Rock

Far Out “Nihonjin” (Everland)

2020-04-30T22:45:14+00:00April 30th, 2020|

Some albums are certainly a kind of holy grail for music lovers and collectors of a certain genre, style and era. FAR OUT with their eponymous debut and unfortunately also farewell album from 1973 have created such a sacred gem. Original copies in good condition change hands for up to 2000 USD and there are certainly a few not so official reprints on vinyl and CD out on the market which do not even come close to do justice to the greatness of the old original black gold. But here we go with the first ever official vinyl reissue taken directly from the original mastertapes supplied by Nippon Columbia.

EVERLAND MUSIC did a brilliant job as usual with their reissue. The coverart with a white glove hanging on a washing line to dry comes on an awesome heavy gatefold sleeve. Including 2 inserts with live photos from back in the day when the band was going wild on stage.

Now for the most important part, the music. There are certainly not too many wild moments here since both long tracks „Too many people“ and „Nihonjin“ have a melancholic, dreamy approach with a desperately howling and sighing lead guitar that spouts some utterly intense melodies. These two tracks are epics in the pure sense of the word. They start both with a rather gentle part which develops into a journey of sound that bring either vast landscapes of enchanting beauty untouched by modern human life or quite dramatic scenes to your mind’s eye. The lead guitarist often uses some strange instrument which is a kind of electric sitar to add the atmosphere of eastern mystic. So while falling into a state of deep trance while letting the music rush through my ears into my brain my spirit that has left my body embarks on a trip from the smokey volcanic hills around Pompeji to the icy permafrost wastelands of the Northeastern lands and arrives somewhere in the East Asian jungle on a gold plated pyramid of an unspeakable age where laughing demons dance around mystic fireplaces. Yes, this is the real journey to the center of your mind and despite having no really abstract freak out parts, tricky instrumental runs and twisted rhythm figures this music will capture your whole existence for the next 38 minutes. The end of „Nihonjin“, the second tune, shows an ambient like section with synthesizer background, echoing atonal sitar, a brightly squeaking flute, organ carpet and some percussions. This is indeed a rather extreme part, due to the pointed tone of the flute but quite soon the music stops and leaves the listener back in reality. This second track later on got a kind of reappearance on the FAR EAST FAMILY album „Nipponjin“, also retitled as „Nipponjin“. Mastermind behind both acts is multi instrumentalist Fumio Miyashita, so there is no wonder. The later version has more space rock elements and electronic sounds than the original FAR OUT tune and is a little bit shorter all in all. But I digress.

This is the real thing for those who still miss the melodies and atmosphere of the late 60s and very early 70s when people had a dream of a peaceful world and who enjoy early German cosmic kraut rock like AMON DÜÜL II, ORGANISATION (later to become KRAFTWERK), the debut album by TANGERINE DREAM and more obscure stuff but also international bands like PINK FLOYD, GONG, TWINK and HAWKWIND just as an East Asian version. A real gem and finally available with the real sound and package again.

Artists: 
Record Label: 
Genre:  ,

Chicano Batman “Invisible People” (ATO)

2020-04-30T22:45:12+00:00April 30th, 2020|

Los Angeles psych-soul four-piece Chicano Batman announce Invisible People, out May 1st via ATO Records. The album is both the band’s most sonically-varied and cohesive. It is a statement of hope, a proclamation that we are all invisible people, and that despite race, class, or gender we can overcome our differences and stand together.

For the album, Chicano Batman worked with Shawn Everett, the GRAMMY-award winning mixing engineer known for his work with Alabama Shakes, War on Drugs and Julian Casablancas. With Leon Michels’ producing and Everett’s mixing steering the record’s direction, the band’s lush Tropicalia-tinged sound has transformed into their most polished and densely layered. Invisible People is an illuminating and encapsulating sonic landscape, one that hasn’t lost the essence that put Chicano Batman on the map.

Artists: 
Record Label: 
Genre: 

Austra “Hirudin” (Domino)

2020-04-30T22:45:09+00:00April 30th, 2020|

Being in a toxic relationship can sometimes feel like being lost in a maze. Every attempt to turn a corner lands you back where you started. HiRUDiN is both a bold acknowledgement of such patterns of behaviour and a testament to the power of breaking them.

Named after the peptide released by leeches that is the most potent anticoagulant in the world, HiRUDiN is about the importance of healing the self, letting go of harmful influences, and finding the power to rebuild through exploring your innermost desires.

Artists: 
Record Label: 
Genre: 

Pearl Jam “Gigaton” (Monkey Wrench)

2020-04-16T20:20:01+00:00April 16th, 2020|

Pearl Jam produced Gigaton with Josh Evans. “Making this record was a long journey,” guitarist Mike McCready said in a press release. “It was emotionally dark and confusing at times, but also an exciting and experimental road map to musical redemption. Collaborating with my bandmates on Gigaton ultimately gave me greater love, awareness and knowledge of the need for human connection in these times.”

Artists: 
Record Label: 
Genre: 

Datura4 “West Coast Highway Cosmic” (Alive)

2020-04-16T20:20:00+00:00April 16th, 2020|

Hot on the heels of their critically acclaimed third album, “Blessed is the Boogie”, Australian rockers Datura4 have hit the motorway running for another sonic journey through burning boogie, dirty blues and rock & roll soundscapes on follow-up opus “West Coast Highway Cosmic”. “West Coast Highway Cosmic” sees Datura4 stretch out and experiment with their sound built up over 4 albums since their debut release “Demon Blues” in 2015. Dig it! Garagey but not grungey, power-poppy but not cheesy, muddy but not sludgy, blues-respecting but not formulaic, trippy but not spacey, Datura4 is carving out their own niche.

Artists: 
Record Label: 
Genre:  ,

The Five Americans “Progressions” (Sundazed)

2020-04-16T20:19:59+00:00April 16th, 2020|

The hits kept on coming from heroic Dallas fivesome The Five Americans with their third longplayer, 1967’s Progressions. Both “Zip Code” and “Evol-Not Love” careened up the charts as The Five Americans squared off on live stages throughout the Deep South with artists such as the Doors and Jefferson Airplane – and more than held their own against the best American rock ‘n’ roll had to offer!

Artists: 
Record Label: 
Genre:  ,

Various Artists “Silver Girls & Indian Pipes” (Misty Lane)

2020-04-16T20:19:56+00:00April 16th, 2020|

The very best of Penny Wise/Amsterdam and Peter Bewley.

In the history of the Nederbeat genre the band Penny Wise is simply legendary. Their story begins in 1967. Former members Donald and Martin van Os grow up in the western part of Amsterdam. Their first group, So What, plays a lot in the Amsterdam beat clubs, sometimes opening up for Dutch major Beat groups such as The Motions and The Golden Earrings. So What’s manager André Heilbron works as a roadie for Amsterdam’s #1 group The Outsiders and then the group comes under the wings of the famous impresario John B. van Setten. “Silver Girl” and “Jackie’s S.S.S.” appear on their first single. Penny Wise presents itself – both in sound and fashion – as a very exuberant British mod group. “Silver Girl” is nowadays rated among connoisseurs as one of the best and most exciting examples of Dutch 60’s Freakbeat.

“Lily Come Near Me” is in a much more poppier vein – a very strong composition with great melodies and splendid vocals, one of the band’s hallmarks. Penny Wise’s final 45, “Leave Me Alone”, another lite-psych pop masterpiece, and its flipside “In The Fields With Me”, a quirky Kinks/Ray Davies style pop follows. By the end of 1969 they change their name in Amsterdam. The idea to name themselves after their hometown was “inspired” by the American group Chicago. Amsterdam’s debut 45, the Freakbeat “Blue Steel 45” and the atmospheric laid-back “Indian Pipe” is out in 1970 and gets a lot of airplay. Another song from their catalogue compiled hereby is the melodic West-Coast styled “Lucy Lucy”.

Former member Peter van Asten leaves the band early 1971. Under the pseudonym of Peter Bewley he releases three 45’s of which his first “It’s Allright Bill” b/w “Smile Again”, a beautiful strongly Beatles-inspired pop 2-sider, is his best and most successful one. Peter plays guitar, bass, piano, organ and is doin’ the lead vocals.

