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2009 REMASTERED VERSION!!! Death Valley '69 was originally released on a 1984 7" backed with Brave Men Run. Both songs were demo versions recorded in July '84. Death Valley is slightly slower than the Bad Moon Rising version released later. There also isn't as much lyrical interplay between Lydia and Thurston.

MP3 $1.98

11/13/2009 787996001777 

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FLAC $2.99

11/13/2009 787996001777 

 


Shelby Bryant has not released an album in a while because he’s a responsible adult and had to think about it. What does it take for a musical genius to think these days? Well, you have to stick your head in a few ovens. You gotta take in some sights and sounds. Bryant has recently been playing in a Memphis band called Fingers Like Saturn and writing music for movies and experimental videos. In the last century when things were made by hand, he made dough with Memphis combo The Clears and released a solo record called Cloud-Wow Music (both released on Smells Like Records). After disappearing for a while in Africa, or maybe Asia, Bryant is back with a strangely unique and strongly addictive collection of pop songs and instrumentals.  What is this Luscious thing? Pop confection—a recipe for poetry, beauty, and fun. Bryant’s ability to craft music is like a pastry chef effortlessly smothering his best girl with chocolate. Who said you can’t get too much of a good thing?

CD $9.50

11/20/2007 787996005720 

 


MP3 $9.90

11/20/2007 787996005720 

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Shortly after the 2001 release of his eponymous debut, John Wolfington took a break from New York City and made a trip cross-country in his 1982 Buick LeSabre. He stopped in Nashville and Memphis, broke down in Tucumcari, New Mexico, and even dipped down to Nuevo Laredo, Mexico before spending some time setting up a home life in Los Angeles. Heavily influenced by his time on the West Coast and his eventual return to NYC again in 2005, the ten songs on American Dreamsicle reflect Wolfington’s experiences shortly before and during that trip and are sequenced chronologically from 2001 to 2006.  As on Wolfington’s previous full-length, Steve Shelley (of Sonic Youth) and Tim Foljahn (of Two Dollar Guitar) contribute drums and bass to the bulk of this album. Recorded at New York’s Magic Shop with Brian Thorn, American Dream-sicle shimmers with a more direct sound à la Plastic Ono Band and After the Gold Rush-era Neil Young.  The American Dreamsicle double-LP in a gatefold package includes Wolfington’s self-titled debut LP as a bonus platter.

CD $9.50

08/28/2007 787996005423 

 


2XLP $17.50

08/28/2007 787996005515 

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MP3 $9.90

08/28/2007 787996005423 

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Continental 62 is the flight that connects Newark, NJ, and Madrid, Spain, a route Christina Rosenvinge has become quite familiar with in recent years. Her new album has made the trip several times as well, with basic tracks recorded in Madrid, and overdubs done at studios in Manhattan and Brooklyn.  On her third Smells Like Records album -- her second along with 2004's Foreign Land to be released both here and in her native Spain -- she's joined by longtime accomplices Tim Foljahn and Lee Ranaldo on guitar and vocals, rhythm section Jeremy Wilms and Steve Shelley, guests Charlie Bautista on guitar and violin, and well-known Spanish experimentalist turned pop-crafter Suso Saiz, who also co-produces. Of the ten tracks, seven are sung in English, and lyrically Rosenvinge has hit a vital sweet-spot, achieving maximum depth with the simplest language. Her songcraft in general has reached an impressive maturity, with seductive, coiled verses resolving in perfect choruses.  The arrangements are streamlined and strong, with Rosenvinge's piano playing, sparse yet supple, adding to the shambled grandeur. Perhaps the biggest surprise on Continental 62 however is the vocal experimentation. Stretching her voice dramatically, she effortlessly transcends the Nico and Francoise Hardy influence of her earlier work.  The album's highlights include the gorgeous descending chorus of the title track; the propulsive brushwork and close harmonies of "Liar to Love"; "Jelly," a wearied and fragile take on the jazz standard; and the prismatic, closing waltz "Nickel Song."

