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Big Black [Atomizer (2015 remaster)]

September 25 street date. Big Black was started by Steve Albini in 1982 while he was attending Northwestern University in Evanston, Illinois. Lungs, the first Big Black release was recorded by Steve on a borrowed 4-track. He played everything on the EP himself - except the sax bleating courtesy of pal John Bohnen and the drums courtesy of Roland. Soon after, Steve recruited Jeff Pezzati (Naked Raygun) on bass, and Santiago Durango (also Naked Raygun) joined them on guitar. In 1983, together with live drummer Pat Byrne, they recorded the Bulldozer EP. By 1984, the band had done some touring and recorded the Racer X EP and the start of the Il Duce 7”. After that, Jeff returned to Naked Raygun and was replaced by Dave Riley. In 1985, Big Black recorded their first full-length, Atomizer, as well as finishing the Il Duce 7”. Atomizer was released in 1986 along with the release of the Hammer Party compilation CD. In 1987, the Headache EP and Heartbeat 7” were released. That same year, the band recorded and released the 7” of The Model/He’s A Whore as well as their second full-length album, Songs About Fucking. They toured extensively (for Big Black). And they broke up.
Bikini Kill [Revolution Girl Style Now (re-issue of 1991 cass)]

September 22 street date. Bikini Kill Records is excited to announce the reissue of Revolution Girl Style Now on LP/CD/digital for the first time. Our reissue features three previously unreleased and mostly unheard tracks: Ocean Song, Just Once, and Playground. These songs feature a decidedly more grunge sound than the rest of the Bikini Kill catalog. The Revolution Girl Style Now demo tape was originally self released in May of 1991. The demo was recorded by Pat Maley at the ABC House in Olympia, WA earlier that year. Bikini Kill played one of their first shows at the house the night before and left their equipment set up to record the demo the next day. The songs were mixed by Guy Picciotto (Fugazi) and mastered by John Golden for this reissue.
Bottle Rockets [South Broadway Athletic Club]

October 2 street date. The Bottle Rockets’ brand of populist, Midwestern, brawny rock ‘n’ roll is a sound so effortless, it’s easy to take their craft for granted; a sound so universal, yet unmistakably THE BOTTLE ROCKETS. They’ve crushed rowdy Friday night crowds, convinced sitting audiences to get on their feet, and pulled weary festival onlookers across muddy fields to the front of the stage. With their 12th album, South Broadway Athletic Club, the quartet gives a master class in capturing the beauty of everyday life, and painting a portrait of ongoing hope. South Broadway Athletic Club is an album full of new experiences for the band. Although they again worked with longtime producer Eric “Roscoe” Ambel (of Joan Jett & the Blackhearts, The Del-Lords, The Yayhoos) it was the first time the group recorded a full album in their hometown of St. Louis, Missouri. Working at Sawhorse Studios, it was also the first time they scheduled sessions in batches over several months, allowing the songs - and the whole album - to fully breathe and unfold. Throughout their entire career, The Bottle Rockets have managed to stay true to the rabid music heads as well as casual dial-turning everybodies. After 20+ years, they’ve come out on the other side stronger and more energized than ever before, proactively writing their own creative arc. Against the odds, the Bottle Rockets are a true American success story. Consequently, South Broadway Athletic Club is an album as relevant as their formative early work; political by not being political, re-affirming our greatest aspirations by focusing on the tiniest of truths.
Brian Jonestown Massacre [Thank God For Mental Illness]

September 4 street date. Available on 180 grm yellow coloured vinyl with download code for Sounds Of Confusion . This the first time this title has been available on vinyl . At the risk of further labouring a rather obvious point, with Thank God for Mental Illness, their third collection of absolutely stunning music in 1996, the Brian Jonestown Massacre parallels the prolific and effortless brilliance of the Rolling Stones at their fevered late-1960s peak; the sheer scope of their achievements is stunning — rarely are bands quite so productive, or quite so consistently amazing. Thank God is the BJM's down-and-dirty country-blues outing, all 12-odd tracks supposedly recorded on a single July day at a cost of just $17.36 . Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase - the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK Shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.
Cape, Joey [Stitch Puppy]

