Alternative Tentacles is proud to present the first-ever complete, three-volume collection of Texas punk legends Really Red. None of their catalog has been available for years—some not for decades! Really Red was the backbone of Houston’s underground from the early punk era clear through ’80s hardcore. Like The Dicks in Austin, they directly challenged an insanely violent police department at no small risk to their own lives. Their sound itself incorporated art and post-punk elements, with a musical and lyrical depth on par with bands like Mission of Burma, Wire, or Dead Kennedys. Singer Ronnie Bond (a.k.a. U-Ron Bondage) was never afraid to push intelligence or mess with Texas. Kelly Younger’s guitar style is as unique in its own way as that of The Gang of Four’s Andy Gill, while Bob Weber’s taut, precise and sometimes unorthodox drum patterns would not be heard again until the likes of John Wright of NoMeansNo. It’s all driven forward by the driving, elastic basslines of John Paul Williams. This collection presents the sound better then it has ever been, so hear them again for the first time—or the first time ever. Volume 3: News Strings for Old Puppets could be the surprise hit of the bunch. Here in one place are all the highly sought-after Really Red 7-inches, plus more from the early days that has never been released in any form until now. The LP kicks off with the KBD cult classic Modern Needs and the even rarer Crowd Control singles, followed...
LP $16.00
02/03/2015
Alternative Tentacles is proud to present the first-ever complete, three-volume collection of Texas punk legends Really Red. None of their catalog has been available for years—some not for decades! Really Red was the backbone of Houston’s underground from the early punk era clear through ’80s hardcore. Like The Dicks in Austin, they directly challenged an insanely violent police department at no small risk to their own lives. Their sound itself incorporated art and post-punk elements, with a musical and lyrical depth on par with bands like Mission of Burma, Wire, or Dead Kennedys. Singer Ronnie Bond (a.k.a. U-Ron Bondage) was never afraid to push intelligence or mess with Texas. Kelly Younger’s guitar style is as unique in its own way as that of The Gang of Four’s Andy Gill, while Bob Weber’s taut, precise and sometimes unorthodox drum patterns would not be heard again until the likes of John Wright of NoMeansNo. It’s all driven forward by the driving, elastic basslines of John Paul Williams. This collection presents the sound better then it has ever been, so hear them again for the first time—or the first time ever. Volume 2: Rest In Pain is the long-lost second album that hardly any Really Red fans back then knew existed! Unavailable for almost 30 years, now all tracks are restored for the first time ever, with vastly improved sound—fiercer and heavier, but still vintage Really Red. Side two shows the band’s roots with an awesome Texas psycho cover of The Red Crayola’s...
LP $16.00
02/03/2015
Alternative Tentacles is proud to present the first-ever complete, three-volume collection of Texas punk legends Really Red. None of their catalog has been available for years—some not for decades! Really Red was the backbone of Houston’s underground from the early punk era clear through ’80s hardcore. Like The Dicks in Austin, they directly challenged an insanely violent police department at no small risk to their own lives. Their sound itself incorporated art and post-punk elements, with a musical and lyrical depth on par with bands like Mission of Burma, Wire, or Dead Kennedys. Singer Ronnie Bond (a.k.a. U-Ron Bondage) was never afraid to push intelligence or mess with Texas. Kelly Younger’s guitar style is as unique in its own way as that of The Gang of Four’s Andy Gill, while Bob Weber’s taut, precise and sometimes unorthodox drum patterns would not be heard again until the likes of John Wright of NoMeansNo. It’s all driven forward by the driving, elastic basslines of John Paul Williams. This collection presents the sound better then it has ever been, so hear them again for the first time—or the first time ever. Volume 1: Teaching You the Fear is the much-loved first album that’s been unavailable since Empty Records reissued it ten years ago. More manic and locked-in then the early singles, this is Really Red in their prime, fired up and focused to lay down what they likely thought was their one shot to get it all on vinyl. The title track even...
LP $16.00
02/03/2015
Alternative Tentacles is proud to present the first-ever complete, three-volume collection of Texas punk legends Really Red. None of their catalog has been available for years—some not for decades!Really Red was the backbone of Houston’s underground from the early punk era clear through ’80s hardcore. Like The Dicks in Austin, they directly challenged an insanely violent police department at no small risk to their own lives. Their sound itself incorporated art and post-punk elements, with a musical and lyrical depth on par with bands like Mission of Burma, Wire, or Dead Kennedys. Singer Ronnie Bond (a.k.a. U-Ron Bondage) was never afraid to push intelligence or mess with Texas. Kelly Younger’s guitar style is as unique in its own way as that of The Gang of Four’s Andy Gill, while Bob Weber’s taut, precise and sometimes unorthodox drum patterns would not be heard again until the likes of John Wright of NoMeansNo. It’s all driven forward by the driving, elastic basslines of John Paul Williams. This collection presents the sound better then it has ever been, so hear them again for the first time—or the first time ever. For CD buyers, Teaching You The Fear: The Complete Collection 1978-1985 has it all in one double-disc set: The classic Teaching You the Fear LP, the long-lost second album, Rest In Pain, all their sought-after 7-inches, and some unreleased gems to boot. It comes with full history and liner notes via Bond’s extensive interview with David Ensminger (Left of the Dial). Restored from...
2XCD $16.00
02/03/2015
MP3 $11.99
02/03/2015
FLAC $13.99
02/03/2015
***NOW AVAILABLE!!! A repressing of the debut 7-inch from this up-and-coming Austin hardcore band—90 % of the first run were destroyed in the infamous Honey Bear fire of '02—led by CHRIS PHEFFER of J CHURCH and SEVERED HEAD OF STATE fame. A searing blend of new and old styles which have gained the band comparisons to Rites of Spring, The Faith, and Really Red (whose songs Storm The Tower are known to cover live).
7" $4.00
04/29/2003
Two new tracks from San Francisco’s YOUNG OFFENDERS. Their recent 7-inch on Parts Unknown was not only very well received by various magazines, but also made numerous MRR staff picks for the top ten records of 2007. This new single offers two more tracks of well executed post-punk and power pop blend with loads of hooks and power. Think the Adverts, early Gang of Four and Really Red.
7" $6.00
07/07/2008
***AB-RA-CA-DEB-RA— the sophomore album by BIG DEBBIE brings to mind religious pagan celebrations as much as the 1980's industrial, goethe clubs, with subtle nods to Chris & Cosey, DAF, Einstürzende Neubauten, and so much more it’s own sound. Big, sexy noise you can move to! AB RA CA DEB RA saw a cassette release on Ratskin in early 2015 and sold out within a month of it’s release and has been re edited and remastered for LP. “Mouth Wide Open” starts the album with seething distortion and skullcracking drums—it’s a post-asteroid-impact Mad Max wasteland child of Flipper, Chrome and Suicide. (And this, notes Debbie, is one of the “upbeat” tracks.) “Mouth Wide Open” was recorded live to cassette 4-track, says Debbie, and the song also features Portland’s similarly uncompromising TERROR APART, who’s here to help really push this song into the red.
LP $19.95
03/15/2019
***S.S. Records is really happy to release vinyl debut of Low Red Center. While their sound centers around electronics, to call them a minimal synth band or electronica or post-punk is selling them short. Low Red Center not only have a great sound, but they have great songs, and a couple of ace singers. Originally a studio project, in 2004 Low Red Center morphed into an improvised group. Containing members of Voxtrot, Oblong Boys, Pataphysics, Spoon, NonoBangBang, and other Austin bands, LRC staged shows that involved heavy costuming, theater, dance, and, of course, music. Eventually, many of these improvised pieces were molded into songs. In the words of Chad A., “The object of Low Red Center is an exercise in improvisation and communication. Surprising ourselves as musicians by experimenting and discovering on stage, in front of an audience is of our goals. Restraint and listening are our approach to playing. A dedication to succinct presentation prevents unwanted jamming and convinces the audience that what we are performing are practiced, pre-written songs. The sound we have in mind is minimal and somewhat alien, with a vague film noir feel. This tension is frequently broken with a faster, more jagged post-punk approach…. The recordings present a studio translation of our live principals, but with the luxuries of production embellishment and craft. Everything was performed (no sequencing) on analog electronic synthesizers, acoustic instruments, and electric guitar and bass. All the drum machines were actual individual organisms, breathing with us in the studio--nothing was...
10" $12.00
10/19/2009
MP3 $7.92
08/31/2010
***REDD KROSS is back and delivering their signature brand of genuine rock ‘n’ roll with a vengeance. Researching the Blues is the first new album from Redd Kross in 15 years. Researching the Blues features 10 new songs clocking in at just under 32 minutes. With songs written by JEFF MCDONALD and produced and mixed by STEVEN MCDONALD, the album is by far the band’s favorite record. Steve says, “It has the most singular artistic vision of any record we’ve done. It’s just 10 really fucking awesome songs that have the ability to move you in many different ways.” Founded 34 years ago in Los Angeles during the first wave of LA punk rock by brothers Jeff and Steven McDonald (then respectively 15 and 11 years old), Redd Kross cut their teeth opening for Black Flag at a middle school graduation party. Their debut recordings caught the attention of Rodney Bingenheimer, who quickly became a fan as he spun their Ramones-inspired songs like “Annette’s Got The Hits” and “I Hate My School” on the world-famous KROQ. In 2006, Jeff and Steven announced their reunion with the “classic Neurotica” line-up, joined once again by guitarist ROBERT HECKER (IT’S OK) and drummer ROY MCDONALD (THE MUFFS). Redd Kross have been playing to enthusiastic audiences at sold-out select shows and festivals such as the Azkena Festival; Coachella; The HooDoo Gurus’ Invitational, “Dig It Up”; All Tomorrow’s Parties; and Pop Montréal. LP includes a download. (STREET DATE - 8/07/2012)
CD $13.75
08/07/2012
Raven-haired Chicago youngster Miss Alex White and her Red Orchestra have been blasting out their staggeringly simple, yet sonically monolithic sound for over two years now and developed a dedicated following in the Midwest of the USA. It’s no coincidence that their new album title, Space & Time, is also one of the secrets of their impressive sound. How they manage to fill space within songs with lush and satisfyingly timed tones of rock-n-roll’s bleeding edge, in this age of constant desperation, is a wonder to the ears. Space & Time takes the sound and style of their debut album and ups the ante. Ex-Clone Defects Wes Kerstens and “Fast” Eddie Altesleben and recently acquired bass player Eric Villa really put this band on the map, musically and creatively. The songs have greater depth, timing, and inner frustration that extends itself through Kerstens’ lurid and devilishly delicate guitar strangulation, and are balanced and anchored by an amazing rhythm section. Miss Alex’s unstoppable vocals, which seem to explode in every direction, keep the raw simplicity and primal forces in focus. The influence of The Modern Lovers, The Jesus & Mary Chain, ‘60s garage, and ‘70s punk are all evident here, yet the result is something very original. Miss Alex White and the Red Orchestra will be taking their act to Europe this summer to spread the love beyond middle America for the first time. It should be a blast.
LP $12.00
07/17/2007
Raven-haired Chicago youngster Miss Alex White and her Red Orchestra have been blasting out their staggeringly simple, yet sonically monolithic sound for over two years now and developed a dedicated following in the Midwest of the USA. It’s no coincidence that their new album title, Space & Time, is also one of the secrets of their impressive sound. How they manage to fill space within songs with lush and satisfyingly timed tones of rock-n-roll’s bleeding edge, in this age of constant desperation, is a wonder to the ears. Space & Time takes the sound and style of their debut album and ups the ante. Ex-Clone Defects Wes Kerstens and “Fast” Eddie Altesleben and recently acquired bass player Eric Villa really put this band on the map, musically and creatively. The songs have greater depth, timing, and inner frustration that extends itself through Kerstens’ lurid and devilishly delicate guitar strangulation, and are balanced and anchored by an amazing rhythm section. Miss Alex’s unstoppable vocals, which seem to explode in every direction, keep the raw simplicity and primal forces in focus. The influence of The Modern Lovers, The Jesus & Mary Chain, ‘60s garage, and ‘70s punk are all evident here, yet the result is something very original. Miss Alex White and the Red Orchestra will be taking their act to Europe this summer to spread the love beyond middle America for the first time. It should be a blast. • Sophomore full-length by Chicago garage act • Influences include The Modern Lovers and The Jesus &...
CD $12.00
07/17/2007
MP3 $9.90
07/17/2007
After several stunning releases from RED Trio on esteemed labels such as Clean Feed, NoBusiness & Bocian Records, Astral Spirits is incredibly honored to present the first release from RED Trio on a US based label. Not only that but this is also only their 3rd release solely as a trio sans guests. “Live in Munich” documents an incredible show from Munich recorded less than a year ago in April 2014. RED Trio continues their deconstructive assault on the piano trio concept to give it an entirely new meaning and language. Rodrigo Pinheiro (piano), Hernani Faustino (double bass) & Gabriel Ferrandini (drums) have asserted themselves as some of the most in demand improvisers in Lisbon and all of Europe…working with Nate Wooley, John Butcher, Matthias Stahl, Rob Mazurek, Rodrigo Amado, Raymond Strid, Chris Corsano, John Zorn just to name a few! “Live in Munich” features two side long tracks that once again document the mesmerizing interplay between these three…from breathtakingly melodic to intensely quiet to violent outbursts of energy. The piano never takes center stage, the rhythm section isn’t really a rhythm section, each player creates sounds weave together incredible emotional depth and sonic range from three simple acoustic instruments. “Live in Munich” is yet another daring and essential release from RED Trio, one of the most important working groups in free jazz at the moment.
MP3 $5.99
03/24/2015
FLAC $6.99
03/24/2015
***MICHAEL O. (OLIVARES) of beloved Bay Area psych-pop band THE MANTLES has been steadily building songs in his basement in Oakland with the help of HORRID RED’s EDMUND XAVIER for the past few years. The result is this affecting collection of cracked pop hits and tragic ballads. The Mantles are known to lay down a thick electric jangle, but with Michael's solo songs the focus rests on rough-hewn vocal melodies and lyrics, laced with synths, acoustics, clarinet and noises. Really? arrives one year after the release of his Face The Facts single and with it Michael tumbles headfirst into Modern Lovers, Tronics, Kevin Ayers, Jacobites and Tall Dwarfs territory... home recorded & highly personal, but not lo-fi, please.
LP $17.75
05/26/2015
MP3 $9.90
05/26/2015
FLAC $11.99
05/26/2015
***As raw and bitter as the north winds blowing off the Virginia mountaintops, HoZac is proud to serve you a platter of new songs to ease the winter solitude with three impeccably satisfying noisy folk vibrations from NERVE CITY. As you may already know, Nerve City is one of the brightest home-recording projects that's been exploding into a gripping live band, all the while holding a line of desperate tension and aggressive simplicity that climbs inside your skull within seconds and never really leaves. With a strong handle on jangling ‘60s guitar instrumentation and misanthropic melody, coupled with brash, shell-shockingly savage recording methods and songwriting that's so far above its peers, it's time you warmed up a spot in your withered soul for Nerve City before they blow up in your face. Look for their debut LP coming soon on Sweet Rot, along with a 12-inch EP on Sacred Bones right around the corner as well. Recommended if you like: Medication, Kurt Vile, Teepee, Thee Oh Sees
7" $5.40
01/26/2010
MP3 $2.97
01/26/2010
***Low Jack and Equiknoxx join Dominick Fernow's Rainforest Spiritual Enslavement on a new double vinyl expansion of Red Ants Genesis, originally issued on limited cassette in 2018. Recorded in winter 2017, Red Ants Genesis finds the Hospital Productions boss discovering strength in collaboration following the triumph of his classic Ambient Black Magic (2017), which was conjured with the crucial assistance of Juan Mendez aka Silent Servant. Here, he works with Phillippe Hallais aka Low Jack and of Editions Gravats, who also tags in his pals Gavsborg and Time Cow from Jamaican digidub futurists Equiknoxx for a killer new version of the title track. On the tape's original four tracks, Low Jack transmogrifies Fernow's high volume microphone recordings of synthetic field ecologies with masterful sleight of hand in-the-edits, resulting in a hyperreal detachment and realignment of spatial proprioceptions executed with exquisite textural tactility. It's far more oblique and desiccated than the relatively lush Ambient Black Magic outing, rendering the stark durational immersion of their 30 minute "Red Ants (Mics)" split over the first disc, while Low Jack's percussive edits really come into play on the utterly gutted "Shields Ferns / Brown Pine Magic" and the slow, febrile push of "Papua Land (Live Edit)." No doubt one of the biggest attractions here is the curveball of an Equiknoxx remix of "Red Ants Genesis." Surely one of the first meetings of Jamaican dancehall and dark ambient in existence, it's a spellbinding piece of dub physics that demonstrates the endless, mutable imagination of Gavsborg...
2XLP $32.95
11/02/2018
MP3 $9.90
10/19/2018
FLAC $11.99
10/19/2018
***REISSUED!!! GARY WILSON's monumental 1977 LP reissued with a glamorously shiny foil cover bearing the original cover art (care of Owen Maercks's well-loved copy), delicately laid out by Scott Allison. Which makes it, perhaps, the last copy you'll ever need. You Think You Really Know Me (also the title of Michael Wolk's 2005 documentary about Wilson) was Wilson's second LP, but the first he recorded as a vocalist, hewing to his own bizarre vision—a syncretic collision of romance, new wave cocktail jazz, heartbreak, disco porn-soundtrack music, and experimental tape manipulation. Home-recorded in Endicott, NY, the album found a few fans when released, but subsequently became the exclusive purview of record collectors and the women who tolerate them. Beck namechecked Wilson in 1996, which made a few new people scratch their heads. And the album was reissued in 2002. Rediscovery followed, and records, the documentary, and some odd live shows. Most of Wilson's moves are stamped with his unique aesthetic, and are also documented on other three recommended Feeding Tube LPs—Lisa Wants to Talk to You (FTR 081LP), Forgotten Lovers (FTR 065LP), and Music for Piano (FTR 192LP). But as bodacious as these three albums are, the real root of Wilson's muse is most obvious on You Think You Really Know Me. It is the sound of a 23-year old oddball from upstate New York wrestling with his demons and actually winning. There's nothing quite like it. And it offers a story of hope to every weirdo who hears it. Hallelujah!...
LP $21.65
04/01/2016
***The French punk-garage-rock scene the past decade has seen some standout acts emerge such as Cheveu, Frustration, The Feeling of Love, Dimi Dero and more. Add the oddly-named SUBTLE TURNHIPS to this pile, as their fifth album—Redhair With Some—is proudly brought to you by Australia’s Homeless Records. The lack of hair on our Homeless head helped our hearing (try saying that rapidly 10 times)—not that we needed an aid to decide whether to release Redhair With Some—we’ve been a fan since hearing Terd Album (Hozac, 2010) and Meal (Pouet! Schallplatten, 2013) and immediately loved the rough cuts we were sent. Recruiting recording ace MIKEY YOUNG to mix the album brought a fresh new set of ears to the Turnhips sound, and another instant fan, hell we even hear some Eddy Current Suppression Ring-style guitar work in “Eileen.” Some have stated they hear Swell Maps or Pink Flag-era Wire in the Subtle Turnhips influences, whilst others have noted The Fall or even the destructionism of Brainbombs. Pressed in an edition of 350 copies in gatefold jackets with download.“For a garage-sounding band, the Turnhips eschew anything directly catchy, and their songs lay bunched and unsorted like dirty laundry piling up on the floor. They sound pinched, if that makes sense, only to release that pressure and spill gouts of their essence all over. In moments they draw comparison to the Country Teasers in terms of their ramshackle approach, but pointed towards the Swell Maps instead of narcotics, like they really want to...
LP $13.75
07/01/2014
***"In 2001 or so, my friend Amy made me a mix tape that was solely of bands from Indiana and included the LP comp Red Snerts, which compiled bands from the Hoosier state that were affiliated with the Gulcher Records label. One of the bands that really stuck out for me was a little band from Bloomington called THE JETSONS. Their track on the comp has a lite power pop feel to it, but has more damaging lyrics like 'I wanna puke, I wanna vomit on your feet, but you're such a cliched punk, you'd think I was being real neat.' I wanted to hear everything this band ever put out, but had no idea how to find it. I later found out (from the MaximumRockNRoll archives) that The Jetsons had one EP that came out on Gulcher back in 1981, and then they broke up. The first song, 'Suicidal Tendencies,' has a really warm, totally early-80s feel and is just as good (or better) than their comp track. My favorite part is when the singer is chanting 'Kill myself! Kill myself! Kill myself! Kill myself!' at the end. The other two songs, 'Genetically Stupid' and 'Killing,' are also great and make me want to hear more by them, but this is all there is since their demise came soon after this recording. Members of The Jetsons were also in the LATEX NOVELTIES, one of Indianapolis' first punk bands, and one of them went on to form THE UNATTACHED in...
MC $11.00
01/27/2023
MP3 $2.99
01/20/2023
FLAC $3.99
01/20/2023
The Oilies is sometimes a band and sometimes just Carly Putnam’s home fried pop music. Carly has done time in the Art Museums, The Mantles, Horrid Red and The Reds, Pinks & Purples but really shines when she pulls out her own poetic pop gems. Combine the subtle creepiness of Rose McDowall with the wistfulness of the Marine Girls and you have a record tailor made for the Fruits & Flowers universe of unpopular pop. Her debut EP was recorded mostly by Carly in her RV parked somewhere in the existential desert and then filtered through Edmund Xavier’s SF lab.
7" $7.75
05/24/2019
MP3 $3.96
04/05/2019
FLAC $4.99
04/05/2019
***“Like a child captured by wolves, the CHINESE RESTAURANTS might live in New York City, but they really don’t have a home. Though their roots are the Tucson, Arizona garage punk scene (home of the Fells!), LF RESTAURANT (aka ACAPULCO RODRIGUEZ) and KEITH RESTAURANT (neé REDGERSON) started the band long distance, from posts in Albany, New York and rural Connecticut. With Keith’s 11 year old Garfield-loving brother on drums, they threw song ideas over the phone and would play impromptu shows—often without rehearsing— including one via conference call. (When playing over 21 venues the Restaurants recruited Bunnybrains genius MALCOLM TENT to play drums). Of course, the sound was pure chaos, but over time and with infusions of American underground sounds like Beefheart, the Sun City Girls, and various Euro art pranksters the Restaurants started to find themselves. A name change to THE NORTH AMERICAN FREE JAZZ AGREEMENT lead to a Euro tour and an opening slot for Arthur Doyle. And it should probably be expected that the next step for our Restaurants was to reemerge as “a grotesque, sexually inappropriate Doors cover band.” Come 2010 and the Chinese Restaurants are finally committing themselves to vinyl. With the help of sonic saboteur MATIN (Billy Bao, Josetxo Grieta, NMM), the Restaurants created ‘River of Shit,’ an underground state of the state of the nation of sorts. A deft commentary on the Age of Obama or just another smart ass prank, we don’t know, but it sounds good. And the flip of ‘Work...
7" $5.75
02/16/2010
"Mark Stewart has been recording under the Claro Intelecto moniker for a decade now, and every time he has a new record out we think its the best thing he's ever done. This latest two-tracker really does make us wonder about Claro's recording process, he is an artist that seems so removed from the changes and trends emerging out of electronic music on an almost weekly basis, and yet something about his work always seems to subliminally reference the zeitgeist in his own inimitable way. The twelve opens with 'Back In The Day' - a slow and compressed House reduction making use of submerged strings and heavy kicks, it's a track that employs a filthy New York aesthetic with that distinctive, modified square bassline that's become a Claro signature over the years, but now somehow bent out of all recognition. As far as we're concerned - it's just an out and out dancefloor classic. 'New Life' on the flip is also wired for the floor, yet features skewed and euphoric chord sequences that evoke the hazy nostalgia of Ducktails or Oneohtrix Point Never re-imagined via tubular dancefloor machinations. It has that strange effect of driving peaktime activities without ever resorting to cheap thrills, evoking that same 1980's television haze refracted through the tubular machinations of 21st century club music."--Boomkat
MP3 $1.98
03/21/2011
NOW AVAILABLE ON RED VINYL WITH ALTERNATE COVER ART!!! Canada’s punk pioneers D.O.A. know when to take a stand against bullshit. So that’s why they came up with their instant new single Fucked Up Donald. Joey Shithead, the godfather of hardcore, recently said, “It did not take too long to realize that Donald Trump, with his anti-Mexican, anti-women, anti-people message, was just too much. You can dressup a pig, but in the end you realize it’s really just Donald Trump.” D.O.A. arranged a quick recording session with producer Cecil English (D.O.A., No Means No, Jello Biafra) and recorded this single in about fifteen minutes, a vitriolic take-off harkening to the band’s ’80s catalog. The now-released video has three million hits and counting—it just goes to show that you can’t keep a good band down. A healthy dose of “gonna kick you in the ass” punk, coupled with real conviction, Fucked Up Donald confirms D.O.A. will never stop taking on real crap that affects the entire world.
7" $9.25
01/13/2017
***BACK IN STOCK!!! 1984 was a time of redefinition within the punk scene in Washington, DC and RITES OF SPRING more than led the charge. Rites of Spring not only challenged the macho posturing that had become so prevalent, but more importantly they defied musical and stylistic rule. The people that followed the band made it a point to try to never miss a gig, as ROS seemed to approach every show as if it was their last. The results could be explosive, often resulting in the destruction of their equipment, and this may well be one reason that they ended up playing only about 15 shows. It was the boldness of this band that really contributed to the swell of energy, often referred to as "Revolution Summer," that swept over the DC scene in 1985. In their brief existence Rites of Spring released one full-length, End on End, and a 7-inch, All Through A Life, both on Dischord Records. The End on End album has remained in print on vinyl and CD over the years, but the All Through A Life 7-inch fell out of print years ago.
7" $7.75
06/07/2011
Dennis Callaci’s (Refrigerator, Shrimper Records) second solo album is a knee play, a low budget opera, a tone poem with broken keys. It follows up last year’s Bed of Light, about which Tiny Mix Tapes wrote: “Poetry from a lofi pulpit, really, though Callaci seems to technically be singing hymns of non-redemption that’s too fleeting yet perfect because it’ll keep you coming back.” This album reunites him with Joel Connell, who played drums on the earliest of Refrigerator records just after Pilsbury Hardcore broke up and during the formative years of Man Is The Bastard. The two have not recorded together for over twenty five years! Along with Connell on drums, Franklin Bruno plays the piano, Daniel McDonough is on the harp, Rael Callaci programs 808s and Korg synthesizers and Henry Callaci mans the saxophone. Engineered by Steve Folta (who also lent some back up vocals to the proceedings), the record / song was recorded to be heard only on CD for a number of reason. It clocks in at over thirty minutes. No rich man’s 8-track mid-song fade for side two vinyl version available. No streaming candy corn flavor cancer aftertaste availability. No iTunes cruddy MP3 version made available for some distracted fool’s slave labor Chinese phone. No Pandora, no big box bankruptcies in wait. This little tiny compact disc is a small press. In near solo record fashion, Callaci supplied the artwork, liner notes, hidden poem that reads on the window of the CD player as the song...
CD $9.25
08/11/2017
***“Things are ok here but this year there wasn't a Christmas truce. In fact the city woke up on Dec 31 with the news of a dead topless woman hanging from a bridge in one of the main avenues. The woman (nicknamed The Redhead) was part of a gang of kidnappers, had been in prison for some months, and had been ‘rescued’ a few days before by an armed squad while being taken to the hospital for some unnecessary tests. It seems like her rescuers didn't want her to speak, or weren't really her friends to start with. The pictures were everywhere and very graphic. By that same night people were making jokes about The Redhead being a New Year's piñata.” Thus begins one of the dozens of emails from Monterrey, Mexico’s LOS LLAMARADA to S.S. Records during the recording of their third and final album, Gone Gone Cold. Since their first album on S.S., The Exploding Now!, Llamarada has made some of the most striking psychedelic punk of the last decade. In the spirit of Red Crayola and 13th Floor Elevators, Llamarada approach to psych is devoid of rules, trends, or convention. Like Mars, they feel their way through sound, finding songs in the playing. However, while The Exploding Now! and their second album, Take the Sky, reflect the band’s (then) excitement with their future and possibility, Gone Gone Cold looks at present day Mexico and its never-end Drug War. On Gone Gone Cold, fans of Los Llamarada will...
LP $16.00
11/15/2011
MP3 $9.90
12/06/2011
***"Washington DC band DES DEMONAS exploded into the national consciousness with a debut LP on In The Red a few months back, and they're not letting up now... as diseased organ-soaked and fizz-drenched as it can get. 'Bay of Pigs' keeps it real with it's pounding chorus 'Feeling like a Victim of Tiiiiiime' so naturally this works on many levels. Featuring a guitar player from KID CONGO & THE PINKMONKEY BIRDS, who also did time in THE MAKE-UP, it's got credentials to spare, but this six-foot-five Kenyan lead singer (JACKY COUGAR ABOK, ex-GINO AND THE GOONS) is gonna steal the show for certain. There's a faint Deadly Snakes vibe when the organ tone really hits, too, but this is much, much, heavier and less quaint, with the guttural vocals steering this into a stomping mess of noise. Far more rambunctious and unholy, far more strained and angry."—Todd Novak, Victim of Time
7" $8.50
11/30/2018
***Since TRUCKASAURAS’ first performance, they have been repeatedly redefining electronic music in the live setting. From underground house parties, to impromptu street performances, to proper rock venues, Truckasauras’s explosive lo-fi, audio-visual, live sets continually raise the bar for not just electronic music, but anyone seeking to captivate an audience and rock the party. When performing, the band commonly sport American flags (worn as bandannas or capes), trucker hats, hunting vests, and various other trashy accoutrements. Their Devo-esqe, half-ironic display deftly rides the line between performance art and a really weird camping trip. In the same way that Kraftwerk rejected American rock’n’roll for an exaggerated caricature of German-ness, so does Truckasauras reject the overly cool and aloof hipster in preference for an exaggerated American persona, both earnest and self-loathing. Now with the sophomore release of Quarters, released collaboratively from Seattle’s Fourthcity and the New York based audio magazine, The Journal of Popular Noise, Truckasauras further elaborates on their unique blend of all things electro with nine new tracks. Edition of 500 copies.
LP $13.50
10/19/2010
***Have you ever been punched in the face while dancing ecstatically, but the person who hit you ALSO seemed to be dancing and loving it but you couldn’t really tell? If you’ve been in the front row at a DOPE BODY show—or the back row or somewhere in the middle for that matter—it’s a distinct possibility. Dope Body has built their name in the underground with intense live performances of their ALSO intense studio recordings. On the back of their second album, 2012’s Natural History, they embarked on a rigorous nineteen months of almost nonstop touring, bringing their individual performance stomp to every bar, basement and backyard that asked for it. On Lifer, Dope Body redefines the aural yawp they have been venting for some time, honing wild windmills into surgical strikes, their gut-busting repulsion-sound continuing to expand without losing any of the feral energy that made a crazed reputation in the already-insane Baltimore music and arts underground. (STREET DATE - 10/21/2014)
LP $18.95
10/21/2014
CD $13.75
10/21/2014
"The Artist works in a museum And that museum is rocknroll In a world of meme punk rockabilly grandads It’s the classicists that really have something to say. Straight lines, hooks, and a clear path to your heart. They might not be dbeat heart throbs But no one else can give you that feeling that you can hold on to a moment Like you are driving too fast down route 60 And it’s never going to end. In 20 years when you skulk the dark alleyways of wherever punk’s red fern grows, they won’t be talking about Dwight Twilley, the Looks, or the Nerves, they will be looking for a little CLASS." —Tobi Vail and Hayes Waring
LP $21.95
10/06/2023
MP3 $7.99
10/06/2023
FLAC $8.99
10/06/2023
***BACK IN STOCK!!! 1984 was a time of redefinition within the punk scene in Washington, DC and RITES OF SPRING more than led the charge. Rites of Spring not only challenged the macho posturing that had become so prevalent, but more importantly they defied musical and stylistic rule. The people that followed the band made it a point to try to never miss a gig, as ROS seemed to approach every show as if it was their last. The results could be explosive, often resulting in the destruction of their equipment, and this may well be one reason that they ended up playing only about 15 shows. It was the boldness of this band that really contributed to the swell of energy, often referred to as "Revolution Summer," that swept over the DC scene in 1985. Includes a free download coupon.
