Monday, February 16, 2015

Permanent Records Update 02.17.15: Ultimate Boneheads 1 & 2, Marc Barreca, John Street Rockets, Superior Viaduct And Thin Lizzy This Week!

Hey Everybody!

The Rectal Hygienics and Frankie and The Witch Fingers LP's are flying off the shelf!  This week we have the last available copies of the Exit EP 7in, original stock copies of Marc Barecca's Twilight LP, original stock copies of John Street Rockets' Rock And Roll The Hard Way LP, Ultimate Bonehead Vol. 1&2 and plenty more amazing new releases in the list down below!

Also both the Chicago and the Los Angeles shops are getting quality used LPs, 7ins and CDs in all the time so come on by either location and dig in, we're sure you'll find something you like.  A sampling of some of the used LPs showing up at both shops can be found in lists at the very bottom of this newsletter.

Frankie And The Witch Fingers – Frankie And The Witch Fingers LP – Permanent Records
Review written by Roman Dean Rathert for It’s Psychedelic Baby Magazine January 2015

I love it when a plan comes together, and I love it even more when my favorite bands join forces with my favorite labels as every once in a great while, just sometimes, the fruits of that labor reflect the combined reasons why I love both the label and the band.  Frankie And The Witch Fingers debut long-player for Permanent Records is certainly one of these rare planetary alignments though indeed!  Permanent Records not only has a flawless record with releases like the first Purling Hiss album (Interview here), Umberto’s debut and last year’s incredible I’m good To Drive by Basic Cable (Interview here) but they’ve been picking up the pace with releases over the past two years or so without diminishing any of the usual meticulous eye for detail and skill that has helped to shape their reputation as one of the best independent labels running today.  Frankie And The Witch Fingers isn’t just another notch in Permanent’s belt though, constantly interested in expanding the sound and spectrum of the label, The Witch Fingers’ debut album is easily one of the best psychedelic pop albums of the past decade for me and pushes Permanent once again to the top of the list as far as labels to keep a close eye on.  I sat down and talked some shop with Frankie And The Witch Fingers last year (2014 Interview here) when they had just finalized plans for the release of this album, so I’ve been looking forward to this for quite a while, and let me tell you, this album does not disappoint!  Opening with the pulsating, reverberated madness of “Flower Pedals” it’s pretty obvious from the moment that Frankie And The Witch Fingers starts that this is gonna be a psychedelic trip through the outer stratosphere of consciousness and sanity.  Looped, echoing vocals bounce and explode in the back of a thunderous wall of bass and drums, guitar glimmering and slithering to the front only sporadically leaving plenty of room for the blown-out audible to still be audible and engaging.  Dumped straight from a Tascam 488 the lo-fi rumble, distortion and in-your-face in-the-red production quality is perfectly suited to Frankie And The Witch Fingers, making them sound even more like they successfully climbed into a time machine somewhere deep in the San Francisco scene sometime in the early 70s before everything went tits up.  “Knife Fight” retains the energy of the album opener while adding a rumpus like melody that will have you shaking your ass before you can bat an eye.  As seriously cool as this music is, it’s not all wrapped up in itself and there’s a sense of light-hearted brevity, almost a naivety if I may, to the sound that allows it to capture the true spirit of unhindered psychedelia that it appears to have been aiming for.  Leading into “Revival” things are getting more and more hooky, the guitar clamoring farther and farther to the front of the mix, layer after layer of distorted fuzz and gnarled distortion piling on like a schoolyard free-for-all, until you’re just left with this hissing monstrosity of crunchy distortion and wailing feedback that will suddenly snap into these crisp and wicked lead lines tearing right through the thick stew of sound like a knife through butter.  I love the way that the leadline and the dissonant howling solo that pops up throughout the song join up for about thirty seconds for an amphetamine fueled haze to finish out “Revival” in a glittering wave of noise.  “In Your Head” is the first song that showcases just how psychedelic Frankie And The Witch Fingers are truly capable of getting.  Moving into a seriously cosmic headspace, “In Your Head” has an undeniable sense of majesty to it; something timeless and extremely powerful that you just can’t quite put your finger on.  Swirling electric lines of bass and guitar bubble up from the endless galactic drone of drums and reverberation that blanket the sound like the countless stars in the sky.  Building up to an explosive eruption of sound and distortion that bends and folds in on itself like spectrums of light, “In Your Head” is without a doubt my favorite song on Frankie And The Witch Fingers; capable of both the entrancing dancy sounds and thunderous psychedelic frenzy that I fell in love with on Sidewalk.  It’s a hard act to follow but “Diamonds” is another hell of a song.  It’s the kind of song that will give Ty Segall a run for his money any day of the week, effortless psychedelic garage rock mastery that even in a time of heavy revival like today, isn’t easy to come by.  It’s songs like “Diamond” that make it very clear Frankie And The Witch Fingers are much less interested in doing what’s been done before, or sounding like anyone that has preceded them, as much as they’re interested in refining the timeless sense of wonderment and exploration that defined the traditional psychedelic movement and boy, oh boy, have they done one hell of a job.  I can hear as much Cooked Books as The 13th Floor Elevators in tracks like “Vibrations”, which if when listened to with a trained ear do sound like some of the other mind bending stuff coming out of Indiana right now; the organ work on this track is definitely on par with La Luz (Interview here) or any of the other indie darlings operating right now, bringing a hard-edge to the usually tranquil instrument.  A slight surf tinged vibe creeps through the entire album but “Vibrations” is one of the few that’s unabashedly open and forthright about that fact, heavily wah-ed out guitar jangling and muttering asserted statements of sporadic lysergic wisdom.  “Electric Séance” is one of the more accessible and approachable songs on Frankie And The Witch Fingers, with some classic falsetto lyrics that sound undeniably like they could have popped up on any of Ty’s last couple of albums.  The music is a little more stripped down then that though, the production a bit more thoroughly accurate to the sounds that they’re trying to create, and “Electric Séance” is a wonderful example of the Revolver/Rubber Soul heart that beats at the heart of Frankie And The Witch Fingers.  Spastic pans rocket the guitar from side to side before exploding like a glittering beacon of light in the depths of deep space and finally yielding to the slow passions of “Lou Reed”.   It doesn’t sound out of place or anything, but I swear “Loud Reed” is a 1976 single from some sleazy San Fran band that some stoned engineer just forgot to release at the time!  On an album that seems so meticulously recorded and constructed that the songs almost blend into one another, getting a song to sound so ravenously different and still fit in with the aesthetic of the album isn’t easy, but that’s just what Frankie And The Witch Fingers manage to do.  Only two songs out from the end of the album “Loud Reed” is a perfect example of how the band isn’t afraid to try something different, to switch it up a little bit, no matter where or when they might find themselves…   Fading out on an echoing organ line “Motorcycle” lives up to its’ name and comes firing down the highway like a crotch-rocket out of out hell!  The basslines on this album are sickening, just skull crushing, heart palpitating claps of rumbling thunder lighting the album up like a million-watt light bulb.  “Motorcycle” more than any other song on the album makes me want, no scratch that – need, to see Frankie And The Witch Fingers live!  The infectious energy just bleeds from “Motorcycle” and operates as a summoning beacon for all the lost and lonely drunken souls wandering through the darkness looking for that tiny shaft of glimmering light in the murky haze.  “Smiling” finishes up Frankie And The Witch Fingers with a slow smoldering rhythm, half the tempo of any other track on the LP and yet with twice as much energy somehow.  The contemplative construction of the album is again apparent in a masterful switch in tones towards the latter half of Frankie And The Witch Fingers.  The guitar snarls and growls while the bass plunks and hammers, drums trembling in the back of the mix with what sounds like some slight flange on them, a haunting ethereal tone building, growing and ebbing at will throughout.  Softly crooned vocals lull the listener off to a calm gentle hypnotic state, sliding in and out of consciousness and awareness, the world dimming and brightening like the flashes of a camera bulb in your brain before collapsing into a single line of feedback that fades into the cosmic ethers until it becomes utterly nigh…  Limited to only five hundred copies worldwide, I am telling you this one is gonna go quick!  With only a cassette and an appearance on a 7-inch single so far, Frankie And The Witch Fingers have teamed with Permanent Records to make a true psychedelic statement in the form of their debut long-player due out at the end of February through Permanent Records.  Intoxicating, enchanting, mesmerizing and at times completely off the wall, this is not an album that you’re going to want to miss.  For fans of Ty Segall, Spacemen 3, and hell, just about any decent psych going on really.  If you have any questions click the link below for some testimony, and make sure you pick a copy directly from the label on slick, ultra-limited and exclusive, Potion Pink Colored Wax Vinyl at the link below for it’s too late!
                  - Listen while you read:
                  - Buy it here:

