Oakland’s finest (and Organ favourites), Hammers Of Misfortune has a new line up, they have original drummer Chewy has returned to the fold.  “This is news and we are thrilled to have him back! As for vocals, we have two new members. Goodwin (Dirty Power) is playing guitar and assuming duties as our male vocalist.  Jesse Quattro (Secret Chiefs 3, Carniceria) is our new vocalist.  We're very excited to have Chewy back, and some excellent voices in the band.  We expect this line-up to be our best” This line-up is confirmed to debut at the By South West showcase in Austin TX, in March of '07.  There will be shows prior to this, but they are a secret at the moment

Hammers Of Misfortune now are Chewy – drums, Ron Nichols – bass, John Cobbett - guitar, etc, Sigrid Sheie - piano, organ, Patrick Goodwin - voice, guitar and Jesse Quattro - voice, etc.

Check out www.hammersofmisfortune.com and www.cruzdelsurmusic.com more info.
 

John on the phone......

PICASTRO RADIO SESSION - When Picastro toured Europe last spring, they stopped by the esteemed Dutch radio station VPRO and recorded a superb session of six songs plus an interview for the Dwars programme. These are now available to listen to online at: http://www.vpro.nl/programma/dwars/afleveringen/30081271/ “ "We don’t know how long it will be up so be quick!” said Kim, from Picastro's label Monotreme Records   x

ORGAN ON YOUR RADIO @ RESONANCE 104.4FM - NOW IT'S WEEKLY! - every Sunday night, 10.30pm, one hour of us on the radio. X

What's it all about? Simple, just good music, and the art of good video making...  Same musical policy as we've always had with Organ - the labels are just handy signposts, as long as the music and video making has that X factor - expect a healthy eye/earboiling mix of metal, punk, prog, beats, post rock, post punk, post man pat, hardcore, indie, alternative, pronk, whatever..... music and creativity for the open minded 

(and if you think your video should be on then shout in our direction) 

Music TV done ORGAN style 

You can catch the ORGAN TV show on the OPEN ACCESS 2 channel via SKY 173 at 10.30pm UK time every Wednesday. The show is repeated on Sunday nights at 11.30pmon OPEN ACCESS 1 via SKY 883 

Now where else are you going to get to see Spider Baby or Colt or Yip-Yip or Zero Cipher on UK music TV?

DEMO OF THE WEEK
FANTAPLASTIC – An opening barrage of great big scunging DIY stoner garage slabs that lead in to raw lo-fi progressive punk-edged psychedelia, and scratchy alternative noisy Mudhoney/Melvins/Meat Puppets vibes. The four of them are walking that blurred borderline between clever attitude-laden punk rock art and a raw fragile fractured under-rehearsed mess but hey I kind of like it like that, and I do suspect the mess is controlled and just the way they want it to be. This is not an accidental sound. Raw is the word, recorded gloriously DIY lo-fi and live on 8 track, there’s certainly plenty of musical adventure and these recordings live up to repeated playing with no problem – indeed the detail starts to really emerge the deeper you delve in to their seven raw adventurous and delightfully lose and messy tightly constructed tracks. Some may find it just a little too raw, I don’t. Fantaplastic are from London, next gig is at the Bull&Gate on Dec 19th   www.myspace.com/fantaplastictheband

ALSO CHECK OUT
RED COTTON – Memory Card – Demo from Tel Aviv and a band who have the pace and feel of a rather restrained Echo And The Bunnymen, Whole album’s worth of well recorded tracks ready to go, sounds kind of dark, kind of Mission flavoured, a little one dimensional, that one dimension is good though – find our more via www.myspace.com/theredcotton

THE BAZOOKAS – Lush looking package and no sign of confidence being a problem, rocky four tracks, primal rock riffing, kind of heavy indie brit rock sound, loads of energy, they’re probably a blast live, they sound like they have all the attitude and the moves all sorted out, professional sounding and all that - respect to ‘em but they’re not really grabbing us that much – kind of King Adora, Terrorvision, Feeder type indie rock, never liked any of those bands much, lots of you do, The Bazookas do their chosen thing well... here’s a link, we’ll leave you with it, have a nice day now – www.thebazookas.com

