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“Music is the weed that keeps popping out of the concrete in my life. It just seems to want to come out.” –Jeff Bridges

Extensive booklet including liner notes by Sam Sweet, new interviews with Jeff Bridges, and never-before-seen archival photos.

Featuring Burgess Meredith (Rocky, Batman), members of Oingo Boingo, and assorted characters from the West Los Angeles art and music underground
Culled from a single decaying cassette tape labeled “July 1978,” these recordings are a window into the secret musical life of the Dude. Even after becoming one of Hollywood’s biggest stars, Bridges spent all his free time jamming and recording with a trusted circle of musicians composed of childhood friends, artists, and assorted L.A. oddballs.

Imagine The Band playing at CBGB with The Exploding Plastic Inevitable. Or Arthur Russell and the Talking Heads collaborating on a suite of mutant disco. Though Bridges and his friends were brought up around the movie industry, they decided to create their own private musical universe, where they could be as weird as they wanted.

Their music opens a portal to a hidden world of outlandish creativity and camaraderie in 1970s Los Angeles. It’s the missing piece of his musical evolution, revealed here for the first time in all its joyful abandon.

"“I Know It’s Too Late” is an unreleased track from Scott Weiland’s 2008 solo album, Happy In Galoshes. The B-side is a live version of “Missing Cleveland” recorded on the Happy In Galoshes tour in 2009. This is the first in a series of RSD exclusive 7” singles leading up to a full deluxe album release with additional bonus content. This album has never been available on vinyl.

2025 is the 10th anniversary of Scott’s passing. Primary Wave is honoured to release this unheard content to celebrate his music and legacy. Happy in Galoshes is the second solo album by Scott Weiland - known for his roles as the lead singer in Stone Temple Pilots and Velvet Revolver. He released his first solo album, 12 Bar Blues in 1998. Ten years later, Happy in Galoshes served as the official follow-up. The album was released November 25, 2008, on Weiland's own Softdrive Records. Produced by Doug Grean and Weiland, with select tracks recorded by Steve Albini, the album features guest appearances by Paul Oakenfold and No Doubt members Adrian Young, Tony Kanal, and Tom Dumont. Oakenfold appears on a cover of David Bowie's "Fame".

On the outskirts of the Parisian sprawl, we drift through the evening hush, our steps tracing the edges of a world half-lit.
The air crackles—charged, restless. Somewhere, we hear the city hums, a distant, roaring tide.
And there is this stranger, curious, starry-eyed, looking at us.
We stop, tilt our heads together, a faint smile :

« I scream, you scream ! Everyday is a new *silence*
It was all paradoxical
Fullness in the crisis

Silence is priceless »

Official Tracktitles:

me & who ?

hot zone, regular day

Fame Gang

GHOST GUNS

INVINCIBL

Forever starts today

indivisibl

i know 3 45

Stalker Guardian Angel

Get rid of yourself

it’s going better

Capital Collectiv

feeling the sun, it’s lit !

missing flowers i think

Restless Lovers

Gore Lore

Deadache, released in 2008, is the fourth studio album by Finnish hard rock band Lordi. Known for their theatrical personas and horror-inspired themes, Lordi delves deeper into darker and more sinister territory with this release. The album features standout tracks like "Bite It Like a Bulldog" and "Deadache" showcasing a mix of heavy riffs, haunting melodies, and anthemic choruses. Produced by Nino Laurenne, Deadache explores a more mature sound while maintaining the band’s signature blend of hard rock and heavy metal. The album’s lyrical themes and atmospheric production bring an eerie and cinematic quality, enhancing Lordi’s monstrous aesthetic. Deadache solidified Lordi's reputation as pioneers of theatrical rock and expanded their fan base internationally. For fans of hard rock with a horror twist, Deadache is an essential listen, reflecting Lordi’s creative evolution and unmistakable style. Deadache is available as a limited edition of 666 individually numbered copies on translucent blue & white marbled vinyl.

