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Heith is the alias of Milan-based artist and musician Daniele Guerrini who crafts a mesmerising and ritualistic subterranean soundscape, a resonant and eclectic collage of distinct sonic elements: from celestial percussion intertwined with jarring, mechanical oscillations to haunting vocals atop murky dubbed-out beats.Exploring the textures of consciousness through research into the ritual animism, he kept an omnivorous and universalist approach to cultural and sonic influence. This is central to X, wheel, Heith's debut album and first release on PAN. It's a deep dive into his creative and spiritual practice, one where art and life are inextricable. The Liars Tell..., on the other hand, feels like a kind of respite, a moment of meditation and pause from the fatigue of dimension-hopping. As if the traveller dismounted their carriage and, standing puzzled on a crossroad, listened to the echoes of distant places. Occupying a liminal space and letting thousand of contradictory tales form the lyrics to one unfathomable song.

“Afterlife”… Planet of Zeus’s sixth album finds them reinventing themselves rather than the wheel. After their prophetic, pre-Covid release “Faith in Physics” and the consecutive postponements of their European and North American tours, the band took a deep dive into its own vulnerability and managed to come back stronger and more dangerous than ever before. No matter how far humanity and technology has reached, people always seem to be puzzled by the same old questions. From the ancient Greek philosophers, to Dostoevsky, Hesse and the average bloke on the corner. A blend of failed relationships, parenthood, sobriety, the constant search for a higher purpose and the thin line between “beneficence and rascality” with a unique and adventurous modern heavy rock sound, “Afterlife” is a perfect musical representation of the beauty and the curse of the human condition. A heavy rock must-have for fans of Queens of the stone age, Foo fighters, Mastodon, Clutch, Monster Magnet, Hellacopters and Royal Blood. Available in a limited edition, clear transparent 180g gatefold Vinyl by ihaveadrum records.

Limited Gold Edition.

RAT BOY have recorded in Los Angeles with T im Armstrong of Rancid, played festivals as far afield as Japan and China, and touredNorth America with The Interrupters. Yet for all those globe-trotting adventures, there"s no place you know quite as well as home.That"s the central topic that R AT BOY explore on their upcoming third album "SUBURBIA CALLING", which will be released onOctober 4th via Hellcat."SUBURBIA CALLING" sees RAT BOY exploring stories from their roots in Essex. It"s the land of wheeler -dealers and dodgy geezers,and home to nosey neighbours, rowdy clubs and Joey Essex. For readers outside of the UK, it"s the land of Blur, Depeche Modeand The Prodigy: a place not so far outside of east London, but in other ways it"s a world away. And it"s not only an immense fontof inspiration for RAT BOY, but the place where ever ything happens for them.. Just outside of Chelmsford sits a converted barnwhere the band can jump in and be creative whenever the mood takes them - a HQ that is a recording studio, a rehearsal space, anart studio, a storage space and a hangout spot all-in-one.Frontman Jordan Cardy says, "I wanted to sing about Essex. Essex is where we live and when you"ve grown up somewhere younotice things about it. There"s so much to draw on. Essex is really close to London but it"s different in a lot of ways. We"ve got alot of freedom here, we built a place where we can record and rehearse and hang out, somewhere you wouldn"t be able to have inLondon."RAT BOY - completed by Liam Haygarth (bass), Harr y Todd (guitar) and Noah Booth (dr ums) - approached the making of the al -bum in unorthodox fashion. They recorded a home demo and a live performance of each song, which were then sent to producerStephen Street (The Smiths, Blur) to edit together like a tapestry puzzle.

The Cure's upcoming album, Songs of a Lost World, marks their return after 16 years and will be released on 1 November 2024. This project, led by frontman Robert Smith, delves deeply into themes of mortality, loss, and existential reflection, drawing comparisons to the band's earlier introspective works, like 1989's Disintegration. Many tracks, including “Alone” and “Endsong,” were previewed during their 2022 Shows of a Lost World tour, setting a melancholic and haunting tone that captures Smith’s reflections on personal losses, including family bereavements

Presenting 3+5, the long-awaited eighth album from Tokyo-based noise-rockers Melt-Banana on their own A-Zap label!

The album showcases the duo’s visionary musical approach and extraordinary abilities as performers: Yasuko Onuki’s giddy, hyperactive vocalizing and Ichiro Agata’s glitchy, cyberpunk guitar, delivered at dizzying speed, bathed in aggressive electronic sounds. Their aesthetic approach is exultantly experimental, fusing diverse genres imbued with chaotic energy. As on their previous works, the music on 3+5 is unpredictable, always filled with surprises and excitement.

3+5 synthesizes elements of a variety of extreme musics, hyper-pop, classic punk, vintage metal, and noise. It partakes of Japanese culture overall, especially the subcultures of gaming, anime and underground music.

Melt-Banana seek to offer possibilities to musicians who won’t start a band if they can’t find a drummer, young women afraid to express themselves in their own unfiltered and unique voices, bedroom musicians and egg punks seeking to blend electronic noise with live instrumentation. 3+5 provides a fresh experience and perhaps inspiration for all.

While Melt-Banana hasn’t explicitly explained the meaning behind the album’s title, 3+5, prime numbers symbolize mathematical integrity and independence, which could represent the band’s uniqueness and freedom. Why “3+5” and not “1 + 7”? One is left to ponder.

