October 12 streeet date. It’s been a couple of years since we heard from Justin Courtney Pierre. When we last left off, his celebrated rock band Motion City Soundtrack decided to take a hiatus following a victory lap in support of their sixth album, Panic Stations. This culminated with a Riot Fest performance and a sold-out, career-spanning show at The Metro in Chicago in September of 2016. “I guess the jumping off point for this album was that I wanted to see if I could just write everything myself and perform as much of it as I could,” Pierre says of the impetus for his first solo album, In The Drink. When it came to recording the songs, it made perfect sense to enlist longtime collaborator and Motion City Soundtrack guitarist Josh Cain to produce In The Drink. “Working with Josh on this album was super fun because we have been working together for 20 years and basically share a brain. Musically, In The Drink sees Pierre evoking his usual influences like Pavement, Superchunk, The Flaming Lips, Jawbox, Fugazi, Sonic Youth, Dinosaur Jr., Nirvana, more Jawbox, Tom Waits, The Carpenters and Eddie Money, but through his own unique perspective and sung via his instantly recognizable tenor. From the quirky, anthemic pop of “Anchor” or “I Don’t Know Why She Ran Away” to more moody, darker material such as “Moonbeam” (which features guest vocals from Jenny Owen Youngs) and the experimental closer “Goodnight Hiroyuki,” the album is Pierre at his most unfiltered and the results are sublime.
October 12 streeet date. It’s been a couple of years since we heard from Justin Courtney Pierre. When we last left off, his celebrated rock band Motion City Soundtrack decided to take a hiatus following a victory lap in support of their sixth album, Panic Stations. This culminated with a Riot Fest performance and a sold-out, career-spanning show at The Metro in Chicago in September of 2016. “I guess the jumping off point for this album was that I wanted to see if I could just write everything myself and perform as much of it as I could,” Pierre says of the impetus for his first solo album, In The Drink. When it came to recording the songs, it made perfect sense to enlist longtime collaborator and Motion City Soundtrack guitarist Josh Cain to produce In The Drink. “Working with Josh on this album was super fun because we have been working together for 20 years and basically share a brain. Musically, In The Drink sees Pierre evoking his usual influences like Pavement, Superchunk, The Flaming Lips, Jawbox, Fugazi, Sonic Youth, Dinosaur Jr., Nirvana, more Jawbox, Tom Waits, The Carpenters and Eddie Money, but through his own unique perspective and sung via his instantly recognizable tenor. From the quirky, anthemic pop of “Anchor” or “I Don’t Know Why She Ran Away” to more moody, darker material such as “Moonbeam” (which features guest vocals from Jenny Owen Youngs) and the experimental closer “Goodnight Hiroyuki,” the album is Pierre at his most unfiltered and the results are sublime.
October 12 street date. 50th Anniversary limited edition with liner notes from Mojo’s Dave Henderson. The second studio album from The Groundhogs, now slimmed to the classic three piece line up of Tony TS McPhee on guitar, Pete Cruikshank on bass and Ken Pestelnik on drums. The beginning of their domination as the hardest working band on the circuit, a testament to their creativity as they re-tooled the blues into a neo-psyche groove. Breaking from their traditional influences, the first stepping stone for the power trio who would blossom with ‘Thank Christ For the Bomb’, ‘Split’ and ‘Who Will Save The World?’. Inspired by a Yardbirds’ freak out, hearing authentic Indian drumming and the magic that existed between this legendary trio, ‘Blues Obituary’ is a juggernaut of riffs. According to Tony in Zig Zag’s John Tobler’s sleeve notes to the 1987 re-issue of ‘Blues Obituary’ it was the BBC’s John Peel producer John Walters that forced the band’s hand. “He decided he hated the blues,” McPhee told Tobler, “We figured it was time to get away from it.” “A deep excursion into musical depths further down than Canned Heat ever dared go.” The re-issue also includes a mono-friendly single cut of ‘BDD’ plus its original B-side ‘Gasoline’, a solo Tony TS McPhee track.
October 12 street date. 50th Anniversary limited edition with liner notes from Mojo’s Dave Henderson. The second studio album from The Groundhogs, now slimmed to the classic three piece line up of Tony TS McPhee on guitar, Pete Cruikshank on bass and Ken Pestelnik on drums. The beginning of their domination as the hardest working band on the circuit, a testament to their creativity as they re-tooled the blues into a neo-psyche groove. Breaking from their traditional influences, the first stepping stone for the power trio who would blossom with ‘Thank Christ For the Bomb’, ‘Split’ and ‘Who Will Save The World?’. Inspired by a Yardbirds’ freak out, hearing authentic Indian drumming and the magic that existed between this legendary trio, ‘Blues Obituary’ is a juggernaut of riffs. According to Tony in Zig Zag’s John Tobler’s sleeve notes to the 1987 re-issue of ‘Blues Obituary’ it was the BBC’s John Peel producer John Walters that forced the band’s hand. “He decided he hated the blues,” McPhee told Tobler, “We figured it was time to get away from it.” “A deep excursion into musical depths further down than Canned Heat ever dared go.” The re-issue also includes a mono-friendly single cut of ‘BDD’ plus its original B-side ‘Gasoline’, a solo Tony TS McPhee track.
October 12 for LP (date change) / September 28 (CD). (available on CD & 2LP) Experiential composer Tim Hecker’s ninth official full-length, Konoyo (“the world over here”) was largely recorded during several trips to Japan where he collaborated with members of the gagaku ensemble Tokyo Gakuso, in a temple on the outskirts of Tokyo. Inspired by conversations with a recently deceased friend about negative space and a sense of music’s increasingly banal density, Hecker found himself drawn towards restraint and elegance, while making music both collectively and alone. As with the Icelandic choir he arranged on 2016’s Love Streams, the heights of Hecker’s talent emerge in his manipulation of source material, bending and burnishing it into fantastical new forms. Keening strings are stretched into surreal, pixelated mirages; woodwinds warble and dissipate as fractal whispers of spatial haze; sparse gestures of percussion are chopped, isolated, and eroded, like disembodied signals from the afterlife. Both in texture and intent, Konoyo conjures a somber, ceremonial mood, suffused with ritual and regret. Visions flutter and fade; dreams gleam and decay. Hecker will stage a series of special performances in tandem with the album's release, featuring members of the gagaku ensemble on sho, ryuteki and hichiriki, accompanied by Kara-Lis Coverdale. "His music is ravishing in a way that transcends method and context. Radically beautiful.” Uncut
October 12 street date. Jassbusters is Connan Mockasin’s third album and first in five years. An unclassifiable, unconventional album that neither picks up from nor abandons the modes of 2013’s widely-embraced Caramel or its 2010 predecessor Forever Dolphin Love, Jassbusters foreshadows a five-part melodrama film titled Bostyn ‘n Dobsyn, created by Mockasin. Jassbusters soundtracks the unpredictable narrative of the film in eclectic, electric ways. Whether bending genres or collaborating with artists like James Blake, MGMT, and Charlotte Gainsbourg, Connan Mockasin has always maneuvered in mysterious ways. After touring with the likes of Radiohead and Neil & Liam Finn (Crowded House), the R&B surrealist continues assembling a cult around his theater, nay spectacle of life with Bostyn ‘n Dobsyn screenings and Jassbusters performances throughout October and November 2018. (With new press features from PITCHFORK, SPIN, VINYL FACTORY & many others!!)
October 12 street date. Jassbusters is Connan Mockasin’s third album and first in five years. An unclassifiable, unconventional album that neither picks up from nor abandons the modes of 2013’s widely-embraced Caramel or its 2010 predecessor Forever Dolphin Love, Jassbusters foreshadows a five-part melodrama film titled Bostyn ‘n Dobsyn, created by Mockasin. Jassbusters soundtracks the unpredictable narrative of the film in eclectic, electric ways. Whether bending genres or collaborating with artists like James Blake, MGMT, and Charlotte Gainsbourg, Connan Mockasin has always maneuvered in mysterious ways. After touring with the likes of Radiohead and Neil & Liam Finn (Crowded House), the R&B surrealist continues assembling a cult around his theater, nay spectacle of life with Bostyn ‘n Dobsyn screenings and Jassbusters performances throughout October and November 2018. (With new press features from PITCHFORK, SPIN, VINYL FACTORY & many others!!)
October 12 street date. (Indie-Store Exclusive Edition, Includes fold-out Poster & Download) Jassbusters is Connan Mockasin’s third album and first in five years. An unclassifiable, unconventional album that neither picks up from nor abandons the modes of 2013’s widely-embraced Caramel or its 2010 predecessor Forever Dolphin Love, Jassbusters foreshadows a five-part melodrama film titled Bostyn ‘n Dobsyn, created by Mockasin. Jassbusters soundtracks the unpredictable narrative of the film in eclectic, electric ways. Whether bending genres or collaborating with artists like James Blake, MGMT, and Charlotte Gainsbourg, Connan Mockasin has always maneuvered in mysterious ways. After touring with the likes of Radiohead and Neil & Liam Finn (Crowded House), the R&B surrealist continues assembling a cult around his theater, nay spectacle of life with Bostyn ‘n Dobsyn screenings and Jassbusters performances throughout October and November 2018.
October 12 street date. This is the second full length album from Tess Parks & Anton Newcombe, the self titled album contains 9 tracks . “Right On” is only track that has been released before on the eponymous EP released earlier in 2018 . All tracks were recorded at Cobra Studios , Berlin in 2017 , the majority of the songs co written by Tess & Anton.
October 12 street date. This is the second full length album from Tess Parks & Anton Newcombe, the self titled album contains 9 tracks . “Right On” is only track that has been released before on the eponymous EP released earlier in 2018 . All tracks were recorded at Cobra Studios , Berlin in 2017 , the majority of the songs co written by Tess & Anton.
October 12 street date. In 1964, The Staple Singers signed with Epic Records after leaving Riverside Records. From then until the middle of 1968, they recorded six albums for the label, all of which are featured in this 3CD box. During the years with Epic, The Staple Singers' sound developed into the Soul/Folk sub-genre that came to a commercial peak at Stax Records during the 1970s. This 66-track box set is the first-ever retrospective of their Epic years and features songs by Bob Dylan, Buffalo Springfield, Burt Bacharach and Hal David as well as numerous original compositions by Pop Staples. Despite their newly-found commercial success, the group did not leave any of their gospel roots behind. All of the songs that are not gospel standards are imbued with a message of hope and inspiration, fully in keeping with their Christian music roots. Mavis Staples is featured on lead vocals on the majority of tracks but there are also several vocals from Pops Staples and his blues-drenched guitar gets much exposure too. Three of the albums included here ("Pray On", "For What It's Worth" and "What The World Needs Now Is Love") are making their CD debut.