LP $17.75
04/21/2009
CD $11.00
09/13/2001
***BACK IN STOCK!!! "We never really thought it could happen, but here we are with the official reissue of the incredible, unforgettable, and oh so elusively un-comped ANEMIC BOYFRIENDS, one of the only punk movements of such perversion and grace from the fair state of Alaska that can come to any stretch of the mind. Lead by the inimitable Louise Disease, The Anemic Boyfriends’ uber-punk classic 'Fake I.D.' is one of the most riveting, jarring, and arresting TEEN PUNK blasts you will EVER hear, and you will NOT forget it. As the title track from their second 7” single released in 1981 on Red Sweater Records, 'Fake I.D.' is not just one of the most perfect teenage rebellion anthems of the 20th century, it ranks right up there with 'My Generation' and 'Cherry Bomb' as one of the most shockingly memorable tracks your ears will EVER hear. And with your help in perpetuation, it will be the THE most inescapable teenage anthem of the 1980s. And although The Anemic Boyfriends qualify as one of the best fake punk outfits of their time (and definitely their region), they managed to produce another classic track 'Bad Girls In Love' from their debut single in 1980, which will make their other forgettable B-sides sound like mincemeat."—VictimofTime.com
7" $7.75
06/07/2019
MP3 $1.98
05/10/2019
FLAC $2.99
05/10/2019
*** Recorded and slowly tweaked in late 1999, these melodic compositions for acoustic guitar and ring modulator are the first true solo recordings by Steve Lobdell (Baseball Astrologer collaborator, leader of both Davis Redford Triad and Sufi Mind Game, string wrangler for Faust). Their whispery, fluffy-cloud dynamism will appeal to the desire for a little subtlety. Automatic Writing by the Moon's 13 tracks are a mixture of massive overdubbing, wondrous cinematic composition, folksy improvisation and studio experimentation. The backwards feedback of "Astral Projection" is vibrantly illuminating, while the instrumental arrangement of Chilean folksinger Victor Jara's "The Departure" evokes a cosmic western scene. So, yes, this record is psychedelic—if it really must be dumbed down—but not in the burnt-tar hooliganism sense; despite healthy studio trickery, Mr. Lobdell still insists on playing the guitar with his fingers.
CD $12.00
05/02/2000
MP3 $9.90
05/02/2000
With every relationship comes the creation of a brand new world. When Psychic Dancehall’s Dorian Wartime and Sylvia Innocent took an apartment in a run-down section of San Diego during the rainiest period in the city’s history and set about creating their world together, they’d no idea that fate and the weather would conspire to make that world worth sharing. Their apartment was adjacent to a drag bar where Innocent and Wartime would go every night. Trapped in their little house all day, venturing down to the bar, as well as to the Red Wing, the lesbian bar down the street, was really their only escape. The two felt safe and welcomed by the communities there and related vignettes of their nocturnal adventures back to one another when they went home. These experiences began to transform themselves into songs. Both being musicians, tinkering away with samples and keyboards was the most natural way for the couple to share their moments together and make them into something whole. “A Love that Kills,” a slightly sinister toe-tapper with a Serge Gainsbourg twinge and a reverb-heavy, breathy chorus, is a play between dark and light. “White City” was born from a fortunate mistake—the couple’s next-door neighbor Lexus was locked out of her apartment one night, and came over while waiting to get her keys. Lexus was famous for her karaoke skill, and together the three wrote the song’s hook. Dreamers is timelessly emotional, akin to the experimentation of Arthur Russell or Scott Walker,...
LP $13.00
10/11/2011
MP3 $9.90
08/30/2011
***BACK IN STOCK!!! "You're being urgently, naughtily rushed up the tallest, steepest stairs you've ever climbed. Smile cautiously as the URANIUM CLUB welcomes you into their stinky apartment. You've been here before, right? Oh, that must have been some one else. Do you have a brother or sister? One of the members mumbles some deceptively eloquent bullshit as he hands you a drink. His lips are dark red and chapped; he looks really bad. But the drink is wet, and those stairs had been tall. Sit down, lean back, sip it. There's salt in it, some pulp, some pebbles. It rolls around your tongue, hides between your teeth, a perfectly TV-worthy combination of pleasure and mischief. Swallow it. But spit it out... Spit it out now! It's supposed to go into your ears! How crazy is that? Such a sensation of taste, transmogrified for the realm of sound? Is it Sprite, or is it... music? Careful, engaging, and dare-I-say theatrical vocals over hyper bass-and-drums while other boingy-boingy instruments puke all over it, all over the whole show. That's called synesthesia. Gentle lectures, dangerous storytime, eerie fast-and-slow nightmare riffs, and a taut, bound-and-gagged rhythm section. Boingily-boingily, that's phantasmagoria. That's the Uranium Club's latest album, "The Cosmo Cleaners." So swish around some mouthwash and plug in your AirPods, kid, it's time to drop that needle!"—Alex Ward / Cleveland, USA***"You're being urgently, naughtily rushed up the tallest, steepest stairs you've ever climbed. Smile cautiously as the URANIUM CLUB welcomes...
LP $16.35
03/29/2019
***"Shit and Shine return to Rock Is Hell—home of the legendary Le Grand Larence Prix album from 2011 with the brand spanking new banger Scenic Farm. Spread over two heaving discs, the main man Craig Clouse has once again proved how up there he is right now as a producer, slaying all in his path and showing how far you can really take this shit. It's all right here—from the snare driven Schifrin funk of 'Camino Real' to the growling acid of 'Whaxaxaxki' via the urban sizzurp of 'Off The Wall' and that's just the first side. Take the full ride my friend. Glistening 808's, samples of spoken word, breaks that glitch and split into revealing grooves you had no idea were even there, a smattering of kosmich, total distortion overload, a link up with EVOL and a re-do of Pet Brick too. It's all here. You need this." Pressed on exclusive limited edition red vinyl.
2XLP $29.00
03/27/2020
***First thought, best thought. Until the next thought: a guiding principle for No Age in the 16-ish years they’ve been around. Constantly responding to their own streams of consciousness with reductive flexibility, they’ve taken the basic duo of guitar and drums with vocals WAY farther than anyone listening in halcyon Weirdo Rippers days could have guessed. Expounding on those larval possibilities, they’ve zig-zagged in serpentine precision, in and out of the teeth of the wringer—ranging outside and back in again, as befits the present thought. And now, six albums into it, these principles have led them to make People Helping People. Composed in their studio of ten years in the “pre pandemic” times, then an eviction from said space, and finished deep in the midst at their new basecamp: Randy’s Garage. Side one ricochets expertly back and forth between magisterial instrumentals and sing-song forms cut up on the mixing desk, as with the undeniable hitness of “Plastic (You Want It),” winningly rewired to MIDI-mangled beat squelches. They don’t really land on a straight up punk-style riff until it’s almost time to flip the side, and even once they’ve got off on a run of rockers on side B, their aesthetic choices continuously reframe the norms, enhancing their inherent power. People Helping People finds their disparate desires operating in perfect sync; prolegomenic weirdness fused immaculately to classic rock propulsion, transforming the energy pouring out from their hands and feet with electronics.
CD $13.75
09/16/2022
LP $21.25
09/16/2022
MC $12.00
09/16/2022
***We’re Catchy, the debut LP from East Bay punk supergroup THE PATHOGENS, explodes out of your speakers at top intensity for 14 unforgettable tunes. Hailing from bands including ECONOCHRIST, FRACAS, UNDEAD BOYS, ZBS, DIVVYS, STRYCHNINE, the band blasts catchy-yet-tough melodies that complement the cutting, clever lyrics of CINDER BLOCK (TILT, RETCHING RED) and JESSE LUSCIOUS (BLATZ, CRIMINALS). Additional lyrics come from MISKI DEE (CITY MOUSE), MATT FREEMAN (OP IVY, RANCID) and AMY WINEHOUSE (no, really!). From politics to relationships to addiction to law enforcement to fun odes to being punk/weird/odd, there’s a song for everyone. This release marks the revival of Zafio Records, the record label that brought you the classic This Is Berkeley Not West Bay comp. Packaged with lyric sheet and download card, and pressed on limited edition blue vinyl.
LP $15.50
03/15/2019
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
MP3 $1.98
11/19/2013
FLAC $2.99
11/19/2013
***“Riddle me this: who on Earth makes 15 top notch records in 5 years and stays as obscure as OBNOX monarch BIM THOMAS? Not that there's been no love at all—now that the man seemingly spent as much of 2014 on tour as off, and dropped blazetastic videos for ‘Red I’ and ‘Molecule/How to Rob,’ the spotlight is widening, and not just from the usual indie/undie blogs—the Washington-by-god-POST has seen fit to recognize the 'Nox's bulletproof alloy of Cleveland-by-god-Ohio's two sturdiest musical ores: punk rock and soul. And maybe that right there's why fame, Grammys and fat cash haven't come a-knockin'—'Noxmusik is some potent, real, RAW shit, and the new drop, Boogalou Reed, isn't going to win over any Future Islands fans to the cause. And that is what it is, but Thomas' songwriting chops keep getting better and better. Boogalou Reed is home to soul satisfying gospel-psych like ‘I Climbed a Mountain,’ skillet-to-the-face noise freakouts like ‘Proto-Pipe,’ taut rockers like ‘Raven Slaughter Culture’ and ‘All Hail the Deejay.’ 'Nox's tunes just keep turning out SO DAMN GOOD, and if more people can't hear that through the fuzzgrind, that's really just too bad for them. But there's no way rock 'n' roll this persuasive stays a secret forever.”—Ron Kretsch
LP $15.50
01/27/2015
***Mercy is Natalie Bergman's debut, a self-produced solo album recorded in the strangest of times, during a personal period of profound sadness and reinvention. It's startling, and often beautiful—a rush to the edge of the cliff, with an unflinching look below Recorded at her brother's home studio in Los Angeles, CA, Bergman has already had a lengthy, successful career as one half of the brother-sister duo Wild Belle, but this is the first time she wrote and played all the material. This record absolutely pulses with redemptive power; it is replenishing and original, and deeply cathartic. And before we go any further, you should know that this is kind of a gospel record. Bergman comes to this material naturally. Her first musical loves were church songs, especially the sing-song-y, repetitive hymns. Her voice really works the upper registers in a manner occasionally similar to 1930s blues vocalists, or perhaps Badu. But there's nothing retro about the way she multi-tracks her voice and self-harmonizes in sweet, lofty chords. It should also be said—Natalie made this record because she absolutely had to. The music of Mercy began to germinate a few months after she lost her father in a wrong-way, head-on collision. He and her step-mother were killed by a drunk driver. Shortly after, Natalie visited a monastery in the southwestern desert, and there she began to embark on this album. Loosely, we can draw parallels to the more avant garde Christian expressions which sprung up in the wake of the Jesus...
LP $21.95
05/07/2021
***Anything even remotely blues-influenced was thought to be pretty much beyond the pale until a short while ago. Dan Melchior has been playing his own twisted and driving take on barebones rock'n'roll for several years now, making appearances on over 20 commercially released recordings while constantly honing his own lyrical attack and idiosyncratic way with a tune. Influences as disparate as Creedence, The Fall, and William Blake blend seamlessly, especially in his most fully realized work to date, Bitterness, Spite, Rage and Scorn, the second album on In The Red Records by Melchior and the Broke Revue. With Bruno Meyrick Jones on guitar, Brad Truax on bass, and Greg Anderson on drums holding a rock-steady yet fluid groove behind him, Melchior holds forth with an uncompromising and extremely articulate vision and voice. The playing of the band is suberb, disciplined yet funky. Longtime collaborator Jones really shines on this recording , while Truax and Anderson shift effortlessly from one muscular groove to another. The engineering expertise and general sonic know-how of Mike McHugh helps the band push their sound into unexpected avenues, resulting in eclectic but cohesive album, delivered with the intensity and fire In The Red fans have every right to expect. Like his buddy Wild Billy Childish, Dan Melchior plunders elderly American musical styles … and then rams 'em back home to us as outpourings of some eccentric and curmudgeonly Brit weirdo who's sorta like an overamped Doc Boggs.… Melchior … freely combine[s] second-hand Delta...
LP $12.00
11/05/2002
CD $12.00
11/05/2002
MP3 $9.90
11/05/2002
As the Twilight Crane Dreams in Color is the second full-length from New York-based guitarist Alexander Turnquist, who defies expectations with a set of hypnotic epics that owe more to classic minimalism than current notions of solo guitar. Forgoing most of the extended techniques of his debut, Turnquist lays down a thick blanket of 12-string that sets up persistent, loop-like patterns in the music. Simple and lovely strings, piano, and percussion provide the melody, carrying most of the movement in the pieces. Turnquist uses extraordinary control and restraint--the orchestrations are as reductionist as possible, with no cringe-inducing "string drama" or unnecessary virtuosity. An almost-monomaniacal tremolo thrum of the guitar dominates the album, but there is a lengthy ambient breakdown that occurs mid-way through the 18-minute "The REM Cycle - Dream Phase" that is a thing of elliptical and drifting beauty. As the Twilight Crane Dreams in Color is a bold statement even in the context of the frequent micro-parsing of styles in the sub-underground--there's really not much else out there like it.
CD $12.00
07/14/2009
MP3 $9.99
07/14/2009
***BACK IN STOCK!!! The Scientists’ pre-Swampland days in Perth are brilliantly encapsulated on this collection of mostly unreleased live material from ’78 and ‘79. These were the days when former Victims and future Hoodoo Gurus drummer James Baker led the band alongside guitarist/singer Kim Salmon, and when their poster read “Rock ‘n’ Roll in the tradition of The Groovies and The Heartbreakers”. The Perth-based line-up recorded the brilliant “Frantic Romantic” single and self-titled EP highlighted by “Last Night.” They also recorded a posthumously released LP—the “pink album”—which came as a massive disappointment due to bad production and a reduced line-up. Not For Sale: Live’ 78/79 is a collection of live and rehearsal tracks that captures the band making the same noises as on those 45s, and presents live versions of the fan faves and vastly superior versions of most of the LP tracks as well as coughing up a bunch of hitherto unreleased originals and covers to boot. This is “The Legendary Scientists”—as they were dubbing themselves within months of forming—as they should be heard. The main set comes from late 1979: a live-to-air broadcast from Melbourne’s 3RRR. The same line-up is also present on a handful of primitive live recordings, made by a friend at one of the group’s regular haunts, the Governor Broome Hotel in ‘79. Play this really loud and it sounds like right there in the pub, shitty PA and all. Packaged with rare and unseen images, an original 1979 Roadrunner magazine feature by Kim Williams...
CD $17.50
08/16/2019
2XLP $35.75
08/16/2019
***LIMITED EDITION UK REPRESS!!!! "This new record has been in the works for what feels like a long time. So long, in fact, that it seems like a lot of people, us included, stopped believing it was really going to happen. The challenges of geography, too many bands and tours, and other more mundane aspects of adult life, all conspired to delay and discourage us. But here we are, despite these obstacles, with a new record and a renewed sense of purpose. And in a way, that’s what these new songs, and this band, are really all about. This music, and the culture and community that surround it, don’t really have an expiration date, even though the larger world around us would have us believe that these are childish things, to be put aside as we become responsible, productive citizens. Now, that is obviously bullshit of the highest order. But this isn’t about avoiding adulthood; it’s about redesigning it so that it doesn’t clash so violently with our most deeply held beliefs. It’s about the compromises we refuse to make, but also about the subtle negotiations between ideals/aspirations & day-to-day pragmatics. It’s about figuring out how to keep making noise even when life quiets down. Yes, it’s about parenthood, but it’s also about deliberately resisting corrupt mainstream value systems, even (especially) when they’re bombarding you from all sides. It’s about brutal, devastating loss. More than ever, it’s about alienation and outrage. We can’t wait to share it with you." Pressed...
7" $6.75
04/16/2013
***Few familiar modern garage rock’n’roll would find fault with the view that Greg Cartwright is one of the today’s brightest talents. His singing and songwriting are second to none, as demonstrated in his previous bands The Oblivians and The Compulsive Gamblers. The Reigning Sound, his current vehicle, was born in Memphis, Tennessee, sired by a Flash & The Memphis Casuals 45 and nursed by a Barbara Pittman single. Childhood was not easy for this musical what-not. Kids shunned it for its rock’n’roll sensibility and obvious lack of polished shtick. In true stepchild fashion, though, the band continued to develop a unique sound all its own that didn’t really focus on preconceived genres. Rock’n’roll, R&B, gospel, pop and soul all melt into their The Reigning Sound’s distinctive Memphis sound. Their debut album on Sympathy For The Record Industry demonstrated their talents for crafting great, moody soundscapes. Their second album, Timebomb High School on In The Red, captures their full spectrum, from rockers to ballads. On Too Much Guitar, Cartwright goes for the throat with their hardest edged, toughest recording to date. Half recorded at Memphis’s famed Easley Studios and half recorded by Jay and Alicja of the Lost Sounds inside Cartwright’s own Legba record store, the album is a powerhouse that at times recalls the garage punk energy of The Oblivians — no doubt what a lot of his fans have been waiting for.
LP $16.00
05/04/2004
CD $12.00
05/04/2004
***“The cosmos is within us. We are made of star-stuff. ''We are a way for the universe to know itself. Also, y’all are really going to love this latest Man...or Astro-Man? record. There’s definitely some sick new jams on this one.”—CARL SAGAN. Contrary to popular belief, Pulsars aren’t really stars—or at least they aren’t “living” stars. Pulsars belong to a family of objects called neutron stars that form when a star more massive than the sun runs out of fuel in its core and collapses in on itself. This stellar death typically creates a massive explosion called a supernova. The neutron star is the dense nugget of material left over after this explosive death. We presently have five (5) of them for sale. Contact Astro HQ if you wish to inquire about purchasing a Pulsar (not a star). Pertaining to level 1-C operation personnel only, please note: The counter-back, cross-dimensional vector analysis will relegate the following mechanical device in an advanced reconstitution state within itself when all factors considered in Fig. A.613 are in a state of synchronous phase occurrence. Unnecessarily optriculating any diagnostically challenged auto-burst, ionically charged reversal, or any other predetermined encoding vectors inversely positioned to subtrancontaneous articulation, will cause the immediate redux of excessive dimensional system pressure in all spectral areas within the static margins. The algorithmic blink comparator is to be monitored at maximum rapid succession mode in order to differentiate any binary marker variation. Possible overload vorticity will generate counter-emissions against the...
2X7 $16.00
12/23/2022
Summer Forever And Ever succeeds Blue Gene Stew, 2019’s debut by the Wolfmanhattan Project, a collective unit co-starring three musicians familiar to In The Red listeners: singer-guitarist Mick Collins, front man of the seminal Detroit-bred garage units the Dirtbombs and the Gories, singer-guitarist Kid Congo Powers who played in such legendary bands as the Gun Club, the Cramps, and Nick Cave and the Bad Seeds, and drummer-vocalist Bob Bert, whose skin work has distinguished albums by Sonic Youth, Pussy Galore, Lydia Lunch’s Retrovirus, and Jon Spencer and the HITmakers. The group was founded as a studio project by three musicians who are kept busy by their primary bands. Blue Gene Stew was written and recorded quickly. Powers says, “I think that the new record was much more a group effort. I think there’s more of a group kind of sound, as eclectic as it is. I feel like we all played together, as opposed to playing on each other’s songs.” Bert notes that the band’s music is grounded in spontaneity: “Me and Mick went in and had a couple of rehearsals, and I would come up with a beat, he would come up with a riff. I still have a cassette Walkman, believe it or not, and we’d put it down on that. It wasn’t even a full song. We’d just put down a bunch of ideas. When it came to recording we’d lay down the basic tracks and work out different things, and a lot of it was made...
CD $12.00
04/28/2023
LP $19.00
04/28/2023
MP3 $9.90
04/28/2023
FLAC $11.99
04/28/2023
*** Eight months in the making, The Stares’ Spine to Sea is nothing less than a devastating, harmonically rich and uncompromising work of somber realism. No one who hears this CD will walk away from it untouched. The Stares are an easy obsession to acquire. The voices of songwriters Angie Benintendi and Drew Whittemore fixate on some distant invisible expanse, treading so slowly, so beautifully, through landscapes familiar, but sprinkled with some kind of heavy magical realism that just can’t be described. “Americana” maybe, but with roots so deep in the earth that there’s no geography that could ever really contain them. These songs simply rise up out of themselves. Wherever they come from, you cannot help but be drawn into their shadowy landscape. There’s no question: your first encounter with this music will be one you’ll remember. Forever. From Seattle, the Stares are a four-piece with aforementioned vocalists/songwriters Whittemore and Benintendi on guitar and electric piano/keyboards respectively, and Don McGreevy on bass and Jason Merculief on drums. This ensemble is filled out with string and woodwind arrangements by Eyvind Kang, who authored along similar lines for the latest Blonde Redhead CD. As great as that was, he absolutely outdid himself on Spine To Sea. The album is supported further by an auxiliary team of various Seattle music legends herded under the Stares roof by Randall Dunn, the record’s production wizard. The end result is so rewarding we’re having a hard time containing ourselves. “To say their sound is a...
CD $12.00
05/31/2005
MP3 $7.92
05/31/2005
***It's the 50th anniversary of The Residents! Holy crap. 1972 - 2022 from experimental noise and tape splicing to new wave, punk, electronic, ambient, blues, twisted mangled pop, and everything else. Santa Dog has become a theme that comes back again and again about every 6 years or whenever there has been some kind of significant change in the world of The Residents. This 2xLP set includes all 4 songs from the original 1972 EP along with every studio Santa Dog that came later (78, 84, 88, 92, 99, 2006, 2012, 2017). Hand-numbered limited edition of only 350 copies on Doublemint and Red swirled vinyl. Includes an insert with track info, a little background from the Cryptic Corporation, and a really nice and creepy Santa photo from the 1970s.
2XLP $44.50
07/08/2022
Hall of Fame's third full-length album finds these NYC indoor miners forging even deeper into their secret cave of gems (financed with new picks'n'shovels on the Siltbreeze tab). Like their previous output on the Amish label, this one's a melange of tribal thump, eastern drone, raga concrète and melodious melancholia. Hall of Fame's unique, not easily identifiable sound has been compared to revered oufits such as Flies Inside the Sun and The Shadow Ring, sometimes even in English. If, like the young scribes from Hayfever magazine, your recollection and your record collection go back further than a time we like to call "the early '90s," it's okay to shout "king me!" and move on. But if you really wanna sit around the ol' checkerboard discussing strategy, then your next stop is a lower east side of the late '60s; Hall of Fame's healthy smattering of influences stretches back to Ludlow Street-era Velvet Underground, Prestige-era Moondog, The Godz and Angus Maclise. Recently the band played a series of shows with The Red Krayola, impressing the hell out of that old Quixotic Dadaist Mayo Thompson and his erstwhile Sancho Panza, David Grubbs. Señor Grubbs was so impressed that he enlisted HoF's Dan Brown to do some drumming for his forthcoming release of covers from various performances from the King Biscuit Flower Hour. Only in New York! o Samara is also a member of Tower Recordings, Metabolismus & Sonora Pine. Dan Brown has done time in Stratotanker & God Is My Co-Pilot. Theo...
LP $8.25
09/26/2000
CD $12.00
09/26/2000
MP3 $0.00
09/26/2000
"Andy Stott has developed a unique sound since his debut for the Modern Love label back in 2005. His first demos were heavily influenced by the square-bassline techno variations of Claro Intelecto, a longtime friend, mentor and eventually labelmate and collaborator. His first release, 'Replace' featured a mixture of disciplines that took in elements of Detroit Techno and Chicago House which fast captured peoples imagination with intuitive, warm melodies and fathomless bass weight. From that point on Stott continued to shift and adapt his sound to take in ever disparate influences, from the driving techno of Dave Clarke's 'Red' series through to Basic Channel, Dubstep, Garage and the minimalism of classic Sahko. His restless shift from traditional Techno blueprints through to the bottom-heavy signatures of dubstep and the steppers arrangements of garage have also placed him at the forefront of the dubstepXtechno hybrid sounds that have started to dominate the electronic music scene in 2008 alongside the likes of Martyn, Peverelist and T++. This compilation brings together selected tracks dating back to Andy Stott's debut back in 2005 and reaching all the way to his most recent material in 2008 - with none of them ever available on cd until now. Tracks feature here from the 'Replace', 'Ceramics', 'Handle With Care', 'Hostile', "Bad Landing', "Fear Of Heights', 'Massacre' and 'Nervous' EP's and stream through his fascination with deep, almost uncontainable basslines and ever inventive percussive shifts. The man really is a bit of a hero round these parts, and we...
MP3 $9.90
03/21/2011
Yama & The Karma Dusters (Euphoria Blimpworks Band)
Up From The Sewers
Return To Analog / Lion Productions
***Quintessential underground anarcho-Hippie, anti-establishment private press blast by a band (and commune) from Chicago c. 1970, with poetic, sometimes vicious lyrics (Dylan-esque, or Arthur Lee and Love? you decide), and funky, hard-edged bones. YAMA & THE KARMA DUSTERS aka THE EUPHORIA BLIMPWORKS BAND, were inter-racial, anti-war, Stop the Bomb, free love Hippies, the wildest of the wild kids. They really cook on the up-tempo tracks, sounding like a cross between The Blues Project and Dylan's early electric period band circa 1966, augmented by a violin player. On the hard rockers, founding member HOWARD BERKMAN, formerly of morose garage punksters the KNAVES, spits out sharp-tongued protest without becoming precious, while the band simmers and sizzles in sympathy. There are melodic folky ballads too, culminating in the gorgeous ‘Hello Big City.’ The band's ability to mix these elements into a coherent statement—recorded in surprising fidelity—solidify this an overlooked gem of the period. An underground counterculture classic, if ever there was one. Includes a 16-page booklet. Limited edition pressing of 150 copies on transparent red vinyl.
LP $35.50
01/27/2023
In the spring of 1980, three-fourths of the Gizmos moved to Hoboken, New Jersey, from their native Bloomington, Indiana. Within a few years, Dale Lawrence would co-front the Vulgar Boatmen, Billy Nightshade would play in Boston's Unattached, and Tim Carroll would form the Blue Chieftains, before establishing a formidable solo career in Nashville. But in 1980, they had their sites set on infiltrating New York's post-punk scene. Hooking up with Long Island drummer Robbie Wise, they soon began getting gigs in the city. But getting anyone to notice proved a tougher nut. "We thought we'd been operating in a void in Indiana," remembers Lawrence. "In New York we found out what a void really was! At least back home, people cared enough to dislike us." The Gizmos would finally call it quits the following summer. But in that one year of east-coast residency, they would tighten up their rhythm section, expand their songwriting, and make the best recordings of their career, at Zeami Studios with fellow Hoosiers Mark Bingham and Mark Hood producing. "The Midwest Can Be Allright," released at the time on the Red Snerts compilation of Indiana bands, is often cited as the group's finest song. The rest of that session is presented here, along with live recordings and living-room demos. Several songs make their official debut: "Now I Wanna Go Fast," "Pignose," "Tricky Rhythms," "Shoplifting," "Nervous Man In A $4 Room," and a cover of Jerry Lee Lewis's "Little Green Valley." A superior-sounding version of the Billy...
MC $11.00
12/10/2021
MP3 $9.90
12/10/2021
FLAC $11.99
12/10/2021
Allie Hanlon’s Peach Kelli Pop returns after 2 years with a 6 song EP, Which Witch, available exclusively at independent record shops for RSD 2018 via Mint Records. In December 2017, Hanlon spent a week in her hometown of Ottawa, Canada. She recorded the EP in just four days, utilizing the dust-coated equipment left in her bedroom after she emigrated to the United States in 2013. “I really benefited from being in the specific home, and even room where I learned to play music when I was growing up.” Upon first listen, a new level of vulnerability is instantly detectable, effectively separating this release from any of the bands previous creations. This new intimacy is due to the predominantly autobiographical lyrics: songs about isolation, depression and feeling like an outsider in Hanlon’s current home of Los Angeles. Nevertheless, she is markedly optimistic about the future; “I am proud of these songs, and working with Mint feels like both serendipity & destiny at the same time. I’ve been a big fan of Mint since I started going to shows and getting into punk music.” Hanlon intentionally returned to where she first started Peach Kelli Pop in 2010. Eight years later, the band has toured extensively (including annual trips to Japan), has 3 full length albums and a handful of 7” releases. It’s been five years since Hanlon relocated to Los Angeles, and two since she joined forces with sisters Gina and Sophie Negrini (bass and guitar respectively) and Shelly Schimek (drums)....
7" $6.75
04/21/2018
MP3 $4.99
04/21/2018
FLAC $5.99
04/21/2018
"Seems like no punk label can resist the allure of the obscure reissue these days, but Last Laugh has been dutifully excavating the graffiti-riddled stalls of punk’s history for many years now, generally coming through with more hits than misses. The Insults released two 7″s in 1979, both want-list staples of any decent punk collector, and Last Laugh hit the jackpot here, locating a 1980 recording session of unreleased tunes and releasing it here. I sure wish Maids or Cracked Actor were sitting on unreleased albums, but I’ll take it from The Insults as well, whose material on this self-titled LP is certainly good enough to have warranted a proper 1980 release. Wonder what happened! Opener 'I Hate…' blasts both teenagers and the band’s neighbors, a coulda-been punk anthem, and it’s not long until 'Disco Bitch' goes into lyrical territory that, well, I think I’ll leave you to guess. 'Trans Am' sounds like it should’ve been a Scientists a-side, whereas 'Dummies On Parade' directly and successfully lifts the melody from 'Holiday In The Sun'—it’s really quite remarkable how top-shelf these songs are. It’s a classic snot-nosed punk sound with a mix of energy and aloof nihilism that would’ve acclimated well to the burgeoning hardcore-punker scene. No liner notes to explain why this recording languished for forty years, but my imagination is filling in the gaps just fine—I’m picturing an infuriated RON RAT (vocalist) throwing the tapes in the attic after a drunken RICHARD SIKK (guitarist) threw up on the pool...
MC $9.75
10/22/2021
***This album isn't centuries in the making. It just feels like it. In reality, the first full-length album from JAMES ARTHUR'S MANHUNTt since 2010's Manhunt (Aarght!) is a crazed, yet shockingly coherent career highlight for a guy whose excursions into guitar chaos in a variety of guises/cities would've incapacitated lesser men. Or women. In fact, I think it has incapacitated lesser men and women, but enough about the audience. For those who don't know, guitarist/vocalist James Arthur has marked his territory in places as far flung as Brisbane, Memphis and Austin, TX. It's been in the Texas capitol where he's taken hard life-lessons from tenures in such legendary outfits as THE NECESSARY EVILS, C.C. RIDERS,, AAAA MEMPHIS LEGS, BEGUILED, REATARDS, A FEST OF SNAKES, FIREWORKS and THE GOLDEN BOYS... and ignored all of 'em, instead vomiting into the face of adulthood with a decidedly volatile red-white-and-boo-fucking-hoo take on what some people like to call "space rock". What would Hawkwind sound like if you owed them money (or they were locked out of the house?). Let's hope we never find out. All kidding aside, after one LP and a succession of singles for the In The Red, Goodbye Boozy, Perpetrator and Spacecase labels, James was somehow able to RECORD THE UNRECORDABLE. Under the technical supervision of STUART SIKES (who as an actual Grammy Award (TM) winner really ought to know better), and bolstered by Texas conspirators including BRYAN SCHMITZ (the Golden Boys), ORVILLE NEELEY (OBN III's, BAD SPORTS) and SEAN MORALES...
