Monday, April 6, 2015

Hey Everybody,
The list this week is packed with great new titles!  We've got the limited gold wax LP edition of Follakzoid's latest "III", a boss reissue of the Czar LP, Elias Hulk's "Unchained" LP is back in print, some supreme weirdness with Gary Wilson's " Music For Piano", Owen Maercks "Teenage Sex Therapist" has been repressed on fancy red swirl wax, the mighty Papir offer up their scorching set with "Live At Roadburn" on double LP and the first ever legit vinyl reissue of Rick Saucedo's "Heaven Was Blue"…  But read on to the full list below to find even more thrilling sounds!

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.

New Video From Frankie And The Witch Fingers!

More Love For Rectal Hygienics "Ultimate Purity"

The fine folks over at Bearded Gentlemen Music gush more praise on Rectal Hygienics latest: Ultimate Purity

Los Angeles Shop Goings On

The LA Shop staff and Part Time Punks had a blast at the Disappears / Marriages / Cosmonauts / M. Geddes Gengras show at The Echo on Saturday!

Chicago Shop Shenanigans

Melbourne's The Twerps (Merge) will be playing the Chicago shop at 3PM on Saturday, April 11th so tell your friends and get yer buttz over here!  As always it's FREEEEEEEEEEEEEEE!!!!


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 10 copies left documenting this ultra obscure late 70's Chicago punk band!

7in - Bad Axe - Coachman b/w Poor Man, Run (Ltd 300) A mere 15 copies left of the hard rockin' archival jammer from '73!

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

LP - Afflicted Man - I'm Off Me 'Ead (Official 2013 Reissue, Repress, Black Wax, Ltd 300) 21 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, 9 copies to go.

LP - Chicago Triangle - Emergence (Black Wax, Ltd 200) SMALL WAREHOUSE FIND! 9 copies, grab it quick!

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 10 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 2, 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 14 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 - Headstone - Still Looking - Original 1974 Stock

Lance - Permanent Records Los Angeles

$199.99 → Email If Interested LISTEN


"The opening seven minute title track is a killer journey through local underground guitar psych, and there's plenty more good stuff aboard including some more lyrical moves. Underrated LP, solid all through, better than many $1000 LPs. Great generic sleeve of eagle "still looking". The band also had three non-LP 45s which are pretty good." -Acid Archives

"Headstone consisted of three Fiynn brothers and a friend Torn Applegate who recorded this, their sole album at the Rome Recording Studios in Columbus Ohio in 1974…This album is full of fuzz and extended guitar solos and most of the tracks are well constructed with lots of tempo changes and well played with super swirling Hammond, hard drumming, hard riffing and lots of guitar effects."-

LP - Brian Eno - Ambient 4: On Land - Still Sealed

Dave - Permanent Records Chicago

$49.99 → Email If Interested LISTEN

" On Land represented a significant move away from the strategies Brian Eno had employed in earlier ambient releases such as Discreet Music and Music for Airports. Instead of using a specific process to generate music with minimal interference from the composer, he here opts for a more gestural and intuitive approach, creating dreamy pictures of some specific geographical points or evocative memories of them. It's quite easy to imagine these works as soundtracks to mysterious footage of imprecisely glimpsed landscapes. On Land is an album that would become highly influential with the rising tide of new age composers, though few if any would capture the chilly beauty or latent romanticism that is part and parcel of Eno. The first piece, "Lizard Point," includes an early recorded performance of Bill Laswell on bass, and one imagines that his association with Eno was a crucial factor in the ambient directions his later work would sometimes take. On Land remains a landmark event in the genre, as well as one of its high-water marks, and sounds entirely up to date 20 years after its initial release. A superb effort." -

LP - Colin Newman - Provisionally Entitled The Singing Fish

Jamie - Permanent Records Chicago

$29.99 → Email If Interested LISTEN

" Provisionally Entitled the Singing Fish was originally released in 1981 and marked a departure from Newman's previous experience in bands, as he wrote all the tracks and played all the instruments. It is completely different from his earlier work and not in the slightest a pop record. Cinematic, but also slightly unfocussed, the thirteen tracks (Fish One, Fish Two, Fish Three, etc) are generally listenable and sometimes impressive, but can sometimes wander along without going anywhere. Quite a range of instrumentation is covered and most people will find something they enjoy." -

LP - Badfinger - No Dice

Jon - Permanent Records Chicago

$14.99 → Email If Interested LISTEN

" Badfinger's second album No Dice kicks off with "I Can't Take It," a rocker that signaled even if Badfinger still played pop and sang ballads, they considered themselves a rock band. What gave Badfinger character is they blended their desire to rock with their sensitive side instead of compartmentalizing. Even when they rock on No Dice, it's never earthy, like, say, the Stones. Badfinger's very sensibility and sound is modeled after the early British Invasion, where bands sang catchy, concise love songs. Yet there's a worldliness to their music absent from that of their forefathers, partially because Badfinger styled themselves as classicists, adapting the sound of their idols and striving to create a similar body of work. No Dice bears this out, boasting old-fashioned rockers, catchy pop tunes, and acoustic ballads. On the surface, there's nothing special about such a well-crafted, sharply produced, straight-ahead pop record, but the pleasure of a power pop album is in the craft. No Dice is not without flaws -- a byproduct of an all-writing, all-singing band is that some songs don't measure up -- but it does achieve the right balance of craft, fun, and emotion, due in no small part to Pete Ham's songwriting. Ham dominates the record, providing note-perfect openers and closers, along with the centerpiece singles "No Matter What" and "Without You," the latter a yearning, painful ballad co-written with Tom Evans. Collaborating with new guitarist Joey Molland, Evans wrote two other excellent songs ("I Don't Mind," "Better Days"), while Molland's own "Love Me Do" chugs along with nice momentum. Still, the heart of the album lies in Ham's work.. He proves that songcraft is what separates great power-pop from good, and it's what makes No Dice a superb pop record." -

