Pop & Rock Vinyl New Releases - News

A truly sophisticated pop band that knows it's way around the Byrds/Beatles/Zombies/Love territory quite well, Soft Candy recently came out of dormancy after being out of commission for a couple years when one of the original band members left town. The band reconfigured and bounced back and just in time for a debut single rich with flourishes that eerily echo those riveting 'Fading Yellow' vibes and hazy UK dream pop that always delivered on such labels at Parlophone, Hansa, Deram, and Harvest, of course. Their command of their instruments is impeccable, their bizarre stage presence always provocative, and this double A-side of impenetrable songs are just too torturous for you to pass up. Angelic baroque pop entranced with hypnotic rhythms, delivered with genuine style, there really just isn't much on this level.

It's a shame how many mediocre bands gravitate around the 'pop/psych' genre these days, as there really are a few brilliant examples of the form done right. Most of the best examples are usually overshadowed by the goofy baseball cap and tie-dye shirt 'garage/psych' crowd, and if you're sick of that, then consider this the real deal. Far-out guys with serious classical influences and true kaleidoscope eyes, not stoney bros in jean vests with man-buns and IPA-stained cut-off shorts. Soft Candy may not be for everyone and that's ok, it's delicate, it's intricate, and it's flat out-mesmerizing, causing that 'frission' to kick in during the first ten seconds of each side of this immaculate debut single. -VictimofTime

RIYL: Love, The Byrds, Billy Nichols, White Fence, The Zombies, The Leaves, Left Banke, Idle Race, The Marmalade, Fading Yellow comps

1st press Black vinyl edition of 300

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Blame Canada. Or for that matter, Ottawa. The Capital's
kings of punk-power-fuzz are back and better than ever.
After a whack of records and worldwide touring, Graceland
is Steve Adamyk Band's most dynamic and cohesive
record to date, without breaking the mould. Colleen Green
(Hardly Art) sings on it, Mike Krol (Merge) croons on it
and members of Sonic Avenues are now staples in the band.
This time, the band bunkered down in Montreal with engineer
Adrian Popivich (Solids, The Dears) to bring Graceland
to life. In the meantime, scream along to 'Through
My Fingers' or get lost in the depths of 'High Mile'—the
choice is yours.
Mr. Adamyk has been nothing but prolific since coming
aboard the Dirtnap roster. This is already his fifth LP, with
a sixth in the planning stage. The label finds his trademark
brand of speedy, caffeinated, catchy-but-not-too-wimpy
pop perfectly exemplifies their aesthetic. They'll keep putting
these out as long as he keeps makin' 'em.

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

Originally released in 2001, the Detroit Cobras Life, Love and Leaving is the group's best-known effort, coming at a time when bands like the White Stripes and Dirtbombs were also releasing seminal albums that started picking up recognition outside of their collective hometown of Detroit. Hitting hard with songs by soul heavyweights like Solomon Burke ('Stupidity'), Mary Wells ('Bye Bye Baby'), Otis Redding ('Shout Bamalama'), the inimitable vocals of Rachel Nagy would no-doubt be a template from which folks like Amy Winehouse would work from years later. A landmark collection of covers.
- Hometown: Detroit
- Features the previously unreleased 'This Old Heart' (originally by
James Brown) an outtake from the Life, Love and Leaving sessions,
unheard for over 15 years.
- 'Hey Sah-Lo-Ney' (originally listed under the incorrect title 'Hey
Sailor') was featuring on the seminal Rough Trade Shops Rock and
Roll compilation in 2002.
- Features Eddie Hawrsh (the Black Crowes) on bass.

We are proud to present yet another incredible pop band that seems to have eluded the masses but is a strong contender for the crown of that genre without even being challenged. The Jeanies are a NYC anomaly, yet even with such good company such as Games and 1-800 Band they are still very much under the radar for most pop fans, so it's with great pleasure to welcome this bunch of young upstarts into the fold, as once their sound soaks in, you won't be pulling yourself out of it's clenches any time soon. As a band that could easily confuse you upon first listen as to it's year of origin, The Jeanies burst out last year with a self-titled LP & tape release that took most folks by surprise, an unrestrained, powerful and familiar tone stretched perfectly across a collection of songs that were instantly addictive, incredibly intricate, and possessed devastatingly perfect details, linking these songs to the echoes of the past they encapsulate so well. As a band with little connection to the veteran cognoscenti of the underground pop consortium, The Jeanies are a refreshing blast of pop purity, combining the greatest nuances of the old wave into a rock-solid foundation of what's next.

Unlike with most bands falling within this genre, The Jeanies still haven't released a proper 7' single, so this debut is luckily filling that void, and once your ears get wrapped around these inescapable grooves, it won't be long until your submission is all but rendered complete. 'Amilee' is nothing short of a modern classic single, just brimming with shining riffs and explosive vocal hooks, like a modern day band raised on Everly Brothers, plugged into a cooler older sister's 70s power pop collection, yet unexposed and unjaded by the world. It's as refreshing as a watermelon to the face, and such a solid pop song with so many interworking parts, it's almost intimidating. But don't worry, that will wear off soon and then...yeah, you already better track down that debut LP while you still can.

