Touch and Go Records came into existence (sort of) in late 1980, when the Ohio punk band Necros decided they wanted to put out a 7" record. Being in high school at the time (ie: broke), they were aided in this project by their friends Tesco Vee and Dave Stimson, who were the geniuses behind a fanzine called Touch and Go (and who were a little older and had real jobs). The 7"s by the Necros and the Fix (a Michigan punk band) were recorded in late 1980 and released in early 1981, and Touch and Go Records was officially born. Corey Rusk was a member of the Necros, and for the first couple years of Touch and Go Records' life he ran the business part of it from his bedroom in his grandmother's house in Ohio, and Tesco Vee ran the promotional part of it from his apartment in Michigan. Then Tesco moved to Washington DC, leaving the label in Corey's hands. Early releases for Touch and Go consisted mainly of 7" vinyl singles by many of the early '80s Michigan / Ohio hardcore bands, including the Necros, the Meatmen, and Negative Approach. In 1983, Corey left the Necros, and together with his wife and partner in Touch and Go (Lisa Rusk), relocated the label to an apartment in Detroit, Michigan. Touch and Go began to move beyond the hardcore genre, while also increasing the frequency of its release schedule. Releases during this time period included albums from Die Kreuzen, Big Black, Butthole Surfers, Killdozer and many others. At the same time Touch and Go was expanding, Corey and Lisa also started an all ages club in Detroit called the Graystone. The club was financed by Russ Gibb, a generous and supportive school teacher who ran the infamous Grande Ballroom in Detroit in the late '60s. In its heyday, the Grande had been the Detroit home to the likes of the MC5, the Stooges, the Who, Jimi Hendrix, etc... In the mid '80s the Graystone hosted such bands such as Black Flag, Minutemen, Misfits, Big Boys, Big Black, Scratch Acid, Necros, Negative Approach, et al. After a few years in Detroit, Touch and Go moved to a house on the North side of Chicago, Illinois. Energized by its new environs, and by the increasing interest in the records they were releasing, Touch and Go entered a new and rewarding period in its existence, releasing albums by Slint, Scratch Acid, Rapeman, The Jesus Lizard, Didjits, Laughing Hyenas, Urge Overkill, and many others. In 1990, Touch and Go began to provide manufacturing and distribution services for other independent labels who shared similar ideals. Over the past 15 years, Touch and Go is proud to have provided manufacturing and distribution services for such influential labels as All Natural, All Tomorrow's Parties, Atavistic, Cold Crush, Dim Mak, Drag City, Emperor Jones, Estrus, 5RC, Invisible, Konkurrent, Kill Rock Stars, Le Tigre, Merge, Overcoat, Skin Graft, Suicide Squeeze, Thrill Jockey, Trance, Truckstop, and Warm. In keeping with 1990 being a pivotal year, Quarterstick Records, Touch and Go's "sister label," came into being, releasing albums by Henry Rollins, Pegboy, and Mekons. Since its inception, Quarterstick has developed its own individual, eclectic identity through the releases of groups such as the Bad Livers, Calexico, June Of 44, Mule, Rachel's, Rodan, Shannon Wright, Tara Jane O'Neil, The Shipping News, and others. Also around 1990, Corey and Lisa parted ways both personally and professionally. Just before the dawn of the '90s, T&G moved into a run down warehouse on the North side of Chicago. Its new digs provided lots of room to grow; an opportunity that was not wasted. Throughout the 90's, Touch and Go expanded its staff and capacities in an effort to always be the best it could be for the bands and labels it felt so privileged to be associated with. All the hard work paid off, and during the '90s, T&G had the good fortune to be involved with albums by Shellac, Blonde Redhead, The Black Heart Procession, Girls Against Boys, Arcwelder, Dirty Three, Don Caballero, Brick Layer Cake, Seam, Man...Or Astroman?, The Delta 72, Brainiac, Storm and Stress, and many others. Toward the end of the '90s, T&G had outgrown its space in the decrepit warehouse it had inhabited the prior 7 years. The staff had gotten soft and was demanding such outrageous luxuries as heat in the winter and bathrooms that worked. This revolt led to the move to a much better warehouse space a couple miles away. This move led to an even more organized and productive T&G. It was perfect timing, as the 2000s brought more great bands and labels to T&G. Bands such as CocoRosie, Enon, Nina Nastasia, Quasi, Pinback, Supersystem, The EX, The New Year, TV On The Radio, Yeah Yeah Yeahs, and !!!.
