Permanent Records Chicago & Los Angeles

" Back in 1989, the Action Swingers burst onto the NY underground music scene with one of the nastiest, snottiest, pissed-off 7-inch releases of all time. Written in fifteen minutes, rehearsed only once and recorded for $100, “Kicked in the Head” b/w “Bum My Trip” was an immediate slap in the face of garage punk fury. The band was the brainchild of singer / guitarist / songwriter Ned Hayden, who had previously played in the Nightmares and Pontiac Brothers. Backing him on their debut single was Julie Cafritz (Pussy Galore) on guitar and Johan Kugelburg on drums. The combination of Hayden’s bile-spewing vocals, the cavernous, fuzzed-out guitars and the trashcan drums made their debut single an immediate classic. Shortly after it was released, Kugelburg was relived of drum duties and replaced by J Mascis (Dinosaur Jr, Deep Wound), who was then replaced by Don Fleming, who played drums on the band’s follow-up single “Fear of a Fucked Up Planet.” For the better part of the ’90s, the band continued to record and release a slew of incredible albums and singles on various labels and became a revolving door for East Coast musicians. In addition to those named above, the Action Swingers featured Bob Bert (Sonic Youth, Pussy Galore), Pete Shore (Unsane, Boss Hog), Howie Pyro (Blessed, D Generation) and Bruce Bennett (A Bones), to name a few. The band toured Europe extensively where they gained a loyal following, particularly in the UK where they received much airplay from John Peel and written praise from Everett True in NME. In 1994, Caroline Records issued a CD compiling the band’s first two singles with unreleased recordings from around the same period. Hilariously titled Quit While You’re Ahead by Hayden, this collection served as a nice reminder of just how brutal and raw the band was in the beginning. Previously unreleased tracks like “Miserable Life” and “Losing My Cool” are every bit as vitriolic and pulverizing as the tracks they had chosen to release. In The Red is now happy as a pig in shit to give this collection its first ever vinyl release. This is uneasy listening at its finest." - In The Red

LP - Alceu Valenca - Molhado De Suor - Reissue

"I am the fruit of the culture of my country, Violas, the singers, the guitar players, the Lusitanian pastoris, the frevo and blocks, maracatu, black, and the Moorish thing.” —Alceu Valença Brazil in the early 1970s had one of the vibrant music scenes in the world. Tropicalia was going strong, a challenge to both the music establishment and the state. Música Popular Brasileira (or MPB) was firmly established. Up in the northeastern corner of Brazil, centered in Recife, was another exciting strain of Brazilian culture called Udigrudi. Lula Cortes, Ze Ramalho and Satwa were a few artists from the movement; but none is more celebrated than Alceu Valença. Valença grew up with the expectation of being a lawyer. He did go to law school, but he ditched the legal life for his first passion: music. In 1970, he played with Ave Sangria. Soon after he made a couple records with his friend, the artist and musician Geraldo Azevedo. However, his first solo album Molhado De Suor is what truly caused people to take notice. While other Udigrudi musicians melded traditional northeastern Brazilian music and rhythms with folk rock and psychedelia, it was Molhado De Suor that set the mark high. Aided by Lola Cortes and Geraldo Azevedo, Valença’s rich vocals combine with driving guitar work, moody arrangements and unusual trips. Molhado De Suor is a record Slipcue calls innovative, insistent and vital. It is considered a Brazilian classic, often landing in Brazilian “Best of All Time” lists and sought after by collectors. Valença followed its release with many albums, each one establishing him as not only superstar, but the one artist who most successfully integrated the sounds of his native region, Pernambuco, with pop and rock. He’s collaborated with filmmaker Sérgio Ricardo, acted in film and on stage, played Montreux Jazz Festival and countless other festivals, and has received or been nominated for numerous awards including a Latin Grammy. And what is probably the biggest honor of all, in Brazil he is known by one name, Alceu. Molhado De Suor was originally released in 1974 on the Som Livre label and has never been reissued. Sol Re Sol is proud to bring this important album back in print." - Sol Re Sol

LP - Cairo Gang - Goes Missing

"There is no sweeter cry than a cry of love, and no greater love than a love of music. Like mercury through our clutching fingers, it is here and gone and spikes the blood like poison—and the CAIRO knows, he’s flown all ‘round this world, sewin’ seams and sowin’ seeds in the name of that most rare, that sweet, and on the wind, melody. When he ”Goes Missing”, bet on it—that with guitar in hand and cry from deep in his chest, he’s in search of a place to beat his feet, and play the music again. Playing with other artists over the years, EMMETT KELLY has exhibited an encompassing approach to music which lends flexibility to THE CAIRO GANG's song-style. He’s a harmony singer of supreme skill, bringing not only a sweet and supple voice but also a tremendous sympathy to the singing of it (as anyone who’s caught Cairo onstage with the Bonnie ‘Prince’ will ever know). Now a couple albums and tapes and singles and things into it he’s making streamlined music for the ears, constructing with a heavy hand in order to have a heavy impact with more than just sounds, but songs, and beaming them in on bright bolts of sunshine so as to be valued by our walnut-sized pleasure centers. Gone Missing isn’t just an awesome, awesome-sounding record of guitar pop that rocks, of songs sweetly hung with candified hooks; also it’s a new report from the side of the road." - God?

