Pop & Rock Vinyl New Releases - News

Santana’s thirteenth studio album Shangó is named after one of the dominant religions in Latin America and the Caribbean. This is a must own Carlos record reaching number twenty two in Billboard 200 album charts, and the single “Hold On” reached number fifteen in the U.S. Billboard Hot 100 singles chart. Santana is on fire and along with Alex Ligertwood’s soulful vocals they created some fine and versatile songs. The songs are close related to the contemporary pop music, but it also ranges from Latino songs and jazz influential pieces.

Santana gained public attention by appearing at the Woodstock festival in 1969. The Latin influence has always been an important part in their music, although the band also created some blues rock and pop classics. Even after all those years frontman Carlos Santana is still actively performing.

• 180 GRAM AUDIOPHILE VINYL
• INSERT
• FEATURING THE SINGLES “HOLD ON”, “NOWHERE TO RUN” AND “NIGHT HUNTING TIME”

Modern Artillery is the third album by the Australian punk rock band The Living End. This is a sunnier pop influenced punk rock album compared to its predecessor. The album peaked at number 3 in the Australian charts and “Who’s Gonna Save Us?” was released as the album’s single. The band have been nominated 27 times for the Australian Music Awards and have won five of them.

• 180 GRAM AUDIOPHILE VINYL
• LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON RED COLOURED VINYL

On 26th May 2016 The Flaming Lips performed their universally acclaimed 1999 album ‘The Soft Bulletin’ in its entirety with the Colorado Symphony at Red Rocks Amphitheatre in Morrison, Colorado. This particular event has been regarded by those in attendance as one of the most awe-inspiring, moving and magical moments of a lifetime. For the Lips and their fans, perhaps the apex of a magnificent interpretation that will remain as rewarding and emotionally-charged as it was that night in 2016.
The Flaming Lips performed the 12-track album in its original sequence with new arrangements accompanied by a 69-piece orchestra and 56- strong chorus. The performance was conducted by
the internationally celebrated conductor Andre De Ridder.
Now, the resulting live recording is being released to celebrate the 20th Anniversary of ‘The Soft Bulletin’. The album was the band’s breakthrough moment and featured the hit singles ‘Race For The
Prize’ and ‘Waitin’ For A Superman’.

Now available on double vinyl featuring digital download code.

Field Music’s new release is ‘Making A New World’, a 19 track song cycle about the after-effects of the First World War. But this is not an album about war and it is not, in any traditional sense, an album about
remembrance. There are songs here about air traffic control and gender reassignment surgery. There are songs about Tiananmen Square and about ultrasound. There are even songs about Becontree Housing Estate and about sanitary towels.
The songs grew from a project for the Imperial War Museum and were first performed at their sites in Salford and London in January 2019. The starting point was an image from a 1919 publication on munitions by the US War Department, made using ‘sound ranging’, a technique that utilised an array of transducers to capture the vibrations of gunfire at the front. These vibrations were displayed on a graph, similar to a seismograph, where the distances between peaks on different lines could be used to pinpoint the location of enemy armaments. This particular image showed the minute leading up to 11am on 11th November 1918 and the minute immediately after. One minute of oppressive, juddering noise and one minute of nearsilence. “We imagined the lines from that image continuing across the next
hundred years,” says the band’s David Brewis, “and we looked for stories which tied back to specific events from the war or the immediate aftermath.” If the original intention might have been to create a mostly instrumental piece, this research forced and inspired a different approach. These were stories itching to be told.
The songs are in a kind of chronological order, starting with the end of the war itself; the uncertainty of heading home in a profoundly altered world (‘Coffee Or Wine’). Later we hear a song about the work of Dr Harold Gillies (the shimmering ballad, ‘A Change Of Heir’), whose pioneering work on skin grafts for injured servicemen led him, in the 1940s, to perform some of the very first gender reassignment surgeries. We see how the horrors of the war led to the Dada movement and how that artistic reaction was echoed in the extreme performance art of the 60s and 70s (the mathematical head-spin of
‘A Shot To The Arm). Then, in the funk stomp of ‘Money Is A Memory’, we picture an office worker in the German Treasury preparing documents for the final instalment on reparation debts - a payment made in 2010, 91 years after the Treaty of Versailles was signed. A defining, blood-spattered element of 20th Century history becomes a humdrum administrative task in a 21st Century bureaucracy.

