Hailing from deepest France, via everywhere and nowhere, Vialka are a devilishly high-spirited nomadic duo whose frontier-touring has taken them to all corners of the globe on a seemingly permanent world tour since their formation in 2002. Deriving their influences from traditional and modern underground music from around the globe Marylise Frecheville (percussion & voice ) and Eric Boros (baritone-guitar & voice) create music that skips joyfully across borders, channelling desert blues, Chinese folk songs, scatter rock and European gypsy song dynamics. A whirlwind dervish energy, that combines endless gypsy punk folk rock tales, hard hitting poly-rhythms, yelps and howls into one feverishly danceable and intoxicating brew. Like 'A Hawk And A Hacksaw' or 'The Ex' their openness to new sounds and cultures makes you feel alive.

The album's eight new tracks feature a frenetic interaction between Marylise's syncopated drumming and singing and Eric's orchestral guitar playing, delivered with ecstatic energy, humour, lust for life, and a sophisticated musical language and subliminal connection all their own. It also includes a charming rendition of the old German folk song 'Hole in the Bucket', their take on a traditional Shona mbira piece as well as collaborations with Francois Marcziniak and Cyrielle Faure (tuba and flute), Crank Sturgeon (sonic gesticulations), Andrew Dymond (mbira), and Xiao He (vocals and Hunan pipa). Recorded by Bob Drake at Studio Midi-Pyrnes in December 2008 and January 2009, and delightfully packaged in cardboard gatefold slips adorned with cover art by Rachel Lowther and photos by Wenxi Xiong.

"Not music for normal folks, to be sure." - Karl Mohr, Multibeat.

If you spend the evening with a bottle of whisky instead of your sweetheart, the tune you bellow out in the wee hours - with arms 'round a snake oil merchant and a boxing ballerina - could well be a ditty from the mind of Al Duvall. Al's wicked vaudevillian hits are crafted on banjo, kazoo, and various percussive detritus. These 'gentle but deadly' songs are drawn from the working-class music of pre-war America, blending jug-band, medicine show, music-hall, and Victorian parlor ballads. Al delivers a loving backhand to the fringe dweller in this expertly crafted collection of aural ephemera. With an overdose of morbid puns and sly innuendo, 'Recluses Unite' is the perfect primer for any aspiring vagrant.

"inventively twisted black-comedy lyrics, throwing in dirty punchlines and shades of modern depravity that our Edwardian ancestors would have blanched at. There's also however an equally strong streak of utter weirdness and lowbrow surrealism, not too far away from the malarkey of Charles Gocher or Revd Fred Lane." Ed Pinsent, Sound Projector.

Summer 08/09 will forever be known as the big brown one after the stench of the new Toxic Lipstick album Poopin reeks across Australia. Poopin is the fractal-crackin third album by Brisbane's favourite slumber party hosts, Synthia J Pop & Cyndii Valentine. Squeezed out while exchange students in Osaka, Japan, it sounds like a reverse enema for the brain. These girlz from the wrong side of the bike racks have produced eleven steamy crowd thumpers like Rape Me, Itchy Balls, and Teen Mum all worthy of inclusion in any self respecting rock eisteddfod production. Famed for their unique brand of electro-crap, a sound that's been described as "like Sigue Sigue Sputnik scoring Mortal Kombat porn" Poopin is a bass sensation in the brown note that will prove once and for all you can polish a turd, especially if left in your pants while gyrating on the dance floor.

"this record’s contrived cheepniss makes Bow Wow Wow sound like Mozart" - Ed Pinsent, Sound Projector.

"recycled waste products of a doomed civilisation - fragments of Metal guitar fuzzed into oblivion, snippets of easy listening beaten to a bloody pulp - but they're meticulously catalogued and cunningly sequenced" the wire.