CD $9.50

01/16/2007 787996005324 

 


MP3 $9.90

01/16/2007 787996005324 

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As Happy As Sad Is Blue by Shilo, J. P.

Shilo, J. P.

As Happy As Sad Is Blue
Smells Like Records

J.P. Shilo first appeared on the scene in the late 90s with the instrumental outfit Hungry Ghosts. Quickly capturing the attention of the late Rowland S. Howard who produced their first LP, they soon found themselves invited to the Sonic Youth studios by Steve Shelley to record a follow up album entitled Alone, Alone; which one reviewer described as “…blessed with the ability to utter a million words with a single instrumental phrase and to turn a melancholy passage into a triumphant climax.” As Happy as Sad is Blue is J.P. Shilo’s debut solo LP. “Virtually unclassifiable, it centers on noir-ish circus-type music, ambient instrumental pieces that are darker and edgier than the genre might suggest, beautiful pastoral passages, tango-like interludes, and other elemental musics that cannot be quantified in written language.” Upon release AMG described the album as “… Underground music, Outsider Art at its best…” furthering his reputation as a highly sensitive and sought after musician - A multi-instrumentalist who thinks outside the box.  While many will look for easy comparisons, J.P. Shilo creates heart-stopping music without a clear genre. Fragile in its minimalist beauty, yet able to suddenly burst open with stabbing intensity.

CD $9.50

10/10/2006 787996005225 

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MP3 $9.90

10/10/2006 787996005225 

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In the early ‘90s Lou Barlow released a handful of solo, stripped down albums under the Sentridoh moniker that may have single-handedly sparked the home-grown, lo-fi four-track explosion that still smolders on college radio today. Others eventually rode the trend to fame and estimable fortunes but the former Dinosaur Jr. bassist and Sebadoh frontman was most likely just interested in finding an outlet for his subdued, heart-felt songwriting and acoustic folk-pop experiments. This expanded resissue of Winning Losers features three bonus tracks from the Losercore 7- inch, incidentally, the debut release on Steve Shelley’s (Sonic Youth) Smells Like Records label.

CD $9.50

12/13/2005 787996000824 

 


MP3 $9.90

12/13/2005 787996000824 

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*** With the release of Spanish-Danish chanteuse Christina Rosenvinge's sophomore Smells Like Records album, one has to wonder why more Latin American superstars don't trade in tedious fame for rewarding cult careers as singer-songwriters. She recorded in New York City at Echo Canyon and The Magic Shop, and again enlisted Steve Shelley, Lee Ranaldo, and Tim Foljahn, with added bass playing and arranging courtesy of Jeremy Wilms, guitar and voice of Smokey Hormel (Beck, Tom Waits, Smokey and Miho), and her first collaboration with the Soldier String Quartet (who have provided for luminaries ranging from John Cale to Guided by Voices), giving things a nouvelle vague flavor, recalling pre-electronic German music or Nordic pop, all tied together with some good old clanging New York experimentation.  Soaked in sweet melancholy, "King Size" and "Submission" (equal parts Gainsbourg and the VU), should become classic cuts, as should conceptual experiments such as the claustrophobic "German Heart" (imagine Neubauten fronted by Brigitte Fontaine), which stretches itself into a sharp lamento. Other surprises await in "Dream Room", with its angelic girlie choir drowned in a dark undersea cave, and "Off Screen", which could've been culled from an unfilmed Truffaut screenplay. Rosenvinge's lyrics deliver intelligent confessions with the starkness of Marguerite Duras, both sweet and sour, ironic, elegant, meticulous, brittle and inspired. They seem to come from a personal, mysterious world of concise romanticism peopled with kindred spirits such as Françoise Hardy, Stina Nordenstam and Nico.  TRACK LISTING 1. Off Screen 2. 36 3....

