accueil|a propos de nous|communauté|English J'ai oublié mon mot de passe
    Mot de ps. 
  ou inscriver
        Mots entiers



    Feuille de ventes

    Info tournée

Bad Religion [The Gray Race (remaster/1996 album)]

April 13 street date. Bad Religion has become synonymous with intelligent and provocative West Coast punk rock and are considered one of the most influential and important bands in the genre. Over the past three decades the band has continually pushed social boundaries and questioned authority and beliefs armed only with propulsive guitars, charging drumbeats, thoughtful lyrics and an undying will to inspire and provoke anyone who will listen. The Gray Race is the ninth full-length album by Bad Religion, which was originally released in 1996. It was the follow-up to the band’s highly successful 1994 album Stranger Than Fiction.
Bhatia, Rafiq [Breaking English]

April 6 street date. Breaking English, the Anti- debut of New York guitarist and producer Rafiq Bhatia, shatters preconceptions about how much can be said without a word—and, for that matter, who can say it. In fact, these thirty-two breathless minutes of instrumental grandeur represent the auspicious arrival of an audacious new voice, one of music’s great new performer producers. In 2012, Bhatia issued two recordings that earned immediate acclaim, with The New York Times dubbing his music “intrepid, arresting, and stylish.” Two years later, he joined Son Lux, a studio-centered project in which producer Ryan Lott used software to warp found sounds into dazzling electronic experiments. Son Lux afforded Bhatia the chance to record with the likes of Lorde and Sufjan Stevens, but, more important, it gave him the support to rethink his entire approach to creating music—the process that ultimately yielded Breaking English.
Creation [We Are Paintermen (pink vinyl)]

April 20 street date. The Creation's only LP, cut from the original mono masters for the first time since 1967. Producer Shel Talmy masterfully captured every bow scrape, tom rattle, and mod growl before the UK quartet imploded after two brilliant, but short years. Originally issued only in Germany, We Are Paintermen collects the Creation's first three singles and adds a handful of period covers culled from the band''s raucous stage show. Pressed on heavy-weight pink vinyl to make even the most seasoned collector nerd sweat.
Czarface & MF Doom [Czarface Meets Metal Face]

March 30 street date. Rising from the wreckage of a war torn planet, Czarface joins forces with MF DOOM in the epic Czarface Meets Metal Face! Blending DOOM's trademark abstractions and CZARFACE's in-your-face lyrical attack, this album is ripe with cartoon violence, societal observations and pop culture musings. Over banging beats provided by The Czar-Keys, the armored team give you the witty unpredictable treats any hip-hop fan can sink their fangs into. Expect beats, rhymes, and metal as Czarface controlled by WU-TANG CLAN powerhouse Inspectah Deck and 7L & Esoteric team up with everyone's favorite villain, MF DOOM. With track titles like "Nautical Depth","Meddle With Metal", "Astral Traveling" to "Madness of Badness" this album packs a punch with 16 brand new tracks. Add that with features from Open Mike Eagle and Jedi Mind Tricks' Vinnie Paz, we promise you mind-bending metaphors and brain-melting beats as this powerful pairing sounds off in March 2018!
Dead Meadow [The Nothing They Need]

March 30 street date. Since their widely-acclaimed self-titled debut album released in 1999 Dead Meadow have released seven studio albums. Their unique marriage of Sabbath riffs, dreamy layers of guitar-fuzz bliss with singer Jason Simon’s melodic croon has won over psychedelic pop/rock and stoner rock fans alike and with this new album the band show that in 2018, they continue to fuse their love of early-’70s hard rock and ’60s psychedelia into their own distinct sound.The album was recorded in Dead Meadows’ studio/rehearsal space, The Wiggle Room and it celebrates twenty years of the band with eight songs that feature everyone that has been musically involved with the band over the years. Jason and Steve Kille are joined by original drummer Mark Laughlin, Stephen McCarty ( the drummer throughout the Matador years), and current drummer Juan Londono. Cory Shane joins them on guitar for some Feathers era dual guitar interplay.
Flemons, Dom [Dom Flemons Presents Black Cowboys]

