Leavings – Sell and Shark – 21st November 2016

Cat #: 189TZM

Leavings is a three piece punk band from Brisbane, Australia which takes cues from post-hardcore, indie rock, shoegaze, krautrock, and the vibrant DIY cultures of Australia, China, and South-East Asia.

Combining driving, aggressive bass and drums, shouted vocals, and wiry guitar with catchy, muscular hooks and cavernous noise and drone-scapes, the group’s songs generate a bold, vigorous energy that is both affirming and cathartic . 

RIYL: Unwound, Flying Nun records, The Men, Rosetta, Fugazi, Japandroids, Sonic Youth, Blank Realm, Neu!, P.K. 14, mewithoutYou, Turnpike, A Place to Bury Strangers.

Sell & Shark is Leavings’ debut release and the first single from their forthcoming LP.

On side A is “Sell”, a reckless punk rock clanger in which the band belts out grumpy yells drenched in reverb over the top of a collection of distorted major-key hooks played at full tilt.

Exclusive to the 7″ is a brooding slab of noise rock in the form of B-side “Shark”. The track begins quietly with a faint, nervous guitar riff and muted, tense drumming encircled by a menacing bassline which swims around them tightly until all three instruments attack each other, exploding into dissonant fuzz and dry screaming.

Together, the tracks represent the band’s response to the frustration of living in an Australia whose leaders become nastier and more cynical with each passing year. “Sell” is defiantly spirited while “Shark” is the band at their grumpiest, but not without a sense of humour. 

Both tracks were recorded in Brisbane at Tym Guitars with Donovan Miller (FOREVR, No Anchor) over one weekend in the winter of 2016.

For interviews, press, and bookings, please contact leavingsband@gmail.com.

Tom Cruise and Katie Holmes – A Million Farewells – 13th November 2015

Cat #: 177TZM

When Xiao Zhong and Sharon Cee-Q found themselves in a room together for the very first time, they agreed on a guiding philosophy: “Let’s not make anything that’s going to last. If we’re together for just two shows, then that’s what it is.” Thus was born Tom Cruise And Katie Holmes. Since then, they’ve most certainly deviated some, but not much, really.

Over the course of a year and a half, the Shanghai-based musos who’d been involved (non collectively) in such lauded mainland acts as Pairs and Hua Jia Hu Wei, released their debut 7” here on Genjing, added journeyman bassist Sam Walsh and drummer Daniel Nagles to their lineup and have proceeded to lay down one of contemporary indie rock’s most exhilarating jam sessions gone right – a concise full-length chock-full of woolly, dreamy, delicate, white-knuckled shoegaze imbued modern hymns.

This autumn marks the official arrival of A Million Farewells, the band’s first long-player for Genjing Records. It is a miraculously dissonant, wonderfully immediate display of Tom & Kate at their mightiest; alive with the same wild chemistry and sense of possibility that made their first recordings so vital. With more time together than they’d ever had before (which wasn’t much), the band had found themselves confronted with ideal, yet quasi-foreign conditions. And they wouldn’t have had it any other way. Two-minute freakouts like “My Life is Over” share airspace with the meditative squall of “Sam’s Knife” and the guitar-born majesty of the title track. One can’t but notice the band’s intentionally one-off brand of being exactly who they are in a pop context; everything presumably captured in (something like) three takes or less in a bleak, quasi-nondescript studio someplace deep within the damp, scabulous scrawl of modern Shanghai.

“It’s a simple thing,” Xiao Zhang says of their approach. “Simple takes the worry out of it. But we’ve grown up and been through some shit in China. To get to this point you have to bust through a few walls. It’s easy to be new, and I think, in the end, this is what it is.”

When you put the aforementioned foursome in a room, it’s Tom Cruise And Katie Holmes.

And A Million Farewells truly is what it is – quite something: a classic quasi-Sinophilic full length if there ever was one. 

