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Round Records IS Proud TO Reintroduce THE Recordings OF David Grisman & Jerry Garcia AT Retail With THE Debut OF Bare Bones, a collection of duo performances exploring the foundation of their beloved studio recordings.

After over 30 years, Grisman has opened the Dawg Vault to curate a collection honoring the magic of their studio works. They are presented for the first time in their original unadorned state as part of a vinyl series

Round Records IS Proud TO Reintroduce THE Recordings OF David Grisman & Jerry Garcia AT Retail With THE Debut OF Bare Bones, a collection of duo performances exploring the foundation of their beloved studio recordings.

After over 30 years, Grisman has opened the Dawg Vault to curate a collection honoring the magic of their studio works. They are presented for the first time in their original unadorned state as part of a vinyl series

Over the last ten years, Michael Morley has embraced the acoustic guitar as the means of channeling the darkest threads that have run through his work since the early 1980s. While he largely made a name for himself as a maverick of primitive electric guitar and electronics in The Dead C and Gate, Morley's love of song form has never been far from the surface. In recent years, chance discoveries of Spanish and classical guitar records languishing in the discount and free bins at junk shops in South Dunedin proved to be a revelation. These records, largely recorded in the 1950s and 60s, began to shift Morley's work and lead him to piece together a new musical language from elements completely removed from the rock and avant-garde underground from which he first emerged. Spanish, Mexican and South American composers such as De Fossa, Ponce, Lauro, Barrios, Pujol, Albéniz, Falla, and Villa-Lobos as well as more traditional classical guitar composers like Schubert, Haydn, and Scarlatti all began to etch themselves into his consciousness. Rather than emulate them, Morley "channeled the experience of listening to these strange guitar sounds" as he began to play the acoustic guitar for hours at a time every day as an almost meditative exercise and a way of discovering a new way to play. This new musical language is realized on Pushed Streets, a suite of 12 songs Morley recorded at home in Kōpūtai/Port Chalmers, New Zealand. The music is quiet, almost ephemeral. Chords and melodies are traced in a dark atmosphere with Morley's unmistakable voice almost imperceptibly double tracked, words softly sung and stretched, sometimes at a near whisper. There are no amplifiers, no effects, nothing to distract from Morley's words and the tone of his guitar. Recorded with two 1970s guild guitars, an orchestral six string and dreadnaught twelve string, the guitar sound is rich and dynamic, chords and melodic figures are struck with what sometimes seems the gentlest possible gesture, resonating and floating away into the night. The music and voice, the lyrics are all of that dark thread, distilled with frightening clarity. The music is intimate and fragile, unadorned and heartbreaking in a way that recalls the spirit of lonely and world-weary albums by Skip Spence, Bill Fay, and Loren Connors; yet against the backdrop of the absolute finality of today's culture, the album's alchemy of Spanish and classical influences with Morley's formative work avant garde work, Pushed Streets exists in its own hauntingly desolate realm.

After a successful tour following the release of "Alors quoi!" on Bongo Joe records, accompanied by a drummer/percussionist change, the prospect of what comes next naturally arose. Elements surfaced, including a desire for more low frequencies, a fascination with the marimba/vibraphone, and a liberating indifference to the difference between recorded and live performances. To evolve, the team collaborated with outsider Kwake Bass, known for collaborations with Kae Tempest, Tirzah, Mica Levi, and others. Despite aesthetic differences from Meril Wubslin"s previous albums, this divergence was seen as key-an enriching risk that resulted in a unique blend of influences. The acoustic core of Meril Wubslin now embraces electronic elements, revealing a more powerful and urban dimension. While maintaining a commitment to French lyrics, the themes explore the concrete yet remain grounded in the intimate and the sensitive, avoiding overly clear and univocal messages.

RSD First, Limitation: 1300

Limited colour variant "battlefield aftermath with blood & dirt swirl"Following their 2020 debut, Ruin, FORETOKEN's latest album sees the group expand upon their foundations of meticulously lofty soundscapes, mythological narratives, and elaborate musicianship. Utilizing traditional narratives of myths, legends, and folklore from a wide range of Western and Middle Eastern origins, Triumphs examines the ignored collateral damage of the cost of victory through these established mythos.Taking musical inspiration from melodic and tech death metal, as well as power, folk and black metal, Foretoken's core sound on Triumphs is bolstered by subtle and captivating use of traditionally Scandinavian, Southeast Asian, and Middle Eastern instruments for atmospheric depth. Reunited once again with Hannes Grossmann (Hate Eternal, Alkaloid, Obscura, Necrophagist, Blotted Science, and Triptykon) on drums and boasting a guest guitar appearance by The Black Dahlia Murder's Brandon Ellis, FORETOKEN's technical prowess shines through without overpowering any of the nine songs' rhythmic charge.Triumphs was penned throughout 2021 by both Steve Redmond (guitar and orchestration) and Dan Cooley (vocals), with the pair settling on eight original compositions and a cover of Naglfar's I Am Vengeance. Grossmann then commenced drum tracking at his own studio, Mordor Sounds, with guitars recorded by Redmond himself and vocals captured at Trepan Studios by Tony Petrocelly, before mixing and mastering duties were placed in theaccomplished hands of Jacob Hansen (Arch Enemy, Fleshgod Apocalypse, The BlackDahlia Murder, and more) at Hansen Studios. Visually tied together by portrait artist Tomas Honz's detailed cover painting, depicting aprotagonist's journey in the aftermath of battle, Triumphs aesthetic component is a symbolic embodiment of the duo's enduring fascination with historial consequence via a folkloric lens. Taking fables and fantasy to extreme sonic heights, FORETOKEN's Triumphs is as lofty in ambition as it is a...