LP format pressed on 180g transparent red vinyl in a gatefold sleeve with digital download code.

Radical No Wave pioneers UT to reissue their critically acclaimed In Gut's House album. Their second studio album originally released in 1988 on Blast First Records now fully remastered with original cover artwork, song lyrics and band photos.

The 2020 remastered reissue of IN GUT’S HOUSE will feature the original cover artwork, as well as song lyrics and photos of the band. The vinyl release will be in the same original two 45rpm EP format (with metallic ink).

Teener is a noise rock band from Detroit, Michigan. Formed in 2016, they set out to make loud music without emulating any style or artist. So far, the result is a sound that walks a line between New Wave, Noise Rock and Hardcore.

The lead A-side song, titled The Ladder, kicks off with perforated, ascending drum and guitar and a vocal shitstorm interspersed with melody-driven guitar solos. Though the kicker and the song’s namesake, is the final 30 seconds, where vocalist Ollie Dodt reenacts what sounds like an all too familiar one-sided conversation - a young person having to push and push and push for the opportunity to have a foot on the professional ladder.

The second song on the first side, Market Value, is a heavier chugging number slamming the effects of Detroit’s fracking and toxic matter “processing”, bubbling down into only vocals and feedback by the end. B-side Flavor begins with frenzied, booming toms and chainsaw guitars, only to break down about a minute in to a post-punky, drony haze. And suddenly, the clap of the toms and guitars return for a hyperkinetic finale.

In the spring of 2019 ShitKid - Åsa Söderqvist and Lina Molarin Ericsson - headed over to the US for a couple of shows at the SXSW festival in Austin, TX but ahead of the festival they managed to squeeze in a couple of days in the studio – first in LA with the legendary the Melvins and then in Austin with Paul Leary of Butthole Surfers. The new album Duo Limbo/”Mellan himmel å helvete” collects the recordings from these two sessions, half of which are ShitKid’s first recordings in their native Swedish – with a set of four songs to start with the band set out to record them in both English and Swedish, clocking in at just over 26 minutes. It’s ShitKid’s finest work yet with the duo backed by an all star line-up of Buzz Osborne (Melvins) and Dale Crover (Melvins, Redd Kross) on half of the album and Paul Leary and Josh Freese (NIN, Devo, The Replacements etc) on the other half.

The latest title in the successful T.REX Alternative singles catalogue. Presented in the new T.REX House bags this one being red on white as opposed to blue. Both tracks audio cleaned and mastered for Vinyl. Taken from Marc’s own recordings and mastered in 2019 they are not mixed or re mixed or tampered with in any way. All royalties got to the Light of Love Foundation The Marc Bolan School of Music & Film.

New project produced by Ripley Johnson of Wooden Shjips and Moon Duo fame. Packaged in a deluxe double gatefold package with original art by D. Norsen. Features special guest John Jeffrey on drums.

The album is described by producer Ripley Johnson: “The band was aiming to capture a timeless, natural sound, not quite of the present, past, or future, but phasing in between the consciousness of now and the stoned dream-state of the eternal. Sort of a back porch jam just as the shrooms are starting to kick in. Handmade and human, but also cosmic and transcendental. The goal is to let the music speak for itself and hopefully find a weird and wonderful audience somewhere out there.”

That description feels right for an album which seems perfect for those soft ephemeral moments and softly wraps you in the feeling of walking at twilight. Mellow but upbeat, it’s easy to imagine the leaves changing colours. It’s psych rock and difficult to describe without getting poetic, dreamy and insular - it’s easy to get lost in this album.
Produced and recorded by Ripley Johnson and mixed by Chris Cohen (Captured Tracks, Deerhoof), the album finds its niche in the hazy sonic landscape of private press country and psych records, alongside artists like Relatively Clean Rivers, Jim Sullivan, Kenny Knight and countless other explorers of the pastoral underground.

