Glossy Mistakes present a reissue of Tito’s Quetzalcóatl, originally released in 1977. Proto-electronics psychedelic Mexican holy grail. Inspired by Vangelis, Tomita, or Kraftwerk, this unknown rarity gets a second life sounding fresh and pioneering today, Tito was born in 1946 in Ciudad de México, the son of two Spaniards. Since he was a youngster, he had felt the passion for music and instruments. In the meantime, he started a career as architect. Since his early years, he joined various teen rock bands, where he played bass and guitar. Slowly but surely, his interest in synthesizers started to grow. And the rest is history. Tito defines himself as an “electronic sounds fanatic”. Quetzalcóatl is a truly authentic cornerstone in those terms: an inspired and eclectic artist gives shape to a unique sound through legendary synthesizers such as the MiniMoog or the Arp Odyssey. His passion was so embedded that he even built his own guitars and equalizers; some of which appear on this LP. Quetzalcóatl, his debut solo album, was originally recorded in 1977 (now remastered) in his bedroom using a four-channel Sony recorder in a truly DIY way. This album could be considered as a rarity. But if you listen hard enough, you find a pioneering treasure. Somehow, Quetzalcoátl anticipated the sounds of future decades with simple but inspired compositions. It is a mythological trip to the Pre-Hispanic México. This album is an allegory of the Aztec world. Quetzalcoátl is the most important God for Mesoamerican cultures: it represents the inherent human dualism between the body (represented by the snake) and soul (the feathers). In the song “Profecía”, Quetzalcoátl emerges, announcing the end of the world at the hand Spanish colonialism. Remastered in Amsterdam by Wouter Brandenburg. Comes with insert; edition of 600.
Doctor Fluorescent’s debut album opens a door to a world of seductive, fresh electronic pop music, where things aren’t always what they seem: sophisticated musical clockworks often lie under the dreamy surface.
Although he is primarily a scientist and explorer, Doctor Fluorescent also plays musical instruments and uses electronic gadgets to express his ideas to the world. He is assisted by musicians Scott Gilmore and Eddie Ruscha, who sit back and merely facilitate what the doctor commands. Plug in a patch cable here, turn a dial there… whatever it takes to get the proper result recorded and keep the good doctor happy.
Back when Scott and Eddie began to create this music with Doctor Fluorescent, they utilized all manner of electronic and acoustic devices with no worries or concerns regarding their discoveries. They allowed the explorations to lead themselves where they may. Their experiments began to solidify into songs, and shortly after, stories began to take shape and the Doctor’s voice emerged (to be perfectly honest, the Doctor was born out of Scott and Eddie’s minds, but soon turned into an actual human being in every sense)
The music of Doctor Fluorescent almost reminds one of a private press electronic voyage album discovered in a stack of records next to Supersempft, Roger Powell and Wally Badarou. The album explores a wide range of sound, it’s experimental in many ways, yet each track still retains the semblance of a song. Each song is its own journey, often ending in a completely new place from where it began.
Scott and Eddie have already made many records themselves using old synthesizers and drum machines, making them the perfect helpers to bring Doctor Fluorescent’s musical visions to life.
After Baths’ genre-bending ‘Cerulean’, the LA producer’s stock went through the roof as he found himself saddled, for better or for worse, with the chillwave moniker and a hell of a lot of interest on top of that. His blend of crushed Brainfeeder beats and the kind of whimsical pop crooning we might otherwise associate with Ben Gibbard was surprisingly affective, and this follow-up release, whilst made up of odds-and-ends, is even more proof that Will Wiesenfeld is a kid to watch very closely in the next few years. The tracks are collected from various CDrs Wiesenfeld made for live shows, and while this might not make it the ‘regular’ B-Sides compilation (as hinted at in the title) it still surprises me how well the album fits together as a whole. For the most part the tracks explore even further the neon-blasted pop experiments of ‘Cerulean’, taking the songwriting to the point where you could almost imagine hearing a few of these tracks on the radio (internet radio, of course…), but Wiesenfeld hasn’t abandoned the drones totally and peppers the record with experiments to keep the sour faced oldies like myself happy. ‘Pop Songs / False B-Sides’ is a confident record, and whilst the songs are scratchy and quickly produced, this only adds to the charm (remember Khonnor? Exactly), and makes me whet with anticipation for what the next ‘proper’ album might bring. Lovely stuff, and perfect for balmy afternoons by the grill. Not that we get any of that in the North of England, but hey…
It’s been 30 years since Public Enemy thundered that the “B-Side wins again.” A winking nod to the notion that songs initially considered an afterthought are often superior to those considered “keepers.” It’s a proverb long confirmed by classic odds and sods compilations like Nas’ Lost Tapes, Kendrick Lamar’s Untitled, Unmastered, The Smiths Louder Than Bombs, too much Aphex Twin to count, and yes, The Who’s Odds and Sods.
