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Bikini Kill [The First Two Records]

June 23 street date. Bikini Kill Records is excited to announce its first release on compact disc! The First Two Records is a compilation of Bikini Kill’s self-titled and Yeah Yeah Yeah Yeah vinyl reissues, which were released in 2012 and 2014 respectively. The self-titled EP, originally released in the fall of 1992 and reissued on BK Records in 2012 is comprised of four songs recorded by Ian MacKaye on July 3, 1991 at Inner Ear Studios; one song from the band's 1991 demo cassette, recorded by Pat Maley (Yo-Yo Studios); and one song recorded during Bikini Kill's live performance April 4th, 1992, at Washington, DC's Sanctuary Theater. Side A of Yeah Yeah Yeah Yeah was originally released in 1993 as the BK side of their split record with the UK’s Huggy Bear, to kick off their legendary co-headlining tour of the UK in March of that year. Those tracks were recorded in their Washington DC basement practice space on a 4-track reel to reel in 1992 by Tim Green (Nation of Ulysses, The Champs). Side B featured seven previously unreleased songs that were either recorded live at shows during that era or at Bikini Kill practices. Those seven tracks are being released here on CD for the first time. The CD was mastered by TJ Lipple. Bikini Kill was a feminist punk band based in Olympia, WA and Washington DC, forming in 1990 and breaking up in 1997. Kathleen Hanna sang, Tobi Vail played drums, Billy Karren (a.k.a. Billy Boredom) played guitar, and Kathi Wilcox played bass. Sometimes they switched instruments. Bikini Kill is credited with instigating the Riot Grrrl movement in the early ’90s via their political lyrics, zines, and confrontational live show.
Buckner, Richard [The Hill (remastered 2015)]

July 10 street date. On the 100th anniversary of Edgar Lee Masters’ Spoon River Anthology, Merge is reissuing the epic it inspired: Richard Buckner’s The Hill. The Hill started in 1996 in The Ranch Olancha Motel, a dusty place near the mouth of Death Valley, California. Buckner, who was en route to Tucson, Arizona, to record what would become Devotion & Doubt, stayed a week in a room with no phone, no television, carrying his guitar, a four-track recorder, and a copy of Masters’ Spoon River Anthology. He tinkered with a few of the book’s poems, put them on a cassette, and forgot about it until an acquaintance discovered it in his truck four years later. Beset with writer’s block and looking for a distraction, Buckner would find in the tape the spur he needed. Recorded in Edmonton, Alberta, and Tucson, The Hill converts Spoon River poems to music. Each page of Spoon River Anthology reads as a final, postmortem dictum of a different deceased resident—more than 250 of them now passed—in the fictional Midwestern town of Spoon River. The epitaphs are important for Buckner because, in death, these people strip the breathing city of its dishonesty. Each one, from Reuben Pantier to Elizabeth Childers to Oscar Hummel, is no longer concerned with whispers and pointed fingers that are often the consequence of a life laid bare for all to see. They’re unleashing themselves, without fallacy or attachment. Buckner chooses 18 of these confessions, each given a unique rendering. Backed by Calexico’s Joey Burns and John Convertino and surveyed with Buckner’s unflagging vocal desperation, Spoon River’s residents come back to life. Like so much of his career, Buckner disappeared into Spoon River and returns to us with its story.
Copilots [Sunstroke]

June 30 street date. Sunstroke, produced by Jesse Zubot (Tanya Tagaq, Fond of Tigers, Dan Mangan + Blacksmith), is Copilots' third album and their second release through Drip Audio. A long period of introspection by Skye has resulted in the most personal and bold music the band has played thus far. The constraints of short form pop and straight ahead rock are abandoned without sacrificing craftsmanship. The band brings their collective experience with and love for avant-garde jazz, punk, free improv, pop, noise, and psychedelic rock into a beautiful and mysterious balance. Producer Jesse Zubot pushes the band beyond their comfort zones as they explore strange new territories of form and sound. Sunstroke features a deep rhythmic foundation, fierce and tender guitar playing, soaring vocals, and surreal synth and string textures. Dream-like lyricism explores memories of childhood, the power of wilderness, mortality and the creative act. Band leader Skye Brooks is known for his explosive and subtle drumming in cutting edge Vancouver bands, like Juno-award winning Fond of Tigers, Juno-nominated Inhabitants, the Tony Wilson 6tet, as well as great Canadian songwriters such as Veda Hille and Ndidi Onukwulu. With Copilots, Skye picks up the guitar and steps up to the mic. Each member of the band is a fully realized musician, songwriter and artist in their own right. Pete Schmitt leads his own 200 Suns project and plays bass for Inhabitants and Sunkiller. Cole Schmidt leads Juno-award winning band Pugs and Crows as well as Sick Boss. Karma Sohn has released an album of beautifully crafted art-pop songs. Dylan Smith drums in 200 Suns and is an accomplished visual artist who creates the artwork and design for Copilots.
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).
Desaparecidos [Payola]