Frankie and The Witch Fingers are hittin' the road!

3/5 - Los Angeles, CA @ Lollipop Records 
3/7 - Los Angeles, CA @ Everydaze Music
3/10 - Los Angeles, CA @ Permanent Records
3/13 - Oakland, CA @ Eli's Mile High Club
3/14 - San Francisco, CA @ Hemlock Tavern 
3/15 - Sebastopol @ 755 After Dark
3/16 - Arcate, CA @ Blondies
3/18 - Portland, OR @ Bunk Bar
3/19 - Seattle, WA @ The Future

Chicago Shop Stuff

Thanks to all who came out for the Rectal Hygienics record release show at the Chicago shop on Friday!  Brutally beautiful times indeed!

Los Angeles Shop Stuff

Thanks to everyone who came out for the Mild High Club show at the Los Angeles shop on Saturday!  Killer jamz and friendly faces for the ages!

L&L are spinning musical discs at the flick of their wrists in San Juan at Club 77!  Puerto Rico party!


And just like every week, P-Rex Los Angeles DJs continue to FEED THE FREAKS!!!

Here's the general info on Feed The Freaks:
"Every Wednesday.  Black Boar - 1630 Colorado Blvd.  10-2am. Rock'n'Roll Partytime! With Lance Bummer and Special Guests. Drink specials. Excellent adventures, only.  Absolutely, no bogus journeys. Get down."


Running out of room, need to clear some space, going on the lam? Regardless of the reason, before you unload your unwanted records and digital media, please bring them to us for CASH or STORE CREDIT!  One man's trash is another man's treasure and we treasure all sorts of quote un-quote trash!  Before you donate your stuff or have a yard sale, drop us a line.  We'll probably pay more (without haggling) than you'll ever get at a garage sale and often times we'll buy it all in one shot.  It doesn't get much easier that!  So remember, when you wanna sell your stuff, SELL IT TO US!  Please and thank you!
P.S. We make house calls for collections.  Drop us a line to make an appointment.


When you buy a record from Permanent Chicago by an artist playing at The Empty Bottle, we can get you on the Guest List (with a few exceptions).

Check the full list below and hit us up:


7in - Deadbeats - Kill The Hippies

Lance - Permanent Records Los Angeles

$99.99 → Email If Interested LISTEN

Dangerhouse Records #29 is a stone cold classic art punk blast from 1978!  Features Geza X on guitar! Do it!

LP - Funkadelic - Maggot Brain

Dave - Permanent Records Chicago

$49.99 → Email If Interested LISTEN

"It starts with a crackle of feedback shooting from speaker to speaker and a voice intoning, "Mother Earth is pregnant for the third time, for y'all have knocked her up" and talking about rising "above it all or drown in my own sh*t." This could only have been utterly bizarre back in 1971 and it's no less so decades later; though the Mothership was well on its way already, Maggot Brain really helped it take off. The instrumental title track is the key reason to listen, specifically for Eddie Hazel's lengthy, mind-melting solo. George Clinton famously told Hazel to play "like your momma had just died," and the resulting evocation of melancholy and sorrow doesn't merely rival Jimi Hendrix's work, but arguably bests a lot of it. Accompanied by another softer guitar figure providing gentle rhythm for the piece, the end result is simply fantastic, an emotional apocalypse of sound. Maggot Brain is bookended by another long number, "Wars of Armageddon," a full-on jam from the band looping in freedom chants and airport-departure announcements to the freak-out. In between are a number of short pieces, finding the collective merrily cooking up some funky stew of the slow and smoky variety. There are folky blues and gospel testifying on "Can You Get to That" (one listen and a lot of Primal Scream's mid-'90s career is instantly explained) and wry but warm reflections on interracial love on "You and Your Folks, Me and My Folks," its drum hits distorted to give a weird electronic edge to the results. "Super Stupid" is a particular killer, pounding drums and snarling guitar laying down the boogie hard and hot, while "Hit It and Quit It" has a great chorus and Bernie Worrell getting in a fun keyboard solo to boot." -

