Tuesday, March 10, 2015

Permanent Records Update 03.10.15: Bil Vermette Warehouse Find, Nevralgies Particuliere, Broadcast Reissues, and A Ton More New Titles To Go!

Hey Everybody,
We've got a massive list this week featuring a warehouse find of Bil Vermette's Katha Visions LP we released, a sick comp of 60's French garade rock, a huge reissue campaign from Broadcast, and loads of crazy titles across all genres!

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.

Los Angeles Shop Stuff

Thanks to Frankie and The Witch Fingers and Prettiest Eyes for rockin' the LA shop on Saturday!

Frankie and The Witch Fingers are hittin' the road!

3/5 - Los Angeles, CA @ Lolipop Records
3/7 - Los Angeles, CA @ Permanent Records
3/10 - Laguna Beach, CA @ Marine Room
3/13 - Oakland, CA @ Eli's Mile High Club
3/14 - San Francisco, CA @ Hemlock Tavern
3/15 - Sebastopol, CA @ 755 After Dark
3/16 - Arcata, CA @ Blondies
3/18 - Portland, OR @ Bunk Bar
3/19 - Seattle, WA @ The Future
3/20 - Olympia, WA @ The Guest House

Chicago Shop Stuff

Rectal Hygienics killed it on WHPK on Friday!  Thanks to all who tuned in.

Permanent Records will be DJing the Punch House for Levitation Fest on Saturday, March 14th from 9PM to 11PM.

Rectal Love From Italy!

Rectal Love From France!

WHPK Charts 2/28/15-3/6/15

1 Steve Gunn and Black Twig Pickers Seasonal Hire Thrill Jockey
2 Rectal Hygienics Ultimate Purity Permanent
3 Thou & The Body You, Whom I Have Always Hated Thrill Jockey
4 YYU Room Music Beer on the Rug
5 Bedhead Transaction De Novo Numero
6 Yawn Love Chills Old Flame
7 Frankie and the Witch Fingers Frankie and the Witch Fingers Permanent
8 Sam Prekop The Republic Thrill Jockey
9 Ryley Walker Sweet Satisfaction (Single) Dead Oceans
10 Bedhead The Dark Ages [reissue] Numero
11 Toupee Yeehaw Grandma Lake Paradise
12 Electric Eels Accident b/w Wreck & Roll Hozac
13 decker. Patsy Mescal Porch
14 Jeff Rosenstock We Cool? Sideonedummy
15 Sleater-Kinney No Cities to Love Sub Pop
16 Torn Hawk Let's Cry and Do Pushups at the Same Time Mexican Summer
17 Twerps Range Anxiety Merge
18 Jason Lescallet This Is What I Do - Volume Six Glistening Examples
19 The Limiñanas I've Got Trouble In Mind: 7" and Rare Stuff 2009/2014 Trouble in Mind
20 Nicholas Jaar The Color of Pomegranates Other People
21 Tsembla Terror & Healing New Images
22 The Band in Heaven The Boys of Summer of Sam b/w I Know You Know Hozac
23 The Paperhead Africa Avenue Trouble in Mind
24 Route 8 This Raw Feeling Lobster Theremin
25 Afterhours Post-Geography Not Not Fun
26 Espectrostatic Escape from Witchtropolis Trouble in Mind
27 Ensamble Polifónico Vallenato & Sexteto La Constelación de Colombia Fiesta, que viva la Staubgold
28 Ultimate Painting Ultimate Painting Trouble in Mind
29 Ninos Du Brasil Arombates NDB DFA
30 Songs: Ohia Didn't It Rain Secretly Canadian


Have you been snoozin'? Lucky for you, there's still time to wake up. Many of the still in-print Permanent Label Releases are nearly sold out!

7in - Exit - The Exit E.P. (Black Wax, Ltd 400) Still available due to warehouse find! Already down to less than 15 copies left documenting this ultra obscure late 70's Chicago punk band!

7in - Sneakers - Children Into People EP (Ltd 500) Early Perm release, CAVE side-project, 10 copies then it's OOP.

LP - Afflicted Man - I'm Off Me 'Ead (Official 2013 Reissue, Repress, Black Wax, Ltd 300) 22 copies of this acid fried punk record still lookin' for a good home.

LP - Basic Cable - I'm Good To Drive (Black Wax, Ltd 200) Tune in while you still can, 12 copies to go.

LP - Heater - God and Hair (Regular Edition on Black Vinyl) Columbia Missouri's short lived DIY RNR summer jammer, less than 15 copies are still in the mix.

LP - Leather Slave - Leather Slave (Oxblood Wax, Ltd 100) Under 20 copies on the Permanent exclusive color vinyl left, c'mon creeps, there's still time!

LP - MERX - 20000 Sq Ft Under The Sea (White Wax, Ltd 100) Only 20 copies on the Permanent exclusive color vinyl! Come up for air and grip a copy!

LP - Psyclones - Different Thinking People (Regular Black Vinyl) Just a few, as in 3, copies left. Get weird! Think different!

LP - Purling Hiss - Purling Hiss  (Regular Edition Black Vinyl) Fully printed jacket version is still with us thanks to a warehouse find! Only 20 copies left of this now classic Hiss debut by Mr. Mike Polizze! Screen printed tour edition stock is dwindling as well...


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.

Permanent Label is Portable!

Did you know, many Permanent Records Label Releases are now available for purchase as a digital download? Check out: Revolver, emusic, Google play, iTunes, Amazon.

Prefer streaming? Well good news, pretty much everything that has a “play” button on the internet now features many of our label release. Examples include: Spotify, Rhapsody, rdio, Deezer, and YouTube.


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:


LP - Charles Mingus - Mingus Ah Um - VG+

Lance - Permanent Records Los Angeles

$79.99 → Email If Interested LISTEN

"Charles Mingus' debut for Columbia, Mingus Ah Um is a stunning summation of the bassist's talents and probably the best reference point for beginners. While there's also a strong case for The Black Saint and the Sinner Lady as his best work overall, it lacks Ah Um's immediate accessibility and brilliantly sculpted individual tunes. Mingus' compositions and arrangements were always extremely focused, assimilating individual spontaneity into a firm consistency of mood, and that approach reaches an ultra-tight zenith on Mingus Ah Um. The band includes longtime Mingus stalwarts already well versed in his music, like saxophonists John Handy, Shafi Hadi, and Booker Ervin; trombonists Jimmy Knepper and Willie Dennis; pianist Horace Parlan; and drummer Dannie Richmond. Their razor-sharp performances tie together what may well be Mingus' greatest, most emotionally varied set of compositions. At least three became instant classics, starting with the irrepressible spiritual exuberance of signature tune "Better Get It in Your Soul," taken in a hard-charging 6/8 and punctuated by joyous gospel shouts. "Goodbye Pork Pie Hat" is a slow, graceful elegy for Lester Young, who died not long before the sessions. The sharply contrasting "Fables of Faubus" is a savage mockery of segregationist Arkansas governor Orval Faubus, portrayed musically as a bumbling vaudeville clown (the scathing lyrics, censored by skittish executives, can be heard on Charles Mingus Presents Charles Mingus). The underrated "Boogie Stop Shuffle" is bursting with aggressive swing, and elsewhere there are tributes to Mingus' most revered influences: "Open Letter to Duke" is inspired by Duke Ellington and "Jelly Roll" is an idiosyncratic yet affectionate nod to jazz's first great composer, Jelly Roll Morton. It simply isn't possible to single out one Mingus album as definitive, but Mingus Ah Um comes the closest." - Allmusic.com

LP - White Noise - An Electric Storm - 1973 US Pressing on Antilles

Dave - Permanent Records Chicago

$39.99 → Email If Interested LISTEN

"An Electric Storm is justly renowned among techno boffins as one of the first albums to fuse pop and electronic music before the advent of the Moog synthesizer. But you don't have to be versed in the language of sine waves and oscillators to enjoy this mostly delightful and hugely inventive album. For although the White Noise were almost exclusively composed of virtuoso knob twiddlers and tape splicers moonlighting from the BBC Radiophonic Workshop, luckily they were no slouches when it came to penning a decent tune. There's also anarchic humor at play on the manic "Here Come the Fleas," which contains more edits in its two minutes than the whole of Sgt. Pepper's.Yet it's the retro-futurist textures that still grab the ear most. These are sounds that will be familiar to anyone who knows the soundtrack of Forbidden Planet or the early series of Doctor Who, but they had never before been deployed in the service of pop music, nor have they since. And whereas the Moog would supplant all of these primitive, time-consuming techniques of sound generation and manipulation within the year, it also destroyed much of electronic music's spirit of adventure in the process. How could you boldly go where no man had gone before when your sound universe was suddenly overlaid by tram lines and route maps? So although most of the songs that make up the first half of An Electric Storm are pretty much your standard-issue polite British psychedelia (the somewhat embarrassing United States of America-style orgy of "My Game of Loving" aside), the way they're dressed up still sounds innovative decades later. Sometimes songs dissolve into bleeps, whooshes, and gurgles that hurtle between your speakers, but compared to the extended guitar and organ solos that were common currency at the time, they are the very essence of restraint. That said, restraint was put to the sword on the final two tracks, the 12-minute "The Visitations" and the seven-minute "The Black Mass: An Electric Storm in Hell." The former is a decidedly spooky "Leader of the Pack"-style drama with a supernatural twist. The biker, having departed this life, attempts to make one last attempt to cross over and console his grieving beloved, only to fall agonizingly short. If you can suspend your disbelief -- and persuade yourself that the biker's departing spirit doesn't sound like a cappuccino machine -- it's spine-tingling stuff that you won't dare listen to with the lights off." - Allmusic.com

LP - White Noise - An Electric Storm - 1971 US Pressing On Island

Jamie - Permanent Records Chicago

$39.99 → Email If Interested LISTEN

"An Electric Storm is justly renowned among techno boffins as one of the first albums to fuse pop and electronic music before the advent of the Moog synthesizer. But you don't have to be versed in the language of sine waves and oscillators to enjoy this mostly delightful and hugely inventive album. For although the White Noise were almost exclusively composed of virtuoso knob twiddlers and tape splicers moonlighting from the BBC Radiophonic Workshop, luckily they were no slouches when it came to penning a decent tune. There's also anarchic humor at play on the manic "Here Come the Fleas," which contains more edits in its two minutes than the whole of Sgt. Pepper's.Yet it's the retro-futurist textures that still grab the ear most. These are sounds that will be familiar to anyone who knows the soundtrack of Forbidden Planet or the early series of Doctor Who, but they had never before been deployed in the service of pop music, nor have they since. And whereas the Moog would supplant all of these primitive, time-consuming techniques of sound generation and manipulation within the year, it also destroyed much of electronic music's spirit of adventure in the process. How could you boldly go where no man had gone before when your sound universe was suddenly overlaid by tram lines and route maps? So although most of the songs that make up the first half of An Electric Storm are pretty much your standard-issue polite British psychedelia (the somewhat embarrassing United States of America-style orgy of "My Game of Loving" aside), the way they're dressed up still sounds innovative decades later. Sometimes songs dissolve into bleeps, whooshes, and gurgles that hurtle between your speakers, but compared to the extended guitar and organ solos that were common currency at the time, they are the very essence of restraint. That said, restraint was put to the sword on the final two tracks, the 12-minute "The Visitations" and the seven-minute "The Black Mass: An Electric Storm in Hell." The former is a decidedly spooky "Leader of the Pack"-style drama with a supernatural twist. The biker, having departed this life, attempts to make one last attempt to cross over and console his grieving beloved, only to fall agonizingly short. If you can suspend your disbelief -- and persuade yourself that the biker's departing spirit doesn't sound like a cappuccino machine -- it's spine-tingling stuff that you won't dare listen to with the lights off." - Allmusic.com

