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Brainded Warrior / So Stoned by Zig Zags

Zig Zags

Brainded Warrior / So Stoned
In The Red

Just in time for the release of their self-titled debut, Zig Zags unload this vinyl-only single featuring one track from the album backed by a non-LP ripper. Grab it before it’s gone forever. “Road tards, rat milk, magic frogs and motorbikes / Ghost pirates, trailer park babysitters, King Kong Bundy and werewolf santas / NWOBHM, early Metallica, the Wipers, Budgie and Bobby Soxx / It ain’t retro, it’s total fucking recall / Get me off this dying rock / Escape from LA while you still have the chance.” —Randy 2024

7" $6.00

06/24/2014 759718526479 

ITR 264 


MP3 $1.98

06/24/2014 759718526479 

 


FLAC $2.99

06/24/2014 759718526479 

 


“This self-titled debut album from rigid Melbourne, Australia, punks Eastlink is the best full-length to come from Down Under since… well, since the last really incredible release on Aarght!, RIP Society, Homeless or any of the other countless many fantastic new labels that have appeared from that country over the past few years. For those paying attention, it’s hard to not be blown away by the amount of amazing records coming out of Australia lately. This album is no exception and stands near the top of the heap. “Eastlink features members from a variety of bands you already love like Total Control, UV Race, Repairs, Lakes and Straightjacket Nation, just to name a few. With four guitars, one drum and two vocalists, they splinter and drench two-note monotonic riffs the rest of us never noticed were right under our noses the whole time. These nine tracks range from harsh, crude, fuzzed-out one-note pounders to droning soundscapes. “Like The Fall, Eastlink clearly digs repetition and aren’t afraid to use it as a weapon. For these Australian doper-scuzz minimalists, it’s all about the riff. Heavy, punishing, repetitive riffs where four guitars lock on to something intense and primal for four minutes. The band simply pummels tracks like ‘Overtime’ and ‘Spring St.’ into the ground, pausing only for an occasional frenzied guitar solo or blast of feedback and noise. Meanwhile, ‘Dinnerchat’ and ‘Thatcher’s Dead’ are weirdo space-rockers that wouldn’t sound terribly out of place on Brain Records in the ’70s.” —Jay Hinman, Dynamite...

LP $16.00

05/13/2014 759718525519 

ITR 255 LP 


CD $12.00

05/13/2014 759718525526 

ITR 255 CD 


MP3 $8.91

05/13/2014 759718525526 

 


FLAC $9.90

05/13/2014 759718525526 

 


Decorative Feeding by Watery Love

Watery Love

Decorative Feeding
In The Red

“Take it from me, orbitin’ the Earth over ’n’ over ain’t all it’s cracked up to be. When I was asked to hop on board a Soyuz headed to the International Space Station (Assignment: Critical Observation), I reckoned this’d be the trip of a lifetime. Space, the final frontier. And how ’bout that view? But now I feel like I’ve been here that long—a lifetime, that is. You know, the food ain’t much to speak of, plus I gotta constantly make sure I don’t make no crumbs, else they might fuck up our air breathin’ filters. Crumbs! The things one learns. Drinkin’ ain’t no fun neither, ’less you get your jollies sippin’ daquiris from a straw out a plastic bag, like some swishy, doe-eyed Deadhead. And don’t even get me started on hygiene issues! I believe I could take a life for a proper bubble bath right about now (I miss my ducky, too). Which is all just a lumberin’ yet apropos segue to the matter at hand: this debut LP by Watery Love. “Now, any right-minded corncob south of the Van Allen Belt knows them three precedin’ 7-inches via Richie, Siltbreeze and Negative Guestlist smacked kernels hard, and that smolderin’ ferocity has naturally been carried over here. The glow ’n’ throb what’s got got is as much the byproduct of the eternal bioluminescence of Iron Cross or Third World War as an appreciation for the corroded, fractoluminescence exuded once upon a time by Chain Gang, Slow Death EP-era Leather...

LP $16.00

05/13/2014 759718524918 

ITR 249 LP 


CD $12.00

05/13/2014 759718524925 

ITR 249 CD 


MP3 $8.91

05/13/2014 759718524925 

 


FLAC $9.90

05/13/2014 759718524925 

 


Wahoo / Steps by Meatbodies

Meatbodies

Wahoo / Steps
In The Red

This is the debut single by the Meatbodies (formerly known as Chad & the Meatbodies) after having a cassette release on Ty Segall's God? label and a split single with Ty Segall on the Famous Class label. The Meatbodies are fronted by Chad Ubovich (he also plays bass in Fuzz) and have quickly gained a reputation as an amazing live band known for their fuzzed-out heavy psych rock. Look for another single and their debut album to follow later this year.

7" $6.00

05/13/2014  

ITR 262 


MP3 $1.98

05/13/2014 759718526271 

 


FLAC $2.99

05/13/2014 759718526271 

 


Sick People / I Don’t Care by Watery Love

Watery Love

Sick People / I Don’t Care
In The Red

Just in time for the release of their debut full length, Philadelphia's Watery Love comes out with this limited edition (500 pressed) single featuring two exclusive tracks. Here the band deliver cover versions by 80's hardcore band Breakdown and the Ramones. Both are given the sludgy, pummeling treatment that the band have become known for.

7" $6.00

05/13/2014  

ITR 258 


MP3 $1.98

05/13/2014 759718525878 

 


FLAC $2.99

05/13/2014 759718525878 

 


Kill The Kool by Spits

Spits

Kill The Kool
In The Red

***BACK IN STOCK!!!  The space-age mutant punk rockers known as The Spits have been at it for more than a decade now and are showing no signs of slowing down. Their demented, out-of-control stage act (which often includes blood and fire) has inspired many a mosh pit and near-riot. The band’s five albums (all self-titled) and countless singles are brief blasts of hyperactive aggression with a weirdo, mongoloid electro twist that makes them completely unique. Imagine if some of the creatures from film Mars Attacks got a hold of the first Ramones album, Black Flag’s Damaged, skateboards and some musical instruments and decided to start a band, and one would begin to get an idea of where The Spits are coming from. The Spits and In The Red are happy to announce the proper release of Kill the Kool. Previously pressed in an edition of 500 and sold on tour only, this collection has been re-mastered, expanded to a double LP (which spins at 45 RPM) with extra material, and housed in a beautiful gatefold sleeve featuring artwork by comic book artist Keenan Keller. The 22 tracks are pulled from singles sides, outtakes and demos, yet Kill the Kool plays like one of the most cohesive Spits releases rather than an odds ’n’ sods patchwork. To anyone who has yet to investigate The Spits, Kill the Kool is a perfect introduction. It encapsulates everything the band does best—from creepy, weirdo synth tracks to full-on Killed By Death...