March 30 street date. Dom Flemons Presents Black Cowboys pays tribute to the music, culture, and the complex history of the golden era of the Wild West. In this single volume of music, the first of its kind, Flemons explores and re-analyzes this important part of our American identity. The songs and poems featured on the album take the listener on an illuminating journey from the trails to the rails of the Old West. This century-old story follows the footsteps of the thousands of African American pioneers who helped build the United States of America. 60 minutes, 40-page booklet with extensive notes and photos.
Garden [Mirror Might Steal Your Charm]

Street date: CD March 30 / LP May 18. THE GARDEN is an ever-evolving duo from Orange County, California. Established in 2011 by twin brothers Fletcher and Wyatt Shears, they also created the term, “Vada Vada” to represent their music and other endeavors. Touring globally since 2012, they have become known for their energetic, aggressive and off the wall performances. Typically seen live playing drums and electronics, Fletcher can also be seen front and center on vocals, belligerently performing alongside his brother, Wyatt. Wyatt consistently takes position of lead vocals and bass in the duo whilst performing and can be seen simultaneously moving in un-choreographed bizarre patterns. For fans of Panda Bear, The Frights, Puzzle and Enjoy.
Guided By Voices [Space Gun]

March 23 street date. In 2018, Guided By Voices will release precisely one new album, Space Gun. Once you hear it, you will know why. With a renowned work ethic and a daily pot of coffee, Robert Pollard continues to outclass younger generations of come-and-go rock bands. After 20+ years, 100+ albums, 2000+ songs, Pollard still can’t really explain (or doesn’t want to explain) his secret: “The songs just come to me.” In 2017, the new GBV line-up (veterans Doug Gillard and Kevin March and newcomers Mark Shue and Bobby Bare Jr) blew audiences away and toured behind the ambitious and sprawling multi-vocalist double album August By Cake, followed just months later by the concise punchy and catchy How Do You Spell Heaven. Pollard has acknowledged that this line-up’s adroit talents pushes him to more daring and dizzying heights. The band will be touring throughout 2018. And now, here it comes: Space Gun, the fullest realization yet of Pollard’s song talents, with the band firing on all cylinders. There’s humor and whimsical childlike musings, cinematic grace and elegance, heavy duty propulsion, dark futuristic undercurrents, twists and turns and kinetic magic. Robert Pollard is a lyrical master; not a word out of place, every line bristling with surprise, telling a story that’s both irresistible and impossible. Invention and imagination remain the undiminished life-forces of a Guided By Voices record and this one absolutely crackles with this energy: this band is on fire.
Harper, Ben & Charlie Musselwhite [No Mercy In This Land (180g/limited edtion)]

March 30 street date. GRAMMY-Award winning, multiplatinum-selling artists BEN HARPER and CHARLIE MUSSELWHITE will collaborate once again for their new album No Mercy in This Land, due out March 30, 2018. No Mercy in This Land is the first of new music from the pair since the 2013 release of their collaborative album Get Up!, which debuted at No. 1 on Billboard’s Blues Albums Chart and won a GRAMMY Award in 2014 for “Best Blues Album.” A musical expression of the kinship between the two, the album recounts both Ben and Charlie’s personal stories and adds to the sonic history of American struggle and survival. “Charlie Musselwhite is that very rare and hallowed place where blues past, present and future collide,” says Ben about his collaborator and friend. “He transforms notes into emotions that feel both hauntingly familiar and brand new, as if hearing them for the first time every time. He is a living legend whose harmonica playing should be beamed into outer space to search for other life forms.” // “On stage or in the studio - working with Ben Harper holds the same excitement I experienced working with Chicago blues legends back in the day,” says Charlie. “I think it is safe to say that Ben has reinvented the Blues in a great way: playing modern while preserving the feel. I am honored and privileged to be a participant in this project.”
Lawrence Arms [We Are The Champions Of The World (2LP): The Best Of]

