Indierock | Alternative 303 Items

Vargen is the eponymous fourth album of acclaimed Swedish Bob Dylan interpreter and singer-songwriter Vargen (“The Wolf” in Swedish). Through 9 tracks he continues to showcase his ability to infuse his music with all kinds of emotions, something that is palpable in every single note. It takes the listener on a ride with the likes of lounge-inspired and hum-worthy “Toxicon”, Nick Cave-esque “The Bullfighter” and features a guest appearance by Swedish guitar legend Jojje Wadenius on “Them Cats”.

"In July 2022 I was invited to open for the band Low who specifically wanted 'something weird'. I only had about 24 hours to come up with a set but decided to take up the generous offer. Recorded live to Tascam 8-track at the High-Noon Saloon in Madison, WI. Gear: Waldorf Quantum, Roland Rs202, Arturia Polybrute, Waldorf XTK, DSI Poly Evolver, and Korg Mono/Poly." - Vincent Presley (Those Poor Bastards, Zebras, Logan 5, Secret Creeps, etc). Live ambient, drone, experimental electronic. Side 2 can be played at 45rpm (how it was performed) or 33rpm (ultra slow gloom version). Hand-numbered edition of 115 copies.

“More than ever, people need to hear songwriters talk about their lives. We don’t always have to search for monster hits. We can just write about our lives and maybe that might actually work. That’s what this record is a lot of. A lot of massive songs, but also a lot of me just writing authentically and honestly about my life. Flyin symbolizes the next phase of my career. I feel like I'm flying into this chapter where I’m the best version of myself that I've ever been. Y’all better catch-up or you’re getting left behind. I’m on fire!”

What Kind of Human Have I Become is a new vehicle helmed by Matt Plunkett (Cuticles, The Trendees, etc.). Conceived as a solo endeavor, the designation got a bit blurry following an invitation to record his new songs with Stefan Neville (Pumice, etc.) at the studio he shares with Ben Holmes (Oksun Ox, etc.) in Auckland.

Once in the studio, Plunkett’s songs puffed in a wholly new way with Neville at the controls, and backing and bits from both Neville and Holmes perhaps channeling Nag and Bendie. Fans of Matt’s past and current activities will find much to rejoice in here; Avoiding The Diggy Diggy Dogs plucks three songs from the sessions. More to come in due time.

Winston Hytwr is a co-release presented by K and Perennial.Born in Columbus, Ohio in March 1993, Winston Hightower is a prolific home recording artist with an expansive discography that crawls across space and genre. A staple in the Midwestern punk/DIY scene, his first work under the eponymous moniker was a self-released tape in January 2015. Since then, he has put out over 100 songs on tape, online and on video. The music defies easy categorization, and instead breezes through a landscape of synths that effortlessly blend pop, rock, rap and jazz. In doing so, Hightower continues to build a cohesive, ever-morphing experiment in pushing the boundaries of underground guitar music, all with his signature wit and charm. This body of work is almost entirely written and recorded alone in his room, causing many to refer to him as `the Black R Stevie Moore,' a fitting epithet as his influences likewise include modern "lo-fi" progenitors such as Guided by Voices and Vivian Girls. Hightower has released much of his own work and more on his tape label, the FAH-Q Catalog, which boasts over 12 releases (http://www.thefahqcatalog.com/) He has also collaborated with numerous other Ohio legends such as members of Times New Viking, Slant 6, and Ron House. Both mysterious and effervescent, Winston shape shifts into roles that have also included pro skater (UNITY, Adidas) and touring hardcore guitarist/bassist (most recently with the groups Minority Threat and Twompsax). With such an extensive pedigree, andhaving toured ceaselessly since he was a teenager, it's shocking that Winston Hightower is largely unknown outside of the Midwest. K records is thus thrilled to be putting out his first ever record, "Winston Hytwr" [KLP292/PRNL50] which will cull songs from his previous and impossible to find releases.Remixed by Capt. Tripps Ballsington and Remastered by Amy Dragon. This release continues the rich tradition of DIY bands crafting instant pop hits entirely on their own terms, which has long been the hallmark of the Interna...

