{"title":"Upset The Rhythm","description":"\u003cp\u003e\u003c\/p\u003e\u003cp\u003eUpset The Rhythm is a live music promoter and record label based in London, UK. They are known for their dedication to showcasing innovative and boundary-pushing artists from various genres. With a focus on supporting independent musicians, Upset The Rhythm has built a reputation for curating exciting and diverse lineups at their live events. As a record label, they have released albums by some of the most influential and forward-thinking artists in the industry. Their commitment to promoting unique voices in music has made them an authoritative presence in the e-commerce world.\u003c\/p\u003e","products":[{"product_id":"wyrd-psearch","title":"Wyrd Psearch","description":"\u003cp\u003e The Pheromoans are tenants of an unruly domain. Over the last 18 years the group have evolved from garage rock primitivists to auteurs of their own curious sound; a frothy brew of loose electronics, refractory rock and humdrum musing. Their songs are mutable, capricious, unreliable narrations, often withholding as much as they reveal. Russell Walker’s understated vocal has always been the band’s unifying focus, it is wry, unsparing and wilfully honest. Walker’s lyrics are an observational tour de force, sometimes droll, yet often tipping over into unlikely pathos. With previous releases on Upset The Rhythm, Convulsive and Alter, 2024 will witness The Pheromoans return with lucky album number 13, entitled \u003ci\u003eWyrd Psearch\u003c\/i\u003e. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eWyrd Psearch\u003c\/i\u003e was recorded in Lewes throughout 2023. This was undertaken by founding member James Tranmer, his keen instinct for how the band should sound shaping many of the creative decisions. Joined by new guitarist Henry Holmes, the five piece doubled down on a decidedly breezy, melodic approach. Scott Reeve’s drumming is ever brisk, whilst Daniel Bolger explores AOR peripheries on keyboard and bass. “Wyrd Psearch finds us on relatively zestful form” affirms Walker “whether it be merrily recalling the Jason Williamson \/ Tim Lovejoy Covid summit, or mentally bathing in the pleasures of lunch hours spent strapped to a listening post in Borders.” With The Pheromoans there is always a familiarity at play, only broken and reassembled, like a bygone sitcom gone rogue in your memory. This contributes to the group’s peculiarly British outsider perspective, one that shouts from the sidelines, but never goes unnoticed.\u003c\/p\u003e\u003cp\u003eSubjects covered lyrically on \u003ci\u003eWyrd Psearch\u003c\/i\u003e include “mid-life crises, male pattern baldness, and thwarted artistic and personal ambitions” according to Walker himself. “Nothing is off limits for scrutiny, even rural arts communities” he concludes. Lead single ‘Downtown’ swings with chiming guitars and finds Walker mid-breakdown trying to persuade a loved one to accompany him into the town centre to collect controlled medication and wind back the clock to happier times. “I want to keep you in cotton wool until pay day” he confides. ‘Cropped to Death’ and ‘Father Austin’ are ruminative and more relaxed in nature, whilst ‘Twibbon Wife’ is a more energetic effort, all jabbed synth chords, circuitous basslines and rampant drum fills. ‘Faith in the Future’ similarly bounds along with reverie. \u003c\/p\u003e\u003cp\u003eWalker claims that the album’s title is an expression of his frustration at the ubiquity of people claiming things are eerie or weird \/ wyrd in the present cultural milieu. The artwork for the record is designed as an actual word search too, a knowing nod to how we all grapple for meaning amongst the absurdity of each day. Leaning into ‘weird’ as a coping mechanism is not on The Pheromoans’ agenda however. This album holds little sway with the supernatural, it’s not enough. The overriding impression given by \u003ci\u003eWyrd Psearch\u003c\/i\u003e is of a band renewed with ideas. There’s no trouble finding the right words, they’re hitting their mark, keeping up with the commentary. \u003ci\u003eWyrd Psearch\u003c\/i\u003e is a document of The Pheromoans mastering their unquiet moment.