"uncovers a clear love of metal, but of course very bastardised and bent" - musiquemachine

Since it's initial 2007 release, Naked on the Vague's debut album ‘"the Blood Pressure Sessions" has gone on to floor people across the globe landing them with a enviable vinyl re-issue on the influential US imprint Siltbreeze. The album is a deep dive into the depths of apocalyptic pop and psychedelic weirdness. Disparate vocals grip onto stabbing keys and menacing hook-laden bass lines, pushed on by a relentless drum machine, far past its warranty period, giving the whole of their sound a sonorous curtain of ecstatic foreboding. Essentially a ‘punk assault ranging from some almost dance-able short and sharp ‘hits’ to gloomy extended freak-outs. Lucy and Mathew take direction from where the short lived no-wave movement ended, expanding on what that imploded scene could have garnished had it not succumbed to its own fatalistic shortcomings.

“'like something from a claustrophobic horror-movie soundtrack' Pitchfork

“'Co-ed duo wanderings of a decidedly dark and altogether chilling nature, either bending in a beautifully ebbing continuous tone meander, or thumping chest with steel-eyed intensity'” - Dusted

"This is the type of noise that compels people to cut themselves, writhe on the floor, dance and laugh, all within the same moment." - SKYSCRAPER.

"if this was released 30 years ago, it would be studied and discussed with fervor just as other No Wave classics are getting treated today." - Jackson Glass

“his lyrics strike with all of the bravado of a Tom Waits album, but with a twinge of the old Vaudeville” - Folk it Up.

"Your level of appreciation for this CD is likely to depend on your enjoyment of blacker-than comedy" - Cyclic Defrost

“gratuitous eighth grade toilet/sex humour over speedcore tempos” – Cyclic Defrost

"Boring folks from the tax office singing boring songs from the 80s sounding tired, bored and beaten down by society. It sounds terrible, but it's not. It's genius.” – Inpress Magazine.

“Had Jean-Paul Sartre been born in Brisbane or Canberra, he could well have come up with something like this.” – Dev.Null

“Bradbury is a master sonic bricklayer who has the ins and outs of tension and release down pat” – Mess + Noise Magazine.

“This Australian one-woman-show sings in an out-of-control voice that doesn't always hit the "right" notes (but they're usually close enough) humorously dirty lyrics over old big-band records. And then, maybe half-way thru each tune...she tap dances. Well, she tries. It's kind of the dancing equivalent of her singing, like someone randomly dropping silverware on a hard floor.” – WMFU.

“one part Poly Styrene to one part Eraserhead radiator lady” – Mess + Noise Magazine.

Our 2005 CD reissue of their second cassette Egg, Pluto Pup and You, marks the final installment of Spill and Dual Plover's reissue trilogy following our earlier (and now sold out) reissues of 'bad earth' (first cassette) and 'the damage begins at the mouth' (previously unreleased material). This series is an effort to preserve for all time one of Australia's true outsider outfits.

“perhaps the best band of their time. Certainly, Huhnenblut is worth the lives of ten thousand Cobains."
- Tom Smith, Bananafish.

“it doesn’t matter how many times you hear it, it doesn’t get any easier to cope with.” – INPRESS MAGAZINE.

"She's the bastard child of Anton LaVey and Kate Bush" - Blunt.

“Bradbury has the rare double, not only is he meticulous in his execution, but he's been able to produce not one but fourteen new atmospheric worlds, where the laws of nature no longer exist, but chaos is kept at bay by Bradbury's odd and innovative logic". – Inpress Magazine.

'shin kawasaki' was inspired from landscape of shin-kawasaki industrial city. i recognized this station first time when i back from yokosuka by fast train of yokosuka line. i used drum machine(tr606). also used exd electro drum kit for bass sound. these equipments are sound very techno pop in early 80s. my composition was inspired from equipments too." - Masami Akita.

"manage to fuse aqua with throbbing gristle without letting the seams show" - The Wire.

After running out of stock in france Justice Yeldham produced this last minute tour souvenir CDR using leftover scraps from LE DERNIER CRI's screen-printing workshop and some recordings with a certain drummer who didn't want it to see the light of day. Earlier that year after almost 10 years Lucas finally listened to these recording for the first time since they were made in Tokyo in 1998. Deciding that there was something there he edited them into pieces and mastered them for possible release. When it was ready he contacted the drummer in question to ask where to send the recordings for his consideration, without hearing the material the reply was. "please keep our recording as secret private session. I don't want to release it any format." sorry if you bothered to listen to it he may have respected your wishes!