Primitive Calculators/Torturing Nurse – 16th March 2015

Cat #: 175TZM

Roland Barthes once said: “The ‘grain’ of the voice is not – or is not merely – its timbre; the signifiance it opens cannot better be defined, indeed, than by the very friction between the music and something else,” but who gives a shit? Torturing Nurse would sooner cough on you than speak to you, and they are most definitely not concerned with “music”, just the “some- thing else”. The “grain” here is the granular phlegm at the bottom of “vocalist” Junky’s throat, a choking, faltering reference to the body before the machine takes full control. For this music, you don’t need ears. You don’t even need a body, really. What would Barthes say about the grating grain of all voices at once? Music that’s been fed through the effect-chain meat grinder so many times it ceases to be readable as “music” and actually starts to sound like meat? Just GRIND, fine-ground, the last tiny pieces of humanity ebbing through the proverbial hourglass, grain by grain by grain. There’s no one left: just “Midnight, The Stars & You,” and the horrible, howling wind whipping rust particles through your pores until you’re more corroded metal than man.

Roland Barthes also said: “We know now that a text is not a line of words releasing a single ‘theological’ meaning (the ‘message’ of the Author-God) but a multi-dimensional space in which…  more

PRIMITIVE CALCULATORS are
Frank Lovece – Vocals
Stuart Grant – Guitar / Vocals
Denise Hilton – Keyboards / Vocals
David Light – Bass
Andrea Blake – Rhythms / Vocals
additional vocals by Pocket Calculators featuring Grace, Velvet Sand (Siege-a & O-g-o), Fu and Stella Electrika

TORTURING NURSE is Junky – Noise

AV Okubo – Opium/Heroin – 3rd February 2015

Cat #: 174TZM

If you’ve never been to Wuhan, let me tell ya: it’s fucking BLEAK. China’s landlocked industrial boiler room, smelting the future from discarded harsh metal scraps of past failures. The heat’s so hot it’ll melt your will to live. Opiates help. Wuhan’s AV Okubo know this, they even soundtrack this. “Opium” is a re-purposed stereo-heater churned out like some retro-futuristic answer to the prayers you’ll be praying years from now, as the decline continues to decline. The voice of “Opium” is a voice out of time, a bi-gender mensch-machine crammed into a vintage Japanese vocoder, sampled and re-sampled til the original is forgotten in a self-medicated haze (while reclining, eyes open but not seeing, slackjaw dreaming). No clue what it’s saying (something about the Qing Dynasty GDP) — but the bottom line is: we’re all damned if it doesn’t ease the growing pains.

“Heroin,” meanwhile, sounds like the Sex Pistols telling Lou Reed to fuck off. Actually this B-side was originally supposed to be straight up Velvets cover but, as AVO vocalist Lu Di laments right off the bat, “the price is too high and I can’t afford it.” Wuhan bathtub meth it is, then. Again! Maybe E, LSD and some more weed, to chase. OK, good now. Let’s do this. Only bass line that comes to mind is ripped straight from Sid’s dead mitts but it’s a miracle we’re even standing up at this point so… Wuhan’s fucking hot. Need more ice. What’s next? The rest… “and the rest, I don’t wanna know.”
credits

Recorded at Busy Bee Studios in Beijing by Andy Gill and Santi Arribas
Mixed at The Beauchamp Building, London by Andy Gill and Santi Arribas
Mastered at The Mixing Factory in London

GR028
genjingrecords.com

Imported to Australia under license

Bad Nerve/Fanzui Xiangfa – 2nd February 2015

Cat #: 172TZM

FANZUI XIANGFA is:

狂骂 [Kuang Ma] – Drums
逆反 [Ni Fan] – Guitar
毛病 [Mao Bing] – Bass / Vocals
冲撞 [Chong Zhuang] – Guitar
六六 [Liu Liu] – Lead Vocals

Recorded and mixed by Hou Likao at Jishengchong Studio. Vocals recorded by Deng Chenglong and Tan Hang.

