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TransplantsTransplants: Tim Armstrong (vocals, guitar, bass, samples); Rob Aston (vocals); Travis Barker (drums). Additional personnel: Davy Havock, Son Doobie, Eric Ozenick (vocals); Dave Garlock (guitar, synthesizer, bass, background vocals); Craig Fairbaugh (guitar); Vic Ruggiero (piano, Hammond B-3 organ); Matt Freeman (bass); Lars Frederiksen (background vocals); Brody Armstrong. The self-titled Transplants album represents Rancid vocalist Tim Armstrong's variant on that great rock & roll staple, the side project. As is often the case with such endeavors by members of famous bands, TRANSPLANTS was recorded bit by bit over the course of a couple of years (presumably during Armstrong's downtime from Rancid). Still, it all hangs together with its raw, organic vibe. Though loops and synthesizer are present nearly every cut, the album maintains an agreeably rough-and-ready rock & roll feel. Fans of Rancid should feel at home with the punk quotient here, but healthy doses of hip-hop, funk, and reggae are injected into the mix as well, and Armstrong shares vocals with cohort Rob Aston throughout the album.1.Romper Stomper
2.Tall Cans in the Air
4.Diamonds and Guns
6.Sad But True
7.Weigh on My Mind
10.We Trusted You
12.Down in Oakland$19.99Vinyl LP - Sealed Buy Now
In A WarzoneTransplants are back with a ferocious new album, In a Warzone,the first
for the legendary punk collective in overseven years. Tim Armstrong
(Operation Ivy, Rancid), Travis Barker(Blink 182) and notorious front
man "Skinhead Rob" Aston kick off the record with a title track that sets
the tone for the mayhem to follow:fourtothefloor punk rock featuring
raging vocals from Aston, guitar and singalong choruses from Armstrong,
and a supercharged hardcore beat from Barker. "When we started this
band 13 years ago, we weren't worried about who was going to like us,"
states frontman Aston. "We still aren't. In a Warzone is more raw and
stripped down than our previous releases. It's our best album. It's always
been difficult to classify Transplants. But at the end of the day, we're a
punk rock band. We make what ever type of music we want." With US
touring planned through summer and into fall, Transplants are ready to
scratch the itch of longtime fans, while introducing a new generation to
the fury of true punk.1. In A Warzone
2. See It To Believe It
3. Back To You
4. Come Around
5. Something's Different
6. Any Of Them
8. All Over Again
9. It's A Problem
10. Completely Detach
11. Gravestones And Burial Plots
12. Exit The Wasteland$19.99Vinyl LP + CD - Sealed Buy Now
Saved and Sanctified: Songs of the Jade LabelThe rawest, DIY gospel ever resurrected. The
West Side of Chicago was just an annex of the
deep rural South for Gene Autry Cash and
his flock of recent Old Dominion transplants
looking to cut their fiery, unadorned sounds
indelibly to plastic. His Jade label absorbed
those God-fearing artists: family bands with
wailing kids and barely amateur groups sourced
from local parishes, infused with reverberations
of country and western and deep soul. Glinting
authenticity shines from every track like a
diamond in the unpolished rough-each group
completely convinced that salvation comes
through song.1. Didn't It Rain - Rev. Solomon King and the Glory Bound Singers
2. Got To Make A Hundred - Harmony Four
3. I Want To Be More Like Him - The Gospel Song Birds
4. Soul Couldn't Be Contented - The Inspirational Souls
5. Saved And Sanctified - Brother Hayes And The Farmer Singers
6. My Shoes - Flying Eagle Gospel Singers
7. Why Is The Blood Running Warm?- The Mighty Messiahs
8. Never Alone - The Gospel Clouds
9. I Love The Lord - The Mountavie Gospel Singers
10. Satisfied Mind- Reverend Jennings
11. God Won't Let You Down - Southern Faith Singers
12. Family Prayer - Flying Eagle Gospel Singers
13 . Wake Up Country - Sons of Christ$21.99Vinyl LP - Sealed Buy Now
Free TimeFree Time formed in the summer of 2012 around Melbourne luminary songwriter Dion Nania (Panel of Judges). After moving to New York in 2011, Nania kicked around for a while, played some lead guitar with fellow Melbourne transplants Scott and Charlene's Wedding, then helped out the Twerps playing bass on a national tour. Shortly thereafter he began writing new songs with the intent of putting a new band together, eventually enlisting the support of Adrienne Humblet on bass, Jonah Maurer on guitar, and Michael Mimoun on drums.
Filling out Nania's jangly, sometimes heartbreaking pop, the band quickly recorded most of their first LP the day before Dion flew home to mix it. He returned with fragments for new songs and the band finished the record in December 2012.
Nania's songs tell stories of following love across the world, of being unsure about the future and of his place in it. Like the trans-pacific ping pong of the last 2 years of his life, his songs veer between sweet sadness and wild exuberance.1. I Lost Again
2. It's Alright
3. It Doesn't Stop
4. Nature's Cup
5. Uni fed Europe
6. Here & There
7. Just One
8. World Without Love
9. Nothin' But Nice$16.99Vinyl LP - Sealed Buy Now
ADAD-EPI-3415xRoll The Tanks
Broke Til MidnightEast coast-to-LA transplants Roll The Tanks have signed to Epitaph and will release release their hook-laden debut album Broke Til Midnight in 2014.
Broke Til Midnight hits right in the gut upon first listen. A record that leaves no room for uncertainty in 13-tracks that beg listeners to hit repeat and enjoy the ride. It helps that band members Danny Carney (vocals/guitar), Aaron Stuart (guitar/ vocals), Mike Wakeman (bass/vocals), and Joe Sirois (drums) are fans of enduring songsmiths Tom Petty & The Heartbreakers, The Pixies, and The Clash from where they draw inspiration to carry on the torch. "We're going to make records because that's what we want to do - make records," says Carney. "No clunkers, no fillers. Records where you almost die making them." Though the band didn't die while making the album, they did have to wait until 12 AM for when their paychecks cleared at the bank in order to pay their bar tabs; hence the album title Broke Til Midnight.
