Big Cartel

I've just reduced it to 5 items, so it's free. You're welcome to contact me for any other items

Clearing out

did some work this weekend, hobo, tenth court and cooldeath are gone

Just to be clear

• 

  Easter Bilby Records Just to be clear, I figure I've got about a years worth of stuff that I've committed to, I will follow through on that. I'm not going to accept anything new for distribution. I think I will keep the label going, though I have nothing in mind for release right now.

  
  

  
  

Easter Bilby Store

I try to keep this updated for wholesale stuff, the retail store is here, http://easterbilbyrecords.bigcartel.com

I've got more then 100 items, which is my current limit at big cartel so I try to rotate stuff through. If you see something on this list that is not in the store shoot me an email

Catalog

Lower Plenty - Hard Rubbish lp (EB-001)

Kitchens Floor - Deadshits 7" (EB-002)

Angie - Turning LP (EB-003)  
Ausmuteants - Stale White Boys (EB-004) 
Wet Blankets - Rise of the... (Agitated)
Red Red Kroovvy - Global Citizen 7"
Brando's Island - Auto Warfare 7"
Dead Farmers - Wasteland lp (RIP045)
Liam Kenny - A Kenny for your Thoughts lp (it)
BCBG - Jaune De Naple 7"(glenliviagough)
Frightening Lights - lp(bruit-direct)
Xnobbqx/xwave - tour 7"
School Damage - Break Up 7" (Detonic)
Old Mate - It is what it is LP (SDZ)
Ulsers 7" (WBR)
Ulsers - LP (WBR)
Danny Whitten's Veins cs (Major Crimes)
Flesh World - Planned Obsolescence EP (no patience)
Lakes - Carved Remains 7"(no patience)
Low Life - Dogging lp (disinfect/rip society)
Rat Columns - Leaf lp (rip society)
 M.O.B. - s/t lp(Rip society)
Muura - Untitled lp (WG)
A.D. Skinner - 7"
Sacred Product - S/T lp (ASS-003/SM-004)
Multiple Man - Spirit Level 7" (Mcr-011)
Big Richard Insect - 7" (Mcr-009)
Old Mate - 7" (Mcr-008)
Oily Boys - 7"  (disinfect)
Red Red Kroovy 7" (RIP)
Unity Floors - Exotic Goldfish Blues lp (pop frenzy)
Bad Vision - S/T - Lp (ADAGIO)
The Zingers - S/T -lp ( MDR01)
Gooch Palms - lp (antifade)
Half High - 7" (members of NOTV)
Sulphur Lights -7"
Tax - Bent Spear 7" (NP21)
Lakes - Blood of the Grove lp (NP22)
Cannon - 7" (Bon Voyage)
The School of Radiant Living - lp (SORL-01)
Clits - Excuse Me 7" (Ant-023)
Bad Visions - 112 7" (BVR)
Native Cats - Dallas lp (RIP035)
Kitchen's Floor - Regrets 7" (RIP007)
Kremlings - Vulture Race 7" (Antifade)
Cured Pink - 7" (Black Petal44)
Batpiss - Nuclear Winter lp
Hammering The Cramps - 7" (Wormwood Grasshopper)
No Guru - There's no guru - lp (Hashram Audio Concern)
Bed Wetting Bad Boys lp
Lost Domain - An Unnatural Act(NGL-035)
Sprot 7" (wormwood grasshopper)
degreaser - sweaty hands lp (NGL-040)
southern comfort - silver and gold 7" (BP043)
Antipan LPs
Spiders LP (James Heighway from Blue Mountains, X Wave , etc)
UnAustralians (Spastic, grind theatrics)
xNoBBQx Picture disc
Brat Farrar - s/t lp (eniasn-04)
Bad Aches - Hypochondriac 7" (eniasn -?)
Cobwebs - Look out 7" (ANT007)
Meat Thump - box of wine 7" (NGL038)
Whores - mob reality 7" (RIP026)
Ruined Fortune - bulls eye 7" (RIP027)
obnox - purple reign 7" (NGL)
Chook Race - Medicine 7" (self released)
Looks like Miaou - lp (bon voyage)
skyneedle - rave cave lp (NGL)
scraps - secret paradise 7" (disembraining)
stag - get used to it 7" (disembraining)
Moffarfarrah - thread bare 7" (albert's basement)
Woolen Kits - S/T lp (RIP Society) 
Taco Leg - Printed Gold 7" (RR/TT)
The Lost Domain - Drunken Sailor 7" (NGL)
3 Toed Sloth - Jukebox Series 7" (NGL)
The Lost Domain - Blondes Chew More Gum - 2xlp (NGL)
Degreaser - Bottomfeeder - lp (NGL)
Low Life - Sydney Darbs - 7" (NGL)
Eagle Boys - Kambalda (NGL) 7"
Golden Staph - lp (R.I.P. Society)
Dead Farmers - Go Home - lp (R.I.P. Society)
Witch Hats - Wound of a Little Horse - 12"

