Youthful exuberance is one thing but these guys are already relative veterans and they’re only in their 20’s. Catch The Black Lips racing through a set culled from all the records with relentless precision. They know exactly where it’s at and where it’s going. What’s more, they don’t appear to give a rat’s chuff. Wildmen In Action pretty much does what it says on the tin. There’s a Mose Allison song called Wildman On The Loose, and this performance DVD is that to the power of four. Lock up your daughters, your animals, anything with an orifice because The Black Lips are coming - in every sense of the word. You’ve heard about the generation gap, well it’s just about to become a chasm.
November 24 street date. LIMITED EDITION 10” VINYL FOR BLACK FRIDAY. 2 NEW SONGS AND 2 NEW MIXES
PRODUCED BY SEAN LENNON. Press Run: 1200 for USA. “Like a group o f road-tripping teenagers who’ve scored a Groupon for a five-star hotel and opt to take a dump in the bidet.” - Pitchfork
January 24 street date. It's country music but not as we know it which begs the question: have these Bad Kids of 21st Century rock 'n' roll finally grown up on their ninth studio album? ‘Sing In A World That’s Falling Apart’ continues to flick the middle finger to one and all. This ain't another gaggle of bearded southern sons fleeing their collective suburban upbringings and collegiate music education. There aren't the usual clichés about drinking, honky tonks, and heartbreak. These are, after all, the same Black Lips who rescued the waning garage punk subgenre. They also dug contemporary hip-hop and punk and actualized themselves. Like so many dramatic moments in the Black Lips career, ‘Sing In A World That’s Falling Apart’ was born out of crisis. The band's stylistic evolution through decades of prolific touring and recording took them where no garage punk band had gone before - huge venues, network television shows, and major music festivals. Here Black Lips are at their grimiest, most dangerous and equipped with the best collection of songs since the aughts. They roll on with an unapologetic southern-fried twang, pacing the beast, every now and then dropping a psycho howl into the rubber room madness lurking underneath the truckstop fireworks. This ain't your granny's country album. And conversely this ain't your mama's Black Lips!
January 24 street date. Limited deluxe red vinyl edition, with a die cut spot gloss sleeve and poster - available exclusively to indie shops. It's country music but not as we know it which begs the question: have these Bad Kids of 21st Century rock 'n' roll finally grown up on their ninth studio album? ‘Sing In A World That’s Falling Apart’ continues to flick the middle finger to one and all. This ain't another gaggle of bearded southern sons fleeing their collective suburban upbringings and collegiate music education. There aren't the usual clichés about drinking, honky tonks, and heartbreak. These are, after all, the same Black Lips who rescued the waning garage punk subgenre. They also dug contemporary hip-hop and punk and actualized themselves. Like so many dramatic moments in the Black Lips career, ‘Sing In A World That’s Falling Apart’ was born out of crisis. The band's stylistic evolution through decades of prolific touring and recording took them where no garage punk band had gone before - huge venues, network television shows, and major music festivals. Here Black Lips are at their grimiest, most dangerous and equipped with the best collection of songs since the aughts. They roll on with an unapologetic southern-fried twang, pacing the beast, every now and then dropping a psycho howl into the rubber room madness lurking underneath the truckstop fireworks. This ain't your granny's country album. And conversely this ain't your mama's Black Lips!
April 18 - RECORD STORE DAY - street date. Black vinyl, 1500 copies worldwide. Black Lips and pop superstar Kesha join forces for on 'They's A Person Of The World', this lush country ballad is a fitting tribute to the traditions of Nashville and its rich musical history. The collab is backed with a new Black Lips track, ‘Left Out In The Cold’, taken from the same sessions as their recent LP. The tracks are not available anywhere else.
October 21 street date. The Black Lips return with their 10th studio effort ‘Apocalypse Love’. Scorched with their trademark menace, it cryogenically mutates all recognised musical bases; it spins yarns about vintage Soviet synths, Benzedrine stupors, coup d'etats, stolen valor and certified destruction, all set against a black setting sun. Since the turn of the decade the band have transformed from austere country pioneers into a set of Lynchian surrealists, hellbent on recalibrating the history of rock 'n' roll. ‘Apocalypse Love’ is an album that emanates from a dive bar jukebox in the back of your mind; with a playlist that bends between tub thumping doom-glam, Plastic Ono singalongs, cocktail-shaken space age pop, Morricone reverberations and lo-fi outsider acoustic-punk, with mariachi horns, theremins, drum machines and harmonies filtering through the infectious melodies. As the band venture into their third decade, ‘Apocalypse Love’ is proof that The Black Lips show no sign of slowing down.