LP - Tangerine Dream - Zeit 2xLP

Jon - Permanent Records Chicago

$29.99 → Email If Interested LISTEN

"TD's purest expression of "space music," this double album ebbs and flows effortlessly from one tone cluster to another. Almost classical in construction, the music is structured so as to evolve in sections as one theme literally melts into the next. Florian Fricke (of Popol Vuh) played the big Moog on this album and the overall texture of the electronics is warm and shimmering." - allmusic.com

LP - Goblin - Suspiria - 1977 Japanese Pressing - Non Gatefold/No OBI

Robert - Permanent Records Chicago

$49.99 → Email If Interested LISTEN

"Goblin's score to Dario Argento's Suspiria is a timeless, horrifying ride into crazed vibes and buzzing progressive rock. Billed as The Complete Original Motion Picture Soundtrack, this edition goes a bit overboard in its four redundant extra tracks. Before those final additions, Goblin kicks out the jazz-rock jams with cool aplomb and creates a number of genuinely unnerving compositions. Argento fans will swoon being able to hear Suspiria's terror centerpieces "Suspiria," "Witch," and "Sighs." "Suspiria" might contain some dated keyboard work, but the music rings like a demonic version of the score to The Exorcist. A wicked voice chants and hums along to the melody, before the song takes a prog rock departure nearly three minutes in. The song turns into something that Trans Am or their contemporaries might concoct on a better day; in that sense, Goblin's music is ahead of its time. "Witch" is equally creepy; it's the song that acts as the background to the movie's demented opening sequence. The song is as cinematic in its scope as Argento's brutal visuals. "Sighs" might one of the scariest songs ever recorded. Sounding like a throbbing didgeridoo nightmare, it's a monument to tension and suspense. On the remainder of the album, Goblin mostly strives for a cool jazz-rock hybrid. Suspiria works best for fans of the film, who will appreciate the terror of the songs more than newcomers who haven't experienced Argento's darkest creation. The score is as enjoyable removed from the movie as it is attached. Suspiria is quite an achievement, as a scary soundtrack and as a vibe-heavy rock album." - Allmusic.com


LP - Bil Vermette - Katha Visions (Official 2013 Reissue, Includes Digital Download, Black Wax, Ltd 200)

Permanent Records' 38th label release!


Not too far in the past we stumbled across Bil Vermette along with an entire sealed box of his phenomenal private press LP, "Katha Visions", from 1984. Here's the back-story for this re-issue we are so very proud to present:

"Words can barely begin to describe the excitement of finding one copy of this private press rarity, let alone a whole box direct from the distributor STILL SEALED FROM 1984!  Thanks to a tip from our ol’ buddy Steve Krakow (aka Plastic Crimewave) we visited Bil Vermette (a recent “Secret History of Chicago Music” subject) himself at his lovely home in Berwyn recently to buy some of his rare Krautrock records.  When we arrived at Bil’s place, we were stunned to find an incredible collection of LPs and singles of various genres, and COMPLETELY FLABBERGASTED when he dusted off a whole box (25 sealed copies) of his own privately pressed record from 1984!  In case you’ve never stumbled across this one before, it’s Bil’s sole LP release and it rarely surfaces in the wild.  Bizarrely enough, these sealed copies are the first we’ve ever laid eyes on here at Permanent, and this will probably be the last we ever see.  In short, this record is RARE!  And Bil doesn’t have many copies left.  The only other box he had in his possession was not full and he said he was hanging on to them for sale at future live performances – which are also quite infrequent.

Even if this record wasn’t incredible, which it just so happens to be, we would’ve jumped at the chance to offer these up to y’all.  Fans of all things SYNTH absolutely must hear this LP.  Bil is a synthesizer aficionado and it shows.  The first track on the “dark side” is “Mountain Funeral”, an aptly titled ambient synth dirge if there ever was one.  The title track ventures into territory that was likely influenced by Terry Riley and could’ve easily been an influence on Bitchin’ Bajas.  It’s a repetitive, layered, and soothingly long centerpiece to the album.  “Long Trail Down” closes out the A-side with effects that sound like seagulls floating over the top of the layered synth chord drones and melodies.  It’s an easy track to get lost in, but then again, so is this whole record.

The “light side” (aka Side B) begins with “Morning Dance” an upbeat number featuring the first appearance of synthetic rhythms.  Up to this point, “Katha Visions” has been completely instrumental, but “Someday Soon” features the only appearance by guest vocalist Dan Cooper.  Cooper’s voice is melancholic and robotic, which fits in with the rest of the track perfectly.  “Staircase” sounds like a long-lost John Carpenter horror flick theme while the album’s closer “Opposites Attract” is the curveball track on “Katha Visions”.  It includes the first and only appearance by Bruce Walters, an old high school chum of Vermette’s.  Bruce disrupts the synth-clusiveness of the record with some soaring guitar lines that have us wondering what else he was up to around this time.  We could also see Moon Duo doing a pretty bitchin’ cover of this one.

The cover photos on this idiosyncratically private press-style jacket were taken by another old boyhood buddy of Vermette’ named Larry Spivack.  According to Bil, he “was looking for B&W shots of trees reflected on water and Larry nailed it.”  We agree.  The packaging matches the goods.

When I asked Bil if he wanted me to include any particular info in the review of his LP, he mentioned that “Katha Visions was recorded in the summer of 1984 over 3 weekends, six hour sessions. From midnight to 6am.”  We find the late-nightiness of the recording palpable.  We think you’ll agree.  Need we say any more?" – Lance Barresi, Owner of Permanent Records

RIYL: Krautrock, Kosmiche, Minimal Synth, Private-Press, Terry Riley, Conrad Schnitzler, Bitchin Bajas

LP - Various Artists - Nevralgies Particulieres - Import



18 raw cuts of Back From the Grave style garage psych madness! Sacrebleu!
A1. Eric Charden - Amour Limite Zero
A2. Peter Flam - Il Ne Faut Pas Pleurer
A3. Robert Pico - Le Chien Fidele
A4. Philippe Petronce - La Fille A Papa
A5. Les Jets - On Est Quatre Copains
A6. Jean-Pierre Allane - Jamais Plus
A7. Les Dauphins - Serrons Nous La Main
A8. Ralph - Frappe
A9. Chris - Névralgie Particulère
B1. Roger Joiry - A La Porte d'a Côté
B2. Jean-Yves Breton - Voilà
B3. Les Bowlers - Il Est Trop Tard
B4. Les Crifmen - Que De Betises
B5. Herbert Léonard - Provocation
B6. Sydney - J'Aime Bien La Nature
B7. Nicolas Nils - Il Faut Trimer Dur
B8. Dany Play Avec Pop Corn - Pourquoi Pas
B9. Michel - Les Moutons

LP - Alan Watts - This Is IT


"Psychedelic music all began with the tiniest possible bang: a minuscule pressing of a self-produced LP by Zen Buddhist scholar Alan Watts. In one cosmic flash of inspiration and group improvisation, the next two decades of musical innovation was pre-supposed: psychedelic rock, spiritual jazz, and even new age. As this micro pressing barely made it out of the ashram, it was his writings that actually spread his ideas, usually through osmosis: he was profoundly influential on the beat poets and the subsequent counter-culture. He became the forebear of '60s counter-culture's spirituality, much as William Burroughs was the forebear of its hedonism.

Released in 1962, This Is It is an imaginative cacophony of percussion, non-verbal chanting, and free-flowing expression, punctuated occasionally by leisurely passes at a terrestrial piano, marimba, or french horn. It is at once, experimental, intellectual, and experiential. Three years before Ken Kesey's inaugural Acid Test, This Is It constitutes the first transmission for a tuned-in counterculture of hippies, beats, and psychedelic revolutionaries of all stripes." - Numero

LP - Algarnas Tradgard - Framtiden Ar Ett Svavande Skepp Forankrat I Forntiden - Import


"Subliminal Sounds presents a vinyl reissue of Älgarnas Trädgård's 1972 debut album Framtiden är ett svävande skepp, förankrat i forntiden, a rare and totally flipped-out psychedelic underground space rock masterpiece from Sweden. The band name translates to "The Garden of the Elks" and the album title to "The Future Is a Hovering Ship, Anchored in the Past." A long, long time ago, long before our time, there was high-standing civilization on earth. It was then that the elks lived. In their garden was a huge generator of pink glass that radiated the four elements. It was a sort of primal force for everything that one might call God. These elks eventually learned to master the matter and then went into the astral transcendental plane. Since then nobody has seen them... This reissue is a facsimile deluxe re-release from the master tapes. Includes additional LP with previously unreleased recordings from the same time period. Features never before seen photos and liner notes by the band." - Subliminal Sounds

LP - Beau - Creation - Import


"Originally released in 1971 on John Peel's Dandelion Records, Creation is the second album by underground folk troubadour Trevor "Beau" Midgley. Influenced by Tom Paxton, Lead Belly, and Dylan, Beau started to write his own songs in the late '60s. After trying to secure a contract with Elektra Records with no success, he was approached by Clive Selwood (Elektra) and Peel as they were launcing Dandelion Records. Beau signed with them and released his eponymous debut album in 1969. For his second effort, Beau decided to experiment with a more folk-rock sound and add to the mix some avant-garde influences. Jim Milne (lead guitar and bass) and Steve Clayton (drums) from Dandelion stablemates The Way We Live/Tractor were the perfect backing band for him. Creation is a brilliant psych/acid folk offering with superb 12-string guitars, heartfelt vocals, studio effects, and occasional acid-fuzz guitar. Beau's avant-garde influences come to the fore on the title-track, which verges into White Noise territory. The album closes with "Silence Returns," featuring one of the most ear-splitting fuzz assaults ever committed to wax, courtesy of Jim Milne. This first vinyl reissue includes two previously unreleased bonus tracks from 1972 (featuring Tractor as backing band), recorded for aborted third album High Mass. Also includes four-page insert featuring the first cover design (which was never used), plus detailed liner notes by Beau himself and lyrics. Master tape sound." - Sommor Records

LP - Black Merda - The Psych Funk Of Black Merda


"Too late for the Hendrix generation and too early for the Parliament/Funkadelic gen., Black Merda created a heady brew of '70s Psych-Folk-Rock-Funk. This 11-track rarities collection proves that even their lesser-known hits still pack a psychedelic punch." - Funky Delicacies

LP - Blaxxx - For No Apparent Reason EP


 "In March of 2014, Lamont Thomas of OBNOX infamy took a little break from schooling/embarrassing the entire music business during his annual visit to SXSW by visiting the Austin studio of OBN III’s chief Orville Neeley. With Thomas commandeering the microphone and drums, Neeley taking the bass and co-conspirator Tom Triplett (OBN III’s, The Energy, Snooty Garbagemen), grabbing the guitar, the newly formed supergroup proceeded to knock out 4 super distorted genre-smashers that while not entirely removed from Bim’s own amazing ouvre, approach levels of insanity that make it very hard to believe the trio made this shit up on the spot. I mean, if they could pull off something this sick in a couple of hours, imagine what could’ve happened in 3 hours?