Epitaph Label CEO and Bad Religion guitarist/songwriter Brett Gurewitz shares his thoughts on the signing:
"Roll The Tanks write the kind of songs that make you want to be a songwriter. The kind of inspiring rock n roll songwriting that made me want to devote myself to this crazy life in the first place. They bring to mind Strummer, Pixies, Petty, The Kinks but not because that's what they sound like, rather because they're cut from the same cloth. These guys are a great band, I can't wait for people to hear them."
An unpretentious, classic rock inspired "band's band," Roll The Tanks are primed and ready to carry the torch for energetic, solid rock music. They know the value of a dollar from grinding their days away waiting tables, driving trucks, and working as carpenters to pay the bills so they can dedicate their evenings (and as much time as they can put into the stage and the road) to honing their already formidable songwriting chops. Music is their passion. And as their name implies, they are prepared to flatten all obstacles.1. 24th & Buckets
2. Broke Til Midnight
3. Toeing The Line
4. Waiting on a Storm
5. Goddnight Jimmy Lee
6. Computer Money
7. Record Players
9. Lock Your Daughters Up
10. Assumption Army
11. Insufficient Funds
12. My Soapbox
13. Pistolero$19.99Vinyl LP - 2 LPs Sealed Buy Now
CITH-4ME-9817xHearts & Flowers
Now Is The Time For Hearts & FlowersThough they are often only referred to in passing, as a sort of footnote of '60s West Coast scene, Los Angeles group Hearts And Flowers were actually one of the most eclectic groups of the time, incorporating elements of psych and country into their folk-rock sound. Founded by Larry Murray, a southern transplant to LA, and a graduate of the same vibrant Southern California bluegrass scene that gave way to Byrds and Burritos, the group's 1967 debut, Now Is The Time For Hearts And Flowers, is a classic album that deserves mention in the same breath as Sweetheart Of The Rodeo or Bradley's Barn. Reissued on 180g vinyl in a deluxe tip-on jacket from 4 Men With Beards.1. Now Is The Time
2. Save Some Time
3. Try For The Sun
4. Rain, Rain
5. The View From Ward 3
6. Rock & Roll Gypsies
7. Reason To Believe
9. 1-2-3 Rhyme In Carnivour Thyme
10. I'm A Lonesome Fugitive
11. Road To Nowhere
12. 10,000 Sunsets$21.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
You Won't Believe ItFormed in the early '50s under the watchful eye of
Tuskegee, Alabama, transplant Charles Chambliss, the
Sensational Saints were handpicked from a Cleveland
clothing store, a pool room, and from a group of friends
singing from a third story window. After years spent
rotating members and issuing stray singles for assorted
non-denominational imprints, the group connected
with the vocally inclined Reverend Melvin Kenniebrew at
the close of the '60s, making good on their "Sensational"
boast. "With God in their hearts and singing on their
minds," the Sensational Saints mounted their crown
jewel in 1973 with "You Won't Believe It" (Try It You'll
Like Us). Pressed in conservative quantities by local
gospel magnate James Bullard on his King James label,
the group's lone long-player perfectly encapsulates the
intersection of funk and gospel as only the religious
conversion of a Bill Wither's tune can do.1. I Feel The Spirit
2. Get Some Business About Yourself
3. That's All I Need
4. How Great Thou Art
5. I'm Glad He Knows My Heart
6. The Fool
7. Don't Let Me Fall
8. I Know The Lord
9. Don't Take My Sunshine$21.99Vinyl LP - Sealed Buy Now
Barton HollowBarton Hollow is the 2011 debut full-length from The Civil Wars, a duo comprised of California-to-Nashville transplant Joy Williams and her Alabaman partner, John Paul White. The bare-bones arrangements that fans hear on the road are fleshed out with just the barest of acoustic accoutrements herein and each song is an intimate conversation that is as gorgeous as it is haunting.
Not only does Barton Hollow combine blues, folk, Americana, country and classic singer/songwriter material, the Charlie Peacock produced release boasts brilliantly universal narratives that are both elliptical and emotional. It all culminates in the critically acclaimed breakout single Poison & Wine and the band was awarded handsomely at the 2012 Grammy's for 'Best Country Duo/Group Performance' and 'Best Folk Album.'
I do naturally bend pop, says Williams, who adds that she grew up on Billie Holliday and The Beach Boys. White, meanwhile, was raised on Kristofferson, Cash, and Townes Van Zandt by his retro-country-favoring dad. Somehow we're pulling from each other what we crave and what our strengths are, he says.LP
1. 20 Years
2. I've Got This Friend
3. To Whom It May Concern
4. Poison & Wine
5. My Father's Father
6. Barton Hollow
7. The Violet Hour
8. Girl with the Red Balloon
10. Forget Me Not
11. Birds of a Feather
1. 20 Years
2. I've Got This Friend
3. C'est La Mort
4. To Whom It May Concern
5. Poison & Wine
6. My Father's Father
7. Barton Hollow
8. The Violet Hour
9. Girl with the Red Balloon
11. Forget Me Not
12. Birds of a Feather$34.99Vinyl LP + CD - Sealed Buy Now
Prominence"Prominence" is the 2nd full length in as many years from Texas transplant John Pena. It was recorded/mixed in the same apartment(after a failed attempt to mix in a "real" studio) as last years talent over the first few months of 2013 after shelving a full length's worth of songs for not being sonically or emotionally interesting enough.
