Indierock | Alternative Tape Sale 24 Items

Experimental And Improvisational Psychedelic Rock, For Fans Of White Heaven, Les Rallizes Denudes, Headroom, Düngen, Heron Oblivion, Comets On Fire, The Renderers, Bardo Pond. Mountain Movers Arguably Are The Perfect Band For All The True "Heads" Out There. The New Haven Quartet Have Been At It For 15 Years, And The "Newest" Lineup (Now At It For Well Over A Decade; Vocalist/Guitarist Dan Greene, Bassist Rick Omonte, Guitarist Kryssi Battalene And Drummer Ross Menze) Have Firmlygrasped What It Takes To Fry Brains; Achingly Beautiful Melodies Buoyed By A Life Raft Of White-Hot Guitar Scree And Mind-Melting Feedback. "World What World" Is The Band's Eighth Album And Third For Trouble In Mind Records. "World What World" Is The Newest Chapter Of The Group's Continued Explorationsand Efforts To Refine Their Sound. The Lyrics Of "World What World"S Songs All Imply A Protagonist On A Quest; The Title Itself Is An Implied Query With No Question Mark; Is It A Question, Or A Statement?. The One-Two Punch Of Opener "I Wanna See The Sun" And "Final Sunset" Lay Out What's In Store; Crazy Horse-Inspired Sandpaper Melodies Sit Comfortably Next To Improvised, Psf-Influenced Six-String Ragers. The Group Performs Together Effortlessly And Telepathically, Subverting The Loud/Quiet/Loud Dynamic That Has Saturated Independent Music Since The Late-Eighties. The Loud Parts And Quiet Parts Are Like Waves; Indistinguishable From Each Other, Creating A Fluid Dynamism And Intensity That Swallows The Listener Up Inits Current, Sweeping It Toward Oblivion. Hyperbole, You Say? Watch Out For Midway Through "Then The Moon" When The Tune's Lilting Waltz Pivots Into A Casually Blistering Solo By Battalene Before Fading Into The Melancholic "Haunted Eyes" -Beckoning You With A Mournful Sidelong Glance. Side Two Opens With "Staggering With A Lantern", An Elegant, Lumbering Instrumental Improvisation Again Showcasing The Synergistic Shredding Of The Group's Guitarists. The Sticky Lyrical Hooks And Sideways Jangle Of "Way Back To The World...

Video Age's third album pairs neon-bright 80s pop melodies with a vast range of influences (including Janet Jackson, David Bowie, and Paul McCartney) to create an optimistic sound all their own. The influences vary song to song, but they're all tinted with the same rosy hue, and Singer and multi-instrumentalist Ross Farbe says, "I'm often trying to create a more idealized version of the world I'm in." Video Age's first two albums were about loneliness and discovering oneself, but Pleasure Line takes on a whole new attitude, considering both Ross and songwriting partner Ray Micarelli are getting married this year. "We're feeling the love," Ray says, laughing. But these aren't expressions of one-dimensional puppy love-this is euphoria with depth, ecstasy with complications. Darkness is always lurking somewhere beneath happiness, but in the Video Age, even melancholy sounds like something you can dance to. Ray and Ross share a love for dancefloor hits. Experimentation and play is crucial to their approach, as is collaboration. Joined by band members and multi-instrumentalists Nick Corson and Duncan Troast, Video Age recorded the album together in Ross' New Orleans home studio. Pleasure Line is a salve that protects against cynicism-listening to this album, you can't help but feel the world around you is full of romantic potential.

Documa is the multimedia project of longtime Northwest Indiana musician Bobby Markos. Markos began writing and releasing music on his own, using analog production methods at home. The project debuted with a collection of songs called “The Color of Documa.” Around the same time, Documa began performing live, marrying audio and visual aspects to create an almost movie-like experience for audience members. The sounds of Documa are heavily influenced by music from the 60s and 70s, documentary soundtracks, and field recordings. The music incorporates fingerstyle guitar playing, as well as electronic compositions and samples to create ambient productions with country-western cadence. Markos relies on a home studio consisting of old reel-to-reel tape machines, VCRs, and cassette decks to engineer Documa recordings.

To integrate a longtime love of film, he founded Documavision, a production company focused on collaborating with other artists, visualizers, and motion graphics. The visual aesthetic focuses on film equipment and methods of the past as well, often using analog cameras, televisions, and VCRs to produce videos.

