17 Sep 2020

Record Turnover say some words about GÅS

They say:

Gås is a new band from Sweden and have a single out soon on UK label Rocket, where they’ll be joining Swedish bands like Goat and Hills. Like Hills, they play a heavily fuzzed-out prog rock, but with a sound that smacks of 1970 and bands like Aguaturbia or Six Feet Under. There’s also a distinct British tinge to “Epitaph”, which is out next month but already sold out. Think Skin Alley or Andwella’s Dream – in fact the b-side “The North Wind Blew South” is a cover of a Philamore Lincoln track originally released on 1970. Naturally, there’s also a connection to some of the Swedish “progg” bands that usually sang in Swedish, like Charlie & Esdor.

Read the rest here: Record Turnover


16 Sep 2020

Fragmented Flaneur reviews DEAFBRICK

They say:

I mean what the fuck are you supposed to do?

I didn’t have a lot of hope coming into 2020 as we slid further into the arms of a right wing embargo cult that preferred to mire us in a pointless culture war in the name of ‘independence’ and ‘national pride’… with every slice of the corporate knife meaning more of our lives become monetised…

Then before we know it we’re confined to our homes… limited in our movement… reliant on those very people that we abhor to make decisions and provide the vital public services that all of a sudden become critical… I mean what the fuck ARE you supposed to do?

For many of us 2020 has all the appeal of a rancid boil that needs to be lanced… we need an outlet we need to see our frustrations explode… into anything really… we need to exfoliate our lives in an era where every indoor public space has become some sort of mask-wearing dystopia…

We just want to explode!

What… I hear you wondering… has this got to do with this album…

Because I write about music I very rarely get to hear an album for the first time on vinyl… I receive the promo files and get to hear those first… With Deafbrick, however, I never got to do this… so when it came I found a rare hour when I was alone in the house… turned the amp up and let it rip…

Read the rest here: Fragmented Flaneur


Cvlt Nation reveal video for new $hit & $hine single 'Devil's Backbone'

The lovely people at Cvlt Nation have just revealed a brand new $hit & $hine video for 'Devil's Backbone' – the second single to be released from their forthcoming Rocket album 'Malibu Liquor Store'.

The new album is released on 9 October and you can watch the incredible video (created by Mike Bourne from Teeth of the Sea) here:

Cvlt Nation

Our Rocket shop preorder of the ltd edition 'Malibu Liquor Store' LP has sold out but you can preorder the Blue/Red Swirl vinyl via your local record shop.


Craig Clouse - the Austin-based sage of the aurally unclean also known as $hit & $hine – has been busily channelling a lockdown-birthed psychic landscape into this mighty ‘Malibu Liquor Store’ album.

$hit & $hine cares not for your definitions of psych or dance music, and he’s never more comfortable than when transcending and annihilating both generic headspaces with casual ease and cheerful panache. Instead, these heat-damaged jams mark a spectral collision course between infectious glitch-heavy groove and an appropriately Texan acid-flashback aesthetic - a world in the last fifty years of culture are reflected and refracted back ad absurdum.


14 Sep 2020

Onda Rock reviews Sex Swing's Type II

They say:

New piece of the creative chaos that is ennobling the record production of the most difficult year of the last twenty years, Sex Swing integrate the mosaic of the most uncompromising rock language with a noise-rock project that makes the ears water, transmutes brutality into carnal poetry and panics all those who are convinced that minimalism is the most transgressive and cool sound language of the current generation.

It is difficult to imagine in today's panorama a more intense and creative noise-rock album than “Type II”. Songs like "Betting Shop" are like a magma that rises and grows up to incorporate rock'n'roll, psychedelia, punk, hard, metal, but above all fears and alienations that gush out like fireworks, leaving an emotional void between the more powerful post-Stooges.

Each song makes use of sound stratifications that renew and modify the concept of sonic maximalism, keeping at bay the cacophonic distortions of the shocking jam-rock normality that stir the crescendo of "The Passover", or trying to disrupt the rough and hypnotic Korn style riffs / Kyuss making them even more raw and aggressive, up to a thrilling final apotheosis. To this sublimation of rock'n'roll catharsis contribute not..

Read the rest here: Onda Rock


In Phase interviews J. Zunz

They say:

Last month saw us cover J. Zunz’s rework of Pigs x7’s track Hell’s Teeth in our Track of the Day series, an incredible piece of work. 

This week we caught up with J. (Lorena) and discussed her songwriting process, love for analog gear, the importance of great working relationships in the creation process and more! 

Corey: So, I noticed that you currently live in Ensenada, Baja California, México. That seems like a world away from Rocket Recordings and Sonic Cathedral Recordings whom are obviously UK based. Compared to your experience with Captcha, do any issues arise from the distance and time zones, or is it actually quite easy to plan tour dates, flights, album promotion etc. in the digital age?

