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Damned [The Black Album (2LP)]

August 5 street date. A facsimile of the original album release. Originally released in 1980, The Black Album represented a significant expansion of their sound and style. The Capt, Rat and Dave are joined by Paul Gray on bass. Live side recorded – with no overdubs whatsoever! – in front of the Damned Fan Club.
Damned [Machine Gun Etiquette]

August 5 street date. A facsimile of the original album release. 180g vinyl with a fancy inner sleeve. Originally released in 1979 – this legendary album was the first from the revised line-up of Capt, Rat, Dave and Algy. Features the classic singles ‘Love Song’, ‘Smash It Up’ and “I Just Can’t Be Happy Today”. What more do you need to know! Essential!
Descendents [Hypercaffium Spazzinate]

July 29 street date. On their first album in 12 years, vocalist Milo Aukerman, drummer Bill Stevenson, guitarist Stephen Egerton, and bassist Karl Alvarez channel an energy just as raw and jittery as in their earliest days—a time when the band was driven by the equally mighty forces of “rejection, food, coffee, girls, fishing, and food.” Born from the all-for-one spirit that’s forever fueled the band, Hypercaffium Spazzinate returns to the frenetically catchy sound that launched a generation of pop-minded punk acts and continues to widen the Descendents’ following around the world. The band’s first Epitaph Records release since 1996’s Everything Sucks, Hypercaffium Spazzinate began taking shape soon after the Descendents surfaced from extended hiatus for a series of gigs in 2010. With Milo now living in Delaware, Karl and Bill in Colorado, and Stephen in Oklahoma, the album came to life over a three-year period in which the band sent tracks back and forth and occasionally met up in Karl and Bill’s adopted hometown of Fort Collins. With Hypercaffium Spazzinate featuring the classic Milo cartoon as its cover art—this time, he’s got his head affixed to a lab flask in an attempt to “synthesize some bonus caffeine,” as Milo explains—the album finds the band both honoring their past and living fully in the moment. “Since the dawn of rock-and-roll every band’s tried to pretend they exist in the age group of 18 to 35, no matter how old they get,” says Karl. “But this band’s very honest about the fact that we’re not teenagers anymore.” Still, thanks in part to their enduring legacy within skate culture and punk communities, the Descendents maintain a vitality that’s amply reflected on the new album. “Each time we make a record it’s almost like the first time all over again,” says Bill. “There’s a quote from Ornette Coleman about how the song is the territory, and what you do with the song is the adventure. We’re definitely still going on all these little adventures together.” Deluxe Version includes glow in the dark cover and disc, 2 booklets, a comic strip and 5 bonus tracks.
Detroit Cobras [Mink, Rat Or Rabbit]

August 26 street date. Continuing their commitment to celebrating and shining a light on classic and influential music from Detroit, Third Man Records is honored to be able to re-introduce the world to the undeniable importance of the Detroit Cobras. As one of the earliest salvos in the great Detroit garage explosion of the turn of the century, the Detroit Cobras Mink, Rat or Rabbit is a landmark album. Comprised solely of cover songs (as has always been the band's MO) the Cobra's spirited takes on Motown classics (''I'll Keep Holding On'' originally by the Marvellettes), garage punk laments (''Bad Girl'' originally known as ''Bad Man'' by the Oblivians) girl group Tear-Jerkers (''Easier to Cry'' originally by the Shangri-Las) and New Orleans soul standards (''Breaka-way'' originally by Irma Thomas) and the end result is nothing short of a staple that any record collection is empty without. (Album art FINALLY corrected after 15 years of incorrect song titles).
Detroit Cobras [Life, Love And Leaving]

