire studio output of Saucers on an album titled What We Did. This, along with reissues of songs Craig played on with Mirrors and RFTT, was the only recording of his work available. 2016 brings aka Darwin Layne, an LP featuring 11 historic recordings, both live and studio, featuring Craigs songwriting and his bands Future Plan, The Plan, The Bell System, and The Rhythm Methodists, along with selections by Saucers, Mirrors, and THE BRIDGEPORT BAD BOYS." - Ever/Never.

Artist: CENTRE NEGATIVE
Title: Emotion is Cringey
Format: LP
Label: Ever/Never
Country: USA
Price: $15.00
"...his songs are articulate and have a surprising sense of pop melody." - Tim Scott, Noisey.

"Centre Negative. An ever changing cast of riff fiends led by Sir Michael Mcclelland. Ideas come in and out of the set/song/moment long enough for one to declare "GENIUS!" . All the time acknowledging that melody is Queen of the colonial subject. A little too well re-searched and hungry for ideas for a conventional pop song, Centre Negative gives you hundreds of chances to enjoy yourself. Its time to kill existential arrogance. These are well crafted modern pop songs, chockablock with ideas and the pleasantries of punk noise." - Al Montfort, UV Race, Total Control.

"As far as Im concerned, its another hit for ever/never..." - MF ,Casting Couch.

"..packed with post-ironic self-hatred and snarkily choreographed misery, and it suits their tunes nicely." - Yellow Green Red.

Artist: CHRISTENSEN, STEFAN
Title: American Pastoral Again
Format: LP
Label: Ever/Never
Country: USA
Price: $15.00
STEFAN CHRISTENSEN has been a staple in the New Haven, CT scene for the last decade, playing in, among many others, ESTROGEN HIGHS, EHRGEIZIG, PERMANENT FEELS and MEDICATION; recording Sex, Worn Leather, Pieces of Fruit; collaborating on the C/Site label and with the venue Popeyes Garage. And while it would seem that Stefan has always lived a sharks life—Ill drown if I stop swimming—it is really only in the last year that he has entered his most prolific phase. All that other stuff has been… practice? In the prior twelve months, Stefan has released two full lengths and a pair of EPs on cassette via the esteemed labels Loki, Night People, and C/Site. American Pastoral Again is the debut vinyl outing from this eponymous artist issued by ever/never records. Channeling Gate, Jim Shepard, Crystalized Movements, and Shakey himself, the twelve minute title track consumes the entire A-side in a melancholic dirge. It is backed by four quick blasts that introduce elements of pop, noise, and more dirge. With varied approaches, Stefans songs are written from a unique and developed voice. A unifying thread through these works is the careful craftsmanship, each song tailored perfectly—knowing when to let it breathe, when to ramp up tension—for the most impact. Had Stefan cut his teeth in a more insular scene, in a more glamorous town, hed have been a hitmaker, but we are thankful that was not the case. As American Pastoral Again demonstrates, he is onto something much more fulfilling and unforgettable." - Ever/Never.

Artist: CODE BMUS
Title: Strike Now, There Is No Cover
Format: 12
Label: Ever/Never
Country: USA
Price: $14.00
“Nineteen hundred and seventy-eight was ground zero for the UK post-punk explosion. The previous few years had seen raw rock n roll claw its way back into the mass consciousness, but 78 was the year a veritable army of disconnected and discontented art students decided, en
masse mind, to pick up cheap guitars, switch on malfunctioning synthesizers and beat upon cobbled-together drumkits. From the ART COLLEGES they came, inspired by the throbbing rhythms 
of PiL, The Pop Group and Pere Ubu, but also by politically-charged reggae and dub such as King Tubby, Prince Far-I and the Coxsone Sound System.

Code BMUS was just such a unit. Four too-smart-for-their-own-good lads converged in London 
with an itch to join the fray. Pitched somewhere between squatterpunk art-scrabble and headier 
RIO-style instrumental tangle, Code BMUS carved out their own peculiar identity in an unforgiving London music and art scene. For years they plied their trade, hauling their unconventional set-up – “a rhythm kit built from Indian tablas , Irish bodhrán, an assortment of 
metal tubes and plates, snare, marching band bass drum and a miscellaneous collection of objects to hit wired up with transducer mics…deconstructed guitar played with bottleneck, bow 
and sticks on an ironing board” – to all manner of clubs, converted showspaces and improvised venues.

In 1981, Code BMUS brought their musical contraptions to Cold Storage, a meat locker that had been transformed into a recording studio by the fiercely independent and experimental postpunk trio This Heat. The resulting 12” EP, Strike Now, There is No Cover, is a mini-masterpiece 
of right angles, sharp turns and unclassifiable agitpop. With its driving bass, slashing guitar and inspired junk percussion, Code BMUS echoes contemporaries such as Cabaret Voltaire, Fire Engines, and 23 Skidoo, but Code BMUS operated in the squatter scene, rubbing elbows with 
Crass and their ilk. Code BMUS politics dont come off as theory, but as the righteous anger of those who live everyday under the thumb of the powerful and corrupt. The turmoil of their daily lives comes through loud and clear, imbuing Code BMUS turbulent music with an immediacy 
that cannot be faked.

Kicking off a busy 2014, New York Citys Ever/Never Records brings you a faithful reissue of Code BMUS overlooked post-punk classic, Strike Now, There is No Cover; four songs of collapse and struggle that resonate loudly as ever, sounding better than ever and available as 
never before.

Silk screened sleeves, 2 inserts.” - Ever/Never.