\u003c\/p\u003e","brand":"Upset The Rhythm","offers":[{"title":"Black LP","offer_id":50382782595403,"sku":"2173579","price":17.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/UTR160_13d54593_thumbnail_4096.jpg?v=1726259164"},{"product_id":"behold-2","title":"Behold","description":"\u003cp\u003eGreen shoots have burst forth from Parsnip, let’s warmly welcome the Australian group’s sophomore album \u003ci\u003eBehold\u003c\/i\u003e.  The production is ambitious, with 12-string and acoustic guitars, percussion, piano, saxophone and harmonium all sitting comfortably in these outstanding songs. Drawing comparisons with Dolly Mixture, Sara Goes Pop, Look Blue Go Purple and The Field Mice, Parsnip are an animated ensemble, full of life, emotional complexity and humour. The laughter in the dark is real, but then the sun comes up and we all must meet the day. Even the flowers turn their faces. Behold!\u003c\/p\u003e\u003cp\u003eRecorded across three sessions over the last three years, \u003ci\u003eBehold\u003c\/i\u003e is a testament to Parsnip at their most creative, catchy and collaborative. This album showcases the multi-talents of all four members, with spirited performances adding dazzle to the thirteen tracks. \u003c\/p\u003e","brand":"Upset The Rhythm","offers":[{"title":"Clear LP","offer_id":50409486549323,"sku":"2180517","price":17.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Behold_a9cc82bd_thumbnail_4096.jpg?v=1726615407"},{"product_id":"its-yours-2","title":"It’s Yours","description":"\u003cp\u003eTruly psychedelic and damaged, Wolf Eyes favourite new group. \u003c\/p\u003e\u003cp\u003eDecember 2012 I showed up totally exhausted in Vancouver BC after touring stupidly and relentlessly for however many straight months and got a job at a call centre raising money for the Red Cross. It was a scent free office but one time this woman cooked a piece of fish in the microwave for 10 minutes on low and hot boxed the whole office - we got sent home early no pay. There was the other woman I named the Call Centre Coltrane because her pitch and routine usually involved improvised flights of fancy that went off in both directions at once somehow landing back down with a credit card number and a donation. I used to sleep under the desk. I was there a few months and at the time I reconnected with John Brennan who I had played with briefly in Montreal at the Mutek Festival. In Montreal John was running an experimental music night at a burrito shop downtown called Garbage Night. While in Vancouver I began connecting with the music scene there and would go hang out with the Shearing Pinx lads who I think lived with Sydney the bass player at the time. I knew Nic and Jer from an AIDS Wolf Tour and was so stoked to get to know them both better.  I really fell in love with that era of Vancouver's music scene. \u003c\/p\u003e\u003cp\u003e Fast Forward to today. 2024  Actually it was the dying days of 2023 but you get it and John asks if I'll sit in with Earth Ball and I keep thinking about Earth Balance, the vegan butter everyone eats here. I brought my aching bones and my ipads on the beautiful ferry named the Queen of Oak Bay and out to Nanaimo BC, home of the nanaimo bar (a dessert treat - special to this region - that seems to be more popularly found under the weird glass sneeze guards in office building deli's out east in Ontario.... anyhoops ). No one in Nanaimo wants to talk to me about the famous treat. I asked a couple of people. Silence. Nanaimo is like London, Ontario but more fried and by the sea. The town is filled with blown out old sea dawgs with tin coffee pots and loose leaf tobacco, then there's the usual streetfolk you find in this part of the Canadian Pacific Northwest and a bunch of bohemians who I guess have left Vancouver behind - that fine city having become uninhabitable for those not making over 100k a year. And then up the way are all the retirees.   