June 23 street date / June 30 for LP. 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.”
Fall [Sub-Lingual Tablet (2LP)]

June 30 street date. THE BRAND NEW ALBUM FROM THE FALL; THE FIRST IN OVER A YEAR - RECORDED IN MANCHESTER OVER THE LAST YEAR WITH MARK E SMITH PRODUCING - Available on CD and 2-LP LIMITED EDITION VINYL. The Fall are an English post-punk band, formed in Manchester in 1976. The band has existed in some form ever since, and is essentially built around its founder and only constant member Mark E. Smith. Initially associated with the punk movement of the late 1970s, the group's music has gone through several stylistic changes over the years, characterised by an abrasive guitar-driven sound and frequent use of repetition, and is always underpinned by Smith's distinctive vocals and often cryptic lyrics. The band is noted for its prolific output: as of February 2015 they have released over 30 studio albums, and more than triple that counting live albums and other releases. "They are always different; they are always the same."
Flying Saucer Attack [Instrumentals 2015 (2LP)]

July 17 street date. In recent years it’s become clear that the Bristol based group were prescient to a considerable degree. The amplified pastoralism of the group and its various offshoots might have seemed out of step with the times during its initial emergence at the height of Britpop, but the rural has since emerged as a rich source of inspiration for numerous artists in the fields of experimental rock and electronic music. Artists such as Alexander Tucker, Richard Youngs and Boards Of Canada have taken similar pathways through the fields. For over a decade, Pearce has been hovering just outside the pantheon of revered psychedelic absentees that includes Syd Barrett, Skip Spence and, until recently at least, Bill Fay. The world shifts sideways. Logic is confounded. The uncanny takes a hold. Enter Instrumentals 2015. Comprised of 15 fresh Pearce solo performances recorded in characteristically lo-fi manner on tape and CD-R, Instrumentals 2015 is an album that will appeal both to FSA diehards — those who proudly clutch their copies of 1996 album In Search Of Spaces on New Zealand noise doyen Bruce Russell’s Corpus Hermeticum label — and those wholly unfamiliar with the outfit’s recorded output. The 15 tracks present an impressionistic narrative which transports the listener through the excoriating dronescapes and rueful introspection of the album’s early pieces to the more redemptive cadences of its closing half. Given its sense of momentum, maintained through Pearce’s thoughtful sequencing, this is an album that should be experienced in its entirety, the better to appreciate its deliberate emotional arc. The songs gathered on Instrumentals 2015 inform and enrich each other, themes manifesting in one form to reappear, modified, elsewhere, as though impacted and altered by experience. This is music that ebbs and flows with the impermanence of mood itself, graspable on first listen yet revealing of additional overtones on each successive visit. Even at its most distressed and distorted, Pearce’s playing is intuitive and expressive, communicative even, translating inner and outer landscapes simultaneously until the two are indivisible, woven into a single language. Yet these pieces are distinctive and characteristic of their author, exhibiting the same windblown drift and dreamlike melancholy that billowed through FSA’s work from 1992–2000, filtered through a new maturity gained during Pearce’s twelve-year absence.
Fu Manchu [King Of the Road (2LP)]

June 30 street date. RE-ISSUE OF CLASSIC FU! After a bit of a break from albums, not counting the Return to Earth singles compilation, Fu Manchu fully fired up and took off again with King of the Road, an album that doesn't so much follow on from The Action Is Go as flat out continue it.
Ghostface Killah [12 Reasons To Die II]