August 26 street date. Originally released in 2001, the Detroit Cobras Life, Love and Leaving is the group's best-known effort, coming at a time when bands like the White Stripes and Dirtbombs were also releasing seminal albums that started picking up recognition outside of their collective hometown of Detroit. Hitting hard with songs by soul heavyweights like Solomon Burke (''Stupidity''), Mary Wells (''Bye Bye Baby''), Otis Redding (''Shout Bamalama''), the inimitable vocals of Rachel Nagy would no-doubt be a template from which folks like Amy Winehouse would work from years later. A landmark collection of covers. Features the previously unreleased ''This Old Heart'' (originally by James Brown) an outtake from the Life, Love and Leaving sessions, unheard for over 15 years !
Factory Floor [25 25 (2LP)]

August 19 street date. Available on 2LP and CD. Factory Floor return in 2016 with 25 25, their second album and the follow up to their acclaimed 2013 self-titled debut. With their music stripped to a mesmerising dance of percussion, fragmented voice and melody, it captures the next vital stage in the evolution of one of the UK’s most restless and exploratory groups. The dazzlingly sharp, dubbed-out acid disco of ‘Meet Me At The End’ opens 25 25 in a surge of raw momentum. Both Factory Floor’s sparsest and most overtly club-centred track to date, it sets the tone for the rest of the album. Written and recorded by Gabriel Gurnsey and Nik Colk Void in late 2015 and early 2016, it’s the product of the last three years of intensive musical activity — non-stop live performances, artistic collaborations, writing new music and reconfiguring the limits of their sound. Inspired by playing a growing number of late night club shows, the pair’s music gradually evolved into the sound captured on their second album and in their current live incarnation: a stark, ultra-minimalist and eerily soulful dancefloor pulse, yet one that still bears Factory Floor’s unmistakable hallmarks of hypnotic repetition and jagged, punkish intensity. The close friendships and collaborations they’ve established along the way attest to those connections, among them Chris Carter and Cosey Fanni Tutti of Throbbing Gristle/Chris & Cosey, Perc, Optimo, New Order and Simon Fisher Turner. Mixed with razor precision by David Wrench (FKA twigs, Caribou), the results are all the more forceful for that newfound space.
Fall [Grotesque (After The Gramme)]

August 26 street date. Originally released in 1980 on Rough Trade ! First time available domestically since its original release ! Bursting into the 1980s on a new label (the then-upstart, now-legendary Rough Trade) and with an augmented, audibly panicked lineup, The Fall’s Grotesque is the true purebred Fall release from the Marc Riley era. Released in the immediate wake of The Fall’s most beloved single (Totally Wired), the album carries over that righteously famed teethchattering, bolstered in no small part by the drumming of new addition Paul Hanley, brother of bassist Steve Hanley and aged only 15 at the time of recording. “Pay Your Rates” negates the notion of easing into things, opening the album with pure jitter, guided by hornet-buzz guitars and Mark E. Smith’s commanding shout, allowing for breath only during the brief, lumbering waltzes that appear at unexpected intervals. “New Face In Hell” is an entirely alien take on dancehall post-punk – a kazoo-driven rave-up that holds an unshakable position in the band’s canon. Many significant firsts surround Grotesque, including The Fall’s inaugural production partnership with Mayo Thompson and the debut of Suzanne Smith’s wonderful artwork, both of which would play key roles in the band’s following phase. Superior Viaduct’s edition is the first time that Grotesque has been available on vinyl domestically since its initial release in 1980. Liner notes by Brian Turner.
Frusciante, John [Foregrow EP (Limited Silver Colored Vinyl)]

July 22 street date. Limited Silver Colored Vinyl!! John Frusciante's Foregrow doesn't sound like any Acid Test record, or any other record. After the unlikely alliance between the Los Angeles label and the iconoclastic Venice, CA musician, all bets are off. This one's truly a passage through night. Foregrow is a lurching, lysergic beauty which offers glimpses of his platinum pop instincts, but only behind the veil of true experimentalism.
Get Dead [Honesty Lives Elsewhere]