LP - Skinny Puppy - 12" Anthology

Jamie - Permanent Records Chicago

$39.99 → Email If Interested LISTEN

"Twelve Inch Anthology is a compilation album by Skinny Puppy.[2] It contains most of the band's early singles and B-sides.  The cover design is a collage of previous Steven R Gilmore covers." - Wikipedia

"All tracks are from the deleted singles: "Dig It" W1 3002 "Addiction" W1 3010 "Stairs And Flowers" W1 15281 "Testure" W1 44322
The sleeve lists two tracks: Addiction (Second Dose) and Testure (SF mix) which do not, in fact, appear on the record.
The track "Serpants" is listed as "Serphants" on the label. Both are typos, as the correct spelling is "Serpents".
Also the A side label shows the wrong duration time for track A1 (5:27), A3 (9:29) and A5 (6:55)." - discogs


LP - Groundhogs - Blues Obituary

Jon - Permanent Records Chicago

$39.99 → Email If Interested LISTEN

" Recorded during June of 1969 at Marquee Studios in London with Gary Collins and Colin Caldwell engineering, the trio of Groundhogs put the blues to rest on Blues Obituary in front of a castle on the Hogart-designed cover while six black and whites from photographer Zorin Matic grace the back in morbid Creepy or Eerie Magazine comic book fashion. Composed, written, and arranged by Tony "T.S." McPhee, there are seven tracks hovering from the around four- to seven-minute mark. The traditional "Natchez Burning," arranged by McPhee, fits in nicely with his originals while the longest track, the six-minute-and-50-second "Light Is the Day," features the most innovation -- a Ginger Baker-style tribal rant by drummer Ken Pustelnik allowing McPhee to lay down some muted slide work. As the tempo on the final track elevates along with manic guitar runs by McPhee, the jamming creates a color separate from the rest of the disc while still in the same style. Vocals across the board are kept to a minimum. It is all about the sound, Cream without the flash, bandleader McPhee vocally emulating Alvin Lee (by way of Canned Heat's Alan Wilson) on the four-minute conclusion to side one that is "Mistreated." While Americans like Grand Funk's Mark Farner turned the format up a commercial notch, Funk's "Mean Mistreater" sporting the same sentiment while reaching a wider audience, the Groundhogs on this late-'60s album keep the blues purely in the underground. The pumping beat on "Mistreated" embraces the lead guitarist's vocal, which poses that eternal blues question: "what have I done that's wrong?" Blistering guitar on the opening track, "B.D.D.," sets the pace for this deep excursion into the musical depths further down than Canned Heat ever dared go. While "Daze of the Weak" starts off sludgy enough, it quickly moves like a train out of control, laying back only to explode again. "Times" get things back to more traditional roots on an album that breaks little new ground, and is as consistent as Savoy Brown when they got into their primo groove." -


7in - Exit - The Exit E.P. (RSD 2014, Black Wax, Ltd 400)




Impossibly rare Chicago Punk from 1979! Contains "Who Asked You" from their sole release + three unreleased tracks culled from the original master tapes!

Some History For ya:
"Chicago's vast South Side in the late 1970s wasn't exactly the ideal breeding ground for punk rock, but as evidenced by the output of the prolific Disturbing Records label (Cunts, Meaty Buys, Painterband, etc) and a few shining examples of subversive culture festering in the shadow of the bleak shadow of Midway, such as The Imports from Hyde Park on Circkle Records, most notoriously, the band with the least-known history has always been The Exit. As noted numerous times, Chicago's disorganized, disconnected 70s punk 'scene' evolved on both the North Side as well as the South Side, with the latter focusing on the bands circulating around Harlow's Nightclub on the the 8000-block of south Cicero, and have a far lesser known cast of characters sadly left out of the mainstream historical context. As an area at the time known for its diehard sports fanaticism as well as it's tough, blue collar lifestyle, punk didn't have a fighting chance competing with cover bands in neighborhood corner bars and avoiding the inevitable fisticuffs associated with being anything outside of "normal" in 1979. But this is where a band such as The Exit shines through the debris and really stands out historically as a diamond in the rough.
When doing research for the 2003 'History of Chicago Punk 1976-81' feature article for Horizontal Action Magazine, we were confronted with nothing but blank stares when inquiring about most of the South Side bands, even from some of the Disturbing Records camp, which only further proves the isolation and disconnection effect of playing and recording such polarizing music at such an early time. The lone 7" release from The Exit was a total mystery to even the most vivid memories of not only band members, but also promoters, DJs, photographers, and general punk enthusiasts from the era, and the amount of money the single sold for, if and when it ever even appeared for sale, was often staggering, making this band even more intriguing.
As luck would have it, ten years later, one of the original band members from The Exit casually walked into Permanent Records and introduced themselves, finally forming the connection that had eluded so many attempts to locate the band in the past. If you've heard the two songs on their sole self-released 1979 single, you know the style of snotty atypical Chicago punk this band was capable of crushing down, but to most people of the record buying public, it was still a record very few would hear, let alone ever see or be able to purchase. Even the folks producing the Chicago punk history film 'You Weren't There' had no connection, and were completely unfamiliar with this band, further bolstering the disconnection of a centralized 'scene' primarily based on the massive size of the Chicago sprawl.
Upon meeting the guys in The Exit, the news of unreleased recordings sent chills up the spines of anyone within earshot, so when Permanent got it's hands on these unheard tracks, you could feel the 'missing link' falling into place, and man is it ever worth the wait. What wasn't as evident on the 7" tracks was the raw NY Dolls/Berlin Brats/Stooges/Teenage Lust-style toughed-up glam rock sound the band was hiding in their other tracks, a mean and skull-stomping meat & potatoes thug punk sound that could have been HUGE if it reached the right ears at the time. Sounding much more '1976' than '1979' here with a slight anglo-punk snarl in the vocals and a tight proto-punk back beat, these unreleased tracks by The Exit are going to strip the paint from your ceiling and have you climbing the walls within seconds. You won't know what hit you, but you will continue hitting yourself with it because there's even MORE on the way. So rejoice in this epic Midwest 70s punk archeological find, and be sure to console to all the cocksure 70s North Side punkers, because Chicago underground music history is being completely rewritten right before our ears here, and despite the never-ending rift between the North & South, this time everyone wins."
- Todd Killings / / HoZac Records 2014