LP - Brenton Wood - Baby You Got It

Robert - Permanent Records Chicago

$39.99 → Email If Interested LISTEN

"Getting it while the getting was good, Double Shot records issued this LP the same year they dropped Oogum Boogum. "Gimme a Little Sign," which was also included on Oogum Boogum, exploded worldwide and "Baby You Got It" had the same potential. An organ is the most dominant instrument on these half-baked but likable tracks. The songs are bubblegum-ish lyrically and musically but are not nearly as inane as the idiocy Buddah records was releasing on Ohio Express, 1910 Fruitgum Company, and others; besides, you can't help but admire Wood's vocal aerobics. Cuts to hear include: "Catch You on the Rebound," "Me and You," and "Three Time Loser."" -


LP - Follakzoid - III - Limited Gold Wax


"Föllakzoid began seven years ago as a trance experience between childhood friends Diego, Juan Pablo, and Domingo from Santiago, Chile. Heavily informed by the heritage of the ancient music of the Andes, the band has learned to integrate this influence with contemporary sounds of their times, creating a rich yet minimal atmosphere.

For III, the band wanted to expand their sound while building an atmosphere with mainly monochords and reiteration. After recording and mixing the album on their own at their studio at BYM Records, they partnered with German electronic maestro Atom TM to flesh out the album’s synth parts. Most of the sounds he provided were atonal electronic sounds, aiming for concrete frequencies and sampled organic glitches. (The Korg synthesizer Atom TM plays on this record was used by Kraftwerk on tour in the '80s.)

III is a four-part minimal sound voyage in which you can hear Föllakzoid’s musical language developing into something more upbeat, obscure, and sharp, yet even simpler in terms of elements. During the past year, the band played more than 80 gigs, including at Primavera Sound Festival (both Porto and Barcelona), ATP Festival in the UK, Musique Volantes in Lyon, and Lollapalooza Chile. The shows for III, including a confirmed set at Austin Psych Fest in May, should spread the band’s fog-enshrouded gospel to an even wider audience." - Sacred Bones

LP - Bourbonese Qualk - Bourbonese Qualk 1983-1987 - Import


"Mannequin Records is proud to present a compilation of one of the most important industrial bands active during the '80s in the UK. Bourbonese Qualk were an experimental music group from England, active from 1979 through 2003. They were always obsessively and uncompromisingly focused on controlling their work: they ran their own record label, recording studio, tour organization, and music venue (the notorious Ambulance Station). They refused to integrate into the commercial music racket and turned down publishing deals from major labels, stubbornly opting for total independence. They're also known for their political activism, formed in the crucible of 1980s Britain amid such influences as the UK miners' strike, The Falklands War, Thatcherism, monetarism, local government corruption, squatting, anti-capitalism, anti-fascism, and anarchism. Their work was often ambiguous and directly critical of cynical power-politics of any color, often irritating members of the traditional organized left. In 1984 Bourbonese Qualk occupied a large empty building on the Old Kent Road in South London, which they turned into a base for their activities, a cooperative space for artists, musicians, and writers, and a center for radical political activism -- specifically as a coordinating center for the Stop the City anti-capitalist riots of 1984. Throughout its existence the band had a number of different line-ups; this collection focuses on the period of 1983 through 1987, which featured the trio of Simon Crab, Julian Gilbert, and Steven Tanza. During this time the group released five albums: Laughing Afternoon (1983), Hope (1984), The Spike (1985), Preparing for Power (1986), and Bourbonese Qualk (1987), releasing all but The Spike on their own labels Recloose Organisation and New International Recordings. Most of the tracks on this collection were recorded in their studio at the Ambulance Station. The group chose never to record in a proper studio (not that they could ever afford to), working instead with their own extremely basic equipment at a time when home studios were very unusual. If Bourbonese Qualk have a legacy, it is that culture should be reclaimed, redefined, and owned by the people, wherever they are, however small, and not by the state or the market, and that culture is a vital vehicle for debate and radical change. The fight goes on. Mastered by Rude 66. Graphic design curated by Simon Crab and Alessandro Adriani. Double LP includes four tracks not included on the CD: "Dream Decade," "In Flux," "Sweat It Out," and "There Is No Night." - Mannequin Records

LP - Buzzsaw - From Lemon Drops To Acid Rock - Import - 2xLP


"From the ashes of '60s garage band The Lemon Drops comes power trio Buzzsaw with their loud heavy-psych sound. In the late '60s, The Lemon Drops, one of the finest garage-psych bands from Chicago (of "I Live in the Springtime" fame), relocated to the West Coast, where they gigged around and tried to secure a record contract. After a three-day "strawberry acid party" at manager Dan Herron's mansion, the original band disintegrated. And that's when power trio Buzzsaw was born, featuring Eddie and Gary Weiss (both ex-Lemon Drops) on guitar and drums respectively and Rick Fertel on bass. Buzzsaw was the perfect vehicle for Eddie Weiss (whose use of fuzz and distortion was the trademark sound of The Lemon Drops) to push his guitar and effects pedals to the limit. The trio used to visit Star Hill, Neil Young's old sawmill in La Honda, where they rehearsed and wrote songs. The photo used for the front cover of this collection was taken there. In 1971, Max Weiss (Creedence Clearwater Revival's manager) expressed interest in the band, so Buzzsaw entered Ampex Studios in San Francisco (the place where CCR had recorded "Suzie Q") to lay down some tracks. They also recorded some material at Pacific Sound Studios. All of these recordings were produced by Roger Weiss, the original producer of The Lemon Drops and co-owner of Rembrandt Records. Sadly, Buzzsaw only released one 45 during their short lifespan. And it was a frustrating release, as it included a recording from The Lemon Drops era on the A-side backed with a new song which didn't reflect the real sound of the band on the B-side. That 45 went nowhere, Buzzsaw split, and the recordings they did at Ampex and Pacific Studios remained unreleased until 1995, when some of them were included on Collectables' From Lemon Drops to Acid Rock CD. Out-Sider's double vinyl retrospective includes all the tracks from the 1995 From Lemon Drops to Acid Rock CD plus some amazing acetates and previously unreleased master tapes. The music is orgasmic '71 heavy psych/proto-grunge in the style of Hendrix and Blue Cheer with killer fuzz-wah guitar and melodic vocals. Eddie's guitar sound is just insane... despite the vintage '71 date, some of his playing would not be out of place on a High Rise or Ty Segall album. Remastered from the original tapes and acetates. Liner notes by original producer Roger Weiss." - Out-sider