To close out 2020, Documa has partnered with Flesh & Bone Records to release a series of EPs, starting with the digital release of the EP “3.” and now a cassette release of "Lo-Fi One Two Seven".

RIYL: Duster, Bowery Electric, Codeine, Slowcore meets Downbeat, Tortoise.

Sorrow Wave duo BRING HER return with their second LP and first album since 2019, Comfort In The Shame. Based out of Pittsburgh, BRING HER play a distinctive brand of somber darkwave, defined by haunting and magnetic vocals over pounding and obsessive drum machines, penetrating guitar chords, and eerie and harrowing synths. Using DIY recording methods coupled with sound shaping, heavy layering, and meticulous editing the new album sees the two-piece at a new height, adding to the urgency and crushing weight of their already brooding sound. Elements almost industrial in nature shine through these 10 new tracks, yet the duo stays as gloomy and dismal as the self-described Sorrow Wave moniker implies.

Access, The Second Album By Major Murphy, Is An Album Born Out Of Being At A Crossroads. It's Also, Without Question, An Album To Blast At An Unruly Volume To Soundtrack An Experience Onemight Have Standing At That Crossroads. It's Remarkably Cohesive - A Striking Relic In An Age Where Ardent And True"Album-Making" Is A Fading Art Form - Full Of Heavy Rock'n'roll Sounds And Textured Atmospheres Fused Withpro-Idea, Hyper-Creative Jittery Warmth. In Nine Songs, It Somehow Takes A Listener Backwards And Forwards Atonce, Reckoning With Intrinsic Anxieties While Conceptualizing A Fantastical And Vibrant Happening, Soothing In Itsfamilia Familiar, Occasionally Childlike Tone.Behind The Sturdy And Poetic Architecture Lies A Story Of New Parents, Navigating Uncertainty And Seeking A Senseof Agency In The New Unknown. Throughout Access, Songwriter Jacob Bullard Recounts Memories Of Teaching Hisyoung Son To Breathe Through His Nose And Laments Missing His Son And His Partner And Bandmate Jacki Warren.On "In The Meantime", Bullard Expresses The Timeless Anxiety Of Recent Parenthood, Written In The Wake Of Theterrifying Experience Of Their Son Suffering From Lead Poisoning. While The Title Track "Access" Is As Much Apersonal Plea For Patience And Humility...

Waking the Dreaming Body is the follow-up to Tucson artist Karima Walker's 2017 standout album Hands In Our Names, which garnered praise from Pitchfork, Mojo, and Bandcamp. The album includes dense harmonic arrangements of synthesizer, guitar, piano, percussion, field recordings, tape loops and Karima's dulcet singing voice. The final result is a 40-minute dream-narrative of her conscious and subconscious minds that oscillates between the rich textures of her ambient work and the melody and poetry of her melancholic, Americana-tinged songwriting, their ebb and flow recalling liminal states of half-sleep where images and emotions are recalled and forecasted from the previous night's dreams. Night falls in regular intervals throughout the album, forming a natural dialogue between waking and dreaming.

Owing to a focused period of growth as a home recordist and producer, there is a distinct, refreshing current that charges outtakes from “bad summer”, the latest full-length album from Philly-via-Portland’s cool original (fka cool american). What under other circumstances might have been a string of homespun indie rock songs is instead an energized pop-focused collection of tracks born from what Nathan Tucker describes as “the contrast between total formlessness and rigid claustrophobia”. As heard almost immediately on album opener “monad, no windows”, an electric atmosphere envelops outtakes from “bad summer”. Pitch-shifted vocal samples and previously-scrapped drum recordings fill out the overture, setting the table for a patchwork of repurposed, resampled ideas shaped into songs that rarely end up in the same place they started. The unhurried and sentimental “i just need a second” boasts the full spectrum of cool original’s songwriting prowess: foregrounded, infectious melody over subtly chopped and screwed drums comprise the foundation for Tucker’s own take on a classic road song—a marked contrast to “breaking my own rules”, an experimental pop number unlike any previous cool original work. Similar contrasts abound throughout outtakes, making for a listening experience that’s equal parts rejuvenating and unpredictable.

