January 11 street date (date change for CD). Big Star recorded their second album, Radio City, as a trio, after the departure of founding member Chris Bell. When it came time to tour, original bassist Andy Hummel decided to return to school to pursue his engineering education. With this departure, Alex Chilton and Jody Stephens recruited fellow Memphis native John Lightman to take over on bass duties, and the band readied their live set. That set is on display as Big Star recorded a radio session at Ultrasonic Studios in New York for broadcast on the city’s preeminent WLIR. Nearly two decades later, those recordings were issued as Live in 1992. Omnivore Recordings is proud to reintroduce those recordings, restored and remastered from the original tapes, as Live On WLIR, on CD—and, its first official release on LP. The 15 track set features material from the band’s two releases, as well as a cover of “Motel Blues” by Loudon Wainwright III (which originally appeared on his classic 1971 sophomore release, Album II). With new, updated liner notes from Memphis writer/filmmaker, Robert Gordon (who won a Grammy® for his essay in 2010’s Big Star boxed set Keep An Eye On The Sky) and an interview with John Lightman by Chris Bell biographer Rich Tupica (There Was A Light: The Cosmic History Of Big Star Founder Chris Bell), Live On WLIR enters the Big Star canon in the form it deserves. Because, you know, you get what you deserve.
January 11 street date. Big Star recorded their second album, Radio City, as a trio, after the departure of founding member Chris Bell. When it came time to tour, original bassist Andy Hummel decided to return to school to pursue his engineering education. With this departure, Alex Chilton and Jody Stephens recruited fellow Memphis native John Lightman to take over on bass duties, and the band readied their live set. That set is on display as Big Star recorded a radio session at Ultrasonic Studios in New York for broadcast on the city’s preeminent WLIR. Nearly two decades later, those recordings were issued as Live in 1992. Omnivore Recordings is proud to reintroduce those recordings, restored and remastered from the original tapes, as Live On WLIR, on CD—and, its first official release on LP. The 15 track set features material from the band’s two releases, as well as a cover of “Motel Blues” by Loudon Wainwright III (which originally appeared on his classic 1971 sophomore release, Album II). With new, updated liner notes from Memphis writer/fi lmmaker, Robert Gordon (who won a Grammy® for his essay in 2010’s Big Star boxed set Keep An Eye On The Sky) and an interview with John Lightman by Chris Bell biographer Rich Tupica (There Was A Light: The Cosmic History Of Big Star Founder Chris Bell), Live On WLIR enters the Big Star canon in the form it deserves. Because, you know, you get what you deserve.
Please note new release date: January 11. Fully cementing Mercury Rev’s rebirth as purveyors of a cosmic brand of the popular American songbook, Deserter’s Songs is an album of grandiose proportions. Merging jazz, folk, sweeping orchestration, and a dose of 60’s rock, the album was intended as the band’s swan song and therefore made with utter abandon. However, it became the band’s most acclaimed platter and remains one of the essential records of the past 30 years. Deserter’s Songs was released to huge worldwide acclaim and went on to be named album of the year in 1998 by NME, MOJO and many other publications, quickly propelling the legendary iconoclasts into living rooms worldwide and pioneered the launch of a new genre of music, heard today in bands like Arcade Fire and Beirut. Available on vinyl once again on the band’s own imprint Excelsior Melodies.
January 18 street date. This collection of songs by Lead Belly was assembled by Folkways founder Moses Asch from recordings made in the early to mid-1940s, and it focuses primarily on Lead Belly’s observations on the hate and racism that permeated America and the world during this turbulent period of history. Songs like “Jim Crow” and “Bourgeois Blues” reflect his anger at the discrimination he and others experienced as African Americans, while “Hitler” was his condemnation of Hitler and anti-Semitism. Remastered from original LP Master Tapes in 1953 in Classic Folkways style tip-on jackets featuring original liner notes.
January 18 street date. The acoustic music duo of guitarist Brownie McGhee and harmonicist Sonny Terry were named National Heritage Fellows in 1982 in recognition of their distinctive musical contributions and accomplishments. Although primarily considered to be blues musicians, McGhee and Terry transcended the genre by including American folk songs and ballads in their repertoire. This 1958 recording, their first for the Folkways label, provides a small but inspiring example of the range of Americana and down-home blues music the duo performed throughout their 40-year partnership. Remastered from original LP Master Tapes in 1958 in Classic Folkways style tip-on jackets featuring original liner notes.
January 18 street date. The Third Man Records Cass Corridor space in Detroit had the distinct pleasure of hosting and recording one of the most compelling new guitarists of the 21st century, Mdou Moctar. Mdou is a member of the Tuareg music community gestating in the remote desert city of Agadez, Niger, “where guitars are king.” His music first came to the attention of Western music-lovers through the essential field recording work being done by the good folks at Sahel Sounds, first on their 2010 compilation Music From Saharan Cellphones. While much of Tuareg music has become more distorted, faster and bombastic as of late, Mdou’s soundscapes are more traditionally sparse, polyrhythmic and deeply psychedelic, with lyrics sung in the style of Tuareg nomadic poets. His show on the Blue Stage at Third Man Records Cass Corridor was proof of how special all of this feels, especially in front of a Western audience, most of whom were seeing Mdou live for the fi rst time. When Mdou took the stage with guitarist Ahmoudou Madassane and drummer Mahmoud Ahmed Jabra — only their faces exposed in their tunics and turbans — and began to play, there was a meditative intrigue that loomed heavy and thick in the room. Though hard to see clearly Mdou’s precise and rapid-fire fingerwork on his Fender, the audience was quickly and thoroughly transfixed by his left-handed virtuosity. By the end of the psychedelic-guitar-rock-groove-explosion that was their set, it was clear that this was a show that would be talked about for a very long time.
Please note: release has been postponed to January 18. Rings Around the World, an album that recaptured the cohesive, experimental feel of the Super Furry Animals Guerrilla but more song-driven and sonically expansive. The first single was a good indication of what was to come: “Juxtapozed With U”, released in July 2001, and made it to the charts (#14). The record following this success a few months later was the first album by any artist to be simultaneously released on both audio and video. The eclectic record incorporated prog, punk, techno, pop and death metal. Different musicians added their talents to this record, including Paul McCartney and John Cale. The overall result is a timeless masterpiece, layered and textured, and one of the finest releases of 2002. The Rings Around the World package contains lots of extras: a one-sided 7” single with locked groove of a sample of “All The Shit U Do”, 4 page booklet with lyrics and credits, and inside-outplay of side three. This release is available as a limited edition of 1.500 individually numbered copies on coloured (pink & purple mixed) vinyl.
January 18 street date. Following the ever-emotive Boo Boo, Toro Y Moi’s new album Outer Peace is a time capsule that captures our relationship to contemporary culture into one comprehensive, sonic package. Outer Peace is a response to the expendable state of art that is a product of instant gratification. Bear’s ingenuity reveals a multifaceted expression of his universe on this record. It’s the space between the accessible and unconventional where he invites us to experience Outer Peace, which is rooted in finding peace in antithetical conditions: being stuck in traffic, hustling for your next check as a freelancer and all other chaotic moments in life that require digging beneath the surface to find solace. As both a producer and designer, Bear utilizes abstract sound pairings with recognizable samples for his most pop influenced record to date. This is no departure from his funk and disco roots, which can be heard on “Ordinary Pleasure”, later fusing into variations of house with tracks like “Freelance” and “Laws of the Universe.” Smooth interludes melt into fast paced beats, paralleling the feeling of driving through the Bay Area, where Bear spent most of his time writing the album. Outer Peace is duality. It embodies whatever form you choose to inhabit in the moment. Listen and let your imagination become the universe.
January 18 street date. Following the ever-emotive Boo Boo, Toro Y Moi’s new album Outer Peace is a time capsule that captures our relationship to contemporary culture into one comprehensive, sonic package. Outer Peace is a response to the expendable state of art that is a product of instant gratification. Bear’s ingenuity reveals a multifaceted expression of his universe on this record. It’s the space between the accessible and unconventional where he invites us to experience Outer Peace, which is rooted in finding peace in antithetical conditions: being stuck in traffic, hustling for your next check as a freelancer and all other chaotic moments in life that require digging beneath the surface to find solace. As both a producer and designer, Bear utilizes abstract sound pairings with recognizable samples for his most pop influenced record to date. This is no departure from his funk and disco roots, which can be heard on “Ordinary Pleasure”, later fusing into variations of house with tracks like “Freelance” and “Laws of the Universe.” Smooth interludes melt into fast paced beats, paralleling the feeling of driving through the Bay Area, where Bear spent most of his time writing the album. Outer Peace is duality. It embodies whatever form you choose to inhabit in the moment. Listen and let your imagination become the universe.
January 18 street date. Following the ever-emotive Boo Boo, Toro Y Moi’s new album Outer Peace is a time capsule that captures our relationship to contemporary culture into one comprehensive, sonic package. Outer Peace is a response to the expendable state of art that is a product of instant gratification. Bear’s ingenuity reveals a multifaceted expression of his universe on this record. It’s the space between the accessible and unconventional where he invites us to experience Outer Peace, which is rooted in finding peace in antithetical conditions: being stuck in traffic, hustling for your next check as a freelancer and all other chaotic moments in life that require digging beneath the surface to find solace. As both a producer and designer, Bear utilizes abstract sound pairings with recognizable samples for his most pop influenced record to date. This is no departure from his funk and disco roots, which can be heard on “Ordinary Pleasure”, later fusing into variations of house with tracks like “Freelance” and “Laws of the Universe.” Smooth interludes melt into fast paced beats, paralleling the feeling of driving through the Bay Area, where Bear spent most of his time writing the album. Outer Peace is duality. It embodies whatever form you choose to inhabit in the moment. Listen and let your imagination become the universe.
