Shimmy Disc Vinyl, CD & Tape 30 Items

Squanderers are the glowingly new-2024 vintage-trio of guitarists Wendy Eisenberg and David Grubbs alongside multi-instrumentalist and legendary producer Kramer. The group sprung into action as the duo of Kramer and Grubbs with the single 'Congress of Poodles' b/w 'Lendrick Muir Bible Study Weekend,' part of Kramer's 2023 Shimmy-Disc box set Rings of Saturn. Squanderers now enter the arena of live performance with the addition of bona-fide guitar slayer Eisenberg, a dream of a foil to Grubbs's grubbslike guitarisms, setting the scene for Kramer to follow his musical divining rod. Divining urges not dirges.In Grubbs's book-length poem, The Voice in the Headphones, 'Squanderer' is the nickname that most deeply troubles of the book's unnamed protagonist: "Hang your head, Squanderer. You'll never darken the doorway of Studio A." Will this trio of inveterate Squanderers redeem themselves?

For the frst time ever released on vinyl, this brilliant2012 LP features an all-star cast of musicians andactors lead by Tim Robbins, Dr. John, Bill Frisell,Ralph Steadman, Annie Ross, John Joyce III and WillForte. Hunter S. Thompson's classic Gonzo reportage on the 1970 Kentucky Derby is summoned brilliantly to life through spoken word and musicalcomposition. Conceived by executive producerMichael Minzer for his Paris Records label, the project was produced by Hal Willner, who brought BillFrisell in as composer/arranger/conductor. Bill thenasesmbled a stellar group of musicians includingCurtis Fowlkes (trombone), Ron Miles (trumpet),Eyvind Kang (viola), Doug Weiselman (woodwinds),Jenny Scheinman (violin), Hank Roberts (cello) andKenny Wolleson (drums, percussion). Ralph Steadman does double duty portraying himself in the narration and contributing original artwork for the project. In 2021, Kramer re-Mastered the original audiofor this historic re-release on limited-edition'Horse-Shit Brown' vinyl for his Shimmy-Disc label.

Clear Vinyl.For the first time ever released on vinyl, this brilliant2012 LP features an all-star cast of musicians andactors lead by Tim Robbins, Dr. John, Bill Frisell,Ralph Steadman, Annie Ross, John Joyce III and WillForte. Hunter S. Thompson's classic Gonzo reportageon the 1970 Kentucky Derby is summoned brilliantlyto life through spoken word and musicalcomposition. Conceived by executive producerMichael Minzer for his Paris Records label, the projectwas produced by Hal Willner, who brought BillFrisell in as composer/arranger/conductor. Bill thenasesmbled a stellar group of musicians includingCurtis Fowlkes (trombone), Ron Miles (trumpet),Eyvind Kang (viola), Doug Weiselman (woodwinds),Jenny Scheinman (violin), Hank Roberts (cello) andKenny Wolleson (drums, percussion). Ralph Steadmandoes double duty portraying himself in the narrationand contributing original artwork for the project.In 2021, Kramer re-Mastered the original audiofor this historic re-release on limited-edition'Horse-Shit Brown' vinyl for his Shimmy-Disc label.

An electro-surrealist musical journey from the mind of Bruce Haack "The Captain" - capturing his inventive genius musically in tandem with tapping into the voice of his inner child, innovative story songs inspired by Bruce Haack's diverse musical interests and a love of Science and explorations of the Natural World, songs to excite the imaginations of listeners, both young and old.Ahead of his time and beyond categorization- Haack continued to create trying to find new platforms in order to promote his electronic music. He scored many commercials during the 1960s and promoted electronic music on TV, even demonstrating his inventions on Mister Rogers' Neighborhood in 1968. He self-released his first children's music album later that year. Haack constantly added new genres and inspirations to his compositions and was greatly influenced by the psychedelic rock of the era. He constantly created new work that reflected not only his varied interests, but his shifting musical horizons. He created multiple youth oriented albums, dipping into science fiction, psychedelia and electronica, using traditional song structures in order to capture children's attention to educate them, while wrapped in one of his many personas.Bruce Haack wanted people to know him through his medium: music. He dedicated his life to exploring, inventing and sharing his eclectic brand of humor and many musical points of view. In failing health, he never stopped pursuing his distinctive musical dreams.