CD $9.50

11/23/2004 787996005027 

 


MP3 $7.92

11/23/2004 787996005027 

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Silent Moving Picture by Ursa Minor

Ursa Minor

Silent Moving Picture
Smells Like Records

***Having combed the notoriously tough and crowded NYC club scene to rave reviews for the better part of the past year, NYC-based URSA MINOR has emerged with a debut release that perfectly captures the stark, distilled beauty of their subtly dynamic music. Envisioned, founded and fronted by sireny singer and keyboardist MICHELE CASILLAS, Ursa Minor combines contemporary rock, singer-songwriting, ethnic, and experimental musics to which Casillas was exposed growing up in Manhattan and working as a sound engineer at downtown venue Tonic. The result is ethereal yet concise, wrought with ringing Rhodes work, enunciated keens and alto murmurs, moody drum snaps and strong melodies weaving hypnotic lyrical imagery. Her Village Voice-described "storm cloud-through-picture-window" songwriting engages themes of alienation, love, hope, and fear, against a sparse, organic, haunting instrumental backdrop. The band's rhythm section, ROBERT D PIETRO (drums) and ROBERT JOST (bass), share a similarly vast pool of influences, having played together for several years in various projects, developing a unique chemistry and flexibility in music which blurs the lines between rock and singer-songwriting ritual and the freedom of jazz and experimental music. Silent Moving Picture was produced by fellow Smells Like Records artist TONY SCHERR (bassist in Sex Mob, Lounge Lizards, and the Bill Frisell Trio), who is also featured on guitar. Other contributors include JANE SCARPANTONI (Lounge Lizards, Nirvana, REM) on cello, YURI LEMISHEV on accordian, and CHRIS BROWN on clavinet. The album also includes a bold interpretation of the Jane's Addiction classic "Summertime Rolls." Fans of strong songwriting...

CD $9.50

04/29/2003 787996004921 

 


MP3 $9.90

04/29/2003 787996004921 

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***TONY SCHERR's debut solo effort, Come Around, is a collection of beautifully written, heart-wrenching rock songs. The truth of his experiences and a wide range of influences and ideas permeate the cloth of this recording; his use of strings, horns, organ, elastic tempos and a lyrical war-worn warmth are anything but threadbare. After an adolescence spent writing and playing Beatles-influenced rock songs, Scherr developed an interest in jazz, moved to New York and began a prolific career as one of the area's most sought after jazz bassists. Recorded by Scherr at his home as part of a collection of limited-edition releases under the name Cardboard Records, Come Around resonates with an intelligence and moody stillness rarely found in rock music. Having spent most of his career in jazz, Tony Scherr's return to rock songs gives birth to a lovely, reflective, atypical style.

CD $9.50

07/02/2002 787996004822 

 


MP3 $9.90

07/02/2002 787996004822 

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Timothy Prudhomme; 1900s-2000s (USA). NYC singer-songwriter. Born in California. Raised in Louisiana. Died in Memphis. Began playing at the age of 16 with various new wave/punk rock combos in and around Baton Rouge. In the '80s moved to New York; with no prospects, a move to Silverton, Colorado, with hopes of working in a goldmine proved just as frivolous. Moderate success finally followed with a move to the Bay Area, whence Fuck was formed (though months later Prudhomme would be back in NYC). Over the next seven years, Fuck released five full-length albums and toured the world over, much to the chagrin of less fortunate bands. In 1999, Fuck departed from their label Matador, as Prudhomme relocated to Memphis. Following the release of Cupid's Cactus Fuck began a "prolonged" vacation.  In the interim, Prudhomme has turned to the deep well of talent in Memphis, enjoining the services of friends and acquaintances - Jack Adcock (The Jug Band) on congas and bongos; Alex Greene (BigAssTruck, Lorette Velvette, Reigning Sound) on organs; Megan Reilly on vocals; Stu "Trainwreck" Sikes on drums; Geoff Soule (Fuck) on traps and piano; and Davis McCain on aborted theremin. Most of the songs on With The Hole Dug are of the painterly portrait sort; the subject sitting listlessly dead-center. From the Dickensian "Mr. Lucky" into the late night, early morning "3AM," we view the dark beauty of the hapless and the hopeless, and to surreptitiously eavesdrop on the sounds of the simple, eternal untying of knots.