October 12 street date. Following his successful collaborative album and tour with Courtney Barnett, Kurt Vile returns with his
first new solo album in 3 years, Bottle It In. The album features guest appearances from Warpaint’s Stella Mozgawa, Kim Gordon, Cass McCombs among others. Preceeded by “Loading Zones,” the track is his first new music to surface since 2015. Directed by Drew Saracco, the video is a paean to Kurt’s City of Brotherly Love, and a farcical tribute to the song’s lyrics, a loose account of his peculiar parking strategy. Law enforcement is played by Kevin Corrigan and Matt Korvette. Kurt and The Violators (Rob Laakso, Kyle Spence, and Jesse Trbovich) hit the road this fall on an extensive global tour which commences in Hamburg, Germany on October 12th. The North American leg, where fans can expect a further taste of new music in addition to the band’s iconic catalogue, starts in Boston in November and includes Vancouver on Dec 16th at The Commodore Ballroom. Further dates are coming in 2019. Bottle It In is available as a US import black double vinyl package and CD.
October 12 street date. Following his successful collaborative album and tour with Courtney Barnett, Kurt Vile returns with his
first new solo album in 3 years, Bottle It In. The album features guest appearances from Warpaint’s Stella Mozgawa, Kim Gordon, Cass McCombs among others. Preceeded by “Loading Zones,” the track is his first new music to surface since 2015. Directed by Drew Saracco, the video is a paean to Kurt’s City of Brotherly Love, and a farcical tribute to the song’s lyrics, a loose account of his peculiar parking strategy. Law enforcement is played by Kevin Corrigan and Matt Korvette. Kurt and The Violators (Rob Laakso, Kyle Spence, and Jesse Trbovich) hit the road this fall on an extensive global tour which commences in Hamburg, Germany on October 12th. The North American leg, where fans can expect a further taste of new music in addition to the band’s iconic catalogue, starts in Boston in November and includes Vancouver on Dec 16th at The Commodore Ballroom. Further dates are coming in 2019. Bottle It In is available as a US import black double vinyl package and CD.
October 19 street date (LP) / August 31 for CD. Across two decades, eight albums, and a multitude of singles, splits, and EPs, Alkaline Trio has built a reputation as a defining act in punk rock’s modern era. Formed in Chicago by vocalist-guitarist Matt Skiba in 1996, the band would come into its own with its debut album Goddammit in 1998. Since then, the band has continually evolved, incorporating new influences with each record while achieving artistic, critical, and commercial success along the way. It’s been 5 years since Alkaline Trio released their last studio album, My Shame Is True. In that time, they’ve toured the world, sold over a million records, including a 20th Anniversary – 8 LP live box set, recorded on their 2014-15 Past Live tour. Since those Past Live shows, Andriano and drummer Derek Grant both released solo albums, and Skiba joined blink-182, releasing the chart-topping album California with the band. “Is This Thing Cursed?” will prove that good, new music is worth the wait.
October 19 LP street date. (CD out now!) Across two decades, eight albums, and a multitude of singles, splits, and EPs, Alkaline Trio has built a reputation as a defining act in punk rock’s modern era. Formed in Chicago by vocalist-guitarist Matt Skiba in 1996, the band would come into its own with its debut album Goddammit in 1998. Since then, the band has continually evolved, incorporating new influences with each record while achieving artistic, critical, and commercial success along the way. It’s been 5 years since Alkaline Trio released their last studio album, My Shame Is True. In that time, they’ve toured the world, sold over a million records, including a 20th Anniversary – 8 LP live box set, recorded on their 2014-15 Past Live tour. Since those Past Live shows, Andriano and drummer Derek Grant both released solo albums, and Skiba joined blink-182, releasing the chart-topping album California with the band. “Is This Thing Cursed?” will prove that good, new music is worth the wait.
October 19 street date. Originally released in 1987, Big Black's second full-length album is the fifth Big Black vinyl title to be remastered by Steve Albini and Bob Weston at Chicago Mastering - following the previously released remasters of Atomizer, Bulldozer, Racer-X, and Headache. Each remastered vinyl copy of Song About Fucking is packaged in a single-pocket LP jacket with 11" x 11" insert and digital download coupon.
Touch and Go Records came into existence (sort of) in late 1980, when the Ohio punk band Necros decided they wanted to put out a 7" record. Being in high school at the time (ie: broke), they were aided in this project by their friends Tesco Vee and Dave Stimson, who were the geniuses behind a fanzine called Touch and Go (and who were a little older and had real jobs). The 7"s by the Necros and the Fix (a Michigan punk band) were recorded in late 1980 and released in early 1981, and Touch and Go Records was officially born. Corey Rusk was a member of the Necros, and for the first couple years of Touch and Go Records' life he ran the business part of it from his bedroom in his grandmother's house in Ohio, and Tesco Vee ran the promotional part of it from his apartment in Michigan. Then Tesco moved to Washington DC, leaving the label in Corey's hands. Early releases for Touch and Go consisted mainly of 7" vinyl singles by many of the early '80s Michigan / Ohio hardcore bands, including the Necros, the Meatmen, and Negative Approach. In 1983, Corey left the Necros, and together with his wife and partner in Touch and Go (Lisa Rusk), relocated the label to an apartment in Detroit, Michigan. Touch and Go began to move beyond the hardcore genre, while also increasing the frequency of its release schedule. Releases during this time period included albums from Die Kreuzen, Big Black, Butthole Surfers, Killdozer and many others. At the same time Touch and Go was expanding, Corey and Lisa also started an all ages club in Detroit called the Graystone. The club was financed by Russ Gibb, a generous and supportive school teacher who ran the infamous Grande Ballroom in Detroit in the late '60s. In its heyday, the Grande had been the Detroit home to the likes of the MC5, the Stooges, the Who, Jimi Hendrix, etc... In the mid '80s the Graystone hosted such bands such as Black Flag, Minutemen, Misfits, Big Boys, Big Black, Scratch Acid, Necros, Negative Approach, et al. After a few years in Detroit, Touch and Go moved to a house on the North side of Chicago, Illinois. Energized by its new environs, and by the increasing interest in the records they were releasing, Touch and Go entered a new and rewarding period in its existence, releasing albums by Slint, Scratch Acid, Rapeman, The Jesus Lizard, Didjits, Laughing Hyenas, Urge Overkill, and many others. In 1990, Touch and Go began to provide manufacturing and distribution services for other independent labels who shared similar ideals. Over the past 15 years, Touch and Go is proud to have provided manufacturing and distribution services for such influential labels as All Natural, All Tomorrow's Parties, Atavistic, Cold Crush, Dim Mak, Drag City, Emperor Jones, Estrus, 5RC, Invisible, Konkurrent, Kill Rock Stars, Le Tigre, Merge, Overcoat, Skin Graft, Suicide Squeeze, Thrill Jockey, Trance, Truckstop, and Warm. In keeping with 1990 being a pivotal year, Quarterstick Records, Touch and Go's "sister label," came into being, releasing albums by Henry Rollins, Pegboy, and Mekons. Since its inception, Quarterstick has developed its own individual, eclectic identity through the releases of groups such as the Bad Livers, Calexico, June Of 44, Mule, Rachel's, Rodan, Shannon Wright, Tara Jane O'Neil, The Shipping News, and others. Also around 1990, Corey and Lisa parted ways both personally and professionally. Just before the dawn of the '90s, T&G moved into a run down warehouse on the North side of Chicago. Its new digs provided lots of room to grow; an opportunity that was not wasted. Throughout the 90's, Touch and Go expanded its staff and capacities in an effort to always be the best it could be for the bands and labels it felt so privileged to be associated with. All the hard work paid off, and during the '90s, T&G had the good fortune to be involved with albums by Shellac, Blonde Redhead, The Black Heart Procession, Girls Against Boys, Arcwelder, Dirty Three, Don Caballero, Brick Layer Cake, Seam, Man...Or Astroman?, The Delta 72, Brainiac, Storm and Stress, and many others. Toward the end of the '90s, T&G had outgrown its space in the decrepit warehouse it had inhabited the prior 7 years. The staff had gotten soft and was demanding such outrageous luxuries as heat in the winter and bathrooms that worked. This revolt led to the move to a much better warehouse space a couple miles away. This move led to an even more organized and productive T&G. It was perfect timing, as the 2000s brought more great bands and labels to T&G. Bands such as CocoRosie, Enon, Nina Nastasia, Quasi, Pinback, Supersystem, The EX, The New Year, TV On The Radio, Yeah Yeah Yeahs, and !!!.
October 19 street date. Right now, indie rock is centered around controlled solos instead of unpredictability, tight chords instead of jagged riffs, clean tones instead of rough edges. That much is evident by the comparisons thrown at Cloud Nothings, all touchstones from the past: the Wipers, Drive Like Jehu, Sunny Day Real Estate, Nirvana. The Cleveland four-piece want to keep doing this, to be a band that continues the evolution of barbed, rapid-fire, energetic rock without ever trying to replicate those artists, if it means this current era can have benchmark artists of their own. With Last Building Burning, their fifth full-length studio album, Cloud Nothings become the torchbearers they want to see in the world. Last Building Burning is the product of eight days with producer Randall Dunn (Sunn O))), Wolves in the Throne Room, Boris) in Texas studio Sonic Ranch. Clocking in just over half an hour, the eight-song album sees Cloud Nothings capture their onstage appeal. Last Building Burning plays like the meeting point of Cloud Nothings’ catalog and is a return to Cloud Nothing’s sharpest form — the unhinged, feverish, guitar-heavy sound that they explode with onstage — without their early angst. LPS come in mirror foil jackets and include a free digital download.
October 19 street date. Right now, indie rock is centered around controlled solos instead of unpredictability, tight chords instead of jagged riffs, clean tones instead of rough edges. That much is evident by the comparisons thrown at Cloud Nothings, all touchstones from the past: the Wipers, Drive Like Jehu, Sunny Day Real Estate, Nirvana. The Cleveland four-piece want to keep doing this, to be a band that continues the evolution of barbed, rapid-fire, energetic rock without ever trying to replicate those artists, if it means this current era can have benchmark artists of their own. With Last Building Burning, their fifth full-length studio album, Cloud Nothings become the torchbearers they want to see in the world. Last Building Burning is the product of eight days with producer Randall Dunn (Sunn O))), Wolves in the Throne Room, Boris) in Texas studio Sonic Ranch. Clocking in just over half an hour, the eight-song album sees Cloud Nothings capture their onstage appeal. Last Building Burning plays like the meeting point of Cloud Nothings’ catalog and is a return to Cloud Nothing’s sharpest form — the unhinged, feverish, guitar-heavy sound that they explode with onstage — without their early angst. LPS come in mirror foil jackets and include a free digital download.