LP $15.50
07/22/2016
“Step into a sick rhythm. And I mean sickly. Surgery Channel is a constructed world where everything is piercing and pinpointed. Every single word brings confrontation. With an intro as intimate and uncomfortable as this, The C.I.A. make you question what could be happening here…or what they’re after. Denée Segall (vocals, lyrics) is both haunting and seducing us at once with her voice. Something unhinged might be about to happen and they’re calmly dangling it over your head. Is it the possibility of dismemberment? Revenge? “There is something about Surgery Channel that is sterile and covered in dirt at the same time. Maybe it’s the feeling of simultaneous anger and defeat. Maybe it’s what comes after. Or maybe it’s about the ever-so-brief silent spaces between notes and words. Rhythm would be nothing without empty space. Words are rhythm at The C.I.A. “There’s nothing wishy washy about The C.I.A. or the way they sound. It’s all about precision and aim But really, it’s a warning... amplified by the suspense of tick-tocking drum machine beats that resemble a hospital room. Ty Segall (bass, percussion, back up vocals) and Emmett Kelly (bass, synth, back up vocals) have painted a jarring and dissonant landscape behind Denée’s story. Their basses could easily be swapped for bone drills and you might not be able to tell the difference. Emmett’s modular synth envisions an environment reminiscent of the instrument itself, a mess of wires and pulsing red lights. Ty’s subtle use of electronic and analog percussion fluctuates...
LP $19.00
01/20/2023
CD $12.00
01/20/2023
MP3 $9.90
01/20/2023
FLAC $11.99
01/20/2023
Nice vibe = a nice price 3 fer from MV & EE and all their open roads - lovingly restored for YOU from a sweet spot in the tapers pit. Dig this triad courtesy of Heroine Celestial Agriculture, THE spectrasound you've come to know and love from this division of Child Of Microtones. You are immersed and right there, right now: TOASTED COOKIE: we respectfully call the goose/moloney rhythm section of the golden road "the toasted clam", partially in honor of the clamtones, always in honor of toasting and fully cos you never know where it is gonna open up with this unit. hard to net the sound and we always try to set sail. we'd been playing together as a quartet and beyond for awhile, even way before the "TOASTED CLAM" disc from which rounds out this trilogy...this set is lovingly referred to as the "toasted cookie" cos in many ways it is a reprise of the spirit found at the classic electric issue set. it was a wild evening, crystalline roses laid down some sik solo strings, zebu let it rip with high harmonix and the family underground were in town - KILLER - yeah that kinda nite! all synapses were firing on redemption and then some, we were gettin' gone. yeah we've been playin' together since even before THAT double LP. thurston was in the tapers pit, he said somethin' like "youse sound good in this room". we even pulled out the burden, burn den indeed. MV/EE/RONGOOSE/MO'LOW MUY ALTO:...
MP3 $9.90
07/19/2011
***A new album from SONNY SMITH, performed without THE SUNSETS, but with guests NEKO CASE, EDITH FROST, MARK EITZEL, RICO BELL, JOLIE HOLLAND, ANDY CABIC, JOHN DWYER, and others. “The songs on One Act Plays started out as real one act plays written for the theater. But in writing them I began to make them songs at some point. I can’t remember when this mysterious shift happened. However, ultimately the plays as songs were performed on stage in a play called The Dangerous Stranger, so somehow it came full circle. The Dangerous Stranger was supposed to be about reality being the dangerous intruder of fantasy, and fantasy being a dangerous intruder to reality. I can't remember if the play was successful at conveying this idea at all. That was the kinda stuff on my mind at the time I guess. I had a few influences at the time I was writing them. One was Terry Allen's Juarez, a concept record with recurring characters. Also I was really into Sam Shepard at the same time so I was reading a lot of his stuff. A few of the songs, like 'Eddie and Rita' even have some stage directions lifted directly from one of his plays. The song 'Following Father' took a bunch of facts from my dad's cousin, a Texan who always had some get rich quick scheme that never lasted. I was trying to make some kind of Tennessee Williams like thing apparently. Epic! Large! Family! Redemption! Well, anyway, most...
LP $14.75
05/08/2012
***Our Fault, the sophomore album from Los Angeles’ RUBBER BLANKET, thoroughly trounces the laziness cabal. Its 10 tunes beckon listeners to embark on a preternatural sojourn under the collective Blanket of BRAD EBERHARD, LARS FINBERG and JUN OHNUKI (survivors all of WOUNDED LION), three artists and composers, working together forever and then some. Before today, Rubber Blanket had never visited the racetrack in Santa Anita. They agreed to meet there for one specific reason: betting it all on a horse named Pepsi. They’re in queue at the ticket window wearing matching Wall Of Voodoo shirts, which even they think is absurd. It’s a $35 bet to show. They lose but vow to return. Unless there’s literal goo-goo-gah-gah, the notion that Rockish Musics with discernable peculiarities must possess childlike predilections is shite nouveau, serving only to signal that the experimental market is not blonde enough to churn hype butter. This kind of trash-think ignores the existence of real wonderment, as if the constant ingestion of multiverse stimuli couldn’t / wouldn’t / shouldn’t impact the capacity for marvel within the living human sponge. Our Fault is bright enough to recognize and even reproduce this strange ever-growing awe. Rubber Blanket eat Del Taco late-nite while cruising in a convertible yellow Miata, chit-chatting loudly over a skipping Shadow Ring compact disc playing out of the dash console. There’s lettuce everywhere, which is refreshing if you really think about it. They hit a red light, let it turn green, then yellow, then back to red...
LP $18.50
07/07/2023
***CHECK STOCK!!! Recieved a 7.6 rating from Pitchfork. The cliché circulated after the 2016 election foretold a new artistic golden age: Artists would transform their anger and anxiety into era-defining works of dissent in the face of authoritarianism. Yet BOB MOULD calls his new album Sunshine Rock. It’s not because Mould likes the current administration. His decision comes from a more personal place—found in Berlin, Germany. “Four years ago, I made plans for an extended break,” Mould explains. “I started spending time in Berlin in 2015, found an apartment in 2016, and became a resident in 2017. My time in Berlin has been a life changing experience. The winter days are long and dark, but when the sun comes back, all spirits lift.” Three years in Berlin would quite literally shed new light on Mould’s everyday mindset. This being Bob Mould, Sunshine Rock still has darker moments. “Lost Faith,” for example, has him quietly lamenting, “I’ve lost faith in everything.” The Mould of 1990 may have wallowed in the feeling, but the Mould of 2018 jumps into a hooky, bombastic chorus where he sings, “Really gotta stop this now, this is your / Last chance to turn around, I know we / All lose faith from time to time, you / Better find your way back home.” Those cathartic moments in “Lost Faith” foreground a surprising element of Sunshine Rock: Mould’s rawest vocals since his throat-shredding days in HUSKER DU. Limited edition version pressed on yellow/red swirl...
LP $18.85
02/08/2019
From out of nowhere—if nowhere is the febrile, warped and twilit imagination of Julia McFarlane —comes Whoopee, the second album by J.McFarlane’s Reality Guest. Whoopee is an esoteric, kaleidoscopic movie in music form directed by Julia McFarlane and co-conspirator Thomas Kernot. Full of life, breakbeats and smokey vignettes on the fragile nature of interpersonal relationships, Whoopee is a stylistic evolution from everything McFarlane has done before. Surreal, beautiful in parts and replete with the aching wisdom McFarlane’s songwriting has always promised, this Reality Guest pulls back the curtain on a whole scene of naked truth. Recorded in Melbourne in bursts since the release of 2019’s Ta Da, Whoopee features a new sound palette and band member in Kernot. The duo dive deep into electronic pop tropes, mining digital synths, samples, breakbeats and deep bass grooves, largely dispensing with live instrumentation. If Ta Da took twists and turns with your expectations, offering a Dada-ist, monochromatic take on pop music, Whoopee is McFarlane’s subterranean love-sick pinks, reds, greens, purples and blues. Becoming something of a tradition, the album starts with an instrumental intro pilfered from a 90s’ spy film or cinema intro music, puffing up the listener for the heart-squeezing bathos of "Full Stops." Over a bleary backdrop of walking bass lines, jazz-inflected keys and smoked-out atmosphere, McFarlane’s poetry narrates the fragile state of a relationship: “You put a full stop where I thought there’d be a comma, I want the story to continue even with all the drama.” Over a palpable...
LP $22.00
03/08/2024
MP3 $9.90
02/09/2024
FLAC $11.99
02/09/2024
***"The real story is the fact that the WHIP were a waaaay too short-lived band that formed a couple years after KARP had broken up, and a little after the TIGHT BROS FROM WAY BACK WHEN (JARED's post-Karp band) had basically called it quits after recording and touring hard for several years in the late '90s/early '00s. The year was 2002 and SCOTT (JERNIGAN, Karp's drummer) was in a Seattle band called THE BRONZE, and he and Jared began playing with JOE PRESTON (THRONES, MELVINS, etc. etc). My friend Rick (now an academic librarian in Eugene, OR) heard this was happening, and nearly dropped his Cocteau Twins cassette. Such a pairing of everything we loved about music, coming together in one band. We'd spent serious time loving everything Thrones had done, and clearly, Karp was essentially the best rock band ever. With Joe's amazing riffs and playing, Jared's and Scott's insanely sync'd up rhythm section and Jared singing, this pretty much sounded like it was gonna be the perfect band. So, sight unseen Rick told 'em we'd pay for a recording session if they'd let Wantage do the 7". And lo, the Freelance Liaison/Sheep and Goat Judgement 7" was born. The band toured the west coast, and northwest a fair amount in their short life, and we were all set to release a 5-song Tour EP (a la the Red Fang tour EP, and the Big Business Tour EPs etc.) but on June 10, 2003, Scott was killed in a...
LP $21.35
08/21/2020
***It takes balls to let PURLING HISS get in your face. Their records are a half-corroded, screaming roar of high-end guitars crushed together, obliterating vocals and even drums with their singular assault. Well, if you’ve got balls, get ready to swing ‘em. With Water On Mars, Purling Hiss have broken out of the basement, run through the bedroom and are out in the streets, blasting one of the great guitar albums in the past couple minutes. It’s a tumble of hits and ragers, sewing together nine new Purling Hiss celebration laments out of their usual patches of distortion, singing melodies and unexpected production hoohah—but this time the unexpected part is how the guitars gleam so precisely as they pile upon each other, how they work alongside of the rhythm section rather than avalanching it. And how the songs embody a variety of Hiss-teric moods. Water On Mars is Purling Hiss’s first recording outside the fuzzy confines of MIKE POLIZZE’s inner rock utopia, where the first three albums and EP were constructed in solitude with a home-recording setup. Over the past couple years, Mike’s been working with a band and fine-tuning new songwriting ideas while playing shows all over the place. Now, Purling Hiss projects their sounds and ideas onto a new platform, with a visceral and soulful presence. Now there is a center to the Hiss maelstrom, with Polizze’s guitars slugging, sizzling and spiraling their way around the rhythm throb. Polizze lyricises like a poet of the disaffected, shifting from...
LP $17.75
03/19/2013
CD $13.75
03/19/2013
MC $10.50
03/19/2013
***BACK IN STOCK!!! JOEY RUBBISH must be stopped, but it’s too late for that. As the architect of every note on this immaculate new LP, he joins the ranks of other groundbreaking modern home-recording luminaries such as Jay Reatard, Nobunny, Mikey Hyde of Medication, and Rich Crook of Lost Sounds/Lover!, all able to cover every instrumental note recorded, as well as the vocals & recording. Not a small feat and worth noting since it’s such a rare thing to pull off, especially when it’s this nuanced and complex, even by power pop standards. And with that, THE RUBS second offering is finally here with Impossible Dream, a full spectrum of songs so tightly-knit, so cleverly-written, and so impossibly dreamy, you won’t be able to pull them out of your skull for eternity. Agonizingly articulate pop that can barely contain it’s own excitement, these songs just keep hitting you, one after another, each better than the last, just continuously pounding their unwavering contagiousness into your brazen heart. It’s not like The Rubs are reinventing the guitar with Impossible Dream, but this LP has something brilliant humming at it’s core, something stark, genuine, and extremely vulnerable. And yet so charming and confident, it’s almost dizzying in it’s bravado. From the instant “Wrong Right Girl” kicks off, it’s a tense and tender tear through the highs and lows of girls, summer, breakups, and tight jeans, drizzled with a reduction of those irresistible vocal hooks. With a run through a...
LP $14.50
06/09/2017
MP3 $9.90
04/07/2017
FLAC $11.99
04/07/2017
***"R.E. Seraphin’s songs live in shadows and ambiguity. The Bay Area musician builds raucous, large-scale rock songs, then hushes them to ghostliness around intimate, murmuring vocals that tickle the inside of your ear. Here are anthemic choruses, amp-jumping rock licks and buzzing propulsion that echo through dream corridors, just out of reach. Fool’s Mate is Seraphin’s second-full length under his own name, following the debut Tiny Shapes from 2020 and a pair of EPs, A Room Forever and Swingshift. Denser, darker and more rock-oriented than his previous material, it was recorded with Jason Quever of the Papercuts at his home studio in Crockett, California. Seraphin had been playing with a full band as the lockdown eased, and this album reflects the live chemistry that he’s developed with his crew: guitarist Joel Cusumano (Sob Stories, Body Double), drummer Daniel Pearce (Al Harper, Reds, Pinks, & Purples), bass player Josh Miller (Chime School, Extra Classic), and keyboardist Luke Robbins. Seraphin, Pearce and Miller ]== recorded the basic tracks live, then added Robbins’ keyboards in overdubs. In addition, Seraphin’s frequent collaborator Owen Adair Kelley of Sleepy Sun contributed acoustic and slide guitars, while his wife Hannah Moriah sang background harmonies. It is very much a rock album, with big Spector-esque arrangements and squalling guitar solos. And yet, it also digs into the shifting currents of the subconscious, incorporating snatches of dreams, half-remembered phrases from books and warped memories and imaginings into its textures. 'The lyrics are meant to evoke a sense of corporeality—there...
LP $16.35
03/22/2024
The incendiary proto hard rock and ambitious epic journeys this album delivers are all the more uncanny and devastating when you realize Gary Del Vecchio was a mere 16 years old when the title track Buzzin was unleashed! Even more astonishing is how far he travelled over the next five years, documented in this brilliant selection of nine tracks from the classic daze of early 1970s underground rock. Ohio was a hotbed for hard rock at the time with bands like the James Gang, Glass Harp, Poobah, Left End, Damnation Of Adam Blessing… what you get here matches the style any of those bands laid down. Gary's music grabs you immediately and grows over time. Grabber and Grower… best of both worlds style! It makes sense that Gary later owned a recording studio, right out of the gate he was laser focussed on all the aspects involved in making music that stands the test of time. The guitar action is incredible, shards of sound flying free yet hitting the bullseye continuously, vocals confident with none of the macho posturing that ages poorly in much early hard rock. These tracks are all vividly recorded and meticulously mixed in a way that balances fiery performance and intelligent structure to maximum effect. The bass and drumming here are phenomenally inventive and propulsive, the several players involved across the album nail it in their support of Gary's vision. This is rock music born in the 'anything is possible' life affirming energy of the...
LP $27.00
03/22/2024
Nine years after ‘Lookaftering’, her last album of new material, legendary British singer-songwriter Vashti Bunyan returns with a breathtaking new LP. Recorded largely in her home studio, ‘Heartleap’ is a unique and entrancing collection of ten songs forming what Vashti is adamant will be her final album. Vashti’s third album follows her rediscovery - after thirty years in the wilderness - with the 2000 re-release of ‘Just Another Diamond Day’ (a bona fide cult classic that made # 53 in the Observer Music monthly’s ‘top 100 British albums of all time’), and the critical success of 2005’s ‘Lookaftering’. With ‘Heartleap’ she has delivered an album with a classic sound, where – for the first time – she herself has been in control of the whole process, from writing and arranging to playing and recording. Working predominantly from a studio set up in her Edinburgh home, the record was slowly pieced together, and reveals an artist at her peak, capturing her songs within fluid settings that masterfully marry content and form. Both ‘JADD’ and ‘Lookaftering’ saw Vashti‘s songs arranged and framed by others. Joe Boyd’s production and Robert Kirby’s arranging of the former remain timelessly classy, whilst Max Richter’s elegantly beautiful production of Lookaftering was enhanced by contributions from a raft of supporting artists - all eagerly adding their colours. Vashti is justly proud of ‘Lookaftering’, but ‘Heartleap’ is a more personal record, standing solely on the merits and patient endeavour of its author rather than being buoyed by and filtered...
LP $17.50
10/14/2014
CD $13.00
10/07/2014
MP3 $9.90
10/07/2014
FLAC $11.99
10/07/2014
Model Village return with their second album ‘You Chose These Woes’, though on a technicality this could really be their debut. 2012’s ‘A Solution To Everything’ was a compilation of early singles, which no less than The Line Of Best Fit described thus: “As deft as The Shins at their finest and completely ace with it”. That’s an accurate comparison because this new album features subtly brilliant indie-pop with nods toward folk and country. Unashamedly grown-up, the songwriting on these songs is mature, confident and, crucially, utterly memorable. It’s a terrible burden, but the band wear it with unpretentious dignity. Featuring no less than three lead singers, the Model Village line-up for ‘You Chose These Woes’ stabilised in their Cambridge hometown during writing and recording after a few months of personnel changes. (Did we mention the band are big Fleetwood Mac fans?) That consistency has reaped rewards in the little details. The easy way Rachel Duncan’s vocal melody shifts up into the chorus of ‘Sunday’, a song seemingly about trying to match up to a previous partner, and again when the ‘Rumours’-esque ‘Stockholm’ switches gears from winsome verse to casually soaring chorus. The steady group dynamic reaches a zenith in album standout ‘Oh My Sister’, a classic slice of folk-rock that encapsulates that hopeful sadness when summer moves imperceptibly into autumn. ‘You Chose These Woes’ is ultimately a superbly realised set of songs in which ordinary people search for connections and meaning through the power of great songs. Beautifully simple....
MP3 $9.90
01/13/2014
FLAC $11.99
01/13/2014
“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
CD $12.00
05/13/2014
MP3 $8.91
05/13/2014
FLAC $9.90
05/13/2014
LP VERSION INCLUDES FREE DOWNLOAD COUPON!!! Some people didn't know what to make of Cheap Time's self-titled debut album when it was released in 2008. It was a huge leap from their first 7-inch of the year before, and it didn't really sound like anything else going at that time. Too glamtastic and bubblegum for the garage purists and too raw for indie rockers. Cheap Time's new album, entitled Fantastic Explanations (and Similar Situations), proves that they are capable of still further artistic leaps. Guitarist / songwriter Jeffrey Novak soaks up his influences and spits out new songs with more complex structures and melodies than ever before, while bassist Stephen Braren adds backbone to the songs with his heavily compressed Roy-Wood-style playing, and new drummer Ryan Sweeney tightens up the sound while still keeping things very loose. The Fantastic Explanations sessions have also become something of legend--tracking for the album ended abruptly after engineer Mike McHugh suffered a breakdown and kicked the band out of the studio at gunpoint. Once the tapes were retrieved over a month later, Earle Mankey (ex-Sparks member and producer of the Quick's Mondo Deco and The Runaways' Queens of Noise) was brought in to mix the final album, which turned out to be a perfect match! Anyone who saw Cheap Time on tour last year opening for Yo La Tengo will be pleased with the way these new songs have turned out on record. Fantastic Explanations (and Similar Situations) will surely surprise, divide and...
LP $12.00
10/05/2010
CD $12.00
10/05/2010
MP3 $9.90
10/05/2010
“This record is an encapsulation. The omnipresent fear and anger. Why? Why? Why? Why? Why? Why? Why? Why? Why? And what is really going on? Consternation…today…There is difficulty, frustration, strain and a large snake. You can feel the pressure of it breathing on the streets, in media, and in your lunch. This s/t, by The C.I.A., is an urgent musical notice. I feel it immediately. The pointed vocal cadence and lyrics of Denée Segall is a sharp scythe, and the actual time is…now. “I feel the same distress call and disposition from Crass records like Penis Envy or DIRT. In fact, if you took that, mixed in “Black Silk Stocking” by Chrisma and a touch of early Nic Endo (Atari Teenage Riot) and even Dinah Cancer (45 Grave) Autopsy era, you can get a feeling. And, similarly to those mentioned, Denée is putting a time stamp on this time. The spirit and her viability is strong in many a corner, and in many a heart. The alarm is ringing. “This is survival sound, put on record well backed by Ty Segall and Emmett Kelly, who have added anything-must-happen, mercurial, constantly moving instrumentation. The sounds, consistent with unique monochrome, move like an engine, made gas-tight by piston rings. Sonic rings moving in tight machine patterns. And at the vocal helm is Denée, steering this machine in vocal directions across an exclamation point motorway. No salt, all salt. Traction and reaction. They built a sound machine with, and for each other. Survival...
LP $16.00
12/21/2018
CD $12.00
12/21/2018
MP3 $9.90
12/21/2018
FLAC $11.99
12/21/2018
The new Lavender Flu album Mow The Glass was recorded in the living room of a small house on a cliff overlooking the Pacific Ocean. One can hear it in the music: the Oregon coast, the dream life of an Axolotl, the open sound of a band playing to an audience of endless water, sun, and sky. A bald eagle flew by the window every few hours as if to remind the band where they really were. Still, the laughter was real, the freedom was magic, and the tambo was sprinkled like sugar. Heavy Air, the previous album, was a home recording project. The songs started with Chris Gunn (The Hunches) on a guitar or a synth or a bowl of cereal and were built up from there. A rotating cast of friends and family helped flesh out the material. It could have been made in deep space or at the bottom of the ocean. Transmissions from a bedroom at the bottom of Pill Hill. This new album is a reflection of the live experience. Four people playing together; working within the template of pop classicism. thirty-five minutes of music. This time, the Flu comes out of the water and spends a little more time on land: pop kicks, psychedelic derangement, beauty, spells cast via hate raga and rocker. The band moves backward, forward and sideways; often within the same piece. The music breathes. It doesn’t deal in nostalgic regression or self conscious futurism. It just sounds like the Lavender...
LP $16.00
07/06/2018
CD $12.00
07/06/2018
MP3 $9.90
07/06/2018
FLAC $11.99
07/06/2018
The Dirtbombs' fourth full-length is jam-packed with more of their soulful, Detroit-style, fuzztone-fueled garage-punk-pop-rock 'n' roll that has made them a popular favorite with club-goers around the globe. Mick Collins and his merry band of miscreants' twelve slices of sonic thud kick the party into high gear and show off a vast array of unexpected influences. In fact, the opening track has been acknowledged by Collins as his tribute to Mark E. Smith and The Fall. The Dirtbombs are as known for their tasteful selection of cover tunes as much their stunning originals, and this record carries on the tradition with fantastic takes on songs by comic artist Alan Moore, Portland, Oregon stalwarts Dead Moon, and labelmates Sparks. That said, the originals here are what you really want to write home about. From the Stooge-oid "Ever Lovin' Man" to the finger-poppin' "Indivisible" to the extendo free-form psych jam of "Race To The Bottom" to the Euro-pop of "La Fin Du Monde," The Dirtbombs prove once again they are a rock 'n' roll force to be reckoned with who will have no problem outliving the NME-sponsored hype of their hometown way after ten more trends and haircuts have been built up and torn down.
LP $16.00
02/26/2008
CD $12.00
02/26/2008
MP3 $9.90
02/26/2008
"I was born when you kissed me, I died when you left." So begins the new album from Anna Kashfi, the Manchester based band named after Marlon Brando's first wife. She was presumed to be an exotic Indian beauty who was later revealed as the daughter of a Welsh steelworker and the duality and tragedy of the real life Anna Kashfi is a recurring feature of "Survival". The sense of characters being vulnerable to the whims of the world and circumstance, of the thin-line between existing and being wiped out forever. Sian Webley is the voice behind these characters and she gives them life, a sadness and a wit that speaks volumes. Theres also a duet of sorts with Robert Fisher of kindred spirits WIllard Grant Conspiracy, a song relating a story of how the townsfolk of a Tuscan town tricked the Devil into building their bridge for free. Musically "Survival" is Anna Kashfi in widescreen, where their previous album "Procurement" moved in slow motion through late night laments and droning psychedelic folk, on "Survival" you can really feel prodcuer / arranger James Younjohns testing how far he can push Webley's vocals. So, yes, for fans of Alt Country, fans of Willard Grant Conspiracy etc, the Bad Seeds, strong songsmithery, this could almost sound track Steinbeck.
MP3 $9.90
01/18/2010
The music of The Ponys is so delicate when you warm up to it, and yet so destructive and mesmerizing, it's hard to see straight once it kicks in. It's tough to imagine the effect on an unsuspecting world it will have. The songs of this Chicago band challenge the DIY aesthetic to the point not everybody can do it themselves anymore. The timing, the vocal inflection, the tremendous build up and crashing - it's an all-new playing field and it's pretty damn exciting. If psychedelic music is supposed to be drippy and lazy, then you can't compare this at all. "Pop" is also way too broad of a term to fit, but once you let these songs plug into your receptacles, it all becomes quite clear. "Noise" is just as unworthy of a description, but begins to tap into the fortified power that's ended so many live shows with a feedback-destroyed eardrum or two. Somehow The Ponys cleverly destroy everything that you used to hate, and then force you to love it with such a unique, swirling sound and jaggedly perverse style that you're left in an orange haze of confusion, pleasure, and overwhelming satisfaction. Seriously. You know, the stuff Mick Jagger wanted to get his hands on so desperately. It really seems that songs like these haven't been written in a long time. Everything's been done before, right? Wrong. Jered's vocals may echo the desperation of Richard Hell, and those chilling keyboards may recall the perfect Velvet Underground,...
LP $12.00
03/02/2004
CD $12.00
03/02/2004
MP3 $9.90
03/02/2004
“The Bay Area in 2019 is a fucked up place. I’m living in the shadow of brand new tech tower nursing my beer at the horseshoe bar of Jonell’s, the last of the great TL haunts. I stumbled here past numerous encampments of tired souls driven to the streets by the same people who walk by everyday with brand new air pods and upturned noses, actively disdainful of the people whose problems they have helped create. Despite my disenchantment I can’t shake the ringing in my ears from blasting tunes in my SRO... “Street Riffs, the new album from a band called CCR Headcleaner, who I figured—like everyone else—had left the Bay long ago for greener pastures, maybe somewhere like LA…it turns out these mutants have been slugging it out, trudging through the gutters of the Bay Area since I first heard of them. The live shows were legendary. Fire, walls of noise, Tom Petty covers, guitars played with machetes, acid fueled freakouts, sweaty basement shows and big venue blowouts. Borrowed gear on borrowed time. I even heard the guitar player burned the merch money handed to them in front of a bright eyed young fan who had just purchased the record. “So the cover of Street Riffs, crowded with cranes and construction really conveys the claustrophobic catastrophe of modern city living. And the music! Brash frenetic riffs and primordial thundering rhythms weave in and out of ethereal melodies in a surprising amalgamation of experimental underground and working peoples rock...
LP $17.50
09/04/2020
MP3 $9.90
09/04/2020
FLAC $11.99
09/04/2020
Over the course of the decade, Meatbodies’ Chad Ubovich has been a perennial candidate for MVP of West Coast’s fertile rock scene. The LA native could be seen peeling off guitar solos in Mikal Cronin’s backing band, supplying the Sabbath-sized low end for Ty Segall and Charlie Moothart as the bassist for Fuzz, and, of course, fronting his own Meatbodies. Today the recently dormant experimental noise / freak-rock outfit has announced their return with 333—a corrosive stew of guitar scuzz, raw acoustic rave-ups, and primitive electronics that charts Ubovich’s journey from drug-induced darkness to clear-eyed sobriety. 333 simultaneously reflects on how the world he re-entered was still pretty messed up—if not more so. “These lyrics are dark, but I think these are things that a lot of people are feeling and going through” he says. “Here in America, we’re watching the fall of U.S. capitalism, and 333 is a cartoonish representation of that decline.” In mid to late 2019, the band—Ubovich and drummer Dylan Fujioka—had a new album in the can, ready to be mixed. But when COVID hit, like so many other artists, they put their release on hold as they rode out the pandemic’s first wave. During that idle time, Ubovich discovered a cache of demos that he and Fujioka had recorded in a bedroom back in the summer of 2018, and he really liked what he heard. In contrast to Meatbodies’ typical full-band attack, it was deliriously disordered. “It sounded gross, like a scary Magical Mystery Tour,”...
LP $17.50
02/04/2022
CD $12.00
11/05/2021
MP3 $7.99
09/03/2021
FLAC $8.99
09/03/2021
LP VERSION INCLUDES FREE DOWNLOAD COUPON!!! Los Angeles gets a bad rap. The city is known for shallow glitter, brutal cops and urban unrest--and sure, the stereotypes are sometimes accurate, but there are also lots of everyday folks, living unpretentious everyday lives. It's also true that Los Angeles is famous for a healthy underground music scene, both in the past and in the present. Take the everyday folks and drop them into an underground scene and you get something like Wounded Lion, a great no-frills pop band that sounds fresh, even when they remind one of classic American power-pop of the '70s. Inspired by The Velvets, The Cramps, The Clean and The Vaselines (as well as Credence Clearwater Revival and Kleenex), Wounded Lion is regularly seen at Los Angeles haunts such as Mr. T's Bowl, The Smell, The Scene and Spaceland. Their hum-inducing, toe-tapping tunes wiggle their way into your brain and have you singing their choruses at the grocery store or waiting in line at the DMV.The band's formula is relatively simple: shambling, alternately silly and poignant songs that bend and twist timeless pop hooks. The bass and guitars belch out raw distortion, lending the music a primitive quality, but a whimsical sensibility elevates the abrasiveness to a jubilant level. Wounded Lion writes pop songs that celebrate the unrefined, dispensing with ego and tapping into the primal areas of the brain."The LA-based quintet slams down the perfect prescription for your raw pop addiction with heavily contagious...
LP $12.00
05/11/2010
CD $12.00
04/27/2010
MP3 $9.90
04/27/2010
The Hunches are Portland's finest purveyors of cacophonous garage, delivering ragged-edged rock 'n' roll with such devastating hidden melody, one is left wondering how the band crammed such pop into the noise cavalcades. Having released two previous full-lengths, The Hunches are back with Exit Dreams, their third (and possibly final) album that captures their fiery live form on wax once more. It's a veritable melee of vicious guitar savagery and lo-fi freak-out fugginess, the perfect follow-up to Hobo Sunrise--a raging riot of an album that leaves ringing ears, bloody mouths, and shot-to-shit synapses sizzling with amplified excess. Not that Exit Dreams is a one-dimensional thrill. There's much more to The Hunches than simple shock bombast. Over the course of twelve tracks, the outfit navigates styles known to explorers of under-the-radar rock, each time twisting the tried-and-true into forms best-fitting their singular focus. This is The Birthday Party hijacking Big Star's Third and juicing adrenaline into their eyeballs; it's the give-a-fuck Velvets getting loose and pissing off the neighbors while The Wipers chuck stones at their windows; it's the top-up for the tinnitus that only just wore off some four years after the last time The Hunches rode through this town. The Hunches might be departing us, but the four-piece are leaving with a bang sure to raze these walls to the ground. It's time to set fire to everything and dance inside the encircling flames, facing fate with a wicked grin. "[The Hunches] blast extremely hard,...
LP $12.00
02/17/2009
CD $12.00
01/20/2009
MP3 $9.90
01/20/2009
LP VERSION INCLUDES FREE DOWNLOAD COUPON!!! Weird George. Uncle Ya Ya. Skullface George. Graverobber Steven. He's known by many aliases. Haunted George, under his Christian name Steve Pallow, was a member of The Beguiled, Satan's Cheerleaders and The Necessary Evils in the '90s. Around the turn of the century, he retired from society to the Mojave Desert, where he spends his time building caskets, collecting exotic roadkill, making podcasts that have to be heard to be believed and creating nightmarish music. Exploring the one-man band format out of sheer necessity, he has recorded dozens of songs (many of which are abstract/noise recordings under the name Snuff Maximus) on a 1970s-era mono cassette recorder with a condenser mic. His compositions are creepy dirges that call to mind bits of American folklore, the extraterrestrial, the supernatural and murder. In other words, a bad trip. To date he has put out two albums of home recordings, Panther Howl and Pile o' Meat, on the Hook or Crook label, as well a handful of singles.About two years ago, Haunted George added ex-Necessary Evil Jimmy Hole to the "band" and started making more regular live appearances. His music remains sinister and unsettling, though it now has more swing and rocks harder. The decision was made to enter a real studio to put down his latest batch of songs with his new, expanded line-up. The result is American Crow: Fifteen tracks dealing with witches, decomposition, murder, death, donkeys, buzzards and roosters. In the hands of...
