October 5 street date. Double yellow vinyl LP pressing housed in gatefold jacket. A Shadowplay For Yesterdays is the third album by A Forest of Stars. After last year's new editions of The Corpse Of Rebirth (2008) and Opportunistic Thieves Of Spring (2010), this record is the real Lupus Lounge / Prophecy Productions debut by the group. While their first two albums hinted at the huge potential of the collective, A Shadowplay... is aspiring for even greater things, surpassing itself in the process. As for the lyrics, this is another concept album, dealing with a man at odds with himself, torn between virtue and the path of blasphemous (self-) destruction. In terms of music, the Gentlemen's Club enters new realms. The eccentric and sinister compositions that are the trademark of A Forest of Stars are still the music's foundation, but at the same time, they lace their avant-garde black metal with influences from the rich musical heritage of Great Britain: epic doom riffs find their place alongside the melodics and playfulness of classic prog rock. As the highlight of it all, the Gentlemen's Club performs an alchemical miracle: despite it's musical diversity and complexity, A Shadowplay... is the band's most accessible and catchy album by far. Thus, A Forest of Stars do everything properly on A Shadowplay... Skillfully, they unite the trademarks of the past with new ideas for the future, and in doing so, they present the most important album of their discography to date. May the shadowplay commence!
October 5 street date. Double red vinyl LP pressing housed in gatefold jacket. Whereas A Shadowplay... depicted moral decay based on an individual fate, Beware The Sword... transfers the topics of demise and insanity into metaphysical spheres. Accordingly, the sound alchemists' music becomes more universal. The effect of A Forest of Stars' album is similar to what the first mechanical reproductions of music at the end of the 19th century achieved: The aural experience leaves the audience equally stumped and euphoric. Be it the compelling nine minutes of opener "Drawing Down The Rain" (which is accompanied by an animated music video that considerably dwarfs even the impressive clip for "Gatherer Of The Pure"), the sprawling "Virtus Sola Invicta", which comes close to Scandinavian progressive rock's finest moments due to it's folkloristic-acoustic interludes, or the sexpartite "Pawn On The Universal Chessboard", which sums up and transcends the group's contextual essence - "Beware The Sword You Cannot See" both maintains tradition and innovates, elaborating on an unmistakable style in the light of a complex yet still approachable concept... and eventually a new yardstick for other purveyors of allegedly visionary, extreme Metal to be measured by.
September 28 street date. The year is 1898. The Gentlemen's Club of A Forest of Stars invites you to a midnight performance of their latest maniacal masterpiece, Grave Mounds And Grave Mistakes. This exclusive brotherhood embraces the decadent, conflicting nature of their Victorian England, weaving sickly gin-tinged thoughts with bizarre, hypnotic melodies to fully express the decadence of their era. 120 years later, in the year 2018, A Forest of Stars would be nothing less than one of the UK's leading avant-garde black metal outfits. On Grave Mounds And Grave Mistakes, the septet takes William Blake's proverb of Hell "Exuberance is beauty" as it's principle, and celebrates lushness and excess in their music, lyrics and artwork. As an exploration of a struggle against insanity, it also represents the band's desire to revisit earlier works. A more atmospheric album than it's predecessor, 2015's Beware The Sword You Cannot See, this album has nods to the previous sonic explorations on 2012's A Shadowplay For Yesterdays. We also hear the band utilizing more open space and sound textures in addition to their trademark avant-garde black metal, dipping into the raw sounds of 2010's Opportunistic Thieves of Spring. The lyrics build upon themes of loss, death and inevitability, describing scenes of decay and destruction - magniloquent, abstract, metaphoric, with an abysmal message at it's core. Like the crazed tenant swearing he hears the dead man's heart, Grave Mounds And Grave Mistakes writhes upon the floorboards, bashing it's head in and screaming, "let me out".