“The record’s a psychedelic crossroads that’s not being traversed as much these days, and as usual Johnson’s created a record that’s absorbing as its own little world. Once this hits the turntable you’re set to repeat endlessly” - Raven Sings The Blues

Invada Records announce the release of Mark Jenkin’s drone-heavy score to UK film ‘Bait’.
Mark Jenkin amazingly directed, edited and composed the score himself for the resolutely DIY yet hugely successful film. ‘Bait’ has since received four British Independent Film Awards nominations for Best Indie Film, Best Director, Breakthrough Producer and Best Editing and is one of the highest grossing and most successful indie films of 2019.
The score is pressed on blue vinyl and comes housed in an extra thick deluxe spined sleeve with double sided heavyweight card printed insert, featuring stills from the film. There is also a digital download card included.
Jenkin: “I started playing around with some drone ideas as a distraction from the editing of the film; something to take my mind off the cutting,” he says. “I was experimenting with delays and reverbs and decay and I began to feel that there was a nautical theme to the
sounds that I was making.
“An original drone was created very separate to the film but then I realised it might work as a score. From there I created a set of about 12 drones (eight of which are on the album) which were mostly variations on a theme and I began to place them in the edit to match the score. The drones work very well with the sounds of the sea, which is pretty much omni-present throughout the film and makes
it easier to embed a drone without it being a big ‘musical’ statement.”

Queens of The Stone Age fifth album released in 2007.
Pressed on 180G 12” Black vinyl for the first time ever, and housed in a single pocket gatefold jacket with 12” x 12” insert. Includes the vinyl only bonus track “Running Joke”.

Queens of The Stone Age fourth album released in 2004.
2LP 180G Black vinyl pressing in a gatefold jacket. Features the original album art on vinyl in the US for the first time ever. Includes 3 vinyl only bonus tracks “Infinity”, “Like A Drug” and “Precious Grace”.

The fifth and final studio album by the Police, Synchronicity was released in June 1983, and was the band’s most successful release. Despite its pop-oriented and experimental than either Ghost in the Machine or Zenyatta Mondatta, Synchronicity made the Police global superstars, generating no less than five classic hit singles. – Every Breath You Take (featuring a seductive, rolling beat masking its malice) King of Pain, Wrapped Around Your Finger, and Synchronicity II. The album’s title and much of the material for the songs were inspired by Arthur Koestler’s The Roots of Coincidence. At the 1984 Grammy Awards the album was nominated for a total of five awards including Album of the Year releasing on black heavyweight vinyl with original LP packaging.

Originally released in October 1981, the fourth studio album by The Police was no. 1 in the UK album chart and a multi-platinum best seller. It features three hit singles – Every Little Thing She Does Is Magic, Invisible Sun and Spirits in the Material World. Their jazz influences became more pronounced, but the album had a very strong, sophisticated pop appeal, in the song-writing talents of Sting. Highlights also include the vicious jazz-rocker Demolition Man (later covered by Grace Jones) the frantic Rehumanize Yourself, and a pair of album-closing ballads – Secret Journey and Darkness, releasing on black heavyweight vinyl with original LP packaging.

The third Police album, from 1980, again reaching no. 1 UK album chart and featuring two classic hit singles – the moving (and controversial) Don’t Stand So Close to Me (about of an older teacher’s relationship with one of his students) and De Do Do Do, De Da Da Da. Also features their second Grammy-winning instrumental Behind My Camel, and other fan favourites – Shadows in the Rain, Canary in a Coalmine and Man in a Suitcase. Regarded as one of the finest rock albums of all time releasing on black heavyweight vinyl with original LP packaging.

The band’s second album and their first album to reach No. 1 in the UK, it features the band’s first two no. 1 hit singles – Message in a Bottle and Walking on the Moon (expanding their spacious, dub-reggae sound). Also features the Grammy-winning instrumental title track, ‘new-wave’ style rockers – It’s Alright for You, Deathwish, No Time This Time and classics – Bring on the Night, The Bed’s Too Big Without You and Does Everyone Stare. It also includes one of Stewart Copeland’s two lead vocal appearances on a Police album – On Any Other Day.