CD $12.00

03/18/2014 759718525724 

ITR 257 CD 


2XLP $19.50

03/18/2014 759718525717 

ITR 257 LP 


MP3 $9.90

03/04/2014 759718525724 

 


FLAC $11.99

03/04/2014 759718525724 

 


Nashville, Tennessee’s punk warlords Cheap Time soldier on, delivering their fourth studio album. Produced once again by band leader / singer / guitarist Jeffrey Novak at his home studio, Exit Smiles builds off the sound of 2012’s Wallpaper Music, employing sharper production and more expansive songwriting. Along with danceable art-rock stompers like “Kill the Light,” and “Slow Variety,” the album also includes more progressive material like “Modern Taste” and the abrasive title track that opens the album. Taking everything up a notch is new bassist Jessica McFarland (vocalist of Heavy Cream), whose voice is the perfect counterpoint to Novak’s Bailey / Devoto punk snarl. McFarland’s tight bass playing fits right in the pocket between Novak’s overblown guitar chords and drummer Ryan Sweeney’s endless, Moon-y drum fills. Sweeney is Cheap Time’s backbone, an integral part of the band since 2010’s Fantastic Explanations. His drumming is powerful and relentless, especially on songs like “Country and City.” Where most bands drag or burn out around their second album, Cheap Time are students of rock history. They tread in the footsteps of their ’70s heroes—like Sparks or Alice Cooper—learning from the shortcomings of previous works and continuing to develop their craft. They’ve worn out their John Cale and Peter Hammill LPs, and finally delivered the classic punk album for 2013!

LP $16.00

12/24/2013 759718524710 

ITR 247 LP 


CD $12.00

11/26/2013 759718524727 

ITR 247 CD 


MP3 $7.92

11/26/2013 759718524727 

 


FLAC $8.99

11/26/2013  

 


Eastlink is a section of freeway in the suburbs of Melbourne, Australia. Eastlink is also a band from Melbourne that delivers a blown-out, three-guitar assault, equal parts riff-fueled rock and noise-fucked psych. If it matters (and you know it does!), Eastlink features members of such notable Australian flag-bearers as Total Control, UV Race, Repairs, Lakes, Straightjacket Nation, Interzone, Teargas, etc. Really, they are just a f’n great band.  Watch for their debut album in 2014 on In The Red!

7" $6.00

11/19/2013  

ITR 250 


MP3 $1.98

11/19/2013 759718525076 

 


FLAC $2.99

11/19/2013 759718525076 

 


Lance Barresi and Liz Tooley are the co-founders of Permanent Records, which means they’re responsible for releasing and reissuing a whole mess of awesome music. They also run some excellent record stores in L.A. and Chicago. Now, they’ve rechristened themselves Lance and Liz Bummer, and together with Greg Bummer (of The Spits and Merx), they’re the punk trio Endless Bummer.  On their debut EP, the trio churns out four tracks of dark-hued rock ’n’ roll with frayed edges and plenty of intimidation. Ripper Current was recorded by Ty Segall —the first material made in his new backyard studio, The Sweat Lodge—and it’s an awesome slab of sludgy punk.

7" $6.00

11/19/2013  

ITR 256 


MP3 $3.96

11/19/2013 759718525670 

 


FLAC $4.99

11/19/2013 759718525670 

 


After two incredible 7-inch singles released on the band’s own excellent Jack Shack Records, Brooklyn’s Pampers are proud to announce their debut full-length on In The Red. Pampers are a four-piece—two guitars, bass and drums, plus echo-laden vocals—and there’s a postmodern art-punk angle afoot here, yet the band’s relentless, breakneck tempos and all-out aggression tilt more punk than art. Self-described as “thug pop,” the band’s sound is a brutal, psyched-out pummeling with hooks fighting to be heard beneath the din. It’s certainly more thug than pop. Produced by Ben Greenberg of The Men, Pampers’ twelve tracks explode with opener “Eruptions” and don’t let up until “Head Bag” fizzles out in a whirl of guitar noise and equipment buzz. Everything in between is a cavernous whomp of mongoloid vox, primitive drumming and a cloud of warped sonics swirling above the rock ’n’ roll thud.  “I only caught the last song of Pampers’ set and mainly remember them being very, very loud.” —Brooklyn Vegan  “They’re awesome and you all are missing out by not seeing them perform. Seriously, they’re great.” —Impose

LP $16.00

11/12/2013 759718524512 

ITR 245 LP 


CD $12.00

10/29/2013 759718524529 

ITR 245 CD 


MP3 $9.90

10/29/2013 759718524529 

 


***NOW AVAILABLE ON NEW GOLD VINYL!!! Received a 7.3 rating from Pitchfork.  Fuzz is Ty Segall (drums / vocals), Charlie Moothart (guitar / vocals) and Roland Cosio (bass). They’re heavy rock lifers—three California-bred dudes who have been refining their riffs and getting weird together since high school (which wasn’t that long ago, actually). If you are not already aware of Segall, well, what’s up? He’s one of garage rock’s most prolific sons. He said he was going to take it easy this year, but by the time you finish reading this, the onesheet for his next record will have already arrived in your inbox. Moothart plays guitar in The Ty Segall Band and was also a member of The Moonhearts, which included Cosio on guitar. Way back in the early ’00s, all three played in the Epsilons. Fuzz was formed a couple years ago as a collaboration between Segall and Moothart, but only recently did the pair have sufficient time to guide the band out of side-project limbo and into a recording studio. Since then, they have released two singles, “This Time I Got a Reason” (Trouble In Mind) and “Sleigh Ride” (In The Red). Around the time of the latter, Cosio joined on bass. They are not dabblers or dilettantes. Fuzz flipped through used bins, hard drives and record collections of the world, seeking out the finest weirdo cuts. The band’s self-titled debut LP, which was recorded by Chris Woodhouse (Thee Oh Sees, The Intelligence), dives deep, drawing...