J. Zunz: There hasn’t been any issue at all from my side, both labels are super well organised, very professional and they have tons of experience. I just try not to disappear from them and to answer every email as soon as I can. I’m also very lucky that I have always had a booking agent in Europe and UK, so everything is easy and smooth. Prior every tour, we just have to sort out some details like the flights, merch printing, van rental etc.

Even with the distance factor and the extra expenses, I think it has been easier for us to tour Europe and the UK than the US. Let’s see how it goes with the new work visa in the UK.

Corey: I saw that you said you had been working on the album since last year. I’m wondering if this was whilst writing / touring with Lorelle Meets the Obsolete? If so, was it fairly easy to decide what songs were solo songs and what were band songs? I’m also interested in where you were writing and if that had any significant effect on the shape of the album?...

Read the rest here: In Phase


John Robb interviews Kavus and Steve


11 Sep 2020

Iggor DJ set for Vinyl Factory

Listen to this special vinyl dj set with added modular improvisations by Iggor he did for the Vinyl Factory...tracklist is:

1. Gasparotti – Instantanea .3 (Dio Drone Records)
2. Medium – Eluvium (Zuckerman Museum of Art)
3. Deafbrick – O Antropoceno (Neurot Records)
4. Vatican Shadow – Archbishop 911 (Hospital Productions)
5. Paisel – Cause Yourself to Rise, Gong (Rocket Recordings)
6. O/H – Poverty Line (Lies Records)
7. Gnod – Stick in the Wheel (Rocket Recordings)
8. Bad Girl – Cosmi (Dio Drone)
9. Merzbow – TD3 (Relapse Records)
10. Nosferatu – The Plague (Silva Screen Records)
Read more here: Vinyl Factory


Lot's of love for Pigs Pigs Pigs Pigs Pigs Pigs Pigs new video for 'Hell's Teeth'

Yesterday we revealed Pigs Pigs Pigs Pigs Pigs Pigs Pigs new video for latest single Hell's Teeth, created by the animated talents of Lucy Dyson – and here's some love for it:

DIY Magazine

Backseat Mafia

Outburn Magazine


Under the Radar

Discovered Magazine

Mystic Sons

Latest album Viscerals can be picked up here: pigsx7.com


Fragmented Flaneur say their appreciation of Paisiel's Unconcsious Death Wishes album

They say:

When I wrote about Paisiel’s previous, self-titled, album (here) I was particularly struck by its easy eclecticism. I enjoyed how the Portuguese-based duo (João Pais Filipe & Julius Gabriel) moved seamlessly between musical styles in a way that was just so deep and fulfilling. Indeed, I thought so much of that album that it made it onto my ‘Essential’ list for last year.

Since that release Filipe has put out an excellent record with Manchester experimentalists GNOD (Rocket Recordings, here); and Gabriel a superb, more jazz-oriented, album on Creative Sources Recordings (here). But it’s when they come together that I find them to be at their most captivating.

The two apparently met back in 2014, following a chance encounter in a record shop where they found that they shared musical ideas, and while drums (Filipe) and Saxophone (Gabriel) are perhaps not the most natural of starting points for experimental music… they have certainly managed to produce something again here that fells very accomplished and organic.

This is essentially one long improvised track, and I’m commenting here on the uninterrupted digital version rather than the slightly edited one that will appear on the vinyl release. It begins with a long drone and seagulls, adds a rather marvellous and soporific organ after around four minutes before going stepping up into some crazy fragmented fiesta a few minutes later. Once again I am struck by the eclecticism on display… and how it works so well together...

Read the rest here: Fragmented Flaneur


10 Sep 2020

Pigs Pigs Pigs Pigs Pigs Pigs Pigs reveal rocking new animated video

Pigs Pigs Pigs Pigs Pigs Pigs Pigs share a brand new animated video for their latest single, "Hell's Teeth" made by filmmaker, Lucy Dyson. The track is the third single taken from their amazing album Viscerals which came out in April. Watch the video in all its glory above.

Buy the bands latest album Visceral on ltd LP' and CD – plus back catalogue, merch and gig tickets via here: www.pigsx7.com


Lucy Dyson says of the video: "When I first heard this song I had the vision that is now the video - just watch, I'm sure you'll agree! It was so much fun to create visuals for this ultimately positive song carried along on a riff that sounds like a straight pipe from hell. It's a heavy rock song that is pretty funny in tone, so I focused on the humour in the lyrics to make these rock monsters that actually seem like nice dudes - like metalheads, they look scary but they always turn out to be chill bros - they just wanna rock together in peace." 

She adds "As apocalyptic as the world may seem, working together, maybe we can still enjoy the ride, (though how we all miss the communion of a big sweaty rock concert!), for the time being, we can at least blast loud music in our cars. Speaking of, the car in this video is a homage to my parent’s 1970s kelly green Ford Falcon, in which as a child, my formative taste for rock n roll was made."

