The Five music thing again for whatever it might be worth? Five? The five music things thing again? Already? Five more? Again? Do we need a new editorial yet? Is there a point? is there any point? Was there ever? What do points make? What is the point? Again and again and again (and again). Five more, same as last time (and the time before) five more musical things and yeah, we did say all this last week and the weeks before and blah blah blah while the whole world window and no, we never do and the proof of the pudding and all that proof reading. It doesn’t really matter if it was a television fizzing and going off and things back then when we first heard of the Window going off and things. and like we did ask last time, does anyone bother reading the editorial? Does anyone ever actually look down the rabbit hole or is it all just method acting? Cut to the chase, we could just cut ‘n paste the editorial from the last time, there’s loads of music further down the page, well five or so pieces of music, cut to the damn chase, who needs an editorial? Who needs any of this? Who needs it, who needs it, just cut to the chase, who really needs any of this? Cynical who? Same what every day? Here’s your five, be thankful…

1: Fruitcake – A classic slice of noise rock from the last cenutry freshly relreased for ears that might no have even been born when these slices beauty first landing. Here’s what Skingeaft have to say on the matter

“Hi Everyone, For this Bandcamp Friday, we’ve brought back the third SKiN GRAFT record. This is a personal favorite of mine that brings back lots of memories. Way back in 1993, Ajax distribution named this one of the year’s best releases – and they were right!. “Patty Lane” b/w “Story Of Life” Digital Single & PDF Comic Book. Lo-fi-pop-noise-psychedelia as only Mike Deleon (bassist of Drunks with Guns and occasionally Strangulated Beatoffs ) can deliver. First released as a 7″ vinyl record and comic book set in 1993, FRUITCAKE’s one and only SKiN GRAFT single is now available digitally for the first time – newly remastered for this release. Includes an expanded, illustrated 17-page PDF booklet that reproduces the original comic book set packaging, plus additional bonus pages.

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2: The Appice Perdomo Project – Drummer extraordinaire, composer and producer Carmine Appice has joined forces with multi-instrumentalist and rising studio star Fernando Perdomo to form The Appice Perdomo Project, whose debut album ENERGY OVERLOAD will be released September 24, 2021. The first single, “Rocket To The Sun,” dropped this week

3:Piggy Black Cross just crossed our path, one of those social media rabbit holes that Toby Driver took us down, we meissed this one and well, seeing as we jsut feature a Fruitcake release from the last century, why not this from New Yor kand 2018?

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“Drawing on their experience in a variety of genres including IDM, post industrial, jazz, hardcore punk, ethereal wave and popular music, Bridget Bellavia and Toby Driver have created a body of work that defies classification. Driver, a prolific avant-garde composer takes the reigns with a densely electronic compositional work. Bellavia, a vocalist, songwriter, and visual artist tells tales of the human condition, authoritarian machination and lyrical horror such as with the tale of the haunted glove in Psygh Øn Raindom ÆllÆy. Bellavia draws from literature, film and art to create vocal melodies and lyrics as well as visuals for live shows. From astral projection to supernatural manipulation, Driver draws on countless caliginous forces to fashion unpredictable and somber arrangements. Piggy Black Cross is a tumultuous yet harmonious project that will stir the inmost affection”

4: Madmess and soemthing from right now that sounds like it was made well before Fruitcake started baking. ‘Stargazer’ is taken from the debut album ‘Rebirth. This is a rather fine first taste of the very 70’s sounding Portuguese psych-rockers album that doesn’t actually come out unrilDecember 10th.

“‘Stargazer was made from differents bits that we had composed over time and realised that they fit well together” explains Luis Moura. “Sam wrote the guitar part that bridges the gap between the vocals and the solo part, it really connected with us and all the bits came together pretty well after that. We wrote the lyrics in North Wales during the recording sessions after we had spent the night looking up to the sky full of stars from a hill in the middle of nowhere. This track really conveys the new sounds introduced in this new record, also it’s short and easier to digest.”