LP $19.00

10/01/2013 759718525410 

ITR 254 LP 


CD $12.00

10/01/2013 759718525427 

ITR 254 CD 


LP COLOR $22.00

04/19/2023 759718525410 

ITR 254 x 


MP3 $7.92

10/01/2013 759718525427 

 


FLAC $8.99

10/01/2013 759718525427 

 


Ooey Gooey Chewy Ka-blooey! by Dirtbombs

Dirtbombs

Ooey Gooey Chewy Ka-blooey!
In The Red

For about a decade now, Dirtbombs frontman Mick Collins has threatened that the band’s next release would be their “bubblegum album.” After a couple of records of mostly originals, a compilation of singles and an album of Detroit techno covers, one might have suspected that the concept either fell by the wayside or was a farce to begin with. Well, at long last, here is Ooey Gooey Chewy Ka-Blooey. It’s understandable to assume that a bubblegum record by The Dirtbombs would be cover versions by groups like the 1910 Fruitgum Company, The Ohio Express and The Archies. After all, the band already has two albums of cover songs under their belt which salute specific genres. That is not the case in this instance. Mick Collins wrote ten new tracks which pay homage to the sound and style originally popularized in the late ’60s / early ’70s by producers / exploiters like Kasenetz-Katz and Don Kirschner. While the usual Dirtbombs’ double-drums, fuzzy guitars and soulful swagger are present, Ooey Gooey is sugary, sunshiny pop rock that recalls Josie & the Pussycats, the Banana Splits and Lancelot Link & the Evolution Revolution, to name but three. It’s all sing-along choruses, childlike themes and a contrived innocence—not the kind of record one would’ve predicted from a guy who once fronted The Gories. The original bubblegum music was a cash-in produced on an assembly-line using studio musicians and hired songwriters, who dashed out the stuff as quickly as possible and most likely forgot about...

LP $16.00

09/17/2013 759718524819 

ITR 248 LP 


CD $12.00

09/17/2013 759718524826 

ITR 248 CD 


MP3 $9.90

09/17/2013 759718524826 

 


Sunderberry Dream by Fuzz

Fuzz

Sunderberry Dream
In The Red

The latest offering from the soon-to-be legendary Fuzz comes as the band releases their self-titled debut full-length on In The Red. Sunderberry Dream features two non-album cuts, the second of which is a cover of King Crimson’s “21st Century Schizoid Man.” Fuzz is Roland Cosio (bass), Charlie Moothart (guitar) and Ty Segall (drums and vocals).    “... blues-punk slow-grinder in the style of Black Sabbath, albeit re-imagined as a San Francisco garage band.”—Spin

7" $6.00

09/17/2013  

ITR 253 


MP3 $1.98

09/17/2013 759718525373 

 


TV Ghost’s third full-length for In The Red, Disconnect is a journey to the center of dreams. The Lafayette, Indiana, band displays a newfound maturity, incorporating churning rhythms and psychedelic drone into a lush torrent of gaseous keys, sprawling guitars and eerie melody. Think Porcupine-era Echo and the Bunnymen and Tago Mago-era Can run through a Cure Pornography blender.   “TV Ghost’s 2009 debut LP, Cold Fish, is a maelstrom—10 hectic songs ripped out in 25 minutes. Stuffed to the seams with wiry guitars, trembling keyboards, crashing beats, and Tim Gick’s mad-man warble, it has the creepy tension of a post-punk haunted house where the Cramps, the Scientists, or Pere Ubu might leap out from the shadows at any moment. The band deftly balances precision and abandon—every moment sounds lunatic and unhinged, yet no track collapses into complete anarchy. “That abandon has subsided a bit on Mass Dream, which doubles the length of its predecessor despite having only one more track. That’s by design—Gick says that his intent was to “space things out more, let the songs breathe.” And while I miss Cold Fish’s farther-flung moments, the band has countered that loss with songs that are deeper and more open. Now, along with all the post-punk echoes rattling around, unexpected reference points pop up. At times I hear the enervated drama of Echo & the Bunnymen’s Ian McCulloch, or the stridency of Ian Svenonius during his Nation of Ulysses days. And TV Ghost prove as adept at stark dread as...

CD $12.00

09/03/2013 759718524321 

ITR 243 CD 


2XLP $19.50

10/15/2013 759718524314 

ITR 243 LP 


MP3 $9.90

09/03/2013 759718524321 

 


Negative Capability by Urinals

Urinals

Negative Capability
In The Red

In The Red is proud to announce this double-vinyl release of The Urinals’ Negative Capability, originally released by Amphetamine Reptile on CD in 1996. Before changing their name to the less restricting 100 Flowers and becoming one of the most respected underground post-punk-pop acts in the US, Los Angeles’s seminal trio released eleven songs during their 1977-1980 tenure—ten on their three 7-inch singles and one more on a 7-inch compilation, all on their own Happy Squid label (they were about the only Los Angeles band to do that back then). This retrospective triples their output to 31 songs!  Want to hear America’s Wire, only twice as primitive (if that’s possible), with one quarter the sound quality? Even when they are covering the Soft Machine’s “Why Are We Sleeping?” they sound like a three-step primer on minimalism, in scratchy, fast, burping, nutso punk with clipped vocals. You can see why the Minutemen covered “Ack Ack Ack Ack,” but it’s the real solid, melodic stuff—such as the Last-inspired harmonies of the great A-sides “Black Hole” and “Sex,” and “Scholastic Aptitude,” and the instrumental “Surfing With the Shah” (which foreshadows the coming of 100 Flowers and later offshoot Trotsky Icepick)—that makes so many Angelinos remember this goofy but great trio so fondly. Negative Capability has an unrelenting, authoritative intelligence and sense of humor. —Jack Rabid

2XLP $19.50

08/20/2013 759718524413 

ITR 244 


MP3 $9.90

08/20/2013  

 