Vocalist Matt Baty explains: "'Hell's Teeth' is an ode to eccentrics, dreamers and outsiders. It's for those who are delirious, those who are bewildered, those who are at odds with the foreboding world that surrounds them but against the tide, find the energy to express themselves and support each other with great love, integrity, empathy and passion. Let's rock!" 


Astral Noize reviews DEAFBRICK

They say:

For fans of psychedelic, digitised reimaginings of punk, 2019 was defined by two acts – Brazilian trio Deafkids, signed to Neurosis’ own Neurot Recordings, and London duo Petbrick, formed by thrash legend Iggor Cavalera and producer extraordinaire Wayne Adams (of Ladyscraper and Big Lad fame). Both the former’s third LP Metaprogramação and the latter’s full-length debut I were album of the year contenders, sharing a vaguely similar sound and an ethos of resistance, whether it’s against genre boundaries or the societal status quo. 

When the two collaborated at Roadburn that year, their varied influences coalesced into a primal, spiritual performance of mind-altering magnitude driven by driving percussion, formless synth soundscapes, chanted vocals and raw d-beat guitars. In that moment it felt like lightning in a bottle, but with the two acts meeting up in Adams’ London studio later that year to record an eagerly anticipated collaborative album, that bottle has now been packaged and shipped, and you’re gonna want to get a crate in... 

Read the rest here: Astral Noize


9 Sep 2020

The Chicago Reader say some words about Deafbrick

They say:

Music festivals as we’ve known them may be in jeopardy due to a virus, but festival culture keeps on giving: this summer’s bounty includes Deafbrick, the new album by brain-rattling São Paulo psych-punk trio Deafkids and maniacal London-based electro-noise-rock duo Petbrick, aka musician and producer Wayne Adams and Sepultura and Cavalera Conspiracy drummer Iggor Cavalera. The record grew out of the bands’ friendship, which led to a collaborative performance at the 2019 Roadburn Festival in Tilburg, Netherlands. I was lucky enough to be there and catch about half of their headliner-length set, which merged two fantastically loud, brutally noisy, and uncompromisingly subversive bands; if memory serves, my exact impression was “holy shit.” Deafbrick, which features original material the collaborators recorded at Adams’s studio in London before Deafkids flew home to Brazil, is more than just lightning in a bottle—it’s alchemized into something even better. When your outfit includes two of the most powerful drummers and percussionists in heavy music, you let their talents fly, and right from wordless opener “Primeval I,” Cavalera and Deafkids’ Mariano de Melo (a multi-instrumentalist who recently released a solo album as Sarine) use theirs to suck you into the group’s universe. 

That track’s moody, shimmery synths and fuzzed-out whispers are the proverbial calm before the storm, even as they lead into hypnotic double drums; the next few take you on a sweaty, psychotropic adventure that seems to ping-pong between the cosmos, big-city back alleys, and quite possibly the bowels of hell, seeming equally at home in every environment. The haunting “The Menace of the Dark Polar Night” layers plodding beats and jittery video-game squeals, while “Máquina Obssessivo-Compulsiva” erupts in harsh industrial fury. The group also pay tribute to their DIY and Brazilian roots by adding a hand-percussion-laced groove to a version of prescient antifacist punk classic “Free Speech for the Dumb,” by D-beat pioneers Discharge (whose members join in on the fade-out to offer some “honest feedback” about the cover). Deafbrick is barely contained antiauthoritarian music of the highest order, and it already has me mentally fast-forwarding through this bumpy patch of life on Earth to imagine what Deafkids and Petbrick could come up with on a follow-up. 

See the piece here: The Chicago Reader


The Sleeping Shamen reviews Deafbrick

They say:

Less a meeting of the minds and more a melting of collective brains, the pairing of Brazil psych-core squad Deaf Kids and London based duo Petbrick (one half of whom being another Brazilian in the form of former Sepultura skin smasher Igor Cavalera) was never going to yield anything less than exciting results. Neither faction has a particular interest in musical boundaries beyond perhaps erasing them. Mutating from their initial collaboration at Roadburn, the conglomerate have harnessed their rambunctious sonic ooze into studio format for an album that sounds like fireworks going off inside the head of an enormous Dalek. These lads do not give a fuck about your hearing. They’re interested in raising your pulse.

Beginning like any good space journey should, the opening Primeval I is like a musical portrait of mission control preparing a rocket for takeoff, building tension and expectation as the immensity of the operation at hand sinks in. When the good ship Deafbrick launches skyward on the aptly named electronics and D-beat attack of Força Bruta, it’s as exhilarating as you’d hope. It feels like a modern re-tooling of the kind of adrenalin boosting industrial/metal bomb blast that late 80s Ministry excelled at (think Flashback). But this is just the start, not the template...