January 18 street date. Dubbed “The Mayor of MacDougal Street,” Dave Van Ronk (1936–2002) was an iconoclastic folksinger and an influential figure in the American folk music revival of the 1960s. Because of his interest in African Americanfolk music and blues, and his gift (or curse) of a gravelly baritone voice, Van Ronk was often criticized for his approach to his musical repertoire. His rejoinder was that he reserved the right to sing songs in the style that he deemed to be “the right way.” This 1959 Folkways recording, his first on any label, is a collection of 19th- and early 20th-century traditional folk and blues songs that persuasively illustrates his stance. Remastered from original LP Master Tapes in 1959 in Classic Folkways style tip-on jackets featuring original liner notes.
January 25 street date. Chris was the original bassist for Hamilton's punk pioneers The Forgotten Rebels and was responsible for possibly their greatest moment 'Surfin' on Heroin'. After leaving the Rebels, Chris decamped to Vancouver where he established himself in the alternative underground, sharing a living space with Slow and releasing his, now super rare, AstroTurf covered LP 'Hate Filled Man' on Zulu records. After moving back to Toronto in the late 1980s, Chris recorded and released the 20 track CD 'Evil Twang' and then returned to his home city of Hamilton where he has been holed up ever since - surfacing briefly a few years ago with a well received 7" single 'Einstein's Brain's in Hamilton' and the 2018, digital only, release 'Today's Temperature'. Hazards of Glitter is his first full album in twenty years. Including covers of songs by Lou Reed, Robert Calvert and Tommy Ramone as well as seven original songs. Recorded with a core band of Cleave Anderson and Bazil Donovan (Battered Wives, Sharks, Blue Rodeo), Steve Koch (The Demics), Michael Fonfara (The Electric Flag, Lou Reed) and featuring guest performances by Gord Lewis and Jack Pedler (Teenage Head) and Lori Yates as well as Herald Nix, Jim Cuddy, Greg Keelor, Mary Margaret O'Hara and Jack DeKeyzer amongst others. Described as an 'Amazing racket that defies categorization' and 'Antibiotic resistant Rock & Roll'
January 25 street date. Chris was the original bassist for Hamilton's punk pioneers The Forgotten Rebels and was responsible for possibly their greatest moment 'Surfin' on Heroin'. After leaving the Rebels, Chris decamped to Vancouver where he established himself in the alternative underground, sharing a living space with Slow and releasing his, now super rare, AstroTurf covered LP 'Hate Filled Man' on Zulu records. After moving back to Toronto in the late 1980s, Chris recorded and released the 20 track CD 'Evil Twang' and then returned to his home city of Hamilton where he has been holed up ever since - surfacing briefly a few years ago with a well received 7" single 'Einstein's Brain's in Hamilton' and the 2018, digital only, release 'Today's Temperature'. Hazards of Glitter is his first full album in twenty years. Including covers of songs by Lou Reed, Robert Calvert and Tommy Ramone as well as seven original songs. Recorded with a core band of Cleave Anderson and Bazil Donovan (Battered Wives, Sharks, Blue Rodeo), Steve Koch (The Demics), Michael Fonfara (The Electric Flag, Lou Reed) and featuring guest performances by Gord Lewis and Jack Pedler (Teenage Head) and Lori Yates as well as Herald Nix, Jim Cuddy, Greg Keelor, Mary Margaret O'Hara and Jack DeKeyzer amongst others. Described as an 'Amazing racket that defies categorization' and 'Antibiotic resistant Rock & Roll'
January 25 street date. Power Chords, Krol’s new Merge release, picks up where Turkey left off. It traces Krol’s journey back to punk rock, harnessing both the guitar technique and the musical redemption referenced in its title. To rediscover the power in those chords, Krol recorded for two-plus years in three separate locations (Nashville, Los Angeles, and Krol’s native Wisconsin). The record opens in a howling maelstrom of feedback: welcome to Krol’s crucible. After a stage-setting spoken-word intro, we find ourselves back in familiar Krol territory—aggressive and assertive, scratchy and raw, catchy as hell—but something has changed. The sounds have a new density—and so do the stories. Krol’s lyrics have always walked a fine line between self-acceptance and selfdestruction, but throughout Power Chords, they reveal a new sense of self-awareness. Of course, none of this is to say that Krol has mellowed. You might find a mea culpa or two, but Mike Krol will never be chastened. If anything, he’s out more for revenge than forgiveness, and if he’s grown, it’s because he’s grown bolder. He’s wielding the same influences—Misfits, The Strokes, early Weezer, Ramones—but turning up the gravity and the gain. Indeed, Krol has gone somewhere new; yes, he bludgeoned himself with over-analysis and self-loathing, but along the way he stumbled upon a trove of intricate guitar lines and artfully mutating melodies.
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 25 street date. Power Chords, Krol’s new Merge release, picks up where Turkey left off. It traces Krol’s journey back to punk rock, harnessing both the guitar technique and the musical redemption referenced in its title. To rediscover the power in those chords, Krol recorded for two-plus years in three separate locations (Nashville, Los Angeles, and Krol’s native Wisconsin). The record opens in a howling maelstrom of feedback: welcome to Krol’s crucible. After a stage-setting spoken-word intro, we find ourselves back in familiar Krol territory—aggressive and assertive, scratchy and raw, catchy as hell—but something has changed. The sounds have a new density—and so do the stories. Krol’s lyrics have always walked a fine line between self-acceptance and selfdestruction, but throughout Power Chords, they reveal a new sense of self-awareness. Of course, none of this is to say that Krol has mellowed. You might find a mea culpa or two, but Mike Krol will never be chastened. If anything, he’s out more for revenge than forgiveness, and if he’s grown, it’s because he’s grown bolder. He’s wielding the same influences—Misfits, The Strokes, early Weezer, Ramones—but turning up the gravity and the gain. Indeed, Krol has gone somewhere new; yes, he bludgeoned himself with over-analysis and self-loathing, but along the way he stumbled upon a trove of intricate guitar lines and artfully mutating melodies.
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 25 street date. (Peak indie-shop edition clear vinyl, ltd to 1k quantity for world) Power Chords, Krol’s new Merge release, picks up where Turkey left off. It traces Krol’s journey back to punk rock, harnessing both the guitar technique and the musical redemption referenced in its title. To rediscover the power in those chords, Krol recorded for two-plus years in three separate locations (Nashville, Los Angeles, and Krol’s native Wisconsin). The record opens in a howling maelstrom of feedback: welcome to Krol’s crucible. After a stage-setting spoken-word intro, we find ourselves back in familiar Krol territory—aggressive and assertive, scratchy and raw, catchy as hell—but something has changed. The sounds have a new density—and so do the stories. Krol’s lyrics have always walked a fine line between self-acceptance and selfdestruction, but throughout Power Chords, they reveal a new sense of self-awareness. Of course, none of this is to say that Krol has mellowed. You might find a mea culpa or two, but Mike Krol will never be chastened. If anything, he’s out more for revenge than forgiveness, and if he’s grown, it’s because he’s grown bolder. He’s wielding the same influences —Misfits, The Strokes, early Weezer, Ramones— but turning up the gravity and the gain. Indeed, Krol has gone somewhere new; yes, he bludgeoned himself with over-analysis and self-loathing, but along the way he stumbled upon a trove of intricate guitar lines and artfully mutating melodies.
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 25 street date. (Now available on CD!!) To kick off their celebration of 10 years as a band, Dark Operative is proud to present "Opening Fire: 2008-2014," a complete collection of Power Trip's earliest non-LP output. The release documents the self-titled 7", "This World" (from "The Extermination Vol: 2" LP compilation on Flatspot Records), "Hammer Of Doubt" (2010 version from "America's Hardcore" LP compilation on Triple-B Records), and the entirety of "The Armageddon Blues Sessions." All tracks have been lovingly remastered by the band's longtime producer Arthur Rizk with the release being rounded out by stunning artwork from Portland illustrator Matt Stikker and photography by Angela Owens.
January 25 street date. UK artist RAT BOY has teamed up with Tim Armstrong to produce his new album titled 'INTERNATIONALLY UNKNOWN’, being released in North America via Armstrong’s Hellcat Records label. RAT BOY first found Armstrong’s punk/hip-hop band The Transplants in his father’s record collection, and subsequently delved into his back catalogue with Rancid and Operation Ivy. RAT BOY had repeatedly mentioned his admiration of Armstrong in interviews, which led to the L.A. punk veteran discovering the young Essex upstart. RAT BOY and Armstrong immediately connected through a shared love for mixing the visceral energy of punk with hip-hop beats. In many ways, it’s hardly surprising: both musicians share similar influences and often reflect on their upbringing in their lyrics. The pair met in Los Angeles at Armstrong’s Shiprec Studios where the momentum was such that the project was entirely written and recorded during three visits, which amounted to a total of two months’ work. RAT BOY’s live band joined him in Los Angeles, while other collaborators include former Aggrolites bassist J Bonner and The Interrupters’ vocalist Aimee Interrupter. John King of The Dust Brothers (Beastie Boys, Beck) also contributed production. The result is twelve tracks which amplify RAT ROY’s rabble-rousing riot act to a new level. He’s drawing on diverse influences which echo, at various points, The Clash, Beastie Boys, The Prodigy, Rebel MC, Green Day and Run DMC.
January 25 street date. UK artist RAT BOY has teamed up with Tim Armstrong to produce his new album titled 'INTERNATIONALLY UNKNOWN’, being released in North America via Armstrong’s Hellcat Records label. RAT BOY first found Armstrong’s punk/hip-hop band The Transplants in his father’s record collection, and subsequently delved into his back catalogue with Rancid and Operation Ivy. RAT BOY had repeatedly mentioned his admiration of Armstrong in interviews, which led to the L.A. punk veteran discovering the young Essex upstart. RAT BOY and Armstrong immediately connected through a shared love for mixing the visceral energy of punk with hip-hop beats. In many ways, it’s hardly surprising: both musicians share similar influences and often reflect on their upbringing in their lyrics. The pair met in Los Angeles at Armstrong’s Shiprec Studios where the momentum was such that the project was entirely written and recorded during three visits, which amounted to a total of two months’ work. RAT BOY’s live band joined him in Los Angeles, while other collaborators include former Aggrolites bassist J Bonner and The Interrupters’ vocalist Aimee Interrupter. John King of The Dust Brothers (Beastie Boys, Beck) also contributed production. The result is twelve tracks which amplify RAT ROY’s rabble-rousing riot act to a new level. He’s drawing on diverse influences which echo, at various points, The Clash, Beastie Boys, The Prodigy, Rebel MC, Green Day and Run DMC.