September 28 street date. Description
Deluxe two CD set including bonus tracks. 2018 release. The year is 1898. The Gentlemen's Club of A Forest of Stars invites you to a midnight performance of their latest maniacal masterpiece, Grave Mounds And Grave Mistakes. This exclusive brotherhood embraces the decadent, conflicting nature of their Victorian England, weaving sickly gin-tinged thoughts with bizarre, hypnotic melodies to fully express the decadence of their era. 120 years later, in the year 2018, A Forest of Stars would be nothing less than one of the UK's leading avant-garde black metal outfits. On Grave Mounds And Grave Mistakes, the septet takes William Blake's proverb of Hell "Exuberance is beauty" as it's principle, and celebrates lushness and excess in their music, lyrics and artwork. As an exploration of a struggle against insanity, it also represents the band's desire to revisit earlier works. A more atmospheric album than it's predecessor, 2015's Beware The Sword You Cannot See, this album has nods to the previous sonic explorations on 2012's A Shadowplay For Yesterdays. We also hear the band utilizing more open space and sound textures in addition to their trademark avant-garde black metal, dipping into the raw sounds of 2010's Opportunistic Thieves of Spring. The lyrics build upon themes of loss, death and inevitability, describing scenes of decay and destruction - magniloquent, abstract, metaphoric, with an abysmal message at it's core. Like the crazed tenant swearing he hears the dead man's heart, Grave Mounds And Grave Mistakes writhes upon the floorboards, bashing it's head in and screaming, "let me out".
September 28 street date. Limited double 180gm vinyl LP pressing in gatefold jacket. 2018 release. The year is 1898. The Gentlemen's Club of A Forest of Stars invites you to a midnight performance of their latest maniacal masterpiece, Grave Mounds And Grave Mistakes. This exclusive brotherhood embraces the decadent, conflicting nature of their Victorian England, weaving sickly gin-tinged thoughts with bizarre, hypnotic melodies to fully express the decadence of their era. 120 years later, in the year 2018, A Forest of Stars would be nothing less than one of the UK's leading avant-garde black metal outfits. On Grave Mounds And Grave Mistakes, the septet takes William Blake's proverb of Hell "Exuberance is beauty" as it's principle, and celebrates lushness and excess in their music, lyrics and artwork. As an exploration of a struggle against insanity, it also represents the band's desire to revisit earlier works. A more atmospheric album than it's predecessor, 2015's Beware The Sword You Cannot See, this album has nods to the previous sonic explorations on 2012's A Shadowplay For Yesterdays. We also hear the band utilizing more open space and sound textures in addition to their trademark avant-garde black metal, dipping into the raw sounds of 2010's Opportunistic Thieves of Spring. The lyrics build upon themes of loss, death and inevitability, describing scenes of decay and destruction - magniloquent, abstract, metaphoric, with an abysmal message at it's core. Like the crazed tenant swearing he hears the dead man's heart, Grave Mounds And Grave Mistakes writhes upon the floorboards, bashing it's head in and screaming, "let me out".
November 29 street date. Unearthed for the first time after the discovery of a “mystery" tape reel, Louis Armstrong's performance in Allentown, PA on November 24, 1956 is one for the history books. Armstrong is joined by his All-Stars, including Trummy Young, Edmund Hall, Billy Kyle, and Velma Middleton. Available for the first time in any format, the concert audio has been mastered from the original analog tape and pressed on color vinyl for this limited edition release, exclusively for Record Store Day Black Friday.
December 15 street date. This 1956 concert by Louis Armstrong & His All-Stars is a historical gem, which is finally getting its vinyl debut with this double LP release. Recorded on March 26, 1956, at the Civic Auditorium in Grand Rapids, MI, it affords jazz fans a chance to hear what the barnstorming Armstrong’s shows were like in heartland America. Armstrong’s affable presence is pervasive, but not always center stage, as each member of the All-Stars gets his turn in the course of the revue. The release was remastered for viny at Infrasonic Mastering in Los Angelesl from analog tape and pressed at Pallas Group in Germany on two audiophile grade LPs.
