Wrong Speed Vinyl, CD & Tape 12 Items

Limited Aquatic Blue Vinyl! Much anticipated debut album from this Leeds-based electronic duo, following high-profile UK festival slots, and shows alongside luminaries The Brian Jonestown Massacre, Warmduscher, Sea Power, Moonlandingz, The KVB, with multiple plays across BBC6/BBC Introducing and Amazing Radio, jellyskin are finally ready to unleash 'In Brine', their first full length release. The result of four years spent writing, recording, and refining the album between Leeds, Liverpool, Bristol, Palamos, and Berlin, 'In Brine' showcases the many talents of Will Ainsley and Zia Larty-Healy in a work straddling iridescent electronica, tungsten-tipped techno, art pop, and queasy, brown acid folk. The songs are pieced together with themes of longing, misadventure by the sea, desire and aquatic apparitions that showcase Larty-Healy's warm but urgent vocal range, as at home around the campfire as it is in the club. The pair's meticulous arrangement and rearrangement, sculpting, recording, and mixing was a glacially slow process of adaptation, mutation, cooperation, growth, and, yes, natural selection. First single 'Bringer of Brine' thumps from the speaker anthemically and forcefully, pitched somewhere beautiful and uncanny; Larty-Healy's vocals soar and skim off the production like a smooth stone across choppy waves. The radio-ready pop electronica of 'I Was The First Tetrapod' bursts into the world with an urgency in line with the lyrics. An aquatic tale of crawling onto land for the first time, desperate to make new life forms, it's also a positive, joyful rebuke to the despair of the world around us. "Growing my legs...". The fuzzed-out psychedelic keys and forward-moving, Knife-like structure echo throughout while beautiful lyrics detail visions of where this would all lead life as we know it-"I can run freely, white horse behind me. Flexing my bones and artery twine, find human tone and reach for the vine." 'Fox Again' opens with chopped alarm clocks segueing into a lurching rhythm, before exploding into skittering beats and a soaring chorus. The effect is like waking up drowsily, going over to the window in your room and yanking open the curtains to be blasted by searing sunshine. The pair brought in Berlin based co-producer, mixer and masterer Lewis D-t to help finesse the tracks into fat-free hunks of ecstasy and sonic exploration, their rich depths marking 'In Brine' as an album everyone should be talking about this summer and beyond-all nine tracks will have feet moving and hearts swelling in equal measure. RIYL: Jockstrap/Working Men's Club/Stealing Sheep/Broadcast etc.

A Haunted Tongue is the third album by Colossal Squid, the solo project of producer/virtuoso drummer Adam Betts (Goldie, Squarepusher, Melt Yourself Down, Jarvis Cocker). A Haunted Tongue moves things on one step further, letting the process and approach fade into the background, freeing Betts to balance a million inspirations (early 90s Warp, rave tapes, Nubian drumming, Indonesian gabba_) and filter them through an anything-goes punk aesthetic that results in a feeling of freedom that is both refreshing and rare. Betts has spoken of "a recurring dream of a stranger trying to get across an important message but not talking in any discernible language" that guided these recordings. This feels appropriate to the listener - the language of A Haunted Tongue isn't straightforward or easily classified but yet the message is clearly understood and embraced by the listener at a primal level. That message is one of hope - channelling the shared euphoria of communal musical experience and searching for an uncynical and personal expression of positive energy that can move people and resonate with them. "A while back we had a chat with JR Moores, he was doing a Bandcamp piece on the label. We mentioned we wished we did more rave-related releases. Within seconds we had the Johnny Broke album in our inbox. Johnny Broke is actually Wayne Adams. Wayne messaged and told us about Adam Betts (AKA Colossal Squid). And here we are, dealing with someone who drums for Squarepusher and Goldie. Both Chris and I have the biggest love for 90s rave music. For me (Joe) I'm listening to an alternative world that I was old enough for but missed out on. I knew the music but didn't have the knowledge to drive around the M25 looking for the fields. It's a history I don't quite have but feel like I do. It's like the Beatles: known all my life but no idea why. It's cut into our DNA. It was our punk rock but we missed it. This Colossal Squid album, no matter how many times I listen to it, brings something new every time. And it makes me...

Big Break occur somewhere in the cracks between hardcore, new wave and egg punk. Apparently unable to concentrate on a song for longer than 2 minutes, their music is minimalist, agitated and addictive. Taking inspiration from the likes of Devo, Negative Approach and Food Fight by The Village People, they combine hyper guitar hooks with taut rhythms and break-neck changes of pace. Recorded at Sheffield's Delicious Clam Studio, their debut album, Angel's Piss, features songs about the gaffer (bad), computer phones (bad), bank holidays (good), relationships (mostly bad), and bodily fluids(depends). It's an on/off, in/out, bits and pieces document of the band's first LP that captures their raw energy and sense of immediacy. Formed in the basement of the aforementioned Delicious Clam, the band's current and previous musical incarnations include Best Friends, The Hipshakes, Nai Harvest, Avida Dollars, Thee Mightees, Joy Boys, Thumbuster, Champayne, Town Cruise and more. "Words from us, the label, some context...Will Pearce, who spent a healthy couple of years in the Hey Colossus group, moved to Sheffield. He was soon embroiled in the deep music scene, hitting up the Delicious Clam venue and becoming smitten with Big Break-the band help run the place.