July 29 street date. Contrary to the title, GET DEAD’s latest full-length Honesty Lives Elsewhere,is oneof the most honest albums you’ll ever find. No shtick. No posturing. Just straight up, from the heart, punk rock. With multiple releases under their collective belt, GET DEAD have really honed their trademark blend of raw punk and acoustic folk into a seamless style that feels completely natural. Once again GET DEAD teamed up with Fat Mike (NOFX) as a producer and with Honesty’s ear-pleasing melodies the results are obvious. The lyrics and temper of Honesty Lives Elsewhere are instantly relatable, drawing on the experiences and tribulations of scraping through the day to day. Of course, Sam’s gritty delivery packs its normal punch, wrenching the listener right into the irresistible fire. From start to finish Honesty Lives Elsewhere is an engaging experience that restores faith in genuine punk rock.
Gøggs [s/t (Incl. Download)]

July 15 street date. Debut album from In The Red supergroup, with members of Fuzz, Ex-Cult, Wand, The Moonhearts, Vial, etc. Chris Shaw smokes the microphone while Ty Segall and Charles Moothart trade lizardian licks and skin hits. Guest GØGGS include Cory Hanson, Mikal Cronin and Denée Petracek. Ten tracks of misanthropic noise to bring home to mom’s house on fire. Boots to your face after the high speed chase, Then! A death trip down memory lane. The lead actor dies first and the shotgun shooter flashes chipped teeth. Created in Los Angeles in the middle of the summer of 2015: three years of planning, thirty days of writing, one week of ripping. A severed finger on the button, the player ends the game. Final notice has been served. Vinyl edition packaged in tip-on jacket and includes digital download code.
Loveless, Lydia [Real]

August 19 street date. Real is one of those exciting records where you sense an artist truly hitting their stride. Whether you’ve followed Lydia’s career forever, or you’re new to her game, Real is gonna grab your ears. On her first two Bloodshot full-length releases, there were fevered comparisons to acknowledged music icons like Loretta Lynn, Stevie Nicks, and the Replacements... She’s half this, half that, one part something else. But now, Real and Lydia Loveless are reference points all their own: Genre-agnostic, Lydia and her road-tightened band stretch from soaring, singalong pop gems, roots around the edges, to proto-punk. There are many sources, but the album creates a sonic center all its own. Song to song, moment to moment, you might find yourself thinking “that could be” this, or “there are moments of” that, but you are quickly transported away to another moment, another thought, another sound, another shot at honesty. Always a gifted songwriter, Lydia gives the full and sometimes terrifying, sometimes exstatic force to the word “real.” Struggles between balance and outburst, infectious choruses fronting emotional torment are sung with a sneer, a spit, or a tenderness and openness that is both intensely personal and relatably universal. It is, as the title suggests, real.
Mccombs, Cass [Mangy Love]

August 28 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. His new record, “Mangy Love,” ventures into realms of experimental soul, twisted psychede-lia, and straight-up rock, resulting in a sound that articulates his live show better than ever before. Thematically, it’s far darker, tackling heavy issues through McCombs’ uniquely cracked lens of (oftentimes hilarious) lyrical wit and acumen toward subtlety. Hip-hop and Beat poetry influences have never been more evident, with several songs employing a speech-style and clever fast-paced wordplay. There are guest appearances by many fellow musicians of his tribe ranging from Angel Olsen to Blake Mills, under the production of veteran Rob Schnapf, and the overall result is his most immediate and upbeat record to date.• Cass McCombs is a “songwriters” songwriter – who receives love and fan mail from musicians everywhere including members of The War on Drugs, Vampire Weekend, Phish, My Morning Jacket and many more.
Pelican [City Of Echoes / Live In Poland (2LP)]