Using Primitive Radio God's "Standing Outside A Broken Telephone Booth With Money In My Hand" as a sonic touch point John built a new album from the ground up utilizing chopped/sampled drum breaks and, for the first time, some non laptop based keyed instruments(piano, mellotron) along with h.B. Main stays classical guitar and steel drums.
Live member Christian Barsi and Daniel Schlett of Strange Weather Studio both contributed keys to a few songs but the outcome is still a very solo sounding project.
Arrangements is where Prominence shines. Managing to sound inventive and not quite like anything else with such a limited palette is a rare and commendable feat. From the
Slide guitar and pulsing nylon string samples of "Honest" to the flamingo call and deep kick combo of the 2nd half of "Complete" Heavenly Beat keeps the whole affair sounding fresh, interesting and natural.
Lyrically, Prominence is not an escapist affair. It's a very direct look into someone dealing with poor body image(Thin), infidelity(Honest) and emotional/physical/sexual recklessness(Prominence). It's not asking or answering any questions. Just existing within itself, fully a where of it's shortcomings.1. Lengths
9. Prominence$19.99Vinyl LP - Sealed Buy Now
Cry Is For The Flies (Awaiting Repress)The garage-punk trio Le Butcherettes are like the brilliant offspring of surrealist Luis Bunuel and intrepid rock icon PJ Harvey. Led by 24-year-old
vocalist/guitarist/pianist Teri Gender Bender (a recent transplant to L.A. from Guadalajara, Mexico) Le Butcherettes bring a brazen intensity and playful,
hook-laden simplicity that hacks to pieces all forms of pretension and excess.
The band's songs and wildly cathartic live shows have often drawn comparisons to Karen-O, Patti Smith, Bikini Kill and many other female-fronted rock
groups, but there's a theatricality to Le Butcherettes that brings a further reaching sense of mystery and imagery to the band.
Originally forming as a duo, Le Butcherettes began in 2007 as the brainchild of vocalist/guitarist/keyboardist Teri Gender Bender; a modern feminist who
cites Sylvia Plath and Malcolm X as major influences. Born to a Mexican stage actress mother and a father who was a fervent lover of the arts, Teri was
constantly surrounded by creative energy. Following the death of her father, Teri Gender Bender moved back to Guadalajara, Jalisco, Mexico to begin a
new and eventful chapter in her life, and with that the first page of Le Butcherettes was written.1. Burn The Scab
2. Demon Stuck In Your Eye
3. My Child
4. Your Weakness Gives Me Life
5. Moment Of Guilt (Henry Rollins)/ The Gold Chair Ate The Fireman
6. Boulders Love Over Layers Of Rock
7. Shame, You're All I've Got Ft. Shirley Manson
8. Normal, You Were
9. Poet From Nowhere
10. Crying Out To The Flies$15.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
Living DaylightMichael Rault is a Toronto based singer, guitarist and songwriter fronting his own eponymously named band. A gifted multi-instrumentalist and arranger, his hooky blend of pop rock refracts an evolution of guitar based music through the ages. An era-defying mischievousness defines his synthesis of jukebox R'n'B, and acid psych as refracted through the experience of an adolescence spent idolizing the clever craftsmanship of the Beatles and the wiggy New Orleans textures of Dr. John in equal measure.As a recent transplant from his native Edmonton, the album is a melodically adventurous take on a classic theme - leaving home to make your way in the big city. Produced and recorded in collaboration with Renny Wilson (Mint Records), Living Daylight is a dynamic fusion of the past and future. An inclination for early Rock N' Roll is perverted by a heady production sensibility akin to the warped contemporary psych of Tame Impala. As a document of oddball DIY songwriting Living Daylight fits nicely in the lineage of records created by Ex-Edmontonian contemporaries like Mac Demarco or Sean Nicholas Savage. There must be something in the water .1. All Alone (On My Own)
2. Too Bad So Sad
3. Real Love (Yeah)
4. Hiding From A Heartbreak
5. I Wanna Love You
6. Dancing With Tears In My Eyes
8. Lovers Lie
9. Lost Something
10. Too All My Friends$18.99Vinyl LP - Sealed Buy Now
AutomatonGossamer is Evan Reiner-the producer, guitarist, synthesizer scientist and
urban-spelunking field recorder whose full-length debut Automaton dissolves
the genre-breaking electronica of Autechre and Boards of Canada into a
bottomless sea of found sound and ambient atmosphere. It's less an album than
an environment all its own, or a journey into the unexplored. And whether it's
inspiring a trip deep into the discography of Steve Reich or into California's
beautifully desolate Ansel Adams Wilderness, it's that fearless spirit of
exploration that brought Automaton to life.
Reiner grew up in the L.A. neighborhood of Eagle Rock with a father telling war
stories about seeing Black Flag and the Germs play and with a set of cousins
who'd get him started listening to hip-hop. (Especially instrumentals by
iconoclastic producers like Premier, RZA and New York's crushing DITC crew,
Reiner remembers.) As he turned 16, he was playing guitar "religiously," he says,
as well as listening intently to Slayer and Cannibal Corpse on the way to
ferocious hardcore shows on the fringes of Los Angeles.
By the time he graduated high school, he was a hardcore kid with a heavy
grounding in hip-hop who'd developed so tremendously as a guitarist that he
was practicing notoriously formidable Django Reinhardt songs for fun. The
connection might not seem obvious, but it was there nonetheless-these were
three distinct musical forms equally dedicated to passion, individual technique
and total commitment to expression.
He won admission to the prestigious Berklee School of Music in Boston, where
his first semesters in the fall of 2009 were everything he'd hoped. But the more
he studied, the clearer it became that he'd need to strike out on his own: "So
many professors would tell their students what the right thing to do was in a
creative setting," he says now. "There is no right way."
