April 10 street date. When one thinks of the Dream Syndicate, it’s not just the wild abandon with which singer/guitarist Steve Wynn, drummer Dennis Duck, bassist Mark Walton, and lead guitarist Jason Victor perform – it’s the carefully constructed songwriting of Wynn that comes to mind. By now every rock critic in the country has predetermined who he or she feels Wynn reminds them of and what they think of that style of songs. This time, don’t! Which brings us to The Universe Inside. Every article or review ever written will claim “this is new and different” – well, it is! Just look at the song lengths: 20:27, 7:36, 8:56, 9:55 and 10:53. Ok, sure – the Syndicate have occasionally committed a long song to vinyl, “John Coltrane Stereo Blues” was 9 minutes with live versions over the ten-minute mark. For the first time, every song is a group songwriting effort. What seeps in are Dennis Duck’s knowledge of European avant-garde music , Jason Victor’s passion for 70s prog, Mark Walton’s experience in Southern-fried music collectives and Wynn’s love of vintage electric jazz. The dazzling display of album cover artwork alone should clue you into the changes. But don’t take our word for it. Dive in!
April 10 street date. When one thinks of the Dream Syndicate, it’s not just the wild abandon with which singer/guitarist Steve Wynn, drummer Dennis Duck, bassist Mark Walton, and lead guitarist Jason Victor perform – it’s the carefully constructed songwriting of Wynn that comes to mind. By now every rock critic in the country has predetermined who he or she feels Wynn reminds them of and what they think of that style of songs. This time, don’t! Which brings us to The Universe Inside. Every article or review ever written will claim “this is new and different” – well, it is! Just look at the song lengths: 20:27, 7:36, 8:56, 9:55 and 10:53. Ok, sure – the Syndicate have occasionally committed a long song to vinyl, “John Coltrane Stereo Blues” was 9 minutes with live versions over the ten-minute mark. For the first time, every song is a group songwriting effort. What seeps in are Dennis Duck’s knowledge of European avant-garde music , Jason Victor’s passion for 70s prog, Mark Walton’s experience in Southern-fried music collectives and Wynn’s love of vintage electric jazz. The dazzling display of album cover artwork alone should clue you into the changes. But don’t take our word for it. Dive in!
April 10 street date. Features guest appearances from members of Gwar, Three 6 Mafia, Dwarves, Lost Dog Street Band, and more!! Highlighting the artist’s singular lyrical attack, Space Goretex is the first album combining all of KOOL KEITH’s primary personas – Dr. Octagon, Dr. Dooom and Black Elvis. The instrumentation is primarily comprised of bass, drums, theremin, and synth, performed by THETAN’s Chad L’Plattenier and Dan Emery. The album also includes some special guest appearances, including Gangsta Boo (Three 6 Mafia) who performs as Officer Lola. Casey Orr (Gwar, X-Cops) appears as his X-Cops character Sheriff Tubb Tucker, marking the first time he has recorded anything as this character since 1996. Blag Dahlia from the Dwarves provides a monologue alongside Ashley Mae of Lost Dog Street Band and DJ Black Cat Sylvester, inventor of the Synth-Table. Blowfly’s right-hand man Uncle Tom Bowker also makes an appearance. Space Goretex was recorded by Dan Emery and Fred Ones, and all post-production and mastering handled by Emery at Black Matter Mastering (Buzzov*en, Lost Dog Street Band, Krieg). The album’s cover art was created by Ethan Lee McCarthy (Primitive Man, Many Blessings). . . Since the mid-1980s, KOOL KEITH has been an icon in the hip-hop world, as one of the founders of the Ultramagnetic MC’s. Following that act’s departure, he began a long career, releasing an extensive arsenal of albums, singles, and much more since the mid-1990s, including collaborations with Ice-T, Tim Dog, Dan The Automator, and many others. THETAN has been grinding out their pummeling powerviolence/hardcore since 2011, most of the time as the stripped-down two-piece lineup of drummer Chad L’Plattenier and bassist/vocalist Dan Emery the band currently bears. The band has issued two LPs, several singles and EPs, splits with the likes of Bleed The Pigs, Downpour, Bible Thumper, and others along the way. Album trailer available here https://youtu.be/BYMaLV2lNbI
April 10 street date. Features guest appearances from members of Gwar, Three 6 Mafia, Dwarves, Lost Dog Street Band, and more!! Highlighting the artist’s singular lyrical attack, Space Goretex is the first album combining all of KOOL KEITH’s primary personas – Dr. Octagon, Dr. Dooom and Black Elvis. The instrumentation is primarily comprised of bass, drums, theremin, and synth, performed by THETAN’s Chad L’Plattenier and Dan Emery. The album also includes some special guest appearances, including Gangsta Boo (Three 6 Mafia) who performs as Officer Lola. Casey Orr (Gwar, X-Cops) appears as his X-Cops character Sheriff Tubb Tucker, marking the first time he has recorded anything as this character since 1996. Blag Dahlia from the Dwarves provides a monologue alongside Ashley Mae of Lost Dog Street Band and DJ Black Cat Sylvester, inventor of the Synth-Table. Blowfly’s right-hand man Uncle Tom Bowker also makes an appearance. Space Goretex was recorded by Dan Emery and Fred Ones, and all post-production and mastering handled by Emery at Black Matter Mastering (Buzzov*en, Lost Dog Street Band, Krieg). The album’s cover art was created by Ethan Lee McCarthy (Primitive Man, Many Blessings). . . Since the mid-1980s, KOOL KEITH has been an icon in the hip-hop world, as one of the founders of the Ultramagnetic MC’s. Following that act’s departure, he began a long career, releasing an extensive arsenal of albums, singles, and much more since the mid-1990s, including collaborations with Ice-T, Tim Dog, Dan The Automator, and many others. THETAN has been grinding out their pummeling powerviolence/hardcore since 2011, most of the time as the stripped-down two-piece lineup of drummer Chad L’Plattenier and bassist/vocalist Dan Emery the band currently bears. The band has issued two LPs, several singles and EPs, splits with the likes of Bleed The Pigs, Downpour, Bible Thumper, and others along the way. Album trailer available here https://youtu.be/BYMaLV2lNbI
April 17 street date. The brand new studio album from punk/metal icon and powerhouse vocalist Glenn Danzig paying tribute to his idol and inspiration, Elvis Presley! Features 14 unforgettable interpretations of well-known Elvis classics and unheralded deep cuts that will thrill fans of both of these kings of rock music! Highlights include Danzig's sinister take on "Fever" and a truly haunting version of "Always On My Mind!" Danzig is no stranger to working with American music royalty having written songs for both Johnny Cash and Roy Orbison! Available in a special digipak for CD and on vinyl in a deluxe gatefold jacket!
April 17 street date. The brand new studio album from punk/metal icon and powerhouse vocalist Glenn Danzig paying tribute to his idol and inspiration, Elvis Presley! Features 14 unforgettable interpretations of well-known Elvis classics and unheralded deep cuts that will thrill fans of both of these kings of rock music! Highlights include Danzig's sinister take on "Fever" and a truly haunting version of "Always On My Mind!" Danzig is no stranger to working with American music royalty having written songs for both Johnny Cash and Roy Orbison! Available in a special digipak for CD and on vinyl in a deluxe gatefold jacket!
April 24 street date. 2nd installment of Ariel Pink collections/reissues from Mexican Summer; The Doldrums, Worn Copy, and House Arrest, three of the signature records from the Haunted Graffiti era. Recorded during a sleepier era in Ariel’s native Los Angeles, it’s easy to hear The Doldrums as a response to a feeling of under-stimulation or malaise, a mood that had been angrily mined by Gen X in the 1990s but which Ariel treated with some ironic distance. Songs like “Gray Sunsets” and “Let’s Build a Campfire There” articulate a longing melancholia with arresting lyrics that blend the juvenile and poetic. Ariel Pink’s public profile at the time was limited to Los Angeles. It wasn’t until 2004, after Ariel Pink’s music began reaching wider audiences through releases on Animal Collective’s Paw Tracks label that he began touring the U.S. in support of The Doldrums, House Arrest and Worn Copy. Live reviews from the tour mention Ariel changing the format and feel of the show night by night. Oddly, albums such as The Doldrums, Worn Copy and House Arrest were not widely embraced initially, though their inventiveness and strange beauty was usually recognized by reviewers, if not begrudgingly. Critical opinion was divided: Ariel Pink was either a self-indulgent “weirdo” or a pop music genius. Twenty years on, Ariel’s music still stupefies.
April 24 street date. 2nd installment of Ariel Pink collections/reissues from Mexican Summer; The Doldrums, Worn Copy, and House Arrest, three of the signature records from the Haunted Graffiti era. Recorded during a sleepier era in Ariel’s native Los Angeles, it’s easy to hear The Doldrums as a response to a feeling of under-stimulation or malaise, a mood that had been angrily mined by Gen X in the 1990s but which Ariel treated with some ironic distance. Songs like “Gray Sunsets” and “Let’s Build a Campfire There” articulate a longing melancholia with arresting lyrics that blend the juvenile and poetic. Ariel Pink’s public profile at the time was limited to Los Angeles. It wasn’t until 2004, after Ariel Pink’s music began reaching wider audiences through releases on Animal Collective’s Paw Tracks label that he began touring the U.S. in support of The Doldrums, House Arrest and Worn Copy. Live reviews from the tour mention Ariel changing the format and feel of the show night by night. Oddly, albums such as The Doldrums, Worn Copy and House Arrest were not widely embraced initially, though their inventiveness and strange beauty was usually recognized by reviewers, if not begrudgingly. Critical opinion was divided: Ariel Pink was either a self-indulgent “weirdo” or a pop music genius. Twenty years on, Ariel’s music still stupefies.
April 24 street date. 2nd installment of Ariel Pink collections/reissues from Mexican Summer; The Doldrums, Worn Copy, and House Arrest, three of the signature records from the Haunted Graffiti era. Recorded during a sleepier era in Ariel’s native Los Angeles, it’s easy to hear The Doldrums as a response to a feeling of under-stimulation or malaise, a mood that had been angrily mined by Gen X in the 1990s but which Ariel treated with some ironic distance. Songs like “Gray Sunsets” and “Let’s Build a Campfire There” articulate a longing melancholia with arresting lyrics that blend the juvenile and poetic. Ariel Pink’s public profile at the time was limited to Los Angeles. It wasn’t until 2004, after Ariel Pink’s music began reaching wider audiences through releases on Animal Collective’s Paw Tracks label that he began touring the U.S. in support of The Doldrums, House Arrest and Worn Copy. Live reviews from the tour mention Ariel changing the format and feel of the show night by night. Oddly, albums such as The Doldrums, Worn Copy and House Arrest were not widely embraced initially, though their inventiveness and strange beauty was usually recognized by reviewers, if not begrudgingly. Critical opinion was divided: Ariel Pink was either a self-indulgent “weirdo” or a pop music genius. Twenty years on, Ariel’s music still stupefies.
April 10 street date. (Legendary Montreal-based wildman of rock and roll and R & B has worked with Jon Spencer, King Khan, the 5678’s and Deke Dickerson!!) For nearly twenty years, Bloodshot Bill has shouted, snorted, cooed and crooned his way through the wild shadowland of primitive rock and roll, touring the world and collaborated with heavyweights like Jon Spencer, King Khan, the 5678’s and Deke Dickerson. Seventeen albums and over two dozen singles later, this unstoppable Montrealeño has not slowed his manic touring and recording schedule one whit. He’s a seminal punk, a true wildman who blazes his own path to honky tonk hell with a bottomless repertoire of desperate rock and roll and insatiable R&B. That means he knows a lotta songs—not that he doesn’t wear pants. But on the right night, who knows! This spring, Bloodshot Bill will release his eighteenth album, Get Loose Or Get Lost, his second for Memphis’ Goner Records. He will be touring everywhere, continuing his twenty-year rampage with a new record and a new slew of shows—do not miss it!
April 10 street date. (Legendary Montreal-based wildman of rock and roll and R & B has worked with Jon Spencer, King Khan, the 5678’s and Deke Dickerson!!) For nearly twenty years, Bloodshot Bill has shouted, snorted, cooed and crooned his way through the wild shadowland of primitive rock and roll, touring the world and collaborated with heavyweights like Jon Spencer, King Khan, the 5678’s and Deke Dickerson. Seventeen albums and over two dozen singles later, this unstoppable Montrealeño has not slowed his manic touring and recording schedule one whit. He’s a seminal punk, a true wildman who blazes his own path to honky tonk hell with a bottomless repertoire of desperate rock and roll and insatiable R&B. That means he knows a lotta songs—not that he doesn’t wear pants. But on the right night, who knows! This spring, Bloodshot Bill will release his eighteenth album, Get Loose Or Get Lost, his second for Memphis’ Goner Records. He will be touring everywhere, continuing his twenty-year rampage with a new record and a new slew of shows—do not miss it!
May 1 street date. Making A Door Less Open, the new album from Car Seat Headrest and the first set of brand-new songs since 2016’s Teens Of Denial, is set for release May 1 on Matador Records. Created over the course of four years, Making a Door Less Open is the result of a fruitful “collaboration” between Car Seat Headrest, led by Will Toledo, and 1 Trait Danger, a CSH electronic side project consisting of drummer Andrew Katz and Toledo’s alternative persona, “Trait.” To realize this, the band recorded the album twice: once live with guitars, drums and bass, and once in a MIDI environment using purely synthesized sounds. During the mixing process, the two approaches were gradually combined using elements of each, with additional overdubs. In this way, Making A Door Less Open sees Toledo embarking on new and imaginative roads to songwriting and recording, placing emphasis on the individual songs, each with its own “special energy,” rather than attempting to draw a coherent storyteller narrative through the album as he has in the past, resulting in his most dynamic and open-ended work to date. Car Seat Headrest will embark on a North American tour this summer, including two nights at Toronto's Danforth Music Hall (June 3rd and 4th) and two night's at The Commodore Ballroom (July 9th and 10th) Comprised of Will Toledo, Andrew Katz (drums), Ethan Ives (guitar) and Seth Dalby (bass), Car Seat Headrest has either released 11 or three albums to date, depending on the way you look at it. A prolific songwriter, Toledo took his moniker from making early recordings in the private environment of his family’s car, releasing a dozen self-recorded and produced albums on Bandcamp and building a tight-knit following. Toledo has since gone from an empty five-seater to selling out tours and filling festival main stages.
May 1 street date. Making A Door Less Open, the new album from Car Seat Headrest and the first set of brand-new songs since 2016’s Teens Of Denial, is set for release May 1 on Matador Records. Created over the course of four years, Making a Door Less Open is the result of a fruitful “collaboration” between Car Seat Headrest, led by Will Toledo, and 1 Trait Danger, a CSH electronic side project consisting of drummer Andrew Katz and Toledo’s alternative persona, “Trait.” To realize this, the band recorded the album twice: once live with guitars, drums and bass, and once in a MIDI environment using purely synthesized sounds. During the mixing process, the two approaches were gradually combined using elements of each, with additional overdubs. In this way, Making A Door Less Open sees Toledo embarking on new and imaginative roads to songwriting and recording, placing emphasis on the individual songs, each with its own “special energy,” rather than attempting to draw a coherent storyteller narrative through the album as he has in the past, resulting in his most dynamic and open-ended work to date. Car Seat Headrest will embark on a North American tour this summer, including two nights at Toronto's Danforth Music Hall (June 3rd and 4th) and two night's at The Commodore Ballroom (July 9th and 10th). Comprised of Will Toledo, Andrew Katz (drums), Ethan Ives (guitar) and Seth Dalby (bass), Car Seat Headrest has either released 11 or three albums to date, depending on the way you look at it. A prolific songwriter, Toledo took his moniker from making early recordings in the private environment of his family’s car, releasing a dozen self-recorded and produced albums on Bandcamp and building a tight-knit following. Toledo has since gone from an empty five-seater to selling out tours and filling festival main stages.
May 1 street date. Making A Door Less Open, the new album from Car Seat Headrest and the first set of brand-new songs since 2016’s Teens Of Denial, is set for release May 1 on Matador Records. Created over the course of four years, Making a Door Less Open is the result of a fruitful “collaboration” between Car Seat Headrest, led by Will Toledo, and 1 Trait Danger, a CSH electronic side project consisting of drummer Andrew Katz and Toledo’s alternative persona, “Trait.” To realize this, the band recorded the album twice: once live with guitars, drums and bass, and once in a MIDI environment using purely synthesized sounds. During the mixing process, the two approaches were gradually combined using elements of each, with additional overdubs. In this way, Making A Door Less Open sees Toledo embarking on new and imaginative roads to songwriting and recording, placing emphasis on the individual songs, each with its own “special energy,” rather than attempting to draw a coherent storyteller narrative through the album as he has in the past, resulting in his most dynamic and open-ended work to date. Car Seat Headrest will embark on a North American tour this summer, including two nights at Toronto's Danforth Music Hall (June 3rd and 4th) and two night's at The Commodore Ballroom (July 9th and 10th) Comprised of Will Toledo, Andrew Katz (drums), Ethan Ives (guitar) and Seth Dalby (bass), Car Seat Headrest has either released 11 or three albums to date, depending on the way you look at it. A prolific songwriter, Toledo took his moniker from making early recordings in the private environment of his family’s car, releasing a dozen self-recorded and produced albums on Bandcamp and building a tight-knit following. Toledo has since gone from an empty five-seater to selling out tours and filling festival main stages.
May 8 street date. From the opening call of Flash Flash Flash’s “No Revolution,” Boston’s punk rock patriots the Explosion make their statement quite clear. Lyrics like “We look to the past, and ask for nothing more” drive home the band’s unapologetic point -- sure they wish it was 1977, but they know full well that it isn’t. With that in mind, the band’s debut LP still sees them tumble through 14 tracks of dirty Clash-styled punk rock in under a half hour -- a performance that would make their forefathers proud. It’s simple music and far from mind-blowing lyrics that form the basis of the Explosion’s attack, but it’s their high-energy attitude that carries their music to the next level. Tracks like “Terrorist” and “God Bless the S.O.S” are short speedy bursts of punk packed with catchy choruses and thick guitars, a recipe that the band often employs and generally finds success with. After their poorly recorded first EP, Flash Flash Flash’s to-the-point presentation makes it clear that all this band needed was a little polishing to make a great record. They certainly got it down this time around, and the result is one of the better punk albums to arise from a scene that has already lasted a few more decades than expected. – AllMusic.com. SPIN Top 20 Albums Of 2000.
May 8 street date. From the opening call of Flash Flash Flash’s “No Revolution,” Boston’s punk rock patriots the Explosion make their statement quite clear. Lyrics like “We look to the past, and ask for nothing more” drive home the band’s unapologetic point -- sure they wish it was 1977, but they know full well that it isn’t. With that in mind, the band’s debut LP still sees them tumble through 14 tracks of dirty Clash-styled punk rock in under a half hour -- a performance that would make their forefathers proud. It’s simple music and far from mind-blowing lyrics that form the basis of the Explosion’s attack, but it’s their high-energy attitude that carries their music to the next level. Tracks like “Terrorist” and “God Bless the S.O.S” are short speedy bursts of punk packed with catchy choruses and thick guitars, a recipe that the band often employs and generally finds success with. After their poorly recorded first EP, Flash Flash Flash’s to-the-point presentation makes it clear that all this band needed was a little polishing to make a great record. They certainly got it down this time around, and the result is one of the better punk albums to arise from a scene that has already lasted a few more decades than expected. – AllMusic.com. SPIN Top 20 Albums Of 2000.
Please note new street date: May 15. "Perception is/as/of Deception" is an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. The album was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces making up "Perception is/as/of Deception" might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach.
Please note new street date: May 15. "Perception is/as/of Deception" is an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. The album was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces making up "Perception is/as/of Deception" might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach.
Please note new street date: May 15. Limited yellow and black galaxy swirl coloured vinyl edition."Perception is/as/of Deception" is an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. The album was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications. With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces making up "Perception is/as/of Deception" might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more "head-on" approach.
Please note new street date: May 15. Veteran thrashgrass band Days N Daze has spent more than a decade doing it themselves in a way few can match. From the beginning, they have forged their own path - playing acoustically so they'd have less gear and could perform anywhere, booking and promoting themselves, and self-recording and self-releasing their albums. In the rare instances when they work with outsiders, they stick with people they know. Which is why, after a dozen hardscrabble years, they've joined Fat Wreck Chords for their eighth full-length! Like previous Days N Daze albums, "Show Me The Blueprints" crams more ideas into its 11 tracks than albums twice its length. "Show Me The Blueprints" is a bold step forward for a band that has always followed a bold path.
Please note new street date: May 15. Veteran thrashgrass band Days N Daze has spent more than a decade doing it themselves in a way few can match. From the beginning, they have forged their own path - playing acoustically so they'd have less gear and could perform anywhere, booking and promoting themselves, and self-recording and self-releasing their albums. In the rare instances when they work with outsiders, they stick with people they know. Which is why, after a dozen hardscrabble years, they've joined Fat Wreck Chords for their eighth full-length! Like previous Days N Daze albums, "Show Me The Blueprints" crams more ideas into its 11 tracks than albums twice its length. "Show Me The Blueprints" is a bold step forward for a band that has always followed a bold path.
Please note new street date: May 15. "I first heard Daniel in 1985. Half Japanese had a show in Austin and Daniel's manager Jeff Tartakov gave me a tape of "Hi How Are You?". I loved it and began corresponding with Jeff and Daniel. A few years later I was in NYC to take part in a recording session of Moe Tucker at Kramer's studio Noise New York. Daniel was at the studio and he and I became friends. Daniel recorded two songs with lyrics I wrote. He recorded "Do It Right" for Moe's album, and "Some Things Last A Long Time" for his album "1990". Soon after his time in NYC I invited him to my home and we had a week to record the songs for "It's Spooky". I considered Daniel to be a genius. I am so grateful to have had the opportunity to work with him. I'm so grateful to have it released again and it's sounding better than ever thanks to an amazing mastering job by Kramer". - Jad Fair.
Please note new street date: May 15. 10 year anniversary vinyl reissue of "The Empyrean" by John Frusciante, cut from the original analog tapes at Bernie Grundman's mastering. Frusciante is an American guitarist, singer, composer, and producer, best known as the guitarist of the rock band Red Hot Chili Peppers, with whom he recorded five albums. Originally released in January of 2009, "The Empyrean" contains contributions from RHCP bandmate Flea and former guitarist of The Smiths, Johnny Marr. Includes hi res audio download card.
Please note new street date: May 15. Jamo Gang consists of L.A. legend Ras Kass, NYC veteran emcee El Gant, and J57 on production. The trio's debut album "Walking With Lions" features DJ Premier, Slug from Atmosphere, Sid Wilson from Slipknot, Sick Jacken from Psycho Realm, and Slaine from La Coka Nostra. The album embodies head-nodder boom-bap infused with big sounding, lush soundscapes as Ras Kass and El Gant command the listener's attention, speaking on subject matter ranging from school shootings to what life would be like with a nuke arriving in 38 minutes.
Please note new street date: May 15. Jamo Gang consists of L.A. legend Ras Kass, NYC veteran emcee El Gant, and J57 on production. The trio's debut album "Walking With Lions" features DJ Premier, Slug from Atmosphere, Sid Wilson from Slipknot, Sick Jacken from Psycho Realm, and Slaine from La Coka Nostra. The album embodies head-nodder boom-bap infused with big sounding, lush soundscapes as Ras Kass and El Gant command the listener's attention, speaking on subject matter ranging from school shootings to what life would be like with a nuke arriving in 38 minutes.
May 15 street date. When considering any great work of art, be it a painting, a novel, or a piece of music, it's natural to wonder what might have inspired it. Mark Lanegan's new album, "Straight Songs Of Sorrow", features guest appearances from Greg Dulli, Warren Ellis, John Paul Jones, Ed Harcourt and more, These 15 songs are inspired his life story, as documented in his new memoir, "Sing Backwards And Weep". The book is a brutal, nerve-shredding read, thanks to Lanegan's unsparing candor in recounting a journey from troubled youth in eastern Washington, through his drug-stained existence amid the '90s Seattle rock scene, to an unlikely salvation at the dawn of the 21st century. While the memoir documents a struggle to find peace with himself, his new album emphasizes the extent to which he came to realize that music is his life.
May 15 street date. When considering any great work of art, be it a painting, a novel, or a piece of music, it's natural to wonder what might have inspired it. Mark Lanegan's new album, "Straight Songs Of Sorrow", features guest appearances from Greg Dulli, Warren Ellis, John Paul Jones, Ed Harcourt and more, These 15 songs are inspired his life story, as documented in his new memoir, "Sing Backwards And Weep". The book is a brutal, nerve-shredding read, thanks to Lanegan's unsparing candor in recounting a journey from troubled youth in eastern Washington, through his drug-stained existence amid the '90s Seattle rock scene, to an unlikely salvation at the dawn of the 21st century. While the memoir documents a struggle to find peace with himself, his new album emphasizes the extent to which he came to realize that music is his life.
May 15 street date. Clear vinyl edition. When considering any great work of art, be it a painting, a novel, or a piece of music, it's natural to wonder what might have inspired it. Mark Lanegan's new album, "Straight Songs Of Sorrow", features guest appearances from Greg Dulli, Warren Ellis, John Paul Jones, Ed Harcourt and more, These 15 songs are inspired his life story, as documented in his new memoir, "Sing Backwards And Weep". The book is a brutal, nerve-shredding read, thanks to Lanegan's unsparing candor in recounting a journey from troubled youth in eastern Washington, through his drug-stained existence amid the '90s Seattle rock scene, to an unlikely salvation at the dawn of the 21st century. While the memoir documents a struggle to find peace with himself, his new album emphasizes the extent to which he came to realize that music is his life.
Please note new street date: May 15. Working under various aliases since 2014, Christina Schneider has explored everything from groovy garage rock to minimalist bedroom pop to Syd Barrett-style psychedelia. Buoyed by her desire to create the same "crazy, powerful feeling" she gets when she hears an ABBA or Kate Bush song, she reached again for the outer limits of pop music and recorded "Personalia", her sophomore album as Locate S,1. Schneider spends much of the album trying to understand and expel a darkness that has come over her (and society at large) in order to live a more fulfilling life. While she was writing and recording the album over the past year, she was thinking a lot about her own growth and self-worth as an artist, and where her constantly evolving and always experimental music fits in the digital age. Environmentalism, money, power, and modern feminism formed part of that conversation, too. Throughout "Personalia" Schneider seeks to address how the attention economy is plaguing us with feelings of FOMO and anxiety, and is causing many of us to abandon their progressive values.
Please note new street date: May 15. First pressing on green vinyl. Working under various aliases since 2014, Christina Schneider has explored everything from groovy garage rock to minimalist bedroom pop to Syd Barrett-style psychedelia. Buoyed by her desire to create the same "crazy, powerful feeling" she gets when she hears an ABBA or Kate Bush song, she reached again for the outer limits of pop music and recorded "Personalia", her sophomore album as Locate S,1. Schneider spends much of the album trying to understand and expel a darkness that has come over her (and society at large) in order to live a more fulfilling life. While she was writing and recording the album over the past year, she was thinking a lot about her own growth and self-worth as an artist, and where her constantly evolving and always experimental music fits in the digital age. Environmentalism, money, power, and modern feminism formed part of that conversation, too. Throughout "Personalia" Schneider seeks to address how the attention economy is plaguing us with feelings of FOMO and anxiety, and is causing many of us to abandon their progressive values.
On May 15 Perfume Genius (Mike Hadreas) will release his 5th studio album, Set My Heart On Fire Immediately, via Matador Records Perfume Genius will join Tame Impala on a North American arena tour throughout the Spring and Summer including shows in Toronto (June 2nd), Montreal (June 3rd) and Vancouver (August 5th) Set My Heart On Fire Immediately sees Hadreas re-teaming with GRAMMY-nominated producer Blake Mills and features contributions from musicians Jim Keltner, Pino Palladino and Matt Chamberlin. It was recorded in Los Angeles, where Perfume Genius settled in 2017 with longtime partner and musical collaborator Alan Wyffels. Pre-order Set My Heart On Fire Immediately
The album explores and subverts concepts of masculinity and traditional roles, and introduces decidedly American musical influences. Throughout the album Hadreas plays with themes of love, sex, memory and the body, channeling popular music mythologies while irreverently authoring its own. "I wanted to feel more open, more free and spiritually wild," says Hadreas, "and I'm in a place now where those feelings are very close-- but it can border on being unhinged. I wrote these songs as a way to be more patient, more considered -- to pull at all these chaotic threads hovering around me and weave them in to something warm, thoughtful and comforting"
On May 15 Perfume Genius (Mike Hadreas) will release his 5th studio album, Set My Heart On Fire Immediately, via Matador Records Perfume Genius will join Tame Impala on a North American arena tour throughout the Spring and Summer including shows in Toronto (June 2nd), Montreal (June 3rd) and Vancouver (August 5th) Set My Heart On Fire Immediately sees Hadreas re-teaming with GRAMMY-nominated producer Blake Mills and features contributions from musicians Jim Keltner, Pino Palladino and Matt Chamberlin. It was recorded in Los Angeles, where Perfume Genius settled in 2017 with longtime partner and musical collaborator Alan Wyffels. Pre-order Set My Heart On Fire Immediately
The album explores and subverts concepts of masculinity and traditional roles, and introduces decidedly American musical influences. Throughout the album Hadreas plays with themes of love, sex, memory and the body, channeling popular music mythologies while irreverently authoring its own. "I wanted to feel more open, more free and spiritually wild," says Hadreas, "and I'm in a place now where those feelings are very close-- but it can border on being unhinged. I wrote these songs as a way to be more patient, more considered -- to pull at all these chaotic threads hovering around me and weave them in to something warm, thoughtful and comforting"
On May 15 Perfume Genius (Mike Hadreas) will release his 5th studio album, Set My Heart On Fire Immediately, via Matador Records Perfume Genius will join Tame Impala on a North American arena tour throughout the Spring and Summer including shows in Toronto (June 2nd), Montreal (June 3rd) and Vancouver (August 5th) Set My Heart On Fire Immediately sees Hadreas re-teaming with GRAMMY-nominated producer Blake Mills and features contributions from musicians Jim Keltner, Pino Palladino and Matt Chamberlin. It was recorded in Los Angeles, where Perfume Genius settled in 2017 with longtime partner and musical collaborator Alan Wyffels. Pre-order Set My Heart On Fire Immediately
The album explores and subverts concepts of masculinity and traditional roles, and introduces decidedly American musical influences. Throughout the album Hadreas plays with themes of love, sex, memory and the body, channeling popular music mythologies while irreverently authoring its own. "I wanted to feel more open, more free and spiritually wild," says Hadreas, "and I'm in a place now where those feelings are very close-- but it can border on being unhinged. I wrote these songs as a way to be more patient, more considered -- to pull at all these chaotic threads hovering around me and weave them in to something warm, thoughtful and comforting"
Please note new street date: May 15. Third Man Records reissue two of Redd Kross' beloved 1990s albums, Phaseshifter (1993) and Show World (1997). The brothers are joined by drummer Brian Reitzell, guitarist Eddie Kurdziel (R.I.P.) and keyboardist Gene Fennelly on 1993’s Phaseshifter. Redd Kross leaves the ‘60s and ‘70s pop culture references at the door (well, most of them) and brings their strong melodies, dreamy harmonies, psychedelic punk / bubblegum metal to the front, tearing through 12 new Redd Kross tunes. Every track is a full-on Redd Kross gem, with standouts like Crazy World, Dumb Angel, Pay For Love and After School Special.