Clear Vinyl.Welcome to the World of Bruce Haack. Not just for `school age' people."An Electronic Musical-Poetic treat for Elementary and High School-Peoplerevealing more wonders of our Earth Ship."Bruce Haack was a Canadian composer and electronic music pioneer whosecreative output from the 1950s through the 1970s has been tragicallyunderappreciated. Now considered to have been decades ahead of his time,Bruce Haack forged his music from glittering `new' computer landscapes of hisown invention, long before the world was aware that such things were evenpossible.Welcome to his beautiful crucible of electronic sounds, wherein he illuminatedhis myriad interests in science, the wonders of childhood, and the humancondition, woven into a musical tapestry that shimmers like an exploding sun.

"I Killed The Monster" is an 11-track compilation of songs written by celebrated American music legend Daniel Johnston, whose classic LPs '1990' and 'Artistic Vice' were produced by Kramer at his legendary Noise New York recording studio and released on Shimmy-Disc in 1990 and 1991, respectively. All of the songs were Re-Mastered by Kramer in 2022 and will be available for the very first time on vinyl, and on a limited-edition cassette which will also feature the remaining 10 tracks (for a total of 21) from the original 2006 cd-only release."I Killed The Monster" features standout tracks and performances by some of Indie music's greatest talents, including Danielson & Sufjan Stevens, Kimya Dawson, Dot Allison, Mike Watt, Jad Fair, and Jeffrey Lewis. Kramer produced and mixed most of the songs on the LP, and he himself delivers one of the most startling tracks on this release; Daniel's great masterpiece, "Bloody Rainbow".Few artists have been where Kramer has been, or worked with the variety of artists he has (Ween, Butthole Surfers, John Zorn, Half Japanese, The Fugs, and Bongwater, and Will Oldham, to name but a few). This extraordinary LP showcases Kramer's unmistakable prowess as one of his generation's most veresatile producers, and continues the 21st century re-birth of his iconic Shimmy-Disc label.

A key inspiration for Ben Copperhead's new album, Wailing Viridescence, can be traced back to his appreciation of old recordings using analog reel to reel tape. Years ago, while on tour in the UK, Copperhead found a book called Tape Music Composition. Cherishing the warming qualities of magnetic sound, he started teaching himself through experimentations in recording techniques. Utilizing a restored 4-track machine, he relished the challenge imposed upon himself by the constraints and parameters of the medium. The results yielded what he believes to be his strongest album to date.Featuring a collection of songs and several instrumental tracks, Wailing Viridescence represents Copperhead's deeply personal response to the physical, spiritual, and social injustice. It can be seen, in part, as having been born out of a desire for healing and self-expression under the paradoxical conditions of a need for self-reliance imposed from without and a longing for community coming from within. For Copperhead, this imposition of physical limitations and communal desire gave rise to unexpected inspirations.The album title was inspired by the concatenation of activities undertaken during the pandemic: the ambient wailing sound he often heard during his walks in Brooklyn's Prospect Park, which he later discovered were vocalizations from a peacock in the park's zoo; readings of myths from India and the story of a peacock who ate a venomous snake, causing the bird's colors to come alive. These serendipitous influences inspired in him a moment of synesthesia: his namesake, the copperhead snake; the iridescence of the peacock; the wailing calls of birds. Copperhead translated this experience of musical colorations through alternate tunings and original arrangements that can be heard in the present album.Wailing Viridescence represents Ben Copperhead's continued musical growth and transformation refracted through the collective challenges we face in these tumultuous times. The album was co-produced with longtime collabor...