But what to make of the “False B-Side,” an ascription coined by Baths to anthologize the uncut gems that didn’t fit into his previous albums as Baths or Geotic. Herein pulses Pop Music/False B-Sides II, a dozen renewed ideas and sketches finally colorized. Emotional pop hymns and ambient bliss instrumentals resurrected, refined, and polished until they’re blinding. Jewel boxes with a trap door. Over the last decade, the Los Angeles-raised singer, producer, and songwriter, Will Wiesenfeld has constructed a spellbinding canon of private secrets publicly released, glittering emerald sutras that you can dance to, as lovely as bloodletting gets.
There have been three revered studio albums as Baths (plus the first volume of Pop Music/False B-Sides), an entire catalog as Geotic, and nearly two dozen remixes and guest appearances. By the terms of conventional logic, there should not be this many good songs left. The fact that there are is testament to not just the prolificacy and indefatigable work ethic of Wiesenfeld, but the emotional depths that he’s capable of processing. To use the parlance of our times, a Baths song is a big mood. His work incisively tunnels into the uncomfortable realities that all of us wrestle with: love, regret, heartbreak, sexuality, death, the desire for comfort and the impulse to escape. Credit his subtle-but-sticky melodies, his ability to blend a seraphic falsetto with a calming tenor, and clever turns of phrases that allow for such well-trodden themes to seem brand new.
The songs on this compilation are culled from a much wider timeframe than the first Pop Music / False B-Sides that was recorded around the time of Cerulean, Wiesenfeld’s 2010 debut under the Baths moniker. Some of these tracks were considered for the final tracklists of Obsidian (2013) and Romaplasm (2017). Others started their creative life as collaborative efforts and Geotic tracks, but somehow became Baths songs. Yet if their genesis began as outliers, in their final form they seem created specifically for this collection — which isn’t far from the truth considering that the desire to complete another PM/FBS drove Wiesenfeld to finish more than half of them.
While the skeletons of the music were written over the course of the last decade, the lyrics were constructed only relatively recently. One of the most poignant and personal to Wiesenfeld is the finale, “The Stones.” Shortly before his father passed away earlier this year, his dad had pointed out a bit in the lyrics that made him proud of his son — the line “I still trust that men can be lovely/do what you like/but do it to me.” What’s more, the entire record is suffused with similarly poetic couplets that gently mesh with the imaginative chord progressions, soft cloud-like drums, and endless summer glitch.
The sense of irony is embedded into the title. There is nothing false to be found: the emotions contained are walloping and visceral, full of tenderness and vulnerability. A soundtrack to the Zoetrope flickering inside your weary head. Symphonies to fallen ideas, gilded requiems, and unerring realness that refuses to hide behind a mask — unless that’s the point. Pop Songs/False B-Sides II is the rarest of things, a sequel that defies repetition, a B-Side collection of all A-list material. And if you disagree, you can go argue with Chuck D.
In 2019, back from traveling the world for the I Am Begging You To Come To These Shows tour, Jerry Paper hung up his flowing dress and sandals, glided into the studio, and began giving material form to his new musical manifestation: Abracadabra.
Over thirteen songs, he serves up a blend of jazzy instrumentation with soft-rock stylings and some seriously catchy earworms, forging a style that hints at the avant-pop of Scott Walker, the sweet enchantment of Paul McCartney, and the cryptic, smooth grooves of Steely Dan.
Like all good stories, Abracadabra boasts unforgettable characters: someone with a victim complex (“Cholla”); an alien captive surveilled by a mysterious presence (“Puppeteer”), and a buff man whose life is thrown into shambles when he is caught smoking methamphetamine at his child’s birthday party (“Body Builder on the Shore”). Nathan’s interest in talk therapy led to “Spit It Out”, a song about the health-inducing qualities of improvised speech; “Memorial Highway” is about existence after death in other people’s memories, and “Apologist” and “All I Need” affirm the value — and occasional futility — of recognizing one’s wrongs. Building new realities out of words and sounds is no easy task, and on “Trash Can”, Nathan mourns the frustrations of the creative process.