He'd once used his computer just to help with his composition homework, but
now he was restless. So he began to focus on the potential of electronic music:
"I realized it was like having every component of a band at your fingertips," he
says. "It felt free and genuine with no distractions." He'd begun to make his own
field recordings, too, capturing the sounds of Boston at sunrise and stirring
them into his beat experiments. Intense study of movie sound and foley artistry,
like pouring sand across drum cymbals or using spent shells from a gun range
for percussion, gave him a whole new vocabulary, and he found further
inspiration in artists from Ai Weiwei to Maya Duren to Stanley Kubrick to Delia
Derbyshire-people who blew open the boundaries of their own disciplines.
Then in July 2013, he began to make what would become his first full-length
album as Gossamer. He'd rent an armful of microphones and hike to the tunnels
under Pasadena's eerie Devil's Gate Dam, site of suicides and barely-thwarted
summonings in the tradition of Aleister Crowley. ("The echo is crazy," he says.)
During a month in Japan, he recorded "terrifying trains" and cicadas and the
squeals of a rusting bicycle. He'd record himself smashing trash under a bridge
in downtown L.A., or knocking rebar against rotting wood 8,000 feet above sea
level in California's Ansel Adams Wilderness Area. Then he'd come
home-whether "home" at that particular moment was his own studio, a capsule
hotel in Japan, a friend's place in Boston or a temporary space in New York-and
"make accidents happen," he says, with recorders and samplers and guitar and
(this time) a stable of analog synthesizers.
The result was Gossamer's Automaton, a precise and gentle dreamscape of
experimental electronica, where the ambient atmosphere of Gas drifts across
the fractured beats of Autechre or Boards of Canada. It starts with its own
sunrise on "Thoughtform," where birdsong melts into ghostly vocals and waves
of synthesizer, and then shifts into the haunting "Print," which transplants the
sci-fi sensibilities of Vangelis to some desolate and wild new world. His "Okuma"
is like a Tortoise song that never touches solid ground, while tracks like  and
 recall the Brian Eno of Fourth World, somehow ancient and futuristic at
once. When the crickets start chirping on closer "-;- ", it's a signal that the
day-and the journey-are both coming to an end. It's might be his first album,
but it's also a first step towards something new.
"Automaton is me," Reiner explains. "It's my process. It's a symbol of having
accepted that there is a difference between being alone and being lonely. It's a
coping mechanism for the struggle to realize and balance what I am and am not
in control of in my life. It reminds me of playing Bioshock and watching Blade
Runner at the same time while naked in the jungle on another planet. It makes
me think of watching an old home video of myself and seeing Neptune right
outside my window. The list goes on and on-I could go forever."1. Thoughtform
3. 3d Relief
5. J - Cruise
6. Off World
8. For Sleep$17.99Vinyl LP - Sealed Buy Now
ALIVE In AmsterdamOn November 28th 2015, Walter Trout took the stage at Amsterdam's Opulent Royal Theater Carre for a captivating live performance that showcased the blues-rock legend at full-throttle. With songs pulled from every era of his five-decade career, the 'ALIVE In Amsterdam' set is potent, From the stinging Luther Allison cover "I'm Back," to the plaintive B.B. King tribute "Say Goodbye To The Blues," which builds from neck-tingling guitar swells to a stunning virtuoso climax. 'Battle Scars' is well-represented by the harmony-bolstered rocker "Almost Gone" and the raucous "Tomorrow Seems So Far Away," while Trout is joined by his son Jon for "Rock Me Baby," and even finds time for a fistful of fan favorites, including "The Love That We Once Knew" and "Marie's Mood."
'ALIVE In Amsterdam' is the sound of a man announcing his resurrection after a period on the ropes. As Trout's army of international fans are painfully aware, recent times have taken the bandleader to the brink, hollowing a bleak diagnosis of life-threatening liver failure and hepatitis C in 2013. Trout's rebirth began with a successful transplant in may 2014, and gathered speed with 2015's 'Battle Scars': the acclaimed studio album that channeled his near-death experience into raw autobiographical songs.
Urgent, impassioned, and electrifying, ALIVE In Amsterdam is a live album to treasure. Walter Trout is on tour all this year, stopping off at some of the most prestigious venues such as Royal Albert Hall, Carnegie Hall, and Ryman Auditorium, as well as festivals in the US and Europe including Lead Belly and New Orleans Jazz & Heritage festivals. Trout always shows you magic in the studio, but it's on stage where he truly comes alive!LP 1
1. Marie's Introduction
2. Play The Guitar
3. Help Me
4. I'm Back
5. Say Goodbye To The Blues
6. Almost Gone
2. Tomorrow Seems So Far Away
3. Playin' Hideaway
4. Haunted By The Night
5. Fly Away
6. Please Take Me Home
1. Rock Me Baby
2. Marie's Mood
3. Serve Me Right To Suffer
4. Love That We Once Knew$27.99180 Gram Audiophile Virgin Vinyl LP - 3 LPs Sealed Buy Now
A Symphony of Wolf Tones & Ghost NotesNEKROMANTIX is a musical unearthing of the biggest themes from the greatest works of monster, zombie, vampire, werewolf and b-horror fiction; ripped from literature, comic book pages or classic celluloid. NEKROMANTIX chases a darkly romantic muse with an even darker humor.
A Symphony of Wolf Tones & Ghost Notes broadens the NEKROMANTIX legacy with expansive ambition that never sacrifices the trio's inherent grittiness, furiously stoking and reshaping the flames of the creative vision begun in Denmark with legendary labels like Nervous Records, through the band's master classes in punk n' roll albums stateside with Hellcat Records, the label cofounded by Tim Armstrong and Brett Gurewitz.