Recommended if You Like: Dwight Twilley Band, Tom Petty & the Heartbreakers, Shoes, Milk 'n Cookies, Gentleman Jesse, Fevers, First Base, Games, 1-800-Band, Rainbow Gun Show
1st press Black vinyl edition of 300

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Recorded on July 18th, 2014, as the opening set for Peter Walker's psychedelic guitar experience, William Tyler's Live at Third Man Records LP was buried for far too long in our backlog of masters. To release it too soon would have been to unleash the secrets of the transcendent and acclaimed new record Modern Country (Merge, 2016) before they had a chance to incubate further. Too wait any longer would have been torture for us. Originally planned to be a live single, the full, 5-song performance was too truthy, too seamless, and too perfectly whole to be whittled down to two tracks. So, surprise! A live LP is born.
For those unfamiliar with William Tyler, his story is Nashville legend... born into a songwriting family, Tyler was tapped by Kurt Wagner to become a member of Lambchop at age 19 (two decades younger than the other members), and quickly became the 'architect of the band's sound.' From there, Tyler went on to back up the Silver Jews, Bonnie 'Prince' Billy, Charlie Louvin, and others... all the while writing songs for his configuration of choice: fingerpicking solo guitar. The daring simplicity and winsome melodies of his first two albums remains in his most recent effort (which he describes as 'a love letter to what we're losing in America. To what we've already lost'), and on this live LP, but Tyler is bringing more depth and more experimentation to his compositions of late. 'Gone Clear,' which appears on both records, is a melting pot of ideas: a drone reminiscent of Hindustani classical music, a central melody that sounds distinctly Appalachian, a devolution into a kaleidoscope of colors and ideas that it's hard to believe is being produced by a single musician. This layering of textures is Tyler's trademark, and even more awe-inspiring live.
We like to think that with the purposeful lack of smart phones, bars to saddle up to, and, of course, corners, concert-goers in the Blue Room tend to be more in-the-moment than in most performance venues. But it's a rare artist who can take the already focused atmosphere in the room and quiet every last busy mind — Tyler did just that. This immortalization of the performance in all its transmundane glory will entrance you from first note.

These stunning pop, soul and gospel flavored selections showcase the iconic singer at the height of her vocal magic. A missing/jumbled part of Dusty's august recorded legacy, finally set right and available in its intended format. Out on orange vinyl limited to 600 copies!



In 1971, Atlantic Records released a pair of Dusty Springfield singles produced by the legendary songwriter/producer Jeff Barry (one-time songwriting and romantic partner of Ellie Greenwich, and author of too many hits to name): "Haunted"/"Nothing Is Forever" and "I Believe In You"/"Someone Who Cares." A restless Dusty, freshly relocating to America from her native England, then departed the label and left an additional 9 songs recorded with Barry in the can, where they stayed until Rhino issued one track, "Faithful" (in mono), as a bonus track on the 1990s CD release of Dusty's 1970 Atlantic album A Brand New Me. The other tracks didn't surface until a subsequent deluxe reissue of Dusty's landmark 1969 album Dusty in Memphis included them as bonus cuts.



Now, reissue producer Jim Pierson—who tracked down the missing masters after being lost for over two decades —has assembled Dusty's Barry-produced masters and put them together in a single package for the first time to create the third Dusty Springfield Atlantic Records album as planned in 1971. Real Gone Music's release of Faithful on LP presents these historic Barry-Springfield collaborations exactly as they were originally intended to be heard, with the 12 tracks meant for the album release finally out on vinyl 45 years later.

In a culture obsessed with content, saturation, and continual exposure, it's rare to find artists who prefer to lurk outside of the public eye. Thomas Pynchon is perhaps the most notable contemporary recluse—a virtually faceless figure who occasionally creeps out of hiding to offer up an elaborate novel steeped in history and warped by imagination—but for crate diggers and guitar mystics, Sweden's enigmatic GOAT may qualify as the greatest modern pop-culture mystery. Who are these masked musicians Are they truly members of the Arctic community of Korpilombolo Are their songs part of their isolated communal heritage Their third studio album, Requiem, offers more questions than answers, but much like any of Pynchon's knotty yarns, the reward is not in the untangling but in the journey through the labyrinth.













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Western exports may have dominated the consciousness of international rock fans for the entirety of the 20th century, but our increasing global awareness has unearthed a treasure trove of transcendental grooves and spellbinding riffage from exotic and remote corners of the planet. GOAT's previous albums World Music and Commune were perfect testaments to this heightened awareness, with Silk Road psychedelia, desert blues, and Third World pop all serving as governing forces within the band's sound. But GOAT's strange amalgam isn't some cheap game of cultural appropriation—it's nearly impossible to pinpoint the exact origins of the elusive group's sound. The fact that they pledge allegiance to a spot on the periphery of our maps bolsters the nomadic quality of their sonic explorations. With Requiem, GOAT continue to rock and writhe to a beat beholden to no nation, no state.



GOAT's only outright declaration for Requiem is that it is their 'folk' album, and the album is focused more on their subdued bucolic ritualism than psilocybin freakouts. But GOAT hasn't completely foregone their fiery charms—tracks like 'All-Seeing Eye' and 'Goatfuzz' conjure the sultry heathen pulsations that ensnared us on their previous albums.



