September 30, 2014
3. Blue Ska
4. Rocking Cross De Borda
5. Neighbourhood Watch
6. Super Drugs
9. Eastern Dub
Double Gatefold Vinyl (Distributed By Cargo 13 Oct 2014)
Number of Discs: 1
Label: Iron Man Records
O.U.C.H is the long awaited second album from P.A.I.N. The South London conspiracy offer the world a radioactive audio file crammed full of Nuclear Dub, Genetically modified Ska, and BSE laced Punk Rock. The album is about the prison system, its use against the defenceless, and laws that cannot be defended. The band have found allies in unexpected places, such as the well documented liason with Howard Marks and the support of Kate Bush. Always outspoken, P.A.I.N see their music as a vehicle of political expression; There is much more to Our Universe than the prohibition of Cannabis, you only have to look at the poetic irony of simultaneous fuel protests and widespread environmental catastrophe. Everyone will talk of the necessity for radical change, yet still, nothing changes. Are we all just consumers for the profit of the IMF? Do our lives really amount to a column of figures? Just who has the power now? Surprisingly, it’s still all of us. The Protest Movement has become global in response, and we now have a genuine opportunity to fight back at the real enemy; no longer the copper, or politician, but the evil bastards who claim with a straight face that they own 90% of the worlds resources. We are all born on this planet and every single human being alive has an equal right to life, air, water, and food. They tell us that this is being naive and unrealistic. We tell them that we will never rest until our demands are met, they had better sleep lightly – P.A.I.N.
Original sleeve artwork by top British cartoonist Pete Loveday whose Saga of Russell comic books can be found around the world. P.A.I.N feature ex-members of R.D.F and A.O.S.3. Members of P.A.I.N can also be found in SUICIDE BID, RUBELLA BALLET, LESS and LEGION OF DYNAMIC DISCHORD.
September 29, 2014
2. Everything Must Go
3. Pork Dub
4. British Justice
5. No Leaders For The Free
7. Oh No! It’s The Pigs
9. Punx With Guns
Audio CD (Distributed by Cargo 13 Oct 2014)
Number of Discs: 1
Label: Iron Man Records
This is the re-issue on Iron Man Records of P.A.I.N’s classic first album. Originally released on Inner State back in 1995 the album sold out and after the collapse of Inner State had been lost until now. The Original artwork has been reconstructed to be as close to the original as possible and the track listing includes all the classics from the P.A.I.N set.
The album includes the work of Phil, Dan and Ozzy who were all in R.D.F. Phil has also played guitar with RUBELLA BALLET and been involved with the band called SUICIDE BID. John is no longer performing with the band and is currently working with a reformed A.O.S.3. (John also did LEGION OF DYNAMIC DISCHORD and later a band called LESS)
This record was seen by P.A.I.N as the third in a trilogy, RDF: Raggamuffin Statement, A.O.S.3: Diversionary Tactics and this cd P.A.I.N: Oh My God! We’re Doing it.
P.A.I.N play heavy dub reggae, good time ska, and pissed off punk rock, and endeavour to keep their addled heads around the contradictory and confusing areas of radical politics. The Band has supported numerous underground struggles and pressure groups along the way, working extensively with groups like Reclaim the Streets, Anti-globalisation groups, Hunt Saboteurs, Anti-fascists, Squatters, Mad Pride, MacLibel, and many more….
That’s the politics, however, it would be to sell the band short to say the story stops there…They are, like most punk bands, part Pistols, part Spinal Tap (actually, was there much difference?) and the best things about P.A.I.N are the stories of what has happened to them over the years, genuinely unbelievable situations…Contrary to the many rumours circulating, the band have not split up, they never did. The band are alive and well and gigging all over the place, writing songs for the next album. They have a page on facebook too.
“Through raw dub, reggae and punk rock P.A.I.N. challenge inconsistent politics and attack and question through intelligent and bright lyrics: “So many thousands across the country with nowhere to go at night, so they take over empty derelict houses to call their own and try to put right, can’t you see that squatting is not a moral wrong it’s a cry for help from those in need, anxious for a roof over their head when the council are deaf to their pleas”. There are bands that just use politics as a front and something to sing about and there are bands that truly believe in what they are writing and singing about and who are devoted to it even when they’re not making music and that’s P.A.I.N. Their sound and attitude is unquestionably English and this record could have come out in the late ’70’s, early ’80’s or really anytime up to the present. It’s old-fashioned and fresh all at once and it’s a pity that you don’t really get bands like this anymore….really staunch, raw political bands. It’s all just silly shit these days where very few punk rock bands have got anything really important to say.”