It’s 1975 when Amsterdam’s first album is released and the band actually no longer exists. It’s a collection of their Pink Elephant single sides complemented with four songs recorded earlier.

As a tribute to our beloved Amsterdam city we chose Alessandra Monoriti’s colorful illustration for the cover which perfectly fits in the music compiled in this record. Lovers of Nederbeat, Dutch-Baroque-Pop and lite Pop-Psych will surely fill this record between their genre’s faves. Thanks to Dutch music export Erik Meinen this selection is now available again with such a rich and detailed liner notes insert. It was about time these songs would be rediscovered and newly presented in all their splendor. We sure hope you’ll like them as much as we do!

Record Label: 
Genre:  ,

Various Artists “Electric Holyland” (Lion Productions)

2020-04-16T20:19:55+00:00April 16th, 2020|

Music known as “Jesus rock” or “Jesus psych,” the synthesis of the Christian philosophy combined with heavy rock or psychedelic music, first saw light of day in the late 1960’s and was immediately pressed on vinyl. It didn’t dent popular consciousness and was met with almost zero popularity in its infancy. Over the years, astute collectors and music lovers began to realize that some of these records, almost all of which had been privately pressed in very small quantities with little to no promotion, contained some of the heaviest, catchiest, guitar-driven psych rock ever released.

Many of us feel that these early greatly talented, creative and innovative Jesus rock artists, which, sadly, have been mostly overlooked and remain stlll relatively unknown, deserve to be heard. They broke the traditional mold of what Christian music should sound like and need to be known and recognized along with the well-known rock artists and bands of the era. This album presents twelve cuts of some of the best and sometimes heaviest obscure Jesus psych rock ever. Several tracks are from ultra-rare albums that are well-known to vinyl collectors, while others are from albums so obscure that only a few copies are known to exist. Enjoy your fuzz-drenched trip through “Electric Holyland”!

Record Label: 
Genre:  ,

Various Artists “Uzelli Elektro Saz” (Rush Hour)

2020-04-16T20:19:54+00:00April 16th, 2020|

Uzelli Kaset was established in 1971 by Muammer and Yavuz Uzelli in Frankfurt, Germany. Their music resonated not only with the longing that Gastarbeiter (guest workers) felt for the homelands and families they had left behind and the melancholy brought by their difficult living and working conditions in Germany, but also with the joy that welled up at village weddings on their days off, and the long car or train journeys home. Reaching the remotest corners of Germany as well as Turkey, Uzelli Kaset was soon more than just a music company; it became a companion to Turkish workers living far from home. Not counting the handful of 8-track tapes and 14 LPs released in the early days, the catalog consisted entirely of cassettes.

When they opened their Istanbul office in 1977, Uzelli moved beyond production and became successful in the areas of reproduction, distribution and marketing. Taking the catalogs of other production companies under its umbrella, it continued its rapid growth.

The 90s became the CD decade, and because Uzelli Kaset had not released its catalog in CD format, hundreds of albums remained unavailable to an entire new generation. Because the albums had not been released in LP form either, musical explorers ran into the same problem. Remaining active and serving in various areas of the music industry, Uzelli carefully preserved its visual, audio and document archives, ensuring their survival to the present day.

After an immense amount of work, this catalog, which had long awaited discovery by new generations, was finally released in digital format. For record collectors seeking the spirit of those times, we also began offering this special selection of compilation albums in vinyl format. As we created this series, our goal was to guide listeners toward new discoveries, and open new pages for music lovers to explore. Leaving our rich, multifaceted catalog to genuine musicians, curators and artists, our desire became to approach the recordings of that period from a different perspective.

We are overjoyed to know that our continuing meticulous work will bear fruits whose taste and aroma have been long forgotten.

Record Label: 
Genre:  , ,

Roedelius “Tape Archive Essence 1973-1978” (Bureau B)

2020-04-03T01:02:07+00:00April 3rd, 2020|

During the legendary Forst years, Roedelius had a private workspace with a Farfisa organ, a Revox-A77 tape machine, an echo device and a synthesizer which he borrowed from the Cluster studio next door now and again. Here he experimented, practiced, allowed his imagination to flow, at any hour of the day or night, whenever he was not in the studio with Dieter Moebius and/or Michael Rother at work on new Cluster or Harmonia material. Roedelius always let the tape run, in order to analyze the ideas thus captured more effectively on repeated listening. For the first time ever, this Roedelius audio sketchbook had been digitalized and available to the public in 2014 on a limited three-LP box set called Roedelius Tape Archive 1973-1978. The recordings offer a deep insight into the creative process of his music. Fleeting notes, slivers of ideas, so to speak, moments of inspiration. Finger exercises, experiments in harmony, studies in rhythm are also preserved on these magnetic tapes. Since the box set has been sold out for a long time, Bureau B decided to release the essence of those three LPs on a one-disc compilation: Roedelius Tape Archive Essence 1973-1978.

Artists: 
Record Label: 
Genre:  ,

Nudge Squidfish “Robot Wars” (Feeding Tube)

2020-04-03T01:02:06+00:00April 3rd, 2020|

“This is the second volume of our series collecting the odds & sods of the immortal Nudge Squidfish. Nudge is one of the singular figures to emerge from the Columbus sub-underground rock scene of the 1970s. He was a member of The True Believers (along with Mike Rep & Tommy Jay). He cut a single for the New Age label in ’82, and couple of odd solo LPs while he was living in Nashville later in the ’80s. He was a member of V-3 (along with Jim Shepard) after that. He also released a bonkers full-length cassette on Old Age that was subsequently vinylized by Columbus Discount. More recently, he has become a highly regarded disseminator of UFO videos (Google it). The first volume of this series, You Can’t Have Aliens Without The Squid (FTR 321LP, 2017), was met with gasps of amazement and other tomfoolery. Robot Wars, featuring material recorded between 1974 and 2017, covers even wider stylistic ground than Aliens, and is certain to provoke as many questions as there are answers. The material here is performed by Nudge solo, Root Cellar (a band with Charles Cicirella on smutty vocals), Jayfish (Nudge + Tommy Jay), and V-3. And while Nudge (left to his own devices) has shown signs of being a pop artist, the music here does not hew to that notion. From fine, straight bar blues readymades to spaced-up electro doo-dads to neo-Nig Heistian raunch polemicism, to guitar bursts worthy of Crazy Horse, Robot Wars presents many the faces of the Squid. And yeah, it includes his pop side, but the breadth and balance are kinda staggering. Roll on, Big N!” –Byron Coley, 2020 Edition of 200.

Artists: 
Record Label: 

Asteroid B-612 “Forced Into A Corner” (Bang!)

2020-04-03T01:02:00+00:00April 3rd, 2020|

Asteroid B-612’s Forced Into A Corner is released for its very first time on vinyl. This is the second album of legendary Australian band, and it is the killer predecessor to their cult album Not Meant For This World! (BANG 134LP). Originally recorded and released in Melbourne, Australia in 1994, this album was produced by Dave Thomas from Bored! So… you can assume it is a monster piece of sonic hazard and guitar army sound mixing Detroit’s wildest with Australian classics. This album was originally released only on CD and only in Australia. It’s remastered here in order to deliver the most brutal sound of this band. A total must for all fans worldwide of MC5, Stooges, Dark Carnival, Sonic’s Rendezvous Band, Radio Birdman, The New Christs, Bored!, Hellacopters, etc.