Read the rest here: Sleeping Shamen


8 Sep 2020

Echoes and Dust reviews J. Zunz - Hibiscus

They say:

As summer dribbled away, dark clouds more befitting of 2020’s mood scampered into place along the British skyline. Concurrent with this meteorological shift arrives J Zunz’s Hibiscus. One half of the hypnotic psychonauts Lorelle Meets The Obsolete, J Zunz (real name Lorena Quintanilla) has eschewed collaboration this time in favour of a deeply personal delve into her own psyche. What emerges is something nuanced, confident, and throbbing with paranoia.

The penultimate track – ‘America Is A Continent’ – is a prime example of the tone that J Zunz is plumping for on this record. A panicked heartbeat of a kick drum tattoos an anxious thud out of the speakers. Her vocals swoop and rattled bones echo off of narrow walls whilst muted bursts of distortion enter without permission. Night rides in with gin-soaked breath, rapidly replacing agoraphobia with something even more appalling...

Read the res here: E&D


7 Sep 2020

Watch footage from the first and only ever Autotelia show

Here's footage from the first and only ever Autotelia show recorded at the Bunker in Brussels.

You can buy the Autotelia album from your local record shop or from the Bandcamp here: Autotelia


Listen to J. Zunz latest CAMP Radio show

Here's J. Zunz latest show for CAMP Radio - music is mainly all culled from the contemporary underground scene in México


6 Sep 2020

20 years ago today

20 years ago today John and Chris were in San Francisco to watch The Heads play a blinding show as part of their one and only US tour – this is the poster Kozik made for the night...not a bad line-up!!

You can actually watch the show it in all it's glory here: 

Heads Live

You may notice Paul is wearing the famous Rocket 'Big Muff' shirt – they were hot off the press that night and this was its first ever public wearing!


4 Sep 2020

Fuzzy Sun and Raven Sings the Blues say some words about GÅS

They say:

Raven Sings The Blues:
An absolute shredder is handed down from Rocket Recordings today. The label has a knack for unearthing UK/EU heavies and GÅS fits in quite nicely with their stellar catalog. The Swedish band’s first single, “Epitaph” melds heavy fuzz, pounding at the heart with a slight lilt of English prog to it. Aesthetically they’re mashing a bit of Danish sludge rockers Moses with Sweden’s own Charlie & Esdor, though once those vocals kick in I’m getting some Wolf People nods as well. Those English psych-folk tones feel like they might be key here, as the band covers an old nugget, Philamore Lincoln’s “The North Wind Blew South” on the flip. It sets them apart from your average smoke shoveler. A huge debut single that begs to keep an eye on these guys. Get this on the table next to some Goat singles and that new hard hitter from Ball and you’re all set. Physical pre-orders are up tomorrow and the single lands Oct 30th.
See the post here: RSTB

Fuzzy Sun
Now and then Rocket Recordings hits the perfect spot for me and they did exactly that with this Swedish band that I never heard of before. GÅS will release their 7″ on October 30 on Rocket Recordings. The track that is up for a listen is called ‘Epitaph’ and is gorgeous heavy psych with a vintage feel. A truly remarkable track with gorgeous vocals. Check it out now.
See post here: Fuzzy Sun


DEAFBRICK released today

"A truly thrilling record."
The Quietus

"Absolutely pummelling." Brooklyn Vegan

"Fucking thrilling." The Wire

"Assault on the senses." Revolver

Today sees the release of DEAFBRICK – the debut collaborative album by Deafkids and Petbrick.

The album is available to buy on Red/Black Splatter vinyl ltd 500 copies from your local record shop or from Bandcamp here:



The new decade is eight months old, and the only certainty is that certainties have ceased to exist. Yet as we traverse through new and intimidating terrain unfamiliar a short while ago, two collaborators have come together to unwittingly create a record curiously suited to an intimidating and unpredictable new era. ‘Deafbrick’, the multiplication sum of Säo Paulo’s sonic warriors Deafkids and London’s pulverising duo Petbrick is a veritable force against adversity, and less a polite meeting of minds than a fiery collision whose impact and incandescence extend beyond the horizon. 

The project first came to light by way of a collaboration at Roadburn Festival, which in itself was the result of the friendship between Deafkids and Petbrick’s Iggor Cavalera (also of Sepultura/Soulwax/Cavalera Conspiracy) who had met the band in Brazil, “We had so much fun doing the collab and there was a real chemistry between the five of us, so it seemed like a natural progression to actually get into a studio together and write a record.” – reckons Petbrick’s Wayne Adams (also of Big Lad/Death Pedals).

The results run the gamut through a litany of uniformly invigorating audial landscape – this is an arena where Deafkids’ appetite for lysergic punk-damaged tumult and Petbrick’s ventures into dystopian synth-driven soundscapes can happily engage in gladiatorial contest. From the unearthly percussive clangour of ‘Hyperkinetic Mass Disordert’ to the DHR-addled chaos of the paint-stripping ‘Mega Ritual’, every second of ‘Deafbrick’ is infused with malevolent charisma and iconoclastic élan. 