January 25 street date. Sneaks, a.k.a. Eva Moolchan, emerges from the male-dominated Baltimore-Washington punk scene, joining the resistance forged by queer black feminists who create, explore, empower, conquer, and play bass. Highway Hypnosis combines bewitching beats and invented words, to produce what Clash Magazine described as “stripped down hip-hop, skeletal postpunk, and extra-dimensional pop music.” Highway Hypnosis was co-produced by Carlos Hernandez (of Ava Luna), Tony Seltzer (Princess Nokia), and Eva Moolchan herself. A glimmering anthem shrouded in an atmosphere of darkness, her first single “Beliefs” drops its bass along with a call to arms for all non-believers whose mantra is assigned: “Remove your beliefs and start again / ’cause all I wanna do is start again.” Among laughter samples and charming vocals featured on the album lie one club banger, your little sister’s anti-meat school lunch protest song, a 55- second epic bass surprise, and a Jacknife Lee (Taylor Swift, Bat for Lashes, R.E.M.) production credit on “Hong Kong to Amsterdam.”
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 25 street date. (Peak indie-shop edition green vinyl, ltd to 1k quantity for world) Sneaks, a.k.a. Eva Moolchan, emerges from the male-dominated Baltimore-Washington punk scene, joining the resistance forged by queer black feminists who create, explore, empower, conquer, and play bass. Highway Hypnosis combines bewitching beats and invented words, to produce what Clash Magazine described as “stripped down hip-hop, skeletal postpunk, and extra-dimensional pop music.” Highway Hypnosis was co-produced by Carlos Hernandez (of Ava Luna), Tony Seltzer (Princess Nokia), and Eva Moolchan herself. A glimmering anthem shrouded in an atmosphere of darkness, her first single “Beliefs” drops its bass along with a call to arms for all non-believers whose mantra is assigned: “Remove your beliefs and start again / ’cause all I wanna do is start again.” Among laughter samples and charming vocals featured on the album lie one club banger, your little sister’s anti-meat school lunch protest song, a 55- second epic bass surprise, and a Jacknife Lee (Taylor Swift, Bat for Lashes, R.E.M.) production credit on “Hong Kong to Amsterdam.”
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 25 street date. Sneaks, a.k.a. Eva Moolchan, emerges from the male-dominated Baltimore-Washington punk scene, joining the resistance forged by queer black feminists who create, explore, empower, conquer, and play bass. Highway Hypnosis combines bewitching beats and invented words, to produce what Clash Magazine described as “stripped down hip-hop, skeletal postpunk, and extra-dimensional pop music.” Highway Hypnosis was co-produced by Carlos Hernandez (of Ava Luna), Tony Seltzer (Princess Nokia), and Eva Moolchan herself. A glimmering anthem shrouded in an atmosphere of darkness, her first single “Beliefs” drops its bass along with a call to arms for all non-believers whose mantra is assigned: “Remove your beliefs and start again / ’cause all I wanna do is start again.” Among laughter samples and charming vocals featured on the album lie one club banger, your little sister’s anti-meat school lunch protest song, a 55- second epic bass surprise, and a Jacknife Lee (Taylor Swift, Bat for Lashes, R.E.M.) production credit on “Hong Kong to Amsterdam.”
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 25 street date. William’s new record, Goes West, is the best music that he’s ever made. I’m sure of this because I know and love all of his music intimately, and this album moves me the most, and the most consistently. The first time I heard it was in the late spring in the Texas Hill Country, rolling between limestone and scrub. I was on a cleanse then—no alcohol, no drugs, no evil thoughts—and was astonished at the emotional clarity that the album held. It offered up a model for what I wanted my head to feel like. Goes West marks a sort of narrowing of focus for William’s music; it sounds as though he found a way to point himself directly towards the rich and bittersweet emotional center of his music without being distracted by side trips. Perhaps this is down to the fact that William only plays acoustic guitar on the album, a clear and conscious decision considering that he is one of Nashville’s great electric guitarists. The band that performs Goes West alongside William—including guitarists Meg Duffy and Bill Frisell, bassist and producer Brad Cook, keyboardist James Wallace, drummer Griffin Goldsmith, and engineer Tucker Martine—is the best and most sympathetic group of players that William could have assembled to play these songs. The second time I heard Goes West, I was also in Texas and I was on LSD with my friend Brad and we were driving out of Marfa on Highway 90. It was around sundown and the music sounded like it was coming out of the clouds and dancing right in front of my eyes. I know that sounds exactly like what someone on acid would say, but the whole reason I took the acid in the first place is that I was looking for some peace of mind after a long, hot, sweaty summer. Goes West gave me that. We stopped the car and looked out over the expansive horizon and I felt better. We turned around and headed towards town. --M.C. Taylor, Durham North Carolina
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 25 street date. William’s new record, Goes West, is the best music that he’s ever made. I’m sure of this because I know and love all of his music intimately, and this album moves me the most, and the most consistently. The first time I heard it was in the late spring in the Texas Hill Country, rolling between limestone and scrub. I was on a cleanse then—no alcohol, no drugs, no evil thoughts—and was astonished at the emotional clarity that the album held. It offered up a model for what I wanted my head to feel like. Goes West marks a sort of narrowing of focus for William’s music; it sounds as though he found a way to point himself directly towards the rich and bittersweet emotional center of his music without being distracted by side trips. Perhaps this is down to the fact that William only plays acoustic guitar on the album, a clear and conscious decision considering that he is one of Nashville’s great electric guitarists. The band that performs Goes West alongside William—including guitarists Meg Duffy and Bill Frisell, bassist and producer Brad Cook, keyboardist James Wallace, drummer Griffin Goldsmith, and engineer Tucker Martine—is the best and most sympathetic group of players that William could have assembled to play these songs. The second time I heard Goes West, I was also in Texas and I was on LSD with my friend Brad and we were driving out of Marfa on Highway 90. It was around sundown and the music sounded like it was coming out of the clouds and dancing right in front of my eyes. I know that sounds exactly like what someone on acid would say, but the whole reason I took the acid in the first place is that I was looking for some peace of mind after a long, hot, sweaty summer. Goes West gave me that. We stopped the car and looked out over the expansive horizon and I felt better. We turned around and headed towards town. --M.C. Taylor, Durham North Carolina
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 25 street date. (Peak indie-shop edition green vinyl + exclusive jumbo poster download coupon, ltd to 1k quantity for world) William’s new record, Goes West, is the best music that he’s ever made. I’m sure of this because I know and love all of his music intimately, and this album moves me the most, and the most consistently. The first time I heard it was in the late spring in the Texas Hill Country, rolling between limestone and scrub. I was on a cleanse then—no alcohol, no drugs, no evil thoughts—and was astonished at the emotional clarity that the album held. It offered up a model for what I wanted my head to feel like. Goes West marks a sort of narrowing of focus for William’s music; it sounds as though he found a way to point himself directly towards the rich and bittersweet emotional center of his music without being distracted by side trips. Perhaps this is down to the fact that William only plays acoustic guitar on the album, a clear and conscious decision considering that he is one of Nashville’s great electric guitarists. The band that performs Goes West alongside William—including guitarists Meg Duffy and Bill Frisell, bassist and producer Brad Cook, keyboardist James Wallace, drummer Griffin Goldsmith, and engineer Tucker Martine—is the best and most sympathetic group of players that William could have assembled to play these songs. The second time I heard Goes West, I was also in Texas and I was on LSD with my friend Brad and we were driving out of Marfa on Highway 90. It was around sundown and the music sounded like it was coming out of the clouds and dancing right in front of my eyes. I know that sounds exactly like what someone on acid would say, but the whole reason I took the acid in the first place is that I was looking for some peace of mind after a long, hot, sweaty summer. Goes West gave me that. We stopped the car and looked out over the expansive horizon and I felt better. We turned around and headed towards town. --M.C. Taylor, Durham North Carolina
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 25 street date. The third in Cherry Red's "Close To The Noise Floor" early electronica series - this time exploring the USA and Canada. Enthralled by the mysterious synthesiser and inspired by the DIY ethos of punk, a quiet musical revolution took place across the western world in the late 1970s and early 1980s. Inspired by the microchip and affordable electronics, artists for whom guitars, drums and bass had become old hat began to spread their wings and breach the boundaries of sonic experimentation. Some wanted to dance, some to relax and others to confuse and confront - all are represented here. "Third Noise Principle" explores every corner of this chapter in American musical history via over four hours of futurist, modern and sometimes challenging music. And who better to tell this story than the artists themselves - this lavish hard-backed package features first-hand sleeve notes from artists and their biographers, unseen photographs and an introductory essay by Sounds and Wild Planet legend Dave Henderson. 60 tracks from legendary artists Suicide, The Residents (a previously unreleased track), Philip Glass, Terry Riley, Patrick Cowley, NON, Laurie Spiegel, Chrome, Ministry, Moev, and dozens more.