September 2 street date. (4-LP set, 180 gram set!) In what was the third year of the NJF (1956), Armstrong was there with his All-Stars along with the cream of the jazz community. It was Columbia Records and producer George Avakian who thought of recording some of the Festival which was showing signs of becoming the prototype that it soon was to become for all festivals. The Voice of America (VOA) was broadcasting the Festival by then and along with Columbia's microphones captured many hours on tape, some of which to be released on LP. However, quite possibly because of a distorted VOA mic combined with the fact that Columbia's microphone was positioned for the band only, the Armstrong portion of this concert lay dormant - until now. In using the VOA mic while minimizing the distortion on Louis' vocals and combining the clear Columbia microphone capturing of the band, we finally have for the first time Armstrong's appearance at Newport '56. His program selection is exactly what Louis did best - bring the people what they wanted to hear which really was a cross-section of pop and jazz: "Tin Roof Blues" (blues), "My Bucket's Got A Hole In It" (New Orleans), "The Gypsy" (pop), "Perdido" (swing), "Mop Mop" (bop), "Ko Ko Mo" (rock). In addition to his current hit with "Mack The Knife" he found the time to feature the All-Stars (Ed Hall, Billy Kyle, Barrett Deems, Trummy Young, Dale Jones and Velma Middleton). Arguably one of the most revered jazz films was Bert Stern and Aram Avakian's Jazz On A Summer's Day. Shot at the 1958 Newport Jazz Festival, it is a brilliantly filmed time capsule of music, audience and Newport. Although Armstrong's appearance is one of the longer segments in the movie it is highly edited. Four performances (including Armstrong backed by an 18 piece ensemble - The International Youth Band) had been previously released but the rest, including the filmed segments, are heard here in their entirety for the first time. Peanuts Hucko's fine Goodman-ish clarinet takes over for Hall, Mort Herbert in for Jones on bass and Danny Barcelona replaces Deems at the drums and another outstanding All-Star group had been assembled. However, the encore segment is worth the price of admission. Special guests Jack Teagarden and Bobby Hackett join the band on stage and memorable performances of "Rockin' Chair", "Baby Won't You Please Come Home" and "Pennies From Heaven" can now be fully enjoyed from this glorious gathering. The original 3 track tape of this concert was used as a source and the sound is impeccable. Rare photos of the Festival are included with liner notes contributed by the world-renown Armstrong researcher Ricky Riccardi. Restoration engineer Andreas Meyer has brought these important performances back with much clarity to make you feel like you're soaking up the music in a lawn chair while breathing in the air of Narragansett Bay.
October 26 street date. Eritrea is back. After 30 years of war with Ethiopia and a decade of seclusion, the Asmara All Stars now
introduce some of the best musicians and vocalists from Eritrea on Eritrea's Got Soul. The Asmara All Stars continue to play in a style reminiscent of the golden age of the big band sound, charged with Eri-jazz, soul and roots reggae. The album was recorded in Asmara, Eritrea's capital city in 2008 with a heavy, analog live band sound featuring electric krar, a full horn section, a funky organ and haunting vocals by some of the country's most famous singers. A rebirth of urban Eritrean music from the depths of the country's rich history. Available on heavy 180 gram vinyl in a limited edition of 500 copies. Includes free digital download code plus bonus tracks.
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!
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!
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!
September 27 street date. Formed in 1980 from the ashes of the Two Tone label act The Bodysnatchers, The Belle Stars - a seven-piece, all singing, all playing, all female combo - signed to the legendary Stiff Records label in 1981. Released on vinyl for the first time since 1983, The Belle Stars' eponymous album, which reached #15 on the UK LP charts, features the hits "Sign Of The Times" and "The Clapping Song" along with "Iko Iko", which featured in the film "Rainman".
September 27 street date. This comprehesive collection includes the band's eponymous album along with all the non-album singles, three previously unreleased tracks produced by Anne Dudley, and a previously unreleased 1983 concert. Also featured are several remixes of "Iko Iko" from 1989, when the song gained popularity due to its inclusion in the film "Rainman". The DVD features their promo videos.
October 5 street date. Formed in Auckland in 1962, The Blue Stars only managed to release three singles but their 1966 track ‘Social End Product’ (off their second 45, which failed to chart at the time) has since become one of the holy grail records out of New Zealand. Its snarling vocals, fuzzy guitars, pounding rhythm and defiant attitude have made it legendary among freakbeat and 60s punk fans. It’s backed on our reissue with the raucous ‘I Can Take It’, the B side of their first single, another scorching freakbeat nugget.
