Mastering Suicidas / Pox “Split EP” on All the Madmen Records.
“Issue #4 in All The Madmen Records’ Singles Club Series 2”
Buy it here!
Archives for posts with tag: All the Madmen Records
Remastering Part1 “Pictures Of Pain” on All the Madmen Records.
“Remastered, Revamped and Reanimated!
To commemorate it’s thirtieth year in purgatory, we are pleased to announce Part1’s hard-to-find album painstakingly revived and reissue via All The Madmen Records.
Originally released by US label Pusmort – in it’s own right, a “posthumous” vinyl release of Part1’s early studio demos collection “In The Shadow of the Cross”, these recordings feature Part1 in their nascent form.
The leaden rhythms of drummer Bob Leith and bassist Chris Pascoe, punctuated by the swirling post-punk shrill of Mark Ferelli’s guitar and singer Jake “Chris(t)” Baker’s raging sermons.
With it’s sleeve featuring the fantastic visionary art of Deborah Valentine on the front and the twisted outsider view of Nick Blinko on the rear, Pictures Of Pain has become legend to those who follow in the mischief macabre.
Now carefully restored to it’s sonic best by Daniel Husayn of North London Bomb Factory Mastering and including a deluxe insert booklet of lyrics and artwork rescued from the Ferelli vault.
Beautifully pressed on grey marbled vinyl* and including a download card, this first pressing is very limited and is initially available from All The Madmen and Part1 only.
Witness the power of the fully exhumed and operational Part1, since 2013 and at gatherings of souls near and far. Now featuring Chris Low (The Apostles / Political Asylum / Oi Polloi / The Parkinsons…) on drums and David Barnett (Minor Indie Celebrity) on bass. New recordings soon…”
Buy it here!
Remastering Part1 “Pictures Of Pain” on All the Madmen Records.
“Remastered, Revamped and Reanimated!
To commemorate it’s thirtieth year in purgatory, we are pleased to announce Part1’s hard-to-find album painstakingly revived and reissue via All The Madmen Records.
Originally released by US label Pusmort – in it’s own right, a “posthumous” vinyl release of Part1’s early studio demos collection “In The Shadow of the Cross”, these recordings feature Part1 in their nascent form.
The leaden rhythms of drummer Bob Leith and bassist Chris Pascoe, punctuated by the swirling post-punk shrill of Mark Ferelli’s guitar and singer Jake “Chris(t)” Baker’s raging sermons.
With it’s sleeve featuring the fantastic visionary art of Deborah Valentine on the front and the twisted outsider view of Nick Blinko on the rear, Pictures Of Pain has become legend to those who follow in the mischief macabre.
Now carefully restored to it’s sonic best by Daniel Husayn of North London Bomb Factory Mastering and including a deluxe insert booklet of lyrics and artwork rescued from the Ferelli vault.
Beautifully pressed on grey marbled vinyl* and including a download card, this first pressing is very limited and is initially available from All The Madmen and Part1 only.
Witness the power of the fully exhumed and operational Part1, since 2013 and at gatherings of souls near and far. Now featuring Chris Low (The Apostles / Political Asylum / Oi Polloi / The Parkinsons…) on drums and David Barnett (Minor Indie Celebrity) on bass. New recordings soon…”
Buy it here!
Mastering Dead Cult “Ghosts Still Dance” on All the Madmen Records.
From the Cult Nation Review:
“Dead Cult may be the youngest band on the resuscitated All the Madmen Records, the anarcho-punk label founded by The Mob in 1978 and resuscitated in 2012 after a nearly 25 year hiatus. Dead Cult‘s 2-song “Ghosts Still Dance” 7″ is being released in June by All the Madmen — undoubtedly an honor for the younger Portland, OR based group.
And a great 7″ it is! It’s difficult to believe that it was over 2 years ago that I interviewed Dead Cult — which CVLT Nation carried here — after hearing their demos, which founding member James Barker smartly posted onto Youtube. One of the demos included a pretty great cover of The Mob’s “Witch Hunt,” as well as several other original tracks. This included the excellent “Progression of Fear.”
The first song on “Ghosts Still Dance” is the title song — a haunting, mid-tempo postpunker, musically reminiscent of “Juju”-era Siouxsie and the Banshees. There are a few aggressive moments in the song that would seem out of place in something “Juju” era Siouxsie, however — but it all serves to tie the song’s message about the destruction of indigenous peoples to the band’s roots in punk. Singer Tawni’s vocals are at once impassioned and determined, finely honed. What struck me immediately about the song was how much more “mature” Dead Cult sounded from their demos of over 2 years ago. The band has definitely developed and has caught onto a tone of quiet ferocity in their sound that serves them well.
The song on side b, “No Religion,” is a foot-tapping mid-tempo punk rocker squarely in the vein of more recent bands like Arctic Flowers, Moral Hex, Annex — or older bands like Lost Cherrees and The Dead. The linchpins to the sound are 80s UK peace punk and the early gothic rock that was clumsily called “positive punk” back in the early 80s by music journalists in England. In fact, bassist James described Dead Cult’s sound as “Anarcho Goth Rock.” Singer Tawni explained: “For me, it’s Anarcho that influences me beyond anything else. James has the ideas for the more Goth-influenced songs, and I’m thrilled with how they’ve turned out. For me personally, I’d have to say bands that have influenced me the most are The Mob, Omega Tribe, Icon A.D., Alternative, Anarka and Poppy, A-heads, Zounds, and Poly Styrene will always be the first woman in punk to BLOW my mind. Always an influence.”
The 4 piece, dark, guitar-driven sounds of Dead Cult do straddle the line between postpunk, purist punk, and gothic rock in exactly the same way that early 80s bands like Blood and Roses did. The result is an earnest and compelling hybrid of smart guitars, dance-friendly percussion and tempos, and intelligent lyrics/songwriting. “Ghosts Still Dance” is a fine addition to All the Madmen’s amazing roster of anarcho-punk releases, and it’s doubly good to see a young American band picking up the torch of the label’s legacy and sounding as perfectly as Dead Cult do on this release.