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Burial [Subtemple / Beachfires]

May 26 street date. Two new tracks by Burial, rendered in his singular ambient style. Total running time of seventeen minutes and thirteen seconds.
Carter Family [American Epic: the best of]

June 16 street date. The Carter Family, a family vocal group from Appalachian Virginia, were the most impactful discovery of talent scout Ralph Peer and the first vocal group to become country music stars. Apart from the beautiful harmonies that can only come from kin, Mother Maybelle Carter pioneered “scratch” style guitar picking, a clever synthesis of autoharp, banjo and guitar picking, and for years served as a matriarchal figure in the Grand Ole Opry. Single LP with single pocket tip-on jacket with soft touch finish
Chilton, Alex [Take Me Home And Make Me Like It (180g)]

Please note new street date: June 9. 180 gram vinyl. In 1975 Alex Chilton went into the Ardent Recording Studios with producer Jon Tiven and out of some tumultuous recording sessions came a number of loose and unpolished gems which would ultimately become the “Singer Not The Song” EP and “Bach’s Bottom” album. “Take Me Home And Make Me Like It” is a raw document of one of the pivotal moments in Alex Chilton’s career. It features previously unreleased rehearsals and alternate takes that tell the story of a troubled recording process that nevertheless produced intensely unique music. "This is music performed with some of the most callous abandon ever to have been allowed in a recording studio. Many of these tracks have a raw cinéma vérité atmosphere applied to recorded rock and roll. My own performances seem to be either obnoxious or attempting an insufferable cuteness, but often they achieve a compelling electricity in their spontaneous excitement. We recorded over a few days in the fall of 1975. I was very into a loose, unrehearsed first take sort of approach to recording music. I learned from producer Jim Dickinson the method of throwing a very impromptu rendering of a song onto tape. With multitrack recording one can edit out, clarify or fix anything before the final mixdown. This method gives a fresh, sometimes anarchistic quality to the performances. The first day of the sessions was approached in this way. The second day went according to the producer’s more conservative method of planning and rehearsal. All in all there is some hot, untamed rock and roll on this disc. You might get a kick out of the off the wall energy of this music that is very hard to find on records from this or any other time." - Alex Chilton, 1992
Coltrane, John & Alice [Cosmic Music]

May 19 street date. First time reissued with its original cover. Featuring Pharoah Sanders, Jimmy Garrison and Rashied Ali! John Coltrane transformed the inner architecture of jazz, throughout the mid-1950s and 1960s and long after his premature death at age 40 in 1967. No other American musician could be said to be at the spiritual center of the ‘60s musical universe as Trane influenced Albert Ayler, La Monte Young, Jimi Hendrix and everybody in between. Cosmic Music, originally self-released by Alice Coltrane in 1968 and later issued by Impulse!, features two tracks (“Manifestation” and “Rev. King”) by John Coltrane’s legendary final quintet that were recorded in San Francisco on February 2nd, 1966 and two more (“Lord Help Me To Be” and “The Sun”) from Alice Coltrane’s very first session as a bandleader, recorded six months after her husband’s passing. “Manifestation” opens with the group already in mid-flight: Trane’s fierce tenor leads the way with Pharoah Sanders’ blistering sax and Alice’s powerful chords hearing his call. On “Rev. King,” Trane introduces a lyrical theme and then the composition erupts into fiery incantations, while Jimmy Garrison’s bass throbs alongside the propulsive, gravity-defying drumming of Rashied Ali. Foreshadowing her majestic debut, A Monastic Trio, “Lord Help Me To Be” brings Alice’s celestial piano playing and inspired improvisations to the foreground with Sanders, Garrison and drummer Ben Riley rumbling in tow. “The Sun,” a meditative ballad with subtle urgency, perfectly closes the album’s contemplative circle. As John Coltrane recites on the final track, “May there be peace and love and perfection throughout all creation.”
Drums [Abysmal Thoughts]