October 21 street date. The Black Lips return with their 10th studio effort ‘Apocalypse Love’. Scorched with their trademark menace, it cryogenically mutates all recognised musical bases; it spins yarns about vintage Soviet synths, Benzedrine stupors, coup d'etats, stolen valor and certified destruction, all set against a black setting sun. Since the turn of the decade the band have transformed from austere country pioneers into a set of Lynchian surrealists, hellbent on recalibrating the history of rock 'n' roll. ‘Apocalypse Love’ is an album that emanates from a dive bar jukebox in the back of your mind; with a playlist that bends between tub thumping doom-glam, Plastic Ono singalongs, cocktail-shaken space age pop, Morricone reverberations and lo-fi outsider acoustic-punk, with mariachi horns, theremins, drum machines and harmonies filtering through the infectious melodies. As the band venture into their third decade, ‘Apocalypse Love’ is proof that The Black Lips show no sign of slowing down. Classic black vinyl with lyric insert and download card.
October 21 street date. The Black Lips return with their 10th studio effort ‘Apocalypse Love’. Scorched with their trademark menace, it cryogenically mutates all recognised musical bases; it spins yarns about vintage Soviet synths, Benzedrine stupors, coup d'etats, stolen valor and certified destruction, all set against a black setting sun. Since the turn of the decade the band have transformed from austere country pioneers into a set of Lynchian surrealists, hellbent on recalibrating the history of rock 'n' roll. ‘Apocalypse Love’ is an album that emanates from a dive bar jukebox in the back of your mind; with a playlist that bends between tub thumping doom-glam, Plastic Ono singalongs, cocktail-shaken space age pop, Morricone reverberations and lo-fi outsider acoustic-punk, with mariachi horns, theremins, drum machines and harmonies filtering through the infectious melodies. As the band venture into their third decade, ‘Apocalypse Love’ is proof that The Black Lips show no sign of slowing down. Limited deluxe edition on violet vinyl with silver foiled sleeve, lyric insert, and download card.
December 2 street date. Bending scuzzy boundaries, "Good Bad Not Evil" is a coming-of-age garage rock classic record. Full of hedonistic delinquent anthems, the fourth studio album from Atlanta punks Black Lips reaches its 15 year anniversary. This deluxe edition includes B-sides and rarities including ‘Cruising’, ‘I Wanna Dance With You’ and ‘Leroy Faster’. "Good Bad Not Evil" perfectly encapsulates the disillusionment of the mid-00s America, slammed between warehouse parties, DIY generator shows and scattered party pics. Referencing The Shangri-Las in the title, this is where their knack for garage gems met Motown; with bass heavy grooves (later remixed by Diplo), a certified country twang and unabashed bravado. Instant hits like ‘VeniVidi Vici’, ‘Cold Hands’, ‘Bad Kids’, and ‘O Katrina!’ immediately became Black Lips staples.
December 2 street date. Bending scuzzy boundaries, "Good Bad Not Evil" is a coming-of-age garage rock classic record. Full of hedonistic delinquent anthems, the fourth studio album from Atlanta punks Black Lips reaches its 15 year anniversary. This deluxe edition includes unearthed photos and new liner notes from Jared Swilley and King Khan. The second disc features B-sides and rarities including ‘Cruising’, ‘I Wanna Dance With You’ and ‘Leroy Faster’. "Good Bad Not Evil" perfectly encapsulates the disillusionment of the mid-00s America, slammed between warehouse parties, DIY generator shows and scattered party pics. Referencing The Shangri-Las in the title, this is where their knack for garage gems met Motown; with bass heavy grooves (later remixed by Diplo), a certified country twang and unabashed bravado. Instant hits like ‘VeniVidi Vici’, ‘Cold Hands’, ‘Bad Kids’, and ‘O Katrina!’ immediately became Black Lips staples. Packaged in a gatefold sleeve with spot gloss, liner notes, and download card.
December 2 street date. Bending scuzzy boundaries, "Good Bad Not Evil" is a coming-of-age garage rock classic record. Full of hedonistic delinquent anthems, the fourth studio album from Atlanta punks Black Lips reaches its 15 year anniversary. This deluxe edition includes unearthed photos and new liner notes from Jared Swilley and King Khan. The second disc features B-sides and rarities including ‘Cruising’, ‘I Wanna Dance With You’ and ‘Leroy Faster’. "Good Bad Not Evil" perfectly encapsulates the disillusionment of the mid-00s America, slammed between warehouse parties, DIY generator shows and scattered party pics. Referencing The Shangri-Las in the title, this is where their knack for garage gems met Motown; with bass heavy grooves (later remixed by Diplo), a certified country twang and unabashed bravado. Instant hits like ‘VeniVidi Vici’, ‘Cold Hands’, ‘Bad Kids’, and ‘O Katrina!’ immediately became Black Lips staples. Packaged in a gatefold sleeve with spot gloss, liner notes, and download card.