March 30 street date. Culled From the band's entire discography, which includes their releases on Asian Man, Epitaph, and Fat Wreck, "We Are The Champions Of The World" (single CD and double LP) serves as both a retrospective and an introduction to the Chicago institution. The track list was handpicked by the band bassist/vocalist Brendan Kelly, guitarist/vocalist Chris McCaughan, and drummer Neil Hennessy in order to show how these three friends went from making gritty, lo-fi records to becoming some of the sharpest songwriters in all of punk. In addition to the monumental track list, all the liner notes were written by Kelly and McCaughan. The track list boasts a little something new for even the most seasoned fans of THE LAWRENCE ARMS, with 5 previously unreleased and super rare songs. In all, "We Are The Champions Of The World" serves as the perfect collection for newcomers and longtime fanatics alike.
Mien [Mien]

April 6 street date. Rocket Recordings are pleased to reveal the self-titled debut album by MIEN, the exciting new four piece band comprised of The Black Angels’ Alex Maas, The Horrors’ Tom Furse, Elephant Stone’s Rishi Dhir and The Earlies’ John-Mark Lapham. Inhabiting a modern-day realm in which what is termed ‘psych’ is all-too-often a codified and predictable incarnation entirely at odds with the original free-flowing spirit of psychedelia, it can be a struggle to find a band who can marry the essence of its inception with an adventurous mindset - one with the ability to render their creations beyond clichéd genre trappings and studied thriftstore cool. Who knows whether through study or serendipity, but MIEN - a Transatlantic four-way collision of considerable force involving luminaries who have each forged a reputation for head-spinning audial magick in their own right - are just such a band. What’s more, their eponymous Rocket recordings debut is no less than a rich tapestry of third-eye visions and nocturnal serenades both vivid and vital. The chemistry between these four gures is manifest amidst a kaleidoscopic series of atmospheres and excursions whereby the fertile songwriting of the golden age of ‘60s psychedelia is transmitted into a transcendental realm above and beyond the second decade of the 21st century.
Pennywise [Never Gonna Die]

April 20 CD Street date. June 15 LP street date. Formed in the South Bay of Los Angeles, a neighborhood with a rich punk rock history, Pennywise began in 1988. The band would go on to amass an international following through relentless touring and a melodic high energy sound merging melodic surf punk, blistering hardcore and the classic punk of their youth. The group has solidified their place in punk history and are ready to continue their legacy with their long awaited new album, Never Gonna Die. A return to form for the band, Never Gonna Die contains 14 solid tracks that a punk fan can run in circles to.
Promise Ring [Nothing Feels Good (remaster/1997)]

April 20 street date. On their 1997 release The Promise Ring made emo more accessible, which laid the groundwork for the commercially successful acts that would follow. The band showed it doesn’t always have to be such a pity party, and that catharsis can come in many forms, particularly in the naively optimistic power-pop of Nothing Feels Good. The pioneering band walked the line between brusque sentimentality and uplifting hooks, making them emo’s first pop emissaries. Cheap Trick for hardcore kids. If Fountains of Wayne, Sebadoh, and Jonathan Richman had an emo love-child, Nothing Feels Good might be its name. The record was a high point for many fans of the band, and is considered one of the pillars of the genre. Perhaps because of this light-hearted yet concentrated approach, Nothing Feels Good landed with the kind of fanfare that hadn’t been seen for a band from emo’s sophomore class, selling over 50,000 records in its initial run. Considering a good run for some of their peers was around 10,000 to 15,000 albums, Nothing Feels Good was veritable emo-platinum. -Eddie Cepeda / Noisey
Shacks [Haze]

