“A new set of studio recordings from the latter day version of the A Band. As noted in previous musings (check out David Keenan's article on The Wire site) on this collective, the A Band follows in the tradition of the People Band, Scratch Orchestra, and Portsmouth Sinfonia (and oddly enough, Calgary's own Street of Crocodiles), ditching traditional notions of instrumentation and ability for a more disparate and unique flow of ideas and sounds. Standard instruments (piano, clarinet, electric guitar) sit alongside makeshift/found percussion, weird electronics, and vocal utterances, the elements shifting in and out of focus, often seeming as if players are walking in and out of the studio at their leisure, adding something then moving along. The first track is largely acoustic, featuring a swirling marriage of its rag-tag odd and ends, while the second main track (actually the third) features a much different feel and heavier usage of electric sounds. Totally bizarre, singular, and unlike anything else on Bug Incision. Treated white card sleeves with colour & b&w stick-on art, edition of 119.” – BI. 

New album featuring alchemically re-worked live and studio jams from Neil Campbell (A-Band/Vibracathedral Orchestra et al). Lucid electronic minimalism combines with a feel for elaborate technicolour architectures, illuminated circuitry and the application of ritualised trance moves to punk primitive drones for a series of gorgeous psychedelic constructs. The sister album to the vinyl only Super Grease, also on Important.

Limited to 150 hand-numbered copies uncut 8" lathe, part of Alt Vinyl's new lathe-only series, with devotional pulse/drone from Neil Campbell of Vibracathedral Orchestra et al. recorded live with Arttu Partinen from Avarus.

Debut release by the duo of Neil Campbell (Astral Social Club/Vibracathedral Orchestra) and Paul ‘Nonnen’ Walsh, originally one-half of the legendary Smell & Quim. This is psychedelic electro-punk that has plenty of squelchy analog appeal. There are extended detours into blizzard-tunnels of hi-fi wipe-out and full-on noise usurped by weird, kiddy keyboard patterns. Really strange, lucid DIY electro jams that have one foot firmly in the whole UK Snatch Tapes/DIY zone and another in post-Noise timbres. Live two-track jams, 10 tracks.

New limited edition vinyl LP from the post-Neil Campbell line-up of Vibracathedral Orchestra in a hand-numbered edition of 600 copies on Sunburned Hand Of The Man's own private press label. Recorded live in London and Cambridge on the 26th and 27th of August 2007, this one features the line-up of Michael Flower, Adam Davenport, John Godbert, Bridget Hayden and Keith Wood (Hush Arbors). Advance word on this album was pretty wild but it more than lives up to the hype, functioning as one of the all-time best Vibra sides and showcasing alla their advanced drone/psych strategies to dazzling effect. The sound is beautifully primitive, running from deformed wordless ragas that explode in arc after arc of heavy atonal stasis through the kind of amazing six string ostrich guitar work from Flower that would hallucinate whole freak out tracks assembled from nothing but Lou Reed's blistering avant-frat style circa European Son/Run Run Run/All Tomorrow's Parties. The fidelity gives it the same feel of raw devotional music that colours much of the back catalogues of The Skaters and Matthew Bower but this is more rock inflected and self-consciously 'classic' than either of those two, effectively re-formulating hypnotic guitar rock as *the* ticket to the other side. The drone pieces feel like waves of razor blades, the rockers like every freeform guitar fantasy you ever formulated and the whole thing is threaded with weird, inexplicable bird calls that gives the otherwise claustrophobic guitar environments a beautiful shot of light. An immaculate album, highly recommended. Welcome the fuck back.

Hand-numbered edition of 50 copies 3” CD-R, part of La Station Radar’s ‘Fake Tape Series’.  More electro-raunch from the duo of Neil Campbell (Astral Social Club et al) and Paul Walsh, recorded live at Batley swimming baths in July of 2009. Aggressively nuanced electronics that combine chuffing rhythms with hotwired crackle and amorphous bass tones. Somewhere between the more ‘Industrial’ stylings of early Kluster/Conrad Schnitzler and Astral Social Club?

New duo punk magic from these two UK underground stalwarts central to the whole Vibracathedral Orchestra/A-Band axis. Uncut 8" lathe in an edition of 150 hand-numbered copies, part of Alt Vinyl's new lathe-only series. Featuring John Olson (Wolf Eyes) as MC on side 1.

New limited self-released album from Pete Nolan’s Spectre Folk project, with a bunch of weird styles, running from a nice, reverent cover versions of The Velvet Underground’s “Ride Into The Sun” through goofy electro, spidery wah-wah guitar blow-outs and a full band jam featuring Mick Flower of Vibracathedral Orchestra, Julie Tomlinson and John Truscinski. Comes in the usual screened envelopes.

Major new split single with a classic whirlwind raga from Vibracathedral Orchestra and two tracks from Barry Dean’s UK psych project, joined on the first track by Mick Flower of Vibracathedral on guitar and organ and Pete Nolan of Magik Markers on drums.

Edition of 80 copies CD-R from Bridget Hayden of Vibracathedral Orchestra/Telescopes et al. Recorded while on tour with Marcia Bassett (Zaimph/Hototogisu et al) in November 2008, the set sounds very much influenced by Bassett, particularly her work in Zaika with Tom Carter (Charalambides). Hayden sings and plays overdriven electric guitar with a slide, combining hovering fuzz drones with travelling steel in a pugilistic Industrial-blues style. 

Limited edition LP, second in a series of three releases from the reformulated Vibracathedral Orchestra featuring Mick Flower and Adam Davenport alongside John Godbert (aka Herb Diamante) and John Moloney of Sunburned Hand Of The Man. The Secret Base features three long tracks, the first a classic hovering Japan banjo séance that jump-cuts straight into a void of tortured string and ritualistic percussion. The second piece has a kind of lolloping caveman plays the first folk music groove that could almost pass for a more pastoral Faust while the third track is an epic side-long mantra scored for resonant metal percussion and throatfuls of drone. Recommended.