October 19 street date. Right now, indie rock is centered around controlled solos instead of unpredictability, tight chords instead of jagged riffs, clean tones instead of rough edges. That much is evident by the comparisons thrown at Cloud Nothings, all touchstones from the past: the Wipers, Drive Like Jehu, Sunny Day Real Estate, Nirvana. The Cleveland four-piece want to keep doing this, to be a band that continues the evolution of barbed, rapid-fire, energetic rock without ever trying to replicate those artists, if it means this current era can have benchmark artists of their own. With Last Building Burning, their fifth full-length studio album, Cloud Nothings become the torchbearers they want to see in the world. Last Building Burning is the product of eight days with producer Randall Dunn (Sunn O))), Wolves in the Throne Room, Boris) in Texas studio Sonic Ranch. Clocking in just over half an hour, the eight-song album sees Cloud Nothings capture their onstage appeal. Last Building Burning plays like the meeting point of Cloud Nothings’ catalog and is a return to Cloud Nothing’s sharpest form — the unhinged, feverish, guitar-heavy sound that they explode with onstage — without their early angst. LPS come in mirror foil jackets and include a free digital download.
October 19 street date. Limited clear vinyl edition. Right now, indie rock is centered around controlled solos instead of unpredictability, tight chords instead of jagged riffs, clean tones instead of rough edges. That much is evident by the comparisons thrown at Cloud Nothings, all touchstones from the past: the Wipers, Drive Like Jehu, Sunny Day Real Estate, Nirvana. The Cleveland four-piece want to keep doing this, to be a band that continues the evolution of barbed, rapid-fire, energetic rock without ever trying to replicate those artists, if it means this current era can have benchmark artists of their own. With Last Building Burning, their fifth full-length studio album, Cloud Nothings become the torchbearers they want to see in the world. Last Building Burning is the product of eight days with producer Randall Dunn (Sunn O))), Wolves in the Throne Room, Boris) in Texas studio Sonic Ranch. Clocking in just over half an hour, the eight-song album sees Cloud Nothings capture their onstage appeal. Last Building Burning plays like the meeting point of Cloud Nothings’ catalog and is a return to Cloud Nothing’s sharpest form — the unhinged, feverish, guitar-heavy sound that they explode with onstage — without their early angst. LPS come in mirror foil jackets and include a free digital download.
October 19 street date. 2CD set features 40 tracks. From his 1965 iconic debut album, which changed folk music, Bert’s peerless musicality, songwriting and interpretation of traditional song has held generation after generation spellbound and inspired musicians in all genres. This is the first collection to cover his entire solo career, with insightful liner notes by Bernard Butler (Suede) who compiled this selection with the Bert Jansch Estate.
October 19 street date. 2LP set features 27 tracks. From his 1965 iconic debut album, which changed folk music, Bert’s peerless musicality, songwriting and interpretation of traditional song has held generation after generation spellbound and inspired musicians in all genres. This is the first collection to cover his entire solo career, with insightful liner notes by Bernard Butler (Suede) who compiled this selection with the Bert Jansch Estate.
October 19 street date. Following twenty albums over 50 years, Yoko Ono's Warzone is a strikingly different record from those she has previously made. Revisiting and reimagining 13 songs from her past work, spanning 1970-2009, the lyrics and messages are still pertinent—perhaps even more pertinent-in 2018. Recent US presidents and many of our world leaders have never served in the military, yet they continually nourish and serve the corporate-infused military industrial complex, keeping the world in a perpetual warfare. Warzone further builds the legacy of an artist unparalleled in her unique and singular vision. With it's stripped down recordings and arrangements, and a particular emphasis on Yoko's voice and lyrics, the content of her message rings clear and unencumbered, with wisdom and fortitude her power has intensified with time and life experience.
October 19 street date. Following twenty albums over 50 years, Yoko Ono's Warzone is a strikingly different record from those she has previously made. Revisiting and reimagining 13 songs from her past work, spanning 1970-2009, the lyrics and messages are still pertinent—perhaps even more pertinent-in 2018. Recent US presidents and many of our world leaders have never served in the military, yet they continually nourish and serve the corporate-infused military industrial complex, keeping the world in a perpetual warfare. Warzone further builds the legacy of an artist unparalleled in her unique and singular vision. With it's stripped down recordings and arrangements, and a particular emphasis on Yoko's voice and lyrics, the content of her message rings clear and unencumbered, with wisdom and fortitude her power has intensified with time and life experience.
October 19 street date. Transforming pain into transcendence is the genius of many pop artists, but Doe Paoro brings an entirely new depth to that process. On her third album Soft Power, the L.A.-based singer/songwriter digs into her own frustration and anguish, and ultimately comes away with a newfound strength that’s profoundly inspiring. Soft Power thus bears a raw vitality that marks a major departure from Doe’s previous album. Naming Carole King among her inspirations, Doe notes that the new record’s more urgent feel comes partly from reconnecting with the instinctive approach of her earliest songwriting. Throughout the album, Doe infuses her songs with a rebellious spirit. A passionately charged track about misogyny, “Guilty” blends cascading guitar lines with sharply cutting lyrics (I know I’m not the first / that you made defend her word). . “Over” brings classic girl-group harmonies and smoldering vocal work to speak to the song’s central question: Now that I’m older / does it get easier / to get over? Several songs also confront the notion of setting boundaries, with “Projector” centering on “the refusal to let someone else superimpose their story onto yours” and “Walk Through the Fire” emerging as a brutal testament to the fact that “self-examination is ultimately a solo job – and there’s no easy way to do it.” The result is an album that’s undeniably potent in its emotional impact. “One thing I’ve continued to find through writing songs is the ability to alchemize painful experiences into something that’s useful and healing,” says Doe. “For me that’s the highest purpose of music—both in terms of what it offers to me and what I wish to offer to others.” (FOR FANS OF FLORENCE AND THE MACHINE, ST.VINCENT AND SKY FERREIRA)
October 19 street date. Transforming pain into transcendence is the genius of many pop artists, but Doe Paoro brings an entirely new depth to that process. On her third album Soft Power, the L.A.-based singer/songwriter digs into her own frustration and anguish, and ultimately comes away with a newfound strength that’s profoundly inspiring. Soft Power thus bears a raw vitality that marks a major departure from Doe’s previous album. Naming Carole King among her inspirations, Doe notes that the new record’s more urgent feel comes partly from reconnecting with the instinctive approach of her earliest songwriting. Throughout the album, Doe infuses her songs with a rebellious spirit. A passionately charged track about misogyny, “Guilty” blends cascading guitar lines with sharply cutting lyrics (I know I’m not the first / that you made defend her word). . “Over” brings classic girl-group harmonies and smoldering vocal work to speak to the song’s central question: Now that I’m older / does it get easier / to get over? Several songs also confront the notion of setting boundaries, with “Projector” centering on “the refusal to let someone else superimpose their story onto yours” and “Walk Through the Fire” emerging as a brutal testament to the fact that “self-examination is ultimately a solo job – and there’s no easy way to do it.” The result is an album that’s undeniably potent in its emotional impact. “One thing I’ve continued to find through writing songs is the ability to alchemize painful experiences into something that’s useful and healing,” says Doe. “For me that’s the highest purpose of music—both in terms of what it offers to me and what I wish to offer to others.” (FOR FANS OF FLORENCE AND THE MACHINE, ST.VINCENT AND SKY FERREIRA)
October 19 street date. SEASICK STEVE, fresh from a fantastic performance at London’s Hyde Park (6th July), is announcing the release of his new album, CAN U COOK? The album has Steve mixing up all of his much-loved ingredients to deliver a fresh new record that’s full of sunshine, as well as being a good ol’ Seasick mix of boogie, blues, rock, americana and folk-music.
October 19 street date. Switched-On Eugene documents the Eugene Electronic Music Collective and some of the many synthed-out figures in and around Oregon’s iconic hippie stronghold during the 1980s. Whether connected by membership, geography, or the tape trading scene, the artists in and around the EEMC shared compelling visions of the future we now inhabit, vividly captured on home-recorded tapes and distributed via zines, classifieds, and local radio. Switched-On Eugene is a deep dive into a heretofore forgotten sonic microcosm unlike any other. (available on CD & 2LP w/ exclusive tracks)
October 19 street date. Switched-On Eugene documents the Eugene Electronic Music Collective and some of the many synthed-out figures in and around Oregon’s iconic hippie stronghold during the 1980s. Whether connected by membership, geography, or the tape trading scene, the artists in and around the EEMC shared compelling visions of the future we now inhabit, vividly captured on home-recorded tapes and distributed via zines, classifieds, and local radio. Switched-On Eugene is a deep dive into a heretofore forgotten sonic microcosm unlike any other. (available on CD & 2LP w/ exclusive tracks)
October 26 street date. New album from Current 93, everyone’s favourite Hallucinatory Cuneiform SuperGroup, three years in the making and shaping. The vinyl edition skips out in a gatefold sleeve, with an accompanying insert containing all lyrics and credits. The CD edition picknicks along in a gatefold digipak, again with an accompanying insert containing all lyrics and credits. C93 are possibly probably certainly perhaps: Alasdair Roberts, Aloma Ruiz Boada, Andrew Liles, Ben Chasny, David Tibet, Michael J. York, Ossian Brown, Reinier van Houdt, Rita Knuistingh Neven, and Thomas Ligotti. And Remember Remember—Your Future Cartoon Is As Soft As The Tarot!
October 26 street date. New album from Current 93, everyone’s favourite Hallucinatory Cuneiform SuperGroup, three years in the making and shaping. The vinyl edition skips out in a gatefold sleeve, with an accompanying insert containing all lyrics and credits. The CD edition picknicks along in a gatefold digipak, again with an accompanying insert containing all lyrics and credits. C93 are possibly probably certainly perhaps: Alasdair Roberts, Aloma Ruiz Boada, Andrew Liles, Ben Chasny, David Tibet, Michael J. York, Ossian Brown, Reinier van Houdt, Rita Knuistingh Neven, and Thomas Ligotti. And Remember Remember—Your Future Cartoon Is As Soft As The Tarot!
October 26 street date. First issued in 2002, "Ear Bleeding Country" is the only career-spanning compilation of Dinosaur Jr. This is the first time this album has been made available on vinyl! The first six tracks are drawn from the band's early career in the 1980s, when they recorded for independent labels like Homestead and SST. Among them are the classic "Freak Scene" and their cover of The Cure's "Just Like Heaven". Most of the compilation samples the best of Dinosaur Jr.'s output after signing with Warner Bros in 1990, including "The Wagon", "Whatever's Cool With Me", "Out There", and "Feel The Pain". This deluxe white vinyl (double LP with gatefold sleeve and printed inner sleeves) has been remastered and includes original sleeve-notes by Byron Coley and a new introductory essay from Dinosaur Jr. fan Henry Rollins!
