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Just when you thought every loner folk genius had been outed/discovered, hyped, and pontificated about, a new/old challenger lurks in the murky depths of time...and Maine. Sure, you have your Skip Spences, Dave Bixbys, Stone Harbours, and Perry Leopolds already, but have you heard the lonesome sound of Bill Stone? Well, don't feel bad or "unkool", hardly anyone has--unless you lived in rural Maine in the early 70s and grabbed his barely-ever seen LP in the day. Titled simply Stone, Bill's mysterious album was pressed in the micro-est of quantities, covering wistful, airy psychedelia on par with the UK's Mark Fry's classic Dreaming of Alice, while still evoking the earthy, evening-hour melancholy of Leonard Cohen or Tom Rapp. Stone was also especially influenced by one Donny P. Leitch, one Robby Zimmerman, and much trad folk, while growing up in his hometown of Old Town, Maine. Stone started out playing in a few small folk ensembles while also moonlighting with occasional solo gigs, finally recording this lone platter in 1969 in a pottery studio (!?) on a 2-track Panasonic tape recorder in Boothbay, Maine (where he says, they competed with a cat in heat). The LP features Tom Blackwell/Bill Stone-guitars, Arthur Webster-bass, Bob Blackwell/Skip Smith-drums, Bill/Beth Waterhouse on vocals. It also seems cover artist Doug Bane went on to become an acclaimed cosmic painter--committing loads of animals, psychedelic scenes, and Native American portraits to canvas, who knew? But we digress--anyhow, seems Stone's solo career slowed down after marriage hit, and he transitioned to playing covers in bars for cash, but after acquiring a masters and doctorate in education, he moved into the teaching walk of life. Bill published books and articles on subjects as diverse as school counseling and chaos theory--but now retired, he's returned to music, even recording a new album of originals and traditional numbers, based on his experiences as a cab driver (another wrinkle in the Stone Saga we must hear more of someda...

Rolling out of the mist and dust and silence of time, Ty Segall is behind the wheel of a sleek new ride, a confetti of pages torn from his ongoing saga blizzarding into the air behind him.With Harmonizer, his first album in two years, Ty glides smoothly into unexpected territory, right where he likes to find himself! Responding to the challenge his new songs gave him: a synthtastic production redesign, Ty kicks back with bottom-heavy creativity, dialing up a wealth of guitar andkeyboard settings to do the deed. Harmonizer is a glossy, barely-precedented sound for him, and truth, it enraptures the ear - but in Ty's hands, the sound is also a tool that allows him to cut through dense undergrowth, making for some of his cleanest songs and starkest ideas to date. Harmonizer's production model couches tightly-controlled beats in thick keyboard textures, with direct-input guitar signal whining and buzzing purposefully from left to right. The Freedom Band appear all over the record, but often one at a time, their contributions leaving a distinctive footprint on the proceedings wherever they appear. Operating in this airtight environment with an eye towards precision, feel, and explosive mass, Ty's crafted a formidable listening encounter - and once you get between the lines, the need to know more grows more compelling with every song.The thing about closed doors is they need opening again, no matter what happens. You open them and then you can pass through them. And there's light on the other side. That's what this album is about.The first recording to be released from Ty's just-completed Harmonizer Studios, Harmonizer benefits from a collaboration with Cooper Crain, who co-produced the album with Ty. The Venn diagram of these guys unites them in DIY/punk dyed-in-the-wooldom; Ty's propers you know, but Cooper's own unique journey in rhythm, minimalism and DIY (as heard on his productions with CAVE, Bitchin Bajas and Jackie Lynn) mines the depths around Ty's peerless vocal attack and aid in the latest c...