LP - Czar - Czar - Reissue With CD


"Originally released in 1970, Czar is firmly established as one of the most sought-after progressive rock albums ever released in the UK. An intense brew of Hammond organ, Mellotron, and scorching psychedelic guitar, it's certain to appeal to fans of King Crimson, Atomic Rooster, The Nice, and Led Zeppelin. Presented here complete with eight bonus tracks and a full-color booklet (incorporating rare photographs and comprehensive sleeve-notes), this definitive reissue is simply essential for all lovers of heavy progressive psychedelia. 180-gram LP with 15-track CD and booklet." - Sunbeam

LP - Elias Hulk - Unchained (180gm reissue)



Elias Hulk thrusts some raw hard blues rawk to the masses with their sole album from 1970. For years, Unchained has been a wet dream for record collectors, and now Sommer has finally and legitimately re-issued this beast, giving it the 180 gram vinyl treatment. Elias Hulk utilize a formula of thundering drums (along with a few killer drum solos), throbbing bass, blistering guitars, nasaly vocals, and bong hits to make an ass kicker of an album. Lie down on some shag carpet, turn on a black light, get yourself 'proper', and listen to this firecracker.

LP - Ellis Island Sound - Divisions - Import


"Hot on the heels of their critically revered 2014 krautrock-meets-Afrobeat longplayer Regions (VG 007CD/LP), Ellis Island Sound's Pete Astor and David Sheppard return with a seven-track mini-album. Inspired by the main flow of Regions, Divisions is another fertile marriage between motorik Mitteleuropa pulse and subtropical guitar- and percussion-textures. This time, however, the emphasis is less on throbbing, NEU!-beat-propelled blow-outs and more on intricate, highly melodic arrangements for guitars, keyboards, and tuned percussion, with a spacious sound palette propelled by polyrhythmic marimbas and xylophones and layered with infectious lead lines and choral vocals -- the latter sourced by Astor and Sheppard from dusty archive recordings and manipulated into subtle, stirring descants on several tracks. Reference points might be the Penguin Cafe Orchestra's "Cutting Branches for a Temporary Shelter," Cluster's Sowiesoso, Steve Reich's Counterpoint compositions, or the juju pop of King Sunny Adé, with EIS taking such implicit influences and molding them into shapes that are distinctive and very much to their own design, a modus operandi that the gentlemanly duo have deployed for the duration of their unhurried but enduring career since 1996." - Village Green

LP - Gary WIlson - Music For Piano


"Edition of 500. "Although it might sound perverse to say so, Music for Piano may well be my favorite Gary Wilson record. Most people who dig Wilson are very into his lyrics, but I actually find them to be a bit taxing after a while. Those early records all sound and feel amazing, but what I really wanted was to hear the music without the words. I had high hopes when I found a copy of Another Galaxy, the 1974 Gary Wilson Trio LP, but it had a very different heft than that which Gary displayed on You Think You Really Know Me. It was really just a jazz LP. Well, here's some instrumental material from the same mid-late '70s time frame as You Think, and it's pretty amazing. There's one side of classic youthful piano destruction by Gary and the late Vince Rossi (one of Gary's most dependable collusionists). And the second side has five shorter tracks with a trio, that moves like oddball soundtrack music from '70s exploitation cinema (which is exactly what I'd hoped Another Galaxy would be like), before ending with the vocal track 'I Love Gary' -- as maniacally collapsed a 'pop song' construct as anyone could hope for. It's a great record. A bit more overtly avant than the other three GW LPs we've done. But surely you can handle that." --Byron Coley, 2015" - Feeding Tube

LP - Komodo Haunts - Suijin - Import

$22.99 → BUY NOW

"Komodo Haunts is the psychedelic drone solo project of Ollie Tutty (aka Mt. Tjhris), from Lincolnshire, UK. With his music he explores drone structure, sonic textures, meditative zones, and personal fictions. Making use of analog and digital technologies; tape jams playing on human familiarity, natural ambiances, faux-exotica, mythologies, "reality therapy." Taking inspiration from drone masters and new-age wanderers, the Suijin album is all about getting into "the zone" and could be the soundtrack to an unreleased Tarkovsky movie. Building up from a basis of minimalistic stylings in the vein of Terry Riley's Persian Surgery Dervishes and adding rich instrumental and vocal layers later. Notes on Suijin/notes on water: liquid forms; Suijin, the Shinto god of water -- water as a force -- the symbolic status of water -- people-water relationship. Instruments range from shifting tape loops to reverb-laden electric guitar and dark synths, human voice, wind, distorted bass, ceramic ocarina, acoustic strings, processed electronics, and oscillating waves. Artwork by Tutty. Glossy finishing. Limited to 250 copies." - Aguirre

LP - Marching Church - This World Is Not Enough


CD - Marching Church - This World Is Not Enough


"Although I have done a few things under the Marching Church moniker since 2010, the project, as in the constellation on this album, was born in November 2013 with Kristian Emdal, Anton Rothstein, Cæcilie Trier, Bo H. Hansen and Frederikke Hoffmeier.