LP - Cathode Ray Eyes - Eyes In The Melancholy Palm

"Eyes in the Melancholy Palm, the debut long player from CATHODE RAY EYES (RYAN DELGAUDIO from THE CULT OF DOM KELLER) is a dark, brooding record that lurches from fuzzed out deranged pop (“Harry Houdini”) to cinematic instrumentals (“And the Burial Had Several Different Endings”) to dark gothic psych rippers. It is a eerie, bizarre world of Cathode Ray Eyes. Despite the Celtic Frost-summoning title, Eyes In the Melancholy Palm is psych rock par excellence. Heavily distorted vocals leer from behind a gauzy curtain of drone-laden, looped guitars; narcotic splinters of gothic, ambient waves underneath: Joy Division scoring 28 Days Later. Grinding Halt. LP is pressed in an edition of 500 copies, all on pristine white vinyl, housed in a heavy weight jacket. “As a whole, Eyes in the Melancholy Palm seems much more focused on the space of its arrangements than the structure – as many of the songs take less traditional approaches. There are still fuzzy rock elements, but they take a back seat to many of the slower, ambient tracks that really stitch Eyes in the Melancholy Palm together to form a cohesive, impressive debut; it’s wonderfully lo-fi, eclectic, gritty, and at times very strange.”—The Active Listener" - Captcha

LP - Claude Lombard - Claude Lombard - Reissue

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Breezy and bubbling outer-space psyche-pop from French chanteuse Claude Lombard - originally released in 1969 on the Disques Jacques Canetti label as "Claude Lombard Chante" and reissued here by the Mpls Ltd label. Lombard's voice reminds us of rockin' French yé-yé singers like Clothilde or Sylvie Vartan crossed with Dusty Springfield or Shocking Blue vocalist Mariska Veres, sensitive when need be, but possessing a powerful timbre that could rattle yer bones when necessary. The "Claude Lombard" album is a loungey affair that swings dark and easy with a yearning, psyche-undercurrent. The arrangements are moody and sometimes amorphous swaying in and out of focus and lends the album a whiff of avant-experimentalism not unlike Nineties krauty-loungers Stereolab! Produced by Roland Kruger who would go on to produce the crate-digger's white buffalo album "Jungle Fever" by Chakachas! If you love any of the nouveau lounge stuff or French pop, you NEED this one - we do and we're diggin it - especially at this nice price! RECOMMENDED!

LP - Flesh Panthers - NGC 2632 - Colored Vinyl

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"The songs of Flesh Panthers' NGC 2632 swagger and sneer with unrelenting attitude, but rather than evoking anger and alienation, it's the kind of attitude that says, "We're here, we're beautiful, we're going to go wild and have another big ol' party!" This fuzzed-out record rocks and reels, reminiscent of a mid-July major rager full of all your favorite weirdos.
Or, maybe it sounds the way a crazed rock 'n' roller going nowhere fast on a Friday night looks, a zonked-out knucklehead looking for excitement in any one of the world's glowing party metropolises: inappropriately long hair, skin-tight jeans, an I-don't-care demeanor.
"teethe," a slow bruiser, struts with a noisy jangle and a leering stare. Mid-tempo stompers "elevator girls" and "47 Eyeballs" allow a glimmering guitar lead to weave through the cocky snarl of vocals. Rippers "ede M'" and "clampa" go hog wild, barreling recklessly toward a fuzz solo and catchy hooks.
While angst and violence are present in the earliest Flesh Panthers recordings, over the years the band has evolved into another animal entirely, veering into the good-time party band territory of raucous house shows and bouncy beer-soaked nights at Cole's, crafting songs dipping into an array of influences, from old-fashioned punk and garage to the many-faceted sounds of rock 'n' roll, R&B and blues of the '50s and '60s.
NGC 2632 further confirms what anybody who's seen the group live lately already knows: Flesh Panthers have found their voice, amalgamating a myriad of influences into high-powered rock 'n' roll mayhem that stands out as their unique offering to the colorful Chicago scene.
This album is a co-release from Tall Pat Records and Dumpster Tapes" - Victim of Time