February 8 street date. Robert “Dandy” Livingstone was one of the major influences in the spectacular rise of Trojan Records. Let’s Catch The Beat consists of some of his best work he recorded before the end of the 1970s. Credited as the Brother Dan All Stars he brought the reggae rhythms with a British flavour. This fine combination marks one of the largest pieces in the early days of the Trojan Records label. Dandy’s third album Let’s Catch The Beat was released for the price of two 45’s-quite a bargain, and went on to become a big seller. Let’s Catch The Beat is available as a limited edition of 750 individually numbered copies on 180 gram orange coloured vinyl.
October 20 street date. Originally this was an ultra rare 1989 album from Buster Bloodvessel of Bad Manners fame. This spin-off group’s LP is one of the most sought after collectable Ska releases of the 1980s, Mad Butcher is pleased to present this high quality reissue on their sub-label Black Butcher Classics.
Now available on CD. Of all times, now is not the time to be musically submissive. That is why now is the time for Providence's SIX FINGER SATELLITE to return and devour all weak imitators. Six Finger Satellite have navigated the murky industry waters with a healthy embrace of adventure since the beginning of the 1990s. Theirs is music grounded deep in bedrock but looking to the spheres, lifting spirits and discovering uncharted territories along the way. Prefiguring many figures in today's electro-post-punkhodge-podge scene. 'A Good Year For Hardness' is a no bullshit freak rock journey into the past, present, and future. It is timeless, elusive and in your everyday boring face.
Nov. 2 street date. 'T.A.P.O.A.F.O.M.' ('The Awesome Power Of A Fully Operational Mothership') was released in 1996. With its ferociously awesome funk grooves, it evoked memories of a time at least twenty years previous, when Clinton’s musical gangs Funkadelic and Parliament held sway over popular music. 'T.A.P.O.A.F.O.M.' has largely been viewed as a reunion album of the Funkadelic/Parliament era, featuring as it does, input from former members including Collins, Maceo Parker, Bernie Worrell, Junie Morrison and Fred Wesley. As you would no doubt agree, it’s a joy to hear.
July 24 street date. The second long-player from Vancouver's COLIN COWAN (bassist for DADA PLAN, DAN MANGAN, WOODPIGEON) is dedicated to the season that makes us think of snow, hot cocoa and keeping warm in front of a fireplace. The record embraces all aspects of the winter theme, and it's a perfect fit for Cowan's warm and moody glam-folk songwriting. "Eye of Winter [is] a vibrant, moody, folk-rock affair with detours into the blues, Beatles-esque flourishes (post-India visit) and experimental sonic oddities. Cowan recorded everything live to tape, which only adds to that feeling of a living room recording; a lived-in recording. It’s like the sound of quaaludes and whisky, those all-night parties that wind down into 20 people laying back in front of a fire on a cold night and just thinking deep thoughts."—CBC. Limited to 250 copies.
March 10 street date. Recorded at the Lighthouse Café in Hermosa Beach, CA, on September 13, 1953, this is a historic recording for many reasons, and one of the earliest meetings of East and West Coast jazz artists. While Miles Davis and Chet Baker need no introduction, Harold Rumsey might. He was a West Coast jazz bassist who formed the Lighthouse All Stars in 1949, a long standing group that performed at the Hermosa Beach club every Sunday night for nearly a decade. Though he might not be a household name, his group featured such alumnus as Jimmy Giuffre, Shorty Rogers, Max Roach, Bud Shank, Sonny Criss, Hampton Hawes, Shelly Manne, and more. Featuring rousing renditions of “’Round Midnight”, “Night In Tunisia”, “At Last”, and the killer drum solo from Roach, “Drum Conversation”, this is a brilliant window into the 1950s LA scene, and Miles’ particular ability to fit into nearly any jazz setting with ease. Reissued on 180 gram vinyl with download code.
September 28 street date. First edition strictly limited to 500 hand numbered copies. Deluxe luxury package of two double multi-colored vinyl albums in gatefold covers with printed inners. Package with plastic bag also contains CD versions of the records, a DVD documentary, an eight-page booklet, several stickers in different sizes and digital download. 2018 release by this project from Torkel Knutsson, punk rocker, multi artist and Hollywood director/scriptwriter.
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