Much anticipated hook-up between these three trans-Atlantic monsters. One-side each and then a third monster inter-band jam. Leopards side is a classic haunt, with wraiths of hovering drone peaking in eye-rolling vocal confusion, while the Mouthus track is a fabulous punk trouncing of fuzz-impacted guitar and clattering electrified skin. Sunroof! jams are the real highlight though, especially the doofily-named “Cortez Tha Killa” that features Matthew Bower on repeat-riff nirvana while Mick Flower of Vibracathedral Orchestra lets his wrist fly with some of the most insane and righteously piloted post-Young acid delirium of anyone’s career. Too fucking much. Final big-band side presents a beautiful void of spooked eternity, with shadow forms moving in and out of earshot like so much hallucinatory cumulus. Comes in a full-colour gatefold sleeve, already sold-out at source, so move it.

Three track from this New York free/rock/noise unit who work with Double Leopards as part of the White Rock cabal. This one is on their own label and matches sick high-end guitar destruction with No Wave muscle, repeato oil-drum/cardboard box percussion and some totally bombed fidelity. A few bones noisier than the EP record, think Cro-Magnon tackling Interstellar Space. Now drool. Yr a winner! Edition of 200.

Brand new LP from Mouthus that might be their most devolved circumnavigation of rock from to date. The guitars are impossibly impacted, muffled sandpaper huffs that move in tectonic slugs while the drums shrug between boings of tone-pad squelch, electrified steel-band ceremonials and primitively executed power stomps. This kinda profound retro-futurist refusal lines em up with a buncha modernists like Chrome, TG and even live Mars but there’s something in the distant, hiccupping vocals and the generally manhandled atmosphere that sounds like a more drug-degraded take on the kinda hillbilly scorch that Alpo-era Cheater Slicks occasionally delivered on. If you like yr rock gasoline-damaged to the point of almost-intelligible, stick out your cans. Limited edition of 500 copies in art sleeves released on the group’s own private press imprint.

Major new Mouthus album peaks at a whole new level of barbarous sludge with what sounds like a fleet of electric razors burying steel raptors in six feet of concrete while the Angus MacLise Orkestra play pre-Lapsarian Morse codes on a handbuilt steel drum containers and whole choirs of ghosts sing madrigals somewhere just over the horizon. There's a beautifully lapsed, primitive rock feel to much of the atmosphere - the way guitar lines appear like silvery hallucinations fading in and out of corporeal reality from track to track - that reminds me of the weird non-hierarchical instrumental mix of early NZ bombs like Trash, Dead C or Dadamah. Either way, this is another supremely devolved rock set from these crudest of cousins.

New self-released solo album from Brian of Mouthus featuring some acoustic led thunder ballads that sound as if they are played with the last stumps of his fingers through to hurricane force post-Industrial blues jams that cross the malevolent occult power of mid-period Swans with laminal arrangements of fuzz and drone.

New limited, self-released collaborative album from Brian Sullivan of NY rock behemoths Mouthus and Karl Bauer’s Axolotl project. A series of abstract sound works that run from drugged, slowed down vocals through subterranean vats of water and drone ala HNAS’s early recordings, heavenly shortwave codes carved into rusty Industrial miniatures and perfectly nuanced reconciliations of Axolotl’s high, religious sound and Mouthus’s low-slung urban crank.

Great fuzz-encrusted monolith guitar duel from these two solo basement/psych units, Brian Sullivan of Mouthus’s Eskimo King and Zac Davis of Lambsbread’s Sky Juice persona. This is heavy gravity guitar oblivion the whole way, with what sounds like the first power chord from The Stooges’ “Little Doll” obliterated with a combination of slowly imploding wah-wah gnosis and malformed power-chord epics. Second track sounds like a fleet of motorbikes fitted with tremolo arms. Classic stoned guitar.

