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The Melvins’ first ever acoustic collection, featuring 36 songs including classics like ‘Night Goat’, ‘Honey Bucket’ and ‘Billy Fish’, as well as covers of Brainiac, The Rolling Stones and Alice Cooper tracks.

 This newly recorded acoustic collection features a career-spanning collection of songs, from 1987’s ‘Gluey Porch Treatments’ to 2017’s ‘A Walk With Love & Death’ - the entire gamut of the legendary band’s catalogue is represented.

 “I knew I wanted to do something ridiculously big,” explains Buzz Osborne of the band’s first ever acoustic offering. “36 songs reimagined by us acoustically is certainly ridiculous but it works. The magic of the songs is still there regardless of it being acoustic. Since we weren’t touring we had the time to do something of this size. I’m very excited about this record. Dale and Steven did a fantastic job on this. I think it’s a very special record. I can’t
think of anyone else who’s done something like this.”
 The band previewed the impressive offering with the release of ‘Night Goat’.
Dale Crover noted: “I think people will be surprised that we can do an
acoustic version of a song like ‘Night Goat’ without losing any of the
heaviness. We also worked hard on the vocal arrangements. People are
going to freak out!”
 ‘Five Legged Dog’ also features acoustic versions of several rarities from the
influential band’s overflowing discography, including a cover of Redd Kross’
‘Charlie’ (from the limited edition ‘Escape From LA’ single), ‘Outside
Chance,’ a Turtles cover from the ‘Slithering Slaughter’ single and new
interpretations of The Rolling Stones ‘Sway’, Brainiac’s ‘Flypaper’ and Fred
Neil’s ‘Everybody’s Talking’ (popularised by Harry Nilsson). Butthole Surfer
Jeff Pinkus lends his vocals (and banjo) to ‘Don’t Forget to Breathe’ and
‘Everybody’s Talking’.

Judee Sill was an American singer and songwriter. She released two albums and partially completed a third album before her death in 1979. Sill encountered Graham Nash and David Crosby and toured with them for a time as their opening act, a year before the release of her debut album. She was hired by the Turtles to write songs, on which a few of them appeared on her debut album, such as 'Lady-O'. Two of Sill's biggest influences were Bach and Ray Charles.

Judee Sill's eponymous debut album of the same name was originally released in late 1971. Backing musicians include John Beck and Jim Pons from the Leaves. The majority of the album was produced by Henry Lewy, noted for his work with Joni Mitchell throughout the 70s. Graham Nash handled the duties for the single 'Jesus Was a Cross Maker' with his production designed to aim for radio airplay before the release of the album. Judee Sill featured Sill's voice in multiple overdubs, often in a four-part chorale or fugue. The songs are delivered in an acoustic style on guitar and, for 'Jesus was a Cross Maker' and 'Enchanted Sky Machines,' on piano. The songs on the album feature elements of folk, country, and gospel, but also strong classical influences.

"The core of confusion and upheaval that drove some of the band's most fiery earlier work, however, is replaced by a more stabilized undercurrent, a mentality that's reflected in songs not afraid to try new things and honestly explore uncomfortable feelings. When combined with exciting production and songwriting choices, that mindset helps make Feels So Good // Feels So Bad one of the Shivas' best albums.” - AllMusic "Portland, Oregon-hailing psych-surf band The Shivas accomplish another time-traveling, reverb-ridden sound that refuses to get boring. Jared Molyneux’s guitar work knows when to be bright or bashful at the right times, breaking into guitar solos that possess a late-’60s groove… The Shivas seem to blissfully flourish” - Paste "a consistent treat for the ears” - The Vinyl District "Though the psych-tinged guitar riff that drives 'Feels So Bad' was written while The Shivas were still on the road, its lyrics didn’t fall into place until the band was well into lockdown, unsure of when they’d be able to return to their most imperative true love: Live shows... Accordingly, 'Feels So Bad' permeates with a sense of urgent desperation, building off a chugging prog-rock instrumental.” - Consequence (on “Feels So Bad”) "They hooked the audience with their throwback rock sounds. The guitar strums and rhythmic drum beats were layered atop smooth and hallucinogenic vocals. The eyes can tell the take at times and there was a sparkle there that said that the band members just love doing live performances." - California Rocker "This single layers on the fuzz but keeps it dreamy, with an especially sticky guitar riff sure to lodge itself in your brain with minimal effort." - Portland Monthly (on “If I Could Choose”) “'My Baby Don’t' translates the genuine vibrant joy