Artists: 
Record Label: 
Genre:  ,

Mudhoney “Pedazo De Pastel” (Folc)

2020-04-03T01:01:47+00:00April 3rd, 2020|

“In 1992 Mudhoney left Sub-Pop and signed with Warner Brothers’ subsidiary Reprise Records. Having already worked on a batch of songs, we set out to demo what we had. My buddy from high school, Rolf Bertieg, and his friend Jim Collier had set up a studio in the basement of Jim’s house in the Wedgwood neighborhood of Seattle, where, armed with a few tunes and several cases of beer we made these recordings. The songs on this record would eventually be re-recorded and released on our album Piece Of Cake, except ‘Knock It On The Head’ which has remained unreleased until now. (Maybe there’s a reason for that, but I’ll leave it up to the listener to make that judgment). The energy and the vibe of these recordings reflect how we wish the final Piece Of Cake would have sounded. Hope you enjoy this archaeological dig through our past.” –Dan Peters, Mudhoney

Artists: 
Record Label: 
Genre:  ,

Peel Dream Magazine “Agitprop Alterna” (Slumberland)

2020-03-27T02:29:27+00:00March 27th, 2020|

Peel Dream Magazine is the musical vehicle for NYC’s Joe Stevens, who launched the band in 2018 with the critically acclaimed album “Modern Meta Physic,” a mysterious, liminal tribute to the hazy end of ‘90s dream-pop that found its place on numerous “Best of 2018” lists. Now Peel Dream are back with “Agitprop Alterna,” an album that pays homage to sonic and spiritual influences ranging from early Stereolab and Broadcast through stateside groups like Lilys and Yo La Tengo.. “Agitprop Alterna” finds Stevens channeling the collaborative spirit of the band’s live incarnation in the studio, deepening the connection between the existential and the interpretive first explored on “Modern Meta Physic.” It is a rejection of manipulation in all its forms and a buzzsaw against complacency; it’s a rare trick to agitate without being obvious, and perhaps that makes “Agitprop Alterna” the most Peel Dream Magazine-like statement yet.
Record Label: 
Genre:  ,

Various Artists “Garland Records: Pacific Northwest Jukebox” (Sundazed)

2020-03-27T02:29:27+00:00March 27th, 2020|

Rare and unissued Pacific Northwest floor fillers! While soul music might not be the first thing that comes to mind when you think of the music of the Pacific Northwest, Salem Oregon’s Garland Records was churning out high quality hip shakers along with their reels of garage & psych.

Contained here is some super deep ‘Northwestern Soul,’ including three cuts making their inaugural spins 50 years after they were put to tape.

Record Label: 

Tindersticks “See My Girls” (City Slang)

2020-03-27T02:29:26+00:00March 27th, 2020|

Tindersticks release a new limited four-song EP See My Girls. The four song EP features a radio edit of See My Girls, an instrumental dub version of the track and two new songs – the David Boulter penned instrumental A Street Walker’s Carol and Blood And Bone, with Sidonie on lead vocals. The EP is a companion to Tindersticks’ 2019 release No Treasure but Hope.

Artists: 
Record Label: 
Genre:  ,

Sorry “925” (Domino)

2020-03-27T02:29:25+00:00March 27th, 2020|

North London’s Sorry release their hotly-anticipated debut record 925 via Domino. Together with co-producer James Dring (Gorillaz, Jamie T, Nilüfer Yanya), best friends Lorenz and Louis O’Bryen have woven 925 like a dreamscape in which idyllic and hellish scenes intermingle, forcing the question of what is real and what is make believe. Inspired by everything from Hermann Hesse to Aphex Twin and old-school crooner Tony Bennett, their experimental and holistic approach marks them out as a thoroughly 21st century band; from their open-minded approach to genre to their creativity allowing them to self-produce the music and direct accompanying videos. Joined by drummer Lincoln Barrett and Campbell Baum on bass, Sorry emerged from a thriving scene of bands in London, and though 925 is their debut album, it is by no means their first statement. It follows a series of mixtapes, released sporadically and used as a way to experiment with the disparate influences and sounds that give 925 its distinctively modern and apocalyptic sound. Where previous singles and mixtapes earned the band their status as one of the most vital and relentlessly creative new British bands of the moment, 925 is a record which will undoubtedly cement their status as true originals and cross-genre innovators in 2020 and beyond.

Artists: 
Record Label: 
Genre:  ,

Daniel Romano “Okay Now” (You’ve Changed)

2020-03-27T02:29:25+00:00March 27th, 2020|

In a shocking turn of events, Daniel Romano has decided to give you exactly what you asked for–– He and his unparalleled live band, The Outfit, have decided that you deserved it, that it is in fact already yours––and they want to say “you’re welcome.” The record is called “OKAY WOW”. Which is probably what you’ll say when you listen to it. It’s all your favourite songs except superior in every way to the versions you’ve exhausted. “OKAY WOW” also features several rarities previously heard only on two albums which received brief, momentary release via Bandcamp before being deleted forever. “OKAY WOW” was RECORDED LIVE by Kenneth Roy Meehan the 1st while on tour across Scandinavia.

Artists: 
Record Label: 

Arbouretum ‎”Let It All In” (Thrill Jockey)

2020-03-27T02:29:25+00:00March 27th, 2020|

Arbouretum’s mystic folk-rock uses English folk, country blues, Americana and 70s psychedelia as touchpoints in their singular and distinctive sound and they’ve perfected the craft of storytelling, using a delicate interplay of melodies and prosaic lyrics. Let It All In is their most accomplished and evocative album yet. Guitarist and vocalist Dave Heumann’s melodies and solos remain a central focus bolstered by the hypnotic rhythms of bassist Corey Allender and drummer Brian Carey, enhanced by Matthew Pierce’s substantial yet understated keyboard figures. Each song a vivid scene or tale; Heumann’s deep sense of spirituality and command of storytelling through myth and metaphor transports the listener to another world and time.

Artists: 
Record Label: 

Aardvark “Aardvark” (Esoteric)

2020-03-27T02:29:24+00:00March 27th, 2020|

One of the best albums released on NOVA, “Aardvark” features such outstanding pieces as the evocative ‘Once Upon A Hill’, ‘Many Things To Do’ and the powerful album closing track; ‘Put That In Your Pipe And Smoke It’.

This Esoteric Recordings reissue has been remastered from the original master tapes and features a booklet with fully restored artwork and new essay.

Artists: 
Record Label: 
Genre:  ,

Acrimony ‎”Hymns To The Stone” (Burning World)

2020-03-27T02:29:24+00:00March 27th, 2020|

The first album by Acrimony (from 1994) for the first time ever on vinyl! Remixed and mastered in 2019 from original studio files by James Plotkin. Includes new artwork from JimBob Isaac (Taint/Hark). Acrimony’s influences were varied, from ’70s rock to trance techno, but their riffs were undeniably heavy, with lyrics exploring the isolation of their hometown and the same kind of disaffection that once launched Black Sabbath to the outer reaches of doom from a blues rock beginning.

Artists: 
Record Label: 

Chapterhouse ‎”Whirlpool” (Music On Vinyl)

2020-03-27T02:29:23+00:00March 27th, 2020|

British shoegazing/alternative rock band Chapterhouse released two albums during their existence, ‘Whirlpool’ (1991) and ‘Blood Music’ (1993). Their debut album is a fantastic example of shoegaze at its best. The wall of sound approach is built around dance music structures and they’re creating some heavy grooves. Comes on 180 gram vinyl.

Artists: 
Record Label: 
Genre:  ,

Epizootic “Daybreak” (Longhair)

2020-03-27T02:29:22+00:00March 27th, 2020|

Epizootic’s sole album is very rare one and in good shape a very expensive album if you are looking for an original one. Longhair is proud to present the first official re-release of this album, first issued in 1976 by Epizootic as a private pressing. Their music could be described as raw hard rock with psychedelic flavours, dominated by organ and guitar. Breaks and tempo changes within the titles are responsible for a diversified album. In his book ‘Scented Garden Of The Mind’ Dag Erik Asbjornsen declares: Epizootic made one of the most obscure Swedish heavy rock albums, in a joyful style reminiscent of Fuzzy Duck and early Atomic Rooster. The album has been re-remastered from an early CD self-release by the band and gains a better sounding. On the insert, keyboarder Lars Liljegren tells the band’s story and some never before seen photos show the band in their glorious days. Don’t miss the limited edition of this extremely rare album. Recommended.

