Home|About us|Community|Français I Forgot My Password
  or Register Now
        Exact Word Search


    The Digest

    Sales Sheet

    Tour Info

13th Floor Elevators [The Psychedelic Sounds Of (2CD deluxe edition)]

October 4 street date. The 13th Floor Elevators' ground-breaking debut album from 1966 lays claim to be the first psychedelic rock album and is certainly the first to use the word 'psychedelic'. Known for founder Tommy Hall's use of the electric jug and Roky Erickson's emotive singing of Hall's poetic lyrics, the band influenced music as we know it,. As well as influencing a genre, the Elevators developed a culture based on mind-expansion through experimentation with psychoactive drugs in a US state that had particularly harsh laws on their recreational use, effectively making the band members psychedelic outlaws. This 2CD edition of ‘The Psychedelic Sounds Of The 13th Floor Elevators’ is the ultimate deluxe edition of the album. Disc 1 is the original mono audio remastered in 2008 from the original vinyl. Disc 2 is the 1966 stereo audio remastered from the original 2-track master in 2009 by Paul Drummond and Andrew Thompson at Sound Performance and features the tracks in the band's intended running order. Also included on the second disc are 5 'cold desk' mixes made by Bob Sullivan during the band's recording session, which provides a rare glimpse of the raw recordings before the band added echo and reverb. This edition is presented in brilliant jewel case packaging with a detailed 16-page booklet written by band expert Paul Drummond.
Against Me [Reinventing Axl Rose]

September 27 street date. Against Me! quickly ascended to the upper echelon of the punk scene with hit-after-hit over the last two decades and a variety of record labels. AM! joined the Fat Wreck family in 2003 with their breakthrough album "As The Eternal Cowboy", and in 2007 they made their major label debut with "New Wave", followed by several other albums. But it was prior to all this success that Against Me! made arguably the most important album of their career. One that would become an instant cult classic and stand the test of time, fitting right in with scores of Against Me! Fans past and present across the globe. "Reinventing Axl Rose" was AM!’s debut album released on No Idea Records back in 2002. This genre defining full-length has remained a critical piece to any punk rock fan's collection; a piece that has been hard to come by in recent years. Those days are now over, as Fat Wreck has rescued this seminal album and are reissuing the original full-length, complete with new CD and LP packaging. The vinyl edition includes a poster and digital download.
Anderson, Laurie & T. Choegyal/J. Paris Smith [Songs From the Bardo (2LP)]

September 27 street date. Songs from the Bardo by Laurie Anderson, Tenzin Choegyal, Jesse Paris Smith. (Available as 2LP Gatefold with Varnish & Spot Gloss & also CD with 32 page booklet) Songs from the Bardo begins with a bell ringing out once, twice, three times, as a ritualistic chant emerges from the dense silence. The collaborative composition by avant-garde icon Laurie Anderson, Tibetan multi-instrumentalist Tenzin Choegyal, and composer and activist Jesse Paris Smith is a guided journey through the visionary text of the Tibetan Book of the Dead, unfolding in an 80-minute ebb and flow of sound and words. Songs from the Bardo is a transporting experience, meant to draw the listener into the present moment and provide a framework for inner exploration. Anderson, Choegyal, and Smith fuse modern compositional techniques with the mystique of Tibetan Buddhist philosophy to make these visionary traditions more accessible to a new generation of listeners and to reveal the ancient wisdoms contained within. "After 40 years, still, no one tells stories like Laurie Anderson." - NY Times
Beak> [Life Goes On EP]

September 27 street date. Less than a year after the release of their breakthrough third album, ">>>", the renowned UK out-rock trio Beak> returns with the "Life Goes On" EP. The four-track EP features the recently released single, "We Can Go", which the band says is "the most normal song we have ever written. We like it." The EP also includes the eponymous title track, which was directly inspired by a recent trip to Mexico City, where the band awoke to the sound of a distorted young girl's voice bellowing across the city. Further investigation revealed the source as a recording used by scrap-collecting carts urging people to bring out old beds and washing machines. Returning to the UK filled with inspiration from the trip, Billy, Geoff and Will hot-footed it to the Invada studios to record the songs that make up this efficient new gem of a record.
Bradbury, Darrin [Talking Dogs & Atom Bombs]