February 2 street date. Zeppelin Over China is a major and majestic work in the GBV canon, spotlighting the scope and genius of Robert Pollard’s songwriting. With thirty-two songs in 75 minutes, the massive double-album Zeppelin reaches lofty heights on its musical journey. Pollard continues to deliver endless invention and emotional wallop in two and three-minute guitar rock gems. Pollard has assembled his greatest supporting cast ever—Doug Gillard (guitar), Kevin March (drums), Mark Shue (bass), Bobby Bare Jr. (guitar) and Travis Harrison (engineer)—and this line-up’s virtuosic talents spur him to his most ambitious work yet, a grand album of emotional resonance and narrative drama. After well-deserved acclaim for the mind-boggling milestone of Pollard’s 100 career albums, Zeppelin Over China is a wonderful entry point for new listeners to experience Guided By Voices for the first time. Not resting on his laurels, Pollard’s tireless tenacity pays off with spectacular results.
February 2 street date. Zeppelin Over China is a major and majestic work in the GBV canon, spotlighting the scope and genius of Robert Pollard’s songwriting. With thirty-two songs in 75 minutes, the massive double-album Zeppelin reaches lofty heights on its musical journey. Pollard continues to deliver endless invention and emotional wallop in two and three-minute guitar rock gems. Pollard has assembled his greatest supporting cast ever—Doug Gillard (guitar), Kevin March (drums), Mark Shue (bass), Bobby Bare Jr. (guitar) and Travis Harrison (engineer)—and this line-up’s virtuosic talents spur him to his most ambitious work yet, a grand album of emotional resonance and narrative drama. After well-deserved acclaim for the mind-boggling milestone of Pollard’s 100 career albums, Zeppelin Over China is a wonderful entry point for new listeners to experience Guided By Voices for the first time. Not resting on his laurels, Pollard’s tireless tenacity pays off with spectacular results.
February 1 street date. (Indie store exclusive) To assure best possible fill, please send orders to us for this title as soon as possible! ThinkIndie is proud to announce the release of Metallica's "Helping Hands - Live & Acoustic at The Masonic"! This limited edition vinyl release of the band's benefit concert will be released February 1, 2019 at independent retailers worldwide. The double album documents the inaugural Helping Hands Benefit Concert held in San Francisco on November 3rd of 2018. Proceeds from the album will go toward the band's charity, "All Within My Hands Foundation", whose mission is to fight hunger and to assist in creating sustainable communities through workforce education. Double 140g coloured vinyl. Includes downlad card.
February 1 street date. "Bellissima! More 1960s She-Pop From Italy" comprises an equal mix of superstars and obscure artists, performing songs of both Italian and overseas origin. Living legend Mina sings "Cartoline", one of several numbers custom-composed by maestro Bruno Canfora to show off her fantastic vocal technique, and her arch rival Milva delivers the stomping "Tamburino, Ciao", another top-tier Italian original, while highlights of the selections by lesser-known vocalists include "È Proprio Inutile" by Meri Marabini and "Il Beat... Cos’è?" by La Ragazza 77, groovy covers of the Hollies' "You Know He Did" and Sonny & Cher's "The Beat Goes On" respectively. 24 tracks.
February 1 street date. Starting with Ewan MacColl's "Dirty Old Town", written about the great metropolis and capturing the effects of 200 years of industrial revolution and its aftermath, "Manchester: A City United In Music" moves through the 60s beat revolution, Strawberry Studios pop era, northern punk, indie mayhem and on to the Madchester years, culminating with an Oasis modern day-anthem. The tracks vary from the multi-million selling hits of Wayne Fontana, 10cc, Herman’s Hermits and Simply Red to the cult musical art of Haydock's Rockhouse, Wynder K Frog and Smack. Well-known artists like the Hollies, Georgie Fame and John Mayall are heard on some of their lesser-known but top-notch tracks. No shortage of punk/post-punk here, as there are contributions from Buzzcocks, The Fall, Joy Division, and Magazine. Sequenced mainly chronologically, this 2CD set and its accompanying booklet tell a fascinating story of a city’s musical history and examine how it came to be. Photos and artwork from the period, along with the reminiscences from the players, bring it to life again.
February 1 street date. Comprising soaring big beat ballads, the occasional guitar-driven nugget and other feminine pop gems of the stylish Italian variety, this much-anticipated follow-up to "Ciao Bella!" (one of Ace Records' best sellers of 2015) offers further proof that there is musical life beyond the shores of English-speaking countries. The 180g white vinyl LP edition is packaged in a heavy-duty sleeve with an illustrated inner bag.
February 8 street date. The Lemonheads’ first record in 10 years! Covers album – Includes versions of Nick Cave, Yo La Tengo, The Bevis Frond, Eagles and more. Extensive world tour over the 12 months, including Europe, USA and Asia. “The Lemonheads are no strangers to a cover, the grunge-pop heroes perfect the art.” NME The Lemonheads follow up the critically acclaimed ‘Varshons’ from nearly ten years ago with another eclectic collection of covers. Produced by director Matthew Cullen and mastered by Howie Weinberg (Beastie Boys, Nirvana, The Ramones), their tenth studio album brims with the slowly-matured vocal of Evan Dando as he lures a host of personal faves to his melodic lair. He really has become one of the great expressive singers of our time. What they said about Varshons: “Gram Parsons, Wire, and GG Allin: You'd be hard pressed to find three more disparate rock acts, yet on ‘Varshons’ they all sound like the Lemonheads - boppy, overcast alt-rock delivered at a fast clip and sung in a whiskey tenor.” Pitchfork. ‘Varshons 2’ is a hokey jukebox filled with unique versions of Yo La Tengo, Nick Cave, The Bevis Frond, NRBQ, The Eagles, Paul Westerberg, The Jayhawks, Lucinda Williams and John Prine. Like Hank Williams slumped in his car between gigs, strumming and hollering, reasoning and weeping, humming it on over, Evan and his Lemonheads make every tune their own. Including some obscure beauties like Florida Georgia Line’s ‘Round Here’, Natural Child’s ‘Now And Then’, The Eyes’ raucous ‘TAQN’ and The GiveGoods’ gorgeous ‘Unfamiliar’ – a tune Dando penned with former Smudge man Tom Morgan. Both LPs include downloads.
February 8 street date. The Lemonheads’ first record in 10 years! Covers album – Includes versions of Nick Cave, Yo La Tengo, The Bevis Frond, Eagles and more. Extensive world tour over the 12 months, including Europe, USA and Asia. “The Lemonheads are no strangers to a cover, the grunge-pop heroes perfect the art.” NME The Lemonheads follow up the critically acclaimed ‘Varshons’ from nearly ten years ago with another eclectic collection of covers. Produced by director Matthew Cullen and mastered by Howie Weinberg (Beastie Boys, Nirvana, The Ramones), their tenth studio album brims with the slowly-matured vocal of Evan Dando as he lures a host of personal faves to his melodic lair. He really has become one of the great expressive singers of our time. What they said about Varshons: “Gram Parsons, Wire, and GG Allin: You'd be hard pressed to find three more disparate rock acts, yet on ‘Varshons’ they all sound like the Lemonheads - boppy, overcast alt-rock delivered at a fast clip and sung in a whiskey tenor.” Pitchfork. ‘Varshons 2’ is a hokey jukebox filled with unique versions of Yo La Tengo, Nick Cave, The Bevis Frond, NRBQ, The Eagles, Paul Westerberg, The Jayhawks, Lucinda Williams and John Prine. Like Hank Williams slumped in his car between gigs, strumming and hollering, reasoning and weeping, humming it on over, Evan and his Lemonheads make every tune their own. Including some obscure beauties like Florida Georgia Line’s ‘Round Here’, Natural Child’s ‘Now And Then’, The Eyes’ raucous ‘TAQN’ and The GiveGoods’ gorgeous ‘Unfamiliar’ – a tune Dando penned with former Smudge man Tom Morgan. Both LPs include downloads.
February 8 street date. The Lemonheads’ first record in 10 years! Covers album – Includes versions of Nick Cave, Yo La Tengo, The Bevis Frond, Eagles and more. Extensive world tour over the 12 months, including Europe, USA and Asia. “The Lemonheads are no strangers to a cover, the grunge-pop heroes perfect the art.” NME The Lemonheads follow up the critically acclaimed ‘Varshons’ from nearly ten years ago with another eclectic collection of covers. Produced by director Matthew Cullen and mastered by Howie Weinberg (Beastie Boys, Nirvana, The Ramones), their tenth studio album brims with the slowly-matured vocal of Evan Dando as he lures a host of personal faves to his melodic lair. He really has become one of the great expressive singers of our time. What they said about Varshons: “Gram Parsons, Wire, and GG Allin: You'd be hard pressed to find three more disparate rock acts, yet on ‘Varshons’ they all sound like the Lemonheads - boppy, overcast alt-rock delivered at a fast clip and sung in a whiskey tenor.” Pitchfork. ‘Varshons 2’ is a hokey jukebox filled with unique versions of Yo La Tengo, Nick Cave, The Bevis Frond, NRBQ, The Eagles, Paul Westerberg, The Jayhawks, Lucinda Williams and John Prine. Like Hank Williams slumped in his car between gigs, strumming and hollering, reasoning and weeping, humming it on over, Evan and his Lemonheads make every tune their own. Including some obscure beauties like Florida Georgia Line’s ‘Round Here’, Natural Child’s ‘Now And Then’, The Eyes’ raucous ‘TAQN’ and The GiveGoods’ gorgeous ‘Unfamiliar’ – a tune Dando penned with former Smudge man Tom Morgan. Both LPs include downloads.
February 8 street date. Over the past decade, Cass McCombs has established himself as one of our premier songwriters. It’s a career that’s twisted and turned, from style to subject, both between records and within them. McCombs has never made two albums that sound the same. His new one, Tip of the Sphere, is particularly unique. Tip of the Sphere is McCombs’ 9th studio album and while many of his records have been comprised of songs recorded in different studios and pieced together over time, this one was recorded quickly in one location with a strong sense of purpose, resulting in his most consistent record to date. This approach brings a raw immediacy to his songs, which are some of his best yet as he finds the perfect balance of compassion and experimentation. The rock songs rock harder, the ballads are more beautiful, the experiments more confident; with the sounds of jazz and latin music creeping in through the back window. This is an artist trying to make sense of it all through a relentless, ever searching creative process. Follow up to 2016’s Mangy Love which was McCombs’ most critically praised album.