White vinyl

Walnut Brown Opaque vinyl

It's our 6th album now and the firs album with the Amazing Clone Drum Set !!!, we started in 1986 the recordings and the songs went trashier and more Fuzz and Feedback every year _.. for this record we bought our own home made studio with mixing desk and a 1 inch tape machine and microphones from the trashcan, Pumi our Live Mixer and Janosh recorded it in a week, for the first 1000 copies we did a 1000 pice puzzle and a pox as a sleeve_ but that item is sold out already now we present you the official version of this TRASH PICE, when we started making the songs for this record I had no lust to write any lyrics to that so we made up most songs free and I sung what I felt like to sing.. it's anyway all about killing killing some more the falling in love and get killed go to hell and having fun down there_THIS RECORD IS FULL TRASH, I DON'T THINK THAT ANY SERIOUS RADIO STATION GONNA PLAY THIS BUT IF SO_ THEN WE HAVE A CHOISE TO GIVE YOU ON YOUR WAY_ PLAY LOUD AS POSSIBLE_we recorded is loud as fuck, so the neighbours came over a view times while we recording that record..but even better is if you come to our shows and we blow your brain away in one second !!!

Named after the iconic Abbey Road studio room where it was recorded, Studio 3 is Rogers & Butler's vibrant homage to the musical sounds of the sixties and seventies. From the electrifying opener "Soho Fantasy" to the mind-bending closer "Scarlett Letter," this album captures the melodic brilliance and raw energy that defined a generation. Blending the swagger of New York rock with the charm of the London music scene, Rogers & Butler's ear for melody and authentic sound will transport you back to the golden age of British rock. Each track on Studio 3 seamlessly blends past and present, to create a sound that is both nostalgic and refreshingly new. The twelve songs on this limited pressing vinyl were recorded live in a marathon two-day session with all the musicians in the studio, capturing lightning in a bottle and eschewing modern recording techniques such as auto-tuning, click tracks, and extensive editing. Joining the duo at Abbey Road were producer Don Piper (guitar) and veteran British musicians Andy Lewis (bass) and Ian Button (drums). The album was expertly engineered by Chris Bolster, known for his work with Paul McCartney, Kate Bush, and Oasis. With lush arrangements, infectious hooks, and timeless production quality, Studio 3 promises to captivate and inspire. This album is a must-have for fans who want to experience the magic of a bygone era through a modern kaleidoscopic lens. Limited vinyl pressing.

New King Gizzard box-set ‘Live In Chicago’ available to pre-order now. Recorded live at The Salt Shed in Chicago, it captures 40 tracks across 9 LPs. Includes 132-page hardcover photo book.

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Fuzz Club presents another huge King Gizzard And The Lizard Wizard bootleg box-set, in the shape of the 9LP monster 'Live In Chicago’. Recorded over three nights of the Aussie psych-rock polymaths raining down on The Salt Shed in Chicago, this bootleg captures 40 tracks of live Gizz spread across 18 sides of vinyl. Live In Chicago was recorded live June 11, 12 and 13 2023, mixed by the band's Stu Mackenzie and Sam Joseph and remastered for vinyl by James Plotkin exclusively for this edition.

Each of the three nights comes in its own 3LP slipcase, all housed together in one giant hand-numbered slipcase alongside a 132-page hardcover photo book, including photos licensed exclusively for this vinyl release. All 9 LPs come on 180g multi-coloured vinyl (with a unique effect configuration for each night) in their own heavy card jacket with 3mm spine and premium archival rice paper inner-sleeves by Mint. The artwork for each jacket works as a puzzle and forms one giant artwork. Exclusive collage album art and design by Elzo Durt with metallic silver laminated detailing through out all slipcases, jackets and the photo book. Includes large poster with the original cover art by Jason Galea. The box-set is packaged in a bespoke foam-lined box to protect it during shipping.

Japanese pressing. OBI is missing. close to NM. 1978 reissue.

Uboa’s fifth album Impossible Light almost never made it out of the dark. From its initial conception in 2018, this record went to hell and back, dragging its immensity and too-big-to-hold emotion through the torturous process of translation to sound and returned triumphantly as a full-bodied record in a distinct new style.

Impossible Light begins where Uboa’s 2019 breakout album The Origin Of My Depression left off—and ends somewhere entirely different. The Origin stunned with its methodical use of doom, harsh noise, and ambient soundscapes while documenting a raw, unhindered account of Xandra Metcalfe’s experiences with her transition and her struggles with mental health. Over time The Origin steadily grew a cult-like following which developed into a full-fledged internet community focused around noise, neurodiversity and transness. While Uboa’s signature style of highly polished, cinematic “hypernoise” is front and center in Impossible Light, there is also a daring departure into the genres of industrial metal / rock, setting it apart from any other Uboa release thus far and distinguishing it from other contemporary noise records.

Metcalfe kept the lyrical content of this record as a time capsule of the catastrophic ups and downs and rapidly changing environments within herself and in the world from 2018-2023. Key collaborators include Blood Of A Pomegranate, Otay:onii, Charlie Looker and Haela Hunt-Hendrix of Liturgy. Impossible Light dives fearlessly into queer sexuality, trans embodiment, grief for those who couldn’t make it, solidarity for those facing unimaginable discrimination, the toxic spread of transphobic hatred and misinformation, and the ultimate hope of recovery from trauma and mental anguish. This is a record about the light at the end of the tunnel and the power it takes to keep moving towards it.