Though the sample size is small, this ranks alongside some of Thomas’ most claustrophobic, genuinely fucked up work. Teamed with the Eddie Hazel/Fred “Sonic” Smith histrionics of Triplett (Orville’s the relative straight man for a change), this Ohio/Texas collision is straight up diabolical. Cross-regional, cross-generational, crossword puzzle, BLAXXX is a six-letter word for LOOK THE FUCK OUT!!!" - 12XU

LP - Broadcast - Future Crayon - Reissue


"Collecting most of Broadcast's EP tracks, B-sides, and rarities from The Noise Made by People and Haha Sound eras, Future Crayon is a welcome reminder of how consistently interesting the band's output is. Indeed, the band's other EP collection, Work and Non-Work, flowed just as well, if not better, than many other groups' full-length albums. Future Crayon isn't quite that cohesive, but it does chart how Broadcast's sound developed during that time, and also includes some tracks that even die-hard fans might have missed the first time around. The collection begins with a string of relatively poppy songs that rival the quality of anything that appeared on either The Noise Made by People or Haha Sound. Extended Play Two's "Illumination" is particularly gorgeous, opening with an insistent bassline and Trish Keenan's coolly lovely voice before achieving lift-off with clouds of backing vocals and art-damaged synths. Meanwhile, "Still Feels Like Tears" from the Pendulum EP takes the title track's stripped-down psych-rock in a lighter, sweeter direction, while Extended Play's "Where Youth and Laughter Go" begins as a clockwork lullaby and then swells into quintessentially Broadcast-like sci-fi lounge-pop. Future Crayon then delves into the more experimental side of the band's music, which usually only appears as brief interludes on their albums. 1998's "Hammer Without a Master," which originally appeared on the Warp comp We Are Reasonable People and is one of this collection's rarest tracks, is an especially striking collage of horror-show organs and death-surf guitars grounded by jazzy drumming; along with "Daves Dream," it sounds like a more elegant version of the sound Add N to (X) was pursuing at the time. The aptly-named "Chord Simple" is a lovely, oddly affecting instrumental that appears twice here, both on its own and as a part of a harder-edged version of "Unchanging Window." While the decision to put most of the more accessible tracks on the first half of the disc is understandable, it doesn't always make for the easiest listening -- sometimes, it feels easy to get lost in the more abstract moments later on in the collection. Nevertheless, Future Crayon is a must for Broadcast obsessives and a good way for casual fans to explore some of the rougher edges of their music." - allmusic.com

LP - Broadcast - Haha Sound - Reissue


"On their early singles and brilliant debut album, The Noise Made by People, Broadcast's commitment to crafting meticulously, ethereally beautiful atmospheres gave their music a detached quality that made them somewhat difficult to embrace fully. This isn't the case on Haha Sound, the band's second album. While their music still sounds like it could've been crafted by ghosts in the machine, now Broadcast give it flesh and blood through more warmth and texture. As with the Pendulum EP, Haha Sound's more human touch comes through in its looser, more intimate, and rougher sound. But aside from being warmer and more textured, the album is simply more, as its first three songs reveal. The delicately spooky nursery rhyme "Colour Me In" begins the album with the wistful, childlike viewpoint that creeps into Haha Sound from time to time, its layers of chopped up, sawing strings giving it an oddly and sweetly tentative feel. "Pendulum" finds the band digging deeper into their psychedelic influences, with acid rock drumming and flashback-like washes of sound making it one of the most tense, driving tracks they've recorded. The Pendulum EP suggested that the entire album might be as wired and dissonant as this song, but tracks like "Before We Begin" quickly prove otherwise. A superstitious song about reuniting lovers, it's gorgeous pop in the vein of "The Book Lovers" and "Come On Let's Go," but more approachable and that much more alluring because of it. The rest of Haha Sound more or less follows in the footsteps of these songs, but the variety that the band instills in the album makes it far from monotonous. A big part of Haha Sound's expansive feel is Trish Keenan's increasingly expressive vocals; while she can still occasionally seem to be hovering slightly outside the songs, her delivery is much more vulnerable and emotive. She's soothing on "Valerie," which is Broadcast's idea of a folk song or lullaby -- although with all of its eerie background noises, sleeping with one eye open is suggested -- ecstatic on "Minim," and poignant on "The Little Bell," another sweetly childlike song that sounds like Keenan is singing inside a broken clock. Noisier aspects find their way into interludes like "Distortion" and "Black Umbrellas," a curious, fuzzy oompah that picks up speed like an out-of-control assembly line. "Man Is Not a Bird" concludes with a playful, Raymond Scott-esque percussive exercise. The spirits of Scott and Joe Meek haunt the album's carefully deconstructed sound, most obviously on its more extreme tracks, but even on gentler songs like the flight of fancy "Lunch Hour Pops," which has a giddy, space-age sweetness akin to the Tornadoes' "Telstar." This song, the beautiful "Ominous Cloud," and "Winter Now" suggest that Broadcast could probably make dozens of immaculate pop songs like these if they wanted to, but all the detours the band takes are precisely what make the more perfectly crafted songs so precious. Haha Sound may not be Broadcast's most superficially perfect album, but it's a more challenging and exciting one because of its deliberate imperfections." - allmusic.com

LP - Broadcast - Tender Buttons - Reissue


"Reflecting their newly streamlined status as a duo, Broadcast's Tender Buttons strips their luminous electronic pop down to its barest essence. Initially, the album is a shock, and not always a pleasant one; many Broadcast fans have come to expect each release as a chance to be blown away by the group's ever-bigger and better sounds, and from their early EPs to the ornate Haha Sound, Broadcast seemed to challenge themselves by adding more layers and twists and turns to their music. Here, Trish Keenan and James Cargill push themselves to do more with much less. The pruning ends up being prudent; concentrating on just a few musical motifs, Tender Buttons has a uniquely fresh, modern feel. Sparingly applied beats, intricate but subtle guitars, and hazy synths dominate the album, providing a restrained backdrop for Keenan's quietly commanding voice and crossword-puzzle lyrics. As if to underscore Broadcast's new aesthetic, Tender Buttons opens with some of its most radical departures: "I Found the F"'s largely spoken vocals and driving bassline, "Black Cat"'s austere pulse, and the title track's whispery, sinister sensuality all stretch (or rather, shrink) the boundaries of what a Broadcast song can be. At first, these tracks just sound unfinished, but the beauty of their bareness reveals itself eventually. Not all of Tender Buttons is this naked. The single "America's Boy" (which somehow manages to play into and dismiss the mythic American soldier at the same time) and "Arc of a Journey"'s stargazing are a little more fleshed out, nodding to the full, swirling sound of Broadcast's earlier work without rehashing it. Likewise, "Michael a Grammar" and "Goodbye Girls" offer a more colorful, charming spin on the band's new approach. Still, Tender Buttons' most restrained moments are often most striking: "You and Me in Time" plays like a delicately surreal update of Julee Cruise's spacy torch-pop, while the absolutely stunning vignette "Tears in the Typing Pool" makes the most of an acoustic guitar and Keenan's gorgeous vocals and evocative songwriting skills. Oddly enough, Tender Buttons' simplicity makes it more demanding than Broadcast's other work; it requires more than just a few listens to sink in. However, the tension between Broadcast's catchy and aloof, experimental sides is what makes their music intriguing, and Tender Buttons is no different in that regard: even when it seems to be stripped bare, it's still full of mystery." - allmusic.com

LP - Broadcast - The Noise Made By People - Reissue


 "After being mired in the studio for nearly three years, Broadcast returned with their first proper full-length album, The Noise Made by People, a collection of more shimmering, weightless pop that is nostalgic for yesterday's visions of the future but remains on the cutting edge of contemporary music. Where their early singles (collected on 1997's Work and Non-Work) painted small, quaint portraits of their retro-futurism, The Noise Made by People delivers their sound in widescreen, filmic grandeur. Richly layered yet airy pieces like the album bookends, "Long Was the Year" and "Dead the Long Year," seamlessly blend symphonic, electronic, and pop elements into smoky, evocative epics, while synth-based interludes such as "Minus One" and "The Tower of Our Tuning" present Broadcast's more detached, scientific side. Likewise, Trish Keenan's air-conditioned vocals sometime suggest a robotized Sandie Shaw or Cilla Black, but her humanity peeks out on "Come on Let's Go" and "Papercuts." "Echo's Answer" and "Until Then" are two of the other highlights from the album, which despite all of its chilly unearthliness, is a noise made by (very talented) people." - allmusic.com

LP - Broadcast - Work And Non Work - Reissue


"Warp's first rock/pop signing since Pulp (yup, Pulp) were Stereolab-soundalikes Broadcast, whose early singles for Wurlitzer Jukebox and the 'Lab's own Duophonic label attracted much attention for the their sing-songy fusions of Tortoise-y groovebox meandering and clean-room electronica. Work and Non Work, the group's Warp debut, is really nothing more than a compilation of those singles ("Accidentals," "Living Room," and The Book Lovers EP, to be exact). But as a mini-LP for the new initiate, it serves as a handy one-stop updater." - allmusic.com

LP - Broadcast / Focus Group - Broadcast And The Focus Group Investigate Witch Cults Of The Radio Age - Reissue


"Broadcast's music has always been a little unearthly, so Broadcast and the Focus Group Investigate Witch Cults of the Radio Age isn't so much a departure as it is an inspired homage to their influences. Valerie and Her Week of Wonders and its alternately innocent and menacing soundtrack inspired the band years before the movie was rediscovered. The whimsy and strangely familiar feel of '60s and '70s library music could also be heard in their music from the beginning, but never more clearly than on this mini-album. Broadcast's more esoteric side is heightened by the Focus Group, whose Ghost Box label is ground zero for the evocatively named hauntology micro-genre, which digs deep into vintage electronics and notions of what people thought the future would be like -- two things Broadcast have always done, even if they're not explicitly part of the hauntology crowd. ...Investigate Witch Cults of the Radio Age's highly detailed, evocative miniatures replace Tender Buttons' stark clarity with softly busy collages full of literal and figurative layers. Analog synths, distant beats, guitar arpeggios, and clouds of Trish Keenan's vocals flit in and out of snippets like "Will You Read Me" in a gently disorienting and deeply trippy fashion. Yet the feel goes beyond being merely druggy, although the funky "How Do You Get Along Sir?" and self-explanatory "Drug Party" certainly imply chemical enhancement. Most tracks radiate a spectral purity, or suggest something as hallucinatory as ghosts taking drugs. "We Are After All Here," which superimposes Keenan's voice with backwards vocals, shimmering electronics, and crowd noises, sounds like two worlds layered over each other -- and it's impossible to tell who's on which side of the divide. But while ...Investigate Witch Cults of the Radio Age has a few spooky moments, most notably "Libra, the Mirror's Minor Self," it's more charmingly odd than unnerving, with the dusty warmth of mellowing in an attic somewhere. "The Be Colony" echoes Haha Sound's cheerfully aloof psychedelic pop, with Keenan sounding as blankly sweet as a children's show host as she sings "all circles vanish"; "I See, So I See So" invokes winter with brittle chamber music; and the half-dirge, half-lullaby "Make My Sleep His Song" may be the album's most beautiful melody. Despite the meticulous layering and arrangements in songs like these and "Ritual/Looking In" -- which sounds like a never-ending sunrise called into being by a magical flute -- the album is so open-ended that it often sounds like field music. It's not surprising that Broadcast would imbue so much creativity into what other acts would consider a stopgap release, but ...Investigate Witch Cults of the Radio Age is still unique in their body of work. Not so much a soundtrack to a film that was never made as it is music that demands images to accompany it, this is a welcome return after the four years of silence that followed Tender Buttons." - allmusic.com

LP - Carter Tutti - Carter Tutti Plays Chris And Cosey - Import


"Reinterpretations and re-workings of classic Chris & Cosey songs from the 1980s and 1990s. The idea for the album originated from the pair's much-requested live performances of Carter Tutti Plays Chris & Cosey, taking place in an unprecedented series of shows in the U.K., Europe, Scandinavia, and North America from 2011 through 2014. These dates in turn instigated so many requests for recordings of the live set that they were inspired to re-record this collection of reworked classic versions in their own Norfolk studio. CD edition includes an exclusive remix of "Vengeance." Double LP edition includes all five tracks from the limited CD Remix Chris & Cosey (CTI RSDUK01, 2014)." - CTI

LP - Chrisma - Chinese Restaurant - 2015 Reissue - Import


"Spittle Records presents a reissue of Chinese Restaurant by Italian new wave duo Chrisma, originally released in 1977. The album was recorded between London and Milano during the second half of 1977, and the results were something like post-punk. More in the direction of bands such as Ultravox, The Stranglers, and Suicide than the Sex Pistols and the Ramones, due to the use of electronic keyboards, obsessive rhythms, tense harmonies, and scratching vocals emerging from generally dark sound textures. Chinese Restaurant was definitely ahead of its time, especially in terms of Italian rock. Housed in a gatefold sleeve." - Spittle Records