Constant Mongrel review

Constant Mongrel DCM 7″ (R.I.P Society)
Constant Mongrel are so undeniably punk that I always thought it odd they hadn’t released any music on the punkest vinyl format, the 7″, so it’s nice to see that finally take place. They cracked me up with the cover, that’s for sure – from their butchered name to the “email print-out as art” back cover (complete with incorrect track listing), this thing is just the right kind of stupid. Getting to the songs, those are great too – it’s clear that Constant Mongrel are no longer amateurs at their respective instruments, and they’ve started writing songs to reflect that. They still sound like a Happy Squid band from 1981, though, and they put the downer, hazy guitars of their Heavy Breathing album to smart use here. “The Law” might be my favorite, but they’re all great, and I love the stop-start droniness of “New Shapes” too. If you’ve been waiting for another good Australian punk 7″ to come out (assuming you either already own all the Ausmuteants ones or got a little bored with them), the time is now my friend.

http://www.yellowgreenred.com/?p=8537

Low Life - Dogging

down to the last box, get em before their gone - Sold Out (for wholesale, still got some in bilby store)

Dead Farmers - Wasteland lp

“The band has a deep appreciation (as opposed to shallow, retro-chic appreciation) of pre-punk ’70s rock such as The Stones, Faces, Neil Young, Blue Cheer, The Saints, CCR and The Stooges via a take-charge, masters-of-your-own-universe Minutemen-esque ethos and work ethic.” – Nic Warnock

Exhaustion lp in this week

EXHAUSTION w/ KRIS WANDERS

This one sided LP documents the first collaboration between Melbourne psych rock thugs Exhaustion and the Dutch-born tenor saxophonist Kris Wanders, a veteran of the early days of European free improvisation who performed widely with legendary figures like Peter Brötzmann, Peter Kowald, and Han Bennink and recorded some classic sides with Alexander von Schlippenbach, Fred van Hove and the obscure Dutch pianist/clarinetist Kees Hazevoet before moving to Australia in the late 1970s, where he has continued to perfect his brand of raw, soulful free jazz.

Considering the roof-raising intensity usually achieved by both Exhaustion and Wanders’s regular Unit, it might be surprising for some that this recording is less of a post-Last Exit blowout than a spacious exploration of group dynamics. But this is certainly no casual jam session: Wanders and Exhaustion manage to imbue both peaks of manic ferocity and descents into near silence with the same feeling of concentration and intensity.

Wanders often grounds his playing here in mournful blues phrasing recalling both Brötzmann and Frank Wright, releasing slow arcs of notes that build into guttural cries and rapid-fire fragments of post-Coltrane scalar exploration. Duncan Blachford’s FX-saturated guitar playing moves between shimmering feedback and explosive reverb-tank interruptions, and the way his lingering pause over each note, allowing it ring out into feedback, combines with the cymbal-heavy pointillism of Per Byström’s drumming is reminiscent of the atmosphere of suppressed violence in Masayuki Takayanagi’s classic mid-70’s New Direction Unit recordings. At other moments Byström builds up thudding, irregular pulses that, accompanied by Ian Wadley’s wandering bass lines, bring the quartet into classic free jazz territory.

