It’s that time of year. All of the bands of a Gothic persuasion are working diligently to prep their latest offerings in time for the All Hallows’ Eve period. Ariel Maniki + The Black Halos are right on time with their new single, “Witches.” But this wasn’t anything hammered out to be timely. The song had been written to be the new song in their live set celebrating the tenth anniversary of their debut album, “The Descending” in April of this year. Fortunately, Ariel thought that the band needed another song featuring saxophone in their set so this gives us a fresh sound here with synths, bass and sax…but no guitars!
Bandcamp | CR | DL | 2025
Ariel Maniki + The Black Halos: Witches – CR – DL [2025]
Witches 4:17
The pulsating synths of the intro were punctuated by drumbeats and hi-hats seemingly straight out of The Flying Lizards’ version of “Money!” Then the guttural bassline courtesy of Eva Red pulled us onto the dance floor as the synths of Janice Black darted, catlike, to and fro from the shadows. A flutelike descending synth figure offered a foreboding hook as chimes announced the arrival of vocalist Maniki. His baritone vocals the height of elegance as I can just imagine the spider people throwing shapes in the clubs to this fevered dervish of a song.
Then the baleful sax of Maniki stayed in the subterraneans of this throbbing dance song as the interplay of bass and synths kept the energy flowing forward. The drumbeats and sax pulled out for the drop in the middle eight where the bass reigned supreme; sharing the scene only with quivering synth harmonics adding their delightful unease to it all. Then the sax took a solo as the drums returned to the fray. Pushing us breathlessly into the song’s climax.
It’s a great club song and a real testament to the reach of Rock subcultures across the world as Costa Rica gives the world something very different from Tropicalia. But if you are in Costa Rica [and my stats suggest that a few of you reading this are] then you should check out the upcoming dates for Ariel Maniki + the Black Halos as they open shows for Dutch EBM act Staatseinde in San Jose on the 24th of October. Then on November 23rd Turkey’s excellent Ductape, a band we also follow, will also have them opening their show in San Juan for a pairing I would think couldn’t be topped.
Meanwhile, this lovely new single is yours at a “pay what thou wilt shall be the whole of the law” price at Bandcamp for the asking. Let me frame it thusly; I got the promo of this a while back and I still paid for a copy! If you are also of that persuasion, then DJ hit that button
Steven Jones has a velvety song produced with fellow Art Rockers Fluid Japan…with more to come
Timing, as they say, is everything. On September 24th, I reviewed the latest offerings from both Fluid Japan and one of their collaborative efforts. Wouldn’t you know it, the very next dayanother Fluid Japan collaboration was released and I sheepishly decided that I would wait a suitable cooling off period before pivoting back to them with another post. So I’ve bought and listened to the fruits of their labor more than a few times since then. I see that a few PPM regular commenters have already bought this on Bandcamp, but it’s time for PPM to add to the chorus of hosannas.
We’ve been following the tangled web of intrigue that connected numerous Art Rockers we enjoy in the Bandcamp environment. I probably first got my feet wet in Bandcamp with the work of Steven Jones and Logan Sky. The duo began in the aftermath of Visage to craft their journey from Synth pop to Art Rock over their career arc. Then came Jan Linton; master of the eBow, among many other instruments, who specialized in music that began at the Roxy Music/Ultravox/JAPAN axis. Then I discovered Fluid Japan who have stylistic overlap with both of the former artists while moving into areas like Shoegaze that were uncommon to each. And then they began collaborating with one another in various combinations. And in the process, everyone’s game rose in the process. Now it’s Steven Jones turn to form a third mind with Fluid Japan and the results are a smooth cruise down the Autobahn in the wee hours.
Steven Jones + Fluid Japan: Truth – UK/US – DL [2025]
Truth 4:59
A low tempo motorik synth pulse placidly set the methodical pace as delicate harp began to spill downward like night blossoms releasing their heady fragrance. A choral patch skittered down a corridor of gated delay. Then Mr. Jones began singing the lyric in a questioning tone as the guitar and drum programming kicked in by the third couplet in the first verse as the song began to truly simmer. With Todd Lewis of Fluid Japan adding deep Hooklike bass lines over the steady synth bass pulse already there.