LP - David Borden - Music For Amplified Keyboard Instruments


"David Borden, born Christmas Day, 1938, in Boston, Massachusetts, is an American minimalist composer and electronic music pioneer. He was one of the first people to beta test Bob Moog's modular synthesizer systems. His Earthquack Records imprint inspired Mimi Johnson to found the legendary Lovely Music, Ltd. with Robert Ashley. He formed the first all-synthesizer ensemble, Mother Mallard's Portable Masterpiece Company, in 1969. If there were ever a missing link in American minimalism, Borden is it. Music for Amplified Keyboard Instruments is his masterpiece, released in 1981 to little fanfare on the now-defunct Dutch label Red Records. As its reputation has grown, most listeners have had to settle for compressed YouTube clips and poor vinyl-to-digital transfers, with original copies increasingly rare and expensive. Now, 34 years after its original release, Spectrum Spools presents the first reissue of Music for Amplified Keyboard Instruments, after recovering in Borden's private archives the only known safety master. Music for Amplified Keyboard Instruments contains four pieces, each utilizing three players and six keyboard instruments. "Etsy Point, Summer 1978" begins with a mournful, ominous mood and slowly blossoms into an immense, humid labyrinth of colorful, buzzing textures and howling melodies. "The Continuing Story of Counterpoint" is a 12-part cycle for synthesizers, acoustic instruments, and voice, upon which Borden labored for over 11 years. Parts nine and six, included here, are miraculous achievements in prodigious playing technique, remarkable mosaic-like structure, and aural magnitude, operating in the relative terrain of Steve Reich's Music for 18 Musicians and Terry Riley's Dervishes pieces. The "Counterpoint" pieces here are rigidly arranged with breakneck key changes and intricate time signature maneuvering. The resulting audio conjures kaleidoscopic patterns of beautiful melodies and compositional anatomy unparalleled in much of American minimalism. "Enfield in Winter" displays some of Borden's more ambient leanings, with slow, morphing drones and gentle pad sounds that erupt into shimmering patterns backed by a grandiose chord progression. Music for Amplified Keyboards represents a veritable zenith in Borden's corpus; a radiant achievement in sonic elegance, experimentation, and ambitious composition technique, and a work of the highest archival significance. Music for Amplified Keyboard Instruments was remastered with love and transparency by Giuseppe Tillieci at EnissLab, Rome. These newly remastered works are superior to the original vinyl master, giving the world a chance to hear this remarkable work in the highest possible fidelity across multiple formats. Includes extensive liner notes and photos by Borden." - Spectrum Spools

LP - Dick Diver - Melbourne, Florida - Gold Wax


"Dick Diver managed to avoid the dreaded “sophomore slump” with their 2013 album “Calendar Days” (Chapter Music) & look to perfect a “three-peat” with their third album “Melbourne, Florida”. Dick Diver started making rumblings in Melbourne in 2008, when the chemistry between guitarists Rupert Edwards & Alistair McKay coalesced with drummer Stephanie Hughes (Boomgates) and bassist Al Montfort (Total Control, UV Race, Lower Plenty). “Melbourne, Florida” is the band’s third album in six years time. The group had previously released an EP & two critically acclaimed albums (2013’s “Calendar Days” was nominated for The Age’s Music Victoria Awards; the largest public-voted music awards in Australia) on Australian label Chapter Music, but “Melbourne, Florida” is their first domestic release & first for Trouble In Mind. Recorded in a former sheep-shearing shed in Apollo Bay, Victoria by Mikey Young, “Melbourne, Florida” hums with a strident assurance, buoyed by the benefit of the band’s four talented songwriters whose singular voices sit comfortably beside each other in the albums twelve tracks. The crack of a snare starts off the lead-track, “Waste The Alphabet” an anthemic, jangling stomper full of bluster & swagger, while other tracks like “Leftovers”, “Year In Pictures” & “Percentage Points” yearn with a bookish intensity, complimenting the band’s dichotomy of erudite pop smarts and and idiosyncratic approach to composition (see Montfort’s charming & disarming “Beat Me Up (Talk to a Counsellor)”). If Dick Diver weren’t already leading the pack of new-school Australian pop, then “Melbourne, Florida” is sure to put them in the pole-position.

RIYL: The Clean, The Bats, The Triffids, The Feelies, Twerps, Ultimate Painting, Courtney Barnett" - Trouble In Mind

LP - Dinosaur L - 24 > 24 (2xLP)


"2015 repress, originally released 2007. "Dinosaur L is an alias donned by Arthur Russell, a man whose contribution to dance music from the late seventies and through the eighties was formidable but only quietly acknowledged. His innovative and left field dance records were way ahead of what people were used to hearing at the time. He was a cellist who studied classical and Indian music. As well as his great strides in dance music he was also involved in the New York downtown avant-garde music scene and produced some albums in a more avant-garde/experimental vein as well as trying his own unique approach to pop. He scored several hits on the underground New York dance scene at clubs like The Paradise Garage (Larry Levan was a huge supporter). His biggest tunes, 'Go Bang!' and 'Is It All Over My Face?' were worldwide club hits and are still played today as classics. His records have influenced the scene from his first dance record in 1979 to the present day and his work has been much sampled. Sadly Arthur died in 1992, but his music lives on and his influence is still felt on the dance music scene, his tunes still sound great and are still moving many dancers around the world, so his spirit lives on. Sleeping Bag Records and Traffic Entertainment Group is proud to present Dinosaur L's 24->24 Music for the first time ever on double LP. Includes the original album tracklisting plus rare 12" remixes and edits." - Sleeping Bag

LP - Erkin Koray - Electronik Turkuler - Import


GROUND FUCKING ZERO for Turkish rock and roll right here! Erkin Koray's "Elektronik Turkuler" FINALLY reissued again courtesy of the fine folks at Pharaway Sounds! Get Turk'd:

"Technically his 2nd lp after a collection of singles, this benchmark record from 1974 taught Istanbul's musicians and pop fans how to put Turkish folk songs from the 17th century together with meaty, thundering guitar solos. With a crack bass player by his side (Ahmet Güvenç from Bunalim and Baris Mancos Kurtalan Ekspres) and an electrified baglama in his hands, Erkin Koray lets his gloomy baritone voice float over wiry double- reed melodies, bulging riffs, and hammer-ons that go on for- friggin- ever. Savagery begins at home people, so make sure you get a physical copy of the best record by the Turkish Hendrix into your house. Gatefold cover, 180g vinyl, insert with linernotes."

Totally bewitching and enchanting grooves here - Koray's fusion of Western instrumentation and melodies within Eastern modes was a revelation to youngsters in Istanbul. Bands influenced by American sounds were content to simply mimic what they heard, but Koray took a different approach by not only SINGING exclusively in Turkish, but also incorporating native instruments (electrified baglama, anyone??) augmented by the traditional guitar/bass/drums lineup. They didn't call him the "Turkish Hendrix" for nuthin' - his nimble fingers glide over the fretboard so effortlessly that you hardly notice the guitar until it's too late! Reissued in a glorious gatefold and pressed on heavy-ass vinyl, this one deserves a permanent place in your record collection. File under: ESSENTIAL. Totally and unequivocally recommended.

LP - Evergreen - World Called Love - Original 1976 Stock

$29.99 → BUY NOW

Private Press mid 70s SoCal country tinged folk rock

LP - Francis The Great - Ravissante Baby - Import


"Rare funk and avant-garde soul from a seven-year-old kid singer featuring the best musicians of France and the Cameroonian diaspora, recorded in Paris in 1977. The album contains two nicely dramatic tracks: "Ravissante Baby (Negro Phasing)" is a long, hypnotic, funky soukous track with a tremendous lead guitar and a long spoken-word and soulful kid vocal about the beauty of nature; "Look Up in the Sky (Negro Nature)" is a stretched funk groove with psych synth by Michel Morose, bubbling bassline by the great Victor Edimo, the famous Toto Guillaume on guitar, and a brilliant poetic lyric by Francis the Great, who at that time studied in Ménilmontant, Paris. Originally produced by his father, a great impresario of African artists in Paris during the '70s, and coordinated by his mother, this album is unique, fresh, and almost unclassifiable. It's universal funk! Hot Casa Records is proud to reissue this holy grail after years of research. Includes interview; officially licensed with Francis Mbarga himself, in Yaoundé, Cameroon." - Hot Casa

LP - GNOD/ White Hills - GNOD Drop Out With White Hills II


"2015 repress; 2LP version. Rocket Recordings are pleased to announce the reissue of the now highly sought-after 2010 double LP Gnod Drop Out With White Hills II. This reissue comes packaged in different artwork from the original release. Gnod Drop Out With White Hills II is the first official collaboration between two of the most colossal cosmic manglers on the planet, that of astral rejecters Gnod (Manchester, UK) and space-rock juggernauts White Hills (New York). Hot on the heels of their Not Not Fun sold out release, as well as countless self-unleashed CD-Rs and various indie label alliances, Gnod have been stirring their galactic soup of flashbacked rituals with unpredictable, incendiary results, both on record and as a live experience. Having them join forces with White Hills for this record is akin to having the aural equivalent of those 3D magic eye stereograms -- looked at in one way, they just don't make sense, but seen through the repetition of the music, the result is out of this world. Since White Hills' last outing with Rocket Recordings on the Collisions split with The Heads in 2009, the band have successfully released their debut album for Thrill Jockey and now have notched up an impressive back catalog of releases. Their fiery brand of heavy space-rock has seen them burning up live appearances over the years as they continue on the path towards uncharted territories. To celebrate this thundering union, Rocket Recordings have embarked upon the release of a double vinyl LP expanding into four phases of pulsating mantras, awash with all the hypno-propulsion both bands' motor skills can pilot. It's brimming with surrendered NEU!-like patterns, like both bands driving through Dingerland with "L.A. Woman" blasting from the rushing air. We have 16-minute elegant Bel Air suites, whose ebbing and flowing mesmerizing grooves burst with swooping grandiose synths, like gentle waves hanging in time. Interjections of oscillating guitars and keyboards, designed to propel the captured listener into a trance-inducing sun roof of kosmische blur, rupture out through the expansive blue. The 8 tracks are embedded with four long 10-minute+ pieces and these anchor the whole experience firmly into an exciting haze of echoing psychedelia, electronic and experimental Krautrock trippo-nova. After which, all four corners of your mind's eye have been consecrated in a world of undulating symphonies." - Rocket Recordings

LP - Great Plains - Sum Things Up - Original 1987 Stock


 "Here Ron House follows through on his titles, sum of them bigger and better than the one on the cover--the projected J.C. Mellencamp cover "Alfalfa Omega" and definitely "Martin Luther King and Martin Luther Drinking," both of whom Ron counts as heroes. Fact is, this English major is bidding to become a Tom Waits or August Darnell of the garage, which could use some lit. Since his thrift-shop finds are purchased to cover rather than adorn his nakedness, his adenoids will never follow Frank's frog to Broadway or Creole's tail to Carnegie Hall. So you'd better catch him at his practice space. Watch out for oil stains. A-" - Robert Christgau

LP - Great Plains - Colorized! - Original 1989 Stock


"Having already recorded numerous EPs, LPs, and 7"s, Columbus, OH's the Great Plains were becoming something of critical darlings (drawing praise from everyone from Greil Marcus to Yo La Tengo), despite their inability to tap in to the sizable audience their music deserved. In 1989 Diablo Records, an offshoot of Elvis Costello's Demon label, decided the time was right to release what was, in essence, a greatest-hits album, despite the fact that the band never had a hit in the traditional sense, though they did gain airplay on Dr. Demento's radio show with their quirky new wave novelty, "Letter to a Fanzine." The release of Colorized! was intended to serve as the band's introduction to European audiences prior to the release of their next album and subsequent tour. Unfortunately, the Great Plains disbanded before their next album was recorded. Overflowing with Ron House's snotty vocals and the odd amalgam of '60s-inspired organ-fueled new wave and country-tinged punk that had become the Great Plains' sound, Colorized! collected the band's catchiest songs, among them a version of "Serpent Mound," as well as odes to U.S. presidents with "Rutherford B. Hayes" and "Lincoln Logs," and the criminally ignored-by-radio clap-along "Dick Clark." Also included in this 14-song collection are less snide and more introspective tracks like "Same Moon" and what the band calls "an extremely unfaithful" but effective rendition of Leonard Cohen's "The War." Surely not complete enough for die-hard Great Plains fans, especially in light of the notable absence of "Chuck Berry's Orphan," Colorized! serves as an excellent introduction into the world of the Great Plains as it displays only the band's strongest material (pulled largely from Naked at the Buy, Sell, and Trade), unlike many greatest-hits packages that insist upon tacking on throwaway B-sides and rarities." - allmusic.com

