Releases

Amyl and the Sniffers are a punk band possessed by the spirit of '70s Australian rock. Amy Louise Taylor (vocals), Bryce Wilson (drums), Dec Martens (guitar) and Gus Romer (bass) are former housemates who formed the band, wrote a handful of tunes and released their debut EP, Giddy Up, all in a span of 12 hours. Taking their cues from a diverse bunch of legends including AC/DC, Cosmic Psychos and Dolly Parton, they set out to have as much fun as possible.
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Slashing, pummeling, deadpan yelling, and other sonic tortures left by the noise punk guerrillas who later became A FRAMES.  "TAPE2" is a collection of previously unreleased studio recordings and practice space blastings from 1998-99.
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"The Dacios are heavy the way the MC5 were heavy - not just a raucous and groovy band that kicked jams, but a band that uses lyrics and riffs to scream and rant at the heavens, or to tear and claw at the soul." - Best Tape Ever
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"Adelaide’s MEN WITH CHIPS are part sunglasses-at-night scuzz rock smart arses, part no-wave art-punk de(con)structers. The extended number on side B Great Ape With Rib has a great Clear Spot era Captain Beefheart boogie going on." - Repressed Records
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“One of the purest, brightest, and most destructive sparks to light up Brisbane in the past twelve months has been Clever. Featuring members past and present of Per Purpose, The Wrong Man, Sewers, Psy Ants and more, this four-piece are taking the Venom P Stinger route into Brisbane sweatbox oblivion, a white-hot, multi-limbed, irascible demon intent on exploding and regenerating in two-minute spurts.” (Sonic Masala)
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"Gruff vox sing about all sorts of sick yet quotidian subjects, backed by feedback laced, splintery guitarwork, delving into Brainbombs hypno-sludge territory. Dunno what life's really like in Melbourne, but these aren't jingles the Tourism Board would be happy with. We sure are, though, when in the mood for some humorously abject scuzz punk!" (aQuarius Records)
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"Punters On A Barge... it’s also their best one yet by far, the earlier warmups rushing forth in a full-on sprint. A lot of modern punk bands use no wave as sort of an alienating device, and Spray Paint are no different, but the reps they get going this time are more reminiscent of the wall of dissonance kicked forth by Branca’s ensemble circa The Ascension, a noble feat in a coterie of bands that think just having someone yelp like Lydia Lunch or wank off on a synthesizer will get them the edge they need." (Still Single)
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"Sewers sounds like a buncha Vicodin freaks sitting around trying to play along to Clockcleaner records, but they can't pay attention long enough to carry the beat so they accidentally recorded one of the best noise punk LPs of recent years. All the while, the singer gurgles out disgusted grunts of joy as he no doubt makes sweet caveman love to the mic stand." Drugpunk blog - 2013 Year-End Lists
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"I don’t recall (Spray Paint) ever sounding this good, or ever stretching their boundaries further, and if this continues they are a serious contender for the best guitar band in their division that America has to offer. Their two tracks on the split with Exek come from the same session, and both floor it when the time is right (“Country Singer” in particular)" (RECOMMENDED, Still Single)
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"...same sort of raw, slate-gray atonal throb of early Sonic Youth or Live Skull, while the drummer accentuates the primitive by dropping thudding, postpunk rhythms that ground the music in something blue-collar, immediate and delightfully crude. The chanted group vocals, delivered with a masterfully executed sense of boredom and sing-songy disgust, reminds of LA's The Urinals." (Chicago Reader)
RELEASED 1st JUNE, 2015
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“There was nothing else like them, nothing in Tasmania and nothing anyone had heard in the pre-internet age. While those around them dressed down and howled about isolation, hMAS went pop. The pink dot in a world of black. Of course, the version of pop that made it through the static of Duncan's 'wall-of-detuned-TVs' art school installation projects or Ben's low-fi recording techniques had only the vaguest association with what most people thought pop was... A collection of transmissions more than an album." (Andy Hazel)
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"Being in the same room as this band, live or on record, means being at the receiving end of all the convoluted rage, frustrations and insecurities they spew forth. Like any good punk band, there's no restraint in the savagery." - Lee Parker (The Thousands)
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Yes I’m Leaving have been bubbling away in the suburbs for a few years, releasing three LP’s and perfecting an intense live show that is something akin to a sonic melting pot of Scratch Acid and Big Black. The band’s rhythm section create a brutal steamroller that serves as the perfect platform to aid Billy Burke’s thrashing guitar and borderline tortured vocal delivery. Not since the days of Stu Spasm’s Lubricated Goat has Sydney seen such an intriguing mix of noise and menace.
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Mission Bulb is a confusingly conflicting mess, a complex balance of celebration and resentment, apathy and emotion, confidence and indecisiveness, frankness and unhinged disarray, immediacy and chaos. All characteristics I love and hate of this city, that grinds through a single day at a time, unsure of it's next move, yet staunchly staring down it's future.
(Polaroids of Androids)
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"Imagine if sonic brothers in arms The Pheromoans wanted to rock a bit harder, but not too seriously. It's a gorgeous mess of Mark E. Smith meets Desperate Bicycles or Wire" (Permanent)