LP $12.00
05/11/2010
CD $12.00
05/11/2010
MP3 $9.90
05/11/2010
***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
CD $12.00
11/08/2011
MP3 $9.90
11/08/2011
***"Adrenaline-powered and instantly catchy, Partycrasher is a straight for the throat, melodic hardcore rampage, clearing a path with signature ‘Did they just land that?’ transitions and breaks. The long-awaited, much anticipated new album delivers exactly what the legions are craving! Technical wizardry wrapped in a singalong, kickflipped and covered in a rich tomato sauce, then topped with a layer of tasty cheese."—Var. Produced and Engineered by TREVOR J. REILLY and MIKE SUPINA at Black & Blue Studio in New Bedford, MA. Mixed at The Blasting Room. Pressed on red vinyl. Includes a poster.
LP $19.75
11/19/2013
CD $13.00
11/12/2013
***BACK IN STOCK!!! Niandra LaDes And Usually Just A T-Shirt is the first solo record by John Frusciante. Between 1990 and 1992 the guitarist made a series of 4-track recordings, which at the time were not intended for commercial release. After leaving the band Red Hot Chili Peppers in 1992, Frusciante was encouraged by friends to release the material that he wrote in his spare time during the Blood Sugar Sex Magik sessions. Originally released on Rick Rubin’s American Recordings label in 1994, Niandra LaDes is a mystifying work of tortured beauty. Frusciante plays various acoustic and electric guitars, experimenting with layers of vocals, piano and reverse tape effects. Channeling the ghosts of Syd Barrett and Skip Spence, his lyrics are at once utterly personal and willfully opaque. Frusciante’s rapidfire, angular playing shows how key he was in the Chili Peppers’ evolution away from their funk-rock roots. His cover of “Big Takeover” perfectly deconstructs the Bad Brains original with laid-back tempo, twelve-string guitar and a fierce handle on melody. The album’s second part—thirteen untitled tracks that Frusciante defines as one complete piece, “Usually Just A T-Shirt”—contains several instrumentals featuring his signature guitar style. Sparse phrasing, delicate counterpoint and ethereal textures recall Neu/Harmonia’s Michael Rother or The Durutti Column’s Vini Reilly. On the front cover, Frusciante appears in 1920s drag—a nod to Marcel Duchamp’s alter-ego Rrose Sélavy—which comes from Toni Oswald’s film Desert in the Shape. This first-time vinyl release has been carefully remastered and approved by the artist. The double LP...
2XLP $39.00
07/12/2024
***Fun, stupid, and totally juvenile punk from Huntsville, Alabama featuring members of THOMAS FUNCTION, AMBER ALERTS and PINE HILL HAINTS. Think Head on a steady diet of Angry Samoans.
7" $5.40
10/18/2011
***A reissue of this 1975 private press LP originally released in an edition of 300 signed and numbered copies. Remastered from the original tapes. "Phil Lewin's homespun debut is a loner folk masterpiece; accidentally psychedelic, lit by heartbreak and timeless in its sadness and hope."—Jeff Conklin, WFMU.
LP $15.00
02/24/2017
CD $12.75
02/24/2017
***Is This Really Really Real? is the debut release by COREY CUNNINGHAM, guitarist of San Francisco bay area outfit TERRY MALTS. Full of fuzzy guitar bursts, propelling drum machines and blissfully, gloomy harmonic vocals these three songs carry through more like a well planned out mini album rather than a single. Although Corey now lives in LA, these songs show the fog-like temperament San Francisco can instill. "Is It Really Really Real" b/w of "Come On Let's Go" and "Out Of Limits."
7" $6.45
10/22/2013
***The first ever domestic vinyl release of this archival compilation of all their classic material. The PNV release of the album features one additional bonus song not found on the now out of print 2011 German only release. The Jetz were an amazing Power Pop / Mod / Punk band who released and amazing and sought-after collectible 7” in 1977. The collection includes the 7” plus everything else recorded between 1977-1979.
LP $24.45
06/02/2023
***There really isn’t much you can do to prepare yourself for something as profound as Burnt Envelope. Punk this “pure” has to be fake these days, or does it? We stumbled upon this band (or is it high concept performance art?) the old fashioned way, on a podcast while being quarantined for a global pandemic, and its charm and impressively brazen lack of luster wiggled its way deep inside the Hozac brain trust, big time. Starring the eternally optimistic Anthony Pasquarosa (formerly of Weeping Bong Band, Frozen Corn, Gluebag, etc), the Burnt Envelope concept is very easy to swallow, and impossible not to immediately heave back up. If there was a “ballet” for sloptastic stoner-sweat exercise routines, this would be the Swan Lake. And Burnt Envelope would probably end up drowning in that lake, because you, my dear, are indeed “Stuck in this World.” If you’ve been curious about Ancestry.com and the like, “23 and Me” will be the song that gets you through the rest of 2023 with a spring in your step, a smile on your face, and a shot in your eye. “I’m A Chameleon Parts 1&2” are some of the most ambitious tracks ever released on this label, a seriously hypnotic soured mash of “Sister Ray” and Randy Savage/Mean Gene Okerlundisms that will cast a heavy spell, only to crack your wits out with a Maggots-esque “Nothing To Do” that will leave you dizzy and drooling. Set up as singles across the dehumanizing entire LP, every...
LP $17.00
07/21/2023
MP3 $5.99
07/21/2023
FLAC $6.99
07/21/2023
Is it really a musical?! The 33rd Guided By Voices album, Earth Man Blues, is a magical cinematic rock album, full of dramatic and surreal twists and turns. Lyrics and liner notes trace the growth of young Harold Admore Harold through a coming of age and a reckoning with darkness. Vivid scenes appear: snapshots of youth, fantastical nightmares, unknown worlds. The music hasn’t softened a bit. One will hear the impossibly perfect melodies and word play that you expect from Robert Pollard, with the band playing at peak-heavy. “Trust Them Now” rocks like an instant classic, “The Batman Sees The Ball” is lean, mean rock muscle. Opener “Made Man” tears and slashes at the ears and heart. Sweeping, colossal tracks like “Lights Out (In Memphis, Egypt)” and “Dirty Kid School” stretch far beyond the ordinary vocabulary of rock. Doug Gillard’s brilliant guitar playing explodes out of the speakers. The rhythm section of Kevin March and Mark Shue, always strong and reliable, has grown into a breathing composite organism. Along with Bobby Bare, Jr on rhythm guitar, they drive the songs and make one’s head shake. Producer Travis Harrison ties the talents of the band together, once again recorded remotely and individually, pandemic-style. This group brings to life the sounds in Pollard’s technicolor imagination.
LP $17.50
04/30/2021
CD $13.00
04/30/2021
MP3 $9.90
04/30/2021
FLAC $11.99
04/30/2021
***“We get really excited about bands sometimes, right? Well folks, RAYON BEACH are one of the most head-blasting, endorphin-rushing musical anomalies we've stumbled across in a while, and these six tracks of exotic punk psychedelia are just what the doctor ordered. Located terrestrially in Austin, TX but borne of outer limits only imagined by acid casualties trying to find where Syd Barrett lives, Rayon Beach take us on an incredible ride through surreal soundscapes and off-center arrangements, and pull it all together under a tight black umbrella, soaked in afterbirth and glowing like weird moon rocks. With aural slices so scrappy and inspirational, they effortlessly conjoin shards of obscure noise, not unlike the uncategorizable brilliance of The Deviants, Swell Maps, and The Soft Boys, in that inescapable running of the primal Pink Floyd nuance through the chainsaw-style state of mind. With no Gold edition, and only 550 black vinyl copies available of this high-powered 12" EP's maiden pressing, you might want to jump all over this before it's morphed into something unrecognizable from it's original state. Watch out for Cryptic Scissor as well, a side-project emanating from Rayon Beach and Woven Bones as part of the next round of the HoZac Hookup Klub, coming soon.”—HoZac
12" $11.25
04/20/2010
MP3 $5.94
04/20/2010
***This is a really packed, special issue of Maggot Brain, with the feature cover story a comprehensive interview by celebrated writer Sasha Frere-Jones with essayist Lucy Sante (who's written for every issue of MB since the start), on the occasion of her awesome memoir about transitioning, I Heard Her Call My Name. Inside: Phill Niblock: A tribute to the genius musician, filmmaker, label head, and generous promoter of ecstatic sound, by Steve Silverstein. Tresa Leigh: An in-depth feature on the star of Efficient Space's beloved Ghost Riders compilation! Really a beautiful, untold story. Dredd Foole: As his legacy is revealed through Corbett vs Dempsey's archival series, Foole talks to Six Organs of Admittance's Ben Chasny about the role of his band the Din in the Boston underground. Plus, sidebars from Christina Carter, Kris Price, and Phil Milstein. Loopsel: Mike McGonigal on some of the most elusive, beautiful contemporary music, straight out of Gothenburg. Sleater-Kinney: 30 vital years of uncompromising music, by none other than Audrey Golden. All that and tons more.
MAG $13.50
03/29/2024
***Rising like a really strong fart from the ass-shes of SCHLEPROCK comes the latest in pungent street punk and rocksteady sounds to stink up the joint. Thirteen brand new anthemic tracks in the vein of heroes like Sham 69 and the Angelic Upstarts. Their second album, somebody light a match.
CD $1.95
01/08/2001
***"We didn't really know Jason Knuth--it's possible we had met him, or had been in the same room as him, but we didn't recall... We heard about his passing on the internet--a flurry of grievous and surprised reactions. People were asking us if we were aware of how much he identified and championed our music. As program director for KUSF, he seemingly used Sonic Youth as a standard for playlisting--indeed, at his memorial his friends played 'The Diamond Sea' in acknowledgment of his enthusiasm toward us. He was affectionately referred to as 'Sonic Knuth.' Here in NYC, so far from the San Francisco community, we were touched and more than intrigued. We learned Jason was a vibrant, well-loved guy on the music scene with a completely genuine exuberance toward art and music. His demeanor obviously shrouded a complex inner life which led to suicide. What Jason's feelings were toward his own human existence we may never know, but we do know he will be missed by many as a companion. Sonic Youth wanted to make some gesture toward him as well as focus on suicide prevention. A portion of the proceeds from this CD goes to local charities in NYC, SF, and beyond, and in the past have included www.sfsuicide.org. "A note on the music: Silver Sessions was taken from an evening when Sonic Youth had to do vocal overdubs for A Thousand Leaves--a band upstairs was hammering out some funky metal overdrive and we couldn't 'sing' properly. We decided...
CD $9.25
11/17/2009
MP3 $9.90
11/17/2009
FLAC $11.99
11/17/2009
***CRUELSTER's new record really is Against All Authority. Donnie got elected people thought the silver lining would be better punk? Hope you’re happy ! Here’s the one we’ve all been waiting in the mud for. Fourteen Tracks of seemingly dumb hardcore arranged to roast right wing daytime radio talking points. No flag remains unstood for here. “Crisis in Local Government Part III,” “The Pipeline could Work,” “Gold Studded Citizen” are only a taste of the ridicule. Join the Riot Boys and laugh at the system like never before.
LP $15.50
07/13/2018
MP3 $7.99
07/13/2018
FLAC $8.99
07/13/2018
“Leisure World play a really interesting style that kind of straddles the line between hardcore and noise rock. Listening to their music I’m reminded of how much of the whole noise rock / AmRep aesthetic is rooted in the later Black Flag stuff. While it’s apparent that Leisure World have listened to more than their fair share of records like Loose Nut and In My Head, they go for something much thicker and denser than those later Black Flag records and they arrive at something that reminds me a lot of modern noise rock-influenced bands like Pissed Jeans. So, if the idea a very ’Flag-influenced Pissed Jeans piques your imagination I’d highly recommend this one…” —Sorry State “Single note guitars, vomit yeeeaaaaooowled vocals, hard driving punk rock. Discordant, awkward, no fucks given…but then there are the hooks, and once you get hooked then look the fukk out…because you’re finished. What if Born Against had been a garage punk band? I’m just saying.” —Maximum Rocknroll
7" $6.00
05/19/2017
MP3 $3.96
04/21/2017
FLAC $4.99
04/21/2017
***“SXSW can be a really annoying time, but sometimes when the right connections happen it makes it all worth it. Over the past few years we’ve thrown under the radar shows over at our compound. Last year SUN ARAW watched RALPH WHITE play a set with his banjo, kalimba, and fiddle. They were both into each other. A collaboration was discussed. Now we have this split 12” with each artist giving us 10-plus-minute jammers. Sun Araw does a psychedelic version of Neil Young’s ‘Thrasher,’ and Ralph does a take on the song ‘Lord Franklin’s Ballad’ (from about the year 1852). I asked Ralph if it was a cover. ‘No… its a song about that song…the first and the last verses are from the mentioned child ballad and the 3 middle verses are mine….sort of a comment on the general scenario….got that?’”
12" $12.25
06/25/2013
***"There is something really special about music based on drones. Whether it's the vocals of Pandit Pran Nath, the ARP 2500 of Eliane Radigue, or the nearly-blown amps of Sunn O))), by changing the listeners's focus on details to one that favors flow, drones are uniquely capable of transporting our brains far far away. The debut LP, 'Repeater', by this loudly droning Austin septet is a goddamn splendid example of how the process works. Using the motto, “Maximal Repetition Minimal Deviation,” Water Damage create glowing fields of post-rock lava that pretty much suck you right in and boil you alive. Water Damage, while technically a septet, actually operate in various configurations, with the proviso there should always be two drummers and two bass players on hand. They prefer if each of their sonic ideas takes up a whole reel of tape, and once they start they don't look back. Everything proceeds towards an imaginary end point that is only achieved when the tape starts flapping. What a way to run a railroad! But the folks in the band are all vets of various projects—Spray Paint, USA/Mexico, Marriage, Black Eyes, Thor & Friends, among others—so let's assume they know what they're doing. And why not? They sound fucking great. Their approach to the form is less front-loaded than most of their peers, and the surface of their sound is sometimes ruffled by aural events of an un-drone-like nature. But the main gush is usually a blend of harmonic tones and textures pointing towards...
LP $19.95
TBD
***"Summer is not generally shoegaze season—it’s hard to really submerge in a sea of guitars when you’re already swimming in humidity to begin with. But the best dream-pop isn’t weather-dependent, and Everywhere Else, first full-length from Easthampton, Massachusetts sonic storm-chasers KINDLING, is worth diving into even on the thickest of August afternoons. Everywhere Else pairs vocals as sweet as the best Pity Sex or My Bloody Valentine jams with a heaviness that goes beyond black-metallic, drums and guitars bringing the attack as much from below as above”—SPIN
LP $16.00
08/26/2016
***BACK IN STOCK!!! What’s really left to say about NOFX? For over thirty years the reigning kings of punk rock have remained relevant by continuing to push the boundaries of their music and lyrics in a way that’s as endearing as it is infectious. For that reason it’s remarkably apt that the band’s latest LP First Ditch Effort is also their thirteenth, because ominous black clouds hang over this collection of songs that see frontman/bassist FAT MIKE exploring self-loathing and mortality in a more raw and honest way than he ever has before. Mike credits much of this to the writing process behind NOFX: The Hepatitis Bathtub and Other Stories, the band’s New York Times Bestselling memoir that forced him to confront his ghosts and revisit his past in ways that weren’t always comfortable. Additionally, having focused so much energy on writing songs for a Broadway musical over the past few years, Fat Mike’s songwriting on First Ditch Effort benefits from a similarly nuanced and varied approach, while simultaneously spitting out all the pent up angst and aggression that was necessarily reserved for NOFX songs. Guided by the collaborative influence of producer CAMERON WEBB (Motorhead, Alkaline Trio, Social Distortion, Pennywise), the album busts out of the gate with the amped up “Six Years on Dope” and never looks back. From the ultra-melodic word-play of “Oxy Moronic” to the charging desperation of “I Don’t Like Me Anymore,” First Ditch Effort flexes the broad spectrum of NOFX’s abilities and delivers on the...
LP $28.95
10/04/2016
CD $15.00
10/07/2016
We first met DOMOKOS in a situation not really appropriate to go into here. We knew him as the drummer from Rusted Shut (one of the greatest Texas bands in the history of the universe), and he invited us to watch another one of his projects called Future Blondes. Fast forward a few years and now we have the pleasure of releasing this tape. He has also been a performing member of Helios Creed/Chrome, Black Leather Jesus, Indian Jewelry and many other formations. Grab it up.
MP3 $9.90
07/21/2015
FLAC $11.99
07/21/2015
***“The year was 1996 (a guess really), when I had LA MACHINE play in our Olneyville warehouse space. It was the first time I danced in front of other people. (I was later told I was really good). I think maybe it was the first time I can recall where I stood in front of something I would consider modern psychedelic music. Not a rehash of some ghost from the past but something new to me. We had a plethora of hardcore, improv, and noise bands in New England... but this... this was something different. It was churning and it had a haunting floor-scraping ass on it. It had hints of nausea and a cyclic simplicity that to this day I still love and listen to often. Loudly, stoned, driving through the desert, laughing. They played and my friends skated the quarter pipe my flate mate had built...it was my first successful party and I thank La Machine for it. RICK PELLTIER and JOHN LOPER have compiled these tunes for us to release post-mortem, but who knows...maybe they will come back to haunt a warehouse near you...OoOoOoOH. Every song reminds me of when I was younger, stronger, and faster. But now I know enough to realize how lucky I actually was to have this stuff around me. And now you can too. Enjoy.”—John Dwyer (4.30.13). Lovingly remastered from the original cassette with new original art by WILLIAM KEIHN. (STREET DATE - 7/16/2013)
LP $19.00
07/16/2013
CD $12.00
07/16/2013
MP3 $6.93
07/16/2013
FLAC $7.99
07/16/2014
Is this for real? Is Sensational really about money, or is he just messing with us? Let’s say that the answer is both. Never one to let the mundane get in the way of delivering mind-scrubbing rhymes, Sensational spits on “We Want Ca$h” with a woozy cadence that suggests kindred headspinners Kool Keith and the MFs Doom and Grimm. For his part, Cardopusher drops a synth line straight from a 1985-infomercial, with a bed of fresh circa-2011 beat-and-bass boom. It’s a highlight cut from Cardopusher’s most recent album, Yr Fifteen Minutes Are Up. You already knew “We Want Ca$h” in its original state, so let’s look at those remixes. Nehuen screws down the breakneck pace of juke for a syrupy and skittery take, while Sesped (hailing from Cardopusher’s birth city, Caracas, Venezuela) throws down some orgasmic cries over butcher-block beats, before things take a turn for the arcade with the digital squeals on Baconhead’s remix. Things get more jumpy with Kid606’s energetic undead rave remix of “Pupusa” and Pocz & Pacheko’s demented Reggaeton reworking of “Antisharkz”. Rounding out this EP (very extended play, indeed) is “School Daze”, a new original that is not Cardopusher’s take on Spike Lee’s musical, but almost as good (more hot beats, of course).
MP3 $5.99
09/19/2011
***“Oh my gawd, is this record really out?! Yes, it is... and that is why you are crying. Embrace your fear. Get on it or get on’d by it!”—Var (No Idea)
LP $14.00
12/01/2009
***These Berlin locals are a unique band. They don’t really care about any sort of black metal ‘scene’ or rules, they say their music is more “influenced by” black metal as opposed to actually being it, they have absolutely zero pretensions and totally just do their thing based on a genuine love of the roots of the genre filtered through their own idiosyncratic and definitely modernised lens. Their compositions are subversively extraordinary, muscular yet refined; trancelike, with relentless undulating riffs and blistering percussive force. They don’t claim to be original, but their work is most definitely recognizable as their own. Last album Pale Dawn was (much like its predecessor Elder Giants) a near flawless display of energy and class. Emanations… traverses similar paths with the same skill, but where that energy took on a celestial feel at times on Pale Dawn, Emanations… resonates from a more earthy plane."—Black Metal Daily
CD $10.50
12/06/2019
2XLP $24.50
12/06/2019
***Refined. Faster. Really fucking good. It is not rock like Hot Water Noodle Music. It is not blender-grind fast like Combatwoundedgroundhogveteran. It plugs up the leaky aquifer that runs between the two. It's TWELVE HOUR TURN at their finest, mutating, intricate and loud-as-fuck. Produced by STEVE HERITAGE of ASSJUD.
LP $19.75
01/08/2001
Back in 2011, Mint Records got really high off of paint fumes while silk-screening the covers to the CiTR Pop Alliance Volume 2 compilation. This March, they’re going to open the windows and do it all again—get ready for Volume 3! CiTR’s Duncan McHugh (the host of Duncan’s Donuts) has recruited fourteen of Vancouver’s finest, including Jay Arner, Movieland, Korean Gut (RIP), Peace and more. Many songs are unreleased, and all proceeds from the release will go back to CiTR 101.9 FM—the birthplace of Mint Records. Only 300 of these gems are being pressed, carefully silk-screened by the station’s volunteers and numbered by hand, so don’t wait around.
LP $17.50
03/05/2013
MP3 $9.90
03/05/2013
***Rarely does an unsolicited email even raise an eyebrow but “No Accent” and “Pick A Line” really knocked us over. Expertly tight catchy drumming, cold as ice monotone pitch perfect post-punk vocals and a rhythm section that would make James Brown mush-mouthier with jealousy. Sorta sounds like "Mesh & Lace" Modern English playing Crisis covers but with smarter lyrics. We heard a rumor that DIÄT formed with the sole purpose of playing with Total Control in Berlin, where they're from. I could believe the story since 2/3 of the band are actually Australian but I choose not to because the songs are too good to be so casual about. This band will do great things starting now. ILR is proud to debut this power trio to the world.
7" $6.30
07/17/2012
***"Kansas City, MO’s MENTIRA are back with debut LP that'll really curl your ear hairs. They've been simmering these songs for a couple years and maaaan, they are perfecto! Snarling like The Stalin's hardest tracks and groovin' like La Béstia on tour mode but sounding wholly their own. If you like your hardcore powerful and manic and explosive then this is the LP for you. 500 copies on 150-gram black vinyl come housed in a 24pt jacket with huge newsprint poster and download card included.
LP $17.75
12/25/2020
MP3 $9.90
12/04/2020
FLAC $11.99
12/04/2020
***“Our first release from a Japanese band, and we couldn't really ask for a better one than this. For those not in the know, THE RAYDIOS is FINK from the legendary TEENGENERATE and current member of FIRESTARTER. This is their 2nd album, coming about 10 years (!) after their Demo LP on Screaming Apple. The CD version of Now is released by Japan's Mangrove Records last year (and is being distributed by Dirtnap in the USA), and is just now seeing the light of day on vinyl. It's been remastered for vinyl and remixed by Fink himself, and sounds GREAT. Musically this is no frills, crunchy, mid tempo rock n roll. Less trashy than Teengenerate, but not quite as ‘pop’ as Firestarter, this is kinda a middle ground between the two. Total dream release for Dirtnap. Pinch us.”
LP $16.00
09/22/2009
***Former Unrest dude takes his socks off for his third album, and really lets the pop fly. Eleven songs demonstrate a fuller and more realized bit of songcraft for Mr. Phil. Lovingly produced by Marky R.
CD $12.00
12/02/1997
MP3 $9.90
12/02/1997
FLAC $11.99
01/08/2001
You might be asking yourself “Is this some kind of gimmick?” or “Is this really a racquetball record?” or most importantly, “Is this really Mogwai?” The answer to all these questions is a resounding “YES!” The Crease is the “nom de performance” for Chunklet Industries Janitor of the Year (for seventeen years running, that is), none other than Henry Owings. Spawning from a crazy idea Owings hatched from years of being a racquetball player, he hired a professional recording engineer to come in and document (in all its 8-track spelendor) a racquetball match. Then, the isolated tracks were sent to Barry Burns from Mogwai, and The Crease “vs Mogwai” is the result. Includes a long-winded essay by and sweaty courtside photographs of The Crease. This is Henry's sophomore release, and the debut of The Crease. RIYL: Mogwai, Racquetball, sweaty dudes, looking at guitar pedals
LP $19.75
05/20/2022
MP3 $2.99
05/20/2022
FLAC $3.99
05/20/2022
“Every audio format has its strengths and weaknesses… but those without liner notes are really missing out. “We thought we’d take advantage of the persistence of physical media for words and images and print a booklet to accompany what will be, inevitably, a digital album for many. Richard Youngs was with us when this project began, like a screwball comedy, with a (largely harmless) fall down stairs. Michio Kurihara lent his wonderful electric guitar to all its tracks, and Soichiro Nakamura skillfully recorded those parts at his Peace Music studio in Tokyo. Susanne Sasic joined us on the trip to Japan that made those recordings possible, a tour sparked by an unusual invitation in 2019 to play a cultural festival in the small port town of Tsuruga, on the Sea of Japan. (The same port where Damon’s father landed as a nine-year-old refugee from Europe in 1940.) We asked the music writer Lindsay Zoladz to tell the story of what happened next, to this project and to all of us, in the unexpected events of 2020. And Jarvis Cocker explains an audio ritual that helped us through that year. We’ve added some short notes of our own, on the genesis of the music and words for these songs; and their lyrics. Thank you for listening, however you choose to do so. And welcome to our Sky Record.” —Damon & Naomi
BK $17.50
08/27/2021
If the Captain and Tennille were into dark progressive space rock, they might have really lit the world on fire. Thirty years later The Youngs emerged to fill the void. Their catchy, well-crafted songs make you shed a tear for love and death, Seattle-sadcore style. This is a dynamic duo (a married couple in real life) who fearlessly chart the astral regions, and tell tales of living and dying on a fucked-up planet like this one, with love as the backseat driver. Owing more to Grandaddy than the White Stripes, this band knows how to sound good. Their songs conjure the melancholic beauty of a couple witnessing the end of the world. With lyrical topics ranging from futile space migrations to the power of love in the face of being psychically vampirized by modern cities, to the Skull and Bones Society, to a beautiful and sincere suicide pact between lifelong partners, The Youngs' music quite literally sparkles and shines with bountiful appeal.Especially if that stuff called emo only pisses you off. Live, the golden voiced Eryn Young sings and plays drums and samples simultaneously, with significant other Tim Young, an accomplished Seattle musician, at her side playing guitar and bass pedals and singing simultaneously. It's like two one-man bands in one. After hearing this great-sounding and well-produced record no one won't believe they can pull it off.
CD $12.00
10/19/2004
MP3 $9.90
10/19/2004
***BACK IN PRINT!!! Another all time DEAD MOON classic. The band really hit their stride on this one! The best rock band of the '90s and 2000s kicks out some of their finest rockers and ballads. Features all time greats like "Diamonds in the Rough," "Say It Isn't So," "Running out of Time," "Somewhere Far Away" and "Windows of Time." A must have for any fan of the band and rock music in general.
LP $17.25
TBD
***PREDATOR has been kicking around the Atlanta punk scene for quite some time, and though there early releases were really good I feel with 2013’s Complete Earth LP they finally nailed down the formula. In a punk scene rich with talent Predator is the band to beat. Minimal, dark, Wire/Agnew influenced punk tunes with deadpan vocal delivery and incredibly strong production. The new single is two of my favorite tracks yet. "Drag" is the best single to come out of Atlanta since “Joyless Masturbation” by GG KING, who incidentally plays drums in the band. 100% TOTAL PUNK! Edition of 500 copies with handstamped covers.
7" $7.25
10/09/2015
Baby Buddha is David Javelosa and musical partner Charles Hornaday playing instruments and providing their own whacked-out vocals. Baby Buddha really was less of a band than a project; a side project in fact, for some members of another group, Los Microwaves. Baby Buddha would eventually record and release an album, 1981’s provocatively-titled Music for Teenage Sex on Robbie Fields’ L.A.-based Posh Boy label. Happily, the project’s guiding creative light, David Javelosa has recently seen to a vinyl reissue of the now-40-year-old record, mystifyingly retitled Music for Teenage Sects. Definitely among the stranger releases of the new wave era, Music for Teenage Sex/Sects could perhaps only have been created when and where it was made. But on the occasion of its 40th anniversary, the music sounds as weirdly wonderful as ever. "We Are Not” sounds like Human League stuck in a car with The Residents. And their cover of “All Shook Up” sounds like a musical kin to those inscrutable eyeball guys too; it wouldn’t be out of place on Meet the Residents. “Little Things” is a house-of-mirrors, scary track, with spoken-word vocals by Los Microwaves’ Meg Brazill and label head Fields. The album cover is slightly different as well: it displays a bedroom scene like the original LP, but with the young female model absent. The new release (on Javelosa’s own Hyperspace Communications label) is pressed on beautiful translucent blue vinyl and comes in a gatefold sleeve with a lively collage of photos, buttons, gig posters. Limited to...
LP $23.95
12/24/2021
***"I met Elin Engstrom and JJ Ulius in February this year. They had played in London the night before and I had really enjoyed the gig. The following day I decided to go out and maybe buy some records. It was in Low Company (a now defunct and much missed record shop in Hackney Downs) that I met them preparing to head for the airport and back home to Gothenburg. We were introduced and I said how much I had liked the show, and straight back, almost without blinking, JJ Ulius said, ’What did you like about it?’ I wasn’t simply being polite; I did really enjoy what they did. But I guess I was blithely expecting the conversation to follow the path of least resistance, and all of a sudden it wasn’t. He had a look in his eye like the question was serious but also not, teasing me slightly, but also wanting more than a platitude in reply. At the time I think I half-arsed something about Elin’s use of contact mics and the way the songs seemed to appear out of noise and clatter when you weren’t expecting it. This seemed to serve as a place-holder and the conversation petered out in a friendly way. Then they went home and so did I. So what do I really think? I’ve been lucky enough to live with this new LP for a couple of weeks now and it’s still unpacking itself, revealing new angles and facets all...
LP $24.95
02/05/2021
***BACK IN STOCK!!! CRYSTAL STILTS started in Brooklyn in 2003 as BRAD HARGETT and JB TOWNSEND. Not really trying to be a "band" they recorded and self-released their single Shattered Shine on their Feathery Tongue label in '04 with friend SEAN MAFUCCI (producer of Gang Gang Dance, Psychic Ills, Kid Congo Powers etc.) Early on the Stilts played randomly in NYC opening for acts like Blood on the Wall, The Broke Revue, Cause Co-motion, and Psychic Ills. With no shortage of lazy Jesus and Mary Chain and Factory records comparisons, (more like VU, Felt, and Blue Orchids) in 2005-06 they continued to play in New York with bands such as the Long Blondes, 1990s and The Monochrome Set and recorded a 4 song EP. KYLE FORRESTER (LADYBUG TRANSISTOR) joined them at gigs playing organ as well. After a brief hiatus to record their back catalogue for upcoming LP (Slumberland) they adopted ANDY ADLER who played bass on Eric Copeland of Black Dice fuzzpop outfit Ninjas) to rock the bass. After opening for the Clean in November, FRANKIE ROSE (VIVIAN GIRLS) waltzed into their life to play the stand-up drums and complete the equation. Compiles their self-titled 12-inch and the Shattered Shine 7-inch. Six tracks.
CD $12.00
07/14/2008
MP3 $5.94
07/14/2008
***“Debut long-player from Finland’s THE ACHTUNGS, brilliantly deranged maniac music. These guys remind me a lot of the really good Big Balls and the Great White Idiot tracks, you know when they nail it they fucking nail it. Both catchy and dangerous a mix of Stab your back and I have a date. Punk Lives 2014, courtesy of some creeps from Finland and a record store in Bakersfield. You are welcome.” 300 copies on black vinyl.