Abracadabra is many things at once: arch and sincere, bizarre and all too real, funny and melancholic — the work of an artist living in a world when despair so often tips over into ridiculousness, sometimes the only thing left to do is laugh.
Nathan worked with longtime visual collaborator Steve Smith and avant-comedian Alan Resnick to create the album art, which depicts an alien outsider spotting someone he recognizes. Who could it be? Don’t worry. Sit back, relax, and let Abracadabra cast its spell.
Everything But The Girl’s ninth and final studio album Temperamental was first released in September 1999, and is reissued on May 8 2020 on double vinyl complete with half-speed mastering by Miles Showell at Abbey Road Studios.
The album debuted at #16 on the UK Album Chart and peaked at #3 in Australia and #65 on the US Billboard 200, and went on to sell over 500,000 copies worldwide. Often seen as a companion piece to its million-selling predecessor Walking Wounded, it once again skilfully merged worlds contemporary electronic dance music and smart singer-songwriting, but was not without its production difficulties.
Working from the same template as before, the album was largely recorded at home by Ben Watt and Tracey Thorn in the summer of 1998 in familiar surroundings – synths, samplers, simple computer software, a microphone – with two tracks ending up as production collaborations: Blame, made with drum ‘n’ bass DJ-producer Jamie Spratling (J Majik) at his home studio in Hertfordshire; and The Future of the Future, which began life as an instrumental by Washington DC deep house producers, Deep Dish before Ben wrote a melody and lyrics for Tracey to sing.
Yet if the propulsive beats are undercut by a melancholy edge to the lyrics and sounds, it perhaps reflects the circumstances behind the album’s evolution.
“It was on reflection, a difficult album to make,” says Watt. “With the recent birth of our twin girls in 1998, I found myself constructing much of the album in isolation, with Tracey inevitably more pre-occupied with family life. It was much less collaborative than it should have been. I guess we were just moving in different mental spaces a lot of the time.”
In spite of the strained recording process and a lukewarm reaction from a rock press tiring of electronica, the album was acclaimed in many quarters on its release. “Triumphant after-hours club pop” said Spin in an effusive full-page 9/10 lead review. “Entirely natural, wholly wonderful” said the Sunday Times. “The definitive dance album steeped in all things pop. Sublime and essential” commented Billboard, while Time Out offered, “If EBTG discovered nightlife late, it is one of their greatest strengths. Wide-eyed and wondrous.”
Offering a longer view in 2019 – in a lengthy 20th year anniversary retrospective feature in The Quietus – Michael White said, “After 20 years it has aged very well … I’ve explored the length and breadth of dance music as if it were my job, and I can’t point to another album of its kind that so effectively bridges the divide between the deeply communal sound of the dance floor and the deeply private vocabulary of a mind in trouble.”
Temperamental is re-issued on 180gm double vinyl with half-speed mastering on Buzzin’ Fly Records/Chrysalis Recordings on May 8 2020
A limited edition tenth anniversary reissue of Bon Iver’s seminal EP Blood Bank will be released via Jagjaguwar with brand new live renditions of all of the EP’s tracks. The reissue will also feature new artwork and an in-depth essay written by longtime Bon Iver friend Ryan Matteson.
LP: 33 1/3 RPM 12″ vinyl LP inside a matte finished gatefold jacket with spot gloss inks, wrapped in a clear plastic printed sleeve, and contains a full-color 4 page insert. Contains digital download code, redeemable on or after release day.
Limited vinyl LP pressing. Cosmic Thing is the fifth studio album by new wave band The B-52’s, released in 1989. It contains the singles “Love Shack” and “Roam”. The success of the album served as a comeback after the death of guitarist Ricky Wilson in 1985. Six of the album’s songs were produced by Nile Rodgers in New York City, and the remaining four by Don Was in upstate New York. The band embarked on the Cosmic Tour to promote the album.