We had agreed to play with Pharmakon at Mayhem, our warehouse space in Copenhagen, even though i hadn’t done anything with the project for quite some time. With two months before the show, I threw together a few half-thought-out ideas and sketches, presented them to the new band, and was amazed to see how the songs took life in their hands. I had a picture in my head of me in a comfortable arm chair, adorned in a golden robe, leading a band while a girl kept pouring me champagne. "What would this picture sound like?" was the question.

For some songs I was inspired by my friend Jamie Cripps, who unfortunately is no longer with us, and his project The Pale Horse, as well as a record by David Maranha called Antarctica that I was played one night at my favourite bar, The Nightingale in Tokyo. Those records made me want to create something that sounded half asleep and like it was being dragged across the ground, or smoldering in a bonfire, in order to keep on playing. At least that was the initial inspiration, in time it got a bit overtaken with an idea of being the leader of a soul group—people like James Brown, Young Americans-era David Bowie, and Sam Cooke were inspirations in this aspect.

Improvisation, something I have never done before, was crucial in the making of this album. The album works because of the band’s incredible ability of breathing life into these loosely written and at times very simple ideas and experiments. Though Marching Church might be a dictatorship, This World is Not Enough was very much a collaborative effort. Everyone involved does other projects as well, but I wouldn’t want to see it as a "side project." That term seems degrading.

In conclusion, half-disgusted with talking about myself, I’m going to leave you with This World Is Not Enough—eight songs of nocturnal longing, preposterous self-obsession and cockeyed etiquette.
Elias B. Rønnenfelt" - Sacred Bones

LP - Owen Maercks - Teenage Sex Therapist - 2015 Repress On Red Swirl Wax


After blowing our collective noodles with the Jack Ruby reissue, the folks over at Feeding Tube are back AGAIN this time with this limited reissue of an privately pressed ("promo only") album from Bostonian Owen Maercks! The Feeding Tube is cocked and loaded with a real banger of a recommend from Byron Coley, so read on for a spell, wouldja?:

"Owen Maercks' Teenage Sex Therapist LP is one of the forgotten twisted pop masterpieces of the 20th century. Owen had been in Monster Island with Henry Kaiser, who proposed he do a solo album of his songs. Henry had moved back west by this time, so Owen went out and recorded this album there. Henry produced, and added amazing horn parts by Jon Oswald, Larry Ochs and John Gruntfest. The album was mixed, pressed and distributed exclusively to radio stations, record labels and the like, in the hopes of getting Owen signed. The music didn't fit any extant pigeonhole, however, so no deal was in the offing. About the only note of its passing was made by an A&R guy at Elektra, who swiped the arrangement (and lyric rearrangement) of "Little Black Egg" (originally by the Nightcrawlers) for use by his protégées, The Cars. Well, fuck them. Teenage Sex Therapist is ripe with jaw-drop moves. Flashes of Eno, Beefheart, Lou Reed, the Bonzos, and various of Owen's other obsessions, fight each other for air-time. And everyone goes away a winner. If this one doesn't make your teeth wiggle, you need a new jaw." --Byron Coley; LP comes with a download card."

We're gonna go ahead and say it - YOU NEED THIS RECORD. Holy guacamole!!! Maercks was live and on the scene in Seventies/Eighties Boston, collaborating with Henry Kaiser (in Monster Island) and recording his own tunes on the sly, but the world would have to lie in wait for this double-barreled monster to truly see the light of day. Part avant noise-rock (with guitar from pal Kaiser) and part post-punk/glam moves (Pere Ubu, Roxy, Eno, etc) 'Teenage Sex Therapist' slithers off the turntable like a drunk python, squeezing you ever so slightly, and before you realize it, "Nancy Calls Collect" rockets off the B-side and - it's too late. You're doomed. This reissue's CRIMINALLY limited to 600 copies in hand-pasted jackets and features remastered audio too! BUYER BEWARE: a reissue of this quality WILL NOT stick around for long, so snatch this one up QUICK. This one's a "Top Tenner" FOR SURE! We'd even say it's A REVELATION. (It's RECOMMENDED too, duh)

LP - Papir - III+IIII - Import - 2xLP


"Papir, from Copenhagen, Denmark, have gradually developed their unique vision of instrumental psychedelic rock over the course of four albums. The two albums collected here, Papir III (EPR 012LP, 2013) and Papir IIII (EPR 015LP, 2014), perfectly encompass everything the band represents -- from explosive, guitar-solo driven peaks through motoric krautrock grooves to peaceful and atmospheric soundscapes. Recorded in two different sessions, one in Copenhagen and another out in the Danish countryside with Causa Sui's Jonas Munk, who also mixed and mastered both albums, producing them with an organic but powerful sound and maintaining the full dynamic range." - El Paraiso

LP - Papir - Live At Roadburn - Import - 2xLP


"After four studio albums, Papir unleash their first live album. It's surprising it took so long, since the band's shows have long been revered among fans. Recorded at the 2014 Roadburn Festival in Tilburg, Netherlands, where Papir were asked to perform three times. It's the complete recording of the first and finest of these shows that Papir have chosen for this release, and it's all here: Christoffer Brøchmann's jaw-dropping drum chops, easing from delicate jazzy drumrolls one second into deranged math-psych explosions the next; Nicklas Sørensen's vast array of guitar styles, blending post-rock drones with majestic wah-drenched soloing; and Christian Becher keeping it all together with his bouncing and booming bass lines, as well as utilizing his groovemaker to make blistering ethereal soundscapes. From the first note, Papir show just how far they've travelled over the span of a few years, catapulting a motoric track off their 2010 self-produced DIY self-titled debut into new soaring heights. The show also reworks "Monday" and "Sunday #2" from Stundum (EPR 007CD/LP), their first El Paraiso release, and drops a highlight from 2014's IIII (EPR 015LP) into the equation. As if this wasn't enough, they premiere two tracks with the same stamina, making sure that Live At Roadburn is not just a roadmap of where they've been, but very much an up-to-date snapshot of one of Europe's hardest working instrumental outfits. The album was mixed and mastered by Causa Sui's Jonas Munk from a 24bit multitrack recording." - El Paraiso