Yet perhaps the ultimate destructive moment of this particular demolition derby comes via a thrillingly monomaniacal take on Discharge’s ‘Free Speech For The Dumb. Not that it necessarily met the approval of Discharge themselves, who make a cameo appearance on the song’s outro. “I asked them to record some quotes saying how much they hated our version” laughs Iggor. “One of them even said that Metallica did a better job. That really freaked me out!”

Metallica, it’s fair to say objectively, do not do a better job.


Celebrating Bandcamp's 'No Revenue Day' for September

Today is another Bandcamp 'No Revenue' day

So as always, today is a great time to buy some Rocket albums and shirts - some releases we wanna bring to your attention are:

GÅS – GÅS 7"
On Black/Clear 'splatter' or Yellow vinyl with free badge – one for you fuzz wah fans!

Paisiel – Unconscious Death Wish LP
Stunning second album, td Red/Black 'colour-in-colour' vinyl

Anthroprophh – Toilet Circuit EP
Repress on yellow vinyl due to speed of first pressing sold out – expected to go the same way

GOAT – Commune LP
Special ltd 'Silver edition' reissue on silver/blue swirl vinyl and new artwork

Deafkids & Petbrick – Deafbrick LP
This is released today – pick-up on ltd splatter LP

J. Zunz – Hibiscus LP
Ltd Blue/White swirl vinyl

Autotelia – I LP
Ltd Black/White striped vinyl

Sex Swing – Type II LP
On Ltd edition swirl vinyl

Kooba Tercu – Proto Tekno LP
On Ltd edition clear vinyl

Pigs Pigs Pigs Pigs Pigs Pigs Pigs – Viscerals and T-shirts
Latest album on ltd colour vinyl + ltd edition 'Lets Rock' and 'King of Cowards' T-shirts

+ there are loads of other great albums, shirts and posters to pick up from the Rocket or individual bands Bandcamp stores:



3 Sep 2020

GOAT's World Music in this Vinyl Me Please 'The 10 Best Psychedelic Rock Albums To Own On Vinyl'

They say:

Goat - World Music
A largely mythologized outfit, Goat are a collective of mask-clad Swedish musicians who hail from Korpilombolo, a tiny village in Northern Sweden that supposedly - at least according to the band - has a deep-rooted and omnipresent connection to voodooism. Their debut album proper, World Music, comes on like a kaleidoscopic slap in the face of Western elitism, eschewing rock archetypes and embracing non-Western instrumentation and dynamics. Central to the concept of Goat is fluidity; they believe that all musicians of Korpilombolo were Goat, and their line up fluctuates on a near yearly basis - you just hope that Goat’s contempt for Western mediocrity trickles down to their listeners. Astral folk compositions such as the latter third of “Goatman” allow respite from the unabated tribal rhythms that take centre stage, but World Music is by and large a record that uses hypnotic grooves to capture curious ears and throw them mercilessly into the deep end of experimental Afrobeat. World Music is a record in which you sink helplessly rather than indulge in.

See the full list here: Vinyl Me Please


Introducing the debut release by new Swedish band GÅS

Introducing GÅS...

A new band from Sweden and this, their debut release is the limited edition single simply called GÅS.

Listen to 'Epitaph'– the first track to be revealed exclusively via Psychedelic Baby Magazine:

Psychedelic Baby Magazine

The single can be preordered this Friday (as part of Bandcamp's 'No Revenue Day') on ltd Black/Clear Splatter vinyl (Ltd 100 copies) and Yellow vinyl with a free badge (Ltd 100 copies) from here:

Rocket Bandcamp

A further 200 copies of yellow vinyl will make their way to your local record shops.


The Swedish word ‘GÅS’ has two known meanings - one is ‘goose’, the Mythical mighty animal and the other is street slang for ‘smoking weed’. Though there may now be a third new meaning, and that would be ‘heavy and loud’.

The 7”starts with Epitaph, a 4 minute + track, rammed full of incredible ‘Rocket trademark’ fuzz-wah immersions from twin lead guitars. The early 70s rock inspired vibe is reminiscent of classic Black Sabbath and Blue Cheer but also has a ‘commune-dwelling’ sound of the German bands from that same era. Acts like Amon Duul ll and Agitation Free spring to mind – as well as their Swedish contemporaries Arbete & Fritids, International Harvester and Rävjunk.

The B-side ‘The North Wind Blew South’ is, in fact, a cover version, originally by the British band Philamore Lincoln, who made one album in 1970. GÅS move the intimate, string driven pop song into a fuzz filled sing-along anthem with its feet firmly set in the Swedish psych scene.

GÅS are a perfect addition to the list of mind altering Swedish bands that are already on the Rocket roster. So if you have GOAT, Hills, Flowers Must Die, Och, Centrum and Josefin Öhrn + The Liberation records in your collection, then this 7” is for you. 