Vinyl is Close to VG+. With insert. Tape is missing.

For fans of Shirley Collins, Lankum, Arthur Russel and Hiroshi YoshimuraLove comes in many forms and so do love songs. Stream of Forms is a collection of love songs that speak of love in all its guises: newfound and unrequited, sexual, lost and scorned.Taking inspiration from the oral traditions of English and Irish folk music, the tales told on this album speak of emotions, as ancient as the human voice itself. Michael Culme-Seymour aka Marlais positions his vocals amidst traditional instruments, digital choirs and deep, harmonic electronics, inhabiting these songs for no more than a moment. A fleeting moment but one long enough to evoke a vivid, living history of everyday people.Arranged in episodic installments, Stream of Forms is a tale of universal feelings finely balanced by the singularity of its telling. Completed in 2020 and five years in the making, it was during an artist residency in the mountains of Tusheti, Georgia, that the album began to take its definitive form.Embedding himself within the narrative as the story-telling protagonist, allows Marlais to reflect on his own experiences, living, working and performing in Berlin. The immediacy and authenticity of the songs on this album are testament to a life lived outside the typical constraints of modern society. As a result, his voice - as vulnerable as it is enchanting - is soaked in the real-life emotions, of which he sings.

Moral LAW is a vegan, straight-edge metalcore band from Denver, Colorado. After some changes in their lineup, the band released their self-titled EP in 2019, followed up by a split release in 2020. Moral LAW draws inspiration from the edge-metal bands of both the ’90s and of recent years. After experimenting with message and approach, the band has crafted their own raw and emotionally complex take on a style that has greatly influenced them all as both individuals and musicians. “Abolitionist is probably our most direct statement about our stance on veganism and the exploitation of animals. Everyone in the band not only believes in the ideals of a vegan lifestyle as an act of liberation, but we also are in full support of militant action for the sake of the animals in harm’s way. The lyrics and video alongside it are our best attempt at making that abundantly clear!” — vocalist Alex Morales

Moral LAW is a vegan, straight-edge metalcore band from Denver, Colorado. After some changes in their lineup, the band released their self-titled EP in 2019, followed up by a split release in 2020. Moral LAW draws inspiration from the edge-metal bands of both the ’90s and of recent years. After experimenting with message and approach, the band has crafted their own raw and emotionally complex take on a style that has greatly influenced them all as both individuals and musicians. “Abolitionist is probably our most direct statement about our stance on veganism and the exploitation of animals. Everyone in the band not only believes in the ideals of a vegan lifestyle as an act of liberation, but we also are in full support of militant action for the sake of the animals in harm’s way. The lyrics and video alongside it are our best attempt at making that abundantly clear!” — vocalist Alex Morales

Please update TAU Flood blurb to the following - Featuring a diverse and spectacular cast of collaborators, "The Atlas Underground Flood" is a treasure trove of creativity, spanning multiple genres. The album is the surprise sister record released on the heels of "The Atlas Underground Fire”. “Fire” and “Flood” are a continuation of the Rage Against The Machine guitarist’s groundbreaking 2018 album, “The Atlas Underground.” Morello’s insane guitar playing is on full display taking the instrument into the future and forging an alternative/rock/EDM masterpiece with heavy metal legends, punk icons and cutting edge firebrands.

Recorded between Lausanne and Brussels during summer 2019, this new series of songs by Meril Wubslin dig deeper into this tribal, rustic and minimal tendency that they had in the two previous albums. It is the desire to search for sounds, to manipulate matter: sound matter, rhythmic matter, to knead it to its hottest point, that guided the work of composition. All vintage guitars were recorded without amps. Tambourines and other maracas were approached as a drum kit. But the harmonies and melodies are still present and sometimes event enhanced by the occasional participation of a choir of female voices or a minimal synth line. Always with this desire to use French, their mother tongue, while trying to avoid the trap of « variété française ».

With this new album, we wanted to try something slightly different with the sound. Explore new ways to record our instruments and voices. Thus we decided to put away the amplifiers that we used for rockier moods. And we tried the acoustic option. We were surprised by the wide range of possibilities, much more direct and much more emotional actually. About the texts, we still insist on this open way of writing, a mixture of abstract and concrete which offers several understandings. With this liberty in the structure, we avoid the predominance of the message, to go towards a more sensitive and open meaning.

Limited edition for Schwarzer Freitag Record Store Day 2018! Only 1 per customer!

Another friday dedicated to the black gold!

2LP, 180 Gram Audiophile Vinyl, Numbered Limited-Edition

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

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

Cover close to VG+

Vinyl close to VG+

Japanese pressing without OBI.. Cover close to NM

Recorded between Lausanne and Brussels during summer 2019, this new series of songs by Meril Wubslin dig deeper into this tribal, rustic and minimal tendency that they had in the two previous albums. It is the desire to search for sounds, to manipulate matter: sound matter, rhythmic matter, to knead it to its hottest point, that guided the work of composition. All vintage guitars were recorded without amps. Tambourines and other maracas were approached as a drum kit. But the harmonies and melodies are still present and sometimes event enhanced by the occasional participation of a choir of female voices or a minimal synth line. Always with this desire to use French, their mother tongue, while trying to avoid the trap of « variété française ».

With this new album, we wanted to try something slightly different with the sound. Explore new ways to record our instruments and voices. Thus we decided to put away the amplifiers that we used for rockier moods. And we tried the acoustic option. We were surprised by the wide range of possibilities, much more direct and much more emotional actually. About the texts, we still insist on this open way of writing, a mixture of abstract and concrete which offers several understandings. With this liberty in the structure, we avoid the predominance of the message, to go towards a more sensitive and open meaning.