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BBQ - Mark Sultan [s/t]

January 27 street date. This is the first album by BBQ since 2005’s Tie Your Noose on the historic Bomp! label. BBQ is Mark Sultan, who also has recorded many other albums and 45s, as well as playing in bands like The King Khan & BBQ Show, Almighty Defenders, Ding-Dongs and Les Sexareenos etc., etc. BBQ is his preferred monicker for playing as a very strict live-recorded one-man band. This album serves as a little wink goodbye to any complexities past and a strong “welcome back” to the primitive, brusque and airy rock’n’roll which has made Sultan beloved since 2003. Forgoing lo-fi, BBQ is reinventing the one-man band, taking it back, for a loud, clear and raw sound; helmed by great songs, sung truly and passionately. Recorded by himself in his basement, live in one to two takes — twelve brand new killers.
Bombpops [Fear Of Missing Out]

February 10 street date. After two buzz-building EP’s, SoCal punk quartet (and newest member of the Fat Wreck Chords family) THE BOMBPOPS are ??nally delivering with their highly-anticipated debut full-length, Fear of Missing Out. A handful of lineup changes over the past few years delayed progress, but co-founders and frontwomen Jen Razavi and Poli van Dam finally secured their dream rhythm section and haven’t looked back since. The current iteration of the band finally allowed Jen and Poli to go full steam ahead and unlock the massive potential that’s been tantalizing BOMBPOPS fans all along. Fear of Missing Out unleashes a sharp mix of intensity and poppiness, from the infectious harmonies of “CA in July” to the shotgun blast drive of “Brake Lights” and “I Can’t”. The album’s blend of catchiness and energy is off the charts. THE BOMBPOPS teamed up with Chris Fogal of legendary pop-punk band The Gamits as producer, elevating their songs even further with his shine and polish. Although it was a long road to completion, this charged up pop-punk masterpiece was certainly worth the wait.
Brian Jonestown Massacre [Open Minds Now Close]

January 27 street date. Second of 3 singles from the forthcoming album “Don’t Get Lost” released in February 2017. Melody's Actual Echo Chamber features Ryan Van Kriedt & Dan Alliare this version of this mix is available on this single only & it is pitchshifting mind bending messy. The third track is a Swedish version of Open Minds Now Close featuring Jocke from Les Big Byrd on vocals which is also not available on the album . These tracks give an idea of the changing rhythms of the Brian Jonestown Massacre for the new album. Heavy hypnotic beating drums , with very odd twists and pitchshifting at the extreme . The A side play at 45rpm & the B side plays at 33rpm.
Cloud Nothings [Life Without Sound]

January 27 street date. Dylan Baldi maintains simple, admirable standards in quality. “A thing I like to do with all of my records is drive around with them,” the 25-year-old Cloud Nothings frontman says. “In high school, I would listen to music for hours like that: just driving through the suburbs of Cleveland. And if it sounds good to me in that context and I can think of high school me listening to it and saying, ‘That’s okay,’ I feel good about the record. This is the one that’s felt best.” “This” is Life Without Sound, the radiant, far-far-better-than-okay fourth full-length his rock outfit has recorded since he began writing and releasing songs on his own under the Cloud Nothings alias in 2008. While its highly acclaimed predecessor—2014’s Here and Nowhere Else—came together spontaneously, in the little time that touring allowed, Life Without Sound took shape under far less frenetic circumstances. For more than a year, Baldi was able to write these songs and flesh out them out with his bandmates—drummer Jayson Gerycz and bassist TJ Duke—before they finally joined producer John Goodmanson (Sleater Kinney, Death Cab for Cutie) at Sonic Ranch in El Paso, Texas, for three weeks in March of 2016. The result is Baldi’s most polished and considered work to date, an album that speaks to his evolving gift with melody while also betraying the sort of perspective that time provides.
Crutchfield, Allison [Tourist in This Town]