BAD NERVE is:

Mårten Bläckberg – Guitar/Vocals
Anna Salonen – Bass/Vocals*
Jonas Lyxzen – Drums/Backing Vocals
Melody Almroth – Bass/Vocals

*On this recording: Anna – Bass/Vocals

All music and lyrics written by Bad Nerve
Recorded at Parasite Studio May 2013
Mixed and Mastered by Fredrik Lyxzen, Parasite Studio

Thanks: Fredrik, Nevin and Genjing Records, Dennis and Ny Våg Records, Amanda, all our friends and families.

GR038 – genjingrecords.com

Imported to Australia under license.

The Yours – Public Eye – 1st February 2015

Cat #: 171TZM

Produced by The Yours
“Public Eye” recorded and mixed by Yang Haisong at Psychic Kong, Beijing, Dec 13, 2013
“Purple” recorded and mixed by Nic Wong, Feb 14, 2014
Mastered by Garrett Haines at Treelady Studios, Pittsburgh USA
All songs by The Yours
Drums by Nelson Ko and Pie Wong

Art by The Yours
Layout by Die Leung

Managed by Yuman Ng

Special thanks to our families and dearest friends; Yang Haisong, Fuhan, Zhang Shouwang, Nevin Domer, Nikki, Bebe and Reggie from S.T.D, Nelson Ko, Roland Lee, Pie Wong, Gosha Rubchinsky and Tim Head

genjingrecords.com
www.iii-records.com

© 2014 GENJING RECORDS, IMAGINE IMAGINE IMAGINE RECORDS LIMITED

Imported under license for Australia.

GuiGuiSuiSui – The Court of King Nitro – 8th January 2015

Cat #: 167TZM

Originally from Dartford, England (spiritual home of, ahem, minor blues appropriators such as Mick Jagger and Keith Richards), one man DIY punk/blues/horror artist, GUIGUISUISUI, aka Dann Gaymer, started making dark garage blues on a variety of instruments including a one stringed skateboard guitar (The Diddly Board) in the freezing cold of Changchun, Northeast China in 2012. While working with a variety of side men including beatboxers, various percussionists and drummers, as well as a punk rock rhythm section dubbed The Electric Shadows, GUIGUISUISUI settled on a one man band format after relocating to Beijing in the summer of 2013. That same year, Gaymer headed out on a rather unrepresented, borderline masochistic 40+ date Asian Tour which shocked, confused and at times, downright befuddled punters across the entirety of the Far East.

Not one to rest on his laurels, Gaymer began hastily demoing a brand spanking new batch of evil tinged, garage inflected GUIGUISUISUI material immediately upon returning to his home base deep within the confines of the Red Capital.

Engineered, mixed and co-produced by luminary Beijing producer/sonic journeyman extraordinaire, Yan Haisong (P.K.14, Dear Eloise) at Psychic Kong, The Court of King Necro 7″ finds Gaymer delving into four tracks of lo-fi, psychedelic scuzz rock lined with a healthy dose of Delta Blues. Think spiritual/musical mentors, The Rolling Stones, at their most avant garde, stripped down and devoid of overt glam pretense. Yet, when it comes to art rock, GUIGUISUISUI, has forged his own peculiar brand that exists on the dirtier more wanton side of the experimental blues rock stratosphere.

Strictly limited to a run of 500 copies on high quality, weighted black vinyl, The Court of Necro 7″ features hand silk screened/assembled cover art by infamous British punk rock fixture The Craw. If that’s not enough we’re throwing in a hand made badge and a couple of individually pressed buttons which tie in with GUIGUISUISUI’s overall artistic vision for this one of a kind, highly collectible piece of 33 RPM sonic ephemera. Get ’em while they’re hot folks…hot as the visage of hell which inspired this assemblage of wicked passion! 

GUIGUISUISUI is
Dann Gaymer – vocals, guitar, harmonica and percussion
King Necro – The Diddlly Board

Drums on ‘Eighteen Shakes’ and ‘Lamp Post Blues’ by Michael Cupoli

All songs by GUIGUISUISUI except ‘Preaching Blues’ by Son House and ‘Eighteen Shakes’ by Pairs.