Taba voices a subtle yet surprising shift for the Japanese musician and producer Satomimagae. Observing and absorbing the fleeting scenes and sounds of life flowing outside of her home studio, Taba unfolds as a series of vignettes that document the personal and the universal. Satomi sings beyond herself in an orbit of souls and systems known and unknown, seen and unseen, in the present and in the strange flux of memory, leaving linear songwriting to rest for circuitous stories expanded and expansive in tone and texture. Following the logic of taba, a Japanese term for a bunch, bundle or grouping together of different things, the album is assembled as a loose collection of short stories. Shapeshifting into something like a poet-narrator, Satomi casts her writer's eye to the often perplexing shapes that form from quotidian events and exchanges defining our increasingly alienated age. Where Satomi's last full-length, 2021's Hanazono, bloomed from the lush soil of a private inner sphere, the bird's eye of Taba searches to place the artist_somewhere, somehow_within a wider, wilder world. Collaborations with other artists and musicians close to Satomi's universe further elevate the album's sweeping sonics. Synthesizer lines from Norio, who also helps define the album's visual identity through photo and video, enliven the tender ballad "Kodama." The bell-like Rhodes piano ringing in and around Satomi's guitar on "Dottsu" is played by Akhira Sano, who created the cover art for her 2021 Colloid EP. Yuya Shito's clarinet was the missing puzzle piece that completed "Spells," and it was also Yuya who mixed Taba with an ear for its organic textures and elegantly frayed edges, giving utterance to a distinctly different energy than Satomi's earlier expressions. The tonal and rhythmic play that lay the foundation of these songs also animates a colorful palette of melodic gestures, noisy resonances and pointed moments captured by Satomi's close-at-hand recorder. While Taba is still carried by the innate intimacy that has defined Satomi's music to date, these songs channel her newly spacious and inquisitive songwriting approach, unlocking unusual layers in the process. Some are subsumed in the speculative poetics of sound design, while others peer through the window of bedroom pop. Gathering imagistic reflections, tracing vast ideations and quietly lingering in humble moments, Taba connects vivid lines between the individual and the collective, the constructed and the cosmic, the articulated and the felt. Satomi's sonic tales gain an eloquent coherence by the simple fact of existing in conversation, humming a harmony of parts that buzzes with the tangled circuitry of a life in motion. Taba is the fifth album from Japanese musician, songwriter and dream traveler Satomimagae, following her 2021 album Hanazono and the 2023 reissue of her debut album Awa, both for RVNG Intl. On Taba, Satomimagae leaves linear songwriting to rest for circuitous stories expanded and expansive in tone and texture, unfolding as a series of vignettes that document both the personal and the universal. Some of the songs on Taba feature intimate moments captured on Satomi's hand recorder, poetic moments of sound design animated by tonal and rhythmic bedroom pop foundations. As with Hanazono, Taba's album artwork features a wooden block print by Satomi's sister, the artist Natsumi Magae.

Looking behind the obvious, forming an orchestra out of everyday surroundings.

Finding the essence in the trivial, clarity in the complex, poetry in simplicity. All of this is part of the goal, meaning and character of Oh No Noh, the project of Leipzig-based guitarist, robot programmer, magnetic tape crumpler and composer Markus Rom. All of this floats and shines through "As Late As Possible", the third Oh No Noh album, which will be released on April 4th, 2025.

The focus of this album, as the title "As Late As Possible" suggests, was patience. A creative lingering, the selfimposed principle of letting ideas mature, consciously leaving them lying and looking at them again in order to discover and refine new things. Always looking for new ways of producing musical sounds, Markus Rom has been blurring the boundaries between LoFi, Indietronica, Postrock, Kraut and Pop with his solo project for several years. His main instruments for this are electric guitar, MIDI robots, tapes and samples. For “As Late As Possible”, Rom expands his setup with a new sound sources (acoustic guitar, banjo, organ) and musical guests: Damian Dalla Torre (Squama) on bass clarinet and Andi Haberl (the Notwist, Sun) on drums.

“As Late As Possible” continues the signature of past releases and adds new facets. Rom's distinctive looping in and over each other is particularly evident in the tracks “Missing the Point”, “Orb” and “Almost Everywhere”. With "Loot", a straightforward and folk-pop piece finds its way onto the album and coexists with math-trained tracks like "Dog Years" or "Dot", which conjure up associations with Weilheim bands like COUCH. The tracks "Bliss of Disconnect" and "Fawn" were created in collaboration with the featured guests Liz Kosack and KMRU. The confidently unplanned is one of the principles around which Oh No Noh itself is also continuously evolving. Part of this development: the radio series "Oh No Noh Radioh", which has so far consisted of over 40 parts, for which Rom invites a guest in each episode to research music together along roughly defined concepts, ideas and inspirations. Together with technology composer Hainbach, free jazz artist Limpe Fuchs and sound artist Elsa M’Bala, for example, encounters were created whose patient search and find and whose controlled coincidences also characterize “As Late As Possible” – but here concentrated, concise, and with all the love of sound and experimentation always committed to the song. With this will to create a song-like narrative, to move, to develop, “As Late As Possible” remains suspended and searching. Its concentration seems light-footed, its happy accidents well-placed, the melancholic beauty of outdated technologies, forgotten musical toys and broken noise sources always forward-looking. Music like the one that comes about when someone programs an entire robot band, which then becomes just a friendly part of the whole.