Blachford’s vocal interjection, ranging from ghostly humming to rowdy grunts, push the group into a truly unhinged meeting point of intuitive psych-rock excesses and speed-of-thought free improv interplay. The group sound, rather than the contribution of any individual player, is the focus here: even Wanders, whose enormous tone and constant invention can’t help but occupy the listener’s attention, often recedes back into the group’s primordial soup, building up delicate and sometimes piercing microtonal harmonies with Blachford’s feedback tones.

Captured in fittingly raw room fidelity, this is the first document of a powerful new group, and a perfect contemporary companion to the recently unearthed Brötzmann/Fushitsusha recordings. 
– Francis Plagne

Constant Mongrel

new 7", The Law, just came in

Wonderfuls - Only Shadows Now lp

just came in

New stuff in

Got Low Life - Dogging, Chook Race - About Time lp, Wireheads - The Late Great lp in

Led Zepplin and Guns and Roses.....

Kicking things off, the ironically titled (obviously) Young Liberals casually go about their business. Their dorky style gives them an innocent edge, which they quickly dispel as they blow the unassuming crowd’s ear drums with primal punk-rock.

They’re rough as guts; all distorted guitar and heavy rhythm that slides back and forth between The Stooges and The Strokes. The mulleted frontman never gets animated, but has a perfect rock scream that cuts through the chaos and energises the room.

Most of this created atmosphere is lost during Exhaustion’s set, though. It all starts out sounding a bit like a sound check, because they’re really just jamming along together. The three-piece play an unenthusiastic first few variations that seem to confuse the crowd.

A bit like Led Zeppelin’s Whole Lotta Love breakdown, the band members are all on their own planets, mashing away on their own tangents – they might as well be playing in different rooms. There’s simply nothing for the audience to hold onto until the drums and bass start their own, more succinct, rhythms. Now it’s a bit easier to sink into a deep focus and appreciate the subtle variations, but it still feels over-indulgent. Perhaps they’re simply not the right band to open for Geelong’s Ausmuteants.

The headliners’ first song Freedom Of Information has guitarist Shaun Connor taking over the vocals and he does a great job, chanting angrily, “I don’t wanna touch!” and firing the crowd up straight away. The guys look super-cool, especially bassist Marc Dean who, wearing a singlet and tight jeans, channels rock gods like Slash as he jams along, seemingly lost in his head (but definitely not).

Lead singer Jake Robertson plays pretty corny synthlines that add a meatier, pop element to the band’s otherwise lo-fi garage sound – he’s a great frontman and gives the band a strong core to work around. Robust drummer Billy Gardener also helps.

This disco-punk quartet is about to head off to tour the States. They are well-oiled and go through the motions of playing their biggest crowd-pleasers. That’s not to say they’re doing so passively; all four band members bring heaps of energy to their short, punchy songs and deserve the recent attention they’ve been getting. They might occasionally come across as young and naïve, but Ausmuteants definitely know what they’re doing.

School Damage

School Damage are  Carolyn, Jeff, Jake and Danielle. They come from Melbourne and Geelong and probably somewhere in between too.
This is their first record , its round, black and has 3 songs on it:  "Sick of You" opens with Danielles' monstrous bass growl, swelling with tom toms from Jeff (that really should have been played standing up) and guitar feedback into an ice cool verse and throwaway chorus that will make any fan of the Shop Assistants swoon.  Jakes' guitar kicks off "Butt Hurt" which promptly explodes into a full blown keyboard driven Fairground/Carousel orgy of boy/girl Vox that is pure pop-methadone.
B-Side Ballad "Break Up" is the Big-Haired Indie-Rock slow-burner that also-rans like the Vivian/DumDum/West Coast Girls would kill for, like all good FM rock the song goes on forever, Carolyns' keyboard eventually fading into the sunset over the Bay.
more....

The debut 3 track 7" will be released in early August, available to preorder now from the Detonic Recordings store!!!

Old Mate - It is what it is - lp

IN REVIEW: OLD MATE – IT IS WHAT IT IS (SDZ RECORDS, 2014)

AUGUST 19, 2014 WEIRDOWASTELAND

It’s another great piece of down in the dumps, black and blue rock. Australiana meets Americana. Songs soaked in box wine and cheap beer, set decrepit neighbourhoods and between shitty relationships. There is a rhythm here that moves, a rhythm that one must keep when moving through life to avoid being left behind. 

