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Bad Cop/Bad Cop [Not Sorry]

June 16 street date. Not Sorry is the much anticipated first full-length album from all female super-group BAD COP/BAD COP. Aptly titled, Not Sorry brazenly blasts out some of the most vibrant pop-punk around today. Laden with catchy hooks, three part harmonies that’d make The Beach Boys jealous, and tons of attitude, all 13 tracks showcase BAD COP/BAD COP’s uncanny ability to blend aggressive instrumentation with polished vocals. A quick glance at the band’s collective resume (Compton SF, The Radio Sweetheart, The D’Maggs, The City, Angry Amputees, and Cunt Sparrer) will disabuse any doubters of the notion that BC/BC can’t hang with the boys. From front to back Not Sorry absolutely brings the rock. Tracks like “Old Dogs”, “Nightmare”, and “Support” display the band’s hard-playing style and strong sense of melody. One listen to Not Sorry and you’ll know why BAD COP/BAD COP have generated so much buzz in such a short time.
Brian Jonestown Massacre [Musique de film Imagine]

Please note new street date May 12. Available on 180 grm pink coloured vinyl LP. Musique de film imagine is a soundtrack that pays homage to the great European film directors of the late 50’s and 60’s, such as François Truffaut & Jean-Luc Godard (to name but two), created by Anton Newcombe on behalf of the Brian Jonestown Massacre for an imaginary French film. Guests on this daring symphonic experience are French chanteuse and multi-instrumentalist SoKo and Italian actress, singer and director Asia Argento. SoKo is signed to Because Music and her track ‘We Might Be Dead by Tomorrow’ was featured in the viral video ‘First Kiss’, which has garnered over 63 million views and debuted at number 9 in the Billboard Hot 100 last year. Asia Argento, who has starred in music videos for Marilyn Manson, Placebo and Tim Burgess, recently wrote the storyline for ASAP Rocky’s music video and short film ‘Phoenix’, which has had over 5.5 million hits. Both vocal performances are in French. Anton Newcombe recorded Musique de film imaginé in Berlin in August 2014, after a successful European tour for the Brian Jonestown Massacre.
Cronin, Mikal [MCIII]

May 5 street date. (well..May 4th) On May 4, Mikal Cronin will return with MCIII. Marked by the lush arrangements, stunning melodies, and deeply personal lyrical work for which Cronin is now known, the album is also a deliberate attempt to simply “go big.” As he did on his self-titled 2011 debut and 2013’s MCII, Cronin arranged and played nearly all of the record himself, including the tzouras, a traditional Greek string instrument he heard and subsequently bought while on tour in Athens. There’s French horn, saxophone, and trumpet. There are mood-altering crescendos and heartbreaking turns-of-phrase, guitars both gorgeous and pugnacious. No longer satisfied with the sound of “just one string player,” Cronin arranged parts for a full string quartet instead. “It’s a continuation of what I’ve been trying to do up until now, but I’m finding a better way to do it,” he says. “I’m finding a more successful way of working those unexpected elements and textures and instruments into a rock record, of exploring that wormhole and mushing everything together harmoniously. I like riding the line between the two,” he adds. “I like finding new ways to bring different musical worlds together.” (LP in Gatefold jacket - Includes download)
Czarface [Every Hero Needs a Villain (2LP/clear vinyl)]