Perhaps the most puzzling aspect of Requiem comes with the closing track 'Ubuntu'. The song is little more than a melodic delay-driven electric piano line, until we hear the refrain from 'Diarabi'—the first song on their first album—sneak into the mix. It creates a kind of musical ouroboros—an infinite cycle of reflection and rejuvenation, death and rebirth. Much like fellow recluse Pynchon, rather than offering explanations for their strange trajectories, GOAT create a world where the line between truth and fiction is so obscured that all you can do is bask in their cryptic genius.i

Metal Church is the self-titled debut album of the heavy metal band of the same name. The album was originally released independently in 1984. Based on the success of the album, the band was signed to a recording contract by Elektra, who reissued the album in 1985. The cover art depicts a cruciform Gibson Explorer hidden in shadows and smoke.

Some of their most notable songs are the opener 'Beyond The Black', their title track, the instrumental 'Merciless Onslaught', 'Gods Of Wrath' (which is different from all the other songs, as it had clean vocals, clean rhythms, and fluent solos) and the Deep Purple cover 'Highway Star'.

Convenience skids like a garbage truck with no brakes, barreling through passages of guitar chording bent at the wrong angles and ring-modded riffs aligning with Benjamin Jaffe's expressive sax before splitting apart into chaos. Veronica Torres assumes double-duty between vocals and bass, while Jon Campolo plays three instruments in the live setting and Andrew Spaulding four, including circuit-bent noise rigs of their own invention. Veronica's words are delivered with the speed and frenzy of someone with their life on the line, but she's also able to slow things down in a gesture of dominance, confidence, and trust. This band is wise enough to know that safety is fleeting, so they take their digs when and where they can.
Given Pill's backgrounds, their music advances a notion of what the punk spirit of NYC might be: the capture and distillation of the energy and friction that comes from living amongst so many people in such a confined space. The idea seeds in free jazz and improvisation; reached adolescence in galleries and loft spaces in the '70s; found politics in squats and independent spaces; and it grows stronger the more these several sensibilities are practiced ands stewed. Call them No wave, post-punk, noise; they are immune, content to head off in a direction of their own design.

Skeletonwitch have transcended genre boundaries over the past decade with their trademark mixture of blackened thrash, death and heavy metal. It should therefore come as no surprise that their new EP, "The Apothic Gloom" (due Aug. 19), features some of their catchiest riffs and most pummeling rhythms to date, as well as more shredding than ever before.
Channeling new energy via the addition of Adam Clemans (Wolvhammer) on vocals, the Ohio-based quintet headed to Baltimore's Developing Nations Studio earlier this year to record "The Apothic Gloom" with producer Kevin Bernstein (Noisem, Mutilation Rites). Eager to showcase their new sound, the band released the new song "Well of Despair," described by Noisey as "a cold blast of icy, melodic black metal," in advance of their appearance on this year's Decibel Magazine Tour alongside Abbath, High on Fire and Tribulation. Skeletonwitch have cemented the group's reputation as one of metal's most important acts landing themselves on high visibility tours with the likes of Danzig, Ozzy Osbourne's Ozzfest, Arch Enemy, Children of Bodom, Cannibal Corpse, Amon Amarth, Ghost B.C., and The Black Dahlia Murder and extensive headlining jaunts, including a 63 shows in 65 days run.
- Brand new 4 track release from Skeletonwitch (21 minutes of exclusive new music) - Introduces brand new frontman Adam Clemans (ex-Wolvhammer) - European tour dates to be announced for the autumn. New album coming in 2017.

Controlled by Hatred/Feel Like Shit...Déjà Vu is the fourth album by American crossover thrash band Suicidal Tendencies, originally released in 1989. The album itself is represented as two fictional EPsthe first four tracks are Controlled by Hatred and the rest are Feel Like Shit... Déjà Vu. It features six new recordingsfour of which are covers of No Mercy songs, one is a cover of Los Cycos, an outtake from the previous album's sessions, a shortened version of 'How Will I Laugh Tomorrow' (as it is heard in the song's video) and the previously unreleased softer 'Heavy Emotion' version of that song.

Repress!

The Pretty Things Classic Album S.F. Sorrow re-issued with original UK artwork on Madfish. This vinyl edition of the album re-mastered from the original analogue tapes. It is pressed on 180g heavyweight vinyl and packaged with the original UK artwork gatefold sleeve, with cover art from Phil May.


The Pretty Things created some of the most exciting and innovative records of the late sixties and early seventies. Winners of the Hero award at the 2009 Mojo Honours, the band have been name checked over the years by an array of artists ranging from The Clash, David Bowie and Aerosmith through to The Libertines and Kasabian.


'SF Sorrow' is one of the great classics of the psychedelic era. The album stands favourable comparison with 'Sgt Pepper' and 'Piper At The Gates Of Dawn' as one of the defining records of the time. Originally recorded at Abbey Road in 1967 and 1968 it was the first and the most complete rock-opera to be recorded and released, pre-dating 'Tommy' by a full year.

The Pretty Things are active today and still play live regularly.

"a psychedelic masterpiece" - The Guardian

'VIC VAN DE REIJT PRESENTEERT THE BEATLES IN HET NEDERLANDS' - (Vic van de Reijt presents The Beatles in Dutch). A compilation of Dutch novelty singles by well-known artists recorded around 1964 at the peak of 'Beatlemania'.