March 30 street date. Fronted by 19-year-old singer/bassist Shannon Wise and 21-year-old guitarist/producer Max Shrager, The Shacks are already well on their way to becoming one of the year’s big breakouts, and their remarkable debut album, ‘Haze,’ solidifies their status as a band with ability to deliver on the well-deserved buzz. When Max and Shannon met in high school, a bond was created that has permeated their music since the Shacks first incarnation four years ago. That chemistry lies at the heart of ‘Haze,’ a record so hypnotic and seductive that it feels more like a whispered late-night secret than a young band’s debut. Produced together by Shrager and Big Crown co-founder Leon Michels (who’s played with Bradley, Sharon Jones, and Fields in addition to working with The Arcs, Lana Del Rey, and countless others), the album was recorded in bits and pieces between Shrager’s basement and Michels’ Diamond Mine studio, which the Observer dubbed “the Shangri La of Soul.”
Spacemen 3 [Recurring (Incl/Download)]

Please note new street date: April 6. 1990’s Recurring, the fourth and final studio album by Spacemen 3, is often considered the introduction of two brilliant solo projects (Spectrum and Spiritualized) rather than the work of a functioning band. While Spacemen 3’s departing statement surely reveals a deep divide within the S3 camp—each side of the LP was written by Sonic Boom and Jason Pierce separately and, unlike previous releases, the two do not play on each other’s songs— Recurring maintains a cohesive, dreamy feel with its chief sonic officers backed by fellow travelers Will Carruthers, Mark Refoy and Jon Mattock. Opening saga “Big City (Everybody I Know Can Be Found Here)” marries ambient haze with narcotized indie rock, while “I Love You” manages to arrange a beautiful flute alongside a defiantly throbbing bass track. “Hypnotized,” a reimagined fuzz-pop hymn, would become the group’s first entry in the UK Singles Charts. Recurring lays bare the essence of Spacemen 3’s persistent sound, rooted in both aural expansion and phenomenal songwriting. Includes download card and new insert with liner notes by Marc Masters.
Spirit [It Shall Be: The Ode & Epic Recordings 1968-1972 (5CD)]

March 16 street date. Esoteric Recordings are pleased to announce the release of a new 5CD remastered clamshell box set by the legendary American band SPIRIT. Formed in Los Angeles in 1967, Spirit was one of the great bands to emerge on the US west coast in the psychedelic era. Featuring the talents of 16 year old guitarist Randy California (who had played guitar with Jimi Hendrix in New York the previous year), his stepfather drummer Ed Cassidy along with Jay Ferguson (vocals, percussion), John Locke (keyboards) and Mark Andes (bass), Spirit signed to producer Lou Adler's newly established Ode Records label in late 1967. Newly remastered, this anthology features all of Spirit's recordings for the Ode and Epic labels between 1968 and 1972 and notably includes the entire mono mix of the band’s self-titled debut album (appearing on CD for the first time), the complete soundtrack to the film "The Model Shop", along with original 1968 stereo mix of "The Family That Plays Together", associated outtakes, singles and alternate mixes undertaken in 1991 for the "Time Circle" compilation. "It Shall Be" also includes an illustrated booklet with essay by Malcolm Dome featuring archive interviews with Randy California and Ed Cassidy.
Stars Of The Lid [Gravitational Pull Vs. The Desire For An Aquatic Life]

March 30 street date. Vinyl reissue of band’s second full length, originally on Sedimental in 1996 • Has been out of print for over 20 years • Original album mix remastered by Pieter De Wagter. The release of Music For Nitrous Oxide, the 1995 debut by Stars Of The Lid, heralded a new strain of the American underground music scene, one born of the heat and humidity, boredom, and the insular, constipated, rock-ist music scene of Austin, Texas, home of the duo of Brian McBride and Adam Wiltzie. It was a muffled lashing out against surrounding musical conventions, a small middle finger to the local dominant “Americana” scene, but one that nobody could see outside the shack of a house in which they recorded or at their occasional sparsely populated live performances. It was as punk a move as anyone could make at that place and in that time. But, in a surprise to the two members of SOTL, people took notice, as related rumblings and grumblings were taking place simultaneously in other parts of the American landscape. Coming quickly on the heels of their debut was Gravitational Pull vs. The Desire For An Aquatic Life, released one year later. This is a transitional release that travels from the scruffiness of the debut’s ambiance to more extended and subtle undulating tides of assembled sound, yet still dominated by processed guitars as the primary sound source. It also serves as an omen to the mini-orchestral works to come, beginning with the Avec Laudenum album a few years later. This is a small masterpiece.
Thorn, Tracey [Record]