of the live experience into the studio, bringing the band’s ‘60s garage rock roots, sharp pop vocal harmonies, and fervent performances along for the ride." - Under The Radar "Perfectly straddling the line between a solid-head bopping track and an introspective deep cut, The Shivas’ 'Undone' is a rock & roll gem. The track sounds straight out of the late 60s and fits seamlessly in the Portland band’s electrifying catalog." - The Luna Collective "The first time I clicked play on this track, I knew it was a yes for me." - Ear To The Ground Music (on “If I Could Choose”) "The harmonies would make the “Happy Together” Turtles blush, but the unsettling guitar doesn’t shy away from the woollier implications of the ’60s." - Willamette Week (on “If I Could Choose”) "'Undone' is just the perfect song for the good days and the bad ones." - GlamGlare "another hit" - Austin Town Hall (on “Undone”) "one of the best forthcoming albums of the year" - Austin Town Hall RADIO: #3 Most Added @ NACC - 50 official adds BIO Every working musician has had their life turned upside down by Covid-19. For The Shivas, who had recently released a new LP and normally keep a rigorous touring schedule, it was a particularly screeching halt. “We were about to go to SXSW, the following weekend was Treefort in Boise, and then we were going to open for our friends’ band on tour in the US before going to Europe,” Jared Molyneux remembers. Then everything just stopped. They were faced with a dilemma. “It forced us to adapt or just quit,” Molyneux says. “The reality is that shows are our job.” In truth, live shows aren’t just The Shivas job: they are the band’s greatest love. Shivas shows are bombastic, explosive and thoroughly communal live rock and roll experiences where barriers between the performers and their audience seem to dissolve into the sweat and sound. The stage—or the basement, or the living room—that’s The Shivas’ true element. It’s their raison d’etre. It’s their religion. The band’s live urgency may have been born in 2006, when the band’s young members—who began booking West Coast tours while still in high school—waited without fanfare on sidewalks or in parking lots, before being rushed onstage for their sets at 21-and-up clubs. Maybe it developed a little later, as The Shivas blasted their way through Portland’s storied and unsanctioned mid-aughts house show scene. Whatever the origin of their famously kinetic live experience, it’s the show that keeps them coming back after over 1,000 performances spread over 25 countries in 15 years. In those 15 years, The Shivas have grown tight-knit as a group. Guitarist/singer Jared Molyneux, bassist Eric Shanafelt and drummer/singer Kristin Leonard have all been with the band since its earliest days; guitarist Jeff City, another high school friend, joined in 2017. Together they’ve learned to thread a seemingly impossible needle: They’ve honed and tightened their performances without sacrificing the element of surprise that makes each show special. And despite touring and recording for most of their lives, they speak about their project with humility, in the DIY vernacular of their Pacific Northwest upbringing. They talk up their own favorite bands, play all-ages shows as much as possible, and bring a sort of blue-collar humanism to the live performances they relish so much. “We just want to make people feel good,” Molyneux says. “We want them to forget they have to work tomorrow.” Kristin Leonard elaborates, “The live show is all about that feeling of catharsis—in ourselves and in everyone who comes out. We’re creating this safe space where we can all let go. Where we can exhale. And it feels really good when we are able to facilitate that.” So when Covid hit, the band knew it was time for transformation. After a settling realization that live music would be grounded for the foreseeable future, The Shivas booked significant studio time with Cameron Spies, who also produced the 2019 Dark Thoughts LP. They also transformed their lives: three of the band’s four members found work with a local nonprofit serving unhoused Portland residents. They became engaged in protests and fundraisers for social justice. They spent a whole summer actually living in Portland, settling into the city they had always called home, but that sometimes felt like a temporary stop between tours. “We got into a more community-minded headspace,” Leonard says. “And that did give us some purpose. It felt cool to see everybody come together to stick up for what they believe in. It feels like an incredibly formative last twelve months.” The album that emerged from this new moment finds The Shivas reborn as a band that seems seasoned and perfectly at home with itself. There is a calm, even a hopefulness, to Feels So Good // Feels So Bad that sounds new. The Shivas didn’t write or record the album with a particular theme in mind, but one seems to have emerged: where Dark Thoughts was about confronting your demons with fearless self-examination, much of Feels So Good // Feels So Bad is about what happens once you find that peace: how being honest with yourself changes your relationships and your priorities. “I do think it’s about acceptance,” Leonard says. “There’s a weird relaxation that comes with being at peace with things you can’t control or have regrets about.” Maybe that’s why the squealing, riff-laden break-up song opener, “Feels So Bad,” is such a shock to the system. But it’s more of an exorcism than a melodrama: more a song about not being able to do the thing you love (in