February 8 street date. Over the past decade, Cass McCombs has established himself as one of our premier songwriters. It’s a career that’s twisted and turned, from style to subject, both between records and within them. McCombs has never made two albums that sound the same. His new one, Tip of the Sphere, is particularly unique. Tip of the Sphere is McCombs’ 9th studio album and while many of his records have been comprised of songs recorded in different studios and pieced together over time, this one was recorded quickly in one location with a strong sense of purpose, resulting in his most consistent record to date. This approach brings a raw immediacy to his songs, which are some of his best yet as he finds the perfect balance of compassion and experimentation. The rock songs rock harder, the ballads are more beautiful, the experiments more confident; with the sounds of jazz and latin music creeping in through the back window. This is an artist trying to make sense of it all through a relentless, ever searching creative process. Follow up to 2016’s Mangy Love which was McCombs’ most critically praised album.
February 8 street date. The cliché circulated after the 2016 election foretold a new artistic golden age: Artists would transform their anger and anxiety into era-defining works of dissent in the face of authoritarianism. Yet Bob Mould calls his new album Sunshine Rock. It’s not because Mould likes the current administration. His decision comes from a more personal place – found in Berlin, Germany. “Four years ago, I made plans for an extended break,” Mould explains. “I started spending time in Berlin in 2015, found an apartment in 2016, and became a resident in 2017. My time in Berlin has been a life changing experience. The winter days are long and dark, but when the sun comes back, all spirits lift.” Three years in Berlin would quite literally shed new light on Mould’s everyday mindset. “To go from See a Little Light to the last three albums, two of which were informed by the loss of each parent, respectively, at some point I had to put a Post-It note on my work station and say, ‘Try to think about good things.’ Otherwise I could really go down a long, dark hole,” he says. “I’m trying to keep things brighter these days as a way to stay alive.” Raw vocals counterbalance strings that appear on five songs. Although Mould has experimented with small-scale string accompaniment on previous albums, Sunshine Rock ambitiously incorporates an 18-piece orchestra performed by the Prague TV Orchestra. Mould wrote the string parts, which collaborator Alison Chesley transcribed for various instruments with input from consultant Paul Martens. It all amounts to Mould’s catchiest, grabbiest album since Copper Blue, the acclaimed 1992 debut of his trio Sugar. Back then, Mould’s work in Hüsker Dü, as a solo artist, and in Sugar helped define the sound of guitar rock in the alternative age. Sunshine Rock finds him doing it again for an era that has ostensibly eschewed rock.
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 8 street date. The cliché circulated after the 2016 election foretold a new artistic golden age: Artists would transform their anger and anxiety into era-defining works of dissent in the face of authoritarianism. Yet Bob Mould calls his new album Sunshine Rock. It’s not because Mould likes the current administration. His decision comes from a more personal place – found in Berlin, Germany. “Four years ago, I made plans for an extended break,” Mould explains. “I started spending time in Berlin in 2015, found an apartment in 2016, and became a resident in 2017. My time in Berlin has been a life changing experience. The winter days are long and dark, but when the sun comes back, all spirits lift.” Three years in Berlin would quite literally shed new light on Mould’s everyday mindset. “To go from See a Little Light to the last three albums, two of which were informed by the loss of each parent, respectively, at some point I had to put a Post-It note on my work station and say, ‘Try to think about good things.’ Otherwise I could really go down a long, dark hole,” he says. “I’m trying to keep things brighter these days as a way to stay alive.” Raw vocals counterbalance strings that appear on five songs. Although Mould has experimented with small-scale string accompaniment on previous albums, Sunshine Rock ambitiously incorporates an 18-piece orchestra performed by the Prague TV Orchestra. Mould wrote the string parts, which collaborator Alison Chesley transcribed for various instruments with input from consultant Paul Martens. It all amounts to Mould’s catchiest, grabbiest album since Copper Blue, the acclaimed 1992 debut of his trio Sugar. Back then, Mould’s work in Hüsker Dü, as a solo artist, and in Sugar helped define the sound of guitar rock in the alternative age. Sunshine Rock finds him doing it again for an era that has ostensibly eschewed rock.
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 8 street date. (yellow and red swirl "peak indie shop" vinyl edition) The cliché circulated after the 2016 election foretold a new artistic golden age: Artists would transform their anger and anxiety into era-defining works of dissent in the face of authoritarianism. Yet Bob Mould calls his new album Sunshine Rock. It’s not because Mould likes the current administration. His decision comes from a more personal place – found in Berlin, Germany. “Four years ago, I made plans for an extended break,” Mould explains. “I started spending time in Berlin in 2015, found an apartment in 2016, and became a resident in 2017. My time in Berlin has been a life changing experience. The winter days are long and dark, but when the sun comes back, all spirits lift.” Three years in Berlin would quite literally shed new light on Mould’s everyday mindset. “To go from See a Little Light to the last three albums, two of which were informed by the loss of each parent, respectively, at some point I had to put a Post-It note on my work station and say, ‘Try to think about good things.’ Otherwise I could really go down a long, dark hole,” he says. “I’m trying to keep things brighter these days as a way to stay alive.” Raw vocals counterbalance strings that appear on five songs. Although Mould has experimented with small-scale string accompaniment on previous albums, Sunshine Rock ambitiously incorporates an 18-piece orchestra performed by the Prague TV Orchestra. Mould wrote the string parts, which collaborator Alison Chesley transcribed for various instruments with input from consultant Paul Martens. It all amounts to Mould’s catchiest, grabbiest album since Copper Blue, the acclaimed 1992 debut of his trio Sugar. Back then, Mould’s work in Hüsker Dü, as a solo artist, and in Sugar helped define the sound of guitar rock in the alternative age. Sunshine Rock finds him doing it again for an era that has ostensibly eschewed rock.
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 8 street date. (Indie-Store-Exclusive, White Vinyl edition of 1000. LP comes in a printer inner sleeve with lyrics and liner notes, housed in classic tip-on jacket) Jessica Pratt is not a loud performer. She does not have to be. In a club of a few hundred, even the bar staff are known to go quiet while she's on stage. Her third album, Quiet Signs, feels like a distillation of this power. The album leads off with "Opening Night," a nod to Gena Rowlands' harrowing, brilliant performance in the John Cassavetes film of the same name. It’s also an emblem of where this spare, mysterious collection of songs falls in the course of Pratt’s career. After a collection of demos and early studio recordings (Jessica Pratt, Birth Records, 2012) earned her a small, dedicated audience, Pratt moved from San Francisco to Los Angeles and recorded her first intentional album in her bedroom in a matter of months. That album, On Your Own Love Again (Drag City, 2015), would bring her around the world many times, leading many to fall under the spell of Jessica Pratt the performer, the songwriter, the singer with the heavy-lidded voice that feels alien and familiar at the same time. Her first album fully recorded in a professional studio setting, Quiet Signs finds Pratt's songwriting and accompanying guitar work refined -- more distinct and direct. In the world of Quiet Signs, the black of night usually represents fear, despair, resignation; finally at home descending towards the illuminated city, she sings over black leather drone and tambourine shuffle with a newfound resolve. Quiet Signs is the journey of an artist emerging from the darkened wings, growing comfortable as a solitary figure on a sprawling stage.
February 8 street date. (CD comes in digipak with lyrics sheet) Jessica Pratt is not a loud performer. She does not have to be. In a club of a few hundred, even the bar staff are known to go quiet while she's on stage. Her third album, Quiet Signs, feels like a distillation of this power. The album leads off with "Opening Night," a nod to Gena Rowlands' harrowing, brilliant performance in the John Cassavetes film of the same name. It’s also an emblem of where this spare, mysterious collection of songs falls in the course of Pratt’s career. After a collection of demos and early studio recordings (Jessica Pratt, Birth Records, 2012) earned her a small, dedicated audience, Pratt moved from San Francisco to Los Angeles and recorded her first intentional album in her bedroom in a matter of months. That album, On Your Own Love Again (Drag City, 2015), would bring her around the world many times, leading many to fall under the spell of Jessica Pratt the performer, the songwriter, the singer with the heavy-lidded voice that feels alien and familiar at the same time. Her first album fully recorded in a professional studio setting, Quiet Signs finds Pratt's songwriting and accompanying guitar work refined -- more distinct and direct. In the world of Quiet Signs, the black of night usually represents fear, despair, resignation; finally at home descending towards the illuminated city, she sings over black leather drone and tambourine shuffle with a newfound resolve. Quiet Signs is the journey of an artist emerging from the darkened wings, growing comfortable as a solitary figure on a sprawling stage.
February 8 street date. (LP comes in a printer inner sleeve with lyrics and liner notes, housed in classic tip-on jacket) Jessica Pratt is not a loud performer. She does not have to be. In a club of a few hundred, even the bar staff are known to go quiet while she's on stage. Her third album, Quiet Signs, feels like a distillation of this power. The album leads off with "Opening Night," a nod to Gena Rowlands' harrowing, brilliant performance in the John Cassavetes film of the same name. It’s also an emblem of where this spare, mysterious collection of songs falls in the course of Pratt’s career. After a collection of demos and early studio recordings (Jessica Pratt, Birth Records, 2012) earned her a small, dedicated audience, Pratt moved from San Francisco to Los Angeles and recorded her first intentional album in her bedroom in a matter of months. That album, On Your Own Love Again (Drag City, 2015), would bring her around the world many times, leading many to fall under the spell of Jessica Pratt the performer, the songwriter, the singer with the heavy-lidded voice that feels alien and familiar at the same time. Her first album fully recorded in a professional studio setting, Quiet Signs finds Pratt's songwriting and accompanying guitar work refined -- more distinct and direct. In the world of Quiet Signs, the black of night usually represents fear, despair, resignation; finally at home descending towards the illuminated city, she sings over black leather drone and tambourine shuffle with a newfound resolve. Quiet Signs is the journey of an artist emerging from the darkened wings, growing comfortable as a solitary figure on a sprawling stage.