LP - Ken Camden - Dream Memory

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"NOW AVAILABLE ON VINYL!!! Guitarist KEN CAMDEN returns for his third solo album, continuing his explorations to seek out new techniques and sounds from the electric guitar. By utilizing both a steel slide and e-bow technique, Camden has moved into micro-tonal territory to bridge the textural gap between guitar and synthesizer while examining their inherent differences. The palette is further broadened by introducing an organic vocal sampling machine described as a Vocaltron. Much like a Mellotron, vocal samples (contributed by EMILY ELHAJ and ANGEL OLSEN) are chromatically organized in half steps from the lowest note to the highest possible. Each set is specific to the contributor's range and each note is unedited to keep all original characteristics of that particular individual's voice. This organized organic information adds a contrast to the electric guitar and synthesizer arrangements on the album. The development of all of these systems gives Dream Memory a diversity throughout it's tracks while maintaining an atmospheric bond that weaves the ideas into a thematic whole." - Kranky

LP - Nest Egg - Respectable

"Bathetic is very pleased to be releasing the new long-player by Asheville, NC’s zealous kraut-rock act, NEST EGG. Nest Egg have already made a name for themselves with their amazing fog-heavy, zoned and honed live show. Warping minds and winning fans with their heady, atmospheric take on progressive, ethereal vibed-out rock music. Psychedelic when the mood turns mellow, but driving when they hit the gas and float the cosmic flux. Really, when you get right down to it, Nest Egg are bringing on a sound that few have had the ability to channel and refine with this level of mastery. On Respectable, Nest Egg put their talent upfront, weaving in and out of time and space, with a heavy control of their dynamic. While they wear their influences on their sleeves, that of Popul Vuh, Amon Duul, early Pink Floyd (“Set The GPS To The Heart Of The Sun”, anyone?), Neu, and the like; they’re passionate about presenting an extremely modern take on the endless motorik jam." - Bathetic

LP - Sidney Miller - Linguas De Fogo - Reissue

"Sol Re Sol Records is happy to announce the reissue of Sidney Miller’s lost classic Linguas De Fogo. Originally released in 1974, Miller’s third album is one of the best Brazilian records of its time. A seamless mesh of Brazilian pop, psychedelia and Bossa Nova, Linguas De Fogo could almost be mistaken as Tropicalia—if Miller hadn’t distanced himself from the genre. Of Linguas De Fogo, Flabbergated Vibes writes, “The record is dreamy, hazy, psychedlicized, progressive MPB that evokes early Lô Borges, or Beto Guedes, or the first Nelson Angelo / Joyce album.... The arrangements are all great, balancing his relaxed, almost sedated vocal lines against taught, double-tracked flute harmonies or funky electric piano or keyboards or fuzzy electric guitars that sometimes sound like it was plugged straight into the mixing board and using the input as an overdrive.... This album is very deserving of that tag of ‘lost masterpiece’ that gets thrown around a little too freely these days.” Miller first received notice in 1967 when Nara Leão recorded five of his songs (along with four by Chico Buraque, to whom Miller was compared). This was soon followed by his own album and recordings of his songs by Quarteto em Cy. He then contributed music to film (many for his friend director Paulo Thiago) and plays (one of which he collaborated on with Caetano Veloso and Gilberto Gil). While his songs were recorded by Veloso, Leão, Quarteto em Cy, MPB-4, Alaíde Costa and Gal Costa, Miller released only two more albums in his lifetime, Linguas De Fogo being his last. That he did not receive the acclaim his peers did was not due to his lack of talent. Miller was incredibly shy; he loathed to take the stage and masked his shyness with drugs and drink. He passed away young, at age 30 in 1980. How he died is disputed. Though Linguas De Fogo is highly regarded among diehard Brazilain music fanatics and the original vinyl pressing is much coveted, Miller has been a secret pleasure yet undiscovered by the general public. However, recently he has been rediscovered by a new crop of Brazilian artists, and hopefully this release will further push interest in his music." - Sol Re Sol

LP - Singleman Affair - The End Of The Affair

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"A new, frenetic emotional tryst filled with dark and dense psychedelia. What was once the singular bedroom recordings of Daniel Schneider is now a full multi-dimensional band, backed by Adam Vida on drums (U.S. Maple), Gary Pyskacek on guitar and pedal steel, Jacob Smith on organ, and Sam Wagster (Cairo Gang, Fruit Bats) on bass. This is a fiery mix late 60s British folk, early 70s stoner psychedelia, outsider noise art, surrealism, film noir, and their own love of improvisation and experimentation.
“The End of the Affair” is a meditation on anxiety and the fleeting faces seen through the eyes of an aging folk troubadour. From the opener “Be This Way” one hears the worried notes of a man never finding the morning light, of never waking up… “The End of the Affair cuts past pretense, leaving one reflecting on the raw, naked realities of a relationship that just didn’t work… where notes of distrust culminate in a final night of furious passion,where you finally find acceptance within these tales of anguish and longing… This is psychedelic music stripped of artifice. Bitterness cast in beauty. Music for the true true anti-hero." - Strange Weather/Cardboard Sangria

LP - Thomas Jefferson Slave Apartments - Straight To Video

BACK IN STOCK!