Yup Nanaimo is a strange one. They mined the shit out of this region and Nanaimo is surely haunted by those buried in mining shafts or maimed by the heavy machinery or blown up by accident in the explosives store house. And when Earth Ball fire up the amps in Izzy and Jer's basement you can hear the voices of the ghosts hum through electrical lines and out the speakers, Kellen's hued feedback, Izy's sturdy basslines, Jer's paperbag guitar tone and rumble pack zaps, Liam's (aka the Kid) sheets of sound and Brennen's multidirectional drums. You wouldn't guess Earth Ball was auto-composing and from what my rat brain can tell - the lyrics are improvised too...Improvising lyrics and singing them is the hardest thing to do in all of music.. Izzy and Jer are pros. And their attitudes are pro too.  The live show is scorched and without naming names they've been known to make headliners nervous.  Lucky ones will get to see them live as they tour this beast of a record entitled ‘It’s Yours’ (out May 17th on Upset The Rhythm) and I hope I'm one of them.  But now you, fan of fun but totally fucked up music, have the opportunity to Ball with them thanks to Upset The Rhythm.  Enjoy - Alex Moskos, Montreal QC, Feb 2024\u003c\/p\u003e","brand":"Upset The Rhythm","offers":[{"title":"LP - Clear","offer_id":50417059889483,"sku":"2189372","price":22.99,"currency_code":"GBP","in_stock":false},{"title":"LP - Transparent Yellow","offer_id":58005748089163,"sku":"R6539-0830","price":19.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/UTR164_b768504c_thumbnail_4096.jpg?v=1726715287"},{"product_id":"movement-now-another-war-talk","title":"Movement Now \/ Another War Talk","description":"\u003cp\u003eGlasgow post-punk six-piece Kaputt aren’t strangers to directing their explosive energy and maximalist vibrancy in the name of allegory and critique. Their 2019 debut album on Upset the Rhythm \u003ci\u003eCarnage Hall\u003c\/i\u003e confidently deconstructed themes of surveillance, paranoia, and cultural identity through a sonic lens of high-tempo, bright, danceable pop hooks and technical, polyphonic rhythms which border on the bombast of Zeuhl. \u003c\/p\u003e\u003cp\u003eNew EP \u003ci\u003eMovement Now \/ Another War Talk\u003c\/i\u003e continues the synthesis of animation and discontent with an ethos that exemplifies post-punk’s most original and guiding purpose: casting aside the rigid, signifying fashions of modern performative genre tropes and instead combining a vast fluidity of influence, tone and style to create something as unique and personal as it is counter-cultural. The result is a release that responds to the apathy of our current situation with a positive thesis, breathing life into the lived-in, bursting through every vessel, leaving nothing unturned.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eMovement Now\u003c\/i\u003e enters with the distinct high-low drive of guitar whines and racing low toms, emblematic of the presence one feels when pushing past bodies in a heaving DIY venue, but it is not afraid to play with expectations. When the song thematically opens out, disrupts convention and progressively rebuilds upon itself, the track, a comment on the ever-lagging pace that jaded, old values take to transform, transitions from a goth aesthetic to the optimism characteristic of any indie heavyweight.\u003c\/p\u003e\u003cp\u003e\u003ci\u003eAnother War Talk\u003c\/i\u003e shines in production and composition as arguably one of the best examples of distilling the band’s manic live energy into a studio recording. The divergent vocal duality of Cal D. and Chrissy B. accompanied by competing percussionists and dynamic saxophone lines encapsulates the performative strengths that has allowed the band to become a constant highlight in Glasgow’s ever exciting DIY scene. It is, in essence, the naturalness by which six passionate voices can combine into one vision so seamlessly, which one who has not experienced the band live should take away from the track for now in anticipation of the future.\u003c\/p\u003e","brand":"Upset The Rhythm","offers":[{"title":"Blue | 7\"","offer_id":50417238180171,"sku":"1116310","price":7.