December 7 street date. Under the Silver Lake is an upcoming neo-noir comedy drama directed by David Robert Mitchell (It Follows). The ??lm follows Sam (Andrew Gar??eld), a charming yet aimless man who falls in love with his neighbor. Following her mysterious disappearance, Sam becomes an unwitting detective combing through the dark streets of Los Angeles in search of any clues he can ??nd about his neighbor. Sam soon ??nds himself in over his head as he uncovers a grim conspiracy involving the powerful forces woven into daily life. A24 is releasing Under the Silver Lake on December 7th, 2018. For scoring duties on Under the Silver Lake, David Robert Mitchell turned to previous collaborator Rich Vreeland aka Disasterpeace. Their second collaboration following the 2014 critical horror hit It Follows, Under the Silver Lake brings both director Mitchell and Disasterpeace into unexpected territory. Disasterpeace, best known for his synth-driven work, instead chose to compose the score with the use a full orchestra. The end result lends the ??lm a distinct Hitchcockian, Bernard Hermann-like thriller vibe as Sam falls down the rabbit hole into the mystical side of the City of Angels. 2018. The vinyl release of Under the Silver Lake includes all of Disasterpeace’s original score compositions as well as the key songs featured in the ??lm in a seamless suite, each track playing directly into the next. The release is pressed on a pair of black vinyl discs and housed in a gorgeous gatefold jacket with a credit insert. The jacket and insert also features art design elements from magazines in the ??lm.
November 30 street date. In 2017, Phish performed "The Baker's Dozen", a milestone 13 show run at Madison Square Garden held over 17 nights. During the run, the band performed 26 unique sets featuring a grand total of 237 songs with not one repeated. The Baker's Dozen earned accolades from a wide array of national publications, includinga nod from Rolling Stone's David Fricke in his "Year In Rock 2017" wrap-up. All tracks included in tehse sets were hand picked by the band. All versions have been fully remixed by legendary engineer Elliot Scheiner.
November 23 street date. In 2017, Phish performed "The Baker's Dozen", a milestone 13 show run at Madison Square Garden held over 17 nights. During the run, the band performed 26 unique sets featuring a grand total of 237 songs with not one repeated. The Baker's Dozen earned accolades from a wide array of national publications, includinga nod from Rolling Stone's David Fricke in his "Year In Rock 2017" wrap-up. All tracks included in tehse sets were hand picked by the band. All versions have been fully remixed by legendary engineer Elliot Scheiner.
November 16 street date. We began our career exactly 30 years prior by releasing a home-recorded cassette called Failure, which to our complete surprise became an instant favorite around the Northwest, earning us critical accolades, radio airplay, and major label interest all in a very short time. We were lucky to fi nd ourselves living just a few doors down the road in Seattle from Arthur “Rick” Roberts and Mike Musburger, who agreed to join our band on bass and drums, respectively. Signed to Geffen Records, we recorded 3 releases, 1990’s Dear 23, Frosting On The Beater in 1993, and Amazing Disgrace in 1996. These three albums remain beloved by our fans; our most popular, most often cited, most requested works. However, over the years, the CDs have been in and out of print, there have been inconsistent presences on streaming, the LPs either long out of print or not issued at all depending on the territory. Good news: all that’s about to change. Amazing Disgrace returns, reissued by Omnivore Recordings (who have, among many releases new and old, reissued our first album, Failure). The album will be released as a double CD set: one CD containing the original album, remastered from the original analog tapes, plus enough bonus material to fi ll out the rest of the CD; and another full CD of more bonus material. Don’t expect just a repackaging of material already available on our 2000 boxed set of outtakes— 11 of Amazing Disgrace’s 23 bonus tracks on this reissue have never been heard! Amazing Disgrace will now stretch across two LPs and will be mastered at 33 RPM from the original tapes. We made the decision to stick to just the original albums for the vinyl release, to give it room to breathe across two glorious slabs of wax. So, if bonus tracks are your thing, the 2-CD set will have you covered. Catch The Posies on their 30th Anniversary tour in 2018 too!