June 16 street date. With The Drums’ new Abysmal Thoughts, band founder Jonny Pierce is making the exact album he has always held in his heart. Of course, this is The Drums, so that heart is broken—but there’s beauty and even bliss in this kind of heartbreak, as well as that special kind of glorious delirium that comes from taking everything life can throw at you and still walking away triumphant. Abysmal Thoughts finds Pierce back in full control of The Drums, not just writing all the songs himself but playing every instrument and bringing his exact personal vision to life. Not coincidentally, it is some of the most revelatory work he’s ever done. If Abysmal Thoughts doesn’t sound at all abysmal—really, Pierce has rarely been this irresistibly pop—that’s because this is a story about how to figure out what happiness means once the worst has already happened: “If there’s one thing I can rely on it’s the healing power of being an artist,” he says. “I’m falling back in love with music.”
Frenzal Rhomb [Hi-Vis High Tea]

May 26 street date. After two and half decades, 8 studio albums, and their recent greatest hits record We Lived Like Kings; it is safe to say that FRENZAL RHOMB are Australian Punk royalty. Now, with “most hospitalized band in the world” (broken arms, detached retinas, tapeworms in the brain…) added to their resume, nothing can slow these Aussies down. For Hi-Vis High Tea, FRENZAL RHOMB pulled out all the stops, and returned to the unswerving Bill Stevenson and Jason Livermore at the Blasting Room to create 20 blistering tracks clocking in at just over 30 minutes. From the opening track “Classic Pervert” to “Don’t Cast Aspergers on Me” and “Sneeze Guard”; Hi-Vis High Tea takes Frenzal fans on a familiar ride which only FRENZAL RHOMB could operate. With loads of touring lined up, and the bumps and bruises all healed, 2017 looks to be a big year for FRENZAL RHOMB! Hi-Vis High Tea, their first new record since 2011, is sure to have FRENZAL RHOMB fans far and wide clamoring to get their fix.
Fucked Up [Live At Third Man Records]

May 19 street date. The day has finally come for Fucked Up's awesome Live at Third Man LP to grace your turntable. "Was it in production for 2 years?" you may ask. 100% yes. It took multiple re-cuts of the Fucked Up test pressings to contain this explosive sonic boom of a live show. As usual, we make it well worth your hard-earned dollars, pesos, yen, euros, etc. DO NOT SLEEP ON THIS.
Girlpool [Powerplant]

May 12 street date. (LP version includes download) Life has been a whirl for Girlpool since the release of their acclaimed 2015 debut Before the World Was Big. Shortly before the record came out, Harmony Tividad and Cleo Tucker relocated from their hometown of Los Angeles all the way across the country to Philadelphia, where they quickly became embedded in the local D.I.Y. scene. Girlpool made their mark with a spare, simple sound — two guitars and two voices, with absolutely nothing else accompanying them. It was an original, intimate sound, and it made the two sound like they were united against the rest of the world. But on their new album, Powerplant, they’re trying something else. They’re playing with a full band. Over 10 days in August 2016, Girlpool holed up at Los Angeles’ comp-ny studios to record and mix Powerplant with Drew Fischer. For the first time, Harmony and Cleo were joined by a third performer, drummer Miles Wintner, a friend who easily meshed with the tightknit duo. The 12 tracks that compose Powerplant grow and burn with greater fire than the duo have possessed heretofore. Both bandmates were heavily inspired by Elliott Smith, the Cranberries, the Cocteau Twins, Brian Eno, Arthur Russell, and Graham Nash; the influence of each appear in the record’s deliberate and intricate guitar work (“Fast Dust,” “She Goes By”) as well as its embrace of dissonant noise (“Corner Store,” “Soup”). Perhaps what really makes Powerplant a home run is that Girlpool understand exactly how to use their incisive lyrics, soft textures, hushed harmonies, and soaring hooks for maximum emotional impact. In these moments, when Harmony and Cleo’s voices join together to deliver transcendent transmissions straight from their hearts, Girlpool become a league of their own. (For fans of Frankie Cosmos, Elliott Smith, Alex G. and Wilco) “When Harmony Tividad and Cleo Tucker harmonize, it’s like a lightning bolt to the gut.” – NPR // “Rock music still matters, and Girlpool is its future” - Fader
Halo, Laurel [Dust]

