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.
ADULT. make a triumphant return after their 2018 album This Behavior, dubbed “…one of the best records of their career…” by Ryan Lathan of Pop Matters. This chilling continuation takes the form of Perception is/as/of Deception, an anxiety fueled cyclone of pandemonium that only ADULT. would know how to harness. While This Behavior was recorded in the isolated snow-covered woods of northern Michigan, Perception is/as/of Deception was given life in a temporary space the duo created by painting their windowless basement entirely black, with the sole intention to deprive their senses, question their perceptions, and witness the resulting ramifications.
With over 23 years and a sprawling discography left in their wake, Adam Lee Miller and Nicola Kuperus have spent their entire career as ADULT. obscuring any defined genre or style. With a history as uncanny as ADULT., the pieces that make up Perception is/as/of Deception might be perceived as their most punk-infused and introspective work to date. The elements of frustration and apprehension that have consistently woven throughout their material are at full mast, although augmented by a strident and more “head-on” approach.
Tracks like Have I Started at the End successfully maintain the duo’s classic EBM signatures and synthesized aggression, cradled by a suspicious mantra that questions….what’s the point? Why Always Why offers a disorienting mutation of the heralded sounds of classic dance music, like a remix that escaped prison and is on the run. The dystopian anthem, Total Total Damage, comes in full force with an frantic energy which jolts any bystanders to attention, with only the defiant chants of Kuperus’ vocals outlining the ever-degenerating state of societal affairs. The dramatically glam synth parts scattered throughout the album, while at times ominous in nature, seem to also act as a merciful reminder that through the journey of Perception is/as/of Deception, one can still enjoy the chaos.
With the rampant sense of emptiness on the minds of many these days, there continues to be few attempts at scoring these common, unfortunate human qualities with pure sincerity. Thankfully, ADULT. has a long-standing reputation for creating the soundtrack for our insecurities, and Perception is/as/of Deception further solidifies their apprehensive position.
Third Man Records is proud to announce the first-ever release of The Pathetx – 1981. Clocking in at 18:16 minutes, available in standard black and limited edition colored vinyl 12” 45rpm versions.
The formation of the Pathetx began in 1980 with singer, Mark Leavitt, and guitarist, Greg Kutcher. They had been playing together in their basements for a while and were looking to get out on stage in the punk clubs in and around Detroit. They assembled the rest of the group, drummer Ted Meek, guitarist happy Tom McHenry and 16 year old bass player Mick Nasty, through newspaper ads, local “punk walls” and music stores. The Pathetx took their inspiration from the West Coast punk scene that was happening at the time, bands like The Germs, Black Flag and Dead Kennedys, as opposed to most of the other punk bands that were kicking around Detroit who were looking to The Stooges and MC5 to show them the way. Nunzio’s was the band’s unofficial home away from home but they played every legendary punk club in the area: Bookies Club 870, Freezer Theater, Red Carpet, Windsor’s Coronation Tavern…you name it, The Pathetx played it. They shared the stage with Detroit’s first wave punk bands as well as the superstars of this new hardcore thing that was happening. They played the legendary Endless Summer Skatepark show with Necros, Negative Approach and Meatmen. Their live shows were filled with beer, blood and pogos.
‘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 two of Redd Kross’ beloved 1990s albums, Phaseshifter (1993) and Show World (1997). The brothers are joined by drummer Brian Reitzell, guitarist Eddie Kurdziel (R.I.P.) and keyboardist Gene Fennelly on 1993’s Phaseshifter. Redd Kross leaves the ‘60s and ‘70s pop culture references at the door (well, most of them) and brings their strong melodies, dreamy harmonies, psychedelic punk / bubblegum metal to the front, tearing through 12 new Redd Kross tunes. Every track is a full-on Redd Kross gem, with standouts like Crazy World, Dumb Angel, Pay For Love and After School Special.
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.
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.”
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.
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”.
Includes insert and download. “Highlighting the artist’s singular lyrical attack, Space Goretex is the first album combining all of Kool Keith’s primary personas — Dr. Octagon, Dr. Dooom and Black Elvis. The instrumentation is primarily comprised of bass, drums, theremin, and synth, performed by Thetan’s Chad L’Plattenier and Dan Emery. The album also includes some special guest appearances, including Gangsta Boo (Three 6 Mafia) who performs as Officer Lola. Casey Orr (Gwar, X-Cops) appears as his X-Cops character Sheriff Tubb Tucker, marking the first time he has recorded anything as this character since 1996. Blag Dahlia from the Dwarves provides a monologue alongside Ashley Mae of Lost Dog Street Band and DJ Black Cat Sylvester, inventor of the Synth-Table. Blowfly’s right-hand man Uncle Tom Bowker also makes an appearance.”