February 8 street date. Mavis Staples has been a soul and gospel music legend for more than 50 years. Her work fronting the legendary Staples Singers defined the sound of politically-committed soul and influenced generations of musicians. As a solo artist in her own right, she has helped to define much of what is righteous and soulful in American music. There are few people who can claim to have been per- forming as long as Mavis Staples, let alone to her standards. This album captures her live at the Union Chapel in London with her band performing some of the greatest songs from her musical catalog, while celebrating her 79th birthday. GRAMMY LIFETIME ACHIEVEMENT AWARD WINNER, ROCK & ROLL HALL OF FAMER, KENNEDY CENTER HONOREE, NATIONAL HERITAGE FELLOWSHIP AWARD RECIPIENT- TO NAME A FEW OF HER HONORS. MAVIS HAS BEEN AS A FEATURED VOCALIST THIS YEAR ON SONGS BY HOZIER, ARCADE FIRE, GORILLAZ AND MORE.
February 8 street date. Mavis Staples has been a soul and gospel music legend for more than 50 years. Her work fronting the legendary Staples Singers defined the sound of politically-committed soul and influenced generations of musicians. As a solo artist in her own right, she has helped to define much of what is righteous and soulful in American music. There are few people who can claim to have been per- forming as long as Mavis Staples, let alone to her standards. This album captures her live at the Union Chapel in London with her band performing some of the greatest songs from her musical catalog, while celebrating her 79th birthday. GRAMMY LIFETIME ACHIEVEMENT AWARD WINNER, ROCK & ROLL HALL OF FAMER, KENNEDY CENTER HONOREE, NATIONAL HERITAGE FELLOWSHIP AWARD RECIPIENT- TO NAME A FEW OF HER HONORS. MAVIS HAS BEEN AS A FEATURED VOCALIST THIS YEAR ON SONGS BY HOZIER, ARCADE FIRE, GORILLAZ AND MORE.
February 8 street date. Over the past decade, Cass McCombs has established himself as one of our premier songwriters. It’s a career that’s twisted and turned, from style to subject, both between records and within them. McCombs has never made two albums that sound the same. His new one, Tip of the Sphere, is particularly unique. Tip of the Sphere is McCombs’ 9th studio album and while many of his records have been comprised of songs recorded in different studios and pieced together over time, this one was recorded quickly in one location with a strong sense of purpose, resulting in his most consistent record to date. This approach brings a raw immediacy to his songs, which are some of his best yet as he finds the perfect balance of compassion and experimentation. The rock songs rock harder, the ballads are more beautiful, the experiments more confident; with the sounds of jazz and latin music creeping in through the back window. This is an artist trying to make sense of it all through a relentless, ever searching creative process. Follow up to 2016’s Mangy Love which was McCombs’ most critically praised album. Deluxe LP includes 14tracks (3 bonus tracks), an embossed cover, a poster and a “castle” - an insert that can be folded and placed on top of the spinning vinyl.
February 15 street date. The one-man hurricane known as Bloodshot Bill started in his hometown of Montreal around 1998, with just a guitar and a stomp board. Since then, he’s had over 35 releases throughout Europe and North America. He keeps a jam-packed calendar, juggling insane live shows all over the world with the requisite studio time, where the magic often happens with a star-studded stack of cohorts including The 5.6.7.8.’s, Jon Spencer, King Khan, Beat Poet Charles Plymell, Mark Sultan, Deke Dickerson and Shannon Shaw of Shannon & The Clams. Although this pistol plays well with others, there’s a reason he’s known as the greatest living one-man band. Artist Joe Coleman once called him “a cross between Jimmie Rodgers and Popeye,” and director John Waters says he’s “like Roy Orbison with a head wound.” There have been some movie roles (usually playing himself), and accolades, too—he has won FME’s Coup De Coeur, and has been a nominee three times for an Ameripolitan Music Award. Bloodshot Bill’s whacked-out take on rockabilly stroll and early R & B begins where Charlie Feathers’ cryptic mumble meets Bobby Lee Trammell’s uninhibited beat and then goes scampering down dark alleys beyond genres—plus, it’s catchy as hell! Come Get Your Love Right Now is his seventh album, and first for Goner, after several with the great purveyors of forgotten sounds, Norton Records. Dig the unhinged howl, that loose-stringed strum, his unique beat. Go bang your head on a bongo—come and get it!
February 15 street date. The one-man hurricane known as Bloodshot Bill started in his hometown of Montreal around 1998, with just a guitar and a stomp board. Since then, he’s had over 35 releases throughout Europe and North America. He keeps a jam-packed calendar, juggling insane live shows all over the world with the requisite studio time, where the magic often happens with a star-studded stack of cohorts including The 5.6.7.8.’s, Jon Spencer, King Khan, Beat Poet Charles Plymell, Mark Sultan, Deke Dickerson and Shannon Shaw of Shannon & The Clams. Although this pistol plays well with others, there’s a reason he’s known as the greatest living one-man band. Artist Joe Coleman once called him “a cross between Jimmie Rodgers and Popeye,” and director John Waters says he’s “like Roy Orbison with a head wound.” There have been some movie roles (usually playing himself), and accolades, too—he has won FME’s Coup De Coeur, and has been a nominee three times for an Ameripolitan Music Award. Bloodshot Bill’s whacked-out take on rockabilly stroll and early R & B begins where Charlie Feathers’ cryptic mumble meets Bobby Lee Trammell’s uninhibited beat and then goes scampering down dark alleys beyond genres—plus, it’s catchy as hell! Come Get Your Love Right Now is his seventh album, and first for Goner, after several with the great purveyors of forgotten sounds, Norton Records. Dig the unhinged howl, that loose-stringed strum, his unique beat. Go bang your head on a bongo—come and get it!
February 15 street date. Fresh off 2018's collaborative LP with the enigmatic MF Doom, "Czarface Meets Metal Face", the
adventure continues as Czarface now faces off with Wu-Tang Clan's Ghostface Killah. "Czarface meets Ghostface" brings strictly mind melting beats and bars as 3 emcees clash like villains and heroes in the Savage Land. Czarface, a hip-hop and comics force comprised of Wu-Tang Clan General Inspectah Deck, Esoteric (who recently penned an X-Men comic for Marvel) and super producer 7L team up with Ghostface aka Iron-Man aka Tony Starks for murderous mayhem!
February 15 street date. Fresh off 2018's collaborative LP with the enigmatic MF Doom, "Czarface Meets Metal Face", the
adventure continues as Czarface now faces off with Wu-Tang Clan's Ghostface Killah. "Czarface meets Ghostface" brings strictly mind melting beats and bars as 3 emcees clash like villains and heroes in the Savage Land. Czarface, a hip-hop and comics force comprised of Wu-Tang Clan General Inspectah Deck, Esoteric (who recently penned an X-Men comic for Marvel) and super producer 7L team up with Ghostface aka Iron-Man aka Tony Starks for murderous mayhem!
February 15 street date. Fresh off 2018's collaborative LP with the enigmatic MF Doom, "Czarface Meets Metal Face", the adventure continues as Czarface now faces off with Wu-Tang Clan's Ghostface Killah. "Czarface meets Ghostface" brings strictly mind melting beats and bars as 3 emcees clash like villains and heroes in the Savage Land. Czarface, a hip-hop and comics force comprised of Wu-Tang Clan General Inspectah Deck, Esoteric (who recently penned an X-Men comic for Marvel) and super producer 7L team up with Ghostface aka Iron-Man aka Tony Starks for murderous mayhem!
February 15 street date. In 2019, Hot Water Music will be celebrating their 25th anniversary as a band and touring the world
performing tracks from their entire catalog. Epitaph Records will be repressing three of the band’s albums on colored vinyl for re-release in 2019: 2001’s A Flight and A Crash, 2002’s Caution and 2004’s The New What Next.
February 15 street date. In 2019, Hot Water Music will be celebrating their 25th anniversary as a band and touring the world
performing tracks from their entire catalog. Epitaph Records will be repressing three of the band’s albums on colored vinyl for re-release in 2019: 2001’s A Flight and A Crash, 2002’s Caution and 2004’s The New What Next.
February 15 street date. In 2019, Hot Water Music will be celebrating their 25th anniversary as a band and touring the world
performing tracks from their entire catalog. Epitaph Records will be repressing three of the band’s albums on colored vinyl for re-release in 2019: 2001’s A Flight and A Crash, 2002’s Caution and 2004’s The New What Next.
February 15 street date. In 2019, Hot Water Music will be celebrating their 25th anniversary as a band and touring the world
performing tracks from their entire catalog. Epitaph Records will be repressing three of the band’s albums on colored vinyl for re-release in 2019: 2001’s A Flight and A Crash, 2002’s Caution and 2004’s The New What Next.