January 27 street date. The debut full-length by Allison Crutchfield titled Tourist in This Town sonically pulls back the curtain on her life and places Crutchfield center stage, fully revealing her power, conviction, and grace. The Alabama native has immersed herself in music since her teenage years, forming notable bands such as P.S. Eliot and Bad Banana (both with her twin sister Katie of Waxahatchee). In 2012, she co-founded Swearin’—the band in which she would truly begin to formulate and understand her full potential as a songwriter—and in 2014, she recorded and released her first solo EP Lean In To It. Her debut album is an accomplished work that integrates her past musical experiences with a pronounced growth in arrangement and instrumentation. Tourist in This Town was made at Uniform Recording in Philadelphia with Jeff Zeigler, who is known for his work with Kurt Vile, Steve Gunn, and Mary Lattimore, among others. His synthesizer collection and related expertise proved an alluring draw for Crutchfield, who had started incorporating synths into her work when she branched off into a solo career. “This record marked a sonic transition in the way I think about the element of space in music, and I attribute that mainly to Jeff,” says Allison. “His arsenal and knowledge of analog synths, along with his ear for spatial addition and subtraction within a song, really sculpted this album and impacted me artistically forever.” “Tourist in This Town is completely made up of heightened anxiety and became a clearly defined puzzle that I slowly put together over the course of a year,” says Crutchfield. “It’s a record about change— change of scenery, of partner, of band, of home, of friends, of outlook—and how that change can cause a temporary panic but ultimate triumph in most of us.”
D.O.A. [Murder (1990)]

January 27 LP street date / February 10 CD street date. Murder is a classic D.O.A. release that has not seen the light of day since 1990, so Rip Snortin’ Records is giddy about unearthing this great punk rock album. It came out at the height of the band’s fame and mixes in all the right ingredients: ear-splitting guitar riffs, bombastic drumming, humor and lots of “right to the chin” politics. The album features one of the band’s best lineups: Joey Shithead Keithley, Wimpy Roy, Jon Card and Chris Prohom. Together they blast the listener with non-stop rockers, while also not mincing words with their politics. D.O.A. does not let up on the evils of the world, and thankfully, this is a time-honored stance the band has had from day one to the present. This album also features sterling cover versions of “No Productivity” (Subhumans) and “The Midnight Special” (Leadbelly). A must for old and new D.O.A. fans alike.
Delicate Steve [This Is Steve]

January 27 street date. This is Steve, DELICATE STEVE’s first new record in 4 years, and first for the ANTI- imprint, is an articulation of his spirit. Joy. Love. Positivity. Perseverance. Meditation. A general communion with the people and world around him. Easy to call such things hackneyed in this cynical time, but in Steve’s case, it’s very hard to separate the person from the art. It’s real. It’s pure. This, is Steve. DELICATE STEVE (aka Steve Marion) had cornered the status of ‘your favorite band’s favorite band’, as Steve himself became a fixture in and an on-demand collaborator among disparate scenes, players, and bands, making some of the most celebrated and forward thinking music today: Co-signs and work with David Byrne, Dirty Projectors, tUnE-yArDs, Mac DeMarco, Dr. Dog, and most recently, providing guitar on Paul Simon’s new record. Likely the only guitarist alive who will cut records with Sondre Lerche and Death Grip’s Zach Hill. Steve produced and played all the instruments on this record. He created it as an introduction from himself to you, and named it appropriately. If there is a question as to who This is Steve’s creator is, you’ll find it imbued in these ten songs. As he has done from the start, Steve lets the music speak for itself. Without a word.
Dillinger Escape Plan w' Mike Patton [Irony Is A Dead Scene]

February 10 street date. In 2002 THE DILLINGER ESCAPE PLAN was without a vocalist and began a nationwide search for a new frontman. During that search, Mike Patton (Faith No More/ Mr Bungle vocalist) agreed to help the band produce an EP and handled vocal duties. The group released this EP via Epitaph Records, titled Irony Is a Dead Scene which has sold over 65,000 units. The recording features guitarist Ben Weinman, drummer Chris Pennie, guitarist Brian Benoit, bassist Liam Wilson, and Mike Patton on vocals, with ex-bassist Adam Doll assisting with keyboards and sample effects. The EP contains three original songs and a cover of the Aphex Twin’s “Come to Daddy.”
Eitzel, Mark [Hey Mr Ferryman]