October 26 street date. First issued in 2002, "Ear Bleeding Country" is Dinosaur Jr.'s only career-spanning compilation. With the full support of the band, it now boasts a whole second CD of highlights from the band's career, bringing the story up-to-date in 2018, with selections chosen by the band's huge fan base. Also included are two tracks by J. Mascis' post-Dinosaur Jr. band The Fog. This package has now been remastered and includes original sleeve-notes by Byron Coley and a new introductory essay from Dinosaur Jr. fan Henry Rollins!
October 26 street date. DIRECT HIT deftly pivots from one style to the next over the 44 minutes that make up "Crown Of Nothing". Album opener "Different Universe" has a killer new-wave vibe, "Pain/Boredom" is a guaranteed circle pit starter, and "Bad Answer" is loaded with fuzz bass, a disco beat, and topped off with a sweet saxophone solo (because, why not?). Direct Hit weaves through genres with such precision and artistry that "Crown Of Nothing" feels like the most incredible mix CD you've ever heard!
October 26 street date. DIRECT HIT deftly pivots from one style to the next over the 44 minutes that make up "Crown Of Nothing". Album opener "Different Universe" has a killer new-wave vibe, "Pain/Boredom" is a guaranteed circle pit starter, and "Bad Answer" is loaded with fuzz bass, a disco beat, and topped off with a sweet saxophone solo (because, why not?). Direct Hit weaves through genres with such precision and artistry that "Crown Of Nothing" feels like the most incredible mix CD you've ever heard!
October 26 street date. Given The Fall’s penchant for iconoclasm, it’s no surprise that they decided to say goodbye to the ’70s with a series of gigs at Northern England’s gruffest halls. The band’s formidable live show was met with even more derision and disorder than customary during these late ’79 and early ’80 performances, and they skillfully amplified such sentiments back at the crowd. Totale’s Turns, The Fall’s first live album, was released on Rough Trade just prior to their pivotal third album, 1980’s Grotesque. “The difference between you and us is that we have brains,” shouts Mark E. Smith to open Totale’s Turns as the band breaks into the rollicking “Fiery Jack,” their latest single at the time. Each player is at their jagged best: Marc Riley and Craig Scanlon’s splintering guitars, Steve Hanley’s thunderous bass and Smith’s combative sneer reverberate over “Rowche Rumble,” “Choc-Stock” and “Spectre Vs. Rector” more than any studio would ever allow. Totale’s Turns never panders to live-record conventions, serving instead as a gripping exhibit of The Fall en masse and arguably the most accurate document of the group to date. Superior Viaduct’s edition is the first time that Totale’s Turns has been available on vinyl domestically. Liner notes by Brian Turner.
October 26 street date. The Rough Trade Singles collects The Fall’s four singles recorded for this influential label in 1980 and 1983 – How I Wrote ‘Elastic Man’ / City Hobgoblins, Totally Wired / Putta Block, The Man Whose Head Expanded / Ludd Gang and Kicker Conspiracy – none of which appeared on any of the band’s studio LPs. With 7-inches being the era’s vehicle for buzzing communiqués, The Fall would use the format for short-form, standalone works rather than as mere promotional devices for forthcoming albums. “Totally Wired” is often cited (and rightfully so) as The Fall’s most infectious tune – an amphetamine-fueled anthem with stuttering nods to forebears, yet too incisive to have been made by anyone else. “How I Wrote ‘Elastic Man’” is another mad hoedown, one reimagined for the post-punk age. While the playful rhythm machine on “The Man Whose Head Expanded” almost suggests danceability, Mark E. Smith’s idiosyncratic shriek on “Kicker Conspiracy” pierces through the twin drumming of Paul Hanley and Karl Burns and the group’s unpredictable / unmistakable racket. Together these songs remain some of the absolute best material The Fall would ever release. Superior Viaduct’s edition is the first time that The Rough Trade Singles has been available on vinyl domestically. Liner notes by Brian Turner.
October 26 street date. Newly remastered and released on 2LP vinyl for the first time! Includes new bonus track! The Greatest Songs Ever Written (By Us) is a chunk of NOFX’s impressive career, lopped off into 2 LPs , including a brand new song specifically written and recorded for this release. NOFX is one of the best loved punk rock bands of all time because they never self doubt... continually making their legions of fans laugh and think. Twenty years of recording, touring, and being the most successful and sarcastic punk rock band in the independent world have resulted in a twenty-seven song LP that every NOFX fan must have.
October 26 street date. Newly remastered and released on 2LP vinyl for the first time! Includes new bonus track! The Greatest Songs Ever Written (By Us) is a chunk of NOFX’s impressive career, lopped off into 2 LPs , including a brand new song specifically written and recorded for this release. NOFX is one of the best loved punk rock bands of all time because they never self doubt... continually making their legions of fans laugh and think. Twenty years of recording, touring, and being the most successful and sarcastic punk rock band in the independent world have resulted in a twenty-seven song LP that every NOFX fan must have.
Please note new street date is October 26 for LP / (Sept 7 for CD). Signed to Geffen Records, The Posies recorded 3 releases, 1990’s Dear 23, Frosting On The Beater in 1993, and Amazing Disgrace in 1996. Over the years, the CDs have been in and out of print, there have been inconsistent presences on streaming, and the LPs either long out of print or not issued at all depending on the territory. Good news: all that’s about to change. Frosting On The Beater is back, re-issued by Omnivore Recordings. 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— 15 of Frosting On The Beater’s 31 bonus tracks on this reissue have never been heard! Frosting On The Beater will now stretch across two LPs and will be mastered at 45 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!
October 26 street date. Includes songs by War, The Spencer Davis Group, John Lennon, Funkadelic, The Dils, Neil Young, Gong, Amon Düül, Rudimentary Peni, The Grateful Dead, and Sparks!! - Take a tour through Ty Segall’s musical psyche with his new solo album, Fudge Sandwich, a collection of Segall’s take on eleven songs that were originally done by other people. These aren’t just cover versions. Cover versions happen at weddings and high school band battles. The songs here are what happens when someone loves a song so much, they need to get inside it and let it propagate and transform into what it would have been if they had actually written it. Equal parts reverence and reimagination, this album shows Segall inhabiting the world of a song’s intent, filtering it through the muse that drove this year’s exceptional Freedom’s Goblin. Cluttered, passionate and inspired, the songs are barely recognizable, irresistible and by album’s end, present a cohesive collection that stands proudly alongside the best of Segall’s considerable output. Includes songs by War, The Spencer Davis Group, John Lennon, Funkadelic, The Dils, Neil Young, Gong, Amon Düül, Rudimentary Peni, The Grateful Dead, and Sparks!!
October 26 street date. Includes songs by War, The Spencer Davis Group, John Lennon, Funkadelic, The Dils, Neil Young, Gong, Amon Düül, Rudimentary Peni, The Grateful Dead, and Sparks!! - Take a tour through Ty Segall’s musical psyche with his new solo album, Fudge Sandwich, a collection of Segall’s take on eleven songs that were originally done by other people. These aren’t just cover versions. Cover versions happen at weddings and high school band battles. The songs here are what happens when someone loves a song so much, they need to get inside it and let it propagate and transform into what it would have been if they had actually written it. Equal parts reverence and reimagination, this album shows Segall inhabiting the world of a song’s intent, filtering it through the muse that drove this year’s exceptional Freedom’s Goblin. Cluttered, passionate and inspired, the songs are barely recognizable, irresistible and by album’s end, present a cohesive collection that stands proudly alongside the best of Segall’s considerable output. Includes songs by War, The Spencer Davis Group, John Lennon, Funkadelic, The Dils, Neil Young, Gong, Amon Düül, Rudimentary Peni, The Grateful Dead, and Sparks!!
October 26 street date. Oakland, CA trio Super Unison features Meghan O’Neil (formerly of PUNCH) on bass and vocals, Kevin DeFranco on guitar, and Justin Renninger (formerly of Snowing) on drums. Formed in 2014, the band released their acclaimed album “Auto” on Deathwish in 2017. Their new album “Stella” was recorded by Steve Albini (Nirvana, Pixies, Jawbreaker), produced by Don Devore (Ink & Dagger), and mastered by Jack Shirley (Deafheaven, Oathbreaker). It is an aggressive and sonically dynamic outpouring of post punk emotion. Though they tackle dark and personal subject matter, they ultimately find a light that cuts through the dark, and a way to get through the loss and loneliness we all face.
October 26 street date. Oakland, CA trio Super Unison features Meghan O’Neil (formerly of PUNCH) on bass and vocals, Kevin DeFranco on guitar, and Justin Renninger (formerly of Snowing) on drums. Formed in 2014, the band released their acclaimed album “Auto” on Deathwish in 2017. Their new album “Stella” was recorded by Steve Albini (Nirvana, Pixies, Jawbreaker), produced by Don Devore (Ink & Dagger), and mastered by Jack Shirley (Deafheaven, Oathbreaker). It is an aggressive and sonically dynamic outpouring of post punk emotion. Though they tackle dark and personal subject matter, they ultimately find a light that cuts through the dark, and a way to get through the loss and loneliness we all face.
October 26 street date. Oakland, CA trio Super Unison features Meghan O’Neil (formerly of PUNCH) on bass and vocals, Kevin DeFranco on guitar, and Justin Renninger (formerly of Snowing) on drums. Formed in 2014, the band released their acclaimed album “Auto” on Deathwish in 2017. Their new album “Stella” was recorded by Steve Albini (Nirvana, Pixies, Jawbreaker), produced by Don Devore (Ink & Dagger), and mastered by Jack Shirley (Deafheaven, Oathbreaker). It is an aggressive and sonically dynamic outpouring of post punk emotion. Though they tackle dark and personal subject matter, they ultimately find a light that cuts through the dark, and a way to get through the loss and loneliness we all face.
October 26 street date. "Harmony In My Head" is another of Cherry Red's celebrations of a bygone era - this time, the boom in Power Pop and New Wave which followed the Punk explosion in 1977. This triple-CD box set spins off the success of the 4-CD compilation "Action Time Vision" (2016), which documented Punk on independent labels. The collection includes many of the New Wave/Power Pop scene's biggest hitters alongside the more melodic Punk bands. Name acts include Elvis Costello, Squeeze, Buzzcocks, Eddie & The Hot Rods, Nick Lowe, The Jags and Wreckless Eric, who are joined by other less successful but nevertheless key players (The Records, The Freshies, The Flys, etc.) as well as a host of rare 45s on tiny labels, many of which have never been on CD before. The deluxe clamshell package includes a weighty booklet full of illustrations, with a 12,000-word sleeve-note incorporating band-by-band biographies by compiler David Wells.