November 16 street date. We began our career exactly 30 years prior by releasing a home-recorded cassette called Failure, which to our complete surprise became an instant favorite around the Northwest, earning us critical accolades, radio airplay, and major label interest all in a very short time. We were lucky to fi nd ourselves living just a few doors down the road in Seattle from Arthur “Rick” Roberts and Mike Musburger, who agreed to join our band on bass and drums, respectively. Signed to Geffen Records, we recorded 3 releases, 1990’s Dear 23, Frosting On The Beater in 1993, and Amazing Disgrace in 1996. These three albums remain beloved by our fans; our most popular, most often cited, most requested works. However, over the years, the CDs have been in and out of print, there have been inconsistent presences on streaming, the LPs either long out of print or not issued at all depending on the territory. Good news: all that’s about to change. Amazing Disgrace returns, reissued by Omnivore Recordings (who have, among many releases new and old, reissued our first album, Failure). The album will be released as a double CD set: one CD containing the original album, remastered from the original analog tapes, plus enough bonus material to fi ll out the rest of the CD; and another full CD of more bonus material. Don’t expect just a repackaging of material already available on our 2000 boxed set of outtakes— 11 of Amazing Disgrace’s 23 bonus tracks on this reissue have never been heard! Amazing Disgrace will now stretch across two LPs and will be mastered at 33 RPM from the original tapes. We made the decision to stick to just the original albums for the vinyl release, to give it room to breathe across two glorious slabs of wax. So, if bonus tracks are your thing, the 2-CD set will have you covered. Catch The Posies on their 30th Anniversary tour in 2018 too!
November 16 street date. Sometimes, a disparate crowd of random influences and a handful of scene-makers coalesce out of
nothing, and before you know it a movement is happening. So it was in the UK in the early-to-mid-80s, when an unlikely set of bands resurrected the spirit of mid-60s Garage Rock. Fusing that sound with elements of the pre-Fab Four, Psych, Mod, Rockabilly and Psychobilly, and greasing the wheels of this new machine with a thick slab of post-punk sensibility, bands across the UK began to shout and holler like they hadn't in years, capturing their work on often rough and ready recordings, issued on Big Beat, Hangman, Hit Records, Media Burn, Creation and other equally fried labels. From London, Medway and the South East to Edinburgh and beyond, the Trash movement spread. Spiky, brash, loud and unfettered by delusions of grandeur, this is the sound of the post punk UK music scene looking backwards whilst moving forwards. Packed full of rarities and collectibles (the Medway Valley and Billy Childish related material is currently particularly sought after), "Just A Bad Dream’ will appeal to fans of 80s Psychedelia, Mod Revival, Indie, Psychobilly and, of course, the 60s Garage Rock that influenced so many of these
artists. Remarkable "comic book" design and packaging makes this a must-see, must-hear, must-have set! Here are sixty of the finest must-have scene hits, lesser known deep cuts and underexposed nuggets, from folks like Thee Milkshakes, The Sting-Rays, The Cannibals, The Prisoners, The Barracudas, The X-Men, The Tall Boys, The Jesus And Mary Chain, The Meteors, The X-Men, The Playn Jayn, and many, many more!
November 9 street date. REVERED DEATH METAL CLASSIC FROM FLORIDA’S MOST WANTED!! Re-issue of the 1991 Death Metal classic that defined the whole Florida sound...brutal guitars, brutal vocals and brutal drumming from a selection of the scenes forefathers (including Terry Butler of Six Feet Under fame and Rick Rozz of Death. Includes the Inhuman Conditions E.P.) Reissued on Full Dynamic Range vinyl & CD.