February 3 street date. The follow up to the widely successful "Good Bad Not Evil", the 2009 album "200 Million Thousand" is a perfect amalgam of The Black Lips' high-end live shows and subculture songwriting, meshed tightly to their distinctive howl. Finally back on vinyl and part of a series of Fire reissues celebrating 20 years of the legendary garage rock gurus from Atlanta. Unapologetic southern-fried twang, crunching through the gears in a haze of psychedelia.
February 3 street date. The sixth full-length album from the gurus of Atlanta's "flower punk" movement, from the heady daze of 2011, finally back on vinyl and part of a series of Fire reissues celebrating 20 years of the legendary garage rock gurus from Atlanta. "Arabia Mountain" was recorded with the collaborative assistance of celebrated producer Mark Ronson, Lockett Pundt of Deerhunter, and a human skull with a microphone jammed into it. The production tests the limits of modern amplification, harkening to the full, meaty sound of The Stooges' "Fun House" or "Lola Versus Powerman" by The Kinks. Unapologetic southern-fried twang, crunching through the gears with flowers blossoming everywhere.
February 3 street date. The sixth full-length album from the gurus of Atlanta's "flower punk" movement, from the heady daze of 2011, finally back on vinyl and part of a series of Fire reissues celebrating 20 years of the legendary garage rock gurus from Atlanta. "Arabia Mountain" was recorded with the collaborative assistance of celebrated producer Mark Ronson, Lockett Pundt of Deerhunter, and a human skull with a microphone jammed into it. The production tests the limits of modern amplification, harkening to the full, meaty sound of The Stooges' "Fun House" or "Lola Versus Powerman" by The Kinks. Unapologetic southern-fried twang, crunching through the gears with flowers blossoming everywhere.
February 3 street date. The seventh studio album from the mighty Black Lips is finally back on vinyl, part of a series of Fire reissues celebrating 20 years of the legendary garage rock gurus from Atlanta. Featuring fan favourites such as ‘Boys in the Wood’ and ‘Funny’, "Underneath The Rainbow" is an essential slice of Black Lips history. The band convened at Dunham Studios in New York to record initial tracks with Dap Kings music director Tommy Brenneck (Cee Lo, Charles Bradley), then decamped to Nashville to record several songs with Patrick Carney of The Black Keys producing, finally rounding out the album with a couple of songs co-produced with lifetime Lips recording collaborator, Ed Rawls.
February 3 street date. 2017's "Satan's Graffiti Or God's Art" features a musically evolved Black Lips, who still stay true to their original blistering take on fuzzy, dirty rock 'n' roll. The album features guest contributions from Yoko Ono and was produced by Sean Lennon throughout 2016. During the recording, the band isolated themselves from the outside world, infusing the album with a focused liveliness similar to the spirit that brought them together in the first place. On "Satan's Graffiti Or God's Art", founding members Cole Alexander and Jared Swilley teamed with former guitarist Jack Hines (who played in the group from 2002-2004) and additions Oakley Munson on drums and Zumi Rosow on saxophone. A sonically captivating document that is as creatively unhinged as it is precisely executed, one of the rawest and most expansive albums in the band's storied history.
February 3 street date. The classic third album from The Black Lips, originally released in 2005 and now back on vinyl and part of a series of Fire reissues celebrating 20 years of the legendary garage rock gurus from Atlanta. 16 tracks of grimy and chaotic punk, scuzzy and raw, and catchy as hell. The band at their trashy best; more melodic but every bit as psychotic. If Royal Trux had listened to the Troggs instead of the Rolling Stones, they might have recorded this album. This baby is a masterpiece. Unapologetic southern-fried twang, crunching through the gears in a blitz of grimy bravado.
February 3 street date. The classic third album from The Black Lips, originally released in 2005 and now back on vinyl and part of a series of Fire reissues celebrating 20 years of the legendary garage rock gurus from Atlanta. 16 tracks of grimy and chaotic punk, scuzzy and raw, and catchy as hell. The band at their trashy best; more melodic but every bit as psychotic. If Royal Trux had listened to the Troggs instead of the Rolling Stones, they might have recorded this album. This baby is a masterpiece. Unapologetic southern-fried twang, crunching through the gears in a blitz of grimy bravado.
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