Armed with his signature coffn bass, chilling baritone, monstrous expressions and ten-stories-tall haircut, Kim Nekroman has earned tremendous respect, admiration and goodwill from a fiercely dedicated legion of hard-partiers, rabble-rousers, well-meaning degenerates, grease monkeys, outlaw bikers, nostalgic tastemakers and forward-thinking punks. It's a crew of supporters as diverse as the otherwise classic and timeless music the Danish-born California transplant has unleashed as leader of NEKROMANTIX.
Nekroman has been joined by skilled guitarist Francisco Mesa for nearly a decade now, with drummer Adam Guerrero bringing a fresh injection of passionate enthusiasm to the band in 2014. A Symphony of Wolf Tones & Ghost Notes is a fertile proving ground for a reenergized lineup that fans of the band have already loved for two years. New songs like "Glow in the Dark," "War Bats" and "Resting Witch Face" are instant classics, standing mightily alongside the greatest NEKROMANTIX songs enduring in their set list.
To their dedicated army of supporters around the world and across every dimension, NEKROMANTIX stands tall among the ghosts in rock n' roll's undead cemetery.1. Glow in the Dark
3. War Bats
4. Mind Mausoleum
5. Cry Yourself To Sleep
6. Cabin Fever
7. Creeping it Real
8. Resting Witch Face
9. Were Coyotes of Rose Hill
10. No More Room In Hell
11. Ghost Babe$19.99Vinyl LP - Sealed Buy Now
ADAD-SUB-6015xHead and the Heart
Let's Be StillIt wasn't that long ago that the members of Seattle's The Head and the Heart were busking on street corners, strumming their acoustic guitars, stomping their feet and singing in harmony as they attempted to attract the attention of passersby. After capturing that unbridled energy on the band's 2011 debut album for hometown label Sub Pop, the band went from playing open mic nights to selling out headlining shows in prestigious venues. The album became one of Sub Pop's best-selling debut releases in years. And, slowly but surely, ideas began to form for the band's second album, imbued with the experiences of traveling the world and playing to ever-growing crowds.
The Head and the Heart's new album, Let's Be Still, is a snapshot of a band that didn't exist four years ago. Virginia native Jonathan Russell and California transplant Josiah Johnson formed the core songwriting partnership, which was rounded out by drummer Tyler Williams, keyboardist Kenny Hensley, vocalist/violinist Charity Rose Thielen and bassist Chris Zasche, who'd met Russell and Johnson while tending bar at an open mic they frequented. The nascent group dove headrst into writing, recording and performing, and even moved into the same house.
After the breakaway success of their debut and countless shows on the road, the band is in a distinctly different situation. "There is a condence gained from having such an amazing fan base," says group member Jonathan Russell. "You start to trust yourself more. When we were busking, we were lling so much space to keep the listener from walking away." Says Johnson, "We wanted to write songs that felt bigger, and didn't need to be so frantic. I think for the most part we wanted to record an album that sounds like the way we play now."
Adds Russell, "Has there been an impact on our lives since we have become full-time musicians? Sure. On one hand, it's everything you have ever wanted. On the other hand, you start to miss the things you've lost and had to give up. And that's just life. My job is to write about it."
Let's Be Still was recorded at Seattle's Studio Litho with assistance from prior production collaborator Shawn Simmons, and mixed in Bridgeport, Conn., with Peter Katis, revered for his work with bands such as the National, Interpol and the Swell Season.1. Homecoming Heroes
2. Another Story
5. Josh McBride
8. Let's Be Still
9. My Friends
10. 10,000 Weight in Gold
12. These Days Are Numbered
13. Gone$19.99Vinyl LP - 2 LPs Sealed Buy Now
WhokillWhokill is the second album from New England native Merrill Garbus' Tune-Yards. The release was recorded shortly after Garbus transplanted herself from Montreal to sunny Oakland, California. Whokill retains the honesty of the lonely bedroom confessionals of her early work, but with the addition of the fangs, claws and dented metal of her new surroundings.
Indeed, Oaklands particular landscapes serve as primer for what you hear on Whokill, with the citys unique vitality fuelling the album's brightness. By applying the Tune-Yards live approach to her studio work for the first time, Garbus added more buttons and joints to those already being used, one essential new joint is dexterous bass member Nate Brenner, who co-wrote a few songs.
Produced by Garbus herself and working with engineer Eli Crews, they show theres no substitute for a good microphone, and the sonic nuances that can only be achieved through masterful recording techniques.1. My Country
8. You Yes You
9. Wooly Wolly Gong
$22.99Vinyl LP - Sealed Buy Now
Real Americans Spear ItLook Mexico has been making their favorite music since May 2004 in Tallahassee, FL. After finding their newest member Nick Chambers in recently transplanted town of Austin, TX, they joined forces with legendary producer J Robbins (Jets To Brazil, Jawbreaker, Against Me!, Braid, Murder By Death) to create Look Mexico's best effort yet, Real Americans Spear It (Adeline Records 9/2011). The band has toured just about non-stop, spending at least half of each of the past six years on the road, sharing stages with artists that include Rival Schools, The Honorary Title, Frank Turner, Good Old War, Fake Problems, and Bridge and Tunnel. Look Mexico will hit the road once again in support of their latest release including a trip across the pond in November 2011 for their first ever UK/Euro tour.1. You Hungry? Good. Cause You're Sayin' Grace.
2 . Arrest? I Don't Feel Like I'm Under Arrest.
3. That's Funny, Cause It Goes Both Ways
4 . Where Were You, Vince?