At the time of its release, this LP made very little noise outside the group’s home state of Washington – but within said home state, the Sonics themselves were making enough noise to blow down every brick wall between Tacoma and Torrance, California.
Seldom has a group ever been better named. The youthful aggression in their music, coupled with singer Gerry Roslie’s ‘80 razorblades-a-day’ vocal attack and a selection of overwhelmingly brilliant riffs that underpinned some of the most wildly recorded music ever to be committed to tape, should have made the Sonics one of the biggest groups the world has ever known or heard.
Instead they went on to become celebrated by generation after generation of collectors, and other young people with an urge to rock ‘n’ roll. The overwhelming importance of tracks like ‘The Witch’, ‘Psycho’ and ‘Boss Hoss’ has provided a template for countless groups who’ve come up in their wake, and who have achieved a level of commercial success that they could never have achieved without the inspiration (direct or spiritual) of the Sonics – fellow Pacific North-Westerners Kurt Cobain’s Nirvana and their successor the Foo Fighters being, perhaps, the most obvious examples.
This facsimile release comes on 180g black vinyl. We have put all the modern legal stuff including barcode, addresses and the like on a sticker, so your thick card LP sleeve will look as original as possible.

When psychedelia had run its course in Britain at the end of the 60s, the predominant trend was to get hairier and heavier and more long-winded. Many musicians, however, were still hung up on the trappings of psychedelia’s home-grown strain, having found a musical home in its mournful evocations of Victoriana, its village green gentility and its nods to the pleasures of suburbia. They wanted to carry on using woodwinds, cellos and melancholic melodies. As the advent of the singer-songwriter offered another possible avenue for these refuseniks, a new brand of pop was discernible - the English Baroque sound.
First compiled by writer and Saint Etienne member Bob Stanley 15 years ago, the original “Tea And Symphony” CD now sells for between £50 and £100. This new and improved edition will be the first time the title has ever appeared on vinyl and features several tracks that haven’t been reissued before; Lora Findlay’s distinctive artwork has similarly been given a fresh lick of paint.
A definitive collection of English Baroque, this compilation includes familiar classics like Colin Blunstone’s Say ‘You Don’t Mind’ and Honeybus’ ‘I Can’t Let Maggie Go’, as well Vigrass and Osborne’s original recording of the Justin Hayward hit ‘Forever Autumn’ and master of the observational, homespun pop Clifford T Ward’s ‘Coathanger’. In-demand rarities include Jon Plum’s gothic tale ‘Alice’, Mike Batt’s exquisite ‘Fading Yellow’ and Bombadil’s ‘When The City Sleeps’, a rare Barclay James Harvest spin-off single.
To the delight of people who thought the mine of great 60s and 70s 45s had been exhausted, previously undiscovered gems by the likes of Matthew Bones (the Kinks-like parlour piece ‘Two Sugars’), Erasmus Chorum (the epic ‘Mary Jane’) and Les Payne continue to be unearthed. Here are more than 20 of baroque pop’s finest moments. Make yourself a pot of tea, find yourself a comfy armchair, place a ginger cat on your lap and sit back.
Compiled and annotated by Bob Stanley. The LP is on 180g light blue coloured vinyl.

... THE LEGENDARY, PREVIOUSLY UNRELEASED ALBUM FROM 1968 BY THE FRANTICS, REISSUED ON VINYL FOR THE FIRST TIME !! PROBABLY THE GREATEST LOST US PSYCHEDELIC ALBUM EVER !

The Frantics formed in Billings Montana in 1964. They played all over Montana and in 1966 they toured with the Yardbirds. In early 1968, they entered Norman Petty Studios with the first session for a full length album project. No band that recorded at the 7th Street Studio, previously or afterwards, would have a heavier, psychedelic sound than this 6 piece group. Now basing themselves out of Colorado, they made a name for themselves with performances in the area and returned late in the year to finish their recordings.

It was an entirely new style of music being introduced to Norman Petty. What Norman excelled at was creativity in the studio, and constantly striving for something different. What we are left with is an album that pushed boundaries as much as any other record at the time. 1968 was already an incredible year for music in arguably the most creative decade in rock. "Birth" would have fit nicely among the best of the day and would have been worthy company.