RIYL: Buzzcocks, The Damned, Dead Boys, Epicycle, Flamin' Groovies, and Killed By Death rarities

LP - Various Artists - Ultimate Bonehead Vol. 1 - (Ltd to 300)


" 'A Supreme Gumbo Of US Thumpin' Crunchin' Heaviness With Lashings Of Cro-Magnon Attitude (1969-1976)'. Limited edition of 300 copies. 'Bonehead Crunchers' is dead - Long live 'Ultimate Bonehead'! Yes, they are back, meaner and heavier than before. After the first two volumes of 'Bonehead Crunchers' they went global. Yes, Europeans and Antipodeans provided some great examples of the genre, but from now on Bonehead will be a US affair. A mix of loud primitive high energy proto punk/metal, dumbass boogie, Satan worshiping heavy psych downers, rattling biker full-frontal assaults, all bathed in layers of fuzz and grease." - Belter Records

LP - Various Artists - Ultimate Bonehead Vol. 2 - (Ltd to 300)


" 'An Amalgamation Of Fuzz Munchin' Hard And Heavy Teeth Gnashing Workouts From The USA (1969-1976)'. Limited edition of 300 copies. Welcome to the sick conjoined twin volume of 'Ultimate Bonehead'. Again, this one's full of obscure fuzz-faced heavy duty workouts for your misplaced enjoyment. Presented here is the whole spectrum, from the frenetic proto-punk opening salvo to its nastiest darkest heavy tail. With the wealth of material still to be plundered, you can safely say that the 'Ultimate Bonehead' series will continue presenting the most essential examples for your delectation and this only on vinyl. So without further ado, here are 14 more examples of gooey heavy dark stodge and crunchin' primal pulchritude puncturing a hole in your brain filling it with intense guilty pleasures." - Belter Records

LP - Marc Barreca - Twilight

Original Stock (jacket may have bumps or bends)


More sealed original stock graces our shops once again, this time it is the absolutely stunning industrial-ish ambient LP "Twilight" by Marc Barreca.  Get the full story from the Palace of Lights folks who released it:

"Sealed copies of the 1980/81 LP from MARC BARRECA (also a member of SAVANT and YOUNG SCIENTIST), on K. LEIMERS Palace Of Lights label (see the recent LEIMER release on RVNG). “taking steps into the ambient and industrial while carrying along a phonographic sensibility. Using sounds derived from a variety of acoustic as well as electronic sources, twilight foreshadowed the diversity and pliability of sampled, industrial and lowercase musics, making this 1980 release remarkably prescient and resiliently fresh to this day.” - Palace Of Lights

"Twilight" is a gorgeous and eerie adventure from start to finish and we've been spinning it a ton around the shops lately.  This early 80's album of elemental ambiance for fans of the Eno ambient series, the Corum records we're always going on and on about, the K. Leimer "A Period Of Review 1975-1983 LP and the I Am The Center: Private Issue New Age Music In America 1950-1990 3xLP Boxset.  Seriously Recommended.

LP - John Street Rockets - Rock And Roll The Hard Way - Sealed Original 1979 Stock



The Permanent Records master diggers have unearthed yet another drool worthy private press gem.  In this round we have original sealed 1979 stock of Albuquerque, NM's John Street Rockets "Rock And Roll The Hard Way".  It's 6 tracks of killer 70's hard rock played by some really talented musicians.  If you dig the Bone Head Crunchers comps, the Warfaring Strangers comp or the Chicago Triangle record we reissued, then snag one of these bad boys pronto!  There is a very good chance that these are the last available copies, so act fast!

LP - Axis Sova - Early Surf


"In the beginning was the guitar, electric. Like the monoliths of old, standing tall at crucial, evol points in our “civilization.” In those days before the Axis, SOVA was a youngster. He moved to the music. He set the clock to the rock. The axe was an instrument wielded by heroes, and looking at them, he could imagine his hands on their necks. He knew he was capable of handling them. He anticipated getting into jams with them, and getting out. Some years down the line, Early Surf s the second full-length trip into the AXIS—a journey that’s landed on a couple 7”s and, most recently, a gnarly cassette along the way—but SOVA’s been playing and recording for awhile now; thus, the issue of getting sounds from within his head all the way out of there and into the mix is less a battle and more a way of life. To go ALL THE WAY at any given phase, AXIS: SOVA was brought home, and to a variety of locales, where recording and re-recording and mixing and remixing could potentially reach the infinite. It’s there he got really down into it, collaging riffs and inspirations, scraping and scrapping the blown-out waves from his amps to make SONGS. Tweaking the minutia with headphones, AXIS: SOVA fought and fucked the cassette tape limits in order to get a slice of weirdo bedroom vibe-cake, with a mega-bent guitar focus, to make Early Surf." - God?

LP - BC Gilbert / G Lewis - 3r4 - Reissue


"In 1980, after three relentlessly creative albums, the members of Wire were at an impasse, unsure of how to push themselves any further as a four-piece rock band. While frontman Colin Newman spent the band’s hiatus mining Wire’s knack for intelligent and contorted pop songs, guitarist Bruce Gilbert and bassist / vocalist Graham Lewis joined forces for a series of experimental projects (Dome, Cupol, etc.) where the primary motivating concept was “studio as instrument.” 3R4, the duo’s only LP under the B.C. Gilbert/G. Lewis moniker and the very second album to be released on 4AD, eschews melody and structure in favor of ambient-noise soundscapes, metallic textures and tense moods. If the brief “Barge Calm” tracks appear like sonic exercises, the longer pieces (“3. 4…” and “R”) are true exorcisms, conjuring supernatural found-sounds with the patience and deliberation of (un)holy men. Play this record loud and try not to think that it is the soundtrack to a lost David Lynch film. This first-time vinyl reissue is recommended for fans of Faust, David Cunningham, and Thomas Leer & Robert Rental’s The Bridge." - Superior Viaduct

7in - BC Gilbert / G Lewis - Ends With The Sea - Reissue


"Bruce Gilbert and Graham Lewis have always juggled darkness and light in their various collaborations (Dome, Cupol, etc.); Gilbert’s pointillist melodicism counterbalanced by Lewis’s menacing bass and sardonic lyrics. While the duo explores cinematic soundscapes on their album 3R4, here they return to more song-based territory with icy vocals, detached guitar lines and even a faint industrial vibe. Ends With the Sea provides a vital glimpse into the creative forces that even a band as daring and inventive as Wire could not contain. This first-time vinyl reissue is recommended for fans of SPK, Chris Carter, and Einstürzende Neubauten. " - Superior Viaduct