Enablers (no the) first made music together in San Francisco in 2002. Their individual histories join the dots through the major musical events in America of the '80s and '90s: the fertile Texas underground, Homestead Records, New York noise, Bay Area metal, the post- Nevermind goldrush and everything that got left in its wake. As with all the best bands, they formed by accident. Author and poet Pete Simonelli convinced guitarists (and fellow bar-dwellers) Joe Goldring (Swans) and Kevin Thomson (Nice Strong Arm) to provide musical backing for a few poems. The addition of drummer Yuma Joe Byrnes (of 4AD's Tarnation) sparked Enablers into life, away from the cerebral idea of a 'book project' and into the infinite possibilities of a living, breathing band. We agreed that (Enablers) were not going to sound like much of what had already come before in the vein of 'spoken word' recordings: a voice in front of a droning, basically static piece of music. We wanted solid musical compositions with dynamic and tense arrangements."—Pete They've been doing that very thing, collectively, from day one. Simonelli punctuates the thrilling out-rock of the musicians as if directing the chaos with each jabbed finger or kick of a boot, rhythms explode on a single syllable or are seemingly sucked back into their shell by a breath in the text. Goldring and Thomson constantly reinvent the wheel, using the limitations of guitar to their advantage, always surprising listeners with new possibilities. It is primal, powerful, and absolutely hardcore. In the tradition of the punk and underground era they grew up in, Enablers have always treated each new recording as a bookmark in time used to generate resources to tour. Some Gift is their seventh LP and the first on Wrong Speed Records. It represents a summation of the history of the band. It recalls the incendiary power of the early records whilst being delivered with a loose, human feel that can only have been cultivated through the time and experiences they share together. These seemingly gradual changes in sound from album to album reveal themselves as revelations once fully experienced and understood as a whole. It sounds like this music comes effortlessly to the players, yet it leaves the listener punch drunk, exhausted and elated.

We, the label, asked Ben Wallers (ex-Country Teasers) to write a press release for his new album. "Press Release And Give Me The Disc as Peter said to Murphy said to Daniel said to Ash said to J said to the drummer subs please check name was it Martyn Atkins? No... scratch that please Roger, there's nothing funny about not knowing all the members of Bauhaus. Announcing the new album by The Rebel, yay! Wow! Fucking hell, great! How long is it this time? Oh it's getting on for the optimal 45 mins. Fit on side of a D90 but go bit wobbly near end of SA90. I am listening to my copy on vinyl record, it's much better than tape. That's the intro. Once upon a time there was a man/boy a sort of immature Peter's Pan type pan-pipe type who COULDNT WOULDNT grow up a bit like Keith Richard[s] and who er where was i? The Vagina Museum is very near Maureen Paley's art gallery where if you hurry you can see some INCREDIBLY GOOD paintings/art. Anyway once upon a time it was february 2021 if that's last year or 2020 if it was the one before that, i've lost count, honestly this Covid thing is SO confusing isn't it? Anyway. Ducking fomestic crisis as usual reached boiling point again and i fucked off didn't i, did a runner, off to Turkey wiv a lih-ooh bih-uh ragarahn me ed, first of all 2 weeks on George's spare mattress, then 2 weeks in Merlin's magical tower, then a week in a fucking EasyJet Hotel with no windows, then at last my new exile retreat, Congreve Ho. Meanwhile Dad got me a new recording device the size of a VHS tape, the Tascam D-POO 8 S-E-X multitrack. Quality, oscar mike golf!! Urine for a surprise Listener/s! Ural b sayin "Y could ont he ov get 1 of these B4?" Well! Paid off the fuckin mortgage, didden Eye listenerz. Paid the fucking mortgage of. Dad said "Lets get you a reward Son! Anything name it!" Well i said ... can you fix it for me to touch Britney's hat? The one she wore for the Milkshake video. Great album. Recorded it in exile, from where i write this press release and give me the tape Kevin Hask...

Much-anticipated debut album from Leeds post-punk power-trio and 6Music favourites Objections.Optimistic Sizing is comprised of ten kitchen-sink dramas, ten miniature worlds to lose yourself in. The key topics are covered: performative royal mourning, ill-suited sexual relationships, coastal gentrification, motormouth bigots and - of course - snogging.Objections formed in the post-lockdown period after drummer Neil and guitarist Joe's former band (and cult favourites) Bilge Pump slowed to an amicable halt. They wanted to continue the musical dialogue they had built up over decades and turned to Claire Adams (Nape Neck, Beards) to start something new and Objections was born.The 3 members have also played in/with: Polaris, Yann Tiersen, HiM, Enablers, Felix and Damo Suzuki (among others). Objections released their debut 7" - BSA Day/Better Luck Next Time on Wrong Speed in 2023 and have recorded two Marc Riley / Gideon Coe BBC 6Music sessions.At Wrong Speed we are not fond of genres, we are here to release music we love not tell you how to file it. But Optimistic Sizing is genuinely post-punk in the literal sense of the term. Objections take the freedom and anyone-can-do-it promise of punk and run somewhere new and adventurous with it, creating a vibrant and living musical language with which to communicate their own unique world view. As a result, Optimistic Sizing is not only a classic debut album but a timeless one."We like to think we know what we're talking about....believe us when we say, Objections are a band to watch" - Louder Than War