Artist: CYANIDE TOOTH
Title: The Whole Tooth & Nothing But
Format: Cass
Label: Ever/Never
Country: USA
Price: $5.00
“Cyanide Tooth - A bringer of death in innocuous guise. Bite down hard, and say goodbye, cruel world. Control systems are in place, but Cyanide Tooth presents you with a lock-picking kit.
The Whole Tooth is the first communique offered to the populace at large by Mr. Tooth. Over forty generous minutes, Cyanide Tooth reveals several methods of attack (& decay).
Side A is a complete live show from May of this year. On tour with corrosive acid rock trio (& labelmates) Degreaser, Cyanide Tooth is caught on tape in Lafayette, IN, twisting sounds & words like Dave E sitting in with early SPK. Aspects of Cabaret Voltaire, Metabolist & Sprung Aus Den Wolken rear their ugly heads.
Side B is occupied entirely by one track. "Cinderella" is a Nurse With Wound-like incantation encompassing the Brothers? Grimm ages-old fairytale; the voice of the mysterious A. colliding in overlapped frequencies, throwing off shades of early Steve Reich experiments & criss-crossed city streets.
Merely a year old at this point, Cyanide Tooth has made it a priority to realize his vision in the live setting. Eschewing chin-stroking circle jerks, Cyanide Tooth has completed two tours in 2014 (with Dreamsalon & Degreaser), in addition to sharing the stage with bands like Obnox, Cuntz, Dasher & Pop. 1280.
Ever/Never is proud to present the debut release by one-man NYC noise unit Cyanide Tooth. The Whole Tooth & Nothing But is Ever/Nevers sixth release & first cassette. Limited to 100 copies.” - Ever/Never.

Artist: DANCE ASTHMATICS, THE
Title: Lifetime of Secretion
Format: LP
Label: Ever/Never
Country: USA
Price: $15.00
"A siren call from a leviathan crouched in the deepest trench in all the seven seas; the volcanic rumble of plate tectonics shifting miles beneath; a desperate churning in the gut. The massive, jagged chords unleashed in the opening moments of “Liquid Lunch” serve to set nerves on edge. Then, a shredded, springing sound jangles the senses like a Bernard Herrmann string stab, and we have now full-stepped into the paranoid yet seductive world of The Dance Asthmatics. Hailing from Christchurch, New Zealand, The Dance Asthmatics emerged from the womb a few years ago as a PiL-worshipping dub-punk aggregate unlike anything else on their native isle. In fact, New Zealand hasnt seen this much menace and casual aggression in a band since The Gordons stalked the earth. Comparisons can also be drawn to such demented precursors as Killing Joke, Butthole Surfers, and Terminal Cheesecake. But ultimately, The Dance Asthmatics have carved a unique identity out of their countrys bedrock. And theyve fashioned a fortress from which they can let loose volleys of devastating power. The Dance Asthmatics are frightening and thrilling in equal measure, and New York Citys Ever/Never Records has graced us with their vinyl debut -- a 5-song 12” called Lifetime Of Secretion. Its a bruiser. Side one of Lifetime Of Secretion is, quite frankly, one of the finest stretches of music that you will hear this year.
Joining the towering “Liquid Lunch” is “PG” -- as close to a hit as modern death-rock is going to get. “PG” is all coiled intensity as needling guitar lines slipstream into tendrils of melody while the rhythm section locks into an airtight groove. Singer Human #22 achieves his most sinister tone -- insults and come-ons tumble out the side of his mouth, enhancing delusion and dispensing illusion. Delay is used masterfully here as all manner of slicing and decaying sounds hover in the periphery, like hummingbirds with razorblade wings. (Somewhere, Adrian Sherwood is smiling.) And yet, within this maelstrom, The Dance Asthmatics manage to execute a perfect, nearly Brit-pop chorus that the Stone Roses would be chuffed to have written. This is major-league sleight-of-sound and the world needs to hear it.
Side Two comes crashing in with the vicious “Linoleum,” and the band proceeds to demolish all four walls of the room simultaneously. The track ends with such nasty resolve, its like you and the band have just survived a fistfight together. On “Oedipus,” Human #22 narrates a twisted tale as the band pursues a sort of subdued dub, but one that is still simmering with tension. Closing out this electrifying debut, the shimmering hall of mirrors that is “Wicker” beckons to Coil and crystallizes the aggression and abrasiveness preceding it. The Dance Asthmatics have a thousand paths to follow -- each of which is worthy, and you can count on them to lead the way." - Ever/Never.

Artist: DEGREASER
Title: Rougher Squalor
Format: LP
Label: Ever/Never
Country: USA
Price: $15.00
“Crawling out of the deep, dark hole they dug for themselves on Bottom Feeder (2011) and Sweaty Hands (2012), New York Citys premier psychedelic swamp rock unit DeGreaser are set to take an unsuspecting and tepid rock scene by storm. Courtesy of NYCs Ever/Never Records, Rougher Squalor is DeGreaser 2.0. The band has evolved from their previous caveman dirges into a true power trio, heavy on the muscle and out for blood.

Drawing inspiration from classic bands like Blue Cheer, The Groundhogs and Coloured Balls, to outer-limits rock deconstruction reminiscent of the finest Japanese ensembles such as Mainliner and High Rise, DeGreaser are able to satisfy the need to bang your head, and also the desire to immerse said head in glorious waves of wah-wah pedal abuse. The squalor part of the title is no joke, as main Greaser Tim Evans – formerly of noted Aussie band Bird Blobs – drenches the proceedings in a sheen of speaker-shredding noise that would make the likes of James Williamson sit up and take notice. Anchored by the granite-solid rhythm section of drummer John Coates and bassist Kristian Brenchley (Woman/Ballroom), Evans is free to blast his surroundings with all manner of ear-piercing and –tickling tones.

But lets not make the mistake of filing Rougher Squalor under the section labeled Headcleaners. There are great songs waiting here for you. Opener “Words in Your Mouth” establishes the bands ability to harness melody and write memorable tunes. Straightforward rocker “Follow Me Down” is a hook-y request to join Evans in the downtown shadows. Tracks like “Got No Need” and “Do Me In” come off like Screaming Trees after an acid bath, while fleet-footed rockers like “You Said” and “Doorway” get in n out before you know what hit you. With Rougher Squalor, DeGreaser has staked out their territory and are defending it with the considerable rock power that they can muster.