LP - Beige Eagle Boys - You're Gonna Get Yours


"Detroit’s BEIGE EAGLE BOYS throws the rock gears into a mid-nineties noise rock reverse, gargling nuts and bolts and gravel and then flossing with guitar strings left over in Tom Hazelmeyer’s garage. On the trio’s debut album, You’re Gonna Get Yours, they blast out a quick and potent Rust Belt racket with all three gents hollering. Every studio meter red-lined, every tube amp threatened with exhaustion, all three larynxes threatened with whatever the hell happens to larynxes after this kind of abuse through ten songs done the right kind of wrong way." -" - Reptillian Records

LP - Cockhorse - We Ate The Sales Tax


"It sounds vulgar; like something you’d find in a relative’s house after they have passed and it gives you a horrible, horrible window into a part of their life you thought they couldn’t possibly have. Maybe it is something like that. Maybe it’s a word that popped into the English language in the 15th century. Maybe it’s a hobby horse. Why not call the band Hobby Horse? Maybe childhood was vulgar. Maybe. Cockhorse has a sound somewhere between metal and punk, but to be honest, they’re just a rock and roll band (with more emphasis on the roll). Songs include “The Printer’s Jammed!” (which is about printers), “Oh, So Pretty” (about traffic), “Piss Aunt” (Afghanistan) and “Money At The Typewriter” (about typewriter repair). They’ll play with anyone. They’ve played with bands they know. They’ve played with bands from North Carolina. Cockhorse is from Mt. Clemens, Michigan (County seat! What!). You can imagine how that turned out. The members of Cockhorse include Houston Whittier (vocals/occasional angry tambourine), Buddy Busey (guitar/backing vox), Norton (bass/beard) and Ranger Pope (drums/percussion)." - ASQRecords

LP - Ex-Cult - Cigarette Machine EP


"On the tail of their breakout second LP Midnight Passenger, Memphis-based punk cyclone Ex-Cult delivers a brand new batch of bruisers.  Chris Shaw lends a sneering, spitting toughness to the proceedings while the band flays riffs in loose, hairy, mosh-inducing menace behind him, touching on post-punk, psych sprawl and early-’80s hardcore while remaining beholden to none. They have the power to convert even the most jaded and bored concertgoer into a sweaty mess in the pit. Punks, skate rats, scenesters, skinheads, hardcore kids, druggies—so many disparate groups dig this band it’s like an MRR cartoon waiting to happen.  The adrenal-enhancers on Cigarette Machine are road warriors already, having been honed on the band’s recent tour that no doubt laid waste to a town nearby. The only problem with this sterling batch of sluggers is that it’s over too quick." - Castle Face

LP - King Gizzard And The Lizard Wizard - I'm In Your Mind Fuzz


"Four clicks and we’re off, galloping through realms on a phase-shifted, hydra-headed, many-armed and muscular monster. This Australian beast of a band with a bear of a name and a thick herd of members delivers many things on this warped song-cycle: a skeleton of propulsive kraut-beat fleshed out with a liberal dose of citric sweetness; flutes and harmonicas bleeding through the mix often and welcomingly; an early-’80s heavy metal / fantasy vibe; and many lovely left turns into psychedelic mellowing, both groovily and sometimes with just a dash of DMT dread. The whole thing is just gooey with tape manipulations, saturations and wah pedal, yet many tasty tidbits bubble to the top." - Castle Face

LP - Pink Section - Pink Section


"Named after San Francisco Chronicle’s pink-hued arts and entertainment guide, Pink Section coalesced at SF Art Institute and performed their first show at the legendary Deaf Club on Valentine’s Day, 1979. These self-taught musicians existed on the fringe (even in the local underground scene), producing an unusual brand of off-kilter post-punk against a backdrop of Dadaist aesthetics. The group itself was strangely symmetrical: singer Judy Gittelsohn and drummer Carol Detweiler (both members of Inflatable Boy Clams), singer / guitarist Matt Heckert (Survival Research Laboratories) and bassist Stephen Wymore. While the hallucinatory layers of male / female vocals on “Shopping” conjure images of deranged domesticity and ’50s Americana gone haywire, the fractured riffs of “Midsummer New York” deconstruct Yoko Ono’s original even further, stripping bare Pink Section’s fondness for angular rhythms and out-of-control oscillations. This first-time retrospective LP collects the band’s rare 1979 single, the self-titled EP, unreleased demos and live material. Recommended for fans of Suburban Lawns, Units, and DEVO." - Superior Viaduct

LP - Sir Richard Bishop - Tangier Sessions


"Armed with a newly purchased antique guitar of unknown origin, SIR RICHARD BISHOP spent a week in Tangier, Morocco wandering the city, drinking strong coffee and improvising on his new instrument. The tone of the guitar and Sir Richard’s gentle, loving touch with it hold forth from the first moment of Tangier Sessions, sitting clear and true in the home-recorded night air above the city. The album sequence is the precise order of the songs as they were conceived and recorded. Rick’s all over the neck in the early going while sorting through the dynamics of the instrument—in fact, guitarophiles, the first couple of songs feature Sir Richard Bishop playing without a plectrum for the first time ever! It was as if the songs were almost being written by the guitar itself... using, of course, all the available wide-ranging and maxi-cultural vocabulary resources unique to Sir Richard Bishop. Yet, even as change after change is visited upon and charged through, the progression is smoothly rendered, the guitar and hands playing it in agreement about where they are going." - Drag City