LP - Reptar - Lurid Glow - Color Wax


CD - Reptar - Lurid Glow


"Continuing their exploration of indie-electro-guitar-pop-weirdness, Reptar returns with their second full-length album, Lurid Glow. A diverse amalgamation of sounds and styles delineate the music of Reptar, culminating from the band’s disparate array of influences. Comparisons can be made to bands like Talking Heads and MGMT, but Reptar simultaneously showcases musicianship in the heritage of Frank Zappa, Rush, Mike Patton, and Tortoise - creating a blend of party music suitable for music nerds.

The band’s 2012 debut, Body Faucet, was characterized by Pitchfork as “Afro-tribal-electro-twee-pop” for college kids who “seriously like nothing more than to throw the fuck down” (3.0 out of 10). Now in 2015, Reptar is back to deliver on the hype. Lurid Glow is an expansive, artful development for the band, as catchy as it is difficult to classify. Building upon their party-wielding instincts, Lurid Glow fuses arrangements of horns, keyboards, guitars, and much more into compositionally-refined, booty-shaking anthems. Whether it’s the pulsating “Ice Black Sand” that transforms effortlessly from droning arpeggios to gorgeous pop choruses, the simple marimba serenade of “Amanda”, or the 80s-prog-tinged “Cable”, Lurid Glow is a compelling statement from a band on their own unruly trajectory." - Joyful Noise

LP - Rick Saucedo - Heaven Was Blue - Reissue


 "First ever legit vinyl reissue of Rick Saucedo's mind-expanding, one-man, multi-tracked private press miracle in sound from 1978. Master tape sound; original artwork; includes insert with interview with Saucedo and detailed liner notes by Jeremy Cargill (Got Kinda Lost/Ugly Things). Heaven Was Blue drifts in the same sonic milieu as fellow travelers in '60s square peg joy Darius, Marcus, D.R. Hooker (without the lounge allusions), or late period psych adventurers Michael Angelo and Bobb Trimble -- and his concentration and vision equals or exceeds these international underground heroes. Rick Saucedo is an internationally-known Elvis tribute artist, actor, and singer-songwriter from Chicago. In 1978, after some years of doing his Elvis show, he decided he wanted to have his own identity, and recorded an album with his own songs, influenced by The Beatles and Pink Floyd. All instruments on the album were played by Rick with help from a couple of friends. Songs like "Reality," which was written in a graveyard just after the passing of Mr. Presley, or "In My Mind," which dates back to 1967, written just after Sgt. Pepper had come out, are prime examples of dreamy acid psych with Lennon-esque vocals, lysergic guitars, and studio effects. There's also a couple of fuzz rockers with a strong '50s vibe, and then there's the album centerpiece: the impressive 18-minute "Heaven Was Blue" suite, which Rick envisioned as an "acid trip dream." In words of Patrick Lundborg, "Saucedo pulls it off. Somehow like how you turn the wheels on a kaleidoscope, new melodies, guitar figures and arrangements emerge out of the old ones every three minutes, each sequence more swirling and enchanting that the last, with a sense of progression throughout." This expanded reissue offers a full extra album of bonus tracks: "Oh My God" was the conclusion to "Reality" and "In My Mind," recorded in 1978 but omitted from the original album at the last moment. Previously unreleased on vinyl until now. "Baby in the Sand" and "It Burns Again Today" were written during the Heaven Was Blue sessions but went unrecorded until 1991; they're terrific sitar-drenched melodic psych in the same vein as the original album. Previously unreleased on vinyl until now. And there's also both sides of the post-album single Reality/History Makin' - Country Shakin', which featured different mixes and an alternate mix of "Reality." These tracks were originally released as promo 45s in very limited quantities." - Guerssen

LP - Rudiger Lorenz - Southland - Reissue


"Just when you thought you had heard everything that German electronic music of the 1980s had to offer, up pops an artist who has resolutely stayed off the radar all these years, in spite of having a discography which lists no less than 18 albums. (Hobby) musician Rüdiger Lorenz, a pharmacist by trade, completed an album almost every year beginning in the early 1980s, first as limited runs of two to three hundred on cassette, then switching to vinyl in 1983, and CD in 1990. His last album was released in 1998. Two years later Lorenz died -- unexpectedly and far too soon. In his youth, Lorenz became familiar with bands like Kraftwerk, NEU!, Can, and Cluster. These bands had a lasting influence on his relationship with music, guiding him toward electronica. Electronic music carried a huge practical advantage for Lorenz in pursuing his craft: he was by nature more of a loner, rather than someone who fed off the group dynamic of playing in a band. Soon after purchasing his first synthesizer set-up he quit his band and installed a studio of sorts in his living room. In 1981 he released his first cassette album. Initially intended merely as something to be handed out to friends, the music was surprisingly well received, encouraging Lorenz to persevere. Year in, year out. After work and on weekends. Most copies were sold in the USA. His synthesizer collection grew larger, containing kit pieces, home-made elements, and newly purchased units. One of his own creations, the Loran Modular synthesizer, even found its way into various synthesizer lexica. Lorenz, however, was by no means a classic electronics tinkerer. His technical skills were limited to soldering, as he admitted in a radio interview for HR3, the only interview he ever gave. Southland was created in 1984 and perfectly encapsulates the two facets that dominated German electronic music at that time: on the one hand, poppy, at times absurd tracks, informed by such pre-NDW (German new wave) musicians as Pyrolator; on the other hand more plangent, spherical music echoing Tangerine Dream and the like. His son Tim, thirteen then (now a member of Andreas Dorau's live ensemble), can be heard speaking a few lines into a vocoder on "Strange Feelings," and later, as a graphic design student, Tim prepared artwork for his father's releases." - Bureau B