New self-released album from the duo of Brian Sullivan and Nate Nelson, with three monster tracks of deformed rock doofs, steamrolling fuzz violence and looped electronics. Mouthus are one of the most fucked-up sounding groups ever to orbit rock and the way they seem to factor in so much of what’s great about the most outlaw rock and roll and then regurgitate it in such warped form that it sounds like an Industrial take on the music of Harry Partch is pretty staggering. This is seriously drug-dozed rock that is tough as hell to figure out but still somehow supremely seductive and, uh, rocking. Very psychedelic.

New album on Ecstatic Peace from the duo of Brian Sullivan and Nate Nelson. This is the EP follow-up to their amazing Loam album, a record that seemed to devour several decades of rock primitivism. This one is even more mangled but somehow less rock-specific, with Sullivan’s guitar now sounding like a massive Industrial keyboard (you know, the sound that Pete Cosey, John McLaughlin, Gary Smith and Keiji Haino sometimes approximate, like Hermann Nitsch’s organ work, just huge gridlocked clusters of protesting overtones that contain so much activity that it almost feels as if they’re completely motionless) and Nelson’s drums sounding even squeakier and punkier. What the fuck are they thinking? No one sounds like Mouthus: the way they compact and explode so much of what went before, regurgitating it into slabs of dense, demolished sound, seems closer to the whole concept of ‘Industrial’ music than almost anyone else I can think of.

New limited to 500 copies collaboration LP from the combined muscle of Mouthus and Yellow Swans. The approach is mutual obliteration, with both groups attacking with swarms of tectonic fuzz and huge hoovering drones so that individual contributions are reduced to the endless klang of fuzz on fuzz. The results are monolithic, a Parson Sound with no sense of forward momentum whatsoever, just one huge singing metal construct. Pretty spectacular. Edition of 500 copies.

Second instalment of live brutality from the combined muscle of Mouthus and Yellow Swans, totally different from the Conan Island LP released by Weird Forest: “Monstrous caverns of free electro skronk, alt-percussion and wailing guitars from live collaboration between two of Load's hottest noisemongers. Gigantic! Strictly limited to 500.” – NF.

“Nate from Mouthus/Religious Knives. This cassette is a two sided scenario. Side A is the seeker, about to discover a new path. Side B is the thinker, about to interact with new information. This is the smoked out entity of an encounter.” – DTS.

Chaw Mank is Brian Sullivan, guitarist and vocalist with Mouthus in the company of the Sightings duo. Volume 1 presents a muscular spin on established Mouthus stop-motion murk strategies with spools of rusty repeat blown to flesh by some devastating rock damage. Highly recommended.

Limited edition tour collage/mash-up from the duo of Brian Sullivan and Nate Nelson. This one is even more out of focus and malformed than the corpus of their back catalogue, with vague thunder clouds and fucked-up electro percussion floating the ghost of Alan Vega through sheet metal memories of the TG 24 cassette box.

Self-released album from this Mouthus/Double Leopards supergroup featuring botha Mouthus and Mike and Maya from Leopards. Sound is as beautifully Euro-fixated as the recent Religious Knives stuff, with soft oceans of glazed 1970s synth patterns washing across the backs of yr eyelids like the Cosmic Couriers play the brain scores of Terry Riley and Klaus Schulze. A beautifully pink stone and highly recommended for fans of soft dopey muzz.

Edition of 500 numbered copies with silkscreened sleeves: split between Mouthus and Bulbs (the solo project of ex-Axolotl member William Sabiston). The Mouthus side collides a bunch of recordings into one of their most narcotic and sublimely psychedelic creations with a sensual electro groove dissolved in ribbons of translucent drone and semi-audible vocals. A beautiful sidelong trip that somehow reconciles ghostly aspects of My Bloody Valentine and The Jesus & Mary Chain with ecstatic drone and Industrial machinery. The Bulbs side uses flickering loops and oscillating electronics to float a cloud of new age confusion high into the sky.

Thick, murky drone work from the duo of Marcia Bassett and Steve Gunn, with a smog of almost Double Leopards-proportions topped off with arid single note guitar lines. Hand-numbered edition of 300 copies in black art paper sleeves with gold ink offset printing on the back and paste-on on the front.