Old Mate is the newest outfit helmed by Pat Telfer (Bitch Prefect). What originally started as a solo project has now expanded and features members of Peak Twins and Wireheads. It Is What It Is is the debut LP from the group, coming after an EP in 2012 and a 7” in 2013.

It’s another great piece of down in the dumps, black and blue rock. Australiana meets Americana. Songs soaked in box wine and cheap beer, set decrepit neighbourhoods and between shitty relationships. It’s a nice departure from the jangle and strum of Bitch Prefect, reflecting more the day drunk desperation ofKitchen’s Floor.

This is a terrific album thanks to some cunning instrumentation and a willingness to add flavour to the bluesy murk. Piano, saxophone and other intriguing bits and pieces create some airy texture over the fundamentals. Telfer’s brooding croon is exquisite. His purposefully flat delivery adds gravitas to his tales of daily monotony, over drinking and failed relationships.

The music helps to lift the vocals above the subject matter; for example, the sax on ‘Know What He Wants’ adds a sense of urgency to, what I gather is, the tale of a man seeking to take from others without consideration. The album seems to look at abusive relationships in society; abuse of substances, abuse of the self, abuse of others – it’s all pretty grim yet there is an interesting dichotomy at work with the instrumentation, preventing the listener from getting bogged down in the grittiness. We are made aware of the topics at hand, but are constantly moved along by the strong musical current.

It Is What It Is seems to be about the exploring the hard facts of life but not being able to do anything about it. Life is what it is; you can’t do a damn thing about it but live as best as possible. This album is about trying to do that but not always being successful. This is a largely entertaining album, I can imagine it transitioning well live – an experience I hope to catch soon. There is a rhythm here that moves, a rhythm that one must keep when moving through life to avoid being left behind. The road points straight ahead, where it leads is anyone’s guess. Old Mate walk the road, playing I Spy with what they see along the way; observant and honest music and something to treasure.

SDZ RECORDS / SDZ SOUNDCLOUD / OLD MATE BANDCAMP

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Friendsters 7" from eternal soundcheck

Multiple Man review from 7" blog

Multiple Man on Major Crimes Records

I've been shocked by how good the music is in Halt and Catch Fire on AMC. Never mind that it's about ancient nerd stuff which I really appreciate; an underdog personal computer company starting out in the early '80s but the music supervisor Thomas Golubic is digging really deep into anything but the obvious for this time period. There's the touchstones I've never heard in mainstream pop culture like the Bad Brains or X-Ray Specs but the opening shot in one episode was a track "Are 'Friends' Electric?" from Gary Numan & The Tubeway Army which got me deep into a crazy rabbit hole lately. I'm following their picks pretty closely for more of this early synth era and post punk...the meeting of those two is my weak spot. So is the combination of influences on this single from Brisbane's Multiple Man, they keep things minimal with one foot in nostalgia and the other dark and forward looking. You're right - it sounds uncomfortable.

Synth blasts in on A-Side's "Body Double" turning this one dark like Ashrae Fax or Blessure Grave. Plowing away with weird digital percussions that can't bridge the uncanny valley of drums and become something else, this reverb snare, a buried electro tom. A perfect rough groove carved out of these analog elements, a chugging away of a robotic locomotive, buried under water and reverb, plate springs and coils. Not that this is of the lower fidelity variety, far from it, everything comes through loud and clear and they take their time getting this momentum up before the vocal comes in layered with plenty of echo sounding aggressive with a weird distance and agonized angst of something like Lust for Youth. This sort of thing is unsettling, there's no reason this should make you look over your shoulder when examining the pieces, but this rhythm and careful use of echo take this to a weird place of miscommunication. Everything is obscured and blown out, the rhythm is relentless it's coming for you, I think even Gary Numan was unwilling to get this dark, slanting more towards breaking those commercial rules and airwaves to go to these creepy depths.