November 2 street date. M.C. Taylor recorded this spiritually devastating, austere antecedent to the widely celebrated Hiss Golden Messenger albums Haw (2013) and Poor Moon (2011) direct to a portable cassette recorder at the kitchen table of his pine-entwined home in rural Piedmont North Carolina in 2010. It was the dead of winter and the pit of the financial crisis, a moment when the dire ramifications of debt—in its economic, political, and personal senses—had assumed a rank immediacy and terror for many working people around the world, not least of all in the American South. Taylor, his one-year old boy Elijah sleeping in the next room, was compelled to chart the sacred valences of debt, doubt, and family in fresh ways, in the process stripping bare and reinventing his songwriting idiom. Bad Debt remastered by Chris Boerner at Kitchen Mastering. Artwork reimagined by Sam Smith (Lateness of Dancers).
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
November 2 street date. M.C. Taylor recorded this spiritually devastating, austere antecedent to the widely celebrated Hiss Golden Messenger albums Haw (2013) and Poor Moon (2011) direct to a portable cassette recorder at the kitchen table of his pine-entwined home in rural Piedmont North Carolina in 2010. It was the dead of winter and the pit of the financial crisis, a moment when the dire ramifications of debt—in its economic, political, and personal senses—had assumed a rank immediacy and terror for many working people around the world, not least of all in the American South. Taylor, his one-year old boy Elijah sleeping in the next room, was compelled to chart the sacred valences of debt, doubt, and family in fresh ways, in the process stripping bare and reinventing his songwriting idiom. Bad Debt remastered by Chris Boerner at Kitchen Mastering. Artwork reimagined by Sam Smith (Lateness of Dancers).
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
November 2 street date. Composed and arranged by Head Messenger M.C. Taylor at his home in the rural Piedmont mill town of Pittsboro and recorded with longtime collaborator Scott Hirsch in New York, California and North Carolina, Poor Moon offers a moving culmination of the spiritually-charged song cycle commenced on the critically acclaimed album Bad Debt. Treading a red-clay road between Bad Debt and Country Hai East Cotton in sound and sentiment, it is the first fully electric ensemble recording since the highly limited Hiss Golden Messenger live release Root Work in 2010. Featuring contributions from Terry Lonergan, Nathan Bowles (Black Twig Pickers; Pelt), Hans Chew (D. Charles Speer & the Helix), Matt Cunitz (Brightblack Morning Light), Tom Heyman (The Court & Spark), and others, Poor Moon represents both an elaboration and inversion of previous Hiss Golden Messenger efforts, proposing an America at perpetual sundown, wracked by devotion, wrecked by celebration. Named in homage to the Canned Heat track penned by the immortal Blind Owl, Poor Moon conjures the unsteady experience of soul at home in the wild, and it stands as a captivating document of Southern songcraft. Poor Moon remastered by Chris Boerner at Kitchen Mastering. Artwork reimagined by Sam Smith (Lateness of Dancers).
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
November 2 street date. Composed and arranged by Head Messenger M.C. Taylor at his home in the rural Piedmont mill town of Pittsboro and recorded with longtime collaborator Scott Hirsch in New York, California and North Carolina, Poor Moon offers a moving culmination of the spiritually-charged song cycle commenced on the critically acclaimed album Bad Debt. Treading a red-clay road between Bad Debt and Country Hai East Cotton in sound and sentiment, it is the first fully electric ensemble recording since the highly limited Hiss Golden Messenger live release Root Work in 2010. Featuring contributions from Terry Lonergan, Nathan Bowles (Black Twig Pickers; Pelt), Hans Chew (D. Charles Speer & the Helix), Matt Cunitz (Brightblack Morning Light), Tom Heyman (The Court & Spark), and others, Poor Moon represents both an elaboration and inversion of previous Hiss Golden Messenger efforts, proposing an America at perpetual sundown, wracked by devotion, wrecked by celebration. Named in homage to the Canned Heat track penned by the immortal Blind Owl, Poor Moon conjures the unsteady experience of soul at home in the wild, and it stands as a captivating document of Southern songcraft. Poor Moon remastered by Chris Boerner at Kitchen Mastering. Artwork reimagined by Sam Smith (Lateness of Dancers).
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
November 2 street date. Devotion: Songs About Rivers and Spirits and Children is a limited-edition deluxe box set which includes remastered reissues of the classic Hiss albums Bad Debt, Poor Moon, and Haw as well as Virgo Fool, a rarities compilation that will only be available physically as part of this collection. Both the 4-CD and 4-LP sets are housed in a cloth-wrapped, foil-stamped slipcase and feature original iconographic artwork by Sam Smith, an exclusive foldout poster, full lyrics, and new liner notes by New Yorker writer Amanda Petrusich and MOJO editor John Mulvey. The vinyl set also includes a digital download of all tracks. What struck me about Hiss Golden Messenger—and my absorption in these early records was instantaneous—is that Taylor’s songs are completely and unfailingly honest about how stupid and frustrating it is to be a person. But then, of course, he finds magnificence anyway: “Hallelujah anyhow” is how he put it later. —Amanda Petrusich
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
November 2 street date. Devotion: Songs About Rivers and Spirits and Children is a limited-edition deluxe box set which includes remastered reissues of the classic Hiss albums Bad Debt, Poor Moon, and Haw as well as Virgo Fool, a rarities compilation that will only be available physically as part of this collection. Both the 4-CD and 4-LP sets are housed in a cloth-wrapped, foil-stamped slipcase and feature original iconographic artwork by Sam Smith, an exclusive foldout poster, full lyrics, and new liner notes by New Yorker writer Amanda Petrusich and MOJO editor John Mulvey. The vinyl set also includes a digital download of all tracks. What struck me about Hiss Golden Messenger—and my absorption in these early records was instantaneous—is that Taylor’s songs are completely and unfailingly honest about how stupid and frustrating it is to be a person. But then, of course, he finds magnificence anyway: “Hallelujah anyhow” is how he put it later. —Amanda Petrusich
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
November 2 street date. Composed and arranged by Head Messenger M.C. Taylor at his home in the rural Piedmont mill town of Pittsboro and recorded with longtime collaborator Scott Hirsch in New York, California and North Carolina, Poor Moon offers a moving culmination of the spiritually-charged song cycle commenced on the critically acclaimed album Bad Debt. Treading a red-clay road between Bad Debt and Country Hai East Cotton in sound and sentiment, it is the first fully electric ensemble recording since the highly limited Hiss Golden Messenger live release Root Work in 2010. Featuring contributions from Terry Lonergan, Nathan Bowles (Black Twig Pickers; Pelt), Hans Chew (D. Charles Speer & the Helix), Matt Cunitz (Brightblack Morning Light), Tom Heyman (The Court & Spark), and others, Poor Moon represents both an elaboration and inversion of previous Hiss Golden Messenger efforts, proposing an America at perpetual sundown, wracked by devotion, wrecked by celebration. Named in homage to the Canned Heat track penned by the immortal Blind Owl, Poor Moon conjures the unsteady experience of soul at home in the wild, and it stands as a captivating document of Southern songcraft. Haw remastered by Chris Boerner at Kitchen Mastering. Artwork reimagined by Sam Smith (Lateness of Dancers).
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
November 2 street date. Composed and arranged by Head Messenger M.C. Taylor at his home in the rural Piedmont mill town of Pittsboro and recorded with longtime collaborator Scott Hirsch in New York, California and North Carolina, Poor Moon offers a moving culmination of the spiritually-charged song cycle commenced on the critically acclaimed album Bad Debt. Treading a red-clay road between Bad Debt and Country Hai East Cotton in sound and sentiment, it is the first fully electric ensemble recording since the highly limited Hiss Golden Messenger live release Root Work in 2010. Featuring contributions from Terry Lonergan, Nathan Bowles (Black Twig Pickers; Pelt), Hans Chew (D. Charles Speer & the Helix), Matt Cunitz (Brightblack Morning Light), Tom Heyman (The Court & Spark), and others, Poor Moon represents both an elaboration and inversion of previous Hiss Golden Messenger efforts, proposing an America at perpetual sundown, wracked by devotion, wrecked by celebration. Named in homage to the Canned Heat track penned by the immortal Blind Owl, Poor Moon conjures the unsteady experience of soul at home in the wild, and it stands as a captivating document of Southern songcraft. Haw remastered by Chris Boerner at Kitchen Mastering. Artwork reimagined by Sam Smith (Lateness of Dancers).
Merge Records was started in the summer of 1989, by Laura Ballance & Mac McCaughan, the same summer they formed the band Superchunk in Chapel Hill, NC. The first couple releases were cassettes (remember those?), by WWAX and Bricks, followed by the first Superchunk (then known only as "Chunk") 7" single. The vinyl 7" was the format of choice for the first 3 years of the label, with cash borrowed from friends to finance projects (including singles from Erectus Monotone, Angels of Epistemology, and more Superchunk) and bedrooms serving as Merge HQ until 1992, when the first Merge full-length release, Tossing Seeds by Superchunk, was released on CD, LP, and cassette. With this release Merge also forged a relationship with Touch and Go Records of Chicago, who have done an admirable job manufacturing and distributing the bulk of Merge's full-length releases since then. Since '92 Merge moved from one charming-yet-run-down office to another until 2001, when we finally made the move from Chapel Hill down the road to a fine old building all our own in historic Downtown Durham, NC. In 2004 Merge Records is celebrating its 15th birthday, and while our roster has changed, rotated, permutated and expanded over the last 15 years, the quality we look for in records as fans is still there in the music we put out on Merge. Thanks for listening!
Please note new street date: November 2. Fall of 2018 sees the release of a celebrated lyrics archive that has been growing for over 25 years - the words to the songs sung by Bonnie "Prince" Billy and Palace Music. The author of the songs is Will Oldham, and the book, to be released by W.W. Norton, is titled "Songs of Love and Horror", the same as this album. As befits the nature of this project, the songs are sung and played by Will alone, in a setting enjoyed by fans of his music - that of one voice and one guitar, the better to savor the spare changes and starkly-cut lyrics, operating in quiet tension and ultimate collaboration. Will brings to the songs all that he has learned from his stagecrafting fellows over the years, singing new versions that quiver like fresh young things in the air of today. Starting with such classics as "Ohio River Boat Song", "I See A Darkness", and "The Way," the sequence wanders into deeper cuts, and before it is over, Will is singing other kinds of "greatest hits" - Richard and Linda Thompson's "Strange Affair," a Bonny contribution to the Refugee benefit album, "Most People," and a previously unheard writer's demo from years ago. This microcosmic revisitation touches on the breadth of Oldham's musical conception - the songs that came before him, the songs that came out of him, but didn't make it on to the album, the songs that never came out at all.