LP - Six Organs Of Admittance - Hexadic


"SIX ORGANS OF ADMITTANCE’s BEN CHASNEY has a restless intellect, which has regularly guided the progress of his creation. A lyrical mastery of acoustic finger-picking would be enough to build a body of work for most musicians; this is just the stepping-off point for Ben. From the earliest days of private-press psych home recordings, Six Organs of Admittance has sought out alternative spaces in which to make music and has challenged his audience to keep up with his rapid advances into new terrain. Over the last two years, Ben has assembled a comprehensive system of musical composition. Designed to free sound and language from rational order and replace calculation with indeterminacy, THE HEXADIC SYSTEM is a catalyst to extinguish patterns and generate new means of chord progressions and choices. THE SYSTEM builds all of the tonal fields, chord changes, scales, and lyrics on this record, creating the framework for the songs with which the musicians engage. Yet THE SYSTEM is open; within the framework, Chasny’s own personal aesthetics—such as the production mode of loud guitars, the order of songs, the editing of length—were all conscious decisions made to communicate the pieces. The exact same combinatorial patterns used on this record can create infinite results, depending on the choices of the individual. Ben’s years of study have produced an operational agent that has not only built all the songs on Hexadic but is also a system anyone can use to restructure their ways of habit. The first thing one notices when listening to Hexadic is how unhinged it all sounds. The album brews and boils with an ominously dark tone in a desolate space, somehow dense with energy, guitar overdriven past the point of sanity, slamming drum accents, vocals cutting through in what seems to be comprised of another, as yet unheard, language. Yet, inside the apparent wild abandon and destruction is a strict internal logic of construction that unveils itself upon listening. This is the majestic dialectic of Hexadic. Features contributions from NOEL VON HARMONSON, ROB FISK, CHARLIE SAUFLEY." - Drag City

LP - Thin Lizzy - Shades Of A Blue Orphanage - 2015 Reissue


"Thin Lizzy’s second album is a nod to the past: Shades Of A Blue Orphanage were former outfits of two of the band’s members, their names combined to create an oddly evocative image–especially when combined with a sepia-tinted image cover of three small, shoeless children intended to represent vocalist Phil Lynott, guitarist Eric Bell, and drummer Brian Downey.

Looking back is a common theme of the LP. The soft, sensitive “Sarah" was written for Phil Lynott’s grandmother who raised him in lieu of his absent mother. It’s an album that challenges your perceptions about a group you think you have nailed down through future singles “Jailbreak," “The Boys Are Back In Town,” and “Whisky In The Jar.”

Here, “I Don’t Want To Forget How To Jive” sees the band try their hand at rockabilly, and “Chatting Today” evokes the emotive performances of Richie Havens. As a whole, Shades Of A Blue Orphanage presents a version of the band that places its foundations beyond the hard rock for which the group are famous. The preposterously titled “The Rise And Dear Demise Of The Funky Nomadic Tribes,” which opens the LP, epitomizes this, including tribal beats, funky guitars, and Lynott singing in full soul-power mode. It’s begging to be sampled, like the group’s contemporary–but incognito–work as Funky Junction, under which name they released Funky Junction Play A Tribute To Deep Purple the same year.

Those who prefer Thin Lizzy in more recognizable form will find things to love, too: “Buffalo Gal” is as restrained as a song with an insistent, descending riff could ever be, and “Call The Police” is a bluesy swagger that shows off Lynott’s talent for describing life on the gritty streets of the Republic Of Ireland’s much-romanticized capital city. The record culminates in the world-weary title track with a chorus that cuts straight to the bone: “It’s true blue, Irish blue.”

Released in 1972, just three years after the band formed in Dublin, it’s fair to say that Shades Of A Blue Orphanage represents a group on the move, still finding their feet, and possibly bending to the will of a record label who didn’t quite know what to do with a multiracial, multi-faith rock band from a sectarian country. Sales of the their debut album, Thin Lizzy, had been poor, and Shades Of A Blue Orphanage wasn’t the one to turn their fortunes around. Still, it’s fascinating listening for even those with a passing interest in their history." - Future Days Recordings

LP - Thin Lizzy - Vagabonds Of The Western World - 2015 Reissue


"Seismic shifts happened between the previous year’s Shades Of A Blue Orphanage and 1973’s Vagabonds Of The Western World.

Frontman Phil Lynott was still documenting working class life in the group’s native Dublin, and the band still featured guitarist Eric Bell and drummer Brian Downey, even if Bell was soon to leave; the shift was in the feel of the album. Between Jim Fitzpatrick’s lurid album cover which depicted the band in space, the new, hot-rod-like Thin Lizzy logo, and Lynott’s newly throaty howl, it’s possibly the first Thin Lizzy album on which they truly could be described as a hard rock band.

Vagabonds presented a swaggering confidence, a band buoyed by the success of semi-accidental smash hit “Whisky In The Jar,” and carved out a moody, dark sound by borrowing bits from the blues, folk, psych, and Celtic music. Check out “Slow Blues” for proof, and decide whether Lynott or the guitars win the wail-off that begins the track.

“Whisky In The Jar” had been a bone of contention for the band who felt it didn’t represent them. Pushed out due to their presence on package tours with rockers Slade and Suzi Quatro, it seemed to seal their fate, and their Vagabonds single, “The Rocker,” set out their stall for good.

The weirdness and idiosyncracies of Phil Lynott’s early songwriting hadn’t been ironed out completely: “The Hero And The Madman” saw them try their hand at acid-fried cowboy rock–if such a thing ever existed.

After the album, and after Bell’s departure due to ill health and disillusionment with the music industry, Thin Lizzy were reinvented once again. Lynott recruited two guitarists and the band left Decca to record Nightlife for Phonogram.

Their big hits and glory years–beginning with 1976’s Jailbreak–were still ahead of them, but, with Vagabonds as a centerpiece, Thin Lizzy’s early years left behind a cabinet of curiosities." - Future Days Recordings

LP - Ty Segall / Black Time - Split



"Originally released in 2009, the TY SEGALL / BLACK TIME split LP highlights a dichotomy between two vastly different musical climates. Ty Segall plants himself firmly in the California sun with seven unreleased (and reverb-drenched) tracks. Black Time infiltrate their side like a disorienting British fog, stumbling through six songs in a most cacophonous way." - Telephone Explosion

LP - Urinals - Next Year At Marienbad

$16.99 → BUY NOW

"The legendary URINALS are back with their third long-player, Next Year at Marienbad. Sure to be another fan sing-along favorite, the record delivers thirteen high-energy tracks showing the Urinals haven’t taken their foot of the pedal. Formed in the first wave of Los Angeles punk in 1978, the Urinals forged a unique path by gigging with bands across the LA punk and post-punk spectrum, from hardcore (Black Flag, Circle Jerks, Minutemen) to paisley underground (The Last, Rain Parade, Bang[les]) to everything in between (Go-Go’s, X, Savage Republic, Gun Club). They morphed into 100 FLOWERS in the early ‘80s and released a critically acclaimed LP (recently reissued on vinyl by Superior Viaduct) and are back now as the Urinals, playing songs from all phases of their 35 year career. The Urinals are KEVIN BARRETT (drums), ROB ROBERGE (guitar/vocals) and JOHN TALLEY-JONES (bass/vocals). In the past few years the Urinals have headlined festivals from Calgary to Louisville, from Belgium to Beijing. They continue to perform on a regular basis, giving their fans a taste from the past (”I’m A Bug,” “Black Hole,” “Ack Ack Ack Ack”) mixed with songs from their current lineup. They band will be touring the US and Europe to promote NYAM." - Happy Squid