Like previous DeGreaser albums, Rougher Squalor features Evans haunting artwork adorning the cover on an old-school tip-on jacket.” - Ever/Never.

Artist: DICKHEAD RESCUE
Title: s/t
Format: 7"
Label: Ever/Never
Country: USA
Price: $8.00
"Dickhead Rescue rescues dickheads. Thankless acts of goodwill inspires ungrateful whinging noise. New York cities ever/never label hears via interweb and offers 7"release. A side more than is swiped folk from Michael Hurley rethunk as blown-out pop snarl shimmer. B side appropriately entitled erepeato does donuts in a muddy paddock until the wheels fall off. Dedicated to dickheads in perilous situations everywhere. Never fear, Dickhead Rescue is here! Hear it loud,hear it now!" - ever/never. Members of EXILES FROM CLOWNTOWN. 200 copies, no repress.

Artist: EN KERNAGHAN BAND
Title: s/t
Format: 12"
Label: Ever/Never
Country: USA
Price: $15.00
“Way down there at the bottom of the world, there is a young man named En Kernaghan who is devoting his life to a higher power. Make that two higher powers; and from our perspective, there aint none higher than Rock n Roll. For this his Ever/Never EP (200copies), En spins classics by The Cramps, Pussy Galore and more, into his own personal mantras. With the close-micd confidence of a young Jon Spencer and the zeal of a newly-tonsured Monk, Kernaghan will make you a believer. -e/n
En Ethan Kernaghan projekt experience banned band 1997 started in a bedroom in an australian suburb, slowly turning from that of a recording project into a performance band until being banned, then on to recording self titled LP. Kel ANG” - Ever/Never.

Artist: EVANS, TIM
Title: Wretched Wings
Format: LP
Label: Ever/Never
Country: USA
Price: $15.00
“Tim Evans is a singer songwriter from Tasmania Australia, currently living in Brooklyn New York. Melding traditional finger picking with often dark lyrical content, his carefully crafted songs have brought comparisons such as Townes Van Zandt, John Fahey and Syd Barrett. Realizing his debut solo album this year, Evans has quickly built a reputation as an enigmatic and powerful live performer. With a second album already recorded and scheduled for release in spring 2017, we can expect great things from this emerging solo artist.
Over the course of two decades, Tim Evans music has taken a long, winding path across the Earth. Stylistically, Evans has mastered fetid swamp-punk, full-tilt psychedelic boogie, no wave lurch and corrosive noise rock. Under the Degreaser moniker, Evans and cohorts throw these elements into a supercollider and what results is a muscular beast with unpredictable intentions.
But here, on Wretched Wings, Evans steps out of his own shadow with the first release under his own name. A true solo album, Wretched Wings finds Tim Evans stretching his songwriting by scaling back sonically. Although Evans is an excellent drummer, his solo album features almost no percussion; relying instead on his expressive and singular guitar-playing. Evans practically caresses his acoustic as he coaxes spine-tingling webs of sound from its humble body. The gentle cascade of thrummed notes conjures a paradoxical feeling of intimacy within a vast space. Imagine being out amongst the deep brush, but with the hot breath of an old flame whispering in your ear.
Songs like “Rotted Spring” and “You Was Mine” are perfect specimens of Evans peculiar brand of haunted outback blues. At times, they recall the understated drama of Leonard Cohen, or even of the God-fearing murder ballads sung by generations of American hill-folk for decades. Some songs are rendered lush by virtue of expertly-placed reverb and layered guitar overdubs. And while Evans is in fine voice here, singing at his most relaxed and gentle, there is the suggestion of a hollowed-out soul, as if Nicos The Marble Index was a blueprint. The clouds do part, however; the sun pokes through the cracks in the wall. Despite its title, “Dark Fire” has an optimistic bent to it, although the lyrics hint at something terrible in the past. With its electric guitar shimmer, “Long Long Time” is both the densest and poppiest song on Wretched Wings, even as Evans pleads for you to “feed [him] to the wolves.” “Unwanted” follows and it is as down as a poor boy blues can get. Even God turns his back on this miserable bastard. After surviving “Piece Of Death” and “Springs Slaughter” (this is indeed a Fall/Winter record), you are rewarded with the uplifting strains of “Mornin Train.” That trace of melancholy is always there, but the future doesnt seem quite so bleak from this vantage.” - Ever/Never.

Artist: EXILES FROM CLOWNTOWN
Title: #3
Format: 7"
Label: Ever/Never
Country: USA
Price: $7.00
"For their inaugural release, New York Citys Ever/Never Records extends their hand of friendship across a vast ocean and multiple time-zones. Proving their global ambitions, ever/never pluck a few gems from the extensive catalog of weirdo Australian collective Exiles From Clowntown. A three piece, featuring one member of 90s noiseniks 3 toed sloth, Exiles from Clowntown deconstruct rock music by injecting a healthy amount of world-weariness into their home-recorded sputter n swagger. (No) Original Thort is a noisy rant that coalesces around a lumbering bass line and beehive-like guitar sounds; the perfect soundtrack for drinking and bullshitting with your mates. Unless theyre squares. Into The Light rides a twangy guitar sketching out a vaguely VU-like motif, while the rest of the band makes like The Fall on one of their mid-80s C&N hybrids. This 7" is the third installment of The Holy Trinity of the Shapes series. Slitblogs Roland Woodbe put his stamp of approval on the preceding volume, and when it comes to this kind of subterranean squall, the man knows of which he speaks. Limited to 150 copies with no plans to repress. Select editions can be found taped and stapled to random objects throughout Brooklyn and Manhattan. Guerilla marketing never sounded better." - Ever/Never.