Emerging once again from the unending waves crashing upon our fragile time-craft (adrift on the eternal ocean, and taking on water), Dirty Three are (a) back, (b) tangled in seaweed, rank with saltwater and possessed of three rather ominous thousand-mile stares (at least!), and (c) not wasting another minute – as nothing is guaranteed. For their first album in over a decade – yep, it’s been since 2012’s Toward the Low Sun – they flew in, got together and started playing. End of story. What else is there to say or do but that? Music’s their language, their true love; they never stop listening to that. And like the label says, Love Changes Everything.

The Dirty Three – Warren Ellis, Mick Turner and Jim White – formed up in Melbourne in 1992, to play with guitar drums and violin or viola, and within a couple years, they’d broken out – out of Australia, out of anything else they might have been inside of, to boot – and got worldwide. Over the next ten years, they toured over and over the planet, ceaseless like, and cut seven albums out along the way. After this, their unique style of play, fitted together like puzzle pieces, was decoupled, more often than not, and pieced together in many other, fruitful collaborations with many other esteemed talents. Over the past 20 years, they’ve gotten together a few times, renewed the vow, revved the engines and played some shows, or made an album. Like now

During a European tour by HADES, it became apparent that the band would soon disband. Guitarist Dan Lorenzo formed NON-FICTION with Dan Nastasi (MUCKY PUP, DOG EAT DOG), who subsequently recorded an EP. However, the line-up carousel was to turn again and HADES and WATCHTOWER singer Alan Tecchio and bassist Kevin Bolembach (later SEVEN WITCHES, JACK FROST and others) came on board.In 1991, the debut 'Preface' was released on Grand Slamm Records, in Europe on Steamhammer/SPV. At the time, the band's doom metal leanings must have puzzled many fans of HADES and WATCHTOWER, while fans of this style remained ignorant at a time without the Internet. It is astonishing that certain trademarks of HADES can still be found in the music of NON-FICTION (see also the 1995 reunion album by HADES). In 1992, the second album 'In The Know' was released, which is considered a fan favourite and was only released on CD at the time. Once again, the cover artwork is reminiscent of the art of Hipgnosis (Pink Floyd, UFO etc.), which also applies to 'It's A Wonderful Lie', released in 1996. The band's third and final album is a little more experimental, but otherwise continues the familiar style.As HADES were active again at this time, the subject of NON-FICTION was regrettably shelved. Both HADES and WATCHTOWER (with Alan Tecchio) are - sporadically - active again today and quite a few fans hope that NON-FICTION will also make another appearance. The musical continuation, albeit a little more modern, is currently Dan Lorenzo‘s band PATRIARCHS IN BLACK, which is successful in the USA. 1. INTROFUCTION2. PICTURE IMPERFECT3. LOVE, LIKIN, NOTHING4. BIG BLUE FLU5. BLACKENED BLUES6. FURIOUS MAN-GO7. SOMEHOW8. A VERSION9. SOCIAL LIES10. CHIPMUNK FUNK11. DECEPTION VS. REALITY12. SAD & DONE13. INTO THE GROUND14. WAXING PATHETIC15. REASONS16. TRUE / FALSE17. SPENT

During a European tour by HADES, it became apparent that the band would soon disband. Guitarist Dan Lorenzo formed Non-Fiction with Dan Nastasi (MUCKY PUP, DOG EAT DOG), who subsequently recorded an EP. However, the line-up carousel was to turn again and HADES and WATCHTOWER singer Alan Tecchio and bassist Kevin Bolembach (later SEVEN WITCHES, JACK FROST and others) came on board. In 1991, the debut "Preface" was released on Grand Slamm Records, in Europe on Steamhammer/SPV. At the time, the band's doom metal leanings must have puzzled many fans of HADES and WATCHTOWER, while fans of this style remained ignorant at a time without the Internet. It is astonishing that certain trademarks of HADES can still be found in the music of NON-FICTION (see also the 1995 reunion album by HADES). In 1992, the second album "In The Know" was released, which is considered a fan favourite and was only released on CD at the time. Once again, the cover artwork is reminiscent of the art of Hipgnosis (Pink Floyd, UFO etc.). Many fans have been waiting for an LP version, which is now available 32 years later.After the release, Non-Fiction successfully toured with Savatage and Overkill, where they could also be seen in Europe. Both HADES and WATCHTOWER (with Alan Tecchio) are - sporadically - active again today and quite a few fans hope that Non-Fiction will also make another appearance. The musical continuation, albeit a little more modern, is currently Dan Lorenzo‘s band PATRIARCHS IN BLACK, which is successful in the USA. TBC

Black/White Split Color Vinyl.Recorded in a little bedroom studio out in Durham, NorthCarolina, Amelia Meath and Nick Sanborn's debut LP asSylvan Esso arrived in 2014 at the juncture of pop andexperimental. Even now, years later, the LP remains anurgent and fitting introduction to a push-and-pull that wouldgo on to inform the duo's sound - a thoughtful headinessthat also wants you to get out on the dance floor. A blend ofanalog and digital, Meath and Sanborn were twounexpected puzzle pieces fitting together with singularease, producing a ten-track LP that was both minimalist andshimmering, with dark undulations rippling beneath thesynthy-surface and crystalline quality of Meath's voice.Before all of the international touring and festival headliningand critical acclaim and Grammy nominations, Sylvan Essowas just a shot-in-the dark of musical chemistry gone right.The original album bio for the self-titled presciently sets thestage for the thesis that has gone on to guide Meath andSanborn's writing since then: "a collection of vividaddictions concerning suffering and love, darkness anddeliverance" arriving as "a necessary pop balm, an albumstuffed with songs that don't suffer the longstandingcomplications of that term." And so, even as the bandcontinues to evolve and becomes amorphous, there's stillthat argument about what pop can be at its core. This is justthe beginning of that conversation captured on tape.In honor of the record's ten year anniversary, NorthCarolina-based indie label Psychic Hotline will release adeluxe reissue, complete with previously unreleasedmaterial. Featuring essential singles "Coffee", "Hey Mami,"and "H.S.K.T.", the expanded edition also includes remixesfrom J Rocc, Rick Wade, Helado Negro, Dntel, and more.The deluxe 2LP package sports an all-over foil inversion ofthe original album's iconic foil "SE" logo.