NOTV fell into existence with a found organ, broken bass guitar, borrowed drum and some old doom poetry. Lucy Cliché executes distorted keyboard melodies, while Matthew P Hopkins plays psyched out bass guitar, which is all kept together with pounding drum machine beats. This is their debut release a self-titled 7" capturing the spectrum of sound NOTV creates. Side A features the single 'All Aboard!' the self-proclaimed dance floor hit, plus the short and sharp 'God Nor Devil'. (alternate versions to the Blood Pressure Sessions CD) Side B features the slow doomy 'A Sunken Piece of Rubbish'.

“Very stark in a black and white kind of way, and really quite hep" – The Wire

Its safe to say that nothing like this was ever witnessed in the Lebanese capital before short of the civil war which is how many audience members described the sound of the honourable justices performances in the still turbulent city. Justice played on a sheet of broken glass he found at the Beirut - Damascus taxi terminal, an infamous place where many muslims where tortured and killed by the phalangists. the singles cover depicts the sticker that was on the sheet of glass played on the 020604 which was found in the semi ruined building. released by chondriticsound in conjunction with dualpLOVER.

The first publicly available offering of the good justices glass munching adventures. Side A features a recording of his bloodiest show ever in Lisboa, Portugal. The snow started when he lacerated his forehead and finished with his Tony Clifton t-shirt soaked in blood, the stain has been lovingly reproduced and screen printed for the singles cover. Side B captured on a walkman in Minneapolis was not as bloody but that shouldn't really matter as this is in reality a audio format. released as a split between dualplover and freedom from.

In actuality an acetate pressed by the legendary Peter King and the 1st justice record released after stubbornly refusing to output material in the first two years of glassing himself. Brought on when he couldn't refuse the beautiful Genevieve who asked him to contribute to her editions of 23 project, where 23 people made 23 things and everybody received one of everything. Knocking this up was the nail in the coffin for 'never releasing his music'.

GINA V.D'ORIO: SAILOR SONGS (2003): CD: SOLD OUT
(some copies still available via french distributor metamkine, or US mailorder Opposite Records)

"This record is dedicated to the ocean.I`ve always had a great affinity to water. If you put something into water it shines. Always. There is nothing more good, impressive, dangerous, beautiful, great and essential that you can watch with your eyes..My grandfather was building ships. So this record is in memoriam of him. Fishes, boats and the dance of the waves, the colour of water are forever in my heart .Water stays water. My ocean can also float out of the tab. I don`t care. To me the recordings are very private. So everybody is invited to share this piece of privacy.It is a good privacy. Let your diamonds shine in the oceans.Do something good and throw it in the water!" Yours Gina V. D`Orio.

If Alfred Nobel was famed for sticking various objects up his own anus, then I would be having the great pleasure of introducing this year's joint Nobel Laureates for literature (within the field of poetry) ladies and gentlemen, dualplover gives you, bushpig / mule / mc scatboner / cockbash-80 / mc slurry / the wound bearer / mc trollop / mc chubnuts / mc poodick / mc shitman / mc nostrilcum or as they are collectively known suicidal rap orgy. Hip hop from the blue mountains, what isolation can do to a gangsters is terrifying if this offering has anything to say about kids today. tracks like "anal sucking fun" "terds are the master" are good indicators of such trends.

“The second in an set of archival re-issues of Melbourne-based entity Volvox, Target Earth is truly one of the oddest things one could ever ask to hear. A vocalist who has a speech difficulty due a fall through a plate glass window (or so legend has it) combines with sinister electronic sound and the odd depressing sample to produce something for which there is no reference point. Song structure as we might know it is not simply abandoned, it was never part of this universe of pained squalling, deep rumbling power electronics and sonic manipulation. It's ugly to be sure, but ugly in the way fungus can be - so fascinating it may as well be beautiful. It goes beyond mere spectacle - which this undoubtedly is - to a voyage into genuine abstraction and unhinged moments of terror that may reveal genuine secrets in a psychic/subliminal manner. I could describe this as a hard listen, but something about it draws me back to this; it could be it's sheer outsider-ness, but there is a point of view being expressed here that challenges many conceptions I have about music and more especially, free noise. What's more, there is a strand of the familiar somehow - this reminds me of kitchens and having cups of tea while a cat rolls about on the floor, yet it's an alien version of these things, the recognition making the strange all the stranger. I hesitate to even call it experimental - it sounds too intuitive for that. It's an essential listen for explorers of the outer perimeters of underground music, and sits with out companion at the point where dimensional walls crumble before the force of entropy. I can't recommend this enough, but be ready for an unsettling experience that defies all description."
-Andrew harper