Artists: 
Record Label: 
Genre: 

GR ‎”The GR Record Head” (Cardinal Fuzz)

2020-03-27T02:29:21+00:00March 27th, 2020|

No-bullshit underground free-rock and proto-punk dosage featuring a multi-piece line up of GRs! This acetate slab of defiant mixture makes the magic happens like an hallucinatory disenchantment incorporated into some ultra vindictive power… Infectious, scary, brutal, elegiac, freakish and wickedly stylish, GR’s fifth solo album ‘The GR Record Head’ pushes the boundaries straight up to cook your synapses. Once again, the album comes out outside of the standards, with no other backing than GR himself on all instruments plugged into overheated tubes, then a few dusty razor-like moving coil transducers, a mixing board built like a Panzer and an analog 4 track reel to reel recorder from another age. GuitaRazing, frenzied riffing and cranked soloing vagabondage on corroded strings, mesmeric tone, acid rave ups, rhythms like catapults, motorik plus deconstructive free forms, opaque vocals full of venom and fuelled by raw lines & metrics… Now pair all that with the craft of fixing sounds onto an early ’80s 1/4 inch reel tape and you got an idea of what The GR Record Head is all about.
The mother of all fuckers in actual D.I.Y./low-fi rock’n’roll.
Limited edition of 300 copies on white vinyl. An Opaque Dynamo (FR) and Cardinal Fuzz (UK) co-production.

Artists: 
Record Label: 
Genre: 

Golden Earrings “On The Double” (Music on Vinyl)

2020-03-27T02:29:21+00:00March 27th, 2020|

Golden Earring’s On The Double was the band’s first double album, released in January 1969. It contains 19 tracks varying from poppy songs and acoustics to their well-known heavier rock tracks. The album includes the bands first piano based ballad simply entitled “The Grand Piano”. However, most people will know this album for the song “Just A Little Bit Of Peace In My Heart”, which reached #2 in the singles chart in their homeland The Netherlands. The band was charging like a mad bull through venues all over the country and started to gain attention from countries all over the globe. This is when it started to get really serious for the band.

On The Double is available as a limited edition of 1000 individually numbered copies on red coloured vinyl and the package includes an insert.

Artists: 
Record Label: 
Genre: 

Fraction “Moon Blood” (Phoenix)

2020-03-27T02:29:21+00:00March 27th, 2020|

Los Angeles-based Fraction’s heavy psych classic Moon Blood was originally released on the Angelus record label in 1971. Only 200 copies were pressed, so originals are currently worth a small fortune. Fraction, with vocalist Jim Beach, bearing an uncanny vocal resemblance to Jim Morrison (although he was singing on Sunset Strip long before Morrison took to the stage), were often compared favorably with The Doors, although their quasi-religious message would probably not have found favor with the recently-departed Morrison. Indeed, this rather fine record was once famously described as the album The Doors probably wished they’d made! Underpinned by guitarist Don Swanson’s superb Ritchie Blackmore-style guitar work, this is an album full of beautiful psychedelia, acid and hard rock, at once emblematic of the era, but not dated by its association. The five original compositions are consistently of the highest quality and the contribution of Beach’s now legendary vocals places a stamp of originality on the recording that endures from beginning to end. Monstrously heavy, howling, epic psych that is basically a must-own. A truly excellent album. Featuring the original die-cut cover with colored cellophane, and pressed on 180 gram vinyl.

Artists: 
Record Label: 
Genre: 

Hair “Piece” (Mayfair)

2020-03-27T02:29:20+00:00March 27th, 2020|

Denmark’s finest hard-psychedelic band will now get their first official reissue on vinyl. Hair (no connections to the musical) released their one and only album in 1970 on EMI/Columbia and despite the fact that this was major-label release, the LP still remains as one of the rarest artifacts out of Denmark.
The listener will be rewarded with an effective combination of guitar dominated hard-psychedelic songwriting and strong melodic influences, culminating in their awesome masterpiece ‘Dream Song’. This 2LP-Set includes the original album and all six songs from their singles plus a previously unreleased (on vinyl) song as extensive bonus material. The album and single tracks have all been remastered from the master tapes.

Artists: 
Record Label: 
Genre: 

The Savage Resurrection ‎”The Savage Resurrection” (Mercury)

2020-03-27T02:29:19+00:00March 27th, 2020|

US IMPORT. An exact repro vinyl reissue of the sole album by this Bay Area acid-/psychrock band, originally issued by Mercury in 1968. A classic delivery of guitar dominated psychedelia, recommended to fans of Hendrix, Cream, Quicksilver Messenger Service, Tripsichord Music Box, Frumious Bandersnatch, etc.

Record Label: 
Genre:  ,

Rain “1971…The Lost Album” (Jargon)

2020-03-27T02:29:19+00:00March 27th, 2020|

Rain was a popular blues inspired rock band from Rochester, New York. Members were Brad Morse on vocals, Ted Paris on bass, Mick Guerin on drums and led by guitar maestro, Helmut Getto. Rain was a real powerhouse in their day! This legendary band broke up shortly after recording their studio album in 1971.
Lost and forgotten for nearly 50 years, the album was never released! ‘1971… The Lost Album’, a collection of original songs that the band recorded in the summer of 1971, was originally planned to be a follow up to their first record, ‘Live Christmas Night’, which came out on the band’s label, Whazoo Records in early 1971. Through fate’s twists and turns, the plan changed and the studio album fell by the wayside. Decades later and after lots of detective work, the studio tapes finally surfaced! These eight previously unreleased original songs have finally manifested themselves on limited edition 12″ vinyl, and Jargon Records are proud to present to you this epic treasure of rock history as a part of Jargon Records’ Time Capsule Series!

Artists: 
Record Label: 
Genre: 

Skip Bifferty ‎”Skip Bifferty” (Acme)

2020-03-27T02:29:18+00:00March 27th, 2020|

Originally recorded in 1967 but not released until 1968, and in conjunction with the band here is the brand new official reissue of their classic debut album. This special edition comes with the mind-blowing psych artwork now reinstated with correct back sleeve artwork (minus the typo errors that plagued the original LP sleeve and hideously cheaply printed band photo) courtesy of band member Colin Gibson. In addition, this release comes with a previously unreleased bonus 1968 7″ single ‘Round And Round’ b/w ‘Reason To Live’ that was planned to have been their third single but was pulled at the last moment. A great psych classic – comes highly recommended! Limited edition pressed on 180 gram vinyl.
Artists: 
Record Label: 
Genre:  ,

The Sweet Marie ‎”Sweet Marie 1″ (Wah Wah)

2020-03-27T02:29:18+00:00March 27th, 2020|

Back on vinyl, this is the first of two great albums released by this obscure Hawaii-based band. The album offers the same style of exotic-blues, light psych and hard-edged acid rock as their second album ‘Stuck In Paradise’. This reissue (500 copies pressed) comes with remastered sound, reproduced artwork and an insert.

Artists: 
Record Label: 
Genre:  ,

Warhorse “Red Sea” (Repertoire)

2020-03-27T02:29:17+00:00March 27th, 2020|

‘Red Sea’ was the second album from the excellent rock band, founded by ex-Deep Purple bassist Nick Simper. As with many original Vertigo releases, collectability and costs have been steadily increasing over the years, as its availability becomes rarer.

The album is a truly long lost classic. It features Pete Parks, formerly of Black August on lead guitar, having replaced Ged Peck. Originally released in 1972, it proved to be their final release for the label, as the band then underwent several personnel changes before finally breaking up.

Among the original seven LP tracks is a stunning version of the Shirley Bassey hit ‘I (Who Have Nothing)’, as well as the title song, and such surging rockers as ‘Back In Time’ and ‘Feeling Better’.

Artists: 
Record Label: 
Genre: 

T2 “It’ll All Work Out In Boomland” (Lion)

2020-03-27T02:29:17+00:00March 27th, 2020|

The rise of power trio T2 in 1970 was rapid: important open-air festivals; headlining residencies at the Marquee Club; appearances at virtually every major venue in London. Then their debut album was released; they seemed poised for a breakthrough. As the band recalled, they were playing the Marquee club, with John Lennon and Jimi Hendrix hanging out backstage, which was all to the good. But people were coming forward saying, “we cant find your album anywhere.” In short order, the band fell apart. Still, their sole Decca album has become well established as an all-time classic amongst progressive and psychedelic music collectors-even the techno and dj crowds. The fact that it has done so without hype is a testament to the innate quality of the music. The album is packed with melodic acoustic passages, frenzied fuzz guitar workouts, not to mention acid-trip induced lyrical and musical content. It is, in every way, an extraordinary album, one of rock musics best kept secrets, on a par with all the other major works that form the rock music canon of the time. Hefty booklet contains extensive musicological analysis by composer and musician Andrew Keeling, which includes illuminating interviews with band members Peter Dunton and Keith Cross, as well as detailed illustrations. Included as bonus are three tracks from BBC Sessions recorded in October 1970. Licensed from Decca/Universal, UK.