Last week's demo of the week - CLUB LE SHARK

Previous demo's of the week - THEY DIED TOO YOUNG / INVASION / OPHELIA TORAH / THE MERLIN BIRD / LEAVE THE CAPITAL / GRAVANZIA / CHET / LADY PROMISE / FTSE100 / STEAL GANDHI / ALL DARK MORNINGS / SHADY BARD / SHILOE / THE RAMPTON RELEASE DATE / BATTLEWITCH / THE FLESH HAPPENING / VESSELS / BLACK JACKSON / INNER RAGE / ALLERGO / BROOKE / CARTRIDGE / PERHAPS CONTRAPTION / THE PROCESS VOID

MICROWAVES  - Contagion Heuristic (Crucial Blast) - From Pittsburgh come the hard-boiled successors to Arab On Radar's head-messing throne. Nerve-jangling uneasy listening, the angular edges are made strangely bearable by really fat, really weird guitars, kind of rusty-sounding with odd electronic undertones - a sonic Tetsuo II.  Far too easy to imagine the perpetrators - mainly one John Roman, Dr David Kuzy and Steve Moore - struggling with skin-bursting metal growths and oxidising limbs whilst wrestling this into existance.  This is dystopic, flourescent-lit-bunker, hiding-out-from-the-cyborgs music.  Built from the rich dissonance first perfected by Voivod and The Cravats, the restless time changes are post-Ruins, the human side sweating, brooding,  Shellac-infected, the sonics a less teeth-grindy Flying Luttenbachers.  It's heavy with atmosphere, with crafted turns and contrasts, and a matching underlying melodic intensity comparable to the superb Colossamite.  Vivid and layered, the machine sounds always infested with organic life, Contagion Heuristic feels like a very paranoid journey through a very unnatural landscape.  Ruin The Night is dirty, slow, first-person-shooter grind.  Codex Vortex, with its nervous double-takes and throbbing hidden-machine drone is a walk alone in the subway having video game flashbacks.  Microwaves have been developing themselves over the last few years, growing into this unique sound, and generating rumblings of appreciation from connoiseurs of the avant and rocking.  Special mention has to be made of the bass: this is a bass that is put through all sorts of high voltage abuse, gets up and staggers around with a hideous life its own. This is guitar FX as art form.   Subtle may not be the most obvious description of Contagion Heuristic, but this is a noise with depth – www.crucialblast.net.
 

RONDELLUS – Sabbatum (Musical Cartel) - So we threw it without really looking, we try to do it that way, put the CD on with looking to see what who or where... oh! This is different, all monastic and medieval and tranquil and hang on, what is this? What is that tune? Choral and pure and angelic church-still, Gregorian, medieval polyphony, lute-song and is that Latin? Hang on, that’s War Pigs! Actually if we’re correct then the title is Verres Militares, this is excellent! Sabbatum is a tribute album like no other – twelve Black Sabbath songs played by early music band Rondellus and indeed sung in Latin and played on authentic (replica) 14th century instruments. Rondellus are an early music band from Estonia, they’re other recordings feature the works of Hildegard Von Bingen, Guillaume Du Fey, Sercualr music fem France, ,the sacred music of the middle ages dedicated to medieval saints – Rondellus are the real deal and this is a serious piece of work 

Why medieval music? 

“Normally bands would cover classic rock songs in order to make them sound modern, to give them something they believe wasn't possible to achieve back when the originals were recorded. We were determined to have it the other way round. We were kind of playing with the idea that our versions were the originals, some unknown songs from the middle-ages that Black Sabbath found and recorded centuries later.  The other goal was to explore connections between rock and early music. In fact they are not as different as many would expect. By taking these Black Sabbath songs back in time we wanted to prove that the word "power" is very often misunderstood. It's not always a massive wall of sound that makes music powerful. There can be a lot of energy in just one person singing”. 

All songs are sung in Latin on Sabbatum. Why? 