“P.A.I.N (Propaganda and Information Network for the uninitiated) were/are a band formed from the ashes of the seminal RDF (Radical Dance Faction) and the festy-dub-ska-punk AOS3 (named after Augustus Owsley Stanley III, maker of much LSD and roadie for Grateful Dead). With that background in mind, “Oh My God…” manages to combine a hard radical political edge with catchy tunes, skanking dub and some original sampling!
At just over 40 minutes with 9 tracks including the RDF songs “Punx with guns” and “Lighters” (with the same tune as Dum-Diggy on Ragamuffin Statement) there is something for everyone on here. From the slowed-out dub reggae of “Beltane” and the ludicrously catchy “Money” to the punked up “British Justice” and “Oh no! It’s the Pigs,” this album incorporates the best of the earlier bands’ sounds. The political angle makes this album sublime and not done in a conventional anarcho-ranting way but fusing some humour, simple choruses and catchy tunes such as “If you go down to Sainsbury’s, the special offer of the week is that it’s free” and “British justice… British justice… I can’t make sense of it ‘cos I’m stupid.” Vegetarianism, environmental activism, anti-capitalism, self-organisation and anti-statism are among the topics covered in songs, but not in a preach-shove-down-throat way but to the relaxing dub beats and bouncing British punk. To round it all off, the album ends with armed revolution on the streets of Britain!
Admittedly the recording quality could be a tad better but by standards of other DIY punk/reggae/free-festival types, it’s not that bad! To top it all off, the title comes from the truly brilliant anarchist-propaganda Tin Tin “Breaking Free” comic which makes for a great album cover and t-shirt!
“Oh my God…” brings together all the best elements of AOS3, RDF, the anarchist-influences, free festivalling and biting satire. Still going strong despite losing John from AOS3, P.A.I.N manage to make one of the best ska-dub-punk-esque releases which you can come back to again and again. Finally, to top it all off, many hours will be wasted laughing at the booklet that comes with it demonstrating all the political acts against the state, government, Tories and much more. May the session continue!” By MH Lambert on 8 Oct 2007.
September 20, 2014
“Thought-provoking monologues and confrontational lyrics bring you on a cold, doom-laden journey of perpetual war, psychological mind control and disillusionment.”
Police Bastard – Confined – CD Album (Iron Man Records) Distributed by Cargo – October 6th 2014
Cover Art by Mark “skinny” Orton
Police Bastard band photo by Andy Ward
“The album starts with “The Curse Of The Cross”, an anti-theistic slice of brutality, which leaves the listener in no doubt that Police Bastard mean business. You even get a quote from Richard Dawkins about teaching the bible as fiction. Musically they give us huge chugging riffs on “Brought To Our Knees”, which tackles the blandness of multi-national companies infecting the high street, set against the backdrop of the widening gap between rich and poor. For those that like their anthems loud and stompy, “Sick Sick System” will no doubt win a seal of approval with its knock about Punk mayhem and catchy refrain, ‘sick sick system, same old bullshit’. Elsewhere on the album, we get subjects as diverse as being captivated by virtual reality (Word Confined) and environmental disaster from the hand of mankind (Cries From The Earth). Album closer “Fortress” sees organised religion attacked once more, and poses the question, how long before it crumbles…..” – Zak, Ryans Gig Guide (Dec 01, 2013)
“….From Mark Orton‘s cover art through the final song, “Fortress,” Police Bastard have presented an album that uses hardcore’s battering ram approach to push through a series of songs that depict how humanity has destroyed the Earth. Lines such as “We’re sealing our fate” hammer home the idea that mankind has taken the world to the edge of existence, and we’ll all soon perish, should we not change our ways. Thankfully, Confined manages to never lapse into Earth Crisis-like preaching, choosing instead to quote the likes of John Gray‘s Straw Dogs: “Long after the traces of the human animal have disappeared, many of the species it is bent on destroying will still be around, along with others that have yet to spring up. The Earth will forget mankind. The play of life will go on.” While the music is basic hardcore which occasionally aims for bigger sonic targets, the lyrics and presentation are what make Police Bastard worth checking out……” – Rock Star Journalist, Rock Star Journalist (Nov 22, 2013)
The Curse Of The Cross, Brought To Our Knees, Sick Sick System, Humanimal, Cries From The Earth, Binary Thinker, Words Confined, Bite The Hand, We Are The Dead, Fortress.