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/52e67fb7-dc4f-4158-b328-aff67f1660cb_thumbnail_4096.jpg?v=1726723039"},{"product_id":"orchestra-hits","title":"Orchestra Hits","description":"\u003cp\u003eAesthetically, Ed Schrader’s Music Beat hates to tread water. At the same time, the Baltimore-based two-piece of vocalist Ed Schrader and bassist Devlin Rice won’t force their songs to fit a preconceived style. “The next album’s always gotta be different from the last one. We’re different people from record to record. So, writing authentically to ourselves will always bring our work to a place that we haven’t been to yet,” Rice said. Schrader added, “We’re terrified of turning into AC\/DC. We never want to be married to one scene or time or sound. We want to be the Boba Fett of bands! Constantly altering the way in which we make records has been pretty key in that process.” \u003c\/p\u003e\u003cp\u003eFor \u003ci\u003eOrchestra Hits\u003c\/i\u003e, the band’s latest, that alteration was welcoming longtime musical comrade Dylan Going into the fold as a co-writer and co-producer. A songwriter in his own right, a guitar sideman for ESMB on their last two tours, and a collaborator with Rice in the noise riffage band Mandate, Going had both a unique vision and an intimate familiarity with the ESMB vibe. \u003c\/p\u003e\u003cp\u003e“Dylan came to every show we’ve ever played in New York—no matter how weird it was,” Schrader said. “He’d be standing there ready to move an amp or feed us barbecued cactus after the gig and toss on some Golden Girls so we could decompress. It felt like family as soon as we began working, but I honestly had no idea how damn good he was at tossing out these hooks.”\u003c\/p\u003e\u003cp\u003eAccording to Schrader, the songs “just poured out of us” over the course of a highly caffeinated three-day weekend in a tiny room in Devlin’s house while his cat, Sandy Goose, screamed continually. “It was like three kids hiding from the world to get into some lovely mischief,” they said. The lack of external pressure in the process gives \u003ci\u003eOrchestra Hits\u003c\/i\u003e an almost paradoxical vibe. For all of the album’s layers, that mix live and sequenced instruments, it never loses the raw energy of a small handful of friends in the same room plugging in, cranking up, and playing until they pass out.\u003c\/p\u003e\u003cp\u003eLyrically, the album finds Schrader, now 45, meditating on experiences in their youth to make sense of the present moment. “We are not into the garden,” Schrader wails on the relentless “Roman Candle,” a song about the sad debacle of Woodstock ’99, and a direct response to Joni Mitchell’s “Woodstock,” a utopian ode to hippie idealism. A 19-year-old Schrader, having snuck into Woodstock ’99 through a hole in the fence, was there the night members of the crowd used candles intended for a vigil for victims of the Columbine High School massacre to set fires all over the grounds. Even before the fires, Schrader remembered feeling disconnected from the music, the nostalgic cash grab, and the meatheads in the crowd. After watching a press tower collapse, they boarded a random shuttle bus and were dropped off near a Denny’s. “It was a far cry from the Garden of Eden,” Schrader said. “That experience defined what I didn’t want to be a part of, and yet America is more like Woodstock ’99 than ever.”\u003c\/p\u003e\u003cp\u003eWith percolating synthesizer arpeggios, and climbing bass grooves, “IDKS” is the album’s dance-floor slapper. “’IDKS’ is a funny one,” Schrader said. “We already had a pretty satisfying suite of songs when Dylan was packing up to head back to New York, but he missed the train because of a freak snowstorm. Realizing he’d be stuck in town another day, he says to me, ‘Here’s this other weird thing I have.’ It was ‘IDKS.’ The hooks were so good I felt like Homer Simpson at a free donut convention. I just dove right in, and we cranked that baby out in like 20 minutes.”\u003c\/p\u003e\u003cp\u003e Lyrically, “IDKS” is a letter from the true self to public-facing self. “It’s an angry song,” Schrader said. “Because the public-facing self is always looking for an easy escape, but it forces the true self into a cage. I honestly thought my lyrics were corny and was about to change them, but Dylan was digging it just the way it was. So that’s what you hear.”