LP - Soft Moon - Deeper


"Luis Vasquez never intended for The Soft Moon to reach the public’s ears; for him, music has always been about self­-actualization rather than self-aggrandizement. Nevertheless, the bleak, hushed sounds he created years ago in his small Oakland apartment bubbled to the surface and 2010 saw his debut LP, The Soft Moon, released on Captured Tracks rise to critical acclaim. Pitchfork’s 8.1 review stated that Vasquez made “oblivion seems like an enticing prospect” and, indeed, listeners were immediately drawn into his murky musical wasteland, swathed in the moody atmospheres of jagged dark wave and wayfaring post­punk. For them, and for Vasquez, there was no turning back. The Total Decay EP and Zeros emerged soon after, and now Vasquez returns with The Soft Moon’s most introspective and focused album to date: Deeper.

Following live line­-up changes and a lull in the The Soft Moon’s constant touring schedule, the year 2013 found Luis Vasquez lost in the void. Though he fatalistically stated that 2012’s Zeros would be the last album where he was the sole songwriter, Vasquez realized that The Soft Moon has always been one man’s vision. Over time, it’s been the one place where Vasquez can express himself, totally and singularly, on his own terms.

Thus, in July of 2013, Vasquez decamped from Oakland, CA to Venice, Italy, unsure of where The Soft Moon would land. While Zeros was written and recorded between long days on the road, Deeper was begat from an almost primal urge to recoil from the world and experience total solitude. During the writing process, Vasquez pushed himself to discover the reality and nightmare of living with yourself, in entirely foreign surroundings with nothing and no one to fall back on. Stepping back and letting inspiration fall where it may, Vasquez only had one goal in mind for his third album: to pen his most emotional record yet. Between frequent visits to Berlin, Vasquez retreated to Venice’s Hate Studios, located in the mountains near electronic guru and spiritual anchor Giorgio Moroder’s hometown.

At Hate, he worked for almost a year with producer Maurizio Baggio to piece together Deeper, only completing the album in August 2014. While maintaining the stark sonic formula so indicative of The Soft Moon’s music — that bass that reeks of chorus, those unrelenting, mechanized beats, that wailing synthesizer and those eerily, angular guitar lines that worm into your ears and never leave — Baggio also worked to refine the album’s gothic palette, leaving Vasquez to concentrate more intensely on songwriting and singing than ever before:

“I’ve never worked so closely with someone before. Working with Maurizio felt right and I completely opened up to him during the entire process. I finally felt the urge to express myself more verbally with this record and I was able to focus more on songwriting rather than just experimenting with soundscapes.”

The voice of The Soft Moon has never been more clear and honest than it is on this record. With eerie, immersive tracks like the dogged “Far” and slow, beautifully melancholic “Wasting” (the first track written for Deeper), the album is a penetrating portrait of Vasquez as he wrestles thoughts of suicide, vulnerability and what it means to heal. By facing the most hopeless parts of himself without illusion and putting his past demons to bed, the creation of Deeper was an intense personal exploration of existence for Vasquez — old wounds were forcibly opened, deep anger and paranoia were manipulated into song — and he did not emerge unchanged. Deeper may have delivered Vasquez back to the waking world, but it willingly drags us further into The Soft Moon’s dark, euphonic universe once more." - Captured Tracks

LP - Soko - My Dreams Dictate My Reality - With CD


CD - Soko - My Dreams Dictate My Reality


"Silver foil gatefold LP version with white inner sleeve; includes CD. Once a soft-spoken singer-songwriter, Soko's music quickly caught up with her untamable persona. In 2012, Soko released her debut album I Thought I Was an Alien (BEC 5161135). The album featured the track "We Might Be Dead By Tomorrow," soundtrack to the video "First Kiss," which has clocked about 100 million views. The track skyrocketed to the Top 10 of the Billboard Charts and did about 11.5 million streams (No. 1 Debut On Streaming Songs). Soko has now revamped her once innocent yet morbid folk into an insolent follow-up record, My Dreams Dictate My Reality. Produced by the legendary Ross Robinson (who has also produced her favorite band, The Cure), the album features the hypnotic duet "Lovetrap" with friend and lo-fi wizard Ariel Pink, who also appears on "Monster Love." '80s new-wave influences meet post-punk, with great hooks and melodies and the potential for some major hits, including "Who Wears the Pants." - Babycat

LP - Spelljammer - Vol II


"On their second EP, ‘Vol II’, Sweden’s Spelljammer have slightly reeled in the desert influenced stoner-groove approach that defined ‘Inches From the Sun’ in favor of a more doom oriented sound. The band hasn’t completely retooled their songwriting, but they have merely made an incremental shift in approach and the effects couldn’t be more stellar. All three tracks that make up ‘Vol II’ are immense, both in length and heft. - Steve Miller (Doommantia)" - Riding Easy

LP - Triptides - Predictions - Import


""Follow up 'Predictions', is much more confident. Seeming to completely grasp how to use the studio as an instrument, Triptides slice together garage-punk, elements of psych and 60s West Coast pop. Yet this isn't some retro experiment. 'Predictions' is imbued with a real sense of character, with Triptides able to impact their own identity onto their influences" - Clash Magazine

"Listening to the 13 tracks on this pleasurable album is like taking a visit through three separate yet connected eras of pop/rock music. In Triptides’ sound I hear very early Love and The Leaves from the 60s, 80s Paisley Underground bands such as The Rain Parade and Plasticland, and current acts along the lines of both Tame Impala and The Allah-Las. There’s jangle in what they do, there’s both soft pop and garage, there’s echo-laden psychedelia. And, even though the band’s from Bloomington, Indiana, the whole thing feels like a blissfully hazy day spent around the Pacific Ocean" - Psychedelic Baby" - Stroll On Records