September 20 street date. Darrin Bradbury writes about the way things really are in America – a singular perspective shaped by a natural gift for storytelling and a sly sense of humor. A self-described folk satirist who has toured the country for more than a decade, Bradbury collects his oddball observations in his newest album, Talking Dogs & Atom Bombs. Bradbury grew up in New Jersey with an early interest in performing, partly because of his mother’s career as a circus clown. At the age of 7, he felt certain that he would either become a songwriter or a cartoonist. He learned to play guitar as a vessel to tell his stories. By the age of 18, he’d discovered Bob Dylan, Jack Kerouac, and Paul Simon, and decided to hit the road. At 25, he moved to Nashville, to try making it as a songwriter. For three months, he slept in his car in a Walmart parking lot, and developed a local following by playing open mic nights. With a handful of self-funded EPs and albums, Bradbury steadily cultivated a national audience by touring constantly. Talking Dogs & Atom Bombs is Bradbury’s first release for ANTI- Records. Album Produced by Kenneth Pattengale of The Milk Carton Kids. Featured players on this album include a “who’s who” of Nashville players including Margo Price (featured vocal on “The Trouble With Time” ) , Kenneth Pattengale (vocals, mellotron), Jeremy Ivey (bass, piano), Alex Munoz (guitar, lap steel, vocals) and Dillion Napier (drums).
DIIV [Deceiver]

October 4 street date. Rebirth takes place when everything falls apart. DIIV craft the soundtrack to personal resurrection under the heavy weight of metallic catharsis upheld by robust guitars and vocal tension that almost snaps, but never quite. The same could be said of the journey these four musicians underwent to get to their third full-length album, "Deceiver". Amidst turmoil, the group delivered the critical and fan favorite "Is The Is Are" in 2016. Praise came from The Guardian, Spin, and more. NME ranked it in the Top 10 among the "Albums of the Year" and Pitchfork's audience voted it one of the "Top 50 Albums of 2016". The band's vibe is now heavier under influences ranging from Unwound and Elliot Smith to True Widow and Neurosis. They also enlisted producer Sonny Diperri [My Bloody Valentine, Nine Inch Nails, Protomartyr], whose presence dramatically expanded the sonic palette, making it richer and fuller than ever before. Ultimately, DIIV's rebirth is a hard-earned and well-deserved new beginning.
Fly Pan Am [C'est ca (180g)]

September 20 street date. "C'est ça" marks the return of Montréal avant-rock quartet Fly Pan Am, who released an acclaimed series of albums in Constellation's early years, from 1999-2004. The band's unique and heady collision of motorik repetition, shoegaze maximalism, punk skronk, tape- and electronic-based interventions and audio sabotage, garnered them a cult following among fans of audaciously deconstructed post-rock. "C'est ça" is a brilliant return to form for Fly Pan Am - an album of renewed vitality and experimentation where rock structures underpinned by J.S. Truchy’s trademark rapidfire bass and Félix Morel's disciplined, ascetic drumming are submerged beneath waves of processed guitar by Roger Tellier-Craig and Jonathan Parant, with fluorescent noise treatments and sonic vandalisms wrought by all four.
Ghostface Killah [Ghostface Killahs]

Please note new street dates: September 20 (CD)/September 27 (LP). "Ghostface Killahs" marks the return of Ghostface. After several side projects, GFK returns with his first true solo album in years. He is joined by fellow Wu-Tang members Method Man, Inspectah Deck, Cappadonna, Masta Killa, and others. This album sounds like vintage Ghostface and will prove worthy amongst any true Hip Hoppers. Proving the Wu-Tang is truly forever, this is a must for any Wu fan as well as every Ghostface Killah fan. The veteran wordsmith, known for his prolific and versatile catalogue, delivers another classic album to the Ghostface and Wu-Tang legacy.
Heaven's Club [Here There and Nowhere]

September 27 street date. HEAVEN’S CLUB is the brainchild fDEAFHEAVEN guitarist Shiv Mehra (who handles vocals, guitars, synthesizers in HEAVEN’S CLUB) and also features Deafheaven drummer Daniel Tracy. ("Lush and dreamy synth driven shoegaze pop that captures the vibe and feeling of classic labels such as 4AD, Creation, and Kranky") Formed in Oakland, CA, HEAVEN’S CLUB began as the project of Shiv Mehra during downtime while off tour with his band Deafheaven. It then expanded to include Deafheaven drummer Dan Tracy, Nadia Kury, Chris Natividad, Ross Peacock and Luis Mayorga. Finding ground in introspective lyricism and progressive, ethereal sonics, HEAVEN’S CLUB achieves a careful balance between punching urgency and distant atmosphere. Recorded at Santo Studios in Oakland, CA, Heaven’s Club producer and engineer Andrew Oswald acts as a seventh member and brings rich texture and nuance to Mehra’s vision. Of the project, Mehra says: “Heaven’s Club is the fog of memory and insubstantial fantasy. The songs reside in the liminal space between love and the end of suffering. They reach toward an ambiguous desire for peace - a deeply felt longing.” ( For fans of Deafheaven, Cocteau Twins, Slowdive, Swervedriver, Alcest, and Drab Majesty)
Hiss Golden Messenger [Terms Of Surrender]