The artwork for “As Late As Possible” was created by Leipzig comic artist Anna Haifisch. The album was mixed by Adam Lenox and mastered by Frida Claeson Johannsson.

On ‘Cordial’, Ursula Sereghy traces the sensation of home; not as a place, but as something fleeting and deeply felt. Comfort appears in glimpses, nestled between moments of dissonance and unraveling structure. There is joy, but it carries the weight of absence, the quiet grief of realizing what was missing all along. A laughter that is both liberating and bittersweet.

Sereghy’s music moves with no fixed center, shedding hierarchies and opening itself to the unknown. Sounds unravel and reform: fragments of voices, reshaped textures, the shimmer of manipulated recordings all bending into semi-familiar contours. In this space, harmony is not a destination but an unfolding process, a web of shifting connections rather than rigid form.

Deeply drawn to natural processes, Sereghy’s music resonates with an elemental force: chemical reactions, unseen currents, the quiet logic of interconnection. Sound becomes a space where trust takes shape, where loss is acknowledged but never final, and where the act of feeling remains, above all, an act of survival. It is music in constant negotiation with itself - dismantling, reshaping, and reaching towards something vast, untethered and luminous.

Mr. Luck & Ms. Doom is the Delines most realized and strongest album to date, a record of romantic misfits and grifters who live out of suitcases and cars, who can"t seem to settle down, who hope that in the next town or city will be the score that saves them. Mr. Luck & Ms. Doom features the stalwart Delines line up: Amy Boone on vocals, Cory Gray on horns and keyboards, Sean Oldham on drums, Freddy Trujillo on bass, and Willy Vlautin on guitar. The record features Amy Boone"s lush, world worn voice, the cinematic production skills of Askew, and the horn and string arrangement of Delines keyboardist and trumpeter, Cory Gray. This is wide screen, CinemaScope, Delines at their best.

Von allen unabhängigen Plattenlabels der 1980er Jahre war él das einzigartigste und aufregendste. él existierte nur wenige Jahre und war doch paradoxerweise - angesichts seines bescheidenen kommerziellen Erfolgs - äußerst einflussreich. Für den Schriftsteller Jonathan Coe, einen der vielen Anhänger des Labels, war él "das große musikalische Geheimnis Großbritanniens". Diese "Best of"-Compilation, kuratiert von Label-Chef Mike Alway selbst, wird die Welt an die Größe von él erinnern.

Rival Schools's Found is a collection of rarities, demos and alternate takes of songs collected in the years following the release of their 2001 debut United By Fate. Initialy released over ten years ago, the band has teamed up with Run For Cover Records for a limited reissue to release alongside the reissue of their 2011 album Pedals. Found features eleven songs that show the range of sounds the band tinkered with in the ten years between these albums - it's a must have for any fan of the band, available again on limited color vinyl.Rival Schools started as the once-new project of vocalist/guitarist Walter Schreifels, who as a member of Youth of Today, Gorilla Biscuits and Quicksand routinely reinvented the sound of hardcore. In Rival Schools he was joined by bandmates Ian Love, Cache Tolman and Sammy Siegler, whose other projects at the time include Iceburn, CIV and Glassjaw.

In the midst of recording his 12th album 'Why The Worry', wavering in his resolve to finish what he'd started, Seth Walker came to the realization: "This does not define me; this is not who I am forever; this is just a moment" . "Distance colors compositions over the years and each album is left as merely a reflection of its own period in time." The new album finds Walker reunited with old friends and familiar names. Once again Jano Rix steps behind the boards, co-producing the album with Seth and engineer Brook Sutton. In the producer's fifth outing he's become an invaluable sounding board, the kind that knows what's missing and, just as importantly, what needs to be taken away. Oliver Wood (The Wood Brothers) lends a pen to the title track and Seth's classically trained father Scott adds strings to "I'm Getting Ready," a song penned by Walker's contemporary Michael Kiwanuka. Mostly, though, the record was shepherded into shape by Walker's trio, rounded out by longtime confidants Rhees Williams (Guitar, Piano) and Mark Raudabaugh (Drums). The three let the studio guide them, entering without agenda, set straight by the title's mantra to stop worrying where they'd end up.

Unter dem Banner Sleep Token verbirgt sich die einzigartige, breit gefächerte Vision eines Einzelnen - anonym, schweigend, maskiert und bewaffnet mit einem atemberaubenden Stimmumfang, einem geschickten Händchen an den Keyboards und einem Live-Ansatz, der nie weniger als voll engagiert ist. Die britischen Metal-Shootingstars Sleep Token. Sleep Token begannen, alle zwei Wochen Songs zu veröffentlichen. Jeder Track hatte sein eigenes Emblem und führte das Sleep Token-Universum auf dem Debütalbum 'Sundowning' ein. Das zweite Album 'This Place Will Become Your Tomb' ist jetzt auf schwarzem Doppel-Vinyl erhältlich.