All Lyrics: Pid and John
All Music: Police Bastard
Layout: John Doom
The album was Recorded, Mixed, Produced and Mastered by Simon Reeves at Framework Recording Studios.
Presskit for Reviewers / Podcast / Radio people here: http://www.sonicbids.com/PoliceBastard
Police Bastard / War Plague – Attrition Vinyl split album Buy it here (Vinyl version of It’s Good To Hate with an extra track)
Police Bastard – T-shirts and other items of interest Buy here
IMB6020 Police Bastard – Dead to the world CD Album (Discography of everything from Gulf War Syndrome onwards with 7 never released new songs. Should be released next…..)
For all Police Bastard bookings: firstname.lastname@example.org
September 19, 2014
Police Bastard – “It’s Good To HATE” distributed by Cargo – October 6th 2014
“Police Bastard – ‘It’s Good To Hate’ CD and DVD Four new tracks and one cover here and its typical Police Bastard…powerful, inspiring, hardcore punk with passionate vocals (incidentally, when did Stu-Pid grow up and come just plain ‘Pid’?!). If any changes are noticeable since their original incarnation, then it’s probably a bit more metal influenced, with the occasional guitar screech and more Doom-esque growls of anguish, but apart from that its good as ever and especially that ‘Pid’ is back on vocals. The cover is The Mob’s ‘I Wish’ which, after the gentle intro, gets the Bastard treatment and it works too. The DVD has footage of the band live, mainly at Birmingham’s Market Tavern, but also from a European outdoor festival and the Kopi squat. It’s good quality (especially the outdoor one) and really makes me long to catch them live again as the last time was way back when 120 Rats was open (Late 90’s). 7/10.” – Bald Cactus Issue 28 2011
The release contains a CD featuring four new songs and one cover version with an additional DVD containing live footage collected between 2007 and 2010. The record features the work of founding band members Pid and John Doom doing dual vocals together again for the first time in ten years. The gigs and recordings have also seen the return of Chris Crass, who took over on bass from Trogg in 1994. Seano Porno and Mark Badger from Last Under The Sun have picked up the work of guitars and additional vocals and the drummer is Simon James who also plays in Last Under The Sun and formerly of Rivers Edge. The release is dedicated to Trogg, Police Bastard’s first bass player who passed away in 2008. It was because of Trogg and his enthusiasm to do it all again that Police Bastard started writing, rehearsing, recording and touring again.
CD tracks include: The Lie, God Off, Erosion, Born To Die and a cover of I Wish (Originally written by The Mob)
DVD includes: Keep An Active Mind (2007-2008), Police Bastard Live at 25 Jahre AU Festival, Frankfurt, Germany (2008), Police Bastard Live at Kopi, Berlin, Germany (2010).
The CD tracks were Recorded, mixed, produced and mastered by Simon Reeves at Framework Recording Studios, Musoplex. Simon has worked with the likes of Napalm Death, Cathedral, Meathook Seed, and a host of others from The Cubans, Harpies, and The Nightingales. After a nearly 20 year dedication to new and alternative music in all its many forms, he has become a master at capturing ferocious guitars and brutal sounds. The new recordings are by far the best thing the band has produced to date.
The DVD includes “Keep an Active Mind” a film by Iron Man Records, edited by Anthony J. Hughes, documenting a year in the life of Police Bastard with footage from a show the band organised at The Market Tavern, Birmingham 2007, Steve Ignorant’s “Feeding of the 5,000” aftershow party, London 2007 and a tour of Europe in 2008 organised by Alerta Antifascista. The footage includes some live performances and out takes of the band on tour with a budget you can stick under a glass.
“More great stuff from Iron Man in Birmingham…this was a total surprise, cause I’d not even realised that they had got anything new out, I’d seen em a couple of years before at the after party gig following Steve Ignorant’s Feeding of the 5000 gig (they were awesome then!) but assumed as I’d heard/seen nothing since that they’d split. Well a few weeks after getting this they played at the Old Wharf in Birmingham on a Sunday night, and along with Leatherface, I’d say the best band I’ve seen in 2010. This CD again was recorded a good while ago, but the best things are worth waiting for! 5 new tracks of brutal anarcho punk rock at its best! 4 own songs (like the title “God Off”) and a Mob cover (“I Wish”). Great line-up with (Stu)Pid and Jonny Doom together again on vocals, and 2 folk from Last Under The Sun to beef things up. Awesome! Also includes a live DVD as well.” – Steve, Ripping Thrash, Issue 27, 2011
September 18, 2014
Dufus are widely respected as possibly the most prolific, original and influential band to emerge from the chaotic mash of the Anti-Folk and experimental acoustic and rock genre in the last ten years. Dufus released their 10th album “The Last Classed Blast” on Iron Man Records.