Please note new street date: May 15. Third Man Records reissue of two of Redd Kross' beloved 1990s albums, Phaseshifter (1993) and Show World (1997). Phaseshifter line-up intact (Gene Fennelly would soon move on, but plays all the keyboards on the recording), Redd Kross came back at us with amps turned up and smiles on their faces on 1997’s Show World. The album starts off with a spot on cover of The Quick’s L.A. power pop classic, Pretty Please Me, and sets the tone for yet another killer album by the thinking person’s good time band. Like all Redd Kross albums before and since, this one is all killer, no filler, with special highlights Stoned, Vanity Mirror, One Chord Progression and the absolutely sublime Follow The Leader.
May 15 street date. As one of the most important, politically charged and thought-provoking bands in music today, Sleaford Mods have been running crass but clever commentary on The People’s discontent, combining the revolutionary fury of punk and hip-hop with the bleakness of austerity-era Britain, their five critically acclaimed albums a pre-Boris crystal ball of impending doom. Jason Williamson and Andrew Fearn are set to continue their onslaught into 2020 with the release of All That Glue, a collection of songs spanning the last seven years of the bands career; an array of crowd pleasers, B sides, unheard tracks and rarities for fans and the curious, released via Rough Trade. Andrew Fearn‘s clever minimalistic beats, post-punk bass, intentionally cheap sounding keyboard riffs and wafts of guitar underpin lyricist Jason Williamson as he rants against stagnation, injustice and pop culture with outrage and scathing humour, capturing the spirit of their time with a blunt eloquence. Over the past few years Sleaford Mods have become one of the most intractable British pop stories. One of its best. Their music is drawn at a flawless fault-line of anger, tenderness and humour, a triumvirate of raw energy which frequently jostles in the space of a cadence for supremacy. On record you can hear their sinews, live you can touch their veins. Sleaford Mods will return to Canada this fall with shows in Toronto (September 24th) and Montreal (September 25th) On stage there is no pretence. An antithesis to the approach of many electronic artists, Andrew simply presses play on his laptop and steps back to bob his head, drink his beer and watch as the spectacle of Jason moving from angry to hypnotic unfolds. The result is exhilarating, cathartic and brutally brilliant proving time and time again that Sleaford Mods are as vital politically as they are artistically.
May 15 street date. As one of the most important, politically charged and thought-provoking bands in music today, Sleaford Mods have been running crass but clever commentary on The People’s discontent, combining the revolutionary fury of punk and hip-hop with the bleakness of austerity-era Britain, their five critically acclaimed albums a pre-Boris crystal ball of impending doom. Jason Williamson and Andrew Fearn are set to continue their onslaught into 2020 with the release of All That Glue, a collection of songs spanning the last seven years of the bands career; an array of crowd pleasers, B sides, unheard tracks and rarities for fans and the curious, released via Rough Trade. Andrew Fearn‘s clever minimalistic beats, post-punk bass, intentionally cheap sounding keyboard riffs and wafts of guitar underpin lyricist Jason Williamson as he rants against stagnation, injustice and pop culture with outrage and scathing humour, capturing the spirit of their time with a blunt eloquence. Over the past few years Sleaford Mods have become one of the most intractable British pop stories. One of its best. Their music is drawn at a flawless fault-line of anger, tenderness and humour, a triumvirate of raw energy which frequently jostles in the space of a cadence for supremacy. On record you can hear their sinews, live you can touch their veins. Sleaford Mods will return to Canada this fall with shows in Toronto (September 24th) and Montreal (September 25th) On stage there is no pretence. An antithesis to the approach of many electronic artists, Andrew simply presses play on his laptop and steps back to bob his head, drink his beer and watch as the spectacle of Jason moving from angry to hypnotic unfolds. The result is exhilarating, cathartic and brutally brilliant proving time and time again that Sleaford Mods are as vital politically as they are artistically.
May 15 street date. White vinyl edition, exclusively available to independent shops. As one of the most important, politically charged and thought-provoking bands in music today, Sleaford Mods have been running crass but clever commentary on The People's discontent, combining the revolutionary fury of punk and hip-hop with the bleakness of austerity-era Britain, their five critically acclaimed albums a pre-Boris crystal ball of impending doom. Jason Williamson and Andrew Fearn are set to continue their onslaught into 2020 with the release of "All That Glue", a collection of songs spanning the last seven years of the band's career; an array of crowd pleasers, B sides, unheard tracks and rarities for fans and the curious, released via Rough Trade. Fearn's clever minimalistic beats, post-punk bass, intentionally cheap sounding keyboard riffs and wafts of guitar underpin lyricist Williamson as he rants against stagnation, injustice and pop culture with outrage and scathing humour, capturing the spirit of their time with a blunt eloquence. Over the past few years Sleaford Mods have become one of the most intractable British pop stories. One of its best. Their music is drawn at a flawless fault-line of anger, tenderness and humour, a triumvirate of raw energy which frequently jostles in the space of a cadence for supremacy. On record you can hear their sinews, live you can touch their veins. Sleaford Mods will return to Canada this fall with shows in Toronto (Sept. 24) and Montreal (Sept. 25). On stage there is no pretence. An antithesis to the approach of many electronic artists, Andrew simply presses play on his laptop and steps back to bob his head, drink his beer and watch as the spectacle of Jason moving from angry to hypnotic unfolds. The result is exhilarating, cathartic and brutally brilliant proving time and time again that Sleaford Mods are as vital politically as they are artistically.
May 15 street date. West coast composer, artist, and producer Kaitlyn Aurelia Smith has chartered a pioneering career with multiple critically-acclaimed albums since 2015. Following the release of "The Kid" in 2017, Smith focused her energy in several directions. She founded Touchtheplants, a multidisciplinary creative environment for projects including the first volumes in her instrumental Electronic Series and pocket-sized poetry books on the practice of listening within. She's continued to explore the endless possibilities of electronic instruments as well as the shapes, movements, and expressions found in the physical body's relationship to sound and color. It is this life-guiding interest that forms the foundational frequencies of her latest full-length, "The Mosaic of Transformation", a bright, sensorial glide through unbound wave phenomena and the radiant power discovered within oneself. Smith's music doesn't capture a specific emotion as much as it captures the joys of possessing a body, and the ability to, with devotion and a steady open heart, maneuver that vessel in space by way of electricity to euphoric degrees.
May 15 street date. West coast composer, artist, and producer Kaitlyn Aurelia Smith has chartered a pioneering career with multiple critically-acclaimed albums since 2015. Following the release of "The Kid" in 2017, Smith focused her energy in several directions. She founded Touchtheplants, a multidisciplinary creative environment for projects including the first volumes in her instrumental Electronic Series and pocket-sized poetry books on the practice of listening within. She's continued to explore the endless possibilities of electronic instruments as well as the shapes, movements, and expressions found in the physical body's relationship to sound and color. It is this life-guiding interest that forms the foundational frequencies of her latest full-length, "The Mosaic of Transformation", a bright, sensorial glide through unbound wave phenomena and the radiant power discovered within oneself. Smith's music doesn't capture a specific emotion as much as it captures the joys of possessing a body, and the ability to, with devotion and a steady open heart, maneuver that vessel in space by way of electricity to euphoric degrees.
May 15 street date. Clear vinyl edition, limited to 3000 copies. West coast composer, artist, and producer Kaitlyn Aurelia Smith has chartered a pioneering career with multiple critically-acclaimed albums since 2015. Following the release of "The Kid" in 2017, Smith focused her energy in several directions. She founded Touchtheplants, a multidisciplinary creative environment for projects including the first volumes in her instrumental Electronic Series and pocket-sized poetry books on the practice of listening within. She's continued to explore the endless possibilities of electronic instruments as well as the shapes, movements, and expressions found in the physical body's relationship to sound and color. It is this life-guiding interest that forms the foundational frequencies of her latest full-length, "The Mosaic of Transformation", a bright, sensorial glide through unbound wave phenomena and the radiant power discovered within oneself. Smith's music doesn't capture a specific emotion as much as it captures the joys of possessing a body, and the ability to, with devotion and a steady open heart, maneuver that vessel in space by way of electricity to euphoric degrees.
Please note new street date: May 15. We follow up January's release of "Here Are The Sonics!" with a 180g black vinyl replica release of "Boom", the Sonics' second album, originally released in 1966 on Etiquette Records in wonderful mono. "Boom" still does much more than merely deliver on the promise of the first album, "Here Are The Sonics!". Few records have ever packed as much of a musical punch from start to finish. Even more so than their first LP, it offers a representation of what the Sonics must have sounded like at the peak of their considerable powers. Recorded in the most glorious no-fi you could ever wish for and with anthemic originals like ‘Cinderella’ and ‘He’s Waiting’ vying for your attention with what is possibly the most violent version of ‘Louie Louie’ that there will ever be, "Boom" is an album that has always justified the esteem in which it is held by collectors around the globe.
May 15 street date. Moses Sumney's new, generous album, "græ", is an assertion that the undefinable still exists and dwelling in it is an act of resistance. To try to pin Sumney down on a sound - and really, on any matter - is to end up with a hand full of fog, but his genius is never allowing the set to sound like a hodgepodge. Sumney evades definition as an act of duty: technicolor videos and monochrome clothes; Art Rock and Black Classical; blowing into Fashion Week from a small town in North Carolina; seemingly infinite collaborators, but only one staggering voice. A young life spent betwixt Southern California and Accra, Ghana - not so much rootless as an epyphite, an air plant. The scale is cinematic but the moves are precise deeds of art and stewardship.
May 15 street date. Moses Sumney's new, generous album, "græ", is an assertion that the undefinable still exists and dwelling in it is an act of resistance. To try to pin Sumney down on a sound - and really, on any matter - is to end up with a hand full of fog, but his genius is never allowing the set to sound like a hodgepodge. Sumney evades definition as an act of duty: technicolor videos and monochrome clothes; Art Rock and Black Classical; blowing into Fashion Week from a small town in North Carolina; seemingly infinite collaborators, but only one staggering voice. A young life spent betwixt Southern California and Accra, Ghana - not so much rootless as an epyphite, an air plant. The scale is cinematic but the moves are precise deeds of art and stewardship.
Please note new street date: May 15. The artwork for TOPS' fourth LP sets the tone for the music enclosed. Inspired by the work of photographer Thomas Ruff, TOPS' vocalist Jane Penny stares bare-faced down the lens-simple and un-posed, yet striking with starkness and vulnerability. The image captures the fraught nature of being alive, which the 11 tracks on "I Feel Alive" explore. Penney's remarkably expressive voice is front and center. On this record more than any other, she sings with passion and energy, without sacrificing the honesty and introspection that gives her voice its depth. The songs cover a range of experiences but at its heart "I Feel Alive" is a record about resilience, the ways we can grow from for our pain and the strength that comes from learning to stand on your own as an individual. TOPS' trademark sound of beguiling melodies over soft-rock grooves, with touches of '80s sophisti-pop and a contemporary experimental palette is intact, but bolder and more expansive. The songs manage to be both immediately catchy and deceptively deep, with Penny's literary lyrics adding an extra dimension to the pure pop hooks. Satisfying yet far from predictable, this is a record to be savored, revealing itself slowly, gaining power and poignancy with each listen.
Please note new street date: May 15. The artwork for TOPS' fourth LP sets the tone for the music enclosed. Inspired by the work of photographer Thomas Ruff, TOPS' vocalist Jane Penny stares bare-faced down the lens-simple and un-posed, yet striking with starkness and vulnerability. The image captures the fraught nature of being alive, which the 11 tracks on "I Feel Alive" explore. Penney's remarkably expressive voice is front and center. On this record more than any other, she sings with passion and energy, without sacrificing the honesty and introspection that gives her voice its depth. The songs cover a range of experiences but at its heart "I Feel Alive" is a record about resilience, the ways we can grow from for our pain and the strength that comes from learning to stand on your own as an individual. TOPS' trademark sound of beguiling melodies over soft-rock grooves, with touches of '80s sophisti-pop and a contemporary experimental palette is intact, but bolder and more expansive. The songs manage to be both immediately catchy and deceptively deep, with Penny's literary lyrics adding an extra dimension to the pure pop hooks. Satisfying yet far from predictable, this is a record to be savored, revealing itself slowly, gaining power and poignancy with each listen.
Please note new street date: May 15. The artwork for TOPS' fourth LP sets the tone for the music enclosed. Inspired by the work of photographer Thomas Ruff, TOPS' vocalist Jane Penny stares bare-faced down the lens-simple and un-posed, yet striking with starkness and vulnerability. The image captures the fraught nature of being alive, which the 11 tracks on "I Feel Alive" explore. Penney's remarkably expressive voice is front and center. On this record more than any other, she sings with passion and energy, without sacrificing the honesty and introspection that gives her voice its depth. The songs cover a range of experiences but at its heart "I Feel Alive" is a record about resilience, the ways we can grow from for our pain and the strength that comes from learning to stand on your own as an individual. TOPS' trademark sound of beguiling melodies over soft-rock grooves, with touches of '80s sophisti-pop and a contemporary experimental palette is intact, but bolder and more expansive. The songs manage to be both immediately catchy and deceptively deep, with Penny's literary lyrics adding an extra dimension to the pure pop hooks. Satisfying yet far from predictable, this is a record to be savored, revealing itself slowly, gaining power and poignancy with each listen.
Please note new street date: May 15. Limited coloured vinyl edition. The artwork for TOPS' fourth LP sets the tone for the music enclosed. Inspired by the work of photographer Thomas Ruff, TOPS' vocalist Jane Penny stares bare-faced down the lens - simple and un-posed, yet striking with starkness and vulnerability. The image captures the fraught nature of being alive, which the 11 tracks on "I Feel Alive" explore. Penney's remarkably expressive voice is front and center. On this record more than any other, she sings with passion and energy, without sacrificing the honesty and introspection that gives her voice its depth. The songs cover a range of experiences but at its heart "I Feel Alive" is a record about resilience, the ways we can grow from for our pain and the strength that comes from learning to stand on your own as an individual. TOPS' trademark sound of beguiling melodies over soft-rock grooves, with touches of '80s sophisti-pop and a contemporary experimental palette is intact, but bolder and more expansive. The songs manage to be both immediately catchy and deceptively deep, with Penny's literary lyrics adding an extra dimension to the pure pop hooks. Satisfying yet far from predictable, this is a record to be savored, revealing itself slowly, gaining power and poignancy with each listen.
May 15 street date. Of all the words used to describe Western Addiction, "positive" feels the least fitting. After all, the San Francisco quintet plays decidedly aggressive West Coast hardcore topped by the scratchy yowl of vocalist Jason Hall. But "positive" appropriately describes the content of the group's third full-length. Yes, it's called "Frail Bray", and yes, song titles include "Utter Despair" and "Deranged By Grief". But the actual theme of the album more-so resembles hope and rejuvenation. Make no mistake: Western Addiction hasn’t gone sunshine and rainbows; "Frail Bray" remains as aggressive as its predecessors. Western Addiction's attack has grown more nuanced, and the album's 11 tracks show the band crafting songs that comfortably draw from a wide swath of rock 'n' roll while retaining punk's ferocity.
May 15 street date. Of all the words used to describe Western Addiction, "positive" feels the least fitting. After all, the San Francisco quintet plays decidedly aggressive West Coast hardcore topped by the scratchy yowl of vocalist Jason Hall. But "positive" appropriately describes the content of the group's third full-length. Yes, it's called "Frail Bray", and yes, song titles include "Utter Despair" and "Deranged By Grief". But the actual theme of the album more-so resembles hope and rejuvenation. Make no mistake: Western Addiction hasn’t gone sunshine and rainbows; "Frail Bray" remains as aggressive as its predecessors. Western Addiction's attack has grown more nuanced, and the album's 11 tracks show the band crafting songs that comfortably draw from a wide swath of rock 'n' roll while retaining punk's ferocity.
May 22 street date. Vocalist, multi-instrumentalist and sonic visionary Angel Deradoorian has never shied away from testing aural and conceptual boundaries in her work. Fusing elements of indie rock, world music, and dance rhythms, Deradoorian launched a solo career after making a name for herself collaborating with notable acts Dirty Projectors, Avey Tare of Animal Collective, and Flying Lotus. Deradoorian has released two full-length solo albums, Mind Raft in 2010 (Lovepump United) and The Expanding Flower Planet in 2015 (Anticon). Her music is a fusion of riveting vocals co-mingling with various of instruments – a true testament to an artist who found new depths both within herself and in her process through allowing herself to be driven entirely by instinct. Now signed with ANTI- records, Deradoorian is set to release her third album Find The Sun on May 22.
May 29 street date. Having disbanded in 1981, Buzzcocks regrouped in 1989 and began to work on a new album, resulting in a demo cassette circulated in 1991. Featuring early versions of tracks which would appear on later albums, and material which would not make it that far, this collection has remained unreleased until now. Released in association with the band, ‘The 1991 Demo Album’ is alive with the combination of punk energy and melodic and memorable songwriting the band's reputation is founded on, and is both a long-awaited treat for fans and an important document of the group's rebirth.
May 29 street date. Buzzcocks require no introduction (but you're getting one anyway!). Pivotal to the punk and post-punk DIY movements, the group, led by frontman Pete Shelley and co-conspirator Steve Diggle, brought an essential pop sensibility and sartorial style to the late 1970s and early 1980s. Having disbanded in 1981, the band re-grouped in 1989 and continue to write, record and perform to this day, despite the saddening and untimely loss of Pete Shelley in 2018. This handsome box set captures the eight albums and numerous singles the band produced with Shelley during a 23 year period, alongside previously unheard rarities, demos and outtakes. Packed with remarkable music, including excellent re-visits of much of their best loved material on ‘A Different Compilation’, ‘Sell You Everything’ showcases a longevity and a hunger rarely seen in a band now into their forty-second year.
Please note new street date: May 29. Salt Lake City's indie pop favorites Choir Boy return after four years with the release of their new cosmic album, "Gathering Swans". An emotionally powerful record, full of poignant heartbreak and gently steeped in pop nostalgia, Choir Boy push their distinctive sound further, while tenderly romancing the unsuspected. "Gathering Swans" builds upon Choir Boy's infectiousness with unique pop sensibilities and impeccable polish. The first single, "Complainer", demonstrates Adam Klopp's angelic voice effortlessly floating within the heart-wrenchingly somber melodies, that in a tender state, will surely render tears. Creative, sincere, passionate and glaring with intention, "Gathering Swans" paints a bright, hopeful, and deeply heartfelt image that will most assuredly attract anyone who accompanies Choir Boy upon their journey.
Please note new street date: May 29. Salt Lake City's indie pop favorites Choir Boy return after four years with the release of their new cosmic album, "Gathering Swans". An emotionally powerful record, full of poignant heartbreak and gently steeped in pop nostalgia, Choir Boy push their distinctive sound further, while tenderly romancing the unsuspected. "Gathering Swans" builds upon Choir Boy's infectiousness with unique pop sensibilities and impeccable polish. The first single, "Complainer", demonstrates Adam Klopp's angelic voice effortlessly floating within the heart-wrenchingly somber melodies, that in a tender state, will surely render tears. Creative, sincere, passionate and glaring with intention, "Gathering Swans" paints a bright, hopeful, and deeply heartfelt image that will most assuredly attract anyone who accompanies Choir Boy upon their journey.
Please note new street date: May 29. Limited baby blue with red splatter vinyl edition, exclusively available to independent shops. Salt Lake City's indie pop favorites Choir Boy return after four years with the release of their new cosmic album, "Gathering Swans". An emotionally powerful record, full of poignant heartbreak and gently steeped in pop nostalgia, Choir Boy push their distinctive sound further, while tenderly romancing the unsuspected. "Gathering Swans" builds upon Choir Boy's infectiousness with unique pop sensibilities and impeccable polish. The first single, "Complainer", demonstrates Adam Klopp's angelic voice effortlessly floating within the heart-wrenchingly somber melodies, that in a tender state, will surely render tears. Creative, sincere, passionate and glaring with intention, "Gathering Swans" paints a bright, hopeful, and deeply heartfelt image that will most assuredly attract anyone who accompanies Choir Boy upon their journey.
May 29 street date. Over the past couple of years while making their new album, Deerhoof have been asking themselves if there was any music they could create that expressed how our rapidly emerging future might actually feel. The band envisioned an album about people haunted by memory of a lost world and of every failed attempt to save it. People already living outside the system, already having practiced new ways of life required for survival - these hopeful heroes are Deerhoof's inspiration. These are the Future Teenage Cave Artists. Like a lot of the music they have released over the last quarter-century, the Deerhoof of "Future Teenage Cave Artists" (Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano) stitches together fragments of 'r&b' and 'classic rock' and transforms them into a new language of revolution, forgoing verse-chorus structures for dream logic and blind intuition. But what makes this album different is its intimacy - the blues riffs and slide guitars are joined by rusty pianos and whispered three-part harmonies. The album is borne of self-isolation and deprivation. It's the sound of a sparkling, manic musical intelligence being disconnected from a nourishing public and devouring itself inside its own cocoon, attempting metamorphosis.
May 29 street date. Over the past couple of years while making their new album, Deerhoof have been asking themselves if there was any music they could create that expressed how our rapidly emerging future might actually feel. The band envisioned an album about people haunted by memory of a lost world and of every failed attempt to save it. People already living outside the system, already having practiced new ways of life required for survival - these hopeful heroes are Deerhoof's inspiration. These are the Future Teenage Cave Artists. Like a lot of the music they have released over the last quarter-century, the Deerhoof of "Future Teenage Cave Artists" (Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano) stitches together fragments of 'r&b' and 'classic rock' and transforms them into a new language of revolution, forgoing verse-chorus structures for dream logic and blind intuition. But what makes this album different is its intimacy - the blues riffs and slide guitars are joined by rusty pianos and whispered three-part harmonies. The album is borne of self-isolation and deprivation. It's the sound of a sparkling, manic musical intelligence being disconnected from a nourishing public and devouring itself inside its own cocoon, attempting metamorphosis.
May 29 street date. Over the past couple of years while making their new album, Deerhoof have been asking themselves if there was any music they could create that expressed how our rapidly emerging future might actually feel. The band envisioned an album about people haunted by memory of a lost world and of every failed attempt to save it. People already living outside the system, already having practiced new ways of life required for survival - these hopeful heroes are Deerhoof's inspiration. These are the Future Teenage Cave Artists. Like a lot of the music they have released over the last quarter-century, the Deerhoof of "Future Teenage Cave Artists" (Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano) stitches together fragments of 'r&b' and 'classic rock' and transforms them into a new language of revolution, forgoing verse-chorus structures for dream logic and blind intuition. But what makes this album different is its intimacy - the blues riffs and slide guitars are joined by rusty pianos and whispered three-part harmonies. The album is borne of self-isolation and deprivation. It's the sound of a sparkling, manic musical intelligence being disconnected from a nourishing public and devouring itself inside its own cocoon, attempting metamorphosis.
May 29 street date. The buzz around CHRISTIAN LEE HUTSON started in earnest in 2018 after he began his collaborative friendship with singer Phoebe Bridgers. Hutson co-wrote songs with Bridgers for both the EP of supergroup boygenius ( ft. Julien Baker, Phoebe Bridgers, and Lucy Dacus) and her 2019 release with Conor Oberst, Better Oblivion Community Center. The emerging folk artist received further critical attention after Bridgers invited him to Eaux Claires Festival last July, where he performed a solo set and earned praise from festival host Bon Iver. Eventually, Bridgers asked if she could produce an album for him. Engineered and mixed by Joseph Lorge (Blake Mills, Perfume Genius), the forthcoming release also features contributions from Bright Eyes pianist Nathaniel Walcott. To merely call Christian Lee Hutson an old soul would be to deny the vibrancy of his sound. Hutson writes songs that the SF Bay Guardian describes as, ”... Foreboding, bluesy love ballads laden with longing nostalgia.” Hutson is an avid touring artist and his touring will take him to Austin this Spring for SXSW. For Fans of Phoebe Bridgers, Elliott Smith and Bright Eyes.
May 29 street date. The buzz around CHRISTIAN LEE HUTSON started in earnest in 2018 after he began his collaborative friendship with singer Phoebe Bridgers. Hutson co-wrote songs with Bridgers for both the EP of supergroup boygenius ( ft. Julien Baker, Phoebe Bridgers, and Lucy Dacus) and her 2019 release with Conor Oberst, Better Oblivion Community Center. The emerging folk artist received further critical attention after Bridgers invited him to Eaux Claires Festival last July, where he performed a solo set and earned praise from festival host Bon Iver. Eventually, Bridgers asked if she could produce an album for him. Engineered and mixed by Joseph Lorge (Blake Mills, Perfume Genius), the forthcoming release also features contributions from Bright Eyes pianist Nathaniel Walcott. To merely call Christian Lee Hutson an old soul would be to deny the vibrancy of his sound. Hutson writes songs that the SF Bay Guardian describes as, ”... Foreboding, bluesy love ballads laden with longing nostalgia.” Hutson is an avid touring artist and his touring will take him to Austin this Spring for SXSW. For Fans of Phoebe Bridgers, Elliott Smith and Bright Eyes.
May 29 street date. The buzz around CHRISTIAN LEE HUTSON started in earnest in 2018 after he began his collaborative friendship with singer Phoebe Bridgers. Hutson co-wrote songs with Bridgers for both the EP of supergroup boygenius ( ft. Julien Baker, Phoebe Bridgers, and Lucy Dacus) and her 2019 release with Conor Oberst, Better Oblivion Community Center. The emerging folk artist received further critical attention after Bridgers invited him to Eaux Claires Festival last July, where he performed a solo set and earned praise from festival host Bon Iver. Eventually, Bridgers asked if she could produce an album for him. Engineered and mixed by Joseph Lorge (Blake Mills, Perfume Genius), the forthcoming release also features contributions from Bright Eyes pianist Nathaniel Walcott. To merely call Christian Lee Hutson an old soul would be to deny the vibrancy of his sound. Hutson writes songs that the SF Bay Guardian describes as, ”... Foreboding, bluesy love ballads laden with longing nostalgia.” Hutson is an avid touring artist and his touring will take him to Austin this Spring for SXSW. For Fans of Phoebe Bridgers, Elliott Smith and Bright Eyes.
Please note new street date: May 29. Caleb Landry Jones' debut solo album is a sprawling psychedelic suite built from abrupt and disorienting detours and schizoid shifts of voice, its manic energy forever pulling the tablecloth out from under classic pop orchestration. One minute you're squarely in the realm of biographical fact and a moment later you're having a discussion about lucid dreaming and how Jones once punched up a dream set on a soccer field by willing himself to experience it from the POV of the ball. But maybe that's just another story about grabbing the wheel of your own hallucination; maybe this pertains to the music after all. What you can hear on this record are the marks left by conversion experiences, two in particular. First there’s Jones' formative encounter with the Beatles' "White Album", the Fabs record most obviously composed by four Beatles rowing in different directions, and the beginning of what Jones calls "this British Invasion of my soul", which is still ongoing. Second, there's Syd Barrett, cracked vessel of Pink Floyd's most intergalactic ambitions, and the "falling-down-the-stairs" quality of his solo work in particular.
Please note new street date: May 29. Caleb Landry Jones' debut solo album is a sprawling psychedelic suite built from abrupt and disorienting detours and schizoid shifts of voice, its manic energy forever pulling the tablecloth out from under classic pop orchestration. One minute you're squarely in the realm of biographical fact and a moment later you're having a discussion about lucid dreaming and how Jones once punched up a dream set on a soccer field by willing himself to experience it from the POV of the ball. But maybe that's just another story about grabbing the wheel of your own hallucination; maybe this pertains to the music after all. What you can hear on this record are the marks left by conversion experiences, two in particular. First there’s Jones' formative encounter with the Beatles' "White Album", the Fabs record most obviously composed by four Beatles rowing in different directions, and the beginning of what Jones calls "this British Invasion of my soul", which is still ongoing. Second, there's Syd Barrett, cracked vessel of Pink Floyd's most intergalactic ambitions, and the "falling-down-the-stairs" quality of his solo work in particular.
Please note new street date: May 29. Baby blue vinyl edition, limited to 1500 copies. Caleb Landry Jones' debut solo album is a sprawling psychedelic suite built from abrupt and disorienting detours and schizoid shifts of voice, its manic energy forever pulling the tablecloth out from under classic pop orchestration. One minute you're squarely in the realm of biographical fact and a moment later you're having a discussion about lucid dreaming and how Jones once punched up a dream set on a soccer field by willing himself to experience it from the POV of the ball. But maybe that's just another story about grabbing the wheel of your own hallucination; maybe this pertains to the music after all. What you can hear on this record are the marks left by conversion experiences, two in particular. First there’s Jones' formative encounter with the Beatles' "White Album", the Fabs record most obviously composed by four Beatles rowing in different directions, and the beginning of what Jones calls "this British Invasion of my soul", which is still ongoing. Second, there's Syd Barrett, cracked vessel of Pink Floyd's most intergalactic ambitions, and the "falling-down-the-stairs" quality of his solo work in particular.
May 29 street date. Pop Punk legends New Found Glory return with their 9th studio album, Forever and Ever x Infinity. Harking back to the days of Nothing Gold Can Stay and the band's self titled album, the record is full of fast, punk laced drums and the most emo of lyrics revolving around the ups and downs of falling in love. The band will be doing co-headline tour with Simple Plan in the Summer of 2020. For Fans Of: Blink 182, Yellowcard, Good Charlotte.
May 29 street date. Pop Punk legends New Found Glory return with their 9th studio album, Forever and Ever x Infinity. Harking back to the days of Nothing Gold Can Stay and the band's self titled album, the record is full of fast, punk laced drums and the most emo of lyrics revolving around the ups and downs of falling in love. The band will be doing co-headline tour with Simple Plan in the Summer of 2020. For Fans Of: Blink 182, Yellowcard, Good Charlotte.
Please note new street date: June 5. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With "Adult Themes", El Michels Affair has created a "choose your own adventure" in musical form. "Adult Themes" marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017, in between producing, playing, and recording on other artists' records, Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of 1960s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental/orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes".
Please note new street date: June 5. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With "Adult Themes", El Michels Affair has created a "choose your own adventure" in musical form. "Adult Themes" marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017, in between producing, playing, and recording on other artists' records, Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of 1960s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental/orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes".