As fate would have it, the band moved to California and hooked up with new management and began recording for a local label, abandoning their Clovis recordings that have remained in the Petty audio vault for 50 years. We present the album in the original Norman Petty mono mix from the 4-track session tapes which included sound effects between each track that was meant to be a non-stop mind-expanding and ear-splitting experience.

The insert features color photos from the recording sessions with notes from "Lost Sounds Montana" music historian Dave Martens along with input from the original group members.

Recognition of Yngwie Malmsteen's place in music history continues to come in. In Time Magazine Yngwie found himself included as one of the “10 Greatest Electric Guitar Players”.
'Fire and Ice' is the sixth studio album by Yngwie and was originally released in 1992.

Expanded edition, includes 4 bonus tracks:
Leviathan, Forever Is A Long Time, All I Want Is Everything and Broken Glass. Limited, numbered edition of 1000 copies.
Fire LP 1 (Solid Orange & Solid Yellow Mixed) and
Ice LP 2 (Solid Blue & White Mixed) Vinyl.

... Four years after their last EP 'The Hague', The Golden Earring are back with a new track 'Say When'. This recording commemorates the fact that the band is more than 50 years together! The band that brought us numerous hits: Just A Little Bit Of Peace In My Heart, Radar Love, Ce Coir, Twilight Zone, When The Lady Smiles, to name but a few, need we say more? ... Includes exclusive “Golden Earring” Adapter. Limited edition of 1500 individually numbered copies on gold Coloured Vinyl.

Queens of the Stone Age third album released in 2002.
Pressed on 2LP 180G Black vinyl in a gatefold jacket with 12” x 12” insert. Featuring the original red background & black graphics album art on vinyl for the first time.

Originally released in 1979, Iceland is Richard Pinhas' third solo album and his first following the breakup of Heldon. While moving away from the maximalism of his old band, paring down Heldon's hybrid of otherworldly sci-fi imagery and pummeling psych-prog riffs, the journey through Iceland is decidedly more inward.

Consisting of longer, brooding synth-based pieces as well as short proto-industrial études and interstitial sketches, Iceland features Pinhas' delay-ridden electric guitar, pulsating machine rhythms and analog synthesizer washes - all vivid in texture and timbre, notwithstanding an undeniably chilling ambience.

This first-time vinyl reissue includes "Wintermusic," an immersive 25-minute bonus track recorded in 1983 and appearing here on vinyl for the first time. Pinhas' excursions channel the season's stillness and sublimity, its majesty and its threat. Without a doubt, one his finest moments.

Recommended for fans of Cluster, Mica Levi and Fripp & Eno.

Sam Lee is a multi award-winning singer, a folk song collector, a passionate conservationist, a highly effective environmental campaigner and he also presented acclaimed radio documentaries. 'The Garden of England’, a new interpretation of the classic traditional song, Seeds of Love. This rewrite is a celebration of folk song but also theorises that an eco-system of decay and new life is not just relevant to nature, but also to the life cycle of all creativity. New album 'Old Wow' Out 31st Jan.

LTD Edition!

Zweiter Teil der Trilogie mit frühen Aufnahmen des Detroiter Ambient/Shoegaze/Dreampop-Musikers Warren Defever (aka His Name Is Alive). Echo-getränkte Gitarren-Instrumentals, Field Recordings und grandiose Ambientklänge pulsieren durch eine analoge Düsternis, während sie mit Industrial-Drone, Musique Concrète und sogar Noise-Pop á la The Jesus And Mary Chain liebäugeln. Die 15 Tracks auf "Return To Never - Home Recordings 1979-1986 Volume 2" laufen auf jeder Seite des transparenten Vinyls ununterbrochen durch und sind per Download-Code einzeln zugänglich. Die Liner Notes enthalten ein Essay und Interview von/mit Mike McGonigal, Autor des Maggot Brain-Magazins (Third Man) und diverser Bücher über My Bloody Valentine und Galaxie 500.