With insert. Few paper scuffs.

Corum's work avoids the mere emulation of exotica and it's tropes through the sense of adventure that his landscapes present. This is most evident on Never Use The Same Door Twice, originally released prior to the Beguiling Isles trilogy in 2011. Comprised of six parts, these pieces are heavy with slow-moving tension and fuzzy as though scathed by repeated replication. A compelling listen and an engaging early piece of the Psychic Sounds puzzle."—Spenser Thompson, Wire Magazine

With time, we come to understand the way the joy of connection is mirrored by the void of loss, how the constancy of love is matched only by the impermanence of life, the simple idea that we could not create light if we did not risk the dark - we'd never need to. So it is with Metz, a band once known for blowing out eardrums with songs of joyous rage who have, over their past few records, begun exploring ways to turn abrasiveness into atmospherics, the evolution of their sound not only a reflection of the maturing of the band themselves but also of a changed world that demands nuance and compassion to comprehend and to survive. It was a journey already underway on 2020's Atlas Vending, but one that reaches new heights on Up On Gravity Hill, where the Canadian trio creates a kaleidoscopic sonic world as tender as it is dark, aided once again by engineer Seth Manchester (Mdou Moctar, Lingua Ignota, Battles, The Body). Deep, detailed, and unyieldingly personal, it is not only Metz's most powerful record to date but also their most beautiful. Still three punks from Ontario at heart, guitarist and vocalist Alex Edkins, drummer Hayden Menzies, and bassist Chris Slorach waste no time as opener "No Reservation/Love Comes Crashing" sweeps in like a wave, sonically and thematically setting the scene for the record to come. A dynamic song about feeling suspended in stasis, layers of dissonance melt into a restlessly heady outro marked by escalating crescendos of shimmering noise that reach for the stars - and is that a violin quivering brightly beneath those elegant swells of guitar, those charging drum fills, those intricate bass lines? It is indeed, courtesy of composer Owen Pallett; his presence an immediate indicator that Metz are thinking more cinematically than ever before. The change is partially inspired by Edkins' work as a scorer for film and television and his pop-leaning solo project, Weird Nightmare, where, he says, he learned to write more intuitively, letting his emotions lead the way. But make no mistake: Up On Gravity Hill is a total band effort, the work of three musicians who have been playing together for over a decade, with all the trust that entails. For those who believe in the power of the rock band to exemplify the highest resonance of human connection, there is much on Up On Gravity Hill to lift the spirit, a puzzle worth repeated listening to unlock or just to get lost in again and again. Rather than the music being flattened into a single plane, the band explores "the space above the cymbals," resulting in some of the most spacious, sympathetic, and accessible songs - could we call them pop? - of their career. If this seems contradictory, well, Metz has always been something of a contradiction. "We've never been heavy enough for metal or hardcore purists, but we're way too heavy for indie rock. We just don't have a lane - and that's okay. We exist outside the lines of delineation. I think this record is even more like that," says Edkins.

Japanese pressing with OBI and insert. Vinyl close to NM

Japanese pressing with OBI and insert. Cover with stains.

Pressed up on his own label, Chuffed! And we’re chuffed as ever to have more Kelley on our racks.. 17 Incredible tracks! This time Kelley genre plays in the Power-pub world, with dashes of Undertones, Stiff Records, 80's Iggy evenly applied. A chance buy of a $75 Japanese Electric Guitar conducive only to power chords, and repeated spins of the Mick Trouble LP made for a wild week of recording this edgy delight. Recorded Fall 2019 at Electric Duck Studios SF, CA. Mastered by Sir Mikey Young. Brought to you by Chuffed Records, a Puzzling Records Company.

Recorded earlier this year at Gus' Dungeon Studio in Cardiff by Stephen Black (aka Sweet Baboo) - House Arrest sees Euros' flair for melody and gift for story telling undiminshed on this his thirteenth album.