September 20 street date. Songwriter and bandleader M.C. Taylor’s music is at once familiar, yet impossible to categorize: Elements from the American songbook—the steady, churning acoustic guitar and mandolin, the gospel emotion, the eerie steel guitar tracings, the bobbing and weaving organ and electric piano—provide the bedrock for Taylor’s existential ruminations about parenthood, joy, hope, and loneliness—our delicate, tightrope balance of dark and light—that offer fully engaged contemporary commentary on the present. And then there’s an indescribable spirit and movement: Hiss Golden Messenger’s music grooves. There’s nothing else quite like it. Taylor says that he wanted to make Terms of Surrender “a wandering record. I wanted where we recorded it to mirror the searching spirit of the music.” Having written upwards of 40 songs—in motel rooms, his studio in North Carolina, and a secluded cottage outside of Charlottesville, Virginia—Taylor winnowed them down to the ten works that comprise Terms of Surrender. With regular collaborators—including Phil and Brad Cook, Josh Kaufman, and Matt McCaughan—and new friends like Jenny Lewis and Aaron Dessner (of The National), the crew decamped to Dessner’s Long Pond studio in upstate New York, Sound City in Los Angeles, and producer Roger Moutenot’s Haptown studio in Nashville to create the most fully realized and genre-defying Hiss Golden Messenger album to date.
Kilgour, David & the Heavy Eights [Bobbie's A Girl]

September 20 street date. David Kilgour’s 11th solo album, Bobbie’s a girl is a quieter affair than fans may associate with the pioneer of New Zealand indie rock. “I tended to shy away from too much guitar playing for a point of difference and to mix things up for myself a little,” Kilgour continues. The style set in at the beginning of sessions, as he and the Heavy Eights (i.e., longtime collaborators Thomas Bell, Tony de Raad, and Taane Tokona) headed to Port Chalmers Recording Services with producer Tex Houston. Largely missing the jangly distortion of Kilgour’s other work, the album’s ten songs exude a hazy warmth, with a light psychedelia that recalls the ’60s outfits like The Byrds and The Velvet Underground. Only four songs have lyrics. “I kind of wanted a rest from verbalizing everything, like listening to yourself going, ‘Blah blah blah blah…,” Kilgour says. The guitar quietly shimmering between channels, the music seems to speak more than the words. “Ngapara,” the closing track of Bobbie’s a girl, is his favorite song on the album. It’s a loping instrumental carried by thickly distorted guitars and heavy reverb. Like the rest of Bobbie’s a girl, it feels both a part of Kilgour’s previous work, and just outside of it.
King Crimson [Audio Diary 2014-2018 (5CD)]

September 20 street date. King Crimson in its ideal environment – recorded live. 1CD per year of live material from 2014 – 2018. 2014 material fully mixed from multi-track tapes by Robert Fripp & Jakko Jakszyk. 2015 – 2018 performances taken directly from the band’s stereo board mixes. Drawn from concerts worldwide in the five years’ period represented – from the first public concert in Albany, New York in 2014, to one of the final concerts in Japan in December 2018. Presented as a 3 x gatefold sleeve edition containing the 5 individual CDs plus a 24-page booklet with previously unseen photographs packed in a rigid slipcase.
Lagwagon [Railer]

October 4 street date. As the first band to sign to Fat Wreck Chords and the label's flagship since its inception, Lagwagon helped define the musical focus of the label and the punk genre. Lagwagon's ability to consistently deliver the familiar sound they've defined, while conveying something entirely novel with each album is unparalleled. Unlike the last few Lagwagon albums, "Railer" was written in an incredibly condensed period of time, in an attempt to capture the spirit of the band's early days. At the same time, "Railer" accurately and honestly reflects who Lagwagon is in 2019, both lyrically and musically - youthful but jaded, frantic but exhausted, visceral yet cerebral. Life has moved on in the three decades since Lagwagon started, but it's not something the band has entirely left behind.
Menzingers [Hello Exile]