June 16 street date. CZARFACE - Wu-Tang founding MC Inspectah Deck and veteran Boston duo 7L & Esoteric - isn’t concerned with the glitz and the B.S. that modern consumer culture is pushing. And neither are the group’s fans. In 2013, the trio appeared relatively unassumingly with their self-titled debut, which was chiefly produced by DJ 7L and included guests ranging from Ghostface Killah and Cappadonna to Vinnie Paz, Action Bronson and Roc Marciano. The soon-to-be acclaimed group found out quickly that there was a groundswell of hip-hop fanatics thirsting for the lunchpail, lyrics-above-all-else rap they fell in love with in the ‘90s. Several pressings of the album on CD, 2-LP and even cassette later, they are back and ready to up the ante. This time around the group is the same, but it’s fair to say that all three men have stepped up their game. "We knew how we felt about the last album, but weren’t sure how it would be received by listeners," explains MC Esoteric. "But people really responded to it, even more than we had hoped. That gave us the confidence to really spread our wings and let loose on this one. The chemistry is even tighter this time around. We know exactly what lanes we are cruising in and what weight class we are fighting in for Round 2." Inspectah Deck adds, "Czarface is like the Danger Room for the X-Men, I can use all my weapons on there. When I’m in Wu-Tang, I have to come a certain way because we have a certain style of fan, when I’m here doing the Czarface projects, it allows me to actually be an MC, it allows me to actually just spit...I love that. I love when i can just spit freely and just be an MC." On the production side, 7L shows yet again - as he did with the group’s debut - that he remains a formidable yet underappreciated musical force, constantly providing hard, funky and alternatingly ominous backdrops for the assembled MCs to use as lyrical luge paths. If that wasn’t enough, the double LP is pressed on clear vinyl and comes packaged with "Death & Abduction," a comic written by Esoteric, and has an explosive, comic-book-inspired cover by L’amour Supreme (Mishka NYC).
Czarface [Every Hero Needs a Villain]

June 16 street date. Sophomore release from the acclaimed trio of INSPECTAH DECK (WU-TANG CLAN) and 7L & ESOTERIC. Features MF DOOM, GZA, METHOD MAN, LARGE PROFESSOR, JUJU of THE BEATNUTS, RA THE RUGGED MAN, & MEYHEM LAUREN. If that wasn’t enough, it’s all iced with a ridiculously intricate and beefy 70-plus page, hardcover CD casebook with lyrics and extensive artwork by Gilberto Aguirre Mata (El Ultimo Codice) and L’amour Supreme, and with "Death & Abduction," a comic written by Esoteric; and an explosive, comic-book-inspired cover by L’amour Supreme (Mishka NYC).
Desaparecidos [Payola]

June 23 street date. More than a decade after putting out their first album, Desaparecidos return with a follow-up that breathes new life into their brutal fusion of protest music and punk. Though the band never truly parted ways, vocalist/guitarist Conor Oberst, guitarist Denver Dalley, keyboardist Ian McElroy, bassist/vocalist Landon Hedges, and drummer Matt Baum have spent much of the past 13 years pursuing other ambitions (including Oberst’s work as a solo artist and Bright Eyes frontman). Fueling their Epitaph Records debut Payola with the same spirit of unrest that propelled 2002’s Read Music/Speak Spanish, Desaparecidos now match that passion with a fuller, more furious sound and gut-punching commentary on everything from immigration reform and the healthcare debate to gun control and Wall Street bailouts. With its title capturing what McElroy calls “these endless examples of what’s wrong with the whole money culture happening in America today,” Payola was co-produced by the band and their longtime collaborator Mike Mogis (First Aid Kit, The Faint, Man Man). Recorded in several bursts over the past few years at ARC Studios in Omaha, the album’s 14 tracks pack a barrage of outcry and insight into each sharply crafted lyric while storming forward with a ferocious energy. And in their implausibly melodic blend of blistering riffs, lead-heavy rhythms, and savage vocal work, Desaparecidos reveal a bottled-up intensity that suggests a band whose chemistry’s stronger than ever before. “It wasn’t like we were trying to recapture some former glory,” says Oberst of Desaparecidos’ long-planned reunion in the studio. “It was like we had to do this, and we had to do it now.”
Fu Manchu [Kept Between Trees (re-issue of first EP)]

May 19 street date. Reissue of the first 3 song 7" + 1 unreleased from 1990. These were songs that were a transformation from their hardcore/punk band - Virulence, that started in 1985. “we were listening to a lot of Melvins , laughing hyenas, TAD, GORE, Swans early White Zombie” - Scott Hill. The song "blowtorch" was recorded at that same 1990 session but never released. ….Extra track featured on download card " flashin' " was recorded as a demo a few months after the self titled recording in 1990...and is also unreleased.
Gypsophilia [Night Swimming (180g)]