At long last, The Bible of Burnt Skin has arrived on vinyl. Presented here is the 25th anniversary vinyl release of the harsh noise classic from legendary noise collective Black Leather Jesus. Since their formation Black Leather Jesus, led by Richard Ramirez, has been steadily producing some of the most essential releases in the underground. Similar to Anti-LaVey (Deadline Recordings, 1994) and Ho / Mo / Sexual (Protest Products, 1995), The Bible of Burnt Skin features the BLJ line-up up Kevin Ogg and Richard Ramirez making their way through a landscape of searing pummeling electronics. A standout in the vast catalog and essential piece of the ’90s harsh noise scene. Twenty-five years since its original release, The Bible of Burnt Skin has been remastered for vinyl by James Plotkin and is available again for all to enjoy. Not for the faint of heart, The Bible of Burnt Skin demands to be played loud.
Jon Tye and Pete Fowler have been making music as Seahawks for a decade now. Given the sounds they’ve been exploring over those ten years it was a cosmic inevitability that they would be asked to contribute to the catalog of the legendary library label KPM. They replied with Island Visions, an exploration of sound for vision where they construct “audio micro-worlds to explore and inhabit,” a way to transport the listener away from the everyday without the bother of getting on an airplane. Mostly recorded at The Centre Of Sound in Cornwall, with additional recording at Studio 34 in London, Jon and Pete’s travelling companions on this particular trip were boogie wunderkind Sven Atterton on fretless bass and keys, Nick Mackrory on percussion, and the Seahawks live team of Dan Hillman and Alik Peters-Deacon. From the grooves of Brian Bennett to the moog vibrations of Mike Vickers, the lush textures of Les Baxter to the experimental sounds of Delia Derbyshire and David Vorhaus, this new music channels sounds and moods from across the KPM universe. Like many KPM suites, this is a record of two distinct sides. The sunrise of side A brings a deep meditation, a journey within to renew the jaded self. Side B refreshes with cocktails by the pool and a chance to groove away the evening at some sunset beach party before dancing under the stars in the house of dreams. Pete’s cover for the LP is part map, part postcard; the track descriptions on the back help guide the way. 2020 marks ten years since Ocean Trippin’, the first Seahawks release, and Island Visions is the perfect distillation of the sounds, sights, textures, and moods that Jon and Pete have been exploring over the last decade — sunrise to sunset condensed to two sides of an LP. The normal rules of space and time don’t apply here. This is the first time Be With has worked with Seahawks, but individually Jon and Pete have been members of the extended Be With family since forever (Pete did those posters for our Ned Doheny tour and worked with Jon on the vinyl version of Hatchback’s Colors Of The Sun). Mastered by Balearic engineer of choice Simon Francis, cut by Pete Norman and pressed in the Netherlands by Record Industry, the sonic frequencies of these Island Visions have been precision tuned and encoded for optimum traveling conditions.
The third Web Web album, Worshippers, is the richest and perhaps best Web Web album so far. It testifies to maturity and is the logical continuation of the two preceding albums. In a way, it is a concept album in Web Web’s journey through Afro- and spiritual jazz. Worshippers: The idolizers, the admirers. Web Web adores and bows to the greats of jazz and their spiritual music. Songs like “The Upper”, “Paranormal Question”, or the multi-part “Free A.M.” were created, all of which show more complex structures as well as sophisticated forms and arrangements than the two previous albums Oracle and Dance Of The Demons. Along with the search for new sounds and soundscapes arose the desire for an extended sound body, which goes beyond Web Web’s conventional repertoire: Besides, there was a musician, with whom the complex arrangements and the tight, mantric rhythms could be accomplished: the violinist and violist Stefan Pintev. The native Bulgarian, who previously played with legends like Ray Charles or Astrud Gilberto, could give the music an additional depth and a mystical color with his dark timbre on his violin. In pieces like “Mystic Flowers” or “Inner Revolution”, his entire sound spectrum is brilliantly revealed, as is his narrative and multi-layered playing. In the middle of the production process of this album, the idea to let the incredible voice of Joy Denalane (Freundeskreis, Common) flow into Web Web’s music was born. Since Joy Denalane and Roberto Di Gioia were working on their solo album simultaneously, Joy became amazed by the new Web Web sounds and ended up contributing to this album. On this album, Joy Denalane does not perform in the way we know from her song forms and structures. Instead she sings in a free, improvisational manner, uses her voice as an instrument, enters into a dialogue with Tony Lakato’s wondrous improvisations (as in “What You Give”), or experiments with alienating (and alienated) vocal tirades in “Free A.M. (Part 1)”, asserting her sensational art of improvisation — similar to the early Dee Dee Bridgewater. On the opening song “The Upper”, she impresses with her dark and soulful voice and indicates the way for the whole album from her very first line. Web Web are Roberto Di Gioia (piano, synth, percussion), Tony Lakatos (tenor and soprano saxophones, flute), Christian von Kaphengst (upright bass), and Peter Gall (drums).