Artist: GLAM FAIL
Title: Cyclone Rodney
Format: 7"
Label: Ever/Never
Country: USA
Price: $7.50
"cyclone rodney is a reluctant tale of punk rock angst and suicide. as if spewed forth from the mouth of a catatonic ptsd victim, it starts as a gurgle and ends in a gush. its not even suicidal or punk though, just simple anxious chaotic rock. so get fucked.
just deserve is guts on sleeve pop slop, that might just deserve a place along side other tuff wussy power ballads stashed at the back of your record collection...you know, the ones you keep for when youre feeling like a pathetic mushy mess." - Ever/Never.

Artist: HOUSEWIVES
Title: s/t
Format: LP
Label: Ever/Never
Country: USA
Price: $15.00
"Punk in the age of infinite duplication. Endless algorithms -- strands of digital DNA wrapping like loose cords around the arteries of daily life. We find ourselves mannequin-ed -- gazing longingly at the constant churn of street life; a simulacrum of stimulation. All the dense paranoias of the 20th century have shadow-walked their way right up to our 21st century doorstep and they are quietly picking the lock while we fritter away the hours in the room with the screens. What to do about this concealed drudgery? Where to turn in these bleak hours? How can we break the chains of routine, the labor of labour? Perhaps at this late date, it would be naive to state: “We can listen to Housewives.” What decade is this? How can music still inspire concentrated thought while satisfying its inherent physical demands? Rock music is intended to be functional. Postpunk music is music for doing. Housewives are a band that does; and the content is not mere window-dressing. Housewives are: Industrious music for industrious people. A few years ago, London, Englands Housewives, in the finest of postpunk traditions, began making an intensely focused racket. Their debut took the form of a five-song limited-edition cassette put out by Faux Discx. This self-titled EP had a startling power and hypnotic force that is all too rare in this era of practiced disaffection. Instead of pretending to be bored by this evershifting world, Housewives approach revealed a microscopic attention to detail. Despite their using the traditional instruments of rock n roll, Housewives invert these powerful totems to their own ends. This is music that earns its praise from such high priests of refusal as Charles Hayward (This Heat, Camberwell Now). Like an Adam Curtis documentary, Housewives is music that takes on social constructs, looking for a way to disassemble these ridiculous structures. With it biting lyrics lampooning a lad who is “racist when its funny,” bracing opener “Poppy” seems to anticipate Brexit. As the bass throb surges through your system like a blood rush, perhaps you need to rethink your stance on what is and what is not important in the current supercut of media and politics. “In Camera” traffics in impossible clockwork rhythms -- they grind against each other, gathering momentum until the band sounds like an overworked machine on the verge of exploding. “Medicine Bottle” is the closest thing Housewives will serve you to a hit. The no wave guitar spasms -- like a coil snapped by sudden pressure -- collide with the rhythm section in the middle of a congested city. The claustrophobia summoned by the track is hardly offset by the snaking interjections of a saxophone. If anything, this presence of breath reinforces the sensation of necessary and cathartic exertion. Courtesy of New York Citys Ever/Never Records, the unjustly-ignored debut by one of the top operating postpunk bands worldwide, has found a home on wax. Finally, this previously extremely-limited cassette is given the format it deserves. Delivered at a volume-enhancing 45 rpms, Housewives 12” EP is a diamond-hard gem of postpunk. “Almost Anything” shows just how locked-in to factory mode this band can get. Few modern bands are playing with such sounds and intentions. “62426” is a series of mutating nodes -- like the communications in THX-1138 made manifest in song-form. At times, Housewives recall the best of the UKs postpunk gloom n doom glory days. The rub is -- we are in the future that those bands warned us about. Housewives are the last band standing, forcing our eyes open and demanding that we address the monolithic edifice of modern life." - Ever/Never.

Artist: MELCHIOR, DAN
Title: Plays The Greys
Format: LP
Label: Ever/Never
Country: USA
Price: $15.00
“Dan Melchior is artist as perpetual motion machine. We could say “shark,” but Dan doesnt sniff for blood in the water. Instead, he is inviting you to his private lake; his solace relies on his relentless creativity. Whether painting, writing, collaging or recording, Dan offers nothing less than words, images and sounds transmitted directly from his subconscious, but filtered through the rigorous process of a true artist. Dans latest offering is a superb collection of songs and sonic vignettes that dips down deep into lifes trenches. Here, where light has to fight to be noticed, misery, monotony and melancholy mingle and bleed into one another. Accordingly, Dan doesnt play the blues, he plays the greys.
Plays The Greys is a patchwork album, but dont let that imply carelessness. Each odd juxtaposition serves a purpose and illuminates its surroundings like a torch in the night. Part one and part two of the title track are perfect examples of Dans decidedly non-academic approach to musique concretes a-musical gestures. Field recordings bump up against back-porch guitar plucking that morphs into radio declarations by the good Christians among us. Praise be.
In more ways than one, “Death Has No Mercy” is the center of the album. Midway through its hazy meanderings, “Death…” jumps into an uptempo backwoods jaunt. Its good to know that the guitar is always there, providing a means for expression and catharsis. Suffering in recent years through immense personal tragedy, Dan channels all that pain and helplessness into an extended rumination on grief and the challenge of living with permanent ache. So forget what I wrote earlier -- Dan Melchior has indeed made a blues album, one fit for 2016, and beyond.- Ever/Never.
Includes unlimited streaming of Plays The Greys via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