May 19 street date. Halifax-based Gypsophilia is a group of seven performers playing original high-energy jazz which is by turns angular, sweet, nostalgic, modern and raucous. In recent years Gypsophilia has become a formidable touring outfit, regularly crisscrossing the continent and playing to sold-out crowds all over Canada and the US. Their killer live shows and danceable, genre-bending sound have made them an audience favourite at major festivals and small clubs alike. With a combination of serious musicianship, humour and showmanship they are capable of enchanting a sit-down crowd one moment, and whipping people into a dancing, clapping, singing frenzy the next. 2015 sees the release of Night Swimming, their fourth full-length album. Joel Plaskett’s New Scotland Yard Studio in Dartmouth, NS provided the setting, and Toronto-based producer Joshua Van Tassel (David Myles, Great Lake Swimmers, Amelia Curran) provided the direction, departing from the purely live approach of their previous discs. The result is a hauntingly beautiful 9-song masterpiece that showcases a darker, cinematic side of Gypsophilia alongside their signature ebullient swinging sound. The four-time ECMA-winning band features Gina Burgess on violin; Nick Wilkinson on guitar; Sageev Oore on piano, accordion and keys; Alec Frith and Ross Burns on guitar and percussion; Matt Myer on trumpet and organ; Adam Fine on double bass. Members of Gypsophilia have performed with the likes of Symphony Nova Scotia, improvising orchestra the Woodchoppers Association, Kanye West and more.
Large Professor [Re:Living]

June 9 street date. Having produced one third of Nas’ generation-defining Illmatic, Large Professor’s place on the pantheon of hip-hop heavyweights is already etched in stone. When you add in his groundbreaking debut as a member of Main Source -- or the fact that he has collaborated with luminaries like Pete Rock, A Tribe Called Called Quest, Busta Rhymes, Mobb Deep, Masta Ace, and Big Daddy Kane -- it’s crystal clear that the man’s influence towers high above the history of the hip hop. With Fat Beats Records’ release of Re:Living on June 9, 2015, Large Professor builds on his already impressive discography with an entirely self-produced record that delivers all the crisp drums, razor-sharp scratches, and innovative uprock grooves that define his signature sound. "I’m moving forward," Large says, "But I went back to an earlier formula. With this project I feel like it’s the closest that I take it back to that Main Source style". Featuring Roc Marciano, Inspectah Deck, Cormega, G-Wiz, Fortune, and Lord Jamar, Re:Living shines a spotlight on New York’s best voices from the golden era to today. But above all, Large Professor lets his production do the talking -- and with a legacy like his, beats speak louder than words.
McCaughan, Mac [Non-Believers]

May 5 street date. (well..May 4th) On May 4, Superchunk frontman Mac McCaughan will release Non-Believers, his first solo album under his own name. McCaughan wanted to use the album to explore his attraction to that early-’80s era of music when punk evolved into something more introspective, focusing on themes of isolation and eventually turning into post-punk and new wave. As he puts it, he was thinking about a time when bands were “using keyboards and drum machines to relate through their music a disaffection or alienation” from society, school, whatever. The record is about a fascination with art that could only be made by someone far from where you are, but who maybe shares the frustrations and awkwardness of youth. It’s about “the irony that comes with being 16 and having a car but not knowing where to go in it, or having a keyboard or a guitar and not knowing how to play it.” McCaughan’s songwriting isn’t limited to sheer nostalgia; it’s also about the more relatable theme of the point when people who grow up feeling isolated have to choose if and when they are going to join the mainstream, and about the emotional journey tied to weighing those options. “What appeals to me is songs that deal with the messiness and ambiguity that come with any transitional period,” says McCaughan. Given that McCaughan comes from the indie and punk rock worlds, he’s always shied away from the perceived hubris of putting out a record under his own name. “There’s something about it that’s way too ‘look at me,’” the singer and songwriter admits. However, given the fact that Non-Believers explores a very personal set of influences, putting out an album as simply Mac McCaughan for the first time just makes sense.
Milk Carton Kids [Monterey]