Please note new street date is August 12. Pelican's third full length from 2007, available again on vinyl for the first time since its original release. This expanded deluxe edition includes bonus live 12", printed inner-sleeves and features re-mastered audio by James Plotkin. Pelican's instrumental heaviness was fullformed at birth in 2001 with a monstrous debut that H ydra Head bestowed upon the world. The brutalis forms of metal were long a grounding presence in the songs of Pelican; but in the years leading up to their iconic 2007 album C ity Of Echoes, the band shed some but certainly not all of the metal tropes that informed their first fruits. An ebullient temperament teases through the guitar work that laces through City Of Echoes from T revor de Brauw and L aurent SchroederLebec. Pelican's sharp mimesis of the Takoma ellipsis and the dangling participles of mathrock complication paralleled the likes of Explosions In The Sky and Rodan with a gifted knack for lachrymose celebration. Yet time and again, Pelican's reprises the violent crack of metal through the heavy riffage of downtuned posthardcore chug and doublekick blastbeats, making any Pelican song an unpredictable journey. The albums opening cut "Bliss In Concrete" sets the stage with a series of interlocked riffs of crunched guitar and bass, with the stylistic transitions pronounced by the drums of complicated time signatures rapidly changing course only to double up on the snare and kick, only to glide into a poppunk immediacy of the now. Similarly, the titular track skips to a doleful guitar jangle out of the early '90s indierock playbook, then taking a very Pelican leftturn with a mighty crescendo of galloping hardcore that never seems out of place. Assymetrical by design, City Of Echoes erupts through its kinetic compositions deliberately seeking a panoply of emotional content through melody, harmony, dissonance, and noise. No words necessary for these sermons of jubilation tempered with aggression and consternation.
Scientists [A Place Called Bad (2LP)]

August 19 street date. Available as 2LP and 4CD sets. With a sound that was swampy, primal and modernurban all at once—as much in the tradition of rock n’ roll and punk rock as it was a rejection of those things, the Scientists’ formula was as universal as it was specific to their own experience. The themes of getting wasted, driving around in hotted-up cars, being trapped in crap jobs, and paranoia were their subject matter. Machine throb bass and drums with jagged car-wreck guitars were their modus operandi. Fitting into no place or time they spurned all but the most rudimentary and elemental of rock structures to create a sound all their own. “The Scientists proved to me that rock ‘n’ roll could be played by gentlemen in fine silk shirts half unbuttoned and still be dirty, cool and r eal.” —Thurston Moore // “They wrote fantastic singles and looked like they just crawled out of the ooze. What mor e could you ask for?” —Warren Ellis // “The Scientists turned my head around and made a man out of me! They grew hair on my palms and made my socks stink!” —Jon Spencer
Strength Of Materials [Inclusive Fitness]

July 22 street date (date change). R&B and garage rock cues, abandoned roadside by post-punk's effectors by turns most bellicose or drole, retrieved and demolished and reshaped by a string quartet. Pere Ubu meets Shostakovich, Schubert vs. The Fall. What if The Flesheaters ever had an “Eleanor Rigby?” Strength Of Materials is a Vancouver avant-rock ensemble led by writer/vocalist Ford Pier, and featuring cellist Peggy Lee (Wayne Horvitz, Mary Margaret O’Hara,) violinist and violist Elyse Jacobson and John Kastelic (The Living,) and violinist Meredith Bates (Juno-winners Pugs & Crows.) Their new album, Inclusive Fitness, was recorded in Vancouver with Howard Redekopp (New Pornographers, Tegan & Sara) and follows two 7" singles released on the Kingfisher Bluez label (Dada Plan, Apollo Ghosts, Dirty Beaches.) You’ve heard of “chamber pop?” This is Interrogation Chamber Pop. A roiling argument between melody and dissonance over what existentially defines “rock music” as proceeding from the blues: parallel fourths and a Hell Hound On Your Trail? This is that, along with Pier’s lyrical vignettes of hope and despair, rage and love, hurtled forth by evocations of humour, tenderness, aggression, probity, and grandeur, delivered in a palette that comes down to us through Haydn, Beethoven, Bartok, and Elliott Carter. A reorganization of some of the oldest things under the sun to offer something completely fresh: Strength Of Materials.
Subrosa [For This We Fought The Battle Of Ages (2LP/Gatefold/Download)]