LP - Guerilla Toss - Smack The Brick


"Edition of 400. Includes download code. Plays at 45 RPM. "Slight line-up change in GT brings new faces to keyboards and bass, resulting in a rather plumper (and, dare I say, more soulful) bottom, without removing any of the pony-rending upper register dynamism we have all grown to love. This new width also adds a certain slinkiness to a few of the evil cheerleader routines that are part of Kassie Carlson's magic kit. The band spins out streams of thick repeato-riffery, while Kassie's vocals exhort everyone to explode. Word on the street is that GT's new label has big things in store for them. So Smack the Brick is either gonna be viewed as the end of one era or the beginning on another. Either way, GT continue to punch above their weight, swinging like a drunken street fighter in Boston's Combat Zone whose chest just happens to emit strange keyboard sounds from time to time. Peter Kalyniuk's great cover art tells the whole story -- your head is a temple. But it is also full of snakes." --Byron Coley, 2015" - Feeding Tube Records

LP - Jade - Faces Of Jade


 "Limited edition "Jade Green" vinyl with MP3 coupon

Jade's Faces of Jade album is a tough-to-find Cincinnati-area nugget from 1971. It is one of the most highly sought-after "Beatles-Impact" records among psych, power-pop and Beatles collectors. Great mix of Rubber Soul meets Bee Gees Baroque Pop. After a bit of sleuthing we tracked down the members and are proud to give a proper and awesome-sounding vinyl reissue of their sole pop-psych / Revolver-esque classic." - Shake It Records

LP - JD Emmanuel - Echoes From Ancient Caves - Import


"Probably one of the most underestimate artists of electronic music from the early '80s, has been lately rediscovered. An expert modulator of electronic and natural sounds, with this work JD Emmanuel seems to recall and reflect extensively on the poetics of the cyclic and mantric sound investigated by other pioneers such as Terry Riley and La Monte Young. The microtonal patterns of the compositions are animated by dense and minimum pulses that amplify the hypnotic and meditative dimension and can be colored by Tibetan suggestions or guitar glissandi. Flows and reflections of sounds define abstract landscapes but remain always deeply reverent with nature and its micro-cosmic variations. In this way, Echoes from Ancient Caves is ideally connected to the previous experimentations of Rain Forest Music (1981) and Wizards (1982). 500 copies on black vinyl + a download link for the digital edition." - Black Sweat Records

LP - Jean-Pierre Decerf - Space Oddities 1975-1979 - Import


"Jean-Pierre Decerf was born in the Paris suburb Neuilly-sur-Seine in 1948, lived in Paris until 2003, and now lives as a hermit in a remote village in the Touraine. From the early '70s to the mid '80s, this self-taught musician composed about 20 albums of production and library music with generic cover art and titles (Out of the Way, Keys of Future, Pulsations, etc.) that evoke interstellar travel. These experimental discs, made with love, humility, and rudimentary means, had no ambition other than to accompany other peoples' images. By exhuming these obscurities from the dustbin of history, Born Bad Records have decided otherwise. Archaeologists with an agenda, they seek to give Decerf the renown he deserves: that of an innovator whose rhythmic, synthetic compositions inspired the harbingers of the French touch (Air comes to mind), and were sampled by many East Coast rappers, including the Wu-Tang Clan." - Born Bad Records

LP - Jonas Munk - Absorb/Fabric/Cascade - Import


"Second solo LP from Causa Sui guitar player and producer Jonas Munk. This is pattern music, characterized by slow builds and subtle, but refined transformations, where gradual tectonic shifts and tiny harmonic gestures generate vivid emotional responses. Instead of imposing any direct intention or meaning, it's an album that can create a mental environment for the listener to expand and open up into. "Absorb," taking up the entire A-side, is a piece of meticulous balance, structured from techniques recalling the classical minimalists: soft-glowing analog synthesizer patterns in perpetual motion, creating new harmonic content as each bar progresses. Gradually, randomized modular effects are introduced as well as layers of white noise and detuned, heavily tube-overdriven guitar drones, slowly bathing the piece in warmly filtered fuzz. The B-side opens with two identical organ lines played against each other. After a few minutes the organs lock into a an effortless flow, gently rolling toward a pastoral peak several minutes later, where piano and various layers of electronics enters the soundscape, recalling the blissed-out spiritualism of Alice Coltrane or Popol Vuh. The album's last track, "Cascade," opens peacefully but soon enough crosses into an oscillating flood of sound. Gradually the intertwined layers of sound rise to enormous billows of sonic saturation, where each drone harmonizes against layers of distorted pulses. LP pressed on colored vinyl; includes download card. Limited to 500 copies." - El Paraiso Records

LP - Jo Squillo Eletrix - Girl Senza Paura - Import


"After the break-up of her Milanese all-girl punk group Kandeggina Gang, Giovanna Coletti (aka Jo Squillo) along with her boyfriend, the Kaos Rock bass player Gianni Muciaccia, began to work on a solo album. Girl senza paura (Girl With No Fear) saw the light during the second half of 1981 under the name Jo Squillo Eletrix. The LP didn't seem to break with the early punk attitude; it was just more refined, faster, less raw than the previous repertoire. Another classic piece of early '80s Italian punk reissued by Spittle." - Spittle Records

LP - Kevyn And The Kasualties - Disgusted - Original 1989 Stock

$9.99 → BUY NOW

Under the radar RnR from Columbus Ohio produced by Ron House, who called them his favorite "loser rock band" of all time!!!

LP - Lyn Collins - Think (About It) w/ 7in


"James Brown had several incredibly talented 'funky divas' in his late '60s and early '70s stable, including Vicki Anderson and Marva Whitney. But as great as those two powerhouse singers were, Lyn Collins was the strongest hit maker of that funky JB era. Her strong voice and commanding stage presence -- which earned her the nicknames 'The Female Preacher' and 'Mama Feelgood' -- quickly proved to be a potent addition to the People Records universe. In the spring of 1972 her second single, the driving and ridiculously funky 'Think (About It),' hit the R&B music world like a ton of bricks. As fans young and old know, thanks to its timeless, relentless groove and powerful vocals, 'Think' gained a powerful second life in the 1980s thanks to the hip-hop generation, fueling the platinum smash 'It Takes Two,' by Rob Base & DJ E-Z Rock in 1988 and additionally sampled by dozens of hip-hop and dance music artists up to the present day. But Collins was far from a one hit wonder: she was as vocally adept on ballads as she was with full-blown funk. She proves this throughout her debut album, which was released in 1972 on James Brown's new People Records label -- the imprint's second full-length release. To wit, aside from the title smash: a powerful and emotional cover of Bill Withers' 'Ain't No Sunshine,' the socially progressive 'Women's Lib,' the Gamble & Huff-penned 'Never Gonna Give You Up' (originally done by Jerry Butler), and even a daring, muscular take on the song 'Fly Me to the Moon,' made famous by, among others, Frank Sinatra. All throughout Think (About It), Collins shows that she was a vocal force to be reckoned with. Backed by a James Brown-assembled musical crew that included Pee Wee Ellis, Fred Wesley, and, of course, James Brown himself, the platter was bound to impress and succeed. And that it did. Included in this special Get On Down deluxe package is a 22" x 22" poster of the album cover and a bonus 7" of Collins' 1973 People single, 'We Want to Parrty, Parrty, Parrty' with the B-side 'You Can't Beat Two People in Love,' which is unavailable on any Lyn Collins full-length." - Get On Down

LP - Moon Duo - Shadow Of The Sun - Red Wax With 7in


"The highest apex of psychedelia, be it art, music, drugs or literature, is to induce a prolonged consciousness shift that affects the consumer far beyond the time that they were privy to the act. Moon Duo‘s third full-length LP, Shadow of the Sun, was written entirely during one of these evolving phases. Working in a rare and uneasy rest period for the band, devoid of the constant adrenaline of performing live and the stimulation of traveling through endless moving landscapes, offered Moon Duo a new space to reflect on all of these previous experiences and cradle them while cultivating the new album in the unfamiliar environment of a new dwelling; a dark Portland basement. The effect was akin to the act of descending from a train after a long and arduous trip, only to see it (and all your subsequent realities) speed off into the horizon without you. It was from this stir-crazy fire that Shadow of the Sun was forged.

Evolving the sound of their critically acclaimed first two full length records, Mazes (2011) and Circles (2012), Ripley Johnson and Sanae Yamada have developed their ideas with the help of their newly acquired steam engine, Canadian drummer John Jeffrey (present on the band‘s last release, Live in Ravenna. Moon Duo used the creative process as a flickering beacon of sanity in an ocean of uncertainty while in these land bound months. The unchartered rhythms and tones of this album reflect their strive for equilibrium in this new environment, and you can hear that Shadow of the Sun is the result of months of wrangling with this profound, unsettling way of being. Exploring the record, a listener will perceive the song "Night Beat," with its off-kilter dance rhythm, as an attempt by the band to find meaning and acceptance in this new, shifting ground, while “Wilding" delivers a familiar Moon Duo sound, taking refuge in a repetitive, grinding riff-scape. Elsewhere on the record, the band recognizes that no journey is possible without being on the road, paying tribute to the cosmic trucker boogie saint in “Slow Down Low” and “Free the Skull.” From the narcoleptic dancefloor killer “Zero,” the record spirals perfectly into a resplendent daydream, the ecstatically pretty “In a Cloud,” which is a spectacular moment to witness.

In a nod to a great pop tradition, the lead single, “Animal,” will appear as the A-side of a 7-inch, packaged with each copy of the vinyl edition. The song has an early West Coast punk viciousness to it that is entirely unique to the Moon Duo catalog, and it will also appear as the last track on the CD and digital versions.

To further coat the album with an air of uncertainty and tension, the duo decamped to Berlin to mix with Finnish beat-meister Jonas Verwijnen of Kaiku Studios. There in a counter-intuitive act of creative catharsis, they managed to dissolve the album’s formal technique into a cool and paradoxically sane sound of confusion.