“Medieval music sounds more authentic in Latin. I guess this is one of the main stereotypes of early music but we didn't see any substantial reason to have it any other way. Our goal was to keep the whole thing as true to the early music principles as possible”

So Black Sabbath done Latin Plain song style on authentic 14th century instruments and sounding like we’re in the Pope’s house, does it work? You bet it does. We can’t stop playing it, addicted. I guess it helps to know the original material, nice to see Hard Road and Junior’s Eyes on here (thay haven’t just gone for the obvious ones), soothing, relaxing. This album appears to have come out in 2003, old news to some then, but hey, new news to us so here it is. “Can You imagine what Black Sabbath would have sounded like if Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward had formed the band in the 14th century? Would War Pigs or The Wizard have been as powerful if played on medieval instruments like lute, fiddle and harp?” Soothingly inspired - www.rondellus.ee
 

ALSO CHECK OUT
SOLEY MOURNING – Mambo County (Casket) – Powerful Birmingham (UK that is, not Alabama) based hard rock band who veer between a refined Pearl Jam feel and a rather decent old school AOR sound. Melodic and powerful and the fine line between good AOR and very very bad AOR is a thin one, if you’re one of those people who understand that your copy of  REO Speedwagon “The Ballads” is not something you have to hide then here you are, Soley Mourning’s unashamed sunny uplifting hard rock sound is done wel enough to be on the good side of that line www.soleymourning.com
 
 

Last week's album of the week - DUSTIN’S BAR MIZVAH / CRIME IN CHOIR Previous album's of the week - THE RUBY SUNS / THE SIEGFRIED SASSOON / DON CABALLERO / REIGNS / STREET DOGS / ME FIRST AND AND THE GIMME GIMMES / ALEUCHATISTAS / BLUT AUS NORD / CATS AND CATS AND CATS / I LOVE POLAND / HOLY SMOKES  / GALLOWS / SICBAY / THE LOST PATROL BAND / SQUAREPUSHER / HATEBREED / YOU SAY PARTY! WE SAY DIE! / OPTIMIST CLUB  / THE MINOR LEAGUES / WHORES WHORES WHORES / THE LOW LOWS / WEAPONS / THE SOUND MOVEMENT / PINK MOUNTAIN / YOU AND THE ATOM BOMB / VIKING MOSES / MOTORHEAD / THE WEEGS / JOHNNY CASH / TRIGGERMAN / FRESHKILLS / THE DEATH SET / ABOUT / DODDODO /

BIS ANNOUNCE REUNION - Scottish band Bis are to reunite for two special gigs next year to celebrate the tenth anniversary of the release of their debut, 'Transistor Heroes'. The gigs will take place at King Tuts in their hometown of Glasgow on 6 Apr, and in London on 7 Apr at a venue yet to be confirmed. The news was announced by singer Manda Rin, who posted the information on the forum of post-Bis band dataPanik, also defunct after only two single releases. Bis formed, of course, in 1994, and split back in 2003.

Dec 2 - Defend the Right to Protest - a day of discussions by Campaign against Criminalising Communitees, 10am-5pm at London Metropolitan University, Holloway Road. With speakers from Smash EDO, Mark Thomas, Craig Murray and more www.cacc.org.uk

Mooreen, the squatted social centre in Sheffield is now open – the centre will be a hub of grassroots autonomous activity, run by collective for mutual aid and cooperation from Nov 29th - Dec 13th. The location is the Old Commerce House, 33 Earl St, just off the moor opposite Sainsburys. If you would like to be involved – e.g putting on a gig/workshop/film screening etc, get in touch, see www.mooreen.aktivix.org and www.myspace.com/sheffieldsquatters
 

And Start Again.......but not from scratch.