In 2022, the pandemic seemed to be receding to the point where artists could work together again, literally side by side. So, as a kind of 'follow-up' to my Joyful Noise 2020 Artist-in-Residence box set, I revisited the notion of a limited-edition vinyl box celebrating the joys of collaboration. i thought about it for a good long while, and eventually, It felt good. I then put the idea under a microscope and found that it felt even better when i minimized the project to six 33rpm EP's on 7" vinyl. The borderless landscapes of audio art, tempered by the imaginations of the artists I chose to work with, then cast against the myriad infinities of mysteries betwixt those ageless, spinning rings...those rings that seem to sing, "...listen to us..."It all begins with imagery. Always. Let it be. If You fall in Love with the process, it's possible that the process will Love you back. The end results are important, but nothing is more important (to me) than the changes we experience as a result of the process. How are we different now, after the music is done? What has happened to us, because of these sounds we have made together, and these songs we have made? And, of equal importance... can the listener sense that something is happening o the artists as a result of their collaborations? And...can the listener experience some of that, too?RINGS OF SATURN won't change the world, but the words & music dervishing off these grooves accurately expresses the Love poured into the foundations beneath these Nocturnes (w/ Britta Phillips) and Psalms (w/ David Grubbs) and Preludes (w/ Eerie Wanda) and Elegies (w/ Jad Fair & Danielson) and Laments (w/ Paul Leary) and Hymns (w/ Rob Crow). working with others is my lifeblood. I am Nothing without them.TIME, with all its mysteries intact, and unfettered by borders, so that both the artists and the listeners can enter, in partnership, together. -Kramer, 2023

In 2022, the pandemic seemed to be receding to the point where artists could work together again, literally side by side. So, as a kind of 'follow-up' to my Joyful Noise 2020 Artist-in-Residence box set, I revisited the notion of a limited-edition vinyl box celebrating the joys of collaboration. i thought about it for a good long while, and eventually, It felt good. I then put the idea under a microscope and found that it felt even better when i minimized the project to six 33rpm EP's on 7" vinyl. The borderless landscapes of audio art, tempered by the imaginations of the artists I chose to work with, then cast against the myriad infinities of mysteries betwixt those ageless, spinning rings...those rings that seem to sing, "...listen to us..."It all begins with imagery. Always. Let it be. If You fall in Love with the process, it's possible that the process will Love you back. The end results are important, but nothing is more important (to me) than the changes we experience as a result of the process. How are we different now, after the music is done? What has happened to us, because of these sounds we have made together, and these songs we have made? And, of equal importance... can the listener sense that something is happening o the artists as a result of their collaborations? And...can the listener experience some of that, too?RINGS OF SATURN won't change the world, but the words & music dervishing off these grooves accurately expresses the Love poured into the foundations beneath these Nocturnes (w/ Britta Phillips) and Psalms (w/ David Grubbs) and Preludes (w/ Eerie Wanda) and Elegies (w/ Jad Fair & Danielson) and Laments (w/ Paul Leary) and Hymns (w/ Rob Crow). working with others is my lifeblood. I am Nothing without them.TIME, with all its mysteries intact, and unfettered by borders, so that both the artists and the listeners can enter, in partnership, together. -Kramer, 2023

numün, the NYC psychedelic instrumental trio Pitchfork dubbed as 'savvy navigators of paths less traveled', is releasing its second album Book of Beyond on the legendary Shimmy Disc label. With this record, the band, which includes Joel Mellin and Christopher Romero of Gamelan Dharma Swara and ambient country pioneer Bob Holmes of SUSS, continues to stretch their exploration of the inner and outer astral worlds of their first release Voyage au Soleil - voted one of the Best Ambient Releases of 2020.Dave Segal of Pitchfork called that album a "blending of the opiated psychedelia of the music territory staked Brightback Morning Light with a loose-limbed minimalism that privileges subtle effects and incremental chord changes" and Chris Ingalis from PopMatters called it "a trippy, ambient ride and ambitious debut that pulls off the neat trick of creating music that evokes space travel while also sounding refreshingly grounded to Earth's atmosphere."The new album, mastered by Kramer (Galaxie 500, Butthole Surfers, Bongwater, Low, Bill Frisell, etc.) features a unique mixture of Eastern and Western musical stylings and instrumentation including balinese gamelan, gender wayang, and cumbuz (a 12-string fretless banjo) alongside the classic Americana instrumentation of slide guitar, baritone, mandolin and violin. The instrumental music charts new territories as it explores themes that are sometimes deeply personal, spiritual and otherworldly, including new fatherhood, sleep deprivation, loss and rebirth with titles that include Steps, Vespers, Eyes Open & Lullaby. Guests on the album include Trina Basu (Brooklyn Raga Massive), Tori Lo Mellin (Dharma Swara), and Willa Roberts (Black Sea Hotel). With their new album, Book of Beyond, numün creates music that provides a star map to help us all navigate the inner constellations of our daily lives.