Please note new street date: November 2. Fall of 2018 sees the release of a celebrated lyrics archive that has been growing for over 25 years - the words to the songs sung by Bonnie "Prince" Billy and Palace Music. The author of the songs is Will Oldham, and the book, to be released by W.W. Norton, is titled "Songs of Love and Horror", the same as this album. As befits the nature of this project, the songs are sung and played by Will alone, in a setting enjoyed by fans of his music - that of one voice and one guitar, the better to savor the spare changes and starkly-cut lyrics, operating in quiet tension and ultimate collaboration. Will brings to the songs all that he has learned from his stagecrafting fellows over the years, singing new versions that quiver like fresh young things in the air of today. Starting with such classics as "Ohio River Boat Song", "I See A Darkness", and "The Way," the sequence wanders into deeper cuts, and before it is over, Will is singing other kinds of "greatest hits" - Richard and Linda Thompson's "Strange Affair," a Bonny contribution to the Refugee benefit album, "Most People," and a previously unheard writer's demo from years ago. This microcosmic revisitation touches on the breadth of Oldham's musical conception - the songs that came before him, the songs that came out of him, but didn't make it on to the album, the songs that never came out at all.
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.
Please note new street date: November 2. "American Water" - it's 20 years young! "American Water" was first released two decades ago. Observing the time between then and now, the album has been half-speed mastered at Abbey Road to provide depth and nuance for all future vinyl listeners.The CD will continue to represent the perfection of the original 1998 master. And the cassette makes its debut, to provide an alternative aural time-stamp for intrepid audio voyagers who weren't there the first time around.
Please note new street date: November 2. "American Water" - it's 20 years young! "American Water" was first released two decades ago. Observing the time between then and now, the album has been half-speed mastered at Abbey Road to provide depth and nuance for all future vinyl listeners.The CD will continue to represent the perfection of the original 1998 master. And the cassette makes its debut, to provide an alternative aural time-stamp for intrepid audio voyagers who weren't there the first time around.
Please note new street date: November 2. "American Water" - it's 20 years young! "American Water" was first released two decades ago. Observing the time between then and now, the album has been half-speed mastered at Abbey Road to provide depth and nuance for all future vinyl listeners.The CD will continue to represent the perfection of the original 1998 master. And the cassette makes its debut, to provide an alternative aural time-stamp for intrepid audio voyagers who weren't there the first time around.
November 2 street date. Since it’s initial limited release in 2008, Tigers Jaw’s self-titled album has become a reference point for most underground indie rock to come after it. To celebrate the ten year anniversary of this iconic album, Tigers Jaw & Run For Cover Records present this deluxe anniversary reissue is packed with special features: A zine with alternate photos from the original album art sessions, a collection of stories and memories from, Nick Hamm (Citizen), Georgia Maq (Camp Cope), Jeff Casazza (RFC), Walter Schreifels (Quicksand), Phoebe Bridgers, Ben Russin (Title Fight) & many more, full color photo 7” flexi record with an alternate version of “Chemicals”, limited edition color vinyl, and a full album digital download code.
Please note new street date: November 2. February 16, 2018 marked the 10-year anniversary of the first show ever played by Los Angeles natives Touche’ Amore’. To celebrate this anniversary the band played their 1000th show at the Regent Theater in downtown LA , and this incred- ible event was captured on their new live album, 10 Years/1000 Shows – Live At The Regent Theater. Featuring 27 tracks, spanning the band’s entire catalog. Recorded live by Robert Cheeseman and mixed by Kurt Ballou (Converge) at Godcity Studio in Salem, MA. For fans of Title Fight, LaDispute and Tigers Jaw.
Please note new street date: November 2. February 16, 2018 marked the 10-year anniversary of the first show ever played by Los Angeles natives Touche’ Amore’. To celebrate this anniversary the band played their 1000th show at the Regent Theater in downtown LA , and this incred- ible event was captured on their new live album, 10 Years/1000 Shows – Live At The Regent Theater. Featuring 27 tracks, spanning the band’s entire catalog. Recorded live by Robert Cheeseman and mixed by Kurt Ballou (Converge) at Godcity Studio in Salem, MA. For fans of Title Fight, LaDispute and Tigers Jaw.
November 2 street date. The Unwound album that ended all Unwound albums. Recorded in a moldering farmhouse basement at the crest of the new century, Leaves Turn Inside You is the no-wave response to Spector's wall of noise call. Infinite layers of choppy guitar stabs and bridge scrapes, guttural bass thronk, thrift store synths, and monotone chanting wash over suffocating rhythms to deliver the world's only choral grunge LP. Remastered from the original analog tapes and pressed on heavyweight double-vinyl for the discerning noise-nik.
November 2 street date. By mid-1968 there was a growing consensus that something had gone horribly wrong with the American dream. The nation's youth had loudly made their feelings clear, but now the older, pre-Beatles generations began to look at the country - with urban riots, Vietnam, and the assassinations of Martin Luther King and Bobby Kennedy - and wonder what the hell was happening. Reactions to America’s existential crisis ranged in subject matter from divorce (Frank Sinatra's "The Train") and the break-up of the nuclear family (The Four Seasons' "Saturday's Father"), to eulogies for fallen heroes (Dion's "Abraham Martin and John"), sympathy for Vietnam vets (Johnny Tillotson's "Welfare Hero"), the church's institutional racism (Eartha Kitt's intense "Paint Me Black Angels"), and even questioning the ethics of the space programme (Bing Crosby's terrific "What Do We Do With The World"). Compiled by Bob Stanley and Pete Wiggs, "State Of The Union" follows on from their highly acclaimed "English Weather" and "Paris In The Spring" compilations. With clear parallels between today's fractured country and the USA fifty years ago, this is a fascinating condensation of what Americans were thinking when they turned on the TV, or the radio, or simply walked down Main Street in 1968. Also available on vinyl: Cat # XXQLP2057 (2LP)
November 2 street date. The new volume in Ace's "songwriter" series looks at Muscle Shoals cult legend Eddie Hinton. Eddie was a fixture of the Shoals recording scene in the mid-late 60s. As well as being a prolific and immediately recognisable session guitarist, and a great singer who sadly recorded far too infrequently, Eddie regularly wrote fine songs with a peer group that at various times included Donnie Fritts and Dan Penn. "Cover Me" features a comprehensive selection of Eddie's best-known copyrights, many of which are now regarded as classics of 60s southern soul. Not all of Eddie’s songs are as well-known as his biggest hit, the much-recorded "Breakfast In Bed", but there are several others here that could and should have been just as commercially successful. Artists would always be glad to record whatever Eddie submitted for their consideration. You only have to look at this CD's cast list, which includes Bobby Womack, Aretha Franklin, Dusty Springfield, Mink Deville, Candi Staton, Percy Sledge, Cher, and Lulu to name but a few, to see the calibre of talent Eddie's copyrights attracted.
November 2 street date. 180g blue vinyl double LP edition of the new compilation from Bob Stanley and Pete Wiggs. "State Of The Union" follows on from their highly acclaimed "English Weather" and "Paris In The Spring" compilations. With clear parallels between today's fractured country and the USA fifty years ago, this is a fascinating condensation of what Americans were thinking when they turned on the TV, or the radio, or simply walked down Main Street in 1968. The nation's youth had loudly made their feelings clear, but now the older, pre-Beatles generations began to look at the country - with urban riots, Vietnam, and the assassinations of Martin Luther King and Bobby Kennedy - and wonder what the hell was happening. 24 tracks from artists such as Elvis Presley, Eartha Kitt, Roy Orbison, Bobby Darin, The Beach Boys, Mel Torme, and many more. Also available on CD (Cat # CDCHD1533).
November 9 street date. ARCHITECTS UK are a band who’ve never shied away from challenging the world around them. After suffering the loss of co-founder /guitarist Tom Searle to cancer in 2016, the band returned to the road and the studio in 2017 releasing the hit track “Doomsday”, which climbed the Active Rock Radio charts and went on to be one the bands most successful songs. Long lauded as some of modern metal’s most progressive-thinking minds, for the past decade, the quintet have pushed boundaries, redefined genres, and never feared having to question themselves in order for their art to leave its mark on this Earth. ARCHITECTS UK, are a band like few others; The quintet all practice a vegan lifestyle, tour with a consciousness about their footprint on the world, and devote time and energies to environmental causes. Their 8th studio album, Holy Hell is the return to the studio for a band that have come through the grieving process with more drive and determination than ever before. Drummer Dan Searle- Desbiens takes on the helm as lyricist and writes music with his bandmates vocalist Sam Carter, guitarist Adam Christianson, bassist Alex Dean and new guitarist Josh Middleton. For the follow-up to their 2016 album All Our Gods Have Abandoned Us , ARCHITECTS UK recorded at Middle Farm Studios in Devon, UK with bandmates Dan Searle-Desbiens and Josh Middleton behind the board as producers.
November 9 street date. ARCHITECTS UK are a band who’ve never shied away from challenging the world around them. After suffering the loss of co-founder /guitarist Tom Searle to cancer in 2016, the band returned to the road and the studio in 2017 releasing the hit track “Doomsday”, which climbed the Active Rock Radio charts and went on to be one the bands most successful songs. Long lauded as some of modern metal’s most progressive-thinking minds, for the past decade, the quintet have pushed boundaries, redefined genres, and never feared having to question themselves in order for their art to leave its mark on this Earth. ARCHITECTS UK, are a band like few others; The quintet all practice a vegan lifestyle, tour with a consciousness about their footprint on the world, and devote time and energies to environmental causes. Their 8th studio album, Holy Hell is the return to the studio for a band that have come through the grieving process with more drive and determination than ever before. Drummer Dan Searle- Desbiens takes on the helm as lyricist and writes music with his bandmates vocalist Sam Carter, guitarist Adam Christianson, bassist Alex Dean and new guitarist Josh Middleton. For the follow-up to their 2016 album All Our Gods Have Abandoned Us , ARCHITECTS UK recorded at Middle Farm Studios in Devon, UK with bandmates Dan Searle-Desbiens and Josh Middleton behind the board as producers.