9012Live: The Solos is the third live album by English rock band Yes, originally released in 1985. Recorded during their 1984 world tour in support of their eleventh studio album, 90125, the album features a selection of solo tracks performed by each of the five band members, plus live versions of two songs from 90125. The album was an accompany release to the band's concert film, 9012Live.

Recorded in Canada and Germany, now for your listening pleasure, some of the magical musical moments of the 1984 world tour are available again on vinyl with the re-issue of
9012Live: The Solos.

Hazel is the 5th record from this group of eclectic travelers, who bring their considerable pedigrees together in unexpected and original ways. Looking at the people involved, it would be reasonable to expect a massive blowout of sound, but everyone plays with remarkable and effective restraint. The music is atmospheric and layered, with bits and pieces of identifiable rock moves peeking out from under a thick blanket of hard-to-identify drift.

Based on live recordings made on a lengthy tour of Italy in 2010, the recordings have been extensively edited and supplemented, but without losing the elemental sound of a group playing live together. While there's plenty of weird ambient sound to be heard, this isn't a sound-effects/'pedalboard' record. Like the preceding 'En Form for Bla' album, Noble's drums anchor the music. The drumming is spare and considered, sometimes lashing out with abstract punctuation, and other times laying out a Can-like groove. O'Malley's guitar is also restrained, providing a bed for O'Sullivan's constantly morphing Rhodes, synths and electronic effects. Kristoffer Rygg contributes a rousing vocal incantation to 'Ermanna' and peppers the mix with ghostly modular details. Like their other records, this is not really like anything else out there right now. Sleeve designed by Stephen O'Malley.

CD is in card folio printed by Stumptown Printers. LP is in Stoughton Tip-On Jacket, pressed at RTI, and includes download card.

"A wonderful vinyl reissue of the one and only album by Burnt Suite, a rural hippie psychedelic stoner rock release from 1972. This LP has been a big collector's item for many years. This legitimate reissue, with involvement of members Bill Florian and Woody Andrews, finally sees the light of day in a limited edition of 500 copies on black vinyl and including an insert." Released on the BJM label, in 1972, the only release by East Hartford, CT's Burnt Suite is a mix of country rock and harder rock with mild psych influences. The lack of personnel, coupled with the spartan production, yields a weirdly stripped down sound, and a vibe that they may not have exactly been going for, but is very desirable and modern and underground in its feel. At times a Creme Soda-esque 60's throwback sound emerges from the mix, or some bars of frantic rhythm guitar, and then it's back to the minimal style. A record with many admirers."

Originally released in the summer of 2014 as a cassette by Baro Recordings, Songs Of Forgiveness is now available for the first time on LP in a limited edition of 500 copies via the New York imprint Pre-Echo. Composed by Cantu-Ledesma during his first winter after relocating to Brooklyn, NY, this suite of six discrete tracks are formed by colliding micro orbits of guitar, drum machine, and synth, all purposefully phasing in and out of sync, and painted with chords of ecstatic melancholica and tape hiss that typifies much of Cantu-Ledesma's work.

If The Fall truly is a cult band, then Slates both benefits from and reinforces such shrouded obsessions. In presenting these six particular songs as a 10-inch EP, the inherent and attractive difficulty of The Fall's sound is made physical, framing the urgency of their singles from this period (notably How I Wrote 'Elastic Man' and Lie Dream of a Casino Soul) alongside lengthy rumblings normally restricted to long players.

The tumbling and phased "Middle Mass" begins on an incredible high note, segueing into the snake-charm hypnotism of "An Older Lover Etc." "Slates, Slags, Etc." is built on stretched VU-inspired riffing, complete with ace feedback bleed that doubtlessly went on long after fade-out. Ultimately, it's the piercing chimes of guitar and marching drum grind of "Prole Art Threat" that elevates Slates beyond oddity. Truly one of Mark E. Smith's finest, busiest and most enigmatic performances, equally matched by a band at the peak of their powers.

Superior Viaduct's edition is the first time that Slates has been available on vinyl since its initial release in 1981. Liner notes by Brian Turner.

'I am pleased to announce that we will be releasing the previously US exclusive David Bowie - A Reality Tour: Live triple coloured 180 gram LP box on 14th October 2016.
This is an extensive live overview of his greatest hits, popular album tracks and fan favourites, performed live during his amazing performance in Dublin, Ireland. The 2004 show was captured on film for DVD, later on CD, but never released on vinyl. The 180 Gram Audiophile 3 LP Box Set of his final concert tour recordings features almost three hours of music on six sides of audiophile vinyl, with songs from Bowie's classic and modern rock eras; Heroes, Ziggy Stardust, Changes, Fame, Under Pressure, All The Young Dudes, Rebel, Rebel are all present along with many more great live versions from his expansive catalogue.




