From the bands he was wrapped up in early in his teenage years, such as The Muggles, Defilers, Real Cool Killers, and the formidable Guilty Pleasures, to his ascent to mainstream recognition with The Ponys, it’s clear that Jered Gummere is known as one of the most important songwriters of our generation. His influence on pop music over the first half of this century is undeniable, impacting most notably Jay Reatard, and much of the current Brooklyn sound, right up to all the modern bands that still try to capture that elusive something The Ponys delivered on a nightly basis. Ahead of their time undoubtedly, and with that same pioneering spirit fully intact, Gummere’s newest assemblage, Bare Mutants, coalesces all of the most pivotal nuances of his repertoire into a perfectly minimal, mid-tempo snapshot of this morosely powerful tone. Adding in essential Chicago nutrients such as Seth Bohn from Mannequin Men on bass and Jeanine O’Toole from The 1900s on backups and tambourine, along with multi-talented friends Matt Holland on drums and Leslie Deckard on organ, Bare Mutants have come together as a tightly-wound, tense-yet-tranquil wall of sound that surges and ebbs within the raw emotion and gut-wrenching intensity of a band that’s on its way somewhere big. None of the heart-crushing tracks on this debut album are going to quicken anyone’s pulse, yet the solemn seduction that awaits within these celestial grooves is immeasurable in its trance-inducing tension. —Todd Novak, Victim of Time / HoZac Records

LP $16.00

08/06/2013 759718524215 

ITR 242 LP 


CD $12.00

08/06/2013 759718524222 

ITR 242 CD 


MP3 $9.90

08/06/2013 759718524222 

 


In The Red is proud to announce the release of The Oblivians’ first studio full-length album from since 1997’s ...Play Nine Songs with Mr. Quintron.  Desperation picks up right where the band left off, delivering fourteen scorching tracks of soulful punk-garage-blues trash rock informed in equal parts by ’50s rock ’n’ roll, ’60s garage rock, Memphis soul, Delta blues and Killed By Death-style punk. There’s even a Cajun Zydeco cover here!  As Greg Oblivian puts it, “Between our last record as a band in ’97 and now, a lot of water has passed below that bridge. We three went our own ways after that and pursued our own musical goals. Personally, I often missed the dynamic that Jack and Eric offered to my songwriting. Almost as much as I missed being given carte blanche to add a thing or two to theirs. I’ve played with lots of great musicians in the interim but needless to say, it’s a hard itch to scratch. The dynamic between us was a singular thing. So, over the years as we would occasionally reunite for a festival or special occasion, the idea began to grow in the back of my mind—the idea of making a new record. I mean, if you’re going to keep playing as a band eventually you’ll want new songs to play. Because as much as we enjoyed playing together the thing I missed the most was creating together. So that’s what we did.”

LP $16.00

05/28/2013 759718523812 

ITR 238 LP 


CD $12.00

05/28/2013 759718523829 

ITR 238 CD 


MP3 $9.90

05/28/2013 759718523829 

 


Waking from a nap in the swamps of outer space, Kid Congo & The Pink Monkey Birds ride a geisterbahn into the hypnagogic, a place between sleep and consciousness also known as the “Haunted Head.” Haunted Head is the third LP the quartet has oozed out for In The Red. Legendary guitar stylist Kid Congo Powers (The Gun Club, The Cramps, Nick Cave and The Bad Seeds) and longtime cohorts bassist Kiki Solis (Knife in the Water), drummer Ron Miller (Up The Academy) and guitarist Jesse Roberts (Sandrider, The Ruby Doe) take matters into their own mitts by having Roberts engineer and Miller mix the record at the now well-known Harveyville Project High School in Kansas.  With The Pink Monkey Birds’ cocktail of fuzz guitars, New Orleans drum beats, soulful strut bass lines and sonic ambrosia at its most potent, Haunted Head offers the purest distillation of the group’s powers. The trip of your dreams includes the “cheap and tawdry” in a tribute to dearly departed actress Susan Tyrell (“Su Su”), the morphing of Jerry Lee Lewis with Phyllis Diller (“Killer Diller”) and the plain ol’ insanity of romantic love (“Dance Me Swamply”). The band also tells you how they like “the mondos and the cholos and the weirdos and he freaks” on the rollicking “Let’s Go!” and how they don’t like “neocons in square back suits” and “throwing up in a dirty phone booth “ on the punky proclamation “I Don’t Like.” I mean, who does?  On...

LP $16.00

05/28/2013 759718524017 

ITR 240 LP 


CD $12.00

05/28/2013 759718524024 

ITR 240 CD 


MP3 $9.90

05/28/2013 759718524024 

 


Sleigh Ride by Fuzz

Fuzz

Sleigh Ride
In The Red

Fuzz are Roland Cosio (bass), Charlie Moothart (guitar) and Ty Segall (drums and vocals). The band more than lives up to their name with a a sludgy, heavy, psyched-out proto-metal sound that is steeped in shredding fuzztone guitar. Comparisons to Blue Cheer, The Jimi Hendrix Experience and Black Sabbath have been made and are not far off the mark. The group’s debut 7-inch on Chicago’s Trouble In Mind Records sold out in about ten minutes. In The Red is pleased to announce the release of Sleigh Ride, their follow-up single. Watch for their debut album later this year!

7" $6.00

04/16/2013  

ITR 241 


MP3 $1.98

04/16/2013 759718524178 

 


Baron In The Trees by Novak, Jeffrey

Novak, Jeffrey

Baron In The Trees
In The Red

In The Red is proud to announce the second solo album from Cheap Time front man Jeffrey Novak. This album was on the shelves for several years where it aged like a fine wine, and the results are the audio equivalent of an excellent Amontillado. Novak is the rock underworld’s most adept chameleon. Take one look at the Tennessee man’s band history and you’ll see a series of quick genre switches. There was the one-man garage band record under his given name back in 2005, the classic ’77 trash-punk of Rat Traps, and his current, most well-received project, the weirdo pop punk power trio Cheap Time. Between touring and recording with that band, Novak returned to the world of solo records.  His debut solo album, the self-released After the Ball, stroked all the remaining ’60s and ’70s rock fantasies he’d yet to tackle in his oeuvre. Baron in the Trees carries on in much the same tradition with Novak’s anglophilia on full display here—flashes on Syd Barrett, Ray Davies, Kevin Ayers, David Bowie and Sparks. There’s a fine line between homage and imitation and Novak straddles it with near-perfection; most importantly, he doesn’t look back and he writes in a quick enough manner to keep the naysayers eating dust. Composed and recorded on piano with sparse bass, guitar, drums and strings at Jay Reatard’s Shattered Studios, Baron in the Trees also marks one of the last projects that Reatard participated in, having recorded, produced and played on the album. Much like Reatard’s...