After a few years out to perfect their jaw-dropping new album 100% YES, Melt Yourself Down are back. Thanks to collaborations with production legends Youth and Ben Hillier, the band have reimagined themselves and created a bruising re-up of their signature sound with added synths, lyrics, anthems and epic joyrides. They took their sweet time crafting this new sound and it was worth it – 100% YES is the band at their finest.
Set My Heart On Fire Immediately is the fifth studio album from Perfume Genius on Matador Records. It sees artist and musician Mike Hadreas re-teaming with Grammy-nominated producer Blake Mills and features contributions from musicians Jim Keltner, Pino Palladino and Matt Chamberlin. It was recorded in Los Angeles, where Perfume Genius settled in 2017 with longtime partner and musical collaborator Alan Wyffels.
The album explores and subverts concepts of masculinity and traditional roles, and introduces decidedly American musical influences. Throughout Hadreas plays with themes of love, sex, memory and the body, channeling popular music mythologies while irreverently authoring its own – from the delirious, Cyndi Lauper-nodding celebratory pop of On The Floor, specters of Elvis on haunted tremolo waltz One More Try, to the harpsichord- punctuated baroque pop of Jason, and gliding steel guitar and Balearic rhythm of Without You.
Making A Door Les Open, the new album from Car Seat Headrest and the first set of brand new songs since 2016’s Teens Of Denial. Created over the course of four years, it is the result of a fruitful collaboration between Car Seat Headrest, led by Will Toledo, and 1 Trait Danger, a CSH electronic side project consisting of drummer Andrew Katz and Toledo’s alternative persona “Trait”.
In this way, Making A Door Less Open sees Toledo embarking on new and imaginative roads to songwriting and recording, placing emphasis on the individual songs, each with its own special energy, rather than attempting to draw a coherent storyteller narrative through the album as he has in the past, resulting in his most dynamic and open-ended work to date.
I first heard Daniel in 1985. Half Japanese had a show in Austin and Daniel’s manager Jeff Tartakov gave me a tape of “Hi How Are You?”. I loved it and began corresponding with Jeff and Daniel. A few years later I was in NYC to take part in a recording session of Moe Tucker at Kramer’s studio Noise New York. Daniel was at the studio and he and I became friends. Daniel recorded two songs with lyrics I wrote. He recorded “Do It Right” for Moe’s album, and “Some Things Last A Long Time” for his album “1990”. Soon after his time in NYC I invited him to my home and we had a week to record the songs for “It’s Spooky”. I considered Daniel to be a genius. I am so grateful to have had the opportunity to work with him. I’m so grateful to have it released again and it’s sounding better than ever thanks to an amazing mastering job by Kramer.
It was in winter 18/19 – I flew to Montreal to meet with Tim Kingsbury, Richard Reed Parry, Craig Silvey and Teddy Impakt at Le Studio Du Arcade Fire. It was a fine time with a dream team in a city I love. Winter in beautiful Quebec. Les semaines les plus froides de ma vie. I had a bunch of demos that were inspired by migration stories I had heard from friends or read in newspapers while on tour in Europe and North America. I remember being struck by the similarities of the stories I heard from both continents and how really only the names of the powerful and the powerless had changed – thinking, “Is this the future? Is this our future?”Some time went by, the stories wove together and I remember them now closer to characters in a dream of how people could treat each other than any kind of front-page news realism. I think music subconsciously – whether writing or listening – is a filter for me – helping to process all the bad news into something new to build from – some records to me are like self-fulfilling prophecies – visualizing change to wish something into being – those records inspired this one.
From the warped mind of Primus’ frontman comes the release of Colonel Les Claypool’s Fearless Flying Frog Brigade’s Live at the Great American Music Hall. This two set, 12-track collection was recorded live over two nights in San Francisco. Set 1 includes five Claypool originals bookended by superb King Crimson and Pink Floyd covers, while Set 2 is comprised of an unabridged performance of Pink Floyd’s legendary 1977 concept album, Animals.
Making A Door Less Open, the new album from Car Seat Headrest and the first set of brand-new songs since 2016’s Teens Of Denial, is set for release on May 1. The album will be available on vinyl and CD featuring distinct tracklists and mixes for each product.
Created over the course of four years, Making a Door Less Open is the result of a fruitful “collaboration” between Car Seat Headrest, led by Will Toledo, and 1 Trait Danger, a CSH electronic side project consisting of drummer Andrew Katz and Toledo’s alternative persona, “Trait.”