LP $14.00
07/29/2014
***BACK IN STOCK ON LIMITED MILKY WHITE VINYL!!! “Nothing ever really disappears,” Cassandra Jenkins says. “It just changes shape.” Over the past few years, she’s seen relationships altered, travelled three continents, wandered through museums and parks, and recorded free-associative guided tours of her New York haunts. Her observations capture the humanity and nature around her, as well as thought patterns, memories, and attempts to be present while dealing with pain and loss. With a singular voice, Jenkins siphons these ideas into the ambient folk of her new album. An Overview on Phenomenal Nature honors flux, detail, and moments of intimacy. Jenkins arrived at engineer Josh Kaufman’s studio with ideas rather than full songs—nevertheless, they finished the album in a week. Jenkins’ voice floats amid sensuous chamber pop arrangements and raw-edged drums, ferrying the listener through impressionistic portraits of friends and strangers. Her lyrics unfold magical worlds, introducing one to a cast of characters, like a local fisherman, a psychic at a birthday party, and a driving instructor of a spiritual bent. Jenkins’ last record, 2017’s Play Till You Win, confirmed the veteran artist’s talent. Evident of Jenkins’ experience growing up in a family band in New York City, the album showcased her meticulous songwriting and musicianship, earning her comparisons to George Harrison and Emmylou Harris. Jenkins has since played in the bands of Eleanor Friedberger, Craig Finn, and Lola Kirke, and rehearsed to tour with Purple Mountains last August before the tour’s cancellation. Her new record departs from...
LP $22.00
02/19/2021
CD $9.50
02/19/2021
MP3 $7.99
02/19/2021
FLAC $8.99
02/19/2021
With Optic Sink, Natalie Hoffmann (NOTS) creates a musical paradox: an endeavor that doesn’t really seem to belong to any particular time or place, constructed with sounds that are synthesized and stripped down, yet bristling with urgency and brutalist emotion. The project took shape in 2018, when NOTS were on a break to write and woodshed music for 3, and Hoffmann began experimenting on her four-track recorder. Optic Sink surfaced as a performance soon after, appearing at bars, venues and festivals, including Memphis Concrète and SXSW. Hoffmann drives Optic Sink in live performances and on the self-titled debut album, with percussionist Ben Bauermeister (Magic Kids, Toxie, A55 Conducta) collaborating from the co-pilot’s seat. Setting up camp on the post-punk side of the minimal electronic scene, Optic Sink eschew computers for a warmer, decidedly human soundscape. Hoffmann’s power, and the tension she generates between human and machine, evokes Maria, the rebellious teacher-turned-Maschinenmensch in Fritz Lang’s Metropolis, and Ripley, the swaggering, sacrificing heroine of Ridley Scott’s Alien franchise. Dadaism and the Bauhaus movement could both be cited as influences; so might the existentialist philosophy of Simone de Beauvoir and the jump-cuts of Maya Deren. Written over a two-year period, the eight songs that comprise Optic Sink sound like they should’ve been recorded in a bathysphere or on a space station—instead, they were captured via analog tape at Andrew McCalla’s Bunker Audio studio in summer 2019. Bauermeister’s inventive aux percussion and drum machine work provides the backdrop, while Hoffmann stokes a proverbial furnace...
LP $17.50
10/23/2020
CD $12.00
10/16/2020
MP3 $9.90
10/02/2020
FLAC $11.99
10/02/2020
***“Brilliant three-way split album from these amazing Finnish black metal artists. As usual strong material from the man called WYRD...really great HAIVE with nice folk elements (sucker for a mouth harp in my black metal) and perhaps the best for last, KEHRA...amazing stuff from this new band...reminds me of the ‘Cascadian Black Metal’ from up in this neck of the woods. Wolves in the Throne Room, Skagos, Fauna etc.”—Kreation. Black vinyl pressing, limited to 400 copies.
LP $15.50
02/01/2011
"The third time's a charm" usually means something has to get screwed up twice before it gets done right. But what if the first two tries are really pretty good? The third one is just so much more... charming. That's what the third Psycho And The Birds release, We've Moved, is all about. Waaaaay back in mid-2006 (we're talking "Bob years" here), Robert Pollard released two Psycho And The Birds albums. The first, the full-length All That Is Holy, was followed by the EP Check Your Zoo. The concept surrounding Psycho And The Birds is that Pollard writes songs and records them on his infamous boombox (into which every song he has written since the early '90s has been sung), and sends them off to producer/multi-instrumentalist/visionary Todd Tobias, who adds band's worth of music . This time around they totally nail the process, and if the music world allowed artists like Pollard a chance to have a hit, this album would be chock-full of them. "I Love a Revolution" and "Enon Beach" are filled with undeniable likeability and pop goodness. A perfect combo of playful lyrics and flawless arrangement makes it hard to imagine that one entire half of the song was recorded on an $27 boombox. Pollard even pulls out some lyrics in "She Tears Out," first written, he says, as a kid. In some ways, Psycho And The Birds are to Robert Pollard's solo albums what Robert Pollard solo albums are to Guided By Voices...
LP $12.00
02/26/2008
CD $12.00
02/26/2008
MP3 $0.00
02/26/2008
“I’m not living my life so good, tell me, how about you?” What can we really say about 14th Wish, how did this band even exist? This record and band were COMPLETELY unknown up until the last couple of years, when we were approached by a notorious record fiend who was looking for more info after our official release of David Peel’s King of Punk LP. Here we have a band with no paper trail, zero online search results, and released in a tiny quantity on Orange Records in 1980, right alongside the first GG Allin and Eddie Criss Group LPs. But instead of a stylized gutter glam workout with a hot-shot studio guitarist, 14th Wish trip over themselves with a snotty/sloppy amateurism that veers farther into the beloved “Killed By Death” arena, with it’s sweltering TAPEWORM-style lead guitar freak-outs. Fronted by the mysterious figure known as Halo Peace, both 14th Wish tracks offer a refreshing mid-tempo crud-punk slop-take on the sounds swirling around the drain of the Lower East Side at the end of the 1970s. Although both tracks aren’t lightning fast, their instant ominous catchiness and absolutely sordid and squalorous guitar tone suggests a more murderous background, as well. Mention of this record just drew blanks across from the board, from all of the rare punk record dealers, to the most avid international collectors, and even NYC scene members from the time. Never even turned up in a Mike Bastarache Want List! And of course, the internet was...
7" $7.75
08/28/2020
MP3 $1.98
06/26/2020
FLAC $2.49
06/26/2020
***“Now more than ever, with radio stations being inundated with too-earnest faux buskers, it seems that a lot of bands could really benefit from spending some quality time with Big Black's Songs About Fucking. Judging by this record by STALINS OF SOUND, who wrap their noise punk in pseudo-Communist propaganda, the band's done its homework. Tank Tracks finds the trio using a few tricks in the Albini playbook, namely loading a hefty wall of fuzz against a drum-machine backdrop, and the Stalins’ abrasive machinepunk contains its share of hooks, and even some downright pretty melodies. This is all relative, of course, but after the militant march of ‘Blood Sex,’ the group carries the song out on an oddly serene and dreamy coda. The tremolo-picked riffs of ‘El Cajon Beatdown’ are just this side of a Norwegian black-metal demo, and ‘Monkeys Attack’ might be the best song that Devo never wrote. It's not that hard to make a chaotic noise-punk record sound good, but Stalins Of Sound have a knack for songwriting that puts theirs on another level.” —Jeff Terich (STREET DATE - 5/20/2014)
LP $15.50
05/20/2014
CD $10.25
05/20/2014
***Austin's THE GOSPEL TRUTH have been knocking around since 2007, but it's only been in the past two years that vocalist/saxophonist/keyboard player MARK TONUCCI’s quartet have really caught fire. All-malicious-intent in a way that runs contrary to this city’s party vibe, they've emerged as one of the town’s top live bands in the process. Not only is it hard to come up with a regional precedent for The Gospel Truth, it’s almost as tough to ID an album as out of time as A Lonely Man Does Foolish Things. The Flesh Eaters’ A Minute To Pray, A Second To Die, the Toiling Midgets’ Sea Of Unrest or maybe The Black Snakes' Crawl come to mind, but that trio stuck out like sore cocks in their respective eras, too. In this case, you've got a purposeful, unusually deft ensemble fronted by a singer who comes out of his shell in the best possible way when you put a microphone in his hands. Featuring an all-star squad of Austin rockers (PATRICK TRAVIS of THE GOLDEN BOYS and SSSERPENTSSS, JEREMY STEEN of THE FLESH LIGHTS and NAZI GOLD, ex-WHEN DINOSAURS RULED THE EARTH drummer BRANDON BENNETT CROWE), The Gospel Truth are on tour shortly after this album's June release.
LP $14.75
06/11/2013
***Fans of punk rock rejoice, for the day of liberation has dawned, Broken Rekkids has acquired the rights to the NA catalogue previously not-really-very-available on Mighty. The first in a series of reissues, this one gets you the first two singles on Broken, one EP from the Mighty days, and five tracks from compilations. More to follow.
CD $12.00
01/08/2001
MP3 $0.00
01/08/2001
***Fans of punk rock rejoice, for the day of liberation has dawned, Broken Rekkids has acquired the rights to the NA catalogue previously not-really-very-available on Mighty. The first in a series of reissues, this one gets you the first two singles on Broken, one EP from the Mighty days, and five tracks from compilations. More to follow.
LP $9.50
05/26/1998
***"'Sonny Vincent is a true punk pioneer, we all know that already. But did you know how deep this man's well of punk madness really goes?' Well, I guess it’s taken seven long years since we made that statement, but luckily, here we are with a full LP’s worth of those recordings we’d wondered about, providing a pivotal glimpse into one of NYC’s most shadowy figures of the underground. It’s almost incredulous that his rock’n roll lineage goes back this far, with his first recording made while home on leave from the Vietnam War, and yet he was still a part of the first wave of '70s Punk. If you remember the FURY 7” we released, along with THIS massive interview, it was apparent that there was more to dig up, and luckily our engineer was able to shine up these riveting primitive proto-punk monsters into reality. Distance were in a primordial heavy psych state on their earliest recording here from 1969, but the VOICE that you know so well is already in place, and cuts through the foggy throb like a knife’s edge. Distance was Sonny’s first active band, and were known to have opened for The Dogs & Suicide in 1973, as per the two incredible handmade flyers included on the back cover, and as the liner notes can attest, provided a real-life slice of shock-rock insanity.”
LP $17.75
02/21/2020
MP3 $9.90
02/21/2020
FLAC $11.99
02/21/2020
***BACK IN STOCK!!! "Bloomington, Indiana has something to really be proud of in hometown heroes THE COWBOYS. One of the most exciting and indescribable bands of the last five years, this band manages to escape all of the pitfalls of modern DIY punk/garage and break out into a field of their own instantly. First off, nobody is supposed to have vocals this good, like almost bewildering talent-wise, but to actually be able to sing like this and be sweating it out in front of a packed room of rock’n roll revelers all night is almost charity work. The songs have this hard-to-pin Midwest je ne sais quoi and and the guitar and rhythm section are just off-the-charts in their ability to bridge themselves between the polarity of tightness and looseness. Coming off like summery sons of The Gizmos circa 1981 at one minute, and then diving head-first into their other-worldly piano-based tracks, which surprisingly simmer along perfectly next to their punkish rockers without any abject knee-jerk derailment. Just arty pallet-cleansers? I wish it was that simple, but The Cowboys have too many chops to minimize their effort, and this LP is nothing short of a riveting ride through a range of rock’n roll styles that should NOT work when liquifyed as such, yet with this band and it’s subversive magic, their songs come off as perfectly original, yet warmly familiar.Housed in silk-screened LP jackets, and equipped with a rock’n roll wanderlust that keeps them in perpetual touring...
LP $15.00
12/08/2017
MP3 $9.90
09/29/2017
FLAC $11.99
09/29/2017
***LINDA SMITH is well known for her dark pop ballads released on the Slumberland, Harriet and Feels Good All Over record labels (really). However, as a part of YOURS TRULY she finds herself in a much brighter place, the same place where the Human League or Berlin once existed in a sort of synth-pop heaven. Eighties new wave now, what a time to be alive.
CD $9.50
06/27/2000
MP3 $9.90
06/27/2000
***SOFT KILL's 2015 Heresy album now available on colored vinyl. "Portland’s Post-Punk outfit Soft Kill have dropped a new album, and a really good one at that! The sound of their new record “Heresy” has traces of Interpol, like on the opening track “Grandview”. The record’s overall feel also has strong underlying similarities to classic 80s Coldwave and Post Punk—perhaps like The Comsat Angels, but maybe more so like “Second Empire Justice” from Blitz (Listen to the track “Current” for example)."—Post-punk.com
LP $23.50
12/09/2022
Jana Hunter is from Texas, the fifth of nine children. She played classical music throughout her youth, but that doesn’t really explain why she writes such haunting songs. Hunter is one of those rare artists whose craft does its work on listeners before they even notice. Deceptively simple, clear and concise, these songs surround and envelop, seeping into the skin until they are a part of you. Blank Unstaring Heirs of Doom is a collection of songs written over the period of a decade. The album is a thirteen-song “best of,” recorded on four-tracks, two-tracks and computers, mostly in Texas and mostly alone. Featured on the Devendra Banhart-curated, Arthur produced CD Golden Apples of the Sun and sharing a recent split vinyl-only release on Troubleman with him, Jana Hunter’s album is the initial release on the Gnomonsong imprint, a spectacular new label begun by Revolver USA, Devendra Banhart and Vetiver’s Andy Cabic. “Jana’s frail, reedy voice and delicate finger picking make her sound like a young man lost in a peat bog and plucking toads from toadstools to see whether they’ll spill their secrets.” - Boston Phoenix “Hunter’s songs are so honest, yearning and intimate, you’d be forgiven in thinking that you’re eavesdropping on someone’s private thoughts.” - Eric Boucher, Artvoice
CD $12.00
10/25/2005
MP3 $9.90
10/25/2005
***With their eclectic influences and scintillating musicianship, Subhumans were never going to be content to trot out anarcho punk by numbers, but no-one was really prepared for the progressive brilliance of their sophomore album, ‘From The Cradle To The Grave’. Whilst the A-side contains nine short sharp bursts of energised punk, gleefully embracing all points of the spikey spectrum, from the breakneck thrash of ‘Reality Is Waiting For A Bus’ to the ominous dirge of ‘Wake Up Screaming’, it is the ambitious title track that really captures the imagination, its sprawling sixteen-plus-minute running time telling the sorry tale of the human life cycle across a myriad of dynamic acts. If anyone was still in any doubt, it was the band defiantly setting out their stall as a creative entity that existed outside the stifling constraints of perceived musical sub-genres. Committed to tape by the visionary John Loder at Southern Studios at the tail end of 1983, it was released in April 1984 to widespread acclaim – and only kept from the No. 1 spot in the Independent Charts by New Order! As a staple of the punk scene, ALL of the Subhumans records are still in high demand, and this long overdue repress of this album couldn’t be coming at a better time. Subhumans are one of the most influential bands from the UK Anarcho-Punk scene of the 80's, filed right alongside Crass and Conflict, and just as relevant today as they were during the darkest days of Thatcher's Britain....
LP $18.50
05/12/2023
These two rowdy New Jersey neighbors have lived under separate roofs far too long, finally teaming up to create an indisputably powerful and compelling split CD. NEIL PERRY really shine under a new light with this one; frantic and heavy crunching guitars that aren't afraid to get hauntingly melodic, grooving and soothing bass riffs reminiscent of screamo legends PORTRAITS OF PAST, frenzied drumming with some of the sickest style and most mind-boggling fills, and lyrics at a level of intensity so high, they could only be manically screamed. A DAYS REFRAIN pummel with fast and chaotic screamo/hardcore blurred somewhere in between the lines of old CAVE IN and YOU AND I, but with more passion and sincerity than any other band playing this stuff today. While they won't shy away from getting emotional, ADR doesn't forget their hardcore roots and manages to blend different genres in their own heartfelt and chaotic, yet genuine and original way. Top all that off with the highest recording quality the bands have ever had, and you've got yourself a new model of screamy hardcore fine-tuned to perfection. Comes housed in a slimline case with a tiny 3" miniCD!
3" CD $8.25
07/18/2007
MP3 $2.99
07/18/2007
FLAC $3.99
07/18/2007
Remastered for its 10th Anniversary, the newly cut vinyl edition of Ripely Pine features the bonus track “Up In The Rafters,” long a live favorite that really should have been on the album in the first place. More than anything, Aly Spaltro has 20,000 second-hand DVDs to thank for her first album. Despite being recorded at a proper studio in her recently adopted home of Brooklyn, Ripely Pine showcases songs conceived during her tenure at Bart’s & Greg’s DVD Explosion in Brunswick, Maine. Little did customers know, the same store they’d drop off their Transformers movies was providing the ideal four-year cocoon for the development of a major musical talent. Spaltro worked the 3:00 PM to 11:00 PM shift. Each night, after locking up, she’d walk past Drama and Horror, pull out her music gear from behind a wall of movies, and write and record songs until morning broke. She did this every day, drawing strength from the monotony of her routine and testing out multiple techniques, approaches and instrumentation. Anger, confusion, love, happiness and sadness reigned, and the songs ran rampant, with little form or structure. Isolated for those many hours, Spaltro let melodies morph together, break apart and pair up. This is how she taught herself to write music and sing. Taking the name Lady Lamb the Beekeeper, Spaltro became one of the most beloved musicians in Portland. Her live shows were unhinged, as melodies followed an internal logic only apparent to Spaltro herself. She sang and played...
2XLP $24.00
08/18/2023
***2020 repress; gatefold double-LP version. Though known as a touring and recording musician associated with NINE INCH NAILS, ALESSANDRO CORTINI has really come into his own via his Forse trilogy, and his 2014 Hospital Productions debut, Sonno. For his Hospital follow-up, he maintains the grittiness and intimacy introduced on his debut, but expands on it, offering a wider spectrum of emotion and depth. Like Sonno, Risveglio was written and recorded while on tour. The drive to create intimate works during late-night downtime reveals Cortini to be committed to a personal vision beyond the call of duty. While Sonno was created using only a 202 and delay, Risveglio adds a TB303, synced to the 202. In Cortini's words, "The 303 can be such a haunting instrument used in a certain way, and I felt it completely fit the mood of the previous work I have done on the 202, especially when given a specific location in space... it's such a living instrument." The addition of TR606 gives one of the pieces a rhythmic pulse that separates it from the preceding synthscapes and renders Risveglio an altogether more dynamic affair than Sonno. With Risveglio, Cortini emphasizes the imperfections and visceral textures of electronics absent from so much contemporary solo synthesizer music. He carves out a similar space to that formed by Kevin Drumm's releases for Hospital in the worlds of drone and noise by finding the emotional and, ultimately, human voice within synthesis.
2XLP $30.95
01/03/2020
***BACK IN PRINT!!! A lunging, murky noise rock master stroke from this Seattle trio (well, really a quartet since this recording) who is constantly evolving and refining their craft into something truly massive and unique. Feel free to open your life to the interesting and embrace this twisted vision of northwest heaviness. Don't sleep on this band or you will kick yourself later. We might kick you later too. They are certainly one of the most powerful live bands around and if you've seen them you know we don't lie.
LP $15.50
02/12/2016
***The fourth album from amazing Dutch four-piece Lewsberg. Since forming in 2016, Lewsberg have gone from strength to strength. Despite never really considering themselves as a ‘productive band’, together they have released three LPs, one EP and a series of cassettes and 7”s including 2022’s "Six Hills" which was released via Speedy Wunderground's singles series. Lewsberg are named after writer and fellow Rotterdammer Robert Loesberg, famous for his dangerous novel Enige Defecten from 1974. This is one of the band’s main sources of inspiration: the counterculture and big-city cynicism of the 1960s and 1970s. Yet there is also a softer side to Lewsberg’s music and lyrics. On Out And About, this side is more present than ever. Rudimentary pop and rock songs are deliberately kept bare, only occasionally embellished with a violin or organ part. In the lyrics, the tendency towards existentialism and black humour is nuanced with an almost naive openness and engagement. Recorded in Amsterdam in Spring 2023 with producer Yulya Divakova, Out And About sees founding members Shalita Dietrich (vocals, bass guitar), Michiel Klein (guitar) and Arie van Vliet (vocals, guitar, violin) joined for the first time on record by drummer and vocalist Marrit Meinema, who joined the band in the Autumn of 2021. Out And About embraces a collaborative spirit, allowing each member to contribute their unique songwriting talents. The result is a collection of tracks that capture the band's collective creative energy and their individual perspectives. The lyrics for "A Different View" were written via...
LP $23.50
10/27/2023
CD $13.50
10/27/2023
***“ROBERT BELFOUR’s sophomore effort for Fat Possum—at 63, he is one of the youngest artists on the roster and is by far the most ‘polished,’ if the Delta blues can ever really be called that—proves his debut was indeed only a beginning. In stark contrast to his labelmates, Belfour strictly plays acoustic blues, but he plays them with the same dark, trancelike feel of Junior Kimbrough, haunting spookiness of Fred McDowell, rhythmic intensity of John Lee Hooker, and sprawling drawl of Lightnin' Hopkins. TED GAINEY aids Belfour on a drum kit. While the first album was all of a piece, and everything but the vocal seemed to be recorded at the same level (and even then, Belfour couldn't always be understood among the ringing guitars and shuffling drums), Pushin' My Luck is nervier, a bit more edgy. Belfour's truly nearly unbelievable singing is a bit more in the foreground, enough to add to the hypnotic repetition in his music, while the drums—played no more elaborately than Meg White's in the White Stripes—are mixed just a tad higher, bringing it extremely close to the punch this stuff has when played in front of a live audience. Fans of Kimbrough's guitar playing will be instantly drawn to the polyrhythmic, droning chords and ambling, elegantly raw, slippery fills that Belfour plays, whether it's on "Hill Stomp," the title track, "I Got My Eyes on You," "Sweet Brown Sugar," or "I'm Gonna Leave," which closes the set. The vibe is the same everywhere; this...
LP $23.75
07/23/2013
CD $14.25
04/15/2003
***Legendary and rare folk-psych private press record from 1967 that holds up well. Furthermore, the LP is legendary in a literal sense: until recently, few collectors really even knew it truly existed. And Roger Salloom? imagine Jack Kerouac, John Belushi, Lord Buckley, and Lenny Bruce, then throw in Leadbelly, Jimmy Reed, Lonnie Johnson, and Geoff Muldaur… all rolled into one person, and you have a glimpse of poet, singer-songwriter Roger Salloom. Salloom was in the center of the 1960s San Francisco psychedelic scene, playing the Fillmore with Santana, Van Morrison, BB King and Procul Harum. In the 1970s he moved to Nashville to pursue songwriting, then disappeared for two decades to raise a family as a single parent and draw a syndicated cartoon. There is a story here. A story so intriguing that it enticed an award-winning filmmaker to make a film about the subject. So Glad I Made It, the Saga of Roger Salloom, America’s Best Unknown Songwriter, won six awards, was on the 2006 Grammy ballot, and received rave reviews across the U.S.
LP $18.50
02/23/2024
***Third Man Records is chuffed to present to you the New Mexico-based artist Heather Trost’s second or third solo full-length. Petrichor is fresh, unique, and really fucking good. Sonically, this modern psychedelic pop music is as experimental as it is accessible. Petrichor was recorded between 2018 and 2019 by Heather Trost and her husband Jeremy Barnes at their home studio. The two are community activists, urban gardeners, and full-time musicians. Trost has an impressive body of work, notably in collaboration with husband Barnes (Neutral Milk Hotel) on their own record label Living Music Dupli-Cation, and their dazzling and uncategorizable Eastern European folk-influenced band A Hawk And A Hacksaw, where she sings and plays violin, autoharp, keyboards, and other instruments. These seven lush, beautiful songs defy easy categorization, gleefully mixing elements from multiple genres--but it’s never to impress you or show off. You might not even notice how smart the record is until a fifth listen, a testament to how much work was put into the futuristic and shimmering record. We all can have a hard time holding on to a shred of hope. With Trost’s Petrichor, we have a record that sounds like the soundtrack to what might come next, on the off chance that what comes next really doesn’t suck.
LP $18.95
11/06/2020
The debut LP from Chile’s LA HELL GANG. It's always interesting to hear non-Americans take on Americanized tropes of rock'n'roll and see what comes through the cultural sieve. "So Much Better" really has them going ya-ya for the Stones. "Out of My Tomb" has a hypnotizing bass slide with Keef vs. Sonic Boom guitar ramble. "Fire Up" is instrumental guitar blaze that's equal parts MC5 power and Stooges heroin-skulk with a touch of Hendrix. "Just What Is Real" is their version of "The Pusher." Smoky guitar that will make your eyes water. "Left or Right" is the one moment of slight awkwardness in the vocals, the most modern sounding and least impressive cut. "I Think You're Wrong" follows with one-key sonar-beep locking into an acid guitar solo over an Asheton-brothers like rhythm. "Around Here" again approximates Stooges-sexbeat that grooves like nothing has since 1969. It ends with another epic, "It's All In My Soul," a tougher than leather biker jam. All the way from Chile, the best record I've heard approximate the best of ‘60s/’70 rock'n'roll righteousness than any actual North American band by not giving into excess. It sounds so fluid, no posing, no trying too hard to facemelt, but getting there on their own. Fucking righteous. Every piece of feedback belongs, every step on the wah pedal, every primal bone of rhythm. They even make one think of over-amped British blues as played by Yardbirds or Cream. They just destroy the entire Northern Hemisphere of rock. Second LP...
LP $20.65
09/23/2014
***We’re excited to be releasing our third RADAR EYES 7”. On the toes of their sophomore LP, also due out on HoZac this year, this single slings two tracks that really define a new direction for the band. Since the last release, Radar Eyes have gone through a line-up change, now including RUSS CALERWOOD, known from such Chicago luminary bands as THE BRIDES, THE DIRGES, and most recently, THE RUNNIES. And for those who couldn’t keep their ears off the their “Shakes” or “Miracle” singles, don’t fret, that soaring psych-pop and those twangy guitar harmonies haven’t eluded their deep clutch on modern rock’n’roll songwriting. The A-side, “Positive Feedback,” has the same brilliant and glorious vocal interplay and ardent guitar strangling that sold us on them years ago, and all your panting over the Paisley Underground and JAMC comparisons will still be relevant, and we guarantee it will get you laid.
7" $6.30
03/04/2014
MP3 $1.98
02/11/2014
FLAC $2.99
02/11/2014
***The brainchild of DYLAN HADLEY (drummer for TIM PRESLEY'S WHITE FENCE and CATE LE BON) KAMIKAZE PALM TREE is “post punk, psych, but really really melodic and vulnerable, a hard mix to pull off… it has heart but it can also be tough,” according to Luke Jenner of The Rapture. Rough Trade called Good Boy the best record of the year. Cate says of second single: "'Sharpie Smile' sounds like Aksak Maboul chewing on Devo chewing on the meaning of existence on an undiscovered European peninsula. It’s authentically weird. I love it.”
LP $15.50
10/11/2019
***In 2019, BOB MOULD bucked the era’s despair with his melodic, upbeat album Sunshine Rock. Cut to spring 2020, and he has this to say: “We’re really in deep shit now.” That sentiment informs his new full-length album, Blue Hearts, the raging-but-catchy yin to Sunshine Rock’s yang. To be sure, we were in some shit in 2018, when Mould recorded Sunshine Rock. Back then, he had a song called “American Crisis” that didn’t fit the album. “That song is the seed for what we’re talking about now,” Mould says from his home in San Francisco during the COVID-19 lockdown. “American Crisis” is the third song in a walloping album that spits plainspoken fire at the people who fomented this crisis. Through some of the most direct, confrontational lyrics of his four-decade career, Mould makes his POV clear: “I never thought I’d see this bullshit again / To come of age in the ’80s was bad enough / We were marginalized and demonized / I watched a lot of my generation die / Welcome back to American crisis.” Why “welcome back”? Because Mould experienced deja vu writing Blue Hearts in the fall of 2019. “Where it started to go in my head is back to a spot that I’ve been in before,” he says. “And that was the fall of 1983.” Back then, Mould was a selfdescribed “22-year-old closeted gay man” touring with the legendary HUSKER DU and seeing an epidemic consume his community. Leaders were content to let AIDS kill...
LP $18.95
09/25/2020
CD $13.25
09/25/2020
***This slice of West London AGGRO is back in print for the first time since 1972! Remastered from the original tapes. We are thrilled to reissue one of our all-time favorite singles. It really should have been a double A-side. TERRY STAMP and JIM AVERY (ex-THE ATTACK, THUNDERCLAP NEWMAN) hold the distinction of forming probably the UK's first, for real, “aggro” band. THIRD WORLD WAR Formed in London at the turn of the '70s, Third World War released two proto-punk albums (Fly Records and Track Records) in the 1971 & 1972 respectively. Third World War featured an aggression unheard of at that time. With Terry Stamp’s explosive vocals, lyrics, chopper guitar style and Jim Avery’s West London, hardnut, two-fisted, riff and chord approach proved unbeatable (even forty plus years on). Their socio-political agenda and proto-punk guitar style prefigured the emergence of UK “working-class” punk bands by some five years. "Working Class Man" features The Rolling Stones' horn section with BOBBY KEYS and JIM PRICE.
7" $9.25
10/16/2020
***Another defiant slab from these Denver, Colorado mayem-makers. Raw vocals, aggressive screams, churning guitars that burn and smolder, and really truly rocks with post-hardcore emotion that wails from side to side. Get down.
LP $16.00
06/19/2001
CD $13.00
06/19/2001
This untitled CD of duets by Kawabata Makoto, the leader of Acid Mothers Temple, and the slightly less available Glasgow librarian Richard Youngs shows the pair in a relaxed yet psychedelic mood where it is immediately apparent that the two are really listening to one another instead of merely adding to their already vast discographies. Throughout the five untitled tracks, simple modal melodies are performed on acoustic guitar, autoharp, organ, voice and other instruments rubbing against the swirling production and layers of shifting haze. Young's identifiable voice, guitar and autoharp greet Kawabata's echo treatments on the first track, while track three reverses the process with Young's minor key picking cutting against Kawabata's thick, visceral drones. Tracks two, four and five all use a base of beautiful fingerpicked guitar melodies, layering organ, synth, tape effects and echo until a mellow cosmic vibe is achieved. In all, some of the most beautiful sounds ever issued by either of these two gentlemen, both known for their edgy experimental work, is on this CD.
CD $12.00
03/22/2005
MP3 $0.00
03/22/2005
***One Ten Hundred Thousand Million may be more subtle and emotional than Identification Parade, but it's just as hooky, just as energetic and sometimes a whole lot noisier. Like the Young Marble Giants if they really were giants, with giant marble instruments-- charming, young, eccentric, honest, true, gentle giants among men. In the two years between records, Octopus Project have taken the barely controlled chaos of their live performance from coast to coast, playing hundreds of shows. When it came time to record again, the band had a clear idea of what they wanted-- a full-on, surround sound, 3-D, Technicolor studio amalgamation injected with the wild energy they felt in those noisy, tightly-packed clubs. Parts of One Ten Hundred Thousand Million were recorded in concrete stairwells. Other sounds were captured in nice rooms with padded walls and fancy recording equipment. Their reputation as the band that "hooked up their half-broken electronic shit all wrong" first attracted the attention of Peek-A-Boo Records in 2001, but actually seeing the band play their halfbroken electronic shit way, way too loud sealed the deal, and by the end of the weekend the label had agreed to release the band's brilliant debut, Identification Parade. To date they hold the honor of being the only band recruited to the label after only one show.