I was hanging out with Bill Orcutt at the 930 Club nearly 30 years ago, watching a famous post-rock band (who shall remain nameless, but whose moniker contained two-and-a-half times more articles and conjunctions than nouns) when he said: 'This band is like my band in college—all major 7th and 9th chords.' I relate this to emphasize that in the case of Bill Orcutt and Harry Pussy, the seemingly untutored ooze of 'Please Don't Come Back From the Moon' and 'Girl With Frog' had its genesis in something far more Apollonian than is usually understood. It's debatable whether or not Watt, the duo of Orcutt and drummer Tim Koffley featured on Recorded in Miami, is the above referenced grad-school band. Watt is not resplendent with jazz chords, but it's certainly more tutored, offering a mannered link between the contemporaneous Thunders-esque punk of Orcutt's Trash Monkeys and Harry Pussy's mayhem. The continuity with Harry Pussy is more than temporal. Recorded in Miami is Orcutt's first use of the four-string guitar, and Harry Pussy claimed the same amp and drum kit. The resemblance more or less ends there. To further put Recorded in Miami—made on Orcutt's Walkman, Rat Bastard's North Miami studio, and South Miami's Natural Sound (total bill $289)—into context, consider the fecundity of the underground music world as the '80s rolled into the '90s. It's hard to relate to those who missed it, but it was a time when post-hardcore hadn't quite given way to the bloat of grunge, when the Minutemen held sway (for the moment) over Led Zeppelin. The indie world was ruled by an ever-propagating compost heap of jagged guitar bands like Tful282, Truman's Water, and (to crank it back a couple years) Phantom Tollbooth. And in some ways (although Orcutt swears Watt's prime influences were James Blood Ulmer and Fred Frith's Massacre ), this record seems very much cut from that decade-ending cloth, seemingly only one vocal overdub away from a Homestead catalog number. Track after track (mostly titled after episodes of Art Clokey's slyly Buddhist TV masterwork, Gumby), Recorded in Miami 's tracks spill over with right angles, rockist tropes, and verse / chorus structures, from the Minutemen oid funk of 'Band Contest' to the stroked Moore-Ranaldo-isms of 'The Young and the Decoding.' Yet Orcutt's fretboard-spanning angular melodic runs are right up front in the latter, and the final two tracks introduce a bit of the explosive chaos that would follow when Adris finally claimed the drum kit. Consider 'Wattstock,' where Koffley forms the bedrock for an extended Orcutt hotbox of instantly-composed harmolodics. Or 'God Are You There, It's Me, Watt,' where we can hear the spontaneous vocal bursts (the only vocals on the album) that would re-emerge on Orcutt's early solo records. Watt began to crumble when Koffley, as drummers will do, yearned for rhythmic grids of increasing complexity, while Orcutt instead wanted to 'smoke more pot and improvise.' For a few records with Harry Pussy, Orcutt would get his wish (though some of the structuralism of Watt would creep into later records). But we shouldn't regard Recorded in Miami as mere transitional scraps of juvenalia, or stunt-rock delivered for the mere thrill of pulling it off. Rather, it's an early, major piece of the unfolding and complex puzzle of Orcutt's music. A foundation. And without the earth beneath our feet, how can we ever reach the sky?"—Tom Carter

Cuts from essential albums like Cowboy In Sweden Features duets with Suzi Jane Hokom, AnnMargret and Nina Lizell Audio remastered from original tapes Unreleased song “I Just Learned To Run” Indepth liner notes & unseen photographs As a true legend of the great American songbook and a rebellious pioneer who left behind a lengthy trail of echo laden pop masterpieces, Lee Hazlewood’s influence continues to reverberate today. Between 196871, Hazlewood not only released his finest solo work, but produced numerous artists on LHI. From acidfolk and countryrock to poppsych and soul, LHI issued dozens of long forgotten 45s and LPs. This series will include material from LHI (remastered for the first time from the original analog tapes), along with Lee’s output for other labels, rarities, and unreleased gems.

With his handlebar moustache and booming baritone, Lee Hazlewood was one of the defining stars of the late ‘60s. Though he’s perhaps best known for his work with Nancy Sinatra (including writing megahit “These Boots Are Made For Walking”), Hazlewood did stunning work away from that particular glamour queen and found latter day champions in Beck, Sonic Youth, and Jarvis Cocker. Now, for Record Store Day 2012, we are kicking off our excavation of the Lee Hazlewood archives with this anthology, Singles, Nudes & Backsides, collecting the best of Lee’s solo songs and duets from his LHI (Lee Hazlewood Industries) imprint.

As a true legend of the great American songbook and a rebellious pioneer who left behind a lengthy trail of echo laden pop masterpieces, Lee’s influence continues to reverberate today. Between 196871, Hazlewood not only released his finest solo work, but produced numerous artists on LHI. From acidfolk and countryrock to poppsych and soul, LHI issued dozens of long forgotten 45s and LPs. This series will include material from LHI (remastered for the first time from the original analog tapes), along with Lee’s output for other labels, rarities, and unreleased gems.

See the sleeve: surrounded by nude girls, each wearing a fake moustache, Hazlewood wears a suit, eversoslightly awkwardly playing the role of the ‘60s playboy. Just like the picture, the songs present a man conflicted; he’s the tenderhearted romantic, the brokenhearted loser and the rugged cowboy, all in one. It’s there in the western swing of “Califia (Stone Rider)”, the loneliness of ”The Bed” and the bleak beauty of ”If It’s Monday Morning.” Hazlewood’s tremulous voice was made for duets (indeed, he wrote ”Some Velvet Morning”, one of the greatest of all time); here, Suzi Jane Hokom, AnnMargret and Nina Lizell play counterpart to his manly tones.

In the wonderful liner notes, written by British journalist Wyndham Wallace, the writer describes his friend Hazlewood as “a curmudgeonly, unpredictable sort at the best of times, as impatient with his own talent as he is with other people.” The Hazlewood Wallace knew was puzzled by the growing interest in him in the last two decades of his life, which was ended by cancer at age 78. That late flurry of interest saw him perform at the Royal Festival Hall in 1999, his first ever solo performance in the UK.