In this way, Making A Door Less Open sees Toledo embarking on new and imaginative roads to songwriting and recording, placing emphasis on the individual songs, each with its own “special energy,” rather than attempting to draw a coherent storyteller narrative through the album as he has in the past , resulting in his most dynamic and open-ended work to date.
Comprised of Will Toledo, Andrew Katz (drums), Ethan Ives (guitar) and Seth Dalby (bass), Car Seat Headrest has either released 11 or three albums to date, depending on the way you look at it. A prolific songwriter, Toledo took his moniker from making early recordings in the private environment of his family’s car, releasing a dozen self-recorded and produced albums on Bandcamp and building a tight-knit following. Toledo has since gone from an empty five-seater to selling out tours and filling festival main stages. 2015’s Teens of Style was a collection of songs from his early years. The band’s proper Matador debut, Teens of Denial, followed in 2016 and catapulted them to overnight commercial success and widespread critical acclaim, as well as highlighting Toledo as a prodigious lyricist. 2018’s Twin Fantasy, an epic re-imagination of an album originally released in 2011, demonstrated newfound scale, depth and ambition.
‘Earth’ is an album of rediscovery and adventure by Radiohead’s Ed O’Brien, being released under the moniker EOB. Written and recorded over five years during any possible break from the making and touring of Radiohead’s ‘A Moon Shaped Pool’, the album deftly veers from moments of delicate folk to euphoric house, its songs seamlessly pinned together by unswerving melodic hooks and candid lyricism. A spirit of collaboration runs through ‘Earth’ from the production team of Flood, Catherine Marks, Alan Moulder and Adam ‘Cecil’ Bartlett to the extraordinary musicians O’Brien assembled to bring these tracks to life; bassist Nathan East, drummers Omar Hakim and Glenn Kotche, and The Invisible’s multi-instrumentalist leader David Okumu. Portishead’s Adrian Utley appears on two tracks, whilst Laura Marling duets with O’Brien on stirring closer “Cloak of The Night.” But every group of collaborators needs a leader, and Earth is all O’Brien’s vision. “I wanted to make a record from the heart,” he says. “I wanted to make something direct. I wanted to talk about love, your family in the immediate and the wider sense, where we are on the planet, the bigger picture, life and death. I wanted to make a big hearted, warm and colorful album… something hopeful and full of love.” Featuring the singles “Shangri-La”, which sways between syncopated beats and twisted rock, and “Brasil”, a track that morphs from a tender opening into a heightened-state rhythmic banger, ‘Earth’ marks a new beginning for Ed O’Brien.
Third Man Records reissue of two of Redd Kross’ beloved 1990s albums, Phaseshifter (1993) and Show World (1997).
Phaseshifter line-up intact (Gene Fennelly would soon move on, but plays all the keyboards on the recording), Redd Kross came back at us with amps turned up and smiles on their faces on 1997’s Show World. The album starts off with a spot on cover of The Quick’s L.A. power pop classic, Pretty Please Me, and sets the tone for yet another killer album by the thinking person’s good time band. Like all Redd Kross albums before and since, this one is all killer, no filler, with special highlights Stoned, Vanity Mirror, One Chord Progression and the absolutely sublime Follow The Leader.
Jason Williamson and Andrew Fearn stepped out of 2019 with a Top Ten album under their belt, Eton Alive, their biggest sold out tour to date and the swagger of a band that have never been more relevant, topically challenging and downright entertaining. Sleaford Mods continue their onslaught into 2020 with the release of All That Glue, a collection of songs spanning the last seven years of the bands career; an array of crowd pleasers, B sides, unheard tracks and rarities for fans and the curious, released via Rough Trade. Over the past few years Sleaford Mods have become one of the most intractable British pop stories. One of its best. Their music is drawn at a flawless fault-line of anger, tenderness and humour, a triumvirate of raw energy which frequently jostles in the space of a cadence for supremacy.
The 12” features 4 different covers, customers will get lucky dip on which one they get
“We first performed this at the All Points East festival in Victoria Park in May 2019. The crowd reaction was so positive that I was inspired to do my first-ever bit of crowd-surfing (which I enjoyed so much that I have repeated it a couple of times since). We played the song throughout the summer & eventually recorded it after our final performance of the year at the End of the Road festival on September 4th.