The bass guitar notes began bending with anguish in the second chorus in direct contrast with the placid, glassy mood that Mr. Jones established and maintained with his vocal. Giving the song a preternaturally calm surface but with roiling drama in its depths. As the song began its gentle climax, the backing vocals began reverberating and swelling in the mix. Ending the song on a false note as Steven seemed to have the last word as the music bed dropped out to give the song maximum smoldering power with his voice seemingly the last thing we heard. Only to have the shimmering synths return for a pair of grace notes. Listen now.
Here was a song that had all the smoky power of Bryan Ferry from his “Boys + Girls” period but with call backs to New Order from the same era. And the use of harp really showed where the aim was here. In hitting a target whose intensity juxtaposed a relentless rhythmic push coupled with an elegant reserve in the vocal but with the emotional turmoil springing unstoppably from the depths within the muscular bass guitar. The poise and power of Steven Jones coupled with the reach of Fluid Japan get on like a house on fire here. The Bandcamp page suggests there’s more where this came from and I say “sign me up!” You may obtain this track right now in Bandcamp in your choice medium to hi-res files for whatever price you choose. Choose well. These artists need every bit of encouragement to continue their superb work together. What are you waiting for? DJ hit that button!
Yay! It’s a happy time when Hoboken’s Pop GoddessDeena Shoshkes of primo New Wave band The Cucumbers has new music out to soothe our savage breast. You don’t need me to tell you that were are heading into troubled waters and with that in mind, Ms. Shoshkes has decided to get these three songs out to us as expediently as possible so that they may have a desirable analgesic effect! It’s true that this came out on September 19th, but I’ve been super busy and only bought it this week! Then there’s the time to download it and put it on my personal device…it doesn’t just grow on trees. Let’s dive in now.
Bandcamp | US | DL | 2025
Deena: This Is the Time EP – US – DL [2025]
This Is The Time For Love 3:34
Come On Venus 3:03
You Took The Cake 3:55
“This Is the Time For Love” feels fresh and is the furthest thing from overcooked sporting only acoustic guitar and a little shaker and tambourine for percussion. The main event, of course, is our heroine, Deena, whose warm, affecting voice hasn’t changed in the 40 years [!] I’ve been listening to her sing. I was surprised to hear that we even got an electric guitar in the fourth verse. She doubled up her vocals on the chorus and that’s about as much “production” that this sweet little song has to offer. But it does have sentiments which are absolutely spot on for right now.
“Everywhere there’s hurting What a crazy time is this got to gather our hearts together cause love is the way to resist”
This Is the Time For Love
“Come On Venus” is quite a different kettle of fish! Unlike the intimate two songs that bookend this EP, Deena has handed off “Come On Venus” to producer Troy Stavros who took the acoustic guitar and voice demos and applied considerable Pop gloss to them. We’re talking fingersnaps, drum machines, New Wave backbeats, synthesizers…the whole schmear. It’s a big difference and while the songs don’t necessarily cry for this slick treatment, neither do they buckle under the weight of it all. Deena and co-writer David Graham’s songs are more than sturdy enough to bear the weight of this production. Well, maybe the backbeats were gilding the lily!
Coming after the big pop production of “Come On Venus” hearing “You Took The Cake” was like leaving busy traffic and concrete for wide open roads and trees. The tremolo guitar [and electric piano!] was the biggest production value here, other than the plaintive vibe that I could ride for days. Of all the songs, this was the one that captured me the most fully and I hardly expected the quirky little squirts of white noise percussion in its low energy climax. Take a listen yourself and see!
These songs are yours for just $3.00 but I topped my purchase up a bit more. Seeing this I’m reminded that the last couple of Cucumbers releases [both CD and DL] managed to evade me so there’s some catching up I need to do later on, but for now I’m happy that this EP is my Record Cell to enjoy, because there’s just not enough Deena Shoshkes music in the world. DJs hit that button!
Kaspar Hauser were a Massachusetts band exploring Post-Punk when it was happening in 1982
One of the many benefits of living as long as I have is the ability to see what we call “orphaned albums” finally reach the ears of listeners sometimes decades after they had been recorded. Some of these are legendary in their reputation. Others are more obscure, but there’s nothing wrong with being obscure. In fact, it’s heartening that music that may not have been widely known through reputation may still bob to the surface and be heard many years later. The music of Kaspar Hauser is one such instance.
In this case, a Massachusetts New Wave quartet with a guitar, synth, bass, drums lineup that was proffering exactly the sort of music that I would have been supporting in 1982 had they been in my location. They took their name from the strange Bavarian youth of the 19th century who claimed to have been raised in a dungeon before his early demise under shadowy circumstances. And they released a single 7″ EP in 1982 that is now a solid two figure disc.