"he packs enough horse meat here to feed alla witcyst, cock esp, evil moisture, aube an' every pierced, pink-skinned dipshit with a scottish return address. who'da thought?" - BANANAFISH.

"one of the strangest albums in the history of recorded music." - dave segal (ALTERNATIVE PRESS)

the ploverian liberation front claims responsibility for the bomb that is the new funky terrorist mini cd 5!5!5! After heated conversation on the tired nature of POP "poo" Phoebe and naoko quit their respective positions at the home shopping channel to wage a campaign of subversion on an unsuspecting pop market, armed with a killer song and dance routine. Phoebe Jeebe was highly trained for off-beat dance warfare at bootcamp clan analog with operations 'the family' and 'alternahunk'. She aims for the stars and hits everytime. naoko matsumuto has been raised within the ancient japanese tradition of tiger mad strange classics and with a supercute swift WHACK can render you as helpless as a kitten without legs, you better beware when she boards your bus.

A black vinyl reproduction of these two performance noise types. recordings of consecutive nights in matsuyama and okayama during their japan tour of sept 97 can be heard here.

Erratic compilation expanding on oz aural diversity (menstruation sisters / deano merino / justice yeldham and the dynamic ribbon device / sabrina / mu-mesons / volvox / new waver / scratch my nose / flash moustache / bass herd / the supercute bye byes / dj smallcock ) and others from else where (merzbow / faxed head / runzilstern and gurglestock / the faxed head / ostomy ) a celebration of the fool.

After many trials and tribulations, Dual Plover Recordings has the esteemed pleasure of announcing to the world that A Kombi's debut masterpiece Music to Drive-by is now available to you, the consumer. This highly anticipated release is to our knowledge the first album entirely composed and performed by a van or any other motor vehicle. But please don't get us wrong, this is not some tokenistic offering against inanimatism. We truly believe in A Kombi's work, it just so happens that it is an object, a van to be more precise. But you need not to take our word for it; one listen and you too will be ranking A Kombi with your favourite human types of the musical variety. Music to Drive-by was originally recorded at picturesque Waverley Cemetery in September 1994 but due to financial reasons hasn't seen the light of day until now. Regretfully A Kombi itself did not live long enough to witness this momentous occasion, sadly passing on in April 1996, en route to Queensland. I only knew A Kombi in the last four years of its twenty one year lifespan, but in that time we became very close. At first it told me nothing of how it longed for the stage, probably thinking that I, like most humans, would only humour it about the chances of it making any impact in this human dominated music industry. The idea that performance is for humans, not Volkswagens, must have sat uncomfortably wherever cars keep thoughts. It took disaster before it could confide to me its love for performing music. While recovering in South Grafton after a harrowing rolling on the face of Mount Tambourine A Kombi sang to me for the very first time. No words can describe the beauty in her song that day but one thing I can tell you is that I knew a star was born. Soon after A Kombi and I set upon our infamous Drive-by recitals at bus stops and traffic islands up and down the east coast of Australia. A Kombi's greatest moment came when it first graced the stage at Sydney's Vulcan Hotel; well, not exactly the stage but parked on the footpath just outside the stage door where she played her first and only live performance. In time the fame began to drain A Kombi - not even professional appearances drag racing with the Popemobile could kept her spirits up. A sickness that would eventually lead to death was beginning to take hold. Now not a day goes by withoutmy mind taking a moment to ponder the loss of such a great talent so early in its career, but at least we have these recordings, so now and forever we can always... ...well at least we have them. Lucas Abela June 2nd, 1996

"maximum precedent transcendence" seymour glass, banannafish 12#

Kevin Blechdom and Sonig team up to release an acoustic album chock full of palpitating love songs. Kevin Blechdom plays piano and sings. The album is lyrical, lush, and direct, with emotion of epic proportion.