The result, at the end of the trip, is the album Shadow of the Sun." - Sacred Bones

LP - Nick Drake - Family Tree 2xLP


 "2015 repress on vinyl. Comprising recordings made at Nick Drake's family home and in France before his 1969 debut, Family Tree offers a unique insight into a nascent songwriting genius. Spread over four sides of 180 gram virgin vinyl, its 29 songs range from folk standards and compositions by his mother Molly to early versions of future classics taped by his Cambridge friend and arranger Robert Kirby at Cambridge in 1968. Mastered at Abbey Road and featuring 29 rare tracks (one previously only available on iTunes), as well as a deluxe gatefold sleeve, rare photographs and a lavish insert including lengthy sleeve notes, this lovingly assembled set is sure to become a prized item amongst lovers of Nick Drake." - Sunbeam Records

LP - Nature - Nature - Import


"First ever vinyl reissue of rare and sought-after Swedish underground hard rock psych treasure from 1972. The band's serious heavyweight musicians managed to create the ultimate so-called "brass och öl" (pot and beer) album. Includes a booklet with previously unpublished photos and in-depth liner notes by Reine Fiske. Limited edition of 600 copies." - Subliminal Sounds

LP - No Age - Weirdo Rippers


"Two young heavyweights from the LA Skate / Art / Punk underworld, No Age are comprised of Dean Spunt and Randy Randall, a super-talented noise pop two piece, who until 12th March this year had released no recorded output whatsoever. That changed when they decided to release five ltd. vinyl only releases on a variety of DIY indie labels across the globe on the same day (namely UTR, Deleted Art, Teardrops, Youth Attack, and Dean’s own PPM label), and their debut LP release, ‘Weirdo Rippers’, is a collection of recorded highlights taken from the aforementioned releases." - Fatcat

LP - Populare Mechanik - Kollektion 03 - Populare Mechanik Compiled By Holger Hiller


"Bureau B presents the third release in its Kollektion series, a volume highlighting the music of Populäre Mechanik, the 1980s post-punk/jazz project of Ton Steine Scherben founder Wolfgang Seidel. Seidel describes the development of Populäre Mechanik after his departure from Ton Steine Scherben: "The music of Ton Steine Scherben soon lost its fascination for me, so before long I quit the band. I was far more intrigued by the music performance club Zodiak Free Arts Lab run by Beuys student Conrad Schnitzler. The Zodiak had one white room and an empty black room, the latter used for concerts. And what concerts they were! A poster announced: 'Totally free music. Everyone plays. Anyone plays. Everyone can do it.'... I teamed up with Schnitzler, but there was no room for a drum kit in his little studio. Instead, I started playing around with synthesizers and transposed the rhythms I had played on drums, prompting Schnitzler to nickname me 'Sequenza.' As the years passed by, however, I started to miss the drums, so in the late 1970s I replied to a small ad and found a few musicians roughly the same age as me. Our stories were similar, having begun with rock music in the 1960s. We were not the kind of folk who wallowed in nostalgia, having grown disenchanted with the direction rock had taken. Rock was clearly developing into a soundtrack for squares. Punk was far more attractive to us. It reminded us of the 1960s, rather to the annoyance of the punks. Still, we maintained a certain distance. We shared punk's dislike of the way rock and roll had developed, but beer-fuelled nihilism was not our style. Devo and XTC were the kind of bands we really got excited about. And there were also jazz musicians who wanted away from the entertainment circuit for sophisticates. These two ingredients blended into the music of Populäre Mechanik... The band's strategy for resisting assimilation into any scene was the creation of a cassette label -- allowing us to release our music quickly and cheaply. With a 4-track tape recorder and a healthy appetite for experimentation, we jammed endlessly ages before selecting the most interesting recordings." This collection, curated by Palais Schaumburg founder Holger Hiller, includes tracks from two Populäre Mechanik cassettes from the early 1980s, never before available on CD or vinyl. The accompanying booklet includes Hiller's interview with Seidel, in which they discuss the function of rock and pop music over the past 45 years." - Bureau B

LP - Promise - Promise - 2015 Reissue


"If you're continuously searching the margins for lost artifacts of the pop pantheon, you can find your daily dose in late period exponents of pure, lean, Beatlesque power pop band Promise. Originally issued in 1980 on the Boulder, Colorado, area band's own Cumulus label, their eponymous debut is filled with melodic, beatific blasts of pure pop, replete with ringing, jangly guitars and rollicking crunch. Co-led by singer-songwriters and guitarists Curt Mangan and Danny Mey -- with aid provided by the just-right rhythms of bassist Randy Jones and drummer Gary York -- the group created an album with precious little allying it to the punk-inspired power pop or prescient new wave of the time, instead choosing to hone in on a classicist pop sound highly indebted to those famous moptops from Liverpool. Abetted by the fact that some of the group's members had been playing together since their teenage combos of the mid '60s, the album carries an out-of-time flair across surging rockers and mournful balladry. Got Kinda Lost Records is ecstatic to give this benchmark of privately pressed power pop another chance to shine with this first ever reissue. Includes exhaustive liner notes by Jeremy Cargill (Ugly Things Magazine) culled from interviews with Mangan and Mey. RIYL: Badfinger, Big Star, early Cheap Trick, Emitt Rhodes, The Raspberries, Liverpool Echo, The Scruffs, Shoes, Dwight Twilley Band, etc." - Got Kinda Lost Records

LP - Rancid X - Voices - Import


" There has always been very little information about Rancid X, so little that even their supposed hometown, Milan, turned out to be wrong. The boys were actually from Torino. Another and maybe more serious misunderstanding is that Rancid X were definitely not punk. As with most of the young bands of the era, they were simply influenced by the new wave and were not afraid of mixing up elements like immediacy and sharpness with a classic rock 'n' roll background, with Lou Reed and The Rolling Stones as the main inspirations. Rancid X's lone album was released in early 1979 with a dark and disquieting cover. Voices was a very appropriate title, evoking intense emotions. Even though Rancid X's adventure ended quickly, they were rediscovered and finally got some glory in the second half of the '90s, when their tracks were included on such bootleg compilations as Killed By Death #201 (1997). With this first reissue of Voices, they have at last been rescued from oblivion." - Spittle Records

LP - San Ul Lim - The Psychedelic Years 1977-1979 - Import


"Limited edition of 500 copies. At a time when punk is unfolding over England, when guitars are faster and more aggressive, all packed up in protesting slogans against Establishment, in South Korea appears Sanullim, a group formed by three brothers Kim Chang Wan, Kim Chang Hoon and Kim Nan Suk. Instead of wearing studded perfectos and multicolored ridges, the brothers prefer 3 part costumes and psychedelic melodies that were at top of charts around the world, 10 years ago. Sanullim is a well-typed retro 60's band that has nothing to envy to their elders! One has only to listen to Are You Coming In Fall to be convinced! Languid, almost melancholy, with à lot of organ and distortion, this title is a good summary of the potential of Sanullim. Always oscillating between a heavy psychedelic rock like on the title Oh Already, and more pop tunes like It Was Probably Late Summer or Two Of Us, which the organ is not without reminding us of floydians vapors. Sanullim offers us through this compilation, his vision of rock, with a lot of shades. Without just copying, Sanullim have their own sound that will delight lovers of garage and exotic obscurities. The climax of this awesome compilation is the 18 minutes of You Are Already I, where the group leaves free speech to the instruments: guitars filled with a lot of fuzz, weird keyboards and dry bass echoes together to weave a dantesque fresco! A must have for fans of the genre!" - Dounia Records

LP - Strobic Axe - Hor' Einmal Zu! - Original 1981 Stock



"Were it not for The Sex Pistols, this might not have happened at all…import copies of Anarchy In The UK and God Save The Queen were almost contraband at the local Sam The Record Man in Peterborough, Ontario, Canada in 1977…and four high school students, with different motives and agendas, were trying to sort it all out. And so Strobic Axe was born in the halls of Adam Scott C.V.I.. A David Bowie freak, an Ace Frehley wannabe, and two Rush –aholics, who all shared an ambition to be rock stars, and fit more power chords, bass notes and drums fills within a bar of music than might be decently possible. It was a stirring underground noise…

In February 1979, Strobic Axe came out of the basement. Michael Bell/vocals, John Crown/drums, Rick Kemp/bass and Alex Stangl/guitar played a raucous set of original songs, peppered with just enough Cheap Trick and David Bowie to mesmerize a captive audience at an assembly in the school gymnasium. The boys were hooked. From that gig until their last in December of 1981, the band played the bars and outdoor summer festivals of Southern Ontario.

In February 1981, Strobic Axe, managed by Rob Franke, released a 11 song vinyl LP titled Hor Einmal Zu!. (You can listen to the album in the player above). They were turbulent musical times. John Lennon was tragically taken from the world. Somewhere in their minds the boys felt history and the universe were positioning them for world dominance. It never happened. Or did it? In many ways they achieved a lasting and convincing cult status. During their 3 years together, the band developed a devoted following that recorded their many live shows and rehearsals. Each gig was an event. A life altering experience…so they say...

As 1981 came to a close, the band played one last midnight dance in Hastings, Ontario to a packed pavilion. Drugs, underage drinking, unrestrained egos and manic-depressive illness were shutting down the dream, whatever it was. The Strobic Axe story was over. Or was it?" - songclick.com

LP - Thomas Jefferson Slave Apartments - Straight To Video


"It seems inconceivable now, but back in ’91, foreseeing the impact of Nirvana’s Nevermind on America’s underground music scene, or the subsequent feeding frenzy, was virtually impossible. Overzealous major-label A&R reps stalked this nation’s bars ’n’ basements for the next few years like ravenous chickens in pursuit of an elusive grasshopper they couldn’t see but knew existed. It had to! Many alt-rock Orthopterida were snared, none of whose stridulations seemed to resonate in a manner deemed by the greedy as a prerequisite for sure-fire bankability, and thus the hunt continued. By 1995 an enterprising yardbird strutting his stuff for the Onion label (a division of Rick Rubin’s American Records) had pecked his way down the trail to Thomas Jefferson Slave Apartments. And before you could say “Coq au Vin,” a deal was struck and their sneeringly great debut LP, Bait & Switch was (ostensibly) available for mainstream consumption from Caribou, Maine, to San Ysidro, California. How well it sold is a quandary to explore on a day far rainier than this, but it was chock full of the band’s best numbers (at the time), an inexplicable Electric Eels cover, and a scabrous stab at the Rock & Hall Of Fame, which, predictably, garnered the most widespread attention. Whatever, something must’ve been working, ’cause unlike their label peers (V-3 and Stiffs Inc.), TJSA turned in a follow-up long player, Straight To Video, and it was a hummer.
But Onion had other ideas, foremost of which was a quick vamoose into the ether of non-existence. The label shuttered its doors, and in one fell swoop, the band was paid for, then handed back, their effort. And so ended TJSA’s brush in the bigs. Undaunted, they began the search for its next home, calling on labels such as Treble Kicker, Vinyl Communications, and Roadrunner, only to be ignored time and again. A pall of uncertainty loomed, with the fate of band’s finest effort hanging in the balance, when suddenly, local label Anyway Records — flush from the proceeds of winning an Ohio State pie-eating contest — stepped forward to grant Straight To Video the mortality it so richly deserved (“mortality” being code for “CD only”). Fanfare was zero. Not even a press release. However, the distribution was solid enough, but to a person, every fan of Straight To Video would tell you it was meant for the grandeur of vinyl, not the cheap vacancy of a compact disc. As sophomore efforts go, the numbers that this is better than (J. Geils Band’s The Morning After, for sure) far outweigh those it is not (Born In A Barn is a tough one to top). Ron House’s lyrics peak with his inimitable wit and wisdom, his delivery as rich as Chinese takeout for Sunday dinner. Guitarist Bob Petric tempers those pummeling, EVH-like power chords with soaring, uncanny Schenker-esque fluidity while the rhythm section of bassist Craig Dunson and drummer Ted Hattemer rudder this fucker with such precision, the best thing you can say about ’em is you almost don’t even know they’re there.
It’s taken almost 20 years for justice to find its mark, but Kellie Morgan’s Straight To Video, THE LABEL, has made it possible for Straight To Video, THE RECORD. So, to quoteth the bard (aka Ron House), “When the entertainment ends, that’s when the fun begins.” So whaddaya say? Let’s get this party started! –Tom Lax (Ambatofinandrahana, Madagascar, 2015)" - Straight To Video Records