A natural wanderer, Lee lived a big life, fighting in the Korean War, working as a radio DJ in Phoenix, Arizona, setting up Viv Records in the ‘50s, working as a bigshot LA producer in the ‘60s, signing Phil Spector to his Trey Records label and prematurely announcing retirement in the wake of the mid‘60s British invasion. He didn’t: Nancy Sinatra came along, the hits started flowing and he continued producing characterful solo albums into the ‘70s, which saw his move to Sweden. By 2007, Hazlewood was living in Vegas, and begrudgingly enjoying that flurry of latterday interest in his work. This landmark compilation promises to create many more converts.

Unknown Mortal Orchestra came to life in basements and bedrooms, the musical vision of Portlander-via-New Zealand Ruban Nielson that fused guitar-god riffs, choppy percussion, soul and funk. II, the sophomore album from UMO, emerged in an era rampant hedonism and isolationism and became the blueprint for everything Nielson has become renowned for. It was, and is, the solidification of Unknown Mortal Orchestra as an endlessly intriguing, brave and addictive band. Ten years on, it's back with an expanded edition. Written during a punishing, debauched touring schedule during which Nielson feared for both his sanity and health, II illustrates the emotional turmoil of life on the road, painting surrealist, cartoonish portraits of loneliness, love and despair. These conflicting themes are evident immediately; on the album's sleeve is an unnerving image of Janet Farrar, the famous British witch, Wiccan, author and teacher of witchcraft. The chilling refrain of opener "Into The Sun" sees Nielson deliver the line "Isolation can put a gun in your hand," softly, his words starkly intelligible above a warm, slow-burning melody that quickly brands itself onto your brain. His playful imagery ("I'm so lonely I've gotta eat my popcorn all alone") mirrors the melody, before a solo that borders on psychotropic ends II`s introduction. UMO is unafraid to dig deeper than the rest, their intoxicating, opiate groove bringing rock'n'roll's exaggerated myths to life. And as it unfolds, II does find Nielson reenergized. "One At A Time" and "Faded In The Morning" boast dizzying choruses and instrumentals; these crusty hunks could have been excavated from a lost 1960s treasure trove. "Monki" unravels over seven minutes like the yarn from a stoner's cardigan with an eye-frying pattern. "Dawn" is a minute of disconcerting noise that stands out between the nooks and crannies of the choruses, guitar solos, groove-heavy bass and drums that were recorded live by newly-recruited drummer Greg Rogove and Kody Nielson in a move away from the electronic percussion employed on album one. II closes with "Secret Xtians," a tender observational puzzle that fizzes to a satisfied end. In celebration of the album's 10th anniversary Nielson's complete collection from the II era is finally available in one compilation, and features the five acoustic tracks from the Blue EP as well as two additional B-sides. Unknown Mortal Orchestra was once Nielson's closeted concern. With an album that uses his singular musical imagination and extraordinary talent to parade his emotions with unyielding honesty, it is now a fully realized band operating at the peak of its powers ten years on.

CD comes in a soft case, instead of the original crystal case. All booklets included.

AUDIOBOOK, the new project from prolificmulti-instrumentalist Sam Gendel and visual artist/filmmakerMarcella Cytrynowicz, is comprised of 13alphabetically-named tracks and corresponding illustrationsthat feel like dispatches from outer space, or unearthedancient runes. At points melodic and cartoonish and atothers glitching and somewhat unnerving, it's a visual workand instrumental album rooted in a strange in-between, in ashadowy and vivid chasm between terrestrial andotherworldly. A puzzle that doesn't ask to be completed, butinvites you to play.Cytrynowicz and Gendel have been consistent collaboratorssince 2020, with Cytrynowicz providing photography as wellas music videos and visuals, including for Gendel's DRMand their AE-30 documentary, and with Gendel contributingsnippet scores to to her own short-form video work.AUDIOBOOK is the meeting of something distinctly analogweaving into a soundscape that could be at home in a 90ssci-fi soundtrack, th...

Formed in 1978 in Derry, a Republican city in Northern Ireland, power-pop-punk trio the Moondogs mixed the energy of the Clash with the melodic bent of the Beatles. Gigs with the Undertones led to a 45 for Good Vibrations, plus a few more for Real Records, and by the time they cut debut LP That’s What Friends Are For in New York with Todd Rundgren for Sire, they were at their most accomplished; somehow, the band split mid-way through its creation, rendering the album a frozen moment in time, rather than a leg-up to world domination. A great listen and another missing piece of Northern Ireland’s punk puzzle.

Limited edition for Record Store Day 2014

The Rolling Stones returned to their blues roots on 1968's Beggars Banquet, which was immediately acclaimed as one of their landmark achievements. A strong, acoustic Delta Blues flavor colors much of the album, particularly "Prodigal Son" and Jagger/Richards' "No Expectations." Basic rock 'n' roll is not forgotten with "Street Fighting Man" and "Sympathy for the Devil." The lyrical bite of the material ensured it's place as one of the best blues-based rock albums of all time. 180-gram vinyl.

Disorder are a hardcore punk band formed in 1980 in Bristol, and still going strong today. The Singles Collection compiles their first and fieriest recordings in one place, comprised of 3 7' EPs and the 8 track l2' EP Perdition - recordings which John Peel allegedly referred to as sounding like shit' (possibly a compliment) - this LP of long out of print recordings would be a welcome addition to any punk collector's shelves. Another essential piece of the UK punk puzzle.