This limited edition release will be housed in a sturdy lift off lid box, with two first time poster inserts featuring the wonderful 12" x 12" front cover image as well as a 12" x 24" double-sided poster featuring unique live performance shots from this great concert tour. For a limited time, each LP will be pressed on translucent blue vinyl, making A Reality Tour a highly collectible David Bowie title. Each LP will have its own custom David Bowie label image, plus we are including 3 bonus tracks only found on the CD version of the original release: "China Girl", "Fall Dog Bombs The Moon" and "Breaking Glass". David Bowie was one of the world's finest gifts to all forms of popular culture, music, film and art. His voice, songs, musicianship and unparalleled artistry will live on. A Reality Tour proves that now and forever.'

Rock and Roll has lost her way, that free spirited good time girl with an eye for a cheap drink and an ear for a tune settled down too early and now sits in Tesco behind a fake smile and too much makeup contemplating where it all went wrong. What happened to the energy - the edge - what happened to the ROCK

So it's left to three London reprobates Chris Carr (bass and Vox), Greg Baker (drums) and Martin Minz' Inman (guitar) to put things right. Introducing DIRTY FALCON - Long time compatriots and music scene misfits the band formed as a 3 piece in 2012 with 1 remit - "play it hard and loud". Fortunately the day jobs in Landscape Gardening and construction see this power trio only too happy to oblige and on balanced diet of grunge and 70s rock they're pretty regular when it comes to a belting out a tune. 
But this isn't mere imitation or flattery to deceive - this is a realisation of what made Rock so great in the first place - a drummer dropping bombs like Bonham, a singer ripping through vocal chords like the lives of a reckless cat and a guitarist stripping the whole scene back to bare wood with Sonics that echo the Rock Gods of old. This is the real deal - it's why kids start bands. It's why just maybe good lady "Rock" can hold her head up, tell the boss to "f@&, off" and start living again - who knows maybe her best years are still ahead of her...

Since the release of the first Shit And Shine album 'You're Lucky To Have Friends Like Us' in 2004 (on Riot Season) Shit and Shine have released approximately fifteen more albums (this being the sixth for Riot Season), at least the same amount of EP's and played fuck knows how many amazing shows across the world.

Throughout this, Shit And Shine continue to shift genres with ease, never wanting to become predictable, Craig Clouse (for he is Shit And Shine) rarely opts for the safe option, in fact he never does. Recent times have seen him receive glowing praise for his more electronic work on labels such as Editions Mego, Rocket Recordings & Diagonal. So what does Clouse do next He knocks out a GRINDCORE album of course.

'Teardrops' kills any notion of you knowing what he'll do next stone dead. It's a battle scarred middle digit to the world, a full force fuck you guitar overload (did you see the song titles) and it'll ruin your weekend.

Deathday (formerly Deathday Party) is a Los Angeles based Experimental Post-punk band, formed in Santa Ana, California in 2008 by brothers Alex Guillén and Giovanni Guillén.
Previous incarnations of the group can be traced back to Santa Ana's Koo's scene of the late 1990's. While the title-track is an unreleased one, instead "Dropped Into Obscurity" was already included in the Downwards compilation "Click Heels" alongside with Tropic Of Cancer, Silent Servant, The KVB. On the B side Mannequin asked to the synth-master Legowelt to remix After Dark".

Seldom has the post-punk revival seemed as urgent as with Deathday, who match their guitar driven dirges with esoteric industrial soundscapes and tape manipulation. Their music is often as bleak as it is violent, with low end cacophony bludgeoning the listener into submission. Lyrically, Deathday often invoke the violent culture hidden beneath the media, as well as explore the crippling aftershocks of isolation and the mysticism of the occult.

Comparisons, for those who prefer them, could easily be made to the likes of Throbbing Gristle and Suicide's uncompromising attitude and primal infrastructure, but the band has equal roots in forgotten post-punk favorites such as Nagamatzu, Venus In Furs, and Joy of Life, creating a powerful hybrid exploring the darkest and most hypnotic corners of the spectrum.

Known as Deathday Party until 2011, the band's self-titled cassette, released in early 2012, exists as a cold snapshot of their formative material, while both 'After Dark' and 'Dropped Into Obscurity,' released on Mannequin's The End of Civilaztion and Downward's So Click Heels compilations respectively, offer a club-friendly alternative. While neither track compromises the band's dark overtones, these tracks are ripe for the dance floor, having garnered heavy play in LA, New York, and Berlin especially. With a handful of releases on the horizon for 2013, including a split with Bestial Mouths, a vinyl reissue of their self-titled debut, and new material to follow, the future is looking uncharacteristically bright for Deathday.

In March of 2006 the brothers Guillén participated in Glenn Branca's 'Symphony #13 (Hallucination City)' for 100 guitars in Los Angeles.

REPRESSED !!

We don't know much about Domenique Dumont, nor do the guys at Antinote. In fact, they don't seem to care: they just came across the artist's music and decided to release it.
The eponymous track, Comme Ça, sets the tone for a pastel-coloured album with its dreamy French (is it
French) lyrics, steel drums and light reverbed claps. The following track, L'Esprit de l'Escalier, takes us even
deeper into Dumont's lost paradise of never-ending soft rock shows. La Basse et les Shakers is the clubfriendliest
track of the record, yet it doesn't lack the genuine sincerity that makes those tunes almost familiar to
our ears.

La Bataille de Neige and Un Jour Avec Yussef might be the most melancholic tracks on the album, sounding like
revived childhood memories, while the last tune, Le Château de Corail, is both a summary and a conclusion to the LP, a goodbye song that encapsulates all of the emotional shades which sprinkled on the five previous tracks.