May 19 street date. Monterey is The Milk Carton Kids’ third album and the follow-up to their 2013 breakthrough The Ash & Clay. The two years since have been significant ones for the band, with recognition including a GRAMMY® nomination for Best Folk Album and winning Group of the Year at the 2014 Americana Music Awards. Their standout performances and interviews in the Coen Brothers’ and T Bone Burnett’s concert documentary “Another Day/Another Time” brought the duo its widest audience yet, and their 55-city North American tour last Spring sold out months in advance. This time around, Kenneth Pattengale and Joey Ryan wrote and recorded Monterey not in studios but on stages - those concert halls, churches, and theaters across North America that have always coaxed the band’s most uninhibited expressions. Their methodology in making Monterey allowed The Milk Carton Kids, finally, to perform for the record with the same fearlessness and spontaneity usually only achieved in live concert. As writers, the two have merged so singularly that friends and family can no longer tell who has written which song. As singers on Monterey, their acclaimed harmonies move farther apart, so that the quirks and kinks of two individual identities emerge, all the while remaining lush and soaring, their beauty even more apparent for the showing of their scars. Thematically, Monterey takes us on a road trip across a dream - perhaps a nightmare - through an America of blood and fire that is at once recognizably the land of our forefathers, and the product of our own making.
O'Rourke, Jim [Simple Songs]

May 19 street date. There ARE no simple songs — only simple people. And since guns don't kill people, Simple Songs will have to do. 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? 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. It’s hard to believe it has been nearly fourteen years since Insignificance. When that album hit in late 2001, we heard once or twice how it was too bad that it wasn’t Eureka Part 2. Sissies! Then in 2009, when The Visitor returned Jim to the orchestrated instrumental feel of Bad Timing, people wondered when we’d have another album like Insignificance! Grrrr....now, has the world caught up with Jim? Maybe — but only because he let us. 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! Simple Songs was worked over, from source material to finished mix, for five years or more now. Jim’s writing is kinda rooted in the approach of Insignificance — frosted pop tarts that leave a darkly bitter aftertaste. So bilious not even Jim can listen to it all the way through! Fine, it’s not for him to listen to anymore — WE can’t stop from listening. It’s like a beautiful car wreck we can’t look away from or stop feeling AMAZING about. Super fun stuff. Let Simple Songs seep into your brain, as a musical expression and a statement of animal motherhood. It may help you get your bearings in a world gone hopeless. Most of all though, don’t hate this or he’ll go away again for another decade! Jim’s got just what the world needs now — but who needs you?
Planet Of the Abts [All Things the Valley]

June 2 street date. Emerging from the Grammy nominated rock band Gov’t Mule, POA (Planet of the Abts) consists of the locked and loaded rhythm section of drummer Matt Abts, killer bassist Jorgen Carlsson, and is fused with the incredible talents of Swedish guitarist and lead singer T-Bone Anderson. POA was born in 2011 and fuses rock, blues and at times pop. The members Abts, Carlsson and Anderson combine over three decades of writing recording and touring experience. Coming from different sides of the rock world and different sides of the globe, (Anderson and Carlsson are from Sweden, while Abts was a US Army kid born in Panama), they found common ground in Los Angeles, CA where they create and play whenever they get a break from Gov’t Mule’s ongoing tour schedule. While recording and wanting the best of all worlds and being powerful composers, producers and arrangers in their own right, the band also added British audio engineer Steve Holroyd to the team. All Things the Valley features many collaborations; Gov’t Mule Front Man, Warren Haynes appears on slide guitar in “Friend Looked Rather Sad,” Danny Louis (keyboardist, horn player from Gov’t Mule) wrote, arranged and performed the horn section on “Planet Pt. 3,” Marc Quinones (Allman Brothers) joined in with some percussion and string players from the Los Angeles Philharmonic added some fine lush layering. All songs are POAoriginals that were recorded and mixed at Rogers Boat Studio in LA. Rainbo Records is pressing 180 gram double gatefold vinyl, handling CD production and graphic touch up. Every element of this album is collaborative, from writing and recording to gear and photography, everyone, including family and fans have a special part of this album. POA’s upcoming 2015 All Things the Valley Tour will include both East Coast, West Coast, the Pacific NW, and Vancouver, Canada during the summer months and in the fall they will be making their annual Poland trek across the pond and hitting some Asian markets as well.
Refused [Freedom (LP + download card)]