LP $12.00
02/01/2005
CD $9.50
02/01/2005
MP3 $9.90
02/01/2005
***Recorded after an insane Euro tour in 22 with the Autobahns which repeatedly brought "THE BOX" to the edge of heartattack, they recorded this hot mess of a debut LP almost immediately afterwards. This direct, tight power really comes through especially via the rythmsection who are just the most handsome and nicest guys in rpck today—FELIX of POKY and AMBULANZ and "MANGEL-ANGEL" DENES aka DEE BEE RICH who plays in every band in Germany including LIIEK and ONKELZ. An eager Youtube troll commented "this sounds exactly like the people who play in this band.", which either means LAFFF BOX sounds like 4 white cis-dudes from East Germany or refers to the other bands they play with, which on top of the ones above are EX-WHITE & VERRÄTER for JOANS and LASSIE for MARIAN. Well make of it what you want it's fast and modern ( but without synths ) Punk with rocking sometimes Thin Lizzy style double guitars. Lots of crew shout double vocals also. Let it melt ya face off buddy.
LP $25.50
07/21/2023
"LA-based musician Brian Collins records music as Hurt Valley. He makes loosely psychedelic, often rollicking songs that feel like they came from a simpler time, before you realize that the simpler time you’re thinking about never really existed in the first place, and you’re just romanticizing a past that was as complicated as the present. "All this is to say that Collins makes songs that sound like they’re ripped from a forgotten private press record from decades gone but imbued with the weight of right now. Glacial Pace opener 'Geology Dreamer' is anthemic and sad, an end-of-the-night (or, let’s face it, end of the world) jam that crumbles under lyrics about love and (healthy) obsession and getting through shit with people you love and trust. "The last track on the album, 'Immaterial Worlds' acts as a mirror image to the opener. Where 'Geology Dreamer' hits hard and woozy, 'Immaterial Worlds' is soft and intricate, a nakedly contemplative end to an album that sneaks up on you no matter where you might be when you hear it."Listening to Glacial Pace will no doubt evoke a number of complicated feelings about how you could be living differently, or more simply. The songs here are something of a roadmap to understanding how we got where we are, and what it all means. It doesn’t so much give answers as it does is point us toward observations that might push us to question who we are and what we do. Is there a better...
LP $17.50
12/06/2019
MP3 $9.90
12/06/2019
FLAC $11.99
12/06/2019
***A brand new album from Toronto’s BRUTAL KNIGHTS (members of TEEN CRUD COMBO and HACKSAW). The band’s “Not Fun” 7" (also on Deranged) raised a few eyebrows but failed to really capture their sound and intensity. Luckily, this album is not only a huge improvement with a solid mix/mastering by JON DREW (produced both Fucked Up Police and Generations), but it also includes the band’s best material to date making this a total shredder.
CD $13.25
04/17/2006
***"Feeling Lower than the Dow Jones Industrial Average? Me too, but this record is helping. When I heard it I finally believed that one guy with long hair and a green shirt who told me 'Those Cats Can Really Play!' Rik and his deplorable Pigs imploded in 2018 but not before recording two final sessions in California—one with Mike Kriebel (The Beat Sessions guy), another with Tony Santos. They skipped town before paying the bill, but we’ve stepped in to pick up the tab because we think it’s a great value. The Pigs, man…those guys are the laziest delinquent sort of pig slobs ever born, but at least they’re well rehearsed. They’re salty from marinating in the degenerate RNR Dick Manitoba, Cheetah Chrome and Dave E gave us long ago and it shows. Ricky the cunning wordsmith delivers with weasel verve, as one with an actual Venus in Taurus would. There’s a rawness and honesty here that has more to do with 80s hardcore than the modern garage rock scene that has embraced them. 'Lifes A Bust' is the hit—a scorching groove that lasts 7 minutes 26 seconds and still somehow feels too short. Play it at the bar and the people over 40 will be tapping their toes. The Last Laugh is probably a great gift for your father or father’s father, get it while it’s hot!"
LP $19.25
12/17/2021
MP3 $7.99
12/17/2021
FLAC $8.99
12/17/2021
***AVAILABLE AGAIN AT A NEW LOWER PRICE!!! The artistic leap taken by the IMPEDIMENTS between their self-titled debut and their second album Broken Hits is unparalleled in the annals of popular music. Okay, not really. But with Broken Hits the Impediments have gotten even better at being the Impediments. And that’s pretty great, as it turns out. These Bay Area boys get that Love, the Stooges, and Alice Cooper have more to do with punk than any of the hardcore monkeys who insist that it sound like Paranoid played at 45rpm. The Impediments borrow shamelessly from the power-pop melodicism of the Plimsouls and Zeros. Then, they filter it through a little Sorry Ma piss and vinegar. The result is the polar opposite of most so-called alternative music. In other words, it’s fun. The twin guitars of NICK ALLEN and MIKE LIEBMAN gleefully defy all rhythm/lead archetypes. Combining the Buxton-Bruce attack of vintage Alice Cooper with the angular, spitfire splinters of classic Voidoids and the discordant skronk of the Thomas Jefferson Slave Apartments, Allen and Liebman sound like two Bob Stinsons in overdrive. The vocals of Allen and bassist RAY SERAPHIN are the dirty sweet culmination of every rocker’s Nuggets/Pebbles dreams. The Impediments remind of the Dictators, Radio Birdman, the Dead Boys and the Ramones—all within the first sixty seconds or so of Broken Hits’ opener, “Useless Eyes.” And then there are thirteen more songs. Limited edition of 239 copies, so don’t sleep.
LP $10.00
11/29/2011
MP3 $9.90
10/04/2011
***DOKAKA is a DIY human synthesizer: just a man and his voice. No effects, no auto-tune, no edits, no sampling. Not really a true beatboxer (he multitracks his vocals sometimes as many as 20 passes per song) he began vocally mimicking music while humming along to the television as a child and by the age of six was making tapes of his efforts. The bass-player missed a practice session by the band in which Dokaka played drums as a teenager, and he filled in by humming the bassline. The singer was so taken with his vocal ability he encouraged him to record more on his own. His vocal-only interpretations of Led Zeppelin, Slayer, The Rolling Stones, and many others gained cult status when his MP3s went viral (and attracted the attention of Björk, who incorporated his unusual skill into her 2004 Medúlla album). Available for the first time outside of Japan, Human Interface includes 17 hours of vocal insanity multi-tracked into 88 muttered micro-tracks.
CD $13.50
09/28/2009
MP3 $9.90
09/28/2009
***Eric Emm and Jesse Cohen of Tanlines are indie-rock lifers turned reasonable, happy middle-aged fathers of two, figuring out their place in a chaotic culture and industry that can no longer command their full attention.They are emblematic of a particular time and place that doesn’t really exist anymore, yet here they are existing, and thriving, in 2023. The Big Mess came together when Emm and his family moved from Brooklyn to rural Connecticut, while Cohen launched a marketing career and a successful podcast and stayed in the city. Emm continued writing songs—hundreds of them—through all the weirdness of the past few years, but he wasn’t exactly sure who he was writing them for. “I spent years figuring out in my mind, ‘What is my musical life going to look like?’” he says. “I just kept writing.” Cohen gave Emm his blessing to continue Tanlines, even if his own contributions would be limited due to his own non-musical obligations. “I’m like, ‘Whatever you can do to keep this thing going, do it,’” Cohen says. And with that, Tanlines was reborn. By January 2022 Emm felt he had a body of work that made sense as a Tanlines album. Cohen spent ten days with Emm at his Connecticut studio, along with unofficial third Tanline Patrick Ford (!!!). This was tied together with a sleek final mix from Peter Katis (The National, Interpol) at his famed Tarquin Studios, resulting in a clear vision of what Emm’s musical life was going to look like:...
LP $22.25
05/19/2023
***CHECK STOCK!!! Received an 8.1 rating from Pitchfork. “For their seventh album, Bend Beyond, Woods got dark. It’s not that they weren’t dark before—when you really get in there and listen, Jeremy Earl is singing about some heavy stuff, but it’s hidden under his gorgeous falsetto and sometimes obtuse lyrics. On Bend Beyond, though, Earl and company fully embrace that darkness. “Album opener ‘Bend Beyond’ has long been a jammy live staple, but here it’s compact and tight with a stuttered guitar line and a world-ending collision of instruments. Meanwhile ‘Is It Honest’ jangles along happily until you notice Earl is in a more destructive zone than the bright music initially suggests, singing ‘It’s so fucking hard to see’ as both a form of comfort and an act of despair. “Instrumentally, Bend Beyond is certainly the most full Woods record yet; guitars weave and bubble across peppy drumming, but lyrically Earl is at his most direct and spare. While previous albums sounded like they went directly from Earl’s brain to tape with minimal outside interference, Bend Beyond is lush and full-bodied, the work of a band in perfect, heavy harmony. Listening to the record as a whole, it feels like the most daring leap Woods has made yet: It captures the band’s live intensity, but keeps the intimate sadness that made them so great in the first place.”—Sam Hockley-Smith
LP $17.50
09/18/2012
CD $12.00
09/18/2012
MC $9.50
09/18/2012
MP3 $9.90
09/18/2012
***Second solo album by Jeff Lescher, from the legendary Chicago group, Green. I was privileged to listen to test pressings of this album before it came out. My two comments at the time were: “you really lay it all out there on those songs”; and, “it reminds me of late Pye-era Kinks recordings”: melodic, catchy, heart-wrenching, with a little touch of the ramshackle which suits the emotional weight of the songs perfectly—very much more so than a slick sounding production would have (unthinkable). The originals (all but one track are originals) are all excellent, and pack plenty of punch. And the cover of Sandy Denny’s epochal masterwork, ‘Who Knows Where the Time Goes,’ adds a bit of crunch and splash to a classic. A great album.
LP $21.95
01/05/2024
***Received a 7.6 rating from Pitchfork. JENNY HVAL and HAVARD VOLDEN are LOST GIRLS. They have been recording Feeling since 2014, when Håvard was getting really tired of the idea that improv recordings need to be documentation, "true" to a live performance. Meanwhile, Jenny was tired of "representation" in her part of the musical spectrum––of pop music being something that needs to represent you. Together, Lost Girls wanted to go deeper into the chaos of composition, creating longer pieces inspired by analogue synths, radio plays, the lightness and intimacy of Robert Ashley's music, and the complexity of technology permeating their daily lives. They wanted to let the music be transparent and open, able to consider and reconsider its own paths. The sound of someone changing their mind.
LP $19.25
04/06/2018
***"METH TEETH reside in Portland Oregon. and in some ways embody the rainy day big country vibe of the city with its youth culture dreamers, old druggies, and rustic history. There is something that is really hard to pin down about Meth Teeth, the songs rely on simple ramshackle rhythms, upbeat shinny guitar interplay, and big fat chord churners, and a lot of tambourine banging away on the snare drum. Ultra catchy summertime rockers keep you sad and lonely, and upbeat and hopeful all at once."—Shawn Reed (Night People)
LP $17.50
08/17/2009
MP3 $9.90
08/17/2009
***BACK IN PRINT!!! All kinds of killer songs. Another stone cold classic by the worlds greatest rock band. Some call them the thinking man's AC/DC and some call them the working man's Roky Erickson, but really there is nothing that compares to Dead Moon. They live in a world of their own—D.I.Y on every imaginable level, brilliant song writing, perfect elemental stripped down playing, honest and intense vocals. It's all here.
LP $17.25
TBD
***Maybe you are just like John Darnielle: In the depths of the pandemic end of 2020, the Mountain Goats frontman passed the time trapped at home watching pulpy action movies, finding comfort in familiar tropes and sofabound escapism. But you are not really like John Darnielle, unless the action movies you found comfort in included French thrillers like 2008’s Mesrine, vintage Italian poliziotteschi, or the 1974 Donald Pleasence mad-scientist vehicle The Freakmaker. Or unless watching them brought you back to your formative days as an artist, when watching films fueled and soundtracked your songwriting jags and bare-bones home recordings and in turn inspired your 20th album to be a song cycle about the allure—and futility—of vengeance. But there’s no shame in not being like John Darnielle; few people are. Bleed Out is a cinematic experience unto itself. One song about preparing to exact bloody revenge begat another song about the act of exacting bloody revenge and then more songs about and the causes and the aftermath of being driven to exact bloody revenge, each delivered with the urgency and desperation deserving of their narrators and circumstances.
2XLP $28.50
08/19/2022
***The second in Chunklet’s limited edition Whirlyball series. You get BLACK LIPS performing a cover of “Hasabe,” BABY SHAKES kickin’ “What You Can Do,” GENTLEMAN JESSE & HIS MEN covering “Connection,” and COFFIN BOUND punching out “Is John Really Dead?”
7" $5.60
02/11/2007
MP3 $3.96
02/11/2007
FLAC $4.99
02/11/2007
***Orlando's keepers of the dump are back with a brand new 7" on Total Punk. Last year they proved they were the toughest gang in O-Town with their "Hard Head" single, and now with “The Earls” encroaching on their turf, the GOLDEN PELICANS really bring the muscle. Two tracks of pounding raw punk slop covered in feedback and all held together by KING G's gravelly vocals. 100% grade A TOTAL PUNK.
7" $6.30
07/30/2013
***BACK IN STOCK!!! A repress of THE MEN's self-released debut album originally limited to 500 copies. Eight songs of desperate, fuzzed out, riff laden punk/post-punk. This release really is an excellent mash of shoegaze and drony soundscapes with buried vocals beneath it all. Dreamy at times with that Sonic Youth vibe. This pressing was remastered and comes with deluxe tip on jacket.
LP $16.00
06/26/2012
CD $12.00
11/20/2012
Dead Ending is a no-frills, ’80s-hardcore-influenced band featuring members of Rise Against, Alkaline Trio, Articles of Faith and The Bomb. Their very existence raises a few questions, namely: “Really? What the fuck? How have I not heard about this until now?” and “Who’s the awesome mastermind who was somehow able to unite members of some of the most beloved and popular Chicago punk bands from the last 30 years?” Here’s how it happened: On tour in 2006, Bomb guitarist Jeff Dean met and befriended Vic Bondi, the frontman of legendary Chicago punk heroes Articles of Faith. They bonded over hyper-aggressive ’80s bands and discussed the possibility of starting a group themselves. When he got home, Dean got busy and wrote some tunes, then recruited longtime friend and Alkaline Trio drummer Derek Grant to help him lay the tracks down in Million Yen Studios, where Dean works as an engineer. Bondi liked the songs and signed on. Joe Principe of Rise Against came aboard on bass soon after that, and boom! Dead Ending was born. Dead Ending will make their live debut at Punk Rock Bowling in Vegas this year and will do shows and small touring runs whenever their busy lives all align. They’re also in the beginning stages of writing a full-length. So get out your spiky belt and your safety pins and tell your dentist to go fuck himself because Dead Ending is gearing up to bring the chaotic hardcore of the ’80s to you today with a...
12" $9.75
05/15/2012
MP3 $4.95
05/15/2012
With two acclaimed seven-inches under their belt, The Mantles answer the call for more with a stunning debut LP sure to please all who cross its path. The Mantles have been dead-on in distilling a contemporary pop / psych concoction that mixes equal parts early Chills with early Dream Syndicate--and really, who among us wouldn't want a bottle of that with which to quietly tipple the day away? Recorded by Greg Ashley, the LP taps said hybrid, and if anything, burrows deeper into the core of rock, extracting essential magma that fuses early SF Ballroom psychedelia, Byrds-ian jangle-pop, and the Velvet Underground's extraordinary ability for serpentine leads and bridges. And yep, that pretty much covers all the bases. Look for the band to embark on their first US tour in September, supporting Ty Segall coast to coast. "... a vibe somewhere between the crisp gauze of Midwest groups associated with the early-'80s garage revival (Vertebrats, Plasticland, etc.) and the mysto-stroke of late-'80s New Zealand." --Byron Coley, The Wire "... really stokes the node in its uncanny similarity to old-school Paisley Underground--you know, before it had been so sadly tagged. The strains, strums, and streams that permeate so lost and wonderfully ... remind my tired soul of early Leaving Trains, The Last, as well as the roster that made up Steve Wynn's Down There label." --Roland Woodbe, Siltblog
LP $13.00
09/22/2009
MP3 $9.90
09/22/2009
***These short minutes of hardcore music are violent, dismal and intensely angry. In a statement of intent, Kevlar Upper had this to say: “The goal for this band is to be as primitive as possible, this really reflects in the lyrics. No elevation. No frills. Just a seething, spitting stream of consciousness.” Fighting music indeed. 200 copies on green shells housed in a standard J-card sleeve and a black norelco box. Recorded by Mike Kriebel. Mastered by Will Killingsworth.
MC $9.75
03/08/2024
MP3 $2.99
03/08/2024
FLAC $3.49
03/08/2024
***"LORD MANTIS is fucking back, and their soon to be released EP entitled NTW is just as sonically diseased as their previous works! They are one band that has a trademark sound that makes the hairs on the back of my neck stand to attention. I really don’t care about all of the drama surrounding this band, all I care is that not too many bands can fuck with them when it comes to creating music that is pure audio filth eating away at human flesh in an inhuman way!"—Cvlt Nation. 12-inch EP housed in thick jackets and pressed on 180-gram vinyl. CD in digipaks.
CD $7.25
04/29/2016
12" $15.50
04/29/2016
Vega, Alan & The Revolutionary Corps Of Teenage Jesus
Pay Tha’ Wreck, Mr. Music Man
Creeping Bent Organisation
***REVOLUTIONARY CORPS OF TEENAGE JESUS are a duet (SUICIDE-like) formed by ALAN VEGA and 'techno machine' sound producer STEPHEN LIRONI (producer of Black Grape and former ALTERED IMAGES guitarist). The result has been—of course improperly—designated as “really sinister pop music.” Just be aware that the Rev. in Rev.Corp. of Teenage Jesus is not for Reverend ! And for their first issue, they deliver a kind of dance-updated version of the Suicide classic.
12" $6.75
06/19/2007
STORMCOCKNEY: this was the first set of two at the esteemed "cafe oto" in london. a groovy room...marshall allen's arkestra was also playing there in the same month and erika and i said hello to him at the airport on our flight over. we were really feelin' the love at this set, the room was packed and electrified plus we had mick flower and the doozer on board for bangers and mash. a rare release issued on the HEROINE U.K. imprint, not many of these were manufactured and distribution was limited to the merch table and the deep connects (with Volcanic Tongue leading the pack). now you too can grip this rising storm as if you were sittin' right there in hackney with us. GIS A JOB (no homemade slop): not quite live at leeds but equally near the airport of intimate sonics. this was a great DIY show at "the vicarage", which was a house show for heads. bridget hayden and the ashtray navigations were also on the bill, what a gig! we rolled as a trio with mick and this is another one of those "nights" on the "steal yr slice" tour which began back in glasgow with "i left my wallet in the trossachs". in fact, all the shows in this "nice price 3 fer" were launched from that tour. for those familiar with that ride, this plaster is way more of the up close and personal variety. this is as near as we'll ever...
MP3 $9.90
10/18/2011
***Woo-wee! PUBLIC ACID, folks—the undisputed pride of North Carolina! Or is it Virginia now? A bit of both perhaps?! Ah hell, is acknowledging geographic location really even relevant when it comes to top shelf hardcore punk? The dead fucks that made those borders and boundaries wouldn't know shit about riffs anyway. In the couple years since their self released 12" came into being, the band has gigged all over the country (back when that was an option) and expanded their catalog further via a flexi and some cassettes, garnering much deserved attention and adoration from those fortunate enough to be enlightened with those scenarios and/or physical formats. But that was the old world and what matters here and now is that the Condemnation EP is 6 urgent blasts of punk music that result in a sonic whirlwind that few others have previously concocted. In a genre that has become dominated by embarrassing posturing, this slab is a much welcomed breath of fresh air in an age of suffocating and uncertainty. Recorded and mastered at Artifact Audio in NYC by SASHA STROUD just before the shit hit the fan, each record comes in a folded sleeve both designed and screen printed by Public Acid and collaborator/comrade THOMAS SARA. 4th pressing limited to 400 copies.
7" $10.25
11/05/2021
***Big as a pig and vicious as hell. The torturous maelstrom sounds of bone breaks and thuggish isolationism. Howling feedback underscores the massive swirling riffs and relentless battery of drums. Foul, tumultuous vocals made entirely of the final exhalations of humanity really send this opus to the apex. A perfect band. For those unfamiliar, CØNDITIØN are a raging south Californian corpse-beat unit more akin to the likes of Bastard than Discharge. Fucking heavy. We couldn't be more excited about this LP. 800 copies on black vinyl come housed in a heavy duty tip-on jacket featuring art by MATTHEW ADIS complimented nicely by a 24x36 poster insert with art by ABE SOCIAL and MADISON EAST.
LP $17.75
11/27/2015
***In the Summer of 2010, the underground trend of “trash-humping” jumped the Nashville city limits as the film Trash Humpers spread across the nation, screening in movie theaters, galleries, bars and grills and anyplace, really, indoors or out, that could draw a crowd to see the thing. Filmmaker HARMONY KORINE often accompanied the film, standing around and answering questions when he wasn’t doing something else. It was something to see, but the only problem was, all you could do once you’d walked away was revisit the images seared into your brain for the rest of your life. Now, the official DVD release of Trash Humpers is here for you to take with you to whatever your destiny has to offer you. You don’t know when you’re gonna die. It could be tomorrow. But hopefully it won’t be until after September 21st, when Trash Humpers becomes available on DVD, complete with the extra featurettes “Mac and Plac,“ and “Blood of Havana,“ as well as deleted scenes that everyone forgot about after making this but are actually kind of cool! About the Filmmaker: Harmony Korine has been a party to some of the most enervating films of the last two decades, including Gummo, Julien Donkey-Boy, and Mister Lonely. Somebody said that Trash Humpers was his most baffling film yet. Okay…
DVD $15.00
09/21/2010
“Pat Thomas has been known as a driving singing / writing / bass-playing force behind San Francisco band Cool Ghouls for years and, over those years, in tandem with the band’s group effort, has cultivated an interesting voice as a solo act. ‘Solo’ isn’t really the correct word though because the tracks on I Ain’t Buyin’ It showcase recordings complete with fully fleshed out arrangements, not unlike other ambitious California classics like The Beach Boys or Love. These comparisons seem lazy, given the obvious associations of the west coast with this sort of sonic imagery, which bands from San Francisco or LA—but SF especially—are seldom able to shake off. But at the entry point of this record, you welcome it as you would a lover of this style. “As this album’s initial feeling moves forward, you get better acquainted with Thomas’s idiosyncratic song-writing and production style, which are playful and groovy and light-hearted. But these songs also convey a deeper inner dialogue which reflects the inherent paradox of life in a city such as San Francisco, or many other American cities. The feeling of general displacement and falling victim to commerce is real. A feeling that includes everything from the seduction of empty suburban idealism, to the city being robbed of its creative force by pointless commerce, to the entire USA being literally robbed from Native Americans. It’s hard to maintain a positive outlook when one reflects on the depth of this situation, but Thomas has succeeded in presenting a...
LP $19.00
10/26/2018
CD $9.50
11/23/2018
MP3 $7.92
10/26/2018
FLAC $8.99
10/26/2018
The legendary French painter and sculptor Jean Dubuffet exalted naivety and spontaneity in visual art, and his brazenly experimental recordings on Musical Experiences evince the same spirit through sound. He once reflected, “Certain unexpected windfalls ... come of improvising on an instrument one doesn’t really know how to use.” Dubuffet, who famously founded the art brut (or outsider art) movement, began making music in the early 1960s with avant-garde figure Asger Jorn. With no training, they played a range of instruments: saxophone, bassoon, detuned piano, hurdy-gurdy, cabrette, bombarde and so on. Soon, Dubuffet reserved a room in his home for making music and bought two tape-recorders in order to manually edit the results. He wrote fondly of the recordings’ crudeness and the sense that they “had no beginning and no end but were simply extracts taken haphazardly from a ceaseless and ever-flowing score.” Dubuffet’s discography begins in 1961 with the release Expériences Musicales, a six 10-inch record set produced in an edition of fifty with original artwork and lithographed sleeves. Musical Experiences, compiled by composer Ilhan Mimaroglu and released in 1973 on his Finnadar imprint, collects eight of the twenty pieces on the much sought-after Expériences Musicales. First-time vinyl reissue. Limited edition of 500 numbered copies on clear vinyl.
LP $27.00
04/13/2018
***BITS OF SHIT are the toughest gang in town. Four jean vested droogs out for a good time who aren't scared to show some muscle if the situation arises. The club everyone wants to be a part of but no one wants to stand across from. Well the boys really delivers on this one. Two tracks of brain crushing punk. Ferocious, guitar damaged, and completely essential. Mid-era Flag with an unhinged loon as a front man who howls, growls, and sneers his way through both tracks. Equal parts Bonn Scott and Johnny Rotten. I don't know what cave they dragged this guy out of, but they're the better for it because he's got the best voice in the game. The living embodiment of every character Lee Ving played in the early ‘80s and just the kind of guy you want leading your club.
7" $6.30
07/02/2013
***In the vein of the Dictators, Personal and the Pizzas and the finest of Detroit's coney island hot dog slingers, THE MAHONIES manage to cram 10 songs on a 7-inch at 45rpm! Whether it's about ZZ Top (sample lyric: "ZZ Top has really big beards") petty thievery ("I Always Get What I Want…When I Steal") or the universally understood ("Where the fuck are my keys?") these dumb punk outbursts all manage to stay below the 100-second threshold. Featuring CRAIG BROWN of TERRIBLE TWOS and LIQUOR STORE and IAN from being awesome.
7" $5.40
09/06/2011
***When NYC hit its punk stride in the mid 1970s, the one-of-a-kind ‘Neon’ Leon Matthews was already in the thick of it. Getting his start in music in the late 60s and having incredible luck in his friendships along the way, Neon Leon’s life story could easily be made into a really amazing film. Along with being roommates with Rolling Stones’ guitarist Mick Taylor (and dating his wife!) while living in the UK in the early 70s, he was recording acetates as far back as the mid 1970s with the original members of Pure Hell around Philadelphia, and ended up moving into the Chelsea Hotel in ’73 soon after, upon the insistence of his pal Johnny Thunders. Making fast friends with Elda and the Stillettos, the New York Dolls, and David Peel and Harold Black & the Teenage Lust crew, he soon fell into the maddening world of the Lower East Side zeitgeist right when everything was exploding. He was gigging at Max’s on the regular, seeing the incredible NY punk scene blossom before his eyes, and he even got to appear briefly in the exploitation film classic, Punk Rock (1977) with Elda and the gang. Leon put together his band with girlfriend/stripper Honi O’Rourke and hit the scene around Max’s, CBGB and the like, and upon entering the studio, caught lightning in a bottle with the recording of the Rock’n Roll Is Alive 7” EP in 1979. The title track is simply irresistible, laying down the filthy scuzz guitar...
LP $17.75
07/21/2023
***"PROWLER featured the wildly prolific team of MARTIN BRILEY and BRIAN ENGEL from such faves as MANDRAKE PADDLE STEAMER, STARBUCK 'Do You Like Boys', LIVERPOOL ECHO, SHAMBLES 'Hello Baby', TRUE ADVENTURE, etc. This is not really a reissue per se because the original uncensored version has never been released on vinyl before. It was released in a censored form as the oddly titled 'Pale Green (Hmmmm) Driving Man' in 1972. The BBC’s policy at the time would not allow a commercial product or brand name being used. Same reason The Kinks had to re-record 'Lola' for the single version substituting 'chery cola' in place of 'Coca-Cola'. Prowler masked the offending 'Vauxhall' auto brand name in their song with a Moog (played by Chris Thomas) sort of replicating an accelerating car. The fact that you can clearly hear the word 'Vauxhall' several other times outside of the chorus didn’t seem to phase anyone. It was all for naught. The Beeb didn’t play it anyway. The subject matter alone, a kerb crawler searching the streets for unwitting victims tempted by his tainted 'sticky brandy balls' sweets would warrant a ban from The Beeb regardless. The unique B-side 'I’m Your Leading Man', a demo from 1972, has never appeared on vinyl before. As always, we provide more bang for the buck!" 300 pressed.
7" $12.00
05/31/2024
The Spies bear the unique distinction of one of New Zealand’s true missing pieces in the Underground puzzle. With no audio documentation ever seeing the light of day in their time (1978-79, Wellington), the band really did exist in a you-had-to-be-there bubble. Historically (as in, now) known as hatching both George Henderson (later of The Puddle) and Christopher Plummer (who also thumped heads in Shoes This High), The Spies possessed a lithe but keen awareness of both the Canterbury and DIY movements that were taking place back in Old Blighty. The Battle of Bosworth Terrance imagines a bridge connecting Kevin Ayers and The Desperate Bicycles—a much-needed safe passage over a mysterious chasm you never knew was there. The fact that these recordings exist at all is nothing short of miraculous serendipity; the story is beautifully retold by Mr. Henderson in the liner notes. If you’re thinking forgery, theft, drugs and distinctive footwear (Alpaca boots perhaps?), congrats, the sniffer is working just fine. Besides the heretofore unknown music, also included are photographs, lyrics and text. It’s only taken 30+ years, but the larcenous abandon that was The Spies is finally willing and able to be heard, read about and seen for the first time. Pressed in a one-time edition of 500 copies, The Battle of Bosworth Terrace includes a digital download card.
LP $16.00
04/01/2014
MP3 $9.90
04/01/2014
FLAC $11.99
04/01/2014
***NOW AVAILABLE!!! After a quickly-released blur of tapes and 7"s, North Carolina's NO POWER unleash their debut 12" on the world. While I like their earlier stuff (which was pretty straightforward raw d-beat in the Disclose tradition), Nö Pöwer really finds their voice on this LP, fusing their Discharge-inspired approach with the heavy and dissonant sounds of ‘90s noise rock. It's an original sound, comparable to a more rock-oriented take on the experimental d-beat of recent Japanese bands like D-Clone and Zyanose, delivered with heavy production for maximum impact. This LP features gorgeous hand-made packaging, too, including hand-screened jackets and obi strips as well as hand-stamped labels and dust jackets. The 1st press is limited to 300 numbered copies.
LP $15.50
08/13/2013
***Long awaited split between UZALA (Idaho and Oregon) and MALA SUERTE (Texas). Each band offer up one new monstrous of heavy doom and gloom. Uzala contributes “Burning,” which is a five-minute vintage doom cut that really shows how far the band has come in such a short amount of time. DARCY NUTT’s singing is intoxicating, and CHAD REMAINS hammers out some great low-end riffs and wah-heavy solos. On the flip side, Mala Suerte adds their psychedelic twist to vintage doom with their contribution, “The Veil of Secrecy.” Mala Suerte are the veterans of the split, having released their first demo in 2001. Their overall sound is rooted in vintage doom psychedelia, with some sludge injects at the back end of the track.
7" $5.40
12/18/2012
***Due to their successful debut, the band’s producer was in demand, leaving little time to devote to the Electric Prunes. The band took full advantage of the adults not being in the room and created an incredible follow-up of original material on 1968’s Underground. Here is where the band really leaned heavily into their knack for challenging pop. This album came to define what later gravediggers of the garage genre came to devour: Iggy Pop, The Ramones, and Patti Smith all took a riff here; an attitude there. Limited edition pressing on transparent light blue vinyl.
LP $35.50
11/10/2023
***When HoZac first heard the crudely innocent recordings of Brooklyn's newly formed GIRLS AT DAWN, it was hard to recall which sunk in first, the jangling and angelic pop hooks, or the interwoven and uniquely eerie Rosemary's Baby soundtrack-style backup vocals that accompany them. It really doesn’t matter, as their songs have that special something that stick right out and make the hairs on all our collective necks stand straight up. Their debut 7-inch single, hauntingly self-produced, loaded with home recorded goodness, and played by three girls who effortlessly knock out great, simplistic and inescapable songs that swim around in your head and don't let go. Quite like the hypnotic, mythological sirens who lured ancient sea captains into pits of despair, these songs seem just pure enough, until it's too late to turn back and they've hooked you unforgivably. Look for The Girls At Dawn on the Rough Trade Indie Pop '09 compilation, along with an upcoming 12-inch EP on Captured Tracks, as well.