\u003c\/p\u003e\u003cp\u003eWith the soaring “Daylight Commander,” the band went against all of their musty-basement-bred instincts. “I went full High School Musical with the vocals,” Schrader said. “At first it felt almost embarrassing, but I remember reading somewhere that Bowie recommended always floating a little bit above your comfort zone, and that’s what we did here.” The song is part exercise in absurdity and part pop Trojan horse. “If ever we had a ‘Shiny Happy People’ moment, I guess this is it,” Schrader said.\u003c\/p\u003e","brand":"Upset The Rhythm","offers":[{"title":"Blue LP","offer_id":50426820591947,"sku":"2205691","price":17.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50426820362571,"sku":"2205690","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/UTR165CD_c7658f84_thumbnail_4096.jpg?v=1726818065"},{"product_id":"sogni","title":"Sogni","description":"\u003cp\u003eSecond album from Xanthe and Amy of Terry's other band. For fans of Young Marble Giants, ‘Flying Nun’ bands and Grass Widow.\u003c\/p\u003e\u003cp\u003ePrimo are a quartet from Melbourne writing up-tempo, terse, chorus and verse with two guitars, bass, drums and a shared group vocal sensibility to adorn their enquiries into deconstructed punk. Their songs chime and charm, sounding at times bountiful, at others brittle, always buoyant with attention to detail. Primo songs are inquisitive, chasing down questions for answers hurrying away, amidst minimalist shuffle beats and ringing- out chords. The group’s debut album \u003ci\u003eAmici\u003c\/i\u003e (2018) was a triumph of the underplayed, its small details pulling focus, allowing the album to treat us to unexpected truths in plain sight.\u003c\/p\u003e\u003cp\u003ePrimo's newest member since \u003ci\u003eAmici\u003c\/i\u003e was recorded is Amy Hill, who also plays in Terry and Constant Mongrel, on bass. Outside of Primo, Xanthe and Violetta both have lent their guitar skills to Terry and The Shifters respectively, whilst Suzanne works in film. 2020 sees Primo return with their second album of prudent delights entitled \u003ci\u003eSogni\u003c\/i\u003e, from the Italian for ‘dreams’. Using the same musical lexicon and internal logic developed through their debut, \u003ci\u003eSogni\u003c\/i\u003e reflects on themes of decision-making, change, time, heartbreak, the practicalities of work and daily life. The songs came together as a way of making sense of the times - offering a way through. Tracks were demo-ed quickly by early 2019, then developed collectively through the year in the rehearsal room, played live and finally recorded onto 8-track in late 2019 by Al Montfort in a number of home studios across Melbourne.\u003c\/p\u003e\u003cp\u003eVocal duties were largely shared throughout the record, which has the same post punk sensibility and minimal approach as in previous recordings, but here imbued now with electronic flourishes and expanded instrumentation that sees Primo’s sound growing bolder. \u003ci\u003eSogni\u003c\/i\u003e is released through Upset the Rhythm. \u003c\/p\u003e","brand":"Upset The Rhythm","offers":[{"title":"Orange | LP","offer_id":50426859815243,"sku":"1085455","price":18.99,"currency_code":"GBP","in_stock":false},{"title":"Black | LP","offer_id":50426859356491,"sku":"1085454","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/41fc8661-a744-408c-9a5e-736334d35528_thumbnail_4096.jpg?v=1726818683"},{"product_id":"empires-into-sand","title":"Empires into Sand","description":"\u003cp\u003e\u003cstrong\u003eNormil Hawaiians\u003c\/strong\u003e presents \u003cem\u003eEmpires into Sand\u003c\/em\u003e, their first album of new material in 40 years. The group honed their sound in the early 80s, blending ambient drone, motorik impulse, and post-punk energy to create a pastoral experimentalism.\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eEmpires into Sand\u003c\/em\u003e was created in the same improvisational and nuanced manner as their original three albums. The release of their last record, \u003cem\u003eReturn of the Ranters\u003c\/em\u003e, in 2015 by Upset The Rhythm sparked a renewed interest in making music together for the band.\u003c\/p\u003e\n\n\u003cp\u003eNormil Hawaiians performed a launch show for the ‘lost album’ and continued with more concerts, including appearances at Supernormal and a residency at the Edinburgh Festival. They were even selected by Richard Dawson to perform with him in London.