Limited self-released cassette from the duo of Marcia Bassett (GHQ/Hototogisu/Double Leopards) and Taylor Richardson (who played alongside Daniel Lopatin in Infinity Window). Delayed drum machine settings, heavenly synth and transparent choral vocals, somewhere between the more slow-burning Zola Jesus settings and the Gothic euphoria of Harmonia’s Deluxe. Recommended.

New set of solo electric guitar recordings from Marcia Bassett (Double Leopards/GHQ/Hototogisu et al). Tectonic string work that has the weight of planets, with high, eerie melodies threaded through massive baseline drones. Aspects of Keiji Haino, Charalambides and Electronic Meditation-era Tangerine Dream make this a particularly explosive set. On Brother Raven’s label, hand-numbered edition of 200 copies. 

“Maya Miller and Michael Bernstein met in New York a decade ago, and began making music together as half of sturm und drone quartet Double Leopards a few years after that. Religious Knives came later still, away from the road and the rehearsal space, borne and nurtured in cramped apartments throughout Kings County. Beginning in 2005, the pair released a string of CD-Rs and cassettes, both on their own Heavy Tapes imprint and through the labels of kindred spirits. Steadily moving away from the psychedelic tone baths and modern industrial scrape for which the Leopards had become known, Religious Knives coursed through minimal synth oscillations and spare Kraut repetition. Mouthus' Nate Nelson joined the pair in 2006, lending a powerful presence behind the drums that shaped Religious Knives' rudimentary jams into rough-hewn, long-form paeans to tar-blackened bummer psych. Soon after that, old friend Todd Cavallo completed the quartet on bass, adding a sturdy low end and dubwise groove that lifted Religious Knives from cellar murk to black cloud puffs of bone deep alarm. An active four-piece for a little more than a year now, Religious Knives have presided over a pair of twelve-inches, a couple of collections of out of print singles and long gone burns, and one full-length. All throughout, these four have traced a path away from the clamour they once knew, bathing slight guitars, interlocking vocals, and solemn basslines in reedy organs and recalcitrant modular synths. The seemingly tin eared would call it noise, but in these eight hands such a set plays as anything but, instead a (cough) syrupy stroll in search of the ghosts of rock's classicist past. With The Door, Religious Knives have not only found those bygone days, but broken them apart. There are bookmarks to be found here, pages creased in well-worn chapters. But make no mistake - theirs is a sound tied to the here and now, a summer record for those dread days when the heat holds low and skin sticks to cheap car seats and old patio furniture. These six songs are brighter, sharper than anything that has come before, locking in tight on jugular rhythms. It's the score for disappearing neighborhoods and crumbling buildings, a hope of holding onto the past as those around us move fast to forget it. It is scent as sound, the stench of smog and sickly smoke spiraling towards the sky. It is Brooklyn, July of 2008. The sun has left us in the East, disappearing somewhere behind Jersey, leaving our borough to find the pulse of another night deep with the city's streets.” – EP.

Limited edition of 150 copies, the first instalment in a series of releases documenting off-the-map live actions from Religious Knives. This one compiles action from four shows across 2008, with jams taken from WHOM, Hemlock, Death By Audio and Wierd. Anyone left unfazed with the production and pop stylings of the group’s Ecstatic Peace releases oughta find solace here, with some great lo-fi garage downs usurped by primitive delay and drugged keyboards. The Death By Audio set features a guest appearance from Pete Nolan of Magik Markers et al while the Wierd material matches that imprints ethos with some ginchy minimal synth/new wave settings of classic RK material including a take on “Basement Watch” that could almost be a reformed 1980s post-apocalyptic Music Machine. Or would that make em SPK? Either way, this is great.

Limited edition of 150 copies, the second instalment in a series of releases documenting off-the-map live actions from Religious Knives. This one compiles action from two shows across 2008, with a killer full band set live from 66 Hope and a weird RK2 style duo performance recorded at Big Jar Books in Philadelphia. Recommended.