For over two decades Jonathan Katsav has used his Crave project to fray rap at its fringes, using Memphis and Houston's low-and-slow legacy to inform sounds that have as much in common with Merzbow as they do Tommy Wright III.Working under a variety of different monikers such as Lieu Noir, Sniper Bait and Soul Collector, the French producer is most prolific as Crave, and "Inner War Delirium" is a substantial and broadly cinematic addition to his canon. Katsav approaches each track as if it's a scene from a movie, using real life experiences to explore separate characters and contrasting emotions. Using different narrators and disparate vocal styles, he navigates grim, blown-out landscapes, driving neon drenched trap synths and horror choirs against overdriven kicks and waterlogged industrial atmospheres.Mangled field recordings, squealing static and gurgling synthesized bass opens 'PHYLLIS', goading the cautious with serrated, carnival synths and cacophonous vocals that sway lugubriously between rap and grindcore.The relationship between dark and light, death and rebirth, is at the heart of "Inner War Delirium", rippling through every track's oozing amalgamation of inebriated hip-hop and buzzsaw noise.Katsav's sounds are an attempt to subject us to the physicality of his own life's puzzle, and he cuts them into vignettes like a director. On the album's final track, listeners are swiped from in front of the speakers and bundled into the trunk of a car, rain rattling on the metal and the album playing on in the distance. It's a way for the producer to turn the camera back on the audience and ask them to consider their own complicated reality - it's Crave's story, but everyone's a part of it.

Reissue with updated art on the box and on the inner sleeves. Includes a 36-page full-color art book featuring band member notes, photos, and credits, and a 28-page lyric book with illustrations. Current reissue of the 4 LP Boxset. No hype sticker on the front of the shrink wrap.

As Night Beats, Texas-born, LA-based artist Danny Lee Blackwell creates music like one might assemble a puzzle. The Western psychedelic auteur builds his work from one moment, an initial spark, that must fit a certain criteria: it must give him goosebumps. If that sensation arrives, Blackwell will pursue the idea relentlessly until he has a new song; if not, he moves onto the next moment, constantly looking for the perfect molecule of a song.

On his sixth Night Beats album, 'Rajan', the songwriter is at his strongest, creating works that shine with captivating melodies and hypnotic rhythms, but are underscored by subtle choices of craftsmanship that can only be achieved after countless hours in the studio. Blackwell creates a work that lands somewhere between Spaghetti Western film score and psych-pop opus, a career-defining album that reveals much about Danny Lee Blackwell’s artistic philosophy while keeping that ever crucial air of mystery intact.

As Night Beats, Texas-born, LA-based artist Danny Lee Blackwell creates music like one might assemble a puzzle. The Western psychedelic auteur builds his work from one moment, an initial spark, that must fit a certain criteria: it must give him goosebumps. If that sensation arrives, Blackwell will pursue the idea relentlessly until he has a new song; if not, he moves onto the next moment, constantly looking for the perfect molecule of a song.

On his sixth Night Beats album, 'Rajan', the songwriter is at his strongest, creating works that shine with captivating melodies and hypnotic rhythms, but are underscored by subtle choices of craftsmanship that can only be achieved after countless hours in the studio. Blackwell creates a work that lands somewhere between Spaghetti Western film score and psych-pop opus, a career-defining album that reveals much about Danny Lee Blackwell’s artistic philosophy while keeping that ever crucial air of mystery intact.

Attn.: We did not receive this record in time for RSD, but we will get it this week.

Fleetwood Mac's only #1 single in the UK was Peter Green's “Albatross.” This Record Store Day 2023 reissue of the original Fleetwood Mac/Blue Horizon single brings to light the greatness of Peter Green and his time with Fleetwood Mac. The red vinyl 12” single has individually numbered sleeves.

It's the 10 Year Anniversary of The Front Bottoms' self-titled debut, a beautiful alchemy of anthemic hooks andquotable confessions achievable only by the closest offriends, Brian Sella and Mat Uychich. Their songs are immediately recognizable, lyrics and riffs cleverly and effortlessly spun together into songs surprisingly real. LyricallyBrian Sella fires off scattershot images that the listener cangather up and make sense of like working puzzle pieces onthe floor. Romance, freedom, paranoia, partying and somehow getting clean all tumble together from song to song.The album includes fan favorites like "Flashlight," "Swimming Pool," and "The Beers," where Sella recalls beefingup for a Jersey Shore summer of steroids "because youlike a man with muscles and I like you."

First-ever vinyl release of the long rumored 1969 studio album (plus related acetate and 45 only tracks) from pre- Hotlegs/10cc duo Godley & Creme, during their days as Frabjoy And Runcible Spoon. Classic UK late 60s psychedelic/folk/pop sound recorded at Advision Studios with support from future 10cc colleagues Graham Gouldman and Eric Stewart. In mid-1969, legendary British R&B/psychedelic entrepreneur Giorgio Gomelsky signed two Manchester-based art students, renaming them Frabjoy And Runcible Spoon. Envisaging the pair as a British Simon And Garfunkel, Gomelsky recorded an LP with them for release on his Marmalade label. A pre-LP single appeared, but sadly the album’s release was aborted. 53 years later, Grapefruit Records released on CD this missing piece of the pre-10cc jigsaw puzzle. Now we’re lucky to present a vinyl version. *Insert with liner notes by David Wells and rare photos / memorabilia Recommended if you like Pete Dello, Graham Gouldman, Bee Gees, Simon & Garfunkel, Beatles, Rubble and Fading Yellow comps…