LP $16.00

02/19/2013 759718518313 

ITR 183 LP 


MP3 $8.91

02/19/2013 759718518313 

 


Kid Congo (Cramps / Gun Club / Bad Seeds) and his Pink Monkey Birds are back with two brand new recordings on this limited-edition 7-inch single.  The A-side features a swampy new original while the B-side has a deranged cover of an old Seeds tune. Neither track will be featured on the band’s upcoming album, Haunted Head, to be released by In The Red later in 2013.

7" $6.00

02/05/2013  

ITR 239 


MP3 $1.98

02/05/2013 759718523973 

 


***BACK IN STOCK!!!  Originally released in 2009 as a vinyl-only title on the Kill Shaman label, Reverse Shark Attack is a collaboration by Ty Segall and Mikal Cronin, two longtime chums who grew up together in Laguna Beach. Both turned out to be hyper-prolific singer / songwriter / musicians who recorded as solo artists as well as performing in bands such as the Sic Alps, Moonhearts, Epsilons, Traditional Fools and Okie Dokie.  Equal parts danceable garage rock and effects-ridden psychedelia, Reverse Shark Attack is a mind-blowing explosion of loud guitars, pounding rhythms and signature vocal harmonies, and these eight shambolic, psychedelic jams are sure to please the most scrutinizing rocker. The centerpiece of the album is the title track, a side-long epic that goes from Beatles-esque melody to psych / folk weirdness before exploding into a Ventures-induced headache of smashed drums and wildly vibrant surf guitars. It’s a must-have release for fans of these two artists, and nothing like either of them have done on their own.

LP $16.00

01/22/2013 759718522914 

ITR 229 


CD $12.00

01/22/2013 759718522921 

ITR 229 CD 


MP3 $6.99

01/22/2013 759718522921 

 


Received a 7.9 rating from Pitchfork...   In The Red is proud to announce the re-release of the self-titled album by The Traditional Fools, a garage-punk-thrash-surf trio consisting of Ty Segall, Andrew Luttrell and David Fox. They recorded and released their lone full-length back in 2008—it sold out quickly and has never been re-pressed until now.  Recorded live in the studio, The Traditional Fools is low on fidelity and high in energy. The band’s sound is a perfect combination of ’60s garage, vintage surf reverb and early LA punk performed with trashy, reckless abandon. Covers by Redd Kross and Thee Headcoats give an idea where these guys were coming from, and songs about bikini babes and shredsticks tell where they were at. Grab a bike, tank top, sunglasses and every beer you can find, and enjoy surf-punk done right.

LP $16.00

01/22/2013 759718523010 

ITR 230 


CD $12.00

01/22/2013 759718523027 

ITR 230 CD 


MP3 $9.90

01/22/2013 759718523027 

 


God is saying this to you: Racism is the third album by Australia’s most genius avant-tards The UV Race, dragging melodious pop songs through a devolved, malodorous glam-punk aesthetic. It continues the stylistic jump from their self-titled debut to sophomore full-length Homo, further exploring the possibilities of the first wave of punk, incorporating orchestral arrangements and gutter-glitter psych stomp, like if Vom tried to write their own Forever Changes; like if the Electric Eels backed up Bolan or if The Fall put out a record on Crass Records. There are tuneful lamentations of heartbreak and loss alongside very debased, toilet-humor punk licks; Lovecraftian psych-cult morbidity at one moment and rousing anti-anthems against self denial the next. It has been an especially productive year for the band—they are about to launch their first feature-length film, Autonomy and Deliberation, and the soundtrack LP recorded for the film comes alongside Racism, a split 7-inch with Native Cats (on Ride the Snake), a split live LP with Eddy Current Suppression Ring (on Almost Ready, originally released on a limited run of cassettes back in 2008), and the Gypsy King single (from Racism, on HoZac). All this, plus the output of the numerous other Melbourne bands in which members of UV Race play—Asps, Dick Diver, East Link, Guy & Marcus Blackman Experimentation, Lower Plenty, School of Radiant Living, Soma Coma, Straightjacket Nation and Total Control—reveal a relentless commitment for the sake of the song.

LP $13.00

11/13/2012 759718523614 

ITR 236 


CD $12.00

11/13/2012 759718523621 

ITR 236 CD 


MP3 $9.90

11/13/2012 759718523621 

 


On Triple Beams by Tyvek

Tyvek

On Triple Beams
In The Red

It’s morning in Detroit: Organic cafes are sprouting up where liquor stores once dominated the landscape, cycle lanes now line even the most impassable roadways, and an army of aimless (white) youth, the shock troops of gentrification, are living out their wild west fantasies in maximum comfort and self-satisfaction. The names of their wifi networks tell the story: “homesteader,” “eastside settler,” “landgrabba.” They come for a reason: a cheap practice space in other people’s misery.  True to their contrarian instincts, Tyvek won’t give any quarter to the well heeled (and no doubt well intentioned) drum circle that has invaded their hometown, but they also can’t help but feel a certain optimism. Their third album, On Triple Beams, picks up where the blistering proto-hardcore of the Nothing Fits record leaves off, but doesn’t tarry long in familiar zones. The melodies open up into a much more spacious musical headspace, channeling unexpected positivity on tracks like “Wayne County Roads,” “Say Yeah” and “Returns.” Produced by Fred Thomas, On Triple Beams is hard and direct but it doesn’t pummel. Likewise, the lyrics ain’t pedantic. Searing punk rock is still the order of the day, and the tunes are just bangin’. And in case there’s any doubt: these are tunes in a major way—the songwriting chops are on this album are completely out of place in the 2012 bumper crop of plastic platters. Welcome to the strange path that Tyvek has trod for the past eight years: for every step forward, they take two...