The record features 15 tracks written and arranged by lyricist/singer, acoustic guitar player and front man Seth Faergolzia. The record was Engineered and Mixed by Mark Ospovatat at Emandee Recording House, Brooklyn, New York. Within the music of Dufus resides a severe tension in constant jeopardy of hurtling out of control; aggressive and nurturing, chaotic yet structured, solitary and social, apolitical and revolutionary. It is complex genius. Dufus wears experimental song structures and their own handmade clothing, improvising often during live performance with a blend of different forms in often unexpected and pleasantly surprising ways while all the time maintaining an uplifting experience for the listener’s benefit. The uses of all forms of art are included, musically and visually stimulating with a degree of performance art unknown to most audiences.
Seth Faergolzia is truly an intense performer with a truly connected mind. Seth is known for his trademark of reversing lines, swapping lyrics, changing tempos and style whilst cutting up words or replacing with his own made up language and extensive vocal sounds. John Peel loved it.
Dufus has graced the stage with such acts as Ween, Animal Collective, Moldy Peaches, Yeah Yeah Yeahs, Kool Kieth, Regina Spektor, Herman Dune, Dub Trio, Cerberus Shoal, Adam Green, Usaisamonster, Kimya Dawson, Jeffrey Lewis, Moe, John Brown’s Body, and the Black Dice.
“An incredible record which wears off-kilter, experimental song structures like a gleaming new suit” Mary Boyd, National Student Newspaper.
“Songs like the cut-up Dawn Crusade and the interestingly titled Nenglich Phlarloosely keep the freak flag flying” Subba Culture.
“A weird mix of folk, Beefheart and Zappa style avant-nuttiness” Mark Rowland Penny Black Music.
“Rightly respected as one of the most prolific, original and influential bands to emerge from the anti-folk scene and in their ten years of being have been criminally ignored by wider audiences” Mary Boyd, National Student Newspaper.
Tracklisting: 1/Dawn Crusade 2/Babylon Com 3/Tutu 4/Innabarabie 5/Dissassemblement Hymn # Exponential 6/Heaven is Waiting 7/Balloon Rocking Chair 8/War is Over 9/Right On 10/Nenglich Phlarloosely 11/You Weren’t Ready 12/Sacred Charney 13/On and On 14/Lay Down Flat 15/Try More Patiently
Artwork By – Nick White
Engineer – Kinyon Brinson, Mark Ospovat, Nathan Silas Richardson
Mastered By – Mark Christensen
Mixed By [Emandee Recording House] – Mark Ospovat
Mixed By [Rep Studios] – Nathan Silas Richardson
Performer [Musicians] – Amanda Conklin, Anders Griffin, Betsy Cohen, Bree Fisher, Brent Cole, Eyal Talmudi, G. Lucas Crane, Imani Coppola, Jali Jobatieh, Mark Ospovat, Pan Tor, Rick Snell, Rudy Nunez, Ryan Abb, Ryan Bruce Curtis, Seth Hebert Faergolzia, Spencer Chakedis, Stephen Calkins, William Meyer
Producer – Dufus, Seth Faergolzia
Mixed at Emandee Recording House, Brooklyn, and Rep Studios, Ithaca
Mastered at Engine Room
September 17, 2014
I’d like to take a turn away from our usual conversation to commemorate the once-in-a-lifetime experience I’ll enjoy next month when we celebrate the founding of the Detroit Artists Workshop 50 years ago.
This month I’ll celebrate my 73rd birthday on October 2nd, so I was 23 when we started the Artists Workshop as Detroit’s bohemian outpost and gathering place for a renegade artistic community that was creating a new way to make art and live and work together with other fellow seekers like ourselves.
The Detroit Artists Workshop was a beautifully organic thing that grew directly out of the nexus of a wildly disparate group of creative individuals in their 20s who came together, one or two or a few at a time, in the neighborhood around Wayne State University in the spring and summer of 1964 to form the Artists Workshop Society.
Centered in a rented house at 1252 West Forest, the Artists Workshop became a beacon of contemporary art and creative fellowship for people who were trying to find a different way to make a life and express our ideas and feelings outside the structures of conventional society, academia and the oppressive industrial machinery of working-class Detroit itself.