September 4 street date. (LP includes download) Originally known as the singer, songwriter, and founder of both Lagwagon and Bad Astronaut, JOEY CAPE has established himself as a recognized solo artist over the past 9 years. His solo ventures have allowed JOEY to stretch the bounds of his musical stylings, highlighting more diverse instrumentation, subdued pace, and experimental elements. The one constant is JOEY’s unique ability to craft unforgettable songs. JOEY’s latest solo endeavor, Stitch Puppy, is comprised of 10 captivating tracks that display a further progression in his sound. Poetic lyrics are set to acoustic instrumentation (guitar, piano, cello, mandolin, percussion) and driven by strong melodies. From the haunting refrain of “Broken” to the perky galloping chorus on “Moral Compass”, Stitch Puppy displays a vast range within its genre. The album is filled out with guest vocals from Chris Cresswell (The Flatliners), Yotam Ben Horin (Useless ID), and Brian Wahlstrom. Fans of any JOEY CAPE project will be thrilled by Stitch Puppy.
Defeater [Abandoned]

August 28 street date (September 4 for LP). Boston’s most devoted and steadfast hardcore band, Defeater knows what it takes to remain credible in a scene where fans demand both unapologetic, in-your-face power and intense emotional honesty. For Defeater and their die-hard fans, this honesty is key, and with their Epitaph debut Abandoned, Derek Archambault (vocals) and fellow band members have created their masterpiece. Carrying on the narrative thread they have built across four previous albums, Abandoned is the band’s most powerful and uncompromising album to date, powered by a renewed sense of artistic ambition and a plot twist no one could have expected. Defeater has never sounded more bleak and intense. The seething black-hole hardcore songs that served as finales “Cowardice” and “Bled Out” on Travels and Letters Home just barely touch the full-throated primal desperation on display in the first track here, and the momentary respite halfway through on “Borrowed And Blue” only makes the utter collapse that follows more punishing. This is the first album where the entire band was involved from the ground up, says Archambault, and that let Defeater push itself to a new level of discipline and depth.
Destroyer [Poison Season (2LP)]

August 28 street date. Available on CD, Vinyl and limited edition "Indie-store-only" clear vinyl. 2LP, gatefold, with download. On August 28, Destroyer returns with a new full-length, Poison Season. In addition, a two-song 12-inch that includes a remix of album track “Forces From Above” and the orchestral version of “Times Square, Poison Season” will be released as a companion to the record. Poison Season opens with Vancouver native Dan Bejar swathed in Hunky Dory strings. He’s a dashboard Bowie surveying four wracked characters—Jesus, Jacob, Judy, Jack—simultaneously Biblical and musical theatre. This bittersweet, Times Square-set fanfare is reprised twice more on the record—first as swaying, saxophone-stoked “street-rock” and then finally as a curtain-closing reverie. “The first and last songs are actually one song tracked live with quintet,” explains their author. “I even sang with the band. That song always swung between super austere and super mid-’70s Springsteen/Bowie street-rock. In the end, I decided I wanted both. Couldn’t really figure out a way to sequence the orchestral version within the record, so I decided to carve it up as a book-ending motif, with the rock version squarely in the middle.” Mr. Bejar has long displayed a chameleonic instinct for change while maintaining a unified aesthetic (rather than just pinballing between reference points). No two records sound the same, but they’re always uniquely Destroyer. His latest incarnation often appears to take sonic cues from a distinctly British (usually Scottish, to be precise) strain of sophisti-pop: you might hear traces of Aztec Camera, Prefab Sprout, Orange Juice, or The Blow Monkeys. These songs merge a casual literary brilliance with intense melodic verve, nimble arrangements, and a certain blue-eyed soul sadness.
Hansard, Glen [Didn't He Ramble]

CD Street date September 18 / LP Street date October 9. Didn’t He Ramble, the second solo outing from acclaimed singer songwriter Glen Hansard, will be released September 18 via Anti- Records. The new album is his first in over three years and follows 2012’s solo debut Rhythm & Repose, which Billboard hailed as “Hansard at his most engaging.” Didn’t He Ramble was produced by Thomas Bartlett (The National, Sufjan Stevens), a frequent collaborator of Hansard’s, and Grammy winner and former Frames band-mate David Odlum (Paloma Faith, Tinariwen). The album, which was recorded in New York, Dublin, Chicago and France, is Hansard’s most intimate and elegant record since his work in Once and features guest appearances by John Sheahan (Dubliners), Sam Beam (Iron and Wine) and Sam Amidon. Glen Hansard is the celebrated principal songwriter and vocalist/guitarist for the influential Irish group The Frames. Whether busking the streets of Dublin, where he got his start, or headlining a gig, Hansard has garnered a reputation as an unparalleled frontman. Hansard is also one half of the acclaimed duo The Swell Season. In 2007, he and Czech songstress Markéta Irglová took home the Academy Award for Best Original Song for “Falling Slowly” off the Once soundtrack. In 2013,the Broadway adaptation, Once The Musical, won eight Tony Awards including the top musical prize. Most recently, Hansard has won critical acclaim for his moving interpretations of the songs of Jason Molina of Songs:Ohia. (LP Includes Download)
HeCTA [The Diet]