2 Sep 2020

Echoes and Dust reviews DEAFBRICK LP

They say:

I’ve been a fan of Deaf Kids and also of Wayne Adams’ various forms of output for quite a while now, but I’ve not really had the opportunity to cover anything proper from either so far. I’ll say going into it that I’m not familiar with any of Igor Cavelera’s work aside from Petbrick, but from what I’ve heard he’s really fucking good. At the moment, I’m valuing heavy music a lot more, I really believe in the importance of art as catharsis and social commentary working hand-in-hand and I feel like anything that is not soul-crushing in this era is really just escapism that doesn’t really do anything for me. Having recently reviewed new albums from Sex Swing, Radar Men From The Moon, Oranssi Pazuzu and Boris, I’m really interested to see just how 2020 this collaboration is and I have a feeling it’s going to be pretty fucking relentless.

After a slow-burning intro ‘Forca Bruta’ pours jet fuel on the album, slamming thrash metal infused post-psyche brutality into the listeners brain with the force of a falling piano. It has a similar vibe to Chaudelande-era Gnod in the way the guitars and vocals sit, which works for me. Overall, as a second track kind of functioning as a first, it’s fucking nuts and I love it...

Read the rest here: E&D


The Quietus stream IMPATV's video for GNOD & João Pais Filipe track 'Faca De Fogo'

As revealed before, IMPATV created videos for three of the tracks taken from GNOD & João Pais Filipe's album 'Faca De Fogo' and you can watch the third video, for title track 'Faca De 'Fogo' above.

See what The Quietus say about it here: The Quietus


Listen to DEAFBRICK album in full via Cvlt Nation ahead of Fridays release

"A truly thrilling record." The Quietus

"Absolutely pummelling." Brooklyn Vegan

"Fucking thrilling." The Wire

"Assault on the senses." Revolver

This Friday sees the release of DEAFBRICK – the debut collaborative album by Deafkids and Petbrick. And you can listen to the album in full now via the lovely people at Cvlt Nation.

Listen here: Cvlt Nation

The Ltd LP can be preordered via Rocket here: Rocket
American audiences can preorder via Neurot Recordings here: Neurot 


Listen to Gnoomes Remixes playlist

Gnoomes are quite prolific remixers and when we were compiling our own Rocket Remixes playlist we were reminded on how amazing many of Gnoomes remixes were so we thought it made absolute sense to put together a playlist of remixes solely by Gnoomes.

Listen and enjoy here: Gnoomes Remixes

The band are playing Moscow Music Week tonight, so if you are there, make sure you check them out! Moscow Music Week

We also have some Gnoomes albums still for sale over at our Bandcamp – you can pick up ltd LP's and CDs of Tschak! and Mu! 


The Quietus reviews Autotelia's album

They say:

Speaking to The Guardian in 2016, Martin Fry of ABC said that David Bowie's Blackstar resembled a special kind of double album. There was the first one we experienced on Friday 8 January and were able to enjoy in blissful ignorance over the weekend: a spectacular rejuvenation on which Bowie sounded more fired-up than he had in decades. The prodigal Duke returns! Then there was the album we heard after learning of Bowie's death a couple of days later which, as Fry put it, "was his tombstone".

Autotelia is the joint project of The Oscillation's Demian Castellanos and Tom Relleen (also of Tomaga). Their debut album, I, was released at the end of July and judging by its title it should have been the first of many. A few days ago it was announced that Relleen had passed away after receiving a cancer diagnosis back in March. Presumably the album was cooked up before then, so perhaps the Blackstar comparison is moot. Even so, the experience of listening to Autotelia's debut has suddenly become a far more upsetting one.

Although the record is a gently unfolding blanket of sound, there is a vibrant effervescence to Autotelia's kosmische sound-shapes. The suite-like instrumentals will wrap themselves around you, inspiring deep-thought relaxation, without boring anybody's pants off. Furthermore, each of the five tracks has its own distinct flavour.

Read the rest here: The Quietus


1 Sep 2020

Paisiel announce new album – Ltd LP preorder goes live on Friday

“A rhythmic plane between Africa, techno, krautrock, and minimalism.”

“A driving force that unites past, present and future.” 

“To pierce the psychedelic barrier and scar the psyche beyond repair.” 

These words are perfect descriptions of Paisiel's unique sound so it is with great excitement we can share with you details of their second album called 'Unconscious Death Wishes'.

The album which consists of one long 38 minute+ track (which has been re-edited into two parts for vinyl) is released on 23 October – you can hear a short excerpt of the track accompanied by a mind bending video made by Portuguese collective Espectro Visível exclusively via The Quietus here:

The Quietus

'Unconscious Death Wishes' is available on LTD Red/Black 'colour-in-colour' LP via Rocket Recordings (and Lovers and Lollypops in Portugal) – the LTD LP will be available for presale on Friday 4 September to coincide with Bandcamp's 'no revenue' day from here:



Porto-based duo Paisiel comprise Portuguese drummer João Pais Filipe and German saxophonist Julius Gabriel. Both full-time musicians across several genres and disciplines, with Rocket Recordings having just released a collaborative album between João and Salford hit squad Gnod titled ‘Faca De Fogo’, the vibe Paisiel achieve across their second album ‘Unconscious Death Wishes’ sounds specific, singular and ultimately unique.