Please note new street date: June 5. Limited opaque white vinyl edition. One of the beautiful things about instrumental music is that the listener can decide what the narrative is. With "Adult Themes", El Michels Affair has created a "choose your own adventure" in musical form. "Adult Themes" marks the long awaited, highly anticipated return to an album of original compositions from El Michels Affair. In 2017, in between producing, playing, and recording on other artists' records, Leon Michels began creating compilations of short interludes intended to be sampled by hip hop producers. Some of these wound up becoming songs by Jay Z & Beyonce, Travis Scott, and Don Toliver. These minute-long snippets were inspired by the dense moody work of 1960s composers like David Axelrod, and Francois de Roubaix, as well as Moondog's brand of classical jazz. Michels was having so much fun creating these instrumental/orchestral nuggets that he decided to expand on some of the ideas and create what would become the soundtrack for a movie that has yet to be made, an imaginary film entitled "Adult Themes".
Please note new street date: June 12. From Shrine to Stax, Isaac Hayes to Gloria Ann Taylor, The Mad Lads to The Staple Singers, Detroit to Atlanta, Kendrick to Pusha-T, Dale Warren's singular voice is the lone constant. Beneath the ethereal beauty of his productions was a genius crippled by his unbridled id. His ever-evolving 24-Carat Black project spanned the 1970s, producing a masterpiece and an unfinished follow up. Discovered in a storage space were Warren's 1980s demos cut with grown 'n' sexy divas Princess Hearn, Vicki Gray, and LaRhonda LeGette right before his untimely death at the age of 50. "III" is an unfinished symphony that peels away the final layer of Dale Warren's mysterious oeuvre.
Please note new street date: June 12. Music from the film "Girl On The Third Floor"; "creepy instrumental music" as described by co-creator Steve Albini. When director Travis Stevens called about composing music for his new horror film, Steve Albini (Shellac) found himself with a new creative challenge. After meeting with Stevens and Greg Newman from Queensbury Pictures, Steve signed on and recruited Tim Midyett (Mint Mile, Silkworm) and Alison Chesley (Helen Money) to complete the ensemble that would compose and record the soundtrack. Upon completion of the soundtrack, Albini reflected, "Tim and Alison are a joy to work with, very open-minded and eager, and master musicians. Just great. That whole part of it, writing and playing with them, was fucking fantastic and effortless, and I wish I could do it all the time".
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 !!!.
Please note new street date: June 12. Clear with red coloured vinyl edtion. Music from the film "Girl On The Third Floor"; "creepy instrumental music" as described by co-creator Steve Albini. When director Travis Stevens called about composing music for his new horror film, Steve Albini (Shellac) found himself with a new creative challenge. After meeting with Stevens and Greg Newman from Queensbury Pictures, Steve signed on and recruited Tim Midyett (Mint Mile, Silkworm) and Alison Chesley (Helen Money) to complete the ensemble that would compose and record the soundtrack. Upon completion of the soundtrack, Albini reflected, "Tim and Alison are a joy to work with, very open-minded and eager, and master musicians. Just great. That whole part of it, writing and playing with them, was fucking fantastic and effortless, and I wish I could do it all the time".
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 !!!.
Please note new street date: June 12. Pearlescent platinum coloured vinyl edition, limited to 1000 copies. Marking their 20th year as a band, Maserati returns with their first new album in five years. Produced by the band and mixed by Grammy-winning producer John Congleton (Explosions In The Sky, Swans, Angel Olsen), "Enter The Mirror" is Maserati's most compelling mélange of triumphant guitar hooks, abstract synth-pop, and Wax Trax-inspired noise anthems. The gated drums of Phil Collins and chorus-drenched guitars of INXS were prominent influences on "Enter The Mirror", paired to magnificent effect with the increasingly dystopian lyrical themes. In addition to longtime members Coley Dennis, Matt Cherry, Chris McNeal, and Mike Albanese, Maserati are joined by friends and collaborators, Bill Berry (R.E.M.), Owen Lange, and Alfredo Lapuz Jr. "Enter The Mirror" is Maserati's most efficient and cohesive album, and a monumental accomplishment for a band who have weathered many storms throughout their first two decades.
Please note new street date: June 12. Marking their 20th year as a band, Maserati returns with their first new album in five years. Produced by the band and mixed by Grammy-winning producer John Congleton (Explosions In The Sky, Swans, Angel Olsen), "Enter The Mirror" is Maserati's most compelling mélange of triumphant guitar hooks, abstract synth-pop, and Wax Trax-inspired noise anthems. The gated drums of Phil Collins and chorus-drenched guitars of INXS were prominent influences on "Enter The Mirror", paired to magnificent effect with the increasingly dystopian lyrical themes. In addition to longtime members Coley Dennis, Matt Cherry, Chris McNeal, and Mike Albanese, Maserati are joined by friends and collaborators, Bill Berry (R.E.M.), Owen Lange, and Alfredo Lapuz Jr. "Enter The Mirror" is Maserati's most efficient and cohesive album, and a monumental accomplishment for a band who have weathered many storms throughout their first two decades.
Please note new street date: June 12. Marking their 20th year as a band, Maserati returns with their first new album in five years. Produced by the band and mixed by Grammy-winning producer John Congleton (Explosions In The Sky, Swans, Angel Olsen), "Enter The Mirror" is Maserati's most compelling mélange of triumphant guitar hooks, abstract synth-pop, and Wax Trax-inspired noise anthems. The gated drums of Phil Collins and chorus-drenched guitars of INXS were prominent influences on "Enter The Mirror", paired to magnificent effect with the increasingly dystopian lyrical themes. In addition to longtime members Coley Dennis, Matt Cherry, Chris McNeal, and Mike Albanese, Maserati are joined by friends and collaborators, Bill Berry (R.E.M.), Owen Lange, and Alfredo Lapuz Jr. "Enter The Mirror" is Maserati's most efficient and cohesive album, and a monumental accomplishment for a band who have weathered many storms throughout their first two decades.
Please note: new street date is June 12. Now available for the first time on vinyl since its original release in 1999 on Rawkus Records, Trescadecaphobia brings you the CLASSIC LP from Pharoahe Monch "Internal Affairs". Featuring production from DJ Scratch, Diamond D, and The Alchemist with verses from Canibus, M.O.P., Busta Rhymes, Common, and Talib Kweli.
June 20 RSD Street date. Limited-edition pressing of Archers of Loaf ’s “Raleigh Days”—the first new original song by the band in over 20 years—and a searing cover of the Rolling Stones’ “Street Fighting Man” as the B-side. Cover art designed by Jay Ryan. Record Store Day exclusive! 7-inch pressing limited to 1100 for the world. Pressed at Kindercore.
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
June 20 RSD street date. BAYSIDE has always focused on creating songs that are relevant to people who want substance, rather than being relegated to one genre. With Interrobang, the band has put together an eclectic, inspiring, and bold collection of songs. Raneri shares, “Love it or hate it, we wanted the record to invoke something in people. We said with this record we either wanted to create something great or fall on our faces. Negative or positive, we just didn’t want the record to be ‘fine.’” While many bands would coast on their past success, BAYSIDE rejects the premise and proves with Interrobang, that the best is yet to come. This 7” is a record store day exclusive with Bayside’s song “Heaven,” off of their latest album “Interrobang,” b/w an unreleased acoustic version. For Fans Of: Alkaline Trio, The Menzingers, Taking Back Sunday
June 20th street date. Originally pressed as a four track promo 12” in 1995, and again as a five track CD for the US market in2000, this is the first time all five Charlatans’ Chemical Brothers remixes have been available together on vinyl. The remix of “Patrol” was originally released as a b-side of the “Jesus Hairdo” single in 1994, whilst “Nine Acre Dust” and “Chemical Risk Dub” appeared on the “Just When You’re Thinking Things Over” single in 1995. Available for Record Store 2020 on translucent yellow vinyl. “With a staggering, psychedelic 12-gun salute that is the "Nine Acre Dust" remix, hoarse, punch-drunk dance detonations are everywhere.” - All Music
June 20 RSD street date. Mikal Cronin experienced a creativity boom in late 2018/early 2019, inspired in part by the massive wildfires in Southern California. Forced to evacuate from the Idyllwild cabin where he’d been writing songs, Cronin returned to Los Angeles ready to make something. In fact, he recorded two albums: Seeker, released in October 2019, and its electronic counterpart Switched-On Seeker, out April 18, 2020, aka Record Store Day. The idea for Switched-On Seeker, whose title was inspired by a series of early electronic music records by Wendy Carlos playing classical music on an early Moog system, arose from Cronin’s interest in synths and electronic music, and he set out to rerecord the songs of Seeker track by track using only his voice and a collection of synthesizers and drum machines. Alone in his garage, Cronin made the album with a variety of synths including Arturia DrumBrute, Moog Sub 37, Moog Mother-32, Hohner String Performer, Mellotron, Omnichord, various little Casios, Roland SH-01A, Korg R3, and classic drum machine samples. While the overarching theme of destruction and rebirth unites Seeker and Switched-On Seeker, everything else about these two albums is different. Experience your favorite songs from Seeker in a whole new way on this Record Store Day exclusive LP!
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
June 20 Record Store Day street date. Green Colored 180 Gram Vinyl + Download card. Pre-GWAR mayhem. This is the band that started it all. Before Oderus Urungus, Dave Brockie fronted Richmond VA art-punk weirdos, Death Piggy. First American vinyl pressing in over 30 years. All 3 of their EPs are combined with unreleased and compilation tracks on 180 gram vinyl with experimental etchings, remastered from the original tapes and with liner notes written by the band's guitarist Russ Bahorsky. BONUS Download: 20 minute never before heard live improv acoustic set from 1984, recorded as the band surprised business owners and pedestrians on the street with an impromptu performance. https://youtu.be/dXnHC2oRW6A
June 20 - RECORD STORE DAY - street date. Mardi gras splatter coloured vinyl edition. Arriving on the heels of the socially conscious "Babylon", Dr. John's 1970 album "Remedies" marked his third studio release under his eccentric, voodoo-inspired "Night Tripper" persona, and his first not to be produced by Harold Bapttiste, instead turning to famed rock producer Tom Dowd. Featuring a psychedelic and progressive take on Dr. John's signature style of swampy, hazy New Orleans boogie-woogie rock, undoubtedly inspired by his then recent stint in a psych ward.
June 20 Record Store Day street date. Back by overwhelming popular demand, the critically acclaimed 2016 Resonance release by jazz piano icon Bill Evans, Some Other Time: The Lost Session from the Black Forest, is available once again as a deluxe, exclusive Record Store Day limited-edition (of 6,000 copies worldwide) 180gram 2LP 2nd pressing newly-remastered by renowned engineer Kevin Gray at Cohearent Audio, cut at 33 1/3 RPM and pressed by RTI. This studio album features bassist Eddie Gomez and drummer Jack DeJohnette, recorded by legendary engineer/producer Hans Georg Brunner-Schwer at MPS Studios in Villingen, Germany on June 20, 1968, only five days after the trio's tour de force live performance at the Montreux Jazz Festival. The extensive LP insert includes essays by the acclaimed author Marc Myers and MPS studios engineer and studio manager Friedhelm Schulz; interviews with Eddie Gomez and Jack DeJohnette; plus previously unpublished photos by David Redfern, Giuseppe Pino, Jan Persson, and Hans Harzheim, including images taken at the actual June 20th session by German Hasenfratz.
June 20 - RECORD STORE DAY - street date. We are proud to present the instrumental version of "The Tales People Tell", showcasing Kelly Finnigan's superior production and arrangement talents. His debut solo album for Colemine Records represents the culmination of his 15 years of experience - in the studio as a songwriter, multi-instrumentalist, engineer, producer - and touring the US and Europe as a singer, musician, and band-leader. The content within reflects his dedication to expression through the rich American music traditions of soul, gospel, doo-wop, and R&B. With Finnigan guiding these songs from their conception all the way to the record pressing plant, the new release provides the singular voice missing from soul music: a visionary that writes, records, performs and produces his own material.
June 20 - RECORD STORE DAY - street date. This single LP version of "Piñata", the acclaimed rap album from 2014, is presented in a unique cover for RSD 2020. The cover is a collaboration between Jeff Jank and Pathetic Pixels with inspiration found in the unique graphics and content of 1970s Blaxploitation films. Piñata is "a gangster Blaxploitation film on wax", says Gibbs, who came up on the streets of Gary, Indiana, the disregarded city previously best known for producing Michael Jackson. Here he is joined by Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul and a host of others in setting his soliloquies of the streets alongside film snippets and dusted funk, soul and prog musical tapestries. This version of "Piñata" comes on the heels of the 2019 release of the duo's acclaimed album "Bandana", named album of the year by Hypebeast, Rap Caviar, and many others, and is a welcome reminder of the undeniable musical chemistry that first catalyzed 6 years ago, elevating Freddie Gibbs and Madlib to the upper echelon of the genre's teams.
June 20th street date. In November 2019, Girl Band played back to back sold out shows at Dublin’s iconic Vicar Street, this wasfollowing the release of long awaited second album ‘The Talkies’ hailed as ‘more abstract and more focused than their debut’ and a sold out East coast U.S & European tour. Recognised for their ferocious live shows which have been described as chaotic, electrifying and ‘genuinely dangerous, like one last rave before the apocalypse’, these shows were highly intimate and intensely sought after creating an air of ‘you had to be there’. This is their first ever Live vinyl and features tracks from their whole repertoire, some of which have only been performed a handful of times.
June 20 Record Store Day street date. We are pleased to announce a new vinyl pressing of the classic Guided By Voices album, Vampire on Titus. Although there were several different pressings in the 1990s, this is the first since 1998. This edition features a new master cut at Golden, is packaged in a sturdy tip-on jacket, and includes Bob's original insert, now enlarged to a more readable size. A limited RSD quantity will be available on opaque yellow vinyl (with a standard black edition forthcoming). Originally released in 1993, Vampire was not unique at that time in its 4 track recording methodology, but it was perhaps the first to garner major media attention. Many minds were blown, and a few were baffled enough to return the album to the store, believing the crude sound meant their copy was defective.
June 20 RSD Street date. LIMITED Fluorescent Orange colored vinyl exclusive to RSD Packaging: Direct-to-board LP jacket, 180g vinyl. Jalacy J. Hawkins, better known as Screamin' Jay Hawkins, was born on July 18, 1929 in Cleveland, Ohio. As a young man, he played piano, boxed in local championships and learned opera at the Ohio Conservatory of Music. Although initially pursuing opera after returning from serving in World War II, Hawkins eventually sharpened his focus on the darker side of R&B and jazz, using macabre stage props, absolute wildman persona and expert voice imitating the blare and squeal of saxophones. His most notable chart-topper was the boozy, raucous 1956 hit ''I Put A Spell On You,'' which was banned by many radio stations for its suggestive groans and grunts. All things considered, Screamin' Jay Hawkins is considered one of the earliest pioneers of what would become shock rock. Recorded in 1969, years following his big hits, Screamin' Jay Hawkins' third album What That Is! showcases Hawkins in one of his most rowdy and compelling stages of his artistic career. With a killer backing band featuring the great Earl Palmer on drums for most of the cuts and Herb Ellis guesting on a few. We find Jay singing about life, love and loss as well as feasting Mau Maus and pain, REAL PAIN.
June 20 RSD Street date. LIMITED Opaque White/Blue Mixed colored vinyl exclusive to RSD. Packaging: Direct-to-board LP jacket, 180g vinyl. Jalacy J. Hawkins, better known as Screamin' Jay Hawkins, was born on July 18, 1929 in Cleveland, Ohio. As a young man, he played piano, boxed in local championships and learned opera at the Ohio Conservatory of Music. Although initially pursuing opera after returning from serving in World War II, Hawkins eventually sharpened his focus on the darker side of R&B and jazz, using macabre stage props, absolute wildman persona and expert voice imitating the blare and squeal of saxophones. His most notable chart-topper was the boozy, raucous 1956 hit ''I Put A Spell On You,'' which was banned by many radio stations for its suggestive groans and grunts. All things considered, Screamin' Jay Hawkins is considered one of the earliest pioneers of what would become shock rock. Recorded in 1970, Hawkins' fourth album finds the artist at a point of transition. Although Jay had found commercial success and his sales surpassed one million units, he had grown somewhat weary of his shock/voodoo/bogeyman persona and wanted to be taken more seriously as a singer. Luckily for us, Jay only tones down the yelling and the crooning and the grunting and the groaning marginally. The tracks here are every bit as wild as you would hope and a bit more mature (note: a very little bit). Because Is In Your Mind, also known as Armpitrubber, is packaged in a wonderfully psychedelic painting by Karl Wirsom of the hugely influential Chicago art collective The Hairy Who.
June 20 street date - Record Store Day. Following a tour up and down the East Coast in the winter months of 2019, M.C. Taylor joined the Spacebomb family in Richmond, VA, to record new interpretations of two Hiss Golden Messenger favorites: “Cat’s Eye Blue” and “Standing in the Doorway.” In Taylor’s own word:, “Spacebomb specializes in a maximal rhythm that speaks to me both as a fan and maker of music. I’m always honored to create with them.”
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
June 20 Record Store Day street date. Once Upon A Time: The Lost 1965 New York Studio Sessions is a previously-unissued release of studio recordings from pianist Bob James captured with no audience at Wollman Auditorium at Columbia University in New York City in 1965 by Resonance founder and co-president George Klabin. This limited-edition (of 5,000 copies worldwide) 180g LP features James in two different trio settings — one from January 20, 1965 with bassist Larry Rockwell and drummer Bob Pozar, and one from October 9, 1965 with bassist Bill Wood and drummer Omar Clay — performing a mix of jazz standards and original compositions. The title track "Once Upon A Time" was named by James as an homage to the ONCE Festival of New Music in Ann Arbor, MI which ran from 1961-1966 and holds a special place in his early musical career. The deluxe gatefold set includes an extensive booklet with essays by jazz writer Mark Stryker (Jazz from Detroit) and engineer George Klabin; new interviews with Bob James and Makoto Ozone, and a 2011 interview with Bob Pozar by Hank Shteamer (Rolling Stone); plus rare archival photographs by Tom Copi. Mastered by Bernie Grundman, cut at 33 1/3 RPM and pressed by RTI.
June 20 - RECORD STORE DAY - street date. Glacial blue vinyl edition, limited to 2000 copies worldwide. Unavailable on vinyl for almost 20 years! After forming in November of 1994 while living in different cities, June Of 44 recorded their debut album, "Engine Takes To The Water" in four days during December of 1994. The result is a record that leaves us all treasures like the tooth fairy, releases our internal monsters, and takes them away like garbage men just doing their jobs.
June 20 - RECORD STORE DAY - street date. Limited edition RSD exclusive on glacial blue vinyl, limited to 2000 copies worldwide. Originally released in 1996, June of 44's second album is a long nautical mile from their debut album, 1995's "Engine Takes To The Water". Recorded at Chicago Recording Studio and Idful Recording and produced by Bob Weston (Shellac, Mission of Burma), "Tropics And Meridians" is a collection of rhythmic phrases meant to be perfumed of whatever the listener would like them to be. The music veers from the subtly lilting and melodic to the fierce and abrasive, often with the space of a few bars. Rollicking on the high seas, but then slowing down to float on a glass-like waterbed, the band bring us their unique brand of the quiet storm, set to music of course.
June 20 - RECORD STORE DAY - street date. "Mingus Ah Um", Charles Mingus's 1959 debut for Columbia, is one of the most consequential albums in jazz or any other genre. The release is part of the Library of Congress National Recording Registry and has been inducted into the Grammy Hall of Fame. The release is packed with classics and is a best-selling release to this day. For Record Store Day 2020, Get On Down presents "Mingus Ah Um Redux", the full record as you know and love it with a second LP featuring alternate takes from the session, previously unreleased on vinyl.
June 20 - RECORD STORE DAY - street date. "Paris was the first city to really get behind my career as a solo artist. From the first time I played there in 2014 til now, it's always had an extra spark of magic to it. It's always the stop I look forward to the most on my European tours as the audience comes with a very unique and kinetic energy, and because of this, so does the band. I had wanted to document this reciprocating fever between us and the crowd for some time now and saw our sold out show at the beautiful Cabaret Sauvage as the perfect time to do so. I also knew I needed to document a night with my new band, the OH MY GOD Band, which is made up of some of the most talented and tasteful musicians on the planet. And so here and now, in this recording, I have captured the best band I've ever played with as well as one of the best crowds I've ever played for - all together on a very sweaty night beneath a carnival tent in Paris" - Kevin Morby.
June 20 - RECORD STORE DAY - street date. "God's Son" was released in December of 2002, and like "Stillmatic" before it, was subject to major critical acclaim. On "God's Son", Nas effectively took the battle-hardened demeanor he had cultivated and tore it down across 14 tracks that were emotionally insular, though still dusted in urban grit, and still finding time to shoot back at Jay-Z's potshots on tracks like "Last Real Nigga Alive" and "Mastermind." Assisting Nas was a slew of top-tier producers like The Alchemist, Eminem, Ron Browz, and Salaam Remi, over samples of James Brown, the Incredible Bongo Band, Fela Kuti, and Beethoven, and guest vocals from Alicia Keys, Kelis, Claudette Ortiz of City High, and even a posthumous 2Pac. "God's Son" has been out of print on vinyl since its initial 2002 release, but Get On Down is excited to bring you this deluxe LP package for Record Store Day 2020, remastered from its original audio and pressed on exclusive blue and white swirl coloured vinyl!
June 20 - RECORD STORE DAY - street date. Limited neon purple vinyl edition. "The OF Tape Vol. 2" is the 2012 debut studio album by left-field hip hop collective Odd Future, whose members include recent Grammy winners Tyler, The Creator and Frank Ocean plus lesser-known-but-equally-odd associates Hodgy Beats, Domo Genesis, Mike G, The Internet, Taco, Jasper Dolphin, Left Brain, L-Boy, and Earl Sweatshirt. Production on the album was primarily handled by Left Brain and Tyler, the Creator, with Frank Ocean, Hal Williams and Matt Martians also receiving production credits. The album peaked at number 5 on the US Billboard 200. Long sought after by vinyl and hip hop collectors, Get On Down proudly reissues this masterpiece in two unique Record Jackets, and on two distinct colored vinyl configurations: the first cover featuring a ‘collage face’, pressed on neon purple vinyl, the second featuring a photo of Lucas Vercetti, a close OF associate, and pressed on neon pink vinyl.
June 20 - RECORD STORE DAY - street date. Limited neon pink vinyl edition. "The OF Tape Vol. 2" is the 2012 debut studio album by left-field hip hop collective Odd Future, whose members include recent Grammy winners Tyler, The Creator and Frank Ocean plus lesser-known-but-equally-odd associates Hodgy Beats, Domo Genesis, Mike G, The Internet, Taco, Jasper Dolphin, Left Brain, L-Boy, and Earl Sweatshirt. Production on the album was primarily handled by Left Brain and Tyler, the Creator, with Frank Ocean, Hal Williams and Matt Martians also receiving production credits. The album peaked at number 5 on the US Billboard 200. Long sought after by vinyl and hip hop collectors, Get On Down proudly reissues this masterpiece in two unique Record Jackets, and on two distinct colored vinyl configurations: the first cover featuring a ‘collage face’, pressed on neon purple vinyl, the second featuring a photo of Lucas Vercetti, a close OF associate, and pressed on neon pink vinyl.
June 20 street date. * Record Store Day 2020 will see 4AD press the Pale Saints singles compilation Mrs. Dolphin on vinyl for the very first time. Previously only available on CD in Japan and released in 1991, Mrs. Dolphin rounds up the tracks from both early 4AD Eps Barging Into The Presence Of God and Half- Life, plus another that featured on the 1990 Melody Maker compilation Gigantic! 2 and ‘The Colour Of The Sky’, a track exclusive to this release that has, until now, been unavailable on vinyl. Coming hot on the heels of the 30th Anniversary deluxe edition of their debut album, The Comforts of Madness, the sleeve for Mrs. Dolphin has been reconfigured by Timothy O’Donnell with collaborator Roy Burns III, who have based their new design on the original CD art whilst also incorporating new photography by Dominic Davies. Pressed on 140g green marbled vinyl, this new edition pays further homage to its roots as it has an obi strip for the tracklisting and will come housed in a Japanese-style mylar bag. This release is exclusive to independent record stores via Record Store Day, which takes place this year on April 18th.
June 20 street date. “Early in 2016 Ali Chant texted me, asking if I still wanted to record some stuff at his studio - as propertydevelopers were about to knock it down. Another creative space bulldozed away for capital gain. Politically it was a shit year. The noise building for the Brexit referendum that would fuck with the future of the young was in full swing. Bowie died, and on the morning of the first recordings I had the worst migraine. I left the building and threw up in the street. I wanted to commit to the lyrics and sing live so I think I was stressed about getting them ready to sing. I had a batch of songs I wanted to record but I didn’t have a record label or any plans of what to do with them. I gathered incredible musicians from my square mile in Cardiff in the van and drove to Bristol. Kliph on drums, Steve on bass and Osian on piano. I sang and played guitar - We recorded live takes for 3 days then I sat on the songs for almost 2 years. Eventually handing them to composer Stephen McNeff to work on orchestral arrangements. I called the album that was mixed by Samur Kouja; Babelsberg - and I’m very happy with it. This album meanwhile is an exploration of how it came to be - and the songs in their raw state. A companion piece rather than the definitive article. Most tracks are similar to the final work except for Selfies in The Sunset which is pre-duet and much longer. I’m very grateful to Lisa Jen and Mirain Haf from the band 9 Bach for singing the background vocals. Kliph for overseeing this project, Rough Trade for their enthusiasm and thanks to the designers; thanks Uno Moralez for agreeing to have his incredible Babelsberg sleeve illustration carved up, and ace designer Mark James for this final article. Further thanks to Ali, Steve, Osian and also to Robin Turner for lending his ear at the time.” - Gruff
June 20 - RECORD STORE DAY - street date. Pete Rock is widely recognized as one of the greatest hip hop producers of all time. His name is oft included in the pantheon of the greatest, alongside DJ Premier, RZA and J Dilla. In addition, Pete has one of the world's most extensive vinyl collections, the sort of collection whose size can only be estimated - and that estimate stands in excess of 100,000 LPs. Among his best-selling releases are a pair of genre defining instrumental projects, "PeteStrumentals" and "PeteStrumentals 2". On Record Store Day 2020, Rock's own Tru Soul imprint turns the series into a trilogy with the release of the all new "PeteStrumentals 3"!
June 20 - RECORD STORE DAY - street date. Limited edition clear vinyl, with exclusive glow-in-the-dark Slint turntable slip mat and full colour Euro-style inner sleeve. Sounding more "in your face" (think "Nosferatu Man") than the final 1991 "Spiderland" LP mixes, these original mixes were mastered by Bob Weston of Chicago Mastering Service at 45 rpm for optimum fidelity. Feel the hot kick of Britt's drum, the down and dirty rumble of Todd's bass, the special sizzle of Dave's guitar, and the meaty chunk of Brian's guitar (he sings too) - stronger, louder, and differenter than you’ve ever heard them before. Limited to 2500 copies worldwide.
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 !!!.
June 20 street date. "DANCING ON THE PEOPLE” EP (with three bonus tracks) is a collection of songs in English, Portuguese, and Spanish that expand Sofi Tukker’s global and inclusive vision of dance music with songs full of adventurous ideas and joy. Issued as a digital only release on September 20th, this is first time vinyl release of the EP and for the bonus tracks as well, which includes their collaboration with ZHU "Mi Rumba", and EP track remixes by Mahmut Orhan & R3HAB. SOFI TUKKER is the genre-defying duo of Sophie Hawley-Weld and Tucker Halpern celebrated for their inclusive and global perspective on electronic music and their work's themes of liberation, unity, and self-empowerment. Their debut single "Drinkee" was nominated for a Best Dance Recording Grammy,® which was followed by a Best Dance/Electronic Album Grammy® nomination for their debut album Treehouse. SOFI TUKKER's records have achieved Gold or Platinum status on every continent other than Antarctica. Their electric and energetic live show has sold out venues and graced major festival stages across the planet, and SOFI TUKKER has also performed on major TV shows such as The Tonight Show Starring Jimmy Fallon (USA), X-Factor (Italy), Sunday Brunch (UK), Late Show (Russia) and BuzzRhythm (Japan). SOFI TUKKER are also passionate activists who have raised funds and awareness for Planned Parenthood, The Trevor Project, and the March for Our Lives.
June 20 street date. 4AD presents a special SOHN release for Record Store Day 2020. Late last year the British producer and songwriter shared the stage with the Grammy-winning Metropole Orkest and conductor Hans Ek for the opening night of Amsterdam Dance Event. Combining SOHN’s signature glacial electronics with the 54 person-strong orchestra, the one-off live performance at celebrated Dutch venue Melkweg brought to life his best-known songs such as ‘The Wheel’, ‘Conrad’ and ‘Artifice’. SOHN says, “It was an incredible opportunity to work with the Metropole on sculpting a very special evening in Amsterdam - the arrangements elevated the songs to another dimension, and luckily we recorded it all…. The album ended up being more than just a live record to me, it’s somehow a hybrid of dry electronics and rich orchestration and I’m very proud of how it turned out.”
June 20 - RECORD STORE DAY - street date. Soundtrack to David Lynch's 1984 cult film "Dune", composed by Toto and Brian Eno. Sourced from the original master tapes and pressed on spice coloured vinyl, with a 24" x 24" full colour poster. Audiophile pressing at RTI. Limited to 2000 copies.
June 20 street date. All the Weird Kids Up Front (More Best of Spoon) is a fan-selected companion piece to Everything Hits At Once: The Best of Spoon. With a tracklist submitted by and voted on by fans, it features deep cuts from the Austin, TX band's 25-year history. Recent features and performances include PBS Newshour, The Howard Stern Show, Jimmy Kimmel Live, Pitchfork Live and more. Package includes obi strip and is limited to a run of 3,000 copies worldwide. “Spoon have long been one of the most reliably great rock bands to emerge from the early Aughts indie boom. Their secret weapon has always been their restraint — riffs that simmer but don’t boil, lyrics about cautious hope, air-tight production that plays up their musical economy. It’s what makes you want to hear more of them. It has led them to masterpieces like “The Way We Get By,” a piano-driven declaration of desperation, and the dusky title track of this compilation here, “Everything Hits at Once.” - Rolling Stone
June 20 street date. Originally released in 1984, ‘Pop’ is the only studio album from Tones On Tail, which was a side project of Bauhaus members Daniel Ash and Kevin Haskins along with Glenn Campling. It’s been out of print since the original pressing. This Record Store Day exclusive edition has revised artwork with silver foil text on the cover. The audio was cut from the original analog master. “The trio's one actual album is an impressive, wide-ranging effort collaging a range of influences into an inspired, often unpredictable experience. Ash, with his breathy purrs and slinky all-around singing, works absolute magic on the quieter numbers” - All Music
June 20 - RECORD STORE DAY - street date. A glimpse into Wire's working practises. When Wire play live there are different 3 classes of pieces that are performed, new songs, old songs and "new old" songs. The latter often involves taking something that existed on a previous release and re-working it, very often evolving a stage highlight from it. There are also pieces that have never seen a major release but for some reason never fitted on an album. The best of these ideas have been recorded in 2 sessions - one relating to "Red Barked Tree" but recorded in 2010 and another relating to Wire's latest album "Mind Hive" released in 2020. Incidentally celebrating the decade Matt Simms has been with the band, the album divides in to two halves - the 2010 side and the 2020 side - hence the title.