LP - Walter Rizzati - House By The Cemetery



"The score uses a basic ensemble of piano, drums, synthesiser, electric bass and guitar, a line-up similar to the one established by Fabio Frizzi in his scores for Fulci. The signature sound of The House by the Cemetery is a heavily flanged electric guitar, which seems to twist and curdle in the air like decaying filaments of some malevolent odour seeping from the cellar of “that Freudstein house… that Freudstein house”. “Quella Villa”, which underscores the film’s opening scenes, is a Morricone-influenced piece for jagged rhythms, hammered into our nerves with syncopated drum and piano. It’s not the most subtle approach but this is a Lucio Fulci film after all, and besides, WALTER RIZZATI also delivers some breathtakingly beautiful passages, reflecting the sadness that permeates so much of Fulci’s work, in particular the various incarnations of “Tema bambino” which underscore the parallel universe of pretty little dead girl Mae (Silvia Collatina). “Chi Sta Arrivando” glooms across the soundstage like a spectre snooping around a favourite hunting ground, while “Incontro” melds curdling guitar with a piano motif that sounds like something played by ghosts in the back room of a dusty antique shop. Of course the title music “I Remember” is the centrepiece, resonating with all that is marvellous in Fulci’s Gothic horror cinema. Like J.S. Bach scoring “The Hammer House of Horror”, it’s a gleefully macabre organ recital with phantasmal singers wordlessly flitting around the melody, the whole thing delivered with a slow pomp that suggests the funeral cortège of a deceased prog-rocker. Pressed on red vinyl and packaged with a 24”x24” poster with original artwork." - Death Waltz

7in - Church Bats - Foreign Land


"Deep from the caverns of New York arises a sound of garage, nay, cave rock. Floor thumping aggression and vocal distortion, penetrating vocals and beastly kicks, CHURCH BATS are here to drop their first 7" on you, ye "general public”. This sick A-side is followed by Windian's first instrumental B-side, a great track to take reference of everything you've been dealt to know whether you need to throw up that white flag or keep going." - Windian

7in - DD Owen - Violent Pacifier


"What happens when SICK THOUGHTS' DREW OWEN finds a keyboard and a Screamers record? He adds three more distortion pedals and calls it DD OWEN. The first of many releases under this moniker, Drew’s cover of Gary Wrong's "Setting Fire to Your Loft” may make for the best B-side around." - Windian

7in - Gibbous - Mortal Crust

$7.99→ BUY NOW

 "The first release of 2015 from the unstoppable Lumpy Records, and it’s another sick slab from the metro-St. Louis creep-punk scene. THE GIBBOUS is the brainchild of one multi-talented member of TRAUMA HARNESS, NOS BOS and DEM SCIENTIST, all three Lumpy alumni. “Mortal Crust” is a modern Dark-Wave hit, with “No Elevators” being a pummeling Synth Punk workout. An impressive debut, and we’re hoping for big things to come from The Gibbous. Limited pressing of 300 copies in a hand-stamped sleeve." - Lumpy

7in - Gooch Palms - Sleep Disorder


"Brand new double A-side single from Newcastle, Australia's own THE GOOCH PALMS. LEROY MCQUEEN and KAT FIREND are an unstoppable force that have been turning heads and boners everywhere they go. They play catchy-as-hell pop music for the underdogs of this world, singing songs about bogan life in a small industrial town on an isolated continent in a far away hemisphere. Not to mention a lot of songs about outer-space." - Urinal Cake

7in - Inflatable Boy Clams - Inflatable Boy Clams - 2x7in


"San Francisco provocateurs Inflatable Boy Clams recorded one of the greatest all-female art punk records ever made, a wrongfully obscure five-song double 7-inch EP which has garnered a cult following ever since its initial release on Subterranean Records in 1981. While the music blends simple instrumentation and captivating, quirky lyrics, the artwork looks like an early Rough Trade single, complete with a posh Winogrand-esque photo of the group. More of a performance art troupe than a traditional rock band, the Boy Clams often rotated between instruments and shared vocal duties: JoJo Planteen, Judy Gittelsohn and Carol Detweiler (the latter two both members of Pink Section), along with saxophone player Genvieve Boutet de Monvel. It is easy to imagine Planteen dancing to “Skeletons” with its infectious bassline and kitschy organ (or even to the flip-side track “Snoteleks,” which is the A-side played backward). “I’m Sorry” is the ultimate one-upmanship song that reveals that women can be sinister, too. This first-time reissue comes from the original master tapes. Recommended for fans of Kleenex / LiLiPUT, Raincoats and Bush Tetras." - Superior Viaduct

7in - Lazy - Soft Sheets


 "Kansas City art punks LAZY return with two more weirdo rippers following their Obsession LP on Moniker Records. “The band’s classic punk attitude—one part bratty, one part brainy, is rough around the edges, but supremely skilled. With a sound rooted in the ’80s, Lazy share a kindred spirit with the raw punk of fellow midwesterners Zero Boys, but also evoke the nuance of arty acts like Pylon.”—Impose" - Volar

7in - Sick Thoughts - Beat On Beat


"Sick Thoughts is a Baltimore-based band consisting of the teenaged Drew Owen and assorted neighborhood louts. But usually just Drew. Although his early music began in the Reatards / Dead Boys / Carbonas classic punk rock, crash-and-burn aesthetic, on recent releases he has progressed into less-obvious yet thorny and personal DIY / KBD territory. A relentless recording machine, he has released many singles and LPs on many labels. This is by far the best yet." - Goner