MP3 $1.98
10/26/2009
***ON LIMITED CLEAR YELLOW VINYL!!! Self-Inflicted Aerial Nostalgia was Guided By Voices’ third album, self-released by the band in 1988 in a pressing of 500. While both of the band’s earlier albums exhibit strong songwriting and plenty of vision, it is here that the GBV sound really begins to coalesce. While Devil Between My Toes is rife with contrasts, variety, and dark psychedelia, and its follow up Sandbox is a cohesive ’60s-influenced affair, Self-Inflicted Aerial Nostalgia marries the two approaches to outstanding effect. Unsurprisingly, recording began before Sandbox was even done pressing. These sessions would yield an aborted LP titled Learning To Hunt, but after personnel changes and second thoughts, Robert Pollard shelved most of the tracks, dismissing them as too similar to those on Sandbox. Fair enough, as many of Pollard’s more recent songs were simply on another level than previously. Here are the first of the classic Pollard slow-burners, often built on a simple melodic or rhythmic figure that circles itself ever outward, accumulating heft, variation, and inevitability as the song evolves into something unexpected yet inevitable. It’s the aural equivalent to watching a butterfly grow out of its cocoon. A few things are unique to this particular LP. Original powerhouse drummer Peyton Eric returns for nearly half the tracks, while engineer and lead guitarist Steve Wilbur shines at his brightest, resulting in some of the most thoroughly rocking GBV songs to ever be cut to lacquer, such as “Earful o’ Wax,” which simply explodes out of...
LP $19.00
08/18/2023
LP COLOR $20.25
08/18/2023
MP3 $9.90
08/18/2023
What does a Negativland album sound like when it’s missing all of those voice samples? It sounds like Speech Free. A triple vinyl / double CD release of library music for advertising, this new album by Negativland has had every last trace of language carefully removed from the mix. But what does that really mean? Having become a rock music adjective for their work in mass media collage, where voices are seized from the airwaves and woven into musical conversations more true than anything that normally makes it on the air, Speech Free is a complete re-imagining of the music that was hiding in plain sight beneath the branded “cultural jamming” on their last two record albums. Entirely composed and performed by the band with an all-star group of guest musicians (including Prairie Prince, Ava Mendoza, Matmos and others), these productions explode out of even the tiniest speakers as some of Negativland’s most listenable barrages of pure ear candy yet—all they had to do was remove all of that speech! As marketing research suggests, these catchy tunes will work well as new jingles and musical beds, perfectly suited for voiceovers discussing anything from commercial products to political campaigns. Everyone knows that most target audiences regularly indicate a preference for moderately subversive content—and this release provides that audience with precisely the right amount, now that all of this “usable music” has been personally guaranteed by Negativland as Speech Free.
2XCD $16.00
12/23/2022
3XLP $46.00
02/17/2023
MP3 $9.90
12/23/2022
FLAC $11.99
12/23/2022
"Aztec-inspired electro-psyche from the Not Not Fun temple. Not a lot of info to go with these guys but lots of swirling acid synthlines, cascading strings and repetitious whirligig looping, kinda like High Wolf meets Ducktails on his first acid tab at a Mayan enthusiasts convention. Right now we're really into the plangent distortion and rusty rhythmic swing of 'Congo Mobile Disco', the spiritualist psyche-hopper 'Lichens Beat', or the kosmiche safari groover 'O Mountains O' but we reckon if you catch the wave with this one you'll get a fine buzz from any of them." --Boomkat
MP3 $8.91
05/10/2011
***THE NINNIES were a bouncy powerpop/rock band from the far Northwest Chicago suburb of Mundelein, IL. They weren't trying to be the next Cheap Trick like so many others around that area in those days. Instead they were just a group of drinking buddies playing music for fun. The Ninnies never even really tried to be part of the Chicago scene. Instead, they stayed in Mundelein and ruled backyard parties and the local bowling alley from 1978-1981. They released one 45 in 1980 on their own Stupid Records. It didn't have a flashy picture sleeve and was mostly unknown to punk and powerpop collectors until a member of the band launched a Ninnies website with a bit of info and a few pictures. When three members of the band were featured on the St. Louis based Scene of the Crime radio show in 2008, the renewed interest in the band sparked an idea to collect the band's recordings before the tapes rotted completely. The Why Not? CD collects the entire seven song studio session that produced the original 45, rehearsal demos, live tracks and more! All original material recorded 1979-1980. Classic photos of the band are included along with new liner notes by bass player JOHN AZZATO (aka JOHNNY A). The source tapes were far from perfect, but we've done everything possible to enhance their audio quality. Mid-to-lo fi fun is to be expected! Produced and distributed by Rerun Records for Johnny A and Stupid Records.
CD $9.60
11/13/2012
***NOW AVAILABLE ON CD!!! “The three ladies in the band have done time in great San Francisco bands like BRILLIANT COLORS, THE FRESH & ONLYS, and PILLARS OF SILENCE, and it is kind of cool how if you did put all three of those bands in a blender the sound of the SANDWITCHES can really be imagined. So many bands of late seem to be so dialed into such a narrow and small palette of sounds so it’s really refreshing to hear a band who are no one trick pony, but instead cover lots of musical ground but do so with a cohesiveness that is often really tricky to pull off like The Sandwitches do on this debut. In lots of ways the record makes us think of what it would sound like for a band on Woodsist to cover Fleetwood Mac’s amazing record Tusk. There is also something so honest and sincere about their delivery that you get the feeling they would play these songs with as much conviction and emotion in their living room filled with a few friends as much as they would on stage at a packed venue.”—Aquarius Records
LP $13.25
10/19/2009
CD $9.25
05/04/2010
***After releasing two CD/Cassette-only full lengths and a compilation track, Ohio’s WILD WINGS at last touch down for a 33 1/3 rotational journey from the starship to vinyl. The mills may have gone cold a lifetime ago, but the signal fires still flare against the static grey sky, residual echoes decaying but never really fading away. Cacophony honed to a razor sharp edge, speakers quiver and detonate to a sound at once both primal and explorative; cavemen savants carving their legacy into cave walls. This is psychedelic punk rock / hardcore, speed and sludge, power and fuzz, for fans of My War and Chrome, Acid Mother's Temple and The Germs. Recorded and mixed at the Animal Dojo in Youngstown, Ohio, mastered by DAN RANDALL at Mammoth Sound in Alameda, California. Front cover painting and layout by KENNY HALBERT. Additional artwork by ELLIOTT HALBERT and KELLY BUTZ. Pressed on crystal clear vinyl.
12" $21.35
02/11/2022
***Formed in Swansea, Wales in 1979 from the ashes of local punk band THE NOISE, VENOM are an unheralded UK classic. Initially taking influence from the first wave of '77 British punk like the Sex Pistols and Clash, it wasn't until after an enforced hiatus resulting from a spot of "football violence" that the band really came into it's own. Lumped in with the expanding Oi! scene, they recorded three self-funded sessions—which produced the songs on this record—but their only proper releases were contributions to two compilations: one track on the now impossible to find Swansea punk sampler Sex, Violence, & The Eternal Truth 7”, and one on Secret Records’ Back On The Streets 7”, the latter a result of Garry Bushell, the "Godfather of Oi”, being a fan. They never quite formed a following outside of their hometown, which is a shame, as the songs they left behind are as chaotic, catchy, and well-written as anything to come out of the the early '80s UK punk scene. As with most UK bands in the early '80s, violence became commonplace at their gigs causing the band to call it quits in the summer of 1982. Fortunately, with our friends at Punkhouse Records, we present the complete Venom output, packaged in only such a way as Radio Raheem does—with a custom LP jacket including a tipped-in booklet choked full of photos, flyers, and the usual bits and bobs. (STREET DATE - 11/27/2015)
LP $20.95
11/27/2015
***BACK IN PRINT!!! First official vinyl reissue of this timeless, heavy UK hard rock album from 1972, produced by DEEP PURPLE’s legendary frontman, IAN GILLAN, originally released on the Decca/Deram label. It was Gillan who said of them: “Not many bands really excite me. But this one’s so raw and completely unpretentious. They make the biggest, bloodiest noise you can imagine, tempered with moments of extreme emotion.” And, of course, he’s right—the music is a menacing combination of over-the-top vocals and screaming lead guitars that could easily pass for something from the early British heavy metal scene. A favorite among vinyl collectors, the album is presented here in its ultimate glory, with all tracks taken from the original master tapes Rough, raw, and doomy! New pressing on purple vinyl packaged in deluxe tip-on gatefold jackets with insert.
LP $28.50
10/07/2016
Fun fact: there was a time when Kid606 actually was very much a kid – a hyped-up, metal-mouthed teen with a dream, some machines, and no attention span. With nary a computer in sight, the then-unknown Miguel De Pedro set out to fuck the scene before he even really knew what it was. These raw and noisy Electro/ Gabber/ IDM tracks were mostly made and improvised on a laundry-list of classic gear – the Roland 303, 606, 808, and 909, a Paia Modular, Sequential Circuits Pro-one, Moog Rogue, Akai S3000, and Kurzweill K2000S. Like the slightly more well-known at-the-time Orbital, De Pedro sequenced with an Alesis MMT-8 recording everything live to a DAT walkman without the aid of any multi-tracking (not that it wasn’t available back then, but it takes patience, which was clearly in short supply in Kid606’s hormone- and ADHD-riddled brain). With the aforementioned gear list, you’re thinking acid and techno classix, so stop – remember again who you’re dealing with. Kid606 wasn’t (isn’t) Autechre or Luke Vibert (a-duh), and this sure ain’t Incunabula, to say nothing of “Military Jazz”. Instead, what we have here is a basket of hardcore fun: build from average track bpm’s of around 170bpm, next to no musical knowledge and a whole lot of teenage angst (De Pedro’s no rapper, but let’s just say that Odd Future didn’t invent the fucked-up teenage psyche confessional). We guarantee you an interesting listen; by the end of all 38 tracks you will surely be as appreciative...
MP3 $7.99
07/18/2011
Delicate and beautiful music from the combined forced of the recently ubiquitous East-Coast psychedelic combo Elkhorn and Pelt’s Mike Gangloff, laying down two epic raga-like performances captured on a 2022 collaborative tour. Gangloff—fresh from the triumph of his VHF solo fiddle album Evening Measures—has found a distinct instrumental voice, blending drone music and trad influences in way that really advances the tradition into new areas. “East Dauphin Suite” builds patiently on the interlocking acoustic guitars of the Elkhorn duo, with Gangloff’s hardanger fiddle carrying the melody over the top. The sound is a neat riff on American primitive, with just enough Appalachian-style touches via Gangloff’s careful glissandos cutting through the Vuh-type chords and patterns to create a unique and supremely melodic hybrid. “Summerfield Raga” takes things further out, with more microtonal variation in the embroidery, with assertive bowing and an increased energy level. Pressed in Chicago and housed in an amazing jacket by Jake Blanchard.
LP $19.00
02/09/2024
MP3 $9.90
02/09/2024
FLAC $11.99
02/09/2024
Uncompromising hardcore punk from the bricked bowels of Chicago. "In Due Time" is five ridiculously tight songs of flawlessly executed frenzy with a hint of winter snot that we couldn't be more stoked about. We thought the "Feeding Frenzy" LP was good but damn, this is pure madness. C.H.E.W. is really a force of nature. Please see them, my words will never do them justice.
MP3 $3.99
04/24/2020
FLAC $4.99
04/24/2020
***"On June 11, 2017, JEB, TONY and Imet on a warm June afternoon at the home of the Pioneer Valley Jazzshares presenters, Glenn Siegel and Priscilla Page, in Northampton, MA. Playing a Jazzshares concert always has a really lovely vibe, super warm and community-centric. The ticket model is such that the audience buys a season of shows in advance and, as a result, the room is full. Before the gig and after, collegial conversation, delicious food and drink are the norm. It’s one of my very favorite gigs in North America for sure. The music on this recording crackles with that alive-ness and warmth."
CD $11.00
08/16/2019
MP3 $7.92
08/16/2019
FLAC $8.99
08/16/2019
***Chicago’s punk underworld has reimagined itself several times over the past twenty years, from the cavorting slime punk damage of the early 2000s, through the fracturing of styles and directions a few years later, it’s all been simmering salaciously for generations now, and for the last few years, only a few really noteworthy band have grasped the raw agitation as well as The Sueves. Rearing their ugliness up through the tropes of plastic flowers and goofy sunglasses, these brave young ravagers are not content to sit idly by as the stench of indifference passes over the masses, always the “least chill” band at the rock’n roll party and that is really a good thing. You can’t just sit still when The Sueves are wielding their wares, both in person and on record, the aggression has to burst out somehow, and although it’s far, far easier to just appeal to the low-hanging fruit dangling at the bottom of the rock’n roll food chain, it’s far more respectable to be the ones who are bleeding and bruised, flipping over the tables & chairs with reckless abandon, every single time. The Sueves’ core sound echoes back to a time not long ago when you really had to TRY HARD to make your band stand out, pushing the boundaries of the tired “garage rock” trappings into a mutated stump of unpredictable punk splatter. The guitar tone sits somewhere between sadistically strangulated and blisteringly complicated, an ominous bonafide shredding sound that leaves you beaten...
LP $14.75
11/18/2016
MP3 $9.90
10/14/2016
FLAC $11.99
10/14/2016
***“Amazing work from the legendary MULATU ASTATKE—one of Ethiopia's funkiest musicians of the ‘70s, making a rare appearance here on this lost American recording! The album has been a holy grail for years amongst beatheads—loved for its killer blend of weird rhythms, sweet funk, and super-dope vibes—and the grooves on the set are really unique—slow, snakey, and with a sinister, almost other-worldly feel. There's not nearly as much vibes on Mulatu's Ethiopian recordings—and their appearance here really gives the set a nice American sort of twist—almost Roy Ayers meets Sun Ra with a hot dose of African funk thrown in for good measure!”—Dusty Groove America. Japanese import.
CD $21.25
09/23/2008
***You may know him as the long haired bass player on the early KYUSS albums or as the mysterious REX EVERYTHING in THE DWARVES. Others will know him as one of the creative partners behind QUEENS OF THE STONE AGE and more recently the screaming front man of MONDO GENERATOR. He is of course, NICK OLIVERI. A man that really needs no introduction to rock fans across the world. Throughout his career with the aforementioned bands, Nick has found time to play intimate, solo acoustic shows. Just him and his acoustic guitar. Blending songs he has written for the bands he has played in, specifically written songs for the solo shows and well chosen covers, Nick has showcased what a great songwriter and musician he is. Over the last six months he has been recording in this format and now brings to you his new solo album, Death Acoustic.
CD $13.50
10/06/2009
***And here you were thinking that Switzerland was solely about armed neutrality, Robin Wills and helping tech companies launder money huh? Well, THE BASTARDS’ lone 1979 single helps pulverize that straw man into dust with all the Fake Punk trimmins’ ‘n’ trappins’ one would come to expect from the top shelf of early Euro pop-punk. They’re really shouting a lot and sound quite detached here while the lead guitar is DAMNED DAMNED DAMNED. They can’t help that they’re from Geneva, but you can help by buying this reissue of what would otherwise set you back at least a month’s rent. Ca va? Ciao!
7" $11.00
10/15/2021
***Last Laugh unearths these three songs from the band's 1978 recording sessions: "Demented Breakdown / Sex & Violence / No Cigars." All songs on vinyl for the first time. Suitable for quasi-PoGo dancing or just for disturbing your kids who obviously have missed out on the times of our lives among the Crescent City Punk Scenesters. After all, somebody had to really give a "kick-in-the-ass" to the Disco-era of the late '70s!
7" $9.25
01/26/2018
Ben Bennett has been on our radar for a while now and we couldn’t be more excited to present his latest effort “Trap.” Bennett has proven himself an incredible improviser, from his work with saxophonist Jack Wright over the past few years, as well as his more recent collaborations with Michael Foster, but it’s his solo work that really does it for us.“Trap” presents twelve tracks of solo percussion pieces using all sorts of drum like devices..they veer all over the map from intense Chris Corsano-esque workouts on the drum kit, to frame drums, to saxophone-esque sqeauling via membranes and tubes. What makes “Trap” even more fascinating is the timbral qualities of the recording via extreme close mic-ing everything to the point that you’re not sure what exactly is making said sound (and even hearing outdoor background sounds). Bennett’s “Trap” is so intense and mesmerizing that BOOMKAT lists this album under “EXTREME/NOISE/COMPUTER MUSIC”!!! Yes it may be extreme but this is the work of an incredibly talented and forward thinking improviser by himself with an army of percussion (sans computer). Bennett has once again outdone himself (we didn’t think he’d be able to top his “Spoilage” LP on Experimedia) and created one of the most intense and mesmerizing listening experiences we’ve had at the AS office in some time.
MP3 $7.99
09/02/2016
FLAC $8.99
09/02/2016
***CHECK STOCK!!! Received a 7.1 rating from Pitchfork. On Room Inside the World—OUGHT's third album and first for Merge—growing up doesn’t mean mellowing out so much as it means learning to pay attention, listening carefully and openly, staying somewhere long enough to really understand where you are. Recorded at Rare Book Room in Brooklyn with producer NICOLAS VERHES (Deerhunter, Animal Collective, Silver Jews), Room Inside the World explores themes that have always concerned the band—identity, connection, survival in a precarious world—but with a bolder, more nuanced sound palette. Vibraphone, justly intonated synthesizers, drum machines, and a 70-piece choir suffuse the precise post-punk breakdowns that spangled Ought’s first two albums, giving rise to an emotional complexity that pushes their characteristically taut sound to greater depths. Ought approached this record with newfound patience, constructing a (digital) moodboard to set their intentions: Brian Eno and Stereolab synths, the Mekons’ 1985 album Fear and Whiskey, and Gerhard Richter and Kenneth Anger’s sexy, fluorescent hyperreal all made it into the melting pot. CD housed in 4-panel digipaks. LP in gatefold jackets with printed insert. Indie version LP pressed on white vinyl.
LP $16.50
02/16/2018
CD $13.75
02/16/2018
***HIGH DIVE is the new three-piece Queer punk band from RYAN WOODS of DEFIANCE, OHIO. "I first saw TOBY play solo songs August of 2009. I was touring a lot at the time with Defiance, Ohio and we were seeing a lot of solo guitar players, but there was sincerity to his music that we were all really attracted to. It wasn’t long before we were spending most of our time together and he became a regular guest on Defiance, Ohio tours. Toby moved to Bloomington from Chicago. For years, THEO HILTON (Defiance, Ohio / NANA GRIZOL) and I had found it difficult to talk about the issues of being queer in our songs. It was something that was really important to us. Toby seemed to have a real strength for expressing his feelings on those topics and along with our friend, CLYDE PETERSEN (YOUR HEART BREAKS) we all found a greater voice for speaking about our experiences being queer. That relationship lead to some small tours and a 4-way split release LP on Talking Helps Records from Seattle. It included new and previously released solo songs by Toby, Clyde and Theo along with Defiance, Ohio and Nana Grizol songs we felt to be relevant. It also included two songs from a band Toby and I had started not long before called HIGH DIVE. We were really excited by the energy of some of our good friends three piece pop-punk bands like Songs for Moms, The Max Levine Ensemble, Delay...
LP $14.00
01/03/2012
CD $13.00
01/03/2012
Collection gathers pre-Wooden Wand and the Vanishing Voice material from James Jackson Toth’s Golden Calves project. Originally released in 1996; reissue is limited to 1000 copies. “It was really all about The Godz, Jandek, The Shadow Ring, Strapping Fieldhands, Swell Maps and Tower Recordings. Beyond these, I had only heard the ‘classic’ and most available free jazz, krautrock and noise albums. I was a long way from, say, the second Comus album or Charles Gayle. But this music changed my life. It was a record store owner named Eric McCarthy and a man who needs no introduction to anyone reading these notes, Matt Valentine, who taught me that there was a world beyond Dischord, Vermiform and Ebullition. I went to college, met hip people, and got a job at both the local record store and the college radio station. I was taking drugs. I bought a four track and began emulating my heroes. I called the project Golden Calves. I was eighteen years old.... “In hindsight, I like to think that the noise scene liked us and responded so positively to us because, in our own naïve way, we were subverting a very rigid paradigm. Touring with noise bands and moving in experimental circles but playing proper ‘songs’ is what made us weird. It was an exciting, unforgettable time. “These are not perfect records. Perhaps worse than so-called ‘naïve art’ is ‘only-marginally-informed art’ and that’s what this is. I should have let my talents marinate for a while before...
2XLP $20.25
01/31/2012
MP3 $9.90
01/31/2012
***NOW AVAILABLE ON CD!!! Sometimes the community rallies around an individual and the results are undeniable. There is a long and winding back story to the SONNY SMITH’s (SONNY & THE SUNSETS) 100 records project, but all that you really need to know is that Sonny Smith, one of the brightest lights in SF's neu-Garage scene, has recorded an album that is one for the ages. Sonny wrote 200 songs that make up 100 conceptual 7-inch singles for a multimedia art show that traveled around the US this past year. Although Smith penned all the music he attributed his masterful tongue-in-cheek brand of laid-back garagepop tunes to mystical musicians like ZIG SPECK, EARTH GIRL HELEN BROWN and THE LOUD FAST FOOLS derived from Smith’s imaginative prose. Along with producer MARC DANTONA, Sonny assembled a “Wrecking Crew” of players the SF scene got together to record songs in basements and apartments around the city and a whole other team of visual artists contributed artwork for each record cover. Here you have 10 songs from the Sonny Smith’s 100 Records. Recorded on vintage gear, with local heroes such as TIM COHEN (FRESH & ONLYS), KELLEY STOLTZ, TY SEGALL, and members of THE SANDWITCHES and CITAY all contributing, this new music sounds as though it could be from a bygone age, one at once more innocent and more dangerous. While the artwork and the concept are both wonderfully original and compelling, it's the tunes that stand out here. Earth Girl Helen Brown's "I...
CD $13.00
02/01/2011
5X7" $50.75
02/14/2011
fpo $50.75
11/16/2010
"Surprisingly born under San Diego’s sun, Ascended Dead are nevertheless as ugly as it can be. Not by design nor by trying their best to sound that way but just because that foul stench they ooze from every pore is their true nature. Yes, their founding members and some of their current members have played or are still playing in other bands but none of this really matters as their main man JR stresses out that 'everything we've attained was built from the ground up and we’d like to maintain as much of a stand-alone legacy as we can.' Yes, they’ve had their fair share of struggles and obstacles to overcome—something well-documented in the booklet of last year’s self-released Ritus Mortuus compilation—but this somehow only strengthened their determination and musical idiosyncrasy. "See, a lot of bands these days wish so bad they were part of the same early extreme metal wave that swept the plate clean in the llpasceabhoate '80s but end up only second guessing how all their idols thought. But Ascended Dead are a rare case of a band who just go for it and whose DNA is naturally carrying that FTW element, that simple idea, not wait, instinct to destroy everything in sight. Necrovore, Insanity or even Sarcofago are just of some of the acts they’ve been compared to but it doesn’t really matter because after one raw-as-fuck demo, one EP and two compilations, Abhorrent Manifestation is the sound of a band who have come to term...
LP $19.00
07/26/2019
CD $12.00
07/26/2019
Hey bro, check it out: In Memphis in early 2011, five people joined forces to start a punk rock band. They each came from different scenes—hardcore, psychedelic, and various flavors of indie pop. Things gelled. I mean, really came together, man! Following the release of two killer singles under the name Sex Cult, they were faced with a lawsuit from a similarly named and very aggressive techno label in New York City. So Sex Cult became Ex-Cult. Playing a series of house parties and gigs in dive bars, Ex-Cult honed their sound—a punk rock sweet spot that incorporates angular post-punk, flying saucer fuzz guitar, snotty vocals and bash-your-head-in energy. A real stone groove! Killer linear punk à la Wire, Urinals, Australia’s X or something, man! A show at SXSW caught the attention of indie wonderkind Ty Segall, and the two began making plans to record in San Francisco. This is the end result—a debut album that takes the living energy of their show and crams it onto the grooves of an LP. Wild, man! Wild!
LP $13.00
12/18/2012
CD $12.00
11/13/2012
MP3 $9.90
11/13/2012
***Now an established force in the reggae world, the Aggrolites just kept pumping out a steady stream of toe-tapping adventures all the way through the first decade of the 2000’s. This, their third and final album released by Hellcat showcased the talent and synergy that caused so many to dance and sing along. To many fans, this album really represents the point when this band permanently affixed themselves as a ‘forever’ staple in the reggae world. It was broadcast far and wide thanks to the support of Hellcat/Epitaph, and just like the tunes, the band was carried far and wide too - literally. Nonstop. As much as it represents permanency for many, it also marks a change for the band - to take on more responsibility, and seize the opportunity to grab the reigns and carve out a more tailored next chapter. "IV" would be their last album on Hellcat, but it would by no means be the last thing heard from these passionate and illustrious cats. Quite the contrary.
2XLP $26.50
TBD
Third and final pressing on new solid orange vinyl. “It seems that every time you turn around, there’s another Oh Sees [OSEES] slab. Long ago we lost all capacity to be surprised that this sturdy unit keeps putting out records and that they’re really good. You can now add the Metamorphosed 12-inch to you ever deeper sagging row of John Dwyer and Co.’s seemingly no sleep release schedule. The five tracks were taken from the sessions that formed 2019’s Face Stabber album, a seventeen-track / eighty+ minute jammified four-sider. Metamorphosed would have been the perfect third LP to fit in with the other two.” “John and Matt Jones run the Castle Face label with full autonomy, so it would make sense that Metamorphosed, like The 12” Synth, would have been a CF release. Yet, it’s on the very cool Rock Is Hell Records label, which has put out some great Dwyer related jams in the past. The OCS Live In San Francisco album was not only great musically but all the vinyl and sleeve variants made the collectors break out in a fan sweat they’re probably still recovering from. Being able to do all this yourself, it’s obviously cool to still work with Jochen and Rock Is Hell. “Metamorphosed isn’t just some barrel scrape for those who can’t get enough. All of the five tracks stand up to anything on Face Stabber. The record’s twenty three+ minute ‘I Got A Lot’ is one of the coolest songs...
LP $20.25
10/01/2021
MP3 $9.90
01/22/2021
FLAC $11.99
01/22/2021
Nice vibe = a nice price sweet spot 3 fer from MV & EE and all their open roads. Here are three beautiful documents courtesy of Heroine Celestial Agriculture, THE spectrasound and the tapers pit you've come to know and love from this division of Child Of Microtones. You are immersed and right there: DOUBLE DOUBLE RAW - you can really hear the good ol' bear, i.e. owsley, take its toll and bring out the best of us at this beautifully ragged and raw show from toronto circa our "gettin' gone" gone fishin' tour. this was a ramble when we rolled out to terrastock and we were doing two sets or two nights whenever possible. dig the legendary local hoot advertised in the original double LP gatefold...two nite stand among a week of karaoke. real people...real jams. always a fine trip with the canada goose riders of the golden road and we even got eric chenaux to stand up when he boogied at this set. MV/EE/DOC/MUSKOX/ANDERSON/CHENAUX TERRASTOCK RAGA - sweet drone and stately environments on the impromptu "acoustic" stage at terrastock 7. we got into some deep, everybody humming away into the unimind...many are one! MV/EE/TIM BARNES/WILLIE LANE/DOC/MUSKOX GENE POOL - an unbelievable transmission from this duo exchange in the deep south on the "drone trails" tour. while i breathe, i hope. gotta love it when one of the punters requests "the uranian ray". fried like only south carolina can...just wait 'til we hit shreveport, LA. MV/EE
MP3 $6.99
06/14/2011
From the great city of Chicago, returning to the limelight after their widely acclaimed debut LP, are none other than the almighty MAN-EATERS. Twelve More Observations on Healthy Living kicks right back into the 70's-inspired hard rock and proto-punk/metal hooks delivered on their debut. Much like the great Annihilation Time, our friends in Man-Eaters have really come into their own on this second album - applying the energy and chops built up from their hardcore days in Cülo into a heavier, louder, and pummeling hard rock equivalent. This is one for the beer drinkers and hell raisers, for the punks and metalheads - a damn fine rock'n'roll album that's fast, loose, and ready to be cranked LOUD!
LP $21.95
12/17/2021
MP3 $9.90
12/17/2021
FLAC $9.90
12/17/2021
About the release, Esben Willems, Monolord drummer and recording & mixing engineer for the original album and this version, says, "Listening to the mixes for the instrumental version of Vænir opened an unexpected door. We seriously didn't expect that the album would take such a different shape and feel in an instrumental version. Really stoked to see how our fans will experience this release. Also, getting both instrumental versions (Vænir & Empress Rising) released on LP adds another layer. Hope you like it." Swedish trio Monolord release a special all-instrumental version of their second album, Vænir originally released in 2015. Begun as a digital-only release for Empress Rising - instrumental, the response was so overwhelming the band and Riding Easy Records decided to release both revised albums on vinyl as well. The sleeves are printed on premium chrome jackets and limited to 1000 copies each album.
LP $30.00
10/23/2020
***“Sexy new platter from Philadelphia's only punk band. Yes, that A-Side is a cover of the Remo Voor tune. And they do wonders with it. It's not slathered in distortion and scuzz-bass as you might expect. No, it's more subtle, like a really muscular group finessing their way through a pop song. Still quite brassy, a little awkward at moments, yet very tastefully done. It's actually quite magical. You'll also be surprised to hear JOHN-JOHN actually sings a little bit on this one. On the flip side, fuck, it's back to business. ‘Early Man’ is a stunner reprised from the full length and features these three savages flinging shit at the walls of their cave, drenched in delay and blood. Once again Clockcleaner proves why they are the highest paid touring band on the circuit. Scums stats: only a few, make sure to buy in bulk. Ask for the limited Richard Charles Jr. signature model.”—Terminal Boredom
7" $6.00
08/06/2007
Following a self-titled cassette (Psychic Mule, 2013), People Skills serve up a first LP of deceptively relaxed songs. As per usual, deductions are to be made on the consciousness of the character; the important thing is that in the ensuing spatial vagueness, Jesse De really comes into his own. The influence of Graham Lambkin has become so staggeringly panoramic over the past decade it seems to demand participation and here it is, inscribed by the chance blurts of Die Spielverderber and the slow attitude of The University Punx, and played from the loner-folk-side-in—that is, for feeling felt. And the laziness is projective; always managing to sound looser and more vivid than it seemed a couple of seconds before, shifting from lyrical to terse by way of The Rebel. And if that doesn’t get you, consider the mortal words of John Berryman: “Well hell / I’m not writing an autobiography-in-verse.” As a first-person hallucination recorded memory, this plays somewhere between full-blown De narrative and snapshot. Regardless, we’re blazing into a new era and this one will go perfect in one of those new rabbit-computer cafés.
LP $16.00
09/16/2014
MP3 $9.90
09/16/2014
FLAC $11.99
09/16/2014
***Washington DC's first wave punk band! Originally released in 1981, this is their 5th single. This single finds their band in their full stride and possibly their most aggressive track on the A-side. Mastered off of a virgin vinyl copy. You've either owned this single for years, or about to be exposed to something really fun! This is one of my favorite tracks to come from the Washington area, and I couldn't be more thrilled to have the chance to re-release it!
7" $9.75
03/11/2022
***NOW AVAILABLE ON VINYL!!! “This one man band from Sacramento, CA does a rip on the Black Flag album of the same name, even wearing a Black Flag shirt on the cartoon cover. You have eighteen mostly short songs covering the time from 2009–2012 that were originally released as singles, plus three unreleased songs. He plays really fuzzed-out garage punk with some hooks thrown in and a lot of energy. The production is a bit rough, but it makes the recording work, kind of like finding an old cassette that got beat up, but still has tunes that you really like on it.”—Razorcake. Limited edition of 150 copies.
LP $23.85
01/21/2014
***The apocalyptic post rock sound of Mexico’s Los Honey Rockets is no joke. A unique sound from Latin America, Honey Rockets have created an album chalk-full of chaotic keyboards, angular weird guitar riffs, odd tempo drum beats accented by energetic wild vocals. Fans of the Lost Sounds, or NEU! will really dig this record!