1973: Connecticut native Gary Higgins and his friends record RED HASH and release it on Gary's own Nufusmoon Records. Following the release, legal issues halt all promotion and sales, rendering the small pressing of RED HASH a hotly-rumored and much sought-after "lost" album of rock and roll lore.2005: Drag City is honored to present the first-ever authorized reissue of Gary Higgins' acid-folk gem RED HASH - mastered from the original master tapes with two previously unheard bonus tracks. The reviews are glowing: the haunting sound of Gary's meticulously arranged folk-pop is a sound that everyone can relate to, and RED HASH makes many year-end lists around the world as Top Reissue.2007: What do you mean, we forgot to make a vinyl version of RED HASH in 2005? Really? Well, let's not wait another minute, we might forget again...2021: Whaddya mean it's been literal years since we've had copies of RED HASH for sale? Oh yeah, whoops - you're right. Spaced it! Okay, here's more vinyl, complete with the tip-on sleeve, lyric insert and 7" single featuring the CD bonus tracks "Don't Ya Know" and "Last GreatSperm Whale."This is your chance to score a letter perfect reproduction of the early 70s acid-folk classic as it was reissued WAY back in the early 20-somethings! Don't blow it, dude.

2020! Now it can be told: the charade of a world without new Magik Markers records (six-plus years!) has finally ended. In these times of contagion fables and hacky blockbuster n95 disaster imagery IRL, Markers emerge again like three Lazarus from their three individual firmaments, just in the nick of the end of time.What Magik Markers do best is listening, and as John Shaw, Pete Nolan and Elisa Ambrogio worked with the tunes, they heard something taking shape. Less a style than a spirit - a spirit that had to do with a delight in friendship and invention. So, here we are with results, the murky and public airing of songs, improvised and planned.2020, recorded and slowly mixed in the first humming tinnitus years after Trump was elected, feels like an animal response to the intellectual luxury of despair. It explodes like a dream. We can all be forced into wage slavery, the dreary fears of our own mortality and the tender traps of love, compassion and family; this record, in eternal Markers fashion, stands as proof that work born out of the unconscious can transcend the individual concerns of meatsackery, and commute purity and relief in the untethered ether that we all contain.Ultimately human music, danceable and grandly damaged, like sister Kim Gordon. The new normal in stadium rock sound: one person on headphones in an empty room.

"I've been driving through the darkness....through the smoke and fire on the ground"Lingering at the remains of a campfire before dawn, with the politics of the personal burnt into ash, running his stick through what's left, Wand singer/guitarist Cory Hanson is reflecting on a series of moments in which he steps farther into himself, finding the ultimate big sky country on the inside of his skull. It's a combination of songs and sounds that journey through bleak and broken territory and places of sweet, lush remove, and it adds up to the best record he's been involved in yet: his second solo album, Pale Horse Rider.Cory's first solo, The Unborn Capitalist From Limbo, was an intense affair, a grand experiment that produced inspiring, unconventional music - but this time around, he wanted to breathe a bit easier, to feel that breath in the music as well. So he and his band drove out to the desert to record in a low-stress environment: Brian Harris' Cactopia, a house surrounded by 6ft tall sculptural psychotropic cacti. They built a studio inside and then they made music and lived off pots of coffee and chili and cases of Miller High Life as they played guitars, bass, keyboards and drums in what seemed increasingly like a living biomech, their tech made out of fungal networks and cacti needles.It was loose and flowed onto tape well. Recorded by Robbie Cody and Zac Hernandez (who assisted on Wand's Laughing Matter), the sounds were great from the get-go. First takes were mostly best takes. Fueled with DNA lifted from country-rock cut with native psych and prog strands, Cory guided his craft toward the cosmic side of the highway, a benevolent alien in ambient fields hazy with heat and synths, early morning fog and space echo spreading the harmonies wide.Pale Horse Rider's got a lot to get out of its mind, looking around and seeing that, on the surface, things don't always look like much. A lifelong Californian, Cory's naturally found himself standing to the left of most of the country. The west may b...