When I came to begin the recording of the latest solo album it was in full awareness of how much things had changed for me in the last couple of years.  Significantly, of course, this was the first time that I was going into recording  sessions since my heart attack in 2003. In so far as there's an ongoing  thread running through all my work it's surely that I make an effort to document some of the passages of life through which most of us go as I experience and  observe them. I could hardly fail, then, to address the extreme intimation of mortality that my cardiac episode brought me. I can't really recommend a skirt quite so close to the final curtain as this life episode in which to seek out experience, but if, as and when it comes it certainly sets one thinking... and in my case gave me considerable things to consider and write about.

Equally significantly I was going into this work on the back of the VdGG reunion. Of course this had been an immensely enjoyable and uplifting event in a musical sense throughout. As a human experience it was similarly elevating in its first period: the warmth and enthusiasm we felt on having the chance to re-enter this strange arena was genuinely delightful. By the end, though, much had gone sour on a human scale and for the last weeks of the year I felt drained in mind, body and spirit. Once January came, though, Guy, Hugh and I determined that there would be a continuing future for a trio VdGG and this was a great lift in spirits for all of us; in turn, therefore, it also became clear that whatever I was going to do in solo work had to steer well away from the band's territory - whatever that may turn out to be. 

As if the VdGG reunion - and its fallout - was not enough to trigger thoughts of work in the past and the present I had also recently remastered the albums  "Fireships" and "Enter k", to both of which there are significant back  stories. As 2006 wound on I was also to take on the responsibility of remastering the whole of the Virgin solo catalogue - all of my earliest solo records. I hadn't listened to many of these recordings for years and of course doing so brought memories of the times flooding back as well as of the technical and stylistic paths I trod then and which have led me to where I am today were also laid bare before me.

In sum, then, I felt I could not simply stumble into the making of "another" PH solo record. (Not that I ever go into recording with that kind of attitude, to be honest!) Equally - especially considering the nature of these recent  events - it was clear that I needed to continue working and reacting both instinctively and with a measure of cool consideration if what was to emerge were to be consistent with the ever-unstated Hammill Way. In short, to be, in my eyes at least, any good, of any interest; additionally, with some level of awareness of my own history and of the path I've taken - often unconsciously - in getting here.

From an early stage I was keen to make this an absolutely solo record. This idea was reinforced as I worked on the Charisma solo remasters; the spirit of many of the early recordings had often been one of solo labour, even if other musicians contributed parts at later stages. I should, though, say that I didn't start the remastering of the Virgin stuff until I was well advanced on the new recordings, so some of these ideas were evidently already in place by then. Perhaps I was already being drawn towards this approach from the outset. As is often the case, I began to find out what I was trying to do in the course of practically doing it. 

I was also keen to find some new wrinkles in my musical landscape. Even after all these years and all these songs I still hope to find something unexpected rather than simply retread old paths. Naturally by now I have various stylistic traits which are both signature and pattern and to a certain extent the creation of newness depends upon combining these in different shapes rather than commencing from a tabula rasa. This time I wanted to go a little further towards the (familiarly?) strange, encouraged, perhaps, by the spirit of adventure (albeit one balanced by a huge lack of experience) which inhabited many of my early works. At the same time, I was keen to remain in touch with the fundamental and abiding principles of The Song, which, naturally, remains my central concern in all its beguiling complexity. I'm not saying that I was trying to do a "Chameleon", a "Future Now", an "In Camera" - those were then and I was that me, it's impossible (and, in fact, undesirable) to go back and unlearn all that's passed since. I did, though, want things to be a bit more rough and ready, in contrast to the bulk of my recent recordings in which, partly thanks to modern technology, there's been a tendency to buff and polish. I made a conscious decision *not* to overdo things, to take decisions and to stick with them.

So...the instrumental texture of the recordings is comparatively simple, though the styles of the nine pieces are wildly different one from the other;  again, this mirrors the make-up of earlier rather than later albums. About half  the songs are based round a core of acoustic guitar or piano..."traditional" songs, one might say. At various times in the course of the recording things veer towards musique concrete and, elsewhere, to the sound of something approaching a band. So it's not a solo singer-songwriter effort, exactly. There's a fair bit of electric guitar, some of it at the whacky end of the scale; it's here, particularly, that I've been leaning towards the instinctive element. Of course everyone knows that I'm some blistering runs shy of being an Axe God (!)...but in my own modest Rhythm Gtr way I do think I've something to say on those buzzy frets. As a first, there's even a spot of whistling on the record

Well, heigh ho, describing the music is like trying to explain the smell of cheese, really, isn't it? All I can say is that I think I've come up with some new musical stuff this time. Some moments of (apparent) calm and some bolts from the blue.... But as ever by now I know too much and too little about the content to be able to make absolutely objective comment.