Constant Follower's debut `Neither is, nor ever was' is an instantly compelling, soaring-ambient-dreampop-experimental-folk album reimagining childhood memories lost, healing, and the violent gang attacks responsible.

"I Killed The Monster" is an 11-track compilationof songs written by celebrated American musiclegend Daniel Johnston, whose classic LPs '1990'and 'Artistic Vice' were produced by Kramer at hislegendary Noise New York recording studio andreleased on Shimmy-Disc in 1990 and 1991,respectively. All of the songs were Re-Masteredby Kramer in 2022 and will be available for thevery frst time on vinyl, and on a limited-edition cassette which will also feature the remaining 10tracks (for a total of 21) from the original 2006cd-only release."I Killed The Monster" features standout tracksand performances by some of Indie music'sgreatest talents, including Danielson & SufanStevens, Kimya Dawson, Dot Allison, Mike Watt,Jad Fair, and Jefrey Lewis. Kramer produced and mixed most of the songs on the LP, and he him- self delivers one of the most startling tracks onthis release; Daniel's great masterpiece, "BloodyRainbow".Few artists have been where Kramer has been, orworked with the variety of artists he has (Ween,Butthole Surfers, John Zorn, Half Japanese, TheFugs, and Bongwater, and Will Oldham, to namebut a few). This extraordinary LP showcasesKramer's unmistakable prowess as one of hisgeneration's most veresatile producers, and con- tinues the 21st century re-birth of his iconicShimmy-Disc label.

A legendary indie audio artist blurring his lifelong attachments, from spontaneous composition (in the late 70's with John Zorn) to experimental rock (with Bongwater and other bands in the 80's) alongside his recent inquiries into the intricacies of ambient-folk songcraft (with his most recent solo LP, "And The Wind Blew It All Away"), Kramer continues to explore the possibilities of shaping naturally occuring aural landscapes into intoxicatingly affecting music. Sound and language - not just melody and ambient textures - has been his raw material for decades. He nowjuggles them more deftly than ever on his newest ambient opus. In the ten compositions that comprise this new LP, mournful at times yet mysteriouslylife-affirming and generous in their scope, Kramer sees films where there arenone, and composes his accompanying ambient soundtracks in a state of interrupted grace. Words, text, complete screenplays, character arcs, shooting scripts and storyboards swirl through his head as he puts his imagery to sound, and the results evoke a world in which moths, drawn to the bright flickering lightsof Cinema and the low humming lights of Dreams, in Kramer's own words, "...might never die". The LP's nature reveals an interior dialogue between musician and choice. Each piece represents Kramer's encounter with the blank canvas of silence that greets him as a composer. Embracing sounds as objects and instruments of Truth, the end result of his process is as much about what is absent and what has been removed or edited away than what is left in its wake as artifacts of emotion. These pieces are the Spring frost of lost imaginings, vanitas to broken connections, visions nearly unrecordable by the human eye. Kramer envisions a music that functions to stoptime, as an event that always plays in the present and never needs a past to give it a reference point. It is music that communicates in the most intimate way possible, as intricately and as deeply as the way it blossoms and shifts and evades categorizationwhen exposed to thin air. Drawn toward the light of a multitude of influences, we hear echoes of the feverishly frozen dreams of composers Morton Feldman, Terry Riley, Brian Eno and Arvo Part, melting alongside the surreal cinemas of David Lynch and The Brothers Quay, all parts converging to evoke a time and place that does not exist outside of the mind's eye of the listener. These ten works are fluid adventures in fathomless landscapes, emotions distilled and offered as a paintless painting without a physical home. Each individual composition is an offering to a future memory, a chalice to be filled with the listener's own reactions to them. As a whole, the ten pieces form an image of ten circling planets in an expanding galaxy that colors itself anew with each subsequent listen. Movement, grace, and Peace.