September 18 street date. HeCTA is a new electronic project featuring Kurt Wagner of Lambchop, Ryan Norris of Lambchop and Scott Martin of Lambchop! Using the idea of combining the notion of “song” and elements from stand-up comedy, and electronic music and a shared love of the electronic form and its many permutations, we respectfully, playfully explored and experimented. It was to be an equal sharing of ideas, influences, and missteps. We were looking for a new way of making songs incorporating these things, to make something concise on beat. The form is not such a surprise when you consider other electronic collaborations I’ve been involved with: Zero 7’s remix of Lambchop’s “Up With People” and co-writing X-Press2’s “Give It.” The results became The Diet, and those songs are with us now. As HeCTA, we take our approach seriously and are respectfully aware of the great electronic music created throughout its history continuing into the present—so much so that when it came time to mix these recordings, we reached out to some of the central figures of the genre. Such greats as Morgan Geist, John McEntire, and Q all had a hand in shaping the refined sound we present to you. With invaluable creativity and engineering by Jeremy Ferguson at Battle Tapes in Nashville, we together created what we consider to be a collection of songs that move and move through you, from the dashboard to the dance floor, from Decatur to Dornburg, from Dorchester to Detroit. Suck it up, hippies. This music is our attempt to extend the boundaries of our expression and have some fun. It’s not Americana, house, techno, trap, juke, or blaze. Why would it be? And like any good diet, it will be reviled then ultimately loved by all who give it a chance to work its way into their lives. We love you for trying, and we’re trying to love you back. —kurtx - RIYL: Caribou, Daphni, LCD Soundsystem, early Daft Punk, Kraftwerk, Giorgio Moroder, Factory Floor and old comedy records..
Jawbox [s/t (2015 remaster/orginally released 1995)]

September 22 street date. Recorded in Hoboken, NJ with John Agnello in winter of 1995, Jawbox was the band’s fourth and final album. If Sweetheart presented the band’s music in a straightforward and unembellished state, Jawbox found the group more open to experimentation. Arrangement-wise, it contains some of the band’s densest compositions (“Chinese Fork Tie”), but also some of its most concise and tuneful songwriting (“Excandescent”). While the basic tracks were recorded more or less live, the songs were later augmented with sounds – toy drum kit, Hammond B3 organ, and saxophone – that were outside of the band’s established palate. “I feel like that’s our kind of kitchen sink record,” says Robbins. “Sweetheart was bare-bones – just the best, most perfectly played representation of the band playing those songs. By the end of that recording process, we had a groove on who was going to do what and we thought, ‘now we can consciously incorporate our weird influences from other places." “I think that we thought of it as our best record,” says Robbins. “Every other Jawbox record was, like, ‘We have 12 songs, lets go record.’ This was the one record where we had the sense that ‘Are we ready?’ – we had a vision about how things should be, followed it through, and pushed the envelope aesthetically for ourselves.” Long out of print, Jawbox has been remastered on LP by Dan Coutant at Sunroom Audio and will re-issued on vinyl, CD, and digital.
Krol, Mike [Turkey]

August 28 street date. In bowling’s hallowed alleys, a strike is the minor miracle of all ten pins falling at once. Back-to-back strikes make a double. Do it a third time and you’ve got yourself a turkey. History will decide which sports metaphor to apply to Mike Krol’s first two records, I Hate Jazz (2011) and Trust Fund (2013). But as needle meets groove on Turkey—Krol’s first record for Merge—there is no ambiguity. A shiny black ball tumbles past the suburban strip malls of a polyestered Wisconsin and veers precariously close to an East Coast gutter before gathering momentum in a physics-defying sprint for the Pacific. California is where the headpin falls—the right velocity, the perfect geometry, the bowler’s intent beautifully realized in a noisy moment of awesome destruction. Mike Krol got his bike stolen and his heart broken. He bailed on graphic-design-as-career. He kept playing drums and guitars, and he kept writing songs about the stuff he hated and the stuff he loved. Leaving Milwaukee for Los Angeles, he took a few years’ worth of wrong turns. But when he showed up at a studio in Sacramento in March 2014, he had his affairs in order. Plug the vocal mic into a guitar amp. Plug the guitar into an overheating box of vacuum tubes. Put the computer in the closet. Roll the tape. “This record will beat you like you owe it money. Flawless and epic unhinged power pop! Mike Krol rules! Don’t be a dope, buy it!” -- Tom Scharpling (The Best Show)
Motion City Soundtrack [Panic Stations]