January 27 street date. Hey Mr Ferryman is Eitzel’s first full studio album recorded entirely in London. It was made at 355 Studios with Mercury Prize winner Bernard Butler (ex-Suede, McAlmont & Butler), who has produced and/or recorded albums with Tricky, Ben Watt, Bert Jansch, Edwyn Collins, and more. Butler produced Hey Mr Ferryman and played all of the electric guitar, bass, and keyboard parts on the album. Hey Mr Ferryman features the vivid melodies long associated with Eitzel’s former band American Music Club—which remains a cult favorite to this day—as well as Butler’s distinctive guitar that serves to complement Eitzel’s expressive vocals. Of that voice, Pitchfork once wrote: “If Leonard Cohen’s voice is a story about the passage of time and Levon Helm’s is a story about losing what is most precious to you, Eitzel’s is about the circuitous roads we take in search of ourselves.” “The songs on this record are about celebrating musicians and music, about misogyny, the long shadow of history, getting one’s head out of one’s ass,” quips Eitzel on the themes of Ferryman. “Also oceans, blood, skies, hearts, gay pioneers, carpenters, weeping women, and how death waits for you even in the happiest place on earth: Las Vegas.” LP includes full album download + 2 bonus tracks.
Le Bon, Cate [Rock Pool (EP)]

January 27 street date. Bonus! With the new Cate Le Bon not long gone, here’s four candles not placed on the original Crab Day cake for you to hear as the titular holiday comes round once again. Produced by Noah Georgeson and Josiah Steinbrick, and featuring musicians H. Hawkline, Stephen Black and Stella Mozgawa, “Rock Pool” spins and swirls the waters with carnival pop, synth, drone and dance, all beamed along the panelectric ray of Cate’s immutable blank stare. Short-and-sweet-play fun of a highly ambiguous nature. “Rock Pool” is the killed darlings from the Crab Day sessions brought back to life on a classic 2–2 formation. Written under the same banner of the impossibly absurd and emerging to unimaginable bedlam. — Cate Le Bon
Meatbodies [Alice (Incl. Download)]

Please note: new street date is February 10. (CD & LP Download include an additional track) With Alice, Meatbodies return ascending toward ground level. A “heavy-pop” concept, metal on molly. Chad Ubovich, Patrick Nolan, and Kevin Boog step out in new form, soaring through diverse stories, tones, and characters. Dancing between quiet and loud, funk and doom, pop and noise. Their message preached is celestial and deafening, a sacred scripture for today’s world: a warbling rhodes piano, a liquifying electric guitar, a ghostly synthesizer skating across the sands of a twelve-stringed acoustic. The band digs deep into the rich soils of Earth to reveal the chaotic sensual vibrations underneath the fields we walk upon. Connecting our limbs, our mouths, our consciousness to the microcosms of the grime, all while being lit by black light. Captured wriggling and alive in San Francisco by Ubovich and Eric Bauer at The Bauer Mansion, this album is a step in the right direction, a new direction, a new way of thinking. Watching the futures, watching the world burn. “Ubovich intones with a spaced-out, reverb-heavy delivery like a garage-punk Syd Barrett.” —LA Weekly
Menzingers [After the Party]

February 3 street date. For their fifth full-length After the Party, The Menzingers set out to make the quintessential jukebox record: an unstoppably melodic album primed for bar-room sing-alongs. Delivering anthemic harmonies, furious power chords, and larger-than-life melodies, the Philadelphia-based garage-punk four-piece amply fulfills that mission while achieving something much more deeply nuanced. With its delicately crafted storytelling and everyman romanticism, After the Party ultimately proves to be a wistful but life-affirming reflection on getting older but not quite growing up. “We spent our 20s living in a rowdy kind of way, and now we’re at a point where it seems like everyone in our lives is moving in different directions,” says Tom May, who joined fellow singer/guitarist Greg Barnett, bassist Eric Keen, and drummer Joe Godino in forming The Menzingers as teenagers in their hometown of Scranton. With each song unfolding as its own fully realized story, After the Party came to life thanks largely to an introspective yet outward-looking lyrical sensibility on the part of Barnett and May. Produced by Will Yip (Title Fight, Balance & Composure, Pianos Become the Teeth) and recorded in Yip’s Conshohocken, Pennsylvania-based Studio 4, After the Party finds the band breaking into new sonic terrain. The Menzingers’ most refined album to date, After the Party was also shaped from an intensive writing and pre-production process that involved holing up for five weeks in Yip’s studio. Along with sculpting more expansive arrangements, the band focused on experimenting with new effects and production techniques to forge the album’s dynamic but intricately textured sound.
Parkway Drive [Horizons]