Seaside Swirl Vinyl, limited to 500 copies.In the two years since their last full length outing, Let There Be Nothing, JUDICATOR have returned from collective and personal turmoil brought on by both the Covid-19 pandemic and foundational lineup changes. The US power metal group are now primed and proud to release their triumphant sixth studioalbum, The Majesty of Decay, via Prosthetic Records. Refreshed and revitalized, JUDICATOR are eager to let this beastly album out of the gate and into your stereos.Whilst the album's story remains somewhat shrouded in mystery, JUDICATOR utilizes compelling plot devices as a means to encourage fans to piece together the album's meta- contextual threads. What we do know, however, is that The Majesty of Decay explores the subjects of love, family, and the transformation of suffering into something meaningful. JUDICATOR invites you to step into this world and contemplate how the story might relate to you. The album is a carefully constructed puzzle of mirrors and metaphor that cries out for Judicatorfans everywhere to solve it.What began as a humble homage to their favorite band quickly grew into something that had fans begging for more, and JUDICATOR is happy to oblige.The band has produced a catalog of music that spans multiple sub-genres and breaks conceptual boundaries. With this latest offering, The Majesty of Decay, JUDICATOR have delivered yet another thought provoking album that fits nicelyinto their discography.

"By the mid-1990s, there was a quietly thriving underground in Wellington, New Zealand, made up of a number of loosely aligned operatives - Surface of The Earth and their World Resources imprint; Fever Hospital and 8 Dec, and the music made by the members of The Garbage & the Flowers after that group temporarily dissolved in 1992..." One of those rather short-lived groups was Dress, who on record consisted of Yuri Frusin and Helen Johnstone from The Garbage & the Flowers and Kristen Wineera from Entlang. Their sole release was a lathe cut 10" released in 1995 on their own label Hell On in a total run of 120 copies. Fördämning Arkiv here presents those wonderfully puzzling tracks to a wider audience, now pressed as a 45rpm 12" with the original recordings remastered for vinyl by Ben Wright Smith. While the ambience is kind of similar to what was going on in the early The Garbage & the Flowers stuff, the music that was made by Dress was very different: improvised and non-song-based but kept in place by repetition and odd melodies. Hypnotic and perplexing music that existed in its own parallel universe for a brief moment in time. The 12" is packaged in a sleeve with slightly reworked artwork though staying very close to the original 10" cover and comes with a 16-page booklet featuring extensive liner notes by Jon Dale, lots of photos and a reprint of the interview with Helen Johnstone and Yuri Frusin published in Opprobrium #1 in 1995. Edition of 500 copies. Fördämning Arkiv 7, October 2022.

Toxic Waste Represent The Hardest End Of The Crass Milieu. While Most Anarcho-Punk Bands Of The Time Sang About A War They'd Only Seen On Tv Toxic Waste Were Being Politically Active In Belfast During The Troubles. They Played Militant Punk With Melody And Aggression. Borderline Hardcore At Times With A Clear Peace-Punk Message. Angry, Intense And In Your Face. They Were Involved In The Warzone Collective And Shared Stages, Experiences And Activism With Bands Such As Stalag 17, Conflict , Asylum And Antisect. "Belfast" Was Originally Released In 1987 On Vocalist Roy Wallace's Belfast Records And Has Been Out Of Print For 30 Years. It Was A Compilation Of Previously Released Tracks And Newly Recorded Versions Of Old Tracks With Dino And Gary From D.I.R.T Doing The Female Vocal Parts And Guitars. The 12 Tracks On "Belfast" Are Nuggets Of Raging Pissed Off Diy Anarcho Punk With Hard Hitting Lyrics And Dual Vocals. The Recordings Are Raw And Passionate And Stand The Test Of Time. The Band Released An Iconic Split 12" With Stalag 17 On Mortarhate (1985) - The Tracks Are Included On "Belfast" And Then The Following Year A Split Lp Called We Will Be Free With Stalag 17 And Asylum Before Calling It A Day And Becoming A Lost Piece Of The Anarcho Punk Puzzle. This Reissue Comes With Replica Sleeve And Fold-Out Lyric Insert.

After working together in Skinny Puppy, Pigface, and Ministry—ogre and Martin Atkins made their own album together back in 1998. The project was supposed to be called Ritalin but the drug company complained so it was changed to Rx. Now on vinyl for the first time ever. It's like the missing piece of the puzzle between Skinny Puppy and the "ohGr" project that would start a couple years later.

Recorded in a little bedroom studio out in Durham, North Carolina, Amelia Meath and Nick Sanborn's debut LP as Sylvan Esso arrived in 2014 at the juncture of pop and experimental. Even now, years later, the LP remains an urgent and fitting introduction to a push-and-pull that would go on to inform the duo's sound - a thoughtful headiness that also wants you to get out on the dance floor. A blend of analog and digital, Meath and Sanborn were two unexpected puzzle pieces fitting together with singular ease, producing a ten-track LP that was both minimalist and shimmering, with dark undulations rippling beneath the synthy-surface and crystalline quality of Meath's voice. Before all of the international touring and festival headlining and critical acclaim, Sylvan Esso was just a shot-in-the dark of musical chemistry gone right. The original album bio for the self-titled presciently sets the stage for the thesis that has gone on to guide Meath and Sanborn's writing since then: "a collection of vivid addictions concerning suffering and love, darkness and deliverance" arriving as "a necessary pop balm, an album stuffed with songs that don't suffer the longstanding complications of that term." And so, even as the band continues to evolve and becomes amorphous, there's still that argument about what pop can be at its core. This is just the beginning of that conversation captured on tape.