The band were David Wildman [synth, vocals], Steve Traiger [guitar], Tim Power [bass], and Ted Selke [drums]. Wildman later had a band called Thinner according to Discogs. By 1984 drummer Selke had moved to Atlanta and became a member of the great Arms Akimbo, whom I had seen on MTV’s “IRS Records: The Cutting Edge” and liked a lot. Following that he was a member of Joybang! and Drivin N Cryin before beginning his Psych band The Seventh Ring Of Saturn.
Selke has now turned his attention to a live recording made in Massachusetts back in 1982 and it constitutes the album that never was from this New Wave band. His Mesh Art label is releasing it on CD tomorrow and it’s a live recording that captured a New Wave band with an intriguing blend of the powerful and obscure in equal measures. The three tracks from their sole EP are here with eight more songs that paint a compelling picture of the reach of this band that were sidelined in that fast-moving period before they could develop any further.
Mesh Art | US | CD| 2025 | Mesh Art 001
Kaspar Hauser: Live At The Zone Art Center Springfield, Mass. – April 24, 1982 – US – CD [2025]
Mysteries Of The Organism 3:12
Living With Fire 3:48
Bounty 3:42
Personal Space 3:36
Emperor Vito 2:00
Thought Patterns 3:32
Sample And Hold 3:23
People On A Crowded Bus 3:51
Decision Time 3:02
State Of The Art 3:26
Inhibited 2:54
Personal Space [Reprise] 3:12
Urgent tempos characterized “Mysteries of the Organism” with peals of tense guitar and syncopated bass chugs provided a propulsive setting for Wildman’s vocal style to take us places. His phrasing suggested the approach of perhaps Peter Case of The Plimsouls dropped into a very different band with nary a Byrdism in sight. Wildman’s synth playing at first here sounded like it could have been a Vox or Farfisa organ with the direct patches he favored. It was an exciting way to launch the show and promised more where that had come from.
“Living With Fire” had been the A-side of their 7″ EP and slowed the tempo a touch for the second cut. I loved the insistent synth lines dropping out to give the spotlight to the rhythm section for the intense middle eight. The loping, almost dub feel to the rhythms of “Bounty” gave the deep bass and shrill sustain of the synth a dynamic that was almost static. All the better to give Wildman’s intense vocals and provocative lyrics plenty of space to make their impression. The coup de grace was the chaotic slide guitar of Steve Traiger to fully suggest a society unmoored from normality [as well as morality] as the could-have-been-written-today lyrics hit home on the powerful song.
Motorik drumming from Mr. Selke was abetted by the chunky bass and shards of guitar shot through “Personal Space” while the synths only joined the song in its climax as Wildman gave it his all. Then the breakneck tempo and circular bass and guitar riffage of “Emperor Vito” was an exceptionally exciting vortex of sound and impact. It was an intense burst of sound and light and over far too quickly at a leave-me-wanting-more two minutes! This had been another song from their EP and now I wish I had a copy to hear the studio take on it as well.
The dubspace drumming and minor key synth hook of “Thought Patterns” anchored the song and gave us something to focus on when the lyrics got really dark. The atonal guitar solo at the climax was maybe pushing things a bit too far into bleakness. Then the tone maybe drifted a little far in the opposite direction with the robotic tale of “Sample And Hold.” Ultimately it was not a terribly different song or sentiment from the one of the same name and year from Neil Young! The random wave synth patch stood here as the most playful moment from the driving album.
I really loved how Mr. Traiger surfed the edge of chaos for his nearly metallic solo on “People On A Crowded Bus.” With the solo being handed off to Wildman and his synth before the instrumental portion of the song was over. The big bass riff of Tim Power grounded “Decision Time” for Selke’s drums to explore urgent ticking hi-hats and a reckless solo at the song’s midpoint leading to a percussive climax that I wish had finished the song off as with The Jam’s “Funeral Pyre.”
A dialogue between the shimmering synth hook and the slashing guitar typified “Inhibited.” With the stasis of its energy echoing the unique lyrical stance as Wildman complained of wanting to shout but having no voice. This was a unique song that proffered a point of view uncommon in Rock music. The product of a creative band unafraid to stand apart from the pack.