No, it doesn't sound like the Butthole Surfers. It was never going to sound like Butthole Surfers. Get over it !!! It's time to revisit Paul Leary's 1992 debut solo LP - the avalanche of sound he titled THE History OF Dogs, "Revisited" here with two additional tracks that did not appear on the original LP, including one that will soon appear as the first video from the LP, "speedo Man". You won't believe your eyes. Believe me. This 1992 LP was WAY ahead of its time. Originally released on Rough Trade Records during the glory days of Butthole Surfers' crash course across the stages of every music festival criss-crossing the globe, this is zany, complex, unhinged, and sometimes just gloriously weird music, but it also features some of the most catchy indie pop music anthems you'll ever hear, and certainly far catchier than anything you'd ever hear from the BS catalog of psychedelic hysteria. Listen to "The Birds Are Dying", or "Fine Home", and then try to say that Paul Leary isn't one of the most gifted songwriters/producers of the late 20th century? This indispensable LP reissue (Re-Mastered in 2021 by Paul and Shimmy-Disc founder Kramer) is a wondrous time capsule that brings us back in time to where we all were 30 years ago, firm in our belief that there simply wasn't another band anywhere on earth like Butthole Surfers, and firm in the belief that the band's driving musical force, Paul Leary, like his partner Gibby Haynes, was one of those once-in-a-lifetime talents that just couldn't be ignored. These two were a force-of-nature. That great band may be in hibernation, but...stay tuned. Kramer, who played bass guitar in the band in 1985, says, "It was the year of the dog, and i was the bassist in the greatest band in the world. Life was good." Last year, Shimmy-Disc released Paul's 2nd solo LP, "born Stupid" to rave reviews. It was his first solo LP in nearly 30 years. Now it's 2022 and Shimmy-Disc is reissuing Paul's first solo LP, re-Mastered for Vinyl, with a vengeance. Like Kramer said...Life is Good. Riyl: Butthole Surfers, The Jesus Lizard, Kramer, Thurston Moore

His first solo LP since 1998's "Songs From The Pink Death", Kramer recorded this LP while wondering, through sound and song, if he'll ever collaborate on making music with another artist by his side again, or live to see another New Year's Eve, or ever hear his daughter's voice again, or ever Love again. Kramer - whose production credits also include Galaxie 500, Will Oldham, Daniel Johnston, Low and Urge Overkill - performed all the instruments and vocals on the record, which features nine new songs and closes with a cover of Leonard Cohen's "Winter Lady."It's a gentle and magical mystery tour of simmering acoustic strings, organs, pianos and mellotrons, tape loops, found sounds and a whisper of percussion, laced through Kramer's distinctively idiosyncratic singing voice and lyrics.

White Vinyl LP ltd edition of 500. Music by Shimmy-Disc founder KRAMER. Spoken word recordings from Gregory Corso, Tina May Hall, Sam Lipsyte, Christine Schutt, Gary Lutz, Allen Ginsberg, Dawn Raffel, Jason Schwartz, Kathryn Scanlan, Scott McClanahan, & Terry Southern."About 40 years ago, in a record shop on Long Island during a weekend visit there to see my parents, i found a double-LP that looked like something i should definitely buy. It was called "BIG EGO", by the The DIAL-a-POEM POETS. On the cover was a picture of John Giorno (a great poet Ed Sanders had turned meon to) on a NYC rooftop with Philip Glass, Meredith Monk, and two kids. It cost $2. I bought it and rushed back to my parents house, where i still had my old turntable in the basement, not far from my Jimi Hendrix and Zappa Crappa posters, and my framed portrait of John Cage. My copy of Eno's "DIscreet Music" was still on the turntable, having been left there years before,when i'd fled Long Island for good. I lifted it from the platter, gently slid it back into its sleeve, like a priceless religious artifact, and put Side A of the Dial-a-Poem LP on.I almost lost my mind while listening to it. The next day i went back to the same record shop looking for more DIAL-A-POEM LP's. i found two. One had a long list of names on the back, some famous, and some i'd never heard of before. I bought both LP's, and an hour later, for the first time in my life, i was exposed to the art of Laurie Anderson, whom i'd never heard of before. This was 1978. Her contribution was a piece called "Time To Go". It changed my life. Or at least, that's how I remember it. I was just a kid, so there were a lot of moments like that, around then. Nowadays, these moments can be had in seconds, with a click of the cursor. That evening, as i sat alone by my imaginary campfire (ie; that record player inmy parents basement), i promised myself that someday, somehow, i would embark upon a WORDS & MUSIC project that might move people the same way i was moved when i first hea...