November 9 street date. ARCHITECTS UK are a band who’ve never shied away from challenging the world around them. After suffering the loss of co-founder /guitarist Tom Searle to cancer in 2016, the band returned to the road and the studio in 2017 releasing the hit track “Doomsday”, which climbed the Active Rock Radio charts and went on to be one the bands most successful songs. Long lauded as some of modern metal’s most progressive-thinking minds, for the past decade, the quintet have pushed boundaries, redefined genres, and never feared having to question themselves in order for their art to leave its mark on this Earth. ARCHITECTS UK, are a band like few others; The quintet all practice a vegan lifestyle, tour with a consciousness about their footprint on the world, and devote time and energies to environmental causes. Their 8th studio album, Holy Hell is the return to the studio for a band that have come through the grieving process with more drive and determination than ever before. Drummer Dan Searle- Desbiens takes on the helm as lyricist and writes music with his bandmates vocalist Sam Carter, guitarist Adam Christianson, bassist Alex Dean and new guitarist Josh Middleton. For the follow-up to their 2016 album All Our Gods Have Abandoned Us , ARCHITECTS UK recorded at Middle Farm Studios in Devon, UK with bandmates Dan Searle-Desbiens and Josh Middleton behind the board as producers.
November 9 street date. Before any of the excitement could die down, Kev Brown hasn’t let off the gas. In less than 2 months after his long awaited and critically acclaimed Homework album, the latest release entitled Fill in the Blank is nothing short of the perfect surprise for the hip-hop world. In the famous words of Kev, this is just “another classic joint!” .
November 9 street date. Cult Leader is a chaotic band from Salt Lake City, Utah. “A Patient Man” was recorded and engineered by Kurt Ballou at God City Studios (Converge, Nails, High On Fire). From the first hits of opener “I Am Healed” Cult Leader take listeners on a sonic rollercoaster ride. Much of the album follows this blueprint. Songs like “Curse of Satisfaction”, “Craft of Mourning”, and “Share My Pain” are driven by a weave work of unorthodox metallic riffing and fueled by hyper-aggressive percussion. While the technical proficiency is impressive, it’s in their use of dynamics where they truly shine. The album contains four beautifully brooding epics; “To: Achlys”, “A World of Joy”, title track “A Patient Man”, and “The Broken Right Hand of God”. Each one of them carries a maturation and sense of melody that few “extreme” bands have within their arsenal. Proving that aggressive music still has much to offer the world in terms of originality, creativity, and emotion.
November 9 street date. Cult Leader is a chaotic band from Salt Lake City, Utah. “A Patient Man” was recorded and engineered by Kurt Ballou at God City Studios (Converge, Nails, High On Fire). From the first hits of opener “I Am Healed” Cult Leader take listeners on a sonic rollercoaster ride. Much of the album follows this blueprint. Songs like “Curse of Satisfaction”, “Craft of Mourning”, and “Share My Pain” are driven by a weave work of unorthodox metallic riffing and fueled by hyper-aggressive percussion. While the technical proficiency is impressive, it’s in their use of dynamics where they truly shine. The album contains four beautifully brooding epics; “To: Achlys”, “A World of Joy”, title track “A Patient Man”, and “The Broken Right Hand of God”. Each one of them carries a maturation and sense of melody that few “extreme” bands have within their arsenal. Proving that aggressive music still has much to offer the world in terms of originality, creativity, and emotion.
November 9 street date. Cult Leader is a chaotic band from Salt Lake City, Utah. “A Patient Man” was recorded and engineered by Kurt Ballou at God City Studios (Converge, Nails, High On Fire). From the first hits of opener “I Am Healed” Cult Leader take listeners on a sonic rollercoaster ride. Much of the album follows this blueprint. Songs like “Curse of Satisfaction”, “Craft of Mourning”, and “Share My Pain” are driven by a weave work of unorthodox metallic riffing and fueled by hyper-aggressive percussion. While the technical proficiency is impressive, it’s in their use of dynamics where they truly shine. The album contains four beautifully brooding epics; “To: Achlys”, “A World of Joy”, title track “A Patient Man”, and “The Broken Right Hand of God”. Each one of them carries a maturation and sense of melody that few “extreme” bands have within their arsenal. Proving that aggressive music still has much to offer the world in terms of originality, creativity, and emotion.
November 9 street date. (Indie vinyl limited to 1000 on Red & Black Mix) Cult Leader is a chaotic band from Salt Lake City, Utah. “A Patient Man” was recorded and engineered by Kurt Ballou at God City Studios (Converge, Nails, High On Fire). From the first hits of opener “I Am Healed” Cult Leader take listeners on a sonic rollercoaster ride. Much of the album follows this blueprint. Songs like “Curse of Satisfaction”, “Craft of Mourning”, and “Share My Pain” are driven by a weave work of unorthodox metallic riffing and fueled by hyper-aggressive percussion. While the technical proficiency is impressive, it’s in their use of dynamics where they truly shine. The album contains four beautifully brooding epics; “To: Achlys”, “A World of Joy”, title track “A Patient Man”, and “The Broken Right Hand of God”. Each one of them carries a maturation and sense of melody that few “extreme” bands have within their arsenal. Proving that aggressive music still has much to offer the world in terms of originality, creativity, and emotion.
November 9 street date. Limited edition mono 180 gram, green vinyl reissue of the 1968 debut album from the king of the psychedelic bayou - the hypnotic, mystical and powerful sound of the swamp coming to life. As he became Dr. John (real name Mac Rebennack), it was his LA session work with musicians like Sonny & Cher, Canned Heat, and Zappa that allowed him to start conjuring up his visions of guitar psych-pop to walk alongside his authentic New Orleans upbringing. While "Gris Gris" contains moments that make it a type stamped symbol of its era, it might have well been made in outer space. Recorded in its own psychic and stylistic vacuum, the album borrows as heavily from the New Orleans musical culture in which he grew up as it does the looming continuous pulse of war, heavy drugs, and the end of the free love/hippie movement.
November 9 street date. Known as one of the founding fathers of American death / funeral doom, New Jersey’s Evoken have been a long-standing pillar of the scene during their 25 year pillage. Their new full-length album Hypnagogia is the band’s sixth album, their first in six years since the landmark Atra Mors, and is a towering monolith that develops and redefines the band’s sound, strengthening their position within the metal hierarchy. This release is an expression of doom metal artistry: one will bear witness to how the band creates new and even more daring expressions, expanding their musical dynamics through meticulous care and discrimination in the song writing process. A multitude of varying and flourishing emotions exists herein, pushing their trademark penchant for grandiose melodicism and pulverizing heaviness into the band’s most intense, compelling, and soul crushing experiences yet—one of euphoria, desperation, and hopelessness. (For fans of My Dying Bride, old-school Paradise Lost, Bell Witch, old-school Anathema, Loss, Mournful Congregation )
November 9 street date. Known as one of the founding fathers of American death / funeral doom, New Jersey’s Evoken have been a long-standing pillar of the scene during their 25 year pillage. Their new full-length album Hypnagogia is the band’s sixth album, their first in six years since the landmark Atra Mors, and is a towering monolith that develops and redefines the band’s sound, strengthening their position within the metal hierarchy. This release is an expression of doom metal artistry: one will bear witness to how the band creates new and even more daring expressions, expanding their musical dynamics through meticulous care and discrimination in the song writing process. A multitude of varying and flourishing emotions exists herein, pushing their trademark penchant for grandiose melodicism and pulverizing heaviness into the band’s most intense, compelling, and soul crushing experiences yet—one of euphoria, desperation, and hopelessness. (For fans of My Dying Bride, old-school Paradise Lost, Bell Witch, old-school Anathema, Loss, Mournful Congregation )
November 9 street date. First time on vinyl for "The Gift", which was released on CD and digitally in 2017. Since 1991, HI-STANDARD has been a driving force in the Japanese music scene. Their eclectic and melodic approach to songwriting has garnered the band an enormous following; one which rose steadily before exploding with their breakthrough 1999 album "Making the Road". In addition to headlining sold out stadium shows in Japan, their signature sound has garndered thousands of fans around the globe. From start to finish, "The Gift" delivers bombastic vocals with sugary sweet melodies that are just as infectious as ever. The cherry on the top of this 21st century update of the classic 90s FAT sound is the full-color cover art by famed 90s rock poster artist Frank Kozik!
November 9 street date. 10TH ANNIVERSARY 1st-TIME VINYL RE ISSUE FOR XO – ORIGINALLY RELEASED ON CD IN 2009. Frank Iero has had enough. After years of keeping anger and rage bottled up, he can no longer contain it. In 2007, Iero, guitarist of the hugely popular rock band My Chemical Romance, reached his tipping point and created LeATHERMOUTH with Rob Hughes, a friend from Iero’s home state of New Jersey. “I think there is a void of bands that are outspoken on things that actually matter,” explains Iero. “There’s too much bad hair and white belts. Sometimes it nice to turn your brain off and just listen to someone sing about girls. I’m not knocking it. I do think there is a time and a place. But LeATHERMOUTH isn’t like that...it’s about hate. Hate that boils up inside and eats away at you, if you don’t vomit it up you know it will eventually destroy you.” Tired of the misdirected blame in school shootings, overmedicating kids and nefarious politicians among other things, Iero viciously explodes with pent up frustration on XO, spewing his aggression out in a rapid fire succession. XO is a call to action with thick speeding rock riffs inciting listeners with brutal hostility, inculcating a sense of urgency with the controversial track “Catch Me If you Can,” which likens the NYPD to Jack the Ripper, “Sunsets Are For Muggings,” about being robbed of your childhood by drugs and therapy and “5th Period Massacre,” which points the finger at bullying students as the cause a school shooting.
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. On 2007s “Nostalgia,” a memorable track off Marco Polo’s album, Port Authority, chemistry between Polo and guest MC Masta Ace is easily heard and felt. What was a quick one-off collab was not only a reminder of Masta Ace’s timelessness, but it was also the impetus for a larger, more fleshed out concept between the Toronto beatsmith Polo and the legendary MC. The pair since formed a duo and the result is a powerfully evenhanded project, A Breukelen Story.
November 9 street date. On 2007s “Nostalgia,” a memorable track off Marco Polo’s album, Port Authority, chemistry between Polo and guest MC Masta Ace is easily heard and felt. What was a quick one-off collab was not only a reminder of Masta Ace’s timelessness, but it was also the impetus for a larger, more fleshed out concept between the Toronto beatsmith Polo and the legendary MC. The pair since formed a duo and the result is a powerfully evenhanded project, A Breukelen Story.
November 9 street date. Snarling Aussie punk from the the western burnout paradise of Perth. Recorded in 1980 and issued on the short-lived White Rider label, "Last Night" arrived just before The Scientists abandoned their power pop hooks and went on an unhinged swamp-grunge tear. Replicated down to the tiniest detail, The Scientists E.P. has been remastered from the original analog tapes and presented in a heavy weight picture sleeve.