CD $9.50

05/21/2002 787996004723 

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MP3 $7.99

05/21/2002 787996004723 

 


FLAC $8.99

05/21/2017 787996004723 

 


Plays & Sings Torch'd Songs, Charivari Hymns, & Oriki Blue-marches by Lee, Chris

Lee, Chris

Plays & Sings Torch'd Songs, Charivari Hymns, & Oriki Blue-marches
Smells Like Records

***The sophomore album from Brooklyn-based, and North Carolina-born singer/songwriter CHRIS LEE. A decidedly down-tempo and low-key, eight-track affair of the heart and soul, fueled by a deft sense of melody, and an acclaimed sweet and natural croon. Primarily acoustic songcraft, with the exception of a cover of Neil Young's "On the Beach" featuring burning guitar leads from SMOKEY HORMEL (BECK, TOM WAITS, MARIANNE FAITHFUL), and percussion from STEVE SHELLEY.

CD $9.50

08/28/2001 787996004525 

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MP3 $0.00

08/28/2001  

 


**Shelby Bryant has retro gear and oddball style a-plenty, but it's the pure, ruthless, bona fide hooks that set him apart from the hordes of synth-pop pretenders. Harvested in his hometown of Memphis, this bountiful crop of Cloud-Wow Music marks this ex-Clears mainman's inaugural plunge into solo mode. Actual tunes, pitch-perfect in their execution, and Lindsay Buckingham-like in their effortless tour-de-forcedom, drape the album in a kind of cosmic tunic (with platform heels and eyeliner to match). We expect this album, and therefore expect you to expect this album, to make serious waves.

CD $9.50

05/08/2001 787996003627 

 


MP3 $9.90

05/08/2001 787996003627 

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After releasing two CDs on their own, two more through Matador, and a cottage industry's worth of singles and comp appearances, Fuck, the band, has come to SLR to release their latest full-length album, Cupid's Cactus. With stylistic nods to out-rock architects like Can and Meat Puppets, and a pop sense that owes as much to the Platters as the Pixies, the album hazily unfolds its majestic mojo in a 35-minute, 15-song serenade of soulful indie rock. The production boasts a bone-dry intimacy, and the performances - twin-guitar click-and-drone, whispered vox, and unique hat-bass dances - make the band's best case yet for the supremacy of subtlety, space, and inspired song-sense within the rock idiom.  From Oakland, Calfornia, Ted Ellison plays electric bass guitar, Tim Prudhomme rhythm guitar and harmonica, Geoff Soule electric lead guitar, Kyle Statham drums, and all four of the boys sing. Fuck, the band, also works piano, hammond organ, tambourine, mouth organ, Arabian bongos and claves into their act.

CD $9.50

02/20/2001 787996004426 

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MP3 $0.00

02/20/2001  

 