June 20 street date. “It is a great joy for all those involved that this imperfect circle is now complete and the unfinished noise we made so long ago, can now be pored over by those few rememberers who care enough to sit down and listen.” The Wolfgang Press Record Store Day 2020 brings a surprise in the form of Unremembered, Remembered, a six-track mini-album of previously unheard material by The Wolfgang Press; recorded between 1996 and 1997 when the band had become the duo of Andrew Gray and Mick Allen. Writing and recording in East London against a backdrop of economic uncertainty, the Brixton riots, Rosemary West’s trial, the Dunblane Massacre, the IRA docklands bombing and Take That splitting, all of which proved good material to be plundered by the band. However, with them deciding to call it a day shortly after recording these demos, everything was shelved then forgotten. Having recently rediscovered the tapes, they’ve since mastered them at Abbey Road to create Unremembered, Remembered, which will be heard for the first time by the public this Record Store Day (April 18th). Working with long-time 4AD collaborator Chris Bigg on the design, the sleeve features metallic ink with the record itself being pressed on 140g transparent red vinyl.
Please note new street date: June 26. In 2011, Benjamin John Power (Fuck Buttons) released his first solo album as Blanck Mass on Rock Action Records. The vinyl went out of print shortly thereafter and has been largely unavailable ever since. Now, nine years later, Sacred Bones Records is honoured to put it back in print. The album, a collection of tracks loosely themed around cerebral hypoxia and the beautiful complexity of the natural world, features ten songs which were written, recorded and self-produced at home in London between Summer and Winter 2010. An interstellar journey that defies classification, revealing itself further and further with each listen; offering more with each visit. Its paradoxically claustrophobic-but-liberating warmth is brought about through a heavy, shimmering, orchestral, electric guitar prominence on the record, alongside manipulated field recordings, warm analogue synth, heavy sub and deep drone, a palette of sounds as wide and emotional as the world Blanck Mass sees before him.
August 21 street date. 25th anniversary vinyl edition of Guided By Voices' 1995 album "Alien Lanes". Inspired by the multicoloured drumhead featured on the album's artwork, this new edition is pressed on blue, green and red multicolored vinyl, making it the first non-exclusive colour vinyl edition of this release. Originally released on April 4, 1995, "Alien Lanes" served as the first Guided by Voices album to be released on Matador Records. "We were fearless at the time we recorded "Alien Lanes". That's why it bristles with insane energy and confidence.... we were proud to be putting out our first album on Matador and cock strutted accordingly. It cost us $10 to make. It's worth a million....God bless 1995 and open hearted record labels like Matador (and Scat before them) for allowing bands like us, with the preferred limited resources, to remove the constraints and pre-conceived notions of the more industry-minded constituents who would have much preferred we destroy the cassette master of "Alien Lanes" in the better interest of sound manufacturing and what's more agriculturally consumable. It's better to leave the farm than to continue plodding through the cow shit" - Robert Pollard 2020.
Please note new street date: August 21. The D’Addario brothers will return this Spring with their third Lemon Twigs album, Songs For The General Public written, recorded and produced by the D’Addarios at their Long Island home studio, Sonora Studios in Los Angeles and New York City’s Electric Lady. The 12-track album will be released on 1 May digitally and on CD, limited translucent red vinyl and standard black vinyl. The prodigiously-talented duo first emerged as The Lemon Twigs in 2016 with their debut LP Do Hollywood, whose show stopping melodies mined from every era of rock quickly earned fans in Elton John, Questlove, and Jack Antonoff. Go To School, the ambitious 15-track coming-of-age opus, followed in 2018 and solidified the band’s reputation for building grand walls of sound around an audacious concept. The Lemon Twigs will tour North America around the release of Songs For The General Public including shows in Toronto (May 12th), Montreal (May 13th) and Vancouver (June 12th)
Please note new street date: August 21. The D’Addario brothers will return this Spring with their third Lemon Twigs album, Songs For The General Public written, recorded and produced by the D’Addarios at their Long Island home studio, Sonora Studios in Los Angeles and New York City’s Electric Lady. The 12-track album will be released on 1 May digitally and on CD, limited translucent red vinyl and standard black vinyl. The prodigiously-talented duo first emerged as The Lemon Twigs in 2016 with their debut LP Do Hollywood, whose show stopping melodies mined from every era of rock quickly earned fans in Elton John, Questlove, and Jack Antonoff. Go To School, the ambitious 15-track coming-of-age opus, followed in 2018 and solidified the band’s reputation for building grand walls of sound around an audacious concept. The Lemon Twigs will tour North America around the release of Songs For The General Public including shows in Toronto (May 12th), Montreal (May 13th) and Vancouver (June 12th)
May 1 street date. Translucent red vinyl edition, exclusively available to independent shops. The D'Addario brothers will return this Spring with their third Lemon Twigs album, "Songs For The General Public" written, recorded and produced by the D'Addarios at their Long Island home studio, Sonora Studios in Los Angeles and New York City's Electric Lady. The 12-track album will be released on 1 May digitally and on CD, limited translucent red vinyl and standard black vinyl. The prodigiously-talented duo first emerged as The Lemon Twigs in 2016 with their debut LP "Do Hollywood", whose show stopping melodies mined from every era of rock quickly earned fans in Elton John, Questlove, and Jack Antonoff. "Go To School", the ambitious 15-track coming-of-age opus, followed in 2018 and solidified the band's reputation for building grand walls of sound around an audacious concept. The Lemon Twigs will tour North America around the release of "Songs For The General Public" including shows in Toronto (May 12th), Montreal (May 13th) and Vancouver (June 12th).
Please note new street date: August 28. "Therapy With Colour" is the Constellation debut for composer and sound artist T. Gowdy, who has released three prior albums of exquisitely textured, predominantly ambient electronic music (most recently "Pachira Aquatica" via Shimmering Moods Records in 2019). His sublime audio/visual performances have featured at MUTEK (Montréal and Barcelona) and Spektrum (Berlin), alongside his ongoing work as an in-demand producer/engineer with over fifty album credits to date. Combining experimental electronics with elements of musique concrete, rhythmic grooves, and heady sonic atmospheres, "Therapy With Colour" is a brilliantly adventurous new offering from the forefront of Montréal's avant-garde electronic scene.
Please note new street date: August 28. "Therapy With Colour" is the Constellation debut for composer and sound artist T. Gowdy, who has released three prior albums of exquisitely textured, predominantly ambient electronic music (most recently "Pachira Aquatica" via Shimmering Moods Records in 2019). His sublime audio/visual performances have featured at MUTEK (Montréal and Barcelona) and Spektrum (Berlin), alongside his ongoing work as an in-demand producer/engineer with over fifty album credits to date. Combining experimental electronics with elements of musique concrete, rhythmic grooves, and heady sonic atmospheres, "Therapy With Colour" is a brilliantly adventurous new offering from the forefront of Montréal's avant-garde electronic scene.
Please note new street date: August 28. "Third Album" is the Constellation debut from Montréal-based multi-disciplinary artist and musician/composer Markus Lake, who's been releasing audio works under the Markus Floats moniker over the past decade. Using primarily in-the-box midi instruments, along with a smattering of samples and field recordings, "Third Album" is through-composed and atypically but unfailingly expressive - like ruminative action paintings in sound. Digitally-processed notes and chords extrapolate in transitory thematic clusters of harmony and melody, often referencing organ sounds of alternately liturgical and souljazz resonance. Constellation is delighted to welcome Markus Lake to the roster and to be releasing "Third Album" with artwork that features his own paintings. The deluxe 180gram vinyl edition includes an exquisite 12"x24" art print reproduction.
Please note new street date: August 28. "Third Album" is the Constellation debut from Montréal-based multi-disciplinary artist and musician/composer Markus Lake, who's been releasing audio works under the Markus Floats moniker over the past decade. Using primarily in-the-box midi instruments, along with a smattering of samples and field recordings, "Third Album" is through-composed and atypically but unfailingly expressive - like ruminative action paintings in sound. Digitally-processed notes and chords extrapolate in transitory thematic clusters of harmony and melody, often referencing organ sounds of alternately liturgical and souljazz resonance. Constellation is delighted to welcome Markus Lake to the roster and to be releasing "Third Album" with artwork that features his own paintings. The deluxe 180gram vinyl edition includes an exquisite 12"x24" art print reproduction.
Please note new street date: August 28. Opening with a winding take of Radiohead's "Arpeggi", Kelly Lee Owens' masterful second album "Inner Song" finds the convention-blurring techno producer and singer/songwriter diving deep into her own psyche, excoriating the struggles she's faced over the last several years and exploring personal pain while embracing the beauty of the natural world. It's a leap in artistry from a musician who burst forth on the scene with a confident, rich sound, and "Inner Song" is endlessly enticing when it comes to what Owens is capable of. Owens has indeed come a long way from her background as a nurse; since then she has remixed Bjørk and St. Vincent, released an indelibly clubby two-tracker, 2019's "Let It Go" b/w "Omen", and teamed up with likeminded auteur Jon Hopkins on the one-off "Luminous Spaces".
Please note new street date: August 28. Opening with a winding take of Radiohead's "Arpeggi", Kelly Lee Owens' masterful second album "Inner Song" finds the convention-blurring techno producer and singer/songwriter diving deep into her own psyche, excoriating the struggles she's faced over the last several years and exploring personal pain while embracing the beauty of the natural world. It's a leap in artistry from a musician who burst forth on the scene with a confident, rich sound, and "Inner Song" is endlessly enticing when it comes to what Owens is capable of. Owens has indeed come a long way from her background as a nurse; since then she has remixed Bjørk and St. Vincent, released an indelibly clubby two-tracker, 2019's "Let It Go" b/w "Omen", and teamed up with likeminded auteur Jon Hopkins on the one-off "Luminous Spaces".
Delayed / street date TBA. Coriky is a band from Washington, D.C. with Ian MacKaye (Fugazi, Minor Threat), Joe Lally (Fugazi), and Amy Farina (The Evens). Formed in 2015, Coriky did not play their first show until 2018. They have recorded one album. They hope to tour.
Delayed / street date TBA. Coriky is a band from Washington, D.C. with Ian MacKaye (Fugazi, Minor Threat), Joe Lally (Fugazi), and Amy Farina (The Evens). Formed in 2015, Coriky did not play their first show until 2018. They have recorded one album. They hope to tour.
Delayed / Street date: TBA. "Sixteen Oceans" is the first new Four Tet album in 3 years. Includes "Baby", featuring vocals by Ellie Goulding. "Four Tet is capable of going deeper and expanding higher than almost anyone else out there" - Pitchfork. "Eccentric spirit, production mastery and emotional heft " - NME.
Delayed / Street date: TBA. "Sixteen Oceans" is the first new Four Tet album in 3 years. Includes "Baby", featuring vocals by Ellie Goulding. "Four Tet is capable of going deeper and expanding higher than almost anyone else out there" - Pitchfork. "Eccentric spirit, production mastery and emotional heft " - NME.
Street date: TBA. "BRAT" is the masterful LP from beloved Chicago multi-instrumentalist NNAMDÏ. It follows his critically acclaimed LP "DROOL" (2017), an album that brought him to Pitchfork Fest and earned him Best Music of the Year recognition from NPR, Fader, Bandcamp, and more. On his follow-up "BRAT", NNAMDÏ starkly explores the psychological turmoil between wanting and needing in a manner that is both intensely personal and highly relatable. Its virtuosic fusion of Hip-Hop, Rock, Pop, Electronics, Gospel, and West African influences firmly establishes him in a genre-less class of his own.
Street date: TBA. "BRAT" is the masterful LP from beloved Chicago multi-instrumentalist NNAMDÏ. It follows his critically acclaimed LP "DROOL" (2017), an album that brought him to Pitchfork Fest and earned him Best Music of the Year recognition from NPR, Fader, Bandcamp, and more. On his follow-up "BRAT", NNAMDÏ starkly explores the psychological turmoil between wanting and needing in a manner that is both intensely personal and highly relatable. Its virtuosic fusion of Hip-Hop, Rock, Pop, Electronics, Gospel, and West African influences firmly establishes him in a genre-less class of his own.
Street date: TBA. Limited clear with pink and blue vinyl splatter vinyl edition, exclusively available to independent record shops. "BRAT" is the masterful LP from beloved Chicago multi-instrumentalist NNAMDÏ. It follows his critically acclaimed LP "DROOL" (2017), an album that brought him to Pitchfork Fest and earned him Best Music of the Year recognition from NPR, Fader, Bandcamp, and more. On his follow-up "BRAT", NNAMDÏ starkly explores the psychological turmoil between wanting and needing in a manner that is both intensely personal and highly relatable. Its virtuosic fusion of Hip-Hop, Rock, Pop, Electronics, Gospel, and West African influences firmly establishes him in a genre-less class of his own.
January 24 street date. "A true legend and a hero. I love Terry's music so much" - Kurt Vile. Iconic and iconoclastic Texan songwriter and visual artist Terry Allen's heartbreaking, hilarious new album, his first set of new songs since 2013's "Bottom Of The World", features the full Panhandle Mystery Band, including co-producer Charlie Sexton (Dylan, Bowie, Blaze), Shannon McNally, and Jo Harvey Allen; mainstays Bukka Allen, Richard Bowden, and Lloyd Maines; and co-writes with Joe Ely and Dave Alvin. The connections to Melville's masterpiece are metaphorical and allusive, as elusive as the White Whale. The masterly spiritual successor to "Lubbock (on everything)", "Just Like Moby Dick" casts its net wide for wild stories, depicting, among other monstrous things, Houdini in existential crisis, the death of the last stripper in town, bloodthirsty pirates, the wars in Iraq and Afghanistan, a vampire-infested circus, mudslides and burning mobile homes, and all manner of tragicomic disasters, abandonments, betrayals, bad memories, failures, and fare-thee-wells. The deluxe tip-on gatefold 2xLP package features lyrics, color labels, high-res Bandcamp download code, three sides of music, and a fourth-side vinyl etching artwork by Allen.
January 24 street date. "A true legend and a hero. I love Terry's music so much" - Kurt Vile. Iconic and iconoclastic Texan songwriter and visual artist Terry Allen's heartbreaking, hilarious new album, his first set of new songs since 2013's "Bottom Of The World", features the full Panhandle Mystery Band, including co-producer Charlie Sexton (Dylan, Bowie, Blaze), Shannon McNally, and Jo Harvey Allen; mainstays Bukka Allen, Richard Bowden, and Lloyd Maines; and co-writes with Joe Ely and Dave Alvin. The connections to Melville's masterpiece are metaphorical and allusive, as elusive as the White Whale. The masterly spiritual successor to "Lubbock (on everything)", "Just Like Moby Dick" casts its net wide for wild stories, depicting, among other monstrous things, Houdini in existential crisis, the death of the last stripper in town, bloodthirsty pirates, the wars in Iraq and Afghanistan, a vampire-infested circus, mudslides and burning mobile homes, and all manner of tragicomic disasters, abandonments, betrayals, bad memories, failures, and fare-thee-wells. The deluxe tip-on gatefold 2xLP package features lyrics, color labels, high-res Bandcamp download code, three sides of music, and a fourth-side vinyl etching artwork by Allen.
February 14 street date. One thing you won't be able to avoid on Bambara's "Stray" is death. It's everywhere and inescapable, abstract and personified - perhaps the key to the whole record. Death, however, won't be the first thing that strikes you about the group's fourth - and greatest - album to date. That instead will be its pulverising soundscape; by turns, vast, atmospheric, cool, broiling, and at times simply overwhelming. Bambara (twin brothers Reid and Blaze Bateh, singer/guitarist and drummer respectively, and bassist William Brookshire) have been evolving their midnight-black noise into something more subtle and expansive ever since the release of their 2013 debut 'Dreamviolence'. While the music itself on "Stray" is evocative and propulsive, a fever dream all of its own, the lyrical content pushes the record even further into its own darkly thrilling realm. Here Bambara sound like they've locked into what they were always destined to achieve, and the effect is nothing short of electrifying.
February 14 street date. One thing you won't be able to avoid on Bambara's "Stray" is death. It's everywhere and inescapable, abstract and personified - perhaps the key to the whole record. Death, however, won't be the first thing that strikes you about the group's fourth - and greatest - album to date. That instead will be its pulverising soundscape; by turns, vast, atmospheric, cool, broiling, and at times simply overwhelming. Bambara (twin brothers Reid and Blaze Bateh, singer/guitarist and drummer respectively, and bassist William Brookshire) have been evolving their midnight-black noise into something more subtle and expansive ever since the release of their 2013 debut 'Dreamviolence'. While the music itself on "Stray" is evocative and propulsive, a fever dream all of its own, the lyrical content pushes the record even further into its own darkly thrilling realm. Here Bambara sound like they've locked into what they were always destined to achieve, and the effect is nothing short of electrifying.
February 14 street date. Limited clear vinyl edition. One thing you won't be able to avoid on Bambara's "Stray" is death. It's everywhere and inescapable, abstract and personified - perhaps the key to the whole record. Death, however, won't be the first thing that strikes you about the group's fourth - and greatest - album to date. That instead will be its pulverising soundscape; by turns, vast, atmospheric, cool, broiling, and at times simply overwhelming. Bambara (twin brothers Reid and Blaze Bateh, singer/guitarist and drummer respectively, and bassist William Brookshire) have been evolving their midnight-black noise into something more subtle and expansive ever since the release of their 2013 debut 'Dreamviolence'. While the music itself on "Stray" is evocative and propulsive, a fever dream all of its own, the lyrical content pushes the record even further into its own darkly thrilling realm. Here Bambara sound like they've locked into what they were always destined to achieve, and the effect is nothing short of electrifying.
March 27 CD Street date. (LP due Fall 2020) Jennah Barry's long-awaited sophomore release!! (new single hiit #5 on CBC Top 20. Confirmed coverage from Mojo, Popmatters, Exclaim! & many more!!) - Hailing from the coastal haven of Mahone Bay, Nova Scotia, Jennah Barry is one of Atlantic Canada’s surest sirens. Her undeniable, rosewater voice sets a mood wherein even the hardest truths seem palatable. Moving effortlessly between folk, country and soft rock motifs, Barry’s music, last heard on her instantly classic debut Young Men, sets her at the forefront of a tradition of women making music as strong as it is sentimental. "Hazy and calm and entirely entrancing" - The Line of Best Fit // "Barry has an unsettling ability to capture the warmth of an evening (possibly seaside) while slowly cracking into that cozy façade with the tap-tap of insistent heartbreak." - CBC Music
January 24 street date. It's country music but not as we know it which begs the question: have these Bad Kids of 21st Century rock 'n' roll finally grown up on their ninth studio album? ‘Sing In A World That’s Falling Apart’ continues to flick the middle finger to one and all. This ain't another gaggle of bearded southern sons fleeing their collective suburban upbringings and collegiate music education. There aren't the usual clichés about drinking, honky tonks, and heartbreak. These are, after all, the same Black Lips who rescued the waning garage punk subgenre. They also dug contemporary hip-hop and punk and actualized themselves. Like so many dramatic moments in the Black Lips career, ‘Sing In A World That’s Falling Apart’ was born out of crisis. The band's stylistic evolution through decades of prolific touring and recording took them where no garage punk band had gone before - huge venues, network television shows, and major music festivals. Here Black Lips are at their grimiest, most dangerous and equipped with the best collection of songs since the aughts. They roll on with an unapologetic southern-fried twang, pacing the beast, every now and then dropping a psycho howl into the rubber room madness lurking underneath the truckstop fireworks. This ain't your granny's country album. And conversely this ain't your mama's Black Lips!
January 24 street date. It's country music but not as we know it which begs the question: have these Bad Kids of 21st Century rock 'n' roll finally grown up on their ninth studio album? ‘Sing In A World That’s Falling Apart’ continues to flick the middle finger to one and all. This ain't another gaggle of bearded southern sons fleeing their collective suburban upbringings and collegiate music education. There aren't the usual clichés about drinking, honky tonks, and heartbreak. These are, after all, the same Black Lips who rescued the waning garage punk subgenre. They also dug contemporary hip-hop and punk and actualized themselves. Like so many dramatic moments in the Black Lips career, ‘Sing In A World That’s Falling Apart’ was born out of crisis. The band's stylistic evolution through decades of prolific touring and recording took them where no garage punk band had gone before - huge venues, network television shows, and major music festivals. Here Black Lips are at their grimiest, most dangerous and equipped with the best collection of songs since the aughts. They roll on with an unapologetic southern-fried twang, pacing the beast, every now and then dropping a psycho howl into the rubber room madness lurking underneath the truckstop fireworks. This ain't your granny's country album. And conversely this ain't your mama's Black Lips!
January 24 street date. Limited deluxe red vinyl edition, with a die cut spot gloss sleeve and poster - available exclusively to indie shops. It's country music but not as we know it which begs the question: have these Bad Kids of 21st Century rock 'n' roll finally grown up on their ninth studio album? ‘Sing In A World That’s Falling Apart’ continues to flick the middle finger to one and all. This ain't another gaggle of bearded southern sons fleeing their collective suburban upbringings and collegiate music education. There aren't the usual clichés about drinking, honky tonks, and heartbreak. These are, after all, the same Black Lips who rescued the waning garage punk subgenre. They also dug contemporary hip-hop and punk and actualized themselves. Like so many dramatic moments in the Black Lips career, ‘Sing In A World That’s Falling Apart’ was born out of crisis. The band's stylistic evolution through decades of prolific touring and recording took them where no garage punk band had gone before - huge venues, network television shows, and major music festivals. Here Black Lips are at their grimiest, most dangerous and equipped with the best collection of songs since the aughts. They roll on with an unapologetic southern-fried twang, pacing the beast, every now and then dropping a psycho howl into the rubber room madness lurking underneath the truckstop fireworks. This ain't your granny's country album. And conversely this ain't your mama's Black Lips!
February 28 street date. Black Market Brass' sophomore record, "Undying Thirst", is a noxious brew of diesel and bleach; a special long-player full of wasteoid rippers for skullduggerous hover-bike gangs peddling fugazi relics and snake oil tinctures. Hellacious guitars, nitrous-charged percussion, a brass section harsher than paint-thinner, and a special batch of short-circuited electronics and synthesizers will leave your head buzzing into the 31st century. Blasting "Undying Thirst" from your home speaker system is like going over a waterfall in a rusted out oil barrel, long after the sun has boiled the falls dry. RIYL Antibalas or The Budos Band.
February 28 street date. Black Market Brass' sophomore record, "Undying Thirst", is a noxious brew of diesel and bleach; a special long-player full of wasteoid rippers for skullduggerous hover-bike gangs peddling fugazi relics and snake oil tinctures. Hellacious guitars, nitrous-charged percussion, a brass section harsher than paint-thinner, and a special batch of short-circuited electronics and synthesizers will leave your head buzzing into the 31st century. Blasting "Undying Thirst" from your home speaker system is like going over a waterfall in a rusted out oil barrel, long after the sun has boiled the falls dry. RIYL Antibalas or The Budos Band.
February 28 street date. Gold vinyl edition, limited to 1500 copies. Black Market Brass' sophomore record, "Undying Thirst", is a noxious brew of diesel and bleach; a special long-player full of wasteoid rippers for skullduggerous hover-bike gangs peddling fugazi relics and snake oil tinctures. Hellacious guitars, nitrous-charged percussion, a brass section harsher than paint-thinner, and a special batch of short-circuited electronics and synthesizers will leave your head buzzing into the 31st century. Blasting "Undying Thirst" from your home speaker system is like going over a waterfall in a rusted out oil barrel, long after the sun has boiled the falls dry. RIYL Antibalas or The Budos Band.
March 13 street date. Where The Bombpops had a "Fear Of Missing Out" on their 2017 debut full-length, their highly anticipated follow up shows what happens when you're too involved - with booze, bad situations, and behavior that's unsustainable at best and destructive at worst. It's right there in the title - "Death In Venice Beach" - an allusion to Thomas Mann's celebrated novella about the price of an artistic life. What draws The Bombpops hasn't changed on their newest effort: highly melodic punk with big guitars, vocal harmonies, and the SoCal sound that inspired the quartet to pick up instruments. But the more light-hearted skate punk of "Fear Of Missing Out" has a serrated edge on "Death In Venice Beach", as they explore darker themes drawing from real life experiences leading up to and during the making of the album.
March 13 street date. Where The Bombpops had a "Fear Of Missing Out" on their 2017 debut full-length, their highly anticipated follow up shows what happens when you're too involved - with booze, bad situations, and behavior that's unsustainable at best and destructive at worst. It's right there in the title - "Death In Venice Beach" - an allusion to Thomas Mann's celebrated novella about the price of an artistic life. What draws The Bombpops hasn't changed on their newest effort: highly melodic punk with big guitars, vocal harmonies, and the SoCal sound that inspired the quartet to pick up instruments. But the more light-hearted skate punk of "Fear Of Missing Out" has a serrated edge on "Death In Venice Beach", as they explore darker themes drawing from real life experiences leading up to and during the making of the album.
March 27 street date. Bon Iver's "Blood Bank" EP was originally released in early 2009, hot on the heels of the beloved album "For Emma, Forever Ago". The EP was a harbinger of a new sound for Bon Iver: a movement away from the acoustic guitar-led instrumentation of the debut and the beginning of an exploration into the experimental sounds that have evolved but defined Bon Iver ever since. The reissue of this seminal EP is coupled with brand new live renditions of all the EP tracks, all recorded at various venues in 2018.
March 27 street date. Limited translucent red vinyl edition. Bon Iver's "Blood Bank" EP was originally released in early 2009, hot on the heels of the beloved album "For Emma, Forever Ago". The EP was a harbinger of a new sound for Bon Iver: a movement away from the acoustic guitar-led instrumentation of the debut and the beginning of an exploration into the experimental sounds that have evolved but defined Bon Iver ever since. The reissue of this seminal EP is coupled with brand new live renditions of all the EP tracks, all recorded at various venues in 2018.
January 24 street date. The timeless qualities of traditional tunes can carry us across oceans and eons, linking us not only to the past but to each other as well. It was under the banner of those eternal connections that the trio of Bonny Light Horseman came together. From festival fields and a German art hub to a snowy upstate studio and everywhere in between, the astral folk outfit - comprised of Anaïs Mitchell, Eric D. Johnson (Fruit Bats, The Shins), and Josh Kaufman (The National, Bob Weir) - is mixing the ancient, mystical medium of transatlantic traditional folk music with a contemporary, collective brush. The resulting album, "Bonny Light Horseman", is an elusive kind of sonic event: a bottled blend of lightning and synergy that will excite fans of multiple genres, eras, and ages.
January 24 street date. The timeless qualities of traditional tunes can carry us across oceans and eons, linking us not only to the past but to each other as well. It was under the banner of those eternal connections that the trio of Bonny Light Horseman came together. From festival fields and a German art hub to a snowy upstate studio and everywhere in between, the astral folk outfit - comprised of Anaïs Mitchell, Eric D. Johnson (Fruit Bats, The Shins), and Josh Kaufman (The National, Bob Weir) - is mixing the ancient, mystical medium of transatlantic traditional folk music with a contemporary, collective brush. The resulting album, "Bonny Light Horseman", is an elusive kind of sonic event: a bottled blend of lightning and synergy that will excite fans of multiple genres, eras, and ages.
February 28 street date. Third Man had the pleasure of hosting the inimitable Broken Social Scene, carefully absorbing and recording their magnetic and unforgettable live set on the Blue Room stage. Epic, panoramic, and intimate all at the same time, the legendary Toronto collective Broken Social Scene began as an ebbing and flowing collective of artists in the late 90s, collaborating to create a distinct strand of indie rock that is both perplexingly maximal and straight-up catchy. Their live set was captured, mixed and mastered in real time via the world’s only live venue and direct-to-acetate lathe cutting studio and is Broken Social Scene’s first commercially available live album.
March 20 street date. Brownout's legendary status as a "Funk Powerhouse" (Stereogum) is a reputation well deserved. The band of musicians have an impressive resumé performing with Prince, GZA of the Wu-Tang Clan, Bernie Worrell, and accolades from Ozzy Osbourne for their "Brownout Presents: Brown Sabbath" project. The Austin 9-piece is back with their first full length album of original music in over 8 years. The album, aptly titled "Berlin Sessions" was produced by Steve Berlin of Los Lobos and is the first with lead singer Alex Marrero, whom they originally collaborated with on their wildly successful "Brown Sabbath" records. "Berlin Sessions" finds the group merging a multitude of styles, from rock to psych and of course the Latin Funk and Breakbeat on which they have built their sixteen-year career and reputation as Austin's premier party-starters.
March 20 street date. Brownout's legendary status as a "Funk Powerhouse" (Stereogum) is a reputation well deserved. The band of musicians have an impressive resumé performing with Prince, GZA of the Wu-Tang Clan, Bernie Worrell, and accolades from Ozzy Osbourne for their "Brownout Presents: Brown Sabbath" project. The Austin 9-piece is back with their first full length album of original music in over 8 years. The album, aptly titled "Berlin Sessions" was produced by Steve Berlin of Los Lobos and is the first with lead singer Alex Marrero, whom they originally collaborated with on their wildly successful "Brown Sabbath" records. "Berlin Sessions" finds the group merging a multitude of styles, from rock to psych and of course the Latin Funk and Breakbeat on which they have built their sixteen-year career and reputation as Austin's premier party-starters.
April 3 street date. When Anna Burch introduced herself on her 2018 debut "Quit The Curse", it was with a concentrated wash of energetic, serotonin-boosting pop. Two years later, Burch's follow up "If You're Dreaming" takes us down a different path than its predecessor, shedding some nervous energy in favor of a deeper exploration of an internal world. "If You're Dreaming" was tracked with producer Sam Evian in his home studio in the Catskill mountains of upstate New York. The end goal was to present not just an assortment of new songs, but craft an album that moved dynamically through an interconnected emotional arc. With recurring themes of isolation, weariness and longing, these songs deliver that emotional arc with a delicate but uncompromising execution. Even at its most introverted, "If You're Dreaming" is always warm and present. Daring and clear-headed, these songs cut deeper in their subtleties. "If You're Dreaming" moves with intention, taking its time revealing new layers of sophistication and growth in Burch's always charming songcraft.
April 3 street date. When Anna Burch introduced herself on her 2018 debut "Quit The Curse", it was with a concentrated wash of energetic, serotonin-boosting pop. Two years later, Burch's follow up "If You're Dreaming" takes us down a different path than its predecessor, shedding some nervous energy in favor of a deeper exploration of an internal world. "If You're Dreaming" was tracked with producer Sam Evian in his home studio in the Catskill mountains of upstate New York. The end goal was to present not just an assortment of new songs, but craft an album that moved dynamically through an interconnected emotional arc. With recurring themes of isolation, weariness and longing, these songs deliver that emotional arc with a delicate but uncompromising execution. Even at its most introverted, "If You're Dreaming" is always warm and present. Daring and clear-headed, these songs cut deeper in their subtleties. "If You're Dreaming" moves with intention, taking its time revealing new layers of sophistication and growth in Burch's always charming songcraft.