November 9 street date. Jon Spencer, the Blues Explosion man who put the “Bellbottoms” on Baby Driver! The top cat who spread the secret sauce in Boss Hog! The rockabilly right-hook from heavyweight outlaws Heavy Trash! The swank-fucking master of Pussy Galore! Jon Spencer is back! Often imitated, never duplicated, the original NYC underground-rock legend returns from the wilderness with twelve red-hot hits, each more powerful than the last! This is Garage Punk for Now People! A wizard’s brew of rhythm and blues and subversive dance grooves, weaponized with sci-fi skronk and industrial attitude, calibrated for the Revolution, a Molotov cocktail of sound guaranteed to destroy any post-modern hangover. Pulsing with energy, clanging with excitement, and dripping with radioactive soul and raw emotion, Spencer opens up his heart like never before, exploring man’s modern condition with caustic guitars and outerworld crooning, asking and answering the musical question, “Is it possible to torch the cut-throat world of fake news and pre-fab, plastic-coated teen rebellion with the power of rock ’n’ roll?” The answer is yes—on Spencer Sings The Hits! This is the truth serum America has been craving, the beginning of a rock ’n’ roll rebellion that takes no prisoners and puts the squares on ice!
November 9 street date. Jon Spencer, the Blues Explosion man who put the “Bellbottoms” on Baby Driver! The top cat who spread the secret sauce in Boss Hog! The rockabilly right-hook from heavyweight outlaws Heavy Trash! The swank-fucking master of Pussy Galore! Jon Spencer is back! Often imitated, never duplicated, the original NYC underground-rock legend returns from the wilderness with twelve red-hot hits, each more powerful than the last!
This is Garage Punk for Now People! A wizard’s brew of rhythm and blues and subversive dance grooves, weaponized with sci-fi skronk and industrial attitude, calibrated for the Revolution, a Molotov cocktail of sound guaranteed to destroy any post-modern hangover. Pulsing with energy, clanging with excitement, and dripping with radioactive soul and raw emotion, Spencer opens up his heart like never before, exploring man’s modern condition with caustic guitars and outerworld crooning, asking and answering the musical question, “Is it possible to torch the cut-throat world of fake news and pre-fab, plastic-coated teen rebellion with the power of rock ’n’ roll?” The answer is yes—on Spencer Sings The Hits! This is the truth serum America has been craving, the beginning of a rock ’n’ roll rebellion that takes no prisoners and puts the squares on ice!
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 16 street date. (12 month calendar with free CD) Returnable for full credit, in good condition - price tags OK. Until March 31, 2019. Our 2018 "Classic Blues Artwork from the 1920's" Calendar with free CD has broad appeal to anyone interested in Blues music or history. Within its pages is a huge treasure trove of original Blues artwork from the earliest days of recorded Blues history. In addition, each calendar contains a free CD that cleverly matches up each month's artwork with the original recording it advertises. These songs make the calendar come alive! ; This year's CD has a total of 23 tracks: 12 Blues classics from Blues masters Charley Patton, Blind Lemon Jefferson, Blind Blake, Memphis Minnie and others . . . PLUS 11 super rare songs by legendary Blues artists including two recently discovered never-before-heard songs by Mississippi Blues master William Harris and two by Post War Blues giant Papa George Lightfoot. The songs are newly remastered using the American Epic sound team's amazing restoration techniques! Developed at great expense for the soundtrack of the PBS series, there is less surface noise and more dynamic range than in any previous release of these tracks. You will be excited when you feel as if you are right in the room with the performers as they play and sing their hearts out! ISBN:978-0-9894998-5-9
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. Synth chutes, synth ladders, popcorn 808 beats, dirge-y chants and busted sub-woofer hums from inner-galactic soul pioneers Nathaniel Woolridge and Anthony Freeman intertwine to create this hypnotic, mythical 1984 LP from Newark, New Jersey. The most damaged party record ever set to black, or the most partied cry of the heart ever howled into personal space. Probably both.
November 23 street date. An album about crossing physical and metaphorical borders that has never been timelier: Calexico?s classic album The Black Light turns 20 this year! This limited Anniversary Edition includes 11 bonus tracks, extensive liner notes (including insightful commentary from Joey Burns and John Convertino themselves), and alternative artwork by Victor Gastelum.
The Double LP vinyl versions (black vinyl, and limited edition clear vinyl) are pressed on heavy 180g vinyl and packaged in a gatefold cover with an embossed silver logo, a large format 8 page booklet, and a download coupon.
The Double CD version comes in a 3 panel digipak with a 24 page booklet.
November 23 street date. An album about crossing physical and metaphorical borders that has never been timelier: Calexico?s classic album The Black Light turns 20 this year! This limited Anniversary Edition includes 11 bonus tracks, extensive liner notes (including insightful commentary from Joey Burns and John Convertino themselves), and alternative artwork by Victor Gastelum.
The Double LP vinyl versions (black vinyl, and limited edition clear vinyl) are pressed on heavy 180g vinyl and packaged in a gatefold cover with an embossed silver logo, a large format 8 page booklet, and a download coupon.
The Double CD version comes in a 3 panel digipak with a 24 page booklet.
November 23 street date. An album about crossing physical and metaphorical borders that has never been timelier: Calexico?s classic album The Black Light turns 20 this year! This limited Anniversary Edition includes 11 bonus tracks, extensive liner notes (including insightful commentary from Joey Burns and John Convertino themselves), and alternative artwork by Victor Gastelum.
The Double LP vinyl versions (black vinyl, and limited edition clear vinyl) are pressed on heavy 180g vinyl and packaged in a gatefold cover with an embossed silver logo, a large format 8 page booklet, and a download coupon.
The Double CD version comes in a 3 panel digipak with a 24 page booklet.
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 30 street date. Expanded 3-CD follow up to the iconic (and now out of print) "50,000 Fall Fans Can't Be Wrong" compilation, featuring songs right up to the group's last album. Formed in Manchester in 1976, The Fall were a seminal English post-punk group. The group existed in some form from that point on, built around its founder and only constant member, the late, great Mark E. Smith. Initially associated with the punk movement of the late 1970s, the group's music underwent stylistic changes over the years, but was always characterised by an abrasive guitar-driven sound and frequent use of repetition, underpinned by Smith's distinctive vocals and often cryptic lyrics. This compilation is ideal for anyone wanting to discover the weird and wonderful world of The Fall.
November 30 street date. Leftover Crack remains one of the most intriguing collectives in the punk rock universe. Fueled by a chaotic mixture of unbridled creativity, self-medication, and an urgent sense of political purpose, this NYC 5-piece has continued to bring the world that "Crack Rock Steady Beat" ever since the demise of the legendary all-squat-all-stars Choking Victim. LöC has taken their critically serious message about the police state, religion, political corruption, and lower class suffering far and wide for 2 decades; proselytizing through often tongue in cheek lyrics and an intense, albeit wry delivery. After touring the world over, 3 full length albums, a split LP, and dozens of singles, they decided it was due time to give fans a comprehensive look at the seedy underbelly of the infamous LöC. "Leftover Leftover Crack: The E-Sides and F-Sides" spans the band's entire career. Fans will be captivated by rare versions of their favorite LöC songs, as well as unearthed b-sides and obscure rarities they've likely not heard before.
November 30 street date. Leftover Crack remains one of the most intriguing collectives in the punk rock universe. Fueled by a chaotic mixture of unbridled creativity, self-medication, and an urgent sense of political purpose, this NYC 5-piece has continued to bring the world that "Crack Rock Steady Beat" ever since the demise of the legendary all-squat-all-stars Choking Victim. LöC has taken their critically serious message about the police state, religion, political corruption, and lower class suffering far and wide for 2 decades; proselytizing through often tongue in cheek lyrics and an intense, albeit wry delivery. After touring the world over, 3 full length albums, a split LP, and dozens of singles, they decided it was due time to give fans a comprehensive look at the seedy underbelly of the infamous LöC. "Leftover Leftover Crack: The E-Sides and F-Sides" spans the band's entire career. Fans will be captivated by rare versions of their favorite LöC songs, as well as unearthed b-sides and obscure rarities they've likely not heard before.
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 30 street date. First time on vinyl. 10th Anniversary of the Breaking Bad TV Series. 5 x 10” vinyl in 5 different jackets, 1 relating to each season. Each 10” is the same colour, Strictly Limited Edition Albuquerque Crystal Coloured (transparent with a hint of turquoise) Vinyl! Lift off box-set with Breaking Bad logo on front with special drip-off varnish. Exclusive Breaking Bad Poster & Pollos Hermanos plastic ID badge. Booklet with exclusive pictures and extensive liner notes by Thomas, the musical supervisor of Breaking Bad. One run only of this very exclusive BOX-SET. Individually numbered. The manufacturing qty for Worldwide is est 4000. So far only the score music has been released on vinyl and now finally, for the very very first time, the original soundtrack music is released on vinyl! Breaking Bad is widely regarded as one of the greatest television series of all time and celebrates its 10th anniversary in 2018. The legion of fans have been waiting for this to be released for a long time. There will be a huge demand for this exclusive BOX-SET! This release was never released in any other format (CD, vinyl, digital) before and will only be available on vinyl! The box-set includes a selection of defining songs, devided in five 10” records on coloured vinyl, each representing a season with accessory artwork. The numbered box-set also includes a booklet, poster and Pollos Hermanos plastic ID Badge. Next to all essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others, the 10” records also include various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more. The box-set is a ONE-RUN-ONLY and is STRICTLY LIMITED!
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.
December 7 street date. Fourth volume of this popular series. A genre-spanning 2CD mix of hit singles, slow burners and lost gems, including the first-ever official release of the preview pressing of "Kick Out The Jams" by the MC5. The 45s that defined 1968 and crystallised author Jon Savage's memories of the year. 1968 began with business as usual in the pop charts, but the year would see convulsive political and social changes. This turmoil would be replicated in the music industry, where the effects of 1967 were seen in a proliferation of musical styles and social attitudes. The old days of a unified, central Top 40 were gone, and in its place came a new energy that transformed pop into rock, ska into rocksteady and early reggae, and soul into funk. Jon's selections for this year oscillate between soul, funk, Americana, pop-psych and hard-edged rock. With the loss of pirate radio after March, he heard of many of these either by scouring the record bins in central London or picking up tips from the music and the underground press. Some are later discoveries but the aim is to construct an ideal playlist that simulates a top radio show, without all the populist choices and extraneous filler - a more radical and faster-moving soundtrack for an inflammatory year.
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Digest 
Mockasin, Connan