As always, I'm somewhat reluctant to make the slightest move towards exposition or explanation of the lyrics at this stage. They'll go up on the site after a decent interval from release date, of course. In general, though, I suppose I can say that most of these songs are Cautionary Tales. Intimations of mortality are present in almost every line, as one might expect from the experiences of the past couple of years. Some of these are direct and personal  representations, some observational; most of the pictures are drawn direct from life. I hope that all are infused with a positive spirit rather than one of denial and negativity. It's true that some of these songs are looking at the dark side of things; but not looking wouldn't make that side cease to exist. You'll find, too, a fair degree of admonition in places here and certainly some of this is addressed externally; but as usual much is meant for and directed back at myself. That's a duality that's been present in my stuff from years back, as I'm sure you'll be aware. Incidentally, some of the Vox techniques are, I think, quite innovative....

I should say something about the title and stuff associated with it. "Singularity" is a term which has sprouted odd meanings by the score over the last few years, some of them too modish for words. For me it has two principal meanings: in the personal, idiosyncratic, unusual; in the scientific, a Black Hole. A third definition is also of interest, the mathematical - but let's not (perhaps) go there as it's where all the rules break down. A couple of lyrics here refer, albeit fleetingly, to quantum theory and to black holes and in the end the title itself became a singular candidate.

For I was singular. I lay on my back, post-heart attack, conscious of the fact that I needed to i) stay awake when awake and ii) rest, absolutely, when not awake; figuratively aware of hovering just outside the final gravity of a Drop. I didn't drop, so I don't know if that's how it will feel in the end, if I'm granted (or cursed with) consciousness at the (my personal) finish. I certainly had the feeling that waiting for me in those moments when the chances of my life continuing depended on coins spinning in the air was some kind of black hole, some vortex which would not release me if I went too far into its grasp. I've tried to express some of those feelings here. This much, at least, is a report from the front line of experience.

Yes, it's a serious set of recordings. As always, I won't be able to get any decent sense of perspective on them for some time to come; however, I believe that I have put down a marker in terms of my work both for what is (I hope) going to come and to differentiate it from what has gone before. I believe this is strong and substantial stuff. For what it's worth - not that this is necessarily any kind of recommendation - I don't think anyone else is working in this territory. Which is also to say, I've no idea what kind of music this is,  except that it's of a kind which makes sense to me.... VdGG 2007 

Of course the other major news at present is the continuing and ongoing story  of VdGG. As has been previously announced we will be continuing to do more stuff in 2007 as the trio of Banton, Evans, Hammill. Our first shows will be in April, including several dates in Germany and the UK and culminating in a London Barbican concert on 16th. We will certainly be playing new material as well as old and the prospects are most exciting, even if there's a degree of trepidation involved. Further shows and recording should follow later in the year.

The CD of the RFH reunion concert and the DVD of the Leverkusen show, marking the opening and closing of the last chapter in the VdGG story are *still*, I'm afraid, on the drawing board rather than in the shops. This is a source of great frustration. We still hope, though, that they'll be out early in 2007,  particularly as we'd like to put what is past definitively to bed and behind us before we heard into the future. More serious fun, yes, please! On, the unknown, the uncertain...next!