***Plenty of pop personae have begun by making probing, personal music, only to regress into feeding the machine as the need to sustain a "career" begins to take precedent over purely artistic aims. Since her stint as a bona fide pop-star in the Latin-speaking world in the '80s, Madrid-born, Danish-descended Christina Rosenvinge (pron. ROSE-en-VENG-uh) has done just the opposite. After numerous hit singles as part of the duo Alex and Christina landed the singer firmly in the media maelstrom of endless TV and magazine covers she began a solo career recording a trio of albums for Warner Latin America. These albums, written primarily by Christina, became successively more sophisticated and culminating with 1996's Cerrado, whose sessions baptized Sonic Youth's just-completed Manhattan studios and were produced by SY guitarist Lee Ranaldo. Rosenvinge stayed in touch with the SY family, and on a 1999 visit to NYC contributed vocals to Two Dollar Guitar's Weak Beats and Lame-ass Rhymes. Smitten with the city and the possibility of working with a clean artistic late, she moved to New York and began performing locally with Two Dollar Guitar as her backing group. Since then she's opened for folk-rock-messiah-of-the-moment Elliot Smith at the Knitting Factory, put in an appearance as part of the Sunday Night Songwriter Series at NYC's Tonic in October, and performed at the Smells Like Records showcase at South By Southwest in Austin, TX in March 2000. Rosenvinge's rare and astonishing emotional range in her singing matches the subtle sophistication, expansive range of...

CD $9.50

01/23/2001 787996004228 

 


MP3 $9.90

01/23/2001 787996004228 

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Riding a subway train circa '97, Colombian-born John Wolfington inexplicably decided to switch cars at the 14th Street station, to one in which Thurston Moore happened to be sitting, deep into a novel. At the time Wolfington had in his possession a tape containing "Coney Island Freak," a song of his that talks about a trip to the freakshow and references SY in its lyric. Feeling like he had somehow been "urged" to switch cars, he handed the tape to Thurston, who politely accepted it, just like he always does every other day of the week when a complete stranger hands him a tape. Although this encounter had little to do with the recording of this album, it now seems like it was a step along the way.  Summer of '99, and Two Dollar Guitar man Tim Foljahn has a five-song demo in his hand, sent to him by someone he'd never heard of. Still, he was floored by the quality of the songs and the sparseness of the production. Most of the material had been recorded in Wolfington's bathroom, using simple drum machine patterns or brushes on a live drum. Foljahn passed the tape on to Steve Shelley, and the two of them agreed to work with Wolfington on recording his debut. Production, begun at Hoboken's Jolly Roger Recording with Gene Holder and finished at Brooklyn's Rare Book Room with Nicolas Vernhes, took place over the following six months. Shelley and Foljahn play on over half the songs,...

CD $9.50

01/23/2001 787996004327 

 


MP3 $9.90

01/23/2001 787996004327 

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***Don’t let anyone tell you they know their space rock, especially if they’ve never heard the sweet bleat of the brightest black sheep in all of Perth, Australia, Bluetile Lounge. Refusing to indulge in tired-ass alien/UFOlogies carpetbagged by the competition these days, this pair of unbranded mavericks and iconoclastic lass celebrate space in the mathematical sense, harnessing a sublime audio-physics that defines vast ‘scapes shaped by gas chunks of chordal overtone and tidal trapkit crestings. Dig it - Proust, Picasso, David Lynch, LaMonte Young, Galaxy 500 and Low, it’s all in the vibe. Previous album from 1995 on Summershine and distributed by Sub Pop. Mighty fine.

CD $9.50

01/08/2001 787996002422 

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MP3 $8.91

01/08/2001 787996002422 

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***Recorded virtually live in a Lower Manhattan rehearsal space, this seminal entry into indie rock still shimmers with innocent beauty. Starkly captured and sparsely orchestrated emotional telegrams to heaven knows where. Ten Chan numbers plus a deconstruction of Hank Sr.'s 'Still In Love' that points the way to her 'Covers Album' of 2000. Originally released in 1996.