September 18 street date. When Motion City Soundtrack formed in Minneapolis in 1997 there was a sense of fun that threaded through everything that involved the band. That youthful glee, the feeling that everything was exciting and anything was possible, has been inevitably dampened over the years. On their sixth album, Panic Stations, MCS found that feeling again. The process of creating the new songs, which open a new chapter in the band’s storied career, was based on instinct and openness, a methodology that resulted in a buoyant, impassioned record. Panic Stations is as exciting to listen to as it was for the musicians to make. The feeling of their renewed pleasure for the craft resonates through each note and lyric, leaving you just as inspired as they sound. “We realized this is so much fun,” lead singer Justin Pierre says. “We’re just having fun again. It’s not that we weren’t before, but everything seems so fresh and new on this album. I feel like Panic Stations is a new beginning, and it’s exciting to get to open the next chapter of Motion City Soundtrack’s career.” (LP Includes Download)
Paoro, Doe [After]

September 25 street date. As a songwriter and vocalist, Doe Paoro seeks both to uplift and unsettle. For her ANTI debut After, arriving 9/25, the New York-bred, L.A.-based artist worked in close collaboration with producers Sean Carey (drummer/supporting vocalist for Bon Iver) and BJ Burton (musician/producer/engineer whose past credits include POLIÇA, Sylvan Esso, The Tallest Man On Earth and Volcano Choir), deepening her musical repertoire into a dense hybrid of R&B, synth-pop, and indie-leaning electro that’s rooted in earthy minimalism. “I’m used to just having a piano and working with that,” says Doe, “but with this album we built an entire world with the sonics alone.” In early 2013, with a batch of songs ready to be recorded, Doe reached out to Bon Iver leader Justin Vernon on a whim to see if he’d be interested in contributing to the new music in some way. “I didn’t know Justin at the time, but I sent out an email and his manager got back to me,” she says. Vernon ended up mixing one of the tracks, and from there, a relationship with the extended Bon Iver-family blossomed, with Carey and Burton taking the reins to co-produce After. “There’s an assumption that pop music needs to be dumbed down,” she says. “But I think pop can be surprising and make you uncomfortable sometimes. It can ask you to think about something you hadn’t considered before, and maybe awaken a place in yourself that you hadn’t been giving attention to.” For fans of Lorde, The XX, Lykke Li, Zola Jesus.
Paper Beat Scissors [Go On]

August 14 street date (August 28 for LP). With Go On, the follow-up to his internationally-acclaimed self-titled debut, Paper Beat Scissors once again masterfully maneuvers between grandiose chamber pop, aching experimentation, and cinematic sonic landscapes. Shifting from hypnotic loops to full brass arrangements, screaming lap steel to stripped-back acoustic guitar, the album teems with meticulously crafted and carefully plotted layers. At the centre of it all, Tim Crabtree’s haunting voice burns with honesty and rawness.Produced by Crabtree, Go On was set in motion in London, Ontario in 2013 with engineer Dean Nelson (Beck, Thurston Moore, Bat for Lashes). Fleshed out in Nova Scotia, tracks were bounced around Montreal, New York, and even rural Lancashire, before the album was mixed by Graeme Campbell (Buck 65, Rich Aucoin). “masterfully maneuvers between grandiose chamber pop, aching experimentation and cinematic sonic landscapes.” –Exclaim!
Parkway Drive [Ire (2LP)]

September 25 street date. CD / 2LP gatefold with download. (Also available on limited coloured vinyl, indie-store-only!) It’s fitting that the video for the first single from Parkway Drive’s highly anticipated fifth album, Ire, features band members risking their lives. To fully realise the concept for the “Vice Grip” video, Parkway members committed themselves to jumping out of aeroplanes, and the results are totally mindblowing. In a way these demonstrations of risk-taking, of showing no fear, and of acquiring new skills could be a metaphor for the entire creation of Ire. Parkway Drive has taken a stunning creative leap, and produced what they consider to be a career-defining statement. The Australian powerhouse has tapped deep into its reserves of talent and creativity, and pushed themselves as musicians and songwriters to take their established sound to another level. Ire retains all the hallmarks of classic Parkway, but it’s clearly something brave and new. It’s bigger, heavier, more melodic and has more depth to it than anything they’ve done in the past.
Public Image Limited [What the World Needs Now (2LP)]