LP - Various Artists - Disco Dildar - Import


"Finders Keepers Records presents Disco Dildar, a concise party pack of opulent, off-center Pakistani party targets driven by the pounding drum box rhythms of some of Lollywood pop's most notorious studio scientists.
- Rare plugged-in proxy pop from some of the country's lesser-known teen flicks spanning the late 1970s and '80s, featuring drum-heavy disco guesstimates built around multilingual lyrics, cut-and-paste electronics, and fuzz-tones.
- Features tracks composed by Tafo Brothers, M. Ashraf, Nisar Bazmi, Sohail Rana, and Kamal Ahmed, and voiced by Mehnaz, Nahid Akhtar, Runa Laila, and Queen Noor Jehan." - Finders Keepers

CD - Camouflage - Greyscale - Import


"The year 2015: one retro wave follows the next. Synthpop is bigger than ever. All around the world, current productions reference the sound that emerged from pre-reunification Germany. So where are the originals -- the bands and artists of that time -- today? Many can be found doing the rounds at '80s parties held by local radio stations. Others are investing the royalties from their back catalogs in the cultivation of organic vegetables. Not so for Camouflage. That's right -- THE Camouflage -- the masters of sadness dressed up in electronic songs. Flashback: in the late 1980s, Heiko Maile, Oliver Kreyssig, and Marcus Meyn were schoolboys with synthesizers and a keen ear for the musical zeitgeist. It was a world dominated by fears and apocalyptic scenarios, non-aggression pacts and embargoes. The Cold War was almost over; the Berlin Wall was still standing. It was in this landscape that Camouflage unleashed their music: driving, demanding, and so beautifully sad in its invitation to lose oneself in eternity while dancing. The band flitted directly from the small German town of Bietigheim-Bissingen all the way to the United States in 1987 with "The Great Commandment." Their music brilliantly combined the icy coolness of Kraftwerk, the pop of OMD, and the melancholy gloom of Depeche Mode. Their 1988 debut album Voices & Images went to number one on the Billboard Dance Charts in the U.S.A., and the 1989 follow-up, Methods of Silence, merged seamlessly with this momentum. With the single "Love Is a Shield," Camouflage created a gem of a hit that still graces dance floors and radio stations worldwide. A lot has happened on the planet since then, and the band has traveled a long path that was anything but straightforward. In the '90s they played with styles and producers and experimented. The record companies, meanwhile, placed their bets on other horses that could chase the trends faster. "That's show business," thought the band, while continuing, undeterred, to make records and tour the world from Russia to Mexico, steadily expanding their fan base all the while. The temptation to indulge in nostalgia has always remained very faint with this band, so it's no surprise that Camouflage now emerge with Greyscale, an album that is strikingly current and compelling, both musically and lyrically. Features an appearance from Peter Heppner (Wolfsheim). CD includes exclusive track "If..." - Bureau B

CD - James Blackshaw - Summoning Suns


"Summoning Suns is James Blackshaw's tenth studio album and the first recording to feature his voice and lyrics. Drawing inspiration from '60s and '70s singer-songwriters, baroque and orchestral pop, and folk music, while still sounding contemporary, Summoning Suns is Blackshaw's foray into more traditional forms of songcraft. Blackshaw sings in a gentle but assured voice while his words combine his personal experiences, neuroses, and fantasies through many layers of abstraction, poeticism, and dark humor. While the deft acoustic guitar fingerpicking of Blackshaw's previous recordings is still a prominent part of the sound, the songs are lushly and intricately arranged for drums, bass, piano, violin, flute, and pedal steel guitar and feature contributions from Simon Scott (Slowdive), Annie Nilsson, and Japanese musicians Mori Wa Ikiteiru and Kaoru Noda (with whom Blackshaw duets in Japanese on one song)." - Important

CD - Ryley Walker - Primrose Green


"On first listen, it’s easy to mistake Ryley Walker’s sophomore album as the forgotten effort of a heralded ’60s British folk-jazz quartet. Opening with its earthy title track, Primrose Green whisks listeners back several decades. The Chicago songwriter wields his guitar with masterful ease. It’s more than an extension of his body — it’s an extension of his imagination. His fingerpicking style takes off on its own, ambling down a path, kicking pebbles and scuffing its heels, too busy looking up at the sky and wondering how large it really is to be concerned with where exactly it’s headed. It moves comfortably at its own pace, all the while blissfully unaware of its own complexity.

At just 25 years old, Walker is seemingly decades ahead of most of his contemporaries in both technical skill and composition. The fingerpicking on “On the Banks of the Old Kishwaukee” wanders with a tumultuous spirit. Walker is wedded to his instrument — so much so that he was once fired from a job at Jimmy John’s for practicing in their walk-in freezer. That discipline eventually brought him to lacquer his fingertips at cheap salons in pursuit of a smoother sound. Several years later, he can last through dizzying codas on “Same Minds” or cheeky Irish licks on “Griffiths Bucks Blues”.

Who knows where he learned it, but Walker is hyper-aware of his vintage folk precursors. From the Nick Drake simplicities of “Love Can Be Cruel” to the Van Morrison weight of “All Kinds of You”, he follows up his debut album (also titled All Kinds of You) by burying himself deeper in the ’60s folk of Tim Hardin and John Fahey, coupled with free jazz wanderings. It’s a history well noted and well tailored to his songs.