July 10 street date. ADRIAN YOUNGE ANNOUNCES THE RELEASE OF THE HIGHLY-ANTICIPATED "TWELVE REASONS TO DIE II" ALBUM, STARRING GHOSTFACE KILLAH. Featuring RAEKWON, RZA, BILAL, VINCE STAPLES and more. Fans who have been waiting for the past two years can finally rejoice: Adrian Younge’s and Ghostface Killah’s Twelve Reasons To Die II is coming soon. To up the ante this time around, Ghostface has added a very important lyrical companion to the mix: Raekwon. The chemistry that was cemented two decades ago on Rae’s classic Only Built 4 Cuban Linx is as strong as ever, clearly heard on five out of the album’s 13 songs. And on the topic of chemistry, executive producer and Wu-Tang patriarch The RZA returns to Part II as the story’s narrator. The storyline for Part II is vividly brought to life with the help of Younge’s never-endingly evocative and unique brand of cinematic, psychedelic soul. The music - on which Younge himself plays upwards of 10 instruments on certain songs - was recorded strictly on analog tape, to bring out the true grit of the ‘70s era that provides the Twelve Reasons backdrop. Twelve Reasons To Die II is another heavy feather in the caps of all involved, especially Younge and Ghost, who again poured their skills and intellect into this dramatic and engaging tale. It all fits perfectly into the Wu-Tang family tree as well as Younge’s always-expanding musical universe, which now proudly relies on Linear Labs to house it.
Knxwledge [Hud Dreems (2LP/download card/bonus tracks)]

June 30 street date. "An enormous talent... Knxwledge is a consummate artist" - Pitchfork. Knxwledge makes his Stones Throw Records debut with Hud Dreems. Knxwledge (pronounced "knowledge") is a 26 year old, Los Angeles based beat maker making his debut on Stones Throw, May 4, 2015, with the album Hud Dreems. Standing out in a sea of producers rising from the Low End Theory scene, the prolific artist and record collector produces his sound by creating a pastiche of soul, jazz and hip-hop that melts together in a style uniquely his own. He has produced for hip-hop powerhouse Kendrick Lamar on To Pimp a Butterfly, for Joey Badass on 1999, and has released dozens of remix and beat tape collections on his Bandcamp. He calls these his "light work." Knxwledge has found a home at Stones Throw, working closely with fellow beatmaker Mndsgn. He has also partnered with Anderson Paak as the R&B/Hip Hop duo Nxworries, whose highly anticipated debut is scheduled for release later this year. Hud Dreems is a 26-track album of all new instrumental hip-hop.
Parks, Tess & Anton Newcombe [I Declare Nothing]

June 29 street date. Available on CD & amber 180 gram vinyl. Born in Berlin in early 2014 and nurtured over the following summer, ‘I Declare Nothing’ is the spine-tingling collaboration between Tess Parks and Anton Newcombe (Brian Jonestown Massacre), due for release on Anton’s A Recordings label on 29th June.The duo, who co-wrote and co-played on the album, they are touring across Europe this year. Tess Parks - A native of Toronto, Tess Parks moved to London, England at the age of seventeen where she briefly studied photography before deciding to focus on music. Tess made an impression on industry legend Alan McGee, founder of Creation Records, albeit the timing of their meeting could hardly have been less ideal; McGee was no longer involved in music and Tess was due to move back to Toronto. After moving back to her hometown in 2012, Tess formed a band on the advice of McGee and less than a year after their meeting, he returned to music with his new label, 359 Music. Anton Newcombe - Anton Newcombe is the leader of the Brian Jonestown Massacre, who returned last May with their 14th full-length album ‘Revelation’ to critical acclaim. It is the first album that was fully recorded and produced at Anton Newcombe’s recording studio in Berlin and was released on his record label A Recordings. It was supported by a successful European tour.
Peacers [Peacers]