It’s a straightforward love song about someone stuck alone in the house whilst the object of their affections is out dancing to House music at a rave.
“Everybody in the Place” is the title of a Jeremy Deller 2019 documentary on Rave Culture.”
After more than five years, Purity Ring release their third album. Womb released via 4AD, is entirely produced and recorded by the duo of Megan James and Corin Roddick.
Womb chronicles a quest for comfort, the search for a resting place in a world where so much is beyond our control. The striking vulnerability of “ruby insides” – “If I could, I would let you see through me” – charts a course that’s both intensely personal and deeply connected to those close to us, our kin whether by nature or nurture. As the ground shifts beneath their feet, Womb’s characters help one another face death, despair, and world-altering discovery with resilience and grace. For all the terrain it encompasses, Womb’s quest culminates in “stardew”, a glittering, transcendent invitation to “just be where you are” – to experience the kind of powerful peace that can only be found by truly coming home.
Hamilton Leithauser has proven himself as a master collaborator and solo artist throughout his nearly 20 year career. Following his time as the frontman of the Walkmen, Leithauser released the critically acclaimed collaboration with Rostam I Had a Dream That You Were Mine in 2016. The album debuted at #1 on Billboard’s Heatseekers Chart, #1 New Artist Album, and was named one of the Year’s Best by Pitchfork, Esquire, NPR, and more. His latest work and second solo record The Loves of Your Life was written and produced by Hamilton in his home studio and is a collection of stories about real people he’s met over his years living in New York City.
“Will This Make Me Good?” is a question Nick Hakim has asked himself since he was young and struggling in school. It is a reflection of what’s happening in his head as he sorts through his life and the tumult around the globe. His new album WILL THIS MAKE ME GOOD articulates a sense of confusion alongside a desire for hope and clarity. It was produced by his longtime collaborator Andrew Sarlo (Big Thief, Bon Iver), who also produced Hakim’s breakthrough debut “Green Twins”.
Magic Box presents a reissue of Pirana’s self-titled album, originally released in 1971. Pirana’s heavily percussive brand of progressive rock was a huge hit with audiences in Australia in the early ’70s. Although often compared to Santana, they brought their own biting style to a superb selection of original material, with Tony Hamilton’s superb lead guitar to the fore. Their classic debut album was originally released in early 1971, and is reissued here in its original gatefold sleeve, together with background notes and rare images.
Magic Box presents a reissue of Tea & Symphony’s An Asylum For The Musically Insane. This quirky Birmingham trio’s debut album was originally released in September 1969. Spanning psych, folk, blues, and pop, with a range of trippy effects, it was produced by the great Gus Dudgeon (David Bowie, Elton John) and is one of the best-loved British underground recordings of its time. It makes its long-overdue return to vinyl here, together with an insert containing notes and rare images. “Maybe My Mind” features Egg.
Over three albums under his own name, Devon Williams has honed a trademark blend of shining power pop, folk rock, and jangle pop that explores the shared spaces and nuances of each, anchored by his distinctive melodic gifts. After an uncharacteristic six-year break, he returns with “A Tear In The Fabric”: 12 lushly arranged, deeply felt songs chronicling a journey from confusion to clarity, driven by a lilting dreaminess, rock-solid songcraft, and unerring hooks.
The long six years between 2014’s “Gilding the Lily” and “A Tear In The Fabric” were defined by a series of changes: most notably, the birth of Williams’ daughter four years ago and the illness and eventual death of his father in 2019. Williams found himself engaged in an endless dialogue with his thoughts and, in turn, incessantly tweaking and prodding the material. Even mixing became a place to labor over details, turning into a two-year process.
The finished songs are a series of evocative snapshots for Williams: questions asked, answers given, compromises reached, as captured with startling lucidity as on “Domesticated”: “I’m under your skin, is this the price of forever? I don’t mind if you just do what you like / I find it hard to re-adjust this tug of war / Is it part of the role? / Well, if it is, I can play.”
Rarely have songs so personal sounded so luxurious. In a catalog full of pop gems, “A Tear In The Fabric” stands out for its completeness – individual worlds of sound and sentiment, timeless and transcending their origins. Its creation may have been laborious, but the final product feels as natural as breathing.