Artwork by The Craw

Recorded, mixed and mastered by Yang Haisong at Psychic Kong, Beijing CHINA.

GR034
genjingrecords.com

汤姆克鲁斯和凯蒂霍尔姆斯 Tom Cruise and Katie Holmes – 你不爱我 – 7th August 2014

Cat #: 160TZM

Tom Cruise and Katie Holmes. What happened with those two? Why name your band after them? Are they a totem of the 21st-century relationship? The infuriating alienation and slow-burning pain of failed love? Nah. Maybe. “You Don’t Love Me (你不爱我)” rails against the inevitable for about four minutes before yielding to the feral chaos underlying human nature, love, celebrity, the sounds of the words themselves. After the heart’s fires burn out there’s just swirling ash, granules too small to be individually seen but jagged enough to sting your eyes long after the light and warmth are gone.

The flip side is an extended remix of another Tom & Katie tearjerker,
“After Leaving (离开后),” by Huashun Unit. H.U. is one of many aliases for one-man Shanghai doom drone crusader Nahash, née Laura Ingalls (not his real name), and his partner in crime, Clement Pony. In this studio trip, he basically takes one open guitar chord and a few disembodied vocal fragments from Tom and Kate respectively and transmutes them into a lush gestalt that sounds like it was written and performed by Enya’s evil twin for some kind of nefarious ritual. If you’ve never been to Shanghai, let me tell you: this track sounds exactly like how it feels to walk into a bomb shelter dance club choked with cut-rate cigarette smoke and the stink of unmoored pheromones at 5 in the morning. Love blinds.

Recorded and mixed by The Horses at Studio Poney, Shanghai China.
Mastered by Garrett Haines at Treelady Studios

汤姆克鲁斯和凯蒂霍尔姆斯 are:
Cee Q – vocals, keyboards
小中 – guitar, keyboards
tomlovedkatie@gmail.com
tcakh.bandcamp.com
huashanrecords.bandcamp.com

Licensed from Genjing Records for release in Australia.

The Fallacy – Painkiller – 5th August 2014

Cat #: 162TZM

Take everything you know about the burgeoning “underground” Chinese punk scene, put it in an ornate, hand crafted box, lock that box and throw it into the deepest pool of the 68o Yangfu Mountain Hot Spring! This is the beer soaked sound of the Henan suburbs circa 2014: three young men from Xinxiang relaying their day-to-day experiences via the medium of tightly wound hooks, post-punk exhibitionism and the drive time ferocity of ’77 punk, all filtered through the lens of (producer/PK 14 frontman) Yang Haisong’s Psychic Kong studio. Handsomely packaged, featuring cover art by up and coming visual artist extraordinaire Xu Jiacun, the Painkiller 7″ is a third tier city curio you’re definitely going to want in your ever expanding collection of China-centric wax platters.

THE FALLACY are:

Wang Xubo – Vocals / Guitar
Zhang Nan – Bass
Da Li – Drums

Recorded by Yang Haisong at Psychic Kong, Beijing 2013
Mastered by Garrett Haines at Treelady Studios, USA
Paintings by Xu Jiacun
Designed by Ksama of Dooo Design Studio

Licensed from Genjing Records for release in Australia

Carsick Cars – 3 LP – 20th April 2014

Cat #: 159TZM

NOTE: CD has alternate language versions to the vinyl and different bonus tracks in the download!

After five restless years, Carsick Cars, China’s most influential and dynamic indie-rock band, return with their most mature and exciting release to date.

Available in April 2014, ‘3’ is the aptly titled third album for the Beijing based trio. ‘3’ sees vocalist, guitarist and founding member Zhang Shouwang return with his signature sound, seamlessly combining drone with shimmering pop melodies. The result is assured to please established fans and new listeners alike.