Along with a common hunger for knowledge and new mental horizons, we shared a quest to find a place where we could live, work and make our art in the middle of the city of Detroit. We were attracted to the intense energy of the city, the African American music and culture that pulsated everywhere we turned, the cheap rents and—for most of us—the welcome accessibility of marijuana and other illicit substances we had somehow managed to encounter in our pursuit of consciousness expansion.
We wanted to get high and live without having a real job, meet and mingle with people like ourselves, and make music or poetry or painting or other art forms of our own devise and share them with kindred souls wherever we could find them.
Some of us were into jazz and entered the world of Detroit through its jazz clubs, coffeehouses and after-hours joints where we would meet the musicians and fellow music lovers and smoke weed with them between sets.
Some, like myself, came from small cities and towns in outstate Michigan and migrated to Detroit to find the intellectual and cultural stimulation we were desperately seeking. Some came to college to study literature and other disciplines and turned into poets and painters and photographers and film-makers determined to make some kind of expression of what they saw and how they felt in the heart of the city.
There weren’t so many of us, and we kept to ourselves, hopefully well out of the way of the squares. There weren’t really any designated centers of what we were looking for, no place to go to find out and be part of what was happening unless you were looking for jazz, and you had to find that in little inner-city bars and underground art spots.
So we found each other organically, person to person, in no particular place except the one we were blessed to inhabit at that moment, alert to the possibility of encountering another interesting person of the underground persuasion.
I was a voraciously inquisitive individual who came to Detroit without knowing more than a handful of people, and I was always looking to find my way into what was happening if it had anything to do with jazz, poetry, painting and other arts activity, social justice, intellectual fellowship and access to marijuana.
This was my experience: I came to Detroit from Flint in March of 1964 to attend graduate school at Wayne State University and seriously investigate the jazz, poetry and arts activity available nowhere else. I took an apartment in the Forest Arms at Second & Forest.
I had two epiphanies in Detroit that spring. The first came when I attended a screening of “underground films” at the Detroit Institute of Arts, where I found the first large-scale manifestation of the avant-garde arts community I knew was there but could never locate. Here were a couple hundred people in beatnik and intellectual garb milling around collegially and then filing in to watch a program of experimental movies from film-makers never before heard of. I didn’t really meet anybody that night, but now I knew they were there.
The second came one sunny afternoon in late spring as I was walking down Second Avenue from the Wayne campus with a copy of the new Coltrane Live At Birdland album and the LeRoi Jones book of poetry called The Dead Lecturer under my arm. A guy called to me from behind and wanted to talk about the Coltrane side and the kind of modern poetry so beautifully represented by the LeRoi Jones book. We walked along talking and gesticulating wildly when he introduced himself as a poet from Monteith College at WSU named George Tysh.
This was my initial contact with the gang of poets and creative individuals who hung out together at the Monteith Center (an experimental college inside Wayne State University) and established a little storefront operation called the Red Door Gallery just off the corner of Second & Prentis. Now Tysh wanted to get together soon—maybe later the same day. I showed him where I was staying and invited him over.
That night Tysh came by my pad at the Forest Arms and brought his friend, the cornet player Charles Moore, because he thought we might like each other. We sat up for hours smoking joints and listening to music. Charles left early in the morning, only to return that afternoon with his cornet in a paper bag and the clothes on his back.
Charles moved in with me right then and we stayed together for the next two years, developing our command of our respective art forms, exchanging ideas and concepts, growing together as artists and human beings, and dreaming up what would manifest itself as the Detroit Artists Workshop.
Now I was where I wanted to be, right in the middle of a network of creative renegades who were starting to hook up in wider and wider circles of friendship and collaboration.
We had the idea that several individuals could live together in sort of an urban communalism set-up, split the rent and utilities six or eight ways and live for a monthly housing cost of less than $100 each, with plenty of room to live and work and no restrictions on how loud you were playing your record player or your trumpet or drums. Everybody in the whole complex smoked weed, so nobody was going to turn you in if they saw a roach on your floor or smelled something nice coming out of your room.
Well, that was 50 years ago, and it worked like a charm at the time, and now quite a number of us have survived and prospered as creative artists if not as tax-paying citizens, and we’ll be celebrating what we think of as our glorious history in Detroit that strated on November 1, 1964. There’s not a person among us who could have seen this coming when we got together in 1964, but here we are, and it’s a beautiful thing. Just as then we still be saying, 50 years later: FREE THE WEED!
September 17, 2014
© 2014 John Sinclair. All Rights Reserved.