5. Runnin' Ain't Freedom (You Should Know That)$15.9912 Vinyl LP - Sealed Buy Now
PavilionOver the last four years, Seattle synthesist Panabrite (aka Norm Chambers) has become one of America s most prolific and proficient creators of transcendent electronic music. Although under-appreciated in his own city, Chambers has been gaining fans and critical respect worldwide with a torrent of releases that evoke the prime work of ambient music s pioneers, the top tier of kosmische-musik makers, and the more mystical end of the new-age spectrum. He is a disciplined student of a wide range of cerebral genres, weaving elements from these styles into his own distinctive tapestries, balancing melodic playfulness with compositional rigor. As noted, Chambers is an ardent explorer of great, underground music and it s demonstrated on Pavilion as a love letter to some Italian albums from the classic 70s era of minimalism and prog, such as Lovisoni/Messina s Prati Bagnati Del Monte Analogo, Franco Battiato s Clic, Claudio Rocchi s Suoni Di Frontiera, and American-to-Rome transplant Alvin Curran s Canti E Vedute Del Giardino Magnetico. Chambers praises their freewheeling studio experimentalism crossed with the most elegant, stunning (non)ambient music. He strove for a similar feeling in Pavilion by playing 90 percent of everything by hand and opting for minimal use of sequencers. Pavilion marks what Chambers calls a slightly darker and tenser offering in the Panabrite pantheon. He says it s a bookend piece to my 2012 album The Baroque Atrium, in that it deals with certain concepts and ideas of mind-space; an account of a place and time and of the experience while there. The album begins with rain patter (Chambers does live in Seattle, after all) and keyboards that trigger thoughts of flower petals slowly opening and feelings of wonder and great expectation. This is Panabrite in his most traditional new-age mode, but gradually the mood darkens as he coaxes out a melody of grand despondency. Things turn even more foreboding on Arcade, with its warped vocal blending into pensive, mobile-like Rhodes piano, whose beautiful bell tones smear and drone à la Brian Eno s The Shutov Assembly. The effect is like being enveloped in swirling stardust in a church tower. Memory elaborates on Arcade, its contemplative ascending synth chords sounding like a monastic ringtone. With timbres akin to those on Spiritualized s Pure Phase Tones For DJs, Arcade exudes a swarming menace. Chambers cites Regent as his favorite track on Pavilion, describing it as the epic struggle, the lay of the land before or after a devastating occurrence, yet with a pervasive optimism pushing up from the din. Alternately urgent and melancholy, Regent decelerates into an agonizingly poignant cosmic theme in the vein of Ashra or Harald Grosskopf. Another highlight is Balsam, which combines looped acoustic guitar with a delicate xylophone motif, and synthetic birdsong. The song carries the same sense of beatific calm and graceful ascension as previous guitar-enhanced Panabrite titles like Janus and Suite (For Winnie And Roxy). Fans of Gastr Del Sol and Mountains should take note. Pavilion s last three pieces Pool, the title track, and Quartz reflect Chambers increasing compositional prowess, his ability to wring maximal emotion through minimalist gestures. This concluding trilogy leads you back to land with a ceremonial majesty and balletic poise. In a catalog teeming with adventurous, evocative music, Pavilion ranks up there with Panabrite s most sublime work.1. Veil
8. Quartz$19.99Vinyl LP - Sealed Buy Now
I Become A ShadeSeoul have never been in a rush. Despite the overwhelming praise that met the Montreal trio's first two online releases - "Stay With Us" and "White Morning" - and despite the industry chatter that surrounded their first live performance at Pop Montreal 2013, kindergarten classmates Nigel Ward and Julian Flavin, and art school transplant Dexter Garcia remained resolute in fine tuning the dozen songs that would become their official debut: I Become A Shade.
"We're just very intent on trying to get our musical ideas to exist as the definitive versions of themselves," says Ward. "Granted, each idea has limits, but its a question of discovering the borders of an idea and then putting its essence on display - so much of that has to do with the slow sculptural nature of studio work. Playing around in a studio invites elements of chance, collage, and trial-and-error into the process, which feels essential to having a song really reveal itself to you. Its a process of organizing our intuitions into cohesive moments and seeing where it takes us."
Where their intuitions took them is a very special place indeed. From the lush ache and bouyance of "Stay With Us" to the sculpted synths and angular sincerity of "The Line," I Become A Shade is the sort of record whose every detail, whether panoramic or microscopic, is on glorious, deliberate display. A work separated into three distinct suites, the record is equal parts gauzy dream-pop, reverberant R&B, and speculative ambient - a world where sentences are often left unfinished and meaning rears its head in the intervals. The propulsive "Real June" and "Silencer" both hurtle through space like rain-drenched athletes, while "I Negate" and "White Morning" shimmer with a hushed honesty, growing and pirouetting with dreamy eventuality into a thick focus.
Set for release on Grand Jury in the US and Last Gang in Canada, every element of Shade is a testament to Seoul's painstaking attention to detail, whether in the stark black & white art that accompanies the album, or the serene videos the band set to its music.
"We do all our own art stuff and collaborate as closely as possible with video people," says Flavin. "We engineer and mix our recordings too, so it's very hands on."
And in Seoul all hands are created equal. "It's rare that a song doesn't change hands quite a few times prior to us finishing it," says Garcia. "And most of this elaboration on an idea is done rotating through a computer and reacting to each other's contributions in relation to the direction things are going in." Take lead single "The Line" as an example. "Nigel added a soft vocal that pillowed up above the angularity of the synths," Garcia continues, "And you get a really nice contrast between the two, where the core feeling of the song is revealed by its being expressed in two hauntingly different ways."
And that's what I Become A Shade is meant to be - an examination of poles - a debut that rains with the melancholy of sidelong glances and rented rooms, while frequently transcending its own desperateness in moments of breathless self-discovery. While one might think something labored over for so long would come with a prescribed understanding, Seoul would rather fans meet and interpret the record at their own personal junctures. "We're interested in presenting different versions of the self, the endless shift from self-loathing and loneliness to vibrancy and connectedness and back," says Flavin. "All states are valid, and we've tried to collect and display the beauty and necessity of both spectrums of experience - how it can feel both awful and cathartic to liquify into your surrounding and disappear."