Artist: MOSQUITO EGO
Title: Glomb
Format: LP
Label: Ever/Never
Country: USA
Price: $15.00
Like so many great bands over the years, noise rock aggregate "Mosquito Ego was founded under accidental circumstances. According to main Mosquito Moritz (also in the punk-as-fuck Cluster Bomb Unit and the psych-as-hell Metabolismus): “Back in summer 2013, I ran a club out of a train car in Stuttgart (Germany). Reinhold asked me to put on a show for a band from Erfurt. A week before the show, he told that me they have no backline and play for only 20 minutes. Annoyed that I would have to bring all of my gear and also that I had to find an opening act to make the evening worthwhile, I cynically said: I may as well play on my own. Reinhold didnt think I was joking and said: Yeah, lets do this. Lets start a band. So we wrote eight songs in one week.” A classic punk maneuver and an auspicious start for what has flowered into one of Europes most notable, and loud, bands. Having previously released a few 7”s, the five-piece Mosquito Ego is set to unleash their first full-length upon an unsuspecting planet.
A key component of Ever/Never Records ambitious 2016 release schedule, Glomb is a 12-track declaration of intent. A quintet consisting of Nataly, Tim, Tobi and the aforementioned Moritz and Reinhold, Mosquito Ego play like a highlight reel of postpunk and noise rocks finest moments, movements and gestures. Underneath a foundation of churning guitar/bass/drums, electronics sizzle and squiggle, while the entire band gets loose and weird. Along with each members voice, samples and loops get thrown into the maelstrom; chopped, screwed, pitch-shifted and hard-panned. “Poke” establishes these parameters from the outset. All funhouse mirrors and grinding gears, “Local Zero” sounds like an unearthed Brainiac deep cut. Other parts of Glomb recall the outre avant-rock of Terminal Cheesecake and Slug. (These are the parts of the ‘90s we need to come back, people!) But its not all sturm und drang; Mosquito Ego is sensitive to your needs. The series of four short electronic “Glomb” pieces act as interludes. But really, theyre just set-ups. Side two opener “Onion Face” is the monster jam on this all-killer slab. The song moves gracefully from OOIOO-like psychedelia into a cathartic scream-along back into a raga that leads to more catharsis, and then ending as sublimely as it began. “Seizure” is the click-pick hit -- try to resist imagining youre at the coolest party as Mosquito Ego plays “dressed up in cheap costumes as comic-like characters such as the electric poodle, ladyboy moustache, the human cannonball, medication heroine and the sleepover cop.” This gonzo aesthetic is reflected by Mark Bohles eye-popping, synapse-frying cover art. Fans of genre-bending freak rock like Guerilla Toss will find a lot to love on Glomb. You will never find a band on Ever/Never halfassing it. The label is based in New York, the city that invented the hustle. Mosquito Ego is a singular force both within their local scenes, and the whole wide world at large." - Ever/Never.

Artist: OBNOX
Title: Know America
Format: LP
Label: Ever/Never
Country: USA
Price: $15.00
"Coming at you direct from Cleveland, Ohio, Lamont “Bim” Thomas has transitioned seamlessly from journeyman sticksman in some of the states finest bands (This Moment In Black History, Unholy Two, Puffy Areolas, Bassholes, etc.) to the full-on phenomenon known as Obnox. From a foundation of dirt-level garage punk, Thomas sculpts deep cuts out of blown-out beats, redline guitar damage, and soulful singing, as if your local gospel choir had been raised on a steady diet of The Pagans and Back From the Grave comps. Incredibly, Know America -- Obnoxs fifth full-length -- is the second of three albums to come out in 2015. In addition, Know America is the first of two albums this year on NYC label-to-watch Ever/Never Records. Part of an ambitious Ever/Never 2015 release schedule, Know America secures Obnoxs top ranking amongst the creme de la creme of the worldwide underground.
Know America is a loose concept album, something like Thomas deep soul take on Pump Up The Volume or Airheads. Right at the start, on “Signal Takeover,” Obnox is hijacking the radio waves. A DJ that sounds suspiciously like Thomas, let us know that we are tuned to “Radio 420 WEDE” and that we better prepare for some “trunk punk.” In case you havent picked up what hes laying down, Thomas informs you that the LP you just slapped on your turntable is “reefer on wax.”
The beat-driven “Grease” is a statement of purpose -- a manifesto of sorts -- as Thomas sings “This is the party where I like to be/Thank you for coming and inviting me.” To Thomas, music is a two-way street. Youre either coming towards him looking for a good time, or heading away with a big fat smile on your face. “Cracked Up” is pure Midwest basement punk, more tuneful than it has any right to be. Thats Obnoxs secret ingredient -- good songs. Simple as that. Finding Thomas in a vulnerable mood, the gorgeous “Menocause” is a stately reverie, a peek behind the curtain. If it were thirty years ago, Spaceman 3 would be covering this wonder of slomo guitar fuzz and minimal percussion. In the vein of Louder Space hit “Molecule,” “Loudpack” is another resounding success in Obnoxs all-natural blending of hip-hop and noise rock. Slammin beats, big bass hits and a guitar so grimey youd have to get on your hands and knees with a toothbrush to scour its grout clean. “Loudpack” is exactly the kind of block-buster that dudes who drive around with the windows open and the stereo up should be cranking from their overtaxed sound-systems. Firmly making it his own, the Obnox cover of Columbus mainstay Tommy Jays “Village Idiot” amplifies the main guitar hook into a twist on the Breeders alterna-rock smash “Cannonball,” and too bad its not the ‘90s because Obnox could have competed for play on MTV -- at the very least Beck would have played him during a guest hosting gig on 120 Minutes.
“Hillbilly Intervention” is a station break that inverts the typical hip-hop skit into a crackerbaiting segment that also functions as a breather. And youll need that moment of rest before Obnox busts into “Freaky,” a two-minute barnstormer originally by Canadian cuddlecore queens Cub -- Thomas injects the song with booty-shaking low end making it seem like some recently unearthed Sly Stone b-side. On “Life Long Vine,” Thomas is in spooky mode, recalling the vaguely sinister moods of early Pink Floyd and Pretty Things. “Situation Comedy,” written by Cleveland spazz-pop maestro Mikey Machine, is where everything boils over, soaking you in scalding-hot rock action.
Working as his own mixmaster, Thomas keeps the radio dial spinning with a heavy-as-dirt version of Bo Diddley classic “Power House.” The album ends with every DJs favorite part of the 24 hour cycle -- “Safe Harbor” -- a haven for bold, free speech and in-your-face music pushed into the red. Obnox is on his home court here, sovereign territory even. Thomas is not only familiar with the lay of the land, hes out there discovering new horizons with each new release. Know America is another feather in the mans cap. Onward a New York Citys Wilful Boys is hard rock the way it once was -- and should always be -- for now and forever, amen. You know Wilful Boys are old-school from the start, as mainman and singer Steven Fisher isnt out front of the band, prancing and preening. The man is behind the drumkit, his heavy-as-a-sack-of-bricks pounding driving these songs forward with a bruising, methodical force. Fisher is an Aussie -- as is bassist Mikey Watkins -- and the hardscrabble nature of his native land sweats heaps of grit and power all over Wilful Boys debut release, a 7” single on NYCs Ever/Never Records. Alongside Degreaser and Ballroom, Wilful Boys are another face-blasting ensemble in Ever/Nevers stellar stable of New York/Australian combo units.
“Anybody There” is existential crisis as mid-tempo assault; theres just the right amount of introspection amidst the beer-guzzling chunks of riff -- as executed by Johnny Provenzano and Nicholas Isles -- shifting beneath Watkins bulldozer bass. “Flat Out” is the best song the Cosmic Psychos never wrote, a not-so-distant cousin to down-and-out laments like “Custom Credit” and “Bad Day.” The verse -- “Im waiting on a break/in the day or in my back” -- follows the descending riff into a well of hopelessness, but the overdriven chorus proves theres still some fight left in these Wilful Boys. Like the best rock n roll, this is music for drinking away your lifes worries." - Ever/Never.