In 2022, the pandemic seemed to be receding to the point where artists could work together again, literally side by side. So, as a kind of 'follow-up' to my Joyful Noise 2020 Artist-in-Residence box set, I revisited the notion of a limited-edition vinyl box celebrating the joys of collaboration. i thought about it for a good long while, and eventually, It felt good. I then put the idea under a microscope and found that it felt even better when i minimized the project to six 33rpm EP's on 7" vinyl. The borderless landscapes of audio art, tempered by the imaginations of the artists I chose to work with, then cast against the myriad infinities of mysteries betwixt those ageless, spinning rings...those rings that seem to sing, "...listen to us..."It all begins with imagery. Always. Let it be. If You fall in Love with the process, it's possible that the process will Love you back. The end results are important, but nothing is more important (to me) than the changes we experience as a result of the process. How are we different now, after the music is done? What has happened to us, because of these sounds we have made together, and these songs we have made? And, of equal importance... can the listener sense that something is happening o the artists as a result of their collaborations? And...can the listener experience some of that, too?RINGS OF SATURN won't change the world, but the words & music dervishing off these grooves accurately expresses the Love poured into the foundations beneath these Nocturnes (w/ Britta Phillips) and Psalms (w/ David Grubbs) and Preludes (w/ Eerie Wanda) and Elegies (w/ Jad Fair & Danielson) and Laments (w/ Paul Leary) and Hymns (w/ Rob Crow). working with others is my lifeblood. I am Nothing without them.TIME, with all its mysteries intact, and unfettered by borders, so that both the artists and the listeners can enter, in partnership, together. -Kramer, 2023

In 2022, the pandemic seemed to be receding to the point where artists could work together again, literally side by side. So, as a kind of 'follow-up' to my Joyful Noise 2020 Artist-in-Residence box set, I revisited the notion of a limited-edition vinyl box celebrating the joys of collaboration. i thought about it for a good long while, and eventually, It felt good. I then put the idea under a microscope and found that it felt even better when i minimized the project to six 33rpm EP's on 7" vinyl. The borderless landscapes of audio art, tempered by the imaginations of the artists I chose to work with, then cast against the myriad infinities of mysteries betwixt those ageless, spinning rings...those rings that seem to sing, "...listen to us..." It all begins with imagery. Always. Let it be. If You fall in Love with the process, it's possible that the process will Love you back. The end results are important, but nothing is more important (to me) than the changes we experience as a result of the process. How are we different now, after the music is done? What has happened to us, because of these sounds we have made together, and these songs we have made? And, of equal importance... can the listener sense that something is happening o the artists as a result of their collaborations? And...can the listener experience some of that, too? RINGS OF SATURN won't change the world, but the words & music dervishing off these grooves accurately expresses the Love poured into the foundations beneath these Nocturnes (w/ Britta Phillips) and Psalms (w/ David Grubbs) and Preludes (w/ Eerie Wanda) and Elegies (w/ Jad Fair & Danielson) and Laments (w/ Paul Leary) and Hymns (w/ Rob Crow). working with others is my lifeblood. I am Nothing without them. TIME, with all its mysteries intact, and unfettered by borders, so that both the artists and the listeners can enter, in partnership, together. -Kramer, 2023