There's a pinch of nostalgia throughout Domenique Dumont's record, of a time when a curious idea could turn intoa soon-to-be forgotten (yet-to-be discovered) pop song. Consider it an introduction to your warm summer nights.

Primal Scream released their 11th studio album, 'Chaosmosis', recently, on the band's own First International label through Ignition Records. Recorded in London, New York and Stockholm and written and produced by Bobby Gillespie and Andrew Innes, 'Chaosmosis' is the freshest sounding album the band have ever made. Taken from the critically acclaimed 'Chaosmosis' and featuring Haim, '100% Or Nothing' was produced by Bobby Gillespie and Andrew Innes and follows the huge radio hit 'Where The Light Gets in'. Fresh off the back of six incendiary, sold out dates in April Primal Scream have a packed summer full of festival dates ahead. This 12' clear vinyl single also includes a nine
minute psychedelic dub remix of the track by Anton Newcombe of Brian Jonestown Massacre. Bobby Gillespie says of the remix, Anton's mix brings out all the slow motion, claustrophobic,
endlessly crushing, paranoid dread of 'living together, alone, apart'... we love it, thank you

Anton.'

Mannequin has the dual and parallel aim to unearth hidden or unpublished gems, running along a road that starts from the period of reference for this kind of music (late 70s - mid 80s) and comes to nowdays, with a vision deeply influence by Factory Records / 4AD labels.
Catching the same spirit of such great labels, we asked to the italian synth wave princess Mushy to create a compilation starting from a tabula rasa. The mission was hard. Following her tastes and heart, she had to select a dozen of new bands from all over the world with unreleased and unique for this project tracks, picking up the title and realizing the graphic design and artwork. The full process of "The End Of Civilization" took almost 1 year but the result was touching us deep into our soul.

Mushy began her career crafting noise bursts and aggressive oblique instrumentals before, in her newest form, blooming into a beautiful, epic and heart-heavy icy synth sound, having both "Faded Heart" (2011) and "Breathless" (2012) as album of the week at Rough Trade. "The End Of Civilization" perfectly represents her double sided synth-wave / kraut-psychedelic soul. Every track she selected for us is an absolute highlight, moving from the analog minimal / cold wave sounds of Police Des Moeurs, ASSS, The Circa Tapes, TEEEL and Rosemary to the tempestuous post punk and psychedelia of Deathday, The Murder Act, Phosphor and The Strange Forces, ending with spectral cold folk of Tablets and The Long Wives.
c

Another EP by popular Rockabilly Band

EP by popular Rockabilly Band

First ever vinyl reissue of this US' 69 private album by this ad-hoc studio band project featuring ex-Telstars bass player Terry Gorka plus drummer Bill Manning, lead guitarist Billy Windsor and keyboard playEr Tommy Dildy.

Heavy bluesy / soulish / R&B club jamming sound full of powerful Hammond organ, hard guitar and passionate vocals, not unlike early Vanilla Fudge. Devastating covers of The Band's 'This wheel's on fire', Savoy Brown's 'Stay with me baby' and Sonny Bono's (via Nancy Sinatra / Vanilla Fudge / Terry Reid) 'Bang Bang' among others plus some choice originals. Starring guitar legend Danny Gatton on two tracks.

Featured in Hans Pokora's '1001 Record Collector Dreams' book.

Remastered sound, insert.

Original release date: 1972

It's a miracle any copies of this privately pressed album survived - but be thankful it did, for here is an individual vision. Some people worry about when we'll run out of oil. A rather smaller proportion of us worry about when we'll run out of discoverable, deep-end thrills like this. There is just no way in the world items like Donald Hooker's 40-year-old privately pressed LP should even exist as a thing - it more than likely only ran to about 99 copies in its original format, so how the hell did even one of those survive to create these new digital and analogue versions decades later Connecticut-based Hooker - a tall, slim hippy with a history of substance abuse - was much given to wearing the sort of austere robe he sports on the sleeve, a fairly outré move even then. In early 1972 he hired a gang of local scene musicians to flesh out his wonderful songs and after a few brief rehearsals the band began recording. As soon as they were done they split - some never even heard the finished album, and what a treat they missed. Hooker's arrangements are truly beautiful, a simple, swinging pop song like Weather Girl exists somewhere between The Doors and Curtis Mayfield, whereas The Bible ("If they'reknocking the Bible, be sure they are bent/ Just see and you'll understand the book is heaven sent") has the propulsive drive of a pained George Harrison ballad crushed up against some of Neil Young's freeform, string-banging joy.

Following on from the critically acclaimed Mallet Guitars trilogy (2010-13) and Large Electric Ensemble (2014) and honed across high profile live appearances including the Stewart Lee curated ATP, Liverpool Psych Fest and the Edinburgh Fringe, Twenty-Two Strings is the latest album from UK-based experimental trio Ex-Easter Island Head. Utilising horizontally-laid electric guitars and bass, the group continue to develop their own distinctive musical language, eschewing digital processing and effects for a vocabulary of mechanical preparations and extended techniques, creating a sound drawing on minimalism, gamelan and process music.