The New Abnormal is the long awaited new album from The Strokes, and the band’s first album in seven years. The album was announced with the first track and video, “At The Door.” The New Abnormal is The Strokes’ sixth studio album and was recorded at Shangri-La Studios in Malibu, California, with producer Rick Rubin. The album’s cover artwork is a painting called ‘Bird on Money,’ by famed artist Jean-Michel Basquiat. The Strokes are singer Julian Casablancas, guitarists Nick Valensi and Albert Hammond Jr, bassist Nikolai Fraiture and drummer Fabrizio Moretti.
For the past few years King Dude has been one of the most misunderstood voices in folk music. He’s been accused of everything under the sun; to some he is a violent Luciferian psychopath, still to others he is nothing more than a charlatan, a drunkard, a fool… And that’s just scratching the surface. While there seems to be no clear consensus about who King Dude really is, the fact remains clear. He is enigmatic.
King Dude’s latest album Full Virgo Moon (coming on March 13th 2020 from Van Records) represents a “shots-fired over the line” at many of his detractors. These songs become pointed dagger-like anthems of the unsung theists and atheists alike. This manner of writing has the power to weaponize music and transform his voice into the most dangerous one of our times. Beware and be aware, King Dude is a force to be reckoned with.
Late 60s/Early 70s Trans-European Folky Funky & Pop-Sike Tunes.
As suggested by the subtitle itself, this psychedelique dance floor in between late Sixties and early Seventies presents a great selection of Funky grooves, usually with at least slightly Progressive touch to it, with just an occasional detour towards the Folky or Pop-sike side of the matter.
These kind of a bit more conventional entries also happen to be the best ones as well, featuring Tony Ritchie’s fuzzy blue-eyed soul stomper Could You Really Live Without Her (released on Miki Dallon’s Youngblood label), along with the pair of Gene Latter’s The Old Iron Bell, or thee more progressively funky side of things, Roundhouse’s Alchemy Is Good For You and Electra Combo’s Uber Feur are both as groovily catchy as it gets within the genre, and the same goes for the Britsike-gone-danceabe-proggy post-Velvet Fogg combo The Ghost’s I’ve Got To Get To Know You and finally the Italian 1972 radio hit single Mister E. Jones by Nuova Idea gets pretty catchy as well, in spite of the just as progressive overtone. Also included is an incredibly surprising cover of The (pre-Creation) Mark Four’s single side Work All Day, as done by the German band Tony Hendrik, sticking to the tune’s initial pop-artish mod vibe.
Duane & Greg Allman originally released by Bold Records in May 1972. The release is an album-by Tallahassee-based folk rock band featuring Duane Allman on guitar and Gregg Allman on vocals. drummer Butch Trucks, bassist David Brown, and guitarist Scott Boyer. The 31st of February formed in 1965 and released their first. self titled album in 1968.
It was recorded at TK Studios in the Miami suburb of Hialeah, Floriday in September 1968. Steve Alaimo engineered the sessions and later claimed producer’s credit. The album is notable for the first recording of “Melissa” which was later re-recorded with the Allman Brothers Band.
Historic 1967 recordings featuring Duane & Gregg Allman pre Allman Brothers Band.
First time available on vinyl in over 50 years.
Prepared from original Liberty Records analog master tapes
Mastered by Tom Lewis at Jim Hawkins’ Studio 1093 , Athens, GA. Vinyl cut by Kenin Gray at Cohearent Audio Vinyl pressed at Record Technology Inc.
Historic 1968 recordings featuring Duane & Gregg Allman pre Allman Brothers Band
First time available on vinyl in over 50 years
Prepared from original Liberty Records analog master tapes Mastered by Tom Lewis at Jim Hawkins’ Studio 1093, Athens, GA. Vinyl cut by Kenin Gray at Cohearent Audio Vinyl pressed at Record Technology Inc.
Rare, historic 1966 “Early Allman” sessions Featuring Duane and Gregg Allman recordings pre Allman Brothers Band.
Songs featured include “Spoonful” & “Gotta get Away”. First time available on vinyl in over 45 years!
Prepared from original Dial/ Mercury analog master tapes Mastered by Tom Lewis at Jim Hawkins’ Studio 1093, Athens, GA. Vinyl cut by Kevin Gray at Cohearent Audio Vinyl pressed at Record Technology Inc.