Edgar Allan Poe's timeless poetry read by artists, writers, poets, musicians & magicians, in service to the work and also to the memory of a great friend and fellow traveler on the musical roads least taken, Hal Willner. Kramer has curated an eclectic list of voices to render fresh vision to old words. The music he created that accompanies each reading keeps the light shining on the performer, polishing the space between the poetry and the performance. As a fitting coda, an archival recording of Allen Ginsberg vividly reciting "The Bells" closes out the album. The unaccompanied reading from June 1981, is an excerpt from his `Expansive Poetics' study course at The Naropa School of Disembodied Poets - Boulder, CO.

Clear Vinyl.Big Bend's new album is a monument to listening through the veil of time andspace. Ohio native and primary songwriter, Nathan Phillips, built uponensemble jam sessions he hosted at a residency in Australia and collagedthose recordings alongside co-producer Shahzad Ismaily to make Last Circlein a Slowdown.Reflective, hi-fi, and elemental, the folk-meets-freeform sonics evoke rich 90sacoustic rock and the British post pop songwriting of Mark Hollis and DavidSylvian. Lyrical observations of nature's mysery and modes of regenerationconsider the loooming chance all things could move in any direction.

Kato Hideki's Statement: "The Walk is the first collaboration between me and my brother from another mother, Kramer. We started working together in the late summer in 2023, discussing the thematics and the sonic palette of the album. We shared strong connections with the writings by Robert Walser and Basho - both of them walked, dreamed, lived and died on the road. Ambient music was our natural plane for us to transduce the power of their literature into our music as signifiers. Neither of us imagined just to make 'another ambient record', nor a direct translation of their writings. My instinct was to use various modal colors with modulation - slow yet structured music that sounds deceivingly similar to ambient music. Kramer's genius was apparent to me: his ability to elaborate the music as a composer / musician with his keen ears; to frame the album conceptually, sonically and musically as a producer. What you hear in this album is a true collaboration between two artists who trusted each other to let the music transcend. Here you have it, enjoy YOUR walk - dream, live and die well!" Kato Hideki - Brooklyn, NY on April 3rd, 2024Kramer's Statement: "Sometime in the latter 20th Century, I became aware of the art of The Brothers Quay, two American animators living in London and making the most beautiful works of art I'd ever experienced in cinema. I noted that some of their work was inspired by_ 'the writings of Robert Walser'. Fast forward to 2024 and I have now read every word there was to read (translated into English) by this unique Swiss-German writer. I'd waited decades to find the right 'environment' in which to create music in dedication to this great prose writer and poet, and in 2023, I found that it was not 'the right environment' that I'd been waiting for, but rather, the right collaborator. Kato Hideki and his extraordinary work as composer for film, dance and just about every other creative discipline you can imagine, was equally as inspiring to me for this project as the words and worlds of Wa...

Grey vinyl!

LUMBEROB has always strived for maximalist sonic vaudeville, always hopedfor real electro gabber hardcore noise art, always grabbed for frenziedillegibility, always lurched loosely improvised from a psych-swamp of love.On the new album, HUNTER GATHER, LUMBEROB swings swanky as properpop deviance. Built from the same loopy logic which drives the stompingslaphappy force of his live show, these tunes are crafted out of lovely andweirdly thunk out loud and large soundscapes. Mixed and mastered byShimmy-Disc founder Kramer (Daniel Johnston, JD Pinkus, Pan American),the album surprises, estranged from obvious categorization. These slipperylittle bouncy bangers are bold exercises in genre discovery. It sounds likenothing and it goes with everything.LUMBEROB is a tough act to follow, a surreally inventive performer who spinsgiddy with excitement, dancing dumb and banging hard. That's just what hedoes, and HUNTER GATHER is a refined encapsulation of that energy. There'struly a beautiful stupidity to be found here.HUNTER GATHER is noise-pop, art-rock, psych-primitive, dumb-dance. Thealbum teams with bright sounds, spinning visions, and brut poetics. It curvesfuriously like a naughty noodle and, yes, it spins you dizzy at times. Nothing isold in that feeling ever. Listen loudly.