Artists: 
Record Label: 
Genre:  ,
Staff Picks: 

Toad “Dreams” (Akarma)

2020-03-27T02:29:17+00:00March 27th, 2020|

After the release of ‘Tomorrow Blue’, we have to wait ’til 1975 to find Toad’s third album, unfortunately their last one. Originally released on Frog, ‘Dreams’ is a very good album that never got the attention it deserved because the band was a little bit disregarded by international press, and what was supposed to be their best seller, turned out being their swan song.

Artists: 
Record Label: 
Genre:  ,

Frijid Pink ‎”Frijid Pink” (Akarma)

2020-03-27T02:29:16+00:00March 27th, 2020|

From Detroit, Michigan this act was a fine example of the local hard rock and blues scene. They enjoyed three top 100 hits in the US, but their finest moment was their highly original rock arrangement of ‘House Of The Rising Sun’, which is especially notable for some superb guitar work. Produced by Michael Valvano, their debut album also sold well, peaking at no. 11 in the charts. Apart from ‘House Of The Rising Sun’ and ‘Cryin’ Shame’ (written by Valvano), all their material was written by Beaudry and Thompson. Recorded in New York and entirely composed of original tracks penned and produced by the group, the second album also met with some commercial success, climbing to no 149. Both albums combine hard rock and blues and are recommended to fans of the genre. The group then broke up and Rick Stevers assembled a new line-up with Craig Webb (ex-Lost Nation) on guitar.
Artists: 
Record Label: 
Genre:  ,

Various Artists “Instrumental Gems Vol. 1: Spanish Funk & Groove 1973/1977” (Adarce)

2020-03-20T19:34:08+00:00March 19th, 2020|

This compilation features the rarest and unknown instrumental tracks of that funky groove early sound. Light music along with wind section and keyboard ready to hit the dancefloor, that might be called Spanish-grooves. Composers, musicians, and arrangers like Gregorio García Segura, Rafael Martínez, Antonio Barco, Antonio Latorre, Jaime Botey, etc. During the ’70s, an important number of orchestras and dance bands popped up in Spain but not many of them released their own songs or covers on vinyl, so it can’t be said that the country’s music library has bulky volumes, rather it’s just the opposite. You have to dig deep in the catalog of obscure record labels to find some quality pieces, which Adarce Records will usually attribute to Tinglado 13, Conjunto Nueva Onda, The Matches, Conjunto Don Pelegrin, Rafael Martínez, Carlos de Ros, Salgado y su Grupo, Mesié Bató, Pedro González, Jorge Enrique. Most orchestras played bossa nova, soul, some lounge, and easy listening, and a usual mix of light music with wind section and keyboards, something like “Spanish-soul” or “rhythm’n’blues-pasodoble”. It was a time when the bands survived playing shows with a repertoire based, mostly, on Spanish popular songs and international hits. Many artists recorded with nicknames, many others used licensed songs paying rights to the original authors and some orchestras changed their names when they pressed their records, in an attempt to appear modern or simply for pure commercial purposes, that’s why it is difficult to trace accurately the musical path of many of these artists. This scene was especially intense in Aragon and Catalonia, where a bunch of labels emerged, often simply as platforms for bands to promote their own music. This compilation aims to discover to a wider audience some of the most sought-after instrumental gems by DJs and disco music collectors, eager for soul, groove, and hot sounds. Vol. 1 features Gregorio García Segura, Los Brandis Con María Nevada, Lin Barto, Blas And His Friends, Jorge Enrique, Roberto Serrano, Rafael Martínez, Orquesta A. Latorre, Orquesta Miramar, Conjunto Nueva Onda, Ramón Gil, Mesie Bató, Red-Key, and Unidades. Edition of 500 (numbered).

Record Label: 
Genre:  ,

Various Artists “Instrumental Gems Vol. 2: Spanish Funk & Groove 1973/1977” (Adarce)

2020-03-20T19:33:36+00:00March 19th, 2020|

This compilation features the rarest and unknown instrumental tracks of that funky groove early sound. Light music along with wind section and keyboard ready to hit the dancefloor, that might be called Spanish-grooves. Composers, musicians, and arrangers like Gregorio García Segura, Rafael Martínez, Antonio Barco, Antonio Latorre, Jaime Botey, etc. During the ’70s, an important number of orchestras and dance bands popped up in Spain but not many of them released their own songs or covers on vinyl, so it can’t be said that the country’s music library has bulky volumes, rather it’s just the opposite. You have to dig deep in the catalog of obscure record labels to find some quality pieces, which Adarce Records will usually attribute to Tinglado 13, Conjunto Nueva Onda, The Matches, Conjunto Don Pelegrin, Rafael Martínez, Carlos de Ros, Salgado y su Grupo, Mesié Bató, Pedro González, Jorge Enrique. Most orchestras played bossa nova, soul, some lounge, and easy listening, and a usual mix of light music with wind section and keyboards, something like “Spanish-soul” or “rhythm’n’blues-pasodoble”. It was a time when the bands survived playing shows with a repertoire based, mostly, on Spanish popular songs and international hits. Many artists recorded with nicknames, many others used licensed songs paying rights to the original authors and some orchestras changed their names when they pressed their records, in an attempt to appear modern or simply for pure commercial purposes, that’s why it is difficult to trace accurately the musical path of many of these artists. This scene was especially intense in Aragon and Catalonia, where a bunch of labels emerged, often simply as platforms for bands to promote their own music. This compilation aims to discover to a wider audience some of the most sought-after instrumental gems by DJs and disco music collectors, eager for soul, groove, and hot sounds. Vol. 2 features Red-Key, Ray Martin, J. Tenafly, Nick Wilson, Blas And His Friends, Conjunto Olivino, El Conjunto De Rafael Martínez, Conjunto Nueva Onda, Greg. Segura Y Su Orquesta, Jorge Enrique, Orquesta Miramar, Dany Roy And His Band, Sarr Incony, and Mesie Bató.

Record Label: 
Genre:  ,

J.D. Blackfoot “The Ultimate Prophecy” (Magic Box)

2020-03-20T19:30:26+00:00March 19th, 2020|

Magic Box present a reissue of J.D. Blackfoot’s The Ultimate Prophecy, originally released in 1970. Formed in Ohio in 1969, J.D. Blackfoot unleashed this stunning blend of folk, country, and hard rock in August 1970. Boasting powerful vocals, searing guitar leads and outstanding drumming, it has gone on to be recognized as an underground rock classic and makes a welcome return to vinyl here, in a gatefold sleeve. It also includes a CD featuring the full album and eight rare non-album bonus tracks, including both sides of their elusive debut single.

Artists: 
Record Label: 
Genre: 

Locomotive “We Are Everything You See” (Magic Box)

2020-03-20T19:38:40+00:00March 19th, 2020|

Magic Box present a reissue of Locomotive’s We Are Everything You See, originally released in 1969. Led by the legendary Norman Haines, Locomotive were one of Birmingham’s finest ’60s bands. They had a 1968 hit with the ska-styled “Rudi’s In Love”, but by 1969 they had taken a more progressive direction. Their sole album was produced by Gus Dudgeon (renowned for his work with David Bowie and Elton John), but its release was delayed and the band had split by the time it finally appeared at the turn of the decade, dooming it to minuscule sales. It is now regarded as a lost classic, and is one of the most collectible albums of the era. It makes its long-overdue return to vinyl here, together with an insert containing photos and info. Features keyboardist Norman Haines. Original flipback cover.