June 30 street date. Refused came to an end in front of 50 kids at a basement show in a Virginia college town in 1998, just as their release of the same year, The Shape of Punk to Come, was taking its first steps toward becoming an acknowledged classic and a massive influence on a generation of bands. Refused Are Fucking Dead! became the slogan, as kids discovered Shape and its breakout track “New Noise” only to find their new heroes disbanded. Refused Are Fucking Alive! After a 2012 invitation to reform for the Coachella festival, Refused followed its first shows in 15 years with a triumphant tour, as every kid who had discovered them after death came out to see them reborn. Now comes Freedom, the first album in almost 20 years, on Epitaph, the label that released The Shape of Punk to Come all those years ago. Freedom explodes out of the speakers with opening track “Elektra,” as frontman Dennis Lyxzen’s throat-shredding declaration that “nothing has changed” catapults Refused into the 21st century. If Shape blasted apart the constraints of the punk and hardcore worlds with which Refused had long been associated, Freedom goes a step further by incorporating the wide-ranging influences that have shaped each band members’ personal tastes. Produced by Nick Launay (Gang Of Four, Public Image Ltd., Nick Cave, Arcade Fire) with additional work by fellow Swede and longtime Refused fan Shellback, Freedom is not just a follow-up to Shape, but a living breathing snapshot of a band, alive, now. “It’s not a reunion anymore,” Lyxzen insists. “This is one of the most radical things we’ve ever done, both musically and lyrically.” (LP version contains download card)
Russell, Arthur [Corn]

June 23 street date. It has been seven years since Audika last issued an album of Arthur Russell material. The wait ends this summer with Corn, nine tracks Russell recorded in 1982 and 1983. In collaboration with Russell’s partner Tom Lee, Audika’s Steve Knutson compiled Corn from Arthur’s original, completed 1/4” tape masters. Russell himself compiled this material on three separate test pressings—labeled El Dinosaur, Indian Ocean, and Untitled, respectively— in 1985. Russell fans know something of the Corn sound from Audika’s debut release, Calling Out of Context (2004), which included four songs from these sessions: “The Deer In The Forest Part 1,” “The Platform on the Ocean,” “Calling Out Of Context,” and “I Like You!” This new collection includes rhythmic alternate versions of “Lucky Cloud,” “Keeping Up,” “See My Brother, He’s Jumping Out (Let’s Go Swimming #2),” “This Is How We Walk on the Moon,” and “Hiding Your Present From You,” along with “Corn,” “Corn (Continued),” “They and Their Friends,” and the closing instrumental “Ocean Movie,” one of the most beautiful and curious Russell tracks ever to see the light of day. With Corn, Audika reveals yet another side of Russell’s staggeringly diverse artistry, following the avant-electrodisco of Calling Out Of Context, and its companion EP, Springfield; the orchestral works “Instrumentals” and Tower Of Meaning,” compiled and released as First Thought Best Thought; the “Buddhist Bubble Gum Pop” collected on Love Is Overtaking Me; and Russell’s definitive solo masterpiece, World Of Echo.
Slum Village [Yes]