All the while, the rain continues to fall.1. I Become a Shade
2. The Line
3. Haunt / A Light
4. Real June
6. White Morning
7. Stay With Us
8. Thought You Were
9. I Negate
10. Carrying Home Food In Winter
12. Galway$17.99Vinyl LP - Sealed Buy Now
Deep TripDestruction Unit are an American band formed in the Sonoran desert of Arizona. Dug up from the sonic landfills of the cosmos, these radical desert dwellers have built a reputation for both mesmerizing and terrorizing crowds with their sheer
power and intensity.
Formed by Ryan Rousseau, D. Unit was initially a synthheavy three piece whose other members were Jay Reatard and Alicja Trout (Lost Sounds); likewise Rousseau was also in the Reatards before Jay went solo. Born out of the nucleus of the Memphis Goner Records scene and transplanted into Tempe, AZ, Rousseau has grown the band in the last few years into a full sonic assault, which now includes three guitar players (himself, Nick Nappa & Jesco Aurelius), his brother Rusty Rousseau on bass, and a 19 year-old classically trained drummer, Andrew Flores. This line-up has released several cassettes on their own label Ascetic House, a small run lP, Void on Jolly Dream and most recently a limited edition 7 on Suicide Squeeze.
Deep Trip is their first proper studio album, produced by Ben Greenberg of The Men, Hubble, and Pygmy Shrews at Vacation Island in NY. It's the first long player which truly captures their burning spirits. Morphine boogie for the 21st century noise addict. A spiritual odyssey of sadomasochistic self-loathing with songs about love and freedom. Selling drugs to make music to sell drugs to; aggressive psychedelic sprawl at its finest. The future of Rock and Roll burning through three twin reverbs and a pound of grass.1. The World On Drugs
2. Slow Death Sounds
3. Bumpy Road
4. God Trip
5. Final Flight
6. The Holy Ghost
7. Control The Light
8. Night Loner$18.99Vinyl LP - Sealed Buy Now
Live At Third Man Records (Pre-Order)You don't need to be from the South to understand Billy Wayne Davis' particular brand of humor, but being the Nashvillians we are (both transplanted and native), this up-and-comer is one of our favorite used-to-be local (and soon-to-go-global) stand-up comedians. Davis has gone from surprising crowds at the comedy club down the road with his ''like-hillbill-ity,'' to winning over the alt comedy scene of Seattle, to hangin' with Marc Maron and working with the likes of Lisa Lampanelli, Louis CK, and Mitch Hedberg since his most recent move to Los Angeles. Third Man Records was thrilled to have Tennessee's much-missed ''thinking man's hillbilly'' to our stage for a little Southern hospitality and to record another addition to what is becoming a pretty formidable series of live comedy records. Some of our absolute favorite releases over the past seven years have been made without the use of a single guitar, and we expect Billy Wayne Davis Live at Third Man Records to join those very ranks.1. Rambling Heartfelt Intro
2. Opening Prayer
3. The Middle East
7. Crossville, TN
8. Coon's Age
9. Honest Dime
11. More Kentucky
13. Thanks Marty & Storme$14.99Vinyl LP - Sealed PRE-ORDER Buy Now
The NationalThe Nationals seminal first two releases are finally available on vinyl! Having played few live shows before recording this first self-titled release, this was the album that brought early attention to the Ohio-Brooklyn transplants. This dazzling debut should be the portent of good things to come. - Billboard1. Beautiful Head
2. Cold Girl Fever
3. The Perfect Song
4. American Mary
6. Pay For Me
7. Bitters & Absolut
8. Johns Star
9. Watching You Well
10. Theory Of The Crows
11. 29 Years
12. Anna Freud$18.99Vinyl LP -Sealed Buy Now
Teacher Don't Teach Me NonsenseTeacher Don't Teach Me Nonsense: Fela explains the role of the teacher in any society with the concept that: all the things we consider as problems, and all the good things we accept from life as good, begin with what we are taught. The individual teaching begins with when we are children - our mother is our teacher. When we come of school age, our teacher is the school-teacher. At the university, the lecturers and professors are our teachers. After university-when we start to work, government becomes the individual's teacher. When then is government's teacher? 'Culture and Tradition' says Fela. This is the order of things everywhere in the world. However, it is the problem side of teacher and student that interests Fela in this song. Because every country in this world except in Africa, it is the respective culture and tradition of that country that guides the government on how to rule their people. Going for specifics, Fela mentions France, Germany, England, Korea, Japan, Syria, Jordan, Iran, Etc., it is the culture of these countries that shapes and guides their respective government's decisions. The culture and traditions of these countries serve as a teacher to their respective governments. Turing his attention to Africa and her problems. Problems which he had sang about: corruption, inflation, mismanagement, authority stealing, electoral fraud, the latest addition which even makes him laugh is -austerity. Fela says if you ask him why 'austerity makes him laugh? The answer is that it is beyond crying. The government steals money from the country, the same government is introducing austerity measures-forcing the poor people to pay for their own greed and calling it 'austerity measures'. How funny if to say the least. Who taught African 'leaders' to rule the way they do today? 'Na the oyinbo' (meaning in Yoruba language: 'it is them white folks') referring to ex-colonial ruler of each country. Take electoral fraud, which is a true test of our democracy. Many African leaders rig elections with impunity and their respective ex-colonial rulers say nothing against this form of 'democracy'. While the same 'white folks' are quick to claim credit for Africa's 'civilization'-which Fela disputes in this song. Is this democracy? , he asks. Turning to other problems like the ever-growing gap between the rich and the poor. Particularly, since the rich are the rules, and also the people stealing the country into poverty. Is this democracy? Or dem-all-crazy? In conclusion, as an African personality, Fela says he is not in the same league as those who believe in dem-all-crazy, so he calls on the Western powers who claim to be Africa's teachers not to teach him nonsense-Teacher Don't Teach Me Nonsense.