April 3 street date. When Anna Burch introduced herself on her 2018 debut "Quit The Curse", it was with a concentrated wash of energetic, serotonin-boosting pop. Two years later, Burch's follow up "If You're Dreaming" takes us down a different path than its predecessor, shedding some nervous energy in favor of a deeper exploration of an internal world. "If You're Dreaming" was tracked with producer Sam Evian in his home studio in the Catskill mountains of upstate New York. The end goal was to present not just an assortment of new songs, but craft an album that moved dynamically through an interconnected emotional arc. With recurring themes of isolation, weariness and longing, these songs deliver that emotional arc with a delicate but uncompromising execution. Even at its most introverted, "If You're Dreaming" is always warm and present. Daring and clear-headed, these songs cut deeper in their subtleties. "If You're Dreaming" moves with intention, taking its time revealing new layers of sophistication and growth in Burch's always charming songcraft.
March 27 street date. Cable Ties are a fierce, tense rock’n’roll trio. They take the three-minute punk burner and stretch it past breaking point to deliver smouldering feminist anthems. Post-punk and garage rock hammered together by a relentless rhythmic pulse. Jenny McKechnie channels her struggles into songs that resonate deeply, giving voice to feelings often buried in modern life. Shauna Boyle and Nick Brown are a rhythm section anchored in Stooges primitivism, relentlessly hammering out a bedrock for McKechnie’s guitar pyrotechnics and vocal wallop. Three friends summoning a rhythmic tide to deliver anthems that turn latent anxieties into a rallying cry. The band has been committed to an inclusive feminist and political outlook since its inception in 2015, exploring issues of gendered violence, colonialism, and sexual assault. The band members have been involved in benefit shows, organized DIY festivals, and volunteer with Girls Rock!, a not-for-profit organization that aims to empower female, trans, and gender non-binary youth in music. Their debut self-titled album, released in 2017 on Poison City Records, was a Triple J feature album and album of the week on 3RRR, with strong support nationally from community radio. The album was distributed internationally by independent distributors Cargo UK and Cargo Germany. They have also self released three 7-inch singles which have all sold out. The debut album is on its third vinyl pressing. Cable Ties have supported artists such as Joan Jett, The Kills, Camp Cope, and Cash Savage. They won Best Hard Rock Act at the 2017 National Live Music Awards and were nominated in five categories. They won the Corner Music Award in 2017, have been nominated for eight Age Music Victoria awards, and were longlisted for The Australian Music Prize 2017.
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
March 27 street date. Cable Ties are a fierce, tense rock’n’roll trio. They take the three-minute punk burner and stretch it past breaking point to deliver smouldering feminist anthems. Post-punk and garage rock hammered together by a relentless rhythmic pulse. Jenny McKechnie channels her struggles into songs that resonate deeply, giving voice to feelings often buried in modern life. Shauna Boyle and Nick Brown are a rhythm section anchored in Stooges primitivism, relentlessly hammering out a bedrock for McKechnie’s guitar pyrotechnics and vocal wallop. Three friends summoning a rhythmic tide to deliver anthems that turn latent anxieties into a rallying cry. The band has been committed to an inclusive feminist and political outlook since its inception in 2015, exploring issues of gendered violence, colonialism, and sexual assault. The band members have been involved in benefit shows, organized DIY festivals, and volunteer with Girls Rock!, a not-for-profit organization that aims to empower female, trans, and gender non-binary youth in music. Their debut self-titled album, released in 2017 on Poison City Records, was a Triple J feature album and album of the week on 3RRR, with strong support nationally from community radio. The album was distributed internationally by independent distributors Cargo UK and Cargo Germany. They have also self released three 7-inch singles which have all sold out. The debut album is on its third vinyl pressing. Cable Ties have supported artists such as Joan Jett, The Kills, Camp Cope, and Cash Savage. They won Best Hard Rock Act at the 2017 National Live Music Awards and were nominated in five categories. They won the Corner Music Award in 2017, have been nominated for eight Age Music Victoria awards, and were longlisted for The Australian Music Prize 2017.
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
February 28 street date. In 2014, Dan Snaith aka Caribou released Our Love to overwhelming critical acclaim. Caribou returns now with his new studio album Suddenly, a warm, untamable, and constantly surprising record about family and the changes we go through as those relationships evolve. Most prominently, Suddenly refers to the moments of dramatic and unexpected change that occur at points in any life and within any family—universal themes that can catch you off guard and change your life in a heartbeat. Those dramatic moments are part of a slower process. These moments rear their heads, for good or bad, during the everyday flow of life. “There’s a tension between those sudden things which blindside you and the more glacial, gradual day-to-day changes,” he observes. “We are so caught up in the immediate—the details that require our attention every day—that we can be blind to the bigger forces shaping us. That’s why so often when something drastic happens suddenly, it catalyzes all sorts of changes in our lives. Our perspective shifts.” Suddenly is in the music, too. This is the most surprising and unpredictable Caribou album to date. Though it retains the trademark Caribou warmth and technicolor, this album is littered with swerves and left turns. “I wanted to balance the familiar—the sound that people associate with my music— against these moments of surprise,” Snaith says. As his passion and joy in music-making remains as fresh as ever, Suddenly is the purest example of this yet. LP is half-speed mastered by Matt Colton of Metropolis Studios in London UK. First album with Dan Snaith vocals on all tracks. Saxophone & guitar performance by Colin Fisher. LP is pressed at RTI on lead-free black vinyl
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
February 28 street date. In 2014, Dan Snaith aka Caribou released Our Love to overwhelming critical acclaim. Caribou returns now with his new studio album Suddenly, a warm, untamable, and constantly surprising record about family and the changes we go through as those relationships evolve. Most prominently, Suddenly refers to the moments of dramatic and unexpected change that occur at points in any life and within any family—universal themes that can catch you off guard and change your life in a heartbeat. Those dramatic moments are part of a slower process. These moments rear their heads, for good or bad, during the everyday flow of life. “There’s a tension between those sudden things which blindside you and the more glacial, gradual day-to-day changes,” he observes. “We are so caught up in the immediate—the details that require our attention every day—that we can be blind to the bigger forces shaping us. That’s why so often when something drastic happens suddenly, it catalyzes all sorts of changes in our lives. Our perspective shifts.” Suddenly is in the music, too. This is the most surprising and unpredictable Caribou album to date. Though it retains the trademark Caribou warmth and technicolor, this album is littered with swerves and left turns. “I wanted to balance the familiar—the sound that people associate with my music— against these moments of surprise,” Snaith says. As his passion and joy in music-making remains as fresh as ever, Suddenly is the purest example of this yet. LP is half-speed mastered by Matt Colton of Metropolis Studios in London UK. First album with Dan Snaith vocals on all tracks. Saxophone & guitar performance by Colin Fisher. LP is pressed at RTI on lead-free black vinyl
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
February 14 street date. For Patrick Flegel, Cindy Lee is more than just a recording music project. It is the culmination of a lifelong exploration of art, the electric guitar, queer identity and gender expression. “Singers like Patsy Cline and The Supremes carried me through the hardest times of my life,” explains Flegel, “and also provided the soundtrack to the best times.” Following the dissolution of Canadian experimental indie band Women, Flegel would delve deeper into songwriting that bends further toward high atmospherics and bracing melodies—a unique space where splendor naturally collides with experimentation. Delivering moments of sheer beauty through somber reflections on longing and loneliness, Cindy Lee is something to hold onto in a world of disorder. What’s Tonight To Eternity, Cindy Lee’s fifth long-form offering, showcases the project’s most entrancing strengths: ethereal snowdrift pop and sly nods toward classic girl-group motifs. Recorded at Flegel’s Realistik Studios in Toronto and featuring younger brother Andrew Flegel on drums, the album travels hand in hand with a spectral guide. What’s Tonight To Eternity remains a mix of pop culture indoctrination, pain and suffering, hopes and dreams, fierce confrontations and wide-open confessional blurs. Closing with the song “Heavy Metal” (dedicated to the memory of former Women bandmate Chris Reimer) and adorned by Andrea Lukic’s Journal of Smack artwork, the album continues the bold and rewarding path on which Cindy Lee has embarked.
April 3 street date. Clams Casino stands amongst the most respected hip-hop producers in the game today. After several years of underground notoriety, Clams became widely known after producing several of the standout tracks on A$AP Rocky’s monolithic debut mixtape "Live. Love. ASAP" and has received widespread critical acclaim for his collaborations with Lil Peep, Vince Staples, Lil B, Mac Miller, The Weeknd, Joji amongst others. His hugely anticipated instrumental album "Moon Trip Radio" is a stunning collection of tracks that showcase his immense talent as both a composer and producer.
March 27 street date. Forged in trauma and an intense, bewildering slew of mixed emotions - wildfires raged near the secluded cabin near Kelowna in which he was recording, his grandfather passed away from said wildfires during the recording process, and he discovered his new feelings of love were mutual only a day before she moved to Paris - Vancouver's Ian William Craig has created an album of incredible beauty, sadness and depth. "Red Sun Through Smoke" is a profoundly moving album, a standout record in a prolific body of work that shows no sign of faltering.
March 27 street date. Forged in trauma and an intense, bewildering slew of mixed emotions - wildfires raged near the secluded cabin near Kelowna in which he was recording, his grandfather passed away from said wildfires during the recording process, and he discovered his new feelings of love were mutual only a day before she moved to Paris - Vancouver's Ian William Craig has created an album of incredible beauty, sadness and depth. "Red Sun Through Smoke" is a profoundly moving album, a standout record in a prolific body of work that shows no sign of faltering.
February 28 street date. Whether scoring a film or making a solo album, Daniel Davies thinks cinematically. Images and story - on a movie screen, on a canvas, or flashing through his mind - inform the shape of his compositions and the sounds he uses to bring them to life. For "Signals", his first solo record for Sacred Bones, the inspiration for his musical narration was a collaboration with visual artist Jesse Draxler, whose otherworldly mixed media works grace the cover and the booklet. Using Draxler's images as his jumping off point, Davies created eight richly textured compositions that created a soundtrack for the unsettling world of the artwork. As the songs move through the landscape, Davies calls on whatever instrumentation he needs to serve their journey. He utilizes the warbling synths and slicing guitar that have characterized his soundtrack work, but he's also preternaturally at ease when he busts out a harpsichord and a vocal synth on lead single "Phantom Waltz." On "Destructive Field," he leaves space for his Halloween collaborator John Carpenter to lay down his signature sound. With the exception of that passage, all the music on the record is recorded by Davies himself. "Signals " is an album with a lot to discover, and repeat listens will reveal an inviting - if a bit unnerving - world that you'll want to spend all day in.
February 28 street date. Limited smoke coloured vinyl edition. Whether scoring a film or making a solo album, Daniel Davies thinks cinematically. Images and story - on a movie screen, on a canvas, or flashing through his mind - inform the shape of his compositions and the sounds he uses to bring them to life. For "Signals", his first solo record for Sacred Bones, the inspiration for his musical narration was a collaboration with visual artist Jesse Draxler, whose otherworldly mixed media works grace the cover and the booklet. Using Draxler's images as his jumping off point, Davies created eight richly textured compositions that created a soundtrack for the unsettling world of the artwork. As the songs move through the landscape, Davies calls on whatever instrumentation he needs to serve their journey. He utilizes the warbling synths and slicing guitar that have characterized his soundtrack work, but he's also preternaturally at ease when he busts out a harpsichord and a vocal synth on lead single "Phantom Waltz." On "Destructive Field," he leaves space for his Halloween collaborator John Carpenter to lay down his signature sound. With the exception of that passage, all the music on the record is recorded by Davies himself. "Signals " is an album with a lot to discover, and repeat listens will reveal an inviting - if a bit unnerving - world that you'll want to spend all day in.
January 31 street date. Destroyer conceived of Have We Met as a Y2K album. Dan Bejar assigned producer and bandmate John Collins the role of layering synth and rhythm sections over demos with the period-specific Björk, Air, and Massive Attack in mind, but he soon realized the sonic template was too removed from Destroyer’s own, and the idea of a concept was silly anyway. So he abandoned it and gave Collins the most timeless instruction of all: “Make it sound cool.” The result is not a startling departure from 2017’s ken, but unlike that more band-oriented approach, the only actual instruments that appear are bass and electric guitar. MIDI instrumentation will of course invite Your Blues and Kaputt nostalgia, but Have We Met is buoyed by precise, plasticky guitar shredding three dimensionally across massive percussion—the loudest and dirtiest drums on a Destroyer record to date. Atmosphere and loose approximations of a place or feeling are what we’ve come to expect from any new Destroyer record— certainly not an easily defined and stridently adhered to theme or concept. Have We Met manages to meet somewhere between those disparate Y2K reference points and Destroyer’s own area of expertise, gliding deftly into territory that marries the old strident Destroyer with the new, aged crooning one of late.
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
January 31 street date. Destroyer conceived of Have We Met as a Y2K album. Dan Bejar assigned producer and bandmate John Collins the role of layering synth and rhythm sections over demos with the period-specific Björk, Air, and Massive Attack in mind, but he soon realized the sonic template was too removed from Destroyer’s own, and the idea of a concept was silly anyway. So he abandoned it and gave Collins the most timeless instruction of all: “Make it sound cool.” The result is not a startling departure from 2017’s ken, but unlike that more band-oriented approach, the only actual instruments that appear are bass and electric guitar. MIDI instrumentation will of course invite Your Blues and Kaputt nostalgia, but Have We Met is buoyed by precise, plasticky guitar shredding three dimensionally across massive percussion—the loudest and dirtiest drums on a Destroyer record to date. Atmosphere and loose approximations of a place or feeling are what we’ve come to expect from any new Destroyer record— certainly not an easily defined and stridently adhered to theme or concept. Have We Met manages to meet somewhere between those disparate Y2K reference points and Destroyer’s own area of expertise, gliding deftly into territory that marries the old strident Destroyer with the new, aged crooning one of late.
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
February 7 street date. Dooz Kawa revient avec son cinquième album, "Nomad's Land", dont le fil conducteur est le voyage, une échappée belle physique mais avant tout spirituelle et philosophique. Cet album se veut onirique et plein d'espoir en dépit du constat parfois difficile du rappeur. Sur ce disque fait de tristesse gaie, Dooz Kawa nous parle en treize chansons du bonheur et de ce qui nous lie. Il invite pour l'occasion Gaël Faye, Davodka, Degiheugi, Shantel, Swift Guad et le spécialiste en mandoline Vincent Beer Demander. Le tout est entrecoupé d’interludes avec Dorian Astor, maitre de conférences international et expert européen de Nietzsche. Force est de constater que peu importe le temps qui passe, peu importe les années qui défilent et l’âge qui avance, les mots de Dooz Kawa, seul ou accompagné, font toujours le même effet.
February 7 street date. Dooz Kawa revient avec son cinquième album, "Nomad's Land", dont le fil conducteur est le voyage, une échappée belle physique mais avant tout spirituelle et philosophique. Cet album se veut onirique et plein d'espoir en dépit du constat parfois difficile du rappeur. Sur ce disque fait de tristesse gaie, Dooz Kawa nous parle en treize chansons du bonheur et de ce qui nous lie. Il invite pour l'occasion Gaël Faye, Davodka, Degiheugi, Shantel, Swift Guad et le spécialiste en mandoline Vincent Beer Demander. Le tout est entrecoupé d’interludes avec Dorian Astor, maitre de conférences international et expert européen de Nietzsche. Force est de constater que peu importe le temps qui passe, peu importe les années qui défilent et l’âge qui avance, les mots de Dooz Kawa, seul ou accompagné, font toujours le même effet.
February 14 street date (LP) / February 21 for CD (date change). The simple power of DRAMA's musical expression is matched only by their work ethic. Since 2014, the Chicago-based duo have bootstrapped a subtle rise on their own terms, self-releasing several EPs and mapping multiple tours with Midwestern grit. A multicultural collaboration between producer Na'el Shehade and vocalist Via Rosa, the project plays to the complementary dynamics of their pairing, blurring the lines between R&B and dance-pop, heartbreak and bliss. Following their signing to Ghostly International in 2019, they realize their years-in-the-making full-length debut, aptly titled "Dance Without Me", a refined collection that recasts romantic tragedy as moonlit self-acceptance. DRAMA's first record appears remarkably refined for a young band; Rosa's lyrical candor creates expressionistic narratives about interpersonal intricacies all finessed for the club by Shehade. Here we see a lyricist whose vocal stylings are, not just complimented, but completed by a producer, and a producer whose genteel tracks are given a soul, however blue, depicted in a collaborator's deeply human lyrics.
February 14 street date (LP) / February 21 for CD (date change). The simple power of DRAMA's musical expression is matched only by their work ethic. Since 2014, the Chicago-based duo have bootstrapped a subtle rise on their own terms, self-releasing several EPs and mapping multiple tours with Midwestern grit. A multicultural collaboration between producer Na'el Shehade and vocalist Via Rosa, the project plays to the complementary dynamics of their pairing, blurring the lines between R&B and dance-pop, heartbreak and bliss. Following their signing to Ghostly International in 2019, they realize their years-in-the-making full-length debut, aptly titled "Dance Without Me", a refined collection that recasts romantic tragedy as moonlit self-acceptance. DRAMA's first record appears remarkably refined for a young band; Rosa's lyrical candor creates expressionistic narratives about interpersonal intricacies all finessed for the club by Shehade. Here we see a lyricist whose vocal stylings are, not just complimented, but completed by a producer, and a producer whose genteel tracks are given a soul, however blue, depicted in a collaborator's deeply human lyrics.
March 13 street date. First time on vinyl. "Placer Found" establishes the sonic and emotional palette that would come to define Dan Burton's work as Early Day Miners. This is music that rewards patience, and reveals itself more with each listen. There's a deep clarity within the soft focus - equal parts lost and found. The opening title track sets the mood just right, its comforting guitar interplay and gentle vocals holding your hand toward an unseen destination that's "still a ways to go." "East Berlin at Night" is the definition of cinematic, almost like an Ativin song with the amplifiers turned down from 12 to 3, while the last two minutes of "Texas Cinema," are the equivalent of a deep embrace from which you never want to let go. This new edition brings it all back to the proverbial start, as it is being released on Secretly Canadian which championed Ativin from the beginning and quickly became a home for Early Day Miners after the initial Western Vinyl release of "Placer Found." The two unreleased instrumental tracks on side D are fascinating glimpses into creative paths not taken. "Prospect Refuge" is a delicious slice of posi-vibes math-rock, while the taut, vaguely ominous "Blue Casino" makes an entirely different song out of a riff later utilized for the standout "Jefferson" from the band's 2003 "Jefferson at Rest" LP.
February 21 street date. Montreal psych-pop group Elephant Stone release their sixth full-length. It arrives following their 2016 LP, ‘Ship Of Fools’, and a number of recent side-projects and collaborations, such as the Acid House Ragas project and new band MIEN with members of The Horrors and The Black Angels. The first Elephant Stone record made in frontman and sitarist Rishi Dhir's own Sacred Sounds studio, ‘Hollow’ is an ambitious, dystopian sci-fi concept album which he says is inspired by The Who's ‘Tommy’, Pretty Things' ‘S.F, Sorrow’ and the second side of The Beatles' White Album: From Side A (‘The Beginning) though to Side B (‘The Ending’), the story told through Elephant Stone's renowned garage-psych alchemy takes place immediately after mankind's catastrophic destruction of the Earth and what happens when the same elite responsible for the first world-destroying climate disaster touch down on New Earth, a recently-discover planet sold with the same life of prosperity as the one they'd just destroyed. As soon as the chosen few step off the Harmonia ship built for the journey, it's clear that all is not what it seems and humanity appears destined to make the same mistakes.
February 21 street date. Montreal psych-pop group Elephant Stone release their sixth full-length. It arrives following their 2016 LP, ‘Ship Of Fools’, and a number of recent side-projects and collaborations, such as the Acid House Ragas project and new band MIEN with members of The Horrors and The Black Angels. The first Elephant Stone record made in frontman and sitarist Rishi Dhir's own Sacred Sounds studio, ‘Hollow’ is an ambitious, dystopian sci-fi concept album which he says is inspired by The Who's ‘Tommy’, Pretty Things' ‘S.F, Sorrow’ and the second side of The Beatles' White Album: From Side A (‘The Beginning) though to Side B (‘The Ending’), the story told through Elephant Stone's renowned garage-psych alchemy takes place immediately after mankind's catastrophic destruction of the Earth and what happens when the same elite responsible for the first world-destroying climate disaster touch down on New Earth, a recently-discover planet sold with the same life of prosperity as the one they'd just destroyed. As soon as the chosen few step off the Harmonia ship built for the journey, it's clear that all is not what it seems and humanity appears destined to make the same mistakes.
February 7 street date. After reuniting with briefly estranged singer Tetsuya Fukagawa, and shaking up their lineup for the first time in 25 years, Envy return refreshed with their most dynamic and progressive work, "The Fallen Crimson" - their first new studio album in five years. Japan's most iconic and influential post-hardcore band suffered seemingly insurmountable personal and creative struggles that challenged the very existence of the band like nothing they had experienced in their nearly three decades together. Opening with the kind of thunderous thrash that made them so renowned in the first place, and closing with the kind of triumphant ascent that has made them an inimitable force, "The Fallen Crimson" finds Envy perfecting their past, exploring their present, and pondering their future.
February 7 street date. After reuniting with briefly estranged singer Tetsuya Fukagawa, and shaking up their lineup for the first time in 25 years, Envy return refreshed with their most dynamic and progressive work, "The Fallen Crimson" - their first new studio album in five years. Japan's most iconic and influential post-hardcore band suffered seemingly insurmountable personal and creative struggles that challenged the very existence of the band like nothing they had experienced in their nearly three decades together. Opening with the kind of thunderous thrash that made them so renowned in the first place, and closing with the kind of triumphant ascent that has made them an inimitable force, "The Fallen Crimson" finds Envy perfecting their past, exploring their present, and pondering their future.
February 7 street date. Limited metallic sand and deep crimson vinyl edition - exclusively available to independent shops. After reuniting with briefly estranged singer Tetsuya Fukagawa, and shaking up their lineup for the first time in 25 years, Envy return refreshed with their most dynamic and progressive work, "The Fallen Crimson" - their first new studio album in five years. Japan's most iconic and influential post-hardcore band suffered seemingly insurmountable personal and creative struggles that challenged the very existence of the band like nothing they had experienced in their nearly three decades together. Opening with the kind of thunderous thrash that made them so renowned in the first place, and closing with the kind of triumphant ascent that has made them an inimitable force, "The Fallen Crimson" finds Envy perfecting their past, exploring their present, and pondering their future.
January 10 street date. Never before released on vinyl, the December 1991 indie cassette album that started all the hype over Eric's Trip, soon taking them into the hands of Sub Pop Records as their first Canadian signing. Remixed and remastered from the original 4-track master tapes and sounding better than ever. Also includes two bonus live tracks from the same era and a download code. Coloured vinyl!
March 13 street date. Espers, existing in between places, were a part of a flow of ideation that has as much to do with revelations from the 70s or 60s - with all the decades of the last century, really - as it does with the current expressions in favor of selfhood and safety that are struggled over today. Their music has retained a mysterious, unknowable vitality that, in the name of their original intention, continues to express Espers'’ individualism, optimism and deeply empathetic soul. Espers' self-titled first release appeared in 2004, heralding an era in which there was a perception of back-to-the-roots in the underground; kids making new music that spoke strongly of folk traditions and psychedelia, in the process setting themselves apart from latter-day sounds and approaches. Espers didn't shy away from this image, projecting a collective air, almost like a rural outpost, out of time and place in the urban environs of Philadelphia. The staid harmonies of Meg Baird and Greg Weeks, the 6- and 12-string guitars and percussion of Brooke Sietinsons, the full-bodied arrangements rife with traditional and classical details and the regular intervention of acid-toned guitar leads formed, along with the mystic and melancholy cast to their songwriting, a galvanizing identity for them among other like-minded music players of the day.
March 13 street date. Espers, existing in between places, were a part of a flow of ideation that has as much to do with revelations from the 70s or 60s - with all the decades of the last century, really - as it does with the current expressions in favor of selfhood and safety that are struggled over today. Their music has retained a mysterious, unknowable vitality that, in the name of their original intention, continues to express Espers'’ individualism, optimism and deeply empathetic soul. Espers' self-titled first release appeared in 2004, heralding an era in which there was a perception of back-to-the-roots in the underground; kids making new music that spoke strongly of folk traditions and psychedelia, in the process setting themselves apart from latter-day sounds and approaches. Espers didn't shy away from this image, projecting a collective air, almost like a rural outpost, out of time and place in the urban environs of Philadelphia. The staid harmonies of Meg Baird and Greg Weeks, the 6- and 12-string guitars and percussion of Brooke Sietinsons, the full-bodied arrangements rife with traditional and classical details and the regular intervention of acid-toned guitar leads formed, along with the mystic and melancholy cast to their songwriting, a galvanizing identity for them among other like-minded music players of the day.
March 13 street date. The second Espers album, "The Weed Tree" was released in 2005. It was a nearly inevitable endeavor for the group, made almost entirely of cover material, but the traditional folk songs - "Rosemary Lane" and "Black Is The Color" - were paired with songs by Nico, Michael Hurley, and even Blue Oyster Cult, making for an oblique run through eclectic aspects of the past that succeeded due to Espers' thorough re-imagining of the material in their own image. The addition of current members Helena Espvall on cello and Otto Hauser on drums and percussion upped the alchemy of the band to its most potent, making music that drew from tradition, but making it new at the same time.
March 13 street date. The second Espers album, "The Weed Tree" was released in 2005. It was a nearly inevitable endeavor for the group, made almost entirely of cover material, but the traditional folk songs - "Rosemary Lane" and "Black Is The Color" - were paired with songs by Nico, Michael Hurley, and even Blue Oyster Cult, making for an oblique run through eclectic aspects of the past that succeeded due to Espers' thorough re-imagining of the material in their own image. The addition of current members Helena Espvall on cello and Otto Hauser on drums and percussion upped the alchemy of the band to its most potent, making music that drew from tradition, but making it new at the same time.
Please note new street date: March 13. Smile With Your Heart: The Best of Bill Evans on Resonance takes listeners on a journey through the four official Bill Evans discoveries in the Resonance catalog — Live at Art D’Lugoff’s Top of the Gate (2012), Some Other Time: The Lost Session from the Black Forest (2016), Another Time: The Hilversum Concert (2017) & Evans In England (2019). Mastered by Bernie Grudman and pressed on 180-gram vinyl at RTI.
Everything Is Recorded is the collaborative artist project helmed by British musician and producer Richard Russell.
FRIDAY FOREVER is an investigation into the universality of the Friday night experience.
It's the follow up to his eponymous debut album which was released in 2018 and went on to be nominated for the Mercury Music Prize and hailed by Q Magazine as a "masterclass in the art of collaboration".
FRIDAY FOREVER features an instinctively curated set of collaborators including the Manchester rapper Aitch, South London's FLOHIO and James Massiah, Trinidad born Berwyn, Ireland's Maria Somerville and Kean Kavanagh, Staten Island rap god Ghostface Killah of Wu-Tang Clan, longterm EIR collaborator Infinite Coles, West London's A.K. Paul and a rare contribution from the anarchy punk legend Penny Rimbaud of Crass
Everything Is Recorded is the collaborative artist project helmed by British musician and producer Richard Russell.
FRIDAY FOREVER is an investigation into the universality of the Friday night experience.
It's the follow up to his eponymous debut album which was released in 2018 and went on to be nominated for the Mercury Music Prize and hailed by Q Magazine as a "masterclass in the art of collaboration".
FRIDAY FOREVER features an instinctively curated set of collaborators including the Manchester rapper Aitch, South London's FLOHIO and James Massiah, Trinidad born Berwyn, Ireland's Maria Somerville and Kean Kavanagh, Staten Island rap god Ghostface Killah of Wu-Tang Clan, longterm EIR collaborator Infinite Coles, West London's A.K. Paul and a rare contribution from the anarchy punk legend Penny Rimbaud of Crass
January 17 street date. The great Bill Fay returns with the third album in the celebrated second phase of his recording career. A prime Fay song is a deceptively simple thing which carries more emotional weight than its concision and brevity might imply. There are ten of these musical haikus on "Countless Branches", as pointed and as poignant as anything he's ever recorded. For decades now - it's almost 50 years since he cut his classic albums "Bill Fay" and "Time of the Last Persecution" - songs like these have been Fay's ambassadors helping rave reviews and endorsements from the likes of Jim O'Rourke (Tortoise) and Jeff Tweedy (Wilco) which led to a huge revival of interest in his music. He had continued to make music almost every day in the intervening decades. For "Countless Branches" he's completed new toplines over some of his cache of backing tracks, most of them 20 to 40 years old.
January 17 street date. Deluxe edition 2xLP set includes two exclusive tracks and a reworking of "Don't Let My Marigolds Die". The great Bill Fay returns with the third album in the celebrated second phase of his recording career. A prime Fay song is a deceptively simple thing which carries more emotional weight than its concision and brevity might imply. For decades now - it's almost 50 years since he cut his classic albums "Bill Fay" and "Time of the Last Persecution" - songs like these have been Fay's ambassadors helping rave reviews and endorsements from the likes of Jim O'Rourke (Tortoise) and Jeff Tweedy (Wilco) which led to a huge revival of interest in his music. He had continued to make music almost every day in the intervening decades. For "Countless Branches" he's completed new toplines over some of his cache of backing tracks, most of them 20 to 40 years old.
January 17 street date. Deluxe edition 2xLP set includes two exclusive tracks and a reworking of "Don't Let My Marigolds Die". The great Bill Fay returns with the third album in the celebrated second phase of his recording career. A prime Fay song is a deceptively simple thing which carries more emotional weight than its concision and brevity might imply. For decades now - it's almost 50 years since he cut his classic albums "Bill Fay" and "Time of the Last Persecution" - songs like these have been Fay's ambassadors helping rave reviews and endorsements from the likes of Jim O'Rourke (Tortoise) and Jeff Tweedy (Wilco) which led to a huge revival of interest in his music. He had continued to make music almost every day in the intervening decades. For "Countless Branches" he's completed new toplines over some of his cache of backing tracks, most of them 20 to 40 years old.
February 21 street date. Rebecca Foon, the composer and musician behind Saltland and Esmerine (and former longstanding member of Silver Mt. Zion) presents a new album entitled "Waxing Moon". While best known as an incomparable cellist crafting textural soundscapes and instrumental chamber-rock in the aforementioned projects (and more recently recognized for her creative and organisational work as co-founder of Pathway To Paris), this new collection of songs finds Foon emphasizing piano and voice with striking intimacy and elegance, showcasing a captivating evolution in her always resplendent songwriting. The climate crisis has profoundly framed Foon's political and artistic life for many years now, and "Waxing Moon" finds her writing and singing her most arrestingly direct yet poetic words, tapping universal and personal heartbreak in both despair and hope.