July 17 street date. Fresh off the streets of San Francisco (well, semi-fresh), Sic ol' Mike Donovan (Sic Alps) declares PEACERS is at hand! Self-titled debut release co-chaired by Ty Segall is rife wif riff n' razor-wired tunage — the myth and the majesty all caught up in a bowl of floating miniatures — like a bottle of warm milk, with a hair in it..... Sliding up from out from under, from the old heart of the Bay Area...from out of nowhere even — it’s a special new band. Hands up for the sweet and sour popsicles of PEACERS! Pop music in the new century — what’s it all about? In the hands of PEACERS, it is BAKED — a vanillan cake with sweet sooty icing. Shades of the Bratish invision: compressions and crushes, bone-shakes and glutinous thinks, a wisp of the blues, ardor and romance scraping like the ceiling at your back. Carrying on like rock and roll never happened already, PEACERS unpack a century’s-worth of progress in fresh tunage, capering to classic beats such as ‘jetset,’ ‘showtunes,’ ‘British psych (blues),’ ‘D.I.Y.,’ ‘subterranean homesic,’ ‘EMI (pistols)’ and the rest. With time short, PEACERS grab what scraps they can through the closing window and dance beneath the demeaned sky, with one flag waving free. Standing tall in a tangle of guitars drums, SLAPBACK, wireless hiss interference and other mixed signals (in STEREO), PEACERS’ debut is a max dash through the gutted and the gutter, all of which is written home about with a gleeful cock of the skull and twinkle in eye. Jolly! The perspex of the songs and production both is saddled and well-traveled, but fresh under the glass — unmistakably out the poison-nib(well) of Mike Donovan, whose hits with Sic Alps will live forever, like candy wrappers glittering up from the sewer. And who’s producing you, PEACERS? Mike D’s ole SF cohort himself, Ty Segall, whose rhythm sections and arrangement-commendations re-cast most of the tunes on the rec with copacetic co-ness! HEAVY and LITE, all right — in perfect sea-sawing in and out of the mire. Creeping out from beneath the rock stealth and spidery, redressing the good ol’ soc-hop days with an acid crash. Thanks PEACERS.
Pointed Sticks [s/t (2015)]

July 10 street date. Brand new full-length album from Vancouver’s punk / pop veterans!!! The Pointed Sticks have a self-titled new album on Sudden Death and Northern Electric. It’s a great record with ten amazing new songs by Vancouver’s punk / pop kings— ”You’re Not The One,” “Lovely Bird” and “Tin Foil Hat” are all über-catchy hits in the band’s classic style. In a parallel universe, this is what the radio might sound like. For the old, and for the young, these are tunes for everyone. Just in time for summer, here comes your soon-to-be new favorite album. Long live the Pointed Sticks!
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)
Rock, Pete [Petestrumentals 2]

June 23 street date. Pete Rock was raised in Mount Vernon, but his face belongs on Mount Rushmore. The Chocolate Boy Wonder perfected an art form, inspired millions, and soundtracked a generation. By contrast, Teddy Roosevelt seems like a chump. This is the man who Dilla told, “I wanted to be like you.” Kanye once called himself the “new Pete Rock.” But the original Pete Rock remains permanently vital. The evidence bangs in his latest opus, Petestrumentals 2, the sequel to the 2001 classic that helped define the hip-hop instrumental record. It marks the legend’s first album on Mello Music Group, a fitting union between the author of the boom-bap blueprint and the label that’s expanded upon his legacy. Describing Pete Rock’s productions do them little justice. They resonate in your gut, heart, and brain. The title of one of these beats says it all: “Makes Me Feel Like.” You fill in the blanks based on your personal experience and current mood. Petestrumentals 2 conjures memories of BBQ cookouts and 70s Blaxploitation scores, rattling summer jeep cruises and blunted Jamaican vacations. There’s a gorgeous requiem to Dilla (“Dilla Bounce (R.I.P),” where the originator pays tribute to the prodigy. You see the full range of Rock’s gifts on display: the meticulously chopped horns, unquantized drums, and air raid sirens. It contains the emotion of a thousand eulogies. No record can’t be resurrected. There’s no sub-genre or era that can’t be converted into Rock’s singular brand of soul. His music is the closest thing we’ll ever get to a time-traveling DeLorean, effortlessly shifting between past, present, and future. For the last 20 years, hip-hop heads have argued over the best Pete Rock original productions and remixes. His catalogue can’t be compressed into a bio; you need a book. This is the latest chapter—an even 20 slaps and rhythmic levitations. It’s Pete Rock at his best, accelerating and kicking cosmic slop, extending wishes, hope, love, gritty drums and eternal wonder.
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.
Screeching Weasel [Baby Fat Vol.1]

June 30 street date. Act 1 of a rock opera by Screeching Weasel. Featuring performances by Ben Weasel, Kat Spazzy, Blag Dahlia, Roger Lima, Chris Burrows, Todd Congelliere, Paul Collins, Joe Daiza, Line Dahlman, Zac Damon, Pierre Marche, Mike Hunchback, Poutine, Dave Klein, Chris Gaylor, The Manges, and more. LP version available July 24th.
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.
Sonic Youth [Evol]