June 16 street date. "Yes", the highly anticipated album from Slum Village is ready to hit your ears. The new album features beats produced by Jay Dee aka J Dilla along with production from Young RJ who together produced one of Slum Village’s finest moments ever in the form of Fantastic Vol. 2. "Yes" features performances by original Slum Village members T3 and Baatin in addition to the aforementioned J Dilla. There are also features from Bilal, Jon Connor, BJ The Chicago Kid, Phife Dawg, J Ivy, De La Soul and Illa J. Fresh off US tour dates with Pete Rock, Slum Village will be back on the road to support "Yes" with dates throughout the US and Canada. Slum Village will be servicing official videos from Yes to key media outlets and Matt Conaway (MacMedia Promotion) is on board for a complete publicity push. Slum Village is crucial part of J Dilla’s legacy and Yes, they’re back with more.
soundtrack [Ex Machina (2LP) Geoff Barrow & Ben Salisbury score]

May 19 street date. Ben Salisbury & Geoff Barrow (Portishead) join forces for a second time since their creation of DROKK, their unused score for 2012 motion picture DREDD, to create the dark, synth heavy score for EX MACHINA. EX MACHINA is the directorial debut of Alex Garland, the man behind 28 DAYS LATER and SUNSHINE. It stars a trio of rising stars - Oscar Isaac, Domhnall Gleeson, and Alicia Vikander, who portrays a robot built to test the boundaries between humans and machines. The film having been released earleie this year in the UK and the rest of Europe with a release date this month in the U.S has enjoyed rave reviews including Sight & Sound naming it their ‘Film Of The Week’ and the Guardian describing it as a “dazzlingly good-looking technological thriller”. Speaking to Gigwise Geoff Barrow said, "It's been great for Ben and I to be working with Alex again, and hopefully we have written the kind of score an intense sci-fi thriller like this needs" with Salisbury adding "we wanted to slightly get away from the type of soundtrack album that has a huge track-list with lots of short cues. Instead, we've tried to put together an album of fuller length tracks, by segueing some of our cues and creating a structure and shape that mirrors the film in some way.” The EX MACHINA ORIGINAL MOTION PICTURE SOUNDTRACK will be released as a double CD and double vinyl which includes the 10 tracks included in the film and additional CD/LP of bonus material and cues .
Staples, Mavis [Your Good Fortune]

June 2 street date. 1000 LIMITED EDITION COLLECTOR’S 10” on 180 GRAM VINYL! In conjunction with the new career documentary film Mavis! which premieres at SXSW Film this spring, ANTI- is pleased to announce a unique collaboration between two generations of ANTI- artists. For the recording of the EP Your Good Fortune, gospel and soul legend Mavis Staples went into the studio with new ANTI- singer-songwriter-producer Son Little, recording two new Son Little original songs, and two vivid reworkings of Staple Singers classics. To hear Mavis’ clarion voice bedded in Son Little’s ancient/modern swirl of swamp guitar and b-boy programming is to discover the knife edge of Mavis Staples’ art. Mavis Staples won a Grammy for 2010’s You Are Not Alone, and is receiving the most intense attention of her storied career, from her takeover of the Newport Folk Festival to her appearance with Elton John and Mumford and Sons at the 2013 Grammys. 2015 is the year of Mavis, with her documentary, EP, and production of her father’s last testament Don’t Lose This all keeping her firmly in the public eye.
Stelling, Christopher Paul [Labor Against Waste]