February 21 street date. Rebecca Foon, the composer and musician behind Saltland and Esmerine (and former longstanding member of Silver Mt. Zion) presents a new album entitled "Waxing Moon". While best known as an incomparable cellist crafting textural soundscapes and instrumental chamber-rock in the aforementioned projects (and more recently recognized for her creative and organisational work as co-founder of Pathway To Paris), this new collection of songs finds Foon emphasizing piano and voice with striking intimacy and elegance, showcasing a captivating evolution in her always resplendent songwriting. The climate crisis has profoundly framed Foon's political and artistic life for many years now, and "Waxing Moon" finds her writing and singing her most arrestingly direct yet poetic words, tapping universal and personal heartbreak in both despair and hope.
March 13 street date. Since their 2013 self-titled debut, The Frights have embodied a carefree vulnerability, setting their most awkward and painful feelings to a wildly joyful surf-punk sound. On their fourth studio album Everything Seems Like Yesterday, the San Diego-based band twist that dynamic to deliver their most emotionally direct body of work to date: a collection of songs written and performed solely by frontman Mikey Carnevale, each track matching its stripped-back simplicity with both raw outpouring and intense reflection. Everything Seems Like Yesterday first took shape through a handful of songs Carnevale wrote on acoustic guitar back in fall 2018. “Hypochondriac was the first time I’d ever written that way, and it felt really therapeutic,” he says, referring to the band’s 2018 Epitaph debut. “It pushed me to get much more into the craft of songwriting—as opposed to mostly writing songs for people to mosh to—and it felt right to keep going with that on this record.” Carnevale originally intended to release this acoustic material as a solo album, but had a change of heart upon sharing his new songs at a series of shows in San Diego and L.A. “All the guys in the band came out and the response was pretty positive, so I started to think this might be something more than a bunch of songs to put online for free,” he says. Carnevale soon enlisted bassist Richard Dotson as a producer, and the two bandmates set off to record at Carnevale’s grandmother’s cabin in Idyllwild, California.
March 13 street date. Since their 2013 self-titled debut, The Frights have embodied a carefree vulnerability, setting their most awkward and painful feelings to a wildly joyful surf-punk sound. On their fourth studio album Everything Seems Like Yesterday, the San Diego-based band twist that dynamic to deliver their most emotionally direct body of work to date: a collection of songs written and performed solely by frontman Mikey Carnevale, each track matching its stripped-back simplicity with both raw outpouring and intense reflection. Everything Seems Like Yesterday first took shape through a handful of songs Carnevale wrote on acoustic guitar back in fall 2018. “Hypochondriac was the first time I’d ever written that way, and it felt really therapeutic,” he says, referring to the band’s 2018 Epitaph debut. “It pushed me to get much more into the craft of songwriting—as opposed to mostly writing songs for people to mosh to—and it felt right to keep going with that on this record.” Carnevale originally intended to release this acoustic material as a solo album, but had a change of heart upon sharing his new songs at a series of shows in San Diego and L.A. “All the guys in the band came out and the response was pretty positive, so I started to think this might be something more than a bunch of songs to put online for free,” he says. Carnevale soon enlisted bassist Richard Dotson as a producer, and the two bandmates set off to record at Carnevale’s grandmother’s cabin in Idyllwild, California.
February 21 street date. France Gall was a prolifi c French vocalist and performer, remembered as one of the central fi gures of the 1960s yé-yé pop movement. Aligning catchy, spirited rhythms with lighthearted lyrics and drawing from the beat music a la early Beatles and Hollies, the yé-yé artists promoted a sort of new freedom of expression and breaking down of social barriers in post-WWII France. Third Man Records is beyond honored to bring this music to a larger audience by issuing the fi rst authorized North American vinyl pressings of these titles, some of the most brilliant highlights from Gall’s catalog. While France Gall had been releasing music since she was 16 it wasn’t until she took the Grand Prix at the 1965 Eurovision Song Contest with her rendition of Serge Gainsbourg’s “Poupée de Cire, Poupée de Son” that she would be catapulted to the top of the swinging yé-yé scene alongside the likes of Francoise Hardy, Sylvie Vartan and Bridgette Bardot. This record contains two of France’s most loved tracks, “Poupée de Cire” and “Laisse Tomber Les Filles” also penned by Gainsbourg. She recorded versions of the title track in French, German, Italian and Japanese and was now an international pop superstar. At the time France was dismissed by many as making fl uffy ultra commercial pop hits but her music stands the test of time far better than most, as not many were making music of this consistent high quality. Highly recommended. First ever U.S. pressing, on 180 gram vinyl no less.
February 21 street date. France Gall was a prolific French vocalist and performer, remembered as one of the central figures of the 1960s yé-yé pop movement. Aligning catchy, spirited rhythms with lighthearted lyrics and drawing from the beat music a la early Beatles and Hollies, the yé-yé artists promoted a sort of new freedom of expression and breaking down of social barriers in post-WWII France. Third Man Records is beyond honored to bring this music to a larger audience by issuing the fi rst authorized North American vinyl pressings of these titles, some of the most brilliant highlights from Gall’s catalog. Baby Pop is not only an important album for France herself, it is also a hugely important record for the entire yé-yé scene. Baby Pop hinted at the musical direction that yé-yé was headed in much the same way Revolver and Pet Sounds did in the UK and USA. Baby Pop is more mature and varied than her earlier more bubblegum releases. You will still find a wonderfully cheesy tracks like “L’Amerique” here and there but with the impossibly infectious title track and songs like the Gainsbourg penned “Nous Ne Sommes Va-T’en” and the groovy Farfissa driven “Faut-Il que Je T’Aime” we welcome a new France Gall and say hello to some of the fi nest pop music ever released in French or any language. First ever U.S. pressing, on 180 gram vinyl no less.
February 21 street date. France Gall was a prolific French vocalist and performer, remembered as one of the central figures of the 1960s yé-yé pop movement. Aligning catchy, spirited rhythms with lighthearted lyrics and drawing from the beat music a la early Beatles and Hollies, the yé-yé artists promoted a sort of new freedom of expression and breaking down of social barriers in post-WWII France. Third Man Records is beyond honored to bring this music to a larger audience by issuing the fi rst authorized North American vinyl pressings of these titles, some of the most brilliant highlights from Gall’s catalog. Without a doubt this is the weirdest France Gall record. 1968 dives further into the psychedelia that she was hinting at on Baby Pop. Even with addition of sitars and echoes of The Beatles, The Stones, The Kinks and Pet Sounds era Beach Boys all over this record it is still 100% French and could only have been made by France Gall. The addition of English expat producer/arranger, David Whitaker, brought a new and welcome airiness to the mix that was lacking on Gall’s earlier recordings. The album contains 2 of Serge Gainsbourg’s strangest and most out there arrangements, “Nefertiti” and “Teenie Weenie Boppie” about an LSD trip gone horribly wrong. 1968 is an absolutely essential addition to any record collection. First ever U.S. pressing, on 180 gram vinyl no less.
March 13 street date. THE GARDEN have been carving their own path since their formation in 2011. With 3 LP’s and 4 EP releases, they have become known musically for their fast, punk influenced jungle and DnB styles, and have consistently touring since 2013.While live, they are known for a mix of aggressive, unpredictable and trickster-ish tendencies - this new album, Kiss My Super Bowl Ring rivals the previous albums lyrically and sonically with an unmatched belligerence. The album is primarily self-produced, but includes tracks co-produced by the likes of Dylan Brady and Wharfwit, along with tracks featuring Ariel Pink and Khalif Jones (aka Le1f) and even a snippet from Carrot Top. The album shows it’s first bit of skin with the opening track, “Clench To Stay Awake” - a track based off the experiences of both brothers mysterious health issues over the years. Kiss My Super Bowl Ring boasts a roster of songs that just might be the most creatively rattling yet from the duo.
March 13 street date. THE GARDEN have been carving their own path since their formation in 2011. With 3 LP’s and 4 EP releases, they have become known musically for their fast, punk influenced jungle and DnB styles, and have consistently touring since 2013.While live, they are known for a mix of aggressive, unpredictable and trickster-ish tendencies - this new album, Kiss My Super Bowl Ring rivals the previous albums lyrically and sonically with an unmatched belligerence. The album is primarily self-produced, but includes tracks co-produced by the likes of Dylan Brady and Wharfwit, along with tracks featuring Ariel Pink and Khalif Jones (aka Le1f) and even a snippet from Carrot Top. The album shows it’s first bit of skin with the opening track, “Clench To Stay Awake” - a track based off the experiences of both brothers mysterious health issues over the years. Kiss My Super Bowl Ring boasts a roster of songs that just might be the most creatively rattling yet from the duo.
January 24 street date. "the first glass beach album" was initially self-released by the band in Spring 2019, but its roots date back to as early as 2015 - songwriter and band leader j mclendon started demoing songs for the album when they first moved to Los Angeles and spent three years polishing those first demos into these songs with bassist Jonas Newhouse and drummer William White. On their Bandcamp page, the band describes their sound as the accumulation of jazz, new wave, synth music, and emo distorted through the lens of punk. The songs that make up "the first glass beach album" are ambitious, theatrical and chaotic. Abandoning genre limitations makes glass beach's talent for songwriting all the more apparent - mathy guitar leads, catchy drum grooves and the constant interplay of horns, synths, and even the intermittent theremin set the perfect scene for j's stunning vocal performance, which can shift from a charming falsetto to the lead of a sing-a-long in an instant.
January 24 street date. Limited clear with blue and red splatter edition. "the first glass beach album" was initially self-released by the band in Spring 2019, but its roots date back to as early as 2015 - songwriter and band leader j mclendon started demoing songs for the album when they first moved to Los Angeles and spent three years polishing those first demos into these songs with bassist Jonas Newhouse and drummer William White. On their Bandcamp page, the band describes their sound as the accumulation of jazz, new wave, synth music, and emo distorted through the lens of punk. The songs that make up "the first glass beach album" are ambitious, theatrical and chaotic. Abandoning genre limitations makes glass beach's talent for songwriting all the more apparent - mathy guitar leads, catchy drum grooves and the constant interplay of horns, synths, and even the intermittent theremin set the perfect scene for j's stunning vocal performance, which can shift from a charming falsetto to the lead of a sing-a-long in an instant.
February 20 street date. (The most adventurous GBV album yet!!.. Featuring an exhilarating and dizzying trip to an inventive world of strange characters.) Starting off the year with a 100-song marathon in Los Angeles on New Year’s Eve, Robert Pollard is setting a mighty high bar for Guided By Voices in 2020. Following three acclaimed and stylistically distinct full-length albums in 2019, Surrender Your Poppy Field, is a head-spinning tour de force: a bit of everything... plus more! And hands down the most adventurous GBV album ever. There are lo-fi four-track tape recordings, there are songs recorded with a single microphone in a basement, there are big studio fully-produced hook-laden pop songs, and there is a lot in between. Seemingly, the guiding concept of Surrender Your Poppy Field was to make the songs sound as different from one another as possible: sudden shifts in mood, tempo and rhythm, unexpected chord progressions, false endings and codas, string orchestrations, mysterious voices... It’s an exhilarating and dizzying trip to an inventive world of strange characters: Andre the Hawk, Queen Parking Lot, the Cul-de-Sac Kids, the Hard Hitter, the Steely Dodger, the Stone Cold Moron, A Man Called Physician, A Man Called Blunder...Not content with their usual mastery of the 4 P’s (punk, pop, prog, psych) Professor Pollard pushes the envelope on Poppy Field, and continues to redefine GBV from a myriad of angles. Anyone who thinks that he’s gotten complacent after 104 albums hasn’t been paying attention! Don’t miss out.
February 20 street date. (The most adventurous GBV album yet!!.. Featuring an exhilarating and dizzying trip to an inventive world of strange characters.) Starting off the year with a 100-song marathon in Los Angeles on New Year’s Eve, Robert Pollard is setting a mighty high bar for Guided By Voices in 2020. Following three acclaimed and stylistically distinct full-length albums in 2019, Surrender Your Poppy Field, is a head-spinning tour de force: a bit of everything... plus more! And hands down the most adventurous GBV album ever. There are lo-fi four-track tape recordings, there are songs recorded with a single microphone in a basement, there are big studio fully-produced hook-laden pop songs, and there is a lot in between. Seemingly, the guiding concept of Surrender Your Poppy Field was to make the songs sound as different from one another as possible: sudden shifts in mood, tempo and rhythm, unexpected chord progressions, false endings and codas, string orchestrations, mysterious voices... It’s an exhilarating and dizzying trip to an inventive world of strange characters: Andre the Hawk, Queen Parking Lot, the Cul-de-Sac Kids, the Hard Hitter, the Steely Dodger, the Stone Cold Moron, A Man Called Physician, A Man Called Blunder...Not content with their usual mastery of the 4 P’s (punk, pop, prog, psych) Professor Pollard pushes the envelope on Poppy Field, and continues to redefine GBV from a myriad of angles. Anyone who thinks that he’s gotten complacent after 104 albums hasn’t been paying attention! Don’t miss out.
March 27 street date. Half Waif Nandi Rose is on her own again, and three songs into her forthcoming album The Caretaker , the singer, songwriter and producer declares her fearlessness: “Baby don’t worry about me, I don’t worry about you.” Here, on “Ordinary Talk,” Rose meditates on the heaviness of ordinary moments, the constellation of tears and chores and self-doubt and small talk that comprise being a person, accompanied by her most cinematic, pulsing arrangements to date. It’s an apt introduction to The Caretaker, an ax-lbum that negotiates the space between working alone and with others, between isolation and connection. The result is her boldest work yet. Over the course of eleven songs, Rose creates the lush world of a humid summer night, dreaming of and reaching for a season in which she is her “best self.”
March 27 street date. Half Waif Nandi Rose is on her own again, and three songs into her forthcoming album The Caretaker , the singer, songwriter and producer declares her fearlessness: “Baby don’t worry about me, I don’t worry about you.” Here, on “Ordinary Talk,” Rose meditates on the heaviness of ordinary moments, the constellation of tears and chores and self-doubt and small talk that comprise being a person, accompanied by her most cinematic, pulsing arrangements to date. It’s an apt introduction to The Caretaker, an ax-lbum that negotiates the space between working alone and with others, between isolation and connection. The result is her boldest work yet. Over the course of eleven songs, Rose creates the lush world of a humid summer night, dreaming of and reaching for a season in which she is her “best self.”
February 14 street date. The UK's cosmic, psychedelic-funk ensemble issue their first album on maverick producer Madlib's label, Madlib Invazion. The Heliocentrics' albums are all confounding pieces of work. Drawing equally from the funk universe of James Brown, the disorienting asymmetry of Sun Ra, the cinematic scope of Ennio Morricone, the sublime fusion of David Axelrod, Pierre Henry's turned-on musique concrète, and Can's beat-heavy Krautrock, they have - regardless of the label on which they've released their music - pointed the way towards a brand new kind of psychedelia, one that could only come from a band of accomplished musicians who were also obsessive music fans. Drummer Malcolm Catto and bassist Jake Ferguson are the Heliocentrics’ masterminds and producers, and they are obsessive weirdos in today's musical climate, searching, progressive humans who are often out-of-time with current trends. The Heliocentrics search for an individual in an alternate galaxy where the orbits of funk, jazz, psychedelic, electronic, avant-garde and "ethnic" music all revolve around "The One". With "Infinity Of Now", the Heliocentrics have returned to develop their epic vision of psychedelic funk, while exploring the possibilities created by their myriad influences - Latin, African, and more.
February 14 street date. The UK's cosmic, psychedelic-funk ensemble issue their first album on maverick producer Madlib's label, Madlib Invazion. The Heliocentrics' albums are all confounding pieces of work. Drawing equally from the funk universe of James Brown, the disorienting asymmetry of Sun Ra, the cinematic scope of Ennio Morricone, the sublime fusion of David Axelrod, Pierre Henry's turned-on musique concrète, and Can's beat-heavy Krautrock, they have - regardless of the label on which they've released their music - pointed the way towards a brand new kind of psychedelia, one that could only come from a band of accomplished musicians who were also obsessive music fans. Drummer Malcolm Catto and bassist Jake Ferguson are the Heliocentrics’ masterminds and producers, and they are obsessive weirdos in today's musical climate, searching, progressive humans who are often out-of-time with current trends. The Heliocentrics search for an individual in an alternate galaxy where the orbits of funk, jazz, psychedelic, electronic, avant-garde and "ethnic" music all revolve around "The One". With "Infinity Of Now", the Heliocentrics have returned to develop their epic vision of psychedelic funk, while exploring the possibilities created by their myriad influences - Latin, African, and more.
March 13 street date. Free-thinking Nova Scotia composer, musician and visual artist Jay Crocker (aka JOYFULTALK) channels Minimalism, Japanese environmental music, Maghrebian rhythmic modes and other numinous folkways to create his most focused, vibrant work to date. Based on a monumental, kaleidoscopic graphic score, "A Separation Of Being" is translated from two-dimensional page to trans-dimensional aural life using an array of homemade instruments, crowned with a majestic string arrangement written by Crocker and performed by Polaris and Juno winner Jesse Zubot (Tanya Tagaq, Destroyer). This three-part suite is airtight; interlocking arcs of polyrhythmic deep groove and new minimalism roll out in spellbinding propulsion, the music gathering its warmth from the strings and its peculiarities from Crocker's bespoke instrumentation and analog clockworks. Album packaging on CD and audiophile 180g LP features details on the outer jacket cover art, and a reproduction of the full score on the inside gatefold, and as an exquisite 12" x 24" pull-out art print, respectively.
March 13 street date. Free-thinking Nova Scotia composer, musician and visual artist Jay Crocker (aka JOYFULTALK) channels Minimalism, Japanese environmental music, Maghrebian rhythmic modes and other numinous folkways to create his most focused, vibrant work to date. Based on a monumental, kaleidoscopic graphic score, "A Separation Of Being" is translated from two-dimensional page to trans-dimensional aural life using an array of homemade instruments, crowned with a majestic string arrangement written by Crocker and performed by Polaris and Juno winner Jesse Zubot (Tanya Tagaq, Destroyer). This three-part suite is airtight; interlocking arcs of polyrhythmic deep groove and new minimalism roll out in spellbinding propulsion, the music gathering its warmth from the strings and its peculiarities from Crocker's bespoke instrumentation and analog clockworks. Album packaging on CD and audiophile 180g LP features details on the outer jacket cover art, and a reproduction of the full score on the inside gatefold, and as an exquisite 12" x 24" pull-out art print, respectively.
February 7 street date. It'll take you over four hours just to get from R&B singer Leon Bridges' hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you're in. And it's all baking under the Texas Sun that lends its name to Bridges and Khruangbin's new collaborative EP. On "Texas Sun", these two members of the state's musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas' past, present, and future - a dreamy badlands where genres blur as seamlessly as the terrain. A journey through homesick reminiscences, backseat romances, and late-night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you.
February 7 street date. It'll take you over four hours just to get from R&B singer Leon Bridges' hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you're in. And it's all baking under the Texas Sun that lends its name to Bridges and Khruangbin's new collaborative EP. On "Texas Sun", these two members of the state's musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas' past, present, and future - a dreamy badlands where genres blur as seamlessly as the terrain. A journey through homesick reminiscences, backseat romances, and late-night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you.
January 17 street date. Kid Dynamite’s first album was, and always will be a masterpiece. It will influence hardcore bands down the line. Hell, it probably already has. If you loved Lifetime, you’ll love this. Or, if you’re just looking for a good hardcore listen, pick this up. You’ll thank me.” - PunkNews.org
January 17 street date. (LIMITED EDITION – CLEAR W/ BLACK SMOKE LP) Kid Dynamite’s first album was, and always will be a masterpiece. It will influence hardcore bands down the line. Hell, it probably already has. If you loved Lifetime, you’ll love this. Or, if you’re just looking for a good hardcore listen, pick this up. You’ll thank me.” - PunkNews.org
February 7 street date. Shorter, Faster, Louder is a fine sophomore album, refining the aggression and intelligence of Kid Dynamite’s debut while upping the adrenaline rush of the music ever so slightly. That said, all of the hallmarks in the band’s East Coast hardcore punk sound are still very much in place. Fans who enjoyed the first album will undoubtedly relish this one too, especially in light of the unfortunate fact that it’s Kid Dynamite’s last -- just prior to Shorter, Faster, Louder release, vocalist Jason Shevchuk departed to pursue a film career, and the remainder of the band elected to break up. - STEVE HUEY / ALL MUSIC GUIDE
February 7 street date. Shorter, Faster, Louder is a fine sophomore album, refining the aggression and intelligence of Kid Dynamite’s debut while upping the adrenaline rush of the music ever so slightly. That said, all of the hallmarks in the band’s East Coast hardcore punk sound are still very much in place. Fans who enjoyed the first album will undoubtedly relish this one too, especially in light of the unfortunate fact that it’s Kid Dynamite’s last -- just prior to Shorter, Faster, Louder release, vocalist Jason Shevchuk departed to pursue a film career, and the remainder of the band elected to break up. - STEVE HUEY / ALL MUSIC GUIDE
March 6 street date. The first King Crimson release of 2020 is the Expanded Version of the 1970 release Cat Food. 50th anniversary edition of King Crimson’s first non-album single. Expanded to a 4 track EP & issued on 10” vinyl & CD. Features Cat Food (single version) & Groon (original single B-side). Features a live version of Cat Food performed by the current line-up in Toronto in September 2019. Included is an alternate mix of the album version of Cat Food prepared by David Singleton as part of the KC50 digital series. Artwork derived from Peter Sinfield’s original 7” sleeve art. Cut by Jason Mitchell at Loud Mastering.
March 6 street date. The first King Crimson release of 2020 is the Expanded Version of the 1970 release Cat Food. 50th anniversary edition of King Crimson’s first non-album single. Expanded to a 4 track EP & issued on 10” vinyl & CD. Features Cat Food (single version) & Groon (original single B-side). Features a live version of Cat Food performed by the current line-up in Toronto in September 2019. Included is an alternate mix of the album version of Cat Food prepared by David Singleton as part of the KC50 digital series. Artwork derived from Peter Sinfield’s original 7” sleeve art. Cut by Jason Mitchell at Loud Mastering.
Man Alive!, now out via TruePanther/Matador Records. (Available on CD, standard black vinyl, indie record store exclusive red vinyl.) Archy Ivan Marshall has the world at his feet. After two feverishly received albums as King Krule, plus another low-key outing under his own name, this extraordinarily gifted 25-year-old from Peckham in South London adds further depth and substance to his oeuvre with his new, wondrous long-player, Man Alive!. * It arrives packed full of his trademark sonic ambition and compositional skill, as well as the now-familiar corrosive lyricism and lurid social observation. Marshall has emerged as a pack leader amongst his peers, leading the charge in a fearless blurring of genre divisions. * The album was written as a direct reaction to the non-stop energy of touring The Ooz, and then partly recorded at Shrunken Heads in Marshall's native stamping ground of Nunhead, with Ooz co-producer Dilip Harris. Increasingly self-sufficient in the studio, he manned most of the instruments himself, except for the saxophone, which was played by his trusty Argentinian amigo, Ignacio Salvadores.
Man Alive!, now out via TruePanther/Matador Records. (Available on CD, standard black vinyl, indie record store exclusive red vinyl.) Archy Ivan Marshall has the world at his feet. After two feverishly received albums as King Krule, plus another low-key outing under his own name, this extraordinarily gifted 25-year-old from Peckham in South London adds further depth and substance to his oeuvre with his new, wondrous long-player, Man Alive!. * It arrives packed full of his trademark sonic ambition and compositional skill, as well as the now-familiar corrosive lyricism and lurid social observation. Marshall has emerged as a pack leader amongst his peers, leading the charge in a fearless blurring of genre divisions. * The album was written as a direct reaction to the non-stop energy of touring The Ooz, and then partly recorded at Shrunken Heads in Marshall's native stamping ground of Nunhead, with Ooz co-producer Dilip Harris. Increasingly self-sufficient in the studio, he manned most of the instruments himself, except for the saxophone, which was played by his trusty Argentinian amigo, Ignacio Salvadores.
King Krule has released Man Alive! via TruePanther/Matador Records. (Available on CD, standard black vinyl, indie record store exclusive red vinyl.) Archy Ivan Marshall has the world at his feet. After two feverishly received albums as King Krule, plus another low-key outing under his own name, this extraordinarily gifted 25-year-old from Peckham in South London adds further depth and substance to his oeuvre with his new, wondrous long-player, Man Alive!. * It arrives packed full of his trademark sonic ambition and compositional skill, as well as the now-familiar corrosive lyricism and lurid social observation. Marshall has emerged as a pack leader amongst his peers, leading the charge in a fearless blurring of genre divisions. * The album was written as a direct reaction to the non-stop energy of touring The Ooz, and then partly recorded at Shrunken Heads in Marshall's native stamping ground of Nunhead, with Ooz co-producer Dilip Harris. Increasingly self-sufficient in the studio, he manned most of the instruments himself, except for the saxophone, which was played by his trusty Argentinian amigo, Ignacio Salvadores.
February 21 street date. The Mississippi born slide guitar icon Sonny Landreth will be releasing his new studio album, ‘Blacktop Run’, on February 21st, 2020 via Provogue Records. ‘Blacktop Run’ follows his previous Grammy nominated album ‘Recorded Live In Lafayette’ (2017) and his back-to-back Blues Music Awards for Best Guitarist and Best Blues Album for ‘Bound by the Blues’ (2015). Now based in south Louisiana, his groundbreaking work has long mixed familiarity with experimentation, and his latest ten-song collection stretches from hard-edged electric instrumentals to wistful acoustic ballads. The project’s range is the fruit of a renewed collaboration. Producer RS Field, who helmed Landreth’s trio of breakout albums, joined the six-stringer and co-producer Tony Daigle to finish the record. “His brilliance and creative energy recharged us,” Landreth said of reuniting with Field. “We came up with new and better ideas, and that’s what we wanted,” he added. “It couldn’t have gone better.” A quartet of instrumentals highlights the expressive power of bassist David Ranson, drummer Brian Brignac and multi-talented keyboardist/songwriter Steve Conn. “Groovy Goddess” takes the listener into harder-edged jazz-rock territory, showcasing the slide guitar prowess that has twice landed Landreth on the cover of Guitar Player magazine. “Honestly, I think the purest form of music is improvised,” the bandleader says. “When it flows, it’s exhilarating. It just seems to come out of nowhere and connect your heart and soul to your fingertips. After two Grammy nominations, multiple appearances at Clapton’s Crossroads Guitar Festival and wide-ranging acclaim from fellow players and fans worldwide, Landreth is looking forward to playing the new material live. “It’s all about telling the story,” Landreth says, “and as long as I can find my way up that path, I’m all in.” As the songwriter’s narrator sings in the title number of Blacktop Run, “A new day is dawning and I have never felt so alive.”
February 14 street date. New York band The Men have always been genre-morphic and unpredictable, but on their eighth album "Mercy" they have truly done something new as a band. For the first time since forming, they have now created three straight records with the same lineup, and the result is a sound that feels developed and continuous despite running the gamut of mood, in true Men fashion. Having this lineup stability has allowed the band to deepen and finesse the sounds they were exploring on 2017's "Drift" and produce tracks that have a unique and distinct voice. The album is simply the sound of a band that has a deep and unjaded passion for songwriting and creation, working at the peak of their collaborative connection.
February 14 street date. New York band The Men have always been genre-morphic and unpredictable, but on their eighth album "Mercy" they have truly done something new as a band. For the first time since forming, they have now created three straight records with the same lineup, and the result is a sound that feels developed and continuous despite running the gamut of mood, in true Men fashion. Having this lineup stability has allowed the band to deepen and finesse the sounds they were exploring on 2017's "Drift" and produce tracks that have a unique and distinct voice. The album is simply the sound of a band that has a deep and unjaded passion for songwriting and creation, working at the peak of their collaborative connection.
February 14 street date. Limited blue and purple splatter vinyl edition. New York band The Men have always been genre-morphic and unpredictable, but on their eighth album "Mercy" they have truly done something new as a band. For the first time since forming, they have now created three straight records with the same lineup, and the result is a sound that feels developed and continuous despite running the gamut of mood, in true Men fashion. Having this lineup stability has allowed the band to deepen and finesse the sounds they were exploring on 2017's "Drift" and produce tracks that have a unique and distinct voice. The album is simply the sound of a band that has a deep and unjaded passion for songwriting and creation, working at the peak of their collaborative connection.
March 27 street date. It's been a long, winding road to Hailu Mergia's sixth decade of musical activity. With 2018's critical breakthrough "Lala Belu", Mergia championed himself and consolidated his legacy, producing the album on his own and connecting with listeners through the sheer creative power of his version of modern Ethiopian music. His subsequent performances revealed an artist who is in no way stuck in the nostalgia for the "golden age" sound. The press agreed, including the New York Times, BBC and Pitchfork, calling his music "triumphantly in the present" in its Best 200 Albums of the 2010's list. Mergia's new album "Yene Mircha" encapsulates many of the things that make the keyboardist, accordionist and composer-arranger remarkable - elements that have persisted to maintain his vitality all these years, through the ebb and flow of his career. The rock solid trio with whom he has toured the world most recently, DC-based Alemseged Kebede (bass) and Ken Joseph (drums), forms the nucleus around which an expanded band makes a potent response to the contemporary jazz future "Lala Belu" promised. "Yene Mircha" calcifies Mergia's prolific stream of creativity and his philosophy that there is a multitude of Ethiopian musical approaches, not just one sound.
March 27 street date. It's been a long, winding road to Hailu Mergia's sixth decade of musical activity. With 2018's critical breakthrough "Lala Belu", Mergia championed himself and consolidated his legacy, producing the album on his own and connecting with listeners through the sheer creative power of his version of modern Ethiopian music. His subsequent performances revealed an artist who is in no way stuck in the nostalgia for the "golden age" sound. The press agreed, including the New York Times, BBC and Pitchfork, calling his music "triumphantly in the present" in its Best 200 Albums of the 2010's list. Mergia's new album "Yene Mircha" encapsulates many of the things that make the keyboardist, accordionist and composer-arranger remarkable - elements that have persisted to maintain his vitality all these years, through the ebb and flow of his career. The rock solid trio with whom he has toured the world most recently, DC-based Alemseged Kebede (bass) and Ken Joseph (drums), forms the nucleus around which an expanded band makes a potent response to the contemporary jazz future "Lala Belu" promised. "Yene Mircha" calcifies Mergia's prolific stream of creativity and his philosophy that there is a multitude of Ethiopian musical approaches, not just one sound.