The pair first met in 2014, began recording as Paisiel in 2017, released their first, self-titled album on cassette through local label Lovers & Lollypops in 2018 and had it pressed onto vinyl in 2019 courtesy of Rocket Recordings, who have maintained the partnership for this follow-up.

A progression from what was already forward-facing music, ‘Unconscious Death Wishes’ is a single 39-minute piece recorded using improvisation based around composed structures, or what the drummer calls “instant composition”. Beginning quietly and mournfully, an array of percussion, avant-electro synths (think Cabaret Voltaire or Muslimgauze) and expansive sax swiftly takes hold. At times, this could be a late 60s proto-Krautrock cafeteria jam, early 70s New York loft jazz happening or Brazilian street parade from whichever decade takes your fancy.

Listeners might read all kinds of emotions or states of mind into this music: Paisiel themselves play to transcend such earthly concerns. ‘Unconscious Death Wishes’ is their way of evoking, in Julius’ words, “landscapes, shapes, colours, proportions and movements”.


Post Trash reviews J. Zunz's Hibiscus

They say:

Minimal, but far from demure, Hibiscus is a marvel of creeping synths and echoes. J. Zunz – the solo project of Ensenada, Mexico’s Lorena Quintanilla – conjures speculative and hypnotic soundscapes on her sophomore LP, out via Rocket Recordings.

Hibiscus feels more cohesive than J. Zunz’s previous solo record, Silente. In her new work (now three years in the making), trance elements move together more organically; they well up from the same kind of soil. The album plays out beautifully as a whole, as each song feeds into the next, building a strange and disorienting ecosystem. Although a few tracks are separated from each other by abrupt silences, such ruptures occur often enough throughout the album that they too become thematic. No track stands out too much from the rest of the project; each track relies on the others for context.

The album’s single and opener, “Y,” introduces the hypnotic mood that pervades the rest of the album. Minimalist, looping parts are interrupted by static and noise toward the end of the track, like an overcast sky succumbing to rain...

Read the rest here: Post Trash


31 Aug 2020

Rocket Probes – August 2020 playlist

Shit & Shine – Hillbilly Moonshine
(Certified banger)

Deafkids & Petbrick – Swaet-Drenched Wreck
(2nd single of genre destroyed chaos)

Various – Rocket Recordings Remixes
(Bit of a good listen this if we don't say so ourselves) 

Paddy Shine - The Criac in the cosmic egg
(New solo album from GNOD man)
Paddy Shine

Sarine – Raízes Aéreas
(Solo album by Deafkids stickman)

Metal Preyers – Metal Preyers
(More magic on Nyege Nyege)

Nico – Into the arena
(80s repetition from Nico's great last album)

Oranssi Pazuzu - Saturaatio
(Psyched Death)

Kevin Ayres – Lady Rachel
(A classic that keeps on giving)

Raikes Parade - Take A Nibble
(New track from he wizard behind GNOD's mighty sound)

PAN SONIC - Fyokki Halko
(The machines are taking over..thanks to Mr Bourne for this)

Shit and Shine – Goat Yelling Like A Man
(Like buses)

Joe McPhee – Live in Zurich (Remixed by Waclaw Zimpel)
(Ever evolving jazz-drone repetitions)

T. Rex – Chariot Choogle
(Great fuzzed solo)

Camberwell Now – Ghost Trade
(This great album continues to have lots of plays, one for you Can fans)

NNMM – Éons
(GOD'like sounds from Belgium)

Rahsaan Roland Kirk - Say A Little Prayer
(Freak out...thanks to Centrum for sharing this!)

Thee Oh Sees – The Daily Heavy
(Great track from a great album)

Vladislav Delay – 500 Push-up
(Psyched dub weirdness...thanks to Little Dirty for bringing it into our world)
Vladislav Delay

Liquid Liquid – Scraper
(The drum sound!)
Liquid Liquid

Craven Faults – Slack Sley & Temple (Live Works)
(Synthscapes with a bit of a nod to Och in the beginning)

Tangerine Dream – Ultima Thule Part 1
(Early psych rock single before the synths lead)

Don Cherry – Moving Pictures for the Ear
(Tribal repetitions)

The Heads - Reverberations Volume 2
(Live in '01)

Cha Cha Guitri – Art Negre
(Kraftwer'esque sounds from 81' France)

Victor Brady - Brown Rain
(Steel drum psych...reminded of this classic by Cherrystones)

Fåntratt – Frisk Kuling
(Soundtracked the mood of this last week)

Tomaga – Memory In Vivo Exposure Parts 1&2
(Still incredibly shocked and saddened by the news of Tom's passing...a beautiful and extremely talented human being who has left us way, way to early!!)