November 9 street date. REVERED DEATH METAL CLASSIC FROM FLORIDA’S MOST WANTED!! Re-issue of the 1991 Death Metal classic that defined the whole Florida sound...brutal guitars, brutal vocals and brutal drumming from a selection of the scenes forefathers (including Terry Butler of Six Feet Under fame and Rick Rozz of Death. Includes the Inhuman Conditions E.P.) Reissued on Full Dynamic Range vinyl & CD.
November 9 street date. (Available on CD & 2LP) "The perfect companion to the David Hollander curated book Unusual Sounds: The Hidden History of Library Music (Out now: ARC048 )." In the heyday of low-budget television and scrappy genre filmmaking, producers who needed a soundtrack for their commercial entertainments could reach for a selection of library music: LPs of stock recordings whose contents fit any mood required. The industry soon took on its own life: library publishers became major financial successes, and much of the work they released was truly extraordinary. In fact, many of these anonymous or pseudonymous scores-on-demand were crafted by the some of the greatest musical minds of the late 20th century—expert musicians and innovative composers who revelled in the freedoms offered, paradoxically, by this most corporate of fields. Unusual Sounds is a deep dive into a musical universe that has, until now, been accessible only to producers and record collectors; a celebration of this strange industry and an examination of its unique place at the nexus of art and commerce. The perfect companion to the David Hollander curated book Unusual Sounds: The Hidden History of Library Music (out now on Anthology Editions), these 20 tracks, encapsulate the niche and fascinating subculture of library music. Genres were spliced, conventions dispensed with, and oftentimes hybrid music of astonishing complexity was produced. Elements of rock, jazz, soul, even twentieth-century avant-garde composition were all utilized, and no stone was left unturned. As a result, some of the best library music defies all categorization, reflecting the individualistic quirks and artistry of the various musicians who made it. This compilation includes compositions by Brainticket founder Joel Vandroogenbroeck, KPM Allstars John Cameron and Keith Mansfield, Montenegrin-born composer Janko Nilovc, and the Italian film composer Stefano Torossi amongst others.
November 9 street date. (Available on CD & 2LP) "The perfect companion to the David Hollander curated book Unusual Sounds: The Hidden History of Library Music (Out now: ARC048 )." In the heyday of low-budget television and scrappy genre filmmaking, producers who needed a soundtrack for their commercial entertainments could reach for a selection of library music: LPs of stock recordings whose contents fit any mood required. The industry soon took on its own life: library publishers became major financial successes, and much of the work they released was truly extraordinary. In fact, many of these anonymous or pseudonymous scores-on-demand were crafted by the some of the greatest musical minds of the late 20th century—expert musicians and innovative composers who revelled in the freedoms offered, paradoxically, by this most corporate of fields. Unusual Sounds is a deep dive into a musical universe that has, until now, been accessible only to producers and record collectors; a celebration of this strange industry and an examination of its unique place at the nexus of art and commerce. The perfect companion to the David Hollander curated book Unusual Sounds: The Hidden History of Library Music (out now on Anthology Editions), these 20 tracks, encapsulate the niche and fascinating subculture of library music. Genres were spliced, conventions dispensed with, and oftentimes hybrid music of astonishing complexity was produced. Elements of rock, jazz, soul, even twentieth-century avant-garde composition were all utilized, and no stone was left unturned. As a result, some of the best library music defies all categorization, reflecting the individualistic quirks and artistry of the various musicians who made it. This compilation includes compositions by Brainticket founder Joel Vandroogenbroeck, KPM Allstars John Cameron and Keith Mansfield, Montenegrin-born composer Janko Nilovc, and the Italian film composer Stefano Torossi amongst others.