June 23 street date. Laurel Halo returns to Hyperdub for her third LP with a fresh approach and a new sound. Routed out of the electronic abstraction of 2015’s In Situ - but with clear reference to 2012's sleeper-hit Quarantine - Dust is an album revolving around loose and languid songs; warped, sun-filled, melted and at times, heavy-hearted and obscure. Recorded over a period of two years, the writing process began at EMPAC in upstate New York in January 2015. With access to microphones, percussion, keys and a wide range of routings, Laurel spent days alone in the cavernous space, later inviting musicians Eli Keszler and Lafawndah to join her there. Those sessions would eventually become this album: a collection of breezy, broken songs, based on woody instrumentation, sub bass and restless, intricate electronics. Earnest songwriting meets with modal cut-up strategies, improvisational playing with higrade digital dust. Tactile and fibrous throughout the record, the vocals and percussion coalesce and breathe life into each other. Swung grooves eddy and collapse; acoustic drums are warped into sensual, febrile melodies. The lyrics are themselves bricolage, without a specific narrator or place in time. In line with the album’s sound, Dust is 'Laurel Halo' as a flexible cast of characters. Filled with dialogue, the album helms an interchangeable ensemble of vocalists and musicians, featuring vocals from Klein, Lafawndah, and Michael Salu, as well as musicians such as Eli Keszler, Craig Clouse ($hit and $hine), Julia Holter, Max D, Michael Beharie and Diamond Terrifier. Laurel’s omnivorous influences play out in mutated fashion - coalesced, unfettered and inclusive - a broad musical palette free from entrenched modes, catalysed by digital production that could only happen in 2017.
J Dilla [Jay Dee AKA King Dilla]

May 19 street date. The mark that the late producer J Dilla left upon hip-hop during the 90s and early-to-mid 00s is undeniable. His work with De La Soul, Busta Rhymes, The Pharcyde, and of course Slum Village long been cemented his prominence in the annals of hip-hop history. Of the many words one can use to describe J Dilla’s legacy, one that’s not used enough is prolific. Dilla made beats constantly. So new Dilla compositions are still being discovered. One of the places where those works are still being unearthed is the archives of the Ne’Astra Music Group, who proudly present here 8 Dilla tracks previously unissued on vinyl. Dilla’s legacy continues to be shared and celebrated by today’s hip-hop audience – with help from the tireless efforts of Ne'Astra.
Jackson, Jade [Gilded]

May 19 street date. Gilded is the debut album from Jade Jackson, a young country-folk singer and songwriter with a talent for conveying an emotional intensity well beyond her years. Growing up in the small town of Santa Margarita, California, in a house that was free of television and computers, Jade Jackson found entertainment in her father’s record collection. Inspired by the music of Johnny Cash, George Jones and Hank Williams, she picked up a guitar and began writing songs at age 13. By the time she was 14 Jackson was already performing live. Upon attending college at the prestigious California Institute of the Arts (CalArts), her sphere of influence exponentially expanded to include the sounds of Tom Waits, Bob Dylan, Emmylou Harris, and California punk rock and rollers Social Distortion. During an intimate coffeehouse performance, Jackson’s melancholic country-folk caught the attention of Social Distortion front man Mike Ness’s wife and son, eventually leading the punk-rock legend to reach out to the young songwriter. Ness produced Jackson’s debut record, Gilded, and also invited her to open for Social D. on their upcoming spring tour throughout March and early April. “He gave me homework,” she points out. “He made me listen to Lucinda Williams’s Car Wheels On A Gravel Road and told me to listen only to that album for the next three or so months. That was the template of the album he wanted to create with me, so I picked from songs of mine that had a similar feel. If I didn’t have him, Gilded would have been a lot more scattered.” That’s the key, right there. Gilded is a closed circuit, a masterwork of emotional honesty, of epic tales and intimate confessions. This is just the first you’ve heard from Jade Jackson. So much more lies ahead, for her and for us.
Memphis Jug Band [American Epic: the best of]