LP - Tolerance - Anonym - Import


"Yikes! This is not a record: it's a ticket pressed in 12" format to get the f- outta this modern era of derivative nonsense in no time flat and get shotgun-expressed into a eerie world of risk taking/PHD-styled lessons in underground experimental extravagance par excellence. Yuzuru Agi's Vanity label delivers the same spinal-tingle-stun-upon-utterance with the same sting as heavyweight/uber strange underground labels like Artifacts, Silver Key, Yetti Wordless, Palace of Lights, Plat-Num Productions, or the gem of Florida's rotten improv scene Spitball Records. Vanity is the sounds in the wild that will exist w/o an audience and make NADA sense, and even less as the flat circle of time moves onward to the future. Even being a major critic in the 'Rock Magazine' and coining the words 'Techno Pop' -- the addictive & lustful Agi's Vanity world has is a hushed jewel in the big-cash phallic swinging underground detectives-types. Reissues are scarce -- the 'boot' of the second Tolerance LP from a couple years ago came and went w/o much of a ceremony -- but this debut (the fourth release of the label landing on 1979) by the Masami Yoshikawa & Junko (no that JUNKO silly willy) Tange is a more wild, varied and EXPERIMENTAL slab to grind on and all the better for it. What lies inside? Lots of nearly ECM-ish acoustic flourishes over effected guitar no wave-ish (scratch that lets say the more equivalent to Japan's own voice-grated guitar duo NOISE-ish) stew of things, sounding more like random Dada-esque experiments in texture and rhythm in a sleek urban-mystery cannon that really makes your brow take some kinda action. It sounds more akin to a Dilaudid-dosed Keith Jarrett trying his best to play along to some crude Thomas Brinkmann record cutting-beat discs, while Law & Order's Brisco and Logan aggressively questioning a dog that swallowed a guitar played by a barbwire criminal (cause 'I WANNA BE A HOMICIDE too@!!') harrowing away in a distant concrete slab. Might as well have Murakami's crew of suave editors from 1Q84 transcribe the unholy soundtrack from Japanese to whatever language your ears need it to be, all while standing in the 'sweet water' that Elisa Lam's decomposing body sunk into it from days lost hidden and rotting in a rooftop hotel pool. Who DOESN'T want to hear that?? The Tolerance debut is just plain O.D.D. = Occidental Dome-Damaged. All said and done, this is from a golden day where risks were taken and experimental music stroked the esoteric exotic fires of danger and lust, all while basking in the outsider glow of idiosyncratic glee. Take chances and be yourself, the evidence is all right here persevered for in the confusing grooves of Anonym. Take it from this VAIN JIT -- it's about the best time you are spend getting 'real' -- REAL STRANGE. And that is R.A.R.E. = Recycled Assumptions Re-Qualified as Extraterrestrials." --John Olson, last minutes of 2014, winter

LP - Various Artists - Attack Dub - Rare Dubs From Attack Records

$15.99 → BUY NOW

 "Prolific reggae producer Bunny "Striker" Lee created a number of different labels in the '60s and '70s to handle his ever-expanding output. The most important at the time when dub was king were Jackpot, Justice, and Attack. Lee recalls, "I had a lot of labels. Lee was my first label... just a plain little white label and then I came out with Lee's with an apostrophe on it... I still have labels sometimes that I don't remember until I see it! Sometimes you'd just make up a label on the spur of the moment." Here, Jamaican Recordings delves into the catalog of Attack, which Lee founded in 1969, to assemble a compilation of some of its finest dub cuts released between 1973 and 1977. Includes dubs and versions of tracks by Linval Thompson, Johnny Clarke, Cornell Campbell/Tommy McCook, Johnny Clarke/Tommy McCook, Barry Brown, Leroy Smart, Derrick Morgan & Hortense Ellis, and Horace Andy." - Jamaican Recordings

LP - Various Artists - Best Arizona Garage Bands 1967-1970

$21.99 → BUY NOW

"'The Arizona music scene during the sixties can easily be likened to its desert surroundings: The monotony of average and sometimes even good bands writing less than good and even average songs. Then one day you hear a band that knocks you out. Those are the kinds of bands that I had the opportunity to discover and produce that suddenly emerged out of garages and other little holes in walls ? wherever they could find a place to converge and create their music. I now have the honor and the privilege to present to you the bands that I think are Arizona's best garage bands from 1967 to 1970.' -- Hadley Murrell. "At an age when most of us were just listening to music, Hadley Murrell got involved. At 14 he started playing drums with The Carnations, and went on to work in radio, as well promoting shows and other live events. Much of what he made went towards studio time to produce the music heard in this collection. Often garage rock is under produced to its detriment. That's not the case here, Murrell recorded at Phoenix's Audio Records, other clients included Dwayne Eddy, Dyke & The Blazers and Waylon Jennings (among many others). And unlike many garage rock sides ? Hadley took his performers into the studio prepared and ready to lay down tracks as hot as the Arizona desert. In addition to music that captures a moment in time, the release features a 20 page booklet filled with the story of each of the groups included here along with period photography, show flyers and more." - HDM Records

LP - Various Artists - Ciao Bella! Italian Girl Singers Of The 60s


"Connoisseurs of 1960s girl-pop have been well served in the CD era, particularly those with a preference for American or British singers. Good music, of course, is not exclusive to the English-speaking world, and collections devoted to the female vocalists of France, Japan, Spain and Germany are also available, but to the best of my knowledge their Italian counterparts have not been anthologised. If “Ciao Bella!”, released as a 24-track CD and a 12-track 180g white vinyl LP in gatefold sleeve, is the first of its kind, let’s hope it’s not the last.

In a country known for its song festivals, most notably the prestigious event held annually in Sanremo, lushly orchestrated ballads have always been especially popular, and a few exceptional examples are featured here. We open, however, with a selection of uptempo titles.

The CD version begins with Brunetta’s prized dancefloor-filler ‘Baluba Shake’ and closes with ‘Cuore’, a dramatic beat ballad by freckle-faced firebrand Rita Pavone. Star of the show is the prolific Mina, queen bee of Italy’s female singers, with three tracks: ‘No’, a jangly folk rock nugget; ‘Più Di Te’, a cover of the Tracy Dey/Bob Crewe classic ‘I Won’t Tell’; and ‘Se Telefonando’, a sophisto-pop opus courtesy of maestro Ennio Morricone.

Other highlights include the sitar-embellished ‘Il Mio Posto Qual’è’ by Ornella Vanoni, a convincing cover of ‘Baby Please Don’t Go’ by beat girl Caterina Caselli, Gigliola Cinquetti’s superbly orchestrated Eurovision-winner ‘Non Ho L’età (Per Amarti)’ and breathy-voiced actress Catherine Spaak’s bossa-flavoured ‘La Notte È Fatta Per Rubare’. - Mick Patrick" - Ace Records

LP - Various Artists - Milano New Wave 2014 - The Evolution of an Underground Music Scene - Import


"The title Milano New Wave 2014 recalls Spittle's 2008 compilation Milano New Wave 1980-83, a document of a specific period of the very first wave scene of Milan. But this title is a very clear statement of intent -- The Evolution of an Underground Music Scene is the perfect subtitle for this collection, a kind of "how we are 30 years later," where you can find almost the same protagonists of the first wave. Forget any nostalgic thoughts or the idea of a reunion of friends, though, because the ten tunes that make up this collection are deeply immersed in today's Milan. The album's intent is fully epitomized in the works of State of Art, Out of Limbo, Sound of LLL, Ivories, and La Form, with their new wave, white funk, and 4AD-style baroque embroideries. The other protagonists choose other ways to spread the Milan's nouvelle vague: psychedelia for Peter Sellers & The Hollywood Party and electronic drives or Italo disco for Atelier Folie, ltaloconnection, Sigmatibet, and 2+2=5 featuring Trevor Finn. This compilation captures an urge to drive with the utmost care through an underground route started in 1980, consistently following the changes of a complicated metropolis like Milan. Pressed on transparent vinyl. Limited to 300 copies." - Spittle Records

LP - Various Artists - Music Of Tanzania


"Music of Tanzania is a spectacular collection of field recordings gathered by Laurent Jeanneau between December 1999 and March 2000. This debut volume of Sublime Frequencies' exploration of indigenous Tanzanian music compiles sacred and profane songs and dances of the Hadza, Datoga, and Makonde people. Highlights include stoned ecstatic dancing in a Hadza encampment; a drunken celebration of preteen sexual initiation from a Makonde fishing village; baboon imitations performed on the malimba; electrified Islamic trance percussion; and useful tips for amateur hyrax hunters. Many of these poignant, exhilarating performances come from dwindling minority groups whose way of life stretches back to the Stone Age, and who are capable of creating breathtaking music with anything from agricultural tools to tin cans and plastic tubes. Laurent Jeanneau is absolutely fearless in his pursuit of rare, exceptional and vibrant performances. He views his ongoing documentation of ethnic minority music as an act of resistance to globalization, state-sanctioned "peasant traditions," and cultural homogeneity, and accordingly spends months living under harsh and dangerous conditions in order to capture impromptu performances in their everyday cultural context. Using this method, Jeanneau has self-produced almost 100 albums preserving threatened musical traditions from some of the most remote regions on earth, in addition to compiling multiple volumes for Sublime Frequencies. This limited edition double LP tip-on gatefold package includes striking photographs by James Stephenson and detailed liner notes by Jeanneau." - Sublime Frequencies

LP - Various Artists - Ultra-High Frequencies - The Chicago Party 2xLP W/ DVD


 "For 23 straight Saturday nights of 1982, The Chicago Party dance show assaulted Chicagoland UHF eyeballs with Spandex, Southside fly guys, tender tenderonies, magicians, contortionists, prismatic video gimmickry, and lip-synched singles by a rising regime of local post-disco casualties. Unfettered nightlife and outlandish humor poured out of oddball outpost The CopHerBox II and onto TV screens, presented here as a 100 minute video mixtape on DVD. Its companion compilation features five previously unreleased tracks, joined by music culled from a trove of self-released 45s and small-time 12”s. Die-cut cathode-ray jacket and six in-package stills put the Party at your fingertips.

Available on CD or 2LP, each edition of Ultra-High Frequencies: The Chicago Party will arrive in one of six cover configurations, all of which are interchangeable via printed inner sleeves and enclosed booklet. Both editions include our entertaining DVD mix tape, isolating the most absurd and outrageous moments from the original broadcasts. Play functions enable viewers to enjoy 23 unique musical performances, as well as a mini-documentary about the creation and realization of The Chicago Party. For fans of electronic soul with a public access aesthetic, Ultra-High Frequencies: The Chicago Party is the place to be." - Numero

LP - Velvet Underground - Live At The Boston Tea Party December 12th 1968 2xLP - Import


"2015 repress. Double LP edition, pressed on 180 gram vinyl. 1968 was a tumultuous year for The Velvet Underground, with the departure of John Cale, the addition of Doug Yule, a grueling touring schedule and considerable musical transition. Supported by the MC5, the quartet played their final shows of the year at the Boston Tea Party, which Lou Reed once described as his favorite place to play. This legendary live recording finds them playing reworked versions of early classics as well as several songs that would appear on their forthcoming third album, and two tracks that went unreleased in their lifetime. It's presented here together with background notes and photographs. Remastered sound." - Keyhole

LP - Velvet Underground - Live At The Boston Tea Party March 13th 1969 2xLP - Import


"2015 repress. Double LP version, pressed on 180 gram vinyl. Coinciding with the March 1969 release of their third album, The Velvet Underground played three nights at the Boston Tea Party, which Lou Reed once described as his favorite place to perform. By that time Doug Yule was well-established as an important contributor to the band, and their set confidently reworks some confrontational early classics as well as incorporating some glorious ballads. Their March 13th set is presented here together with background notes and photographs. Remastered sound." - Keyhole

LP - Xetas - The Redeemer - Blue Wax


 "With a working tenure just shy of a calendar year, XETAS have made a leap from knockout threat to knockout certainty in record time. When we released last summer’s debut 7”, “The Knife” b/w “The Silence”, the band was cited for “walking the tightrope between heavy-and-catchy”, and while that was true enough at the time, their resulting full-length, ‘The Redeemer’ has both attributes in staggering abundance.  Still refusing to reveal their full names (Google it if you’re bothered), the trio of D (vocals, guitar), K (bass, vocals) and M (drums) are hardly the first US underground gang to combine the anthemic with the jagged, but there’s only a handful who’ve fired a broadside with nearly this much confidence.