“Gentlemania” was recorded at La Frette Studios in Paris and Heavysheet Studios in Berlin and was mixed by Shapemod in 2008. Co-produced and co-written with her good friend Mocky--the collaboration benefits from Mocky's nurturing qualities that contrast, calm, and frame Blechdom's intrinsic chaos. As the title suggests, “Gentlemania” is not as schizophrenic or madcap manic as her previous two electronic albums. Instead, Blechdom slows down, takes a deep breath, and, with thoughtful control, peels back layers of emotion for the listener to hear. Combining a strong background in classical and experimental music with a broad knowledge of pop styles, Blechdom seamlessly travels between and coalesces country jangle, Broadway show tunes, old-school R&B, and many other styles into a cohesive and true musical story. The autobiographical and interpersonal themes revolve around introspection, longing, doubt, hope, and ultimately, human transformation.

The album is defined by Blechdom's idiosyncratic melodies and motifs, profoundly personal lyrics, unique vocal delivery and poignant piano playing which fuse with Mocky’s sympathetic drumming and innovative arrangements. Also featured on the record are guest vocalists: Jamie Lidell, Planningtorock, and Denzel Sinclair in addition to guest instrumentalists: Taylor Savvy, Andre Vida, and the Organ Lady.

"The making of this record has been really intense, but I've come out feeling purified," shared Blechdom. "I've grown so much since 'Eat My Heart Out,' and Mocky is the perfect writing partner--I feel like I've been lifted up to a whole new level of inspiration and possibilities. After all the things we've seen over the past couple of years, beautiful and tragic, in the end I'm really grateful. It has made me create music I could not be more in love with."

The Professional Savage (2008) Featuring CLickJaw, Shupuntz, Flora, Ruben, Members of Curse ov Dialect and TZU, IWOR, J Benetti. Mixed By Lotek.

1.On the Corduroy Road 2.The Blood of the Hog 3.Sally Shaw 4.When It's Ice Chopping Time (In Chippewa Falls) 5.Constable Scott 6.Ether Cone 7.He Gone Done Gone 8.Delmarva 9.Lantana10.For Shame, Captain Charlie 11.Closing Time 12.Harlem Sunset 13.(There's Gonna Be a) Cockfight 14.Minor Key 15.Mendo Shine 16.Stuck On a Hat-Check Girl 17.The Hickory Hotel 18.Battlin' Brannigan's Back In Town 19.The Neptune Inn

AL DUVALL : RABBIT'S FOOT FACTORY: CD (2004). SUNSHIP RECORDS

AL DUVALL : THE BUTLER'S REVENGE: CD (2001). V/VM TEST

Toxic Lipstick are still chillin' in grade 9 at Poxy Avenue State High, but that hasn't stopped them from releasing the DOPEST album (as voted by ravers on the party island Ibiza) of 2005…’'When the Doves Cry'. The only thing that can be said of this seminal album is that it is definitely hotter than Drazic.

dualpLOVER zines.

Mathematics for the seedy underbelly of life, easily explained for even the most marginalised criminal. Sample question:

Q:Kevin the bent cop makes $600 a week but shakes down drug dealers and pimp for an extra $800 a week on average. If kevins morgage on his house in woollara is $500 a week how much can Kevin piss up a wall weekly?
A:

TRASH ENGLISH

like trash maths but with english, ghost written by brendan phelan this is the most intellectualised issue yet.
Sample question:

Q:In a written statement submitted at his committal hearing, Darren wrote: “Yes I have an history of mental problems, but when I shot Alice and the kids it was Self Defense.” What’s wrong with Darren’s plea?

A:writing defence with an “s” is more of an American usage. Also, technically, there’s no need for capitals in “self defence”. (We’d be prepared to turn a blind eye to that, except he’s trying to be smart by writing “an history”, which is just an ignorant attempt to show off.)