'Band Of The Future' is Ausmuteants' fourth album and probably their best to date. The band's previous albums have been released in the US on Goner Records and they last toured the US in support of their previous album 'Order Of Operation' in 2014. Ausmuteants are not the band of the future or the past. Ausmuteants are just a band. Not punk, new wave, hardcore, boogie, darkwave, oi, hyphenaterock or pet rock. Not drug users and not straight edge. Ausmuteants are regular dudes practising the sound of things falling apart.

Born in Oakland, California, the American underground hip hop MC Del tha Funkee Homosapien is the cousin of seminal west coast rapper Ice Cube, and began his career writing lyrics for Ice Cube's group, Da Lench Mob. In 1991, with the help of Ice Cube (also as executive producer) , Del released his debut solo album I Wish My Brother George Was Here at the age of 18.

The album was a commercial success largely due to the popularity of the hit single 'Mistadobalina'.

The title I Wish My Brother George Was Here is a reference to George Clinton, whose music was an influence on Del, as well as to the late pianist Liberace who would on occasion openly pine for his brother George to appear on Liberace's television program in the mid-50s.

The first notes on the opening track 'Polar star' could have been taken from a playful Pink Floyd session circa 1969 and music then develops into exactly what you should expect from Swedens number one neo-psych band, polyrhythmic patterns á'la Philip Glass executed with confident guitars, break beat disco drums plus organ and song harmonies so sacred that they could wake Jack Nitzsche from the dead.The record continues with 'Machines' where the nordic melancholy goes on a world tour through the stratosphere, with stopovers in California, Bohuslän and mountains of Bhutan. The trip then takes off for the outer orbit!'Sen sen, no sen' is a term used in Karate and it means that you hold the ability to foresee the opponents strike and strike her/him with that same blow in beforehand. This action takes your full concentration and you must be capable to disconnect from the world surrounding you and be in the moment. Let the needle flow over the closing track 'Sen sen, no sen' and feel the music fulfil you with confidence and soul and strengthen your spirit to the level that you can foresee anything fearful, and thus beat the living crap out of whatever in your presence that might haunt you.Fontän has poured hundreds of generations' musical expressions in their filter of Swedish west coast psychedelia to let three tracks drop down on your turntable. The band feel no fear to break musical conventions, but yet they pay true homage to their predecessors.

In 1969 Jefferson Airplane members Jorma Kaukonen and Jack Casady formed Hot Tuna. Begun as an acoustic spinoff of the Jefferson Airplane, the American blues rock band eventually became the full-time focus of founding members Casady and Kaukonen, emerging as a popular touring act of the 70s.

The album Pair a Dice Found was originally released in
1990 and was Hot Tuna's first new album release in more
than a decade.


The song 'Eve of Destruction', a protest song originally written by P. F. Sloan in mid-1964, was released as a single.

Die schwedische Prog-Rock-Formation um Basser / Sänger Jonas Reingold (The Flower Kings, Kaipa, The Tangent) serviert erneut einen Ohrenschmaus für Genregourmets. Das knapp halbstündige, aus zwei Teilen bestehende Hauptstück des Albums beschäftigt sich mit der titelgebenden Idee basierend auf Autor und Astronom Carl Sagan, der einst griffig auf den Punkt brachte, dass jeder einzelne von uns nur ein "Dot", ein Punkt im Universum sei. Diesen Gedanken greift auch das irritierend simple, kraftvolle Artwork von Hugh Syme (Rush, Fates Warning, Aerosmith) auf und begleitet eine musikalische Reise, die klassische Prog-Einflüsse von Yes, Genesis, Emerson, Lake & Palmer ebenso umfasst wie Verweise auf eher metallischere Vertreter wie Dream Theater oder Fates Warning. Dabei profitiert "Dot" auch vom kongenialen Line-Up, welches aktuell so prominente Mitglieder wie den Grammy-Gewinner Morgan Ågren (Drums / Frank Zappa, Steve Vai, Tony Iommi), Göran Edman (Vocals / Yngwie Malmsteen, John Norum) und Lalle Larsson (Keyboards, Vocals / Jon Anderson, Gary Willis, Randy Brecker) umfasst. Das Ergebnis ist ein extrem detailreiches und stimmungsvolles Prog-Rock-Opus.


Dot 01:00
God the Universe and Everything Else No One Really Cares About, Pt. I 23:40

BBC Sessions was originally released in 1997 and has been certified double platinum by the RIAA. THE COMPLETE BBC SESSIONS builds on that collection with a third disc that boasts eight unreleased performances, plus 'White Summer,' a recording that first surfaced in 1990 on the Led Zeppelin Boxed Set. In addition, the set includes extensive session-by-session liner notes written by Dave Lewis. For the first time ever, it provides accurate details and notes about all of the band's BBC sessions.

Musical highlights on this new collection include the debut of a long-lost radio session that has achieved near-mythic status among fans. Originally broadcast in April 1969, the session included three songs: 'I Can't Quit You Baby,' 'You Shook Me,' and the only recorded performance of 'Sunshine Woman.'

Also included are two unreleased versions of both 'Communication Breakdown' and 'What Is And What Should Never Be.' Separated by two years, the performances vividly demonstrate the young band's rapid evolution over a short period of time.