February 15 street date. Swedish punk quartet Millencolin return with their new album, SOS. It’s clear the band members are just as unified as they were when they formed Millencolin, roughly 26 years, eight albums and 2,000 live shows ago. “We’re a band truly formed from respect and understanding for each other and our passion for rock music,” explains vocalist/bassist Nikola Sarcevic. “If you ask us, this is the best job in the world!” SOS IS THEIR NINTH STUDIO ALBUM, THE FOLLOW UP TO 2015’S TRUE BREW / MILLENCOLIN WILL TOUR THE WORLD IN SUPPORT OF SOS / FOR FANS OF DESCENDENTS, PENNYWISE & ANTI-FLAG
February 15 street date. Swedish punk quartet Millencolin return with their new album, SOS. It’s clear the band members are just as unified as they were when they formed Millencolin, roughly 26 years, eight albums and 2,000 live shows ago. “We’re a band truly formed from respect and understanding for each other and our passion for rock music,” explains vocalist/bassist Nikola Sarcevic. “If you ask us, this is the best job in the world!” SOS IS THEIR NINTH STUDIO ALBUM, THE FOLLOW UP TO 2015’S TRUE BREW / MILLENCOLIN WILL TOUR THE WORLD IN SUPPORT OF SOS / FOR FANS OF DESCENDENTS, PENNYWISE & ANTI-FLAG
February 15 street date. INDIE EXCLUSIVE: Transparent Orange Vinyl. Remastered for Vinyl at Infrasonic Mastering. Pressed On Audiophile-Grade Vinyl At Pallas Group In Germany. Critically Acclaimed Live Performance, Perfect For Jazz Vinyl Collectors. Cecil Taylor’s solo piano set at the Montreux Jazz Festival in 1974 drew critical acclaim, earning fi ve star reviews from the Rolling Stone Jazz Record Guide and AllMusic’s Scott Yanow. The set features Taylor’s fi ve-movement work “Silent Tongues”, along with two encores. After being out of print for nearly four decades, the classic live album has been remastered at Infrasonic Mastering and pressed on audiophile-grade vinyl at Pallas Group in Germany. Silent Tongues is a must-have for fans of Taylor and collectors of free jazz.
February 22 street date. Sleaford Mods are one of the most important, politically charged and thought-provoking duos currently making their mark on the UK music scene and beyond. They are now poised to release their fifth studio album entitled ‘Eton Alive’ in February 2019. The new album, which features 12 new tracks from the prolific artists, was recorded in Nottingham. The record will be the first release on Jason and Andrew’s newly formed label ‘Extreme Eating’ and their first album since parting ways with Rough Trade Records. “Eton Alive speaks for itself really. Here we are once again in the middle of another elitist plan being digested slowly as we wait to be turned into faeces once more. Some already are, some are dead and the rest of us erode in the belly of prehistoric ideology which depending on our abilities and willingness, assigns to each of us varying levels of comfort that range from horrible to reasonably acceptable, based on contribution. So after the digestive system of the Nobles rejects our inedible bones we exit the Arse of Rule, we fall into the toilet again and at the mercy of whatever policies are holding order in the shit pipe of this tatty civilisation. It is here our flesh regenerates as we rattle into another form, ready, and ripe for order”. – Jason Williamson ‘Eton Alive’
February 22 street date. Sleaford Mods are one of the most important, politically charged and thought-provoking duos currently making their mark on the UK music scene and beyond. They are now poised to release their fifth studio album entitled ‘Eton Alive’ in February 2019. The new album, which features 12 new tracks from the prolific artists, was recorded in Nottingham. The record will be the first release on Jason and Andrew’s newly formed label ‘Extreme Eating’ and their first album since parting ways with Rough Trade Records. “Eton Alive speaks for itself really. Here we are once again in the middle of another elitist plan being digested slowly as we wait to be turned into faeces once more. Some already are, some are dead and the rest of us erode in the belly of prehistoric ideology which depending on our abilities and willingness, assigns to each of us varying levels of comfort that range from horrible to reasonably acceptable, based on contribution. So after the digestive system of the Nobles rejects our inedible bones we exit the Arse of Rule, we fall into the toilet again and at the mercy of whatever policies are holding order in the shit pipe of this tatty civilisation. It is here our flesh regenerates as we rattle into another form, ready, and ripe for order”. – Jason Williamson ‘Eton Alive’
February 22 street date. Sleaford Mods are one of the most important, politically charged and thought-provoking duos currently making their mark on the UK music scene and beyond. They are now poised to release their fifth studio album entitled ‘Eton Alive’ in February 2019. The new album, which features 12 new tracks from the prolific artists, was recorded in Nottingham. The record will be the first release on Jason and Andrew’s newly formed label ‘Extreme Eating’ and their first album since parting ways with Rough Trade Records. “Eton Alive speaks for itself really. Here we are once again in the middle of another elitist plan being digested slowly as we wait to be turned into faeces once more. Some already are, some are dead and the rest of us erode in the belly of prehistoric ideology which depending on our abilities and willingness, assigns to each of us varying levels of comfort that range from horrible to reasonably acceptable, based on contribution. So after the digestive system of the Nobles rejects our inedible bones we exit the Arse of Rule, we fall into the toilet again and at the mercy of whatever policies are holding order in the shit pipe of this tatty civilisation. It is here our flesh regenerates as we rattle into another form, ready, and ripe for order”. – Jason Williamson ‘Eton Alive’
February 22 street date. Featuring Mike Watt And George Hurley Of The Minutemen And J Mascis Of Dinosaur Jr. Pressed On Audiophile-Grade Vinyl At Pallas Group In Germany. Fourth album from Unknown Instructors project; this one featuring the original rhythm section from the Minutemen (Mike Watt & George Hurley) with J Mascis (of Dinosaur Jr.) on guitar and poet Dan McGuire performing spoken word.
February 22 street date. Featuring Mike Watt And George Hurley Of The Minutemen And J Mascis Of Dinosaur Jr. Pressed On Audiophile-Grade Vinyl At Pallas Group In Germany. Fourth album from Unknown Instructors project; this one featuring the original rhythm section from the Minutemen (Mike Watt & George Hurley) with J Mascis (of Dinosaur Jr.) on guitar and poet Dan McGuire performing spoken word.
February 22 street date. INDIE EXCLUSIVE Color Vinyl Edition. Featuring Mike Watt And George Hurley Of The Minutemen And J Mascis Of Dinosaur Jr. Pressed On Audiophile-Grade Vinyl At Pallas Group In Germany. Fourth album from Unknown Instructors project; this one featuring the original rhythm section from the Minutemen (Mike Watt & George Hurley) with J Mascis (of Dinosaur Jr.) on guitar and poet Dan McGuire performing spoken word.
February 22 street date. "Big Gold Dreams" documents the vibrant independent music scene to emerge in Scotland across the late 70s and 80s. Initially ignited by punk, labels sprang up inGlasgow, Edinburgh and elsewhere to give a voice to the explosion of new acts across the country. Named after Fire Engines' memorable single and Grant McPhee's recent TV and DVD documentary, "Big Gold Dreams" includes many of the Scottish music scene's most important names as well as countless obscurities. Includes landmark tracks by The Rezillos, Simple Minds, Skids, The Jesus And Mary Chain, Primal Scream, The Waterboys, Cocteau Twins, Aztec Camera, The Shamen, Goodbye Mr. Mackenzie and many others. Includes recordings from key labels such as Zoom, Postcard, 53rd & 3rd, Rational, Fast Product/Pop:Aural, Supreme International Editions, Creation, Egg, Sarah, etc. Boasts lengthy essays and band histories by Grant McPhee, Neil Cooper and Tim Barr, within a lavishly illustrated 70-page booklet.
March 1 street date. Delicate Steve is back with his 5th studio album, Till I Burn Up. A critically acclaimed guitarist beloved by music critics and his peers, Steve has played on the albums of artists from Paul Simon to Yeasayer, and toured with artists from Tame Impala to The Growlers. Check out what the critics have to say about Delicate Steve. “Steve Marion..this fierce and lyrical guitar player, who performs as Delicate Steve, writes playful instrumental music led by hooky vocals — but there is no voice. His electric guitar is often played with a glass slide, mimicking a human being and bringing a palpable personality to his songs. “ - BOB BOILAND , NPR MUSIC “Steve Marion has become something you didn’t know you even needed in this day and age: a guitar hero. And just as contemporary superhero franchise reboots tend to focus less on their protagonists’ powers and more on their flaws, Marion wields his ample talent with the humility of a mortal. On the (mostly) instrumental albums he’s released as Delicate Steve, Marion’s guitar playing is always in the spotlight, but never hogging it—rather, his luminous leads form the emotional undercurrent around which everything else flows. What makes Marion a guitar hero isn’t just his technical wizardry, but his music’s mission to help you through dark times.” - STUART BERMAN, PITCHFORK
March 1 street date. Delicate Steve is back with his 5th studio album, Till I Burn Up. A critically acclaimed guitarist beloved by music critics and his peers, Steve has played on the albums of artists from Paul Simon to Yeasayer, and toured with artists from Tame Impala to The Growlers. Check out what the critics have to say about Delicate Steve. “Steve Marion..this fierce and lyrical guitar player, who performs as Delicate Steve, writes playful instrumental music led by hooky vocals — but there is no voice. His electric guitar is often played with a glass slide, mimicking a human being and bringing a palpable personality to his songs. “ - BOB BOILAND , NPR MUSIC “Steve Marion has become something you didn’t know you even needed in this day and age: a guitar hero. And just as contemporary superhero franchise reboots tend to focus less on their protagonists’ powers and more on their flaws, Marion wields his ample talent with the humility of a mortal. On the (mostly) instrumental albums he’s released as Delicate Steve, Marion’s guitar playing is always in the spotlight, but never hogging it—rather, his luminous leads form the emotional undercurrent around which everything else flows. What makes Marion a guitar hero isn’t just his technical wizardry, but his music’s mission to help you through dark times.” - STUART BERMAN, PITCHFORK
March 1 street date. Who Else is the new album by Modeselektor. It has been in the works for two years and was made within a month. It's a record offering essential Modeselektor, a record formed by experience, self-confidence, and the usual madness. Technical knowledge and craftsmanship have improved their creative process, but in the studio they are driven by the same old things. It's the quest for the beat they haven't made yet, the eternal hunt for the perfect mix. No bass drum sounds like the other on this record, no snare repeats itself in a different track. Each hi-hat is tailor-made, no synth sound recycled on another occasion. This isn't one of those predictable techno records, and that's what makes it such an effort: the endless search for new sounds while always bearing in mind that less is more. Lead single "Wealth" is a hip-hop track featuring London grime artist Flohio. Estonian rapper Tommy Cash parties on the crunchy and playful "Who", Otto von Schirach lends his screams to the dark industrial techno of "I Am Your God". And there's many other tracks that show Modeselektor rambling, raving, experimenting, or just enjoying themselves. Who Else is a record freed from outside pressure, only driven by a personal ambition to once more put out a great album. CD version comes in sixpanel, digisleeve and printed inner sleeve. Standard LP version comes in a printed inner sleeve. Deluxe picture disc version comes in printed inner sleeve; gatefold sleeve; includes inlay poster and download code.