The album suggests that Kaspar Hauser had a lot to offer 43 years ago and the emergence of this recording will give those who like me, delve into the hidden margins of New Wave and Post-Punk something new and valid to investigate. The live recording is reasonably clean and well recorded, with the small, polite audience at the Arts Center not intruding very much at all on the vibe it captured. I wish I had sampled to embed but for now it’s just a CD. I can’t find the disc online yet but there’s every chance that tomorrow it will be widely available at retailers and streamers. I just can’t say right now, but if you would like to hear more, I suggest a stop at Ted Selke’s website to poke around and ask questions. If I had been living in Springfield, Massachusetts back in 1982, this would have been my favorite local band back then. That much is clear.
Someone hired a clever graphic designer for their branding…just saying. The TR-808 reference is brilliant
When we last looked it felt like Professor Thomas Dolby was taking a quick Fall Break Tour in between classes at Johns Hopkins University where he teaches. But the Prof. is taking time off for a much wider tour judging from the email from his mailing list last week. What was once seven dates is a robust twenty eight as he will take in the breadth of America. And better yet, he will not be doing it alone [for some of the shows]
The format of the tour is the same. Dolby will talk about his life and experiences in between playing songs from his catalog. He can do this on a laptop rig…the man invented the “one man band” approach on the bleeding edge of technology many years before there were laptops! But the first nine dates in the Northeast will now have a support band with Dolby onstage. And the talent chosen will make these shows quite special as the support band will also open for Dolby as well. Who’s been added to the bill…and where?
Gail Ann Dorsey made her name playing with David Bowie on albums and tour over a decade. She’s also played with Monastic heavy-hitters like Bryan Ferry, Gang Of Four, Jane Siberry, and Tears For Fears. Quite frankly, we’d go to see Ms. Dorsey even if we didn’t like Dolby! Gail is also releasing her first solo album in twenty one years, “The Appearance Of Life” and her opening sets will constitute a tour for her and that project. The tour dates she will also open the Dolby show have Ms. Dorsey’s name in bold.
Andrew Lipke is a multi-instrumentalist and fellow educator to Dolby; teaching at various Philadelphia schools as well as being active in orchestral scoring across a wide variety of projects. He intersected with the Rock world as a long-term member of Get The Led Out; a Led Zeppelin tribute band. Mr. Lipke will open a pair of dates on the Dolby tour with Mr. Lipke’s name in bold.
So the expanded tour hits a lot of US territory. Even the breadbasket of America with locations in Idaho and Missouri. It’s nice to see more than the usual metropolitan areas on hand here. I’m amazed to see not only Florida dates, but Florida dates including such distant locales as Key West. I lived in Orlando and never once visited Key West as it was a long trek. And here’s yet another New Wave icon playing at the Mount Dora Music Hall in Mount Dora! As a former Central Florida resident I still cannot get over how acts like Dolby, Midge Ure, and Lene Lovich [who I have tickets for] are now being booked in this formerly small village when back in the day they would never even play Orlando much less Florida itself! Obviously, I’ve been gone from Florida almost a quarter century now and things have definitely changed.
THE ICONIC 80S – RECOLLECTIONS TOUR 2025
22 Oct 2025 | The Tin Pan | Richmond, VA w/Gail Ann Dorsey + Andrew Lipke
23 Oct 2025 | The Birchmere | Alexandria, VA w/Gail Ann Dorsey + Andrew Lipke
24 Oct 2025 | The Ram’s Head On Stage | Annapolis, MD w/Gail Ann Dorsey + Andrew Lipke
26 Oct 2025 | Roxian Theatre | Pittsburgh, PA w/Gail Ann Dorsey + Andrew Lipke
27 Oct 2025 | The Vogel @ Count Basie Theatre | Red Bank, NJ w/Gail Ann Dorsey + Andrew Lipke
29 Oct 2025 | Keswick Theatre | Philadelphia, PA w/Gail Ann Dorsey + Andrew Lipke
30 Oct 2025 | The Queen | Wilmington, DE w/Gail Ann Dorsey + Andrew Lipke
31 Oct 2025 | Patchogue Theatre for the Performing Arts | Patchogue, NY w/Gail Ann Dorsey + Andrew Lipke
01 Nov 2025 | Archer Music Hall | Allentown, PA w/Gail Ann Dorsey + Andrew Lipke
05 Nov 2025 | The Parlour @ The Signal | Chattanooga, TN
06 Nov 2025 | Mount Dora Music Hall | Mount Dora (Orlando) FL
07 Nov 2025 | The Key West Theater | Key West, FL
08 Nov 2025 | Culture Room | Ft. Lauderdale, FL
09 Nov 2025 | Capitol Theater | Clearwater, FL