CD $12.00

01/08/2001 787996001920 

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MP3 $9.90

01/08/2001  

 


The Clears first caught my eyes and ears in Memphis on New Years Eve after a fateful canceled Townes Van Zandt session at Easley-McCain Studio. The Clears opened for the Grifters on NYE and everything seemed possible and exciting again. The record was released nearly 20 years ago and features Memphians Shelby Bryant, Brad Pounders and Alicja Trout -  a posthumous video was finished in 2017 for Rock 'n' Roll Band. -ss

CD $9.50

01/08/2001 787996002323 

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MP3 $9.90

01/08/2001 787996002323 

 


FLAC $11.99

01/08/2001 787996002323 

 


An outsider-rock supergroup starring Jad Fair (Half Japanese) on guitar and vocals, Tim Foljahn (Two-Dollar Guitar) on guitar, James McNew (Christmas, Yo La Tengo) guesting on bass and Steve Shelley (Sonic Youth) on drums, Mosquito sounds more like a proper group than a lot of Fair's duet projects, which basically sound like Jad Fair  bashing away on top of songs by Teenage Fanclub, Yo La Tengo, R. Stevie Moore or whoever else he's collaborating with. These 20 brief songs are both more unique and slightly weirder than that; songs like "Automatic Vaudeville" mix low, grinding guitar riffs and Shelley's typically excellent drumming with muttered vocals that are far removed from Fair's familiar yelp. Others, like the brilliantly-titled "Don't See Twin Peaks The Movie," are low-key, moody instrumentals that are minimal but surprisingly straightforward. Experimental but entertaining, Time Was sounds less like Half Japanese than any other project Jad Fair has ever been involved with. Stewart Mason/ AllMusic originally released June 6, 1993

LP $13.00

01/08/2001  

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MP3 $0.00

01/08/2001  

 


"It seemed for a while in the wake of Pistols/Clash hysteria that post-punk Blighty might just change the face of popular culture. And no small thanks to some females who didn't care to be written off: The Slits, Kleenex and most enduringly, the Raincoats. Their brief career included a few LPs on Rough Trade, but the band fell prey to inner turmoil by the turn of the decade. That was way before their biggest fan, a semi-famous guy named Kurt Cobain began singing their story to every journalist in the land. Soon enough Steve Shelley was behind the drums in a revamped version of the band. With this new lineup, Extended Play came to be, a preface to their triumphant 1994 reunion album on the DGC label. Somehow, the Raincoats' old records have gotten better since they were made. Invited to open for Nirvana on their 1994 tour, the decade-gone Raincoats reformed, with original members Gina Birch (bass/vocals) and Ana da Silva (guitar/vocals) joined by new violinist Anne Wood and guest drummer Steve Shelley of Sonic Youth. Cobain's suicide ended those plans, but the band went on a triumphant American tour anyway. A John Peel session from April 1994 (two new songs,...

10" $13.00

01/08/2001  

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CD $7.75

01/08/2001 787996001227 

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MP3 $0.00

01/08/2001  

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CD $9.50

01/08/2001 787996002026 

 


MP3 $9.90

01/08/2001 787996002026 

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CD $9.50

01/08/2001 787996001029 

 


MP3 $9.90

01/08/2001 787996001029 

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***Although the primary constituent of Two Dollar Guitar’s history has been the fleshing-out of the fecund muse of singer/guitarist TIM FOLJAHN, this brand new album of instrumental improvisation reveals a new facet of the trio’s work altogether. Train Songs is the band’s rhythmic engine exposed, it’s skeletal riffing and ensemble magicks engaged, locked in tight thematic locomotion. All pitched together spontaneous, free and unselfconscious. DAVE MOTAMED’s bass rides the electric blues & R&B rails, STEVE SHELLEY’s drumming is at the top of the game, and Tim’s never-been-finer guitar twang is boosted by a newfound addition of electronics. Frequencies drip spectral over the track’s feral pulse, and then the band switches instruments adding to the already intricate weave. A companion of sorts to Tim’s recent solo outing as LA LENGUA ASESINA which strips down the music to reveal the power of the song in its most intimate state. Enjoy the ride.