June 16 street date. The Memphis Jug Band, most active from 1926 into the 1950s, revolved around guitarist, harmonica player and singer Will Shade and featured a wide variety of instrumentation including harmonica, kazoo, fiddle, mandolin, guitar, piano, washboard and, of course, jug. They recorded more songs than any pre-war jug band and as a result, were key in developing the jug band tradition and format. Single LP with single pocket tip-on jacket with soft touch finish.
Obey The Brave [Mad Season]

June 2 street date. Mad Season, the band’s diverse and defiant third album, arrives after the most turbulent period of the group’s career. Yet as vocalist Alex Erian puts it with appropriately blunt eloquence: “We’re back stronger than ever.” OBEY THE BRAVE churns out anthems of empowerment born of adversity. It’s the songs that embolden the spirit and exorcise personal demons, whether in the pit or on a day’s commute. Songs like “Raise Your Voice,” “Full Circle,” and “Get Real” are quintessential metalcore bangers. Named for the tumultuous period of its creation, Mad Season is a truly collaborative effort musically and lyrically. Joining shortly into the touring cycle for 2014’s Salvation, Terrence McAuley (guitar) and Cory Wilson (bass) gelled instantly with original members Erian, John Campbell (guitar), and Stevie Morotti (drums). McAuley also served as co-producer, alongside engineer and mixer Dean Hadjichristou. (Protest The Hero , Parkway Drive.) “In a weird twisted way I’m thankful for everything it took to get this record made because it all tested our commitment to the band and we’re still here, you know, we’re still swinging,” says Erian. “The bottom line is, we put so much of ourselves into Mad Season and the music speaks for itself.”
Rancid [Trouble Maker]

June 9 street date. Rancid presents a brand new album Trouble Maker to be released on June 9th via Hellcat/Epitaph Records. This is the ninth studio album for the punk legends and the follow-up to 2014’s critically acclaimed …Honor Is All We Know. Trouble Maker was produced by Rancid’s longtime producer and founder of Epitaph Records, Brett Gurewitz. Trouble Maker will be available on CD, digital, and vinyl formats. The deluxe digital version will include two bonus tracks “We Arrived Right On Time” and “Go on Rise Up”. A vinyl deluxe version of Trouble Maker comes with those tracks on a bonus 7”. Since they emerged from Berkeley, CA in 1991 (out of the ashes of Operation Ivy) Rancid has remained fiercely independent, never losing their loyalty to community or each other. Their music confronts political and social issues, while balancing personal tales of love, loss, and heartbreak with attitude. Rancid gives their listeners a community where everyone can belong. By carrying on the traditions and spirit of the original punk rock bands that came before, Rancid has become a legend an inspiration to punk bands that have come after. TOUR DATES WITH DROPKICK MURPHYS: 7/28 – Montreal, 7/29 – Toronto / 8/15 – Vancouver
Royal Trux [Live Platinum Tips + Ice Cream]