12 Nov 2025 | Bogarts | Cincinnati, OH
13 Nov 2025 | House Of Blues | Cleveland, OH
14 Nov 2025 | Mercury Ballroom | Louisville, KY
15 Nov 2025 | Bell’s Back Room | Kalamazoo, MI
16 Nov 2025 | Shank Hall | Milwaukee, WI
18 Nov 2025 | The Federal Theatre | Denver, CO
20 Nov 2025 | Coach House | San Juan Capistrano, CA
21 Nov 2025 | Bimbo’s | San Francisco, CA
23 Nov 2025 | Revolution Hall | Portland, OR
24 Nov 2025 | Triple Door | Seattle, WA – SOLD OUT
25 Nov 2025 | Revolution Concert House | Boise, ID
28 Nov 2025 | Warehouse On Broadway | Kansas City, MO
What do I often say? That it’s better to be late than never? That goes quintuple when the new Heaven 17 single is being discussed! We loved the last H17 singles to come our way in…[whistles] 2014 and 2016! “Pray” b/w”Illumination” and “Captured” b/w”Unseen” were issued on 12″ only and thankfully I was in a position to buy them from the one place where you could back then; the Heaven 17 website store. They were great singles that led me to believe that an album might be forthcoming since they were listed as “early mixes.” And were sold at their merch tables as well. But that was then and this is now.
I was looking at a forum I often forget to visit last Thursday when I saw that Heaven 17 had finally released a new song, “There’s Something About You” on August 22nd and I guess being on the Heaven 17 mailing list only counts if they think to use it. So I went to iTunes and bought it in a blinding flash. Fortunately, it’s rather excellent!
Addict London | UK | DL | 2025
Heaven 17: There’s Something About You – UK – DL [2025]
There’s Something About You 4:30
This one was a very smooth ride, highlighted by elegant drum programming and skittering backbeats with tight bass programming syncopation. A Heaven 17 specialty of long standing! Glenn Gregory’s vocals were like honey and the backing vocal support was on the money. The piano solo in the middle was was a little tentative but this song was about having a featherlight touch, so I’ll acquiesce.
It didn’t sound like their great bass player, Julian Crampton was on this one like he had been on the “Pray” single, and over a decade later, who knows if he has any more attachment to the Heaven 17 organization. But I hope that he still does! Because Crampton was a bassist of the caliber that Heaven 17 originally had on their first two classic albums with John Wilson. Having that kind of player back on the records was a huge step forward for the band and I think that it serves them well.
This was a strong single but I imagine that it was down to Glenn and Martyn themselves to get this single down. The publishing info suggests that Berenice Scott may have co-written it with Glenn so this may have begun life as an Addict song before Glenn handed it off to Martyn for full Heaven 17 involvement. So perhaps Ms. Scott also played on this. The cover was the only disappointment. It looks like AI slop and Malcolm Garrett would never have typeset the copy centered!
And one more thing… the vibe here was nagging at me with some degree of familiarity as I listened to this many times over the weekend. It wasn’t until this afternoon writing this that it finally hit me what this single was reminding me of. Believe it or not, I find it shares a vibe with “Wanna Be Starting Something” from a record that sold quite a bit back in the day. Smoother. Less frantic, and without $3M worth of session pros going nuts on it. But I think that one might be able to make a case that H17 were reaching for a similar apple on the tree.
⭐⭐⭐⭐⭐
Rating: 5 out of 5.
The impetus for the single was their upcoming “Sound With Vision” headlining tour of the UK coming in a month. Seeing Heaven 17 would always be special, yes? But this tour is based around the director James Strong [“Mr. Bates VS The Post Office”] documenting the tour with a special focus on the fans who have come time and time again to see the group and getting their stories down for posterity. Sort of like the trend of “fandom books” like the sort that OMD and Simple Minds have released, only applied to documentary. The dates are for major venues int he UK beginning next month.
HEAVEN 17 SOUND WITH VISION UK TOUR | 2025
Thu 06 Nov 2025 | London | O2 Shepherds Bush Empire
This has been the kind of summer where I have been so busy I’ve forgotten that I pre-ordered releases! Now when the pre-order is for physical goods, that’s easy to deal with. We ignore it until a package arrives int he mail. But when the pre-order is a DL, then things get…complicated. It was August 22nd when I got the notice from Welsh SynthPunk wiseguys Head Noise that they had a new single coming out while they were plotting the next album.