LP $13.00

11/20/2012 759718523713 

ITR 237 


CD $12.00

11/13/2012 759718523720 

ITR 237 CD 


MP3 $9.90

11/13/2012 759718523720 

 


Under The Water Under The Ground by Lamps

Lamps

Under The Water Under The Ground
In The Red

“This is Lamps’ third album and since the last one was called Lamps Lamps, they missed a hell of a chance to call this one Lamps Lamps Lamps. But they’d like to call it Under the Water Under the Ground, which implies a depth unimaginable by anyone but ‘scientists.’ Do they get there? You bet. “A look at the structural components of a rock trio reveals some hidden logic, resolved by concepts related to physics: if you plot three points (one per band member, if you want), and put the musical concepts of power, precision and melody into each of those slots, and you move the point where melody exists closer to the axis on which the other two points reside, you get something resembling an icepick. It’s still a triangle, but it’s long and wide, and its bottom angles are like knives. If they lived anywhere but Los Angeles (or Austin, or the nowhere in between) they might need a device that employs angles much like those to scrape the ice off their car windshields, or as a shiv.  “There are some catchy hooks here—some of the catchiest Lamps have written to date, and vastly improved by an industrial strength recording by Chris Woodhouse—but they compress that element of their sound into a dynamic that favors power and precision as its most acute points, amplified / distorted / corroded to the point where it only knows how to hurt. The rhythm section is straight-up gorilla goon shit, muscular...

LP $13.00

11/13/2012 759718523317 

ITR 233 


CD $12.00

10/16/2012 759718523324 

ITR 233 CD 


MP3 $9.90

10/16/2012 759718523324 

 


***BACK IN STOCK!!! AVAILABLE ON CLEAR WITH WHITE AND GRAY SWIRL. Received an 8.1 rating from Pitchfork.  What’s the first thing that comes to mind when someone mentions Thee Oh Sees? Probably their riot-sparking live show, right? Visions of a guitar-chewing, speaker-smothering, tongue-wagging John Dwyer careening across your cranium, chased by a wild-eyed wrecking crew that drives every last hook home like it’s a nail in the coffin of what one thought it meant to make 21st century rock ’n’ roll?  Yeah, that sounds about right. But it misses a more important point—how impossible Thee Oh Sees have been been to pin down since Dwyer launched it in the late ’90s as a solo break from such sorely missed underground bands as Pink and Brown and Coachwhips. That restlessness extends to everything from the towering, thirteen-minute title track of 2010’s Warm Smile LP to the mercurial moods of 2008’s The Master’s Bedroom Is Worth Spending a Night In. And then there’s the home-brewed symphonies of Castlemania and the high-wire hooks of Carrion Crawler / The Dream, which dropped a second drum set among sunburnt organs, dovetailing guitars and rail-jumping rhythms.  If one prefers a slightly more subtle musical awakening, there’s always Putrifiers II, the latest in a long line of Oh Sees albums that expands the group’s sound well past your friendly neighborhood garage band. So while the space-odyssey nods of “Wax Face” actually sound like they’re meant to melt one’s ears straight off, the record’s full of...

LP $19.75

09/11/2012 759718523515 

ITR 235 


CD $12.00

09/11/2012 759718523522 

ITR 235 CD 


MP3 $8.99

09/18/2012 759718523522 

 


Known predominantly for his work as the frontman of Clone Defects and Human Eye, Timmy Vulgar has spent over a decade being the definition of punk rock. He is also a 2010 Kresge Artist Fellow who was awarded for a “creative vision and commitment to excellence within a wide range of artistic disciplines.” For Timmy’s Organism, Vulgar wrangles up a trio of like-minded degenerates and leads them through dismantled punk, space-blues and debris-sodden noise with deft ease.  Debut album Rise of the Green Gorillas, released in 2010 on Sacred Bones, was essentially Vulgar solo recordings, but Raw Sewage Roq is the full band pounding the kind of whacked-out, sci-fi-inspired, skuzzy skronk anyone familiar with his oeuvre would expect. Here, Vulgar jettisons most of the avant, jazzy Beefheartian leanings of Human Eye in favor of a direct, straight-ahead approach that owes more to KBD punk, Alice Cooper-style glam and Hawkwind. That said, “straight-ahead” by Vulgar standards is still pretty damned unhinged. You will hate yourself if you sleep on this one!  “How can Kurt Vile fans sleep at night knowing that this fucking guy is out there, ruling the universe? Seriously, Timmy Vulgar—punko-futuro from Epileptix, Clone Defects and Human Eye—makes everyone else look like a fucking joke.” —Mitch Cardwell, Maximum Rocknroll

LP $13.00

07/17/2012 759718522716 

ITR 227 


CD $12.00

07/17/2012 759718522723 

ITR 227 CD 


MP3 $9.90

07/17/2012 759718522723 

 


BACK IN STOCK ON CD!!!   Received an 8.7 Best New Music rating from Pitchfork.  A reissue of the 2012 debut release by the Ty Segall Band on In The Red, featuring a bonus song not on the original release! The Ty Segall Band is Ty Segall (obviously), Mikal Cronin, Charlie Moonheart and Emily Rose Epstein. While Segall has released many incredible solo releases, Slaughterhouse marks the first time he recorded with his touring band. For this mini-album (originally released as a double 10-inch, but now expanded to a double 12-inch) the band recorded with Chris Woodhouse at the Hangar, turned their amps all the way up, set their fuzz pedals on “obliterate” and commenced to kick ass and take names. Seriously, this record will melt your face. All of Segall’s usual psych-pop sensibilities are present but Slaughterhouse adds the full-throttle, go-for-the-throat bombast that the band delivers in the live setting. The fuzz riffs, bratty howl and Cro-Magnon bashing culminate with a feedback freakout that’s clearly the only sensible way to end a workout of this magnitude in shit to announce the debut release by the Ty Segall Band.

CD $12.00

06/26/2012 759718523126 

 


2X10" $17.50

06/26/2012 759718523119 

ITR 231 


2X12" $22.00

10/20/2017 759718523119 

ITR 231 


MP3 $9.90

06/26/2012 759718523119 

ITR 231 


Everybody’s Got It Easy But Me by Intelligence

Intelligence

Everybody’s Got It Easy But Me
In The Red

Around since 1999, The Intelligence has to date released seven singles, five split singles, two EPs, seven albums and have made eight compilation appearances. They join the ranks of hyper-prolific artists like Thee Oh Sees and Ty Segall in the impossible-to-stay-on-top-of department. That said, like the aforementioned artists, with each release The Intelligence continues to evolve, grow artistically and top themselves. And, yes, you do need to keep up with all the releases.   With Everybody’s Got It Easy But Me, The Intelligence do indeed top themselves. As with their previous album, Males from 2010, they returned to The Hangar with Chris Woodhouse to record, and they continue to jettison their deliberately blown-out, lo-fi recording approach for a much clearer sound. Not that there’s any loss of intensity. The band’s scrambling post-punk guitars, dry-as-a-bone drums and laconically abstract verses are all here, viewed through an unusually clear lens. If one didn’t have the songs or the chops, this sort of thing could reveal weakness but here it highlights their knack for catchy songs that incorporate pop hooks, metronomically repetitive guitar riffs, and new wavey synth moves. For those who haven’t been paying attention, The Intelligence are the brainchild of Lars Finberg (formerly of A-Frames, currently of Thee Oh Sees and Wounded Lion). Initially a studio project in which Finberg played all instruments on his home recordings, the band soon began to play live and tour, while the releases volleyed between solo and ensemble recordings. On Everybody’s Got It Easy But...