January 24 street date. Among the most sampled groups of the 60s and 70s by a slew of top rap and hip-hop artists of the 90s and beyond, the legendary New Orleans band and Grammy Lifetime Achievement awardees The Meters created an instantly recognizable sound through almost a decade of recording, initially for the Josie label and then for Reprise and Warner Brothers. Group members guitarist Leo Nocentelli, bassist George Porter Jr., drummer Joseph 'Zigaboo' Modeliste and keyboardist/singer Art Neville formed the core of the band, later augmented by Art's younger brother, percussionist/singer Cyril who joined The Meters in 1975. With a superb, informative and extensive essay by renowned UK writer Charles Waring that includes quotes from Nocentelli, Porter and Cyril Neville from interviews conducted for the liner notes, first class mastering by Nick Robbins and stellar artwork by Roger Williams, this wonderful 116-track, 6-CD SoulMusic Records' box set showcases The Meters' entire recorded output for Josie Records (1968-1971), Reprise and Warners Brothers (1972-77). In addition to their eight full albums, this luxurious package (with a 40-page booklet) includes non-album singles, bonus material, single edits and a rare 1977 disco mix of ‘Disco Is The Thing Today’, available for the first time on CD.
January 31 street date (CD) / February 14 (LP). Haviah Mighty's 2019 Polaris Prize winning album "13th Floor" now available via FAB! Raised in a musical household in Brampton, Ontario, Mighty started singing at the age of 4, rapping at 11, and producing at 15. Well-known for being one of the three MCs who make up The Sorority - a hip-hop group born during an all-female cypher on International Women's Day in 2016 - Mighty is making equally large waves as a solo artist. Haviah has been releasing music independently since 2009, but it was her project, "Flower City" (2017), that propelled her solo career into further success. This past September, "13th Floor" made history as the first hip hop artist and the first black woman to ever receive the Polaris Prize. Garnering overwhelming praise from the likes of Pitchfork, Billboard, Hot New Hip Hop, and Lyrical Lemonade to name a few, Haviah continues to carve out spaces that boldly defy gendered expectations for women in hip hop.
February 14 (LP) / January 31 (CD). Haviah Mighty's 2019 Polaris Prize winning album "13th Floor" now available via FAB! Raised in a musical household in Brampton, Ontario, Mighty started singing at the age of 4, rapping at 11, and producing at 15. Well-known for being one of the three MCs who make up The Sorority - a hip-hop group born during an all-female cypher on International Women's Day in 2016 - Mighty is making equally large waves as a solo artist. Haviah has been releasing music independently since 2009, but it was her project, "Flower City" (2017), that propelled her solo career into further success. This past September, "13th Floor" made history as the first hip hop artist and the first black woman to ever receive the Polaris Prize. Garnering overwhelming praise from the likes of Pitchfork, Billboard, Hot New Hip Hop, and Lyrical Lemonade to name a few, Haviah continues to carve out spaces that boldly defy gendered expectations for women in hip hop.
March 13 street date. With a timeless sound that blends heavy soul and psych-rock, Monophonics have built a reputation over the past decade as one of the best live bands in the country. Led by singer Kelly Finnigan, the band of has drawn on their colorful history - both their experiences as veteran touring performers and as individuals growing up in the Bay Area - to create "It's Only Us", their fourth release since 2012. A reflection of what they see as the current state of the world, the record touches on difficult subjects such as broken relationships, mental health issues, gun violence and power struggles, all with an underlying message of unity, resilience and acceptance. The band's signature style of arrangement has been expanded with top-notch production and creative instrumentation to round out the Monophonics' trademark soul sound, while Finnigan's vocals are more powerful than ever.
March 13 street date. With a timeless sound that blends heavy soul and psych-rock, Monophonics have built a reputation over the past decade as one of the best live bands in the country. Led by singer Kelly Finnigan, the band of has drawn on their colorful history - both their experiences as veteran touring performers and as individuals growing up in the Bay Area - to create "It's Only Us", their fourth release since 2012. A reflection of what they see as the current state of the world, the record touches on difficult subjects such as broken relationships, mental health issues, gun violence and power struggles, all with an underlying message of unity, resilience and acceptance. The band's signature style of arrangement has been expanded with top-notch production and creative instrumentation to round out the Monophonics' trademark soul sound, while Finnigan's vocals are more powerful than ever.
March 13 street date. Limited random coloured vinyl edition. With a timeless sound that blends heavy soul and psych-rock, Monophonics have built a reputation over the past decade as one of the best live bands in the country. Led by singer Kelly Finnigan, the band of has drawn on their colorful history - both their experiences as veteran touring performers and as individuals growing up in the Bay Area - to create "It's Only Us", their fourth release since 2012. A reflection of what they see as the current state of the world, the record touches on difficult subjects such as broken relationships, mental health issues, gun violence and power struggles, all with an underlying message of unity, resilience and acceptance. The band's signature style of arrangement has been expanded with top-notch production and creative instrumentation to round out the Monophonics' trademark soul sound, while Finnigan's vocals are more powerful than ever.
Please note new street date: March 13. Wes’s Best: The Best of Wes Montgomery on Resonance explores five of the guitar legend Wes Montgomery’s official releases of previously-unissued recordings on Resonance — Echoes of Indiana Avenue (2012), In the Beginning (2015), One Night in Indy (2016), Smokin’ in Seattle (2017) and Back on Indiana Avenue (2019). Mastered by Bernie Grudman and pressed on 180-gram vinyl at RTI.
January 24 street date. In Okay Kaya songs, her world looks a lot like ours - Netflix, jetlag, vegan peanut butter and chocolate ice cream, lonely bowls of ramen, diet trends. But unlike ours, each of these vibrates and shimmers with deeper, darker meaning, with existential dread and desire for understanding. This is Sade for nihilists. As she transforms feelings, defeats, and victories into songs, the lyrics often involve pools of sweat, oceans, and other forms of wetness. But Okay Kaya's world is not one of renewal and rebirth - it's not water at all, actually. "It's more like bile," Kaya says, "It's what comes out in the purge." In these songs, Kaya swims through her melancholy and anxiety - not as a way of cleansing herself, but as an understanding of their depths.
January 24 street date. Limited coke bottle clear vinyl edition. In Okay Kaya songs, her world looks a lot like ours - Netflix, jetlag, vegan peanut butter and chocolate ice cream, lonely bowls of ramen, diet trends. But unlike ours, each of these vibrates and shimmers with deeper, darker meaning, with existential dread and desire for understanding. This is Sade for nihilists. As she transforms feelings, defeats, and victories into songs, the lyrics often involve pools of sweat, oceans, and other forms of wetness. But Okay Kaya's world is not one of renewal and rebirth - it's not water at all, actually. "It's more like bile," Kaya says, "It's what comes out in the purge." In these songs, Kaya swims through her melancholy and anxiety - not as a way of cleansing herself, but as an understanding of their depths.
March 6 street date. Dan Yemin is the only man in punk rock whose bands get louder and faster with age. As the guitarist in hardcore legends Lifetime and Kid Dynamite, Yemin has been known for bringing a keen sense of melody to even the heaviest hitting of his songs. Paint It Black, formed from the ashes of Kid Dynamite and the result of Yemin’s brush with death and subsequent renewed desire to make music. “On Paradise, the band’s second album, Paint It Black re“release a lot of the tension throughout the album with a lease reliance on melodic sensibilities -- guitar and vocal lines with interesting half-time chumpdowns -- which may be a result of Paradise being produced and recorded by J. Robbins. These are introspective songs of identiby identity against a backdrop of global breakdown and corporate ty manipulation. Paint It Black offer up fast beats, thick chords, and passionate lyrics on Paradise, and shine on tracks with vocal exchanges between Dan Yemin and Andy Nelson, such as “Pink Slip,” “Athiests in Foxholes,” and “Labor Day.” Paint It Black have always had a good sense of keeping the good fight going with passion and rage in their lyrics and delivery, while mixing in memorable musical elements. Paradise will make you get up, think about your situation, and fight for better days. “ - David Serra / All Music Guide
March 6 street date. Dan Yemin is the only man in punk rock whose bands get louder and faster with age. As the guitarist in hardcore legends Lifetime and Kid Dynamite, Yemin has been known for bringing a keen sense of melody to even the heaviest hitting of his songs. Paint It Black, formed from the ashes of Kid Dynamite and the result of Yemin’s brush with death and subsequent renewed desire to make music. “On Paradise, the band’s second album, Paint It Black re“release a lot of the tension throughout the album with a lease reliance on melodic sensibilities -- guitar and vocal lines with interesting half-time chumpdowns -- which may be a result of Paradise being produced and recorded by J. Robbins. These are introspective songs of identiby identity against a backdrop of global breakdown and corporate ty manipulation. Paint It Black offer up fast beats, thick chords, and passionate lyrics on Paradise, and shine on tracks with vocal exchanges between Dan Yemin and Andy Nelson, such as “Pink Slip,” “Athiests in Foxholes,” and “Labor Day.” Paint It Black have always had a good sense of keeping the good fight going with passion and rage in their lyrics and delivery, while mixing in memorable musical elements. Paradise will make you get up, think about your situation, and fight for better days. “ - David Serra / All Music Guide
March 27 street date. Parkway Drive, the five-piece metal band from Byron Bay, Australia formed in 2002. The band features vocalist Winston McCall, guitarists Luke Kilpatrick and Jeff Ling, bassist Jia O’Connor, and drummer Ben Gordon. For more than a decade, the band has stood at the forefront of heavy music worldwide, matching their uncompromising urgency with a powerful musicality. They have released six studio albums, two platinum selling DVDs and one book in their storied career, which has been documented in the feature length documentary Viva the Underdogs, and this album release is the soundtrack to the film. The film, Viva The Underdogs features over a decade of behind the scenes personal footage, coupled with unprecedented access to the bands most explosive live tours and world’s biggest music festivals. The film gives an incredibly honest and candid look at Parkway Drive’s journey; the good-times, battles, triumphs, and sacrifices. Viva The Underdogs the album features 14 tracks; 11 of their biggest songs recorded live at the Wacken Open Air Festival in Germany, as well as three of their most popular tracks re-imagined, recorded in German and one with a feature from German Rap artist, Casper.
March 27 street date. Parkway Drive, the five-piece metal band from Byron Bay, Australia formed in 2002. The band features vocalist Winston McCall, guitarists Luke Kilpatrick and Jeff Ling, bassist Jia O’Connor, and drummer Ben Gordon. For more than a decade, the band has stood at the forefront of heavy music worldwide, matching their uncompromising urgency with a powerful musicality. They have released six studio albums, two platinum selling DVDs and one book in their storied career, which has been documented in the feature length documentary Viva the Underdogs, and this album release is the soundtrack to the film. The film, Viva The Underdogs features over a decade of behind the scenes personal footage, coupled with unprecedented access to the bands most explosive live tours and world’s biggest music festivals. The film gives an incredibly honest and candid look at Parkway Drive’s journey; the good-times, battles, triumphs, and sacrifices. Viva The Underdogs the album features 14 tracks; 11 of their biggest songs recorded live at the Wacken Open Air Festival in Germany, as well as three of their most popular tracks re-imagined, recorded in German and one with a feature from German Rap artist, Casper.
March 27 street date. Parkway Drive, the five-piece metal band from Byron Bay, Australia formed in 2002. The band features vocalist Winston McCall, guitarists Luke Kilpatrick and Jeff Ling, bassist Jia O’Connor, and drummer Ben Gordon. For more than a decade, the band has stood at the forefront of heavy music worldwide, matching their uncompromising urgency with a powerful musicality. They have released six studio albums, two platinum selling DVDs and one book in their storied career, which has been documented in the feature length documentary Viva the Underdogs, and this album release is the soundtrack to the film. The film, Viva The Underdogs features over a decade of behind the scenes personal footage, coupled with unprecedented access to the bands most explosive live tours and world’s biggest music festivals. The film gives an incredibly honest and candid look at Parkway Drive’s journey; the good-times, battles, triumphs, and sacrifices. Viva The Underdogs the album features 14 tracks; 11 of their biggest songs recorded live at the Wacken Open Air Festival in Germany, as well as three of their most popular tracks re-imagined, recorded in German and one with a feature from German Rap artist, Casper.
March 6 street date. Pears laid siege to the punk world with their 2014 debut release "Go To Prison" and have been on a buzz generating rampage ever since. Their follow-up album "Green Star" saw Pears take their audacious songwriting to a new level with relentless touring along the way. The forthcoming self-titled third album is yet another significant step forward for a band that has grown by leaps and bounds with each album. "Pears" is 31 minutes of the band's signature hardcore: heavy, melodic, blistering, pointed, and surprisingly catchy. While their former albums were written well in advance, "Pears" was written on the fly, and the result is 14 songs with ankle-breaking tempo changes, frenetic guitar riffs, and imprelling vocals. Elements of prog and grunge intermingle with classic hardcore and hook-laden rock that can happen in the space of one song.
March 6 street date. Pears laid siege to the punk world with their 2014 debut release "Go To Prison" and have been on a buzz generating rampage ever since. Their follow-up album "Green Star" saw Pears take their audacious songwriting to a new level with relentless touring along the way. The forthcoming self-titled third album is yet another significant step forward for a band that has grown by leaps and bounds with each album. "Pears" is 31 minutes of the band's signature hardcore: heavy, melodic, blistering, pointed, and surprisingly catchy. While their former albums were written well in advance, "Pears" was written on the fly, and the result is 14 songs with ankle-breaking tempo changes, frenetic guitar riffs, and imprelling vocals. Elements of prog and grunge intermingle with classic hardcore and hook-laden rock that can happen in the space of one song.
March 13 street date. Porridge Radio grew out of Dana Margolin's bedroom, where she started making music in private. Living in the seaside town of Brighton, she recorded songs and slowly started playing them at open mic nights to rooms of old men who stared at her quietly as she screamed in their faces. Though she eventually grew out of them, for Margolin these open mic nights unlocked a love of performing and songwriting, as well as a new way to express herself. She decided to form a band through which to channel it all, and be noisier while she was at it - so Porridge Radio was born. Inspired by interpersonal relationships, her environment - in particular the sea - and her growing friendships with her new bandmates, Margolin's distinctive, indie-pop-but-make-it-existentialist style soon started to crystallise. As the band's sound - bright pop-rock instrumentation blended with Margolin's tender, open-ended lyrics - has developed and refined, Porridge Radio have also received enthusiastic radio airplay on the BBC, Radio X and more. Now, they are taking that development a step further, as they put out their label debut, "Every Bad".
March 13 street date. Limited transparent blue vinyl edition. Porridge Radio grew out of Dana Margolin's bedroom, where she started making music in private. Living in the seaside town of Brighton, she recorded songs and slowly started playing them at open mic nights to rooms of old men who stared at her quietly as she screamed in their faces. Though she eventually grew out of them, for Margolin these open mic nights unlocked a love of performing and songwriting, as well as a new way to express herself. She decided to form a band through which to channel it all, and be noisier while she was at it - so Porridge Radio was born. Inspired by interpersonal relationships, her environment - in particular the sea - and her growing friendships with her new bandmates, Margolin's distinctive, indie-pop-but-make-it-existentialist style soon started to crystallise. As the band's sound - bright pop-rock instrumentation blended with Margolin's tender, open-ended lyrics - has developed and refined, Porridge Radio have also received enthusiastic radio airplay on the BBC, Radio X and more. Now, they are taking that development a step further, as they put out their label debut, "Every Bad".
January 17 street date. The Professionals = Beats by Madlib. Raps by Oh No. Real. Rap. Shit. Madlib is a highly regarded and influential hip-hop producer and occasional rapper, who has left his distinct and stylized sound on classic tracks and critically beloved albums by the likes of MF DOOM, J Dilla , Talib Kweli, Georgia Anne Muldrow, and more. Madlib's collaborations with rapper Freddie Gibbs ("Piñata" and this year's "Bandana") are some of the most acclaimed hip-hop records of the past decade, and his various DJ mix compilations ("Madlib Medicine Show", "Beat Konducta") have earned high praise from a variety of journalistic sources. Oh No is a rapper and producer who has left his mark across a wide swath of releases. His 2006 concept album "Exodus Into Unheard Rhythms" (which exclusively sampled the works of musical theatre composer Galt MacDermot) was highly acclaimed upon its release, as well as his various crate-digging DJ mix projects. He has produced tracks for the likes of Danny Brown, Action Bronson, Aloe Blacc, Talib Kweli, and Prodigy, while contributing guest verses to tracks by Czarface, Apathy, Murs, Little Brother, and more. The album also features Adub, Elzhi, and Chino XL.The first pressing of the LP comes housed in a die-cut, embossed jacket.
January 17 street date. The Professionals = Beats by Madlib. Raps by Oh No. Real. Rap. Shit. Madlib is a highly regarded and influential hip-hop producer and occasional rapper, who has left his distinct and stylized sound on classic tracks and critically beloved albums by the likes of MF DOOM, J Dilla , Talib Kweli, Georgia Anne Muldrow, and more. Madlib's collaborations with rapper Freddie Gibbs ("Piñata" and this year's "Bandana") are some of the most acclaimed hip-hop records of the past decade, and his various DJ mix compilations ("Madlib Medicine Show", "Beat Konducta") have earned high praise from a variety of journalistic sources. Oh No is a rapper and producer who has left his mark across a wide swath of releases. His 2006 concept album "Exodus Into Unheard Rhythms" (which exclusively sampled the works of musical theatre composer Galt MacDermot) was highly acclaimed upon its release, as well as his various crate-digging DJ mix projects. He has produced tracks for the likes of Danny Brown, Action Bronson, Aloe Blacc, Talib Kweli, and Prodigy, while contributing guest verses to tracks by Czarface, Apathy, Murs, Little Brother, and more. The album also features Adub, Elzhi, and Chino XL.The first pressing of the LP comes housed in a die-cut, embossed jacket.
February 21 street date. PURR marks the second project from childhood friends and born and raised New Yorkers, Eliza Callahan and Jack Staffen, who have previously released and performed music simply under their own names (Jack and Eliza). The songwriting duo formed PURR in 2017 while seniors in college. Taking cues from a lineage of dual-lead-vocalist bands with sonic roots in the late 60s and 70s, the pair fluidly oscillates between singing in harmony and unison with their voices often blending to forge what at times can eerily sound like a singular voice. While the songwriting style too makes nods to the same era as do their tones, their music evades placement in any specific time or place. They approached Sam Glick, a friend of Callahan’s, to record their first two songs they wrote as PURR in Callahan’s parent’s kitchen. Glick also stepped in on bass and brought Max Friedberg along to play drums which led to the band’s natural formation. After sending their demos around, they were offered their first show, opening for Foxygen at Terminal 5. It was that night that they met Jonathan Rado who took immediate liking to the band and a year later would record their forthcoming debut album at his Los Angeles studio.
February 21 street date. PURR marks the second project from childhood friends and born and raised New Yorkers, Eliza Callahan and Jack Staffen, who have previously released and performed music simply under their own names (Jack and Eliza). The songwriting duo formed PURR in 2017 while seniors in college. Taking cues from a lineage of dual-lead-vocalist bands with sonic roots in the late 60s and 70s, the pair fluidly oscillates between singing in harmony and unison with their voices often blending to forge what at times can eerily sound like a singular voice. While the songwriting style too makes nods to the same era as do their tones, their music evades placement in any specific time or place. They approached Sam Glick, a friend of Callahan’s, to record their first two songs they wrote as PURR in Callahan’s parent’s kitchen. Glick also stepped in on bass and brought Max Friedberg along to play drums which led to the band’s natural formation. After sending their demos around, they were offered their first show, opening for Foxygen at Terminal 5. It was that night that they met Jonathan Rado who took immediate liking to the band and a year later would record their forthcoming debut album at his Los Angeles studio.
March 13 street date. COVER FEATURE is a three-parter on MOONDOG. Our editor’s phone interview with him from 1998, some amazing never-before-seen-images, and crucially this series of archival interviews from 1953. SHANA CLEVELAND The singer-songwriter / La Luz leader’s hand-written illustrated tour diary chronicles a European tour with her own newborn baby, and it’s really unlike anything you’ve seen or read before GAINESVILLE RIOT ’88 On tour supporting ‘Bug,’ the immense DINOSAUR JR’S laconic wall of sound helped to start a riot at their show in a Florida university hall. Thankfully our old pal Kevin Arrow was there with slide film in his camera to capture the event. These images have never been seen before.
Also Featuring: • A Robert Frank Tribute • Upcoming Mariangela Reissue • A Look at Toody Cole’s Portland store • Don Letts Interview • Artist Rebecca Morgan • Astra Taylor Interview • Denis Johnson Archival Interview • A Re-evaluation of “Babe: Pig in the City” • 1960s Detroit Gospel Flyers • Luc Sante’s Photo Column Debut • Featire on Snowboarding Legend Russell Winfield • Ana Gavrilosvska’s Writings on Yazz Ahmed • Live Show Reviews of Mayo Thompson and Eliane Radigue • RJ Smith on the Legacy of Skeeter Davis • A look back at New Mexico News, from Neutral Milk Hotel’s Jeremy Barnes
February 7 street date. With their new album "All or Nothing", Shopping take a big leap into a vibrant and punchy production style that is closer to pop than anything they've ever done. Their previous album "The Official Body" was named by Pitchfork as one of the "Best Rock Albums of 2018," with an 8.1 rating. "All or Nothing," produced and mixed by Nick Sylvester (Deerhoof), is a true expansion of the band's sound, adding synths and odd rhythms to their most accessible melodies and lyrics yet. While a few songs on the album nod to their angular late 70s punk beginnings, this is much more of a radio-ready pop record than you might expect.
February 7 street date. With their new album "All or Nothing", Shopping take a big leap into a vibrant and punchy production style that is closer to pop than anything they've ever done. Their previous album "The Official Body" was named by Pitchfork as one of the "Best Rock Albums of 2018," with an 8.1 rating. "All or Nothing," produced and mixed by Nick Sylvester (Deerhoof), is a true expansion of the band's sound, adding synths and odd rhythms to their most accessible melodies and lyrics yet. While a few songs on the album nod to their angular late 70s punk beginnings, this is much more of a radio-ready pop record than you might expect.
February 21 street date. Six Organs of Admittance is back after 3 years with a new record, new techniques in sound generation, and a new attitude. "Companion Rises" has a driving force only hinted at with previous releases. Manipulating the rhythmic DNA from songs such as the bass-dominated "Taken By Ascent" (on his last record, "Burning The Threshold"), Ben Chasny has grown a new sound creature in his lab that is as welcoming as it is terrifying and as fun to listen to as it provocative and intriguing. Sonically, Ben's songs are bursting with ideas, harmonically rich, gorgeously arranged; often presenting two versions at once, overlaying electric and acoustic treatments that interlock like two shards that form a single key. "Companion Rises" plays like a mutant joining of avant and good-time forces, as if Faust produced The Revolution instead of Prince, or This Heat recorded on top of Amon DüüI's classic "Paramechanical World", but left a few of the original tracks to bleed through.
February 21 street date. Six Organs of Admittance is back after 3 years with a new record, new techniques in sound generation, and a new attitude. "Companion Rises" has a driving force only hinted at with previous releases. Manipulating the rhythmic DNA from songs such as the bass-dominated "Taken By Ascent" (on his last record, "Burning The Threshold"), Ben Chasny has grown a new sound creature in his lab that is as welcoming as it is terrifying and as fun to listen to as it provocative and intriguing. Sonically, Ben's songs are bursting with ideas, harmonically rich, gorgeously arranged; often presenting two versions at once, overlaying electric and acoustic treatments that interlock like two shards that form a single key. "Companion Rises" plays like a mutant joining of avant and good-time forces, as if Faust produced The Revolution instead of Prince, or This Heat recorded on top of Amon DüüI's classic "Paramechanical World", but left a few of the original tracks to bleed through.
January 31 street date. That was certainly the case with his new album, aloha, his third studio album. Recorded at Paris’s iconic Studio Ferber, the entire project was an exercise in letting go, in ceding control, in surrendering to fate. While SON LITTLE (the stage name of songwriter, producer, and multi-instrumentalist Aaron Livingston) still plays nearly every instrument on the album himself, he put his songs in the hands of an outside producer for the first time here, collaborating with French studio wizard Renaud Letang (Feist, Manu Chao) to create his boldest, most self-assured statement yet. Equal parts vintage and modern, the collection blends classic soul, old-school R&B, and adventurous indie sensibilities into a timeless swirl fueled by gritty instrumental virtuosity and raw, raspy vocals. It’s an ambitious work of vision and reflection, to be sure, but more than that, it’s an ecstatic testament to the freedom that comes from torching the map and trusting the currents of life to carry you where you belong.
January 31 street date. That was certainly the case with his new album, aloha, his third studio album. Recorded at Paris’s iconic Studio Ferber, the entire project was an exercise in letting go, in ceding control, in surrendering to fate. While SON LITTLE (the stage name of songwriter, producer, and multi-instrumentalist Aaron Livingston) still plays nearly every instrument on the album himself, he put his songs in the hands of an outside producer for the first time here, collaborating with French studio wizard Renaud Letang (Feist, Manu Chao) to create his boldest, most self-assured statement yet. Equal parts vintage and modern, the collection blends classic soul, old-school R&B, and adventurous indie sensibilities into a timeless swirl fueled by gritty instrumental virtuosity and raw, raspy vocals. It’s an ambitious work of vision and reflection, to be sure, but more than that, it’s an ecstatic testament to the freedom that comes from torching the map and trusting the currents of life to carry you where you belong.
January 31 street date. That was certainly the case with his new album, aloha, his third studio album. Recorded at Paris’s iconic Studio Ferber, the entire project was an exercise in letting go, in ceding control, in surrendering to fate. While SON LITTLE (the stage name of songwriter, producer, and multi-instrumentalist Aaron Livingston) still plays nearly every instrument on the album himself, he put his songs in the hands of an outside producer for the first time here, collaborating with French studio wizard Renaud Letang (Feist, Manu Chao) to create his boldest, most self-assured statement yet. Equal parts vintage and modern, the collection blends classic soul, old-school R&B, and adventurous indie sensibilities into a timeless swirl fueled by gritty instrumental virtuosity and raw, raspy vocals. It’s an ambitious work of vision and reflection, to be sure, but more than that, it’s an ecstatic testament to the freedom that comes from torching the map and trusting the currents of life to carry you where you belong.
February 7 street date. The ultimate garage rock monsta is back on vinyl! Seldom has a group ever been better named. The youthful aggression in their music, coupled with singer Gerry Roslie's ‘80 razorblades-a-day’ vocal attack and a selection of overwhelmingly brilliant riffs that underpinned some of the most wildly recorded music ever to be committed to tape, should have made the Sonics one of the biggest groups the world has ever known or heard. Instead they went on to become celebrated by generation after generation of collectors, and other young people with an urge to rock 'n' roll. The overwhelming importance of tracks like ‘The Witch’, ‘Psycho’ and ‘Boss Hoss’ has provided a template for countless groups who've come up in their wake, and who have achieved a level of commercial success that they could never have achieved without the inspiration.
January 31 street date. These recordings were made by SQÜRL to provide the score to the documentary film "Living The Light" by Claire Pijman. The subject of Claire's film is Robby Müller, the unparalleled Dutch cinematographer and poet of light whose work includes: "Paris Texas", "Dead Man", "Breaking The Waves", and at least 70 other remarkable films. He also produced many still photographs, like these luminous Polaroids on the jacket of this vinyl recording. "As SQÜRL approached creating music for Claire's film, we attempted to be guided by the beautiful and illuminated elements of Robby's spirit. Just before recording, SQÜRL borrowed an unusual vintage Japanese electric guitar from the wonderful Brooklyn-based Dutch luthier, Flip Scipio. We used it for all the guitar parts, its tonal qualities also somehow channeling the spirit of Robby" - Jim Jarmusch.
January 31 street date. Limited golden hour vinyl edition. These recordings were made by SQÜRL to provide the score to the documentary film "Living The Light" by Claire Pijman. The subject of Claire's film is Robby Müller, the unparalleled Dutch cinematographer and poet of light whose work includes: "Paris Texas", "Dead Man", "Breaking The Waves", and at least 70 other remarkable films. He also produced many still photographs, like these luminous Polaroids on the jacket of this vinyl recording. "As SQÜRL approached creating music for Claire's film, we attempted to be guided by the beautiful and illuminated elements of Robby's spirit. Just before recording, SQÜRL borrowed an unusual vintage Japanese electric guitar from the wonderful Brooklyn-based Dutch luthier, Flip Scipio. We used it for all the guitar parts, its tonal qualities also somehow channeling the spirit of Robby" - Jim Jarmusch.
January 24 street date. Stella was born beside the sea and raised by a Canadian nanny who waterskied topless. The Athens-based artist is ready to share "The Break", her international debut, following her self-titled 2015 debut and 2017's "Works For You"; albums that brought her critical momentum, buzz and airplay, making her one of Greece's most popular indie stars. Self-produced, and recorded primarily at her home studio, "The Break" brings together all the playfulness and spontaneity that characterizes her music: non-standard pop deviations whose shimmering feel-good surfaces are anchored by a powerful undertow of melancholy.
January 24 street date. Stella was born beside the sea and raised by a Canadian nanny who waterskied topless. The Athens-based artist is ready to share "The Break", her international debut, following her self-titled 2015 debut and 2017's "Works For You"; albums that brought her critical momentum, buzz and airplay, making her one of Greece's most popular indie stars. Self-produced, and recorded primarily at her home studio, "The Break" brings together all the playfulness and spontaneity that characterizes her music: non-standard pop deviations whose shimmering feel-good surfaces are anchored by a powerful undertow of melancholy.
February 7 street date. CHRISTOPHER PAUL STELLING is a guitar virtuoso, a folk singer- songwriter and a touring troubadour. His new album Best of Luck was produced by Grammy award winning musician-producer, Ben Harper. The album’s title, Best Of Luck, mirrored perfectly the emotional landscape in which it was created. “Depending on how you say it, it can either be a blessing or a dismissal,” Stelling says. “And that was exactly the point I was coming to with myself, my career as an artist, as a friend and as a person.” Harper and Stelling met a few years back when Harper invited Stelling to open a series of shows. “Ben gave me a true gift back then,” Stelling says. “I’d been on the road for a long time and he put me onstage in front of his fans. He took me to the Beacon, The Ryman, Massey Hall, all these legendary rooms. Just to see that what I could do would even translate in spaces like that was revelatory.” When Harper talks about his admiration for Stelling,. “A guy that can play any instrument from any country and play it with real feeling. He crosses genres but manages to respect them; he is a folk singer with an unusual soulfulness. He understands where this music comes from and why it’s remains so essential. Of all the record’s I have produced, this is one I’m most proud of.”