this case, playing live shows) than splitting with a partner. “It’s like part of you goes to sleep,” Leonard says. As bandmates who are also in a long-term relationship, Molyneux and Leonard know that their songs might be seen as glimpses into their personal lives, but their songwriting is rarely autobiography. Leonard compares their process to something more akin to screenwriting. “There’s bound to be some autobiographical material in there,” she says. “But the common denominator is the exploration of universal feelings: ones that everyone experiences or can relate to.” The goal is to use the music to drill down into something genuine and sincere, beyond genre or stylistic affectation. That’s where The Shivas have arrived. Whatever growth led the band to Feels So Good // Feels So Bad, plenty of their fascinations remain. They’re still turning love songs into psychedelic, transcendent epics. “Tell Me That You Love Me” subverts doo-wop extravagance and dabbles in Flamenco rhythms. “Rock Me Baby” is a bubblegum anthem soaked in so much reverb that we might just be hearing it from the stadium nosebleeds. “Sometimes” is almost impossibly huge, like a witchy outtake from the Brill Building era. Those songs feel like logical expansions from a band that has always excelled at a timeless sort of rock and roll that tinkers with and explodes elements from every era. But on the towering and mournful “You Wanna Be My Man,” a slow-burning six-minute shoegaze prayer for a higher sort of love, there is a level of emotional nuance that feels like something altogether revolutionary. It’s there again in the stripped-down vulnerability of the album-closing elegy “Please Don’t Go.” Yes, Feels So Good // Feels So Bad is an album about acceptance. Sometimes that acceptance feels enlightened and sometimes it feels like the end result of a lot of kicking and screaming. The Shivas have adapted in both of those ways. With new tours scheduled and a new album on the way, they’re still hoping--like all of us--for a new era of vibrant, cathartic live music. The lessons they learned from having their normal upended, though, have only helped them grow

A collection of guitar-wielding all-girl bands, drop-dead female frat rock, garage girls and axe-centric she-pop from the 60s. 14 hot nuggets, each one hand-picked with vinyl lovers in mind.

Features a bevy of genuine all-girl bands – namely Goldie & the Gingerbreads from the environs of New York; the Debutantes from Detroit; Florida’s the Belles; the Rums & Coke and Girls Take Over, both from Wisconsin; and Ace favourites She from California, all of whom give their male counterparts a good run for their money. The Belles, incidentally, released only one record – a killer rendition of Them’s ‘Gloria’, gender-switched as ‘Melvin’ – before drifting apart, never dreaming that copies of the disc would one day change hands for $500 a pop.

Some of the other girls receive help from male colleagues. Glenda Collins, for example, is backed by producer Joe Meek’s favoured house band the Outlaws featuring guitarist Richie Blackmore; Merseyside ex-pat Sandy Edmonds is accompanied by the Pleazers, New Zealand’s answer to the Pretty Things; and teenage trio the Chymes are supported by the Turtles.