These four songs, recorded in 1977, are the only recordings of the original 4-piece line-up of the Australian band X featuring Ian Rilen (Rose Tatoo), Steve Lucas, Ian Krahe, and Steve Cafiero. Three of the songs (Home is Where the Floor Is, TV Cabaret Rules, and Hate City) were released on the 1985 compilation "Why March When You Can Riot" while Good On Ya Baby was later re-recorded for the X-Aspirations LP. While their debut LP, X-Aspirations, is rightly lauded as an Australian punk classic, this batch of songs is often overlooked because they never received a wide release. This is the band at their most snotty and rambunctious. This is an authorized one-time press of 500 copies on black vinyl by Dirt Cult and Green Noise Records

In January 1999, after years of continuous daily rehearsals, Zu entered the studio to record Bromio. The album was released in October of the same year to immediate and enthusiastic feedback from the press and the public, and a few months later Zu began to play on stages all over Europe. But the band's inexperience in recording work weighed on them, because the impact they had live was not present in the sound of the CD at all. So it was that during the slightly forced hiatus from 2020 onwards, they finally found the time to reopen those recordings, rework them in various ways, resonate some parts and release Bromio 25 years later in a sound that was much closer to the impact and sound system of their live performances. Listening to it again 25 years later, it still sounds fresh and vibrant, not tied to any predetermined genre or fashion of the moment (it is curious and almost comical that they were called 'jazzcore' when in fact the basis of their sound drew much more from prog and metal). Enjoy !

In January 1999, after years of continuous daily rehearsals, Zu entered the studio to record Bromio. The album was released in October of the same year to immediate and enthusiastic feedback from the press and the public, and a few months later Zu began to play on stages all over Europe. But the band's inexperience in recording work weighed on them, because the impact they had live was not present in the sound of the CD at all. So it was that during the slightly forced hiatus from 2020 onwards, they finally found the time to reopen those recordings, rework them in various ways, resonate some parts and release Bromio 25 years later in a sound that was much closer to the impact and sound system of their live performances. Listening to it again 25 years later, it still sounds fresh and vibrant, not tied to any predetermined genre or fashion of the moment (it is curious and almost comical that they were called 'jazzcore' when in fact the basis of their sound drew much more from prog and metal). Enjoy !

Back in print with new artwork !

Since 1995, orphaned by their previous project, the three founding members of Zu (Jacopo Battaglia, Luca Mai and Massimo Pupillo) had been hanging out in the historic small room in Piazza Degli Zingari in Rome, every day, all day long, working nights and sometimes sleeping directly in the basement so as not to waste time. Looking for their own voice, without excluding any direction: electronics, tapes, sequencer (Film Nero) cello (played by their friend Francesco Chiari), and of course their first iconoclastic outbursts on bass sax and drums. One can obviously hear the shared love for NoMeansNo and Ruins, but much more was already part of Zu's DNA, including an instinctive ability to digest the myriad listens and influences that permeated them, without ever copying anything but transforming everything into their own personal voice. After about two years of intense and continuous rehearsals, this tape was the first demo they sent out, recorded in that room by their friend Giampaolo Felici, with whom they shared that space and with whom years later they would also found Ardecore. The cassette went around so much that the Zu themselves could not find a single copy of it, until one mysteriously reappeared, intact and still perfectly listenable, which transferred and mastered became, more than 25 years later, THE Lost Demo

Since 1995, orphaned by their previous project, the three founding members of Zu (Jacopo Battaglia, Luca Mai and Massimo Pupillo) had been hanging out in the historic small room in Piazza Degli Zingari in Rome, every day, all day long, working nights and sometimes sleeping directly in the basement so as not to waste time. Looking for their own voice, without excluding any direction: electronics, tapes, sequencer (Film Nero) cello (played by their friend Francesco Chiari), and of course their first iconoclastic outbursts on bass sax and drums. One can obviously hear the shared love for NoMeansNo and Ruins, but much more was already part of Zu's DNA, including an instinctive ability to digest the myriad listens and influences that permeated them, without ever copying anything but transforming everything into their own personal voice. After about two years of intense and continuous rehearsals, this tape was the first demo they sent out, recorded in that room by their friend Giampaolo Felici, with whom they shared that space and with whom years later they would also found Ardecore. The cassette went around so much that the Zu themselves could not find a single copy of it, until one mysteriously reappeared, intact and still perfectly listenable, which transferred and mastered became, more than 25 years later, THE Lost Demo