Artist: OBNOX
Title: Wiglet
Format: LP
Label: Ever/Never
Country: USA
Price: $15.00
“Stripped of diamonds and gold, bought and sold/I sit on the floor and see the whole globe/Cop warmth and a piece of change/Loom large in a niggas brain” - “Look Into The Sun”
The people say they want the truth. Lets take them at their word: The People want the Truth. Lamont ‘Bim Thomas is the god(damn/s honest) Truth. We all know the truth isnt always pretty, and rarely is it fun -- but Thomas makes it sound like the best party youve ever been to which youve ever been invited. And make no mistake -- everyone is invited. Obnox is soul music for the bruised and battered; feel-good tunes for the righteously pissed-off masses; and a sonic salve for the neglected and ignored.
Wiglet -- Thomass third full-length of 2015 -- is part two of Ever/Nevers double-fisted Obnox-ious assault on your eardrums (following current triumph Know America). If possible, Wiglet is Thomas most wigged-out offering yet. Condensed into a solid half-hour of fuzz, grease, sweat and fury, Wiglet is another entry into Thomas now-patented, and near-effortless, blend of punk (including garage, post and hardcore), soul and hip-hop -- all with an ear worthy of a warped late ‘60s studio engineer. I could spend the rest of this page using further (well-earned) hyperbole extolling the various and numerous virtues of Obnoxs omnivorous approach to music, but instead I will regale you with a different angle that also speaks to Thomas strengths: his words.
“LA Blues, Saturday night/Trying to do everything right/Failing miserably/What if I was white/Cant think like that/Plague state of mind” - “See Me”
The fact that the thunderous “See Me,” which has drop-dead gorgeous vocal melodies, is a strange sort of love song, does not render the above opening lyrics as any less truthful. It may be easy for Thomas fans to detach themselves from the very real threat that he faces on a daily basis, but hes not here to help you forget. He is here for the undervalued and underrepresented. But Bim isnt intent on making you feel bad, quite the opposite. Acknowledging that the world outside of the rock n roll bubble is a fucked-up maze of paranoia and danger would be to live in a false utopia. Obnox is designed to build a new reality for Thomas and all his like-minded allies. It is the reason for Obnoxs strikingly original approach to underground music. Thomas devours everything in his path and spits it back out at you in perfect little nuggets of honesty coupled with savage intensity. And like any good MC, Thomas is a poet when it comes to the diss:
“I was in the room with you/You called me a jigaboo/You squirted across the room/Our relationship is doomed” - “Infinite Trash”
Thomas demonstrates his no-bullshit policy, unafraid to use the language that makes us blush, makes us furious. This is where Obnox excels -- blunt reality smoked and exhaled as truth.
“Baby when I roll up/You bout to get told off/Right after the blunt cough/Tell you straight to fuck off/Played me like I was soft/Didnt wanna clip your wings off/Shouldve dogged you, shouldve dissed you/Dont care what youve been through” - “Baby When I Roll Up”
Here, Thomas is showing you mercy. Its been a hell of a ride for Obnox in 2015. Wiglet is the final course of one hell of a meal. And the closing cover of Chrissy Zebby Tembos Afro-fuzz banger “Troublemaker” is the icing on the cake." - Ever/Never.