August 26 street date. Vinyl edition for “For This We Fought The Battle Of Ages” comes beautifully packaged in a gatefold jacket with designed inner sleeves and a designed insert along with a download card. Salt Lake City doom/chamber-metal wonder SUBROSA, over the last several years have been recognized as one of America’s most singular and important bands within the doom metal genre. Their 2013 breakthrough album, “More Constant Than The Gods” saw the five-piece (in which two members paly the electric violin) gain acclaim all across the board and gaining praise from the doom metal scene and all key media outlets such as Pitchfork, NPR, Decibel Magazine, Rolling Stone, Entertainment Weekly, just to name a few key outlets where the album would gain year end accolades. “More Constant Than The Gods” also saw the band become more active on the live circuit, touring and playing with bands such as Boris, Deafheaven, and Cult Of Luna, along with playing prominent festivals such as Hopscotch, Roadburn, Housecore Horror Fest, Scion Rock Fest, Hellfest, Southwest Terror Fest, and Treefort. With the release of their new album “For This We Fought The Battle Of Ages”, SUBROSA have created their most triumphant and biggest album to date.
Thee Oh Sees [A Weird Exits (2LP/45RPM/D-Side Etching/Download)]

August 12 street date. Emerging from the distant light is the new double-LP from John Dwyer’s Thee Oh Sees—the first studio recordings to capture the muscular rhythm section of twin drummers Ryan Moutinho and Dan Rincon with ringer bassist Tim Hellman cracking spines. The groove and bludgeon one has come to expect from the band’s live shows is captured seamlessly here—they go from zero to head-splitter, and on the rare occasions they do let up on the gas a bit, you’re treated to some locked-in hypnotizers, too. The guitar sounds more colossal and ethereal at the same time, riding roughshod over the vacuum-sealed rhythm section, spiraling skywards, and diving into the emerald depths so quick your guts tingle. Synths, strings and smoke-soaked things crawl behind the scenes to make an extra far-out party platter, served on 45 RPM plates for most excellent listening quality. With amazing visuals (including cover art & a side-D etching by airbrush-van-art maestro Robert Beatty) and packed in vape-proof goatskin, it’s a beast and, come August 12th, it can be yours should you so choose. Includes download.
Titus Andronicus [S+@DIUM ROCK: five nights at the Opera - live]

Please note new street date is September 9. (Includes download) In July of 2015, noted rock band Titus Andronicus [hereafter +@] made history, twice. The wider world shook upon the impact of The Most Lamentable Tragedy [hereafter TMLT], the triple-LP rock opera that immediately established itself as the most ambitious punk record of all time, a distinction challenged only by a foolish few. Meanwhile, in the hallowed halls of Shea Stadium, New York City’s longestrunning active all-ages DIY space, +@ was doing the unthinkable again, becoming the first band in the history of NYC DIY to sell out five consecutive nights at the same venue. While these epic shows ostensibly served as a record-release celebration for TMLT (as well as an uproarious shindig for the 30th birthday of +@ singer-songwriter Patrick Stickles), they shattered the limits of mere promotional exercise and reached mythical status. Sadly for the wider world, you had to be there… until now. +@ and their patient patrons at Merge Records are pleased to announce the new live LP, S+@DIUM ROCK: Five Nights at the Opera, a record which will allow fans everywhere their chance to relive the auspicious occasion from the comforts of their own home. +@’s position as the most thrilling live act in rock and roll has long been etched in stone, but never before has that riveting energy been captured on wax as it is here. The A-side to S+@DIUM ROCK revisits some of TMLT’s most celebrated hits in a newly concise context, stripping away all studio wizardry until only the primal passion remains. The B-side offers fresh electric arrangements of the largely acoustic fifth act of TMLT’s rock opera narrative, presenting a new perspective on the material Tiny Mix Tapes praised for “emotional intensity… unrivaled anywhere in rock music,” as well as debuting the previously unreleased TMLT outtake, “69 Stones.” Taken as a whole, S+@DIUM ROCK is a whirlwind journey through a moment in time never to be repeated, preserved for future generations starving for “the real deal.”
V/A [Celestial Blues (2LP) cosmic, political & spiritual jazz 1970-74]