LP $13.00

05/29/2012 759718522617 

ITR 226 


CD $12.00

05/29/2012 759718522624 

ITR 226 CD 


MP3 $9.90

05/29/2012 759718522624 

 


Gadzooks (Jukebox Single #6) by Spencer, Jon Blues Explosion

Spencer, Jon Blues Explosion

Gadzooks (Jukebox Single #6)
In The Red

In The Red is proud to announce the latest installment in the The Jon Spencer Blues Explosion jukebox series—20 years after the first one dropped! Volume #6 features two brand new recordings done exclusively for this 7-inch. “Gadzooks” is an original that captures them at their fractured, fuzzy, scuzzed-out best. The flip is a cover of a James Brown B-side that the band has been playing live since the ’90s but have only now gotten around to recording. The single, as with all the others in this series, comes in a plain white sleeve and includes a jukebox title strip. The blues are still #1!

7" $6.00

05/29/2012  

ITR 228 


(They Found Me In The Back Of) The Galaxy by Intelligence W/ Kelley Stoltz

Intelligence W/ Kelley Stoltz

(They Found Me In The Back Of) The Galaxy
In The Red

A preview for the band’s upcoming Everybody’s Got It Easy But Me album, this single sees The Intelligence team up with San Francisco singer / multi-instrumentalist Kelley Stoltz on the A-side. The B-side is an otherwise unreleased track. Both sound like classic Intelligence. Pressed in an edition of 600.

7" $6.00

05/29/2012  

ITR 225 


War on Rock 'n' Roll by Sultan, Mark

Sultan, Mark

War on Rock 'n' Roll
In The Red

Mark Sultan (a.k.a. BBQ) is a one-man band and one of the best crooners around. For this release, he declares war on rock n’ roll music. He’s even written a manifesto that’s included with this release so you know exactly where he’s coming from. The dude’s pissed. Who can blame him?  War on Rock ’n’ Roll is one continuous, 51-minute piece recorded in one take live in Sao Paulo, Brazil. It’s a weirdo medley that includes many of his best songs, drum breakdowns, primal screams and guitar freak-outs.  The album was pressed in an edition of 500 and all copies are on red-and-black splatter vinyl. The silk-screened record cover features totally badass artwork done exclusively for the release by Gary Panter.

LP $13.00

05/29/2012  

ITR 232 


Wallpaper Music by Cheap Time

Cheap Time

Wallpaper Music
In The Red

Hailing from Tennessee, Cheap Time has been around in one incarnation or another since 2006. The nucleus has always been Jeffrey Novak, who writes and sings in addition to playing guitar and keyboards. The band began with members of the band Be Your Own Pet rounding out the lineup—theirs was a sound of a teen punk band with more attitude than musicianship, owing more than a little to early Redd Kross. By the time Cheap Time recorded their debut album, the personnel had changed drastically and, in addition to improved musicianship, Novak brought in influences of ’70s glam and power pop acts like Sparks and The Quick. The band followed this with more lineup shuffles and a sophomore album, Fantastic Explanations (and Similar Situations), that was darker, moodier and more complex than its predecessor. Despite the many changes, however, Cheap Time has always been a sum of its parts. A quintessential ingredient is the low-fi bombast with which they scuzz up their otherwise lightweight brand of simplified 1970s glam punk, packing an impressive amount of adolescent snottiness into two-minute blasts of sound with both precision and melody. Cheap Time are now back with their third and by far strongest record to date. Recorded in Novak’s new home studio, Wallpaper Music distills perfectly all the phases through which the band has passed to date. Retaining both the punk moves and pop-damaged glam jams, the band delivers their most realized, cohesive record yet. Songs like “More Cigarettes” and “Another Time” are Aussie-esque...

LP $13.00

05/01/2012 759718522310 

ITR 223 


CD $12.00

05/01/2012 759718522327 

ITR 223 CD 


MP3 $9.90

05/01/2012 759718522327 

 


All My Friends Are Dead by Consumers

Consumers

All My Friends Are Dead
In The Red

The Consumers were originally just three guitar players with no rhythm section—Paul Cutler, Mikey Borens and lyricist / lead singer David Wiley, all bonded by love of psychedelic Euro-prog jazz like Henry Cow, Gong and Robert Wyatt—who’d stopped listening to rock ’n’ roll after Bowie’s Spiders from Mars came out around 1972. By ’77 our guys had re-discovered rock through Britpunk pub raunch like The Sex Pistols and The Damned. Cutler and high school bud Wiley had even driven all the way to L.A. determined to hunt down a copy of The Pistols’ “Anarchy in the UK” single. In the pre-Internet days there wasn’t a record store anywhere in Arizona that had even heard of it, let alone stocked it.   All My Friends Are Dead was The Consumers’ “fuck you” to Phoenix since nearly all their gigs there ended in brawls with long-haired rockers and other redneck gnarlers pounding on the band for daring to play punk rock in public in 1977! It didn’t take long to suss. Head on out. Just before they packed for L.A. in early ’78 the band managed to get themselves on tape during a single session blow-out frenzy. All My Friends Are Dead successfully captures The Consumers as a pissed-off-yet-still-fun, no-frills, punk-rockin’ band... exactly who and what they were during their extremely short and sweet existence.   After a few months of violent and intense live shows at The Masque and other local punk dives, the band finally imploded. Some headed back to...