More lazy cuti’n paste press release stuff…

“Madmess are a band who know the value of doing things the hard way. Having established themselves among the outliers of Porto’s fertile, close-knit underground music scene, by 2017 it was clear that they had the potential to go much, much further.  London, and its bigger, more merciless leftfield circuit beckoned. In a city full to the brim with bold and brilliant bands, the bar was significantly raised. Risks were many, but so too were opportunities. Now, after years of slog – gruelling gigs, punishing recording sessions, not to mention a momentum-sapping pandemic – bassist Vasco Vasconcelos, drummer Luis Moura and guitarist Ricardo Sampaio, have emerged the other side with Rebirth, a debut album of rare intensity. Their stripes earned, their teeth well and truly cut, it’s a record worthy of all that hard work, crushing riffs colliding with sweeping waves of overwhelming noise for a listen both beautiful and brutal.

Not that their roots in Porto are unimportant, of course. We have the city to thank for the band’s sinuous mix of heady psychedelia, sprawling stoner jams and searing space rock for a start. As well as the trio’s own diverse set of influences – the mad mess of which their name pays tribute to –  they grew up in a scene where cross-pollination of styles isn’t just fostered, but a part of the fabric. 

By the time the band self-released their self-titled debut EP in 2019, Madmess had picked up significant momentum. The sound captured on that record, darker and more primal than their new album, is all the evidence you need that they were standing out from the pack – a hectic, delightful cataclysm of sprawling heavy psych. They were booking more and more shows, headlining more streamlined bills and starting to tour across Europe with a number of high-profile festival shows booked. “We finally felt like we were getting somewhere,” Sampaio explains. But then, adds Moura, “Just as we were hitting the breakthrough, it was all cancelled. We still haven’t played those festivals, they’re postponed for another year still. It felt like time just stopped.” 

Thankfully, Madmess aren’t the types to shrink in the face of a setback. With Moura and Vascencelos’ day jobs tending bar indefinitely cancelled, “we had more time to compose,” says the former. They resisted the urge to return to Portugal in order to refine their efforts in London, and midway through the first lockdown secured a deal with Brighton indie label Drone Rock Records for a re-release of their debut EP, this time on a run of 300 vinyl copies. It turned out not just to be a tiding over, but a major success. The pandemic saw a surge in support for musicians among fans online, and with everyone stuck at home vinyl sales were booming. Amid rave reviews, copies of the EP rapidly sold out. 

As the pandemic eased, at least temporarily, the band signed up with London based independent Hassle Records before escaping to Foel Studios in the Welsh countryside, formerly used by iconic psych rock forebears Amon Düül and Hawkwind among others, to start work on their new LP. They were intent to build on the solid foundations they’d set with their EP the previous year. “We tried to do something more complete, more punchy,” says Sampaio. The sessions ended up being more intense than they were anticipating – the band record everything live, and when you’re playing the kind of complex epics that populate Rebirth there’s not much margin for error. “The shortest track is eight minutes, and they’re almost all more than 10,” says Sampaio with a wince. “The songs on this album are really complex, there were some stressful times, some harsh moments, but we managed to get through it.”

Despite all the setbacks over the past year, Madmess are in a stronger position than ever, and with their debut LP, now feel destined to truly take off. “We want to be unique and unpredictable,” says Sampaio. “The bands we like, some of them took 20 years to make it. They stay on the road for years until they were properly recognised.” Luis concurs. “We just wanna play, man! We want to release at least one album a year. More fans, more gigs, more records!”

The band will be playing The Victoria in Dalston, here in East London, on September 24th, supporting French psych band Karkara.

5: Alright then, let’s go full Bandcamp Friday grab a reissue mode, Flying Luttenbackher‘s remastered version of their 2006 album

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and we did mention our own Bandcamp Friday page didn;t we?

Meanwhile there is a Bandcamp page now, recently opened, right now you’ll find a A fifth 43 piece painting and a whole load of music from Organ days of yore – Sea Nymphs, Muy Feo, Cardiacs, Gog Magog, Cynical Smile, Raging Speedhorn…

– This fifth piece, this fifth edition if you will, this fifth piece of work comes with two CDs in each of the hand painted envelopes, one a 19 track CD and one an 18 track CD compilation, both from the end of the last century, both professionally compiled and pressed. Both discs excess copies left over and both way too good to be heaved in the recycle bin or painted on. Musical treasure from the corner of the studio where they’ve been buried under paintings and old zines and gig posters and such for the last twenty years. Each painting is numbered, each one signed on the back, each one is a hand painted piece, acrylic and gloss varnish and all 43 paintings on sale via a newly opened Bandcamp page that will make available sone of the art associated with the print days days of Organ and ORG Records