July 21 street date. The third studio album by Sonic Youth, originally released in May 1986 on SST Records, shows the first signs that the band was ready to transform their no wave past into a greater alternative rock sensibility. “EVOL … mark[s] the true departure point of Sonic Youth’s musical evolution,” says Pitchfork, who place the album in the #31 slot of their Top 100 Albums of The 1980s. “In measured increments, Thurston Moore and Lee Ranaldo … bring form to the formless, tune to the tuneless, and with the help of Steve Shelley’s drums…, [impose] melody and composition on their trademark dissonance.” Stereogum likewise praises the album as one that is “full of suspense…, the cornerstone [of] the Sonic Youth sound…, ground zero for the combination of chiming guitars and atonal skronk… [and] muggy delirium…. The virile ‘Tom Violence’ sounds less written than coaxed from a cauldron, the sort of song that fogs windows. The off-kilter [droning love song] ‘Starpower’ … is sung [by Kim Gordon] in a frosty [Nico-evoking] monotone. ‘In The Kingdom #19,’ featuring Mike Watt on bass and … vocals [by Ranaldo]…, is a harrowing story of a highway wreck over a suitably edgy instrumental backing punctuated by … live firecrackers into the vocal booth.” “EVOL slithers into the unconscious,” notes Popstache. “Once the [detuned melodies and haunting riffs and] final whispers of feedback [of ‘Expressway to Yr. Skull’] depart from the speakers…, the music [leaves] a faded footprint, forever reeling the listener back for another strange trip.” “The seeds of greatness…” —Pitchfork
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
Superchunk [Come Pick Me Up (180g/remastered 2015)]

July 10 street date. 2015 Remastered reissue! CD is 4 panel wallet with booklet + bonus content dload card / LP is jacket & euro sleeve+ 180g vinyl + full album & bonus download code. In March of 1999, Superchunk traveled to Electrical Audio Studios in Chicago to record the tracks that would become Come Pick Me Up. The addition of producer Jim O’Rourke allowed Superchunk to advance their sound with more experimentation, including horn and string accompaniments. Ken Vandermark, Jeb Bishop, and Bob Weston provided the horn section (saxophone, trombone, and trumpet, respectively) while Fred Longberg-Holm and Suzanne Roberts contributed on cello and violin. “It was exciting to work in the big room downstairs at Electrical. For part of our visit we also slept there, in the dark except for lights on all the gear blinking. It snowed a ton the day we got there, and I didn’t go outside for the first five or six days we were there,” Mac recalls. “I read an interview where O’Rourke said we tried to make a twomonth record in two weeks or something. I’m sure he’s right—we never wanted to spend the time or money making records the ‘proper’ way, but I like how this record came out, and it has some of my favorite songs of ours on it.”
V/A [Here Today!: The Songs Of Brian Wilson]

July 10 street date. It's hard to believe 12 years have passed since "Pet Projects: The Brian Wilson Productions", one of the first releases in our much-admired Producers series. Not before time, Wilson now joins such greats as Randy Newman, Laura Nyro, Goffin & King, Dan Penn, Bacharach & David, Jackie DeShannon and Serge Gainsbourg in our equally high profile Songwriters series. The collection opens with 'Do You Have Any Regrets?' by Darian Sahanaja of the Wondermints, a rare composition from Wilson's unissued "Sweet Insanity" album of the early 90s. While Wilson's version was a rather frantic latin-styled piece, Sahanaja's recording is an homage to the 1965-era Beach Boys. Along with collectable tracks by Johnny Wells, Basil Swift, the Castells, Joey & the Continentals, Keith Green and Peggy March, Sahanaja's luxuriant cover makes its legit CD debut here. Other highlights include heavenly versions of songs from the Beach Boys' masterpiece "Pet Sounds" by Kirsty MacColl, Carmen McRae, Nick DeCaro, Betty Everett, Bobby Vee and Louis Philippe. Those who own a copy of Kirsty MacColl's harmony-drenched 'You Still Believe In Me' single might have noticed a message etched into the run-off groove: God Bless Brian, an emotion seconded by all lovers of great music. Compilation and notes by Kingsley Abbott, Mick Patrick and Harvey Williams.

Latest News


Congratulations to CARIBOU and YOUNG GUV!
Both were selected as nominees on THE POLARIS MUSIC PRIZE 2015 LONG LIST.
The Polaris Music Prize honours the year's best Canadian Album.
Nominees are selected based solely on artistic merit.
Caribou "Our Love" (Merge MRG488 LP or CD)
Young Guv "Ripe 4 Luv" (Slumberland SLR211 - LP or CD)

TONY WILSON 6TET "A Day's Life" (Drip Audio DA01107 CD)
New album - previewed in The Georgia Straight

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