November 2 street date. The verb, the noun, the substance, the action, the command: make a mark! If fire came first, paint came second—they had paint all the way back in those caveman caves, and you can still understand that ancient handprint on the wall even though it’s 40,000 years old. Point being, it’s a primal act, or what you might call a good first step. So now this PAINT: guitarist/singer Pedrum Siadatian of the Allah-Las making his first solo record with his first solo recordings of his first solo songs. It’s simple: he’s making a mark. He’d started four-tracking strange little song-sketches as the Allah-Las finished their third album Calico Review in 2016— little song-sketches that wouldn’t fit the full band, but that indicated an outré sort of potential. These were slow-growing ideas fed by a certain acid-bitter poetry (Gregory Corso and John Lennon, for two) and by strands and lines unraveled from casually encountered prose or reportage. They’d derive a certain blurry life and sound from the murky music of Kevin Ayers or Syd Barrett, whose cultivations were as likely to bloom into gloom as beauty. PAINT’s first song was “Moldy Man,” grown almost in secret far from harsh light and hot air. His next was “True Love (Is Hard To Find).” With one, he could’ve been done, but with two, he knew he was at the start of something.
November 2 street date. The verb, the noun, the substance, the action, the command: make a mark! If fire came first, paint came second—they had paint all the way back in those caveman caves, and you can still understand that ancient handprint on the wall even though it’s 40,000 years old. Point being, it’s a primal act, or what you might call a good first step. So now this PAINT: guitarist/singer Pedrum Siadatian of the Allah-Las making his first solo record with his first solo recordings of his first solo songs. It’s simple: he’s making a mark. He’d started four-tracking strange little song-sketches as the Allah-Las finished their third album Calico Review in 2016— little song-sketches that wouldn’t fit the full band, but that indicated an outré sort of potential. These were slow-growing ideas fed by a certain acid-bitter poetry (Gregory Corso and John Lennon, for two) and by strands and lines unraveled from casually encountered prose or reportage. They’d derive a certain blurry life and sound from the murky music of Kevin Ayers or Syd Barrett, whose cultivations were as likely to bloom into gloom as beauty. PAINT’s first song was “Moldy Man,” grown almost in secret far from harsh light and hot air. His next was “True Love (Is Hard To Find).” With one, he could’ve been done, but with two, he knew he was at the start of something.
April 5 street date. Sleep Talk features twelve new songs that Kim Fowley and Lou Christie would have clawed each others eyes out to get a hold of in the early 60's. Shannon can belt out fierce and fun like Wanda Jackson and Etta James going head to head in a competition for the last bottle of hooch in a song like "King of the Sea" and then play that heart-broken-bad-girl-tryin'-to-do-good bit that hasn't been done this well since the Tammys or the Shangri-La's in a song like "Tired of Being Bad". Cody, the bands guitarist and other main song writer/singer comes on like a crooning, hiccuping, lo-fi garage version of the aformentioned Christie. Excercising the economy and aggression of Garage Rock in ways Lou would never have imagined but with a tenderness and vocal register you know he'd appreciate. Ian, the band's drummer, in addition to his skill at his own instrument provides additional back ups that would make Ennio Morricone and a tribe of head hunters equally as proud. Together The Clams provide a secret ingredient that binds together doo-wop, early rock and R&B, girl group classics, 60's garage/psych, surf and glints of punk in a way that's hard to get across in words.
April 5 street date. Sleep Talk features twelve new songs that Kim Fowley and Lou Christie would have clawed each others eyes out to get a hold of in the early 60's. Shannon can belt out fierce and fun like Wanda Jackson and Etta James going head to head in a competition for the last bottle of hooch in a song like "King of the Sea" and then play that heart-broken-bad-girl-tryin'-to-do-good bit that hasn't been done this well since the Tammys or the Shangri-La's in a song like "Tired of Being Bad". Cody, the bands guitarist and other main song writer/singer comes on like a crooning, hiccuping, lo-fi garage version of the aformentioned Christie. Excercising the economy and aggression of Garage Rock in ways Lou would never have imagined but with a tenderness and vocal register you know he'd appreciate. Ian, the band's drummer, in addition to his skill at his own instrument provides additional back ups that would make Ennio Morricone and a tribe of head hunters equally as proud. Together The Clams provide a secret ingredient that binds together doo-wop, early rock and R&B, girl group classics, 60's garage/psych, surf and glints of punk in a way that's hard to get across in words.
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