Infrarouge is Minuit Machine's third LP. It was released in 2019, marking the band's grand return after a three-year hiatus.

A valentine for black hearts! An electric array of magic sounds! The shock return of a missing legend! The surprise formation of HOUSE Of ALL by five former members of The Fall was bound to provide some pleasant surprises, not the least of which being the creation of an identity distinct from that of any specific Fall line-up, and here the band offer an steep evolution of sound of their two previous albums . . . darker, more elliptic and can we say it? A more mystical sum of talents than most groups ever manage. They've kept their open door policy to former members of The Fall and expanded it. Phil Lewis, who's stepped in live for Pete Greenway, makes his studio debut, and the long-lost Karl Burns has emerged from his mystery lair to add a third set of drums to the line-up . . . besting The Glitter Band by 50%! How this will work live has yet to be determined, but the band has already scheduled dates in Spring, 2025. House Of All Souls is somewhat more psychedelic than its predecessors, and despite seven players, each with his own particular style, the songs and production are shockingly cohesive. From the breakneck pace of first tune, Tempest And Storm to the superb album closer, Born At Dawn And Dead At Sunset, there's quite a lot to unpack - it's an album-lover's album, each track magnificent in its own way and impossible for us to pick a fave from the lot of 'em. Plenty has been written about The Fall, whose 50th birthday is just a few years off, but rare is the group with an equally perverse and persuasive influence in that period. When HOUSE Of ALL debuted, Martin Bramah remarked on it being "part of the Fall family continuum" - a matter of actual fact, given the pedigree of its members. With this, HOUSE Of ALL's third full-length album, it's proven fact that the bright lights of those multiple talents behind the band have yet to dim.

Repress

Samosa Records swings back into action for the summer months with Afrikano Vol. 1 - a scintillating four tracker EP from Various Artists which you will fall in love with on the first listen.

On the A-side, the always impressive Vagabundo Club Social kick things off with the enigmatically titled ‘Mr. Mista’ - a hypnotic, (almost calypso inspired) rhythmic explosion of Mibra guitar, whirling organ, horns and a wicked high end laser sweep. This is a pure chugger, folks. At a deceptive 120bpm it will have you dancing til dusk.

A2 brings us ‘Sweet Dance’ where C. Da Afro met De Gama: after a brief shuffle beat start (liberally peppered with rhythm guitar and organ stabs), the unusual duo make sure it’s all about the beat and horn breakdowns. Pre-drinks in Lagos, people watching and waiting for the night to start is the order of the day here. Cut this in half and it has ‘summer’ stamped right through it. Gloriously sweet.


On the B-Side, Atchoum & Grincheux take centre stage with ‘Demokoussé’. Les Inferno applies the special retouch here, and straight away we’re treated to a gloriously produced trip through breakbeat inspired beats, deep, throaty horns and an outrageously soaring sax. Oh you want more? Well try the addition of the gorgeous spiritual vocals that put the bow nicely on this African sizzler.

Finishing the EP on B.2 is Lego Edit and the aptly titled ‘Afromaniaco’. A pulsating, horn inspired shaker, this track grabs you right by the beat bone from the off and won’t let go. Lego Edit’s trademark deft touches and attention to detail is all on display here - sweet sounding African vocals weave in and out of the almost melancholy horn stabs and washboard beats. A soundtrack for one of those incredible sunsets, ‘Afromaniaco’ is the missing piece of this diverse jigsaw.

With Afrikano Vol. 1, Samosa Records has found the perfect accompaniment to what is hopefully a long, hot summer. So Samosa, so brilliant.

Powerful works of art have traditionally sprung from some source deep within an artist and, if they strike the right tone, resonate with an audience to leave a lasting mark. But what if that equation were reversed: what if an artist were to draw their inspiration from deep within their audience, and use that to reflect those ideas, emotions, hopes, fears, pains and aspirations back to us?

Over a two year journey, audio-visual artist and electronic innovator Max Cooper has inverted the creative process by collecting hundreds of anonymous quotes, posing deep but open questions such as "What would you like to express which you cannot in everyday life?" and "What is it like to exist inside your head?"

The goal: to understand what it is truly like to be human right now. The result: his new album On Being, to be released in February 2025 with the first single "Sun In A Box" coming this September 4th.

