NURSE WITH WOUND

Backside [PRE-SALE]

価格帯: €29,00 – €33,00

n trouv

Pre-sale on the site, packages will be dispatched from June 25, 2025.
Release date at your record store, July 15, 2025.




Backside
NURSE WITH WOUND
1. Backside
2. Chernobyl Picnic
Tracks include unearthed fragments of BLADDER FLASK by RR, circa ’80
STEVEN STAPLETON, ANDREW LILES, RICHARD RUPENUS
cover: metallic silver gatefold sleeve
1LP: 200 g vinyl record
Sku: ROTOR0091
Limited and numbered to :
> 700 copies in black vinyl, the first 100 orders will receive 1 exclusive badge.
> 300 copies in “dark crystal” (dark ice), the first 100 orders will receive 2 exclusive badges.


New studio album “Backside” on vinyl by Nurse With Wound, includes unearthed fragments of Bladder Flask by Richard Rupenus, circa ’80s, also released on Cd in 2024 (there is also a DIY “lathe cut”).
Cover art by Babs Santini.
The paths of Nurse With Wound and Bladder Flask first crossed in 1980 and the following year Bladder Flask’s debut album One Day I Was So Sad That The Corners Of My Mouth Met & Everybody Thought I Was Whistling (Orgel Fesper Music) was distributed by United Dairies.
Following the aborted project for a second Bladder Flask album, scheduled for 1981, some forty years later, Richard Rupenus approached Steven Stapleton to use fragments of old recordings he’d unearthed from “Bladder Flask”, an invitation that Stapleton accepted, and rather than simply remixing or reworking existing Bladder Flask tracks, Steve Stapleton and Andrew Liles have succeeded in reinforcing Nurse With Wound and Bladder Flask’s sense of the absurd in this new opus “Backside”.

 

“As the closest release style-wise to classic old NWW in decades, the album’s opening track ‘Backside’ could almost be a relic of the early 1980s, full of squeaky and crunchy noises, big plate reverbs, lots of plunderphonics meets musique concrete type cut-up work, bizarre vocals and all sorts of unfathomable sonic elements. It’s quite an intense listen, but totally enjoyable. ‘Chernobyl Picnic’ feels more like ‘Cooloorta’-era NWW, as it involves more use of extended tones, with lots of liberally chopped-up and totally messed about sounds, much of it fried and modulated in the most fascinating ways, a kind of harsher and more multi-faceted ‘Soliloquy For Lilith.’ An excellent release, especially for jaded old NWW fans who want more in the style of ‘the good old days’ (Alan Freeman)”.