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"Could Monkey's Blood be the best Australian rock’n’roll record of the decade? I would like to think that in years to come this album will be regarded as highly as (I’m) Stranded, X-Aspirations or Blood Red River, but only time will truly tell." - Rene Schaefer (Mess+Noise)

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"Australian psych-post-punk fury of clanging guitars, pummeling drums and thick, sinewy basslines combine for a primal, minimalistic outpouring of swaggering rawk." For fans of Lubricated Goat, A Frames, My Disco and feedtime.

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"I personally think SPIRAL VORTEX is brilliant. It is the kind of late night spiral (it can’t be helped) into the black hole of feverish lament & Giallo deconstruction (and dismemberment). And the spectral cinematics are evidently something the band revels in – titles like ‘Lasers For Eyes’, ‘Monster’ & especially ‘The Devil Played Backwards’ serves to drive this heavy theme home." (Sonic Masala)
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"You all know that thing with the well-kept secret, the totally unknown band which is actually the best thing in the world and you’re a total dickhead if you haven’t heard of them. When really it’s just a wet fart and false promises. Well maybe for once, it’s possibly true. The Stickmen were a fucken great group and no one ever gave a shit about them."

"The populace will finally get to know the secret. And it’s bloody great. Homeless Records, the rising label of the land of Kangaroos, is re-releasing these two celebrated albums, only on vinyl. Above all, despite remastering, this is music is timeless and could have been written today. The best album of 2013 came out in 1998."
(Perte et Fracas) (continued...)
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"Ugly rock from Australia. Think feedtime for an old comparison, Useless Children or Slices for a modern one. Chaotic, really dirty and "I Wanna Be A Closer" is my favorite song of the day, though I can't imagine that Gentlemen would care. And that is why they are awesome." - Robert (Maximum Rock'n'Roll)
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"It's delightfully maddening and miserable. Imagine an Australian Pissed Jeans, or these guys' '80s/'90s predecessors Venom P. Stinger on a hard drug binge. Get it if you like your rock ugly and unhappy, but with a sardonic sense of humor." (Aquarius Records)
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"Music is surely rooted in the dirt a la feedtime or 3 Toed Sloth, more outback and dusty grime than swamp-n-muck. Excellent songs, with good titles even. Almost what I hoped Axeman's Jazz would be like. Some upper deck Aussie shit right here." - RK (Terminal-Boredom)
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"Dan Melchior is still making great records. They just sound a lot more fucked up now.
K-85 flits between bent takes on classic Melchior rockers such as the first track “Dirty Lies” and cheapo electronics grounded noise excursions like “Air Nippon.” I’m sitting here right now and l’m telling you that the inclusion of these varying kinds of tunes makes for a better whole." (bostonhassle.com)
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"Wow... quite cinematic, The Night Terrors are undeniably a (post)rock band, albeit one with more lead theremin than lead guitar. Sometimes gently atmospheric (someone said Sigur Ros), sometimes noisy and distorted (someone said MBV), always compelling and evocative, this almost seems specifically designed for aQ appreciation. So yeah, pushing all our buttons..." (Aquarius Records)
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