Much of the reason Primrose Green can stand on its hind legs is because of the ornate work of Walker’s backing band. Walker’s decision to bring jazz musicians on board came from careful observations of the folk giants before him. John Martyn had double bassist Danny Thompson; Tim Buckley had guitarist Lee Underwood. Their folk sessions saw jazz musicians wandering into the studio beside them, wringing out a final product littered with improvised licks. Similarly, Walker has guitarist Brian Sulpizio and pianist Ben Boye. Primrose Green coalesces bare pastoral swirls of upright bass and dreamlike piano with the kind of background chatter you would find at a coffee shop. Joined by cellist Fred Lonberg-Holm, drummer Frank Rosaly, double bassist Anton Hatwich, and vibraphone player Jason Adasiewicz, Walker incorporates improvisational jazz without compromising the album’s folk core.

Whereas William Tyler, Steve Gunn, and Daniel Bachman create long, instrumental escapades, Ryley Walker does the same but with hearty vocals added to the mix. His voice scratches with an undercurrent of soul on “Summer Dress”, washing up against the shores of Bert Jansch. What he does differently, though, comes in his looser tone. Every rustic growl etches curlicues into the song’s core. Even the explosive electric fuzz that interrupts “Sweet Satisfaction” fits snugly thanks to his clear calls that howl over it all.

Ryley Walker, much like his contemporaries, isn’t trying to build an image. That’s how he belies his age. He’s the nondescript, shaggy-haired musician who looks like any other 20-something with an acoustic guitar in his bedroom. But when he’s got a microphone in front of his lips, he transforms into a man twice his age. Walker couldn’t care less about who’s who in a world of competing buzz and social media politics. He isn’t looking to have a billboard face that draws onlookers into his set. Walker wants to jam, and if you want to listen while he does so, that’s fine. He doesn’t care if you applaud. He doesn’t care if you even remember his name. For Walker, it’s about breathing life back into ’60s folk until it bursts with springtime charm, and Primrose Green is 2015’s ultimate encompassment of that sound." - Consequence Of Sound" - Dead Oceans


Infra Red Funk Ina Trouble Times 12" Sealed $74.99
Radio Fashion Clones 12" Sealed $74.99
Eddie Russ See The Light $39.99
Victims Real Wild Child $29.99
Friendsound Joyride $29.99
Fred Miller The Sounds Of Love …A To Zzzz $29.99
Hampton Grease Band Music To Eat $29.99
John Cale Slow Dazzle Sealed $39.99
Standells Why Pick On Me $29.99
Guns N' Roses Appetite For Destruction $29.99
Harry Nilsson Pandemonium Shadow Show $29.99
Shoes Black Vinyl Shoes on PVC $39.99
Brian Eno Ambient 4 On Land Sealed $49.99
Colin Newman Provisionally Entitled The Singing Fish $29.99
Fela Kuti and Afrika 70 Zombie Sealed $124.99
Dream Syndicate The Days Of Wine And Roses $29.99
Zappa/Mothers of Invention We're Only In It For The Money $29.99
Pere Ubu The Art Of Walking $29.99
T Rex The BBC Recordings 1970-1976 3xLp $29.99
Bil Vermette Katha Visions $39.99
Hawkwind In Search Of Space w/ Hawklog! $49.99
Link Wray Die Cut Self Titled $49.99


Clash Sandanista! $29.99
Dead Kennedys Give Me Convenience or Give Me Death $39.99
Peter Bardens Answer $149.99
Black Orchid Three Sounds $29.99
Bob Dylan Blonde on Blonde $29.99
Beastie Boys Licensed to Ill $29.99
v/a Decline of Western Civilization $29.99
Chuck Berry One Dozen Berrys $29.99
Miles Davis Sketches of Spain $29.99
Kate Bush Kick Inside (Still Sealed) $29.99
Art Blakey Moanin' Art Blakey and the Jazz Messengers $29.99
John Cale Slow Dazzle $29.99
Dr. John Babylon $39.99
Hand Ballard and the Midnighters Greatest Juke Box Hits $29.99
Budgie In For the Kill $29.99
Sam Cooke The Man and His Music (Still Sealed) $29.99
Audience Friend's Friend's Friend $99.99
Grateful Dead Without a Net $99.99
Laraaji / Eno Ambient 3: Day of Radiance $29.99
Brian Eno Another Green World $29.99
Fripp & Eno Evening Star $29.99
Brian Eno Before and After Science $29.99
Genesis Trick of the Tail (Mobile Fidelity Sound Lab) $49.99
Herbie Hancock Headhunter $29.99
Roy Harper Stormcock $49.99
Slim Harpo Best of $29.99
Slim Harpo Baby Scratch My Back $29.99
Happy Mondays Bummed $29.99
McKinley Morganfield aka Muddy Waters $29.99
Moody Blues Days of Future Passed $29.99
Metallica …and Justice for All $49.99
Led Zeppelin III $29.99
Megadeth Peace Sells…But Who's Buying? $29.99
Pink Floyd Wish You Were Here (Promo) $49.99
Pink Floyd Works $29.99
Pink Floyd Animals (Rare Promo) $49.99
Premiata Forneria Marconi Per Un Amico $99.99
Sinead O'Connor I Do Not Want What I Haven't Got (Still Sealed) $29.99
Soft Machine Third $29.99
Klaus Schulze Picture Music $29.99
Klaus Schulze Body Love $29.99
Sonny Boy Williamson Bummer Road $39.99
Townes Van Zandt Delta Momma Blues (Promo) $39.99
Tom Waits Blue Valentine $29.99
Tom Waits Nighthawks at the Diner $29.99


        4/11/2015 - 3 PM
        Twerps (Merge / Melbourne)

        5/23/2015 - 5 PM
        CCR Headcleaner (San Francisco)
        w/ TBA

         7/4/2015 - 2 PM
         Broken Water (Olympia) // HAKI (Chicago)
         BBQ out back!


       7/18/2015 - 6:30 PM
       Melkbelly (Chicago)
*** ALL shows are FREE and ALL AGES unless noted otherwise ***