As with the previous reissues, the audio has been newly remastered under supervision from Jimmy Page and pressed onto 180-gram vinyl, packaged in a lift-top box.

1:
Side One
1. You Shook Me (23/3/69 Top Gear)
2. I Can't Quit You Baby (23/3/69 Top Gear)
3. Communication Breakdown (22/6/69 Pop Sundae)
4. Dazed And Confused (23/3/69 Top Gear)

Side Two
1. The Girl I Love She Got Long Black Wavy Hair (22/6/69 Pop Sundae)
2. What Is And What Should Never Be (29/6/69 Top Gear)
3. Communication Breakdown (29/6/69 Top Gear)
4. Travelling Riverside Blues (29/6/69 Top Gear)




2:
Side One
1. Whole Lotta Love (29/6/69 Top Gear)
2. Somethin' Else (22/6/69 Pop Sundae)
3. Communication Breakdown (10/8/69 Playhouse Theatre)
4. I Can't Quit You Baby (10/8/69 Playhouse Theatre)

Side Two
1. You Shook Me (10/8/69 Playhouse Theatre)
2. How Many More Times (10/8/69 Playhouse Theatre)


3:
Side One
1. Immigrant Song (1/4/71 Paris Theatre)
2. Heartbreaker (1/4/71 Paris Theatre)
3. Since I've Been Loving You (1/4/71 Paris Theatre)
4. Black Dog (1/4/71 Paris Theatre)

Side Two
1. Dazed And Confused (1/4/71 Paris Theatre)


4:
Side One
2. Stairway To Heaven (1/4/71 Paris Theatre)
3. Going To California (1/4/71 Paris Theatre)
4. That's The Way (1/4/71 Paris Theatre)

Side Two
1. Whole Lotta Love (Medley) 1/4/71 Paris Theatre
2. Thank You (1/4/71 Paris Theatre)


5:
Side One
1. Communication Breakdown (23/3/69 Top Gear)
2. What Is And What Should Never Be (22/6/69 Pop Sundae)
3. Dazed And Confused (10/8/69 Playhouse Theatre)
4. White Summer (10/8/69 Playhouse Theatre)

Side Two
1. What Is And What Should Never Be (1/4/71 Paris Theatre)
2. Communication Breakdown (1/4/71 Paris Theatre)
3. I Can't Quit You Baby (14/4/69 Rhythm & Blues Session)
4. You Shook Me (14/4/69 Rhythm & Blues Session)
5. Sunshine Woman (14/4/69

Sunrise, Sunset, Wherever. And who are ya! We are Höga Nord Rekords and we´re busy keepin on. This time with a fresh 7" release from Minami Deutsch. Pure kraut live and direct from Tokyo. The quartet released their debut during 2015 on Chapata Records/Cardinal Fuzz (UK) and Guru Guru Brain in Japan. Of course you can hear their love for kraut-rock legends such as Can and Neu! But more interesting is the bands members definition of themselves as repetition freaks. A-Side New Pastoral Life sounds like a repetitive mystic chant that wants to communicate with Klaus Dinger on a ouija board in a distant and deep forrest. B-side Tunnel offers a straight forward monokrautriot. Kyotara Miula (guitar, vocals, synthesizer), Taku Rauschenberg (guitar), Keita Ise (bass) and Hikari Sakashita (drums) surely comes from the same strain as Bo Ningen, Cybele no Nichiyobi and Kikagaku Moyo. Act like you know!

Die führende moderne Progressive Metal Band aus den USA, meldet sich bereits ein Jahr nach ihrem 2015er Doppelschlag "Juggernaut: Alpha" bzw. "Juggernaut: Omega" mit ihrem neuesten, fünften Studiowerk "Periphery III: Select Difficulty" zurück. Bekannt als ideenreiches, vielseitiges und hochspannendes Musikerkollektiv, entstanden innerhalb von nur zwei Monaten elf neue Stücke, die laut Gitarrist Jake Bowen "nicht nur den PERIPHERY-Sound repräsentieren, sondern auch uns als Musiker reflektieren und durch eine bessere, gemeinsame Zusammenarbeit musikalisch und kreativ neue Grenzen ausloten." Auch die Produktion lag erneut in den Händen von Bassist Adam "Nolly" Getgood und verleiht Stücken wie der brachialen ersten Vorabsingle "The Price Is Wrong" enorme Durchschlagskraft und bringt die unzähligen Finessen der von so unterschiedlichen Künstlern wie Meshuggah, Deftones, Dream Theater, Slipknot, Opeth und Porcupine Tree inspirierten Musiker perfekt zur Geltung. "Periphery III: Select Difficulty" erscheint physisch als Special Edition CD Digipak und schicke Doppel-LP im Gatefold auf 180 Gramm schwerem, schwarzen Vinyl.

In the Beginning is the second live album by Stevie Ray Vaughan and Double Trouble. While the album was released about two years after Vaughan's death in 1990, the actual performance took place on April 1, 1980 at Steamboat 1874 in Austin, Texas.
This was all before his silk kimonos and black sombreros became trademarks, before his incendiary Montreux Jazz Festival appearance & before his recording contract. This is a record from the then 25-year-old Vaughan, still more than three years away from the release of his first studio album.