It's Tempting To Think That You Have All The Answers, Screaming Your Gospel Every Day With Certainty And Anger. Life Isn't Quite Like That Though, And The Debut Album From London Four-Piece Tv Priest Instead Embraces The Beautiful And Terrifying Unknowns That Exist Personally, Politically, And Culturally. Posing As Many Questions As It Answers, Uppers Is A Thunderous Opening Statement That Continues The Uk's Recent Resurgence Of Grubby, Furious Post-Punk Music. It Says Something Very Different Though - Something Completely Its Own. Four Childhood Friends Who Made Music Together As Teenagers Before Drifting Apart And Then, Somewhat Inevitably, Back Together Late In 2019, Tv Priest Was Borne Out Of A Need To Create Together Once Again, And Brings With It A Wealth Of Experience And Exhaustion Picked Up In The Band's Years Of Pursuing 'Real Life' And 'Real Jobs', Something Those Teenagers Never Had. Last November, The Band - Vocalist Charlie Drinkwater, Guitarist Alex Sprogis, Bass And Keys Player Nic Smith And Drummer Ed Kelland - Played Their First Show, To A Smattering Of Friends In What They Describe As An "Industrial Freezer" In The Warehouse District Of Hackney Wick. "It Was Like The Pub In Peep Show With A Washing Machine Just In The Middle_" Charlie Laughs, Remembering How They Dodged Star Wars Memorabilia And Deep Fat Fryers While Making Their First Statement As A Band. Unsurprisingly, There Isn't A Precedent For Launching A Band During A Global Pandemic, But Among The General Sense Of Anxiety And Unease Pervading Everything At The Moment, Tv Priest's Entrance In April With The Release Of Debut Single "House Of York" - A Searing Examination Of The Monarchy Set Over Wiry Post-Punk And Fronted By A Mark E. Smith-Like Mouthpiece - Served As A Breath Of Fresh Air Among The Chaos, Its Anger And Confusion Making Some Kind Of Twisted Sense To The Nation's Fried Brains. It's The Same Continued Global Sense Of Anxiety That Will Greet The Release Of Uppers, And It's An Album That Has A Lot To Say Rig...

Ghost Bitch, like most suburban-bred "American" girls, has followed the traditional Britney Spears to Rowland S. Howard trajectory. On her 10th birthday, her wish came true when she was given an electric guitar, but she somehow managed not to learn a single chord (by her estimate) for the next 13 years. That did not stop her from beginning to perform in "Olympia, WA" on her own and in the short-lived punk band KZV, and later, Desire Complex, Di.Or. and Babyface Evil. What originally started (Ghost Bitch!) as a solo noise project and an outpouring of grief has slowly transformed into a poetic yet primal force of rock-n-roll while maintaining the touch of an exorcism, of late, a danceable one nonetheless.Ghost Bitch's new album Blood and Honey was recorded in six hours by Capt. Tripps Ballsington at High Command in October 2021. It was written in "Olympia" during the pandemic while long awaiting a move to Naarm ("Melbourne, Australia"). Blood and Honey is brutally romantic and funny the way a Baudelaire poem is funny, reveling in turning things upside down, most of all- beauty, yet this time spoken from the mouth of the razor-sharp, decaying Venus herself.

Born and raised in small Texas towns, the members of Good Looks met and began playing together in Austin. Songwriter Tyler Jordan grew up in a South Texas coastal town dominated by the petrochemical industry, his childhood steeped in the tension between nature and industry, exploitation abundantly present and the wealth gap on full display. His father's church, described by Tyler as "cult-like in its intensity," was homebase and where he learned to sing. Tyler eventually met lead guitarist Jake Ames in the late-night song-swap circles of the Kerrville Folk Festival campground (where they would also meet Buck Meek and Adrienne Lenker pre-Big Thief). They shared their mutual love of the Texas hill country canon (Blaze Foley, Townes Van Zandt, and Willie Nelson), a love of cheap diner food, thrift store baseball caps, and a healthy dose of harmless shit-talking. They began playing in bands together, backing up other songwriters and taking turns in the spotlight. They sought out producer Dan Duszynski (Loma, RF Shannon, Jess Williamson) to engineer their debut album. What would form was Good Looks, a blue-collar political indie-rock band with healthy doses of Replacements swagger and shimmering, desert rock riffs not unlike The War On Drugs.