Pressed on 180g transparent violet vinyl, with a swanky inner bag sporting a fact-filled 4,000-word track commentary and an array of rare photos.

Compilation and note by Mick Patrick

Music From Memory are happy to finally announce MFM045 - VA ‘Music For Theatre And Dance’ (EP).

This will be the first in a small series of EPs which will focus on music which was initially created for or inspired by dance and performance. Created as a dialogue with the avant-garde and highly experimental work in dance, theatre and art evolving at the time, the music was in turn at times greatly innovative.

That it was created for a dance or performance though means that such music was also often highly rhythmic and a number of pieces from this time stand out and seem greatly deserving of a new context.

Whether it’s more ambient or atmospheric works or whether it’s in the more rhythmic or percussive pieces, Music From Memory brings together a selection of tracks which aim to highlight this highly innovative direction in music.

Hiking in the Mist is new album of Taiwanese chamber ensemble Cicada who played with Olafur Arnalds, Rachel Grimes, Balmorhea. Cicada was formed in 2009 consists of violin, cello, acoustic guitar, and piano. It's named after Cicada because people are aware of cicada's existence by their sound instead of forms.
Cicada later collaborated with the Japanese label FLAU to release Ocean based on these two albums for worldwide.
In 2016, Cicada selected 14 songs from Over the Sea/Under the Water, Pieces and Let's Go! with the new recording and production to make the album Farewell.
The most recent release in 2017 White Forest was dedicated to animals including coral reefs, sea turtles, humpback whales, dolphins, as well as cats in the city and birds in the mountains.
Cicada walked into the mountain from the ocean on the 10th year and released Hiking in the Mist. It's their hiking journal with intention to depict their homeland with expansive views.

Over the last several years, the Zappa Family Trust and UMC have lovingly been restoring Frank Zappa's iconic catalog together by reissuing his classic albums on CD and pressing long-out-of-print records back on vinyl. Next up in the ongoing vinyl initiative, coming on the heels of the reissue of his enigmatic Burnt Weeny Sandwich, is Zappa's 1970 stylistically diverse and subversive album, Chunga's Revenge, which will receive a 180-gram audiophile repressing on black vinyl on July 20. Supervised by the ZFT, the record, which has been unavailable on vinyl for more than three decades, will be press pressed at Pallas In Germany and feature reproductions of the original artwork. Chunga's Revenge, although released under Frank Zappa's own name, introduced a new Mothers lineup that included former Turtles members Howard Kaylan and Mark Volman, aka Flo and Eddie, as well as keyboardist George Duke, drummer Aynsley Dunbar and multi-instrumentalist Ian Underwood. The album is one of Zappa's most eclectic efforts, encompassing the improvisational title track, the raucous guitar jam "Transylvania Boogie," the bluesy "Road Ladies" and the jazzy "Twenty Small Cigars," along with more conventional rock numbers like "Tell Me You Love Me," "Would You Go All the Way" and "Sharleena."

For the second installment in their 12' series Music From Memory present two deeply forward thinking electronic tracks from British musician Michal Turtle made between 1983-4.
The first track 'Are you Psychic' is taken from Turtle's obscure 'Music From The Living Room' album which Michal recorded literally in the living room of his family's South London house at the young age of 22.

Over-running his parents' front room with various synthesizers, amps and instruments, and setting up a portable four track studio the 'Music From The Living Room' tracks were built around live jams that took place alone or sometimes with musicians he would invite to play alongside him. Whilst seemingly sample based the instruments were played live and any voices or sound effects were actually recorded directly to tape, or put onto tiny 2.5 second cassette loops.

'Astral Decoy' was made in the year following the release of his only solo LP and forms part of a series of unreleased tracks that reflect a growing interest in combining electronics with more analogue elements such as Xylophone and live percussion. At the same timce this track draws inspiration from the sound of electro and boogie which Michal had become greatly interested in at the time, and in particular the work of musicians such as Grandmaster Flash.

With access to the archives of the many recordings made at his family home, this 12' serves as an introduction to a wider compilation of Michal Turtles works which is to follow on Music From Memory.