EXCL- February 10 street date.  Vinyl reissue of their 2007 album!! Australia's most brutal export, Parkway Drive, unleash a catastrophic cyclone of furious metal on Horizons. Produced by Killswitch Engage's Adam Dutkiewicz (As I Lay Dying, Norma Jean, Unearth), the record teems with complex arpeggios, thrashing angular riffs and blood curdling growls. Their second Epitaph release, proves that their explosive year of touring, including a dominating run on the 2007 Warped Tour, has taken the band to new heights, as they take their intense live shows and unique brand of metallic hardcore to the masses. Parkway Drive will hijack your stereo for one of the greatest pit-inducing records of the year.
Russell, Arthur [Instrumentals (2LP)]

February 24 street date. Remastered double LP with 12 page booklet including liner notes by Tim Lawrence, Ernie Brooks and Arthur Russell. Track list: “Instrumentals” Vol. 1, “Instrumentals” Vol. 2, Sketch for “Face Of Helen”, and Reach One All material previously released on the Audika CD compilation First Thought Best Thought. Before Disco, and before the transcendent echoes, ARTHUR RUSSELL wanted to be a composer. His journey began in 1972, leaving home in Oskaloosa, Iowa. Heading west to Northern California, Arthur studied Indian classical composition at the Ali Akbar Khan College of Music followed by western orchestral music at the San Francisco Conservatory of Music, before ending two years later in New York at the Manhattan School of Music. Traversing the popular and the serious, Arthur composed Instrumentals in 1974, inspired by the photography of his Buddhist teacher, Yuko Nonomura, as Arthur described, “I was awakened, or re-awakened to the bright-sound and magical qualities of the bubblegum and easy-listening currents in American popular music”. Initially intended to be performed in one 48 hour cycle, Instrumentals was in fact only performed in excerpts a handful of times as a work in progress. The legendary performances captured live in New York at The Kitchen (1975 and 1978) and Franklin St. Arts Center (1977) feature the cream of that eras downtown new music scene including Ernie Brooks, Rhys Chatham, Julius Eastman, Jon Gibson, Peter Gordon, Garrett List, Andy Paley, Bill Ruyle, Dave Van Tieghem, and Peter Zummo. Pitchfork lauded “Instrumentals” Vol. 1 as a masterpiece and one of Arthur’s “greatest achievements”. Americana touching on Copeland, Ives, and maybe even Brian Wilson. “Instrumentals” Vol. 2 is a moving, deeply pastoral work performed by the CETA Orchestra and conducted by Julius Eastman. Also included are two of Arthur’s most elusive compositions, "Reach One," and "Sketch For 'Face Of Helen.' Recorded live in 1975 at Phill Niblock’s Experimental Intermedia Foundation, "Reach One" is a minimal, hypnotic ambient soundscape written and performed for two Fender Rhodes pianos. "Sketch For 'Face Of Helen' was inspired by Arthur’s work with friend and composer Arnold Dreyblatt, recorded with an electronic tone generator, keyboard and ambient recordings of a rumbling tugboat from the Hudson River. For this remastered vinyl edition, a key part of Arthur’s musical life has been restored. The sparkling, multidimensional results take the listener closer to Arthur’s coast-to-coast journey: his iconoclastic determination to combine pop and art music; and his desire to make music that would resonate in the present and, ultimately, across time.
Segall, Ty [Ty Segall (2017)]

January 27 street date. The new self-titled record — the next record after Emotional Mugger, Manipulator, Sleeper, Twins, Goodbye Bread, Melted, Lemons, and the first self-titled album that started it up in the now-distant year of 2008 — is a clean flow, a wash of transparency falling into a world that needs to see a few things through clearly, to their logical end. It’s got some of the most lobe-blasting neckwork since the Ty Segall Band’s Slaughterhouse (from way back in the long, hot summer of 2012), but it also features a steep flight of fluent acoustic settings, as Ty’s new songs range around in their search for freedom without exorcism, flying the dark colors high up the pole in an act of simple self-reclamation. All he wants is some truth!
Silberman, Peter [Impermanence]