March 2 street date. As ever, the personal has often been political in Tracey Thorn’s work. Across four decades, her songs and writing have offered up a clear-eyed woman’s view of the immediate world around her, from the acerbic teen love songs of her first early ’80s band Marine Girls through sixteen years as one-half of articulate multimillion-selling duo Everything But The Girl, to her recent acclaimed memoirs and journalism. Ewan Pearson peppers the album with fizzing analogue synths and smart mirror-ball beats. For all its no-fuss pop brevity, the album revolves around “Sister,” a dubby nine-minute Compass Point-style disco jam featuring an all-female crew as Tracey is backed by Warpaint’s rhythm section and joined by Corinne Bailey Rae on glorious backing vocals. And yes, of course, that voice: self-assured and richly textured, yet confessional and affecting, it spits out the lyrics on Record with a fresh compelling drive. It remains one of the finest female pop voices of the last four decades.
V/A [I Only Listen To the Mountain Goats (2LP/Colour)]

April 6 street date. Gatefold, 2LP Colour vinyl (1 x Opaque Pink / 1 x Opaque Blue) includes download. Here is a 2LP cover album!!.. and companion piece to the podcast debut of I Only Listen to the Mountain Goats, from Night Vale Presents in collaboration with Merge Records and the Mountain Goats. Premiering September 2017 and running through early April 2018, this unique bi-weekly podcast is a conversation music series focusing on the seminal Mountain Goats album All Hail West Texas, between Welcome to Night Vale and Alice Isn’t Dead creator Joseph Fink with New York Times best-selling author John Darnielle, who is also the founder, lead singer, and songwriter for the Mountain Goats—and Fink’s own personal artistic hero. Together, Fink and Darnielle take the listener on a deep dive into the world of creativity and the duality of being an artist and a fan, both by sharing their own creative processes and music-geek obsessions and through immersive chats with other notable musicians and writers including best-selling YA author and music nerd John Green (The Fault in Our Stars) and Merge Records co-founder Mac McCaughan (Superchunk), as well as many special music guests such as Andrew Bird, Craig Finn, Laura Jane Grace, and Amanda Palmer, who offer up their own opinions as well as new renditions of songs from All Hail West Texas. This limited edition 2LP contains the full All Hail West Texas covers collection, introduced over the course of podcast season one, pressed to opaque pink & opaque blue vinyl. Full list of contributing artist to be unveiled later in 2018.
V/A [Eccentric Soul: The Saru Label (2LP)]

March 23 street date. Available on CD or 2LP. The 20th volume of our flagship Eccentric Soul series has all the boxes checked: Gun-toting, skip-tracing record producers, child stars, rip-offs, the "World's Greatest Bail Bondsman," swindles, soaring falsettos, and a dwindling rust-belt cityscape offering mere glimpses of hope before the record industry escaped for the coasts. Helmed by the O'Jays Bobby Massey, Saru was a creative vortex that pulled Cuyahoga County's greatest talent in, making a strong case for Cleveland to contend with Detroit, Philly, and Memphis as America's soul music's capital. Includes obscure and unknown sides from the Out of Sights, the Elements, Pandella Kelly, David Peoples, Sir Stanley, the Ponderosa Twins + 1, Ba-Roz, Bobby Dukes, and of course, the O'Jays.
Waits, Tom [Closing Time (remastered)]