Rock and roll was a relief after the rigour of Henry Cow. That was one of the thoughts in Anthony Moore's brain in late 1975. Of course, leaving Henry Cow had meant the dissolution of the band he'd founded, Slapp Happy, as the two groups had essentially merged over the previous year. Still, there was plenty yet to do with music, and with Anthony's propensity for odd left turns, a solo career in the pop world seemed like a fine option to follow upon his adventure in soundtracks for experimental films, tape-based modern composition and avant-pop and experimental rock. For "the troubadour with Revoxes", this venture into playing guitar and singing in a professional context was a new thing. To access the pop life, Anthony signed a solo deal with Virgin - cutting sessions with producer Peter Jenner (Kevin Ayers, Roy Harper, Edgar Broughton Band) and some of Britain's new generation of progressive musicians facilities like Abbey Road, Air and Richard Branson's Oxfordshire getaway, The Manor. While the stars didn't align back in the day (the fantastic sounds recorded for OUT didn't see release until a CD issue of the late 1990s), we're finally making those historic recordings on vinyl with the long-lost original artwork restored. Kicking it off with a tricky asymmetrical keyboard riff reminiscent of Eno's Tiger Mountain phase and a belting Cale-esque vocal recounting the macho adventure narrative tone of that era's Dylan and Roger McGuinn, "Stitch In Time" floats essential elements of the mid-70s British art-rock boom with dreamy pop effervescence.It's been worth the 44-year (!) wait to get Anthony's full vision restored to OUT - an absolute lost chapter from mid-70s, proto-new wave Britain, bringing to mind the bright and subversive sounds of Wyatt, Ayers and so many other trail-blazers from that time while providing a worthy precursor to Anthony's celebrated 1979 LP, Flying Won't Help. A fantastic joy to the ears!

Der Nachfolger zum 2019er Blue With Lou-Album! Nils Lofgren, aufgenommen in die Rock & Roll Hall of Fame, Mitglied der E Street Band und Crazy Horse sowie Solokünstler, meldet sich mit einem klanglich und visuell beeindruckenden Werk zurück. Es waren ein paar arbeitsreiche Jahre für den Rocker Nils Lofgren, und es wird nicht ruhiger. Nachdem er als Mitglied von Neil Youngs Crazy Horse sowohl das Barn-Album (und den für einen Grammy nominierten Film) als auch das World Record-Album (produziert von Neil Young und Rick Rubin) aufgenommen hat, gefolgt von dem kürzlich erschienenen Album All Roads Lead Home der Bandmitglieder Molina, Talbot, Lofgren und Young und nach dem Abschluss der Aufnahmen für sein neues Soloalbum Mountains, erhält Nils einen Anruf, dass Bruce Springsteen und die E Street Band auf eine ausgedehnte Welttournee gehen werden. Aber während die Solotournee also auf Eis gelegt wurde, müssen die Fans nicht auf Nils' neues Studioalbum Mountains warten. Auf Mountains bewegt sich Nils nahtlos zwischen bluesigen und geradlinigen Rockern und zarten Balladen, wie nur wenige es können, alles mit Nils' klanglicher Detailverliebtheit, unverwechselbarem Gesang und speziellen Gitarre veredelt . Mountains enthält Nils' beste Geschichten in ihrer besten Form, mit 9 brandneuen Eigenkompositionen und einer Coverversion von Bruce Springsteens Back In Your Arms. Zu den namhaften Gästen auf dem neuen Album gehören Neil Young, Ringo Starr, David Crosby, Cindy Mizelle, der Howard Gospel Choir und Ron Carter. Die Bandkollegen von Vorgänger Blue With Lou, Andy Newmark und Kevin McCormick, sind erneut dabei. Nils merkt an: "Da wir in den letzten Jahren der Pandemie mit neuen und ungewohnten Herausforderungen konfrontiert waren, habe ich Mountains geschrieben und aufgenommen, um diese Reise zu reflektieren. Ich kann mich nicht erinnern, dass ich mich bei einem neuen Album stärker gefühlt habe. Rau, zärtlich, ein inspiriertes Werk für mich, dankbar." Mountains wurde von Nils und seiner Frau Amy produziert. Er fügt hinzu: "Ich bin begeistert, diese neue, sehr persönliche und emotionale Musik zu teilen. Das atemberaubende Artwork stammt von Künstlers Ed Mell, LP im Gatefold mit bedruckter Inenhülle, CD als Digi-Sleeve mit Booklet.