\u003c\/p\u003e\n\n\u003cp\u003eWhile revisiting their original songs for live performances, Normil Hawaiians did not simply recreate the past. They pushed their songs into new and inventive dimensions, maintaining their progressive core but infusing a cosmic uncanniness into their music.\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eEmpires into Sand\u003c\/em\u003e incorporates samples from old rehearsals and live music, continuing a trend from their previous records. The album is further enhanced with snippets of sound from shortwave radio and satellite transmissions, creating an immersive experience that lasts for 45 minutes.\u003c\/p\u003e","brand":"Upset The Rhythm","offers":[{"title":"Black LP","offer_id":50427430011211,"sku":"2183120","price":19.99,"currency_code":"GBP","in_stock":true},{"title":"CD","offer_id":50427428700491,"sku":"2183119","price":12.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/UTR163CD_85448c54_thumbnail_4096.jpg?v=1726824988"},{"product_id":"something-looming","title":"Something Looming","description":"\u003cp\u003eMarcel Wave write eulogies for tragic actresses, ancient riverbeds and concrete obscenity. Their inaugural sonic instalment ‘Something Looming’ is part trades club symphony, part itchy serenade, and part wistful lament. As their heady concoction of ‘Meades meets Pat-E-Smith meets Kirklees Borough Council’ gets prepped to be formally baptised on a dank stage near you, Upset the Rhythm and Feel It Records have dutifully stepped in to deliver its songbook to the masses on both sides of the pond. \u003c\/p\u003e\u003cp\u003eFormed when Lindsay Corstorphine and Christopher Murphy of Sauna Youth and brethren Oliver and Patrick Fisher of Cold Pumas were summoned by northern ink-slinger Maike Hale-Jones, Marcel Wave’s debut offering is a walk through a smoke-filled pub with yellowing wallpaper and all eyes on you. It’s a chronicle of the death of the docklands, the decline of industry, of the high street, of civic pride, of civilisations, of hopes and dreams. As Hale-Jones delivers the bad news in her low, West Yorkshire brogue, Corstorphine adds the bells and whistles via the frantic pulsations of a wheezing Hohner organ in tandem with Fisher O’s rasping guitar. MW are completed by the throbbing basslines of Murphy and Fisher P’s fervent rhythms. \u003c\/p\u003e\u003cp\u003eThe title itself sets the tone for the listener. There’s a sense of foreboding in Hale-Jones’ lyrics which sit at the quintet’s core—elegiac, sardonic and piquant in equal measure. A mixture of narrative epilogues and inward paeans, her words weave tales across a broad thematic church. Crooked tales of urban renewal and the voices left behind are probed in ‘Barrow Boys’ and ‘Stop\/Continue’ and are at the fore in ‘Where There’s Muck There’s Brass’ with its refrain lamenting ‘Concrete and slate shine in the rain, cities destroyed, nothing to gain’. In these lyrics, tower blocks loom over terraced houses with the same shadows that the Hollywood sign casts over Peg Entwistle before she takes her tragic leap. ‘Peg’ and ‘Elsie’ are both meditations on two different actresses with different fates crushed by the cut-throat trappings of showbusiness: ‘The mad hopes break, fragile as glass. She traded it all, for the cutting room floor.’ A snaking, existential dread also runs through the album, stated more obliquely in the otherwise poppier interludes of the title track ‘Something Looming’ and album opener ‘Bent Out of Shape’, and present too on the comparatively ramshackle ‘Discount Centre’, where Hale-Jones reports ‘On a mini bus on the outskirts of Enfield, I’m losing all of my spark’. On the album closing weeper ‘Linoleum Floor’, it is laid barer still—a keyboard-led reflection on the deflating nights out of our early-twenties. \u003c\/p\u003e\u003cp\u003eMarcel Wave invites the listener to dance to  society’s decline, and then to later weep into its lukewarm pint. \u003c\/p\u003e","brand":"Upset The Rhythm","offers":[{"title":"Black LP","offer_id":50428066496843,"sku":"2193440","price":17.