October 4 street date. Philadelphia-based punk band, The Menzingers are set to release their sixth studio album, Hello Exile. Produced by Will Yip (Title Fight, Quicksand), the album is the follow-up to the band’s 2017 critically acclaimed release After The Party. Since forming as teenagers in 2006, The Menzingers have shown their strength as rough-and-tumble storytellers, turning out songs equally rooted in frenetic energy and lifelike detail. On their new album Hello Exile, the band take their lyrical narrative to a whole new level and share their reflections on moments from the past and present: high-school hellraising, troubled relationships, aging and alcohol and political ennui. And while their songs often reveal certain painful truths, Hello Exile ultimately maintains the irrepressible spirit that’s always defined the band. The Menzingers are: singer/guitarists Greg Barnett and Tom May, bassist Eric Keen, and drummer Joe Godino.
Moon Duo [Stars Are The Light]

September 27 street date. "Stars Are The Light", the luminous seventh album by the American psych explorers Moon Duo, marks a progression into significantly new territory. From a preoccupation with the transcendental and occult that informed Ripley Johnson and Sanae Yamada's guitar-driven psych rock, and reached its apotheosis in the acclaimed "Occult Architecture" diptych, "Stars Are The Light" sees the band synthesize the abstract and metaphysical with the embodied and terrestrial. Branching out from "Occult Architecture Vol. 2", the album has a sonic physicality that is at once propulsive and undulating; it puts dance at the heart of an expansive nexus that connects the body to the stars. Taking disco as its groove-oriented departure point, "Stars Are The Light" shimmers with elements of '70s funk and '90s rave.
Oh Sees [Face Stabber (2LP)]

Please note new street date: September 20. Hey there, human kids, lift your face out of the feed trough and pluck that feculence from your ears. Hark! A sonar blip from beneath the pile of bodies—the latest Oh Sees, Face Stabber! Boop, blip, ughhh….people churning like a boiling swamp. Man, this din is nauseating. The screen flickers for the first time this year with a transmission from two months in the future: “the internet has deemed guitar music dead and you are free to do whatever the fuck you like ….long live the new flesh!” This album is Soundcloud hip-hop reversed, a far flung nemesis of contemporary country and flaccid algorithmic pop-barf. No songs about money or love are floating in the ether. Just memories, echoes, foggy blurs, blip-blop goes the scope, heavy funk, dystopia-punk canons, long jams, bloated solos dribbling down your caved-in chest. Human cattle like a beef avalanche, right on your burned out face hole. Spider-legs fuzz crawling in your brain. Lots of curse words for your mom. You’ve gotten the over-population blues, so let’s have some art for art’s sake. What else are you gonna do? Stare at the sky? Please…fifty carbon copies of you look back at you as you walk the streets. Take a breath, you’re going to need it. Take drugs, you’re going to need those just to stand in line at the air and water reclamation center soon enough. There’s no fruit, buddy. You’re at the bleak-peak. They will squeeze you till you’re all squeezed out. (For fans of fried prog burn-out, squished old-school drool, double drums, lead weight bass, wizard keys (now with poison), old-ass guitar and horrible words with daft meanings. If you don’t like it then don’t listen, bub. Back to the comments section with you! Easy—over and out.)
Olsen, Angel [All Mirrors]

October 4 street date. Angel Olsen's follow-up to "My Woman", one of 2016's most critically lauded albums.Olsen's artistic beginnings as a collaborator shifted seamlessly to her magnificent, cryptic-to-cosmic solo work, and then she formed bands to play her songs, and her stages and audiences grew exponentially. But all along, Olsen was more concerned with a different kind of path, and on her vulnerable, Big Mood new album, "All Mirrors", we can see her taking an introspective deep dive towards internal destinations and revelations. "All Mirrors" gets its claws into you on both micro and macro levels. Of course, there's that singular vibrato, always so very close - seemingly simple, cooed phrases expand into massive ideas about the inability to love and universal loneliness. And then suddenly - huge string arrangements and four horsemen bellowing synth swells emerge, propelling the apocalyptic tenor. Throughout "All Mirrors", Angel fully lets in the goth tones that always lurked at the ends of her song craft.
Raincoats [The Raincoats (40th anniversary/colour/special prints)]