For their Drag City debut, the enigmatic duo expand into eight-armed wonder; all the better to reach ever-deeper into their bag o' tricks. Slinky and sliding elegantly, the kids forge tunes with a harmony of ambiguity and nostalgia, effortless yet precise, and rounded with thick bottom - a dancing clash of cognition and dissonance!Since 2015, Kamikaze Palm Tree have been a relative mystery. Now, in times no less mysterious, Drag City welcomes them, celebrating the energy of their second LP, where KPT play their offbeat strain of 21st century rock.Making MINT CHIP, Dylan Hadley and Cole Berliner reach deeper into their bag of tricks than ever before, dialoguing with an absurd shared intent they haven't yet paused to question. The off-center pieces gathered together for Good Boy have given way to pulsing aquatic compositions on MINT CHIP. Cole's guitar tones, wire thin, bell-like, bluesily downtuned, slinky and sliding elegantly, arc purposeful around their peripherals. Dylan's kit work, effortless yet precise, grounded with heavy bottom, drives and interacts organically with all the emerging structure, nailing down finely detailed frames and canvases to backdrop her singing and the unremitting landing of melodies and songs. With the addition of Josh Puklavetz, things that didn't make sense before - like bass - are now on the beach, fully lotioned, essence to essence. Violin and clarinet (Laena Myers Ionita and Brad Caulkins, respectively) round out the tonal spectrum. All strung together in the foothills of Altadena's Wiggle World Studios with Hartling back in the engineer's seat and Tim Presley producing the proceedings!

In the early aughts, after a decade performing as Smog, Bill Callahan thought he might start recording under his own name. This made the record company nervous, so a compromise was struck: how about (Smog) instead? That gambit only worked for a year or so, and then we got some therapy for our nerves and he got the name change we all deserved: Bill Callahan, if you please, full stop, no parentheses needed, end of story. And since then, life just gets increasingly better. . .Rain On Lens was the first of three records to be released with the brackets - a chiaroscuro-draped passage between Dongs of Sevotion and Supper, if you will. Rife with the further adventures and evolution in the Callahanian tongue that continue to dazzle the world everytime he makes another new one. And always with at least one classic ballad (here it's "Live As If Someone Is Always Watching You"- but imagine "Keep Some Steady Friends Around" with just a guitar backing it! Total melter), the unblinking-yet-compassionate character study ("Lazy Rain"), a masterful comic vignette ("Short Drive"), and the through-the-looking-glass set closer ("Revanchism"). Check and double-check, Rain On Lens!It's quite the record. But it was out of print on vinyl since the end of 2016.

In the past two decades, Tashi Dorji has travelled a long road. Making several dozen albums and touring the world, playing his guitar solo and in tandem with inspired others. Gifted with a sensitive and restless ear, he reaches through his guitar to find new sounds. The title of this forthcoming record, Stateless, is about more than just playing one's way into somewhere else. It invites us to perceive hair-raising truth; these are free pieces in more ways than one.A native of Bhutan, Tashi has lived in Asheville NC with his family since 2000. His career as a musician has flourished during this time - even as, in recent years, the government presiding over this country that he and we call home has taken a series of entirely despicable positions on the status of immigrants, refugees and foreigners of all kinds. On any level that we can imagine, this is a corrupt human policy. Our immigrant ancestors once lived in fear - must immigrants always? Or is this the cluttered and sinking path of a nation drifting into a sea change?Stateless is a probing recital in which music, the texture of the instrument and the nature of the moment in which it is played are all of equal significance. Like a sculptor, Tashi flecks away at his acoustic guitar, percussive strikes discovering the shades of folkish melodies within, while continuously shaping other contours in a flow of improvised actions.Stateless measures the miles on the charred highway we're all presently stalled upon - not going home again, at time on a march for no reason, other moments insensibly in the weeds, rummaging, looking for something.