September 4 street date. What The World Needs Now…’, released September 4th, is the 10th studio album from legends Public Image Ltd (PiL). The 11-track album follows the huge critical success of 2012's 'This is PiL', the band's first album in 17 years. In win-ter 2014 PiL returned to Steve Winwood's Wincraft studio in the Cotswolds' to record the new album 'What The World Needs Now…’ .Commenting on the album, John Lydon says, "Buy now while stocks last." PiL will be on tour in UK/Europe/North America from September 2015. See www.pilofficial.com for ticket links. What The World Needs Now…’, is self-funded by PiL and released on their own label 'PiL Official'. The artwork for the album, partly inspired by Native American Hopi characters, was designed and painted by John Lydon. (Also available: upcoming 'Double Trouble' 10" - PiL004)
Stars Of the Lid [And Their Refinement Of The Decline (3LP)]

Please note new street date September 4. This is the first time this monumental album has been available on the vinyl format in five years. "I simply feel that they are making the most important music of the 21st century." - Ivo Watts-Russell (4AD label founder) // "Crushingly sad, lightly melancholic, or even uplifting, depending on the state of mind of the hearer... a sound divorced from intention and its ambiguity is its strength." - Pitchfork // "The sound of deep sea disintegration... a work of art." - Tiny Mix Tapes // "Music of such quiet and devastating power it can silence a room in five minutes without the volume knob on the stereo being manipulated. Deeply moving... virtually anyone who encounters it will be in some way moved by the impure music it contains." - AllMusic // "Traces the fluid contours of a void through diaphanous lines that reveal all of its miasmal abstraction." - Dusted // "A two-hour juggernaut of careful dynamics and warm tones." - XLR8R.
Tamaryn [Cranekiss]

August 28 street date. With Cranekiss, Tamaryn emerges from her past efforts in a way that’s inviting, warm-blooded, and shockingly direct. She’s made a big record, loaded with samples, synth triggers and processing that was missing from her previous efforts, pressed into service of a post-adolescent love letter to all the music that she and her collaborators (Jorge Elbrecht of Violens and Lansing-Dreiden, Shaun Durkan of Weekend) hold dear. Her most personal collection of songs to date, Cranekiss represents a long journey, and a new phase in Tamaryn’s music unfolding before you, a blood-red kaleidoscope of desire and late night abandon. “The pinnacle of gauzy, maximalist pop” – Stereogum “A shimmering pool of ’80s pop, melding euphoric instrumentals and dance beats with the shoegaze wonder of her past releases.” – Impose “Hands All Over Me,” floats in effortless 80s-inspired bliss.” – V Magazine
Telekinesis [Ad Infinitum]

September 18 street date. LP includes a full album download + 3 bonus songs (download only). When it came time to make Ad Infinitum, the fourth Telekinesis album, drummer/songwriter/principal architect Michael Lerner found himself in a predicament. In just under five years, he had released three fantastic records—Telekinesis! (2009), 12 Desperate Straight Lines (2011), and Dormarion (2013)—each more ambitious than the last. He had toured all over the world, shared stages with great bands, and enthralled fans of his infectious, ebullient power pop. Newly married and happily ensconced in the home studio he’d assembled in his West Seattle basement, Lerner found himself asking the question that has haunted modestly successful bands down the ages: What do you do after the rock and roll dreams you had when you were 19 have come true? “I went down to the basement,” Lerner recalls, “and started playing the same chords I always play… I just felt like I’d exhausted everything I knew. I was not excited at all. I just could not make another power-pop album.” While many artists have made fruitful use of vintage sounds and production techniques in recent years, Ad Infinitum is a different animal. It feels less like a time capsule and more like a time machine. In the movie version of the story, Lerner would stumble on his way down the stairs, hit his head, and wake up in 1983, and the only way he could get back to the present day would be to make a record using available instruments. Then he’d wake in 2015 to discover he’d been in his basement studio all along. And the record he’d made in that strange dream state would turn out to be Ad Infinitum, the most ambitious and assured Telekinesis release to date.
Wilco [Star Wars]