Green vinyl Limited edition. Original inner sleeve.

Cover with sticker, closer to VG+

"A 'Pear' of albums on one vinyl LP... a combo of heavy psychedelia, drum and bass grooves, bouncy boogie, catchy tunes and sprinkles of tastee horns, keys and strings thrown in... kinda like a thumb over the genre-hose nozzle, something for everyone and nothing for someone... guaranteed!'Grow A Pear' has been in the works for 5 years. What started as my contributions for the 'new' Butthole Surfers' album that was not to be... turned into a solo album I recorded with contributions from some of my favorite flavor players to create an album that most represents where I came from and bridges to where I'm at right now. My wishes for the future, is that everyone in the world will finally 'Grow A Pear'" - JD Pinkus'Grow A Pear' features a veritable cornucopia of American Indie music radicals: Åsa Söderqvist and Lina Ericcson of Shitkid, Paul Leary of Butthole Surfers, Sam Coomes of Quasi and Jon Spencer's Hit Makers, Mike Savino of Tall Tall Trees, Walter Daniels of Bigfoot Chester, Mike Alfred of Shed Alford, Jed Willis of Khandroma, Michael Brueggen of Honky and Syrup, and Billy Sheeran.

Reverberations of Non-Stop Traffic on Redding Road is a duet in ambience by Pan American (Mark K. Nelson) and Kramer. This experimental record is 11 brief sojourns into the dream state, produced by Kramer (of Shimmy-Disc) and co-written with Mark K. Nelson (of Labradford, Anjou).This record is a brotherly and collaborative follow-up to Kramer's 2022 ambient excursions, "Music For Films Edited By Moths".On the making of this collaborative project, Mark K. Nelson said "It was an honor to work with Kramer. That we came out of it with a great friendship and a record that's unique to each of our histories and music that we're proud to share is a privilege and a joy."As Kramer has described, the result of this record is a work that begs listeners, both animal and human, to allow these beautiful landscapes to sing and speak and weep for themselves.Simply put by Kramer, "Please. Forget about words. Just LISTEN."

Allen Ginsberg, the voice of a generation, fierce, gentle, profoundand profane, paired with music created especially for his work, bysome of the guiding lights of Jazz in the modern era - MarkBingham, Bill Frisell, Arto Lindsay, Marc Ribot, and others. Allmasterfully coordinated and produced by the mad scientist ofcollaborations, Hal Willner.First released in 1989, this time capsule surges forth into the nowwith 8 additional tracks never included on the original release.These are timeless works, a garden of eden on vinyl to wanderthrough repeatedly, guided by the founding father of Beat Poetry.Graced by an irresistible coda co-written with Shimmy-Discfounder Kramer, his lyrical mantra of "Don't Grow Old".

If you've been wondering what it might sound like when two alt-banjo giants join hands & strings and sell their souls at the crossroads, 'Ponder Machine' is an essential listening experience. In August of 2022, Kramer parachuted into Asheville, North Carolina to record a mysterious LP of collaborative banjo studies by JD Pinkus & Tall Tall Trees. Pinkus is best known as the bassist who replaced Kramer following his exit from the Butthole Surfers (and his years with The Melvins), and Joyful Noise Recordings Artist, Tall Tall Trees (aka Mike Savino) is a stunningly talented multi-instrumentalist, known for his work with Kishi Bashi, along with his pioneering excursions into the world of his Banjotron 5000. Within hours of Kramer's arrival, things got entirely out of hand (in exactly the manner they had hoped), and the results are sure to re-write the way people see, hear and THINK about the banjo, 'Ponder Machine' proves in a thousand ways that the possibilities are limitless, and the extra 30 minutes you get when you download the digital-only tracks just hammers the point home. Think John Cage meets Bela Fleck meets Brian Eno. The banjo has never been chewed up and spit out so lovingly. JD Pinkus brought his mushrooms and effects pedals. Mike Savino brought his sourdough and his psychedelic street-smarts. Sweet dreams, y'all.