February 24 street date. While Impermanence is Peter Silberman’s first solo album, it could easily be thought of as a continuation of the emotional-spiritual odyssey begun through his work in The Antlers over the past decade. It travels some of the thornier terrain of the trio’s previous albums Hospice, Burst Apart, and Familiars, while carrying the conversation further down the path. What distinguishes Impermanence from its forebears can be attributed to an unexpected injury, as Silberman developed a hearing impairment in his left ear that resulted in a temporarily total hearing loss, extraordinarily loud tinnitus, and an excruciating sensitivity to everyday noises. “Writing Impermanence became my effort to meditate on what had happened, and grasp what it had taught me: about my mortality, compassion, and change. There’s no remedy for the unpredictable, and I want this record to reflect that, to offer an alternative way to think about changing circumstances.” explains Silberman.
Six Organs Of Admittance [Burning the Threshold]

February 24 street date. In preparing for the first album of non-Hexadic Six Organs of Admittance music since 2012’s Ascent, Ben Chasny had a think about what he’d be saying in his own tongue for the first time in a half-decade. As ever, a head-full of ideas were driving him to think and speak music as a spirituality superimposed onto a reality, with the ghosts of both whispering at each other. In the end, what sits in our listening ears is the sound of communion. Burning the Threshold brings a wealth of Six Organs-styled lightness into one of his sweetest musical meditations yet. Ben is in a particularly expansive mood this time around, singing and playing while thinking of birds in the morning, anarchy, Third Ear Band, Gaston Bachelard, The Gnostics, Ronnie Lane and/or The Faces, Deleuze, Aaron Cheak, Odysseus, This Heat, Takoma Records, St Eustace, Dark Noontide and a HELL of a lot more than that, with all the thoughts affixed to a quiver of potent melodies launching forth and arcing out through dimensions, seeking infinite space. Like so many other Six Organs records, Burning the Threshold was created mostly solo, but features the singing talents of Alex Nielsen, Haley Fohr and Damon and Naomi; the drumming of Chris Corsano; a guitar duet with Ryley Walker, and keys and mixing from Cooper Crain. With this new music, Ben Chasny has created a potent tonic for our times. The gentleness found here, balanced on top of his classical asceticism, provides much of what we need in 2017 and beyond: love, forgiveness, reality and an ever-wider view, with the understanding of our circular path in this lifetime. Looking at the world through clear eyes beneath a knitted brow, but with a laugh rising up from its heart, Burning the Threshold brings us a powerful draught of essence.
soundtrack [Jackie (Mica Levi score)]

January 27 street date. Jackie is the upcoming biographical film from Chilean director Pablo Larraín. Starring Natalie Portman (Black Swan) in the title role, the movie follows Jacqueline Kennedy from the days when she was First Lady of the White House to the aftermath of the assassination of John F. Kennedy. Critically lauded since its debut at the Venice Film Festival where it won the Best Screenplay Award, Jackie also received the Platform Prize at the Toronto International Film Festival and is a heavy favorite going into awards season. The score to Jackie was composed by experimental British musician Mica Levi, best known for her ethereal score to 2013’s sleeper hit “Under the Skin”. Mournful and eerie with a touch of the surreal, Levi has delivered an unmistakable musical tapestry every bit as iconic as Jackie O herself.
soundtrack [Mars (Nick Cave & Warren Ellis score)]

January 13 street date. Mars is National Geographic‘s six-part global event series that predicts an international crew of astronauts’ critical, maiden mission to Mars. It is executive produced by Brian Grazer, Ron Howard and Michael Rosenberg of Imagine Entertainment and directed by Everardo Gout. Composers Nick Cave and Warren Ellis deliver a pitch-perfect score to complement the thrilling yet daunting mission to a desolate alien planet in which the human species struggle to survive, thrive and forge an existence in this new world. “When I first started on MARS, I knew I wanted to make a series about people, not about machinery,” says Everardo Gout. “I wanted to create Das Boot in space and understand the emotional journey of the astronauts on this Martian mission. Having worked with Nick and Warren before, I immediately thought they would be perfect for this project. They bring such a visceral human quality to their scores, a sound so delicate and yet so powerful.” “What does Mars sounds like?” posits Gout. “This was a challenge both in substance and form. We needed to create the musical universe with Mars as a veritable protagonist in our story. Equally, the sound of MARS not only had to underscore a futuristic grounded drama but an intelligent factual, scientific documentary, as well.” Mars is premiering on The National Geographic Channel on November 14, 2016.
Tinariwen [Elwan (2LP)]