"An astonishing document of lo-fi alchemy." - Pitchfork
"Sounds as good as any "ambient" release you've heard in the last five years." - The Quietus
"It's fairly impossible to point out stand out tracks because the album as a whole is superb." - Pop Matters

Venerated black metal specialists DARK FORTRESS return with a new album, “Spectres from the Old World”! After a six-year gap, Germany’s darkest sons continue where “Venereal Dawn” (2014) left off conceptually—the birth-death lifecycle of the universe as told by spacetime—but are expanding DARK FORTRESS’ musical horizons by descending faster and with spiteful intent into the cosmic abyss. Indeed, “Spectres from the Old World” is more direct, more aggressive than its predecessors. These musical themes play out fiercely in “Coalescence,” “The Spider in the Web,” “Pazuzu,” and the pivotal title track. Here, DARK FORTRESS prove that they remain committed to black metal’s netherworld spark. The malignant sounds that inspired DARK FORTRESS on “Tales from Eternal Dusk” (2001), “Seance” (2006), and “Ylem” (2010) are still very much part of the DNA that makes up the band’s finest hour on “Spectres from the Old World.” But as DARK FORTRESS find themselves in good black-hearted company, their destiny calls for venturing beyond the confines of the genre. “Pali Aike,” named after an actual Chilean hellscape, finds vocalist Morean marshalling his bandmates to very center of time-worn volcanoes to an epic thrum. “Isa,” in many ways the opposite of “Pali Aike,” feels very cold, its dissonance and grooves inspired by antediluvian ice storms. The triumvirate is complete with the limpid black expanse of “Swan Song.” At no time in DARK FORTRESS’ history have they reached so far out into the darkness, only to find the domine of astronomy non-existent, the end merely an end. Recorded, engineered, mixed, and mastered by V. Santura at Woodshed Studios throughout 2019, “Spectres from the Old World” marks an important milestone in DARK FORTRESS’ journey along actual and spiritual left-hand paths. Glimpse into the endless black of the universe on “Spectres from the Old World.”

'A Winged Victory For The Sullen' is the first installment of the new collaboration between Stars Of The Lid member Adam Wiltzie and L.A. composer Dustin O'Halloran. The duo agreed to leave the comfort zone of their home studios and develop the recordings with the help of large acoustic spaces, hunting down a selection of 9ft grand pianos that had the ability to deliver extreme sonic low end.

Other traditional instrumentation was used including string quartet, French horn, and bassoon, but always juxtaposed is the sound of drifting guitar washed melodies. The recordings began with one late night session in the famed Grunewald Church in Berlin on a 1950's imperial B?sendorfer piano and strings were added in the historic East Berlin DDR radio studios along the River Spree. One last session on a handmade Fazioli piano in a private studio on the Northern cusp of Italy, before the final mixes took place in a 17th century villa near Ferrara with the assistance of Francesco Donadello. All songs were then processed completely analogue straight to magnetic tape.

Their secret to harvesting new melodic structures from the thin air of existence was for the duo to push themselves to dangerous territory, realising that clear thinking at the wrong moment could stifle the compositions. The final result is seven landscapes of harmonic ingemination. In 'Requiem For The Static King Part One' ? created in memory of the untimely passing of Mark Linkous ? they have taken the age-old idea of a string quartet and then shot it out of a cannon to reveal exquisite new levels of sonic bliss.

Of the 13 minute track 'Symphony Path?tique', Wiltzie says 'after almost 20 years of struggling to create interesting ambient drone music, I feel like I have finally figured out what I am doing'. Notable guest musicians include Icelandic cellist Hildur Gudnadottir, as well as Erased Tapes label comrade Peter Broderick on violin. A Winged Victory For The Sullen is not a side project ? it is the future of the late night record you have always dreamed of. A Major release for Forte, Non exportable.

2x12" Red Coloured Vinyl with Black Splatter, Inhalt des Deluxe Boxset: CD Digipack, 2xLP Gatefold, bedruckte Innentaschen, exklusive Box-Set-Farbe: rot transparent, Wanduhr mit dem Cover Motiv, Kühlschrank Magnet, A1 doppelseitiges 4c Poster, A5 Fotokarte, Sticker, Button, Größe der Box: 33 cm x 33 cm x 16 cm, im Hartkarton Material mit Deckel

Trout Mask Replica is a touchstone in the history of recorded music. The mix of dada absurdist blues and previously unexplored experimental avenues has long been praised as one of the greatest albums of all time. As so eloquently put by John Peel, "If there has been anything in the history of popular music which could be described as a work of art in a way that people who are involved in other areas of art would understand, then Trout Mask Replica is probably that work.”