August 5 street date. 2015 was the year jazz hit the mainstream again. The catalyst for this was saxophonist Kamasi Washington’s 3CD masterpiece “The Epic”, influenced by the symphonic, spiritually aware jazz of the early 70s. “Celestial Blues” is a compilation that shines a spotlight on some of the music that may have influenced “The Epic”. The ten tracks range from the evidently spiritual – such as Gary Bartz’s classic ‘Celestial Blues’ or Joe Henderson & Alice Coltrane’s astounding collaboration on ‘Fire’, to less obvious but just as relevant recordings by drummers Roy Brooks and Joe Chambers. Charles Earland’s contribution bears a remarkable resemblance to ‘Henrietta Our Hero’ a stand-out track from “The Epic”, whilst Carlos Garnett and Azar Lawrence’s mix of saxophone, strings and voices could be a template for Washington’s whole sound. The compilation is completed by fine examples of the era’s jazz from Hampton Hawes and Bayeté Umbra Zindiko. Oliver Nelson’s ‘Aftermath’ is an apt closer.
Walker, Butch [Stay Gold]

August 26 street date. As a writer of dozens of songs with hooks that stick in your head, Rolling Stone has called Butch Walker, "one of America's best singer-songwriters," as he has penned choruses you want to sing (or shout) along to from acts including Frank Turner, Brian Fallon, Taylor Swift, and many more. He is a teller of authentic stories of exploits and predicaments and romance that are filled with optimism; builder of albums with no boundaries - rock, pop, Americana, singer-songwriter…or, as he says, “I think it’s all just rock & roll.” Stay Gold, his 8th studio album, is clearly Walker's most articulate to date. When asked if the stories are real or imagined, he replies, “All the songs are half true.” Available on LP or CD.
Wye Oak [Tween]

August 5 street date. (LP Includes download) Tween is a collection of eight songs born, raised, and almost abandoned for various reasons during the years between 2011’s breakthrough Civilian and 2014’s reinvention-of-sorts, Shriek. Jenn Wasner and Andy Stack described these songs as “not emblematic of a step forward, but a step sideways in time.” In other words, they just didn’t make sense for album number five—which will happen at some point in the future. But just because they didn’t belong there doesn’t mean they don’t belong anywhere. To wedge them onto Shriek would’ve been dishonest; to orphan them would’ve been somewhere on the line between criminal and just plain silly. Now that your expectations are lowered, let’s build them back up, because Tween is full of gorgeous Wye Oak songs whose only crime was timing and context, made by two people at the height of their game. At first these songs sounded too disparate to me to be called an album, but the more Tween sank in, the more it made sense: One minute Jenn and Andy are embracing their floatiest Cocteau Twins instinct (“If You Should See”), the next they’re back in Civilian territory a bit (“No Dreaming”), and later they’re slinky and electronic and gorgeously ‘80s (“On Luxury”). The common thread: These are no castaways or cutouts. In fact, pound for pound, Tween might actually be more directly accessible than Shriek. It should join the pantheon of amazing not-albums of history whose names try to downplay how good they actually are, like R.E.M.’s Dead Letter Office, The Who’s Odds and Sods, maybe even Dinosaur Jr.’s Whatever’s Cool With Me.
Zomby & Burial [Sweetz (1-sided vinyl/Ltd)]

July 29 street date. VINYL-ONLY !! ONE-SIDED 10" !! LIMITED EDITION !! Long time mutual admirers, Zomby and Burial get together for this one-sided white label taken from Zomby’s forthcoming album 'Ultra’, with probably the most toxic track from either of their back catalogues to date.

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