PETER HAMMILL
www.sofasound.com
 

Came to see Optimist Club tonight, but for some reason they were not playing as billed. Endured a couple of nondescript outfits and was just about to head home when They Died Too Young took to the stage. Glad I didn’t miss them, as we’ve got a good young band here who might be on the cusp of evolving into something very interesting. Tracing their musical footprints would take us back to the melodic emo-screamo of, say, Mercury Tilt Switch – fine a few years ago, but pushing no boundaries today. Indeed, as They Died Too Young started to plunder the further recesses of their back catalogue, the sound regressed in this direction. However it was at the beginning of the set they showcased some newer material, and this was highly impressive: fast riffing, decent tunes, rhythms that twisted and turned but still lurched onwards relentlessly, vocals with emotion but without petulance – and a stack of ideas thrown in at every juncture, tried for a few bars and then discarded for something else. They reminded me in places of early Reuben, when they were producing stunners like Wooden Boy. It doesn’t always come together, but I’d say They Died Too Young have the musicianship and the nous to make it work given a bit more time. They’ve gigged before with the Optimist Club (not tonight, alas) and perhaps this connection has encouraged them to ditch the clichés and strike out along the winding path less travelled. Let’s hope so. We shall be watching them with interest.
(PHIL WHALLEY) 

LITTLE TROPHY -  Bull & Gate, London - 19/10/06

At first glance, Little Trophy would appear to come from anywhere but Brighton, that Godless fleshpot on the south coast, now officially the most atheistic place in the UK. The bassist sports a bowler and braces that wouldn’t be out of place in an Orange lodge parade; another is buttoned up in a dress of which the Amish would approve. More in tune with their home surroundings is the lead singer, who takes his fashion tips from Johnny Depp’s Fred Abberline, the hedonistic detective in ‘From Hell’. It’s a strange and heady visual mix in this most honest of London venues, but Little Trophy prove that they can match the sight with the sound. Their music is bound to invite comparisons with early Cardiacs – it seems designed to do so. Rhythmically they are both disciplined and utterly twisted, while singer Nick cultivates an endearing stage persona, a cross between a benevolent cult leader and mad professor. He is, however, the only one to do this, inviting the impression that Little Trophy are superbly rehearsed but under-gigged. And maybe the venue’s PA is doing them no favours, but the melody apparent in their recordings, especially in their brilliant ‘The Bill’ and ‘She Writes Her Name’ is missing tonight, overpowered by the fuzz and thrash of the guitars. They rely heavily on the keyboards for the tunes; drown those out and you’re left with a technically impressive but somehow monochrome set of songs. It sounds terribly ungrateful to pick such holes in Little Trophy, given the thought and attention to detail that has so obviously been paid to every aspect of the sound and visuals. By paying such homage to Cardiacs, they’ve set themselves an awesome benchmark (certainly in the eyes of us here at The Organ), and it’s probably unfair to complain that they’re not yet ready to take up that particular mantle. So let’s be clear: Little Trophy are one hell of a proposition; their songs are packed with ideas and invention, with infectious tunes wrapped around manic drumming. They put themselves on a tight-rope with each song, but they emerge at the other end every time, even if with the odd wobble. And it’s utterly refreshing to see a band bothering with the whole package from the word go. Having got everything so sussed, the main question now is whether Little Trophy are in it for the long run. With such stubbornly difficult music, they have to be prepared for any number of floor-emptying gigs around the toilets in the quest to pick up a following. The best compliment one can pay is to hope fervently that they do, for here we have a band pregnant with the most exciting possibilities.

(PHIL WHALLEY) 
 

SINGLE OF THE WEEK 2
SUPERSUCKERS – Paid (Abstract) – What’s happening here? Those Supersuckers certainly have paid, they’ve paid more dues than most. We paid the Supersuckers once, we paid them to play the Islington Powerhaus, back then they were far more of scuzzy hard rocking punk band, more then ten years back now, on of the Organ highlights.  Supersuckers have played everywhere, they’ve paid. So what is happening here? A six track EP and it seems like Eddie Spaghetti and the boys are heading over in to the slow and rather refined easy-life country rock line (well they’re still rocking when they need to),and you know that whatever the Supoersuckers do they’re going to do it wall, indeed I like it all, we like it dirty, we like clean, we like it ugly, we like it dirty, we like it all. Sic slices of fine American hard edged country rock (the good sort, not the Jesus land redneck sort). The Supersuckers rawk, to quore a man who knows called Lemmy – “If you don’t like the Supersuckers then you don’t like Rock And Roll”.  Six slices of hard edged US Country rock done with the kind of attitude and quality you’d expect from the road-wise Supersuckers. www.supersuckers.com / www.abstractrecords.co.uk