As I love their declamatory, DEVO-esque SynthPunk I instantly took the bait and lobbed £1.00 [plus £2.00 tip – sell low/buy high!] in their direction for their new single due on September 8th. It was an almost cover…of formative influence DEVO’s cover of “Working In A Coal Mine” now re-cast as “Working On A Laptop.” With Head Noise joined this time by guest lead vocalist Olivia Williams [General Waste]. I paid my dues…then things got busy.
Really busy as I’ve taken a week’s vacation to Akron, Ohio as well as work-related air travel, another flight to surprise a friend on his event birthday, plus another two road trips to see Pulp, Sparks, and Judas Priest [one of these things is not like the other…]. With a stint of caring for neighbor’s dogs during their vacation crammed in all of that! The bottom line? September 8ths Head Noise release date came and went while I was otherwise engaged. And with Bandcamp DLs, it’s incumbent upon me to go and fetch them, import them into my Music app, then transfer the files to my personal device for listening in the car, and eventual review. Which is finally happening today!
Bandcamp | WALES | DL/CD5 | 2025
Head Noise: Working On A Laptop – WALES – DL/CD5 [2025]
Working on a Laptop 2:44
Psychotronic Man 2:59
Sheer buccaneer 3:37
The brief for this recasting of the song was to grouse about how your laptop gets cruftier and cruftier with updates until the point arrives where it’s effectively bricked. As if the Macintosh rainbow cursor in the cover art didnb’t make that blatantly apparent. The bass synth pulse was deceptive as the soundfield split into binaural sound just seconds into the hyperstimulating track! When I heard a soundbite of a tech support call asking the user “have you tried turning it off an on again?” i actually laughed. Then Ms. Williams vocal arrived and was given a heavy dose of chorus to make the song even punchier.
She handled the leads with Mitchell Tennant offering BVs only this time. But he did get spotlight on the exhortation of “Oh Jesus, I’m so annoyed…Windows or Mac Book Pro” in an ironic echo of the famous “Lord, I’m so tired” hook from the earlier versions of the song. It sounded like a guitar was snuck into the middle eight and then the climax let the sound of dialup handshake and Ms. Williams’ complaints and finally a laugh.
The Non-LP B-side of “Psychotronic Man” rocked a lot harder than we expect from Head Noise. Sounding like a very credible Man Or AstroMan track, from the speedy guitars and tempo to the z-movie trailer soundbite as Mitch proclaimed his love for the trash aesthetic in his filmed entertainment choices. Making him the “Psychotronic Man” undoubtedly with a well-thumbed copy of Michael J. Weldon’s mandatory cinema reference guides. The tremolo twangs reminded us that calling Head Noise “Synth Punk” might be a bit limiting.
Finally a live recording of “Sheer Buccaneer” from the last Head Noise album, “Twisted Histories” as recorded in Cardiff, Wales last spring merited inclusion if only for the incongruous decision of Mr. Tennant to speak to the crowd in German. The live duo rendition loses the gimmicky vocal production of the album version to gain some power here in its directness. Though the shaggy Theremin solo in the middle eight made up for any streamlining. Maybe it’s time for a Head Noise live album quickie?
The new DL single is a paltry £1.00 so be sure to buy it today on Bandcamp Friday and top it up while you’re at it. For hardcore tactiles, the CD version is a mere £2.50! The band also have a brace of merch available in their Bandcamp store on the merch tab. There’s a compilation of their first nine years worth of twisted Pop called “Chomp Elation.” It’s yours for a mere £5.00 investment.
Bandcamp | WALES | CD-R | 2025
Head Noise: Chomp Elation – WALES – CD-R [2025]
Microwave
Age Of Content
Alaska Later
200,000 Gallons Of Oil
Fluffy & Uranus
Shrunken Head
Candid Camera
L.H.O.O.Q
Finally Snapped
I Was A Teenage Video Nasty
Sea Of Noise
Dangerously Close
Doin’ Science
Miracle Mile
As well as caps, stickers, t-shirts, pins and lovely embroidered patches. If they had LPs, mayhe Head Noise would have amazing merch inner sleeves like the ones on DEVO records of yore? In closing, please remember that all merch bought on Bandcamp Friday also goes 100% to the artists! DJs hit that button!
Post-Punk Monk 