Spencer Clark is back with a futuristic eco-friendly record. It’s life on earth as you never heard it. The story goes like this: Spencer wanted to do a soundtrack for the yet to be made Avatar 2. And if you know Spencer’s work, you’ll know that he engaged on this mission reading material that influenced the rich and crazy imaginary world of Avatar. If you think about it a little bit, something like Avatar could have really come out from the mind of Spencer Clark. But it didn’t. So, he dwelled around the idea of that soundtrack, working on what is now known as Avatar Blue. The record presented here is a selection Clark made from the double-CD released in 2019 on his own Pacific City Sound Visions. Like many of Spencer’s other alias or incarnations, Star Searchers introduces the listener to a new world. Besides making sounds/soundtracks for alternative realities he cares about making a world for his music to live in. It’s never superficial or dedicated just to the act of imagination, Spencer creates sounds that sustain the reality he imagined. That’s why they’re so rich and consequential in the realization of music as a medium. Avatar Blue is music but also literature. And cinema. Star Searchers’ sound creates an absorbent sound about what’s happening in aquatic life. It goes beyond the perception of what we’ve seen or what we’ve known, it’s a neo-future aquatic life, with a world building structure and sounds and narratives that go along with it. All done with a sound-aesthetics that could be described as slowed-down-trance, that fits 1980s synth nostalgia and dreams of sci-fi to come. Vinyl cut at Dubplates & Mastering, Berlin.
A reissue of G.I.S.M.’s Detestation, the absolute masterpiece of Japanese hardcore punk, originally released on the Dogma label in 1983. Considered a seminal album for the whole death metal genre, this is must for all fans of hardcore punk, Japanoise, grindcore, anarchy, violence, and all things extreme. Includes are five bonus tracks from the Great Punk Hits (1983), Hardcore Unlawful Assembly (1984), and Outsider (1982) compilations. Limited gatefold edition including a “Punks Is Hippies” poster.
Limited edition red spatter vinyl. “Even before you know it’s self-titled, and even before you read the LP liner notes, you know it’s all Brant Bjork. The man who has become the ambassador of Californian desert rock indeed plays every instrument across his 13th studio full-length, Brant Bjork. This in itself is something of a departure from recent offerings, as on 2018’s Mankind Woman, Bjork worked closely with guitarist Bubba DuPree (Void), and both 2016’s Tao of the Devil and 2014’s Black Power Flower were constructed around the Bjork-led Low Desert Punk Band. Maybe revisiting his 1999 debut, Jalamanta, for a Heavy Psych Sounds 20th anniversary reissue in 2019 had some effect on Bjork’s mindset in terms of working solo, but he’s come too far in the ensuing decades to repeat himself, and the songs on Brant Bjork — recorded and mixed by Yosef Sanborn in Joshua Tree and mixed by John McBain (ex-Monster Magnet) — show that, whether it’s the mellow roll of ‘Duke of Dynamite’ or the signature take on classic heavy rock in ‘Jesus Was a Bluesman’ and percussion-backed funk of opener ‘Jungle in the Sound’. There’s no mistaking Brant Bjork, and on Brant Bjork, he strips his songwriting style to its core and brings out the organic vibe that’s made him desert rock’s most crucial practitioner. His legacy and pedigree are unmatched, with tenures in Kyuss/Vista Chino and Fu Manchu as well as the sadly short-lived Ché, Ten East, and others, but it is Brant Bjork’s solo work that has had his greatest impact and shown him to be of inimitable character in craft and style. His unrelenting creativity and one-of-a-kind voice are writ large over the Brant Bjork album, which is precisely how it should be, and after more than two decades of exploring out in the sands, Bjork continues to find new ways to manifest not just the landscape of the desert, but the spirit of his relationship to it. In short, he is a master, and this is the record that bears his name. You miss it at your own peril.” –JJ Koczan
Tod Dockstader’s Aerial series, an electronic/drone masterpiece, is cherished among fans of the artist’s work and this first volume is available in a double LP edition of 500 copies with 100 copies on clear vinyl exclusively for Imprec mailorder customers.
15 years in the making, Tod Dockstader’s Aerial series is sourced from his life long passion for shortwave radio. Dockstader collected over 90 hours of recordings, made at night, and comprised of cross signals and fragments plucked from the atmosphere.
Opening with airwave drones, Dockstader gradually allows elements to slowly come and go, summoning an ominous atmosphere of ethereal cloud clouds. Malignant placidity continues, giving the feeling of eavesdropping upon late-night audio activity not unlike discovering number stations while sweeping the dials. These sounds pull you in as their density and rhythms come and go.
Backward voices, deep echoing choruses of conversations flowing under the surface, ocean sounds, pulsing electro-rhythms, all seem to be created via the collaging of many hours of source recordings. A masterwork of collage and juxtaposition by an overlooked pioneer of American electronic music.
Artwork by John Brien (Imprec) is inspired by the propagation of shortwave radio signals throughout the earth’s atmosphere.
ELEH’s Harmonic Twins is slow moving monophony tuned to the overtone vocalizations generated by a particularly beautiful sound sculpture made by Harry Bertoia.
These two pieces are inspired by early music, choral masses, motets, the cathedral reverberations of sacred geometry and deep bass. Harmonic Twins was originally debuted by ELEH at Unsound, Krakow in 2017.
An optimal listening environment is recommended in order to experience the low frequencies of Harmonic Twins.