ALSO CHECK OUT

TIGER FORCE – Syntax Error! / Five Six I Got Sticks (Marquis Cha Cha) – The shouty pointy sparkling jagged obtuse girl/boy DIY positive new double a-side from the people from over the street. Fire fire fire, pressure pressure, all bouncy and springy new wave spunky punky jagged--shoutyand Tiger Force are good again (they always are), burning things down and this is a super-limited 7” individually hand made sleeves. Don’t really need Bis reforming do we? Tiger Force are this century’s version (that was a compliment whatever you may think) what come around goes around – www.myspace.com/tigerforce

UNTITLED MUSICAL PROJECT – Beards & Drugs (Whiteheat) - Frantic shouty hooky indie-punky scatter gun attacks and urgent wired up in your face energy. All with a bit of a snotty razor edged Beasties stomping on those Art Bruts vibe. Rather blistering and full of deliciously noisy and rather electric feedback drenched bite and b-list indie pop-star contempt. And when they’re finished with the b-listers in the Daily Mirror they aim a little higher and ask why isn’t Paul McCartney dead already? Yeap, another pack of cocksure cocky snotty brats, there’s a new set every week. A three track single that backs up the twitching hype that’s starting to boil up – www.whiteheatrecords.com

NOTORIOUS HI-FI KILLERS – Into The Light (Noisestar) Four slices of very heavy old school primitive reverberating blues drenched in super fuzzing heavy authentic psychedelic progressive fuzz and the debut release from London’s trend-obliterating wall of noise makers, nothing new, nothing revolutionary, but then who said it had to be? An aggressively positive old school sound should you want it. Limited edition 7”, 300 copies – www.noisestar.co.uk

Last week's single of the week - GIANT PAW

Previously - CHROME HOOF/ FRANK TURNER / ESKIMO DISCO / THE RACE / OCTOBER FILE / MOISTBOYZ / THE LOVES / THE EDUCATION / JESUS LICKS / EINSTELLUNG / SPIDERBABY / THE VITAMINS / THE GRESHAM FLYERS / THE DRESDEN DOLLS / THE ANSWER / DEAD DISCO / THE BLACK TULIPS / METRO RIOTS / PATCHWORK GRACE / TANGAROA/ SHRAG / LOSTPROPHETS / STASI / DOLIUM / SERENA-MANEESH / DECORATION / i LIKE TRAINS / THE OXFAM GLAMOUR MODELS / PSAPP / GREENSPACE
 

PAST ISSUES -

ORGAN 185 - DUSTIN'S BAR MITZVAH  CRIME IN CHOIR, GIANT PAW, GOBSAUSAGE, GENE SERENE, EARTH, IQ, FLIPPER, THEATER DES VAMPIRES, THE KNIVES OF NEPTUNE, PETER HAMMILL, SWAD, MIKROKOSMOS, THE FLESH HAPPENING, THE OXFAM GLAMOUR MODELS...

ORGAN 184 - THE RUBY SUNS, CHROME HOOF, FRANK TURNER, CLUB LE SHARK, ENABLERS, THE DODGEMS, GRINDERMAN, RONNIE DAY, THE DISTANCE, YOUR CREATION, LIPID, MOTORHEAD, WEASEL WALTER...

ORGAN 183 - O

ORGAN 182 - Oh, that one was live on the radio, all 11 sleepless hours of it.