March 1 street date. Who Else is the new album by Modeselektor. It has been in the works for two years and was made within a month. It's a record offering essential Modeselektor, a record formed by experience, self-confidence, and the usual madness. Technical knowledge and craftsmanship have improved their creative process, but in the studio they are driven by the same old things. It's the quest for the beat they haven't made yet, the eternal hunt for the perfect mix. No bass drum sounds like the other on this record, no snare repeats itself in a different track. Each hi-hat is tailor-made, no synth sound recycled on another occasion. This isn't one of those predictable techno records, and that's what makes it such an effort: the endless search for new sounds while always bearing in mind that less is more. Lead single "Wealth" is a hip-hop track featuring London grime artist Flohio. Estonian rapper Tommy Cash parties on the crunchy and playful "Who", Otto von Schirach lends his screams to the dark industrial techno of "I Am Your God". And there's many other tracks that show Modeselektor rambling, raving, experimenting, or just enjoying themselves. Who Else is a record freed from outside pressure, only driven by a personal ambition to once more put out a great album. CD version comes in sixpanel, digisleeve and printed inner sleeve. Standard LP version comes in a printed inner sleeve. Deluxe picture disc version comes in printed inner sleeve; gatefold sleeve; includes inlay poster and download code. (12" Single available Feb.1: MONKEY095EP)
March 1 street date. Who Else is the new album by Modeselektor. It has been in the works for two years and was made within a month. It's a record offering essential Modeselektor, a record formed by experience, self-confidence, and the usual madness. Technical knowledge and craftsmanship have improved their creative process, but in the studio they are driven by the same old things. It's the quest for the beat they haven't made yet, the eternal hunt for the perfect mix. No bass drum sounds like the other on this record, no snare repeats itself in a different track. Each hi-hat is tailor-made, no synth sound recycled on another occasion. This isn't one of those predictable techno records, and that's what makes it such an effort: the endless search for new sounds while always bearing in mind that less is more. Lead single "Wealth" is a hip-hop track featuring London grime artist Flohio. Estonian rapper Tommy Cash parties on the crunchy and playful "Who", Otto von Schirach lends his screams to the dark industrial techno of "I Am Your God". And there's many other tracks that show Modeselektor rambling, raving, experimenting, or just enjoying themselves. Who Else is a record freed from outside pressure, only driven by a personal ambition to once more put out a great album. CD version comes in sixpanel, digisleeve and printed inner sleeve. Standard LP version comes in a printed inner sleeve. Deluxe picture disc version comes in printed inner sleeve; gatefold sleeve; includes inlay poster and download code. (12" Single available Feb.1: MONKEY095EP)
March 8 street date. “Nestled between the emotionally terse 30 Degrees Everywhere and the pop explosion of Nothing Feels Good, this singles and unreleased songs compila- tion sees the Promise Ring in a number of different musical phases. The earliest material on the record, including ‘Watertown Plank’ and the emo classic ‘A Picture Postcard,’ showcase the raw origins of the band and their early tendencies to couple meander- ing guitar notes with unbridled and distorted rock. ‘E. Texas Ave.,’ a fan favorite from the group’s split 7” with Texas Is the Reason, is also a noteworthy in- clusion, not to mention the toughest song the band has ever recorded. Horse Latitudes is a must for the group’s fans, and is also a pretty good listen for anyone looking for solid emotional rock that is just as good at keeping quiet as it is at blasting out the speakers.” – PETER J. D’ANGELO (ALL MUSIC.COM)
March 8 street date. “Nestled between the emotionally terse 30 Degrees Everywhere and the pop explosion of Nothing Feels Good, this singles and unreleased songs compila- tion sees the Promise Ring in a number of different musical phases. The earliest material on the record, including ‘Watertown Plank’ and the emo classic ‘A Picture Postcard,’ showcase the raw origins of the band and their early tendencies to couple meander- ing guitar notes with unbridled and distorted rock. ‘E. Texas Ave.,’ a fan favorite from the group’s split 7” with Texas Is the Reason, is also a noteworthy in- clusion, not to mention the toughest song the band has ever recorded. Horse Latitudes is a must for the group’s fans, and is also a pretty good listen for anyone looking for solid emotional rock that is just as good at keeping quiet as it is at blasting out the speakers.” – PETER J. D’ANGELO (ALL MUSIC.COM)
March 22 street date. The third full-length from L.A. band Bad Suns, Mystic Truth gets its title from a piece of art that vocalist Christo Bowman stumbled upon while visiting London’s Tate Modern on tour. Created by Bruce Nauman in 1967, the neon-and-glass piece spells out a possibly paradoxical statement in blue spiraled cursive: “The True Artist Helps the World by Revealing Mystic Truths.” “I thought that connected back to the message of the record, which is about finding the extraordinary in very simple things, even though we’re living in a very dark time right now,” says Bowman, whose bandmates include guitarist Ray Libby, bassist Gavin Bennett, and drummer Miles Morris. “Instead of succumbing to that darkness, I think you’ve got to try to hold onto some optimism, and try to uncover those simple miracles so you don’t lose the plot of what’s really important.” Right from the album-opening “Away We Go,” Bad Suns reveal the timeless sensibilities at the heart of Mystic Truth. With its soaring vocals, majestic piano melodies, and fiery guitar tones, the song unfolds as a brightly anthemic battle cry. “‘Away We Go’ was mostly inspired by us growing up and really being adults for the first time, and trying to make sense of all that,” says Bowman, who co-founded Bad Suns at age 17. “It’s about learning how to make decisions for yourself, and sometimes just going for something and blindly trusting that it’s going to work out.”
March 22 street date. The third full-length from L.A. band Bad Suns, Mystic Truth gets its title from a piece of art that vocalist Christo Bowman stumbled upon while visiting London’s Tate Modern on tour. Created by Bruce Nauman in 1967, the neon-and-glass piece spells out a possibly paradoxical statement in blue spiraled cursive: “The True Artist Helps the World by Revealing Mystic Truths.” “I thought that connected back to the message of the record, which is about finding the extraordinary in very simple things, even though we’re living in a very dark time right now,” says Bowman, whose bandmates include guitarist Ray Libby, bassist Gavin Bennett, and drummer Miles Morris. “Instead of succumbing to that darkness, I think you’ve got to try to hold onto some optimism, and try to uncover those simple miracles so you don’t lose the plot of what’s really important.” Right from the album-opening “Away We Go,” Bad Suns reveal the timeless sensibilities at the heart of Mystic Truth. With its soaring vocals, majestic piano melodies, and fiery guitar tones, the song unfolds as a brightly anthemic battle cry. “‘Away We Go’ was mostly inspired by us growing up and really being adults for the first time, and trying to make sense of all that,” says Bowman, who co-founded Bad Suns at age 17. “It’s about learning how to make decisions for yourself, and sometimes just going for something and blindly trusting that it’s going to work out.”
March 22 street date. Panorama is the fourth full-length album from Michigan natives La Dispute and their first with Epitaph Records. It can be difficult for punk and hardcore bands in particular to evolve and maintain momentum simultaneously the longer they stay active. In spite of this, La Dispute has maintained the same attitude they started with. They are a band figuring out how to live meaningfully while also trying to make meaningful art without compromise. Panorama, is another chapter in a discography that tells everyday stories in a remarkable way. It takes you deep within the heart of the world we live in, which may not always be a comfortable or comforting place to be, but at the very least it’s a reminder that we’re not there alone. Panorama is in many ways a continuation on a theme. It’s a highly ambitious and deeply affecting body of work that filters narrative storytelling through a personal lens. It’s heavier and weirder than previous efforts, taking the intensity of Wildlife and the patience of Rooms of the House and using them as pillars upon which to build something new. And, in doing so, they have broken through their own ceiling and set a new one.
March 22 street date. Panorama is the fourth full-length album from Michigan natives La Dispute and their first with Epitaph Records. It can be difficult for punk and hardcore bands in particular to evolve and maintain momentum simultaneously the longer they stay active. In spite of this, La Dispute has maintained the same attitude they started with. They are a band figuring out how to live meaningfully while also trying to make meaningful art without compromise. Panorama, is another chapter in a discography that tells everyday stories in a remarkable way. It takes you deep within the heart of the world we live in, which may not always be a comfortable or comforting place to be, but at the very least it’s a reminder that we’re not there alone. Panorama is in many ways a continuation on a theme. It’s a highly ambitious and deeply affecting body of work that filters narrative storytelling through a personal lens. It’s heavier and weirder than previous efforts, taking the intensity of Wildlife and the patience of Rooms of the House and using them as pillars upon which to build something new. And, in doing so, they have broken through their own ceiling and set a new one.
March 22 street date. Panorama is the fourth full-length album from Michigan natives La Dispute and their first with Epitaph Records. It can be difficult for punk and hardcore bands in particular to evolve and maintain momentum simultaneously the longer they stay active. In spite of this, La Dispute has maintained the same attitude they started with. They are a band figuring out how to live meaningfully while also trying to make meaningful art without compromise. Panorama, is another chapter in a discography that tells everyday stories in a remarkable way. It takes you deep within the heart of the world we live in, which may not always be a comfortable or comforting place to be, but at the very least it’s a reminder that we’re not there alone. Panorama is in many ways a continuation on a theme. It’s a highly ambitious and deeply affecting body of work that filters narrative storytelling through a personal lens. It’s heavier and weirder than previous efforts, taking the intensity of Wildlife and the patience of Rooms of the House and using them as pillars upon which to build something new. And, in doing so, they have broken through their own ceiling and set a new one.
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Digest 
Krol, Mike