Edith Tollinghurst was an English commercial artist who worked extensively throughout the 1950s and 1960s. She was famous for her stylised portrayals of family life, and her work was frequently featured in lifestyle magazines of the day. Her work is perhaps best exemplified by her illustrations for the 1957 Woman's Weekly's feature "How To Host The Perfect Dinner Party"; an article that was reprinted without variation for eight successive years.From 1964 until her death in 1970, she designed and illustrated what is now known as the Tollinghurst Tarot. It is said that she toiled day and night on the deck, painstakingly and repeatedly reworking the illustrations. When it was complete, just a handful of readings were ever given, but the surviving sitters all attest to the otherworldly beauty of the cards and to the staggering complexity of the layouts. These same accounts also maintain that her prophecies were, without fail, 100% accurateOn the 18th of November 1970, Edith - in a move possibly prompted by a sharp decline in her own fortunes - used the cards to foretell her own future. The prognosis was bleak: the deck foresaw her violent end before the day's close. Edith, in a bid to thwart the cards, set about burning her life's work. However, the resulting fire engulfed both the house and its mistress, simultaneously upholding the deck's flawless track record.`TOLLINGHURST' outlines our speculations as to the nature and substance of those destroyed cards.

Repressed, classic black vinyl, one, respectively, two year anniversary edition!In the psychic wastelands of the 21st century, one particular sonic force looms large. Transcendental like the malignant force that fuels the zombie movies of lore, Part Chimp have made it their business to shake speaker-stacks, fry brains and induce jouissance and tinnitus alike all across the UK. Yet now Drool - their fifth and perhaps finest transmission to date - is set to launch forth triumphantly to a world beyond the vinyl racks and battered amps where they've already achieved godhead status. Guitarist and vocalist Tim Cedar sums up the raison d'être of Chimp as "the stupid amounts of fun you can have with very loud amps, stupid tunings, weird pedals and weird people. That inspires us. I think our joy at playing our tunes comes through the panic and chaos" Echoes of their forebears - the ornery prehistoric lurch of Melvins and the droogy ur-clang of Sonic Youth among them - can be distantly discerned, Yet they're now drowned out by an individual assault as pulverising as invigorating, nihilistic yet life-affirming. Smash together abandon and intent, and what you get is Drool - a fearsome testimony to a band with a skewed melodic skill to match their mighty potency. This band will demolish your house, but you'll cheerfully thank them for it afterwards. Drool is where unwise decisions blossom into serendipity. It's more joy through vacuum-tubed catharsis than you're entitled to. It's coming for the hearts and minds of heavy music dropouts everywhere whether they like it or not, so they'd be best advised to pay attention.

In the throes of potential catastrophe, the challenge remains to navigate back from the brink. The method of reinventing oneself anew in the face of adversity. Recovery Position marks this process for Gum Takes Tooth - a time when this ever-shifting and morphing entity sheds its skin once again, revealing a formidable new form.Marrying an unflinching beat-driven assault to a questing and transformative vision, Recovery Position - their fourth album - may represent a clean slate for Gum Takes Tooth, yet it's also driven by the same interpersonal and musical chemistry of its creators, Jussi Brightmore and Tom Fug. Recalibrating their enmeshing of drums and electronics. they've landed on a propulsive binary-driven delivery that stubbornly eschews genre constraints and modes of comparison.The fresh approach began when the band began experimenting live, channeling the sparks from jam-driven spontaneity whilst also moving away from rock dynamics in favour of a more kaleidoscopic meld of ideas. Nonetheless, Recovery Position maintains a clear affinity for the pulse-raising effect of the red dB meter or the rattle and rumble of a bass bin under duress. Thus was birthed the mutant quasi-trap protest music of opener `Armistice', the industrial hyperpop aerobics of `Small Arms' and the sci-fi hands-in-the-air rave banger `Octavian Eclipse' alike.Recovery Position was not without its travails in the making, with the band's personal challenges and reinventions being somewhat more pronounced than those of their actual music - Jussi and Tom have traversed a full-scale emigration from the UK (in the case of Brightmore) along with battling serious illness, personal revelations and the attendant shockwaves and challenges of the Covid era.. Yet with the assistance of Wayne Adams at Bear Bites Horse studios in London, the duo have alchemically transcended their circumstances, channeling the personal and political into salvation by way of frequency overload and raw catharsis, a reanimated howl of the human reg...