February 7 street date. CHRISTOPHER PAUL STELLING is a guitar virtuoso, a folk singer- songwriter and a touring troubadour. His new album Best of Luck was produced by Grammy award winning musician-producer, Ben Harper. The album’s title, Best Of Luck, mirrored perfectly the emotional landscape in which it was created. “Depending on how you say it, it can either be a blessing or a dismissal,” Stelling says. “And that was exactly the point I was coming to with myself, my career as an artist, as a friend and as a person.” Harper and Stelling met a few years back when Harper invited Stelling to open a series of shows. “Ben gave me a true gift back then,” Stelling says. “I’d been on the road for a long time and he put me onstage in front of his fans. He took me to the Beacon, The Ryman, Massey Hall, all these legendary rooms. Just to see that what I could do would even translate in spaces like that was revelatory.” When Harper talks about his admiration for Stelling,. “A guy that can play any instrument from any country and play it with real feeling. He crosses genres but manages to respect them; he is a folk singer with an unusual soulfulness. He understands where this music comes from and why it’s remains so essential. Of all the record’s I have produced, this is one I’m most proud of.”
March 27 street date. "Aporia" is a New Age album from Sufjan Stevens and his stepfather and record label co-owner, Lowell Brams. In the spirit of the New Age composers who sanded off the edges of their synths' sawtooth waves, "Aporia" approximates a rich soundtrack from an imagined sci-fi epic brimming with moody, hooky, gauzy synthesizer soundscapes. The album may suggest the progeny of a John Carpenter, Wendy Carlos, and Mike Oldfield marriage, but it stands apart from these touchstones and generates a meditative universe all its own. This is no mere curio in the Sufjan Stevens catalog - but a fully realized collaborative musical piece.
March 27 street date. "Aporia" is a New Age album from Sufjan Stevens and his stepfather and record label co-owner, Lowell Brams. In the spirit of the New Age composers who sanded off the edges of their synths' sawtooth waves, "Aporia" approximates a rich soundtrack from an imagined sci-fi epic brimming with moody, hooky, gauzy synthesizer soundscapes. The album may suggest the progeny of a John Carpenter, Wendy Carlos, and Mike Oldfield marriage, but it stands apart from these touchstones and generates a meditative universe all its own. This is no mere curio in the Sufjan Stevens catalog - but a fully realized collaborative musical piece.
March 27 street date. "Aporia" is a New Age album from Sufjan Stevens and his stepfather and record label co-owner, Lowell Brams. In the spirit of the New Age composers who sanded off the edges of their synths' sawtooth waves, "Aporia" approximates a rich soundtrack from an imagined sci-fi epic brimming with moody, hooky, gauzy synthesizer soundscapes. The album may suggest the progeny of a John Carpenter, Wendy Carlos, and Mike Oldfield marriage, but it stands apart from these touchstones and generates a meditative universe all its own. This is no mere curio in the Sufjan Stevens catalog - but a fully realized collaborative musical piece.
March 27 street date. Limited yellow vinyl edition. "Aporia" is a New Age album from Sufjan Stevens and his stepfather and record label co-owner, Lowell Brams. In the spirit of the New Age composers who sanded off the edges of their synths' sawtooth waves, "Aporia" approximates a rich soundtrack from an imagined sci-fi epic brimming with moody, hooky, gauzy synthesizer soundscapes. The album may suggest the progeny of a John Carpenter, Wendy Carlos, and Mike Oldfield marriage, but it stands apart from these touchstones and generates a meditative universe all its own. This is no mere curio in the Sufjan Stevens catalog - but a fully realized collaborative musical piece.
March 27 street date. It was in 2006 that Detroit punks The Suicide Machines called it a day after 15 years and six full-throttle, super-charged and confrontational albums. The break didn't last too long - in 2009, the four-piece reconvened to play the occasional local shows and embarked on a handful of tours. Finally, the band is back with a brand-new album - the first since "War Profiteering Is Killing Us" 15 years ago! "Revolution Spring", the band's Fat Wreck debut, picks up right where they left off - full of blistering, rousing songs finding the band in truly explosive and energetic form. While on one hand these songs serve as an overview of the band's career and the different permutations of punk they've dabbled in over the years, they also possess the energy, spontaneity and enthusiasm of a band many years their junior - albeit with the wisdom that comes from being alive for a few decades.
March 27 street date. It was in 2006 that Detroit punks The Suicide Machines called it a day after 15 years and six full-throttle, super-charged and confrontational albums. The break didn't last too long - in 2009, the four-piece reconvened to play the occasional local shows and embarked on a handful of tours. Finally, the band is back with a brand-new album - the first since "War Profiteering Is Killing Us" 15 years ago! "Revolution Spring", the band's Fat Wreck debut, picks up right where they left off - full of blistering, rousing songs finding the band in truly explosive and energetic form. While on one hand these songs serve as an overview of the band's career and the different permutations of punk they've dabbled in over the years, they also possess the energy, spontaneity and enthusiasm of a band many years their junior - albeit with the wisdom that comes from being alive for a few decades.
Please note: new street date is March 27. Swamp green vinyl edition includes bonus 7" with 3 unreleased songs - limited to 1500 copies. While the 77 year-old Jerry Williams' most enduring persona is the psychedelic soul superhero Swamp Dogg - a musical vigilante upholding truths both personal and political since 1970's immortal album, "Total Destruction To Your Mind" - he will tell anybody who will listen that he's considered himself country this entire time. "Sorry You Couldn't Make It" allows Swamp to finally dive into the sound he grew up playing. With the support of Pioneer Works Press, they recorded the album at Nashville's Sound Emporium backed by a crack studio band and special guests Justin Vernon (Bon Iver), John Prine, Jenny Lewis, and Sam Amidon. These are narratives about love, of missing the one you love, of compassion, family and friends, and even the kind of love that transcends death.
March 6 street date. While the 77 year-old Jerry Williams' most enduring persona is the psychedelic soul superhero Swamp Dogg - a musical vigilante upholding truths both personal and political since 1970's immortal album, "Total Destruction To Your Mind" - he will tell anybody who will listen that he's considered himself country this entire time. "Sorry You Couldn't Make It" allows Swamp to finally dive into the sound he grew up playing. With the support of Pioneer Works Press, they recorded the album at Nashville's Sound Emporium backed by a crack studio band and special guests Justin Vernon (Bon Iver), John Prine, Jenny Lewis, and Sam Amidon. These are narratives about love, of missing the one you love, of compassion, family and friends, and even the kind of love that transcends death.
March 6 street date. While the 77 year-old Jerry Williams' most enduring persona is the psychedelic soul superhero Swamp Dogg - a musical vigilante upholding truths both personal and political since 1970's immortal album, "Total Destruction To Your Mind" - he will tell anybody who will listen that he's considered himself country this entire time. "Sorry You Couldn't Make It" allows Swamp to finally dive into the sound he grew up playing. With the support of Pioneer Works Press, they recorded the album at Nashville's Sound Emporium backed by a crack studio band and special guests Justin Vernon (Bon Iver), John Prine, Jenny Lewis, and Sam Amidon. These are narratives about love, of missing the one you love, of compassion, family and friends, and even the kind of love that transcends death.
March 6 street date. THICK is a Brooklyn-based punk trio featuring Nikki Sisti (guitar, vocals) - Kate Black (bass, vocals, guitar) - Shari Page (drums, vocals). Their debut album 5 Years Behind came to life at Studio G Brooklyn with producer/engineer Joel Hamilton (Iggy Pop, Jolie Holland). Over the years, THICK have earned recognition as an unstoppable live act, with their show typically spawning a mosh pit described by Stereogum as “more like an aggressive hug.” As they dreamed up the tightly crafted yet uncontainable sound of 5 Years Behind, the band kept the live experience at the forefront of their minds. “When we write, we write toward the emotions of the audience,” says Sisti. “I know that lyrics play a huge role in connection, but I’m personally more focused on visualizing how people might physically respond to a song—what it would make them feel in the moment and how it might make them move or dance.” Now gearing up for a national tour in support of 5 Years Behind, THICK aspire to strengthen the palpable sense of inclusivity that’s defined their shows from the start. “We want people to feel safe in the mosh pit, and hopefully connect with each other,” says Page. “We’ve made so many friends at the shows we’ve played, and we’d love it if people could build some kind of community from coming to see us.”
March 6 street date. THICK is a Brooklyn-based punk trio featuring Nikki Sisti (guitar, vocals) - Kate Black (bass, vocals, guitar) - Shari Page (drums, vocals). Their debut album 5 Years Behind came to life at Studio G Brooklyn with producer/engineer Joel Hamilton (Iggy Pop, Jolie Holland). Over the years, THICK have earned recognition as an unstoppable live act, with their show typically spawning a mosh pit described by Stereogum as “more like an aggressive hug.” As they dreamed up the tightly crafted yet uncontainable sound of 5 Years Behind, the band kept the live experience at the forefront of their minds. “When we write, we write toward the emotions of the audience,” says Sisti. “I know that lyrics play a huge role in connection, but I’m personally more focused on visualizing how people might physically respond to a song—what it would make them feel in the moment and how it might make them move or dance.” Now gearing up for a national tour in support of 5 Years Behind, THICK aspire to strengthen the palpable sense of inclusivity that’s defined their shows from the start. “We want people to feel safe in the mosh pit, and hopefully connect with each other,” says Page. “We’ve made so many friends at the shows we’ve played, and we’d love it if people could build some kind of community from coming to see us.”
January 31 street date. A person whose words are so potent that they cause the people and beings around them to vibrate is said to have a “silver tongue.” It’s apt, then, that Mackenzie Scott—who has spent the 2010s making boundary pushing pop music under her TORRES moniker—has chosen to call her fourth album, and first release on Merge, just that. Recorded at O’Deer in Brooklyn, New York, Silver Tongue is a full-scale realization of the world Scott has created over TORRES’ last few albums. Even when singing in more subdued tones, Scott’s voice is fervent, her lyrics stirring and unyielding as she draws from both the divine and the everyday. It’s also the first TORRES record produced solely by Scott. After having shared production duties on her first three albums, the latter two alongside PJ Harvey collaborator Rob Ellis, she found the process liberating: “I made exactly the record I want, and it feels very ‘me.’” Silver Tongue fastidiously chronicles the impulses that make up desire— from the dreamy first blushes of infatuation through the slightly terrifying wonder that accompanies connection with another. In between, Scott wrestles with the highs and lows of what “being in love” might mean over heady guitars and swirling synths.
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
January 31 street date. A person whose words are so potent that they cause the people and beings around them to vibrate is said to have a “silver tongue.” It’s apt, then, that Mackenzie Scott—who has spent the 2010s making boundary pushing pop music under her TORRES moniker—has chosen to call her fourth album, and first release on Merge, just that. Recorded at O’Deer in Brooklyn, New York, Silver Tongue is a full-scale realization of the world Scott has created over TORRES’ last few albums. Even when singing in more subdued tones, Scott’s voice is fervent, her lyrics stirring and unyielding as she draws from both the divine and the everyday. It’s also the first TORRES record produced solely by Scott. After having shared production duties on her first three albums, the latter two alongside PJ Harvey collaborator Rob Ellis, she found the process liberating: “I made exactly the record I want, and it feels very ‘me.’” Silver Tongue fastidiously chronicles the impulses that make up desire— from the dreamy first blushes of infatuation through the slightly terrifying wonder that accompanies connection with another. In between, Scott wrestles with the highs and lows of what “being in love” might mean over heady guitars and swirling synths.
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
January 31 street date. A person whose words are so potent that they cause the people and beings around them to vibrate is said to have a “silver tongue.” It’s apt, then, that Mackenzie Scott—who has spent the 2010s making boundary pushing pop music under her TORRES moniker—has chosen to call her fourth album, and first release on Merge, just that. Recorded at O’Deer in Brooklyn, New York, Silver Tongue is a full-scale realization of the world Scott has created over TORRES’ last few albums. Even when singing in more subdued tones, Scott’s voice is fervent, her lyrics stirring and unyielding as she draws from both the divine and the everyday. It’s also the first TORRES record produced solely by Scott. After having shared production duties on her first three albums, the latter two alongside PJ Harvey collaborator Rob Ellis, she found the process liberating: “I made exactly the record I want, and it feels very ‘me.’” Silver Tongue fastidiously chronicles the impulses that make up desire— from the dreamy first blushes of infatuation through the slightly terrifying wonder that accompanies connection with another. In between, Scott wrestles with the highs and lows of what “being in love” might mean over heady guitars and swirling synths.
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
January 17 street date. With the majority of tracks mixed and mastered by Iain Cook of Aerogramme, ‘Killed My Parents And Hit The Road’ encompasses The Twilight Sad's bare, unfeigned use of melancholy with rousing, epic intensity, never straying too far from hitting sentimental nerves. Throughout the record, melodies stagger between feedback-laden instrumentals and rich, seemingly effortless acoustic ballads, each accented by Graham's strong Scottish tones, creating a collection of songs that are as intriguing as they are engufing. Alongside their own tracks, the band have chosen to cover songs by Joy Division (‘Twenty Four Hours’), Yeah Yeah Yeahs (‘Modern Romance’) and The Smiths (‘Half A Person’), providing greater scope into the tracks' pensive and wistful subjects, whilst retaining the stirring and engaging qualities of the originals.
March 27 street date. A lounge in the Poconos located just inside a Holiday Inn, 1973. The smoky haze clears to reveal a middle aged couple on a one-foot high stage, prattling on about the weather or Watergate before launching into a serviceable cover of Burt Bacharach's "Do You Know The Way To San Jose?". Tens of thousands of such combos littered restaurants, cruise ships, casinos, lobbies, and cocktail bars throughout the 60s and 70s, but far fewer cut a record worth buying from the stage, much less listening to on the home hi-fi. Gathered here are 14 lounge originals from across the entire easy listening spectrum. Includes letterpressed heavyweight matchbook-style jacket with screenprinted strike strip, debossed inner sleeve, and a 22" square fold-out matchbook gallery poster.
February 7 street date. Many in the English-speaking world first heard of Jacques Brel through Scott Walker's championing, yet when Scott launched his post-Walker Brothers solo career with his recording of Brel's ‘Jackie’ in 1967, Brel had been an enormous star in France for years. That lofty status was remarkable, given Brel's lyrical obsessions with doomed romance, loneliness, prostitution and death. It was American songwriter Mort Shuman who, by remaining as faithful as he could to Brel's original words, transformed several key chansons into versions English-speaking audiences could relate to. Scott, however, was introduced to Brel's songs by his chanson-loving German girlfriend, who would translate them for him. He was immediately smitten. Meanwhile, a demo disc of Shuman's translations had reached Stones manager Andrew Loog Oldham, who in due course passed the disc to Scott. Brel's impassioned narrative-based compositions had a profound impact on Scott, shaping the creation of his own increasingly meditative and dramatic songs. His first three solo albums would each feature Brel songs. This new Ace compilation comprises Scott's interpretations of those nine Brel songs, followed by Brel's own French language originals, plus Brel's version of ‘Seul’, a song Scott performed on his TV series but of which made no studio recording.
April 3 street date. “It was in winter 18/19 - I flew to Montreal to meet with Tim Kingsbury, Richard Reed Parry, Craig Silvey and Teddy Impakt at Le Studio Du Arcade Fire. It was a fine time with a dream team in a city I love. Winter in beautiful Quebec. Les semaines les plus froides de ma vie. I had a bunch of demos that were inspired by migration stories I had heard from friends or read in newspapers while on tour in Europe and North America. I remember being struck by the similarities of the stories I heard from both continents and how really only the names of the powerful and the powerless had changed - thinking, “Is this the future? Is this our future?” Some time went by, the stories wove together and I remember them now closer to characters in a dream of how people could treat each other than any kind of front-page news realism. I think music subconsciously - whether writing or listening - is a filter for me - helping to process all the bad news into something new to build from - some records to me are like self-fulfilling prophecies - visualizing change to wish something into being - those records inspired this one.” - M. Ward winter 19/20
April 3 street date. “It was in winter 18/19 - I flew to Montreal to meet with Tim Kingsbury, Richard Reed Parry, Craig Silvey and Teddy Impakt at Le Studio Du Arcade Fire. It was a fine time with a dream team in a city I love. Winter in beautiful Quebec. Les semaines les plus froides de ma vie. I had a bunch of demos that were inspired by migration stories I had heard from friends or read in newspapers while on tour in Europe and North America. I remember being struck by the similarities of the stories I heard from both continents and how really only the names of the powerful and the powerless had changed - thinking, “Is this the future? Is this our future?” Some time went by, the stories wove together and I remember them now closer to characters in a dream of how people could treat each other than any kind of front-page news realism. I think music subconsciously - whether writing or listening - is a filter for me - helping to process all the bad news into something new to build from - some records to me are like self-fulfilling prophecies - visualizing change to wish something into being - those records inspired this one.” - M. Ward winter 19/20
April 3 street date. “It was in winter 18/19 - I flew to Montreal to meet with Tim Kingsbury, Richard Reed Parry, Craig Silvey and Teddy Impakt at Le Studio Du Arcade Fire. It was a fine time with a dream team in a city I love. Winter in beautiful Quebec. Les semaines les plus froides de ma vie. I had a bunch of demos that were inspired by migration stories I had heard from friends or read in newspapers while on tour in Europe and North America. I remember being struck by the similarities of the stories I heard from both continents and how really only the names of the powerful and the powerless had changed - thinking, “Is this the future? Is this our future?” Some time went by, the stories wove together and I remember them now closer to characters in a dream of how people could treat each other than any kind of front-page news realism. I think music subconsciously - whether writing or listening - is a filter for me - helping to process all the bad news into something new to build from - some records to me are like self-fulfilling prophecies - visualizing change to wish something into being - those records inspired this one.” - M. Ward winter 19/20
February 28 street date. New project of Ty Segall and Brian Chippendale (Lightning Bolt). Heavily recommended by Henry Rollins. LP includes an 8-page risograph lyric zine by Brian Chippendale. If Brian Chippendale and Ty Segall made a record, would you want to hear it? If the answer is yes, read on. If the answer is no, it’s too bad you ended up canned, suspended in syrup with nothing but other peaches to keep you company. “Ty’s 2019 album First Taste and the new Lighting Bolt album Sonic Citadel are easily some of the best material either entity has ever released so if these two happened to find themselves in the same recording studio, a fan just might entertain elevated expectation levels. In fact, some might actually show signs of enthusiasm, even excitement at the fact that from July 5th -13th 2018, in the airconditioning free environs of Ty’s home studio, the duo, eventually calling themselves Wasted Shirt, wrecked the joint as thoroughly as you hoped they would. “Prepare To Be Stoked Dept.: The album is exploding euphoria from start to finish. A morphing day-glo rainbow that will bring a smile to your face like if you were on your way to Washington DC for the Million Puppy March. Upon first spin, all boxes are checked and any previously held doubts are completely obliterated. The more you play it, the better it kabongs you upside your head. Hectic doesn’t even begin to describe it. Brian and Ty, two mere particles in the grand scheme, collide at high speed, the technicians dive for cover, the reaction is recorded. Mutation is achieved. This is Freedom Rock. Turn up the volume. Hasten your emancipation. Sonic joy awaits.” —Henry Rollins
February 28 street date. New project of Ty Segall and Brian Chippendale (Lightning Bolt). Heavily recommended by Henry Rollins. LP includes an 8-page risograph lyric zine by Brian Chippendale. If Brian Chippendale and Ty Segall made a record, would you want to hear it? If the answer is yes, read on. If the answer is no, it’s too bad you ended up canned, suspended in syrup with nothing but other peaches to keep you company. “Ty’s 2019 album First Taste and the new Lighting Bolt album Sonic Citadel are easily some of the best material either entity has ever released so if these two happened to find themselves in the same recording studio, a fan just might entertain elevated expectation levels. In fact, some might actually show signs of enthusiasm, even excitement at the fact that from July 5th -13th 2018, in the airconditioning free environs of Ty’s home studio, the duo, eventually calling themselves Wasted Shirt, wrecked the joint as thoroughly as you hoped they would. “Prepare To Be Stoked Dept.: The album is exploding euphoria from start to finish. A morphing day-glo rainbow that will bring a smile to your face like if you were on your way to Washington DC for the Million Puppy March. Upon first spin, all boxes are checked and any previously held doubts are completely obliterated. The more you play it, the better it kabongs you upside your head. Hectic doesn’t even begin to describe it. Brian and Ty, two mere particles in the grand scheme, collide at high speed, the technicians dive for cover, the reaction is recorded. Mutation is achieved. This is Freedom Rock. Turn up the volume. Hasten your emancipation. Sonic joy awaits.” —Henry Rollins
March 27 street date. What do we hold on to from our past? What must we let go of to truly move forward? Waxahatchee’s Katie Crutchfield spent much of 2018 reckoning with these questions and revisiting her roots for answers. The result is Saint Cloud, an intimate journey through the places she’s been, filled with the people she’s loved. Written immediately in the period following her decision to get sober, the album is an unflinching self-examination. This raw, exposed narrative terrain is aided by a shift in sonic arrangements as well. While her last two records featured the kind of big guitars, well-honed noise, and battering sounds that characterized her Philadelphia scene and strongly influenced a burgeoning new class of singer-songwriters, Saint Cloud strips back those layers to create space for Crutchfield’s voice and lyrics. The result is a classic Americana sound with modern touches befitting an artist who has emerged as one of the signature storytellers of her time. Over the course of Saint Cloud, which was recorded the summer of 2019 and produced by Brad Cook (Bon Iver), Crutchfield peels back the distortion of electric guitars to create a wider sonic palette than on any previous Waxahatchee album. It is a record filled with nods to classic country, folk-inspired tones, and distinctly modern touches. To bolster her vision, Crutchfield enlisted Bobby Colombo and Bill Lennox, both of the Detroit band Bonny Doon, to serve as backing band on the record, along with Josh Kaufman (Hiss Golden Messenger, Bon Iver) on guitar and keyboards and Nick Kinsey (Kevin Morby) on drums and percussion. Saint Cloud marks the beginning of a journey for Crutchfield, one that sees her leaving behind past vices and the comfortable environs of her Philadelphia scene to head south in search of something new. If on her previous work Crutchfield was out in the storm, she’s now firmly in the eye of it, taking stock of her past with a clear perspective and gathering the strength to carry onward.
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
March 27 street date. What do we hold on to from our past? What must we let go of to truly move forward? Waxahatchee’s Katie Crutchfield spent much of 2018 reckoning with these questions and revisiting her roots for answers. The result is Saint Cloud, an intimate journey through the places she’s been, filled with the people she’s loved. Written immediately in the period following her decision to get sober, the album is an unflinching self-examination. This raw, exposed narrative terrain is aided by a shift in sonic arrangements as well. While her last two records featured the kind of big guitars, well-honed noise, and battering sounds that characterized her Philadelphia scene and strongly influenced a burgeoning new class of singer-songwriters, Saint Cloud strips back those layers to create space for Crutchfield’s voice and lyrics. The result is a classic Americana sound with modern touches befitting an artist who has emerged as one of the signature storytellers of her time. Over the course of Saint Cloud, which was recorded the summer of 2019 and produced by Brad Cook (Bon Iver), Crutchfield peels back the distortion of electric guitars to create a wider sonic palette than on any previous Waxahatchee album. It is a record filled with nods to classic country, folk-inspired tones, and distinctly modern touches. To bolster her vision, Crutchfield enlisted Bobby Colombo and Bill Lennox, both of the Detroit band Bonny Doon, to serve as backing band on the record, along with Josh Kaufman (Hiss Golden Messenger, Bon Iver) on guitar and keyboards and Nick Kinsey (Kevin Morby) on drums and percussion. Saint Cloud marks the beginning of a journey for Crutchfield, one that sees her leaving behind past vices and the comfortable environs of her Philadelphia scene to head south in search of something new. If on her previous work Crutchfield was out in the storm, she’s now firmly in the eye of it, taking stock of her past with a clear perspective and gathering the strength to carry onward.
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
March 27 street date. What do we hold on to from our past? What must we let go of to truly move forward? Waxahatchee’s Katie Crutchfield spent much of 2018 reckoning with these questions and revisiting her roots for answers. The result is Saint Cloud, an intimate journey through the places she’s been, filled with the people she’s loved. Written immediately in the period following her decision to get sober, the album is an unflinching self-examination. This raw, exposed narrative terrain is aided by a shift in sonic arrangements as well. While her last two records featured the kind of big guitars, well-honed noise, and battering sounds that characterized her Philadelphia scene and strongly influenced a burgeoning new class of singer-songwriters, Saint Cloud strips back those layers to create space for Crutchfield’s voice and lyrics. The result is a classic Americana sound with modern touches befitting an artist who has emerged as one of the signature storytellers of her time. Over the course of Saint Cloud, which was recorded the summer of 2019 and produced by Brad Cook (Bon Iver), Crutchfield peels back the distortion of electric guitars to create a wider sonic palette than on any previous Waxahatchee album. It is a record filled with nods to classic country, folk-inspired tones, and distinctly modern touches. To bolster her vision, Crutchfield enlisted Bobby Colombo and Bill Lennox, both of the Detroit band Bonny Doon, to serve as backing band on the record, along with Josh Kaufman (Hiss Golden Messenger, Bon Iver) on guitar and keyboards and Nick Kinsey (Kevin Morby) on drums and percussion. Saint Cloud marks the beginning of a journey for Crutchfield, one that sees her leaving behind past vices and the comfortable environs of her Philadelphia scene to head south in search of something new. If on her previous work Crutchfield was out in the storm, she’s now firmly in the eye of it, taking stock of her past with a clear perspective and gathering the strength to carry onward.
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
January 17 street date (to be confirmed). White vinyl edition! Years before Beavis and Butt-head headbanged "Thunder Kiss '65" and "More Human than Human" into the eternal rock video canon, there was primordial White Zombie - a quintessential, diabolically loud byproduct of Manhattan's underground rock scene, born of artschool rendezvous and squalid apartment circumstance. "It Came from N.Y.C." is the most exhaustive attempt so far to document the band's wondrously ugly birth. Get reintroduced to White Zombie as New York noise-rock, a grotesque creation that clawed and threatened its way to crossover metal glory. The accompanying 108-page book painstakingly documents White Zombie's punishing progression through scores of unpublished photos, period discography, a T-shirtography, and tales from the terrifying early years that stitch together the sordid story of a band whose true power eclipsed its mainstream heyday.
January 31 street date. Often considered a secondary or transitional format, Wild Nothing has always used the EP to further explore new ideas and influences. "Laughing Gas" is no exception. On the third EP from Wild Nothing, songwriter and multi-instrumentalist Jack Tatum delves deeper into the territory where he thrives: namely, the synth and sophisti-pop of the 1980s. Working within a more mechanical and synthetic framework than his previous releases, Wild Nothing continues to delicately toe the line between the organic and the unnatural. These are still pop songs, but there's an underlying sense of uneasiness that threads the music together. Recorded with the help of Jorge Elbrecht, these five songs were originally imagined alongside last year's "Indigo" and were written and tracked simultaneously with the album.
January 24 street date. Wire exhibit little inclination to look back - rather they remain resolutely focused on producing music which is smart, vital and defiantly modern. Mind Hive is the group's first newly recorded material since 2017's Silver/Lead. That album garnered rave reviews and career best sales. Yet, if Silver/Lead set the bar pretty high, Mind Hive seems to have no problem vaulting over it. Mind Hive arrives at a time when Wire are being cited as an influence by yet another generation of bands. A career spanning feature documentary called People in a Film is due for release late 2020. Quite how a group that has been operating for such a long period is still able to produce such exciting and essential work is difficult to understand. And yet here we are…
January 24 street date. Wire exhibit little inclination to look back - rather they remain resolutely focused on producing music which is smart, vital and defiantly modern. Mind Hive is the group's first newly recorded material since 2017's Silver/Lead. That album garnered rave reviews and career best sales. Yet, if Silver/Lead set the bar pretty high, Mind Hive seems to have no problem vaulting over it. Mind Hive arrives at a time when Wire are being cited as an influence by yet another generation of bands. A career spanning feature documentary called People in a Film is due for release late 2020. Quite how a group that has been operating for such a long period is still able to produce such exciting and essential work is difficult to understand. And yet here we are…
February 14 street date. If there’s one thing for certain, it’s that The Wonder Years put their entire souls into each body of work they release. Nearly three years ago, some of their most popular songs like “There, There” and “Don’t Let Me Cave In” were taken to crushing new heights on the first edition of the groundbreaking Philly band’s first acoustic EP, Burst & Decay. And they were only just getting started. Produced and engineered by Ace Enders (The Early November), Burst & Decay (Volume II), out February 14 on Hopeless Records, truly takes this stripped-back TWY experience to an entirely new level. The new EP features stunning string arrangements from Little Kruta String Quartet and guest vocals on “We Look Like Lightning” from Alex Maniak of the band Shortly.
March 13 street date. Hilary Woods' "Birthmarks" has been a labor of intensity and intuition, written over the course of two years. Recorded whilst heavily pregnant between Galway and Oslo in the winter of 2019, Woods explores the oscillating and volatile processes of selfhood and becoming, hidden gestational growth, and the birthing of the Self, amidst continuous social and personal change. In its mystery and attentiveness to the art of alchemy and the world of the unseen, "Birthmarks" is a journey through textural fog and feral density that gives way to passages of voracious sonic exorcism and poetic healing. Its eight songs traverse planes of visceral physicality, stark tender space, and breathtaking introspective beauty. Field recordings, analogue bass synthesizers, hushed vocals, and the breath are underpinned with heavy noise processing, fierce and wide cello, rich percussion, sable saxophone, and electronics. It is a deeply powerful and enigmatic record that ultimately transcends its disquiet roots.
March 13 street date. Hilary Woods' "Birthmarks" has been a labor of intensity and intuition, written over the course of two years. Recorded whilst heavily pregnant between Galway and Oslo in the winter of 2019, Woods explores the oscillating and volatile processes of selfhood and becoming, hidden gestational growth, and the birthing of the Self, amidst continuous social and personal change. In its mystery and attentiveness to the art of alchemy and the world of the unseen, "Birthmarks" is a journey through textural fog and feral density that gives way to passages of voracious sonic exorcism and poetic healing. Its eight songs traverse planes of visceral physicality, stark tender space, and breathtaking introspective beauty. Field recordings, analogue bass synthesizers, hushed vocals, and the breath are underpinned with heavy noise processing, fierce and wide cello, rich percussion, sable saxophone, and electronics. It is a deeply powerful and enigmatic record that ultimately transcends its disquiet roots.
March 13 street date. Dark red vinyl edition, limited to 1500 copies. Hilary Woods' "Birthmarks" has been a labor of intensity and intuition, written over the course of two years. Recorded whilst heavily pregnant between Galway and Oslo in the winter of 2019, Woods explores the oscillating and volatile processes of selfhood and becoming, hidden gestational growth, and the birthing of the Self, amidst continuous social and personal change. In its mystery and attentiveness to the art of alchemy and the world of the unseen, "Birthmarks" is a journey through textural fog and feral density that gives way to passages of voracious sonic exorcism and poetic healing. Its eight songs traverse planes of visceral physicality, stark tender space, and breathtaking introspective beauty. Field recordings, analogue bass synthesizers, hushed vocals, and the breath are underpinned with heavy noise processing, fierce and wide cello, rich percussion, sable saxophone, and electronics. It is a deeply powerful and enigmatic record that ultimately transcends its disquiet roots.
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