12" $17.75
04/23/2021
***Used car salesman Dick Goodbody hosts a very unusual automotive quiz show with the help of The Weatherman and the rest of Negativland. This single CD comes in a double CD box with a giant fact filled poster and a fluorescent vinyl key chain from Dick's Auto Hive. SEELAND 016 CD 53762-0016-2 In-house proselytizer Pastor Dick Pastor Dick tries to recoup some stolen money with a promise to get drunk on the air...and he really does! New additions in this reissue of a 1990 cassette include: Pastor Dick's Fellowship Dinner stand-up routine, the problems of driving a Dodge Demon, an expanded Bible Quiz, Pastor Dick's expose on the cult of Mormonism... and it comes with an honest-to-God 16 page religious pamphlet!
CD $9.50
06/09/2010
MP3 $8.91
06/09/2010
***NOW AVAILABLE ON VINYL!!! The eagerly anticipated second album (regular edition) from Montreal’s ARCADE FIRE exceeds all expectations. Neon Bible is full of both half-assed punk rock mistakes and meticulously orchestrated woodwinds. Processed strings and mandolin. Quiet rumbles and loud rumbles. But mostly it’s eleven songs that the band thinks are really good. Recorded in Quebec, New York, Budapest and London with recording and engineering help from MARKUS DRAVS (Bjork, Brian Eno) and SCOTT COLBURN (Animal Collective, Sun City Girls). Pressed on triple-sided 180-gram vinyl LP with an etched fourth side.
2XLP $19.95
05/08/2007
***BACK IN STOCK!!! Received an 8.6 Best New Music rating from Pitchfork.***2015, and the silence has been broken with Simple Songs. JIM O’ROURKE is ready to talk to you again. First, he wants you to know he’s not dead—yet. But you’re not, either—and really, what have you done lately? Certainly not made your first pop album since 2001—and even if you had, it probably wasn’t any good. Meanwhile Simple Songs is more than just a first of anything since whenever! It’s an amazing record of musical song entertainment—because Jim O’Rourke knows what he wants and how to get it.—musically, that is. The rest of the world is still a mystery and a bottomless source of aggravation for the old boy. What do we care? We get a great new album out of it. Yes, Simple Songs is an album of songs sung by Jim O’Rourke all the way through! It has been ten years since Jim’s voice rang out from a new album. What Simple Songs sounds like.... At this point, the range of sounds and songs that have turned Jim’s head are numerous enough to have crushed together into something that is unmistakably his—the vast, glossy and glittering O’Rourkian (yes, like Kervorkian) wall of sound. The music’s got OCD quality, played so immaculately by so many instruments, and most of them by the creator’s hand. This time’s really the widest screen yet for Jim’s popular song-style, truly breathtaking!
LP $21.50
05/19/2015
CD $13.75
05/19/2015
***NOW AVAILABLE ON VINYL!!! For the uniformed ME FIRST AND THE GIMME GIMMES consisting of NOFX frontman FAT MIKE, LAGWAGON frontman JOEY CAPE, FOO FIGHTER CHRIS SHIFLET, Lagwagon drummer DAVE RAUN, and the unparalleled silky vocals of SPIKE SLAWSON have been banging out other peoples’ hits for over two decades now. So, what is really left to say about punk super-group and cover band extraordinaire Me First and the Gimme Gimmes? After 7 studio albums, a live record and too many singles to count, they’ve tackled just about every genre under the sun. Be it Motown, Country, show tunes, Japanese Pop (sung in Japanese!), these seasoned punk rock pros have triumphed on every occasion in a way only the Gimmes could. With such an extensive and wide ranging catalog, where does one begin? Lucky for you, they’ve done that work for you. Rake It In: The Greatestest Hits, Finally compiles all the best hits onto one disc! From perpetual favorite “I Believe I Can Fly” to the classic Country tune “Desperado,” to the diva sensation “Straight Up,” the hits just keep a-comin’! They’ve even thrown in some deeper cuts for the Gimmes’ most fervent enthusiasts with “City of New Orleans” and “Hats off to Larry.” With 17 of only the very best hits, Rake It In is sure to satisfy Gimmes fans from all reaches of the globe.
LP $25.50
04/21/2017
CD $15.00
04/07/2017
Four songs in just under nine minutes: what do they have in common? They’ve got No Brain, and they’re the new vinyl EP from your grandparents in Negativland. Just as all those decades of Media Literacy courses finally seemed to be sinking in, along came Social Media to scramble one’s lines of sight on where all these voices are really coming from. Every tactic modern citizens used to resist the one-way feeds of Broadcast Media—from skepticism, to research, to signal jamming—is just as easily used against them in today’s all-way environment. The four songs on this record juxtapose the voices of media experts from the ancient ’90s with voices culled from the modern landscape of Social Media—from the users still operating under the old rules, to the rationalizations of tech CEOs who invented the software that’s eaten them. How does one follow the money on a free platform? Who’s got the megaphone? Can non-sequiturs exist? What takes less time to update: a website’s auction to determine which ads are being loaded onto your page, or your own perceptual mechanism making a call on everything you don’t need to know? All of this and more, made hypnotically catchy through Negativland’s time-honored use of funny noises and weird beats, could be coming soon to a nervous system that is You.
7" $9.75
11/05/2021
MP3 $3.96
09/24/2021
FLAC $4.99
09/24/2021
***BACK IN STOCK!!! The perfect melding of two timeless facets of punk, the honest forward thinking DC style hardcore of Faith/Void split (yes, both sides) with total Deathside style anthemic hardcore. Both are furious and immediate and work together in perfect harmony here without really sounding like either exactly. New, important music is made this way. RASHŌMON has had their share of setbacks with immigration, mental health, modern American life in general... and that urgency and frustration is reflected here crystal clear. 500 copies of 150-gram black vinyl with an etched B-side are housed in a beautiful 24 pt jacket along with an insert and a download card.
LP $15.50
01/11/2019
***"Vinny Earley is the brain (floating in a jar) behind the LA based band Vaguess. You might have seen him around. He's pretty tall, kind of looks like a mix between Hulk Hogan and Bart Simpson and is probably standing in the corner of a house party flicking lit matches at the wall, and talking about how GG Allin wasn't even really that gross. In reality, Earley would more likely be seen surfing, skating, telling a hilarious fart joke, or ripping guitar or drums in one of a handful of heady bands in the LA scene like Diode, 2m8o, and Scam Likely. Vaguess, however, is Vinny's lifeblood. Since 2012, the band has released a dozen or so LPs and EPs, touring extensively with a rotating cast of Earley's close buds building a cult following. Vinny fearlessly traverses genres, seamlessly switching between glitchy synth punk, jangly art rock, and twangy cowpunk melded together with his singular approach to songwriting, production, and unique voice. On his latest release Thanks No Thanks, Vaguess joins forces with Under the Gun Records embarking on an odyssey of bigger and bolder production, infectious melody, and introspective songwriting propelled by dialed, head-bobbing rhythms. With Thanks No Thanks, the vibe of the music shifts in controlled bipolarity as the songs flow from snotty punk tune to heart-felt ballad to dancy Indie banger. The music on this record, however, is uniformly grounded by taut drumming, angular riffing, and tunneling synth arrangements. Earley's singing style pings from more spoken, punctuated...
LP $20.25
02/16/2024
The Flower-Corsano Duo, the world’s best and only drums / Japan banjo duo return to VHF for their first album since 2009’s monumental The Four Aims. Mick Flower (Vibracathedral Orchestra) and Chris Corsano (frequently seen with Bill Orcutt, Joe McPhee, and other luminaries) work an area that’s not really jazz, not really anything—a stream of endlessly mutating free sound, a unique mind-merge between Corsano’s nimble drums and percussion and Flower’s amplified Japan banjo (also known as a Shahi Baaja, a type of electric Indian zither with both fretted / keyed and drone strings). Flower cuts a highly original line, playing neither “leads” nor making drone-music. Less amplified here than on the more “heavy” The Four Aims, the strings ring out with distinct clarity in short snippets of melody and a canvas of pleasing electric sound. Corsano’s bag is to charm out a flow of thoughtful percussion engagement, rolling around on his kit, continually varying his attack and approach in conversational free-jazz style. The Halcyon is a precious addition to a tiny discography, a fortunate event even in today’s world of small press overabundance. Thanks guys!
LP $17.50
02/18/2022
MP3 $9.90
02/18/2022
FLAC $11.99
02/18/2022
The third 7" single by Oakland CA's Pets is full of smart hooks and contagious songs. Featuring a pedigreed lineup of Zack from the FM Knives, Vince from Short Eyes, and Dan Wood (a close relative of the Spits' Erin & Sean Wood for those keeping track...) from Right On. These guys know exactly how to turn your stomach and create some really epizootic waves of deliriously dirty pop snarl. Not content to retread the paths of any of their previous bands, the Pets are all on the same page and their simple and voraciously catchy songs will knock you into submission over and over again on each side of this record.
7" $3.50
09/26/2006
***[Originally released in 1991, Shift-Work reinvents] The Fall as easy listening. Smooth, almost non-existent guitar lines, gentle puffy production, dance-y drumming, Mark E. Smith actually singing.… Smooth dance and pop, most of it really pleasant. "Idiot Joy Showland," "Pittsville Direkt," "High Tension Line," and "You Haven't Found It Yet" are my dreamtime companions, but "The Book Of Lies" is … like Tom Jones or something.… The mood is a truly relaxing one.… More cohesive than Extricate, and a very interesting way to handle the post-Brix crisis. Never released in the U.S. -markprindle.com
CD $14.00
10/08/2002
***Contrary to the title, GET DEAD’s latest full-length Honesty Lives Elsewhere, is one of the most honest albums you’ll ever find. No shtick. No posturing. Just straight up, from the heart, punk rock. With multiple releases under their collective belt, Get Dead have really honed their trademark blend of raw punk and acoustic folk into a seamless style that feels completely natural. Once again Get Dead teamed up with FAT MIKE (NOFX) as a producer and with Honesty’s ear-pleasing melodies the results are obvious. The lyrics and temper of Honesty Lives Elsewhere are instantly relatable, drawing on the experiences and tribulations of scraping through the day to day. Of course, SAM’s gritty delivery packs its normal punch, wrenching the listener right into the irresistible fire. From start to finish Honesty Lives Elsewhere is an engaging experience that restores faith in genuine punk rock. LP includes a download.
LP $25.50
07/29/2016
CD $13.25
07/29/2016
***Thirteen bludgeoning tracks of severely hateful, leather-studs-bristles-and-acne-style hardcore crust from these Portland, Oregon punk pessimists. Songs about "their" ignorance, "their" wars, and "their" capitalist bullshit, as well as some gamey tunes about how lame Portland is, what a rip-off band Rancid is, and how rich people really do suck.
LP $23.50
10/15/2021
***In an era when most DIY bands can barely exist longer than a single album and tour, it’s actually quite special to see a band like ARCTIC FLOWERS put out their third full-length album. After more than a decade of existence, these Northwestern punks are still killing it! This album brings us more of the dark and catchy WIPERS-influenced punk we’ve come to expect. A cleaner sounding production than its predecessor really allows for the choruses and the bright, catchy guitar riffs in these songs to really pop. This album destroys!
LP $19.85
04/02/2021
***Slovenly Recordings is proud as hell to present the debut LP from Puerto-Punk screamers LADRONES. From the gutters of Atlanta by way of the island paradise known as San Juan, Ladrones exist in that undeniably fun sweet spot of punk and rock ‘n’ roll where pogoing and slam dancing all make sense, dedicating album opener “Tropimuerte” to the island’s tradition of el jangueo (simply “hanging out”) - it could easily go unnoticed for what it really is: a declaration of individuality, defying any demands for conformity*. Led by crazed, mic-gripping she-devil VALERIA SANCHEZ, Ladrones goes Reatards in spasmodic bursts of pure aggression, with a respectful nod to Los Angeles legends X and superhero Exene Cervenka while channeling the swinging and playful doo-wop side of fellow countrymen Los Vigilantes, but this is an extra special snot-rocket en Español that they own to the hilt. ¡VAMOS A TRIPIAL!
LP $15.50
06/28/2019
***"Maybe it’s the endless pieces of soft, soothing music being described as ‘a soothing balm for the stresses of the pandemic age’, but don’t you sometimes find yourself wishing for a solid rock’n’roll record to cut to your core and send your fists soaring towards the sky? Okay, our moshpits may not extend much further than the faces in our living rooms right now, but goddamit, some of us really just want some punk rock to help us feel alive. Here’s where Needles//Pins’ mighty fourth album comes in. From the surging rush of opener ‘Woe Is Us’ (sounds relatable), via the organ-drenched scuffle of ‘Winnipeg ‘03’ right through to anthemic closer ‘The Tyranny Of Comforts’, this is a record that takes your emotional concerns and bundles them up into sweet little packets of raw-throated, chest-swelling, moves-into-your-brain-and-never-leaves melody. They’re self-aware too; by referencing Cap’n Jazz’s ‘Little Leagues’ in the opening verse to ‘A Rather Strained Apologetic’, they lay bare that in a less complicated era you might have been tempted to call their take on punk ‘emo’. Hey, come back—OK, it’s not a Jade Tree special, but it’s got the same gravel throated delivery and honeyed approach to melody that Blake Schwarzenbach delivered on ‘24 Hour Revenge Therapy’. Needles//Pins are equally indebted to classic Canadian powerpop like The Pointed Sticks - hell, 1979’s essential ‘Vancouver Complication’ comp feels as much of a reference here as ‘Boxcar’. They know their history, they know their craft, and they know their shit. If you’ve...
LP $19.85
07/02/2021
Boivin, Jay & Germain Gauthier
Pinball Summer (original Motion Picture Soundtrack)
Mighty Mouth Music
***"A cynical studio synthesis of the best pop of the late last decade—Sparks, Nick Lowe, Dwight Twilley, Todd Rundgren—updated with all the right New Wave and Palovian power pop flourishes—20/20, Shoes, Cars, Cheap Trick—guaranteed to bring all the boys to the yard. The work of studio musician and composer tandem JAY BOIVIN and GERMAIN GAUTHIER who have really done their homework with dumber-than-dumb lyrics and hooks bigger than some of the holes in this movie’s almost perfunctory plot. You’d be forgiven for mistaking the title track for a lost Speedies cut or ‘Summer Girls’ for the ultimate, sell-out 10cc soft-rocker. There’s rockers as well, like the Raspberries-styled ode to the blonde, high-waisted-jean-and-no-bra-wearing female character ‘Sally Joy,’ which wonderfully and mindlessly rhymes the words ‘chance,’ ‘dance’ and ‘pants’ in a verse that rivals the early Beach Boys. I’d also like to imagine some prospective, post-prom stud putting on ‘Voyeur’s Motel’ as he starts up his father’s car and his date melting in the passenger seat."
LP $19.25
09/16/2016
Meet the strangest known band from the pre-punk dayze of glam. A sound like no other and a story as out there as THE MONKS. We’re talking commitment here – spacesuits, Spock ears, even antennae feelers – onstage, on the street, and wherever they made the scene. ZOLAR-X spoke their own language, and insisted they really were from outer space to anyone who could get past their, er, unique hairdos long enough to listen. A teenage Jello Biafra rolled his eyes when he saw ZOLAR-X featured in Lenny Kaye’s Rock Scene, but never forgot the band. Years later a semi-official bootleg appeared, and everyone Jello played it for was floored – the missing link between CHROME and THE STOOGES? After a 20-year-hunt for planet Zolar, a fresh listen to the masters revealed a serious prog side too. At the time, Rock Scene, called them “PINK FLOYD crossed with BLACK SABBATH.” Intrigued yet? Be the first to whip this out at your next party.
LP $9.75
08/31/2004
CD $13.00
08/31/2004
MP3 $0.00
08/31/2004
***Portland’s SUCK LORDS graciously and salaciously bring us five tracks in about as many minutes of USHC-inspired-USHC by veterans of USHC. In the city of No-Sales-Tax the daily minutia of constant-development and self-automated Kombucha stores is enough to make one say “fuck it” and just play ripping fast hardcore all-day, all-night, all-their-life. Sometimes groove, sometimes wall-of-noise, there isn’t really much to say about Suck Lords aside from that they are a very good Hardcore band. Like an Americanized PROTES BENGT or a less Canadian Neos. “Wahhhhh”
7" $7.75
10/04/2019
***Black robes, torches, mind-control, mock human sacrifice rituals, and worship of Moloch the ancient Canaanite deity. These are just some of the images conjured up by Hosed the long awaited follow-up from Lake Worth Florida’s own COP CITY / CHILL PILLARS. Hosed takes things to its next logical conclusion with even more rhythmic messing about and lots more monotonous chanting. They don’t really sound like any other band, but feel free to make whatever musical comparisons you like. Hint: A-Frames, (Hardcore) Devo, Plastic People of the Universe, Jeff Mills.
LP $13.75
11/20/2012
***"The new San Kazakgascar album didn’t come together in the way it typically might. We had some song skeletons that we had been doing loose improvised versions of with different players in different cities, a couple of older songs we wanted to improve on, and some brand new stuff. In late 2019, things seemed scattered, Kaz-wise, until I discovered that there was a really good drummer living down the street from me. It’s taken me a long time, but I’m finally beginning to learn that sometimes you have to actually wait for the right people and the right time. And then strike! We began recording Emotional Crevasse in January 2020, not knowing how much more of an emotional crevasse we would find ourselves in a few months later. Ninety-five percent of the album was recorded and in the can before covid-lockdown commenced. Anchored by guitarist Jed Brewer, bassist Greg Hain, and new drummer Anthony Occipinti, the album also features contributions from clarinetist Rachel Freund, flute/hulusi- player Linda Michelle Hardy, keyboardist Matthew Kretzman, saxophonist Chris Hall, cellist Colleen T. Kelly, bass clarinetist James Jaroba Barnes, vocalist Christine Shields, and a dash of throat-singing from Arrington de Dionyso. Emotional Crevasse is all over the place. There are the characteristic Kazakgascar quasi-Middle Eastern psych riffs, but also some quiet acoustic bits, and some long tones/drones..." Edition of 100 copies.
LP $22.50
11/13/2020
Why does everybody make such a big to-do about Mordecai’s Montana origins? Hell, it’s a place just like any other, just bigger than most. And it’s not like the (true) story of them recording in a YMCA bathroom really offers a proper “big sky” vibe, although it certainly had a more unique aroma than most studios. But on Neil’s Generator, things really do open up in a way where the juxtaposition between huge space / not so huge amount of people really makes sense. If the previous LP College Rock formed a friendly union between noisy Swell Maps-ian clatter, post-garage Fall prickliness, and the all-American DIY basement joy of Mike Rep / Tommy Jay, Neil’s Generator embodies the same kind of loose, ragged glory perpetrated by the Meat Puppets, Rayne, Dead Moon, and the Velvets staring into a cracked and filthy mirror. The guitars—and make no mistake, this is a guitar record, and a damn fine one indeed!—retain a spiky waywardness, like if Robert Quine had recorded a Rough Trade single. But these songs have more space to breathe, and therefore function as a launching pad for some gleeful six-string abandon. Who knows how many rodeos the Bodish brothers have witnessed, but for sure they understand the risky notion that sometimes you’re in control of a guitar, other times the guitar can get the best of you. If they’re not afraid to take the chance, you shouldn’t be either—so hop on board.
LP $13.00
05/27/2014
MP3 $9.90
05/27/2014
FLAC $11.99
05/27/2014
***A brand new seven-song mini-album from BLANK DOGS. "BlankDogs are actually singular: It's the insanely prolific one-man Brooklyn-based band of Mr. Blank Dog. We don't know too much about the biography of the guy behind the bedroom new-wave pop/punk and he's usually covering his face with masks or bedspreads, but that's fine. The aura of anonymity allows you to focus on the sounds—and, really, he might be releasing a ton of things, but there's definitely a higher jam to crap ratio. It's like Joy Division vocal lines with the Cure's synth and guitar melodies filtered through ancient submerged keyboards and eroded recording equipment. And that voice? All the feedback in the world can't hide his knack for melody."—Stereogum
CD $12.00
12/08/2008
MP3 $0.00
12/08/2008
Since the release of Six Organs of Admittance's selftitled debut in 1998, Ben Chasny has played pure guitar within individual songs, but For Octavio Paz is his first full record to explore the guitar inside and out, solo and over-dubbed, steel and nylon string (in fact, For Octavio Paz is the first Six Organs album to feature the reverberations of a nylon string guitar). What really sets Chasny apart from the other modern Fahey worshipers is that Chasny's pantheon is willing to accept a wider array of other guitarists into the lexicon - Peter Walker or Richard Youngs, for example - not to mention the fact that he can stand the sound of a Stratocaster. This is the definitive guitar record from Six Organs of Admittance. Originally released in a vinyl-only limited edition by Time-Lag at the end of 2003, For Octavio Paz sold out instantaneously. It was decided that the material is just too strong to belong to so few.
CD $12.00
06/01/2004
MP3 $9.90
06/01/2004
It’s astonishing to think that the most recent vinyl full length outing from Glands of External Secretion was the splendiferous Reverse Atheism 2xLP (Butte County Free Music Society, 2011). Not that they’ve been dormant—the BuFMS CDR series and a smattering of 7-inchers and lathes have seen to that. No one’s sitting around the twiddler, waiting for their name to be called. But it must be said: the Glands’ sublime warmth and withering wit really crackle when the tone arm slips the needle down into the grooves on the olde timey record playing machine. Then, just like that, a mysterious huckster lures our heroes to Long Beach, CA in April of 2022, where, it was promised, they could record voices and set down séance tracks in the haunted rooms aboard the Queen Mary. You gotta admit, that’s a pretty good gig. But the would-be higgler’s ruse did not come to pass. The Glands were sold out for a warehouse full of Burns & Schreiber’s Pure B.S.! LPs and the duo found themselves thrust into the Siltbreeze cabal. But fate can also be serendipitous. The label, known for its propensity for bringing meat pies to a cake fight, immediately insisted these recorded tracks get the vinyl treatment. And here we fuckin’ are. If unfamiliar, Glands Of External Secretion are the duo of Barbara Manning (28th Day, World Of Pooh, SF Seals) and S. Glass (Bananafish Magazine, many things BuFMS). Since 1992, they’ve been snatching victory from the jaws of indifference with a...
LP $22.00
11/25/2022
MP3 $9.90
11/25/2022
FLAC $11.99
11/25/2022
***2020 was going to be a colossal year for CLOWNS. The Melbourne, Australian five-piece was locked into worldwide touring to support their 2019 full-length, and FAT debut, Nature/Nurture. The album included 11 blistering songs that veered from frantic punk to slower, more nuanced, and psychedelic-tinged rock. However, before the band could really roll out their epic touring plans, that nettlesome global pandemic hit, and the world was shut down. Luckily, Clowns are not one to rest on their laurels and harnessed their solitude to write music. The pause on being an active band allowed the group to record a batch of new songs, with two standing out as their favorites. “Does It Matter” is a hook-heavy raucous number that demonstrates the prowess of their current lineup, The b-side “Sarah” explores the dizzying highs and soul-destroying lows of love.
7" $7.75
12/03/2021
***On his second album as DAR, Chicago songwriter Aaron Osbourne conjures a strangely triumphant celebration of life and love from beyond the casual boundaries of personal loss. Forging a complex path from grief to healing through self-spun yet ultimately collaborative music, there's some objectively tough stuff here. But the record never wallows in despair, nor asks you —the listener—to join in its trials. It’s a rock record. A really *good* rock record. And even furthermore, against all odds, a distinctively joyous one. In the spirit of K Records’ ramshackle heartbreak and the damaged baritone of Ted Lucas, Osbourne’s own idiosyncratic yowl lights the path from song to song with a fiery combustion of charm and dread. An unlikely landscape of acoustic guitars, toy pianos and digital brass surges into the foreground of normal rock shit to touching effect. Recorded by Jim Marlowe in Louisville at End of an Ear studio with the help of longtime friends and collaborators Jenny Rose & Ryan Davis (Equipment Pointed Ankh, Roadhouse Band) over the course of two years, 'A Slightly Larger Head' is the album that Osbourne deemed "essential to my survival…it was necessary." Savor the ride and keep going.
LP $26.95
02/23/2024
***Recorded at Audio Video Studios - New York, NY 1956 by Alfred Lion and Rudy Van Gelder. It would be difficult to overstate the importance of the Jones brothers Thad, Hank and Elvin on the world of jazz. Between the three of them, their performances can be heard on literally thousands of recordings, including some of the most legendary sessions ever recorded with some of the greatest artists. Post-War Detroit was really taking notes on the new sounds of jazz coming into favor and the group of former Detroiters included on this album include some of its most virtuosic students. Thad Jones, (although he was technically from nearby Pontiac, MI) on trumpet, Kenny Burrell on guitar, Tommy Flanagan on piano and Billy Mitchell on saxophone. Jones’ first for Blue Note from 1956 stands as a fantastic sounding announcement that the Detroiters had landed in New York and were about to take off. Including legendary players Shadow Wilson on Drums and Oscar Pettiford on Bass; Detroit - New York Junction, a long sought after rarity and a true testament to the importance of Detroit on the evolution of jazz music through Blue Note Records.
LP $38.95
08/04/2023
You ever have one of those nights where you're just picking your butt at the bar and from the next room a noise bleeds out where you go "what in the sam hell is that?" Well, that's how I first heard Vangas. Kids, I tell ya. Kids! Young'ns! 21 year old kids from the North Atlanta burbs. What they do is really bleak. Really odd. Really fresh. I was super excited to work with them and this is the first vinyl release they've made. I'm almost at a loss for who to compare them to, but just know they're very compelling. And yes, a follow up single is already being worked on.
MP3 $1.98
01/03/2020
FLAC $2.49
01/03/2020
***CHECK STOCK!!! Received a 7.6 rating from Pitchfork. At first glance, 3 seems like a perfectly fitting title for a new Nots album. After all, it is the Memphis band’s third full-length and their first as a trio. Makes sense. But peeling back the layers reveals the spirit of the record: “Once we really leaned into the space that being a three-piece afforded us, our writing started to make better sense and connect,” explains guitarist-keyboardist-vocalist Natalie Hoffmann. “It made for a more interesting record than if we stayed comfortable and safe in the way we were writing.” “More interesting” is a classic hard undersell. When Alexandra Eastburn left Nots in 2018, the threat of losing the gnarled texture or her hammering synth progressions resulted in some real growing pains for the band. But once the threesome arrived in Memphis to record with trusted engineer and friend Andrew McCalla, each member had embraced this fresh identity. Rather than abandon the noisy synth attack, Hoffmann instead decided to add another role to her expanding sonic arsenal, painting the backgrounds of tracks with melting buzzes and swirling waves. After the record began to take form, it felt much more accurate to understand 3 as a different force altogether from its Goner predecessors, Cosmetic (2016) and We Are Nots (2014). Themes of lost control and societal division are spread throughout the album. They can be heard not only via Hoffmann’s reverb-drenched drawl, but also in the sneaky tightness between drummer Charlotte...
LP $16.00
06/07/2019
CD $12.00
05/10/2019
MP3 $8.99
05/10/2019
FLAC $9.90
05/10/2019
***“That's right, yet another crucial Australian single, from the blackend depths of minimal synth hysteria, and offering up the perfect chaser to the Nun LP. Rooted in an electronic nightmare set to overlapping Throbbing Gristle compositions, REPAIRS emerged with a cassette-only release on the upstart Captured Tracks label, which quickly slipped through the cracks back in 2009, but it was the debut 7" on Nihilistic Orbs in 2011 that really knocked us back into their corner. It all starts with that nervous little throb that evolves into a poisonously aromatic nightbloom, drowning in an inescapable whisper, as each song emerges and hovers over you. A deeply electronic sadistic minimalist sound, that's as primitive as it is demonic, both of these new tracks bleed out of the speakers in slow motion, gripping your world in a vice, bending shadows back and forth until the madness creeps in. The pulsations continue long after the music stops, keeping REPAIRS in the dark, torturous corners of your mind, and carving out another essential release from the Melbourne underground.”—Victim Of Time. First pressing of 375 copies.
7" $6.00
05/12/2015
MP3 $1.98
03/10/2015
FLAC $2.99
03/10/2015
***“Even after the disaster that was ‘Shortcut to Memphis,’ THE GOLDEN BOYS are still a stunning example of rock'n'roll from the heart. Separate The Golden Boys and you get 5 destructive tornadoes of law defying drunkenness and self loathing (especially Schmitz) bring them together, and they form a sub-par action squad of stumble-drunk sweethearts who even at their worst...are the best band in the world. We really, really hate them for that. Formed in 2000 in between BRYAN SCHMITZ's (bass) MATT HOOPENGARDNER’s (guitar, vocals) and JOHN WESELY COLEMAN’s (guitar, vocals) stints in jail and on drugs, the boys have formed something tangible through 5 LP’s worth of material. Through the addition of drum beater PAT TRAVIS and total asshole NAY NAY ARBIETMAN (keyboards) the band has cultivated a truly Texan sound. Their songs are Texan in their drunken reverie and Texan in their tender heartache. Despite Pat being the 2nd drummer, Nay Nay being kicked out 3 times, and Matt breaking up the band about a dozen times, they've managed to pull it together for a couple of disastrous, yet well received U.S tours. They even got a European tour under their sweaty belts. Well done, Boys. All in all, The Golden Boys are a fun group of grouchy sweethearts that will come to your house, charm your girl, drink all your booze, then dip out of there. Yeah, they're fun to drink with.”—Spot Long and JJ Ruiz, Trailer Space, Austin, TX. (STREET DATE - 3/20/2012)
LP $14.50
03/20/2012
***The second album (first for Dirtnap) of sexy, sleazy, reverb'd out slime from GUANTANAMO BAYWATCH. Guantanamo Baywatch was started by JASON POWELL and CHEVELLE WISEMAN in Portland about 4 years ago to an immediately enthusiastic reception, released a very well received and now out-of-print LP on Portland's awesome Hovercraft Records, as well as a couple of EP's/tapes. The band really came into it's own, though, in late 2010, with the addition of CHRIS MICHAEL (also in BOOM!) on drums. Technically they joined the Dirtnap roster in June 2011, but they took their time recording their debut for the label, done mostly at home by the band themselves. Chest Crawl sees the band working more vocal numbers into the mix, incorporating the usual surf/garage suspects (Cramps, Trashmen), more obscure ‘50s rock n' roll/RNB wildmen, as well as slightly heavier nods toward the young-oldies sound being popularized today by bands such as Hunx, Shannon And The Clams, Nobunny, etc. Wildly popular in Portland, and not afraid to tour, Guantanamo Baywatch are gonna be all over the place in 2012, starting with a two week tour with frequent bill-mates The Mean Jeans in March, followed by a solid summer of touring following the release of Chest Crawl.
LP $16.00
05/22/2012
CD $12.00
05/22/2012
MP3 $9.90
05/22/2012
***After a six-year absence, The Dead Space returns with Chlorine Sleep. Recorded days before their breakup in 2015, this album marks a turning point, both the trio of Quin Galavis, Garrett Haden and Jenny Arthur, as well as for their collective scene in Austin, Texas. The Dead Space never quite fit in since forming in 2008, and never really cared to. The trio quietly managed to craft their own brand of tightly wound art rock, equal parts bleak and brooding, presented in stark tones. Whether their allergy to artifice was a roadblock, in keeping with their character or some combination of both, it's hard to say. Either way, the band was very much on the outside looking in prior to the release of their well-received first album, 2014's Faker. And when it finally seemed they could reach a broader audience, they did what any good band should do—they broke up. Slightly before that, however, the band returned to Ian Rundell’s Second Hand Tacos studio to record Chlorine Sleep. The record carries their history forward with arduous blasts of force, contrasting with lean efficiency, exposing a sense of fragility and vulnerability atypical of their prior works. With guitarist Garrett Hadden’s return to Texas after an extended spell in Seattle, the group are readying a return to the stage later this year and next with a renewed vision and sense of purpose. The Dead Space’s ferocious second album expands on previous themes while forging a new path all their own....
LP $19.85
05/28/2021