August 21 street date (October 13 for LP). Star Wars is the Grammy-award winning band’s ninth studio album and its first since 2011’s The Whole Love. The new album was recorded at the band’s Chicago loft and features 11 original Wilco-penned tunes. Wilco is currently celebrating its 20th anniversary, and its label dBpm has recently released two anniversary-related collections: Alpha Mike Foxtrot, a box set of rarities and What’s Your 20?, a compilation of studio tracks from the band’s first eight albums. LP to be released on November 27!
World Is A Beautiful Place & I Am No Longer Afraid [Harmlessness (2LP)]

September 25 street date. The World Is a Beautiful Place & I Am No Longer Afraid To Die release Harmlessness, their second full-length and first for the legendary punk outlet Epitaph Records. The album is a breakthrough for a band that has built a following crafting striking melodies, poignant narratives, and confident, compelling songs out of their own complicated and imaginative aesthetic. The album ranges from the hushed folk of opener “You Can’t Live Here Forever” to the epic, grandiose “Mount Hum” – spanning the bedroom pop of the band’s salad days to the sweeping scope of 2013’s Whenever, If Ever, and beyond. Founded by guitarist/singer Derrick Shanholtzer-Dvorak, guitarist/singer Tyler Bussey, and bassist Josh Cyr in 2009 in the post-industrial mill town of Willimantic, Connecticut, The World Is a Beautiful Place’s early records were atmospheric, impressionistic tone-poems, balanced somewhere between the twilit emo of American Football and Christie Front Drive and the pensive, mood-heavy post-rock of The Appleseed Cast and Yo La Tengo. The music was often free-form, as was the band’s roster, adding guitarists (Greg Horbal and Chris Teti), keyboardists (Katie Dvorak), vocalists (David Bello), and periodic collaborators (spoken-word artist Chris Zizzamia). The World Is a Beautiful Place have thus become something of a collective, expanding to nearly a dozen performers or condensing down to a core five or six. The band cites Bedhead, Don Caballero, Sun Kil Moon, and mewithoutYou as influences – all artists that have approached the art of making albums as a collective enterprise. Written as a group, Harmlessness finds the band developing some of its very best songs, even as certain tracks sprawl and stretch into abstract shapes. TWIABP (you don’t have to write it out every time) will be touring the US in support of Harmlessness this fall, with Pianos Become the Teeth. For fans of American Football, the Get Up Kids, Modern Baseball and Tigers Jaw.
Wray, Link [Link Wray's 3-Track Shack (2CD)]

September 4 street date. 2CD (Lots of positive press, with upcoming reviews in both Mojo and Uncut!!) Three albums Link Wray recorded on his brother’s farm in the early 70s. Radically different to his previous releases, the music remains raw and basic, but with vocals and acoustic instruments. Following his instrumental hits ‘Rumble’ and ‘Jack The Ripper’, Link Wray settled into a routine of gigging with his band the Raymen in the North-Eastern states, particularly the rough and ready dives of Washington DC. In the early 70s this stopped and Link concentrated on working on the farm his brother Vernon had bought in Accokeek ,Maryland. Vernon installed a three-track recording studio in the basement of the farmhouse, but his wife complained about the noise so it was moved outside to an old chicken house – the 3-Track Shack was born. Producer Steve Verroca caught one of Link’s performances in a local bar, was impressed, and thought the time was right for a comeback. Extracting elements from his own country, blues and gospel roots and somehow melding them together with the very landscape itself, he created an organic blend of downhome music that was imbued with a primitive spirituality. There is an unpolished, spontaneous feel to the music which sparks it greedily into life, and the Accokeek earth seems to be ground deep into every groove. Acoustic guitars, mandolins, dobros and piano paint a rustic picture of timeless valleys, ancient mountains and endless ranch land with Link’s bluesy electric guitar flowing through them like a powerful river with only the floorboard-stomping percussion keeping it tethered to its course. These three albums have been out on CD before, but never mastered from the original tapes. You can even hear the frogs croaking outside the shack.

Latest News

 

DESTROYER "Poison Season"
EXCLAIM! Review score 9/10
(Merge MRG569 - 2LP or CD / MRG569INDIE - 2LP/clear vinyl/indie exclusive)
http://exclaim.ca/Music/article/destroyer-poison_season



MIKE KROL "Turkey"
EXCLAIM! Review score 8/10
(Merge MRG539 - LP or CD)
http://exclaim.ca/Music/article/mike_krol-turkey


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