In full partnership with the Zappa Family Trust and to celebrate the relaunch of the seminal Bizarre label imprint, Third Man Records is proud to announce Captain Beefheart and the Magic Band's Trout Mask Replica.

Out of print on vinyl for nearly ten years, this remaster was helmed by industry legend Bob Ludwig and cut by the estimable Chris Bellman at Bernie Grundman Mastering. Utilizing crystalline-quality safety masters kept in the Zappa family vault for decades by the trustworthy Joe Travers, the audio here is positively glorious. Every last skronk breathes full life into the room. Every twisted guitar figure uncurls onto paths previously unpaved. Every last bark and howl shines resolute through the vast emptiness of your mind.

Previous countless Trout Mask Replica repressings used scans of scans of scans of the cover image, but the original Cal Schenkel cover photo has been tracked down and reproduced here at its clearest — its resolution from the original release in 1969. If you’ve only ever seen a jpg online or fuzzy, smeared-looking CD issues from the 90’s, be prepared to be wowed by the fully engaging spectrum this iconic image casts. This 2xLP is pressed on heavyweight 180-gram black vinyl for that full-on frenetic feeling.

Bassist- and Composer "Charles Mingus" is one of the most radical figures in American music. Throughout the ’50s, he worked as a sideman with legendary players Charlie Parker, Dizzy Gillespie and more. In the ’60s, he gained recognition as a bandleader, often followed by controversy for making strong-minded statements in the press about race, politics and stodgy music critics. While Mingus received many honors posthumously as well as during his career, perhaps his greatest achievement was transcending the restrictive label of jazz. The Black Saint and The Sinner Lady is without question Mingus’ magnum opus. Originally released on Impulse! in 1963, the album broke new ground in both genre-defying composition and innovative recording techniques. A six-part suite with dramatic shifts in mood and tempo, The Black Saint and The Sinner Lady features the three-way brass dialogue of trumpets, trombone and tuba, swooping reeds and awe-inspiring rhythm section. Balancing delicate Spanish modes and Ellingtonian themes, the ensemble breaks into a divine cacophony of group improvisation on par with free jazz giants like Ornette Coleman or Cecil Taylor. In his best-known essay, “Psychotic Reactions and Carburetor Dung,” Lester Bangs praises, “the experience of the first few listenings to a record so total, so mind-twisting, that you authentically can say you’ll never be quite the
same again. Black Saint and The Sinner Lady did that, and a very few others. They’re events you remember all your life, like your first real orgasm.”

This long out-of-print vinyl release has been carefully remastered from the original master tapes.

Fuzz has abandonment issues. Abandoning expectation. Abandoning
reservation, consummation, resignation and trite dictation.
Instinct is all there is when it comes to the divination of
harsh salvation. Segall, Moothart and Ubovich are exploring
all the blank-ations of what will be, or has always been, Fuzz II.
Tried and true methods mixed with tongue-twisting, teeth-shattering,
seizure-inducing stabs at the norm. Who knows... maybe
that's wrong. Maybe it's all done. Played out. Maybe it's not for
want of new but for lack of old. But probably not. Bathe in the
heat wave that is Fuzz, and regret nothing in the time freeze. Necessity
is the mother of creation; and devolution stakes its claim
in the past as it continues to bind itself to the future.
San Francisco, Los Angeles, heaven, hell, lunar fields, subterranean
hallucinations, traffic jams, sleepless days, hazy nights,
recollection or blind reflection. It is all there and so should be
you. 2015 and 2016 will bring a new surge of slime, fuzz and
otherwise bittersweet concoctions of earthly lettering. It will be
heavy, chaotically controlled, softly serpentine and blindingly
barbaric. To translate the auditory from ethereal to saliva-
soaked semantics is to shatter a promise as it's made. In the
meantime, Ty, Charles and Chad walk on. It is what it is. Just
like everything else. And if you don't know, now you know.
This message brought to you by In The Red Educational
Services... as it was before and is it will be again.