Turbo World is the sunny and shady brainchild of co-conspirators Stephe Cooper and Caroline Bennett. Best known as the mastermind behind avant-prog boppers Cloud Becomes Your Hand and a member of Guerilla Toss, Cooper continues to stand out for his madcap compositions that embody the spirit and ethos of avant rock groups Aksak Maboul & Slapp Happy. Joining forces with Bennett, the manic scribe, singer, and multimedia wizard of digital hardcore duo Stice, their debut album, My Challenger, is an experimental prog-opera that leads listeners on a surreal, animated jaunt through the world of organized crime. The album’s north star is Joey the Hitman aka Max Kurschner, whose 1973 interview on The David Susskind Show, forever immortalized on YouTube, serves as inspiration and source material.

La La Land doubles down on the intricate proggy-pop displayed on Guided By Voices’s last album Tremblers And Goggles By Rank. On a hot streak of critical acclaim, Robert Pollard continues expanding his songwriting towards extremes of prettiness, heaviness and poeticism. As always, unforgettable hooks are everywhere. But with thsi latest, it seems Pollard is playing with the extremes of his abilities as a songwriter, emboldened by the power of this lineup now on their fourteenth album together since 2017. The prettiest stuff is prettier than ever (“Queen Of Spaces”) and odder, more complex songs like “Slowly On The Wheel” combine minimalism, whimsy, and cinematic inclinations. There are the exquisite power pop bangers that fans come to expect like “Ballroom Etiquette” and “Pockets.” Tracks like “Instinct Dwelling” and “Caution Song” effortlessly display a cranked-up weight and complexity most bands could never muster. Celebrating forty years in 2023 with their thirty-eighth album, GBV has lately been garnering rave reviews from Rolling Stone, Stereogum, Brooklyn Vegan, Uncut, Mojo, Shindig, Paste, Popmatters, The Quietus and many more.

The newest longplayer from Tio'tiá:ke/Montreal staple Cedric Noel lands with a stunning sense of surety and self. Hang Time stands as a high water mark for a songwriter who's spent the past decade quietly expanding the borders of his music. Longtime fans will recognize the fluid elements of the album's open-ended rock formations: reflective strumming, soaring choruses, searing guitar lines, subtle bass grooves; all occasionally dissolving into pools of pure ambience. New listeners will find surprises throughout: threads of folk pop, ambient and sound collage fasten the foundations of this expressive whole. However, what's most striking on Hang Time is Noel's newfound sense of voice, both literal and metaphorical. Written primarily in 2017-18 during an intense period of self-reflection, this collection of songs finds Noel wrestling profoundly with his sense of identity, self and place. Born in Niger, adopted by Canadian and Mozambican/Belgian parents, he spent his youth moving around the globe with his adoptive, multi-racial family, eventually landing in Fredericton, Canada for university. While studying, Noel embedded himself in a predominantly white indie rock community that left him feeling, as a Black man, both seen and unseen in complicated ways; both welcome and not. This tension would follow Noel through a move to Montreal in 2016 wherein he found himself again moving within predominantly white music communities. This (dis)placement would encourage Noel to find respite in Ottawa, holed up temporarily in a family home, studying the pieces of himself and putting them to place in music. Listening to Hang Time, one can feel the tensions of this process being held and released, as if being allowed to breathe for the first time: forms open and close, surfaces are seen through, feelings go supernova. The album's material was captured faithfully at The Pines, a beloved downtown Montreal studio whose doors shuttered shortly after amidst the strain of the pandemic. Noel worked closely and patiently with friend and engineer Steve Newton, ensuring the songs had the time and space needed to come fully to fruition. Hang Time features subtle rhythm work from drummer Liam O'Neill (suuns) and guest spots from Brigitte Naggar (Common Holly), Ella Williams (Squirrel Flower) and Tim Crabtree (Paper Beat Scissors) among others.

Mal Devisa is the songwriting, liberation, and poetry project of multifarious artist Deja Carr. Starting in 2014 and breaking through with 2016's Kiid, Mal Devisa's work spans a selfmade spectrum of sound from gravitic, soulful rock to soliloquy to unabashed hip hop. Although known for her unmistakable, smoldering voice and loop-based, bass-forward compositions, Carr's talents also extend to reaches of spoken word and production, paralleled by aspirations to start both a youth foundation and Afrobeat orchestra. Such boundless inspiration is a central facet of Mal Devisa's work, whose sonically and narratively unrestrained passages teem with empathy and liberatory visions for a better world.