"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 - Weather Warlock / Quintron - Sunset Waits For No Man

"WEATHER WARLOCK is the new project from New Orleans organist / instrument builder QUINTRON. This band is based entirely around his latest monster analog weather synthesizer (also called "Weather Warlock"). In short, this instrument takes information from the Weather—sun, rain, temperature, wind, etc.—and translates those daily variables into a randomly bubbling new-agey drone. The main console has a boatload of knobs and controls which can be configured into an infinite number of settings, mutating the weather drone from sublime yoga waves to shrieking thunder bubbles. Side A starts in the mire of an electronic sunset with Quintron at the helm of the Weather Warlock synth, twiddling knobs and responding to the day's waning UV rays. Slowly, the Gulf Coast acid rock emerges courtesy of AARON HILL (EYEHATEGOD, MISSING MONUMENTS) on Drums, GARY WRONG (WIZZARD SLEEVE, VATICAN DAGGER, etc.) on supreme noise guitar, and Quintron on second guitar. Two of New Orleans more prolific free jazz reed players—PAUL GRASS (tenor sax) and TRAVIS BLOTSKEY (baritone sax)—help to glue this mass of southern scum rock to the lineage of serious free music shamans such as Sun Ra and Peter Brotzman. Side B presents the Weather Warlock instrument alone in the drone zone—doing its solo thing during a very active and stormy New Orleans sunset with Quintron occasionally tweaking the controls in harmony. The resulting music is basically a greatest hits of what mother nature and Weather Warlock are capable of by themselves. Limited edition of 500 copies on yellow vinyl." - Rhinestone

7in - Jeremiah - Do It To Ya b/w Starlight Stampede - Original 1975 Stock

RARE TEXAS HARD ROCK ORIGINAL STOCK COPIES!!!!

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BACK IN STOCK!!!
"Do It To Ya was the lone record from this Houston band who pressed up this self-released single to give out at their shows. The A side finds the band honing their bar room skills from Hard Boogie to near Proto Punk. It’s a hooky energetic performance .that doesn’t pretend to be what it’s not, although the no-nonsense straight ahead riffing and 42nd Street mentions makes you think that they might have had The New York Dolls in their sights. The B side owes more to obvious 1975 Southern Rock influences.

Bassist Jack Beasley was kind enough to give some background on the band and recording the single

Jeremiah was formed in 1972. Jack Beasley was the original bass player with Mike Rayburn on drums. There were two other guys on guitars, but as it turned they weren’t that serious about playing rock music. As those guys moved on to do other things, they were replaced by Jimmy Deen in 1973 and Tommy Mansell was added to the line-up in 1974. The early gigs were high school dances and proms. But they eventually started playing night clubs and private parties.

“In 1975, the band paid for some time at ACA recording studios in Houston. We recorded six original songs. I don't know who mastered the two tracks on the 45 or where the 45 was manufactured. The label name, "Artesia", was just something we made up. I think we had 600 45s made, maybe less, but no more than that...”

Although the ambition was there to break beyond the local scene and go professional, it didn’t pan out for the boys

“Our goal was to become rock stars. In the fall of 1975 we quit our day jobs and went on the road. We played mostly in Texas. We became friends with members of the band Point Blank, who were managed by the same guy that managed ZZ Top. This was in 1976 and we thought we were close to a record deal, but it didn’t happen. We played at the bigger clubs in Houston , Dallas and Fort Worth , among others. We played four to five nights a week, every week, just about. We did all we knew to do to get a record label to sign us, except leave Texas. That might have been the problem…”

What was the difference the 60s Texas Garage/Psychedelic bands and what was happening in the mid 70s?

“I believe that 60s bands, even in Texas were heavily into the psychedelic experience. They were trying to find new sounds, and a lot of experimenting was going on then, with their instruments, and also their minds (drugs). 70s bands just wanted to rock. To heck with experimenting. Find that groove. Turn up the volume. And create a sound that compelled your audience to move with the beat and play their air guitars. Although the guys in Jeremiah were somewhat influenced by the 60s music, I believe the stronger influences came from what was going on around us at the time. We covered many of the most popular rock bands of the early and mid 70s. We liked the melodic stuff, but it still needed to have that hard edge. You can hear that fusion in the original Jeremiah songs. Often in those songs, you have some very soft, melodic vocals or guitar segments, slammed up against a dynamic, hard-driving mix of guitar, bass and drums. We just couldn’t stay quiet for very long...”" - purepop1uk.blogspot.com

7in - Mood Of Defiance - In A Box

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