June 16 street date. LP version includes download. There is a fearless quality to the music of new ANTI- signing Christopher Paul Stelling. A voice that sounds both old and young, an effortless yet intricate finger-picking guitar style, and lyrics that are dramatic and intensely confessional. It’s a sound that channels the restless spirit of a young man who left home to travel the country, writing haunting and impassioned songs formed by endless nights alone on stage with a guitar, playing to packed houses, other times to nearly empty rooms. Stelling estimates that he’s played over four hundred shows in just the past three years. It places him within a longstanding tradition that serves to build both character and vision. Labor Against Waste features Stelling’s astonishing guitar work, a melodic finger-picking style influenced in large part by blues legends such as Skip James and Mississippi John, masters like John Fahey, and banjo greats Dock Boggs and Roscoe Holcomb. On top of this soars Stelling’s voice, a resonant baritone that calls to mind classic troubadours from Tim Hardin to Steve Earle. Accompanied by an ensemble of stomps, claps, french horn, flugelhorn, kettle drums, string quartet, and a chorus comprised of members from the Low Anthem, in whose studio Stelling recorded the album, Labor Against Waste is the opening statement in what should be a long and storied career. For fans of Steve Earle, Sufjan Stevens, Nick Drake, Tallest Man on Earth, Bruce Springsteen, John Martyn, Glen Hansard, and the timeless troubadour tradition. “What a real self contained, modern day troubadour looks and sounds like. A voice to be reckoned with in the years to come.” - American Songwriter
Thee Oh Sees [Mutilator Defeated At Last]

May 26 street date. Here we have a new batch from Thee Oh Sees for your absorption— nine muscular tunes primed to pummel. Last year’s Drop was more schizophrenic, ranging from heavy to whimsical and back; Mutilator Defeated at Last has more in common with the monolithic hugeness of Floating Coffin. With only two brief reprieves from its onslaught, this record is made to be played loudly and demands bodily sacrifice. Despite the plutonium heavy feel, Thee Oh Sees continue to be omnivorous. Synths and acoustic guitars wind throughout the album like veins of gold through granite. Any and all that stands in its way will be devoured and assimilated. This is the sound of a band doing what they do best.
V/A [Nick Cave Heard Them Here First]

May 5 street date. Nick Cave- one of the most compelling, uncompromising and influential singer-songwriters of the last 30 years - has never concealed his influences. This edition in our occasional "Heard Them Here First" series offers a view of his career, as seen through the original versions of songs he chose to cover. As Cave’s followers might expect, the CD features music of all genres and eras, from the first-ever recording of Bertolt Brecht and Kurt Weill’s ‘Moritat’ (better known as ‘Mack The Knife’) from 1928, via country numbers by Lefty Frizzell and Cave hero Johnny Cash to gospel by the Pilgrim Travelers and pop from Pulp and Miss Toni Fisher. Other featured artists include Bob Dylan, Leonard Cohen, Nina Simone and the Sensational Alex Harvey Band, all of whom were very influential on Cave’s work. Compiled by Mick Patrick and Cave biographer Ian Johnston, who also wrote the notes.
Wire [Wire (2015)]

New street date for LP is May 26 / April 28 street date for CD. Their 13th studio album - simply titled Wire – comprises material that was written with the album in mind, but toured extensively first, as well as songs that Newman introduced to the group in the studio just prior to recording. The idea was to get the most spontaneous reaction possible from the musicians, and far from the rough and ready results one might expect from such a tack, Wire is full of swooning pop melodies with a 60s tinge and an irresistible, near motorik rhythmic momentum. One can recognise certain melodic inflections, guitar and bass motifs, and drum rhythms from Wire’s idiosyncratic vocabulary but it has a remarkable freshness. The basic tracks were recorded at Rockfield Studios with overdubs added at Brighton Electric. The 11 tracks selected for release were the ones that came together most naturally. From the outset Wire was an alliance between four very different characters and continues today with the addition, in 2012, of It Hugs Back guitarist Matthew Simms, who is around thirty years younger than the other group members. “With Matt there was a really new dynamic that had appeared in the group’s sound and that was something we wanted to capture, utilise and be creative with,” says Lewis. Wire is the first album where Simms has been involved in formulating the material from the ground up, but when the group’s particular chemistry starts working he is now very much part of the process.. “The point where our personal narratives meet is all about change - moving on and keeping it interesting for ourselves,” says Newman. “We’re in it for the long haul and this is a one-way trip.”

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MILK CARTON KIDS "MONTEREY" - EXCLAIM! Review score: 8/10
(Anti 87408 LP or CD)
http://exclaim.ca/Music/article/milk_carton_kids-monterey


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