7in - Watery Love - Debut 45



""In the never interesting saga to determine Punk's best primitive hooligans, MEN will blog & sputter endlessly about Drunks W/Guns or Brainbombs as martyrs of the cause. And who amongst us would deny either their berth on the altar? As an agnostic, I cannot count the stations of said cross, but I do respect it nonetheless. So it's refreshing to see a band wander into this Garage of Gethsemane & fire up their own corroded engine, pistons wheezing, oil belching, you know how it goes; many are crucified, but few resurrected. Where WATERY LOVE fit into this scenario remains to be determined, but when it comes to archaic beats, they're already dragging their knuckles over sainted simpletons such as Butter Utter, Deutscher Abschaum & Just Urbain. 45 rpm's haven't sounded this hairy in many moons & as debut's go, they don't come more scabrous. Get one now before they learn to talk."—Roland Woodbe, Siltblog" - Richie Records

7in - Zeus - On The Street b/w Don't Ask Me - Original 1976 Stock


The Permanent Records vinyl archivists have unearthed another gem! We scored a batch of original stock copies of these rare Zeus singles directly from Austin, TX based Fable Records, the fine folks who released them in 1976!  Zeus are pumping out killer glam tinged r'n'r with absolutely fantastic production.  Both singles are supplying ultra catchy cuts on both sides with scorching guitar work and some damn fine vocal harmonies.  Fans of Ohio Express, 1910 Fruit Gum Co. and the Buddah Records roster take note. These come in the original sleeves, which are hand numbered!  So if you need another dose of hard hitting rock and roll and you’re looking to add to your ever growing pile of rare 45's then grab these pronto!  We have limited quantities of these primo singles so act fast amigos!

7in - Zeus - You Got Me - Take A Ride - Original 1976 Stock


The Permanent Records vinyl archivists have unearthed another gem! We scored a batch of original stock copies of these rare Zeus singles directly from Austin, TX based Fable Records, the fine folks who released them in 1976!  Zeus are pumping out killer glam tinged r'n'r with absolutely fantastic production.  Both singles are supplying ultra catchy cuts on both sides with scorching guitar work and some damn fine vocal harmonies.  Fans of Ohio Express, 1910 Fruit Gum Co. and the Buddah Records roster take note. These come in the original sleeves, which are hand numbered!  So if you need another dose of hard hitting rock and roll and you’re looking to add to your ever growing pile of rare 45's then grab these pronto!  We have limited quantities of these primo singles so act fast amigos!

7in - Zilker Sunday - Goose Creek b/w Wrong Time - Original 1973 Stock


Besides pressing up those high octane Zeus singles, Texas independent Fable unleashed the one and only single from Austin's Zilker Sunday.  Naming themselves after a weekend afternoon in a local park, this is definitely a refreshing take on psych tinged, soulful prog / fusion.   Some burning-the-frets guitar solos, some funky breakdowns, some outta control organ and horn arrangements and a whole lotta brain melting jazz / progressive rock to tingle yer hi-fi.  Fans of Manfred Mann Chapter Three, Chicago Transit Authority, Funkadelic, Mahavishnu Orchestra, Colosseum and the like must have this double shot stat!   Seriously this single is a ripper!  WAY RECOMMEDED!!!!


T. Rex The Slider $29.99
Groundhogs Blues Obituary $39.99
Brian Eno/Jon Hassell Fourth World Vol. 1 Possible Musics $29.99
John Lurie Down By Law OST $29.99
Polyphonic Size Mother's Little Helper $39.99
The Band Music From Big Pink $29.99
Kraan s/t $49.99
Spontaneous Combustion s/t $29.99
V/A Chicago Class oF '85 Rock n Roll $39.99
Doo-Dooettes Look To This $49.99
Peter Gabriel Passion $29.99
Pink Floyd Obscured By Clouds (German Pressing) $29.99
Quatermass s/t $29.99
Jon Hassell/Brian Eno Fourth World Vol. 1 Possible Musics $29.99
Mississippi John Hurt The Immortal $29.99
Leonard Cohen Various Positions $29.99
The Guess Who So Long, Bannatyne (Sealed) $39.99
Francoise Hardy The Yeh Yeh Girl From Paris $39.99
Donald Byrd Brass With Voices $29.99
Melodic Energy Commission s/t $49.99
Marble Sheep Message From oarfish $29.99


George Harrison All Things Must Pass $49.99
Human Eye 4: Into Unknown (Bloodshot Eye Colored Vinyl; limited to 100) $79.99
Albert King-Otis Rush Door to Door $29.99
Elmore James Screamin' Blues $29.99
Elmore James Blues Masters Vol. 1 $29.99
Skip James Devil Got My Woman $29.99
John Lee Hooker I'm John Lee Hooker $29.99
Kraftwerk Computer World (Still Sealed) $49.99
Elmore James The Great Elmore James $29.99
Steve Jordan La Camelia $49.99
Francoise Hardy Francoise $29.99
Rahsaan Roland Kirk & the Vibration Society Rahsaan Rahsaan $29.99
Elmore James All Them Blues $29.99
Love Love $29.99
Love Da Capo $29.99
John & Beverley Martyn Road to Ruin $29.99
Elton Motello Victim of Time $39.99
v/a Louisiana Blues $29.99
Mort Garson Plantasia $79.99
Queens of the Stone Age Like Clockwork (Blue Cover) $29.99
Parlour Flames Parlour Flames $29.99
Little Junior Parker Driving Wheel $49.99
Pink Floyd Obscured by Clouds $29.99
Pharoah Sanders Karma $39.99
Pharoah Sanders Deaf Dumb Blind - Summun Bukmun Umyun $39.99
Radiohead Bends $39.99
Suicide Second Album $99.99
Tito Rodriguez El Doctor $49.99
Rolling Stones Sticky Fingers $49.99
Seeds Future $29.99
Ravi Shankar Sound of the Sitar $29.99
Ravi Shankar India's Master Musician $29.99
Terry Riley A Rainbow in Curved Air $29.99
Seeds Seeds $49.99
United States of America United States of America $49.99
Tuxedomoon No Tears (12") $49.99
Big Mama Thornton Jail $29.99
T-Model Ford Pee-Wee Get My Gun $29.99
Ryuichi Sakamoto & Kazumi Watanabe Tokyo Joe $29.99
Cirith Ungol Frost and Fire $49.99
Michael White Pneuma $49.99
ZZ Top Deguello $99.99
Muddy Waters Sail On $49.99
Muddy Waters They Call Me… $49.99
Muddy Waters At Newport 1960 $49.99
Dennis Wilson Pacific Ocean Blue $29.99




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