Artists: 
Record Label: 
Genre: 

Wildwood “Plastic People” (Out-Sider)

2020-03-20T19:39:09+00:00March 19th, 2020|

Raw, in-your-face hard psychedelia with plenty of Vox and Hammond organ, hard guitar, and powerful vocals courtesy of Wildwood. Formed in the late ’60s in Stockton, California, this powerful outfit rubbed shoulders with groups like Country Weather, Steve Miller Band, or Grateful Dead and played at legendary venues such as the Fillmore and the Matrix. Featuring tracks from their two rare 45s for the Magnum label (including the punk-a-delic classic “Plastic People”) plus a selection of their fabulous, not released at the time studio cuts from 1968-1970, recorded at Max Weiss’s Fantasy Studios and originally unearthed by Frantic Records in 2012 for their two-CD Wildwood compilation. RIYL: Public Nuisance, The Doors, Music Machine, Steppenwolf, Hunger, Jungle. Includes insert with rare photos and liner notes by Alec Palao; Includes download card. “This is Wildwood, it’s black, it’s dark, whatever it is, it’s us.” — Frank Colli (Wildwood) “… dark and vaguely sinister in both look and sound, Wildwood melded the fuck-you attitude of the garage era with a soulful R&B streak and some enviable hard rock chops.” –Alec Palao

Artists: 
Record Label: 
Genre: 

Daybreak “Daybreak” (Out-Sider)

2020-03-20T19:40:03+00:00March 19th, 2020|

Out-Sider present the first ever vinyl reissue of Daybreak’s self-titled album, originally released in 1971. This elusive US private pressing was originally released on the legendary RPC custom label. Intense and crude garage-psych with echoing vocals, loud distorted guitar, fuzz bass, and organ. Three killer band originals plus some insane cover versions (Steppenwolf, Neil Young) with a basement sound not unlike Mystic Siva. Remastered sound; Includes insert with liner notes and photos.

Artists: 
Record Label: 
Genre:  ,

Levee Camp Moan “Levee Camp Moan” (Sommor)

2020-03-20T19:40:44+00:00March 19th, 2020|

Sommor Records present the first legitimate reissue one of the rarest private blues-rock albums from the UK, Levee Camp Moan’s self-titled release, originally released in 1969. In 1969, Bracknell-based blues rock outfit Levee Camp Moan released what was destined to become one of the most sought-after UK private pressings of the period on the County Recording Services label. This LP marked their status as one of the most exciting bands to emerge out of the thriving local underground scene in the Bracknell Delta. The group had taken their name from the old blues number and the band members, manager and assorted roadies took up residence in a local farmhouse known as Peacock Farm. It was there that LCM would rehearse into the small hours, thumping out a mixture of blues standards as well as their own compositions until they had become a tight unit ready to “take on the world”. Influences ranged from the urban blues of Otis Rush, Buddy Guy, and Junior Wells to Muddy Waters, Skip James, and beyond. The more or less contemporary white blues of the time, Canned Heat, Savoy Brown, and Paul Butterfield also served as a major source of inspiration. From their humble roots LCM quickly built up a following on the British Blues circuit, frequenting the likes of the Marquee, Crawdaddy, Klooks Kleek, Eel Pie Island, and Rikki Tik club. On the college circuit they toured extensively with Chickenshack, Canned Heat, and Muddy Waters with performances being of a high enough standard to generate record company interest. Unable to secure a record deal, they had no other choice but to do it themselves. And so, in the winter months of early ’69 that LCM entered Virgin Sound in nearby Windsor to lay down eight tracks recorded on a four-track machine. With no record company interference, the archetypal private pressing, raw, under-produced, and thrillingly primitive. The project successfully captured the spirit and aggression of an exciting new band and the original artefact is now a zeitgeist of that remarkable era. After Levee Camp Moan, Ian Campbell went on to carve out a busy musical career performing with, amongst many others, the Nashville Teens, Arthur Brown’s band and Mungo Jerry. Bassist Dave Stubbs played with a host of notables, including Eric Clapton’s band and Uli Jon Roth (ex-Scorpions). Original artwork. Includes insert with rare photos and full band history by Pete Sarfas.

Artists: 
Record Label: 
Genre:  ,

Matao and Atilla Engin “Turkish Delight” (Arsivplak)

2020-03-20T19:41:34+00:00March 19th, 2020|

Arsivplak present a reissue of Matao with Atilla Engin’s Turkish Delight, originally released in 1979. It’s a Turkish jazz-funk delight! Some hard-hitting rhythm section blending into a prime example of the swingin’ sound of the cool influences of jazz, funk, and folk music, with a Turkish flavor. Its fantastic funk jazz groove built on a titanium synth bassline! An instrumental library of traditional Turkish jazz session reaching a great climax in drums and percussion sets, plus electro-bass breaks with Moog and synthesizers from the beginning to the end. Traditional Turkish songs based on drums and synth bass over moody 5/8 fuzz guitars… Album recorded and released in Denmark, 1979, and it has never been released in Turkey. Hard cardboard sleeve; obi.

Artists:  ,
Record Label: 

Bobby Conn “Recovery” (Tapete)

2020-03-20T19:41:48+00:00March 19th, 2020|

Bobby Conn on Recovery: “What’s the point of recovery if we were never really healthy to begin with? I started working on this record about four years ago, thinking of the American obsession with self-help, self-care, and self-empowerment as a cruel and cheap substitute for helping each other. It’s a concept that rewards those that have the money to help themselves, and blames those that don’t for not trying hard enough. Then there were some elections. Now there is a narrative of ‘recovering’ our stronger, bolder, racially pure, cultural and economic glory days. And then some of my friends started getting sick, or dying or committed suicide . . . I was really into 10cc, J Dilla, Liaisons Dangereuses, Jean-Claude Vannier, Anna Meredith, Slade, D’Angelo, etc. when writing this record, but I’m sure you can hear it for yourself. Musically, this is a collaboration with my partner Monica BouBou on violin and vocals and our super-band of drummer Josh Johannpeter, bassist Jim ‘Dallas’ Cooper, keyboardist and string player Billie Howard, guitarist Devin Davis, and longtime sound artist DJ LeDeuce. We recorded it over many months in a basement. There is a cameo by synth genius Felix Kubin on ‘Brother’. Mixed by the brilliant Tobias Levin and Hannes Plattmeier in Hamburg, Germany. Some notes on each tune: ‘Recovery’ — the never-ending journey and an addiction unto itself. ‘Disposable Future’ — amazing new technology gives us unlimited choice delivered through devices we cannot control; is this what we were dreaming of? ‘Good Old Days’ — nostalgia for the lies of old white men will kill us all. ‘No Grownups’ — from the perspective of a teenager trapped in a world where all the adults are self-deluded, irresponsible narcissists in terrible clothes. ‘Brother’ — it’s easy to ignore the suffering that surrounds us everyday. ‘On The Nose’ — grandpa’s racism now rebranded as edgy rebellion for the internet generation. ‘Bijou’ — an ode to a recently closed gay porn theatre in Chicago that was part of the struggle for sexual liberty. ‘Disaster’ — our masters imagine themselves as heroes when the mob storms the gates and burns the palace to the ground. ‘Young Man’s Game’ — you can’t play the same game forever. ‘Always Already’ — a misreading of Derrida, Marx and Foucault turned into a nihilist anthem. With apologies to Lionel Richie.”

Artists: 
Record Label: 
Genre: 

Young Gods “Super Ready/Fragmenté” (Two Gentlemen)

2020-03-20T19:42:23+00:00March 19th, 2020|

The Young Gods’ 2007 album, Super Ready / Fragmenté is finally released on vinyl. The twelve compositions of Super Ready / Fragmenté are of a pure sonic power. From the nasty rock song “I’m The Drug” or “Freeze”, to the abstract “C’est quoi c’est ça”, the playful “El Magnifico”, the psychedelic and moving “Stay With Us”, “Super Ready / Fragmenté” (nine minutes of sound journey and pivotal track on the album), The Young Gods have delivered a great album inhabited by Franz Treichler’s clearer, warmer and more powerful voice. That being said, words are, as always, of paramount importance to the Gods. With the political and poetic “About Time”, the group rises up against fear as a market value. Fear is a very current signature of today’s world, recalls Franz Treichler. How many politicians get elected by selling fear by the kilo? Or describes, in detail, the relationship between the couple and the imaginary “Everythere”. Super Ready / Fragmenté is one of those major albums that, behind a palpable sense of urgency and insecurity, is revealed and discovered through poisonous, disturbing and passionate listening. Artwork by IchetKar.