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Something_Looming_55e08e74_thumbnail_4096.jpg?v=1726829706"},{"product_id":"decent-shapes","title":"Decent Shapes","description":"\u003cp\u003eMelbourne \/ Naarm synth-punk five-piece screensaver return with \u003ci\u003eDecent Shapes\u003c\/i\u003e, their second album. \u003ci\u003eDecent Shapes\u003c\/i\u003e is loaded with bubbling tension, a low grade but growing fever, a rising rage. The frustration is so tangible you can taste it. Detachment and dissociation become survivalist coping mechanisms. \u003c\/p\u003e\u003cp\u003eThematically, screensaver's latest offering finds them exploring existence on an ever-growing trash heap where we’re desperate for the new, the nice and the shiny. A world where materialism reigns supreme and corporate niceties litter the public dialogue but behind closed doors the sentiment is warlike, total domination is the only answer to the bottom line. All of which is underpinned by the band's sonic sense of urgency and a commitment to creating a sound that taps into the mood and spirit of post-punk whilst also allowing space for new wave elements and electronic experiments to shine through. \u003c\/p\u003e\u003cp\u003e\u003ci\u003eDecent Shapes\u003c\/i\u003e was recorded and mixed by Julian Cue, who was also the recording engineer for Expressions of Interest. Defined by a kinetic energy, dynamic range and brooding atmosphere, the 10-track release comprises some tracks that were mainstays within the band's live shows - featuring in their US tour set-list - alongside others which were written later in the recording process. During the creation of \u003ci\u003eDecent Shapes\u003c\/i\u003e, the band also experimented with swapping instruments, allowing for different playing styles and song-writing approaches. screensaver was formed in 2016 as a trans-Pacific project between Krystal Maynard (Bad Vision\/ex Polo) and Christopher Stephenson (Spray Paint\/Exek). \u003c\/p\u003e\u003cp\u003eFor fans of The Cure, Pylon and ESG.\u003c\/p\u003e","brand":"Upset The Rhythm","offers":[{"title":"LP","offer_id":50431157043531,"sku":"2049125","price":19.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/UTR158_6a6ecb00_thumbnail_4096.jpg?v=1726855942"},{"product_id":"carnage-hall","title":"Carnage Hall","description":"\u003cp\u003eKaputt are a recently hatched post punk act from Glasgow, Scotland. Racing away from the playful torn edge of no-wave song, Kaputt blurt out tracks with twitchy charisma, their catchy riffs circle with relish, allowing timely sax stonks and stop-start rhythms to drive things on. Vocals leap, guitars bluster and always the saxophone snakes, hypnotically drawn through the erratic beat. There’s a riot of fun at play in their febrile racket, but there’s also some deeply cerebral grooves and choice lyrical concerns evident too.\u003c\/p\u003e\u003cp\u003eThe songs on \u003ci\u003eCarnage Hall\u003c\/i\u003e, Kaputt’s debut album released by Upset The Rhythm this September, were all written in Glasgow between 2016-2018. Following on from the independence referendum and the subsequent Brexit vote these songs couldn’t help but be influenced by the maelstrom of political hypocrisy and confusion in the air. 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Members of \u003cstrong\u003eVexx\u003c\/strong\u003e reconfigured, debut 7” of Olympian punk! Four voices tousle loudly as they leave the soft realm of the body, venturing out into the world. Reproduction and traditional instruments (guitars, drums, samplers, digital, voices) allow the human generation to play right now.\u003c\/p\u003e\n\n\u003cp\u003ePlaying is intersubjective, we appeal to consciousness. Here in the human era we dialog, reference, and reproduce with traditional reference and frustration. Kissing lightly decided harmonies, \u003cem\u003eGen Pop\u003c\/em\u003e plays in the human generation and is from the human era. Playing used in its most remedial sense, an occasion to slap together a narrative and generate trust between each other.\u003c\/p\u003e\n\n\u003cp\u003e\u003cem\u003eGen Pop\u003c\/em\u003e produced a small run of tapes featuring 3 tracks from their debut 7” on \u003cem\u003eUpset the Rhythm\u003c\/em\u003e earlier this year. 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Here they spliced the recordings into an irregular yet coherent, flowing work, Side One being intentionally and meticulously honed as a seamless and inventive narrative.