Tuesday, 26 February 2019
Friday, 1 February 2019
DIGITAL DOWNLOAD AVAILABLE NOW
audition / buy here
We're stoked to start 2019 with our first label compilation for some time, featuring new friends, old favourites, recent works and a couple of previously unheard tracks...
1. Rubber Bus - Tera (Saul Yarg mix)
2. DR:WR - Infrared Deathray House Party
3. Rubber Bus - Spaceman (2019 version)
4. Kaleidophon - Message From Another Star (excerpt)
5. MOTA - Death By Yoga (Rubber Bus mix)
6. Best Left Alone - BTW
7. Stray Transmission - Crossing
8. Far Rainbow - The Power Of Degenerated Matter (excerpt)
Monday, 23 July 2018
Sunday, 19 November 2017
PMT - Beak ep
Nine neo-slacker-rock tracks with a confused edge of bewildered experimentalism.
Name Yr Price here:
Praise for 2012's THFCKWT ep:
"...full of stops and starts, half-patterns, lumbering and lurching about, as the trio move from uncertain doodling to confident riffing and back again, often in the space of a single 10-minute track.‘Frosty Lee’ is a more straight-ahead free-form rocky jam with the kind of exciting live edge that almost makes me think I’ve discovered a rare 1971 heavy-prog underground guitar group to match Captain Marryat. Nifty, edgy, vital playing throughout. Added bonus – no effects pedals whatsoever as far as I can hear."
- Ed Pinsent, The Sound Projector
Tuesday, 7 November 2017
DR:WR (pronounced “doctor war”) is Karl M V Waugh. He started using the name DR:WR when he attained his PhD and realised he could now legitimately refer to himself as a Doctor. He has recorded/played with drone band The Zero Map, noise band Binnsclagg, under his own name and as part of The A Band with previous releases across various labels including Chocolate Monk, Apollolaan, Sonic Oyster, Ikuisuus and Golden Labs. Sci-Fi Morality Play is his first release on TSOKL.
Sci-Fi Morality Play was assembled in Karl’s home and was almost entirely recorded in snatched moments during his first month of parenthood; no doubt fully immersed in the sleep-deprived state new-borns invariably produce for their parents. Waugh describes the recordings as “…half-improvised; half-process electronic noise…”, but additionally, we hear the influence of drone music, minimal techno and dub, but without the clichés or familiar sounds from those genres.