Artists: 
Record Label: 
Genre: 

Gena Rose Bruce “Can’t Make You Love Me” “(Dot Dash)

2020-03-20T19:43:37+00:00March 19th, 2020|

Can’t Make You Love Me is the debut album from Melbourne based Gena Rose Bruce. Bruce’s vocals drive this album; a stirring force amidst the pulsing rhythms, echoes of Mazzy Star and Lynchian undertones. Add to this the masterful restraint in the arrangements and one has an album that is both instantly timeless and unmistakably contemporary. In December 2017, Bruce pulled herself out of a toxic relationship, shifting focus entirely towards her music. “I quit my job, gave up the room I was renting and left the whole situation. I spent three months alone at a family property in Warrnambool on the south coast of Australia and wrote the album. It was a healing time.” The place was a small weatherboard near the ocean in the middle of nowhere. Secluded and eerily quiet, Bruce credits the album’s darker edges in part to this environment; “It’s not a sunny beach town, it’s very melancholic. Even in the middle of summer there was no-one around.” But it was here that she regained focus and confidence, entering a period of intense creative output.  With fresh perspective, lyrics fell into place, followed by sound. Producer Tim Harvey and Bruce bounced ideas constantly. “There was lots of demoing and experimenting. We didn’t feel I had to fit to any genre—we just wanted it to be ‘me’.” Consequently, Can’t Make You Love Me is a distinct and dynamic debut from a young artist with a clear vision. With its infectious melodies, sultry vocal performances and biting lyricism it’s thrillingly playful and confessional. Bruce presents a refreshing brand of vulnerability through unfettered explorations of her life choices.

Artists: 
Record Label: 
Genre: 

Cate Le Bon “Cate Here It Comes Again” Mexican Summer)

2020-03-20T19:44:33+00:00March 19th, 2020|

After the success of the 2019 Mercury Prize nominated album Reward, CATE LE BON and the ambient duo GROUP LISTENING (SWEET BABOO and PAUL JONES) release Here It Comes Again, a re-imagining of 5 tracks from Reward. Recorded in August 2019 in Wales between US and UK tours, Le Bon says,“These are insular re-workings/deconstructions with the musicians whose albums kept me company during the writing of Reward.” Cate Le Bon, Group Listening and guest vocalist ED DOWIE (“Here It Comes Again” and “Magnificent Gestures”) weave the now-familiar melodies through a warp of clarinet, piano, recorders and synthesizers exploring a study on minimalism, repetition and restraint.

Record Label: 
Genre: 

Moaning “Uneasy Laughter” (Sub Pop)

2020-03-20T19:48:25+00:00March 19th, 2020|

What happens when an abrasive rock trio trades guitars for synths, cranks up the beats and leans into the everyday anxieties of simply being a functioning human in the 21st century? The answer is Uneasy Laughter, the sensational second Sub Pop release from Los Angeles-based Moaning.

Vocalist/guitarist Sean Solomon, bassist/keyboardist Pascal Stevenson and drummer Andrew MacKelvie have been friends and co-conspirators amid the fertile L.A. DIY scene for more than a decade. They are also immersed in other creative pursuits — Solomon is a noted illustrator, art director and animator, while Stevenson and MacKelvie have played or worked behind the boards with acts such as Cherry Glazerr, Sasami and Surf Curse. On Uneasy Laughter, they’ve tackled challenges both personal and universal the only way they know how: by talking about how they’re feeling and channeling those emotions directly into their music.

“We’ve known each other forever and we’re really comfortable trying to express where we’re at. A lot of bands aren’t so close,” says MacKelvie. Adds Solomon, who celebrated a year of sobriety during the Uneasy Laughter sessions, “Men are conditioned not to be vulnerable or admit they’re wrong. But I wanted to talk openly about my feelings and mistakes I’ve made.”

Moaning’s 2018’s self-titled Sub Pop debut featured songs mostly written in practice or brought in already complete by individual band members. It garnered acclaim from Pitchfork, Stereogum and Los Angeles Times, who observed, “Moaning craft anxious music for an increasingly nervous local scene.” But Uneasy Laughter is a collaborative breakthrough which significantly brightens Moaning’s once claustrophobic sound, again abetted by producer/engineer Alex Newport (At The Drive-In, Bloc Party, Melvins). The trio points to first single “Ego,” which features a costume-heavy video directed by Ambar Navarro, as an embodiment of this evolution.

Solomon admits Uneasy Laughter could have gone in quite another direction had he not gotten sober and educated himself on such core subjects as gender and mental health. “I did a lot of reading in the tour van — authors like bell hooks, Mark Fisher, and Alain de Botton, all really inspired me. I don’t want to be the person who influences young people to go get high and become cliche tragic artists,” he says. “What I’d rather convey to people is that they’re not alone in what they think and how they feel. ‘Ego’ specifically and the album overall is about those themes — letting go of your bullshit so you can help other people and be present.”

“We want to be part of a community,” he adds. “I wrote online about being sober for a year, and I had kids from all over writing and asking for advice. One of them said, ‘For the first time I can remember, I didn’t drink last night.’ I thought, for once, maybe we did something besides sell a record. That’s a win. That’s incredibly exciting.”

Artists: 
Record Label: 
Genre:  ,

Trees Speak “Ohms” (Soul Jazz)

2020-03-20T19:49:20+00:00March 19th, 2020|

When the band Trees Speak, coming out of nowhere, released an exclusive one-off 100-pressing white label 45, described as Can / Neu! meets Liquid Liquid, it sold out so quickly (in less than 30 minutes) that Soul Jazz Records decided to release their album almost immediately. Soul Jazz Records rarely release new music but found the music of Trees Speak’s album Ohms so stunning and to have so many elements of music that they admired that they felt compelled to release it.

The group Trees Speak are from Tucson, Arizona and create new music that sounds like German Krautrock meets no wave/post-punk and psych rock – music for fans of Cluster, Tangerine Dream, Can, Neu!, Silver Apples and early Kraftwerk. The album Ohms sounds at times like a tripped out and moody John Carpenter / Goblin / Morricone soundtrack that seamlessly segues into propulsive, ‘motorik’ Krautrock instrumentals loaded with fuzzy, hypnotic mellotron, synths and analogue effects, as well as elements of Art Ensemble free jazz, and all at times reaching a kind of post-rave psychedelia. More recent comparisons would include Beak> and Ghost Box who draw upon similar themes and styles.

Trees Speak relates to the idea of future technologies storing information and data in trees and plants – using them as hard drives – and the idea that Trees communicate collectively.

The Vinyl format includes an exclusive bonus 45 single (the white label of which sold out so fast) that will only be available with the first order of this amazing and ground-breaking new album.

Artists: 
Record Label: 
Genre:  , ,

Porches “Ricky Music” (Domino)

2020-03-20T19:49:53+00:00March 19th, 2020|

Porches, a.k.a. Aaron Maine, is back with a new album, titled Ricky Music via Domino. Featuring contributions from Mitski, Zsela, and Dev Hynes, and with co-production by Jacob Portrait, Ricky Music expands on the Porches discography (The House, 2018; Pool, 2016; Slow Dance In The Cosmos, 2013) by delivering 11 emotionally open, cracked-glass pop songs.

Artists: 
Record Label: 
Genre:  ,

Cocteau Twins “Garlands” (4AD)

2020-03-20T19:50:10+00:00March 19th, 2020|

Originally released in June of 1982, the debut album by the Cocteau Twins is considered far darker than some of their later offerings, being influenced by Siouxsie and the Banshees, early Cure and the Birthday Party. During this early period, Will Heggie’s bass played a significant role in defining their sound, giving it a darker and heavily rhythmic, earthy texture. This combined with Robin Guthrie’s minimalistic and heavily effected guitar arrangements; a great deal of distortion and feed-back, smoothed out with chorus, reverb and flanger. Beneath is the roland 808 drum machine thumping along, as distinctively Cocteau sounding as the guitar. All while Elizabeth Fraser seemed to veer into glossolalia and mouth music. Garlands marks the beginning of their haunting ethereal sound. A masterpiece.