\u003c\/p\u003e\n\n\u003cp\u003eFinal masters were then EQ’d and cut by Graeme Durham at the newly opened Exchange Mastering Studios in Camden.\u003c\/p\u003e\n\n\u003cp\u003eAnd then nothing happened. Unbeknownst to the band, Illuminated Records was getting into deep financial problems and by early 1984 were struggling to release label-saving albums from Throbbing Gristle, 400 Blows, and Kevin Ayers.\u003c\/p\u003e\n\n\u003cp\u003eMeetings with company boss Keith Bagley were often held in dusty old daytime drinking clubs around the Fulham Road, but the label was in its death throes.\u003c\/p\u003e\n\n\u003cp\u003eTest pressings sounded good but the printing of the cover was all wrong. The cover image was too green, though thankfully a final batch had this corrected to a more appropriate sepia hue.\u003c\/p\u003e\n\n\u003cp\u003eAs it became clear that the release was in danger of a catastrophic failure without the goodwill of distributors and promotors, the label gave the band 250 copies to sell as a ‘Sorry for Fucking Up goodbye present’, but the record shops wouldn’t touch them.\u003c\/p\u003e\n\n\u003cp\u003eThe company had been blacklisted. Smith and Alun ‘Wilf’ Williams screen printed the label name off the LP to distance it from disaster, but to little avail.\u003c\/p\u003e\n\n\u003cp\u003eThis intricate, challenging, and engaging work had been failed by poor circumstance.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eCD\u003c\/strong\u003e - Remastered and 7 Bonus Tracks housed in a Gatefold Wallet with Booklet. Limited to 500 Copies.\u003c\/p\u003e\n\n\u003cp\u003e\u003cstrong\u003eLP\u003c\/strong\u003e - Black Vinyl housed in Glossy, Printed Gatefold Sleeve, with Offset (matte) Paper Inner Sleeve and Booklet. 500 Copies.\u003c\/p\u003e","brand":"Upset The Rhythm","offers":[{"title":"Black | LP","offer_id":50472192803147,"sku":"1063161","price":22.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50472192999755,"sku":"1063160","price":12.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/1f116087-68a9-4207-851d-168a4158e14f_thumbnail_4096.jpg?v=1727419973"},{"product_id":"private-sector","title":"Private Sector","description":"\u003cp\u003eHaving released a slew of singles and an LP on various DIY labels in the US and the UK at the turn of this decade, London post-punk stalwarts return from hiatus with their sophomore effort, \u003cem\u003ePrivate Sector\u003c\/em\u003e. Recommended for fans of Real Ale, British Rail Class 55 Deltics, Euston station, and Jeremy Corbyn.\u003c\/p\u003e\n\n\u003cp\u003eWhere their debut LP \u003cem\u003ePublic Sector\u003c\/em\u003e (2011, La Vida Es Un Mus) reflected a nostalgic longing for an unrealized socialist modernist utopia, \u003cstrong\u003eHygiene\u003c\/strong\u003e finds themselves confronting the grim realities of the present on \u003cem\u003ePrivate Sector\u003c\/em\u003e. They rail against the neoliberal madness of utility cartels, tax havens, and privatized railways, seizing the moment as the current period of interregnum sees the old ideological certainties come into question.\u003c\/p\u003e\n\n\u003cp\u003eProving nostalgia to be an inescapable trap, the band continues to hearken back to the kind of post-punk that existed before anybody knew to affix the 'post' prefix. \u003cem\u003ePrivate Sector\u003c\/em\u003e has the signature Hygiene sound, mixing brooding melodies with a choppy, aggressive approach and a restricted pop sensibility. However, this ever-so-slightly more mature record finds the band taking advantage of the musicianship of their friends, mixing in the odd viola, glockenspiel, piano, and keyboard.\u003c\/p\u003e","brand":"Upset The Rhythm","offers":[{"title":"Black | LP","offer_id":50472251457867,"sku":"1061005","price":17.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/2716f920-113d-4c1b-8631-7a6ebad03d9e_thumbnail_4096.jpg?v=1727420731"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/collections\/test_7082dce1_thumbnail_4096_271a8c03-af8e-405b-bdef-778b594b402e.jpg?v=1726259141","url":"https:\/\/shop.roughtrade.com\/collections\/upset-the-rhythm.oembed","provider":"Rough Trade","version":"1.0","type":"link"}