ORGAN 181 - O

ORGAN 180 - OPHELIA TORAH, OCTOBER FILE, MOISTBOYZ, BAUER, WINTERKIDS, GREENWICH RESIDENT, WE ARE TREES, VOICST, ME FIRST AND AND THE GIMME GIMMES, ALEUCHATISTAS, BEATNIK FILMSTARS, FUME, OUT FOR BLOOD, CRADLE OF FILTH, NEBRASKA, RATTLESNAKE REMEDY, THE DEGENERATE ART ENSEMBLE, THE STOLEN BABIES, ZAG AND THE COLOURED BEADS, PEEPING TOM, TERROR, SPACE WEATHER, THE ANARCHIST BOOK FAIR

ORGAN 179

ORGAN 178

ORGAN 177 - CATS AND CATS AND CATS, I LOVE POLAND, AGE OF CHAOS, SANCTORUM, LOVEMAT, WOVEN HAND, LEAVE THE CAPITAL, THE APPARATUS, JESUS LICKS, RED SPARROWES, MASTODON... 

ORGAN 176 - ELLIOT SMITH, JENNIFER TERRAN, CRADLE OF FILTH, HEAVEN 17, LOVE, SUGARCUBES CHET, GRAVANZIA, VANCOUVER DELUXE, HOLY SMOKES, GALLOWS, YO LA TANGO, SKID ROW, UFO, ECHO AND THE BUNNYMEN, EINSTELLUNG, THE LATE GREATS, ROYAL TREATMENT PLANT, WHEN GRAVITY FAILS, DARTZ, THE TRUDY 

ORGAN 175 -

ORGAN 174 - 

ORGAN 173 - In print, on paper, got go grab get it.

ORGAN 172 - FTSE100, EMPYREAL DESTROYER, SMILEX, SQUAREPUSHER, HATEBREED, ARDENCY, TOURETTES SYNDROME, GOD IS AN ASTRONAUT, THE VITAMINS, THE RESIDENTS, WEDNESDAY 13, JOHN PEEL DAY PLANNED, RIOT COPS GATECRASH FREE PARTY, The INTREPID FOX

ORGAN 171

ORGAN 170 - STEAL GANDHI, ALL DARK MORNINGS, THE AUTHENTICS, OPTIMIST CLUB, ESTRADASPHERE, WOLFGANG BANG, ELECTRONIC, CURSIVE, AGAINST ME, TRANSIT KINGS, TRANSMISSION, DUN 2 DEF, THE RUSSIAN FUTURISTS, PHOENIX BODIES, THE DRESDEN DOLLS, THE ANSWER, THOM YORKE....

ORGAN 169

ORGAN 168

ORGAN 167

ORGAN 166 - 

ORGAN 165 - THE FLESH HAPPENING, MOTORHEAD, RUSSIAN CIRCLES ,TERROR, THE HUCKSTERS, TANGAROA, SHARP END FIRST, TOUCHSTONE, And just who is MOIST PAULA?

ORGAN 164 -

ORGAN 163 -

ORGAN 162 -

ORGAN 161 -

ORGAN 160 - 

ORGAN 159 - INNER RAGE, THE GHOSTS, ALPHA DISTRICT, INTEROGATE. ABOUT. DODDODO, DEADSTAR ASSEMBLY, AD AAD AT, ROBIN GUTHRIE, BANG! BANG!, FEU THERESE, CERBERUS SHOAL, HERESY, SERENA-MANEESH, PUNISH THE ATOM, The RampArt Community, GO SPIDERMUM - A gang of anarchist Robin Hood-style thieves, ORGAN TV will be back for more, ORGAN on your radio 

ORGAN 158 -

ORGAN 157 -

ORGAN 156 -

ORGAN 155 - 

ORGAN 154 - 

ORGAN 153 - 

ORGAN 152 - 

ORGAN 151 - Out in print now, 40 pages 

ORGAN 150 - NEXT LIFE, CRETIN, HAWNAY TROOF, SYMMETRY, GREENSPACE, DRUGDEALER CHEERLEADER, LAST PARTY, ALEX WARD, BURNT, INTENTION, TRACTOR SEX FATALITY, THE DRESDEN DOLLS, PROUDFLESH, THE GHOSTS, SPEED THEORY,EL TOPO, THE CULT WITH NO NAME, THE PROCESS VOID. 

all the past has been deleted (for now)