Please note new street date March 23 for CD (March 9 for LP). Closing Time is the debut record of Tom Waits and it foreshadows the distinctly lyrical storytelling and original blending of jazz, blues and folk styles that would come to be associated with the artist. Waits performs enduring classics of his career such as Ol’ 55 (covered by the Eagles), the heartbreaking “Martha” and the gentle acoustic folk of “I Hope I Don’t Fall In Love With You”.
Washington, Walter Wolfman [My Future Is My Past]

April 20 street date. Walter Wolfman Washington is a soulful musician of rare talent, as well as a deep thinker and hip philosopher, and his hometown is New Orleans. Walter has cut his teeth for the last 50 years playing everywhere from European festivals to bars that Google Maps will never find. New Orleans is notorious for its wildness, parades, and celebrations. New Orleans is Mardi Gras, but it’s also the uptown class of Allen Toussaint and hip style and language of Dr. John. Walter has always embodied both, but finally we have a set of songs that reflects the yin to Walter’s bring-the-party yang. This is the record that we all have known he has in him. This is the night after that party, or maybe just the after party. He’s been given free rein to express himself, and that’s special. Producer Ben Ellman has assembled a sympathetic group of musicians from keyboardists Jon Cleary and Ivan Neville to a versatile rhythm section of bassist James Singleton and drummer Stanton Moore. Soul Queen of New Orleans Irma Thomas lends her voice to a cut and matches Wolfman note for note. Those two go back a long way. Walter played guitar in Irma’s band in the late 1960s. Can you picture how much fun that might have been? And this is their first recording together. His future is his past indeed. — DAVID KUNIAN, WWOZ New Orleans / Curator, New Orleans Jazz Museum
Wye Oak [The Louder I Call, The Faster It Runs]

April 6 street date. (LP comes in gatefold jacket w/ download code) The Louder I Call, The Faster It Runs—the triumphant fifth album by Wye Oak—begins with an explosion. For a few seconds, piano, drums, and a playful keyboard loop gather momentum; then, all at once, they burst, enormous bass flooding the elastic beat. Louder is the third record that Wasner and Andy Stack, who launched Wye Oak in Baltimore, have made while living in separate cities—she in Durham, North Carolina, he in Marfa, Texas. They flew to one another for a week or so at a time, hunkering in home studios to sort through and combine their separate song sketches. These shorter stints together produced less second-guessing and hesitation in their process, yielding an unabashed and unapologetic Wye Oak. They discarded past rules about using just guitar or keyboard to write a record, instead funneling all those experiences and experiments into perfectly unified statements. The result is the biggest, broadest, boldest music they’ve ever made. Louder pursues a litany of modern malaises, each track diligently addressing a new conflict and pinning it against walls of sound. Stack’s colossal circular rhythm and Wasner’s corroded harmonies conjure a digital hall of mirrors, a place where we can see all evil but do nothing. The music—a sophisticated tessellation of pounded piano and loping bass, scattered drums and chirping synthesizer—is as complex and ponderous as the issues themselves. For all the struggles Wye Oak confront here, Louder ultimately reflects a hopeful radiance, with the parting sense that human connection and our own internal resolve can outweigh even our heaviest worries. The Louder I Call, The Faster It Runs arrives at a time of immense doubt, when our personal problems are infinitely compounded by a world that seems in existential peril. But these dozen songs answer the challenge by radiating self-reflection and resolve, wielding hooks and musical intricacy as a shield against the madness of the moment.

Dernières Nouvelles



Attention Indie Record Stores!
Record Store Day 2018 titles are now available to order on our site, including many F.A.B. Exclusives.
To search: Type '2018RSD' into the TITLE field, hit enter and the list will appear.

These special editions will be available for a limited time only and in limited quantities.
Order early for your best chance at good fill.

©2010 F.A.B. Distribution|Créé par SimboliQ  Termes et conditions|Confidentialité