Listen to our 'updated monthly' Rocket Probes Spotify playlist here:


28 Aug 2020

The Quietus puts Shit & Shine's Hillbilly Moonshie in their 'Tracks of the Month'

They say:

Despite the name, this latest single by Craig Clouse on Rocket isn't a slice of drunken backwoods madness, rather a sleek European machine of cavernous reverb and pinpoint motorik beats. John Doran

Read the full rundown here: The Quietus


Repress of Anthroprophh's Toilet Circuit EP announced

Today we released our 200th release – the ltd edition Toilet Circuit EP by Anthroprophh. The EP sold out on presale extremely fast so due to the demands of fans we have decided to do a repress ltd to 300 copies with updated artwork and pressed on yellow vinyl – it will be released on 16th October.

Preorder now from the Rocket Bandcamp:


And you can still watch the band made video for the track Too Old here:



Anthroprophh's 'Toilet Circuit EP' – our 200th release is released today

Anthroprophh's ‘Toilet Circuit EP’ which is released today is the band's first release since their mammoth double album 'Omegaville' which was released to high acclaim in 2018. 

The three tracks that make up this EP follow on perfectly from the dense and psychedelic sounds of Omegaville – a feverish tirade of maximalism. Anthroprophh manage to find equal space for everything-on-11 riffage of The Stooges, krautrock repetitions, Butthole Surfers-esque bedlam, and surreal British humour.

This 7" is also Rocket's 200th release which is apt as Anthroprophh's Paul Allen and Gareth Turner also played on the labels first release, the split single with The Heads and Lillydamwhite. 

Unfortunately the 7" sold out pretty quick, but if you were not one of the lucky ones, you can listen to it in full here: Bandcamp


27 Aug 2020

Chicago Reader reviews J. Zunz album Hibiscus

They say:

J. Zunz is the solo project of Lorena Quintanilla, best known from Mexican electronic-infused psych duo Lorelle Meets the Obsolete. Her new album, Hibiscus, was born out of a period of personal and political crisis, but while darkness and anxiety permeate its tracks, it also offers hope with a cinematic sense of wonderment that lightens its heaviest moments. Moody opener “Y” pairs crawling keyboard melodies and sinister layers of fuzz, while Quintanilla’s singing builds from a whisper into a resolute declaration about leaving a broken relationship behind. The following track, “Four Women & Darkness,” swirls into a grey, foggy expanse where only shadows are visible on the horizon, capturing the trepidation that can come with moving forward after cutting off the past—even when you know it’s the right move. The album’s pacing adds to its tense feel. “Overtime” shimmers quietly as it bridges into “America is a Continent,” which opens with ominous pulsating beats and gasping vocals that dissolve into a murky sea of percussive chugs and elongated, fun-house-mirror bent notes. Hibiscus has plenty of entrancing experimentation and exploratory atmospheres, but it’s most memorable at its most bold and climactic: “33:33,” written shortly after Quintanilla’s 33rd birthday and Mexico’s 2018 presidential election, opens with a simple electronic melody and dainty processed vocals before it dives into a noisy, intense Krautrock journey; It leaves the impression enough resistance and resolution will help you find your way through the murkiest of unknown waters.

See the post here: Chicago Reader


26 Aug 2020

Beats Per Minute reviews J. Zunz Hibiscus

They say:

Perhaps better known as one half of brilliant Mexican dreampop and psych-experimentalists Lorelle Meets the Obsolete, Lorena Quintanilla’s solo work as J. Zunz focuses more on minimalist, brooding and menacing synth sounds rather than the waves of ethereal guitar fuzz that are the signature sound of her band. Hibiscus, the second album from Quintanilla’s solo project, is a master class in reserve, restraint and how to create a sustained claustrophobic atmosphere. 

Album opener “Y” is a tale of patriarchal obstinacy and the restriction of space afforded to women. It spirals in on itself, enveloping the listener with its hypnotic wooziness, descending keyboard line and introspective metronomic beat that pulses like an affronted heart. Hibuscus is a very visual album, the textured layers of sound imploring a mental image for your mind. “Y” conjures up ideas of wet streets, deserted and gloomy subways, and the orange glow from car lights in the crepuscularity of a steadily decaying environment. It’s the aural equivalent of a dark alley near the glittering lights of a pulsating city; it’s the wrong turn in a place of entirely constructed wrong turns. It’s pensive, exquisitely tense and immutably resilient...    

Read the rest here: BPM


Rocket DJ at Baba Yaga Huts Bank Holiday Monday show

Chris is gonna be dusting off his record bag and playing some records at this Baba Yaga's Hut event – first live show in a while!


Agathe Max - 4:00 - 4:30
Gareth Main DJ 4:30 - 6:00.
Sealionwoman - 6:00 - 6:40
Chris Reeder DJ 6:40 - 8:00
Pocket Signs 8:00 - 8:40
Baba Yaga's DJ 8:40 - 10:00

More info here: Baba Yaga's Hut