Temir Alcy (producer Enir Da - Dali Muru & The Polyphonic Swarm and multi-instrumentalist Charles Lmx) is at the junction of spherical textures of acoustic clouds and shapeshifting forms of immersive electronic percussive patterns. By intertwining etherionic atmospheres and organic moods to magnetic and hypnotic rhythms, Temir Alcy explores the mysteries of the future and the unknown through a journey of sensory trance, where whispers and melodies of voices strike a vivid contrast between emotions’ fragility and sound’s solidity enhanced by a downtempo, leftfield and erratic kraut’s feel.

Leader of the punk-rap awakening, Wu-Lu pulls inspiration from personal hardship and the underrepresented on his latest for Warp entitled 'loggerhead'. Miles Romans-Hopcraft based his artistic moniker on the Amharic word for water, “wu-ha”. True to his fluid sound and nature, he decided to change it to something that felt more liquid. He ended up with Wu-Lu, a name he has been using since 2015. His first record Ginga opened the floodgates to a career that would take him to various places, people, and genres. From breaking bones at skateparks as a teenager, to DJing as one of the original members of Touching Bass, and eventually getting signed to Warp in 2021.

As an artist, Wu-Lu seems concerned with feeling and communicating the full spectrum of human emotion. Throughout his varied discography, he touches on disparate themes and sounds, straddling a divide between blissed-out beats and grungy guitar dirges, and often mixing both into one amorphous, unclassifiable sound of his own.

On ‘'loggerhead'’, Wu-Lu hones his unique sound. On ‘Take Stage’, a despondent spoken word intro opens with sombre strings and underlying bows dragged delicately across them. Then the lights flicker to life on ‘Night Pill’, and the mosh pit with them - the bassline approaches like a hungry shark and the guitars snarl with a homemade 90s grunge energy. This grunge drawl and punk spirit is peppered with dry old-school drum sounds of classic hip-hop, with laid-back beat-oriented tracks are spread amongst those with intermittent growls, scratches, and shrieks. Sonic elements are constantly rearranged and juxtaposed throughout the album, like on ‘South’ where the fluctuating pitch of squealing guitars and screaming vocals is contrasted with the steady flow of Lex Amor.

Listening through the album you are constantly greeted with about-turns, and through the element of surprise and deft use of contrast 'loggerhead' sits at an exciting point in Wu-Lu’s genre-defying artistry.

Stone Temple Pilots live at the Centrum, Worcester, MA on August 22nd 1994. Taken aback by the huge success of their 1992 debut album, Core, and drained by the heavy touring that ensued, this San Diego band almost fell apart before recording its follow-up, Purple. Issued in June 1994, it debuted at #1 in America, cementing their star status. This superb concert was broadcast on syndicated radio two months later, and captures the quartet at the height of their powers, before singer Scott Weilands drug problems derailed them.

The first word of the album says it all: 'Bang!' On their new album Midnight In A Moonless Dream the Buttertones dig deep and discover something dark. Where their previous album Gravedigging played like the soundtrack of a good spaghetti-western heist movie, Midnight moves to the dark cityscapes of '70s New York and tells the story itself - a perfect and intricate crime executed by a crew of professionals under cover of night, a biting sound befitting of CBGB's while staying true to their LA roots. There are echoes of Suicide and Bauhaus, nods to the spirit of sax and violence that powered the Deadbeats. Midnight is music made for dancers but also for doomed romancers that will appeal to fans of The Cramps, The Gun Club, Car Seat Headrest, Black Lips, King Tuff, Thee Oh Sees, Ty Segall, and Parquet Courts.

Presenting Howlin Rain’s grand-scale new studio album: The Dharma Wheel, a six-track, 52-minute dive into a joyous fantasy realm. A sonic travelogue of prog funk, psychedelia, bygone West Coast jam music and watermelon rock. The triumph of a working band!

7" and Tape in Gold or Silver with Poster, Postcard and five Poodle Pins. Destiny decides - golden edition comes with autgraphed postcard. Good luck!