Monkeywrench/Republic records is making the classic Pearl Jam album “Backspacer” available to all retailers for the very first time! Originally released on September 20th 2009, the album contains 11 tracks including the hit single “The Fixer”. Since their inception in 1991, Pearl Jam has sold more than 60 million albums worldwide. The band has released nine studio albums, five live albums, hundreds of live concert bootlegs, one double-disc b-side record, one double-disc greatest hits record and five live DVDs. In 2011, Pearl Jam celebrated their 20th anniversary with a special concert weekend at Alpine Valley, WI followed by the release of Cameron Crowe’s film, Pearl Jam Twenty, along with an accompanying book and soundtrack of the same name.
Montreal dream-pop four-piece TOPS will be releasing a new album called “I Feel Alive” on 4/3. “I Feel Alive” was recorded in a basement studio in Montreal with keyboardist Marta Cikojevic, who joined the band as a live member in 2017. “From the first time we practiced with her it was clear that we were in sync musically, and we found ourselves improvising together at the first rehearsal,” says singer Jane Penney. “Having Marta manning the keys allowed me to reach for my flute, and gave me the chance to integrate my flute playing with the writing process, using it as an expressive instrument rather than more production element which it has been in the past.”
In 2004 everything felt new.
As hip hop producers in the late 90s, we were influenced by Pete Rock and Lord Finesse but by the early 2000s, the sound began to change. People wanted Triton Beats. We weren’t so into that…so we changed too: we traded our S950 (actually we kept it for the drums on Needy Girl) for a talkbox and a handful of synths and we signed to Tiga’s Turbo Recordings without a demo.
We didn’t know the first thing about electronic music, but we figured we’d try our hand at it…although we really just wanted to pay homage to Hall & Oates and Rick James. We had no idea what we were doing: we were writing lyrics for the first time, singing into mics for the first time, dusting off instruments we hadn’t touched since our high school band. We put together songs about sad robots and antiheroic trials of love, with the ingenuity of two childhood bffs who were making music in our mom’s basement. (The album was actually made in Pee’s mom’s basement.) The credits on She’s In Control were simple: written, performed, produced and mixed by Chromeo.
Unbeknownst to us, our misunderstood debut album placed us amongst a new crop of electronic musicians. A project we lovingly crafted with the sole aims of conjuring Huey Lewis and making eachother laugh gave us a career. Needy Girl and You’re So Gangsta laid the blueprint. 15 years later, here we are.
Over the past few years, Rhino / Parlophone has been teaming up with Marillion to release deluxe versions of various albums in their back catalog, and now the time has come to turn our sights toward their band’s eighth studio album, AFRAID OF SUNLIGHT.
Originally released in June 1995, AFRAID OF SUNLIGHT provided the band with a top-20 hit on the UK Albums chart, not to mention a top-30 hit with the single “Beautiful.” Since then, the LP has been evaluated by critics and earned the descriptor of “neo-progressive classic,” and while this may not tell the average listener much of anything, it’s the sort of thing that makes prog-rock aficionados drool. As such, it’s only appropriate to transform this album into a 4-CD / 1-Blu-ray set, one which includes a new remix of the album by Michael Hunter, the original mix by producer Dave Meegan, a live recording of the band at the Rotterdam Ahoy Arena, the video for “Beautiful,” and a documentary about the making of the album.
Here’s the full track listing, to add a little more gravy and make this thing extra tasty…
The most difficult project we’ve done to date, this compilation features some of the most obscure Zamrock bands to ever record. None of these bands went on to release albums, some have remained in obscurity even within collectors circles in Zambia. There were only released on 7″ singles like the snotty, proto-punk ‘Watchout’, a number from the post-Amanaz Drive Unit, a group consisting of Amanaz members and legendary bassist Ricky Banda. Blistering fuzz guitars like the 3 1/2 minute solo on Hulk Raiders ‘Mans World’ that can go toe to toe with any guitar solo released during the period. ‘Shoot’ from Mother Breed, a band who went on to record a series of singles which we will be releasing as a full length album in the future, and others like; Mabanga Band, The Ghost Band, Heroes Band, Osauka Band and The Real Savages. The first in a series of compilations featuring obscure Zambian groups that will cover Rock, Disco, Folk and Afrobeat. Highly recommended for fans of the genre.
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.
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.
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.
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.”
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.
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!
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!
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”!
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.
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.
“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.
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.
“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
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.
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.
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.
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.
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.
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.
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.