Artist: QUIETUS
Title: Volume Three
Format: LP
Label: Ever/Never
Country: USA
Price: $15.00
"Quietus sound like the house band at the last bar at the end of the universe, accessible through a secret entrance by way of a whispered password. Their music drifts and arcs, beholden to some unknown gravity, but always threatening to verge—angry and exhausted—out of its orbit, back to chaos. Their third full-length—appropriately entitled Volume Three—practically drowns you in Quietus sensuous world. Theres a lushness to this music that obscures the deep ache at its core. Even in its slightly-abbreviated radio edit, “Your Hidden Swim” swells forth, arms outstretched, only to withdraw, however apologetically. This push-pull dynamic—the contradictions, the paradoxes—fuels Quietus paeans to loneliness and disconnection. Disconsolate. Quietus gives voice and substance to emotions that, to be made manifest, demand the creation of strange, sonic worlds. At times, Quietus is akin to a post-rock take on some of the finer songwriters of our age: The wee-hours-last-cigarette waltz of the late Leonard Cohen; a trace of Nick Caves epic drama; echoes of doomed souls such as Tim Buckley and Townes Van Zandt. Often, the songs bloom into slow-motion climaxes hinting at casual violence. Even when the music swans about and leers at its lovers, there is always the suggestion of a darkness lurking beneath. On “The Souvenir Bruise,” Quietus leader Geoffrey Bankowski sings “The girls been waiting for the damage to get lit up/The boys been waiting for the girl/The souvenir bruise has been waiting for the thigh/And we were all waiting for a door/That locks from the inside.” Volume Three is an intimate, space-dust noir; pummeled material swirling in the air, trying to close great distances, to land, to stick to flesh."- Ever/Never.

Artist: RICHARD PAPIERCUTS
Title: IF
Format: LP
Label: Ever/Never
Country: USA
Price: $15.00
“Influenced in equal measure by both sides of the street and the top and bottom of the charts, Richard Papiercuts “IF” sets a new standard for ambitious pop music on a shoestring budget. Meticulously recorded throughout New York City over the course of a turbulent year, Papiercuts & co. traffic in shades of light and dark. Like a master of ceremonies at an underground cabaret, Papiercuts -- a mystery man of uncertain origin and pedigree -- is an expert guide to the many quandaries of a modern metropolitan existence. “IF” is unafraid to explore a complex inner life rife with anxiety and doubt, yet reveling in the sensual pleasures only the contemporary cityscape can provide. “IF” is the ultimate marriage of subversive, underground sensibilities and classic songwriting craftsmanship silhouetted on a larger-than-life canvas. This music encompasses an ordinary life played out in widescreen. We are all our own celluloid heroes, Papiercuts seems to be telling us. Embrace your starring role, be your biggest fan.
“How It Really Begins” opens the album as an interruption -- the band in mid-rock-out -- a throbbing pulse peppered with sudden starts and stops, used here not as demonstrations of musical prowess, but as building blocks of tension. Papiercuts deep voice walks a thin line between utter sincerity and gentle mocking -- here used to excellent effect as the band engages in a sort of stately post-punk, all jagged propulsion and knowing winks. “How It Really Begins” is a suitably thrilling beginning to the masterful new album by enigmatic troubadour Richard Papiercuts. “Bull and Cup Relax” is a slowly twisting trip through latter-day psychpop, an update on Tears For Fears update on The Beatles. Future smash “Peanut Butter Is Back” features an instant hook that could be chanted by cheerleaders or groups of school children. Viral YouTube videos are waiting in the wings for this one....
Dousing cocaine dreams in cascades of champagne, “The Sorrow Of Faith” is a late-night lament that summons decadent images of 1980s excess -- an attempt to maintain an unsustainable harem, and no amount of silk pillows will cushion the inevitable fall. Bryan Ferry is on the phone right now, asking his manager why nobody has brought him a song this good in years. “The Sorrow OF Faith” works perfectly as both reflecting pool and enticing come-on -- it is the hand that reaches out from the darkness to clasp your own. “Twelve Days” is a beautiful pop-psych gem that gleams like The Byrds covering The Velvet Underground. The song tries to hide its darkness from you, but it is unmistakably present in the gently roiling verses. “They Tried To Change Me” taps back into Richard Papiercuts aggressive side, utilizing sheets of guitars and a pounded piano to air its complaints. “Now Ive Found You” leans hard into its romantic overtures, but allows them to include family into its lovefest. “Tired Of Playing The Drums” is some kind of funhouse mirror take on a Dire Straits or Don Henley ‘80s chestnut. It shouldnt work, but it does, and how. The smoldering Papercuts of “Personality” is the smoothest talker at the bar, and you cant resist his charms; the music swooning and swelling along with you. After such an eventful journey, “Manhattanville” is the perfect endpoint, its deadpan coda telling us that “Life is only so long.”
Richard Papiercuts is adult music made by adult adults. “IF” is an album that harkens back to the old world of Brecht and Weill, Bowie and Cale -- and is surely one of 2015s boldest musical statements.”- Ever/Never.

Artist: SCUPPER
Title: Everything
Format: 7"
Label: Ever/Never
Country: USA
Price: $7.50
“Like the millennial squishing of dumb rock into diamonds that eventually adorn dames fingers, its the geezers—intimate with dreams crushed by the hard knox of indifference—whore truly capable of squeezing out acerbic pop gems that burn hot. They know. SCUPPERs MIKE JANSON licked gold encrusted sushi bowls with the darlings of alt rock supremacy during his time with LYNNFIELD PIONEERS. They issued two weirdly great long players on Matador in the mid 90s, only to have their ruins smote upon the mountainside of pop culture refuse. No less an aficionado of such things as Aging Baldini at Fuckin Record Reviews hailed Janson as "the Goffin/King of basement power bomp." Jansons since fleshed out his new blood vision with bassist ANDREW SHUMWAY (defected from the Jersey City suburban basement Lizzy/Priest smoke out collective ÄSS, where he traded ümlauty riffs with The Mad Scenes Brian Turner and former Crucifucks drummer Steve Shelley) and drummer RICHARD AMARI, who brings a level of combustible professionalism with which indie rockers are too often unfamiliar. Together, theyre as sharp and tight as a giant burning orb stuffed inside the velvet balcony at Radio City.
Based on the youthful energy bouncing off all corners of “Everything,” Scupper havent lost a step in the downtime. Both “Everything” and its flip, “Drown Me Out,” nail the kind of surging, harmony-laden melodic punk that Superchunk used to specialize in. But Scuppers newest single is no mere nostalgia trip—these songs are flesh and blood and standing right in front of you.”- Ever/Never.
Includes unlimited streaming of Everything via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

Artist: TWEDDLE, CHARLIE
Title: Fantastic Greatest Hits
Format: Double LP
Label: Ever/Never
Country: USA
Price: $27.00
"Born and raised in Kentucky but calling Northern California home for some time now, Charlie Tweddle is an outsider polymath: musician, artist, taxidermist, designer of cowboy hats. And while that last one (imagine a wearable ten-gallon peyote trip) brought him a degree of notoriety among a certain swath of the showbiz elite beginning in the early seventies (Cher and Reggie Jackson are fans of his hats), it’s his music that has been peaking the curiosity of underground and private press fiends for some years now.