June 16 street date. Platinum Tips + Ice Cream (scenes from the water park) is new from ROYAL TRUX. The songs were written over a span of time as wide as eagle’s wings — but the recordings are new, live, unrehearsed and were presented in real time to a few thousand people in California and NYC. Performance art? Yes! But only because, unlike so many other aural “content providers,” NEIL HAGERTY and JENNNIFER HERREMA are true artists writing their own futures into the present. This was, and will always be, ROYAL TRUX. This new/“live”/old song/new performance album is yet another chapter in one of the best books out there. Release #647, corresponding to the Cali penal code stating that Prostitution is against the law. Just a reminder so that they didn’t forget. It’s been a minute since ROYAL TRUX went about making a record in 1–2 days, but they got that system on lock, and once again we see them setting parameters and adhering to them for maxx impact. Platinum Tips + Ice Cream was made in two days . . . one in Cali and one in NYC. The hold up came when listening back to the “live” qualities, which had been compromised by the “AI” of modern, presumptuous (read: “spellcheck”) sound gear. Going back to undo the “smart changes” was tedious, yet imperative — bringing the actual experience and qualities of the performance, the rawness that could be felt and heard LIVE, to a finished form. These recordings conjure the early feral spirit of the band devouring the sophisticated sound of the later years and coughing up a motherfucking hairball of sound. Wrapped up in a TRUXian collage scrapping together the crazy quilt of time in their ROYAL-iverse, which in the light of this reunion is now folding back over itself, Platinum Tips + Ice Cream collects twelve ROYAL TRUX non-sequiturs in tribute not only to the past but the unending nature of the future.
soundtrack [American Epic: the Sessions (3LP) new recordings/current artists]

June 16 street date. This is the soundtrack to "THE AMERICAN EPIC SESSIONS" directed by Bernard MacMahon. In "THE AMERICAN EPIC SESSIONS," the team has reassembled the very first electrical sound recording system from the 1920s, and invited Jack White and T Bone Burnett to produce an album of recordings by twenty of today’s greatest artists. In this beautifully filmed musical feature, these artists are given the chance to pass through the portal that brought the world into the modern era. Engineer Nicholas Bergh has reassembled this recording system from original parts and it is now the only one left in the world. The system consists of a single microphone, a towering six-foot amplifier rack, and a live record-cutting lathe, powered by a weight-driven pulley system of clockwork gears. The musicians have roughly three minutes to record their song direct to disc before the weight hits the floor. In the 1920s, they called this "catching lightning in a bottle." All the musical performances in this film are live. The audio you hear on the soundtrack is taken directly from the discs they were recorded to, with no editing or enhancements. American Epic: The Sessions soundtrack features Alabama Shakes, The Americans, Ana Gabriel, Ashley Monroe, The Avett Brothers, Beck, Bettye Lavettte, Bobby Ingano, Elton John, Frank Fairfield, Jerron "Blind Boy" Paxton, Los Lobos, Lost Bayou Ramblers, Nas, Pokey LaFarge, Raphael Saadiq, Rhiannon Giddens, Steve Martin and Edie Brickell, Taj Mahal, Jack White, and Willie Nelson and Merle Haggard. Features : 180g Vinyl / 3LP Set / 20-page photo booklet / Trifold jacket
Swans [Great Annihilator (2LP+Bonus download)]

Please Note: LP delayed / (May 5 for CD). The Great Annihilator, originally released in 1995, will be released on double vinyl – the album’s first release on vinyl for decades - and as a 2CD set. Both the vinyl (in the form of a download code) and CD will feature Drainland, Michael Gira’s debut solo album recorded at the same time as The Great Annihilator. "I have long been uneasy with the sound of the mastered version of The Great Annihilator (and it's companion, contemporaneous solo album, Drainland, included here in this new release). For whatever reason things drifted out of hand at the time, and there was never enough time or money to untangle the sonic knots created by the original unsatisfactory mastering that took place until now. It was with the utmost alacrity that I received the news recently from my friend Bill Rieflin that he had discovered the original (after much digging), unmastered mixes for both albums in his archives. We were able to proceed now with lovingly mastering both Great Annihilator and Drainland from these virgin sources, with our right hand mastering man Doug Henderson in Berlin, Germany. I have to say I'm rather pleased with the result. It's one of those instances where it's like hearing the thing for the first time again. I hope you enjoy the experience. - Drainland is a 1995 obscure solo album by me, co-produced by the lovely Bill Rieflin and myself, with musical contributions from Bill and Jarboe. Mostly featuring spare arrangements, it was recorded in Bill's living room. Some of this is pretty damn good. Some of it isn't! In all modesty, I think the good outweighs the bad. It was recorded immediately after the recording of GA. " - M. Gira 2017
Tweedy [Together At Last]