LP $16.00

02/21/2012 759718502916 

ITR 29 


MP3 $9.90

02/21/2012 759718502916 

 


Something is skulking through the toxic runoff of the entertainment capital of the world. With several 45s and last year’s debut LP, Wounded Lion established themselves as Los Angeles’ catchiest art-punk band. Fans love their exciting and weirdly direct live shows as well as their strange and original music videos, and the group is proof that genuine and cool music is alive in today’s LA underground—no longer must one rely on rad memories of the Urinals, Suburban Lawns or Wall of Voodoo.  The group’s sophomore album IVXLCDM is a total ripper. The Lion has grown smarter and meaner with the addition of Lars Finberg (chief Intelligence officer, original pounder for the A-Frames, and current drummer #2 for Thee Oh Sees) nailing it behind the drum kit and adding rich, fucked-futurist guitar action. Recorded by the singular Chris Woodhouse (Mayyors, Karate Party, etc.), the LP sounds dense and purposeful, with clattering, duel-Telecaster strum, tube-amp hum and feel-it-in-your-chest kick drum. IVXLCDM is without a doubt one of the best records of 2011—not just from Los Angeles or the underground, but from the entire spectrum of activity of living things in the universe.

LP $13.00

11/08/2011 759718522013 

ITR 220 


CD $12.00

11/08/2011 759718522020 

ITR 220 CD 


MP3 $9.90

11/08/2011 759718522020 

 


Carrion Crawler / The Dream by Oh Sees, Thee

Oh Sees, Thee

Carrion Crawler / The Dream
In The Red

***Received an 8.0 rating from Pitchfork.   What’s the first thing you think of when someone mentions Thee Oh Sees? Probably their riot-sparking live show, right? Visions of a guitar-chewing, melody-maiming John Dwyer careening across your cranium, rounded out by a wild-eyed wrecking crew that drives every last hook home like it’s a nail in the coffin of what you thought it meant to make 21st-century rock ’n’ roll? Yeah, that sounds about right. But it misses a more important point—how impossible Thee Oh Sees have been to pin down since Dwyer launched the project in the late ’90s as a solo break from such sorely missed underground bands as Pink and Brown and Coachwhips. (While Dwyer still records songs on his own, Thee Oh Sees is now a five-piece featuring keyboardist / singer Brigid Dawson, guitarist Petey Dammit, drummer Mike Shoun and multi-instrumentalist / singer Lars Finberg.) That restlessness extends to everything from the towering, thirteen-minute title track of 2010’s Warm Slime LP to the mercurial moods of 2008’s The Master’s Bedroom Is Worth Spending a Night In.  Now, Thee Oh Sees chase the home-brewed symphonies of Castlemania with the scrappy, high-wire hooks of Carrion Crawler / The Dream. Originally envisioned as two EPs, it was cut live to tape...

LP $19.00

11/08/2011 759718522211 

ITR 222 


CD $12.00

11/08/2011 759718522228 

ITR 222 CD 


MP3 $9.90

11/08/2011 759718522228 

 


***JAMES ARTHUR (former member of the NECESSARY EVILS and GOLDEN BOYS, to name but two) has been rattling ear drums with his newest combo, JA's MANHUNT) for several years now. On this latest single the band is channeling some serious Hawkwind vibes with one song stretched over both sides of the single. Dense, wild and excellent. Edition of 500.

7" $6.00

11/01/2011  

ITR 221 


Whatever I Want, Whenever I Want by Sultan, Mark

Sultan, Mark

Whatever I Want, Whenever I Want
In The Red

Mark Sultan, better known as BBQ of one-man band and The King Khan & BBQ Show fame, has been pounding out his own stew of R&B, rockabilly, garage, doo-wop, psychedelia, punk and whatnot since he was a mere child fronting Montreal’s Spaceshits. Releasing a slew of albums and touring relentlessly, Sultan has established quite a reputation as a songsmith and vocalist of the highest caliber. Recently he went into the studio and ended up more than two albums’ worth of material. After trying to whittle it down to one LP, In The Red decided to simply release it all (well, most of it, anyway). Whatever I Want, Whenever I Want is two separate vinyl LPs and one abridged CD. This material represents Sultan’s most adventurous and varied songwriting to date. He ditched his normal stripped-down / lo-fi approach in favor of a more full-bodied sound and replaced his one-man recording technique with a complete band, all to stunning results. Whatever I Want, Whenever I Want features a number of his musician friends; Dan Kroha of The Gories, Erin Wood of The Spits, Cole Alexander and Jared Swilley of the Black Lips and Bradford Cox, to name a few, all contributed. It has something for everybody: soul stompers, doo-wop weepers, a dash of hardcore and even an Ultravox cover!  “Mark Sultan doesn’t simply revive old sounds and old excitements; he ingests them, digests them, and regurgitates them as something new and personal. There’s something playful and ominous about Sultan’s sound, a gentle creepiness...

CD $12.00

10/25/2011 759718521825 

ITR 218 CD 


Whatever I Want by Sultan, Mark

Sultan, Mark

Whatever I Want
In The Red

 Mark Sultan, better known as BBQ of one-man band and The King Khan & BBQ Show fame, has been pounding out his own stew of R&B, rockabilly, garage, doo-wop, psychedelia, punk and whatnot since he was a mere child fronting Montreal’s Spaceshits. Releasing a slew of albums and touring relentlessly, Sultan has established quite a reputation as a songsmith and vocalist of the highest caliber. Recently he went into the studio and ended up more than two albums’ worth of material. After trying to whittle it down to one LP, In The Red decided to simply release it all (well, most of it, anyway). Whatever I Want, Whenever I Want is two separate vinyl LPs and one abridged CD. This material represents Sultan’s most adventurous and varied songwriting to date. He ditched his normal stripped-down / lo-fi approach in favor of a more full-bodied sound and replaced his one-man recording technique with a complete band, all to stunning results. Whatever I Want, Whenever I Want features a number of his musician friends; Dan Kroha of The Gories, Erin Wood of The Spits, Cole Alexander and Jared Swilley of the Black Lips and Bradford Cox, to name a few, all contributed. It has something for everybody: soul stompers, doo-wop weepers, a dash of hardcore and even an Ultravox cover!  “Mark Sultan doesn’t simply revive old sounds and old excitements; he ingests them, digests them, and regurgitates them as something new and personal. There’s something playful and ominous about Sultan’s sound, a gentle creepiness...

LP $13.00

10/25/2011 759718521818 

ITR 218 


MP3 $9.90

10/25/2011 759718521818