February 10 street date. For the last five years, Tinariwen have been busy criss-crossing the globe bringing their triumpant tours to all five continents and expanding their audience. During this time their beloved homeland in the Adrar des Ifoghas, a Saharan mountain range that straddles the border between north-eastern Mali and southern Algeria has, in effect, been transformed into a conflict zone, a place where nobody can venture without putting themselves in danger. These conflicts have forced the band into exile to record their 8th album, Elwan. Elwan means ‘the elephants ‘ - an animal metaphor to describe those ‘beasts’, whether militias or multinational consortiums, who have trampled everything in their path: in the desert, where both the human and ecological equilibriums are extremely fragile. Tinariwen chose to record this album is several locations around the world, including for 4 days at the desert hideaway of Rancho De La Luna studio in Joshua Tree, CA, the studio known as a favored refuge for many an eclectic artist from Queens of the Stone Age to Daniel Lanios to Arctic Monkeys to Iggy Pop and more. For Tinariwen, the geographical location of the studio proved to be particularly propitious in terms of creativity. And the human climate was just as favorable. A few friends dropped in during the sessions to add some magic to a few tracks including, Kurt Vile (electric guitar), Mark Lanegan ( Vocals on ‘Nànnuflày’), Matt Sweeney (electric guitar) and producer/guitarist, Alain Johannes (Cigarbox guitar). Sessions were also recorded in Morocco, where the band were accompanied by local musicians, in a land where they are considered musical legends. Lovers of those sensual yet abrasive riffs that are Tinariwen’s signature won’t be disappointed. But neither will those who love their funky, danceable side, which comes through loud and clear. All that potential has been wonderfully honed by the album’s mixing engineer Andrew Schepps, known well for his work with the Red Hot Chilli Peppers, Johnny Cash, and Jay Z.
Unwound [Fake Train]

February 3 street date. After the Pacific Northwest grunge raids of the early ’90s that saw Nirvana, Mudhoney, and even the Melvins hoisted up the major label flagpole, Unwound’s 1993 debut came as a welcomed reprieve for underground noiseniks everywhere. A pulsing cluster of wiry feedback, lurching bass, and single stroke rolls, Fake Train entangles the energies of frustrated backpack emo, faded Riot Grrrl back issues, and their own dash of teen spirit and unleashes it all in an earsplitting 10-song assault. (Album previously released in Numero's (now deleted) Unwound “Rat Conspiracy” boxset) “Comes on like an homage to Wire’s “1 2 X U ”as filtered through Minor Threat and a broken bottle of Robitussin.” —Pitchfork // “It’s no contest: Unwound is the best band of the ’90s.” — A.V. Club
V/A [English Weather (2LP) Bob Stanley & Pete Wiggs present UK psych to prog]

February 3 street date. The double LP is on 180g clear vinyl with a heavy card sleeve. The latest project from two-thirds of Saint Etienne is a compact disc and deluxe double LP of English music that represented the transition from psychedelia to prog as the 60s moved into the 70s. Most of it is not an easy listen, but it’s always interesting, melodic, melancholy, with jazz and folk touches. While America may have licked its wounds at the turn of the seventies by turning to singer-songwriters, purveyors of homilies like “teach your children well”, Britain wasn't so ready to give up the trappings of psychedelia. And while the UK counterculture may have shed its “faith in something bigger”, it wasn't about to chuck out the mellotron. This is how the day after the sixties felt: damp, fuzzy-headed, neither optimistic nor pessimistic but more than a little lost. British bands would mirror the ennui of the new decade with a new kind of music. Lavishly put together, with two of Peter Mitchell’s iconic photographs of 1970’s Leeds.

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