Expertly recorded by Ian Rundell (Spray Paint, The Dead Space, Ghetto Ghouls), ’The Redeemer' hits stores at the end of the month, followed by March and April U.S. dates.  

selected prior praise :
"the a-side to this sounds like it could've been lifted straight from one of those Double Negative "Hardcore Confusion" seven-inches, and I'm not even slightly joking -- the guitar sound is that beefy. "The Knife" is great, too, dropping-in some pop-punk hooks almost like a Teenage Bottlerocket record or something. I'm probably making this sound like it's some awful garbage, but it's not, it's actually pretty fuckin’ awesome - One Base On An Overthrow

"Xetas is more, how shall I not say so well, “of the moment” with less than an arm or hand stuck permanently in the rearview meat-grinder. Yes, I suppose there’s a dominant essence of this that could have been heard in 1995 out of the San Diego scene or other less knuckle-dragging noise-rock camps, but the lady-led vocal break in “The Silence” – it’s also the song’s big hook - along with the awesome production and guitar sound is of a period other than “yore” and the electricity, general songwriting, riff-mastery, and other resounding areas of POSITIVE POWER  - Andrew Earles, Still Single

“The Austin trio lead off with a track built around a guitar riff big enough to put a smile on Greg Sage’s pallid mug.  The flip channels both Deniz Tek and Kenny Chambers. LP due soon, it’ll be interesting to see which direction it heads" - Byron Coley, The Wire

 “Riffy and catchy and hell right-now punk trio from Austin…very ripping’ rhythmic blend of early ’90’s AmRep and Trance Syndicate bands like Janitor Joe and fellow Texas Johnboy…definitely a killer band who I’m sure are fucking great live.” - Maximum Rocknroll" - 12XU

ACC - FM3 - Buddha Machine 5 - Black


"Buddha Machine 5 - Black. 2015: a decade of drone. In 2005 the Beijing-based duo of Christiaan Virant and Zhang Jian released their first Buddha Machine loop box, a quirky pocket soundsystem that propelled sound art into the consumer mainstream. In 2015, the duo present the fifth-generation Buddha Machine in classic black and white and featuring a special five-layer silicon coating to give the machine a warm and fuzzy handfeel. The nine loops in Buddha 5 are taken from the songs on FM3's 2014 CD Ting Shuo and focus heavily on deep, orchestral tones, a Steinway Grand piano, and the ambient washes of a vintage monosynth. The previous four Buddha Machines have won consistent praise in media worldwide, from sources a diverse as Pitchfork, The New Yorker, and The Wall Street Journal. In his 2012 bestselling book How Music Works, David Byrne cites the Buddha Machine as an early glimpse into the future of music. And fans around the world continue to enjoy the device as a source of tranquil tunes and musical inspiration, with hundreds of remix works posted on Soundcloud, Bandcamp, and other online outlets. Requires two AA batteries (not included)." - FM3

CD - Baba Commandant And The Mandingo Band - Juguya


"Baba Commandant and the Mandingo Band are a contemporary group from Burkina Faso. Coming from Bobo-Dioulasso, the group is steeped in the Mandingue musical traditions of their ancestral legacy. The enigmatic lead singer Baba Commandant (Mamadou Sanou) is an original and eccentric character who is well respected in the Burkinabé musical community. A sort of punk Faso Dan Fani activist for traditional Mandingo music, Baba continues to redefine the boundaries between traditional and modern. In 1981, he joined the Koule Dafourou troupe as a dancer. Later, he embarked on his current musical direction as a singer, first in Dounia and then in the Afromandingo Band. His current band -- when he's not playing with the now-famous Burkinabé musician Victor Démé -- is the Mandingo Band. At present, he is a practitioner of the Afrobeat style, drawing inspiration from the golden era of Nigerian music. Fela Kuti/Africa 70 and King Sunny Adé are big influences, as is the legendary Malian growler Moussa Doumbia. Baba Commandant plays the ngoni, the instrument of the Donso (the traditional hunters in this region of Burkina Faso and Mali). His audience comprises multiple generations and strata of Burkinabé society; he accordingly adapts his repertoire to his surroundings, which range from cabaret Sundays in Bobo-Dioulasso to the sound systems of Ouagadougou. Baba Commandant and the Mandingo Band are a formidable force steeped in Ouagadougou's DIY underground musical culture. Juguya is their sound." - Sublime Frequencies

CD - Hey Colossus - In Black And Gold


"Emerging in a haze of demented riff science and booze-addled abandon, London-based tinnitus machine Hey Colossus have carved out a notable niche for themselves in the British underground's murkier quarters. They've dished out a formidable array of wax over the last decade, specializing in a primordial barrage of abject noise from overheated amp stacks. Yet for all the grit and gnarl of their output thus far, it's seemingly only been a warm-up for their latest opus, which sees their monstrous assault finely honed into an album as beguiling as it is bulldozing. In Black and Gold, their eighth album proper and first for Rocket Recordings, ushers in a new incarnation of Hey Colossus. Marrying malevolent attack to expansive celestial splendor, In Black and Gold follows a sonic trajectory that expands on Hey Colossus's trademark ornery overload. The songs herein may be leaner and more artful than the fearsome sound that made the band's name on albums like 2008's Project: Death and the monstrous 2013 opus Cuckoo Live Life Like Cuckoo (MIE 018CD/LP), but Hey Colossus remains possessed of the Stoogian and Stygian wrath that fuels their noise rock transgression. With their maximalist tendencies augmented by a sharp focus on space and restraint, not to mention a refreshing stylistic diversity, the band delivers some strange aural alchemy. Here, they sound as comfortable tackling electronically-fried dub mantras like "Lagos Atom" as they do the Cluster-esque lullaby of opener "Hold On." Yet there's no shortage of primal rock action to be had on In Black and Gold; on "Sisters and Brothers" they summon up a swaggering, demented groove that sashays like a zombified Gun Club, while on the dramatic spaghetti-psych of the title-track a revelatory cinematic sprawl of sound recalls The Bad Seeds and The 13th Floor Elevators engaged in a psychic duel in the noonday sun. Hey Colossus have always made fine work on the vital and Spinal Tap-approved "fine line between clever and stupid." Yet with In Black and Gold, in a laudable leap of faith, they've stepped beyond, and the result is both vicious and visionary. These unpretentious underworld overlords have emerged from the shadows to create an avant-garage pièce de résistance, finding that the sunlight suits them better than they ever realized." - Rocket Recordings

CD - Orb - History Of The Future Part 2 - 2xCD


 "History of the Future Volume 2 highlights The Orb's often criminally overlooked but wildly creative 21st century catalog. Released on a variety of labels with new and old collaborators, Alex Paterson's post-2000 volley of sonic experiments retains the essential Orb ethos while returning to the underground that spawned it. This collection charts these exciting new strata, beginning with 2002's bold Badorb.com label venture, Paterson's Battersea cottage industry that presaged internet fever by releasing extremely limited digital EPs by The Orb and his mates, along with tasty T-shirts and coffee mugs. A few tracks from this enterprise are included here, including The Orb's "Cool Harbour." Also included are cuts from The Orb's time with respected German electronic label Kompakt, when Paterson and long-time collaborator Thomas Fehlmann released several low-key EPs and 2004's acclaimed album Okie Dokey It's The Orb On Kompakt (KOMP 045CD/KOM 128LP). After Bicycles & Tricycles (2004), Paterson teamed up with original partner-in-aural-mischief Martin Glover aka Youth plus Dreadzone's Tim Bran for 2008's towering bass-fest The Dream. History of the Future Volume 2 chronicles these two albums with several tracks including "Aftermath," "Gee Strings," "From a Distance" (co-written with Jimmy Cauty), and "Vuja De." In 2012 Paterson and Fehlmann recorded their monumental collaboration with Lee 'Scratch' Perry in Berlin, released as The Orbserver in the Star House and including "Golden Clouds," the reggae legend's own take on an early version of the classic Orb hit "Little Fluffy Clouds." The following year's sequel, More Tales from the Orbservatory, is also represented here, with Deadbeat's dub of "Fussball." The Orb's spaced odyssey after the '90s hits period is, in many ways, more exciting, innovative, and even fun -- the pressure was off and the real mischief could begin. The Orb has also continued to create significant, groundbreaking music since 2000, as beautifully displayed in this sparkling new collection. Bass is the place. Includes remixes by Spud, Kreature, Abacus, Blast Master, The Corpral, Oicho, Ricardo Villalobos and Max Loderbauer as Villod, Dabrye, and Deadbeat. 3CD/DVD Edition also includes remixes by Flowing, David Harrow, and Nocturnal Sunshine, and an appearance from The Elements." - Malicious Damage

7in - Bodysnatchers - Bodysnatchers EP - Original 1978 Stock


Early, rare and killer Lone Star State punk rock as featured on BLOODSTAINS ACROSS TEXAS!!!!  Need we say more?

7in - Grasshopper - My Honey b/w Our Rock'N'Roll - Original Stock


HOLY HELL!  We scored some original stock copies of Grasshopper's only single, My Honey b/w Our Rock n Roll, a track you might know from a little comp called BONEHEAD CRUNCHERS VOL 1 (yes you read that correctly)!!!!  Unruly, scuzzy hard rock just the way we like!   So yeah this one SUPER RECOMMENDED!!!!


Cabaret Voltaire Red Mecca $29.99
Amon Duul II Carnival In Babylon $29.99
Amon Duul II Phallus Dei $39.99
SRC s/t $39.99
Residents Third Reich 'N Roll $29.99
Klaus Schulze Mindphaser $29.99
The Cure Kiss Me Kiss Me Kiss Me $29.99
Megadeth So Far So Good So What $29.99
Guns N' Roses Appetite For Destruction $29.99
Neil Young On The Beach $39.99
Tangerine Dream Zeit $29.99
Kaleidoscope A Beacon From Mars $74.99
White Noise An Electric Storm ('73 Antilles) $39.99
White Noise An Electric Storm ('71 Island) $39.99
Moby Grape s/t (Middle Finger Cover) $29.99
Goblin Suspiria (Japanese Pressing) $49.99
Strawberry Alarm Clock Changes $49.99
Mudhoney Super Fuzz Big Muff $29.99
Alice Cooper Love It To Death (Thumb Cover) $29.99
Kate Bush Hounds Of Love (UK Pressing w/ Inner and Merch Sheet) $29.99
Love Four Sail $29.99
Soul Survivers Take Another Look $29.99
Pink Floyd A Saucerful Of Secrets $49.99
Pretty Things Parachute $39.99


Miles Davis Round About Midnight 29.99
Azuma Kabuki Musicians Nagauta Music and Orignal Music and Arrangements from Older Classics 29.99
v/a Bay Area Funk: 1967-1976 29.99
Rosemary Haddad Coming Hohm 99.99
Saadoun Al-Bayati Songs of Iraq 29.99
Anniversary Your Majesty 39.99
Cursed One 29.99
Dock Boggs the Legendary… 29.99
Sandy Bull E. Pluribus Unum 29.99
v/a Folksay: Volume I & II 29.99
v/a Folksay: Volume III & IV 29.99
Fugs s/t 29.99
Fugs First Album 29.99
Flying Burrito Bros. Gilded Palace of Sin 29.99
Effigies Haunted Town 49.99
v/a Funk Spectrum: Compiled by Josh Davis and Keb Darge 24.99
John Fahey Yellow Princess 29.99
Puke Spit and Guts Eat Hot Lead 99.99
v/a Mississippi Blues, No.3: Transition, 1926-1937 29.99
Leadbelly Leadbelly Memorial: Volume III 29.99
Alan Lomax, Seamus Ennis Ireland 29.99
v/a Nonesuch Guide to Electronic Music 29.99
v/a International P.E.A.C.E. Benefit Compilation 24.99
Smiths Queen is Dead 29.99
Ravi Shankar India's Master Musician 29.99
Nina Simone In Concert 29.99
Rolling Stones Beggars Banquet 49.99
Archie Shepp Way Ahead 49.99
Otis Redding & Carla Thomas King & Queen 24.99
Summerbirds in the Cellar With the Hands of the Hunter it All Becomes Dead (Acetate!) 29.99
No Artist Sounds of a Tropical Rain Forest in America 29.99
Sunlight Lovers Cosmic Voyage 199.99
Velvet Underground White Light / White Heat 59.99
Traffic Shoot Out at the Fantasy Factory 29.99
Yardbirds Little Games 29.99