CD $9.50

01/08/2001 787996002828 

 


MP3 $9.90

01/08/2001 787996002828 

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Weak Beats And Lame-ass Rhymes by Two Dollar Guitar

Two Dollar Guitar

Weak Beats And Lame-ass Rhymes
Smells Like Records

***On the heels of last year's surprise hit instrumental CD Train Songs, Hoboken's dark-Americana roots mongers and lyrical soul harpoonists TWO DOLLAR GUITAR offer their return to sung song forms on their fourth full-length album. Ten exquisite and idiosyncratic tracks from seasoned players TIM FOLJAHN, DAVE MOTAMED and STEVE SHELLEY. Features guest appearances from sirens CHRISTINA ROSENVINGE, JANET WYGAL, and CARLA BOZULICH (SCARNELLA, GERALDINE FIBBERS), axe-wielders NELS CLINE, DOUG EASLEY, TIM PRUDHOMME (FUCK), and SMOKEY HORMEL (TOM WAITS, BECK), and an ersatz cover version of STYX's "Kilroy Was Here."

CD $9.50

01/08/2001 787996003528 

 


MP3 $9.90

01/08/2001 787996003528 

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***At a pub in Melbourne, Australia, Steve Shelley and Luc Suer caught a trio of Rowland S. Howard protégés—TIM HOWDEN, JOHN BROOKS and JASON G. BONEHAM, collectively known as HUNGRY GHOSTS—blowing the doors off the place with a wild storm of flickering Fender sparkle, Jaguar growl, bass drum boom, and minimal martial snare. That show and their self-released EP were impressive enough to prompt an invitation to come up from down under and make a new record. In June '99 the trio set up shop at Tribecca Recording, with Steve producing and Luc engineering, and cut fifteen tracks of sweet, outback soul and dusty red ballads that drip, curl, and spark. The 'Ghosts have expertly absorbed the rough, wailing waltzes and swooping, tidal minor movements of their countrymen The Dirty Three (not to mention the barroom baroque of the Boys Next Door brood: Birthday Party, Bad Seeds, These Immortal Souls), but Alone, Alone yields grander rewards—they've significantly expanded the palette by using equal measures of conventional chops and avant technical antics; liberally rotating instruments including electric and acoustic guitars, a wide range of tuned percussion, trap kit, fiddle, accordion, organ; and deftly deploying elements of Spanish, Eastern European, Middle Eastern, Southeast Asian and American idioms. The result is a unique brand of combustive folk music, where primitive punk roots patrol a more mature Morricone/Badalamenti beat.  Yet this is no cliché "soundtrack without a film." Alone Alone's tracks stand alone. Divided into three programs—Before Then, Alone Alone, and No Wake—the album's...

CD $12.00

06/20/2000 787996003924 

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MP3 $9.90

06/20/2000  

 


***The errant brainchild of CARLA BOZULICH (GERALDINE FIBBERS, ETHYL MEATPLOW) and NELS CLINE (NELS CLINE TRIO, GERALDINE FIBBERS, countless collaborations), draws on an array of styles, instruments and methodologies to express itself. Carla still plays guitar and works her mighty pipes, but also adds bass and sampler, while Nels, predictably, concentrates on guitars, many effects, and tons of toys. Recorded in a six-day session last June during a West Coast road trip with most of the songs contained composed along the way. This debut is a Magna Carta of sublime sonic intricacies, like a Lorca-era Tim Buckely covered by the Throwing Muses circa ‘86. Largely-improvised soundscapes sailed upon bright and heavy melodies mixed with intimate ballads, and extended moments of musical mayhem. Immerse yourself in the treacherous creature we cavalierly call the future.

CD $9.50

11/10/1998 787996002729 

 


MP3 $9.90

11/10/1998 787996002729 

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On Top Of A Hill B/w Another Love Song / The Cry Of Love by Strange Fruit (spastic Rhythm Tarts)

Strange Fruit (spastic Rhythm Tarts)

On Top Of A Hill B/w Another Love Song / The Cry Of Love
Smells Like Records

MP3 $2.97

02/21/1993 787996800578 

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