A beguiling patchwork of lo-fi country, warped folk, and way-gone found sounds, Tweddle’s 1974 self-released opus Fantastic Greatest Hits is back in print for the first time in decades.The estimable chronicler of all things underground and way out the late Patrick Lundborg dubbed Fantastic “one of the major pieces in the Fringe of Everything genre.” Indeed, the album is clearly the work of a rustic iconoclast following his own hidden path, yet there is something peculiarly inviting at play here as well. The A-side comes off like a lysergic hootenanny that shares as much in common with Mike Rep and first-generation Shrimper tapes on the one hand as it does with Townes Van Zandt and Mickey Newbury on the other; while the B-side is a sort of Americana concrète piece where the gentle beat of the earth takes over, full of crickets and the wind. Cosmic country indeed.

Essentially impossible to find since its initial release, Fantastic has been lovingly reissued as a co-production from Mighty Mouth Music (who released Tweddle’s The Midnight Plowboy in 2012, a collection of slightly more straightforward but no less charmingly odd country tracks recorded in the 1990s) and Ever/Never Records. The double-LP gatefold set presents the original 1974 LP and a bonus LP of recently unearthed experiments from the early ‘70s. This is essential stuff for fans of psychedelic roots music, loner singer-songwriters, or just plain strange sounds." - Ever/Never.

Artist: WILFUL BOYS, THE
Title: Anybody There?
Format: 7"
Label: Ever/Never
Country: USA
Price: $7.00
"New York Citys Wilful Boys is hard rock the way it once was -- and should always be -- for now and forever, amen. You know Wilful Boys are old-school from the start, as mainman and singer Steven Fisher isnt out front of the band, prancing and preening. The man is behind the drumkit, his heavy-as-a-sack-of-bricks pounding driving these songs forward with a bruising, methodical force. Fisher is an Aussie -- as is bassist Mikey Watkins -- and the hardscrabble nature of his native land sweats heaps of grit and power all over Wilful Boys debut release, a 7” single on NYCs Ever/Never Records. Alongside Degreaser and Ballroom, Wilful Boys are another face-blasting ensemble in Ever/Nevers stellar stable of New York/Australian combo units.
“Anybody There” is existential crisis as mid-tempo assault; theres just the right amount of introspection amidst the beer-guzzling chunks of riff -- as executed by Johnny Provenzano and Nicholas Isles -- shifting beneath Watkins bulldozer bass. “Flat Out” is the best song the Cosmic Psychos never wrote, a not-so-distant cousin to down-and-out laments like “Custom Credit” and “Bad Day.” The verse -- “Im waiting on a break/in the day or in my back” -- follows the descending riff into a well of hopelessness, but the overdriven chorus proves theres still some fight left in these Wilful Boys. Like the best rock n roll, this is music for drinking away your lifes worries." - Ever/Never.

Artist: WILFUL BOYS, THE
Title: Rough As Guts
Format: LP
Label: Ever/Never
Country: USA
Price: $15.00
"New York Citys The Wilful Boys is hard rock the way it once was -- and should always be -- now and forever, amen. You know The Wilful Boys are old-school from the get-go as you won’t find main man and singer Steven Fisher out in front of the band, prancing and preening. The man is behind the drumkit, driving these songs forward with a bruising, methodical force. Fisher is an Aussie -- as is bassist Mikey Watkins -- and the hardscrabble nature of his native land sweats heaps of grit and power all over Rough As Guts, The Wilful Boys 12-song debut full-length on NYCs Ever/Never Records. If you thought their single was a fine example of brutal rock n roll, you aint heard nothin yet.
Rough As Guts lives up to its title -- its a shit-kicking no-shit-giving hard-ass of a record. The album even lives up to its splatterpunk cover art courtesy of Musks Rob Fletcher. The members of The Wilful Boys have spent years plying their trade in all manner of punk, hardcore and noise rock bands, so they waste no time getting down to business with "Poor Old Mate," a road-burner that spews riffs and attitude. This cut could turn oxygen back into carbon dioxide. On the title track, the band settles into a lowdown groove as Fisher talks out his blues. "The Pinch" seems like a warning, which is echoed by the guitars cleaving through it. Johnny Provenzano and Nicholas Isles are a fierce team, peeling off all kinds of naggingly catchy riffs and not afraid to throw down the pyrotechnics when necessary. "Flat Out" is reprised from their debut single and it’s even more of a bruiser than that first take. "Take It Easy" is three minutes of what The Wilful Boys do best -- completely pummeling rock n roll that builds up momentum and then collapses on you like an avalanche. "Hatchet" buries the lede and then hits you like a ton of bricks. "Your Place" alternates disquieting, dissonant passages with a classic punk chorus. Closing out the album is one of Rough As Guts standout tracks -- "Say It Again" sounds like an army marching towards their objective with single-minded intent as Fisher shouts to be heard over the melee -- "Ill tell ya somethin/and its better than nothin!" What I can tell you is that The Wilful Boys intend on punching 2016 in the face, so wear that black eye with pride." -Ever/Never.

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