Look and Laugh: By 1981 when Fela wrote and started to perform live the song Look And Laugh, he was living a life that could be described as a recluse. Fela, who loved to go out in public places, clubs, etc. Suddenly, was always found sleeping or playing sax at home with women around him, or performing at the Africa Shrine. His old attitude of keeping abreast of events, giving lectures at universities and institutions of higher learning stopped. He rarely gave press conferences or press releases, like he used to do. Finally he wrote the song to explain what was going-on with him. He sang: ' many of you go dey wonder why your man never write new song! wetin I dey do be say I dey look and laugh.' Meaning: many of you must have been wondering why, your man has not written new songs! what I am doing is just look and laugh! Fela went on to explain his contributions and sacrifices for the cause of black emancipation, the countless beatings and arrests from the Nigerian police and army, his trials and tribulations, his ultimate sacrifice being the burning down of Kalakuta by the Nigeria army. But despite his sacrifices and sufferings like millions of other Africans, it was obvious that things were not getting better for the average man on the street. There is still injustice everywhere, no freedom, no happiness. All these made him feel disillusioned and all he could do about the situation is to Look and Laugh.
Just Like That: This song is a call to arms from Fela to all Africans to rise up and do something about the political, economic, social and cultural retrogression that has plagued Africa since independence. For more than three decades of independence, there is glaring mismanagement of people's lives, corruption in the highest echelon of government-all these carried out with impunity-'Just Like That' he sings. Using the Nigerian experience as an example of the 'lack of maintenance culture', in Africa's present day neo-colonial administrations, he says: 'White man ruled us for many years, we had electricity constantly, our leaders take over! No electricity in town-Just like that!' Fela explains that the attempt to transplant 'Western style democracy' in an African society is the cause of all the problems. Despite calls for African Unity from leaders like Kwame Nkrumah, who said: '..Until all foreign institutions and culture are removed from the African land, that is when the African genius will be born and African personality will find its fulfillment..'. Instead of heeding Nkrumah's call, Nigeria's political founding fathers, like most African leaders at independence, chose the option of fashioning the constitutions of their respective countries after those of the departing colonial 'masters'-Just Like That. The ambiguity of such decisions can be seen in the poor imitation we make of our attempt at 'Western style democracy'. Persistent political gangsterism, military coups, and sometimes wars, are means used to enforce the already compromised constitutions. As another example of enforcing a fragile constitution, Fela stresses the face that in 1966, Nigeria for a civil war to keep the country ONE. General Gowon, the military head of state, divided Nigeria into twelve administrative regions, subsequent administrations divided the regions into more-Just Like That. He adds that if the idea of the civil war was to keep the country ONE, sub-dividing Nigeria into more regions would separate rather than unite the country. Turning to the position of traditional rulers in the mess called government, Fela sings: ' nothing good for town to give the youths good examples, how our traditional ruler they do, them come make youths look-up to Europe and USA, in those places them don lose them common sense, na the number of Nuclear weapons you get, na him give you power pass! Right now! Fight now! Suffer must stop! Just Like That". Therefore, calling on the people to fight now for a better society.1. Teacher Don't Teach Me Nonsense
2. Look and Laugh
3. Just Like That$19.99Vinyl LP - Sealed Buy Now
In RemembranceLimited Edition of 1000 On Purple Vinyl With A DVD Of All Four Ballet Dance Films
DFA Records is proud to announce the release of In
Remembrance, a multimedia project by acclaimed
contemporary artist Delia Gonzalez. Delia transplanted
from Miami to New York City in the mid-1990s, working
in various dance and guerilla theatre troupes. It was
around this time that she met synth wizard Gavin Russom,
beginning a series of multi-disciplinary collaborations,
one of the most notable being their album of cosmic
acid-house "The Days of Mars", released by DFA in 2005.
Single "Relevee" is oft-cited as one of the high points
of DFA's early years, especially the monstrous remix by
Detroit techno legend Carl Craig.
In Remembrance is the next landmark in Delia's artistic
pursuits. In Remembrance originates in a 2010 solo
show of the same name at Galleria Fonti in Naples, which
was further realized in 2012, with additional films, in the
exhibition "I Must Stop Here". The music was initially
inspired by a text by Henry Miller and a theory by spiritual
teacher George Gurdjieff, which states that "to play
scales is to become more in tune with your inner self."
This coincided conceptually with the music that Delia
had been making at the time. Both exhibitions consisted
of four 16mm ballet dance films, accompanied by music
composed by Gonzalez. In her words, "The film is meant to
re-create the fleeting sensation of inspiration - that sacred
feeling when suddenly your mind clears and you know
exactly what you're meant to create and become."
The films were exhibited for a third time at the Clocktower
Gallery in New York City in 2013, featuring a live electronic
adaption of the composition, performed with New York
underground musicians Bryce Hackford and Alice Cohen.
Bryce later contributed four remixes, which are included
on this album. Delia explains; "When I lived in Berlin I
became good friends with the artist and musician Viktor
Timofeev, who kept telling me about his best friend Bryce,
who he played music with. In 2012 we were all in Vienna
participating in a show entitled You Are Free. There I met
Bryce and I instantly loved him. In 2013 I moved to NYC
temporarily and ran into him at the New Museum and he
said, "we should get together and play". I took him up on
5. Remix I
6. Remix II
7. Remix III
8. Remix IV$24.99Colored Vinyl LP + DVD - 2 LPs Sealed Buy Now