Touch and Go Records came into existence (sort of) in late 1980, when the Ohio punk band Necros decided they wanted to put out a 7" record. Being in high school at the time (ie: broke), they were aided in this project by their friends Tesco Vee and Dave Stimson, who were the geniuses behind a fanzine called Touch and Go (and who were a little older and had real jobs). The 7"s by the Necros and the Fix (a Michigan punk band) were recorded in late 1980 and released in early 1981, and Touch and Go Records was officially born. Corey Rusk was a member of the Necros, and for the first couple years of Touch and Go Records' life he ran the business part of it from his bedroom in his grandmother's house in Ohio, and Tesco Vee ran the promotional part of it from his apartment in Michigan. Then Tesco moved to Washington DC, leaving the label in Corey's hands. Early releases for Touch and Go consisted mainly of 7" vinyl singles by many of the early '80s Michigan / Ohio hardcore bands, including the Necros, the Meatmen, and Negative Approach. In 1983, Corey left the Necros, and together with his wife and partner in Touch and Go (Lisa Rusk), relocated the label to an apartment in Detroit, Michigan. Touch and Go began to move beyond the hardcore genre, while also increasing the frequency of its release schedule. Releases during this time period included albums from Die Kreuzen, Big Black, Butthole Surfers, Killdozer and many others. At the same time Touch and Go was expanding, Corey and Lisa also started an all ages club in Detroit called the Graystone. The club was financed by Russ Gibb, a generous and supportive school teacher who ran the infamous Grande Ballroom in Detroit in the late '60s. In its heyday, the Grande had been the Detroit home to the likes of the MC5, the Stooges, the Who, Jimi Hendrix, etc... In the mid '80s the Graystone hosted such bands such as Black Flag, Minutemen, Misfits, Big Boys, Big Black, Scratch Acid, Necros, Negative Approach, et al. After a few years in Detroit, Touch and Go moved to a house on the North side of Chicago, Illinois. Energized by its new environs, and by the increasing interest in the records they were releasing, Touch and Go entered a new and rewarding period in its existence, releasing albums by Slint, Scratch Acid, Rapeman, The Jesus Lizard, Didjits, Laughing Hyenas, Urge Overkill, and many others. In 1990, Touch and Go began to provide manufacturing and distribution services for other independent labels who shared similar ideals. Over the past 15 years, Touch and Go is proud to have provided manufacturing and distribution services for such influential labels as All Natural, All Tomorrow's Parties, Atavistic, Cold Crush, Dim Mak, Drag City, Emperor Jones, Estrus, 5RC, Invisible, Konkurrent, Kill Rock Stars, Le Tigre, Merge, Overcoat, Skin Graft, Suicide Squeeze, Thrill Jockey, Trance, Truckstop, and Warm. In keeping with 1990 being a pivotal year, Quarterstick Records, Touch and Go's "sister label," came into being, releasing albums by Henry Rollins, Pegboy, and Mekons. Since its inception, Quarterstick has developed its own individual, eclectic identity through the releases of groups such as the Bad Livers, Calexico, June Of 44, Mule, Rachel's, Rodan, Shannon Wright, Tara Jane O'Neil, The Shipping News, and others. Also around 1990, Corey and Lisa parted ways both personally and professionally. Just before the dawn of the '90s, T&G moved into a run down warehouse on the North side of Chicago. Its new digs provided lots of room to grow; an opportunity that was not wasted. Throughout the 90's, Touch and Go expanded its staff and capacities in an effort to always be the best it could be for the bands and labels it felt so privileged to be associated with. All the hard work paid off, and during the '90s, T&G had the good fortune to be involved with albums by Shellac, Blonde Redhead, The Black Heart Procession, Girls Against Boys, Arcwelder, Dirty Three, Don Caballero, Brick Layer Cake, Seam, Man...Or Astroman?, The Delta 72, Brainiac, Storm and Stress, and many others. Toward the end of the '90s, T&G had outgrown its space in the decrepit warehouse it had inhabited the prior 7 years. The staff had gotten soft and was demanding such outrageous luxuries as heat in the winter and bathrooms that worked. This revolt led to the move to a much better warehouse space a couple miles away. This move led to an even more organized and productive T&G. It was perfect timing, as the 2000s brought more great bands and labels to T&G. Bands such as CocoRosie, Enon, Nina Nastasia, Quasi, Pinback, Supersystem, The EX, The New Year, TV On The Radio, Yeah Yeah Yeahs, and !!!.
March 22 street date. Engelchen literally translates as "little angels". What's more, for many in the febrile, dangerous era of the 1930s in Nazi-occupied Europe, as they wrote letters to arrange their paths out of danger as refugees, these were Ida and Louise Cook. Ida and Louise spent much of their early years in Sunderland, and in adulthood lived in a suburb of London with their parents. These resourceful and eccentric women were using their musical obsessions as a means to help dozens of refugees escape with their lives. Their secretive heroics now almost beggar belief, and when Alison Cotton, herself from Sunderland, first discovered their story, she couldn't understand why it wasn’t more widely known. Furthermore, she was inspired by their courage, fortitude and derring-do to compose "Engelchen", a musical tribute to the duo's lives and work. Throughout, this story is relayed by Alison, whether acapella or by means of richly emotive string arrangements, with a deftness of touch, sensitivity and intensity that matches the feverish nature of the experiences and the unforgiving environs in which they took place. Limited to 210 copies worldwide.
March 15 street date. Engelchen is a work by Alison Cotton based on the lives and experiences of Ida and Louise Cook, two women who used their musical obsessions as a means to help dozens of refugees escape Nazi Germany with their lives. In putting together Engelchen, Alison met up with refugees living in the UK today via the charity North East Rise to discover the challenges they've faced on their journey, and those experiences ultimately found their way into a new version of the piece's eponymous track, connecting the Cook sisters' story to 2024. Alison Cotton relays the story through acapella and richly emotive string arrangements, with a deftness of touch, sensitivity and intensity that matches the feverish nature of the experiences and the unforgiving environs in which they took place.
April 26 street date. dealism Forever is the reissue of Digitalism's genre defining debut studio album from 2007. Now it will be released as a remastered 3LP set with 2x12 " on colored vinyl and 1x12" LP on etched vinyl with bonus tracks, a poster, spot lacquer paint, as a limited edition. To date the album tracks have been used in numerous games and commercials. They have been sampled and used in new song interpretations all around the world. The songs have millions of streams over the different platforms and never lost their appeal. The new analogue master of the album shows the songs in their best outfit and the bonus material, which originally was recorded while making the album back in the days, have never been heard before.
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