June 23 street date. Together At Last is a new album by songwriter and guitarist Jeff Tweedy. It features the Wilco bandleader performing eleven of his own songs, culled from the Wilco catalog as well as from side-projects Loose Fur and Golden Smog, in a solo acoustic setting. Recorded at Tweedy’s Chicago recording studio The Loft, Together At Last showcases Tweedy’s accomplished and intricate guitar playing and his expressive, plaintive voice, and while audiences have experienced Tweedy live onstage as a solo performer for years, this is the first studio recording of its kind for the acclaimed musician.
V/A [American Epic: the best of country]

June 16 street date. Early champions of Country Music - The Carter Family, Uncle Dave Macon, the Massey Family, Jimmie Rodgers and many more - have been painstakingly remastered using a mix of analog and digital technology for a hybrid sound that is simultaneously contemporary, immediate but still completely true-to-form. Single LP with single pocket tip-on jacket with soft touch finish.
V/A [Iconic Performances from the Monterey International Pop Festival]

June 9 street date. Inexpensive/introductory release for casual fans, produced by Lou Adler. 13 iconic performances of the festival by Jimi Hendrix, Otis Redding, Big Brother & The Holding Company featuring Janis Joplin, The Who, Jefferson Airplane, Simon & Garfunkel, Buffalo Springfield, The Mamas & The Papas, and others Featuring previously unreleased performances by the Grateful Dead & Laura Nyro. Includes a new essay by NME journalist Keith Altham, who attended the festival in 1967. Includes reproduction of original festival Artist pass, 16-page booklet, and a gold-foil package to mark the 50th anniversary of the historic festival.
V/A [American Epic: the best of the blues]

June 16 street date. Early geniuses of Delta Blues - Robert Johnson, Geeshie Wiley & Elvie Thomas, Son House, Charley Patton and many more have been painstakingly remastered using a mix of analog and digital technology for a hybrid sound that is simultaneously contemporary, immediate but still completely true-to-form. Single LP with single pocket tip-on jacket with soft touch finish.
Weaver, Jane [Modern Kosmology]

May 19 street date. The comfortably claustrophobic opening track of Jane Weaver’s sixth studio album reveals a genuine experimental-pop artist in absolute control of her own intimate vessel, a songwriter and composer whose craft communicates and illustrates, vibrant within her first articulate strokes. In its sweetness, this is an ability that transcends style, politics and egotism and one that only comes with life-experience and the ability to learn, grow and fantasise in private and public alike. For those that have followed her detailed career, Jane Weaver is progressive rock in its purest molecular form. Fossilised in ferric, the crystal in the concrete. Magnetic, melodic, folkloric, unapologetic and rhythmic in her discipline. Modern Kosmology is the result of a scientist of popular song gone rogue. Here we find a model student of second-hand Kraut-rock, female punk, hard-subbed new-wave, synthesiser skip-finds and unpronounceable worldly feminine pop who’s finally reached her eureka moment. From science to séance, Modern Kosmology sees Jane Weaver’s melodic-protagonist channeling new depths of creative cosmic energy within. After the huge critical acclaim of 2012’s Fallen By Watchbird, followed by 2015’s exploratory “Silver Globe” LP winning her unanimous “record of the year accolades” and hefty measures of radio play-listing Jane Weaver’s conceptual trajectory has sent her neo-kosmische penchants to the point of no-return. Flown too far from the nest into a wider vista where brave melodic feminine songwriting meets robust synthesis, brutalist composition and Letterist informed song-structure… this album, for many, might be the post-grad psychedelic pop album they never thought would happen.

Latest News

 

JADE JACKSON "GILDED" - Paste Magazine Review: 9.1
(Anti 87435 LP or CD)
https://www.pastemagazine.com/articles/2017/05/paste-review-of-the-day-jade-jackson---gilded.html


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