Artists: 
Record Label: 
Genre:  ,

Cocteau Twins “Victorialand” (4AD)

2020-03-20T19:49:36+00:00March 19th, 2020|

Victorialand, Cocteau Twins’ fourth album, was released in spring 1986. The largely acoustic, non-percussive album was made with Elizabeth and Robin, while Simon was working on This Mortal Coil’s second album, Filigree&Shadow. Dif Juz label mate Richard Thomas guested on tabla and saxophone. The Guardian said”It’s not quite ambient, but it’s definitely not rock’n’roll even by the Cocteaus’ standards, building on the moments of guitar shimmer from the previous years’ EPs, while also stripping back at points to where it’s nothing but a Guthrie guitar line and Fraser’s voice.

LP – First vinyl pressing since the 80s cut at 33⅓ RPM.

Artists: 
Record Label: 
Genre:  ,

Lapsley “Through Water” (XL Recordings)

2020-03-20T19:50:44+00:00March 19th, 2020|

Lapsley releases her highly-anticipated second album. Titled Through Water, it’s the follow up to her 2016 album Long Way Home, one of that year’s most acclaimed debuts. Released while she was still a teenager, Long Way Home featured Låpsley’s breakthrough moments Station and Falling Short and spawned one of the biggest club tracks in recent years (DJ Koze’s edit of Operator) as well as inspiring a new generation of electronically minded songwriters including Billie Eilish, who name checked it as a key influence on her sound.

Through Water is without doubt Lapsley’s most accomplished work to date, written and recorded during her transition into young womanhood. With Lapsley as the major producer and songwriter, the ten songs (whittled down from over one hundred) reflect her newfound confidence, clarity and self-awareness as an artist, documenting a wealth of personal experiences and coming-of-age stories set against a thematic backdrop of water, climate, weather and the elements.

Artists: 
Record Label: 
Genre:  ,

Sufjan Stevens “Aporia” (Asthamatic Kitty)

2020-03-20T19:54:18+00:00March 19th, 2020|

Aporia is a New Age album from Sufjan Stevens and his step-father and record label co-owner, Lowell Brams. In the spirit of the New Age composers who sanded off the edges of their synths’ sawtooth waves, Aporia approximates a rich soundtrack from an imagined sci-fi epic brimming with moody, hooky, gauzy synthesizer soundscapes. The album may suggest the progeny of a John Carpenter, Wendy Carlos, and Mike Oldfield marriage, but it stands apart from these touchstones and generates a meditative universe all its own. This is no mere curio in the Sufjan Stevens catalog – but a fully realized collaborative musical piece.

Record Label: 
Genre: 

Waxahatchee “Saint Cloud” (Merge)

2020-03-20T19:56:15+00:00March 19th, 2020|

What do we hold on to from our past? What must we let go of to truly move forward? Waxahatchee’s Katie Crutchfield spent much of 2018 reckoning with these questions and revisiting her roots for answers. The result is Saint Cloud, an intimate journey through the places she’s been, filled with the people she’s loved.

Written immediately in the period following her decision to get sober, the album is an unflinching self-examination. This raw, exposed narrative terrain is aided by a shift in sonic arrangements as well. While her last two records featured the kind of big guitars, well-honed noise, and battering sounds that characterized her Philadelphia scene and strongly influenced a burgeoning new class of singer-songwriters, Saint Cloud strips back those layers to create space for Crutchfield’s voice and lyrics. The result is a classic Americana sound with modern touches befitting an artist who has emerged as one of the signature storytellers of her time. Many of the narratives on Saint Cloud concern addiction and the havoc it wreaks on ourselves and our loved ones, as Crutchfield comes to a deeper understanding of love not only for those around her but for herself. This coalesces most clearly on Fire, which she says was literally written in transit, during a drive over the Mississippi River into West Memphis, and serves as a love song to herself, a paean to moving past shame into a place of unconditional self-acceptance.

Over the course of Saint Cloud, which was recorded the summer of 2019 and produced by Brad Cook (Bon Iver), Crutchfield peels back the distortion of electric guitars to create a wider sonic palette than on any previous Waxahatchee album. It is a record filled with nods to classic country, folk-inspired tones, and distinctly modern touches. To bolster her vision, Crutchfield enlisted Bobby Colombo and Bill Lennox, both of the Detroit band Bonny Doon, to serve as backing band on the record, along with Josh Kaufman (Hiss Golden Messenger, Bon Iver) on guitar and keyboards and Nick Kinsey (Kevin Morby) on drums and percussion. Saint Cloud marks the beginning of a journey for Crutchfield, one that sees her leaving behind past vices and the comfortable environs of her Philadelphia scene to head south in search of something new. If on her previous work Crutchfield was out in the storm, she’s now firmly in the eye of it, taking stock of her past with a clear perspective and gathering the strength to carry onward.

Artists: 
Record Label: 
Genre: 

Molchat Doma “S Krysh Nashikh Domov” (Sacred Bones)

2020-03-20T19:57:31+00:00March 19th, 2020|

When С крыш наших домов (S Krysh Nashikh Domov), the debut album by Molchat Doma, was released in 2017, it announced a bold new voice in underground music. The album found a passionate audience on Bandcamp and other streaming services and was released on CD and cassette. Sacred Bones Records is proud to present the album on vinyl for the first time.

Molchat Doma (translated as “Houses Are Silent”), founded in 2017 in Minsk, Belarus, stands at the intersection of post-punk, new-wave and synth-pop. Dark yet danceable, and with a heavy dose of goth ethos, their music is reminiscent of the masters that predate them, but make no mistake: Molchat Doma creates a sound and meaning that is immediately recognizable as all their own.

The band is comprised of Egor Shkutko, who sings the Russian lyrics in his deep monotone, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synths.

Artists: 
Record Label: 

FACS “Void Moments” (Trouble In Mind)

2020-03-20T19:56:51+00:00March 19th, 2020|

Chicago trio FACS have evolved very quickly in the span of their three years in existence. “Void Moments” is their third & latest offering; a dark & claustrophobic album with rivulets of seismic beauty peeking through the din.

Formed in the wake of the dissolution of Disappears, guitarist Brian Case & drummer Noah Leger’s project is the logical continuation of the trails blazed in their former outfit. Since their 2017 debut “Negative Houses”, the band have reworked, retooled & reshaped their sound, and with the addition of bassist Alianna Kalaba on 2018’s “Lifelike”, their evolution has coalesced into something distinct. Gone is the bone-rattling minimalism of “Negative Houses”; “Void Moments” offers an abstraction of the melodic elements that crept into “Lifelike” and contorts them toward a new horizon.

Where “Lifelike” rang with a metallic, near-industrial racket, “Void Moments” cloaks the music behind a black velvet curtain of sonance, obsfuscating the band’s most direct set of songs to date. “Boy” kicks off with a lurch of vocals and Case’s sinewy guitar-line guiding a stoic march. By the time Kalaba drops in with the bass, the track morphs into a milky swirl, leading into the chime of “Teenage Hive”s buzzing churn. “Casual Indifference” expertly fuses the band’s rhythmic pulse with a somber dissolve of guitars, vocals and backwards-masked drums. “Version” closes out side one with lush surges of Case’s shoegaze’d guitar & voice weaving around the rhythm section. Side two’s “Void Walker” careens in with Leger’s cavernous drums, Kalaba and Case riding alongside. The album’s final two tracks “Lifelike” and “Dub Over” cascade into one another, becoming one & act as a perfect analogy to “Void Moments” mutability, both musically & lyrically. Despite its foggy presence, “Void Moments” still careens toward the light. By embracing fluidity, FACS continue to evolve & refuse to be ensnared by genre. “Void Moments” ruminates on humanity’s increasing refusal of identity, not only via our reliance on technology, but also within our society’s challenging of societal & gender norms. “Void Moments” feels one step closer to oblivion, but its sounds are a welcome salve.

Artists: 
Record Label: 
Genre: 

Morrissey “I Am Not A Dog On A Chain” (Etienne)

2020-03-20T19:58:20+00:00March 12th, 2020|

First new studio album since 2017, I Am Not A Dog On A Chain was recorded at La Fabrique in France in 2018. The eleven track album, was produced by Joe Chiccarelli. Chicarelli has now produced the last four Morrissey albums, beating the three album run of Steve Lillywhite in the 1990s when he worked on Vauxhall and I, Southpaw Grammar and Maladjusted. It’s Mozza’s boldest and most adventurous album yet. He has pushed the boundaries yet again – both musically and lyrically.

Artists: 
Record Label: 
Genre: 

Go to Top