With On Being, Cooper aimed to probe under the synthetic surface of social media to "create a snapshot of our minds these days," as he puts it by asking people to share anonymously what they dare not ever say publicly. The result is an emotionally raw and shockingly honest kaleidoscope of confessions, ranging from suicide contemplations to miserable marriages to simple pure loneliness, contrasting with hundreds of anonymous confessions of love and longing.

"I was interested in the way I interact with people for my writing process, which usually involves a one-way communication of feelings and ideas that I later find out whether they resonate with others or not," says Cooper.

"With this I could start instead with people's thoughts and feelings, what resonates for them, and make my own interpretations of those musically and visually, and then send those back out to everyone. It's more of a collaborative approach to making an album, and more intense."

Grief, hope, regret, joy, hurt and love form the basis for each track, taking Cooper's ever-evolving creative process in a completely new direction - with profoundly intense results.

"Rendering the experience of being is at the core of what I do musically - but I hadn't realised the impact that other people's words on being would have on me until I started reading the database of thoughts," he says.

"It was like finding a secret window into everyone's minds, and discovering amongst the chaos, pleasure and pain, the experiences that we all share at different times of our lives, and overwhelming emotions and connections that call out to be explored."

Despite what we see in the maelstrom of rage in the echo chambers of society ‘On Being’ reveals that humans still have an innate need to trust one another and express communal generosity - more easily done from the safety of an anonymous portal.

"The quotes carried so much weight for me - I interpreted them with my usual musical tools, but as you can hear in the music, everything got more extreme as I dove into the depths of what everyone had to say later in the record," says Cooper.

The result is a unique work of art that demonstrates unequivocally not only the power of using music without words to express emotions, but the power of words to express what seemed to be inexpressible.

On Being will continue to evolve as Cooper gathers more confessions to feed into this ecosystem of emotions and to create a new range of art projects and other accompanying works which hopefully will speak truthfully to humanity today - and of who we are and who we can become.

A lost paradise, a lost innocence, and a lost culture; these are the dominant themes presented in Nicolas Roeg's 1971 masterpiece Walkabout, a survival story of two children lost in the scorched Australian wilderness. Together with other seminal Australian surrealistic outback films, (e.g. Wake In Fright) Walkabout was a film that reshaped the Australian film industry and defined the country's New Wave. On the cusp of the film's 45t h anniversary it is pertinent to observe that for decades the film's original soundtrack has also been considered lost. Composed and conducted by the acclaimed British film composer John Barry, the score is a hallucinogenic mix of exotic romanticism, children's nursery rhyme and potent psychedelic experimentation. For decades, the consensus among soundtrack circles was that the master tapes were officially missing with little chance that the music would ever see a legitimate release, but The Roundtable is pleased to announce that this is no longer the case. The complete soundtrack to one of cinema history's most visually spellbinding films has now finally been re-discovered, sourced from the original stereo master tapes and prepared to the guidelines of the original ill-fated 1970s LP release.


The premiere soundtrack release to Nicolas Roeg's 1971 New Wave Masterpiece.
Lost hallucinogenic orchestral score from acclaimed film composer John Barry.
12-track LP re-mastered from the original stereo master tapes.
180g vinyl and deluxe packaging including archival film stills and original press material.
6 Panel digipack CD.

Mr. Luck & Ms. Doom is the Delines most realized and strongest album to date, a record of romantic misfits and grifters who live out of suitcases and cars, who can"t seem to settle down, who hope that in the next town or city will be the score that saves them. Mr. Luck & Ms. Doom features the stalwart Delines line up: Amy Boone on vocals, Cory Gray on horns and keyboards, Sean Oldham on drums, Freddy Trujillo on bass, and Willy Vlautin on guitar. The record features Amy Boone"s lush, world worn voice, the cinematic production skills of Askew, and the horn and string arrangement of Delines keyboardist and trumpeter, Cory Gray. This is wide screen, CinemaScope, Delines at their best.

Gary Marks ‘ Gathering’ is exactly what you would call a miracle. Self-produced in 1974 and engineered at Vitra Sonic Recording Studios in New York, the album introduced the crispy talent of the guitarist/pianist and producer. A genuine blend of folksy harmonies and jazzy arrangements, the record could have been possibly the missing link between Tim Buckley ‘Starsailor’ and some early seventies Impulse ! session. Now it’s about time to get a hold of this masterpiece

”Gathering includes guitar legend John Scofield, the amazing jazz pianist Michael Cochrane, and one the of the top vibraphonists in the world, David Samuels. But at the time none of them were known to the general public. In fact, Gathering was the recording debut for all of us.” (from Gary Marks liner notes)