B-Side "Surface Roads" is the apocalypse. You have to venture to the surface and make high art out of ascii characters and digital glitches. This track creeps up out of atmospheric digital fog swirling around into a heavy square sine wave bass line and a ring toned fax machine/modem sound is bent back into shape with autotune. But I doubt they're even using that kind of modern technology here. That melody evolves into a guitar riff of some kind with a synth punk like The Units which shouldn't make sense, they hated the guitar. There's a lot of density here while seeming minimal, precise and repetitive. No lyrics on this one while a Knight Rider two note inspired foundation manically twiddles away. Somehow sounding more optimistic but maybe because the A-Side was right after the war with the machines...and on the B-Side you find out they won.

Get this from Major Crimes Records - for those of you in the US that means Easter Bilby Distro

Multiple Man actually interviewed Gary Numan...the plot thickens.

M.O.B.

BEST REASON TO WRTE A FUCKIN’ RECORD REVIEW TODAY!

✩M.O.B. M.O.B. lp(R.I.P. Society, Aus - 2014)✩

• There’s no shortage of sick tombstones to trip over atR.I.P. Society, but this purple Mersh Of Blastitude shan’t be overlooked for more easily digestible lollipops. Gurgling burbles of cross talking korgs escort each other into the bleak echelon of early Cabaret Voltaire squirm, with all offerings draped in the lusty terror howl of decrepit synths aiming to rearrange the appliances - and your nipples - while you sleep. This is high caliber squelch and enjoyable beyond reason. Easter Bilby distro’s got a bunch, so talk to your machines and make it happen.

Power

Power cassettes just in from cool death records
Cool Death interrupts whatever the hell you *were* doing to bring you actual high voltage rock music. POWER!
Three dudes from Dribble, Soma Coma and Kromosom playing rock and roll the way it was played four decades ago before punks knew what punk was. For fans of Iggy and The Stooges and Lobby Lloyd - Rest in POWER.

Still single recommended

Rat Columns – Leaf LP (R.I.P. Society)

RECOMMENDED

I’ve listened to this one so much that I’m challenging myself by listening to a different record while I write this. Actually, I’m not listening to anything but the ambient rush of traffic along the BQE. It’s a clean, headclearing sound that would be a good ambient background for this superb pop record, the second full-length under this name by the busy and talented David West (Rank/Xerox, Lace Curtain, Burning Sensation, ex-Total Control, a handful of others), who gets help from countrymen James Vinciguerra and Mikey Young on this go-round, along with his American rhythm section (Jonathan Young on bass, Violent Change’s Matt Bleyle on drums). West started Rat Columns as some manner of 4-track pop clearinghouse, which took a turn for pop-punk on debut album Sceptre Hole, and here starts that way before diving into a slightly slower, more contemplative groove. The “hit” material is on the A-side, and feels a bit mid-‘80s British/C86 by design, though elements of a deeper narrative are placed throughout (small touches like that sleigh bell jingle at the end of “Pink Mist,” for instance, kind of set things off a bit), and I’m also reminded of when American indie bands decided to cool down a bit in the ‘90s and become a little more genteel, a la The Sea and Cake. Strangely, this record picks up where others seem to think it lets down: side A closer “Fooling Around,” written by Young, is an out-of-nowhere highway/motorik grazer, evoking Yo La Tengo on the autobahn late at night, a totally pleasing and mature entry followed by a spate of personal breakdowns that, for me, make the record. Apart from the title track closer, the drumming on side B slips … a lot. I assume this is by design, and since everything else, even the wheezing synthesizer, is played straight, the lapses in timing on percussion add a sense of unease and vulnerability that would be missing were they up to scratch. West’s mumbled, drifting vocals obviously add to these qualities, but together these concepts add a new dimension of pressure to the leering, too-hot/too-close “Petrified,” and the late night halogen streetlight halos and cruise control search of “Empty Lanes,” more reminiscent of the quieter moments of the late, great band Seam than anything I’ve heard since their demise. Then there’s “Leaf,” which breaks the mold altogether and seems to begin with a sample of a panting dog, which builds into the rhythm track, the neon/dying fluorescent tube flicker and sumptuous electronic/bass interplay, sounding closer to a Lace Curtain track than any Rat Columns material before it. Somehow, West has crossed Australian pop with pleading, emotive American strains, and come up with a meaningful and poignant record for this calendar year. I can only hope that this project continues in, and with, such a strong internal direction. (http://ripsocietyrecords.tumblr.com)
(Doug Mosurock)