October 4 street date. Limited edition 1000 special marble 180g vinyl, plus download code. Includes 2 limited edition prints by Gina Birch and Ana da Silva. Remastered from original masters. November 2019 marks the 40th Anniversary of the release of The Raincoats’ self-titled debut album. and the band plan to celebrate with a series of live performances in the UK and at Le Guess Who? Festival in Utrecht. TRACKLISTING: Fairytale In The Supermarket, No Side To Fall In, Adventures Close To Home, Off Duty Trip, Black And White, Lola, The Void, Life On The Line, You’re A Million, In Love, No Looking.
Red River Dialect [Abundance Welcoming Ghosts]

September 27 street date. Recorded in rural Southwest Wales shortly before songwriter and singer David Morris moved to a remote Buddhist monastery in Cape Breton, Red River Dialect's fifth album captures the British folk-rock band finding fresh joy in their music, relaxing more deeply into a natural, playful confidence: tangling with the thickets, wading in the river, digging the peat, and disappearing into the mountains. By the time the band reached the studios, the imminent hiatus lent a poignant and celebratory atmosphere to the sessions. The compositions had not been fully formed prior to recording, but any pressure was transmuted into invigoration, resulting in the jubilant energy that adorns even the most turbulent songs. The album title gestures towards a fullness that the songs fulfill, a sonic and lyrical plenitude, but any density achieved by the band opens up further space. Features guest apperances from Joan Shelley and Tara Jane O'Neil.
SNUFF [There's A Lot Of It About]

September 20 street date. After a long hiatus (yet again), one of the UK's most notable and unique punk exports Snuff are back with a brand new full-length. "There's A Lot Of It About" hits the mark yet again, fitting perfectly with hallmarks like "Demmamussabebonk" and "Snuff Said". This album is a return to that trademark Snuff sound that took up where The Specials left off, turning abandoned dancehalls into adrenaline filled clubs where punks, mods, and skins all stage dived together. The energy, melody, and, dare we say, danceability of "There's A Lot Of It About" is at the exact level that earned Snuff such praise as "the best band in the world" from the NME. Twelve classic tracks with horns, hooks, and catchy melodies that exemplify just why they have survived for over 30 years make certain "There's A Lot Of It About" will quickly be considered among the best albums of Snuff's vast catalog.
SQÜRL [The Dead Don't Die]

September 13 street date. "The Dead Don't Die" is writer/director Jim Jarmusch's unique, semi-comic take on the zombie apocalypse genre. As with his recent efforts "Only Lovers Left Alive" and "Paterson", the film's score was composed and performed by SQÜRL, the band Jarmusch and producer Carter Logan founded in 2009. The score to the "The Dead Don't Die" is a true expression of where SQÜRL stand at the center of a decade of sonic exploration. It is the culmination of their passion for analog synths, with guitar violence reverberating from the darker corners of Americana. It is at once a tribute to the classic sounds of horror and sci-fi, as well as a decapitation of traditional film scores. It is naturally supernatural.
Tiny Moving Parts [Breathe]

September 13 street date. Tiny Moving Parts has always been a vehicle for catharsis, and that’s nothing new on breathe. The fifth full-length by the Benson, Minnesota, trio sees vocalist/guitarist Dylan Mattheisen and his cousins, brothers Matt (bass) and Billy (drums) Chevalier, tackle issues such as mental health, anxiety and mortality while also expanding their sound. Recorded with longtime collaborator Greg Lindholm and established pop producer John Fields (Jimmy Eat World, Goo Goo Dolls, All Time Low),breathe is a valuable reminded that we’re all in this together, channeled through the band’s trademark blend of math-rock, pop-punk and emo, albeit with a few new musical tricks (including some electronic flourishes and a banjo). More than just a collection of songs, breathe serves as an important emotional crutch. It’s the friend we all need at our darkest times. It’s the sound of a band coming to terms with their own mortality, their own anxieties, their own self-doubts. And it’s a reminder that, as long as there are songs sung back as if our lives depend on them, we are never alone. For Fans Of: Sorority Noise, The Hotelier, Foxing.
Unintended [Unintended (2003)]

September 27 street date. The Unintended was a band formed by Rick White of Elevator/Eric's Trip and Dallas Good of The Sadies. Along with the rest of The Sadies and Greg Keelor of Blue Rodeo, they recorded this true beauty of a psychedelic folk rock gem at Keelor’s house in 2003. With a lasting cult following, the album is finally released on vinyl for the first time, fully remastered and with a extra track. Also contains a download code for more tracks, demos and live tunes.

Latest News

©2010 F.A.B. Distribution|powered by SimboliQ  Terms and conditions|Privacy Statement